Animals can’t speak up for themselves… but what if they could? That’s the premise for four hilarious ads for the RSPB, created in partnership with Blue Zoo and GOOD agency.
When we think about silent comedy, we naturally think of black-and-white movies from the 1920s, featuring classic stars like Charlie Chaplin and Harold Lloyd. These fantastically funny films were still being shown on TV when I was a kid in the 1970s. But now, another half-century on, they’re mainly thought of as a relic, only surfacing in the culture now and then, such as at the annual Bristol Slapstick Festival.
But if you think about it, silent comedy never really went away. It continues to this day within animation, from Looney Tunes to Tom and Jerry through Shaun the Sheep. And here’s another superb example from the world of advertising in 2024.
In this case, the client was the Royal Society for the Protection of Birds (RSPB). The UK’s largest nature conservation charity has been working to create a campaign that urges young audiences to advocate for nature.
Campaign aims
With one in six species at risk of extinction in Great Britain and countries across the UK among the most nature-depleted in the world, this campaign aims to raise awareness of the need for nature to be protected and restored in line with the global target to protect 30 per cent of terrestrial and marine habitats by 2030.
To put life into the campaign, RSPB teamed up with a purpose-driven strategy and creative agency GOOD and Emmy and BAFTA-winning animation studio Blue Zoo. Together, they’ve crafted a new integrated campaign called We Campaign Because They Can’t.
It centres around a series of 15-second comedy-short animations: you can see a supercut of all four at the bottom of this post.
Quite simply, I think they’re brilliant. These loveable characters, including a hedgehog, frog, bees and a woodpecker, summon the spirit of Aardman’s Creature Comforts while being unique creations in their own right. In fact, you could well see them taking on life in longer shorts or even full-length movies, not to mention featuring in sought-after merch.
Although they only appear on screen for a matter of seconds, Blue Zoo somehow manages to sum up their entire world and how it’s coming crashing down beautifully and succinctly. Most importantly, I found them hilarious.
Then again, I’m a grown man who finds it hilarious when one of the Minions says ‘Bot-um’. But hey, there’s a lot of us about…
Streamlined design
Blue Zoo’s goal was to entertain the audience while also calling them to action on environmental issues. According to the case study on their website, they aimed for a tactile, miniature set aesthetic inspired by Wes Anderson.
“Our goal was to create an emotional connection with the audience, making them laugh, reflect and act,” says director Dane Winn. “The charismatic characters we’ve introduced carry the weight of their message with a hopeful note, encouraging viewers to support the RSPB’s mission.”
The design process, which saw the studio’s first-ever in-house use of Blender rigging, was streamlined as much as possible. Everything was designed to frame, with the artists creating fast 3D blockouts of the scenes followed by paintover designs that the CG team closely matched. And characters were designed for efficient modelling, rigging and precise performance without overcomplicating the assets.
Blender’s geometry nodes system created the grooming for furry elements. The plastic bag hitting the hedgehog combined a cloth simulation with shape keys for the comedic nose poke effect.
Unable to perfectly simulate the rubbish falling timing, the animators keyframed each piece manually. The sewage splash involved a Blender liquid simulation with additional dripping geometry for the animation resolve.
Campaign concept
The campaign builds on the RSPB’s aim of being a leading voice advocating on behalf of nature (its X account handle, for example, is @natures_voice). It brings this idea to life, with each film featuring an animal attempting to engage in human-like campaigning against the destruction of their natural habitat but ultimately failing.
“The campaign had to have an impact for good, bringing disruption to major companies who pollute or cause destruction to the natural environment,” says Grant Berry, creative director and art director. “We wanted to keep it light-hearted, simple with a single image from each scenario to conjure up the core message.”
The campaign runs across social and internal channels and is featured on the RSPB website.
Partnership for social good
Damian Hook, head of shortform & advertising at Blue Zoo, says: “Creating the partnership between two pioneering B Corps enabled us to combine Blue Zoo’s expertise in animation and storytelling with GOOD Agency’s innovative approach to creating impactful campaigns for social good.
“It’s rare to find another team whose values align so perfectly with ours, especially in the pursuit of crafting powerful messages for the greater good of the RSPB. The collaboration felt natural, culminating in a series of short films that we are immensely proud of and hope will drive awareness of the RSPB’s important campaigning mission.”
Emotional connection
Bryn Attewell, executive creative director at GOOD Agency, says: “We took a light-hearted approach to make a very serious point – that without organisations like the RSPB, wildlife would have no way of defending itself.
“We also wanted to ensure that the RSPB’s vital mission reaches new audiences, so working with the wonderfully talented folk at Blue Zoo, we kept the films short, sharp, and full of humour and charm.”
Alice Hardiman, director of campaigning & mobilisation at RSPB, adds: “More than 80 per cent of 16- to 24-year-olds agree that nature benefits their mental health and wellbeing, but access to nature isn’t equal, with young people facing particular barriers.
“Content about nature and climate crises can be daunting, so finding innovative ways to tell stories is crucial. We want to give young people every chance we can so they can take part in campaigning activities, big and small. “
“Through a blend of organic content such as our TikTok account and targeted campaigns like this, working with our Youth Council, not to mention the free access to our reserves for young people, we’re confident we’re starting to cut through.”
