Ninjin is an original Brazilian animated series from Cartoon Network Brasil , 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 featured 22 episodes divided into three formats: 10 1-minute episodes (which are available on Cartoon Network Brasil YouTube channel), 7 3-minute episodes and 5 7-minute episodes.
In this interview we spoke with Roger Keesse , screenwriter, director, executive producer and (alongside the Pocket Trap studio) creator of NINJIN, and Marina Filipe , Sr. Manager of Original Productions at Warner Media Kids & Family.
The animation follows Ninjin, a rabbit ̶p̶l̶a̶n̶t̶a̶d̶o̶r̶ ̶d̶e̶ ̶c̶e̶n̶o̶u̶r̶a̶ who sometimes talks more than he should, being slightly egocentric, Ninjin aims to become the greatest ninja in his village. However, concerned with honoring his ancestors, Ninjin also undergoes training with the crazy Sensei, but always finds himself in absurd and out-of-control situations alongside his inseparable friends – the swift fox Akai and the magical frog Flink. Together, they always cause confusion, trying to imitate everything they see on TV, in games and in comics. The adventure of the three friends is just beginning, as Shogun Moe's evil troops 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 really hope that the BR 'Otakus' adopt the project.
– What were the inspirations for Ninjin?
We always like to say that the Ninjin is not the incredible and cool protagonist of an Animation series, but a child who wants the life of an incredible and cool protagonist of an Animation series. Bringing an extra weight to the pop culture that we draw inspiration from to generate the stories. I think the biggest of all are Cartoon Network's own animations (looks at the camera and smiles awkwardly). 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, the 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 knowing another side of Ninjin, which not only draws from the classics we grew up watching (Dragon Ball, Yu Yu Hakusho and that old stuff), but it mixes visual/narrative styles from more contemporary Animes (choosing to look at more frantic and crazy solutions – influenced by people like Hiroyuki Imaishi and Masaaki Yuasa – rather than the far-fetched Sakugas) with a hu3hu3 Brazilianness, which we love so much. Furthermore, we have an incredible team – Storyboarders, Animators, Visual artists, finishers, original voice cast, screenwriters, foley artists and producers – who print their own inspirations and references on the screen.
– What was the script production process like for the animation taking the game into consideration?
The series was designed to take place in the same narrative universe as the game, years before, when Ninjin and Akai – still children – had no idea what was to come.
Precisely for this reason the speed and pop tone of 'Clash Of Carrots' (along with the inspirations mentioned above) became the creative foundations of the series. On the other hand, the differences between the two media allowed us to have the ideal freedom to generate personalities and stories that actually work for another audience and without the need to already have some prior relationship with the universe.
From a narrative and script point of view, it is both a challenge and fun to create a plot that we already know where it will lead to, showing fans that the most important thing is the path we take and not the final destination.
– What does Ninjin mean to you, who has followed the project since 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 got together with BIRDO to actually start the series, it took years from its conception, approaching Cartoon Network, developing the appropriate format (which I'll explain more in the next answer), until finally getting approval to move forward.
So, seeing NINJIN concluding the first season and the reception from the fans 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 different beliefs and passions. As an example, I can mention how the influence of Anime on my work went from veiled to overt, allowing me to understand what really enchants me and how to (at least start) translating it in a viable and Brazilian way into our reality. I got 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 and social culture. But – above all these and all other things – it clearly established that working with children/youth content is where we should be investing more energy, as pop culture is what brings the social and emotional support for young people to shake things up.
– Are there plans for a new season of Ninjin?
Undoubtedly! This first season is divided into four arcs (the first with five episodes and the rest with seven), two short formats for the web (one and three minute episodes are available on Cartoon Network's YouTube) and beautiful comics that have already started coming out on the Cartoon Network portal. But all of this is just the beginning.
We like to joke that we have planned a hundred years in the past and a hundred years in the future of the Ninjin universe. Which isn't even that much of a joke, since our drawers are already full of new arcs, stories, jokes and characters that are dying to see the light of day.
But it's worth highlighting that these are just plans, because – even with all the wonderful partnership with Cartoon Network – the continuity of NINJIN, like any national project, depends on the support of the media and fans. So, we greatly appreciate the opportunity to speak here at 'Anime New' and we hope that your readers enjoy and engage with the series, helping us move forward with this story.
– In addition to Ninjin, you have participated in other Brazilian animation productions, such as Astronauta: Propulsion on HBO and Turma da Mônica Jovem on CARTOON NETWORK, what is it like to participate in the growth in the animation market in Brazil and deal with international distribution?
Animation is, without exaggeration, one of the most important parts of my life (personal and professional). This already gives you a clue as to how privileged I feel to be able to be part of this new chapter of the Animation Market. Not only for the results, but being able to collaborate with so many professionals and studios that I admire so much.
A new chapter, as the Brazilian Animation Market has had different phases and sizes with a long and admirable trajectory. However, it is the first time that it has been able (due to funding and technological advances) to generate original content – on a large scale – capable of breaking certain bubbles and reaching the public in a considerable way. Killing a lion a day to stand side by side with the industry giants that come from abroad.
Which 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 stops being technical, becoming emotional and creative. Seeking new ways to communicate more effectively, opening doors for more diverse, plural creators and professionals who represent Brazil in its entirety. If that's not exciting, I don't know what is!
NINJIN itself is an outlier, if a Writer and a Games Studio manage to come together and make a series possible on Cartoon Network, this opens up the range of possibilities even further. Allowing projects to emerge from other markets, from outside the studios or even from the most unlikely places.
– How do you feel about this relaunch of Ninjin on HBOMAX?
We are still in a flirtatious mood, our contact, friendship and partnership is very good with Cartoon Network (a kiss to Cartoon!). So much so that they end up representing NINJIN in conversations with HBOMAX.
However, little would make us more excited at the moment than being in the HBOMAX catalogue. Not only because it facilitates consumption and increases the public's chances of getting to know the series, but, mainly, because it allows fans to watch it in the way we think is ideal for watching it: in chronological order. Which – in our opinion – enhances the project’s greatest charms. We invite everyone to follow this journey with us, both on HBOMAX and Cartoon Network.
Questions for Marina Filipe, Sr. 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 that today we are experiencing the best time for the production of so-called “local” content. We are experiencing a historical context of boom in the volume of content offered – largely due to the advent of streaming – and that is 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 issues as urgent as racial, cultural and gender diversity and representation.
– Why did you choose the animation Ninjin to enter the CN and HBOMAX catalogue?
Ninjin is a property that has elements of our culture within a broad, global narrative. It has some characteristics coming from anime, from Japanese culture, but it speaks perfectly to the Latin American audience. It's a series that was born digitally and we were able to work with different formats right at the premiere, which allowed us to give the audience a deeper knowledge of the characters, a faster and more accelerated narrative of the stories and the universe of the series. The entry of Ninjin on Cartoon Network and HBOMax was a natural path 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 the expectations for this relaunch of Ninjin on both platforms?
We hope that with the debut of Ninjin on Cartoon Network and HBOMax we can bring this content to more people, especially in terms of internationalization. It's a great opportunity to bring 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 stories very well told and tied together. It's a special time for animation.
Ninjin was developed by independent studio Pocket Trap. The first game was released in 2013 for mobile only, and after a few years in 2018 a sequel was developed for Playstation 4 , Xbox One , Nintendo Switch and PC .
