Tuesday, April 23, 2019

Eric Robles Shares New Sneak Peeks of 'Glitch Techs'

Eric Robles Shares New Sneak Peeks of 'Glitch Techs'


Update (4/7) - Although Nickelodeon Australia and New Zealand aren't airing Glitch Techs just yet, Foxtel, Nickelodeon's Australia's carrier, is revealing the titles of episodes!:

Episode 1 - Age of Hinobi Pt. 1
Episode 2 - Age of Hinobi Pt. 2
Episode 3 - Tutorial Mode

Update (4/23) - The Loud House voice actor Tex Hammond (Lincoln Loud) has revealed that he'll be guest starring in an episode of Glitch Techs!

Eric Robles, the co-creator of Nickelodeon's upcoming animated series Glitch Techs, has shared some more fantastic sneak-peeks from his brand-new Nick show on his official Instagram! Check them out below!:






In additional news, Eric has announced that he's now on Twitter! Make sure to give him a follow @LegitEricRobles for more awesome Glitch Techs updates!

Update (2/24): Eric Robles has revealed in a tweet that Glitch Techs will feature a story arc!


Update (2/24): Eric Robles has revealed that the series premiere of Glitch Techs will be a 44-minute (which will air as an hour-long special) episode!:

Update (3/14) - Glitch Techs co-creator Dan Milano has share a story blueprint from the wall of the Glitch Techs writers room!:

Update (3/17) - Storyboarder Ian Graham has shared a scene that he storyboarded for Glitch Techs!:









Additionally, The Rise and Fall of Nickelodeon Facebook page has unveiled a super interview with the creators of Glitch Techs!:

Guys, I'm honored to bring you a VERY SPECIAL part one of a two part Q and A, with THE CREATORS OF GLITCH TECHS! Dan Milano, and Eric Robles! Dan's will be today, Eric's will be tomorrow at the EXACT SAME TIME.

Glitch Tech's is a new series coming to Nickelodeon, which they've co-created. And t find out more about the creators, and the show themselves, I won't wait any longer. Here is my Q and A, and a definite must read, with Dan Milano.

Q: What was your start in the Animation Industry?

A: My start in the entertainment industry in general was back in 1998, co-creating and performing the puppet character “Greg the Bunny,” for New York City public access TV. This led to writing/producing short films featuring Greg and other puppets for the Independent Film Channel and adapting it as a prime time series for Fox (and later, MTV.) The experience led to many opportunities in features and television, including writing and performing for the animated series, ROBOT CHICKEN. Many of the relationships forged at RC would lead me to more animation jobs, writing and performing on shows like Sonic Boom, Star Wars Detours, King Julien and Dawn of the Croods.

Q: What was your first big Project in the Animation Industry?

A: Star Wars Detours was a huge opportunity to work on a major franchise and also involved a lot of detailed world-building. Due to my involvement on Seth Green’s Robot Chicken Star Wars specials, I’d been offered a Story Editor position on the show. Unfortunately it required leaving LA, (which I was unwilling to do,) so the job went to Brendan Hay, who was kind enough to bring me on as a writer. Season one was the greatest summer camp in the universe - going on writers retreats at Skywalker ranch with amazing people like Jane Espenson (Buffy,) Chris McCullough (Venture Bros,) Jessica Gao (Rick & Morty,) and my pals from Robot Chicken. We’d write all day in the main house and hang at night watching movies in George’s screening room. Brendan Hay presided over writers room with Seth Green and George himself would join us to hang out a few hours each day.

I cannot divulge details of the show, which got locked in the Lucasfilm vault after the Disney buyout, but it definitely had more sophistication to it than most of the trailers online were making it appear. The job required building, expanding and re-imagining aspects of the Star Wars universe, which the detail freak in me really enjoyed. I also observed the pleasures and pitfalls of filtering all those different writers’ tastes and tones (including George’s,) into something cohesive. Although I was just a writer, I paid attention to how the production team was conserving their CGI assets and tried to be sensitive to it in some of the scripts.

After the series was shelved, Brendan Hay went on to develop Dreamworks’ “The Croods” as a 2D animated series for Netflix, which was another world-building experience that expanded on the original movie. Besides being fun, it was another chance to soak up information on how a brand new series develops and manages its assets. This plus my experiences scratching and performing vocals on shows would help me greatly in prepping for my co-production with Eric Robles, which we began developing while I was still at Croods.

Q: Dan, what were your other works that fans might know you from before Glitch Techs? How did each project differ and help your development as a creator, writer, etc.??

A: The original Greg the Bunny productions (IFC, 1999-2006) co-created with director Sean Baker (The Florida Project, Tangerine) were down and dirty guerilla-style shorts that we shot, edited and directed ourselves with our friend Spencer Chinoy. There was a lot of discovery just experimenting with different ideas. Some days I’d perform the puppet and improv with people on the streets of New York, other days we shoot them against small sets that we built cheaply in my studio apartment. Just like animation, puppetry requires very deliberate use of your frame, forcing you to really make the most of compositions, backgrounds, props, music and FX to sell your illusion. Like animators, puppeteers also strive to create nuanced movements that simulate life - they just typically do it in real time.

The FOX version of Greg the Bunny, which I still can’t believe was a thing, was a multi-million dollar production (run by Modern Family’s Steven Levitan,) that exposed me to studio machinations, dealing with executives, standards and practices, unions, working with other actors and the management of a massive crew. Unlike the IFC experience, it was an extremely structured process that did not allow for much improvisation. I learned the pros and pitfalls of creative compromise; essential to healthy production but lethal if done without a clear and common goal. I really took away a sense of how I wanted to manage and inspire others going forward and of how generally brief and fleeting studio productions could be. I’d never take one for granted again.

Back in 2004, a friend and I sold a feature script to Sony Pictures that led to years of screenwriting jobs adapting and developing scripts, outlines and pitches for major studios and production companies. (A reboot of Short Circuit being one of the more prominent.) A great deal of that time was spent writing for producers like Laura Ziskin (Spider-Man 1-3,) Lauren Schuler Donner (X-Men,) Stan Winston (FX creator,) and Jenna Boyd (Nickelodeon,) all of whom drummed into me the hardest lesson, which was the importance of continually refining and rewriting your work. Writing is hard, and screenwriting without a partner can be very lonely. You get antsy, you get desperate for your project to move to the next stage and you loathe sitting back down to rewrite the same script yet again — but until you find the very heart of a story, the reason you are telling it, the reason others will connect with it - you will not have a story worthy of being green-lit. Time and again, the frustration I felt at being forced to rewrite was usually overshadowed by the pride I felt upon completing superior and more detailed versions of each script.

In 2010 MTV bought a spinoff series of Greg the Bunny called, “Warren the Ape,” which was about another puppet character (again performed by me,) who was trying to put his TV career back together while through rehab. The show was largely improvisational, relying on improv acting and editing to shape the stories. Although there were times I wished we’d had more structure, there was nothing like the energy and enthusiasm that came from active, creative collaboration— something I was really missing during the long, solitary process of feature writing. I knew I wanted to work with other artists and to share in the creative process.

This led me to work with friends like Seth Green and Rachel Bloom on a pilot for Adult Swim called “Team Unicorn,” with folks like Brendan Hay on “Star Wars Detours” and “Dawn of the Croods,” and then with this guy Eric Robles on an animated adaptation of a video game called “Monkey Quest,” for Nickelodeon.

Q: How did the idea of Glitch Techs come to be, how did it develop into what it is now?

A: I’d already been working with Eric Robles on another project when he asked me for some feedback on the initial idea he’d had of two friends working a Tech Support job where they go up against real-life video game characters. He was definitely asking the right person, because my whole life I’ve been an obsessed fan (props, cosplay, RPGs) of supernatural comedies like Ghostbusters — so I’d already amassed half a lifetime’s worth of ideas for just that kind of project. After responding with about twelve or so single-spaced pages of notes and suggestions, Eric invited me to partner with him on developing the idea.

The high concept show premise obviously had great commercial appeal, but I’d say the majority of our work in development was to elevate it beyond that. We talked a lot about the shows and movies we loved growing up - how they made us feel and why we still held onto those feelings. We wanted the Glitch Tech world to feel real and attainable to kids. For our characters to feel like people they already knew, people they saw every day. The show needed to be grounded in a plausible reality, so its fantastic elements would seem all the more special. And believe me when I say we both revere animation in all its forms, but I have to admit, there were days when we dared to say the show needed to feel like more than just a “cartoon.”

We brought on collaborators we felt had strengths and skillsets well beyond our own. Our supervising director Ian Graham (a hardcore gamer,) had an amazing eye for board talent and a long history on amazing series such as Avatar the Last Airbender and Legend of Korra. He and our astounding lead designer Scott Kikuta already had experience in the gaming industries, but we also wanted a mix of directors, artists and designers with traditional and gaming backgrounds. For writing, I called in every favor I could to put together a think tank containing some amazing collaborators — I don’t think I can say their names until Nickelodeon does an official press release but I’m talking about people who’d already created their own amazing shows like “The Guild,” “Legend of Neil,” “Hey Ash, Whatcha Playin,” “Gortimer Gibbons, Life on Normal Street,” etc. Plus one of the most well-loved programmers/developers in the gaming culture, who has shipped more than 120 games and worked on every platform since the original GameBoy.

Q: Can you give us any potential insight into the plot of the show? Maybe if there are any particular episodes to watch out for without saying anything specific??

A: Since I unfortunately can’t say any more right now on what the show actually is (Nickelodeon has not yet made any kind of official press annoucnement,) I can at least tell you what the show is not. Thanks to the very thoughtful work of everyone involved, literally from the network executive in charge (Megan Casey) down to every one of our amazing production assistants, Glitch Techs is not a show about mindless, monster-of-the-week adventures. It is not about pandering to, or disrespecting nerd culture, gamer culture or the intelligence of its audience. It is not about relying on nostalgia to form a bond with the audience. Glitch Techs is a love letter to both the gaming culture and the movies and shows we all loved growing up, with characters whom many of our collaborators wished they could have had as television role models growing up. Its also definitely not boring. :)
You probably can't say much about this next part, but the news broke that Glitch Techs Season 2 had halted production. News sites covered it and the potential it could bring. But is it really as bad as it's been made out to be??

The truth is that situations like these are unfortunately very common in animation, which makes us grateful that we’d had time to develop any second season content (and man do we have some amazing stuff finished already.) From what I saw, the coverage was pretty fair and I’m aligned with Eric Robles and artists like Phil Jacobsen, who have responded to it all in their statements online - we’re genuinely grateful to Nickelodeon for every opportunity we have been given. Our understanding is that the show will get an enthusiastic launch and we will just need to stand on the twenty episodes we’ve created to see if it connects with its audience. Of course none of us can predict the future but I can tell you that I think I speak for everyone involved when I say that Eric and I have never been prouder of anything we have worked on. We can literally do no better, so we are more than happy to rest the fate of the series on these twenty shows.

Q: When news broke about Glitch Techs production halt, an outcry of support came from Animation fans, including when things like the intro were uploaded and shown. How does it make you feel to see such an outcry of support and hope for this series success, when it hasn't even aired an episode yet??

A: It honestly moves me to tears. Losing the crew so suddenly was obviously very emotional. They were also the only people besides Eric, myself and a few Nickelodeon insiders to know this project existed at all. Next only to our families it has been the sole focus of four years of hard, precision work. To see the work embraced so passionately by fans, the exact people we set out to impress in the first place, was frankly just what we needed. Even a good deal of the negative comments were smart and justifiably cynical. I was proud of the artists who politely spoke up to discourse with fans and the fact that so many people seem to thirst for original (non-licensed,) ideas in the marketplace.

As for the leak, even though I’m a fanboy at heart I have to put on my producer cap and say I honestly can’t encourage that kind of thing. It really is playing with fire. I am however deeply honored at the response its gotten. An original IP, with zero awareness in the marketplace being passed around for no reason other than its spirit and quality validates our assumption that people want a show like this in the world as much as we do. And believe me when I say, they haven’t even yet scratched the surface of what the show has in store for them.

Q: What mark do you hope that Glitch Techs leaves on Nickelodeon and the people who watch it?

A: With Nickelodeon and the industry, I hope it leaves the mark that original IP can be just as powerful if not more than a recognizable brand. That it examples what can be accomplished if you tear down the walls both within the production and studio to be inclusive and work together as a whole. I hope it cements the idea that animated shows can be action-packed without sacrificing character, sophisticated without being dark, earnest without being corny and intelligent without losing younger audiences.

With the people watching I hope Glitch Techs makes them feel understood, appreciated, and above all, entertained. We had the time of our lives making it and it’d be a shame if that joy did not translate through to the audience.

Q: Not a question but I really thank you for holding this Q and A with me, it means a lot to talk to people like yourselves, you give a ton of insight and I know people will appreciate it!

A: Thank you so much for asking. We appreciate your interest and in getting the word out for us. Cable is a very insular platform to be on these days. We can only hope enough people hear about us and become willing to come looking for us when the time comes. If not, it wont be for a lack of trying. :)

Best to you,
Dan Milano

This was an honor and privilege for me to get to do you guys. I hope you give it the love it deserves, just like Glitch Techs deserves as well. Share it around, comment your thoughts, and as always, thank you guys so much for your support here and on Twitter, for making stuff like this possible, you're all awesome.

Tomorrow, the Q and A continues with the other creative half of the series, Eric Robles!!

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If you would have told me five years ago I'd be doing a Q and A with the creator of Fanboy and Chum Chum, I'd think you were insane... turns out, you aren't, because here it is, my second part of the Glitch Techs Q and A, with Eric Robles!

We talk about his start, Fanboy and Chum Chum and some of the more prominent rumors about the show, and so much more about Glitch Techs, it's a MUST READ, so I hope you take the time to do so. Let's get right into it!

Q: What was your start in the Animation Industry?

A: As a kid all I ever dreamed about was working in animation. As I became a teenager I finally realized there was no way my parents could afford to send me to art college, so I decided to enroll myself in community college and study Law Enforcement. But even during the two years I was taking classes, I never stopped sketching and drawing. So, one day my instructor Joe Dean (a police officer in Burbank, CA) complimented my drawings and asked me why I was majoring in law enforcement when I had such a skill for drawing. I told him I didn’t think I was good enough and that I really had no idea how anybody even got work in animation, so he was nice enough to introduce me to his sister-in-law, who turned out to be the President of Graz Entertainment, the animation studio that then made animated series like the original 90’s X Men , The Tick, Capcom’s Street Fighter and more! She had her people take a look at one of my sketch books and the next thing I knew they offered me my first internship. I was so thankful for the opportunity that I made a vow to myself to commit myself to the work and never stop drawing so that I could always be improving. Because I was always at the office and leaving my work on my boss’ desk for him to see, it actually only took a few weeks before I managed to get hired on full time as a character designer and clean up artist for all those amazing shows.

Q: The first big project we saw from you Eric was Fanboy and Chum Chum. How did the idea for that show develop and come to be??

A: At the time I was working for Nickelodeon on a show created by Carlos Ramos called The X’s. One day I received a call from Fred Seibert of Frederator Studios. He had heard of my work and wanted to meet with me. After a wonderful lunch meeting he asked if I would pitch a show to his shorts program. I was honored but I wasn’t sure what I wanted to pitch so I went home and asked myself what type of cartoon I would I love to create with such a great opportunity like this. I wrote a list of all the things I loved about being a kid — Watching cartoons, reruns of the old live action Batman series, hanging out with my friends at the local convenient store, playing arcade games and drinking sugary, frozen beverages all day. So, the initial ideas for Fanboy & Chum Chum were really just built in celebration of all those fun, silly things I loved about being a kid. With all that in mind I began to sketch and write about these kids that lived on their own and loved wearing their Halloween costumes all year round. Once you have the characters you just start to unleash them in all kinds of crazy adventures.

Q: How did you pitch Fanboy and Chum Chum to Nickelodeon? There has been a long standing rumor that they actually chose it for their network over a fledgeling Adventure Time, is there any truth to that?

A: Pitches are done visually so I storyboarded a short pitch of the characters to Frederator, who already had a deal with Nickelodeon that year to produce 39 shorts. Thankfully, my idea was one of the lucky ones to have gotten chosen.

The rumor comes from the fact that the pitch for Adventure Time was in the same batch of ideas, and Nickelodeon passed on it. Looking back, I truly believe it was the best thing that could have happened for both shows. Obviously, I’m happy with how things went for Fanboy and I believe that if things hadn’t gone the way they did for Adventure Time, it might have not turned out to be the same show everyone knows and loves today. It was also so huge for Cartoon Network, who were looking for a new network identity at the time. Who knows what changes they would have made if the success of Adventure Time hadn’t helped them define such a major part of their brand?

Q: Fanboy and Chum Chum of course got some positive reception, but it also did get a lot of negativity towards it for a number of reasons. Some quite brutal, though some constructive criticism. Did you ever see any of that and if so, how did you take it?

A: I’m guessing most of the negative responses came from teens and adults with internet access who wanted a much different kind of show from Nickelodeon than the one we were making. While obviously I would have loved for all ages to have gotten on board with the show, all that really mattered to me was what the kids thought. Fanboy and Chum Chum premiered with a total of 5.8 million viewers and gained a strong following amongst kids 2 to 11 years of age. As far as I knew our weekly ratings we were doing great and Nickelodeon was happy enough to give us a second season. I specifically remember our first Comic Con with the show and the amount of kids that showed up for the Q&A session and signing. You have to remember, the show was about that same little kid I used to be at their age. Fanboy was trying to be on their level and as far as I’m concerned it succeeded at that. You know, as professional artists we are sometimes so disconnected from the fans. But when you are able to see all the positivity and joy you can bring to kids with your silly cartoon, its all you really hold onto. The negativity just fades away.

Q: What are some things you are most proud if with Fanboy and Chum Chum in the end?

A: There are so many things I am proud of with Fanboy and Chum Chum. There were so many challenges the production had to overcome. I’d set out with the goal of creating a real classic Looney Toons squash and stretch look, which was extremely ambitious for CG animation. I’m proud of my amazing crew, who figured ways to accomplish this style without the CG puppet rigs constantly breaking which was a seriously big deal back in those days. It was one of so many things people told us ‘couldn’t be done’ that we ended up finding clever ways of doing. I’m proud the show aired domestically and internationally, managing to sell toys, books, backpacks etc. It won 5 Emmy awards including one for Outstanding Special Class Animated Program. And coming up on TEN years since the show first premiered, I’m not only proud but truly happy that I get so many messages on social media from fans who enjoyed the show when they were kids and still do today.

Q: What was the interim between Fanboy and Chum Chum and Glitch Techs like? What were you doing projects wise? Anything of note??

A: After Fanboy and Chum Chum I was put on an Overall Deal at Nickelodeon, which means I would either help to develop current projects they needed help with, or by developing my own original ideas. One of the projects I was asked to help with was a game property that Nickelodeon owned called ”Monkey Quest.” It already had a pretty decent fan base online so I spent a few months working on it and once I pitched my idea on what a story would be, they liked it and asked me to start interviewing screenwriters to develop the script. This is where I first met Dan Milano, who would become my creative partner on Glitch Techs. Dan was working over at Dreamworks TV on King Julien and Dawn of The Croods at the time but was available to freelance on Monkey Quest with me. Right from the get I knew Dan and I would make a great team. We finished each others sentences and he could look at all my doodles and make sense of the stories I was trying to tell. We developed the project for about six months and it was coming out fantastic, but in that time Nickelodeon let Dan and I know the hype on the game was declining and they didn’t feel as confident about producing a show for it anymore.

As Dan continued with his other work for the time being, the studio asked me to focus on developing an original short for them. At the time these shorts weren’t really meant as series pitches, but as experimental bumpers you might possibly see in-between commercials or online. As I began work on a few ideas, an executive at Nickelodeon named Mary Harrington saw a sketch I’d done of two Zombie Brothers. After pitching her and Jenna Boyd the head of Development the idea, we produced it as my first stop motion short with Screen Novelties.

When that was completed, I spent a few months developing more original ideas for series, including two very cool Teenage Mutant Ninja Turtles spin offs that have never seen the light of day, mostly because as they were being developed I also started working on an idea about these two blue-collar game technicians who secretly fought video game monsters that spawned from faulty game consoles...

Q: How did the idea of Glitch Techs come to be, how did it develop into what it is now, and was pitching it to Nickelodeon different from how Fanboy and Chum Chum was pitched??

A: Just like back at Graz Entertainment, I was always drawing, night and day. I’d fill cardboard boxes with sketches and doodles, then store them away and start on the next box. Each time I’d write “Box of Ideas,” on the side and sometimes friends who visited my office would shuffle through it while we hung out. Well one evening, Russell Hicks, the head of the studio, stopped by my office. He’d often come around if he was working late to see who was still in the studio and —surprise— he almost always found me there. Anyway, he asked to dig through the box a bit and he dug up a storyboard that I had sketched up for Glitch Techs. He asked me to pitch it to him, so I did, right there in the moment. Thankfully he loved it and asked me to stop whatever else I was doing to focus on the idea. It was an entirely different situation than how Fanboy got started, showing there is no one way to pitch a show, but the key to both of them was that they were based on ideas I’d been constantly working on and developing. You just never know when the perfect opportunity will strike so you should always be developing your ideas because when that opportunity finally happens, you want to be ready.

Q: How would you tell fans that Glitch Techs is different from your previous works, like Fanboy and Chum Chum?

A: Glitch Techs is very different. Fanboy was a silly, eleven minute comedy with what I call a ‘reset button,’ meaning that no matter what happened in those eleven minute adventures, (even if you blew up the planet,) every thing would be back to normal by the start of the next episode. With Glitch Techs, we really wanted to engage the audience in a different way. I wanted to go back to my action adventure roots and tell twenty-two minute stories that were more meaningful, with plenty of character and story growth throughout the series.

Q: Can you give us any potential insight into the plot of the show? Maybe if there are any particular episodes to watch out for without saying anything specific??


A: Oh man this is gonna be hard. There is so much. There is so much that nearly every episode brings something new that expands the world a bit. The pilot is very much an origin story that builds up the main characters. By the fourth show we’re really rolling along but just when you think you know what’s coming we change things up quite a bit. We have an episode where the Techs meet an outsider who has a completely different view of what glitches are then they do, which is definitely one to look for. We also pull styles and moods from various video games giving so many of them a different flavor. Its definitely not a formula show. Seeing one does not mean you have seen them all, just ask the poor folks doing our art, our music or our effects - every episode is like another little movie they’ve got to create fresh material for. Thankfully, they love it as much as we do and hopefully as much as you guys will. Sorry we can’t give more detail, we need to respect the Network (and the audience!) and wait for now.

Q: When news broke about Glitch Techs production halt, an outcry of support came from Animation fans, including when things like the intro were uploaded and shown. How does it make you feel to see such an outcry of support and hope for this series success, when it hasn't even aired an episode yet??

A: I think Dan and I could write a book on our last four years of trying to get Glitch Techs produced. I can’t stress enough how unique it is to have an original story and character driven show these days, when most studios are only focusing on remakes form their own vaults or from other established properties. We are so grateful to Nickelodeon. The truth is, I actually don’t have any problem with licensed projects, I love so many of these franchises and wouldn’t mind working on some myself. But what I don’t like is the imbalance of it all. That there seem to be ten of them for every one of us.

So when our season two was halted to make room for more pre existing IP, the support that people online showed for the show and for our crew was overwhelming to say the least. Dan and I were moved to know people decided to own Glitch Techs for themselves, which is exactly what we’ve always wanted. We have worked so hard to make the most of this opportunity we were given and are so grateful to partners like Supervising Producer Ian Graham and Art Director Scott Kikuta for gathering the amazing talent they found for this project.

Q: What mark do you hope that Glitch Techs leaves on Nickelodeon and the people who watch it?

A: We’d love to be a show that helps remind studios that original IPs are what audiences crave more than anything. Its great to revisit something that is already loved but what is better than the kind of love you develop for something you discover the FIRST TIME? We hope we leave that kind of mark with people. New discoveries and adventures that open the imaginations of kids and adults alike with brand new characters, worlds and stories they can hopefully invest in, love and relate to.

AND THAT CONCLUDES THE Q AND A! I hope you guys loved it, if you did please like, share, and comment these around, they're full of so much info and you really learn a lot about the creators. I can't thank Dan and Eric enough for giving me this time, they're amazing guys, and I really hope you guys give Glitch Techs a chance because it sounds SO PROMISING.

Thank you all so much for reading, and your support to make this kind of stuff happen, and here's to when Glitch Techs comes out, cause I'm HYPED for it!

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Glitch Techs co-creator Dan Milano has share a story blueprint from the wall of the Glitch Techs writers room!:

RESPECT THE TECH! - High Five

When game consoles “glitch” and release video game creatures into your town, the Hinobi company detects the problem and dispatches the GLITCH TECHS! Suited up with an arsenal of fantastic gamer gear, their job is to wrangle the pests and “reformat” any witnesses!

Glitch Techs is an adventure-comedy following two newly recruited kids as they battle video game monsters that come to life in the real world. The series comes from Eric Robles (Fanboy & Chum Chum, The X's, Ni Hao, Kai-Lan) and Dan Milano (Greg the Bunny, Warren the Ape), both hailing from Nickelodeon's Artist Collective, an internal artist-led development program, and is being produced at the Nickelodeon Animation Studio in Burbank, Calif.

Glitch Techs will boast a multi-ethnic cast, including a Muslim-American female character who will wear a hijab. At a industry panel held late last year, the co-creators explained that when they were developing Glitch Techs, they “recognized the need to incorporate characters reflective of the viewing audience, whether they are background characters or main characters,” and revealed that they had worked with MPAC (Muslim Public Affairs Council) to “figure out how to accurately display an authenticity, even down to little behaviors.” Dan Milano further elaborated, “Even though we’re an animated show and they are trying to catch creatures, we want small things. We want to know that a stray hair came out of that hijab, and she had to tuck it behind her ear because that’s a human moment, that’s a practical moment, from everyday life.”

It was recently announced that Emmy-award winning actor Bryton James (Winx Club, The Young and the Restless) will be voicing a character in Nickelodeon Glitch Techs.

Glitch Techs is set to premiere during 2019 on Nickelodeon USA.

Are you excited for Glitch Techs? Let me know in the comments below!

More Nick: Nickelodeon Embarks on New Direction with its Biggest, Most Wide-Ranging Content Slate Ever!

Originally published: Friday, February 22, 2019.

Additional source: Anime Superhero Forums /@PinkiePie97, @SweetShop209 (II), @PapaGreg.

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