Children's IP · Madrid
I don't hand over a finished property. I hand over a full-scale mock-up of it.
I'm Rubén Sastre. I build original children's properties on my own brief, alone, across publishing, screen, EdTech and product — so a partner can see the world stand up before committing to build it.
There are ideas on paper, which can't be verified, and proven brands, which already have an owner. Nothing sits in between.
A studio evaluating a new property has to imagine it. A concept arrives, a few pages, a few drawings, and from that it has to decide whether the thing can carry a franchise. It's a bet placed on a blueprint.
When all there is is paper, the rational move is to wait for someone else to prove it. Which is why most of what gets made is a sequel, an adaptation, or something the house owns already. That isn't a failure of taste. It's arithmetic.
And there's a second risk, more expensive, that nobody flags in time. What breaks a franchise is rarely the first medium. It's the second or the third. The book works, the series drifts, the object doesn't look like anyone, the classroom flattens it. That gets discovered once the money is spent, because until then there is nothing to check it against.
What I hand over isn't a finished car. It's a full-scale mock-up.
What a blueprint gives you
- A description of the world
- One medium, sketched
- Coherence asserted
- A judgement you can only make by calculating
- Verification after you commit
What the mock-up gives you
- The world standing up — character, surroundings, narrative voice, music, rhythm
- Four media built, each in a state named exactly
- Coherence you can check yourself in an afternoon
- The immediate reaction you've trained for twenty years to trust
- Verification before anyone signs anything
A designer can work from the blueprint of a car, but seeing the mock-up — the volume, the shine, the color — produces an immediate reaction that tells you whether the thing works. Seeing that in four formats says in ten minutes what a blueprint doesn't say in years, and it says it while it still matters: on paper, whether a world survives the jump between verticals is something you find out once the money is spent.
It doesn't prove there's an audience. The market says that, and it comes later. It proves the world doesn't break when you move it between layers, and that the expensive phase of development is done and paid for, with the rights held under a single signature.
And it doesn't compete with the car: it provokes it. Nothing is closed. Layers can be reordered, pushed harder or dropped, according to the vertical the partner decides to lead with.
Five years ago this couldn't be done at all.
Building the mock-up — books, audiovisual, an educational tool, product — took a team, a budget and two years. Nobody was going to do that on their own just to show it to someone. Today one person can build it. That isn't a better method. It's a category that didn't exist: the creator who arrives with the mock-up already built.
What changed underneath is the price of building the proof — and when the proof gets cheap, it moves to the other side of the table. Verifying a property used to require producing it: the buyer's money, after signing. Now it can be verified before signing, with mine.
What that still doesn't buy is the ear. Craft in the layers themselves — writing, voice, music, image — is what tells you when one of them is out of tune with the rest. Anyone can be a one-man band now. The question was never whether you can. It's whether you play in tune.
Most properties earn a personality after they succeed. Mine are born with one. I call it personality by design.
What I'm looking for is a co-production partner, not a buyer.
The work of closing a world is done. The work of turning it into a series, a catalog and a line belongs with people who do it for a living — the studio floor, the financing, the broadcasters, the shelf. I'm not going to build an audience post by post and vertical by vertical; that would dilute the property, not grow it. That asymmetry is the whole reason this is a partnership.
Co-production of the screen layer
This is the one I'm asking for. You produce; I stay in as creator and writer, holding world continuity and cross-vertical coherence. Shared ownership of the audiovisual, and the rest of the property — publishing, EdTech and product — stays with me.
Partial acquisition at an advanced stage
A share of the property, taken once it can be verified rather than imagined. Structure and split are a conversation, not a menu.
Licensing
Any single vertical or territory, if that is what fits your business. The rest stays coherent if you come back for it later.
One signature
- Single titleholder — no co-authors, no encumbrances, no fragmented territories
- Registered — trademarks and deposits documented and traceable
- Music — original scores, rights acquired outright
- Due diligence — an afternoon, not a quarter
Fifteen minutes and four layers on screen are enough to see whether a world holds.
You'd be talking to the person who built all of it. No account team, no deck read out loud: the four layers on screen and whatever you want to open.
The full kit — bibles, viability report, complete catalog — travels under a bilateral NDA. A first conversation needs none of it.
contact@ipfrontierstudio.com