Global Advertising Campaign
Hacking monsters, slashing demons and wisecracking our way through wave after wave of diabolical enemies are some of our favourite things, so we were delighted when Capcom invited us to have a party in hell once again for the triumphant return of Devil May Cry.
Partnering closely with Capcom, we arrived at a tone of voice that would stand out to new audiences, whilst invigorating core DMC fans and Japanese Centric gamers.
Our campaign tagline ‘Back To Raise Hell’ managed to speak to all: raising anticipation & excitement of the fun that’s to be had in the demon world while remaining in-tune with the brand, legacy and heritage of DMC.
To accompany this, we designed a visual aesthetic which would similarly appeal across all audiences – taking influence from the origins of the franchise to generate the interruptive neon titling aesthetic, while also updating key design cues such as the iconic DMC stylish ranks to create an authentic and interruptive reminder of the style and attitude of the game.
We created a broad campaign of executions for the launch, including trailers for Paid Media, Social, Rich Media Banners, Interactive Online Banners, Social Assets for Facebook and Instagram, Out Of Home Digital Assets and Cinema Advertising.
Another key aspect of our role was supporting the UK media team at Capcom – and we worked with Futurenet, Gamespot, LADbible, Amazon and XBOX to create and approve a massive slate of bespoke assets, and to maximise the visibility of the digital content campaign, which was a great success.
In terms of reactivity, our teams were also called upon to update many of the assets at the 11th hour, in order to take into account the incredible reviews that the game was generating – and this was a demanding, but very welcome addition that strengthened the campaign.
We were thrilled to see the game shoot to the No.1 spot in the UK Charts, and incredibly proud to have played a part in the return of another genuine gaming icon to its rightful place amongst gaming audiences.
Get in touch if you’d like to hear how we can help maximise the success and presence of your Digital Campaign – we’d love to tell you more!
Global Advertising Campaign
Case Study: Mobile Esports Open
The Mobile Esports Open by ESL (MEO), a Red Bull mobile games tournament designed to engage both competitive and casual, mobile gamers with online and offline events culminating in the crowning a world champion. Maverick’s consulted around the communication strategy to create consumer awareness of MEO, link with the Red Bull brand and drive can purchases. Our “Open to All, Won by One” campaign proposition was brought to life with an Announce Trailer execution to promote the competition internationally to a broad and inclusive audience. As a piece of activity, the mobile tournament gave Red Bull a platform to partner with other gaming brands (Clash Royale, Arena of Valour and ESL) and extend awareness amongst consumers mobile while at the same time aligning with brand perception within esports generally.
Case Study: Level Up
With many different pieces of brand activity, sponsorship and initiatives, Maverick created a communication campaign for Red Bull to bring together and celebrate the range of gamers, athletes and communities the brand is involved with across the globe within gaming and esports. Under the banner of “Level Up”, Maverick produced a multi-execution video content campaign to present the brand’s participation in gaming and positioning Red Bull as an energy drink brand in an authentic way.
Case Study: Part of the Game
Part of the Game is a docu-series created by Red Bull, exploring the world of esports. Our brief was to leverage the authenticity of the documentary series and Red Bull’s association with it, bringing it to the attention of gamers, non-gamers and esports fans. Following our strategic consultancy, we developed an authentic, engaging and interactive social campaign with video executions to encourage gamers to interact and engage with the content
Strategy, Concept, Execution
There’s an increasing buzz around Influencer Campaigns we’ve experienced over the past 9 months, both within the games industry and beyond. It seems there’s now an imperative for brands to have a strategy for this new area – not least because it’s delivered some great results.
So what are Influencer Campaigns and why are they important? Well, in essence, Influencer Campaigns are the practise of partnering with Influencer Talent to leverage their popularity and network or audiences through the creation of content, activity, event or experience etc. that communicates the brand or product message of the advertiser. It’s significant because Influencer Campaigns offer a new opportunity to reach a highly specialist audience – often including a substantial proportion of those all-important and evasive “millennials” – who advertiser fine increasingly hard to reach on TV and traditional advertising.
Maverick have recently completed Influencer Campaigns for two of Ubisoft’s recent game releases: Tom Clancy’s The Division and Rainbow Six: Siege; two separate but similar projects where we thought to share some best practise in what is a fast moving and evolving area of the media space. So here goes:
The Influencer Talent is the foundation around which the Influence Campaign Content is built. Quite simply, the Talent brings with them the audience and a credible voice to reach them – making the Talent choice and designing their form of engagement is perhaps the most important factor in the Influencer Campaign. In the case of video gaming campaigns, there are scores of highly successful and established YouTubers to choose from – each with their own unique online persona, each with a reputation for playing certain games, and with the likes of Ali-A, Vikkstar123, Slogoman and MasterOV commanding millions of subscribers. This represents a huge opportunity with the potential access a channel that can deliver 500K views in a matter of hours.
But it’s not quite as simple as merely identifying the Talent – YouTubers are very aware of their Superstar Status and the value of their audience. Influencer Talent can be sceptical about advertising and brands and the potential connotations to their fans (noting their principal income comes from YouTube/Google based on the audience they deliver, not the advertiser direct). So the offer to the Talent has to be the right one, and one designed to augment their profile – perhaps an offer that helps them make interesting and original content that helps them grow their audience too.
So the creative concept behind the campaign would then be the second most important element of the Influencer Campaign, and it’s the role of the creative agency to achieve this – gaining the interest and engagement of the Talent with a great idea, and one that aligns the personal brand of the talent with the advertisers brand message (about the game). And thirdly this idea has to result in the creation of sharable content that is exciting and unique and can be embraced and shared by the audience. How do we do this – well, (forgive the trumpet blow) that’s the bit where twenty years of experience of everything from “old skool” virals to creating award winning games trailers comes in:
There’s one set of challenges if the brief is to communicate about a product like Volvic, and another for a video game release – while in many ways, a game brief is a creative gift (given that the very nature of a game concept is to be amusing, entertaining, and involving some element of interactivity), the gaming audience is a tough one to please with a nose for being sold to. Thus, it’s essential that the Content delivers a worthwhile viewing experience, one that skilfully integrates the specific game product messages in a way that is authentic to the game (it’s not acceptable just to video Influencers on a PR jolly day out, or to create an extended “let’s play”). This Content sits in a new unique hybrid space between traditional TV content and advertising, and has to be on a par with the best of both worlds – delivering information and excitement with style, quality of execution, spectacle and production value that will get it noticed. Get the Content right and you have something the Talent is proud to share, often going beyond the scope of an agreement to get behind the campaign and resulting in increasing exposure in the form of additional Tweets, Instagram posts and other video postings – all inspired and aligned to the theme of the Content.
THE CAMPAIGN RESULTS
So while the content is the output, the results of the campaign are determined by its successful deployment and roll out. It’s not simply about the views on YouTube (that said, these two example campaigns for Ubisoft each clocked over a Million views within 36 hours – delivering a huge brand exposure to the exact target demographic.) An advertiser often has a remit to execute activity across multiple territories to achieve alignment of messaging as well as to help create cost savings and it’s best practise for an Influencer Campaign to be created so it can be reinterpreted and repeated for other territories. In the case of Rainbow Six: Siege, the idea of training Influencers for an SAS style assault on a 747 was reworked to provide the same experience for games journalists who could enjoy a simliar experience to the Influencers. Moreover, the high concept of assaulting a 747 was sufficiently inspiring for UK TV Show The Gadget Show to create an entire piece around Rainbow Six: Siege – adding millions to the audience. Similarly the concept of working with real Preppers allowed lad culture website UniLad the opportunity to create their own video content around learning the skills to survive in a The Division style environment.
The central concept is reinterpreted by UniLad who create their companion content based on the themes of the Influencer Campaign
“Another great project. I’m really happy with this one, and the project was very smooth and fun to work on.”
Social Media Strategy & Launch Trailer
The challenge face was to take Tekken and open it up to a new wider and broader gaming audience making it more accessible to those who hadn’t played the game previously, but also whilst maintaining the appeal and respect of the hardcore Tekken fans.
Maverick’s creative came up with the idea to position the fighting game as a casual and social game which can be shared amongst friends. The execution consisted of a story trailer summarising the complex 20 years backstory of Tekken to a western audience, and a launch trailer which evolved around a #TEKKENPARTY being enjoyed both at the party venue and live across different social media channels. The disruptive and unique live action trailer stimulated interest prior to launch with a 30 second teaser creating hype around #TEKKENPARTY, and including cameos from influencers such as NormanGenius and ComedyShortsGamer. Oh and of course… it’s packed full of Tekken Easter Eggs!
Buzz was created before and on launch day across major social media channels which resulted in helping take Tekken 7 to reach No.1.
Giant Griffins, Zombie Dragons, Apocalyptic comets hurling from the sky? Yep, that’s right up our street.
Maverick recently teamed up with Creative Assembly and Platige Image to produce an all-out magic-fest for Total War: Warhammer. Being Maverick’s we had an amazing time re-acquainting ourselves with the vast and detailed Warhammer world to concept and produce a trailer that would turn heads, attached to bodies or otherwise.
Recording the unmistakeable voice of Steven Berkoff, Maverick got to work bringing this gigantic IP to life from script to gorgeous CG animation. (Blood for the blood god!)
Ever wondered what goes into an epic, war-ravaged, orc infested, zombie dragony, beast of a trailer? Check out how the magical work from Maverick, Creative Assembly and Platige manifested itself into the highest viewed Total War trailer in history (or Fantasy…)
Featuring Maverick’s very own Seamus Masterson, Creative Assembly’s Rob Bartholomew, Tomek Baginski from Platige and Byron Bullock from Creative Assembly, you will be guided through the Making Of Total War : Warhammer Announcement Trailer.