1918, Brittany.
A memory to rebuild, a coastline that hasn’t finished giving up its dead.
Teaser — project currently being written
November 1918. The Great War is ending, but it has bled Brittany dry just as it has the rest of the country. On the Côte des Légendes, near Kerlouan, a boat runs aground at the end of the night. On board: Channig, an eight-year-old girl — alone, and amnesiac.
She remembers nothing: not her name, not her face, not how she got there. To recover her identity, she will have to travel the beaches, moors, rocks, caves and villages of an early-20th-century Brittany, forcibly bound to France and Paris, bled white after four years of war.
But the Côte des Légendes lives up to its name. Between the tales passed down from generation to generation among the seaweed harvesters, the silhouettes people believe they glimpse on the tidal flats at low tide, and the stories whispered about the wreckers of old, Channig will quickly realise she may not be the only thing the sea gave back that night.
Eight years old, alone, with no memories: Channig must learn who she is at the same pace as she discovers a land that already seems to know everything about her story.
Her investigation into herself becomes a journey through a territory's collective memory — its legends, its wartime losses, and what the coast has always kept beneath its surface.
Even her appearance carries its own share of mystery: a vitiligo that shifts along with her emotional relationship to the events she goes through, and a white streak in the middle of her unruly red hair — two distinctive marks that, like her, seem to hold the trace of something she can't yet explain.
Channig's visual mood draws on the paintings of John Atkinson Grimshaw, master of chiaroscuro and 19th-century nocturnal scenes: mist, moonlight on water, silhouettes emerging from the half-light.
The story itself sits within the weird fiction tradition of H. P. Lovecraft — and more specifically The Shadow over Innsmouth — blending fantastical half-marine creatures, ancestral Breton legends, the dead who never left the shore, seaweed harvesters and wreckers.
Local folklore and the unknown meet in the shadows here, without ever losing the real anchor of a 1918 Brittany, wounded by war and shaken in its identity.
Like Adur: The Disappearance, Channig is rooted in the conviction that drives Kabengo! Games: telling sensitive, demanding stories anchored in real cultural heritage — here, the legends and history of early-20th-century Brittany — to build fiction that resonates long after the credits roll.
Be among the first to know about the next reveals on Channig.
