As a free-software and free-culture advocate for the last couple of decades, he's also responsible for producing the project -- with the production design, choice of animation toolchain, and indeed, the decision to make it a 3D animated, web-delivered, anime-inspired series and to release it all under an open-film, free-licensed business model.
Hancock has been obsessed with astronomy, planetary sciences, and astronautics from a young age. He's been fascinated with science-fiction, animation, and movies of all kinds for many years, and he's been learning and using free-software tools for multimedia production for nearly two decades.
He wrote extensively on free-software tools, applications, and philosophy for Free Software Magazine from 2004 to 2011. He also worked on an early free-culture artistic game project based on George MacDonald's The Light Princess, which produced interesting art and concepts although it was never completed as a game (it was also how he met Daniel Fu, who did the character design work for Lunatics!).
As a space-advocate, he was involved in National Space Society chapters in Dallas and Los Angeles. In the 1990s and early 2000s, he worked as a professional astronomer, involved in early extra-solar planet surveys and star formation research as well as technical work connected with the Hubble Space Telescope (NICMOS) and JPL's Infrared Processing and Analysis Center.
Aside from a life-long interest in science-fiction movies and animation, Hancock was also a film major at the University of Texas for two years, during which time he studied film history and cinematography, although he ultimately graduated with a degree in astronomy.
His approach on Lunatics! has been to use a 3D-animated NPR ("Non-photorealistic") style which derives from many influences: relatively realistic anime designs, space concept artists, science-fiction cover artists, and other animated productions. This style allows us to have a realistic environment and proportions with relatively little danger from the "uncanny valley".
The extensive moving camera work and dimensional shots enabled by the use of the Blender 3D animation toolchain allows for a highly immersive experience, while the bright, 2D flattened shading gives it an artistic consistency that ties it together and also keeps it feasible on our shoestring budget (no small consideration!).
This project continues to involve innovation with the back-end toolchain in particular. We are essentially founding a virtual animation studio with this project, and much of Hancock's work on the project is involved with this technical side of the project as well.