They wanted to make a rival to The Witcher 4, but nothing came of it. The shocking story of the creators of the Thorgal and The Night Wanderer games
The beautiful trailers for the games Thorgal and The Night Wanderer were featured in media around the world. In the Polish industry, it came as a surprise that a company with no track record would announce two large-scale titles based on well-known brands. Today, the production of at least one of these games is in question, and people have come forward to CD-Action talking about terrible decisions and conditions dating back to 2019.
Former employee: We have been treated like garbage, our ambitions have been crushed and now we still have to fight for the money we are owed.
The message you see above is one of the many outcomes of the fact that in February 2025 we got in touch with the developers from the Polish studio Mighty Koi, a company that in March 2024 shared publicly the news of the production of two games: Thorgal, based on legendary comic book by Grzegorz Rosiński and Jean van Hamme, and The Night Wanderer based on the series of novels „The Lord of the Ice Garden” by Jarosław Grzędowicz, now classics of Polish fantasy literature. It was boisterous news, as the world learned of the projects' existence from cinematic trailers published on IGN channels, among others. In an interview with CD-Action, the developers declared, that ‘as for Thorgal, we want to make it a classic RPG that – we hope – will compete with The Witcher 4’.
Employees (who will remain anonymous in this text due to the risk of litigation) have informed us that they are not receiving their salaries on time, some salaries have still not been paid and that they are strongly disappointed by the methods of communication (some of devs have many years of experience in game development) from the management, led by Marcin Grzegórski and Karolina Majdzińska. The matter became public, by the way, through a post (and commentary section below it) by one of Mighty Koi's contractors, Michał Korniewicz, who admitted on LinkedIn that he, too, had not been paid despite – in his opinion – fulfilling all obligations (less than a week after the announcement, the company settled the arrears to the composer).
However, as it turned out on the way of our journalistic investigation, this is not the first such situation in the history of Mighty Koi (as Grzegorz Wątroba of the Okiem Deva channel and Gabriel Uryniuk of the Strefa Inwestorów editorial team have already reported). And it's not the first time the production of Thorgal and The Night Wanderer has been taken up either (although some of the employees we spoke to had not been informed about the earlier projects). We know of many people affected by the company over a period of six years – including when the entity in question was operating under the name 4Gate. We will try to present the events chronologically, although some of them may have overlapped in time due to the number of parallel activities of the company. Throughout at least 6 years, Mighty Koi (formerly 4Game) had been working on several games ((a couple of approaches to The Night Wanderer, a couple of approaches to Thorgal, Unseen, IP inspired by Phantom Doctrine 2) , but none of the projects were realised. At the same time, Marcin Grzegórski and Karolina Majdzińska are also involved in many other companies.
The following article is based on information from dozens of sources and information widely available on the web. Marcin Grzegórski also replied to us, as well as creator of Thorgal. Grzegorz Rosiński points out that he feels deceived by Mighty Koi and today he asks himself how he could have entrusted the rights to the brand to the aforementioned company.
First wave (2019) – company beginnings, initial prototypes, Warsaw University of Technology
We learned that as early as January 2019, Marcin Grzegórski started building a development team to take on the design of a game in the The Lord of the Ice Garden universe. A permanent team of nine people was in place, but various people came and went along the way. In the background, there were promises of an ambitious project ‘aspiring to be The Witcher 4’. Specific payments and employment contracts were offered, but, according to the employees, taxes and ZUS – The Social Insurance Institution – were not paid on it (they were not to know the truth until several years later). The money was given in cash, not by bank transfer, supposedly because of the company's temporary shortages and constant efforts to obtain funding. As mentioned, it was still operating under the name 4Gate at the time.
Anonymous source: 4Gate changed its name to Mighty Koi because 4Gate was backlashed in the industry and nobody wanted to work there.
Devteam was invited to the Warsaw University of Technology building – one of the rooms inside has served as a temporary workspace. A promise was made to move permanently to a building adjacent to the university in the near future. On the first day, the developers were not even prepared with any computers to work on – Grzegórski was, however, to offer the use of the equipment in the IT room at the university, at least for a while. The next day, this equipment was indeed moved. As we heard, these computers were decades old. They also used desks borrowed from the Technical University.
The project database (game files etc.) was, incidentally, stored on the university's servers. Initially, it even ran on LTE telephone internet, which resulted in several hours of uploading or downloading important data. The WUT's motion capture studio was also being exploited, where the first animations for the project were recorded. The developers recall from memory that they were able to use a couple of ‘student’ cameras there, which were unable to render human movement in a fully professional and natural way (and they were there to simulate, for example, a whole series of combos). For about six months, new equipment, office and more co-workers were promised. After this time, the employees lost their hopes. Warsaw University of Technology lent 4Gate (later Mighty Koi) an office until 2023.
According to our interviewees, Grzegórski was supposed to be working on raising funds for production, but in the context of creating the game itself, he ‘did nothing’. One of the contacts says outright that Grzegórski did not understand the game design process at the time and adds directly: ‘He didn't play computer games, he despised them, they were only supposed to look good’.
As an example, the creators give us the stories of the first iterations of The Night Wanderer. In July 2019, they proposed how the game should be designed – it was meant to be a roguelike and soulslike, with reference points including Lords of the Fallen and Necropolis. Between May and November of that year, two prototypes were created – they were to be rejected ‘because they didn't look right’, ‘because you only walk around in them’, ‘because there are no combos in them’, ‘because you can't play on the pad’. Grzegórski criticised the simple combat system template created on Unreal, and on blank models, saying that ‘it looks bad and there is no way to show it to investors’.
Grzegórski expected visual effects straight out of full-fledged trailers. The devs point out that gameplay did not matter to their boss and that what mattered was ‘only what is tempting in promotional materials, can attract the audience and promise them an attractive product’. Confirmation of these words can be found, for example, in the teasers of The Night Wanderer and Thorgal in 2024, when the focus was on polished cinematics instead of the presentation of gameplay fragments.
The developers also point out that The Night Wanderer trailer, published a year ago (March 8), is very close to concepts born more than half a decade earlier. As proof, they point to the model of Deidre below – the old concept art coincides with that of the new trailer. According to the information we acquired, the game was deleted more than six times and created from scratch throughout 2019. The similarities are not only contained in the trailer, but also in the character designs or promotional graphics. We were presented with quite a lot of such material in confidential correspondence, but we cannot share it due to data protection of the former devteam.
Before The Night Wanderer was reset once again and a new group of people was hired (previous developers had either left or been fired), the company would manually delete all previous information about the project from the web, including even concept artwork created on commission and published on the ArtStation profiles of the artists involved. However, former workers showed us that in the depths of Google drawings and promotional articles can still be found.
Belarus wave (from the end of 2019) and PlayWay’s IP
We were told that around December 2019, Marcin Grzegórski contacted developers from a bankrupt company in Belarus through a friend. They were supposed to be provided relocation services along with covering the costs of moving. Later, their families joined them. As we have heard, the company initially offered two contracts for one accepted person – an employment contract with unfavourable conditions and a supplementary contract for specific work. The Belarusians agreed to these conditions because, as they say, the political situation in their country ‘was difficult at the time’.
However, Karolina Majdzińska and Marcin Grzegórski later cancelled the employment contracts one after the other and offered the devs a complete change of conditions based on a contract for specific work. The amount of their salary remained the same, so the Belarusians were satisfied with the situation – ‘none of us were familiar with Polish law, we didn't understand the difference between those two contracts’.
What tasks were the Belarusian specialists entrusted with at Mighty Koi? Various, for example: ‘When Grzegórski managed to get an email address for Viggo Mortensen's agent, the Belarusians were immediately tasked with creating a Vuko (the game's main character - ed.) based on the actor.’ However, not everyone had experience in game development. They had mainly worked on films before. For example, the high poly model shown below was too complex to be used as an object in the game, and it took about three months to create.
The group of designers was obliged to send screenshots of the status of their projects once a week, on Fridays. It also made character renders on request, which were to be used as graphics on the website. However, as our source reports, ‘the prepared renders and the developers’ portfolio were used by Marcin as the studio's portfolio in a presentation sent to other companies’. However, they were not mentioned as the authors of the work. Materials were supposed to be advertised as alleged projects of people with previous experience in Wargaming, Ubisoft, Marvel or Disney.
Why was this done? The Belarusians believed it was because the company was looking for funding and resources for production. The problem was that the materials sent by the developers for business and marketing purposes contained sensitive data protected either by NDA or by passwords. What's more, we hear that these presentations were sent to many studios and publishers. The developers were supposedly outraged, and they even considered suing the company. However, we were told that Grzegórski allegedly threatened the developers with dismissal and deportation to Belarus in response.
In 2021, work began on an IP created for PlayWay – it was a continuation of Phantom Doctrine (after six months, the publisher gave up on the project, so instead of ‘two’, 4Game prepared a game resembling the sequel in terms of mechanics and atmosphere). At that time, a new project coordinator, Piotr Przybysławski, also joined the company. However, employees claim that instead of organising or being creative, he eavesdropped on their conversations in the office and smoking room, took photos of them with his mobile phone behind their backs and reported everything to the management, which quickly made him climb the ranks. Meanwhile, Grzegórski ordered the developers to create a demo version of the title. ‘He blackmailed us, saying that if we didn't finish the game demo by June, we would be fired. Needless to say, how stressful it was for the immigrants.’
At the same time, Przybysławski was supposed to play the role of the ‘good cop’, encouraging people to work faster and promising bonuses after the release of the test version of the production. In May 2021, almost the entire foreign group was to leave the company, but the demo was completed. The promised bonuses were not awarded, and it was rumoured that ‘the conversation about them never took place’.
Former employee: For the purposes of this demo, many of us worked for six months without days off. We were short-staffed. Sometimes I would come to the office at 5 or 6 in the morning and leave at 11 or 12 at night. This went on for weeks. Many people worked, took a nap for one or two hours during lunch on the tables or on the floor, and then continued working. And all this was used for blackmail on the one hand and fraud on the other.
Another developer emphasises that although the management claimed to be looking for new employees, no recruitment interviews were conducted for months. Later, when the recruitment process for the project was frozen, no one was informed. Management assured them that there was no problem with the budget for the game. However, the employees did not fully understand what was expected of them. They knew that the game was supposed to be set in the Cold War, have realistic graphics and represent a specific genre, but the management avoided giving detailed information about other requirements, deadlines or budget constraints.
According to the Belarusians, Mighty Koi has severely damaged the reputation of Polish game development in the eyes of the rest of Europe and should be shut down. At one point, it was assumed that working conditions in this country were the same regardless of the studio. As we hear, ‘it is precisely for this reason that many foreign developers working in Poland in 2020-2022 subsequently emigrated to the UK, Canada or Spain’.
Ultimately, the game based on Phantom Doctrine 2 was never finished, and in December 2022, the entire development team was fired.
Next wave – former gamedev stars, Thorgal and Unseen stealth game
In 2020, Marcin Grzegórski hired former CD Projekt Red employees, to whom he offered much higher salaries, promising sponsorship from large companies such as Sony. In addition to former developers of the Polish gaming giant, in 4Gate there were also hired people associated previously with Ubisoft and Techland, among others. On 4 March 2020, a post warning against Grzegórski appeared in the Facebook group GameDev Polska: Wsparcie (GameDev Poland: Support). The message stated that the head of Mighty Koi ‘offers internships in his newly established studio, mentioning well-known artists as members of his project’.
One of the sources told us about the details of the situation. According to our sources, during the job interview, Grzegórski tried to persuade a certain 2D artist to join the company, if only for the opportunity to work with top designers who had previously worked with CDPR (he mentioned them by name). However, it turned out that the person being persuaded by the boss knew one of the developers mentioned, contacted him and found out that she had been lied to. This led to an internal industry scandal. According to our informants, that caused the company to be restarted under the name Mighty Koi instead of 4Gate. Marcin Grzegórski shares his own explanation on changing the company’s name in an interview from March 2024, available on the Strefa Inwestorów. He admits that ‘4Gate is a technology company developing AI and animation technologies. At one point, we wanted to focus on games. The name Mighty Koi captures the spirit of our studio.’
How did the technique of convincing developers to work at 4Gate work? Grzegórski asked people about their current earnings, then promised to increase them significantly (in some cases, double them) and mentioned the planned large subsidies, including from Epic. For the first month, two salaries were paid, then there was usually a delay, which was justified by the ‘prolonged process of funding’. The hiring of developers from abroad, from prominent eastern and western industry hegemons, was similar. They were offered important jobs, high salaries, decision-making power, and their names were boasted about in public announcements. And in this case, too, payments were eventually delayed, and the names of these people were used to promote the projects even after the cooperation had ended or the job had been completed.
Other sources, who wish to remain anonymous, have revealed that pre-production work on Thorgal lasted from around October 2022 to early 2023. The project, which was supervised by Przybysławski instead of Grzegórski at the time, brought together a team of professionals from the domestic gaming industry, among others, who left the project a few months later to form the studio Blank.
In this short period, however, promises of large funds for the development of the game and high salaries were made. After a few months, the developers realised that there was no money and that ‘it was all a big lie’. Between 5 and 10 people were working on the project at the same time - everyone was owed wages, but the amount owed varied from case to case. We realised that salaries were frozen during the time when the scandal with NCBR and the suspension of grants became public. Selected developers only got their money back when the grants were released.
‘Nothing was done on this project, although numerous actions were taken – they were put on hold, without any decision-making process. Except for a few concepts that were created, but did not gain the approval of any of the people asked by the employees. It is difficult to talk about a designated team, as everyone did everything, which meant that whatever the management board considered a pressing priority for incomprehensible reasons, that was what happened’.
The team talked a lot about the story and gameplay plans, but if any documentation was created, it was apparently intended only for showing to potential investors. ‘If any tasks appeared, they were clearly not part of a specific plan,’ we hear from anonymous sources, who also describe the project as “a great waste of time, and also burdened by a lack of money.” Another developer points out what we have heard from several other employees – that Marcin Grzegórski had arguments with Karolina Majdzińska in the office:
They yelled at each other for hours, not caring that the whole office was listening to them. This behaviour was reflected in their relationship with us, because Marcin could barge in in a bad mood and call everyone losers and idiots. Not to mention that this created a terrible atmosphere and a feeling of great uncertainty for non-Polish speakers, who were unable to figure out whether these arguments were about the fate of the company or private matters. In the corridors, we then had to explain to each other what was going on and calm down the foreign devs. But how do you explain such madness?
The aforementioned group was informed by other people in the industry that in order to find funding for Thorgal, Mighty Koi was to cancel its last project, Unseen (which was a stealth game), fire the entire team responsible for the game and not pay some of its members their due salaries.
So we got in touch with the people who were developing Unseen. At the time, around 20 people were working on the game, and production lasted from late winter 2022 to the end of the year. The design inspiration was given to us by stealth sandboxes like the latest Hitman trilogy, which is basically – and we quote one of the sources – ‘something that should be done by 200 people over four or five years, and Mighty Koi was supposed to do it with a team of several dozen people in two years’. The team wanted to radically cut down the scope of the game and focus on the most important parts of it, by simplifying them significantly. The argument against such actions on the part of the management was that ‘this is not what was presented to investors’. According to one of the developers: ‘Considering the size of the team and the results achieved, the project could have burned through several million zlotys. After a long time in production, the game looked like it was put together from marketplace assets.’
Former employee: If I wanted to, I could do nothing and no one would notice. At the same time, it was signalled that some departments needed to recruit several people immediately... and nothing happened.
At a certain stage of Unseen's creation, the management agreed to abandon the shooting mechanics. The team breathed a sigh of relief because it gave them a chance to finish the production. However, we were told that just a few weeks later it was announced that, following positive talks with potential investors, the studio was returning to a larger scale of the project.
‘And so it went on and on: a parade of ridiculous decisions. The whole company was a like a hobby project,’ we are told. However, to give the studio its due, our source points out that ’many people, including immigrants, found employment there and for many months, money was paid on time. Some got a chance in gamedev and took it.’
Latest wave – Thorgal, The Night Wanderer and the crisis
The actual work on the next iteration of The Night Wanderer began in autumn 2023, and the project entered the full production phase in January 2024. An elegant office in the centre of Warsaw, IGN media partnership, global agencies, salaries paid on time (for a while), positive atmosphere in the team, high project ambitions – at first, in devs’ opinion, the situation seemed completely normal.
Some developers were surprised that the studio was announcing and working on two games at the same time, given their profile. Why were they planning to release two games? Because that was Grzegórski's vision.
Problems with receiving salaries began in February and the whole situation (delays of a few days or even several weeks, empty assurances and communication difficulties) lasted until May/June 2024. The payment problems were irregular, affecting different people at different times and to different degrees. The company had previously assured that it had the funds for production and that there was no need to worry about any arrears. B2B contracts and contracts for specific work instead of employment contracts, with expectations as if for a full-time job, also turned out to be red flags.
Between June and September, the team grew to over 40 people. In October, there was another crisis, which, according to employees, was due to the CEO's failure to secure finances properly.
Former employee: Despite the lack of money, daily chaos and a completely inefficient company structure, the team created a functioning game demo. Criticised by Grzegórski despite his lack of knowledge on the subject.
The designers indicate that Grzegórski is difficult to get along with. He is said to fly into a rage unexpectedly (demonstrated, for example, by suddenly leaving a meeting), and to view the production process not as the work of a well-coordinated team, but as the work of outstanding and self-sufficient individuals whom he refers to as ‘aliens and commandos’, according to employees. According to developers, Grzegórski does not know how to make games (as the other sources claimed as well).
In the meantime, a head of marketing (September 2023) and a content creator have been hired. One employee told us that there was nothing at all at the start of Mighty Koi that could provide a ‘clean slate to build and create a brand from scratch’. An internal newsletter and press releases were prepared, and everything was supposed to go slowly and steadily until the marketing manager was fired. He was allegedly accused of stealing someone else's work, and the management forbade any contact with him. Grzegórski did not know how to prioritise sentences and the functions that individual people would perform.
According to an employee, the Steam game card was prepared at the last minute. To activate the account, a transfer had to be made and documents submitted, but no one did this for a month. The only person who had the finances was Karolina Majdzińska, but ‘she didn't have time’. Posts related to the release of the first trailers and the presentation of the game were reportedly written quickly due to the information chaos. Marcin Grzegórski was supposed to post on Facebook at night without consultation. No standardised working hours were set, and employees often worked nights.
The management avoided meetings with employees despite having arranged them in advance. Grzegórski was late for business/promotional meetings or did not attend them at all.
What else do Grzegórski's subordinates accuse him of? He had excessive demands, he did not listen to any advice that did not coincide with his point of view. He perceived criticism as betrayal and always blamed others for his failures. He yelled at people, insulted them and threatened to fire them (several people left as a result). Despite his lack of knowledge, he pushed his ideas, undermined knowledge and competence of the others, and did not allow people to perform their duties within their given positions. He questioned the quality of finished work and told everyone around him how much he had been deceived.
Majdzińska, on the other hand, is accused of habitual lying, as indicated by different versions of the same events. Her unstable behaviour was said to have a significant impact on the studio's operations. She was also responsible for all business, financial and legal formalities; without her, Grzegórski would not have made any decisions. As information about the state of Mighty Koi began to come to light, management threatened to tighten the non-disclosure agreement (NDA) to silence employees.
We asked the developers about the chances of continuing work on The Night Wanderer. They replied that the number of teams and the management problems they had indicated did not bode well. They said that ‘the game should be outsourced and the management should not be allowed to interfere in any company’. They feel most sorry for the team – ‘these are people who have sacrificed a lot of work, time and commitment, and have really been cheated. And if only for their sake, the whole situation should come to light’.
Position of Mighty Koi and Marcin Grzegórski
We contacted Marcin Grzegórski and Karolina Majdzińska to clarify a few basic issues. Here is a set of Grzegórski's answers:
CD-Action: Do you confirm that over the years you have been in arrears with payments to your subordinates, and that some of the salaries have not been paid to this day?
In previous years, we have experienced delays on several occasions. This was often due to the fact that the company is a start-up founded by people who financed its operations from their own resources, including their savings, money from the sale of our assets or our salaries from other places of work. However, all our obligations were always met.
However, the current situation has happened to us for the first time, which resulted from a combination of many factors and unfavourable situations. First of all, due to delays in the reimbursement of funds invested in new technologies, which were supposed to facilitate work, reduce costs and speed up the process of creating games, created with the support of EU funds. This mainly concerns the unfortunate Fast Track programme – Digital Innovations at the National Centre for Research and Development. In addition, since the beginning of 2024, we have observed delays in payments from our contractors or even their failure to fulfil signed contracts.
Unfortunately, at the end of 2024, a number of risks materialised, the likelihood of which was low. In addition, the situation of other large companies in the industry has lowered investor confidence in the video game production sector, which has also affected us. Therefore, we have been focusing on finding solutions in recent months. The company is currently finalising settlements with its employees, which should be completed by the end of this month, and we expect stabilisation from April onwards, thanks in part to the declaration of reimbursement from the National Centre for Research and Development (NCBR) that we received this week.
How would you describe your relationship with your subordinates over the years?
In the office, the relationship was more collegial from the start and in many cases also friendly. We often helped each other and spent our free time together. Since last year, the team has grown dramatically, which of course led to the formation of ‘cliques’, which is a normal process. Most of the people working in Koi were emotionally involved in their projects and took care of their teams. I believe that the relationship between management and the team was good in most cases.
Do you confirm that The Night Wanderer is a project that has been reset/rebooted several times over the years?
Before the current production started, one prototype was made, which unfortunately was not playable, and one of the external teams proposed their vision of the game, which did not meet our expectations.
Have you ever failed to be transparent with your subordinates?
The management regularly shared information affecting employees and the company's development. The employees had long been aware of the financial situation and the risk of potential liquidity shortages. The employees were also informed about the expected financial inflows and investment contracts that were being signed, and even about the ongoing talks (to the extent permitted by confidentiality) with partners and investors. Of course, none of us expected such delays.
The team knew that there would be a reduction in staff and some people had been intensively looking for alternatives for several months. Unfortunately, due to the state of the industry, finding a new employer is difficult.
Did the management ever blame subordinates for the state of the project during periods when they were in arrears with salary payments?
One of the board's tasks is to monitor progress and evaluate the work carried out based on the documentation and schedules prepared. Everything is done together with the leaders of the individual teams. The board communicates its concerns and comments. We do not blame colleagues for the status of the project. Of course, not all decisions are easy to accept. Nevertheless, the teams in Mighty Koi are autonomous enough to make most of the decisions internally – including those regarding dismissals and hiring.
Are Thorgal and The Night Wanderer continued as projects and when can we expect more game material?
Both projects are still being worked on by the people who are still working for the company. We hope to be able to show more game material this year.
The position of the creators of ‘Thorgal’ - Grzegorz Rosiński
We also contacted Grzegorz Rosiński (illustrator of ‘Thorgal’) and Jarosław Grzędowicz’s (author of the ‘The Lord of the Ice Garden’ series) agent. Both have issued statements, which you can read below.
Dominika Repeczko: Mr Grzegórski struck me as a mad scientist, like the one in a cartoon – the world does not understand him, but he has visions. I was impressed by the insight of the employees. Their work perfectly reproduced the book and it was clear that the developers knew what they were doing. We joined a group of people who spoke the same language as us.
And here is the official statement of Grzegorz Rosiński:
Grzegorz Rosiński: With great sadness and deep disappointment, I watch as the Thorgal video game project, which was supposed to be a major milestone in the history of this series, has become entangled in chaos and uncertainty caused by Mighty Koi.
When I granted the license for the game, I believed I was entrusting my work to people who would treat it with the respect, professionalism, and responsibility it deserved. Today, I feel cheated.
I cannot deny that many people ask me how I could have agreed to entrust Thorgal’s rights to a company that, at the time of signing the contract, had no experience in the video game industry. And I myself ask that same question today.
According to the verbal and written declarations made to me by Mr. Marcin Grzegórski prior to negotiations and contract signing, Mighty Koi (then called 4Gate) was a studio with an impressive valuation, considering a stock market debut, possessing multiple IP rights, and developing projects based on well-known franchises. These statements appeared credible and professional. At the time, everything suggested that we were dealing with an ambitious studio, fully financially secured, and ready to execute the project at the highest level.
Unfortunately, over time, it became evident that none of this information was true, and the studio never reached the claimed valuation nor possessed the licenses for the mentioned IPs.
I feel deceived. I am an artist, not a businessman. Acting in good faith, I trusted and believed in the assurances that the studio had the necessary resources and structure to complete this project. Today, I see how deeply my trust was misused.
I do not have full insight into the internal situation at Mighty Koi, but one thing is clear to me – I am concerned by the lack of transparency, the absence of concrete evidence proving the existence of declared investments and promised resources. I hope this issue will be clarified immediately, and if it turns out that Mighty Koi is incapable of completing this project, consequences must be enacted as soon as possible.
It is incredibly painful for me to see Thorgal entangled in such an uncertain and disappointing situation. This character and its story deserve better treatment.
Grzegorz Rosiński
Creator and co-owner of Thorgal IP rights
According to the information we have obtained, the company owned by Marcin Grzegórski and Karolina Majdzińska – Game Crafters Studio – is currently also working on Alterborn, which was transferred from the studio Iron Lung. Mighty Koi was to offer a million zlotys investment for the project, the progress of which the public has not heard anything about since July 2023.
