Lucas Saguista, the group’s founder, brings us details not previously shared about the history of this group that brings together thousands of fans across the web.
Quartel Canvete, originating in October 2006 on the Orkut[1] platform, has transformed from a group of once strangers passionate about “Saint Seiya” into a renowned studio producing fantastic literature audio dramas. Initially known as “canvetes[2]”–once a term with negative connotations– they now proudly embrace this identity and stand as a reference in their productions.
From 2006 to 2017, Quartel Canvete focused on the “Saint Seiya” series and its spin-offs. In 2020, the group took a significant step by reactivating their YouTube channel, aiming to disseminate culture in a more accessible and engaging way. This movement culminated in the creation of Quartel Canvete Studios, which brought a wide culminated variety of audio dramas based on fantastic literature to the public.
In 2021, the studio established a strategic partnership with Hakuren Studios, releasing the dubbed version of “Prelúdio de Pégaso” and forming agreements with other studios to continue bringing high-quality dubs to the audience, this collaboration further expanded the reach and diversity on content offered by Quartel Canvete Studios.
Founded by Lucas Saguista, the project now boasts a robust team of about 40 dedicated members. Together, they have amassed over 1.4 million views on YouTube and released numerous audio drama titles. The maintenance and expansion of the project are sustained by a crowdfunding model, including crowdfunding campaigns, raffles, and membership packages.
Quartel Canvete Studios continues to be a beacon of innovation and dedication in the world of audio dramas, providing rich and diverse cultural experiences to an ever-growing audience. With its solid foundation of community funding and a talented team, the studio is well-positioned to continue growing and enchanting listeners worldwide.
Quartel Canvete Studios has already released an impressive list of audio dramas, including “The Spiderwick Chronicles”, “A Series of Unfortunate Events: The Bad Beginning”, “Harry Potter and the Philosopher’s Stone”, “Alice’s Adventures in Wonderland”, “Shrek!”, “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe”, “Percy Jackson”, “Coraline”, among others.
Lucas, Quartel Canvete started as a fan group on Orkut in 2006. Could you tell us more about how this journey began and what were the main challenges in the early years?
One could trace our origins back to the era of Digital Inclusion[3]–a time marked by ads like Brturbo and Cortez Online[4], known as the best internet for gaming. During this period, the social network Orkut played a pivotal role in integrating Brazilians into the expansive realm of the internet. It not only eased their inclusion but also shaped the audience profile that we recognize today from those early days.
Individuals who would later form our group initially connected through specialized communities, particularly those centered around themes like Saint Seiya: The Lost Canvas. These forums served as the starting point where our interactions cultivated a sense of identity and shared belonging, eventually leading to the formation of Quartel Canvete.
However, the challenges of that era were intertwined with the nascent nature of the internet itself. The content we aimed to work with was scares, and available software was still in its developmental stages. I recall using Photoshop CS2–then with fewer than half the features it has today–to edit digital comics derived from low-quality newspaper scans, which significantly limited our ability to enhance images. Thus, overcoming these limitations and scarcity marked the greatest hurdles of that time.
Nevertheless, our defining characteristic lay in our commitment to quality and continuous improvement, prioritizing excellence over the rush to be first–a principle that still is central to our identity to this day.
The term “canvetes” initially had a negative connotation, but today you embrace it with pride. How did this transformation in the perception of the term occur, both internally and externally?
Similarly to the term “gaúcho”, which was initially used pejoratively to describe men from the pampas, often labeling them as vagabonds, outlaws and sons of prostitutes–before José de Alencar’s novel of the same name was published–the designation “canvete” held a similar narrative for us. Originating not only to identify fans of Shiori Teshirogi’s manga “Saint Seiya: The Lost Canvas,” but it was also used derogatorily to accuse them of being traitors, as some believed only works by Masami Kurumada should be appreciated and celebrated. During this time, terms like “canon” and “spin-off” underwent semantic degradation to serve the heated and tiresome debates. Brazilians acting viscerally in the early days of the internet, nothing new under the sun.
Despite the stigma against our group, we embraced the label proudly, since at the time we were the only ones offering the translated work, and those who attacked us were the same ones following our weekly chapter releases. This love-hate relationship underscores the controversial nature of those times.
Even today, remnants of those early groups occasionally use “canvete” pejoratively to provoke discussions. However, our steadfast commitment over the years to freely sharing our projects with the public has played a significant role in dispelling misconceptions about us.
In 2020, you reactivated the YouTube channel and created Quartel Canvete Studios. What motivated this reactivation and what were the first steps to establish the studio?
In mid-2014, we attempted to start working with audiovisual content, but the lack of quality equipment and training to work with audio editing software forced us to take a break. After 2017, the group revolutionized its methodology and approach to our internet portfolio, leading to a series of changes. It is undeniable that Quartel Canvete’s collaboration with Canal da Fantasia, directed by Dionei Rezende, enabled us to mature in this new business model and qualify ourselves to fully embrace the studio model we have today. Our primary motivation remained to bring quality projects free of charge to people with limited opportunities. However, we also realized we could reach an even less privileged audience – people with disabilities (PWD).
To understand the group’s interest in this audience, it is necessary to understand the mind behind the project’s leadership. The truth is that the director’s mother contracted polio in the 60s, a time when many vaccines were out of date[5], and many children, even those vaccinated, were affected by the disease – Dona Rejane was among them. The inclusive mentality of Quartel Canvete stems from this seed planted by the group’s leader, installing a sense of equity in various generations of members.
Regarding the initial steps toward activating the studio, we started discreetly: we had directions by Lucas Saguista, editing by Paulo Piazza, and a voice cast initially composed of Mateus Dias, Helouise Portugal, Yan Scofield, and Fanny Ledo. With this team, we started projects such as “The Guardians of Childhood” by William Joyce, “Percy Jackson & the Olympians” by Rick Riordan, and “The Spiderwick Chronicles” by Holly Black and Tony DiTerlizzi, always in accordance with Article 46 of Law 9,610 of February 19, 1998[6].
The partnership with Hakuren Studios in 2021 was an important milestone for the group. How did this collaboration come about, and what was its impact on the quality and reach of your audiodramas?
Quartel Canvete had brought translations of the digital manga “Saint Seiya” and its expanded universe for about eleven years. During this time, we saw several attempts by illustrators to launch derivative productions. Among these were “Guerra dos Mundos” by Marcelo Noronha, which spanned 47 chapters of 19 to 27 pages (the largest national fanzine of the genre) from 2009 to 2016; “Gold Saint – Ares Chapter” by Danilo Sant’anna, which was discontinued after only three chapters in mid-2015; and “Prelúdio de Pégaso”, released from late 2016 to mid-2017 by Hakuren Studios. Initially, I followed the Peruvian group’s work without much expectation, given that most unofficial “Saint Seiya” projects seldom reach maturity.
However, in 2021, I noticed real development in the “Prelúdio de Pégaso” project. By August, the fourth trailer was released, and the official release followed in July 2023. We decided to create a dubbed version to support and promote the project. The promotion was successful: within a week, websites began discussing teasers and trailers that had previously been ignored. Even parody groups became interested, creating their own dubbed versions. Unexpectedly, this also led to some backlash, with certain audience members targeting us for criticism (laughs).
From August 2021, we supported Hakuren Studios on Patreon and approached David Ayala, the studio director, to align our partnership, including an official Brazilian Portuguese dubbed version. For nearly three years, out group worked discreetly under a non-disclosure agreement (NDA), even investing in their studio by hiring them to create the teaser for QC’s original production: “O Homem do Rodo” (The Squidgy Man).
This collaboration arose from our initiative to help a studio that lacked supporters on Patreon, aiming to provide broad publicity and financial contribution, rather than just demands and likes, which are insufficient to sustain a project of this magnitude. It became clear that Hakuren Studios had much more to gain from Quartel Canvete as a direct supporter than vice versa. After the release of the first animated episode, we faced harassment from channels like Linhagem Geek and Heróis e Mais, spreading falsehoods about the dubbed version. Despite financial support nearing 10,000 reais[7], Hakuren chose to prioritize likes over our contributions. Consequently, after various inconveniences with dubbing groups and Hakuren’s own omissions, we ended our partnership in October of that same year, delivering only the Brazilian Portuguese and the English dubbed versions.
The impact of the “Prelúdio de Pégaso” project on us was not as significant as the recognition we received from other collaborations, such as the series of films by American director Vincente Di Santi (“Never Hike in The Snow”, “Never Hike Alone”, and “Never Hike Alone 2”) with whom we still interact closely; and the Zeddyzi, creator of the webcomic and animation “Ramshackle”, whose dubbed teaser provided us with notable recognition among studios.
Thus, the production of the dubbing for “Prelúdio de Pégaso” did not significantly impact the production and reach of our audiodramas, as the audiences for those projects have different interests.
With over 1.4 million views on YouTube, what do you consider to be the secret of Quartel Canvete Studios’ success in engaging such a vast and diverse audience?
The key secret to sustaining this project, aimed at enhancing accessibility for all audiences while enriching the professional portfolios of our members, lies in the meticulous organization that brings it to fruition. For many years, Quartel Canvete relied on a single financial supporter whose dedication significantly enhanced the quality of numerous projects. As more supporters joined over time, their financial contributions and efforts enabled us to further invest in our dreams.
The message I impart to anyone embarking on a journey inspired by a shared vision is this: spare no effort in translating your dreams into reality. Do not be discouraged by initial setbacks, persist through the inevitable adversities, because stories utterly worth telling and living are those marked by challenges and triumphs.
Crowdfunding has been crucial for the maintenance and expansion of the project. How did you structure this funding model and how has it evolved over time?
I wish we were more advanced in that aspect (laughs). Truth be told, we’ve incorporated various donation options into the descriptions of all our projects, yet to this day, we haven’t received any support or recognition from the audience in that regard. Whether it was on the now-defunct Padrim platform or even on Patreon, encouragement from the public to sustain our work has been lacking. On the contrary, some perceive us as a studio sustained by the ebb and flow of the tide and the breeze (laughs). What keeps QC financially afloat are consistent contributions from our members themselves, who tirelessly strive to keep this dream alive.
It would certainly be a dream come true to have a sponsor now that our channel is monetized. Unfortunately, that remains a distant reality. Therefore, the progress we’ve achieved has mainly been fostering awareness among our members over the years.
With a team of around 40 members, what is the production process of an audiodramas like at Quartel Canvete Studios, from choosing the work to its release?
Currently, our team comprises between 60 to 70 members, many of which have unfortunately not been formally introduced yet. The majority are not part of the voice acting cast but contribute across various departments, such as translation, audio editing, animation, music, and art. Our project selection is deeply connected to the messages we aim to convey through our stories, ensuring values are effectively communicated though sensitive and well-crafted productions.
Typically, project titles are chosen by the project director, who not only selects the production editor but also oversees casting for voice roles and, when necessary, coordinates with musicians for the creation of original musical compositions. We adapt music to enrich the audience’s experience, inspired by works like Ronald Cahl’s children’s books, which integrate music into their narratives. Our team includes highly talented singers such as Márcio Oliveira, Andy Fonseca, André Motta, Rafael Hernandes, Lauro Azambuja, Luiz Liberty, Ana Nunes, Melânia Fiaux, Giulia Pires, and Elizabete Bertino. Thelfos, our music producer, organizes and oversees this team, handling mixing and instrumentalization. In some cases, the musical production for literary works undergoes poetic transformation to deepen and enhance their thematic resonance, as exemplified in pieces like “Pelos Cantos da Casa” and “Madrugada de Horror” featured in the Coraline audiodramas.
A crucial aspect of our process is the technical review overseen by Rafael Hernandes Lorente and his team, who meticulously ensure the overall quality of each audiodramas production before its release. Only after thorough revisions and necessary adjustments does the project proceed to its final stages: release and promotion.
You’ve already adapted an impressive series of literary works into audiodramas. Which was the most challenging to produce and why?
Undoubtedly, the Coraline audiodramas stands out. Initially narrated by Ana Azzolini, she was later replaced by Shirley Priscila due to audio quality issues (laughs), and finally by Lucas Saguista. Initially directed by Lucas Saguista, he later shifted focus to projects like “Alice in Wonderland” and “The Chronicles of Narnia”, passing the directional reins to Gustavo Sandri with co-direction by Márcio Oliveira. This period saw conflicts with the audio editor and effects handled by Thaís Nicolau, leading to eventual changes. Lucas Saguista returned to direct, forming a new editing team comprised of Andy Fonseca and André Motta.
The story could end here, but only if you, dear reader, want a happy ending. But– since QC only has happy endings in the works not penned by Lemony Snicket– Coraline encountered further unfortunate events: André Motta departed from the editing team, succeeded by Gerferson Santos who eventually took sole charge (Farewell, Andy). The role of Coraline herself also underwent transformations, starting with Ana Azzolini, then Helouise Portugal, and currently voiced by Manuela Gabarrús. Among the supporting cast, only André Motta’s roles as the Crazy Old Man and the Other Crazy Old Man remained unchanged since their inception.
What do you believe sets Quartel Canvete Studios apart from other producers of audiodramas and similar content?
In truth, audiobook productions are far more common than audiodramas, largely due to the considerable production costs involved. Audiobooks are generally more cost-effective as they primarily focus on the narrator’s voice and basic audio editing, often handled by the narrator themselves. These productions typically feature a single voice and may lack additional soundtracks or effects beyond the narration, which distinguishes them and makes them more economical compared to audiodramas.
In contrast, audiodramas not only involve a narrator but also a cast of characters, accompanied by musical scores and effects aimed at enhancing listener immersion. These additional elements significantly increase the production costs of audiodramas.
A testament to this is Quartel Canvete Studios’ need to pay a monthly fee to Epidemic Sound for using soundtracks and special effects in their projects, ensuring compliance with copyright regulations and avoiding potential legal issues.
What are the future plans for Quartel Canvete Studios? Are there any new partnerships or projects you can share with us?
After consulting with some Brazilian animation studios (who seem to have a loose grip on realistic market budgets–laughs), we opted to invest in our own animation team. Currently, we’re in the process of producing the animated opening for “Homem do Rodo” (The Squidge Man), featuring an original song produced by Thelfos in collaboration with our music band, Os Canivéticos.
In the realm of audiodramas, we’re bringing Edward Carey’s “Heap House – The Iremonger Chronicles” to life through Natan Prado’s meticulous editing, narrated by André Motta and Heloísa Bueno. Additionally, we’re producing “The Book of Five Rings” by Musashi, edited by Rogério Batista–also known for his work on “Guardians of Childhood – The Man in the Moon”–and Stephen King’s short story “Autopsy Room Four”, edited by Rafael Hernandes Lorente and narrated in first person by Lucas Saguista.
In the realm of artistic production, we have the webcomic “As Crônicas de Geff”, written and illustrated by Lucas Saguista, along with its “Shippuden” version illustrated by Stélio Victor (Tete). Caetano has returned to traditional hand-drawing for “Homem do Rodo – Season 3”, suggesting our comic will see more consistent updates.
Regarding collaboration with QC-affiliated studios, we’re engaged in the official dubbing “Hullaballo”, by James Lopez Animation; “Poltergeist Pizza”, by Violet! –an animator and 3D artist–, and the final installment of Vincente Di Santi’s trilogy, “Never Hike Alone 2”. To cap it off, Márcio Oliveira is spearheading a musical project inspired by J.R.R. Tolkien’s works, which has been in production for over a year. This ambitious endeavor features notable participation of Dagma Eid, a teacher from the dramatic and musical conservatory of Tatuí, with instrumentalization, mixing, and mastering by Filipi Rafalzik, and vocals by Ana Nunes and Rafael Hernandes Lorente in backing vocals.
[1] Orkut was a social network created by Orkut Büyükkökten that gained immense popularity during the Digital Inclusion period. Although it is now defunct, it played a significant role in connecting people online during its time.
[2] The term “canvete” is a neologism used to refer to fans of “Saint Seiya: The Lost Canvas”. It is formed by taking the noun “Canvas” from the title and adding the suffix “ete”, resulting in the word “canvete”.
[3] In Brazil, the internet started late but began to gain widespread popularity starting in 2003, largely due to strong government initiatives. This period, known as the Digital Inclusion era, spanned from 2003 to 2009.
[4] A telephone company that offered internet package plans.
[5] In the mid-1960s, the oral polio vaccine (Sabine), which contained the attenuated virus, occasionally reverted to its virulent form, leading to polio in children with low immunity.
[6] It concerns Brazilian legislation on copyright and its exceptions.
[7] The real (reais) is the Brazilian currency, which at the time of this interview is worth five times less than the value of the dollar.
Follow Quartel Canvete on YouTube, Instagram and Facebook. Support the group through the platform Patreon.
(Reviewed by Kenzo Kozonoe, Andy Fonseca and Zarzas)