Launch! Advertising and Promotion in Real Time, 2009a
Launch! Advertising and Promotion in Real Time, 2009a Launch! Advertising and Promotion in Real Time, 2009a
As the tip of the iceberg, MTV recently announced that the sequel to its popular Rock Band game (Rock Band 2, not surprisingly) will include a track from the first Guns N’ Roses album in more than a decade. As a music industry executive observed about the potential of videogames to sell music products, “These games absolutely have an impact because the opportunity to hear these songs on radio is dwindling. This is becoming an important piece of the marketing puzzle.” [17] WOM/Viral/Buzz One new communication model seeks to get consumers and the media talking about the product, brand, or campaign. Rather than pay for every media impression, advertisers influence their customers to work with them to create media impressions. Word of mouth (WOM) causes people to share stories about the product, brand, or campaign. Every water cooler conversation about the ad creates an impression. Viral marketing gives people a reason to recruit their friends and family to the product. For example, friends-and-family cell phone programs give subscribers an incentive (free minutes) to recruit people they know. Viral campaigns challenge agencies to create truly remarkable ads, online games, or Web sites— remarkable enough that people will want to share them with their friends. For one noteworthy example, check out Burger King’s notorious Subservient Chicken that agency Crispin Porter + Bogusky developed (http://www.subservientchicken.com). Buzz creates newsworthy events—a thirty-second story on the major news networks for an eccentric promotion is worth far more than buying thirty-second ads on those channels. To identify the spark that ignited the fire of buzz marketing, perhaps we need look no further than to The Blair Witch Project, a horror movie that was made for $22,000 and earned $248 million at the box office. How did this lowbudget production pull this off? The answer is the buzz campaign that began long before the film was released. While the story of a group of young people who get massacred in the woods was fiction (sorry to burst the bubble), the producers cleverly perpetuated the idea that the movie was a true documentary. By the time the film actually was released, it had built an avid following. Some of the veterans of that effort also have pioneered a form of viral marketing the industry calls alternate reality games, where fans interact with the company as they try to solve a puzzle. In one of the best-known executions (that these same producers created), carmaker Audi staged a heist of an A3 from Audi’s Park Avenue showroom in New York City. It enticed millions of consumers to solve the Saylor URL: http://www.saylor.org/books Saylor.org 307
mystery. As consumers joined in the chase, they were exposed to the car’s unique features and attributes. The buzz seemed to translate to behavior, too, as sales increased during the three-month campaign. [18] More recently, some gamers were surprised to discover the unnamed force behind The Lost Ring, an online game with an Olympics theme. The game kicked off when fifty people received packages with an Olympic-themed poster and a clue pointing them to TheLostRing.com Web site. At the site, a video presented scenes of a woman waking up in a field with “Trovu la ringon perditan”—an Esperanto phrase— tattooed on her arm. As players searched for clues to solve the mystery, they eventually discovered that none other than McDonald’s, in partnership with the International Olympic Committee, was behind the game. [19] Virtual Worlds The Internet has spawned numerous virtual worlds in which people take the form of avatars (digital representations of themselves) as they play, interact, and virtually live in an online space. Some communities, such as Linden Lab’s Second Life, mimic real life with 3-D graphics that give people a chance to live a different identity (or several) online. Many users choose elaborate characters, either fantasy figures or idealized men or women with exaggerated “attributes.” Numerous companies have set up shop in one or more of these virtual worlds. In some cases (as in advergaming) they simply advertise their product on virtual billboards. For example, billboards in Second Life advertise the Honda Acura RDX. Clicking on the billboard gives the user a virtual copy of the car that they can drive around Second Life and even use in racing games in the online world. In other (typically more successful) cases the brand becomes part of the world, as when avatars who receive virtual Nikes actually get the ability to run faster in the virtual world. Currently well over a hundred virtual worlds are operating live or are in development. The research firm Gartner predicts that by the year 2011, over 250 million people will be involved in these immersive digital environments. U.S. firms spent an estimated $15 million on advertising in virtual worlds in 2006. This figure is expected to reach $150 million by 2012. To date, virtual worlds have received a lukewarm reception by advertisers. Some early campaigns fizzled because they failed to generate interest among virtual world inhabitants—simply putting up a billboard just won’t do it for most avatars. In other cases, disappointed clients didn’t see the kinds of numbers they Saylor URL: http://www.saylor.org/books Saylor.org 308
- Page 258 and 259: Chapter 9 Choose Your Communication
- Page 260 and 261: direct mail people, whoever else yo
- Page 262 and 263: Campaigns that utilize multiple med
- Page 264 and 265: 9.2 Elements of the Promotional Mix
- Page 266 and 267: team is more relevant and effective
- Page 268 and 269: virtual trade shows that you attend
- Page 270 and 271: newsworthy, such as announcing a ne
- Page 272 and 273: aloud. Salespeople in fashion retai
- Page 274 and 275: drive potential new Sun customers t
- Page 276 and 277: service Loopt, which allows its sub
- Page 278 and 279: Fox: Ads That Can Change Pitch,”
- Page 280 and 281: The third campaign in the series be
- Page 282 and 283: Pool Resources with Associations an
- Page 284 and 285: 9.4 Exercises TIE IT ALL TOGETHER N
- Page 286 and 287: 1. Assume that you are a proponent
- Page 288 and 289: Chapter 10Plan and Buy Media: SS+K
- Page 290 and 291: 10.1 Traditional Advertising Media
- Page 292 and 293: The print portion of the media plan
- Page 294 and 295: The television plan that The Media
- Page 296 and 297: “advertising abhors a vacuum,”
- Page 298 and 299: Lack of messaging. Although sponsor
- Page 300 and 301: KEY TAKEAWAY Traditional media incl
- Page 302 and 303: 10.2 New Media LEARNING OBJECTIVES
- Page 304 and 305: In order to maximize the effectiven
- Page 306 and 307: presented by Craftsman at Sears,”
- Page 310 and 311: are used to getting from real-world
- Page 312 and 313: where they select the flavor of the
- Page 314 and 315: catch up to Google (which provides
- Page 316 and 317: [16] Quoted in Paul Hyman, “Burge
- Page 318 and 319: 2. Demonstrate how media planning i
- Page 320 and 321: A common place for these negotiatio
- Page 322 and 323: Cost per thousand (CPM) Calculation
- Page 324 and 325: outdoor advertising, online banner
- Page 326 and 327: c. Define and discuss impressions,
- Page 328 and 329: Assume that your advertising agency
- Page 330 and 331: Assume one of two roles: (a) You ar
- Page 332 and 333: 11.1 Execute on Media Platforms LEA
- Page 334 and 335: Figure 11.4 The other campaign opti
- Page 336 and 337: Figure 11.8 The client’s new logo
- Page 338 and 339: Subject matter, composition, color,
- Page 340 and 341: visually.” Sound effects reinforc
- Page 342 and 343: from the opposite direction seeing
- Page 344 and 345: TV: Online ads are like TV commerci
- Page 346 and 347: The total spending on alternative m
- Page 348 and 349: [6] Quoted in Martin Pazzani, “Ma
- Page 350 and 351: is a more accurate measure of likel
- Page 352 and 353: position for Apple as revolutionary
- Page 354 and 355: prompted the viewer to think about
- Page 356 and 357: 11.3 Exercises TIE IT ALL TOGETHER
As the tip of the iceberg, MTV recently announced that the sequel to its popular Rock B<strong>and</strong> game (Rock<br />
B<strong>and</strong> 2, not surpris<strong>in</strong>gly) will <strong>in</strong>clude a track from the first Guns N’ Roses album <strong>in</strong> more than a decade.<br />
As a music <strong>in</strong>dustry executive observed about the potential of videogames to sell music products, “These<br />
games absolutely have an impact because the opportunity to hear these songs on radio is dw<strong>in</strong>dl<strong>in</strong>g. This<br />
is becom<strong>in</strong>g an important piece of the market<strong>in</strong>g puzzle.” [17]<br />
WOM/Viral/Buzz<br />
One new communication model seeks to get consumers <strong>and</strong> the media talk<strong>in</strong>g about the product, br<strong>and</strong>,<br />
or campaign. Rather than pay for every media impression, advertisers <strong>in</strong>fluence their customers to work<br />
with them to create media impressions. Word of mouth (WOM) causes people to share stories about the<br />
product, br<strong>and</strong>, or campaign. Every water cooler conversation about the ad creates an impression.<br />
Viral market<strong>in</strong>g gives people a reason to recruit their friends <strong>and</strong> family to the product. For example,<br />
friends-<strong>and</strong>-family cell phone programs give subscribers an <strong>in</strong>centive (free m<strong>in</strong>utes) to recruit people they<br />
know. Viral campaigns challenge agencies to create truly remarkable ads, onl<strong>in</strong>e games, or Web sites—<br />
remarkable enough that people will want to share them with their friends. For one noteworthy example,<br />
check out Burger K<strong>in</strong>g’s notorious Subservient Chicken that agency Crisp<strong>in</strong> Porter + Bogusky developed<br />
(http://www.subservientchicken.com).<br />
Buzz creates newsworthy events—a thirty-second story on the major news networks for an eccentric<br />
promotion is worth far more than buy<strong>in</strong>g thirty-second ads on those channels. To identify the spark that<br />
ignited the fire of buzz market<strong>in</strong>g, perhaps we need look no further than to The Blair Witch Project, a<br />
horror movie that was made for $22,000 <strong>and</strong> earned $248 million at the box office. How did this lowbudget<br />
production pull this off? The answer is the buzz campaign that began long before the film was<br />
released. While the story of a group of young people who get massacred <strong>in</strong> the woods was fiction (sorry to<br />
burst the bubble), the producers cleverly perpetuated the idea that the movie was a true documentary. By<br />
the time the film actually was released, it had built an avid follow<strong>in</strong>g.<br />
Some of the veterans of that effort also have pioneered a form of viral market<strong>in</strong>g the <strong>in</strong>dustry<br />
calls alternate reality games, where fans <strong>in</strong>teract with the company as they try to solve a puzzle. In one of<br />
the best-known executions (that these same producers created), carmaker Audi staged a heist of an A3<br />
from Audi’s Park Avenue showroom <strong>in</strong> New York City. It enticed millions of consumers to solve the<br />
Saylor URL: http://www.saylor.org/books<br />
Saylor.org<br />
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