One story. Three screens. Zero shortcuts.
Dark Angel Studios™ (DAS) builds worlds that move through film, television, and games, not as adaptations, but as one living narrative, developed simultaneously by a single team under one roof.
In an era of borrowed universes, rushed sequels, and content designed to be scrolled past, DAS makes a single promise: every project is an original. Born in Montreal. Built by writers, directors, designers, and engineers who share the same story bible from day one. Designed to be felt, whether you're in a theater seat, on a couch, or at a keyboard.
We don't chase what sold last year. We create and develop original content and stories that stay with you for decades. The kind that make you want to call a friend after the credits roll, or boot up the game just to walk through that world one more time.
We are the production and development silo of greiBO‑Gravity™ (GBG). We are privately funded, independently minded, and stubbornly original.
Welcome to the foundry. Bienvenue à la forge.
Who We Are
Dark Angel Studios™ (DAS) is the production and development arm of greiBO‑Gravity™ (GBG), formed in 2024 to solve a stubborn industry problem: film, television, and games still operate like separate worlds, even when they're telling the same story. We set out to change that, not with hype, but with a shared pipeline, shared creative leadership, and a shared story bible from day one.
Why Montreal
Let's be honest: the tax credits made the spreadsheet work. But that's not why we came.
Founders Davis Grei & Brian Kelly chose to come because Montreal is one of the last cities where creators are inspired to take a real risk. Where a game designer and a cinematographer argue over poutine at 2 AM and realize they speak the same language, sometimes French, sometimes English, but always creativity. Grei & Kelly looked to Mile End as DAS’s possible hub for the friction: indie galleries, basement venues, corner cafés where Québécois poetry crashes into systemic game design and everybody walks away sharper.
And yes, we’ll stay for the winter.
There's an honesty to a Montreal January that will force our teams inside, and force us to build entire universes just to leverage the grey. And then summer explodes… festivals spilling into every street, jazz and film and games taking over the city like a collective exhale. Montreal breathes in, breathes out, and we’ll breathe with it.
It appears to be a city that refuses to be a cheap imitation of anywhere else. And based on what QFTC clearly proved on our first visit… it’s a city that can be “anywhere else.” It's stubborn. Bilingual in a way that's not always comfortable, but is always real. It's a place where artists make things true instead of safe.
We didn't choose Montreal because it was easy. We chose it because it feels like home. GBG chose Montreal for it’s new home and new HQ for DAS to build original worlds for the next twenty years, and we intend to make this city as proud of us as we plan to be of it.
Our Approach, Straightforward
We don't chase trends. We develop original content that can sustain decades of exploration across three mediums. Here's how we actually work:
Unified Story Development: Every new IP begins with a comprehensive story bible that maps a theatrical film, a limited series, and a narrative-driven game simultaneously. These aren't adaptations; they're parallel, canonical chapters. A character's backstory revealed in the series informs their motivation in the game, and the film's third act is a fixed point that the game cannot contradict, but none of them require you to have played or watched the others to be satisfying on their own.
Shared Asset Pipeline: We don't rebuild environments or characters for different departments. Our artists, modellers, and engineers work in a unified real‑time pipeline, blending proprietary tools with industry standards like Unreal Engine. The same high‑fidelity hero asset captured for a live‑action LED volume is the same asset players control on console or PC six months later. This preserves visual consistency, reduces waste, and lets our small, focused teams move faster.
Cross‑Functional Creative Teams: Our directors, showrunners, and game directors share a single production floor from pre‑production onward. They don't hand off work; they co‑own it. This doesn't erase creative friction, good friction is how original ideas sharpen, but it ensures that a pacing choice in the film directly informs a difficulty curve in the game, rather than being an afterthought.
Originality as a Binding Contract: We have no library of legacy IP. No reboots, no sequels to someone else's franchise, no biopics. Every greenlit project is a wholly original universe. To keep our pipeline fresh, we allocate 20‑25% of our annual budget to smaller, lower‑risk experimental projects, think 90‑minute indie films or short‑form interactive experiences. If one finds a passionate audience, we elevate it to a full transmedia production in the next development cycle.
How We Release
Our distribution is pragmatic, anchored by rigorous cross-medium translation, adapting our singular story bible into a feature script, a series arc, and a playable game world simultaneously. This translation isn't just a creative discipline; it's our primary hedge against project risk. If a narrative pillar fails to translate across any of the three mediums, we catch and reforge it in pre-production, not in a costly post-mortem. A typical DAS project launches in a coordinated but staggered window:
Theatrical debut (or a premium streaming partner) for the film.
A companion limited series on a broadcast or streaming partner, timed 4–6 weeks later.
The game release roughly 90 days after the film.
We don't dump everything at once. The gap lets audiences engage with each entry on its own terms, and we use anonymised audience response from early releases to fine‑tune post‑launch updates for the game, not to rewrite the ending, but to deepen side content and lore for those who want more.
The Montreal Commitment
We’ve chosen Montreal to stay grounded. Away from the Los Angeles and Tokyo hype cycles, we found a city that treats interactive storytelling as seriously as dramatic cinema. Our studio is privately funded by GBG's innovation trust, so we answer to a 5‑year creative vision, not a quarterly earnings report. We currently have four original IPs in active development, two in pre‑production, one in full production, and one heading into its final polishing phase with plans to grow our Montreal based team over the next three years.
In short: Dark Angel Studios™ is a narrative foundry, where raw ideas are forged into original IP across film, television, and games. It's a consortium of creatives who believe that the best original worlds are built from the inside out, the bottom up, and that the best place to set the foundation for that build is Montreal.
In Development
