G.I. Joe Special Mission, an application featuring motion comics and games content, originated as little more than a series of open marketing budgets. At Hasbro's request, Kunoichi generated an in-depth proposal including numerous games, animated comic art, and a Choose Your Own Adventure structure. The application became top rated content on Hasbro's network of brand sites, currently available at hasbrokids.com and hubworld.com.
Monday, November 15, 2010
Portfolio - Animation / Video - New Balance
New Balance footwear entered the arena of toning footwear, releasing a wellness category product titled TrueBalance. At Kunoichi, I acted as Executive Producer and Creative Director for this project, shepherding it's creation over the course of a 3 month process. My involvement was integral at conception, premise / scripting, and throughout preproduction, before turning the reigns to Kunoichi's Sr. Project Manager Josh Fritz and Steelehouse wiz kid Paul Wizikowski. This content has seen use in retail display, sales conferences, online, and on television.
Portfolio - Animation / Video - Transformers
Transformers is one toy brand every fan wishes to get their hands on. When Hasbro asked Kunoichi to generate a series of motion comic webisodes, we jumped at the challenge. With only weeks and little budget to complete the first piece, I'm still pretty happy with how it turned out. The second episode turned out much better. Still, this episode did everything it was supposed to do, acting as a primer for new fans seeking entry in the TF mythology. The episode ranked as the top viewed video on HasbroKids.com for two months. I shared story and scripting duties with James Farr. Josh Fritz, Jose Garibaldi, Anna van Slee, and Erin Hillman also assisted throughout the process. Steve Drucker and Aaron Archer were vital for Transformers resources that even megafan James Farr didn't have at his command.
Fight for Energon, a Transformers Universe motion comic webisode I produced while at Kunoichi, was far beyond Action Blast in quality. While my involvement in this episode was high level, as producer, I assisted in story and scripting and retained involvement throughout to assure the client was happy with the results. This episode could not have existed without Josh Fritz, James Farr, Erin Hillman, and Steve Drucker.
Portfolio - Animation / Video - My Little Pony
I am much happier about the outcome of this particular My Little Pony episode, which is leaps beyond the animation quality of our other episode. Clearly, early in the process of becoming an animation / video shop, we paced production inadequately. This episode features crisp Flash-based animation, bounce, flavor, personality, and the charm this evergreen brand demands. As producer, I took part in conceptualization and ideation before story, script, preproduction, and artwork began. Josh Fritz and James Farr ushered the project as directors, while Jose Garibaldi provided the dominant quantity of art resources. Anna van Slee provided additional support and project guidance. Paul Wizikowski and the team at Steelehouse deserve thanks for an 11th hour assist.
Over Two Rainbows is the second My Little Pony episode generated by Kunoichi for Hasbro as a dvd in package with toy products, as well as direct-to-DVD. This episode was created to give origin to the youngest pony character and provide a bit of backstory to the kid-favorite characters. The biggest challenge was delivering these episodes in a format that highlighted the appeal of this brand iteration, then called Newborn Cuties, on budget. MLP characters famously feature flowing hair that a child can comb. Flash-based storybook animation demanded a shift in handling of this hair, coinciding with a strong shift in product as well. As a producer, I assisted in story development, scripting, and conceptualization. Josh Fritz, James Farr, Jose Garibaldi, Anna van Slee, and Paul Wizikowski deserve shout outs for their unending contributions on this project.
Portfolio - Animation / Video - G.I. Joe Operation Hiss
G.I. Joe: Operation Hiss was developed as a bridge of narrative content between the feature film G.I. Joe: The Rise of Cobra and it's forthcoming sequel. While G.I. Joe proved less popular than fellow Hasbro brand Transformers at the worldwide box office, the film still succeeded in generating solid results in line with similar franchise starters X-men and Batman Begins. What's more, the movie reignited interest in the brand that started the action figure.
At Kunoichi, I worked closely with Hasbro stakeholders Michael Verrecchia, Sarah Baskin, Jason Oliver, Steve Drucker, Aaron Archer, and Michelino Paolino to deliver entertainment based in the movie universe. G.I. Joe: The Rise of Cobra was still in production, so this proved difficult. Kunoichi Account Leader Anna van Slee and I were beckoned to Pawtucket Rhode Island where, in CEO Brian Goldner's office, we read scripts for G.I. Joe and the then forthcoming Transformers: Revenge of the Fallen. We were shown a rough cut of the G.I. Joe film and a few finished sequences. The project necessitated multiple trips back to Hasbro in order to receive information, content, and product reference unavailable for distribution by electronic or other means.
As my team and I began to break down Hasbro's requests and mandates, we began to inject elements of G.I. Joe mythology not present in the feature film. Of course, these elements were seamlessly integrated...a few gestures to long-term fans and content-hungry newbies. Kunoichi has continually been associated with the G.I. Joe brand since 2005; my own involvement with the brand preceded that of Kunoichi.
In preproduction, Kunoichi generated a portion of the first episode for Hasbro review. The feedback was so positive that Hasbro requested further episodes and HD-quality presentation. Stakeholders believed this content could be utilized further on television, DVD, and in package with products.
When production concluded, the final result was a continuous narrative and a series of character-based spotlights. While fans reacted poorly to the feature film's content, characterization, and script, the Operation Hiss series was lauded for its integration of classic characterization and stories within the feature film universe. Naysayers rejected the series for its companionship to the feature film. Young audiences made Operation Hiss the top viewed content on HasbroKids.com and HubWorld.com.
Tuesday, October 26, 2010
Kunoichi 2007 Animation / Video
2007 - 2008 Kunoichi Animation/Video branding, sharing some resources with partner-in-crime Steelehouse. Specific project work is copyright Hasbro, New Balance, James Farr, Steelehouse, and Kunoichi. Kunoichi's video and animation specialization became a core piece of business in 2007, growing throughout 2008-2010 to match interactive, branding, and creative services in importance.
Kunoichi - Transmedia Video Sizzle
As Creative Director at Kunoichi, I produced this video as part of a 2008-2009 campaign to revitalize our own company branding and identity. This vignette, connected to a 2008 and 2009 art book portfolio, championed a new period of Kunoichi in which expansion, mixed media services, and storytelling were championed above all else. Shout outs go to Anna van Slee, co-producer and Kunoichi's Sr. Account Manager, Josh Fritz, the voice of K and Sr. Creative Manager, and Tim Berthiume, motion graphics and video.
Tuesday, September 28, 2010
New Balance Footwear True Balance
New Balance footwear entered the arena of toning footwear, releasing a wellness category product titled TrueBalance. At Kunoichi, I acted as Executive Producer and Creative Director for this project, shepherding it's creation over the course of a 3 month process. My involvement was integral at conception, premise / scripting, and throughout preproduction, before turning the reigns to Kunoichi's Sr. Project Manager Josh Fritz and Steelehouse wiz kid Paul Wizikowski. This content has seen use in retail display, sales conferences, online, and on television.
My Little Pony: Newborn Cuties 2
Over Two Rainbows is the second My Little Pony episode generated by Kunoichi for Hasbro as a dvd in package with toy products, as well as direct-to-DVD. This episode was created to give origin to the youngest pony character and provide a bit of backstory to the kid-favorite characters. The biggest challenge was delivering these episodes in a format that highlighted the appeal of this brand iteration, then called Newborn Cuties, on budget. MLP characters famously feature flowing hair that a child can comb. Flash-based storybook animation demanded a shift in handling of this hair, coinciding with a strong shift in product as well. As a producer, I assisted in story development, scripting, and conceptualization. Josh Fritz, James Farr, Jose Garibaldi, Anna van Slee, and Paul Wizikowski deserve shout outs for their unending contributions on this project.
My Little Pony: Newborn Cuties 1
I am much happier about the outcome of this particular My Little Pony episode, which is leaps beyond the animation quality of our other episode. Clearly, early in the process of becoming an animation / video shop, we paced production inadequately. This episode features crisp Flash-based animation, bounce, flavor, personality, and the charm this evergreen brand demands. As producer, I took part in conceptualization and ideation before story, script, preproduction, and artwork began. Josh Fritz and James Farr ushered the project as directors, while Jose Garibaldi provided the dominant quantity of art resources. Anna van Slee provided additional support and project guidance. Paul Wizikowski and the team at Steelehouse deserve thanks for an 11th hour assist.
Transformers Action Blast
Transformers is one toy brand every fan wishes to get their hands on. When Hasbro asked Kunoichi to generate a series of motion comic webisodes, we jumped at the challenge. With only weeks and little budget to complete the first piece, I'm still pretty happy with how it turned out. The second episode turned out much better. Still, this episode did everything it was supposed to do, acting as a primer for new fans seeking entry in the TF mythology. The episode ranked as the top viewed video on HasbroKids.com for two months. I shared story and scripting duties with James Farr. Josh Fritz, Jose Garibaldi, Anna van Slee, and Erin Hillman also assisted throughout the process. Steve Drucker and Aaron Archer were vital for Transformers resources that even megafan James Farr didn't have at his command.
Transformers: Fight For Energon
Fight for Energon, a Transformers Universe motion comic webisode I produced while at Kunoichi, was far beyond Action Blast in quality. While my involvement in this episode was high level, as producer, I assisted in story and scripting and retained involvement throughout to assure the client was happy with the results. This episode could not have existed without Josh Fritz, James Farr, Erin Hillman, and Steve Drucker.
G.I. Joe: Operation Hiss Episode 1
G.I. Joe: Operation Hiss was developed as a bridge of narrative content between the feature film G.I. Joe: The Rise of Cobra and it's forthcoming sequel. While G.I. Joe proved less popular than fellow Hasbro brand Transformers at the worldwide box office, the film still succeeded in generating solid results in line with similar franchise starters X-men and Batman Begins. What's more, the movie reignited interest in the brand that started the action figure.
At Kunoichi, I worked closely with Hasbro stakeholders Michael Verrecchia, Sarah Baskin, Jason Oliver, Steve Drucker, Aaron Archer, and Michelino Paolino to deliver entertainment based in the movie universe. G.I. Joe: The Rise of Cobra was still in production, so this proved difficult. Kunoichi Account Leader Anna van Slee and I were beckoned to Pawtucket Rhode Island where, in CEO Brian Goldner's office, we read scripts for G.I. Joe and the then forthcoming Transformers: Revenge of the Fallen. We were shown a rough cut of the G.I. Joe film and a few finished sequences. The project necessitated multiple trips back to Hasbro in order to receive information, content, and product reference unavailable for distribution by electronic or other means.
As my team and I began to break down Hasbro's requests and mandates, we began to inject elements of G.I. Joe mythology not present in the feature film. Of course, these elements were seamlessly integrated...a few gestures to long-term fans and content-hungry newbies. Kunoichi has continually been associated with the G.I. Joe brand since 2005; my own involvement with the brand preceded that of Kunoichi.
In preproduction, Kunoichi generated a portion of the first episode for Hasbro review. The feedback was so positive that Hasbro requested further episodes and HD-quality presentation. Stakeholders believed this content could be utilized further on television, DVD, and in package with products.
When production concluded, the final result was a continuous narrative and a series of character-based spotlights. While fans reacted poorly to the feature film's content, characterization, and script, the Operation Hiss series was lauded for its integration of classic characterization and stories within the feature film universe. Naysayers rejected the series for its companionship to the feature film. Young audiences made Operation Hiss the top viewed content on HasbroKids.com and HubWorld.com.
Saturday, November 7, 2009
Stories and Tellers
Nov 20, 2009
I’ve written many stories before and since, but when I was 20-years-old I wrote “The Firefly Brigade”. The story was about a group of prisoners at the Treblinka Concentration Camp during World War II. The group discovers a crashed alien rocket ship, repair it, and blast off for adventures far away from the planet Earth! All very emotional and fantastical, but of course, that was where the fun part ended; the Firefly Brigade would encounter something far-flung from the FLASH GORDON ray guns and rocket ships. It turned out that the universe wasn’t a much simpler place than back home. I outlined about fifteen stories, each more tragic and epic than the last. I had it all figured out. “The Firefly Brigade” would end with the group of former prisoners returning to Earth one last time to find that their fellow captive (who had been too afraid and stayed behind) had survived the Holocaust. They all run off together to the stars again, into an epic I would leave the reader to imagine for themselves…
“The Firefly Brigade” didn’t end there. Years later I re-imagined the story as a children’s novel series featuring a collection of JACK KIRBY’S NEWSBOY LEGION-esque kids discovering a crashed rocket ship. The ship had by this point become at least semi-sentient and insectoid and would quickly be revealed to be just one in a billion such ships sent throughout the galaxy to bring together an army in response to some tremendous, tragic, and yes, epic, nemesis or threat. The Holocaust era survivors would be part of the story too, in a discovered series of diary entries showing that the Fireflies had a legacy and that this “war” was an ancient one.
Someday I’ll probably write that version. Or maybe I never will. Looking back, writing and rewriting and rewriting again for “The Firefly Brigade” was what taught me how to tell a story. Since writing that story, I graduated with my creative writing degree and published a few issues of an anthology magazine dedicated to my love of genre storytelling. I edited and co-edited comics like FAMILY GUY, LOST SQUAD, and DUNGEONS & DRAGONS as well as a prose series of “How To” nonfiction books. I jumped into a boutique startup creative and interactive services firm and, with an excellent team of talented innovators and kid-visionaries, turned that startup into a flourishing idea house sought by industry leaders. I’ve written, ideated and provided creative direction for some of the most well known brands in television, film, video games, toys, and comics like TRANSFORMERS, SPIDER-MAN, G.I. JOE, and STAR WARS. Along with some very open-minded clients, I’ve helped pioneer the frontiers of digital and traditional entertainment marketing.
Through it all, there has been a single refrain. A single skill and understanding has returned again and again like fireflies blinking in the dark periphery. Storytelling. It’s all about storytelling.
I mean, cosmically it really is all about storytelling. Our lives are these miniscule things in the grand scheme, but even a fruit fly’s life has a rise and fall in action. Under the right microscope, even the fruit fly lives a tragedy and a comedy both. Cave drawings and action script, dead languages and four-color comic books. Everything around us is filled with beginnings and endings.
And people love stories. It’s what we live for. Secret diaries, gossip text messages, family photo albums, Facebook profiles, LOONY TOONS, family sitcoms, popcorn flicks, Shakespeare, romance paperbacks, TV commercials, HARRY POTTER, sporting events, bedtime stories… Humanity never can seem to get over the need for entertainment, for stories. We’re all hunkered around the campfire.
Twenty years ago, NEW YORK TIMES Bestselling novelist Neil Gaiman brought DC Comics / Vertigo THE SANDMAN. It was a revolutionary comic book even if Gaiman wanted desperately to be Alan Moore for at least the first three or four issues. Gaiman’s Sandman was the Lord of Stories, a Dream King and the source of all storytelling inspiration. I’m not sure that the Sandman truly exists, but I do know that those who tell stories, and tell them well, do rule the Earth. They have every ear and steady voices with which to speak.
Maybe that’s what “The Firefly Brigade” is all about today. This blog brings together a group not unlike that bunch of “Newsboy Legion” kids or those Holocaust survivors I wrote about, visionaries daring to believe and endeavoring to tell about it… Storytellers… every one of them.
There was a vision that started it all, listening to a song by the Moody Blues, thinking about the glimmer of a new story and how that glimmer becomes a glow. There was a field full of unmarked graves –all untold stories– where the fireflies played, blinking and blinking in the twilight. And a shooting star and a “once upon a time” and all that nonsense.
Every good story should start like that.
I’ve written many stories before and since, but when I was 20-years-old I wrote “The Firefly Brigade”. The story was about a group of prisoners at the Treblinka Concentration Camp during World War II. The group discovers a crashed alien rocket ship, repair it, and blast off for adventures far away from the planet Earth! All very emotional and fantastical, but of course, that was where the fun part ended; the Firefly Brigade would encounter something far-flung from the FLASH GORDON ray guns and rocket ships. It turned out that the universe wasn’t a much simpler place than back home. I outlined about fifteen stories, each more tragic and epic than the last. I had it all figured out. “The Firefly Brigade” would end with the group of former prisoners returning to Earth one last time to find that their fellow captive (who had been too afraid and stayed behind) had survived the Holocaust. They all run off together to the stars again, into an epic I would leave the reader to imagine for themselves…
“The Firefly Brigade” didn’t end there. Years later I re-imagined the story as a children’s novel series featuring a collection of JACK KIRBY’S NEWSBOY LEGION-esque kids discovering a crashed rocket ship. The ship had by this point become at least semi-sentient and insectoid and would quickly be revealed to be just one in a billion such ships sent throughout the galaxy to bring together an army in response to some tremendous, tragic, and yes, epic, nemesis or threat. The Holocaust era survivors would be part of the story too, in a discovered series of diary entries showing that the Fireflies had a legacy and that this “war” was an ancient one.
Someday I’ll probably write that version. Or maybe I never will. Looking back, writing and rewriting and rewriting again for “The Firefly Brigade” was what taught me how to tell a story. Since writing that story, I graduated with my creative writing degree and published a few issues of an anthology magazine dedicated to my love of genre storytelling. I edited and co-edited comics like FAMILY GUY, LOST SQUAD, and DUNGEONS & DRAGONS as well as a prose series of “How To” nonfiction books. I jumped into a boutique startup creative and interactive services firm and, with an excellent team of talented innovators and kid-visionaries, turned that startup into a flourishing idea house sought by industry leaders. I’ve written, ideated and provided creative direction for some of the most well known brands in television, film, video games, toys, and comics like TRANSFORMERS, SPIDER-MAN, G.I. JOE, and STAR WARS. Along with some very open-minded clients, I’ve helped pioneer the frontiers of digital and traditional entertainment marketing.
Through it all, there has been a single refrain. A single skill and understanding has returned again and again like fireflies blinking in the dark periphery. Storytelling. It’s all about storytelling.
I mean, cosmically it really is all about storytelling. Our lives are these miniscule things in the grand scheme, but even a fruit fly’s life has a rise and fall in action. Under the right microscope, even the fruit fly lives a tragedy and a comedy both. Cave drawings and action script, dead languages and four-color comic books. Everything around us is filled with beginnings and endings.
And people love stories. It’s what we live for. Secret diaries, gossip text messages, family photo albums, Facebook profiles, LOONY TOONS, family sitcoms, popcorn flicks, Shakespeare, romance paperbacks, TV commercials, HARRY POTTER, sporting events, bedtime stories… Humanity never can seem to get over the need for entertainment, for stories. We’re all hunkered around the campfire.
Twenty years ago, NEW YORK TIMES Bestselling novelist Neil Gaiman brought DC Comics / Vertigo THE SANDMAN. It was a revolutionary comic book even if Gaiman wanted desperately to be Alan Moore for at least the first three or four issues. Gaiman’s Sandman was the Lord of Stories, a Dream King and the source of all storytelling inspiration. I’m not sure that the Sandman truly exists, but I do know that those who tell stories, and tell them well, do rule the Earth. They have every ear and steady voices with which to speak.
Maybe that’s what “The Firefly Brigade” is all about today. This blog brings together a group not unlike that bunch of “Newsboy Legion” kids or those Holocaust survivors I wrote about, visionaries daring to believe and endeavoring to tell about it… Storytellers… every one of them.
There was a vision that started it all, listening to a song by the Moody Blues, thinking about the glimmer of a new story and how that glimmer becomes a glow. There was a field full of unmarked graves –all untold stories– where the fireflies played, blinking and blinking in the twilight. And a shooting star and a “once upon a time” and all that nonsense.
Every good story should start like that.
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