How to engage the A-D-D Generation with #LifestyleHacking

A recent piece I wrote for Marketing Mag column with the lovely Kat Edwards from KontentedImage

A screenshot from one of our iris Worldwide presentations courtesy of our guru CSO, Sammy Noble.

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Today’s digitally savvy Millenials have been termed the A-D-D generation, constantly flipping and flopping between jobs, digital devices, having attention spans the size of ants and being brand flirts. It’s not surprising given they’re dealing with 60 million Instagram pics being posted daily, 200 hours of YouTube video content uploaded every minute and 30 billion pieces of content shared monthly on Facebook.

Marketers need to understand those born after 1995 have been forced to develop a finely tuned editing and curating skills to process the endless streams of content bombarding their screens. How they absorb information in the networked world has fundamentally changed.

Today’s Millenials live on a diet of quick fix information nuggets where their memories are becoming hyperlinks to information triggered by hashtags, Instagram pics and Snapchat one-liners. When it comes to content they take a quick glance, sort it, and tag it for future reference. Forget multi-taskers. They are super-taskers.

So how can marketers engage the A-D-D generation?

In todays networked, post modern world, the biggest influence on youth patterns of thought and behaviour are their everyday experiences and social milieu. Their participation in the world around them is the key guide for marketers.

So the role of brands today is to ‘hack’ into and become more of an intrinsic and visible participant in the flow of their lifestyles. I call it ‘lifestyle hacking.’ Here are 5 principles for successful lifestyle hacks:

1. Design distinctive and instinctive interactions

Where milliseconds matter, moving beyond bland consistency, marketers need to focus on visceral, interactive and detailed experiences at every encounter creating distinctive and instinctive interactions.

2. Practical magic

Think about turning life’s pain points into little moments of pleasure and delightful discovery. More than digital utility it’s building in lots of sticky details. The Uber app is a great recent example of this.

3. Tribal identity

Baking in meaningful signs of tribal belonging and affiliation with groups of others to help frame their social identity is key. Our MINI UK #notnormal platform moved beyond the metal to celebrate the inventive relationships MINI owners had with their cars.

4. Social currency beyond WOM

Making your brand a unit of social currency, not just your branded content is the new centre ground for marketing. How do you always stay abreast of the zeitgeist and be part of the emerging shift to the collaboration economy? Online thrift shop ThredUp.com is kicking goals here.

5. Immersive connectivity

Millenials crave connectivity and they love 4D immersion. Why else would Facebook buy virtual reality company Oculus Rift? Look for new ways to create brand experiences leveraging accessible virtual reality.

Audience as Characters: the new frontier of #interactivestorytelling

I just wrote an opinion piece for B&T magazine here in Australia on the evolving role consumers are playing in interactive stories. Hope you find it interesting.

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The best brands have always told great stories.  But in the world of real-time social connections, multiple screens and a culture of immediacy, the concept of the brand story is changing.  They’re no longer linear; and they’re no longer told in one sitting. Welcome to the era of interactive storytelling – where audiences become characters influencing the story.

The best brand stories now encourage different levels of participation to achieve maximum impact and scale.  This means designing interactive stories for skimmers (those exposed to the story), dippers (those sharing the story) and divers (those immersing, influencing and advocating the story) is a must for marketers.  Whilst it’s easier to entertain or engage ‘skimmers’, what is interesting is how brands are developing interactive brand stories for the ‘dipper and diver’ audiences –  as these are the most influential groups.

Many brands have experimented with interactive storytelling where the audience becomes the narrator (i.e, Chrysler ‘Steer the Script’, Coke’s ‘Share a Coke’, and many Alternate Reality Games such  ilovebees ARG, The Dark Knight ARG). The other popular strategy has been crowdsourcing the story, where the audience becomes the creator of the whole story. While some brands have done this well (i.e our latest MINI #notnormal campaign in the UK,  Arvo Beers ‘Perfect Lager Project’, Fanta Flavour Lab, The VW People’s Car Project in China, our own digitally customisable London Olympic Mascots) others have missed the mark, (the Raymond Weil’s ‘help design a new watch’ Facebook competition springs to mind) .

But the new frontier for participation branding is putting the audience into the story, as an actual character influencing other characters and the outcome. That is, it’snot just about giving a few people aunique experience (such as the “Best job in the world” campaign) anymore and relying on the online amplification of that (does anyone even remember who won Best Job?), but actually creating multiple stories for the many, democratising the experience so to speak.

To understand this we look to narrative theory – that’s the idea that in any story there are typical characters we identify with – the protagonist, antagonist, foil, mentor, threshold guardian, trickster, minion etc.   If you think about what’s been hot in popular culture, TV dramas such as the Wire, The Sopranos, Breaking Bad (and more recently The Fall, Luther and Game of Thrones) play around with who’s the hero and who’s the villain. While if we look to gaming, we can see evolving storytelling arcs and different role-playing in games such as Bioshock Infinite, Last of Us, Diablo, World of Warcraft, Heavy Rain, Skyrim and Final Fantasy. Narrative theory has even transcended into the music space, with pop band IO ECHO launching an interactive music video ‘Ministry of Love’ that allows audience to control the band through a series of rooms.

So what’s happening at the more ‘creative’ end of interactive storytelling in terms of the role of the audience?

Audience as the protagonist is still the most common approach (e.g. the character ‘Alex’ in Toshiba/Intel’s “The Beauty Inside”), however brands are now playing with more unusual roles – the most famous of those being the audience as foil in Dove’s ‘Real Beauty Sketches’ and Old Spice’s ‘Man your man could smell like’. The role of audience as mentors to the community is also becoming a useful tool, some interesting examples being ‘Curators of Sweden’ (where Swedes get to manage the countries Twitter account) and Google’s Build with Chrome collaboration with LEGO (disclaimer: I worked on this one).

At Iris, we’ve experimented alot by thinking about audience as threshold guardians of the story, where fans work with each other to inspire or help the protagonist achieve greatness. For example, our recent adidas #hitthewinner Wimbledon Twitter game inspired Andy Murray fans to predict where he would hit a winner during his Wimbledon matches in real time. Fans won prizes if they predicted correctly, but what they were also doing was playing the role of guardians motivating him to Wimbledon glory.

So where’s the white space for brands looking to experiment with new interactive stories? Thinking about audience as sidekick rather than protagonist is an interesting place to start. Imagine audiences feeling like they are working alongside the brand. Also thinking about ‘groups of heroes’ rather than relying on one main protagonist to engage. We know people seek brands that help them belong, so brands with big advocate communities should explore this approach. The real visionary brands will involve audiences as an antagonist or anti hero as they look to create provocative ways for characters to interact and compete with each other.

So yes, the brands with the best stories will always win, however, if you neglect to think about what role your audience plays in influencing the story outcome, you’re missing a massive engagement opportunity.

Mini + Vice – All the Wrong Places does Tokyo

Mini has struck up a great collaboration with youth lifestyle publisher/digital brand VICE.  A great example of a brand that ‘gets’ the need to create cool cultural content for youth.

They’ve created an a web content series called ALL THE WRONG PLACES comprised of 5 mini doco’s showing adventures in culturally cool places around the world. The narratives dip into diverse subcultures, the first being in Tokyo, looking at the Dekotora Trucks subculture. The stories are mission based requiring the help of a Mini and  Co-pilots are being  selected via the Facebook page. Wiht 2.5m FB fans, engagement levels should be high.

I like this idea, I think it definitely taps into Mini’s target audience of ‘ independent free spirited travellers with an appetite for creativity and cultural’.

Episode 1 is pretty cool, great production values although I was kinda hoping for a little more. Will be interesting to see the social media engagement on the Facebook page unfold. Reminds me a bit of the Telstra Sushi Plane idea we created in 2010 whereby we sent 14 Aussie teens/20 somethings to Tokyo on cultural and digital adventure, using Tokyo as a live test environment for the new HTC smartphones.

 

 

Mini WASH ME – An art project

 

Mini Switzerland are creating culture in a cool way. Mini has always been a bit of an object of art, so they’ve taken that concept to a literal level. They’ve commissioned 10 artists to deface (design) a Mini each. It’s called Mini WASH ME and has culminated in a book, bearing the same name. Artist like Seak, Dieter Meier, Euro and Smash137 were given free reign to create.  Mini has always been about customisation and urban cred, so this idea is a nice way to give Mini even more cred in the market as the car you can personalise and put your own personality on, literally.

"Muscle Car" by Marisa Pichler & Gigi Burn

"Muscle Car" by Marisa Pichler & Gigi Burn