The Developers

It all started with Peggy Chung and Robert Simons. They hail from the Art Center College of Design, one of the best graphic design schools in the US. Robert continued his work in cinema with director Michael Bay on Transformers. Peggy worked with Guillermo Del Toro on Pacific Rim. They realized that there was a demand for top-tier designers in the field, so they established Gadget-Bot Productions in 2011.

Since then, they have been engaged in character concept art, environment concept art, esports weapons concept art, 3D game assets (characters and weapons), film production and development, game development, and animation production and development. They’ve worked on big titles in the gaming industry, including AAA games like Call of Duty, Apex Legends, and Borderlands, as well as major movie titles. These professionals are not only experts in graphic design, but they are also skilled storytellers, which is why I’m personally bullish about this project.

I believe they are the most qualified to create NFTs in this space precisely because they can easily craft experiences that people can enjoy. Access to experiences is what gives NFTs utility and value. The team's ability to create immersive experiences is what will keep the economy alive and prevent people from cashing out the token every time they extract it from the IP. Sustainability is achieved when people stop exchanging your token for cash and start spending it on the IP to immerse themselves further. The past few months have been amazing for me as a Sparksuit holder. I was airdropped the second NFT—Spirit Guardian—for free. I have early access to everything related to Kaidro, including the game and the animated series. The team has been shipping non-stop. (Reference for the picture: YouTube video)

This is their legacy—they’ve stamped their names on the IP. I genuinely believe their passion will drive them to new heights in this field, and I'm fully supporting them every step of the way.

Developer testimony#1 (Robert)

Robert: As we approach the release of the Kaidro Spark Suit Mint and Kaidro Clan Battles Alpha, I've been reflecting on the journey that has brought us here. It's important to recognize the years of dedication poured into this project.

Peggy Chung and I began shaping the core concept and lore in 2010, but it wasn't until 2019 that comic development began. Transitioning to platforms like Webtoons and witnessing the support on Kickstarter for physical books was immensely fulfilling, yet our aspirations extended beyond comics.

In 2021, we set our sights on developing a game, drawing from our experiences with projects like Apex, Borderlands, and Call of Duty. With the support of fans and investors, 2022 saw the birth of Kaidro Clan Battles. However, our vision didn't stop at Web 2.0. Peggy and I always had our eyes on Web 3.0, but we aimed to integrate it into the entire IP, not just the game. This endeavor led to a complete overhaul, including the creation of the NFT collection for Kaidro.

In 2022, alongside the game development, we began crafting the Spark Suit Collection. Our goal was to elevate the NFT ecosystem, not merely create a collection of profile pictures . This posed significant challenges, requiring us to build hundreds of parts for the suits, graphics, color sets, and more. W hat you see today are beautifully animated NFTs of Spark Suits, but beneath the surface lie their utilities.

Utilizing Unreal Engine 5, we were able to seamlessly integrate these skins into the final collection, the game, comics, and animations simultaneously. Fast forward to 2024, and we've already released our first free collection of journals with an incredible mint of over 340,000. But this is just the beginning.

In the coming week, our two-year plan from 2022 will begin to unfold. Our dream is to make NFT avatar skins seamlessly transition throughout our entire intellectual property—an experience for collectors to own and utilize within the ecosystem.

I'm thrilled for what lies ahead and extend my heartfelt gratitude to everyone who has supported us, especially those who have been with us for years. There's something truly special on the horizon for you. Thank you!

Developer testimony#2 (Robert)

GM! Say it back. Today, I wanted to highlight our production process. Why does this matter?

I'm not sure how many of you know my background, but Peggy and I spent over 15 years in the entertainment industry. Our original company, Gadget-Bot, is still active, providing concepts for various Call of Duty projects and many others outside of that.

From working on blockbuster films like Jurassic World, Transformers, Alita: Battle Angel, and more, we've seen firsthand how Hollywood and gaming productions are now massively over budget, with costs running anywhere from $100 million to $300 million without much concern.

This is extremely unsustainable for the future we're heading into with entertainment.

Entertainment is also dominated by decades-old intellectual properties that get remade into sequels and prequels. Don’t get me wrong—I’m a fan of Star Wars, Harry Potter, and a lot of the projects I've worked on. But I’m tired of seeing the same IPs year after year.

I love new ideas, new stories, and the unexpected! This is where many of my ideas for Kaidro come in.

In the current state of the entertainment industry and market, it is very difficult for a project to exist in only one form, like just a game.

Let’s use Cyberpunk 2077 as an example. The game was a disaster when it first came out—full of bugs. In a very short time, everyone dismissed it and never wanted to hear about it again.

But a year later, after the game's release, the Cyberpunk anime dropped on Netflix. By that time, the game had been fixed and polished. The anime was a huge success, and people loved the story and the world. This renewed interest led many to give the game another shot.

As people started playing again, they realized it was a much better experience, and the sales for Cyberpunk skyrocketed. A new community of creators and players began streaming the game.

However, Cyberpunk as an IP, including its anime, cost hundreds of millions of dollars together.

I believe that in today’s world, you have to build a universe that is expandable across many different verticals because one vertical might not work right away while another does.

Because of this, we have to rethink how production is done, especially for a project like ours that doesn’t have the insane budgets of legacy entertainment.

This is why we decided to build everything in Unreal Engine 5. Since 2019, we've been using Unreal to create Spark Suits, environmental assets, vehicles, tech, and pretty much anything hard surface.

We’ve built a massive library of highly polished 3D assets with LODs that can be used across different forms of production, from comics to games to animation.

Today, with a small team, we are able to produce all these verticals at once while having specific members lead each area of development.

This means that instead of putting all our resources into just one vertical and hoping for success, we now have multiple options to explore.

Where are we today in production and growth? Social media is one way we’re testing this area.

Our X account, as of this writing, has 74,000 followers—allowing people to engage with all forms of the IP.

On YouTube, we have 82,000 followers, with a focus on storytelling, creating visual audiobooks, and future animation episodes to help people fall in love with the world.

Webtoons has 53,000 followers, a mix of our original community and those here on @Ronin_Network. It’s a place for people to grow with the IP.

Our Steam wishlist is over 20,000 and growing—these are people who want to live in this world and be a part of it.

On TikTok, we have 52,000 followers—this is the original Kaidro community, those who want to see the story grow and thrive.

Our production model is about working smarter, not harder… while also working hard, haha! Let’s eliminate waste in the entertainment industry and work more efficiently to grow new intellectual properties!

Developer testimony#3 (Robert)

GM! As we approach $KDR TGE, it's crucial to highlight why the @kaidrochronicle IP extends beyond just the game.

In the short-term, games drive crypto asset utility, but long-term success hinges on a holistic approach to intellectual property (IP).

Consider how the gaming industry has evolved from 8-bit to AAA titles, with indie markets thriving alongside each major leap. Now, large-scale IPs span multiple media types—from live-action and animation to novels and comics. We see indie studios following suit, leveraging easier production across multiple formats.

Our inspiration comes from Tesla’s strategy with the Model 3 and Y, where over 70% of parts are shared, reducing costs while maintaining premium pricing. Similarly, we've developed the KAIDRO IP with a shared asset approach since 2020, ensuring efficiency:

• Universal Assets: By creating assets in a versatile format, we've managed to produce animations, games, comics, and products at a fraction of the typical cost, across the entire IP.
• Future-Proofing: As media production scales in speed and intensity, our method allows us to compete large studios economically.

The $KDR token isn't just tied to the game; it's the cornerstone of our expansive IP ecosystem, including animations, NFTs, websites, and more.

Holding $KDR positions you as part of the KAIDRO universe, and the belief in the model and diverse content delivery.

Developer testimony#4 (Peggy)

With $KDR @kaidrochronicle token launch around the corner, I wanted to share some work that @Robert_O_Simons and I have contributed to in the past.

Here’s a fun childhood dream one: Teenage Mutant Ninja Turtles (Michael Bay produced one). We got to do the concept designs on several turtles, including one of my favorite, Leonardo. When it comes to costume design, the process begins where we are given parameters, like what would clothing/armor look like for a ninja turtle if they used real-world items found? This leads us to this look here where you can see various parts of shoes sewn together for Leo’s large feet, patched together leather parts for the thighs, sticks and duct tape for the chest piece etc. Also, to factor in the need for the hyper-real detail for all of this to be translated by the VFX team for it to stand up against real-world people on screen.

Attention to detail has always been one of the core fundamentals for @Robert_O_Simons and I, whether it be storytelling, world building, art and design, and of course the building of the Kaidro community and $KDR.

I’ll share more in the coming days.