Felicia Day’s The Guild Is Back, and Its Movie Kickstarter Funded in Four Hours

The Guild: Ren Faire’d reunites the Knights of Good for a feature-length Renaissance Faire adventure, supported by a Kickstarter campaign that also includes a new TTRPG supplement, card game and several extremely committed pieces of merchandise.

In 2007, watching an original comedy series on the internet still felt faintly experimental. YouTube was young, online gaming remained suspiciously niche to large parts of mainstream culture, and “creator economy” was not yet a phrase that could be used during a meeting without someone being asked to leave.

Then came The Guild.

Felicia Day’s independently produced web series followed six members of an online gaming guild whose considerably more heroic virtual lives kept colliding with their awkward real ones. It ran for six seasons and helped establish a model for creator-led entertainment built directly alongside its audience.

Now, nearly two decades later, the Knights of Good are getting back together.

What is The Guild: Ren Faire’d?

Felicia Day launched the Kickstarter for a feature-length reunion film, officially titled The Guild: Ren Faire’d, on July 20, 2026.

The movie will reunite Day’s Codex with Zaboo, Vork, Tink, Clara and Bladezz, played once again by Sandeep Parikh, Jeff Lewis, Amy Okuda, Robin Thorsen and Vince Caso. Ryan Copple is executive producing, while longtime Guild director Sean Becker will return to direct.

Rather than returning to the fictional MMO that originally brought the characters together, the new story will take them into the very real, very muddy and occasionally mead-soaked world of a Renaissance Faire.

Detailed plot information is being kept behind the tavern curtain for now, but Day has said the film is intended to honour the series fans remember while also welcoming newcomers.

It is an excellent setting for The Guild. A Renaissance Faire is already a strange meeting point between performance, gaming, history, fantasy, commerce and people enthusiastically arguing about the correct way to hold a leather drinking horn.

It takes everything the original show loved about online roleplaying and places it in a physical space where nobody can solve a social problem by quietly logging out. It also allows Bladezz to return to pirate-based employment without anyone having to reopen Cheesybeards.

The Kickstarter funded the movie in under four hours

The campaign began with a substantial target of $1.5 million, reflecting the inconvenient fact that feature films cost more than a webcam, a living room and some emergency bagels. It reached that goal in under four hours, raising more than $1.55 million from over 8,600 backers during its opening afternoon.

That means the reunion movie is happening! (eeeeeek I am excited and have already spent more than I can afford backing this thing!) Further pledges will help determine how ambitious it can become, including the number of shooting days, locations, costumes, production design and other things that prevent a Renaissance Faire from looking like six people standing behind a garden centre.

Day intends to shoot the project in Los Angeles, where the main cast live, and has stressed the importance of keeping the production local and creating work for the creative community around the series.

And just like Zaboo arriving at Codex’s house after misinterpreting a friendly online conversation, the campaign has already displayed that sort of immediate and overwhelming commitment and funded at insane speed (It was also the most followed Kickstarter movie of all time! Boy we sure are keen).

Why The Guild is returning without Hollywood

The reunion did not begin with a studio offering to restore a beloved series exactly as its creator imagined.

Day has explained that a Hollywood executive approached her about reviving The Guild, but wanted to recast the series with younger actors. She declined. Rather than replacing the Knights of Good, she chose to retain the original cast and take the proposal directly to fans - a decision entirely in keeping with the history of the show.

The first season of The Guild was completed with direct support from its audience, years before Kickstarter had established crowdfunding as a familiar route for independent creative projects. Day retained control of the intellectual property and continued making the show without the usual procession of studio notes, test audiences and executives asking whether Vork could be made more aspirational.

The new campaign is therefore less a reinvention than a return to the original method, albeit with a larger budget and significantly more elaborate popcorn storage.

Day could have used the anniversary to licence the title, replace the characters and hope they emerged from development still vaguely recognisable. Instead, the production is treating its existing community as the people who made the return viable in the first place.

This is the Knights of Good returning, not a suspiciously polished younger guild created by the Axis of Anarchy’s marketing department.

The Guild Kickstarter

This is also a tabletop gaming Kickstarter

Although the movie is the campaign’s central quest, the rewards go considerably further than posters and commemorative shirts.

The Kickstarter includes a 120-page tabletop roleplaying game based on The Guild, written by Vince Caso and developed in partnership with Hit Point Press, with artwork from Dan Gartman and Pauliina Hannuniemi.

The tabletop offering is accompanied by Swords & Sweethearts, a dating-sim card game created by Ryan Copple and developed with Scrungo Games. Backers can also find a custom seven-piece dice set, a collected graphic-novel omnibus from Image Comics, a complete-series Blu-ray collection, signed material, pins, stickers and a “Poopcorn” bucket shaped with precisely the amount of dignity its name suggests.

The RPG is particularly interesting because it turns the campaign into more than a celebration of something fans once watched. It gives those fans a way to play within the comedy, relationships and social disasters that defined the series.

Exactly how the game will handle guild politics, romantic catastrophes, disastrous childcare decisions and someone spending the party’s shared resources without permission remains to be revealed. Presumably Vork requires his own resource-management appendix. Every item will cost too much, every innkeeper will be accused of gouging, and nobody will be permitted to order additional cheese.

…Oh and it needs to include Tink and Clara’s “bitchin’ fairy palace”. Obviously.

The RPG creates a fitting bridge between The Guild and the tabletop community that followed it. The original series was specifically about MMO players, but its larger subject was always recognisable to anyone who has formed a group around a shared game.

Felicia Day

Why the return matters beyond nostalgia

A reunion arriving close to a twentieth anniversary inevitably comes with nostalgia. The Guild appeared when internet culture was still often presented as a strange alternative to real life. Its characters were messy, obsessive and occasionally impossible, but the show treated their online community as meaningful.

The guild was not preventing them from having real relationships. It was where many of those relationships began.

That idea now feels obvious. Online games, virtual tabletops, Discord servers and creator communities have become ordinary places for friendships to form and stories to be shared. Yet The Guild was depicting that reality before much of mainstream entertainment understood it.

Even the group’s first awkward meeting at Cheesybeards captured something that has since become familiar to thousands of online gaming groups: the strange moment when usernames become people, carefully curated avatars become ordinary clothes, and everyone discovers what Vork has done with the guild bank.

The Kickstarter’s success suggests that the community built around those stories did not simply disappear when the final season ended. It grew older, acquired disposable income and remained surprisingly prepared to spend some of it on novelty popcorn vessels.

More importantly, it demonstrates the continued value of a smaller, committed audience.

A project does not necessarily need millions of passive viewers. It needs enough people who care deeply enough to act. In this case, they acted before a studio executive could finish saying “younger reboot.”

That principle is familiar throughout tabletop gaming. The industry is filled with creators who do not need every person on the internet to understand their strange setting, unusual mechanic or suspiciously detailed mushroom bestiary. They need the right group of people to understand it.

The guild was always the point

PostRoll is interested in everything that forms around the game: the characters, worlds, communities, shared histories and peculiar little traditions that exist because a group of people decided to imagine something together.

The Guild understood that long before online play became ordinary.

Its fictional MMO supplied the monsters, quests and increasingly impractical costumes. The real story was about the people behind the characters, attempting to belong somewhere while being frequently terrible at explaining that to one another.

The Guild: Ren Faire’d now has an opportunity to revisit those people after nearly twenty years, without replacing them, smoothing away their oddness or waiting for a studio to decide that their audience exists.

The Knights of Good are returning because their community asked for them and then, in remarkably little time, paid for the quest.

Some guilds simply take longer than others to schedule their next session.

At least this time they will have somewhere more atmospheric than Cheesybeards to meet.

The Kickstarter for The Guild: Ren Faire’d runs until August 21, 2026.