The storyteller

I was raised by shadows and storybooks. My first Game Master screen was a cereal box in the 1980s. Since then, I have led hundreds of players through blood-soaked crypts, neon back alleys, political nightmares, forgotten cities, and worlds that learned to push back.

My academic grounding lies in Medieval History, Religious Studies, and Philosophy, with additional work across ethnology and historical methods. That knowledge does not sit outside the story as decoration. It helps cultures disagree honestly, institutions develop memory, myths carry consequences, and people inside imaginary worlds act as if their lives existed before the heroes arrived.

Even my monsters come with footnotes.

How Mythveil works

Mythveil began at the table, but it no longer ends there. Long-running campaigns became a laboratory for continuity, faction movement, cultural pressure, player agency, and the emotional memory of worlds. That work grew into the Rexborn Framework, mentoring, seminars, research, consulting, LARP, and immersive experience design.

• Play: living campaigns where meaningful choices leave traces.
• Learn: collaborative mentoring and workshops without guru theatre.
• Create: narrative architecture, research, worldbuilding, and Rexborn.
• Experience: story carried into LARP, place, culture, and event.
• Explore: an archive of ideas, chronicles, images, and the Mythveil Family.

The Mythveil Family

Caelwyn guards what is fragile. Stacy heals, questions, and understands the machinery beneath the wonder. Sean carries rebellion and old songs. Eljara sees where desire and danger meet. Mara holds innocence without blindness. Chibi brings the necessary chaos.

They are not mascots pasted onto a brand. They are recurring voices through which Mythveil tests its ideas about history, fear, progress, memory, power, and the human need to belong inside a story.