OSR Rocks! Interview with Gavriel Quiroga
#009 – Music, Metal, and Machines: Inside the Worlds of Gavriel Quiroga
Gavriel Quiroga is the creator of wild, artful, and thought-provoking indie RPGs: WARPLAND, NEUROCITY, and HELL NIGHT. All of them are complete, beautifully designed 2d6-based games with their own aesthetic, musical companions, and philosophical underpinnings. We sat down to talk about creativity, system design, grimdark vibes, and the power of games as social rituals.
Gavriel’s work speaks directly to the spirit of the OSR and NSR communities: bold DIY energy, striking aesthetics, and a fearless blend of rules-light mechanics with rich, imaginative settings. His games challenge assumptions, invite deep play, and embody the kind of artistic ambition that OSR Rocks! celebrates.
Disclaimer: Gavriel Qurioga generously provided digital copies of the three games mentioned.
The Interview:
Golem Productions (G.P.): Gavriel, for those who don’t know your work yet — who are you, and how did you come to design tabletop RPGs?
I'm a game designer, writer, musician, and artist from Argentina. I started publishing six years ago and now live off what I love doing. I've always designed my own games and tweaked settings to fit my tastes. Crowdfunding, especially Kickstarter, allowed me to slowly build a fan base. My work is heavily nourished by retro nostalgia, especially the '70s and '80s. Music plays a huge role for me — every setting I create gets its own playlist, and sometimes even a full album, often released through the Italian label Heimat Der Katastrophe. It's about creating a whole atmosphere that goes beyond the rulebook.
G.P.: Your games all feature your own systems, layouts, art direction — they’re deeply personal works. Why create your own systems instead of working within existing ones?
I tried existing systems, but nothing quite fit like a glove. So I made something minimal, intuitive, and quick to learn. My players often include people with zero RPG experience, and they can learn the system in minutes. It’s designed to get out of the way and let the role-playing take center stage. Veterans have even started adapting it for their own games, which gives me confidence that it works. It’s not about reinventing the wheel; it’s about making a wheel that rolls in the direction I want.
G.P.: Looking at WARPLAND, NEUROCITY, and HELL NIGHT, it’s obvious these are labors of love. What were your guiding design principles?
I want the books to spark ideas. That’s why I pack them with tables: random events, rumors, big world shifts, tavern encounters. I see the books as multi-phase experiences. First, there's the visual impact. Then there's the long read. Finally, there's the game itself. Even if you never play it, it can still inspire you as art. Each book is meant to be an idea generator. I design for people who read RPGs like novels and for GMs who want a toolbox they can open at any moment.
G.P.: How does your creative process work? Do you start from structure or improvise your way through? And what kind of outside influences guide you?
I try to approach each setting through multiple media. Visual art, music, even movie references. It helps show rather than tell. I make a playlist, sometimes an album, and immerse myself in the atmosphere. I also think a lot about how a book can be enjoyed as a visual object and how to inspire readers beyond just rules. For example, I look at books like Codex Seraphinianus or 70s and 80s heavy metal album covers. I want players to feel like they’re stepping into something alive.
G.P.: Do you see yourself or your games as part of the OSR or NSR?
I think those labels are helpful and interesting. In Argentina, OSR is just starting to become known, partly thanks to games like Mörk Borg. My games share OSR elements: random tables, weirdness, sandbox play. But I also like cohesion. I don’t go full gonzo. Everything in my settings has to make sense in its own logic. That makes it more rewarding and campaign-friendly.
G.P.: Do you have a GMing philosophy?
Low prep. I might write three paragraphs and improvise the rest. I use tables to spark ideas and let players shape the story. I often roll to answer questions from players, like "Is the beer in this tavern any good?" The answer could be "Yes, the best you’ve ever had" or "No, and it’s stupidly expensive." It encourages energy and creativity at the table. I think being surprised as a GM is one of the greatest joys.
G.P.: Many of your games blend apocalyptic and mythic elements. What draws you to that mix?
I like that tension between extremes. I want to deal with large questions, existential stakes. For example, in NEUROCITY, the city is governed by a superintelligence, and players often face moral dilemmas. That kind of tension makes games meaningful. In WARPLAND, the question becomes: is knowledge salvation or a curse? The settings allow players to explore these philosophical questions in character.
G.P.: You once said: "I believe in games as a confluence of multi-disciplinary art forms and a tool for understanding our increasingly complex reality." Can you elaborate?
Games are a primal form of learning. They let us simulate problems we might face in real life. In a game like NEUROCITY, you deal with issues of authority, ethics, and AI. One professor even uses it in an ethics course. I’ve seen players get emotionally overwhelmed. It's a powerful, demanding game, but it teaches something.
G.P.: Let’s go through each of your games briefly. What is WARPLAND about?
The game is set in a Bronze Age world, where most technology and knowledge is forbidden. It has a religious order that claims all progress is heresy. That creates a lot of moral ambiguity. If your character finds something ancient and powerful, are they supposed to destroy it? Sell it? Study it? Keep it secret? The game doesn’t tell you what’s right. That’s the point. There are cults, ruins, old world machines. A lot of contradictions. But it all fits together.
G.P.: And NEUROCITY?
In the case of NEUROCITY, you have this society where the authority is not human. It is controlled by an artificial intelligence, and all these different aspects of society are governed by it. Reincarnation, propaganda, memory... so I think it reflects a lot of the things that are going on in the modern world. That game has been used even in an ethics course by a university professor. It’s intense. It’s not a game I could play every month. It’s very rewarding, but also very heavy.
G.P.: Lastly, HELL NIGHT?
It’s about demon bikers hunting down rogue archons. Totally soaked in 80s horror vibes. It’s chaotic, punk, and I've seen players show up in costume. We even made a fast-paced card game set in the same world. The idea was to blend metal album aesthetics with theological collapse. It’s fast and brutal, but also personal. It’s got a punk energy. Everyone is trying to escape something — or someone.
G.P.: Your games often touch on dark themes: violence, oppression, psychedelic horror. Sometimes I wonder if TTRPGs, especially in the indie scene, have a “grimdark problem.” But aren't we playing for fun?
I think all approaches are valid, as long as there’s consent and communication. I always have a Session Zero and set clear boundaries. Some players want escapism. Others want to explore reality through simulation. I lean toward the latter. But everyone needs to be on the same page. Darkness can be powerful, but it shouldn't be careless.
G.P.: You’ve crowdfunded several games. How has your audience shaped your design?
A lot. Their feedback, their enthusiasm — it helps me refine things. I also enjoy the direct connection crowdfunding offers. I often get emails from people telling me how they used the game in surprising ways. It feels more like a conversation than a transaction.
G.P.: You work with a lot of artists and creatives. What makes for a good creative team?
Each project is its own beast. I’ve been lucky to work with people like Johan Nohr, Enrique Alcatena, John Baltisberger, and others. Each setting has its own "anima," and needs a different team. Playtesters, editors, illustrators, even my girlfriend who feeds me during crunch time — everyone plays a part. Trust and shared passion are key. If someone is excited, it shows in the work.
G.P.: What are you working on right now?
We’re finishing Hell World, a new setting by Austin Patrick DuRivage that I helped develop. Also working on Liquid Steel, a game based on a surreal 280-page comic by Enrique Alcatena, using the Troika system. I'm also sketching ideas for something smaller, more intimate. I don’t want to repeat myself. Every game should be its own statement.
G.P.: Who should play your games?
Anyone into weird movies, OSR-style creativity, and immersive storytelling. If you love acting out characters and diving into strange worlds, these games are for you. Also people who like their games to make them think. You don’t need to be an expert. Just curious and willing to feel something.
G.P.: And finally — what’s something that recently surprised or moved you at the table?
One of our players was playing a bard and stood up to read a poem he had written, fully in character. It was beautiful. We also often end up dancing or singing during our pub scenes. It's more than just a game night — it’s a community. And that’s really the point of all of this.
Gavriel's work is available through his website and crowdfunding campaigns. If you like your games weird, philosophical, and loaded with vibe, check them out. On Facebook, WORLDS OF QUIROGA is the official place to discuss his creations.
What’s Golem Productions up to?
While we’re already preparing the next few blog posts about a variety of topics, we’re deep into playtesting our upcoming RAVAGED BY STORMS about which we posted our first sneak peek a few weeks ago. If you haven’t taken a look yet, make sure you will!
Let us know what you would like to read about!
“From pebble to monolith—your journey matters. The Golems have spoken.”
Alexander from Golem Productions
For those in Europe and the UK excited by Gavriel's work, you can get a locally printed edition of WARPLAND from All Rolled Up - https://www.allrolledup.co.uk/product/warpland-rpg-uk-print/ - with a special alternate cover image by Bruce Pennington.