In the throes of Covid with eyelids pried open by Wiggles rerun speculums, I remember thinking two things: do I need a compound bow? And maybe I should have a crack at making a videogame? As the ol' saying goes, “when toilet paper becomes currency, it’s time to do shit”. My benchmark was an old DOS game called “Cosmo's Cosmic Adventure” (Apogee) and I aimed to imbue my game with satirical themes and two principled concepts I thought were universally sound:
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Don’t be a c**t.
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Attributing individual characteristics to groups based on superficial identifiers is a s**t idea.
Enter “Brusnik’s Long Way Home,” a 2D side-scroller originally designed to unlock Vengeance's first single, “Long Way Home.” After collaborating with Sydney’s renowned Makeup Effects Group (known for their work on The Matrix and The Hobbit), Brusnik came to life—a puppet plagued by existential torment. His story kind of told itself!
After making the demo, I decided to crowdfund the next phase in an all-or-nothing Kickstarter campaign, which was a resounding success, raising $33,878 and placing Brusnik in the top 6.8% of game campaigns. This achievement allowed me to fund additional artwork and establish the necessary business infrastructure to apply for a grant with Screen Australia (an expensive exercise that would prove to be even more ridiculous than the game!).
“Wild game! I love that you’re making it! It looks really unique!”
Scott Miller, Apogee & 3D Realms Founder (creator of Cosmo’s Cosmic Adventure)
I also had the privilege of discussing the art of satirical content and its challenges with none other than Vince Desiderio, creator of the infamous “Postal” franchise, which inspired many games like Grand Theft Auto.
Additionally, DMC graciously granted me permission to feature a DeLorean in the game, which was a personal highlight for me.
I’m looking forward to picking up where I left off and diving deeper into game development. Stay tuned!
Brusnik's Long Way Home
Crafted in stolen moments across multiple European tours, this screenplay blends dark humour and sociological mangling, with a splash of Bigfoot, aliens, and cryptozoology. Drawing inspiration from the gritty, audacious world of OZploitation films, this tale about tales earned an unexpected compliment from the original Mad Max cinematographer: "Too gory and strange." I take that as a high compliment!
Like many of my projects, this one also falls through the cracks of commercialism like a parkour chip getting between the car seat and the centre console beyond the reach of any human hand or vacuum cleaner attachment. I made it as far as a meeting with a literary agent from a well known Hollywood franchise, only to find myself in the familiar polysemantic wasteland where 'compromise' is marketed as a progressive virtue vs. lowering of standards. Their feedback? "Needs a strong female character for modern audiences" (cue SouthPark's "Joining the Panderverse").
I find myself in the same boat as every other Tom, Dick & Sally who've penned a screenplay, either waiting for AI to revolutionise visual storytelling, or hoping to connect with whatever mystical beings bank roll unapologetic narratives.
If that's you...Hit me up!
The Joogabinna
From Bogan Bullshit to flesh eating reality. An outback publican must rally his ragtag band of drunken mates to save their town, their bar, and possibly the world.
Creating comics originated from storyboarding concepts for Twelve Foot Ninja music videos—a process born out of necessity to prevent costly filming mistakes, simulate timing, refine comedic elements, shoot non-chronologically, increase editing efficiency, and visually communicate ideas that might not land with words alone. The more specific the drawings, the more accurately ideas were transmitted and understood by all involved. This process naturally progressed to comic writing, animation, video game art, and screenplay writing—all branching out from the practical need to communicate unconventional ideas.
My first full-length comic and foray into illustrated self-torture was “Journey to the Illumosphere” (watch my read-through video below). Thankfully, I had the good sense to enlist some genuinely talented artists to help bring to life a story where the Shuriken Variax becomes a powerful talisman and my dog serves as a telepathic Charon of the multiverse. My follow-up, “Vengeance,” was a much larger undertaking. It attempted to link my first comic, the band, and all the disparity that is Twelve Foot Ninja.
Long Way Home Writer, Producer, Director | VFX & Epic Editing: Ben Davies
On Hand Killing Writer, Producer, Director
Ain't That a Bitch Writer, Producer, Director
Mother Sky Writer, Producer, Director
Over & Out Writer, Producer, Director | Dream Gravy & Zoltar Machine Bookends | Co-Director: Ben Davies
Start the Fire Writer, Producer, Director | News Report & Intro | Co-Director: Ben Davies
Sick Writer, Producer, Director | Co-Producer, Co-Director: Byron Keyhoe
Coming For You Writer, Producer
Stuck with You Concept, Editor
In the throes of Covid with eyelids pried open by Wiggles rerun speculums, I remember thinking two things: do I need a compound bow? And maybe I should have a crack at making a videogame? As the ol' saying goes, “when toilet paper becomes currency, it’s time to do shit”. My benchmark was an old DOS game called “Cosmo's Cosmic Adventure” (Apogee) and I aimed to imbue my game with satirical themes and two principled concepts I thought were universally sound:
-
Don’t be a c**t.
-
Attributing individual characteristics to groups based on superficial identifiers is a s**t idea.
Enter “Brusnik’s Long Way Home,” a 2D side-scroller originally designed to unlock Vengeance's first single, “Long Way Home.” After collaborating with Sydney’s renowned Makeup Effects Group (known for their work on The Matrix and The Hobbit), Brusnik came to life—a puppet plagued by existential torment. His story kind of told itself!
After making the demo, I decided to crowdfund the next phase in an all-or-nothing Kickstarter campaign, which was a resounding success, raising $33,878 and placing Brusnik in the top 6.8% of game campaigns. This achievement allowed me to fund additional artwork and establish the necessary business infrastructure to apply for a grant with Screen Australia (an expensive exercise that would prove to be even more ridiculous than the game!).
“Wild game! I love that you’re making it! It looks really unique!”
Scott Miller, Apogee & 3D Realms Founder (creator of Cosmo’s Cosmic Adventure)
I also had the privilege of discussing the art of satirical content and its challenges with none other than Vince Desiderio, creator of the infamous “Postal” franchise, which inspired many games like Grand Theft Auto.
Additionally, DMC graciously granted me permission to feature a DeLorean in the game, which was a personal highlight for me.
I’m looking forward to picking up where I left off and diving deeper into game development. Stay tuned!
-
Crafted in stolen moments across multiple European tours, this screenplay blends dark humour and sociological mangling, with a splash of Bigfoot, aliens, and cryptozoology. Drawing inspiration from the gritty, audacious world of OZploitation films, this tale about tales earned an unexpected compliment from the original Mad Max cinematographer: "Too gory and strange." I take that as a high compliment!
Like many of my projects, this one also falls through the cracks of commercialism like a parkour chip getting between the car seat and the centre console beyond the reach of any human hand or vacuum cleaner attachment. I made it as far as a meeting with a literary agent from a well known Hollywood franchise, only to find myself in the familiar polysemantic wasteland where 'compromise' is marketed as a progressive virtue vs. lowering of standards. Their feedback? "Needs a strong female character for modern audiences" (cue SouthPark's "Joining the Panderverse").
I find myself in the same boat as every other Tom, Dick & Sally who've penned a screenplay, either waiting for AI to revolutionise visual storytelling, or hoping to connect with whatever mystical beings bank roll unapologetic narratives.
If that's you...Hit me up!"From Bogan Bullshit to flesh eating reality.
An outback publican must rally his ragtag band of drunken mates to save their town, their bar, and possibly the world."
Creating comics originated from storyboarding concepts for Twelve Foot Ninja music videos—a process born out of necessity to prevent costly filming mistakes, simulate timing, refine comedic elements, shoot non-chronologically, increase editing efficiency, and visually communicate ideas that might not land with words alone. The more specific the drawings, the more accurately ideas were transmitted and understood by all involved. This process naturally progressed to comic writing, animation, video game art, and screenplay writing—all branching out from the practical need to communicate unconventional ideas.
My first full-length comic and foray into illustrated self-torture was “Journey to the Illumosphere” (watch my read-through video below). Thankfully, I had the good sense to enlist some genuinely talented artists to help bring to life a story where the Shuriken Variax becomes a powerful talisman and my dog serves as a telepathic Charon of the multiverse. My follow-up, “Vengeance,” was a much larger undertaking. It attempted to link my first comic, the band, and all the disparity that is Twelve Foot Ninja.
Long Way Home Writer, Producer, Director | VFX & Epic Editing: Ben Davies
On Hand Killing Writer, Producer, Director
Ain't That a Bitch Writer, Producer, Director
Mother Sky Writer, Producer, Director
Over & Out Writer, Producer, Director | Dream Gravy & Zoltar Machine Bookends | Co-Director: Ben Davies
Start the Fire Writer, Producer, Director | News Report & Intro | Co-Director: Ben Davies
Sick Writer, Producer, Director | Co-Producer, Co-Director: Byron Keyhoe
Coming For You Writer, Producer
Stuck with You Concept, Editor