If anyone knows whether this show was on behalf of a brand (it doesn’t look like it), or anything else about it, please enlighten us in the comments underneath the film. Thanks.

Thanks to John Hagel (@jhagel) for the tip off.

Originally posted on Ad Age, August 23 2010 (link: http://j.mp/crf6Io)

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I have a theory about why some “traditional” agencies aren’t evolving as quickly, or effectively, as they need to: because their creative directors aren’t admitting that they’re stupid.

Now, hang on a minute. Before you take a four-iron to my knee caps, let me explain what I mean. In my pre-creative-director career as a copywriter (you know, back when ads were written in Triceratops blood on cave walls) I never had to worry about writing for a small thing we now call the internet. Back then, an “integrated campaign” meant it had TV, print and radio. The definition of “interactive” was doing a print ad that required someone to turn the page. My colleagues and I never had to think of any solution beyond it.

The path to becoming a creative director in those days was to be really good at developing work in those media, the theory being, the better you were at doing it, the better you would be at directing it.

Today? Not so much. As someone who’s now responsible for directing creative people doing things I never even dreamed of in my copywriting days, I don’t consider myself solely equipped to make every kind of idea better. How could I? I’ve never done many of them myself.

Sure, I can tell someone how to make a TV spot or a print ad better. I’ve done a ton of them. And, I think, I’m pretty good at them. But when it comes to creativity today — a new world that encompasses everything from iAds to augmented reality — it’s a whole different ballgame.

I’m not alone. I’d venture to say there’s a whole industry of CDs out there who have the same difficulty as I do single-handedly creative directing today’s ideas. Some have even confided in me as much.

So where does that leave creative leaders like me? Here are a few options:

1. Ignore the new ideas. Hey, if we can’t make them better then let’s just dismiss them altogether!
2. We can ask for new ideas, even demand them, but because we honestly don’t know how to improve many of them, we can just let them move forward in their “first-draft” state.
3. We can admit that we don’t know enough about how to make technologically complex creative ideas better and ask for help.

Hopefully, we’ll all be brave enough to pick option No. 3. Creative directors need to admit a weakness in our own ability to creative direct today and ask for help. Take down the walls and ask other people for suggestions about how to make the work better. Heresy, I know. (You’ll have to turn in your creative director secret decoder ring and conveniently forget the creative director secret handshake.) But the danger of pretending like you know how to do it all means great creative opportunities could pass through you agency without a chance of exposing themselves. I believe we’ll be more effective in our jobs if we get help revamping our creative departments to deliver the complex kinds of creative products clients require to engage consumers today.

Note, I’m not suggesting you get others to do it for you. I’m simply saying get help. As creative directors it is still, ultimately, our responsibility. We are, like it or not, better qualified to judge and direct great creative work, of any kind, than anybody else.

And if and when the “I need help” movement takes hold, I promise creative directors will look really damn smart (actually being smart, however, is a different story…hell, we’re creative directors not planners).

As the summer begins to fade in our minds on a rainy day like this, its all too easy to forget the simple joys of a day at the beach. This film is a lovely reminder and shot and scored very beautifully. Enjoy.

Be sure to watch in HD, full screen. Even more stunning.

In this short film, put together by the tirelessly enthusiastic & ever-disruptive Edward Boches from Mullen, Gareth Kay (GS&P), Matt Howell (Modernista), Kim Laama (AKQA), Brian Morrissey (AdWeek), Kat Egan (Exopolis) & David Slayden (Executive Director of BDW) share their thoughts after a two-day executive session at Boulder Digital Works. This gives you a sense of the energy and enthusiasm of those who come to teach and learn and share at BDW.

Making Digital Work: Voices from Boulder from edward boches on Vimeo.

Follow Boulder Digital Works on Twitter: http://twitter.com/bdwcu

To learn more about Boulder Digital Works go to their site, here.

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(Image courtesy of Mother website)

This is an extraordinary piece of work. Enormous kudos to Mother NYC for pulling off what must have seemed like a extraordinary idea on paper but a monumentally tricky idea to execute (think: no rehearsals, no back-up).

Last week in NYC Mother NYC teamed up with Target to create this great installation at the Standard Hotel in NYC. Over 170 rooms were used, synced with LED lights, performers and a host of other action going on at ground level.

It’s bold, surprising and certainly contains more than a nod to the type of visual effects more usually experienced in digital formats. But executed as 100% analogue.

From Mother’s site:

What do you call 20 sensory-overloaded minutes fashioned out of 60+ dancers, an original visual program created by Daft Punk’s light designers, a new pop symphony from one-half of N.A.S.A. and 170 rooms of New York’s Standard Hotel? You could start with “Spectacular,” but even that seems limiting. This one-time-only show for Target’s original fashion lines is just about the coolest and most unique event Mother’s ever produced!

Enjoy the film (the visual treats really begin 40 seconds from the start).

It reminds us of this video, by Etienne De Crecy, one of our favourites here at BBH Labs, but done on a monumental scale.

Etienne De Crecy Live 2007 Transmusicales de Rennes from Clement bournat on Vimeo.

For some reason, the dominant conversation around media’s ongoing evolution concerns its fragmentation. Yes. Ok, it’s fragmented. What isn’t discussed enough is that the critical impact of said fragmentation is directly tied to brand behavior, not the difficulty of reaching and engaging audiences. How a brand behaves is now intrinsically linked to media environments. In fact, separating the content from the channel is becoming an impossible (and irrelevant) task. Think about music. Is music the same as it’s always been, just now distributed in “digital form”? Anyone following the evolution of music knows that music has fundamentally changed as a result of digital distribution. Not just the music industry; music itself. The impact of how it’s consumed (isolated from the context of an album, in varied interpretations and in environments not dedicated to “listening”) has literally changed what artists create. We’re just beginning to see the same thing with literature as a result of e-books. The content is impacted by the channel.  It’s why Twittering isn’t “micro-blogging.” It’s Twittering. The content is different because of the channel.

As a result, we’ve been spending a lot of time at BBH New York recently rethinking the role of media across the organization. Specifically, we’ve been formalizing processes and deliverables enhancing its function as a fully embedded creative & strategic discipline. Media at BBH consists of the overlapping practices of Media Planning/Buying, Engagement Planning and Media Design*.  This happens because the role of media as an expertise is exceptionally broad.

In fact, we view media as much as an input as an output. The following four roles of media require a specific mix of skills we try to develop, and create accountability around.  We’ve illustrated each by work we didn’t create, but have tremendous respect for as an agency.

1) Media as creative context

There are times an environment is clearly relevant for a brand. The example du jour is Facebook, so let’s use it. Your brand has an established promise or idea platform. The issue is how to relevantly manifest that idea within Facebook. After all, Facebook is an exceptionally human and responsive environment and there’s a chasm to cross for most brands that have one-way missions or are inherently asocial. It’s a gap of context. Now that brands have to play in others’ backyards more often than ever, it seems necessary to have an expertise in-house dedicated to telling them what’s appropriate. This is generally “solved” via something like a social media expert. I think those roles are critically important (we have them here), but the ability to translate ideas into context is a very specific—and I would argue critical—skill. It’s not just about “getting” the environment. It’s about being able to fill the blank slate of opportunity it provides. This is a creative skill rooted in media sensibility, which is likely why it’s rarely nurtured and developed at agencies. Recently, two critical social media features were announced that didn’t get nearly enough attention: the evolution of the Like button to a 2-way conversation, and the ability for non-Twitter users to receive tweets via SMS. It’s important to understand who’s accountable for ideas that capitalize on these huge opportunities.

Let’s take a look at a beautiful example of this role of media outside of social: Uniqlo’s Lucky Switch effort. The program allowed people to click on an embedded widget to change all advertising on a blog page into “lucky tickets,” eligible for Uniqlo products like tote bags. This is an idea that takes an environment that’s really valuable (non e-commerce digital properties) and self-creates an opportunity for relevant, highly valuable messaging. Simple, brilliant and the type of work we admire in its forward media thinking.

2) Media as building blocks

“Engagement Planning” is a term that gets used in a lot of different ways. We’ve always seen it as how a particular idea is assembled via experiences. As those experiences take place via media more and more often, it’s helpful to start thinking of media as the building blocks for ideas. This is a distinct skill from channel planning, which can be done in absence of an idea. Engagement Planning here is about deconstructing ideas into their relevant pieces and architecting how they combine to form a whole.

As it relates to digital media, this regularly involves intelligent and creative application of the 1:9:90 rule (or as we call it “the YouTube rule”). If 1% of the audience drives the experience, 9% participates, and 90% just consumes, wouldn’t a brand want to understand each stratum of people, and how the experience could fit them appropriately? In fact, they should likely put specific thought into engaging the valuable 1% and 9%, respectively. That’s happening more and more lately (insert the daily Old Spice kudos here), which is a great sign that we’re starting to think of media more intelligently (i.e., creatively) as an industry. It’s the engineering of creativity that we’ve made “media people” accountable for. It quickly gets us past the archaic belief of “media neutral” and into what our friend Gareth Kay at GS&P would call “media positive.”

3) Media as a consumer lens

One of the most basic, yet often neglected, media skills is the ability to use media culture as a lens for consumer insights. Agencies and clients spend incredible amounts of money on quantitative and qualitative research in search of game-changing insights. Yet they fail to capitalize on one of the largest, most important sources of consumer data: media culture.

One of my (everyone’s?) favorite pieces of work last year was Burger King’s Whopper Sacrifice. The work is a brilliant example of learning a consumer truth (at any given time people are Facebook friends with people they don’t want to be) by participating in a medium, then clearly delivering value in a way inherent to the environment.  In fact, CP+B regularly strikes a relevant cultural chord, I think because of their innate ability to use media as a lens (and some might say a crystal ball on a good day).

I’ve always felt it was easier to have a fundamental understanding of a specific audience spending 5 hours inside the media culture of an audience (their entertainment content, their responses, their blogs, their comments, etc) than poring over the response data of formal research. It doesn’t replace any existing tools, but it certainly adds to the list—at no cost. So, shouldn’t agencies purposefully hone the skills that allow them to glean insights from such a treasure trove? These insights can lead to fundamental changes in the brand promise, or simply allow us to ride a wave of emerging opportunity.

4) Media as creative R&D

Most marketers still approach their marketing with a masterpiece mentality, building toward a big reveal in the form an expensive media “launch.” Certainly that approach is still relevant in many scenarios, but it represents a traditional media mentality incongruous to how dynamic the modern media landscape is.

What if marketers instead borrowed from LinkedIn founder Reid Hoffman’s mentality that, “if you’re not embarrassed by the first version of your product, you’ve launched too late”? Wouldn’t we want to place lots of strategic bets with a plan in place to nurture those that are meeting success criteria, while calculatedly retiring those that aren’t? Masterpieces would still exist, but they’d be built over time, rather than revealed like an art piece.

This is a rare ability, requiring a balance of scenario planning & creativity. Brands that do it well don’t advertise it (no one is talking about Old Spice’s Odor Blocker effort because they intelligently invested resources on what was working and away from what wasn’t), but it’s a specific skill to be able to construct a constantly evolving, rolling “launch.” It’s a beta approach to execution that requires an intimate knowledge of media environments coupled with the creativity to see their potential. Finding the right level of tactical development for each environment within the framework of the overall plan is a skill that can only be developed over time with various types of real-world experience.

Most agencies will simply look at such a diverse role of media as a philosophy, but it’s skills and processes that ensure your brands are living the philosophy. Leveraging media this way requires a calculated investment in the subjective, grey area of strategic and creative talent development. At BBH New York, we’ve begun formalizing various activities to accomplish the following:

• Ensure the media expertise is never organized or managed as a “department”
• Make media talent explicitly accountable for tactical creative outputs
• Formalize media culture’s input into the creative briefing process
• Task the same individuals with distinctly different roles by project
• Assume media expertise is a prerequisite for any agency discipline

Regardless of these adjustments to processes and responsibilities, one simple fact determines success: the ability to find talent capable of using media so diversely. Luckily, junior talent in our industry is naturally brimming with this ability.

The tough part is finding those who haven’t had it squeezed out of them by our collective agency processes and structures.

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* Media design is a concept co-developed by a number of people, but specific credit must be given to Apple’s Scott Witt & Leo Burnett’s PJ MacGregor

On the road to Austin (photo credit: Bud Caddell, 2010)

Anyone who knows us well will already know we’re big fans of SXSW. As conferences go, it’s a glorious, greasy, gratifyingly mad brain melt of great speakers and great company all located in the strangest city ever to find itself in Texas.

Next year, we’d like to go back and do a little more than take copious notes during the day & earn our Super Swarm badges at the parties. So, here is a short outline giving you a quick rundown of the panels we’re hoping to be a part of. Many of them are around the same broad theme of agency re-engineering; we’re unapologetic about that, it’s what we’re especially interested in. Anyway, you know the gig, we won’t be doing ANY of these things without your votes and comments to help us on our way. So, this is also a huge advance thank you. We’re planning a party too, so hope to see you there over a beer and thank you in person (more on this nearer the time). In fact, you can come to that even if you don’t vote for us, but just pretend you did . . .

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The Last of the Launch-and-Leave-’Ems

First up, our friends at Made by Many have invited Mel (@melex) to join their panel examining what happens to the role of agencies and brands as they move deeper into digital platforms and an always-on world. Definitely one for people who make things, and are keen to explore how different agencies are approaching the challenges of what happens *after* you’ve made them.

Why is this interesting? Because what happens after launch – let’s call it propagation and perpetuation – is challenging most agencies’ resourcing models, processes, structures and remuneration frameworks. We all have much to learn.

Find out more, vote and add your support here.

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Agency Structure: Where Do We Fit New Creatives?

Rachel Mercer, VCU Brandcenter has asked Ben (@malbonnington) to join a panel looking at the impact new skills are having on agency structure and creative development. In particular, the need to add specialist skills is creating challenges for agencies looking to work more collaboratively and more swiftly. The other panellists sharing their experiences and observations include Rick Webb, Owner, The Barbarian Group & Edward Boches, Chief Creative Officer, Mullen.

Why is this interesting? Because creative businesses are built almost entirely on, and around, talent, and how that’s managed and liberated. It’s simply pointless hiring in expensive and awesomely-skilled new talent if the operating system of the agency has not been re-formatted to welcome them and use them appropriately.

Find out more, vote and add your support here.

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Ad Agencies Need A New Mindset To Survive

This panel has been put together by the powerhouse that is Edward Boches at Mullen and features Ben (@malbonnington). Edward’s tackling an immense topic, examining the steps agencies need to take to alter mindset, strategy and team composition; the mistakes we’re most likely to make and how to cope with the disruption along the way. Edward will not only be drawing on his own experiences at Mullen; other panellists include Rob Schwartz, CCO at Chiat Day & John Winsor, Founder & CEO of Victors & Spoils.

Why is it interesting? Because all creative businesses should probably be asking questions such as: what do we need to do to survive? What are the practices we must unlearn? What new skills do we require?

Find out more, vote and add your support here.

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The Power of What We Don’t Wear

BBH NY’s Heidi Hackemer (@uberblond) has put together a panel taking a look at the issues around consumption, downsizing and The New Austerity raised by her (very awesome indeed) social experiment project, sixitemsorless.com. On the panel will be the two co-founders of the project, Heidi, and Tamsin Davies, Head of Innovation at Fallon London. Two Sixer participants will join Heidi and Tamsin: Stephen Riley, Creative Director at Arc Worldwide, Chicago, and Kirsty Saddler, Planning Director at BBH New York and head of BBH Hive, BBH’s CSR group. The panel will be moderated by Ben Malbon.

Why is this interesting? Because Six Items or Less is a case study on how we can use simple ideas to motivate real behavioral change in people. It’s about doing, not just saying.

Find out more, vote and add your support here.

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Building a Killer Professional & Personal Network

BBH NY Director of Media Innovation Saneel Radia (@saneel) is lined up to join this panel organized by Arc Worldwide’s Stephen Riley (@stephenriley) examining those grey areas many professional in a connected world find themselves in. How does my digital persona align with my physical one? What’s a reasonable request to make of people in my network? How can I self-promote without coming across as a douchebag?

Find out more, vote and add your support here.

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Post-Party Lustre Pearl, SXSWi, March 2010 (photo credit: Ben Malbon, 2010)

And for more on what Made by Many are up to at SXSW check out @saradotdub‘s post on the topic here.

56 Sage Street – The Game – Game Play Video Trailer from 56 Sage Street – The Game on Vimeo.

The first release of 56 Sage Street – BBH London & B-Reel’s game for Barclays – went live last month and, we´re happy to say, has just received NMA’s Campaign of the Month. Ali, one of the creatives behind the project agreed to tell us the story behind the game’s inception, how it got made and what the team learned along the way.

A bit of background first
Barclays are trying to improve teenagers’ understanding of banking. They want to educate them about direct debits, loans, statements, fraud avoidance and general money management. They’d had some success with an educational board game but needed to reach a wider audience.

The vision
We liked the idea of a game. Sim City was about money management and teenagers loved it. We could take those principles and make something a bit more Grand Theft Auto. If we put it online and made it free, we’d be laughing. We put together a mood film to show off our thinking.

It opened with the cinematic intro sequence from Halo 2 followed by a motorbike scene from Grand Theft Auto. We segued into a clip from Celebrity Deathmatch and finished with Sim City. The theme tune from Lock Stock gave it a UK flavour. The Client seemed impressed and our producers gave us a look that said “what the faaaahh …?”

The reality
The game had to be produced in six months, and a few days with a panel of game experts set us straight. They thought a predominantly text based, point and click strategy game might be do-able, built in flash and written in xml. We nodded. It could look good and would rely on gameplay to get the financial lessons across.

The idea
We put down Grand Theft Auto and re-acquainted ourselves with Druglord, Leisure Suite Larry and Skool Daze. In the absence of a better plan we started writing stories. After about thirty they all started to sound the same so we stopped.

Some early story ideas

In the end a simple rags to riches tale felt right. A teenager comes to the city to try and make it big. We couldn’t shake the thought of something written by Jeffrey Archer, directed by Shane Meadows.

We wrote in characters – landlords, fraudsters, nice old ladies and business partners. The player was given a guardian angel called Mr. C (a working title that stuck). He would help them initially and then set a series of tests (flash games). If they passed the tests and proved they could make money, he’d help them to better parts of town and eventually give them his business to run. The player was free to make money and spend it how they wanted. If they managed it well they’d end up at 56 Sage Street, the home of Mr C’s empire.

The build (part 1)
Once the story felt like it made sense we gave it to B-Reel who were dying to get on with it. They had a city to build and we’d been faffing about wondering whether teenagers would prefer Detectives or Private Investigators (the answer was neither).

The first building we saw from B-Reel

Time was too tight to storyboard the 300 or so buildings that made up the map. We didn’t want the city to look like a Richard Curtis film so we sent B-Reel Nil by Mouth and Red Road to set the tone. After seeing how good they were, we made mood boards and let them get on with it.

The specialist
We knew James Sheahan (@metagames) from the panel experts and a stint he’d done at BBH. He was a proper gamer (he once moved house when it could no longer hold his board game collection) a coder and fortunately for us, worked like a maniac.

He sat in BBH for about 3 months and amongst many other things acted as the techie link between us and B-Reel. They built everything in flash and James inputted the xml code, worked out the game logic and made sure it played well.

The creatives
The code contained every possible scenario that might happen in the game. Players would start and end at the same place but no one would take the same journey to the end.

We tried to visually plot scenarios with post it notes but once you have 300 of them on a wall you just get the fear.

We talked about the story and considered what jobs you might do if you were that teenager. Where would you stay, who would you run into, what food would you eat?

In the end there was about 500 ideas (spots), many of which linked together as the player moved through the city.

We tried to write them with a tone that seemed right for the area they were in. As the player moved up through the world they would sound more confident in their exchanges. Different versions were written depending on whether you were playing as the boy or the girl.

The kids
Stories and scenarios were researched continuously with the same group of teenagers. Initially we wanted to write for them but it’s too hard so we studied the research and then just wrote things we thought were interesting and funny.

A telling research exchange:

Teenager – Can you make it so you can join a crew or a gang?
Researcher – Perhaps. Would your reputation level decrease?
Teenager – Decrease? Nah, it would rise. Yeah definitely rise!

We didn’t include the gang but took the point. There was a healthy tension between what teenagers wanted to do and what Barclays were happy to put their name to.

Petter from B-Reel drew this storyboard in 10 minutes whilst we were discussing the idea (we subsequently lost the gang).

Mark, the client
Our account man Fergus was the most confident member of our team (and possibly Agency). Unfortunately he left but by the time he did, he’d gee’d everyone up to the point we genuinely believed we were making something groundbreaking (or better).

It was important that Mark believed this as he set the game tone – would Barclays be ok with the selling of inflatable England players at a market stall? Yes. Was it ok to have a dance club with a red light above the door? No. Could you sleep in a skip? Yes. A bin? No.

Nightclubs were a no no, so was car jacking, guns and anything clearly on the wrong side of the law. In were night shipments, a mugging, sketchy market traders and nights spent wandering the streets. Unsurprisingly, the restrictions made us more creative that we might have otherwise been.

Around 90% of the ideas were approved immediately and if the game’s any good it’s got a lot to do with Mark’s judgement.

The build (part 2)
Once approved, we spaced the spots over four areas of the city, in equalish fashion. The city changed as the player moved through it and the spots had to reflect that.

The Roxburgh Estate. Jobs include car minding and delivering meals on wheels.

The Orchards. Jobs include an au pair and photographer’s assistant.

Mr. C puts the player under pressure in the dictation mini game.

James translated the approved spots into xml game logic. We’d then look at it and see roughly how the dialogue would flow. If it felt like it worked we wrote the exact copy and if it didn’t, we came up with another spot.

The intro and final film sequences were storyboarded but we didn’t spend enough time casting Mr C. Watching the initial render and seeing him in the car, our v/o producer piped up with, “Who’s the pimp?” She had a point and it could have been a big deal but B-Reel quickly gave him a wife and a friendly looking haircut. He looked good and we changed into clean pairs of pants.

Mr C with hair and a wife.

The immovable deadline (that kept getting moved)
The deadline was set for May 21st, June 1st, then July 1st. The problem was the map kept filling up with buildings and we kept filling the buildings with things to do, and things that linked.

The more ideas we had, the bigger the game became. By mid June the copy was running into 25,000 words and we were having second thoughts about one of the mini games. B-Reel were going spare, James Computer MaSheahan was sleeping for about half an hour a night and no-one dared ask Mark how he felt about mid-July.

We noticed a house on that map that looked like something out of Psycho, so we made it a haunted hostel where you could increase your reputation, but had your clothes slashed in the night. And you woke up in a strange part of town.

Facebook and beyond
We knew we had to get this on Facebook but didn’t want it to be the only platform. We included the facebook connect share and save functionality. With direct links in and out of the game it feels pretty integrated.

The game did go live on July 1st and we’ve had over 55,000 players in the first 4 weeks. We’re changing and tweaking it based on their comments. The balance between entertainment and learning seems about right and Barclays have been roundly praised for doing something different.

The future
We’ve got a marketing strategy to keep the game fresh and get more teenagers playing and learning. The first of these ‘content bombs’ will be deployed over the next few weeks. Run for cover…

The game continues to evolve and we’d like to adapt it for teenagers with different degrees of financial knowledge. There’s talk of 56 Sage Street The Movie and a TV series (sounds like another mood film’s on the cards…). Whatever happens, hopefully this version is just the start.

Some things we’ll take with us

1. Work with people you want to show off to.
We were in a team where everyone thought everyone else was great at their job, and wanted to show each other how good they were, the whole time. Everyone believed in what we were doing and wanted everything to be good, not just their bits. I showed this piece to Sukhi yesterday and her response was, “Duuude it’s way too long [she was right - Ed.]. It takes ages to get to the good bits and you don’t know what you’re talking about when it comes to Facebook. Do you want me to send it to Mark?”

2. If it doesn’t work, do something else (quickly).
We once spent a day and night putting together an eighty frame comic book to illustrate a story route we were really keen on. We presented and it got kyboshed on frame two because it had Police in it. We could’ve asked about Police before and saved some time but then again Barclays might have loved it so much they’d try to make it happen. We wrote the next route in a three line email and they were happy.

3. The answer’s not always a game.
We wanted to give the audience something they’d like enough to spend time with (who doesn’t?) and it just made sense to do the game. Could’ve been a film, though I can’t imagine the direct debit scene. 56 Sage Street is a relatively small and simple project, produced on a fraction of a ‘real game’ budget. Even so it ate all our time, nerves and patience. Next time everything will be different, but the way we’ll go about it will probably be the same.

www.56sagestreet.co.uk

Credits
Names in bold denote those that pulled all nighters, cried and neglected their real life in order to get this game out on time.

Client – Mark Brayton
Creative Director – Johan Baettig
Creative and Game Writer – Ali Merry
Engagement Planners – Ben Shaw, Emma Caldwell, Daniele Orner-Ginor
Account Team – Fergus Hay, Tim Houghton George Scotland, Gemma Sandland, Carl Mueller, Keir Mather
Production Company – B-Reel (New York)
Game consultant & programmer – James Sheahan, Metagames
Digital Producers – Sukhi Kaur, Tessa Christou, Danna Koonce
V/O Producers – Lucy Powell, Sam Brock
Media Company – Walker
Research Company – Firefish
Hosting Company – Cantos & Barclays IT

Thanks also go to Johan Tesch (initial Creative Director), Matthew Kershaw, Caio Giannella, Diego Oliveria and Kim Murray.

The first interface.

The first Facebook comments come in.