Ninjin is a Brazilian animated series original to Cartoon Network Brazil , co-produced by Pocket Trap and Birdo Studio , based on the 2018 game Ninjin: Clash of Carrots. The first season of Ninjin premiered on September 4, 2019, and consisted of 22 episodes divided into three formats: 10 one-minute episodes (which are available on the official Cartoon Network Brazil YouTube channel), 7 three-minute episodes, and 5 seven-minute episodes.
In this interview we talk with Roger Keesse , screenwriter, director, executive producer and (along with Pocket Trap studio) creator of NINJIN, and Marina Filipe , Senior Manager of Original Productions at Warner Media Kids & Family.
The animation follows Ninjin, a rabbit (or carrot planter) who sometimes talks more than he should. Being slightly egocentric, Ninjin aspires to become the greatest ninja in his village. However, concerned with honoring his ancestors, Ninjin also undergoes training with the eccentric Sensei, but always gets into absurd and out-of-control situations alongside his inseparable friends – the quick-witted fox Akai and the magical frog Flink. Together, they always cause chaos, trying to imitate everything they see on TV, in games, and in comics. The adventure of the three friends is just beginning, while the evil troops of Shogun Moe approach.
Keesse also left a message for Anime New readers:
On behalf of the entire team, I would like to thank you for your support and the opportunity to talk about Ninjin to your audience. Anime, as you may have noticed, is a fundamental part of our creative process, and we sincerely hope that Brazilian 'Otakus' will embrace the project.
What were the inspirations for Ninjin?
We always like to say that Ninjin isn't the amazing and cool protagonist of an animated series, but a child who dreams of the life of an amazing and cool protagonist from an animated series. This brings an extra weight to the pop culture that inspired us to create the stories. I think the biggest influence of all is Cartoon Network's own animation (looks at the camera and flashes a goofy smile). Rodrigo Zangelmi and Henrique Caprino always comment on how 'Adventure Time' and 'Gumball' were fundamental to the creation of the style and universe applied in NINJIN – CLASH OF CARROTS, a Pocket Trap game that gave rise to the series (which also carries this tradition).
However, something tells me that 'Anime New' readers are more interested in learning about another side of Ninjin, which not only draws from classics we grew up watching (Dragon Ball, Yu Yu Hakusho, and that kind of old-school stuff), but also mixes visual/narrative styles from more contemporary anime (opting for more frenetic and crazy solutions – influenced by people like Hiroyuki Imaishi and Masaaki Yuasa – rather than the elaborate Sakugas) with a Brazilian flair that we love so much. Besides that, we have an incredible team – storyboarders, animators, visual artists, finishers, original voice cast, soundtrack composers, foley artists, and producers – who bring their own inspirations and references to the screen.
– What was the scriptwriting process like for the animation, taking the game into consideration?
The series was conceived to take place in the same narrative universe as the game, years earlier, when Ninjin and Akai – still children – had no idea what was to come.
That's precisely why the speed and pop tone of 'Clash Of Carrots' (along with the inspirations mentioned earlier) became the creative foundation of the series. Conversely, the differences between the two media allowed us the ideal freedom to generate personalities and stories that would actually work for another audience without needing any prior relationship with the universe.
From a narrative and scriptwriting perspective, it's both a challenge and a source of fun to create a plot where we already know where it's going, showing fans that what matters most is the journey we take, not the final destination.
– What does Ninjin mean to you, someone who has been following the project from the beginning? How has this creative journey affected you?
It's hard to imagine what my life would be like without NINJIN. Even before we joined forces with BIRDO to actually start the series, it took years from its conception, the approach to Cartoon Network, the development of the appropriate format (which I'll explain more in the next answer), until finally getting the approval to move forward.
So, seeing NINJIN conclude its first season and the fans' reception is something I can't put into words. Because for us, the creation/production process is a delight, but the audience's relationship with our characters and universe is where the magic begins.
Personally, NINJIN consolidated and enhanced several beliefs and passions. As an example, I can cite how the influence of Anime on my work went from veiled to blatant, allowing me to understand what truly captivates me and how to (at least begin to) translate it in a viable and Brazilian way to our reality. I became even closer to elements of Asian culture (since, in addition to Japan, I have a growing admiration/interest in the South Korean and Chinese entertainment market), both pop culture and social aspects. But – above all these and other things – it consolidated with complete clarity that working with children's/youth content is where we should be investing more energy, because pop culture is what provides the social and emotional support for young people to shake things up.
Are there plans for a new season of Ninjin?
Absolutely! This first season is divided into four arcs (the first with five episodes and the rest with seven), two short webcomic formats (one-minute and three-minute episodes are available on Cartoon Network's YouTube channel), and beautiful comics that have already started appearing on the Cartoon Network website. But all this is just the beginning.
We like to joke that we've planned a hundred years into the past and a hundred years into the future of the Ninjin universe. Which isn't really a joke, since our drawers are already overflowing with new arcs, stories, jokes, and characters that are just itching to see the light of day.
But it's worth emphasizing that these are just plans, because – even with the wonderful partnership with Cartoon Network – the continuation of NINJIN, like any national project, depends on the support of the media and fans. So, we are immensely grateful for the opportunity to talk about it here on 'Anime New' and we hope that its readers enjoy and engage with the series, helping us to continue this story.
Besides Ninjin, you've also participated in other Brazilian animated productions, such as HBO's Astronauta: Propulsão and Cartoon Network's Turma da Mônica Jovem. What's it like to be part of the growth of the animation market in Brazil and to handle international distribution?
Animation is, without exaggeration, one of the most important parts of my life (both personal and professional). This already gives a clue as to how privileged I feel to be a part of this new chapter in the animation market. Not only for the results, but also for being able to collaborate with so many professionals and studios that I admire so much.
A new chapter, as the Brazilian Animation Market has gone through various phases and sizes with a long and admirable trajectory. However, this is the first time it has been able (due to funding and technological advances) to generate original content – on a large scale – capable of breaking through certain bubbles and reaching a considerable audience. It's a daily struggle to stand side-by-side with the industry giants from abroad.
This gives projects the power to pave the way for new voices, talents, and styles. Because if (just like in Japan) we manage to establish a captive audience for our national animation production, the race ceases to be purely technical and becomes emotional and creative. It involves seeking new ways to communicate more effectively, opening doors for more diverse and pluralistic creators and professionals who represent Brazil in its entirety. If that isn't exciting, I don't know what is!
NINJIN itself is an outlier; if a screenwriter and a game studio can come together and make a series on Cartoon Network viable, it opens up even more possibilities. It allows projects to emerge from other markets, outside of studios, or even from more unlikely places.
How do you feel about the re-release of Ninjin on HBO Max?
We're still in the flirting phase; our contact, friendship, and really cool partnership is with Cartoon Network (a big hug to Cartoon Network!). So much so that they end up representing NINJIN in our talks with HBO Max.
However, little would excite us more right now than having it on HBO Max. Not only does it make it easier to watch and increase the chances of the audience discovering the series, but mainly because it allows fans to watch it in what we consider the ideal way: in chronological order. Which – in our opinion – enhances the project's greatest charms. We invite everyone to join us on this journey, both on HBO Max and Cartoon Network.
Questions for Marina Filipe, Senior Manager of Original Productions at Warner Media Kids & Family.
Do you think the space for national animation productions is growing?
Yes, without a doubt! I believe we are currently experiencing the best moment for the production of so-called "local" content. We are living through a historical boom in the volume of content offered – largely due to the advent of streaming – and that's fantastic! Investing in local content brings several benefits, including strengthening our culture and thematic diversity, as well as, from an economic point of view, investing in an extremely relevant market that generates hundreds of thousands of jobs in the country. Within the children's universe, national animation is an investment in the future. The stories we choose to tell today help shape future generations and how they deal with such urgent issues as diversity and racial, cultural, and gender representation.
Why did they choose the animated series Ninjin to be added to the Cartoon Network and HBO Max catalogs?
Ninjin is a property that incorporates elements of our culture within a broad, global narrative. It has some characteristics from anime and Japanese culture, but it perfectly resonates with Latin American audiences. It's a series that originated digitally, and we were able to work with different formats right from the premiere, which allowed us to give the audience a deeper understanding of the characters, a faster-paced narrative of the stories, and the series' universe. Ninjin's entry into Cartoon Network and HBO Max was a natural progression for a series that was born with this multiplatform format. Now, we have another opportunity to bring Ninjin, a Brazilian series, to more people around the world.
What are your expectations for this Ninjin relaunch on both platforms?
We hope that with the premiere of Ninjin on Cartoon Network and HBO Max, we can bring this content to more people, especially in terms of internationalization. It's a great opportunity to take Brazilian animation, local narratives, to other markets, and thus generate more visibility for the series. And this is a super important moment, in which the animation market is much more solidified, with excellent quality content and very well-told and tied-together stories. It's a special moment for animation.
Ninjin was developed by the independent studio Pocket Trap. The first game was released in 2013 for mobile only, and a few years later, in 2018, a sequel was developed for Playstation 4 , Xbox One , Nintendo Switch , and PC .
