I initially set up Wivern as a studio to explore new forms of storytelling. The year 2011 and the iPad had just hit the market. I was looking at using vertical animations in book apps, for example, or allowing readers to combine digital and analogue experiences. One way to do that was having characters sing songs in books readers could listen to (and even learn) via QR codes. Wivern was a kind of musical transmedia story lab in that sense, and I was working with internationally based coders, 2D and 3D animators, musicians and composers.

Over time I realised that the diverse storytelling skillset offered by this incredibly talented network could also be extended to B2C clients. The key to the transition was to take the branding and corporate identity knowledge I’d garnered as director of my previous communication agency and combine it with a broadcast quality animation service. With that link at the core of the business, I knew we could help clients really leverage the brand-building potential of one of the most underutilised and undervalued IP assets in the age of social media, namely brand mascots.

Could you describe your agency in a few words?

We create shareable animated stories starring brand mascots. We are also developing original IP for broadcasters and streamers. The story-centric approach used in developing original IP flows into what Wivern offers B2C clients looking to reach international fans.

One of the agency differentials is the brand mascot animation. What would you say are the best advantages for brands, and what does this process involve?

It’s based on the fact that like most people, I don’t like ads or their intrusiveness. If I have to skip something to get to the content I want, which I do nearly 100% of the time, how is that helping the client get the world out about their product? It’s pollution, reducing my life satisfaction when the job of a storyteller is to increase it.

So we take the opposite approach: We aim to develop the content people actually like enough to share. The fact that it stars your mascot is one aspect of this, but the main point is that the viewer sees a fun little show they can talk about. This means there’s no ‘push’ to what we do. Just pull. The clients we work with understand that if you make something that is attractive and universal, let’s say by incorporating kindness, compassion, humour, vulnerability or humanity, that’s devoid of any 20th century ‘here’s our product, go buy it’, the power of social media helps to multiply its reach.

The pull factor is what brings people to your new attraction by volition, out of curiosity. What the viewer doesn’t see is the 360° analysis of brand values we carry out at the start to ensure we animate appealing and recognisable ambassadors people will want to see in their feed. Think of all the mascots representing the world’s most recognised firms. Many have outlived several CEOs and countless brand campaigns. Finding and capturing such mascots’ ‘longevity’ is what we aim to do for every client. And because we are an international team working remotely around the world, we are uniquely well-positioned to do this in a culturally sensitive manner. It always comes down to the question: Will people still enjoy this in 10 or 20 years? Will they feel nostalgia when seeing it again? Are the values depicted universal? If not, we revise. Original music and catchy jingles also play an important role in this.

The work we just completed is a pilot for a network series called Jumpy Puppy. It’s based on stories my dad told me growing up near the bush in Perth. It’s actually what we are sending potential clients right now as a sample of our storytelling, because it’s fun, fresh, action-packed and warm.

It’s also the kind of mini-cartoon that I as a parent would be happy having my little one watch. It contains the elements of kindness, wonder and humour that resonates across cultures.

How do you assure the content truly relates to the brand’s core values and personality?

A great question, because this is exactly what we have structured the entire service chain to ensure. It does depend on whether there is an existing walking act (a physical mascot that goes to events) or if the mascot is just in a logo. Also, some clients like zoos might not have a specific mascot, but several possible options. It also depends on the age of the brand. Some newer companies might have a charismatic founder, and their guiding principles could be reflected in their animated ambassador. So a series of interviews are always required. More established companies might reveal their values and personality in their current slogan. So we will examine that in terms of how it fits within an animated story with universal appeal, one that also achieves the brand’s objectives for their new offering or attraction. We also pay attention to both the internal perception (how do staff see the business) as well as the external, namely how is the brand currently perceived by the market.

Sometimes we actually assist in shaping this perception because many firms don’t have a central figure they can rally around and happily share. Mascots are great for this cohesion and corporate identity if rendered well. Once we have three or four uniquely defining personality traits, we start with the scripts and the character designs so that the mascot is ready for animation.

Designs will invariably go through a number of iterations until we know we are close to the longevity I mentioned earlier. In this sense, it really is designing a mini-cartoon series from scratch, but at very competitive rates due to the way we’ve built our digital-only pipeline. So to answer your question, it really comes down to showing humility and listening carefully to ensure what we craft comes from the heart of the client company. It’s also why we tend to work white label and are not interested in third-party awards. We’re there for the client 100% to allow the client to publish under their own brand. Their satisfaction is all that matters. If it’s not 100%, we revise or refine, because it means we haven’t quite caught their voice yet.

Where do you go if you want to get inspired?

A lot of inspiration comes from within the brand itself. I would say 80%. For the remaining 20%, we might look at ways in which the brand is helping society in some broader manner. There are often little tales online, perhaps real-life customer experiences posted on review sites, that can be utilised for this because they are often filled with emotive terms. A brand’s own videos can also be extrapolated: Who are the characters talking to when they tell the tale, is there a common theme, what is the language tone or colour scheme used (or can one be created), how do these elements relate to what we might find in a fictional world. The options are limitless. Still, sometimes I might return to the masters to see how they captured a situation in word, paint or moving image. And if all that fails, and even when it doesn’t, I head into Nature. It works every time. It’s something everyone should do as much as possible.

What’s the best piece of advice you’ve ever received?

Serve others with humility, offering something others can’t.

Who was or still is your mentor?

I think Jim Henson’s approach is something I admire and seek to emulate to some extent, in that fun comes first, followed by learning. Kids, and I guess people generally, like to learn but don’t necessarily like being taught.

Providing something that is fun and shareable is what motivates me, with a sprinkling of new info on top. It’s an approach that works extremely well for clients to organically boost brand affinity, loyalty and visibility in the age of social media. Genuine humour, mad antics, cuteness, all that fund stuff cuts through the noise. He was well ahead of his time in that sense. Or maybe he just knew this age-old secret.
Can you name a fun-fact people would be surprised to learn about you?

I nearly crashed the Zambezi River ferry, I’ve milked goats in central Spain, trimmed salmon with brigands in the highlands of Scotland, pulled a jumping jack on the snowy streets of Lübeck, drove a madman to his tiny home through Tehran traffic, unhappily own a quarter of a vintage car somewhere in Argentina, and travelled to some 50 other countries to understand humanity’s connective threads. Weaving those threads together within stories is what I and the team offer clients, whether they be broadcasters or brands.

Thanks Jerome!

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