K-Punk Angel Warriors — Kickstarter Story

Your kids are watching demons look cool. We’re making the alternative.

We’re Peter 118 — a charting UK Christian punk band — and we’re raising $25,000 to produce K-Punk Angel Warriors: a fully animated, eight-episode spiritual-warfare series with the music and color kids already love, an enemy that is never friendly, and armor that is real.

Who We Are

We’re Peter 118, a UK Christian rock band: Peter Fields (bass, lead vocals, band leader), Bruno Ribeiro (guitar, vocals), Jacob Jervis (guitar, vocals), and Isaac Pemberton (drums, vocals), joined by rotating featured female vocalists.

We’ve already made our mark on the charts: “This Town” reached #12 on the Official UK Christian & Gospel Singles Chart in July 2026, and “Die For You” hit #1 on Amazon Music UK’s Hot New Releases chart in April 2026. We’re signed to Madison Line Records (Memphis, TN), who handle licensing and publishing for the band and are releasing our next single, “Need You More,” with an official video.

Alongside our music, we’ve launched K-Punk Peter 118: K-Punk-restyled versions of our own original, band-written and band-performed songs. We’re calling this genre “K-Punk,” and it makes us the most prominent — and currently only — label-signed act in the emerging Christian K-Punk scene.

What We’re Making

K-Punk Angel Warriors is a fully animated, eight-episode spiritual-warfare limited series built around our original songs — one track anchoring each episode.

The story follows a company of angels tied to the Full Armor of God (Ephesians 6:14–18). Each band member is represented by a character carrying one piece of the armor. Our real-life studio and live engineer is the protagonist, commissioned into the company and guided by an assistant robot who quotes scripture and keeps him grounded. A tempter only he — and his robot companion — can perceive works against them throughout, while the rest of the band feels its effects without ever seeing it.

The series is fully animated, except for in-story concert sequences, which feature the real band and dancers filmed live-action against animated visuals — blending our real performances into the story itself.

Episode lineup:

1. Lukewarm (Need You More)

2. The Search (City Lights)

3. Searching for Truth

4. Break ’Em Out

5. Die for You

6. Through the Storm

7. Sent Out (Lifting Me Up)

8. Follow Him (Finale)

Meet the Characters

Every warrior of the company carries a piece of the Full Armor of God into a fight that is never a costume drama — it’s distraction, doubt, and the lukewarm heart, and it’s personal.

Where This Came From

Every K-Punk Peter 118 track starts as a conventionally written and recorded song before we produce a K-Punk-styled version — a workflow we’re treating as a genuinely new method for the genre, not a shortcut around it. K-Punk Angel Warriors grew directly out of that music: each song already told part of a story, and we wanted to give that story a home.

Madison Line Records releases our music and official band videos and handles licensing and publishing for our songs — which means K-Punk Angel Warriors is fully authorized to use them. The series itself is a partnership between Peter 118 and D2RM, the company behind FaithShield and Referee, who are producing K-Punk Angel Warriors. The animation rollout will still be timed to Madison Line’s own single release schedule, so the show and the songs arrive together.

Why We’re Passionate About This

We are Peter 118, a punk band from Stoke-on-Trent, and we have been playing skateparks, pubs and festivals since 2012, usually next to bands who believe nothing like we do. We love the energy of KPop Demon Hunters, and we built our own K-Punk sound, but we believe it gets the most important thing backwards. It makes demons look relatable, and we believe our kids are soaking that in, learning that the enemy is glamorous and on their side. Scripture says the opposite: the devil is a thief and a liar, and demons are never benevolent. The fight in Ephesians 6 is not a costume drama. It shows up as distraction, doubt and a lukewarm heart, and it is personal. K-Punk Angel Warriors is our answer, with the same music and color kids already love, an enemy that is never friendly, and armor that is real. The songs came first, and now we want to give each one a story that protects the next generation instead of flattering the thing that hunts them. Help us make it.

Peter 118

The Market Opportunity

Animated Kpop-music storytelling isn’t a niche bet — it’s one of the biggest entertainment phenomena in recent memory. Netflix’s “KPop Demon Hunters” became the most-watched title, film or series, in the platform’s history over a six-month period, logging 481.6 million views in the back half of 2025 alone. It kept growing from there: another 2.7 billion viewing minutes by April 2026, 52 consecutive weeks in Netflix’s Global Top 10, Golden Globe wins, two Oscar wins, and an announced world tour.

K-Punk Angel Warriors’ financial and audience modeling is built on just 1% of that scale — a deliberately conservative benchmark set against a demonstrably massive and still-growing market, not a bet on repeating a once-in-a-generation phenomenon. We believe there’s real room for a faith-based counterpoint within that same space.

The Plan and the Budget

We already have an animator committed to animating the entire eight-episode series for $10,000 out the door. Our full campaign goal is $25,000, which breaks down as:

• $10,000 — full series animation

• $15,000 — platform and crowdfunding fees, merchandise production, voiceover work, and other production costs

Your pledge doesn’t just fund episodes — it unlocks the first season of the faith-based answer to the biggest animated phenomenon on earth.

Reward Tiers

• $10 — The First Listen: Hear it before the world does — “Need You More” lands in your inbox ahead of its official release, the very single that launches Episode 1. Plus an Angel Warriors sticker, because obviously.

• $25 — Double Drop: Everything above, plus a second unreleased track nobody else has heard, and a digital art pack for your wall, your lock screen, your world.

• $50 — Front of the Line: Everything above, plus Episode 1 before anyone else on earth sees it — and your name in the credits, proof you were here first.

• $100 — Wear It: Everything above, plus the official Angel Warriors T-shirt. Rep the band before your friends even know who they are.

• $2,500 — Producer Status (only 10 will ever exist): Everything above, plus an Executive Producer credit on the series — you’re not just backing this, you’re making it happen.

• $10,000 — All Access, Forever (only 2 will ever exist): Everything above, plus a lifetime VIP pass to every Peter 118 and K-Punk Peter 118 show — meet & greets included, with a backstage delivery just for you.

The $25,000 Immortalized Experience — offered directly

Kickstarter caps reward tiers at $10,000, so this one-of-a-kind experience lives here instead: your child — or anyone you choose — gets animated into an episode of K-Punk Angel Warriors, stars in it, and gets an original song written for them that they perform in the episode. Only one will ever exist. Back the campaign at any level and message us to arrange it.

The Timeline

• Campaign funds → production begins with our committed animator

• Episodes animated in order, one song anchoring each

• Episode 1 (“Lukewarm”) arrives alongside “Need You More” through Madison Line Records

• Backers get every update, every milestone, and every premiere first

Risks & Challenges

Animation is a detailed, time-intensive process, and our full series depends on a single committed animator delivering all eight episodes — a lean setup that keeps costs low but has less built-in redundancy than a larger studio production. We’re also coordinating our release timeline with Madison Line Records’ own single schedule, so the pace of episode releases will follow the pace of song releases rather than a fixed date we control alone. We’ll keep backers updated at every stage, and any changes to the schedule will be communicated as soon as we know them.

Want the full pitch? Watch our original pitch-deck video here.

Back us today. Help us give the next generation a story that protects them.

FAQ

Is this an official Netflix or KPop Demon Hunters project?

No. K-Punk Angel Warriors is an original series produced by D2RM (the team behind FaithShield and Referee) in partnership with Peter 118. We reference KPop Demon Hunters only as a market comparison to show the scale of interest in animated Kpop-music storytelling.

Will the show be free to watch?

Yes — these first 8+ episodes are going to be on YouTube and other free streaming platforms.

When will Episode 1 release?

Episode 1 (“Lukewarm”) is tied to the release of our single “Need You More” through Madison Line Records. Episode 1 release timing will be announced as production milestones are confirmed — backers hear it first.

WHITE PAPER

The Developmental Cost of Ambiguous Demons: A Psychological Look at KPop Demon Hunters and Why K-Punk Angel Warriors Exists

How the most-watched animated title in Netflix history lands inside children’s most spiritually and psychologically formative years — and what a faith-based alternative needs to do about it.

Prepared for Peter 118 / K-Punk Angel Warriors

September 2026

Executive Summary

KPop Demon Hunters carries an official PG rating, yet its actual reach runs from toddler toy shelves to mainstream pop radio. Decades of developmental research on how children process frightening and morally ambiguous media — most notably the work of media psychologist Dr. Joanne Cantor — show that the film’s specific content profile lands squarely inside the age ranges most vulnerable to both lasting fear responses and long-term spiritual/moral imprinting. This paper lays out that research, applies it to the film’s documented content, and explains why K-Punk Angel Warriors was built the way it was in response — and why that makes it worth a Christian’s investment now, while the cultural window is open.

1. The Psychological and Developmental Evidence

1.1 How Children’s Fear Actually Works

The most substantial body of research on how media frightens children comes from Dr. Joanne Cantor, a University of Wisconsin-Madison communications professor who has studied the emotional effects of media on roughly 1,200 children over more than three decades. Her research, grounded in Piaget’s stages of cognitive development, establishes a consistent finding: what frightens a child depends far more on developmental stage than on a film’s official age rating.

For preschool-age children, roughly ages 2 to 7 (Piaget’s “preoperational” stage), fear is driven almost entirely by how something looks. Children at this age cannot yet reason their way past a frightening image — a monstrous appearance is frightening regardless of whether the character turns out to be friendly or misunderstood by the story’s end. For elementary-age children, roughly 7 to 11, fear shifts toward realistic and relational threats: content is disturbing not because of how it looks, but because the danger feels like it could plausibly happen, or because it involves confusing moral or emotional stakes — betrayal, guilt, identity, whether someone can be trusted.

In a random phone survey Cantor’s team conducted of parents in Madison, Wisconsin, 43% reported their child had been frightened by something on television or in film badly enough that the fear lasted beyond the viewing itself; more than three-quarters of those said the fear lasted a week or more. Separately, national survey data cited in a National Academies review found that children’s television-induced nightmares are common enough that 9% of parents of kindergarten-through-fourth-grade children reported their child experiencing TV-induced nightmares at least once a week.

1.2 Where KPop Demon Hunters Falls in That Framework

KPop Demon Hunters’ own content guides describe exactly the profile Cantor’s research identifies as highest-risk for younger children: demons with glowing eyes, sudden appearances, and smoky transformations; a shadowy villain who manipulates through fear-based illusion; and a specific sequence in which a concert crowd is shown descending into chaos as the audience becomes possessed. Multiple parenting and classification guides independently recommend against unsupervised viewing under age 6, and describe children as young as 6 already reporting fear reactions in real accounts from parents.

For the slightly older elementary-age audience the film is more explicitly marketed to (content guides identify ages 10–12 as the film’s actual target demographic), the risk shifts from raw visual fear to something Cantor’s framework also flags: morally ambiguous content lands differently once children are old enough to track relational and moral stakes rather than just images. This is precisely the age at which the film’s central ambiguity — a sympathetic half-demon protagonist, demons who can “turn good,” and a source of “good” magic that is never named or explained — is most likely to actually register as a coherent worldview, rather than just background scenery.

1.3 Why the Timing Matters Spiritually, Not Just Emotionally

Separately from fear research, decades of data compiled by the Barna Research Group point to what missiologists call the “4/14 Window” — the finding that the large majority of people who ever commit to a religious faith do so between ages 4 and 14. Barna’s research puts the probability of a child accepting Christ between ages 5 and 13 at roughly 32%, compared to about 14% for teens 14–18 and just 6% for adults 19 and older; separate research cited by the International Bible Society puts the figure even higher, with 83% of Christians reporting their first commitment during that same 4-to-14 window. Barna has also argued that a child’s core moral framework is substantially “set” by around age 9.

Put together, the two bodies of research describe the same conclusion from two different angles: the years in which KPop Demon Hunters’ content is landing on children — both the youngest, most visually reactive viewers and the slightly older, morally impressionable ones — are the exact years in which children are forming the spiritual and moral frameworks that research shows tend to last a lifetime. That is not a claim that the film causes any specific outcome. It is a claim, grounded in the developmental research above, that this is the single highest-leverage window in which the content a child is absorbing actually matters.

2. How K-Punk Angel Warriors Responds to This

K-Punk Angel Warriors was built as a direct, deliberate answer to the two findings above, not just as a values-based alternative.

• Addressing the visual-fear finding: rather than leaning on monstrous imagery calibrated to frighten preschool-age viewers, the series centers on real people — an actual band, filmed and animated as themselves — with its antagonist perceivable only to specific characters rather than staged as a visual threat to be feared on sight. This shifts the primary content away from the exact “how it looks” trigger Cantor’s research identifies as the dominant fear driver for the youngest, most vulnerable viewers.

• Addressing the moral-ambiguity finding: where research shows elementary-age children are old enough to track and internalize a story’s moral logic, K-Punk Angel Warriors gives that logic a clear, named source rather than an unexplained one — spiritual protection in the series is consistently and specifically grounded, with nothing left as unsourced “good magic” for a child to interpret on their own.

• Addressing the 4/14 window directly: rather than treating this developmental period as a risk to be managed defensively, K-Punk Angel Warriors treats it as the reason the project exists — delivering content built for exactly the age range where research shows lasting spiritual and moral frameworks are formed, using the same musical and visual language kids are already drawn to.

The goal isn’t to out-produce a major studio’s budget or spectacle. It’s to occupy the same cultural space — the same genre, the same age range, the same reason kids are already asking to watch — with content built around the developmental research above instead of around what tests well for engagement.

3. Why This Is Worth a Christian’s Investment Now

The case for backing this Kickstarter isn’t just creative enthusiasm for a band’s project. It rests on three points that follow directly from the research above:

• Timing is not renewable. The 4/14 window research above describes a window, not a permanent condition — by the time today’s 8-to-12-year-olds are teenagers, the research suggests their core spiritual and moral frameworks will already be substantially formed. A faith-based alternative that arrives after that window has closed for this generation of children has missed its highest-leverage moment.

• The cultural window is also temporary. KPop Demon Hunters’ dominance — chart-topping songs, hundreds of millions of views, toy-aisle presence — is what makes this moment unusually receptive to a genre-matched alternative. That level of cultural relevance for this specific genre will not stay this high indefinitely.

• The leverage is unusually direct. $25,000 funds the entire eight-episode series, animator and all. There is no large production company, no studio overhead, and no diluted mission between a backer’s dollar and a finished episode reaching a child during the exact window this paper describes.

Christians who have raised concerns about KPop Demon Hunters — whether through school bans, published parent guides, or simply hesitating before letting their own kids watch — are responding to something real, supported by real developmental research. K-Punk Angel Warriors is the constructive answer to that concern: not a ban, not a lecture, but a genuine alternative built for the same audience, during the same window, grounded in something named instead of something left ambiguous. Backing it is a direct way to put a resource into that window while it’s still open.

Sources

Cantor, J. (University of Wisconsin-Madison) — research on children’s fright responses to television and film, including “Modifying Fear Responses to Mass Media in Preschool and Elementary School Children” (Journal of Broadcasting and Electronic Media, 1984) and subsequent survey research on parent-reported fear reactions.

National Research Council and Institute of Medicine (2001), summarizing Cantor’s developmental framework for media-related fear and anxiety in children, via the National Academies Press.

Barna Research Group — survey data on the age at which Christians report their first commitment to faith, and on the “4/14 Window” concept; supporting figures also cited via the International Bible Society and the Southern Baptist Theological Seminary (1995–1996 survey).

Content and parental-guidance assessments of KPop Demon Hunters from Common Sense Media, Kinzoo, the New Zealand Classification Office, and Beebom, describing specific scenes, imagery, and recommended minimum ages.

Billboard and Netflix viewership/chart data on KPop Demon Hunters’ reach, via Billboard.com, Korea JoongAng Daily, and CBC coverage of the film’s Hot 100 performance.