Bronze Toys, Games and Hobby Products Design · 2021
Morok Social Deduction Game Cards
- A' Design Award 2021 Bronze Winner in Toys, Games and Hobby Products Design
- Awarded April 15, 2021
- CLIENT: Egor Signiienko
- Estimated Number of Design Views: 22,931
- Verification code 307517B259 · Verify this award
About Morok Social Deduction Game Cards
Morok is a new visual story of the famous deductive game Werewolf. Players can try the role of the Inquisition or the Plague Doctor, or can become possessed by the Japanese demons. Cards style is inspired by mysterious Tarot and contains esoteric and occult symbols. It is made in an expressionist manner using 3D graphics, classic art materials and stylization of ancient murals and engravings. To keep the esoteric style, cards size was chosen equal to the Tarot size. The game is made of paperboard with full-color printing, UV varnish and foil so it can be a wonderful gift
Press Kit
- Unique Properties
- The new mystical style and new characters of this fresh story of a popular game make this work distinctive. Despite the great fan base of the game, all released versions are very simple visually. One of the aims of the work was to create a premium product that people would like to receive as a gift.
- Dimensions & Packaging
- 16 cards 89x146mm in size, Cardboard, Full-Color Printing, selective lacquer, and gold foil.
Box: Cardboard, foil impression, blind embossing, full-color printing. - Tags
- Mafia, werewolf, morok, card game, social deduction game, board game, role-playing game
- Production Technology
- Cards creation included 3D graphics for characters. Everything else was made in mixed technique. Fountain pens, gold leaf, pencils, and pastel were used. At first, all the elements were put on paper, then scanned, and customized in Photoshop. It allowed to create real, authentic images. Some elements were created in graphic editors at once.
- Design Challenge
- One-third of all the time spent working on the project took the analysis of the historical data. It was difficult to find historical prototypes of the characters in reliance on the role in the game. At first, historical characters were found according to their social roles then most bright images were chosen. Also, it was challenging to bring characters from different countries and epochs to one visual concept.
- Project Duration
- The project started in June 2020 and finished in December 2020 in Kiev, Ukraine
- Operation Flow
- The game models a conflict between two groups. At the start of the game, each player takes a card with a certain role. The game consists of two phases: night and day. At night players perform their superpowers if they have any. During the day, players discuss each other identities and vote to eliminate a player. The game continues until the citizens eliminate the inquisition or the inquisition kills all the citizens.
- Research
- Historical data were analyzed during the creation of this work. The research was aimed at collecting information about future characters. The research methods used: Content analysis of the documents (“Archaic myths of the East and the West”, “History of the ancient world” in three volumes, “Encyclopedia of classical mythology”, and the Internet). The research contributed to the creation of a new visual style of the old game and as a result to engagement of new players.
- Inspiration
- The idea to create a new story and visual image was inspired by the book The Doomed City by the Strugatsky brothers. The novel is set in a city where people from different epochs and of different social ranks were gathered for a mysterious experiment. Players can try the role of the Holy Inquisition or the Plague Doctor from Medieval times, or they can become possessed by the demons of Japanese mythology. Cards style is inspired by esoteric and mysterious Tarot cards transferring these characteristics to the game. Esoterism and mystery are seen in occult symbols on the cards.
- Image Credits
- #1: Designer Egor Signiienko, 3 Morok cards, 2021.
#2: Designer Egor Signiienko, Morok cards, 2021.
#3: Designer Egor Signiienko, Morok cards with box, 2021.
#4: Designer Egor Signiienko, Part of Morok presentation, 2021.
#5: Designer Egor Signiienko, Part of Morok presentation, 2021.
Colors of Morok Social Deduction Game Cards
Design Interview about Morok Social Deduction Game Cards
I have always strived to bring freshness to familiar formats. This game reflects my own passion for board games and my attempt to create something new, drawing inspiration from fantastic stories and imagery that have influenced me
I wanted to go beyond the ordinary, to look a bit into the future, and create a game that not only refreshes familiar gameplay but also becomes a collectible object, valuable both for players and for those who see art in everyday things
I still hope to launch production of this game, starting with small series that could become highlights at thematic events, comic cons, and exhibitions
The development of the concept took about a year. I worked on it intermittently, giving myself time for reevaluation. I gradually developed the idea, created 3D objects, and experimented with graphics. I enjoy this pace as it allowed me to bring depth and a fresh perspective to the project
This design is my authorial project. I was both the initiator and the target audience. I wanted to create something unique, new, and interesting without being constrained by deadlines. It was a way to realize my ideas without boundaries
Currently, only a few prototypes have been created for testing. I wanted to produce the game myself, but currently I don't have the opportunity to do this. If someone expressed interest in producing this game, I would be open to discussing such a proposal
Many factors aligned to inspire this project: my love for the game, the boom in collectibles and NFTs, inspiring contemporary artists, and science fiction books I was reading at the time. This mix gave rise to the project.
I can never say that any particular person influenced me. Influence always comes from within. I think certain styles and images settle in the mind and find their way into my work. I can’t always pinpoint specific sources
The target audience is people aged 16 and older who enjoy spending time with friends over board games or visiting gaming clubs. In my city, there are even bars that hold Werewolf game sessions a couple of times a year
Its uniqueness lies in the approach. This design stands out with its distinct visual style, limited edition, and overall aesthetic.
For the name, I wanted something unique that sounds eerie and enveloping, like fog in horror films, while incorporating something from my culture and language. "Morok" is an Old Slavic word that is no longer in use, meaning "Darkness" or "Gloom
I created the 3D models in 3ds Max. For lettering, I used pens and gold or white paint on black cardboard, as well as gold leaf. These were scanned and assembled in Photoshop. Alongside software, I used numerous pens, knives, and improvised tools to achieve the desired effects. I also partially scanned fresco images from art history books I had left from my studies in architecture school
The most unique aspect is its eclecticism—everything from the choice of characters to the materials used. Nowadays, few people spend time using brushes and pens in graphic design when they can simulate them digitally. This, however, gives my work its distinct and unique appearance.
This project was done independently. My experience working in printing houses helped a lot. I know almost all image application techniques—from regular printing to silkscreen printing and various types of post-printing processing.
It’s hard to imagine creating such a project in such a short time or having the ability to replicate it without technology. Technology enabled me to create 3D graphics, digitize drawings, and experiment with object composition.
Yes, of course. Research directly influenced the depiction and roles of characters on the cards, as well as the fonts and overall style of the game. Books on architecture and art history were particularly helpful, as they provided examples of daily life, frescoes, and scripts
When working with new tools, you never know how they will behave or what results you’ll get. Especially with physical tools, where you can’t undo an action or save a particular iteration. This randomness, however, adds liveliness and realism to the work.
Initially, I didn’t plan to submit this work, and it was still in its early stages when I made the decision. It all started with an email invitation to submit my branding project for a consulting agency. I didn’t think that project was very competitive, but the idea of participating inspired me. So, I sped up the development of "Morok" to submit it for the award.
I did a lot of work and discovered many new things. I improved my 3D skills and experimented with various graphic techniques. Most importantly, I felt responsible for my project when I decided to enter the competition. Participation required completing extensive supporting documentation, which helped me better understand myself, my work, and its impact on design as a whole.
This project is my personal reflection on the intersection of technology and art, and I am glad I was able to bring my idea to life
Grand Interview about Morok Social Deduction Game Cards
When designing the game, I focused on the key characteristics of the characters. For example, take the Inquisitors—they are brutal armed forces hunting heretics and conspirators, and in a fantastical context, witches and demons. They come at night, taking away those deemed undesirable, who are not always guilty. This is an image we all understand, built from countless films, book plots, and so on. In the game, they are a frightening character, hunting indiscriminately.Or consider the Praetorian. In the story, he’s a former soldier of the Roman Empire—an elite warrior with strong moral principles and a sense of justice. But even he can make mistakes. You might say these characters come from different eras, but that’s the point—we’re in a timeless world where the most terrifying forces are trapped. Welcome to MOROK.
I’m a graphic designer who works in various styles. I’ve noticed that opposing styles often enhance each other—for instance, flat design with photography, or in my case, classical graphics with 3D. The pseudo-realistic characters placed against fresco backgrounds make you examine them closely, analyze them, and wonder how they were made. The background tells the character’s story and places them in context, while the character itself stands out in the foreground as realistic and alive.This additional attention rewards the brain, making the design more memorable. I wanted it to feel more authentic—imagine cards with scratched drawings or elements made with real gold leaf, and the 3D characters embossed. You could feel and experience the texture. Unfortunately, it’s almost impossible to mass-produce such things, and they wouldn’t be practical for gameplay.
Yes, the game features characters from different cultures and eras. This was intentional, to bring together the most terrifying horrors in one place and amplify the sense of doom. Imagine it as a kind of purgatory where players must survive day after day among all the monsters of the universe. These are the consequences they face. They must overcome all the demons to gain freedom, making the joy of victory even sweeter.The cohesive visual language is maintained through the color palette and character style—black, ominous silhouettes draped in blood-red fabrics, and gold, that has always evoked base emotions in people, such as greed and envy. The plebeians are the exception—they are faceless silhouettes for whom gold is a punishment.
In today’s world, collecting has entered a new phase of evolution. People create NFTs, make collectible figurines and characters, and collect vintage Pokémon cards. I find this topic very interesting. That’s why I thought, if I made a high-quality, limited-edition product, it could potentially become collectible. This wasn’t the goal, but the idea of turning something utilitarian into a collectible object is intriguing.It’s always good when something is not only functional but also well-crafted, engaging to look at, and satisfying to own. I’m a designer, but I’ve always wanted to be an artist, and this is my attempt to bring art into a utilitarian item.
It’s very simple and rooted in history. Cards were originally made by hand, and their large format was dictated by aesthetics and the capabilities of the artists. This aspect carried over into modern practice, adding depth to their perception. Tarot cards often feature complex and detailed illustrations, and the large size allows for better visibility of these details, which are important for interpretation. Every detail can be significant, and it’s easier to notice on a larger card.I wanted to honor this tradition by making the cards in a classic Tarot format. This also enhances the perception of the game as something mystical. You could even give it a magical meaning—laying out cards of eliminated characters like a Tarot spread, turning the game into a kind of fortune-telling.
The frescoes in the game tell the story of the characters. They are taken from the same era as the characters and complement their narratives. For example, the Praetorian, my favorite character, is a headless knight. He is one of the positive characters whose mission is to protect the townspeople. His card features a well-known Roman fresco with the text Cave Canem (“Beware of the Dog”). The fresco depicts a fierce dog, serving as a warning not to enter.Our character is like this dog—his primary task is protection, but he can also harm if he deems it necessary or senses danger. I love symbolism, and every illustration on the cards has meaning—it’s never random.
Essentially, I didn’t change the gameplay mechanics. The idea was not to create a new game system but to introduce a new, mystical atmosphere. I wanted players to experience fresh emotions while playing a familiar, beloved game. The variety of characters allows the game master, depending on their skill, to craft incredible stories and explain the events unfolding in the game.
The unboxing experience wasn’t deeply planned—it’s a classic box with a foil seal that breaks upon opening. This approach was borrowed from premium playing cards, where every new game requires opening a fresh deck, ensuring it hasn’t been tampered with or marked.In our case, it’s simply beautiful and adds to the mystical experience of breaking the seal. You’re opening the door to hidden knowledge, experiencing something unique for the first time. A sealed package also adds collectible value. Inside, it’s simple—a set of cards and a rulebook. I wanted it to feel like a Tarot deck, and overly complex packaging would interfere with that.
In The Doomed City novel, there’s a situation where people from different countries, times, and professions mysteriously find themselves in the same city. They can understand each other even though they speak different languages, and their social roles change randomly over time, forcing them to adapt. I thought this novel perfectly explains what’s happening in the game.I love science fiction. I often bring ideas to life and only later realize which book or movie inspired the image or concept.
It seems the world is moving toward valuing unique items. A coffee mug is no longer just a mug—it has to reflect your worldview. That’s why old-school design, like Bauhaus, has regained popularity. Replicas of chairs and tableware from that era have become highly sought after because they were recognized by designers worldwide. People want to own a piece of success and history.Some people want more than just a deck of cards sold at a supermarket checkout. And my game gives them such experience —it’s unique, and there hasn’t been anything like its design before.. Perhaps my reinterpretation of the game will inspire companies to create collectible editions—for instance, in collaboration with contemporary popular designers or artists. It adds a sense of pride when you pull out a game to play with friends and can say it’s a collectible edition by a renowned creator.