Branded fun and games on Twitter

Image via PSFK

I'm still at the stage where stumbling across a brand's involvement in Twitter piques my curiosity.

Agencies haven't yet been struck down by the Twitter version of an affliction that hit them not so long ago called 'the answer to everything is a Facebook application'.

Maybe it's not far off but I'm still really interested in how people are utilising it in campaigns and otherwise.

Currently the @Ispylevis initiative is surprising smooth urban-y types on Australian city streets with free pairs of Levis - they've using Twitter to both post winner pics and announce their geographical location in real time (a bit like a digital version of the Black Thunders only cooler).

Last week Adage reported on Twitter's role in launching Eminem's new album Relapse. The magazine observed (with just a hint of hyperbole) that since first releasing the new album artwork on Twitter in April, @eminem has generated some impressive results:

By using Twitter to dispense short, often disturbing thoughts and links to multimedia components revolving around a mental institution, they've helped make the album the most highly anticipated hip-hop release of the year -- and set it up for a sequel in the second half of 2009.

Then today I saw this via @PSFK, a puzzle style Twitter game to help launch Sony's new Terminator film. You can check our their article here, or get involved yourself by following @resistance2018.

Taking the long view on brand entertainment

Recently, there’s been a lot of interesting discussion around the dichotomy between the short and long; between one off campaigns and an ongoing conversation.

I don’t agree that there isn’t room for social media marketing initiatives like the Whopper Sacrifice (233,000 odd people defriended at last count), but I’m definitely an advocate of longer term thinking espoused by people like Peter Kim, Mack Collier and Gavin Heaton. The kind that puts people, communication and social enterprise at the heart of business and builds value over time. Rather than the sort that relies on making a bit of noise every time a new flavour is released.

When it comes to brands creating entertainment, there are similar advantages in taking the longer term view.

The highlight of any marketer’s calendar is without a doubt, shooting the new TVC. There’s only one thing that’s sexier these days - making your own content.

This (along with staff turnover) is why marketing managers often want to launch a new campaign platform every year. It’s not because of ‘wear out’, or negative feedback from the trade, but because it’s the best damn part of the job. Compared to doing a sales roadshow, it’s a heap of fun and if it’s good, you can look smug at barbeques for weeks.

Obviously that’s not reason enough.

Marketers need to take the long view and build content platforms and entertainment assets that can evolve and grow over time.

This allows for innovation, experimentation and evolution; for fusion of content and product. It speaks to the reality that few get it right first time; that problems are rarely solved overnight; that learning is a constant and that big, bold ideas need time to sprout wings. For the beancounters, it can mean serious cost efficiencies.

Critically, it helps locate the asset at the core of business rather than quarantining it as a marketing plan output. And if done well, it can excite, engage and unite people across a business in a common goal.

Importantly, it enables the involvement of other people in story creation. This might be the contribution of the customer service team to the sales story, or the audience's involvement in the journey of a character.

Everyone wants to be known for something. So what do you want your brand to be known for? What asset might support that vision, lend it interest, connect people or maybe even do something nice for the world?