Okay, so let me start with the burning news: Chronicles of Bone is now officially a Freepik Original Series.

Yes, you read that right. An AI-generated fantasy epic—five seasons written, public domain characters reimagined, vampires with mind control instead of blood thirst—has been picked up by Freepik. They’ve bought the remaining prologues and all of Season 1, which runs through November. Think Netflix deal energy, but for the AI filmmaking space. (And if you’ve been living under a non-AI Film rock: the Spanish Freepik started as a stock resource giant, but they’ve quietly built one of the best AI aggregator platforms in the game with most of the top tools in one place. Now they’re getting into original content.)

And the guy making it? Kavan’s doing it all himself. Every frame. Every sound effect. Every haunting Suno track that I literally told him I want to listen to while I drive.

I first fell in love with Kavan’s work when I was taking the Advanced AI Filmmaking course at Curious Refuge, where he was an instructor. He was already pushing boundaries then as the first to get a SAG-approved AI film done with Echo Hunter. But what he’s building now with Chronicles of Bone is something else entirely. It’s episodic. It’s universe-building. It’s setting the bar for what a solo creator can achieve in this space.

And honestly? It’s exactly what I’m trying to do with my own Mamma Robot work. You get obsessed with a story, and now—finally—you have the possibility of building it out and watching it come to life. Frame by frame. Character by character.

The Universe of Chronicles of Bone

Here’s what’s happening: Kavan has written a five-season show. Five. Seasons. The whole arc, from beginning to end, with every major beat mapped out.

The concept? All those public domain characters (imagine Robin Hood, Frankenstein, Captain Hook, Captain Nemo, King Arthur, Merlin, Lancelot, Guinevere) thrown into a single dark fantasy universe. But these aren’t your parents’ fairy tale versions.

Robin Hood’s motivations have been completely rewritten. Frankenstein and his Bride (Prologue 3, “The Collector”) are so reimagined that if he doesn’t tell you, you won’t even realize who they are.

The big bads? Vampires. But not the blood-drinking kind. In this world, vampires don’t need blood to survive. They have increased speed, strength, and immortality (you can only kill them by chopping off their heads or burning them alive). The real danger? If a vampire bites you, you fall under their complete control. Mind control. Forever. No cure.

Suddenly the most noble hero can become a slave to the enemy.

“It’s a big way of swinging the tide in favor of the vampires,” Kavan explained. “If they capture a primary opposition with a great skill set and bring them to the other side, there’s no undoing that curse.”

This is dark storytelling with real stakes. The kind of show where you’re genuinely afraid for the characters you love.

The “Temu Version” Method

Okay, this is where it gets good.

Kavan’s character design process involves what he calls “the Temu outfit.” He photographs himself in masks or medieval costumes from a collection of interesting props he still has from his photography days, then runs the images through Freepik’s NanoBanana—their tagging feature lets him get nitty gritty with exactly which details to evolve. For The Last Lost Boy (one of his favorite characters, the last surviving member of Peter Pan’s group who wears a three-faced mask) Kavan actually owns the mask and jacket. He photographed himself in full costume (he showed me the photo and begged me not to laugh), then iterated through multiple versions until the character emerged: damaged mask, worn jacket, completely his own.

Multiple iterations later: a final character design that’s distinctly his own.