- Studio Ellipsis is the newest venture by the folks at FunPlus, who developed Sea of Conquest
- They’re focusing on producing new cross-media products, like the recent comic book
- I got to sit down with new studio head Alexandre Amanchio and find out what we can expect
As a seasoned industry veteran, I find myself captivated by the fascinating journey of transmedia and its evolution from media mix. It’s not just about consuming content anymore; it’s about immersing oneself in interconnected worlds where audiences become active participants. This is a concept that resonates deeply with me, reminding me of Montreal’s vibrant gaming scene during its early days.
You might find it unremarkable that I’ve been jetting off again recently. However, let me clarify that despite the apparent leisure, a considerable amount of work was involved in this journey. The destination for my latest trip was vibrant (either sunny or rainy, as fate would have it), Lisbon. My purpose there was to engage in discussions with Studio Ellipsis, a fresh studio established in collaboration with FunPlus. You might recall our previous coverage of their initial project, the Sea of Conquest comic book series titled Cradle of the Gods.
Apart from what they’re currently working on, there’s much more in store. Although I can’t disclose any groundbreaking news, I did manage to catch a glimpse of their plans. One of the individuals I spoke with was Alexandre Amancio, previously SVP of world-building and IP strategy at FunPlus, now heading Studio Ellipsis. Essentially, his role encompassed managing all aspects related to the ‘franchise’ or brand expansion.
An experienced professional from the gaming world, his grizzled facial hair is a testament to his long career; he’s a rich source of knowledge, having contributed significantly not only in the business aspects but also creatively. You may even have played some of the well-known games he has been involved with.
Concerning Alexandre, I don’t employ the term ‘veteran’ casually. With his past roles as creative director on Assassin’s Creed Revelations and Unity, not forgetting his early career launching the same for Far Cry 2, he has a wealth of accomplishments to his name. Remarkably, he is not one to brag, but during our chat in Studio Ellipsis’ new office in Lisbon, he was brimming with tales about what sparked the studio’s creation.
The version you’re about to read has been significantly revised based on our conversation, and while it delves into technical aspects, I believe you’ll find it intriguing once you’ve completed reading, as it sheds light on the future of Studio Ellipsis and their exciting upcoming endeavors.
Can you start off by telling us a bit about yourself and your career, Alex?
My professional journey in the gaming industry began at Ubisoft. On my very first project with them, I had the opportunity to contribute significantly – specifically, I served as the art director for Far Cry 2. Beyond that role, I collaborated closely with the engineering team to develop the graphical pipeline and construct the engine.
Later on, I transitioned into Creative Direction and got involved with the Assassin’s Creed franchise. During my tenure, I worked on Assassin’s Creed Revelations as the Creative Director and spearheaded the idea for a pirate game at Ubisoft, which eventually led to the creation of Black Flag.
Following that, I jumped into Assassin’s Creed Unity, a task with an incredibly tight deadline that required a creative director. So, I joined the team and played a crucial role in getting it released. Later on, I decided to embark on a new adventure by founding Reflector Entertainment, a company dedicated to innovative transmedia projects within the video game industry.
Following the onset of the COVID-19 pandemic, our business was acquired by Bandai Namco. I chose to remain with the company for a short period afterwards, ensuring smooth operations and confirming that all projects were progressing as planned.
Subsequently, I received communication from FunPlus. Their founder, Andy, was aiming to advance the company into its next developmental stage. Historically, it had been heavily invested in mobile gaming, but Andy envisioned that the upcoming groundbreaking intellectual property, akin to Star Wars or Marvel, would emerge from a video game. His strategic approach centered around expanding the world-building aspect. He was seeking an individual with relevant experience in this area.
Initially, my shared vision made me decide to join FunPlus as their Senior Vice President of Worldbuilding and IP Strategy. Later, drawn towards the Swiss office and Barcelona, I opted for a move to Lisbon, Portugal. The city’s charm and vibrant creative energy captivated me, so I discussed with FunPlus about establishing a studio here, which we agreed upon.
That brings me to my next question. Can you tell us a little bit about Studio Ellipsis and what you guys are going to be doing for FunPlus and in general?
Studio Ellipsis operates with two main areas of focus: worldbuilding and intellectual property (IP) strategy. In essence, this team assists all our projects at FunPlus in establishing their unique intellectual properties. This support can take various forms, ranging from providing guidelines to collaborative work, or even taking a more hands-on approach.
Instead of developing the second Ellipsis project around an already existing video game for PC, which will later be available on mobile, the focus is on creating a distinctive intellectual property (IP) from scratch, based on a PC-first game concept. Once this original IP is established, it will then be expanded across multiple platforms.
Obviously, FunPlus is mainly focused on mobile. Why do you think that mobile is seen as such a potential for the next big franchise, multimedia, and stuff like that?
Hey there, gaming buddies! Since our ancestors roamed the caves, we’ve been wired with three essential elements that keep us alive and thriving – connection, sustenance, and a safe place to rest. You could say it’s like leveling up in real life: social networks are our quest allies, food is our health points, and shelter is where we recharge between adventures!
In contemporary times, mobile devices have progressively taken over a significant portion of our daily lives. Your phone serves as your house key, providing you with a place to live. It connects you to your social circle, acting like a communication tool. Additionally, it functions as your wallet, enabling you to purchase food. This illustrates the extent to which mobile devices have become an integral and central part of our lives. Essentially, they’ve come to fulfill three basic human needs that have been constant since prehistoric times.
These tools are constantly at our side and serve as gateways to endless opportunities. This uniqueness in accessibility sets them apart from others, particularly in terms of their vast reach. The sole constraint of a mobile device is its screen, but it’s worth noting that screens might not be necessary in the future. However, one thing remains certain: you will still carry your mobile device (or an equivalent) with you.
In my opinion, it seems we’re approaching an era of platform integration. If hypothetical conflicts were to arise among these platforms, I believe it wouldn’t be mobile technology that would suffer the loss.
We’ve seen a lot of mobile and mobile adjacent properties like Honor of Kings and their Secret Level segment kind of get in on the cross-mode approach. Has that lit a fire under you guys in terms of getting things done?
Essentially, I’d put it this way: The structure of our studio’s approach to entertainment is deeply rooted in its history. This segmentation of entertainment can be traced back to the 20th century when media was divided into distinct forms like print, radio, TV, and film. These were then consolidated into media conglomerates, each considered a separate art form with its own audience reach methods. However, in today’s world, your phone serves as a gateway to all these forms of media.
As a gamer, I can tell you that it’s an amazing era we live in! Now, I don’t have to stick to just one type of media anymore. I can immerse myself in a film series, tune into a podcast, or dive deep into the pages of a book or even a comic book, all on my device. The boundaries between these forms of entertainment are no longer distinct; they’re practically disappearing!
As a gamer, I don’t view our property as something we export to a series; instead, I see the series as an integral part of the universe’s ecosystem. When constructing this universe, it needs to be considered from the get-go, much like how roots intertwine with soil in a forest. I’m not advocating for immediate development of the TV property, but rather suggesting that when crafting your universe, you should aim for its mythology to be universal. If done correctly, this mythology can birth various forms of media.
I firmly hold the opinion that it’s quite challenging to transfer content from one medium to another while preserving quality, as each medium has its unique strengths. For instance, film is a visual medium, so it’s beneficial to leverage its visual elements fully. This means that instead of having characters explicitly state things, you can use subtle gestures or expressions instead. Films excel at this, but they may struggle to delve into a character’s thoughts deeply, unless you incorporate something like a voiceover. However, voiceovers don’t translate well into visual mediums.
Translating one medium completely into another isn’t always feasible; when transforming a remarkable book into a movie, it’s likely that the result will be less impactful. While there are exceptions, it often falls short due to the differences in qualities between the original medium and the new one. Therefore, it’s essential to evaluate each product and its medium separately before telling a story suitable for that particular avenue. The tale should harmonize with other narratives, contribute to a cohesive universe, and expand upon the existing mythology. However, it should also stand as a unique product in its own right.
I think for Studio Ellipsis things like series like comic books, podcasts or novels are part of the fundamental DNA we’re building universes with. It starts with a game but the universe then goes on to transcend that medium.
It’s interesting that you talk about transmedia in that way. Because one of my recent pieces talked about the bizarre Japanese game Uma Musume: Pretty Derby, and the idea of production committees which do just that and plain the mythology of a universe from the get-go.
Essentially, transmedia is a development from a concept known as media mix, originating in Japan during the 60s or 70s. This approach involves building consistent universes within a single property and strategically thinking about how these worlds can be portrayed across various forms of media.
media mix has significantly influenced the development of transmedia and our strategy, and I believe we’ve reached a pivotal moment due to the intricate connections between various platforms. In the past, you were primarily a consumer who passively consumed content across multiple channels. However, now we have an opportunity to elevate this theory by actively engaging with the content in a more integrated way.
Previously, we couldn’t combine our interconnected worlds with fan participation because it was too early. But now, as it’s reciprocal, we can blend the magic of both realms and involve fans – something we tried a few years ago but wasn’t feasible then. However, I believe that the audience is maturing to the point where this concept is no longer foreign to them; it has become commonplace in their experience.
To start wrapping up, I must ask why you chose Lisbon as the place to open this new studio?
For years, I’ve resided in Montreal, my spouse is French, and together, we’ve pondered the idea of relocating to Europe, considering her family ties there. After exploring various destinations, we stumbled upon Portugal and found an infectious energy about it. Surprisingly, we hadn’t previously considered it as a potential home.
In my journey, I found myself settling down in this captivating city for a year, leasing a home as I immersed myself in work. From the moment I arrived, I felt an energy reminiscent of Montreal during its gaming industry boom – a palpable, electrifying creativity that had been missing from my life. This vibrant atmosphere has won me over completely.
Montreal stands out as a distinct stage, recognized among the global leaders in video game development. However, I yearn for the innovative spirit, the scrappy startup vibe that I’ve encountered here in Lisbon. Consequently, this concept evolved, and after discussing it with FunPlus, everyone agreed it was an excellent idea.
And to finish, I’ll have to ask what I always tend to ask people, what mobile games are you playing lately?
As a passionate gamer, let me share that I’ll be handing over an old gem of a game – Into the Breach. This game is more than just a title to me; it embodies elegance in its design. The challenge it presents, coupled with its unpredictable nature, keeps me hooked. It’s a ruthless game, yet it rewards those who persevere. Strategy and frustration are woven into its fabric, creating a unique gaming experience that I can’t get enough of. In short, it’s a masterfully crafted game that demands respect for its tight, intricate design.
When I’ve got some spare moments, I usually gravitate towards various other games, yet there’s something about this one that feels like my go-to choice. It’s the sheer elegance of it that really appeals to me.
Visit Studio Ellipsis’ official website to get a free look at their first significant work, the comic book series “Sea of Conquest: Cradle of the Gods”. Don’t forget to stay tuned for updates on the development of their upcoming franchise.
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2024-10-22 19:22