Tag Archives: lead

ViacomCBS Consumer Products to share Diversity & Inclusion insights plus new toy research during BLE Day 2 keynote

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ViacomCBS will share insights from its corporate Diversity & Inclusion efforts with a specific focus on its recently conducted toy research study during Brand Licensing Europe’s second day keynote.

Mark Kingston, Senior Vice President, International, ViacomCBS Consumer Products will lead the keynote and review the impact on culture, community and industry when there’s a strong commitment to diversity, inclusion and belonging. The keynote will also include Ameeta Held, Vice President, Insights and Business Strategy, Consumer Products, ViacomCBS, referencing original toy research detailing the importance of authentic representation in dolls and the impact on choice.

The keynote, which takes place in-person at BLE from 13:00-14:00 on Thursday 18 November, will also set the background as to why the consumer products and licensing community plays such a pivotal role in diversity and inclusion.

“As an organisation we are dedicated to creating content that reflects the global audiences we serve, and within consumer products we are especially committed to ensuring our products are inclusive and representative,” says Mark Kingston. “Our latest research shines a light on the important role our industry plays in our continued conversation around Diversity & Inclusion and I look forward to presenting our thoughts and findings alongside my colleagues at BLE.”

Ahead of ViacomCBS’ keynote, representatives from Black Lives Matter Licensing UK will take to the stage to talk about the group’s purpose, goals and activity in the sector to date.

Informa Markets’ VP of Licensing Anna Knight says, “It’s not possible to underestimate the importance of this keynote to our industry and I implore everyone who is attending BLE to pre-register now and secure a spot. Consumer products has a huge responsibility – and opportunity – to represent, embrace and empower diversity if we are to build a more inclusive and equal future for consumers across the world.”

ViacomCBS is one of over 150 exhibitors currently confirmed for BLE, which takes place in-person at ExCeL London from 17-19 November followed by an online event on 30 November to 1 December. The Exhibitor list features companies from all three licensing categories – Character & Entertainment, Brands & Lifestyle, and Art, Design & Image – and with strong representation from Europe, the UK and wider afield.

You can view the show’s exhibitor list here.

You’ve watched Netflix’s Squid Game – now, thanks to Zavvi, you can wear it too

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Super-fans of the Netflix series Squid Game can now get their hands on official merchandise from the series. Online retailer Zavvi is launching a globally exclusive, limited-edition and fully licensed Squid Game clothing collection, based on the Netflix hit series which is taking the world by storm.

Inspired by the incredible cinematography in the series, Zavvi has released a complete range of merchandise, including T-shirts, sweatshirts, canvas high-top trainers and a selection of homeware. The range is emblazoned with the distinctive iconography from the series, representing all six childhood-themed games that feature in the show individually and through bright stills. The range also features ‘456’ in its designs, a nod to the 456 participants in the games.

The South Korean thriller, which could become Netflix’s biggest show yet, follows the story of a group of desperate and cash-strapped people competing in a bloodthirsty survival game.

The new and official Squid Game merchandise will be available worldwide, exclusive to Zavvi.com.

JAKKS Pacific launches new toy line for Disney’s ‘Encanto’

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Leading toy and consumer products manufacturer JAKKS Pacific has announced the launch of its new line of toys developed for the upcoming theatrical release of Disney’s Encanto, which is set to hit movie theatres worldwide on 24 November.

A heartwarming story of a young Colombian girl faced with being the only member of her family without magical powers, Encanto is set in a fictionalised Colombia and will feature eight original songs in Spanish and English by Lin-Manuel Miranda.

JAKKS is launching a global line of products that celebrate the entire family ensemble, key moments, music and room environments, allowing kids to play out their favourite parts of the film with their favourite characters.

The line coming to retail on 3 October features interactive playsets including the Magical Casa Madrigal, Singing Mirabel and Magic Butterfly doll, Sing and Play Mirabel doll, Mirabel and Isabela fashion doll assortment, Mirabel’s Musical Accordion, 7” key character plush assortment and character role play dresses. The product assortment plays original scores from the upcoming movie and includes interactive elements that bring the plot of the movie to life.

“We are beyond excited to launch our new toys for Encanto at retail this week,” says Lisa Tauber, SVP of Marketing at JAKKS Pacific, Inc. “We took great care to embody the authenticity and magic of the film when creating these products. From the singing Mirabel dolls to the Magical Casa Madrigal playset, JAKKS has developed a magical toy line with several surprises in store for the kids.”

JAKKS Pacific items for Encanto are designed for children ages 3 and up. Additional products will be featured in future waves coming next year.

Board game pioneer CMON teams with Monsoon Digital for new foray into NFTs

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The hit board game publisher, CMON Ltd has partnered with Monsoon Digital to launch a new series of digital products and promotional material using Monsoon’s soon-to-launch NFT trading platform.

Slated to go live later this year, Monsoon will become the exclusive platform for CMON digital collectable items, cards, artwork, and games. The first offerings will strive to expand upon CMON’s reputation as a leader and pioneer in the gaming space.

“The overall potential of NFTs adds a brand-new dimension to the hobby, game and collectible markets, one that we’re extremely excited to explore with Monsoon Digital,” said Chern Ann Ng, CEO of CMON.

“The goal of Monsoon is to provide collectors, art fans, and gamers with a stable and secure online home where they can organize, display, buy, sell and trade their digitally owned blockchain. It’s designed from the ground up to be tailor made for these particular fanbases, so that creators can design and launch products that are innovative and consumer-specific.”

Monsoon Digital will launch the public beta of its platform later this year, with CMON’s first wave of digital collectible packs set to be the site’s flagship product. Details of the first wave are being kept under wraps.

“While this is absolutely a breakout year for NFTs, we were determined to do something different and unique with the blockchain technology,” said Geoff Skinner, CMON’s SVP of Marketing and Entertainment.

“As it is with our tabletop games, our focus is on the customer. The goals we set for this new collector experience are simple: it has to be easy to use and accessible, it has to offer a special, personalized experience, and most importantly, it has to be fun. To these ends, we’re working with our top game designers, graphic designers and artists to create our first blockchain product on Monsoon’s incredible platform.”

CMON has earned a reputation as a trendsetter in the gaming industry since successfully launching its first crowdfunded game on Kickstarter in 2012. The company remains the number one fundraiser across all categories, having raised over $72 million from 48 successful campaigns.

To celebrate the launch, CMON will be giving many of its more than 100,000 Kickstarter backers the chance to receive free NFT airdrops when Monsoon goes live. In addition, each of those backers will eligible to receive a “CMON Backer” promo NFT that will never be offered again.

The LEGO Foundation and KIRKBI offer $15.7m of support to children in Haiti and Afghanistan

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The LEGO Foundation and the LEGO Group’s owners, KIRKBI have offered up 100 million Danish Kroner – the equivalent to $15.7m – to support vulnerable children in Haiti and Afghanistan with partners Unicef, the UN Refugee Agency, and Education Cannot Wait.

Through the pledge, 30 million DKK will go to UNHCR, 20 million DKK to Unicef, and 35 million DKK to Education Cannot Wait. The remaining 15 million DKK will be distributed in due course as the needs of the emergencies unfold.

“The humanitarian crises that are happening in Haiti and Afghanistan are unimaginable and only intensified by the COVID-19 pandemic. Both require a response that focuses attention on the immediate and long-term impacts,” said Thomas Kirk Kristiansen, chair of the governing board, The LEGO Foundation, and fourth generation representative of the LEGO owner family.

“KIRKBI and the LEGO Foundation, as the owners of the LEGO Group, have an immense opportunity to respond to the crises. With the grant, we hope to take a targeted approach to support the needs of the people of Haiti and Afghanistan – not least the children who are in a urgent need of protection assistance.”

Before the current political crisis, almost half the population of Afghanistan – 18.4 million people (8.2 million children) – were in need of humanitarian and protection assistance. Since May 2021, over 500,000 people have been displaced, and the rights of women, families and children are gravely endangered.

According to the National Statistics and Information Authority (NSIA), Afghanistan has one of the youngest and fastest growing populations in the world, with 46 per cent of the population (11.7 million children) under 15 years old.

Those who have fled the crisis require immediate and ongoing support, especially families and young children.

John Goodwin, CEO of The LEGO Foundation, said: “These grants are an important part of our ongoing commitment to supporting children affected by crises. We know that by giving attention to young children and their continued access to learning in crisis settings, especially their early stimulation needs, we can make a big positive difference to them immediately and in the long-term.

“Together, we hope to provide more children with access to early childhood and education services needed to develop skills such as critical thinking, creativity, and problem solving. Social and emotional skills are vital for children to overcome the stressors caused by crisis situations, and to build resilience and adapt to the needs of the rapidly changing world.”

The 7.2 magnitude earthquake that struck Haiti on August 14th, followed by Tropical Storm Grace, has left half-a-million Haitian children with limited or no access to shelter, safe water, healthcare, and nutrition.

With COVID-19 still an imminent threat to the health and safety of Haiti’s population, the loss and damage associated with these most recent natural disasters only further compounds the dire situation so many children and families are experiencing.

“As a global fund dedicated to education in emergencies, our First Emergency Response is one of impatience. Education cannot wait until the emergency is over. Thanks to the rapid support by the LEGO Foundation we can now establish safe learning spaces for children, and provide mental health and psychological social support without delay,” said Yasmine Sherif, director, Education Cannot Wait.

“Early Childhood Education needs are central to our response, alongside other components of quality education. In Afghanistan, this additional funding will enable us to continue implementing community-based education to target the most vulnerable children, with an emphasis on girls.”

To learn more about how LEGO Foundation supports children around the world, visit www.LEGOfoundation.com.

In addition to the 100M DKK grant from the LEGO Foundation and KIRKBI, Ole Kirk’s Fond has supported the people of Afghanistan with a 50M DKK grant to Red Cross in Denmark. Visit www.olekirksfond.dk for more information.

Zavvi launches limited edition, exclusive Pokémon Explorer clothing and accessories collection

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The UK online retailer, Zavvi has partnered with the Pokémon Company International to launch an exclusive, limited edition and fully licensed Pokémon Explorer clothing collection. The new range takes inspiration from the anime IP and the ‘sense of adventure’ felt when players explore the outdoors with Pokémon GO.

Designed as an ode to Pokémon GO’s enduring effect on audiences across the world, the Zavvi Pokémon Explorer range is targeted at avid wanderers, and is billed as ‘perfect for trainers setting off into the wildlands of their region to find coveted Pokémon.’

According to the team at Zavvi, the range ‘draws inspiration from the simplicity of the outdoors,’ combining natural and earthy tones with ‘utility themed garments’ emblazoned with some of the most iconic Pokémon characters. T-shirts, hoodies, and military style jackets in the collection feature the likes of Bulbasaur, Charmander, Evee, Snorlax, and Pikachu.

The partnership will also see the launch of a limited edition selection of accessories, including a cap, bucket hat, and a backpack featuring a woven Pikachu Scouts-inspired patch, ‘perfect for venturing out into the wilderness.’

There will also be two limited-edition Zavvi x Pokémon handcrafted canvas high-top designs, featuring Charizard soaring over a mountainous landscape on a white background.

The new merchandise will be available to purchase from 12pm on 25 August 2021, exclusive to Zavvi.com.

When Geek Culture went Pop! | Kids Industries on how we’ve all adopted the geek market (without even realising)

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Aleksandra Szczerba, researcher at Kids Industries, explores the ubiquity of geek culture today, and the very real chance that if you’re reading this, you’ve long since become one.

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No longer constrained by the four walls of a dimly-lit basement or the stacks of a comic book store. No longer only openly revered by social outcasts (and covertly by everyone else in fear of being shunned). So-called “geek culture” is – in many ways – no more. Or at least it has evolved to be something vastly different than it has been in the past. The cornerstones of geek culture of decades gone by, from sci-fi to comic books, from video games to anime, don’t just have their footholds in the mainstream. They have become the mainstream, permeating today’s biggest children’s and adult media trends alike. So how have we all become geeks, how did this happen, and what does it mean for the future?

The most obvious way in which geek culture has become a staple in pop culture is of course through screen adaptations of comic books, both feature film and television. Although one would think that DC had the head start, having the rights to iconic characters such as Superman and Batman, it is Marvel that took the movie industry by storm in the past decade. The Marvel Cinematic Universe, comprising more than 20 films and dozens of characters, became a set of interwoven narratives and franchises, brought together in a grand finale in the form of the highest-grossing movie spectacular of all time (at the time at least). “Avengers: Endgame” earned $2.798B at the global box office, and is now the second highest grossing movie of all time, after being narrowly dethroned by the re-release of James Cameron’s “Avatar”. Notably, it is not the only Marvel film people around the world saw in droves: “Avengers: Infinity War” is fifth in terms of box office earnings, and the first “The Avengers” movie ranks 8th. The dollar signs speak for themselves – it’s not just geeks who are all over superheroes today.

Although “Endgame” brought a sense of finality to the MCU, Marvel is not slowing down – it was only the end of Phase 3, and we are already well into Phase 4 with the release of “Black Widow” and the many streaming titles being released on Disney+. Each series is dedicated to developing fan-favourite side characters, and these have been a hit for the platform, both in drawing in subscribers – and in drawing critical acclaim. The June release of “Loki” coincided with Disney+’s biggest increase in mobile app downloads among major streamers, with a 39% increase in the week ending 27th June, and an 11% increase in streaming sessions, according to Bloomberg’s Apptopia data, and in general Disney+ is currently chipping away at Netflix’s dominance in the streaming space. It definitely takes a bit of a geek to want to watch a multi-episode series about a villain or a supporting character who didn’t get their own feature length movie, and clearly there is no shortage of those out there. They also come in all shapes and sizes – at KI we have interviewed children as young as 6 who report enjoying watching Marvel series with their parents.

To put it simply: superheroes are cool now. And it’s not just the MCU. The “DC Extended Universe” may not have taken off in the same way, but television’s “Arrowverse” definitely has its own very loyal following. Superhero movies and TV shows, like “Logan” or HBO’s “Watchmen”, have received prestigious accolades. Comic book brands are no longer “for kids” or “for geeks” – everyone knows these stories and characters, including their mother, father and brother. Once upon a time everyone knew that Superman was the super strong guy, now everyone has an opinion on where they stand in the Captain America vs Iron Man conflict in “Civil War”. There is something for everyone in comic book stories, from a bit of good old fashioned fisticuffs, in-depth character conflict, to comedy and teenage high school hijinks. Many of today’s superhero stories are also more diverse and more relatable; everyone is bound to find a type of superhero they can enjoy.

To an extent the appeal of comic book movies also translates to other expressions of fandom. Parts of the “geek” industry have seen growth, from collectable merchandise like Funko POP! action figures (Funko reports growth every year and quarter, with the POP! line specifically most recently seeing growth of 33% in US and Europe in the first quarter of 2021), to events (the San Diego Comic Con attracts upwards of 130 thousand attendees every year). Similarly, one would expect this to translate to comic books – and many in the industry do cite MCU’s success as the reason for the U-turn in the decline in comic sales post-1993 (i.e. when the comic book bubble burst – but that’s a story for another day). In the 2010s, comic book sales in the US alone crossed the $1 billion mark in 2015, and grew to a $1.2 billion peak in 2019. However according to retailers the ‘movie-lover-to-comic-reader’ conversion is difficult, and hasn’t been all that successful. Yes, more people come into stores and give comics a try, but they also stick to content that is as close to the adaptation as possible. The industry has seen boosts and has seen increased sales related directly to trending storylines or characters – but the bottom line is this: we might collectively be comic book movie geeks, but we’re not quite comic book geeks (yet).

Similarly to superheroes, once upon a time interest in anime and manga may have been limited to people known as “otakus” or “weebs”, but in the year 2021 things could not be more different once again. The anime industry is worth over $20 billion today, with overseas markets accounting for half of the Japanese animation industry’s profits according to the Association of Japanese Animations. In 2019 the industry reached an all time high of $24 billion, with the overseas market valued at around $11 billion – a 19% increase on 2018, and almost a fivefold increase from 2009. These numbers include everything from animation itself (TV and film), to music, and merchandise, with the latter alone being worth over $5.2 billion globally. The dollar signs don’t lie – they’re all pointing East. Not only are we geeks, we’re also otakus.

Data from various streaming services further backs up the data on anime’s growth. According to the specialist anime streamer Crunchyroll’s data, a whopping 8 in 10 people today watch anime, and the platform has felt this. During last year’s Festival of Licensing the platform boasted of nine consecutive years of record sales (the site doesn’t just offer anime, but also manga and merchandise), and in February 2021 the site had hit 4 million paying subscribers, alongside over 100 million registered users, having grown its paid memberships by 33% in the space of just six months. In December 2020 news emerged regarding a possible monumental merger worth almost $1.2 billion in which Crunchyroll would be acquired by another anime giant: Sony’s Funimation. The deal is still up in the air, but if the deal goes through, it will lead to the creation of a veritable anime giant.

Anime isn’t just something found on niche platforms however; regular mainstream players recognise the power of anime too. In 2020 Netflix reported that more than 100 million households across the globe had watched at least one anime title on the platform between January and September, an increase by 50% from the year before, and that anime titles had appeared in top 10 lists in nearly 100 countries. The company has a Tokyo-based team dedicated to anime production and is regularly producing new content as well as acquiring new titles. Just as an example, earlier this year they released a well-received two-part Sailor Moon movie “Pretty Guardian Sailor Moon Eternal”, and August will see the release of “The Witcher: Nightmare of the Wolf”, an anime prequel to the live-action fantasy “The Witcher” series based on the Polish hit-books-turned-hit-video-games (now how’s that for layers of geekiness?)

Of course, the best known titles today are still the likes of Pokémon, Naruto, Studio Ghibli movies, but people are broadening their horizons. This exploration does not end with animation – manga sales were at an all time record high in 2020. Based on NPD’s BookScan data, across the 20 top selling adult graphic novels in the US in October 2020, 17 were manga titles. One of the biggest hits of today took the top three spots: My Hero Academia, a shōnen superhero-themed series popular with teenagers. This year an ever hotter commodity is the supernatural series Jujutsu Kaisen, particularly following the release of its anime adaptation; as of May this year it has 50 million copies in circulation, it has had successful brand collaborations including Uniqlo, and has topped the list of Japan’s most lucrative franchises of 2021 so far.

Anime and manga are popular enough in the English-speaking world that an element of fandom never previously accessible to these audiences is finally being opened up to them as well. This summer, for the first time ever, stage adaptations of popular anime will be streamed online with English subtitles for non-Japanese speaking audiences. These musical stage productions, also known as “2.5 dimensional musicals”, are a big part of manga, anime and video game fandom in Japan, but overseas audiences haven’t been able to engage with them officially until now. In August musical adaptations of Naruto, Sailor Moon and My Hero Academia will be streaming as part of a special online theatre event.

Geek culture has undoubtedly morphed and evolved over time, and the 21st century has seen it become – for all intents and purposes – pop culture, with previously “geek” franchises and fandoms becoming your standard, everyday, blockbuster fare. How “geek” evolves from this point on, we are yet to see – but it is definitely here to stay. It has made its place in the media landscape and it is seeping into trends everywhere. Geek franchises have bastions of fans, and they’re primed and ready to discover new titles and brands that align with their tastes. It is official: we have all become geeks (probably without even realising it).

King Features gives its classic animated character Olive Oyl a modern rebrand with fearlessness at its centre

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She’s one of the classic animation world’s most iconic females that has, for generations, been perceived as the archetypal damsel in distress and focus of Popeye and Bluto’s embittered love triangle, but for Olive Oyl, the course of history is about to be altered for good.

King Features Syndicate has this week unveiled a new look and vibe surrounding the heroic Olive Oyl, highlighting her attributes as a star in her own right, delivering laughs to readers long before Popeye ever entered the picture. And now, following decades of living with Popeye’s stardom, the world is finally about to meet the true Olive.

Created in 1919, Olive was groundbreaking for the era as one of the first, globally recognized female cartoon characters who did not conform to traditional female stereotypes. Tough and independent, Olive Oyl never required support from a partner, providing for herself first as an entertainer and later through other careers. And while she had many interested suitors over the years, she chose never to marry or start a family.

Her strong will and affable nature make her as relevant today as she was 100 years ago.

A description of her character, issued by King Features Syndicate, read: ‘From her physical appearance to her personality quirks, Olive embraces those things that make her unusual and truly loves herself. She is a huge romantic who is proud to be a lady but doesn’t feel bound to act lady-like.

‘A smart and empowered woman with high standards, she is also lighthearted and adaptable with a wry sense of humor. Olive is self-assured, strong and not afraid to stand up for herself or get her hands dirty but also knows when to lean on her friends.

‘Her dynamic personality shows that a woman can be many things – powerful, driven, vulnerable and sensitive – and that emotions are meant to be felt and expressed. Her confidence radiates and inspires others of all ages, gender identity and backgrounds ­to celebrate their unique selves.’

As part of her rebrand, King Features has launched a set of new Olive Oyl trend guides, depicting the character as the embodiment of a lifestyle filled with humor and love. Her design incorporates a modern twist on retro fashion while her unique physical depiction remains the same.

Flexibility is also a key identifier for Olive – both physically and emotionally – so several poses that showcase her elasticity are included. The character art is thoughtfully paired with entertaining yet insightful editorial anecdotes that are relatable to her audience.

“Timing couldn’t be more appropriate to reintroduce audiences to Olive Oyl,” said Carla Silva, vice president and general manager, global head of licensing, King Features.

“For too long this strong, confident and fearlessly female character has been viewed through a singular lens. With this rebrand we are not just introducing Olive to younger consumers for the first-time, we are also presenting more established fans with sides of her personality that they have likely never known before.

“Olive is not just a character, she represents an attitude and a lifestyle that appeals to a wide audience, one not limited by age, geography, gender or background. Olive is just Olive, and we’re ready to watch her take the world by storm.”

Over the decades, Olive Oyl has had a long, successful history in consumer products. Style makers around the world have been inspired by Olive’s confidence and glamorous self-perception, particularly those in the high-fashion space.

For over 20 years she has served as Moschino’s muse appearing in collections each year across product categories, most notably their CHEAPANDCHIC fragrance which is in its seventh iteration since launch in 1995. Other recent fashion collaborations of note include Iceberg, Joyrich, Monnalisa, Liu-Jo, Original Marines, United Colors of Benetton, DTRs with GAP, C&A, Zara and a 2021 Valentine’s Day retail program with C&A in Mexico.

Beginning in Spring 2022, fans will see Olive’s new style represented across a range of collaborations, with King Features seeking new partnerships for the character in categories including apparel, accessories, health & beauty, jewelry, handbags, wellness and more.

Toikido talks | “Video game licensing is in the best health of any entertainment platform”

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Fresh from welcoming the latest major gaming IP to the fold in the form of the British indie game developer’s multiplayer title, Gang Beasts, there’s a palpable and persistent excitement among the Toikido team right now. This was an outfit that, upon launch last year, promised to turn the toy and licensing sector on its head.

So far, having turned around a successful toy line based on one of the biggest gaming franchises of the past two years, within a record-setting six months (navigating a pandemic and shipping chaos out of China along the way), Toikido’s debut product portfolio for the Among Us IP appears to have done just that.

Straight out of the box, the Among Us toys have been subject to rave reviews online from across the markets, hitting demand in a timely fashion as retailers now begin to reap the benefits of the Toikido model. It’s why expectations are now high for the team’s follow up property, and why excitement levels are even higher; all for a game that is yet to receive an ‘official’ launch.

Licensing.biz catches up with Toikido co-founder, Darran Garnham for a quick run through of all the latest:

There was a lot of excitement around the announcement that Toikido had signed with Among Us – what has the momentum behind the signing been like in the months since – the buzz doesn’t seem to have gone away – what’s been fuelling the excitement?

The team at Innersloth and Duel Wield have managed the programme phenomenally well. Protecting their licensees and not double licensing ensures the products supply and demand is in a great balance to keep momentum. Inbound interest from fans has been incredible and great fun.

What plans have you got in place for the Among Us brand from here and for the rest of the year onwards? What categories will be key for you as you build the brand from here?

Product is just hitting shelves now with toys in market in most countries.  We have moved from contract to shelf in just six months which is amazing.  We could have been even quicker had we not had Covid & the shipping chaos out of China. The reaction from every market has been positive and we have delivered to retail ontime.

The toys will be driving the programme but design on apparel, bedding and puzzles looks really strong. The game itself has had some exciting updates so this allows us to plug into new characters / colours and ship elements.

How do audiences for gaming IP differ to other entertainment, how does it influence the licensing strategy for the brand? How do you tap into the cross-generational audiences?

The gaming community are extremely supportive and invested in the game and products and are very vocal on social media. I love that. I want the fans to tell us what we are doing right, wrong and what products are missing from the range.

Gaming content – compared to entertainment like films – is never static – i.e. subject to updates and new gaming modes etc… To what extent does this influence the licensing programme, what level of creativity or freedom does this bring to the table for you guys?

Thankfully working with digital IP is nothing new to the team at Toikido. We are set up to flex and move fast as game updates drop. We all love what we do and so the WhatsApp / Slack chat over the weekend is as busy as it is during the week.

Can you talk us through the latest gaming IP under the Toikido umbrella? What will this be bringing to the video game licensing space?

We are really proud to have added Boneloaf and the multi-award winning Gang Beasts. This is a crazy, bright character fun filled multiplayer game. I know when my kids are playing as I can hear the shouts and laughter.

We will be working closely with Boneloaf so expect a wide variety of products and some super fun toys. The game is coming to Switch this fall and so it’s great timing building on the current fanbase and expanding with Nintendo. 

 Why is this the right move for you guys, what makes this an ideal partnership and IP for Toikido?

The Boneloaf team share our values. We like working in partnership rather than just feeling like ‘another licensee’, that’s what we have with Innersloth and now with Boneloaf.

 

Is the video game licensing space in good health? What do you think of the state of innovation and creativity in the video game licensing sector? What is Toikido bringing to that space?

I think it’s in the best health of any of the entertainment platforms. I think it’s also setting positive visions of change through the #RaiseTheGame Diversity Pledge – ‘RaiseTheGame is a collaborative and high-impact pledge to improve equality, diversity and inclusion in the games industry – creating cultures where everyone belongs, voices are heard and ideas can thrive.’

It’s exciting to be working with studios to expand their fanbase, work with current fan crop and expand global opportunities for their IP.

What’s the next step for you guys?

We have three of our own IP in development, a Netflix IP launching in fall and an NFT project that I believe is very unique in this exploding space.

We will also announce an exciting strategic investor in the coming months so we not only have fuel for growth but additional IP coming into the business.

 

British gaming studio Boneloaf taps Toikido for Gang Beasts global master partnership

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Toikido has struck a new major, global master partnership in the gaming space, this time partnering with the British indie games publisher Boneloaf to launch a range of toys, apparel, stationery, and more for the popular, multi-player beat ’em up party game, Gang Beasts.

The new pairing marks the second major gaming IP that Toikido has signed up since its launch last year, following the success of its Among Us toy line, a range that it currently causing a stir on the global toy and retail scene.

“We are huge fans of the Boneloaf team and have been playing Gang Beasts together and with our families for age, so to bring it into the Toikido stable is amazing,” said Darran Garnham, founder of Toikido.

The British studio, Boneloaf is currently working on a series of experimental multi-player party games, protoyping and play-testing to best identify fun new titles. Having grown up on a diet of Mario Kart 64 and Goldeneye 007, the studio has set out its mission to develop titles with a similarly lively and fun feel to them.

Recently announced for release on Nintendo Switch, Gang Beasts already has a strong fanbase and a series of honours, including Honourable Mention for Excellence in Design the Friendly Fire (Best Game to Mess with Your Friends) from Curse at E3, the Gamer’s Voice Award in the Multiplayer category at SXSW, Better with Friends Steam Awards, and a BAFTA nomination in the Multiplayer category in 2018.

The first range of product from Toikido will launch in 2022, spanning categories including, but not limited to toys, apparel, stationery, and more.

Toikido is a business that “pushes the envelope of innovation” in not only the kind of toys and IP it delivers to a contemporary toy industry, but in the way the industry itself operates. Boasting an infrastructure to operate at lightning speed, the outfit brought Among Us to market in under six months from agreeing terms to hitting the shelves, a practice deemed as revolutionary to the normal route to market.

“Toikido has been born by handpicking amazing people who I have always wanted to bring together,” Darran Garnham, the businesses founder told ToyNews.

“We’ve developed an ecosystem across many disciplines and skills that are really going to shake things up a bit and I’m really very excited about the future of the business.”