Gone with the Wind.
Citizen Kane.
2001: A Space Odyssey.

Pulp Fiction.

If they were released today, they’d just be one more drop in the endless sea of streaming platforms.

Because today, cinema is what you watch when you’re bored of videogames.

And yet, the latest Dragon Ball game is gathering dust on your shelf while you finish the Fallout show.

Whether you make video games, films, manga, novels, podcasts, TV shows...

If your goal is to make an impact on culture, then you need to learn to JUMP from one format to another.

To make this clear, let me quickly tell you the story of someone who did it wrong and someone who did it right.

One lost millions, the other made them.

And they were neighbors.

This story takes place in the year 2000.

At the S.B.Q. building in Tokyo, Japan.

The downstairs neighbor was Square Soft.

And in Square Soft worked a man named Hironobu Sakaguchi.

Sakaguchi was near 40 years old and the creator of the most famous video game saga in history: Final Fantasy.

But Sakaguchi wanted more.

So, he stood before Square Soft’s executives and said it was time to take a leap into the unknown.

Sakaguchi wanted to be a film director, to compete with the biggest studios in Hollywood.

He wanted to make a 3D animated movie.

Remember, this was the year 2000, when only two studios in the world were doing anything like that.

The film Sakaguchi eventually made was called Final Fantasy: The Spirits Within.

It cost $130 million to make.

And it grossed a grand total of... $85 million worldwide.

Yep.

It cost $130 million.
It made $85 million.

Doesn’t add up, does it?

Square Soft’s executives didn’t think so, either.

But before we dive into why Sakaguchi’s project failed, let’s talk about its production.

Because Sakaguchi is Japanese.

And he worked for a Japanese studio.

And together, they had made 10 video games in Japan.

But to make their groundbreaking film, they decided to build brand-new studios in...

Hawaii.

Officially, the story goes that they chose Hawaii to be closer to Hollywood.

What the official stories don’t mention is that Disney and Square shared the same building in Japan.

Disney was the upstairs neighbor.

And both companies were working on revolutionary 3D animation technology.

And industrial espionage is real.

And it’s not exactly comfortable to work on a secret, groundbreaking project when the other runners in the race are riding on your back, like a backpack breathing down your neck

So Sakaguchi packed up and took the whole crew to Hawaii.

Have you seen the movie Oppenheimer? When they isolate themselves in a small town to build the atomic bomb? Well, it was something like that, but in Hawaii and with animation.

And there, isolated and free from spies, they created one of the most technically impressive movies in history.

Technically.

It was revolutionary.

A visual masterpiece.

Even 25 years later, it’s hard to find something that looks as impressive.

Without a doubt, they had technically outshined Disney by a landslide.

But when it came to connecting with the audience...

It failed.

Completely.

Because what everyone expected from a Final Fantasy movie was some connection to the games.

We wanted to see familiar characters, or at least something tied to that universe.

Instead, Sakaguchi gave us a different story.

Was it good?

Bad?

Who cares?

It wasn’t ours.

It wasn’t the Final Fantasy we knew.

And while Sakaguchi was failing with his insatiable ambition… what were the guys upstairs doing?

Disney.

The spies he fled from.

What were they doing while Sakaguchi was blowing $130 million on a movie that had nothing to do with the story of his games?

Well, what Disney was doing at that moment was signing an agreement with their downstairs neighbors.

With Square Soft.

With Sakaguchi’s bosses.

An agreement to create a video game featuring Disney’s characters.

Disney owns the most beloved characters in the world.

And they know how to manage them.

They knew Mickey, Goofy, and Jack Skellington were their most valuable assets.

So, Disney partnered with Square Soft to create a game that combined what made both companies exceptional.

Together, they created a game franchise that now boasts 13 titles and over 36 million copies sold.

Kingdom Hearts.

Sakaguchi thought his JUMP meant changing everything, characters, stories, even the country.

Disney simply took the elevator down one floor.

Sakaguchi betrayed his audience, and Square paid the price.

Disney, however, embraced the rules of video games.

And they made the JUMP to that format while preserving the essence of their films.

Something that seems so obvious, yet many major studios still make the mistake of forgetting it.

All the success in the world in one format doesn’t guarantee success when making The Jump.

The only guarantee lies in achieving a peripheral vision for your project.

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A daily strategy delivered to your inbox every 24 hours. And if you’re one of those considering making THE JUMP, some of the emails I’ll be sending will be especially relevant to you.

For example:

Do you want to betray your audience? I’ll share the only two reasons why your audience might actually thank you for breaking their trust. (email #7)
The technique I learned from the screenwriter of Being John Malkovich that can help you revive a franchise, even if it’s been buried for decades. (email #11)
The strange competition between Psyduck and Pornhub and how it can inspire new goals for your project. (email #14)
Two essential parameters for a successful adaptation: one taught by Alfred Hitchcock, and the other by a squashed frog on a highway. (email #21)
Why did all video game adaptations from the ’90s fail? And why are so many still making the same mistakes? The answer was tucked away in an old magazine I bought in 1994. (email #26)

Although so far I’ve only told you about our commissioned work, ANGRY METAL also has original projects in the pipeline, ready to hit the market.

For over 10 years, we’ve been helping to elevate massive franchises while reinvesting all our profits and knowledge into developing original stories that will proudly carry our personal stamp.

By subscribing to our daily email newsletter, you’ll get to learn about these projects before anyone else. Plus, I’ll personally share everything you need to know about them firsthand.

Your audience’s mind today is like a kid in a candy store.

There’s so much to choose from, that they’re not going to notice the black licorice sitting on the shelf by the entrance.

If you’re that black licorice, you’re screwed.

If you want the kids to eat your candy, you’ve got to be the damn Willy Wonka.

PLUS, YOU’LL GET A FEW SURPRISES

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I’ll answer that question in the third email.

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While keeping your focus on the main format, you must not lose sight of all the opportunities around you.

And here are three facts about projects with a well-developed Peripheral Vision.

The video game The Witcher 3 has sold 43 million books.
The animated series Cyberpunk: Edgerunners has sold 2 million video games.
The pioneer of today’s transmedia project model directed the three most expensive independent films in history, created a game engine that revolutionized graphic adventures, and became the sole owner of a company valued at $4 billion. His name is George Lucas.

Imagine what we would’ve missed as viewers, players, and consumers if these creators hadn’t made The Jump.

Luckily, they JUMPED.

And they did it the right way.

With peripheral vision.

We understand the risks any company faces when making that JUMP.

When we launched Angry Metal, we thought our work would resemble that of a live-action production company: receiving scripts and creating original films.

But nothing could’ve been further from the truth.

Our first job was with a YouTuber who asked us to create 3-minute videos paying tribute to the games he played on his channel.

That already gave us a hint that the relationship between animation and video games would shape the path of our career.

Since then, the JUMPS between the worlds of animation, live-action, and video games have been constant.

The End of Pokémon (2019)

In 2019, as a rebellious tribute, we created the only possible ending for Nintendo’s eternal saga. A bootleg trailer distributed on YouTube, where Ash Ketchum loses his best friend, Pikachu, in one of those violent animal battles.

It was the last time we worked on a project without the proper licensing. Yet, it was such a hit that people still ask us to turn it into a full-length feature film.

Captain Laserhawk: A Blood Dragon Remix (2023)

In 2023, Netflix dropped a series that reimagined all the characters from Ubisoft, the video game giant, as an adult animated show. Critics went wild for it, calling it one of the best adult animated series of the decade.

We pretty much helped create the series with Ubisoft and Adi Shankar. We jumped in when the project was just a baby, working on art designs, helping with scripts, and giving creative input all the way until Netflix gave it the green light.

Rugrats: Adventures in Gameland (2024)

This nostalgic and super charming game lets you play in two styles: classic 16-bit or traditional 2D animation.

We handled the 2D version. We nailed the iconic Nickelodeon style like it was second nature, doing all the artwork, character animation, and even directing the cutscenes. And yeah, we pulled it off in just six months.

Power Rangers: Rita’s Rewind (2024)

The Power Rangers are proof that an iconic franchise for one generation can totally stand the test of time by jumping across platforms and formats.

In this case, we focused on producing and directing the trailer. But honestly, getting to bring back Tommy Oliver and the whole gang was a huge milestone for us as a company and, let’s be real, as ‘90s kids at heart.

Jay & Silent Bob: Chronic Blunt Punch (2025)

We’ve animated over 50 characters, cutscenes, and two trailers for this retro beat ‘em up, keeping alive the world Kevin Smith built with Clerks and his legendary indie film saga. It always takes me back to those old-school video rental stores in my neighborhood.

Now, teaming up with our pals at Interabang, we’ve turned Jay and Bob’s universe into a wild, action-packed cartoon world with the kind of staying power that’ll keep kicking ass for decades. Four years of work have gone into this game, and we’re not just animators here, we’re producers too.

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