Bluepoch, a Shanghai-based studio, released the third-anniversary update for its time-travel RPG Reverse: 1999 in August 2026. The update added a limited-edition playable hero named Rhiannon, a secluded bird-trainer who commands a flock of gigantic, intelligent birds called Adar Llwch Gwin. While the game’s narrative jumps across the 20th century, the new character brings an unexpected slice of Welsh mythology into a setting that otherwise leans on European fantasy tropes. This fusion has ignited conversation among gamers, linguists, and cultural advocates about the untapped narrative wealth of Wales.
The mystic bird-trainer Rhiannon lands in Reverse: 1999
Rhiannon’s in-game biography describes her as a hermit living among the rolling hills of a fictionalized Wales, where she tends to a flock of Adar Llwch Gwin—mythical birds that trace their origins to medieval Welsh tales. These creatures possess a rare blend of cleverness and obedience, allowing Rhiannon to command them in strategic battles and puzzle sections. Visually, the character blends traditional shepherd attire with ceremonial bird-handler accessories, and subtle Celtic motifs such as Ogham script and the Tree of Life are woven into her armor. The design choices aim to convey both the ruggedness of a rural caretaker and the mystique of ancient Celtic rituals.
Bluepoch’s cultural crossroads: why Welsh folklore fit the game
Co-founder KK explained that the studio actively sought a mythic source that felt “natural” within a world where magic is real. Welsh legends, with their emphasis on otherworldly birds, enchanted forests, and heroic resilience, aligned perfectly with the game’s thematic focus on time-bending quests. The development team incorporated a broader suite of Celtic visual language, borrowing from Ogham lettering, ritual circles, and the iconic harp-shaped motifs that appear on in-game artifacts. By embedding these elements, Bluepoch hoped to give players a fresh cultural texture that differed from the usual Norse or Greek backdrops, while still resonating with the universal appeal of mythic storytelling.
From studio to screen: voice work, player reaction and future horizons
American-Asian voice talent Rebecca Wang was cast to give Rhiannon an English voice that occasionally slips into authentic Welsh phonetics. Unfamiliar with the language, Wang turned to TikTok tutorials, YouTube lessons, and a private dialect coach to master the distinctive “w-as-vowel” sound and throat-y pronunciations such as bechan (meaning “little one”). She described the experience as a “fun yet challenging” linguistic adventure that sparked a personal curiosity about visiting Wales. Player feedback has been largely positive; Welsh gamer Barry Pritchard from Caernarfon praised the inclusion of his hometown’s name and the attempt at Welsh speech, even if some accents sounded “iffy”. Industry commentator Aaron Elias highlighted that Welsh stories have long been under-represented, noting that the Mabinogion offers “unique worlds, characters and narratives” that could enrich future titles.
The appearance of Rhiannon has opened a dialogue about broader representation. Bluepoch’s KK hinted that, should a compelling narrative arise, additional Welsh-inspired heroes could follow. This openness suggests a growing awareness among developers that tapping into lesser-known mythologies can both diversify storytelling and attract niche audiences eager to see their heritage reflected on screen. As gaming continues to outpace traditional media in cultural reach, the partnership between a Chinese studio and a Celtic legend exemplifies how interactive entertainment can become a conduit for global folklore.
