part 1:_ Advertising by Design – Chapter 6: Storybuilding and Content Creation in the Digital AgeInstructions for Chapter SummariesAdvertising by Design – Third EditionAfter reading each chapter type up a 3 paragraph summary, upload a PDF document.Please review the Writing Requirements Below.Formatting of Document for Writing Assignments: All work must be Typed! No Exceptions. Work must be turned in on a “Designed” Letterhead. Style and legibility are key asGraphic Designers. Name, Course, Book, Chapter, and Due Date MUST be on all assignments to beaccepted. Heading and required information should be part of Letterhead design. NO Script, Decorative or Designer typefaces may be used for the writing portion of theassignment(s). Body Copy MUST be in Serif or San-Serif Font. Body Copy Must be no larger than 12pt. Leading is no greater than 14.4pt. – Single Spaced. Margins should be no less than .25in. and no greater than 1in.Finally, you must add your opinion at the end of the summary.———————————————————————————————————————————————————————————————————————————————————–part2:_instructions for Chapter Summaries International Media Communication in a Global AgeAfter reading each chapter type up a 3 paragraph summary, upload a PDF document.Please review the Writing Requirements Below.Formatting of Document for Writing Assignments: All work must be Typed! No Exceptions. Work must be turned in on a “Designed” Letterhead. Style and legibility are key asGraphic Designers. Name, Course, Book, Chapter, and Due Date MUST be on all assignments to beaccepted. Heading and required information should be part of Letterhead design. NO Script, Decorative or Designer typefaces may be used for the writing portion of theassignment(s). Body Copy MUST be in Serif or San-Serif Font. Body Copy Must be no larger than 12pt. Leading is no greater than 14.4pt. – Single Spaced. Margins should be no less than .25in. and no greater than 1in.Finally, you must add your opinion at the end of the summary.—————————————————————————————————————part 3Advertising Appeals Watch the videos below and write your analysis of the advertising appeals of each. Why do you think that particular appeal was used? Did you find it effective? Why or why not?———————————————————————————————————————————part 4Discussion Question – Moral ResponsibilityWhat moral responsibility, if any, do advertisers have to use “normal looking” people in their advertisements?Some charities sometimes use shocking images of starving children or abused animals in their advertisements. What do you think of this practice
6
STORYBUILDING AND CONTENT CREATION IN THE
DIGITAL AGE
STORYBUILDING IN THE DIGITAL AGE
The velocity with which technology changes partly defines advertising’s transformation. The
legacy model of advertising pushed at the consumer is crumbling. But storytelling remains
constant. It is a powerful way to communicate, relate to, and connect with one another. The
elements that go into creating a great story remain fairly constant—almost akin to the ancient
storyteller around a crowded camp-fire, where the experience is a communal event in real
time—where anything can happen—where listeners become participants and the storyteller
herself becomes a listener or facilitator. The 24/7 social communities online enable people to
curate stories they find shareworthy and spread stories rapidly. Online communities and
platforms are fertile grounds for storytelling. Whether people share and spread stories for
social status or currency or to be part of a crowd, it increases the need to create and co-create
compelling stories for audiences on behalf of brands and groups.
Stories are such a powerful driver of emotional value that their effect on any given
object’s subjective value can actually be measured objectively.
—Joshua Glenn and Rob Walker
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
The digital world has increased the need for coherent stories to engage and build a brand’s
narrative across media channels. This is a greater need than in the predigital connected age
simply because there are so many more channels of communication. Social media plays a big
role in most people’s lives, providing a fertile place for interactive stories.
Agency Pereira & O’Dell made rich use of social media for its global social film, The Beauty
Inside, for Intel and Toshiba, starring actors Topher Grace and Mary Elizabeth Winstead, as
well as people worldwide who auditioned via Facebook and got to co-star with the
professional actors. (People read from an audition script, recording their auditions via an app
provided on Facebook, and could ask friends to like their video, which was supposed to
increase their chances of being chosen to appear in the social film.) Pereira & O’Dell
combined social media participation with high-level storytelling.
Along with conventional brand storytelling in paid, owned, and earned media, the new
advertising ecosystem is collaborative, co-created, and a forum for two-way conversations. It
is often quick paced and can be local as well as global.
Brian Storm, founder and executive producer of MediaStorm, advises, “To be relevant on the
web your offering needs to be either super funny or the highest-quality story on the topic.
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That’s what readers will tweet, post, and share. Mediocre offerings are just noise.”
Aspects of storybuilding (building the brand through narrative construction, stories, and
actions) take on five major roles in advertising:
Building the core brand narrative
Making each individual story act on behalf of the brand by the agencies across media:
storytelling and “storydoing”
Synthesized stories built through interactions between the fabricated brand experiences
created by the agencies and the reactions from and co-creations made by consumers
Original brand content and conversations initiated by the consumers
Owned platforms for people to tell their stories
THE CORE BRAND NARRATIVE: THE STORY
ECOSYSTEM
When most products and services are on a par what differentiates and illuminates one over
another is its brand narrative. The core brand narrative is a strategic branding premise, which
sets the foundational brand essence and brand values and makes the emotional connection
with the audience. The core brand narrative has to be the point of entry and foundation for all
other specific stories to keep the brand message relevant, engaging, and on track as well as to
aid brand resonance.
The overarching core brand narrative has to take into account what is important to its
audience plus what the brand needs to communicate to meet its goals, developing stories
around that sweet spot between audience aspirations and brand goals. Storybuilding has to be
at the core of the marketing strategy—from branding through advertising.
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
Can you treat a brand or entity like a story? A resounding Yes! Aesop agency in London
writes on their website (www.aesopagency.com):
We rigorously apply narrative concepts to marketing problems—treating brands like
stories, and campaigns as chapters in an unfolding narrative starring our clients’ brands
and their audiences.
We also use stories to make better, more joined-up creative. Our narrative approach
produces richer briefs that inspires our specialists in strategy, design, communications,
and activation to work together to tell a seamless story that audiences actively want to
engage with.
The storybuilding strategy should be a foundation for all content, which then becomes a
springboard for developing the brand narrative and individual marketing messages or stories
and campaigns. Every piece of unique content, video, social media post, tweet, and each
individual ad, game, or commercial should deliver visual and verbal communication in
accord with the larger brand narrative.
Landa, R. (2016). Advertising by design : Generating and designing creative ideas across media. John Wiley & Sons, Incorporated.
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Storytelling is not a new advertising technique, but because of the vast increase in media
channels every individually crafted message and real-time response to consumer messages
and stories must be in sync and build that core narrative, maintaining brand values,
personality, and promises, strengthening what people find of interest and endearing about the
brand or entity. The brand narrative must differentiate—create a personality that is unique
and identifiable with a characteristic emotional or expressive tone (joyful, pleasurable,
exciting, fun, calm, kind, quirky, sensitive, etc.).
There’s a big difference between creating content for a brand and a brand creating
content for an audience. Those who get it will win.
—Scott Donaton, global chief content officer and head of UM Studios, on Twitter
The brand narrative sets the brand’s DNA, its values and beliefs, its integrity. In order for
people to have an affinity for a brand or group, they have to respond to the brand narrative
with trust and some kinship. They also have to believe it is authentic and has integrity. The
audience has to have an emotional connection to it. Naturally, it is easier to connect with the
values of charities and nonprofit organizations, such as the Michael J. Fox Foundation for
Parkinson’s Research or World Vision. Do keep in mind, consumers can and do have an
affinity with some commercial brands they believe to have integrity (honesty and
transparency) and share their core values, such as Apple or Southwest Airlines.
Individual Stories across Media
Why Tell a Story?
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
An interesting and valid story has the power to move us, teach us, and shape our beliefs.
Stories mark our lives and they are how we remember things, how we make sense of the
world. In terms of marketing, storytelling is an effective way to engross and ultimately
influence people.
Well-told stories draw people in, transporting them to a time and place, into a seamlessly
woven narrative that builds a believable world with an interesting plot (often with a
backstory). The story needs to make people care. (People do not pay attention to boring
stories.) We tend to remember a story over straight information, especially one that makes us
feel something. Everywhere we turn, there’s more information—facts, lists, statistics,
ingredients, how-to’s, what to do’s, and more. If you’re trying to persuade someone to take an
action—whether it’s to buy soap or give blood—using a story, preferably an emotionally
charged one, will more likely produce results than any data alone.
Landa, R. (2016). Advertising by design : Generating and designing creative ideas across media. John Wiley & Sons, Incorporated.
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Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
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FIGURE 6-1
FILM: THE GIRL WHO COULDN’T CRY
Agency: DDB New York
Client: WATERisUFE
Photography: © WATERisUFE 2014
“Although the film is at times hard to watch, these are real things happening to real children
on a daily basis,” says Matt Eastwood, chief creative officer of DDB New York. “It’s hard to
think that on top of these terrible living conditions, these children don’t even have basic
necessities like clean, accessible water. Imagine not being able to shed a tear when life is at
its worst. It’s tragic even to consider.”
—http://www.aaaa.org/news/agency/Pages/TheGirlWhoCouldn’tCry.aspx
At MediaStorm, we believe that quality storytelling is the killer app. Our mission is to
convey the essence of the human experience in deeply personal, intimate and
emotional ways.
—Brian Storm, Founder and Executive Producer, MediaStorm
The Girl Who Couldn’t Cry follows a girl from the slums of India who, despite all she has to
endure, cannot cry because of severe dehydration (figure 6-1). We see this child sorting trash,
witnessing her mother’s life as a prostitute, being forced into marriage against her will, and
more shocking hardships that no child should have to endure. This film illuminates human
rights violations while letting us know that a lack of a basic human necessity such as clean
water causes severe dehydration preventing one from creating tears.
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
We frame experiences and beliefs through stories. According to psychologists Melanie Green
and Timothy Brock, people are more effectively persuaded by stories that absorb them and
“transportation more commonly occurs in response to narratives.”1
People’s Responses
Consumers can drive the brand conversations. Once a story is launched, a good deal of the
work for the creative team (or others on the agency’s or client’s brand team) ensues. They
need to respond to peoples’ reactions and posts and any content created by consumers in
response to the original story. Sometimes the responses to consumers’ creations are more
casual than the original brand story (an ad, a film, a game), purposely less slick or finished,
in order to make the response appear more conversational.
Other times, a campaign (a social media video, for example) directly incorporates consumer
reactions or suggestions or comments (as did Wieden + Kennedy in their now classic
interactive digital response campaign initiative in real-time featuring the Old Spice Guy
posting personal video responses to fans online) or entirely utilizes consumer comments
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(love songs for Wendy’s Pretzel Bun culled from consumer tweets about the bun).
These campaigns, ultimately, are synthesized stories created through interaction between the
fabricated brand experiences created by the agencies and the reactions (posts, comments,
questions, parodies, or content) created by consumers.
Some agencies and clients take advantage of user-generated content (UGC), material created
and voluntarily contributed by the public, holding competitions and soliciting submissions.
Deutsch LA and Target asked high school seniors to record videos of themselves opening and
reading acceptance letters from colleges. The authentic-feeling commercial created from a
montage of these elated teens’ video submissions ends, “Every kid deserves this moment.
Great schools can get them here. Target is on track to give 1 billion to K–12 education.”
Doritos’ brand management believes that consumers are producers and distributors of content
—they believe in participatory advertising. For years, Doritos has held its “Crash the Super
Bowl” user-generated content campaign, leveraging the creativity of its brand fans. The
Doritos team trusts its fans, a mainly millennial demographic. The Super Bowl competition is
one part of Doritos’ broader marketing strategy where brand fans become brand sirens.
Unsolicited Consumer Content
Some brand advocates create their own stories for the fun of it, because they love the brand
or entity, or perhaps they parody the branded stories created by the ad agencies or the brand.
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
Consumers now have the technology to create their own brand content experiences and
conversations, for example, by creating films with smartphones, tablets, webcams, and other
equipment. They also have the power to distribute what they create. Whether they create
motion graphics, videos, or print, they can use online platforms such as Instagram, Facebook,
Snapchat, and YouTube as distribution channels. For example, a young brand siren named
Jess Paul created her own webcam vid about Coca-Cola with the theme of “Open Happiness”
that caught attention. Another Coca-Cola fan created a print ad turning the wave into a
handshake.
With or without the brand’s involvement, consumers are going to join or direct the
conversation. A smartly managed brand will embrace the consumer-generated content. Brand
agencies, managers, and stewards can ignore these consumer initiatives—whether content or
conversations—or respond thoughtfully (though not slickly) in order to deepen the
connection, broadening the narrative and making it more fluid and co-created. Agency
creatives have to listen to what people are saying and leverage conversations that are out
there already, shaping the consumer conversations (consumer to consumer; consumer to
brand and consumers) and generated content.
User-generated content (UGC) implies great enthusiasm for a brand. When people spend
their time creating content about a brand, they are expressing genuine enthusiasm. It doesn’t
get better than that for influencing potential customers. Studies suggest that people tend to
believe their peers’ UGC over agency-created marketing.
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Platforms for the Public
An ad team can conceive an idea that becomes a public stage. As part of the “Open
Happiness” campaign at the National University of Singapore, a Coca-Cola vending machine
reads, “Hug Me.” if you hugged the machine (squeezed the sides), the vending machine
dispensed a free Coke. The students on campus embraced the promotion (literally and
figuratively), and videos and photos of people hugging the vending machine went viral.
Another example is the first Coca-Cola TV commercial to exclusively feature fan-created
and -submitted footage. “The 30-second spot, produced by Wieden + Kennedy, is the result
of a Coca-Cola contest. … The brand challenged teens around the world to submit short
video clips sharing what it feels like when they take a sip of Coke, for the chance to be
featured in a national TV ad. The 40 clips that made the final cut were selected from more
than 400 submissions. ‘This is AHH’ features an international cast of fans-turnedfilmmakers, with user-generated content from Brazil to Salt Lake City to Jacksonville, Fla.”2
On a platform such as Instagram, an agency can boost brand engagement with consumer
images and hashtag campaigns. Asking consumers to share photos, such as selfies, using
products is a potentially contagious avenue. On Instagram, Lancôme DreamTone asked
women to celebrate their own unique skin tone and feel proud of their skin even without
makeup with a “bareselfie” (figure 6-2).
Utilizing two video-sharing platforms, Nissan invited Instagram and Vine users to create their
own short videos about the Versa Note using a cutout version of the car (a printout kit was
available on YourDoorToMore.com). Entrants had the chance to win prizes and see their
creations in a national Nissan TV commercial. To enter, users were required to make “a sixto-15 second video on Vine or Instagram about what they love, include at least one Versa
Note cutout (making it more fun with a model paper car), and then post the video with the
#VersaVid hashtag,” explains agency TBWAWorldwide.
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
“Cars don’t just take us places. They help us chase dreams, seek adventure, and enjoy life to
the fullest,” says Jon Brancheau, vice president of marketing for Nissan North America. “We
want to celebrate that freedom and the creativity it can inspire.”3
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FIGURE 6-2
INSTAGRAM: LANCÔME DREAMTONE
Agency: Firstborn
Client: Lancôme
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
“Lancôme DreamTone makes every type of skin more beautiful by removing dark spots and
evening out skin tone. For the launch of the skin perfecting serum, Lancôme wanted to build
product awareness and forge an emotional connection on social media.
During our research, we realized that skincare, unlike makeup, is a private topic for many
women. Lacking the self-expression or artistry that comes with makeup, skincare is centered
around private, personal routines and problem-solution orientations. To invite skincare out
into the open, we decided to tap into the popularity of a recent social phenomenon—selfies,
or self-taken photos. To celebrate DreamTone’s differentiating feature, individual formulas
for individual skin tones, we asked women to celebrate their own unique skin tone and feel
proud of their skin even without makeup. In the campaign, users were asked to share photos
of their makeup-free faces using the #bareselfie hashtag on Instagram. Hundreds of women
shared their photos and the campaign was mentioned as an Instagram Top Moment of the
year, linking DreamTone with the confidence that can come from not wearing cosmetics.” —
Firstborn
Tongal, a web company that crowdsources video content (TV commercials, social videos,
music videos, branded entertainment), takes another avenue. The company works with its
sponsors to define the creative challenges and establish the prizes. “Businesses and judges
select the ideas they want to see come to life and the creatives that submitted those ideas get
paid,” according to Tongal.com.
And, of course social media brands (YouTube, Instagram, Facebook, Vine, Twitter, Pinterest,
Snapchat, Periscope, and LinkedIn) are platforms for consumers to tell, create, and distribute
stories. If you give a voice to the consumer in your story, the brand story potentially becomes
Landa, R. (2016). Advertising by design : Generating and designing creative ideas across media. John Wiley & Sons, Incorporated.
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more fluid, meaningful, and possibly shared.
TELLING A SHAREWORTHY STORY
How do you tell a (shareworthy) story? Effective advertising starts a conversation.
Know what is important or of interest to people, and figure out how can you create a story
based on their interest that will attract and keep their attention.
The Essential “Why” Inspiring the Brand
Start with the core brand narrative as your guiding light. Next, determine the “why” behind
the brand. It’s similar to what life coach Tony Robbins speaks about when he says it’s the
“invisible forces” of why we do what we do. Or what ethnographer Simon Sinek talks about
when he urges people to find their “why,” to look beyond what they do or how they do it to
“The purpose, cause, or belief that inspires you to do what you do.”
Wendy Clark, senior vice president of Coca-Cola, says marketing should start with “why.”
She writes, “At Coca-Cola, when we’re at our best, we do the same.
“Coca-Cola was created in 1886 by Dr. John Pemberton, a pharmacist who wanted to create
an elixir that would give people a moment of refreshment and uplift, a moment of happiness.
And thus our why was evident: to make the world happier,” Clark wrote in AdAge.4
The Brand Promise Manifested
Does the brand story you are telling hold a promise—a promise of entertainment or (useful)
information? A story is crafted for an audience, for what the audience wants to get out of it.
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
Inform. Entertain. Educate. Or be Useful.
Your story is competing with every piece of content out there for someone’s attention. Make
it worth someone’s time. Brands have information they can share with the public; for
example, BabyCenter.com, a parenting and pregnancy digital resource, is a member of the
Johnson & Johnson family of companies. Bring the brand promise to life—make the
audience’s life better through entertainment or education, make them happier, healthier, or
whatever the brand or entity promises at its core.
Have the Story Do Something
Ty Montague, co-founder and co-CEO of co:collective, writes about “Storydoing” in his
book, True Story: How to Combine Story and Action to Transform Your Business. He
explains that a story is told through action. For example, basketball player Kevin Durant
partnered with KIND, a snack food company, to demonstrate “the best way to show strength
is to choose kindness.” As part of the initiative, KIND has donated $1 million to the Kevin
Durant Charity Foundation “to create specialized education and after-school programming
for at-risk youth to teach them to be STRONG and KIND” (www.strongandkind.com).
Landa, R. (2016). Advertising by design : Generating and designing creative ideas across media. John Wiley & Sons, Incorporated.
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The STRONG & KIND Pledge commits young people to:
Have the courage to be kind when others may not.
Look out for those who can’t look out for themselves.
Stand up when others would rather stand out.
Leave their world a kinder place than they found it.
Be STRONG & KIND.
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
Market research can offer insights into what an audience wants from a branded product or
service or from an entity, illuminating the audience’s aspirations. Use an insight as a launch
pad for a story. Think of Dove’s “Beauty Sketches” campaign idea. From their research,
Dove realized that women can be their own worst critics, that only 4 percent of women
worldwide consider themselves beautiful. Dove’s insight helped them create a campaign to
demonstrate to women that they are more beautiful than they think.
Landa, R. (2016). Advertising by design : Generating and designing creative ideas across media. John Wiley & Sons, Incorporated.
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FIGURE 6-3
GRAPHIC NOVEL: “PLAY FANTA: SAVING THE SOURCE”
Agency: Ogilvy NY
Production: Psyop
HTML5: Vectorform
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
Client: The Coca-Cola Company
“Psyop and Ogilvy NY created an immersive storytelling experience that flowed across
multiple platforms and pushed the boundaries of the graphic novel for ‘Play Fanta: Saving
the Source.’ The story encompassed the core cast of the Fanta characters, reinforced the ‘Play
Fanta’ campaign and ultimately translated the now famous Fanta crew from their TV
commercial world to the land of the interactive graphic novel.
Psyop crafted the native iOS and Android versions of ‘Play Fanta’ entirely in-house. Built on
top of a custom Unity pipeline, Psyop created special tools that allowed the team of artists to
work quickly and intuitively. In addition to revisiting some of the favorite Fanta locations,
the Psyop team also dreamed up new locales and incorporated previous spots Psyop had
created for Fanta over the years, adding a special touch throughout the app.
Note: Technology partner Vector-form was responsible for building the HTML5 version of
‘Play Fanta: Saving the Source.’”—Psyop
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Conceive a story that is a conversation starter, that is relevant and timely, that creates an
avenue for a two-way conversation with the audience; it should be an experience that is,
according to UM Studios’ Scott Donaton, “social by design.” Today, people want to have
their say and be part of the public conversation.
Of course, people will have to find your story, so you need to figure out how the content will
be distributed and discovered.
Immersive Experiences
Whether it is a game, a graphic novel experience (figure 6-3), virtual reality, or augmented
reality, immersive digital and environmental experiences fuel engagement (see Case Study:
Panasonic “Share the Air” at the end of this chapter). Rather than interrupting programming
content, interactive, spatial (3D, augmented, virtual, illusory), and temporal characteristics of
immersive advertising experiences bank on how and why people enjoy technology, providing
people with entertaining or informational activities. People also tend to spend more time with
a game, a branded virtual world, or in an immersive environment. With immersive
experiences you have the potential for multisensory storytelling, engaging people with not
just sight but with sound, touch, smell, and perhaps taste.
Brands are stories. They want to embody a story. When we start working with a client,
we don’t want to take a brief. We don’t want to just say, “What’s your problem?” We
want to go right back to, “Why was your company started? What’s your mission?” We
talk about mission all the time, and it’s just another way of saying, “What kind of
story are you on? What kind of story do you want to tell?” … Part of our job as an
agency is to reignite that and really figure out what that story is.
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
—Ted Royer, chief creative officer, Droga5, in AdWeek
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Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
FIGURE 6-4
NIKE “RISE”CAMPAIGN: NIKE+ “YOUR YEAR: HOUSE OF MAMBA”
Agency: AKQA
International Managing Director: Giles McCormack International Managing Director: Geoff
Northcott AKQA London, International Executive Creative Director: Duan Evans
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AKQA London, Associate Creative Director: Will Battersby
AKQA London, Associate Creative Director: Matt Bennett
AKQA London, Group Account Director: Alistair
Schoonmaker
AKQA London, Associate Project Director: Nick Townsend
AKQA Shanghai, Executive Producer: Joe Cai
AKQA Shanghai, Client Partner: Mike Donohue
AKQA London, Design Director: Carlos Matias
AKQA Shanghai, Art Director: Meeyee Foong
AKQA Shanghai, Designer: Jianwei Wong
AKQA London, Senior Designer: Jose Paz
AKQA London, Senior Designer: Ignacio Gonzalez
AKQA Shanghai, Technical Delivery Manager: Andrew Bao
AKQA Shanghai, Web Developer: Alex Gong
AKQA Shanghai, Account Director: Leslie Cheng
AKQA London, Senior Project Manager: Jenny Lam
AKQA Shanghai, Copywriter: Jason Zhao
AKQA Shanghai, Account Executive: Vivian Liu
Rhizomatiks, Creative Director: Seiichi Saito
Rhizomatiks, Creative Producer: Douglas Diaz
WiSpark, Senior Account Director: Van Wang
Copyright © 2016. John Wiley & Sons, Incorporated. All rights reserved.
Contributing companies:
WiSpark, Shanghai
RHIZOMATIKS, Tokyo
Mindshare, Shanghai (Media Agency)
Music Credit: Blast Off Productions
“China loves basketball and the next generation has an unrivalled passion for the game. But a
lack of belief and opportunity prevents them from realizing their dream. We reinvented
Nike’s formulaic athlete tour to create opportunity, taking the spotlight off the athletes and
shining a light on the grassroots players. We created ‘Rise’: a real-time docudrama that
challenged millions of kids across China to raise their game to the new heights.
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A pinnacle moment was transforming the historic Jiangwan Basketball Stadium Shanghai
into a futuristic basketball mecca—House of Mamba. We created the first full-sized LED
reactive basketball court that taught aspiring players the fundamentals of Kobe Bryant’s
Mamba Mentality. The court utilized motion tracking and reactive LED visualization to train,
guide, and challenge the players through various authentic drills based around Kobe, reacting
intuitively and instinctively to the movement and sound of the players. The court tracked
movement—responsive instructional graphics guided and reacted to the players and had the
ability to quickly and seamlessly transform into various training scenarios on the fly. Players
were pushed to the limits as the court pushed the boundaries of training. House of Mamba
electrified the nation a