Six worlds,
in development.

Challenge: technical cases are engineered for serious work, but their marketing is easily reduced to specifications and another black box.

Creative answer: turn the problem-solving process into a repeatable cinematic universe. A professional faces a high-stakes mission. The Case Designer studies the enemy and equips them with a case system designed around the job.

World and format: a shadowed high-tech design space, comic-book cinematic energy and mission briefs — spanning aerospace and aviation, engineering and MRO, military and firearms, medical, emergency services, photo and AV, drones, sport, manufacturing, technology and marketing. Built as 3–5 minute hero episodes and 15-second cutdowns, with natural integration for partner brands such as GT Line, Explorer and Workline.

Star is vast, aqua and impossibly fluffy — a soft monster with the bearing of a professor. The comedy comes from total sincerity: Star never winks, never breaks, and considers a badly made bed a moral failure.

The world is built on scale contrast. Enormous fur against crisp folded cotton. A creature too big for the room, tucking in a corner with surgical patience.

Because Star is a character rather than a campaign, the brand can keep talking forever: seasonal drops, care rituals, sleep advice, tiny domestic dramas — all in one recognisable voice.

The Engineer speaks in flat, unbothered assessment while the world behind them quietly ends. Sirens are background noise. A ration tin gets marked down for poor ergonomics.

Oxford Containment Zone is the constraint that makes it funny: real streets, real objects, one absurd rule — nothing outside the perimeter is discussed, ever.

The format is endlessly extensible. Any product can be reviewed. Any brand can be a supply drop. The fiction does the heavy lifting so the sell never has to shout.

Gus is warmth engineered on purpose: expressive, slightly chaotic, physically funny, and generous with the camera. Recognisable in a thumbnail at 40 pixels wide.

Every appearance follows a simple emotional contract — Gus wants something small, Gus is briefly thwarted, Gus wins anyway. Audiences learn the shape and start anticipating it.

Character-led brand content compounds. Reach buys attention once; a character people like keeps earning it, and gives the brand a permanent front door.

Challenge: creator software is often marketed through feature lists and polished dashboards. The real audience experience is messier: research, hooks, scripts, storyboards, assets, prompts, revisions, thumbnails, approvals, uploads and analytics scattered everywhere.

Creative answer: turn the workflow problem into a recurring workplace comedy. Concept Brain embodies the unstoppable flood of ideas; Barry represents production reality. Their boss keeps requesting another “quick video”, and each meeting reveals another layer of chaos.

Product role: ApexVeo becomes the calm system underneath the comedy — the place where the idea becomes a finished, publishable video — without turning every episode into a software demo.

World and format: a slightly heightened creative office, rapid-fire conversations, recurring production disasters, visualised thought tangents and an expandable cast of creator-workflow characters.

Challenge: workwear launches often collapse into product grids, specification tables and interchangeable pictures of people standing with folded arms. A new range needs to signal a bigger new chapter for the brand.

Creative answer: rebuild Oxford Workwear around “Built for the Work Ahead” — a confident brand platform connecting product performance with the real people, environments and changing demands of modern work.

Campaign and world: cinematic worker portraits, real-shift stories, product engineering details, field-test content and a visual system that can move from ecommerce to packaging, trade counters, launch films and social.