Why it's okay to play
Playtika
Issue 45 | December 2017
Agency
Happiness Brussels, an FCB Alliance agency
Creative Team
Happiness Brussels Chief Creative Officer Geoffrey Hantson Creative Directors Niels Sienaert, Tim Schoenmaeckers Concept Provider Pieter Claeys Chief Executive Officer Karen Corrigan Managing Director Elke Janssens Group Account Director Hans Smets Account Executive Marlen Fernandez Pando Chief Innovation Officer Kris Hoet Creative Content Director Barbara Dzikanowice Digital Producer Tuyet Hoang Strategic Planner Eline Goethals Graphic Designer Dries Lauwers Senior Graphic Designer Frederik Draulans Motion Designer Remke Faber International Markets & Affiliates President Sebastien Desclee
Production Team
International Creative Service Manager Maria Caetano Global Creative Services Manager Kynda Love Executive Office Co-ordinator David Garcia Editorial Director Mary Day Clients General Manager Ofer Kinberg Marketing Director Amir Kwiat Marketing Manager Sharon Tzvielli Marketing Relations Director Eyal Argon Marketing Specialist Kira Tovarovsky Creative Team Leader Maayan Kaifus IT Operations Director Ella Vidra IT Operations Andrii Skip Production BUSS Interactive Fuelcontent Little Big Productions Thoopid Bioscope Films The Music Works, We Love Jam, Red Leather KooKooRuza Getty Images
Other Credits
FCB International Global CCO Susan Credle International CCO Luis Diaz CCO Mexico Humberto Polar CCO Canada Nancy Crimi-Lamanna CCO South Africa Jonathan Deeb CCO South Africa Ahmed Tilly CCO United Kingdom Al Young CCO Asia Pacific James Mok CCO Health Rich Levy CCO New York Ari Halper CCO San Francisco Karin Onsager-Birch CCO Chicago Liz Taylor CCO Brazil Joanna Monteiro
Date
October 2017
Background
Slotomania was a mobile casino simulation game. But unlike other slot games, players didn't win actual money. The game worked with virtual coins. The problem with gaming was that when people took some me-time to play they tended to feel guilty. The task, then, was to counter that feeling of guilt in Slotomania's key markets.
Idea
The idea was to tackle the feeling of guilt head on. So, a film was created for every minute of the day, 1,440 in films in total since there are 1,440 minutes in a day. Each of the minutes reminded people that it was ok to play.
The films could be viewed at whyitsoktoplay. com, a real-time platform that ran perfectly in sync with the viewer's time zone. Each film gave a piece of information about the exact minute at which it was being watched and gave a reason to play the game.
The facts about each minute of the day were collected from a variety of sources on the internet: Google, Wikipedia, all kind of blogs, studies and other open sourced information.
For example, 6:39am was the minute at which most successful people woke up. Successful people attracted luck. So it had to be a good minute to play.
2:36am was the minute when most UFO's were spotted. A good way to avoid an encounter from outer space was to focus on a game of Slotomania.
The entire production, from data gathering to finished movies, was accomplished in just eight weeks.
A small army of 142 copywriters from FCB agencies all over the world wrote thousands of scripts. 37 CDs and 14 CCOs reviewed the work. Then an algorithm was written to allow automation to help find 6,197 clips of stock footage before 30 editors got to work, together with 35 hours of Voice Over recording.
Results
Campaign launched October 25th, but after just two days, the figures are already looking quite amazing. Here's an extract: on average more than 5.000 people visit the platform every hour. With a peak of 1,200 visitors per minute at launch time! The conversion rate is 6.5%. The average time spent on whyitsoktoplay.com is quite stunning: 11.35 minutes! (compared to 3.37 minutes on average – Wolfgang Digital, average time on site benchmark). So instead of watching one ad, on average people decided to watch 11 of them.
Our Thoughts
What I love about this campaign is how naff each of the films is. That's not an insult, I hasten to say. The opposite.
The internet rejoices in the slightly clunky and the obviously hasty. It's an over-used word, but this work has a charming authenticity, which high production values and traditional advertising gloss would kill stone dead.
That's not to say the work is amateurish because it most certainly isn't. Each of the clips, when used as an ad, gets delivered at the precise moment it is being watched. Now that's clever programmatic placement.
The way the agency has used data to justify a pertinent message about every single minute of the day suggests that creative supremo Geoffrey Hantson has his eyes on a Creative Use of Data Lion at Cannes next year.