1. Magic
Magic is real. The triumph of humans over machines isn’t just a story we tell—it’s a deeply held belief that’s woven into our culture. When people buy Allmer products, they receive a promise: “This was made by humans, for humans. It’s a genuine experience.”
This philosophy applies to everything we create, from the practical artistry of filmmaking and handmade games to the stories that come from personal experience and imagination, not market analysis. The real magic goes further: our brand reconnects customers through timeless entertainment rituals. Cinemas, arcades, and comic shops aren’t dead—they just need their magic rekindled.
High artistic expression, carefully presented as entertainment, forms the foundation of our brand. Every franchise that enters the Allmer Circle—comics, film, music, and games—speaks to people globally, establishing a shared ground in pop culture.
2. Story
The Eternal Story. Above all, a well-told story is our ultimate goal. Though simple in concept, this level of storytelling is rare.
The principles of storytelling haven’t changed since ancient Greece. They are timeless and universal, offering endless room for originality. Just as every building must have a door, floor, and windows, stories must have core elements. And, like architecture, they are ultimately crafted for people. Unlike the counterculture architects who design uninhabitable spaces whose purpose must be explained with a lot of art jargon, our storytelling is meant to be engaging and accessible.
For us, storytelling doesn’t stop when the screen goes black. It’s intrinsic to everything we do. From single illustrations that convey a character’s movement, sparking the viewer’s imagination, to concept albums where each song gains meaning through their arrangement, storytelling permeates our work.
We never explain the intentions of our art to our audience, keeping them in a state of anticipation and excitement.
3. Innovation
Innovation by design. Imagine the four Allmer Studios—Comics, Film, Music, and Games—as parts of one interconnected “ground scraper.” Artists move fluidly around the entertainment world, and the positioning of each studio is intentional.
For instance, comics serve as storyboards for films and games, so the comic studio is closely connected with these departments for easy collaboration. Since comics are typically silent, the music studio is positioned on the opposite side. Music is essential for both films and games, explaining its place between them.
The art of storytelling differs significantly between games (which offer choice) and films (which do not). Even when working on the same title, game designers adopt a unique, design-centric approach, rather than relying strictly on the film's narrative.
Each studio can produce original entertainment independently (like Pyramid) or collaborate seamlessly with other studios (like Futory). This adaptable approach is possible because of our small team sizes—up to 12 people—which encourage direct exchanges of ideas within and between teams. Small teams also allow us to avoid hierarchical management and excessive bureaucracy that stifles inspiration.
Decision-making for team leaders can be seen as a series of doors. Some doors open both ways, allowing us to return if the choice wasn’t right. Most decisions fall into this category and should be made quickly. But some doors close behind us. When faced with these one-way decisions, we bring them to the Studio Center for deeper consideration.
