- 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 Imanchio and find out what we can expect
As a seasoned gaming enthusiast who has traversed the labyrinthine world of digital entertainment for decades, I find myself captivated by the journey embarked upon by Studio Ellipsis, a newcomer to the industry with an intriguing approach to transmedia storytelling. Hailing from Montreal, where the gaming landscape is already teeming with creativity and innovation, the founders of this studio have chosen to set sail for Lisbon in search of that elusive creative energy they once felt back home.
It’s likely not a shock that I’ve been jetting off again lately. However, don’t let the fun aspect fool you; there was indeed a lot of work involved. My recent trip took me to vibrant (or rather, wet, as it happened) Lisbon, where my main objective was to discuss projects with Studio Ellipsis. This freshly-minted studio is backed by FunPlus, and you might remember us covering their initial project – the Sea of Conquest comic book series titled Cradle of the Gods.
However, there’s more to their projects than just what you see. I didn’t stumble upon any earth-shattering secrets, but I did catch wind of their plans. One individual I spoke with was Alexandre Imancio, who used to be the SVP of world-building and IP strategy at FunPlus, now heading Studio Ellipsis. In essence, he managed all aspects related to the ‘brand’ or ‘franchise’.
An experienced professional hailing from the gaming world, his graying beard is a testament to his lengthy career. He boasts a rich trove of knowledge to impart, not just in the business realm but also in the creative aspects. Indeed, you might find some well-known video games among the projects he’s contributed to.
Regarding Alexandre, I don’t casually refer to him as a ‘veteran’. He’s got an impressive background: he was the creative director for Assassin’s Creed Revelations and Unity, not to mention launching his career with the same role in Far Cry 2. Yet, he’s not one to brag. However, when we chatted in our new Studio Ellipsis office in Lisbon, he certainly had a wealth of stories about what sparked the studio.
What you’re about to read is a refined version of our previous conversation, albeit with a technical slant. I believe you’ll find it intriguing once you’ve gone through it, as it offers a glimpse into the future of Studio Ellipsis and their upcoming endeavors.
Alexandre Imanchio (Back row, middle) and the FunPlus Team
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. One of the initial projects I contributed to was Far Cry 2. In this role, I served as both the art director and played a significant part in designing the graphic pipeline and collaborating with engineers to construct the engine.
Following that, I transitioned into Creative Direction and joined the esteemed Assassin’s Creed family. As the Creative Director, I had the privilege of working on Assassin’s Creed: Revelations, and it was my idea that sparked interest at Ubisoft to develop a pirate game, which eventually led to the creation of Black Flag.
After that, I transitioned to Assassin’s Creed Unity, a project with a stringent deadline requiring a creative director. I stepped in and contributed to meeting the deadline. Later, I departed from Ubisoft to establish Reflector Entertainment, a game development company focused on transmedia productions.
Following the onset of COVID-19, our company was acquired by Bandai Namco. I remained with the company temporarily to ensure smooth operations and to guarantee all projects were progressing as planned.
Subsequently, I received communication from FunPlus. The founder, Andy, was aiming to advance the company to its next stage of growth. Previously, it had primarily concentrated on mobile platforms. However, Andy envisioned that the future major intellectual property, such as Star Wars or Marvel, would stem from a video game. His concept revolved around enhancing the world-building aspect. He was seeking an individual with prior experience in this area.
As an ardent supporter, it was my dream too that became a reality when I joined FunPlus as Senior Vice President of Worldbuilding and IP Strategy. However, I found myself yearning for closer proximity to the Swiss office and Barcelona. To satisfy this longing, I made the decision to relocate to Portugal and specifically Lisbon. The city captured my heart, teeming with creative vitality that I couldn’t ignore. Consequently, I had a discussion with FunPlus, and we agreed to establish a studio right here in Lisbon.
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 functions as a dual-faceted entity: one side focuses on worldbuilding and intellectual property (IP) strategy. This department serves as a resource for all the various projects under FunPlus, providing assistance in developing their IP. The approach can vary from setting guidelines to collaborative work, or even hands-on involvement. Beyond shaping the core IP – the universe, design documents, and mythology – we also guide on extending that IP into diverse mediums beyond video games. This could range from comic books, animation, films, podcasts, or novels.
In simpler terms, the main focus for the second Ellipsis project lies in developing an innovative intellectual property (IP) inspired by a computer game initially designed for PCs, which will later be accessible on mobile devices too. Once established, this IP will be expanded and adapted to work across various other platforms as well.
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?
From the dawn of human civilization, there have consistently been three essential elements or requirements that humans have always needed for survival. These elements can be simply summarized as a sense of community, nourishment, and protection – in other words, social connections, sustenance, and shelter.
In today’s era, mobile devices have increasingly taken on multiple roles in our daily lives. Your phone serves as your house key, offering a sense of security and shelter. It connects you to your social circles, acting as a bridge for communication. It even functions as a digital wallet, enabling you to purchase food and other necessities. This demonstrates the pervasive and central role that mobile devices now play in our lives, effectively fulfilling three essential human needs that have been constants since prehistoric times.
These tools are constantly at our side and serve as gateways to endless possibilities. Therefore, their unmatched potential for outreach is unparalleled. The only constraint that a mobile device may face is its screen size, but even this aspect might vanish in the future. Nevertheless, you can rest assured that a mobile-like device will still be within your grasp.
It seems my argument is that we’re nearing a stage where various platforms are converging. In my opinion, even if there were conflicts among these platforms, it wouldn’t be mobile technology that suffers the most.
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?
In essence, I’d put it this way: The characteristic traits of our studio are deeply rooted, not just in one aspect, but rather stem from the foundations laid in the 20th century. Back then, entertainment was divided due to a historical legacy where each medium – print, radio, TV, film – served as a distinct art form with its unique audience reach. However, leap forward to today, and your phone serves as the gateway to all these forms of entertainment, breaking down those traditional barriers.
As a devoted enthusiast, I find myself immersed in a world where boundaries dissolve. From binge-watching film series on my device, to tuning into captivating podcasts, and even diving into the pages of books or comics – the lines between these media are no longer just blurring, they’re practically vanishing. It’s an exciting era for storytelling!
In my perspective, the series isn’t just an extension or export of our property, rather, it’s a crucial component within the larger universe we’re creating. It should be considered from the outset when designing this universe as it serves as a key piece in the ecosystem. I’m not advocating for immediate development into a TV series, but suggesting that the universe you construct should be comprehensive enough to accommodate various mediums, including television, if done correctly. It’s about building a cohesive mythology.
But I strongly believe you very rarely succeed in translating one medium to the other and maintaining the quality because when you’re creating something good in a medium you’re utilizing its strengths. So since film is a visual medium you’re hopefully utilising those elements to their fullest, you don’t have to have characters say things you can just have a subtle move or a look. Films are great for that but they’re not always the best at getting into the heads of a character, unless you use something such as a voiceover which doesn’t translate very well to a visual medium.
Translating one form of art completely into another isn’t always possible, as converting a captivating book into a film often results in a less impressive adaptation. While there are exceptions, the outcome is typically unsatisfying because you’re adapting a masterpiece that fully exploits one medium, and then transferring it to another medium that lacks the same qualities. Therefore, it’s essential to examine each unique creation and its respective medium first, and then craft a narrative suitable for that specific outlet. It should harmonize with other tales, be an integral part of a cohesive universe, and expand upon the overall mythology, but it should also stand as a distinct 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 an advancement from a concept called media mix, which emerged in Japan during the 60s or 70s. It involves building a single universe within a specific property, but then strategically considering how that universe can be depicted and experienced across various forms of media.
The concept of media mix has undeniably influenced transmedia and our approach, and I would further argue that we are now at a pivotal moment due to the intricate web of connections among various platforms. Earlier, you were merely a consumer, passively consuming content across multiple channels. However, with advancements in technology and interconnectedness, it’s not just about consumption anymore; we have an opportunity to elevate this theory by becoming active participants in the cross-platform experience.
Now, since it’s reciprocal, you can enjoy the charm of interwoven universes, and involve the fans in the process – something we could have done years ago, but the technology wasn’t advanced enough back then. However, I believe that we’ve reached a stage now where the audience has grown up with this concept and it has become commonplace for them.
To start wrapping up, I must ask why you chose Lisbon as the place to open this new studio?
As a passionate gamer nestled in Montreal all my life, my partner – a native Frenchwoman with strong family ties to Europe – and I had been musing over the idea of relocating to the Old World. We’d tossed around several potential destinations, but Portugal caught our eye like a rare in-game loot. To be honest, it wasn’t on our radar as a permanent home before, but the energy surrounding this place was electrifying!
We arrived, leased a residence for a year as I worked, and ended up developing an affection for this city. There’s a vivacity here that reminds me of Montreal during the early days of the gaming industry – a palpable energy, a creative spark that I had been missing.
Montreal stands out as one of the premier global hubs for video game creation, but what I yearn for is the innovative spirit, the scrappy startup vibe that I’ve encountered in Lisbon. This feeling sparked an idea within me, which eventually led to discussions with FunPlus. Everyone appreciated the concept and deemed it excellent.
And to finish, I’ll have to ask what I always tend to ask people, what mobile games are you playing lately?
I’d like to share an exceptionally well-crafted game with you, titled “Into the Breach.” It captivates me due to its refined nature. The thrill of playing it and the unforeseen twists keep me engaged. It’s a blend of toughness and satisfaction, offering strategic components as well as instances of frustration. Overall, it boasts an incredibly meticulous design.
When given some spare time, I usually gravitate towards this particular game because of its charm. There are others I enjoy too, but this one stands out for me due to its graceful nature.
Visit Studio Ellipsis’ official website to access their debut project, the comic book series Sea of Conquest: Cradle of the Gods, at no cost. Don’t forget to stay tuned for updates on their upcoming franchise developments as well!
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2024-10-22 11:18