‘Ready Player One’ Uses VR, Guerrilla Marketing At SXSW To Promote Film

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A parade of troopers dubbed the IOI Sixers stormed up and down downtown Austin calling for the capture of Wade Watts and offered people passing by a $1 million reward.

Watts, who goes by the avatar Parzival, is not your ordinary fugitive. He is a lead character in Ready Player One, the upcoming action-adventure, futuristic film from Steven Speilberg that is inspired by the Ernest Cline bestselling book of the same name.

The plead from the IOI Sixers was a guerrilla marketing stunt designed to get SXSW attendees wondering exactly what was happening and bring them to the doors of movie’s two-story arcade space in downtown.

Warner Bros. and HTC Vive are taking over Brazos Hall at SXSW this week to promote the forthcoming film with eight pieces of virtual reality content across separate demo bays. The experiential marketing activation is designed to further push the promise of virtual reality toward mainstream adoption while showing the film’s immersive entertainment qualities.

“We want people to understand that VR is now,” J.B. McRee, senior manager of product marketing for HTC Vive, told AListDaily. “We’re using SXSW as a space to promote VR and a film that a lot of people may not know about, while also tapping into its built-in fan base.”

McRee is hoping each of the vastly different VR experiences HTC has created will help increase the awareness and demand for the film, which is eyeing a $45 million debut. Each piece of content represents different key elements from the book, and the adaptations are inspired by the movie’s universe, which is set in the year 2045.

“Everything at SXSW is a mere representation of what was represented in the book,” said McCree. “VR gives us a unique way to expose the book to a technology a lot of people are excited about.”

For those who are not in Austin, fear not any potential FOMO. All of the SXSW-released Ready Player One content is scheduled to be made available on HTC Vive headsets and will be free to download on Viveport and Steam before the movie makes its way to theaters on March 29.

HTC is also adding to the movie marketing plan by launching a national VR arcade program that will distribute the SXSW content across the country.

Many prognosticators have predicted that the movie is in a unique position to deliver on the promise of VR, dating back to when the release was originally announced.

Just last week, Ready Player One released posters by leveraging nostalgia. The response, however, could best be described as mixed.

It will be a lot clearer how consumers feel about the film’s marketing ambush come springtime, and if SXSW and VR offered a helping hand to resonate with audiences long after they left theaters.

‘Westworld’ Comes To Life At SXSW With Experiential Theme Park

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HBO is marking the second season of the series Westworld with an experiential marketing activation at SXSW with over two acres of custom-built land that somewhat doubles as a theme park, maze and immersive theater.

Brands that venture to SXSW usually opt to take over popular venues in downtown Austin to market the masses, but HBO took it one step further this year with its installation by taking a two-step into the outskirts of Texas and building an entire town from the ground up about 20 minutes outside of the city. The experience is filled with Easter eggs designed to promote the show’s second-season, scheduled to premiere on April 22.

For the unaware, Westworld is a dark-odyssey show where rich vacationers are invited to a futuristic park to live in sin and without limits.

For SXSW, HBO conveyed an immersive experience about a show that itself is an immersive experience by recreating sets like The Coronado hotel and Mariposa Saloon and brought interactive actors to engage attendees as they explored the elements and hunted for clues for what might play out on TV next month.

HBO recruited 60 actors, six stunt people and five bands from the Austin area to bring Westworld to life.

Steven Cardwell, HBO’s director of program marketing and strategy, said SXSW served as a natural extension for the show’s marketing plan because the network had already served consumers with theatrical experiences and appetizers at San Diego Comic Con and New York Comic Con last year. There was even a hidden URL in the Westworld Super Bowl commercial that kick-started registration for the SXSW experience.

“There is a lot of fertile ground with Westworld,” Cardwell told AListDaily. “The universe of the show makes it a marketer’s dream to further build it out and engage fans. We’re going beyond the impression of a traditional advertisement at SXSW. It’s about creating a true experience that brings impact and buzz for us.”

HBO also partnered with eight co-branded Lyft cars and a special SXSW code that unlocks free rides that transport fans to the park each day the activation will be running till Sunday. There is also a Delta flight shuttle that brings guests to the park throughout the weekend. The network’s marketing plan included outdoor media and a 30-second TV spot that will be airing on local networks and invite people to visit Westworld.

Cardwell said “it was an investment well worth the price,” but couldn’t comment on how much HBO spent building the massive experience, which first started in November. 

“There is a lot of noise at SXSW, but we know that demand is there for the show,” Cardwell said. “We sold out of tickets in two minutes. We’re in our tune-in window right now, so it’s great to see that.”

Brian Duggan, founder of Building Alliances and an event strategist who was one of the hundreds of attendees that made the trek to Westworld for the opening preview on Friday night, said that as a fan of the show, the activation really gave him a feel for what it might be like to actually go to the theme park—even without the explicit sex and violence.

“I especially like how many mysteries and storylines were going on at once through their large-scale interactive theater experience, and the opportunity that offered for fans to really engage with these characters,” Dugan said.

Horror Show Premieres Put Video Game Engagements To The Test

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While both AMC’s The Walking Dead and Starz’s Ash vs. Evil Dead feature plenty of gore, they couldn’t be more different—and their approaches to promoting their respective February premieres reflect that.

AMC leveraged its longstanding relationship with Next Games, makers of The Walking Dead: No Man’s Land, to create a digital campaign called “Playtime with Jesus” that simultaneously draws attention to both the show and the mobile game. The goal is to engage audiences with the Walking Dead brand as more of a whole instead of its individual components. Meanwhile, Lionsgate, which purchased Starz in 2016, debuted an esports jersey sponsorship where Overwatch League team LA Valiant wore Ash vs. Evil Dead logos during competitions.

Clayton Neuman, VP of games and entertainment applications at AMC, told AListDaily the company shifted to a “Live + 365” approach to programming several years ago. That means that the company isn’t just engaging fans while the zombie-themed show is airing, but throughout the year using amusement park attractions, merchandise, video games and more. Therefore, No Man’s Land, which offers continuous interaction, provides a valuable opportunity to keep fans hooked.

This engagement includes “Playtime with Jesus,” a digital video series hosted on multiple platforms and shown during the mid-season premiere’s commercials. Neuman said AMC views the digital series as more than just an ad campaign, but as engaging content in and of itself, and it seems to have been a successful activation.

Data provided by social media analytics firm NetBase shows the video series, created in partnership with Next Games, netted millions of views across multiple platforms with hundreds of thousands of views on any given video. But NetBase product marketing manager Elvis Lieban also noted the Demolition Ranch YouTube channel’s Walking Dead sponsored video from December still holds the record for most views.

The videos, which have the actors demonstrating different aspects of No Man’s Land, feature the game more prominently than the show, but Neuman explains that players and viewers aren’t mutually exclusive audiences.

“We’re always trying to attract more players to the game, but that’s in service of giving our fans engaging content that they can enjoy throughout the year,” he said. “We feel these videos are so entertaining in their own right that our fans will not only seek out the full series to watch, they’ll be eager to check out the game afterwards. When they do, we’re confident they’ll find a great new way to explore the world of The Walking Dead.”

But franchise engagement doesn’t always mean higher ratings. Nielsen Live+Same Day data revealed that the season 8 mid-season premiere drew the lowest ratings in the show’s history. Netbase’s findings on social media tell a similar story, showing that the premiere generated 581,852 mentions. Comparatively, the season 8 premiere in October had 689,957 mentions. Still, The Walking Dead remains AMC’s top-rated show even with the apparent decline in viewership, and there were almost twice as many positive mentions than negative ones for the mid-season premiere.

AMC will continue to work closely with Next Games to ensure that No Man’s Land authentically represents the show by sharing marketing materials, scripts and photos with the developer. At the start of season 7, the game introduced special missions based on each night’s episode, which both engaged fans and incentivized players to tune in to live broadcasts.

“It’s important that the official game and the TV show go hand-in-hand,” said Saara Bergström, CMO at Next Games. “At the end of the day, the game is a great way for the show fans to engage with the franchise on a daily basis, and our job is to make sure we deliver on the promise of authenticity and stay true to the show.”

Lionsgate became an investor in the Immortals esports franchise last year and created LA Valiant from it to compete in the Overwatch League. The jersey sponsorship marks one of the first tests of how well the Overwatch League, which officially launched in January, generates awareness for its television shows. Ash vs. Evil Dead will be LA Valiant’s exclusive jersey sponsor through at least Stage Two of the inaugural season, and part of the deal includes giving fans access to Evil Dead experiences, such as exclusive showings at Lionsgate’s screening room in Santa Monica, followed by an Overwatch League watch party.

Esports fans are also given opportunities to interact with the show’s creators and meet members of the cast. Actors Ray Santiago (who plays Pablo Bolivar), Dana DeLorenzo (Kelly Maxwell) and Arielle Carver-O’Neill (Brandy Barr) attended a recent match and took pictures with the team and fans.

Daniel Engelhardt, vice president of Lionsgate Interactive Ventures and Games, told AListDaily the sponsorship wasn’t just about sticking a name or brand on a jersey. In addition to the Overwatch League’s high viewership, which pulled in over 10 million viewers in its opening week, the esports league is an important channel for the show because of its infrastructure, which is modeled after traditional sports franchises.

“One of the big things that attracted us to the [LA Valiant] franchise was their senior leadership’s team focus on high-quality storytelling and engagement with their community,” Engelhardt said. “They saw the Ash vs. Evil Dead partnership as a big win for both sides from that perspective. We get the chance to introduce this Starz franchise to their highly engaged community and Valiant gets the chance to offer unique experiences to their fans.”

According to Engelhardt, esports is the ideal way to engage with the show’s audience because a large percentage of viewers are “cord nevers,” meaning that they watch content online without having watched linear broadcast television. Starz has put increased emphasis on watching through its app and digital content partners in recent months, and Lionsgate felt that Evil Dead‘s combination gore and slapstick humor would resonate well with the audience.

“The series appeals to the same type of audience that engages with esports—the humor, the action, and of course, Bruce Campbell,” Engelhardt said, referring to the show’s main star. “Multiple generations of gamers are fans of Bruce, so we felt that in doing this sponsorship, we would be bringing Valiant fans content that they could get excited about and be proud to see on their team’s jersey.”

Although Engelhardt stated the sponsorship was positively received by fans, that enthusiasm didn’t necessarily translate into ratings. Nielsen data indicates that viewership is declining, which is a continuing trend from season 2. However, as more viewers switch to watching online and may prefer binge watching the season at its conclusion, judging the show’s success and whether the sponsorship has a measurable effect can be tricky. Other potential factors include how season 3 premiered in February instead of the show’s usual October time frame, and how the first two seasons were made available on Netflix in December, which might signal some viewers to wait instead of subscribing to Starz.

NetBase data shows the season 3 premiere brought 38,546 mentions across social channels, which is lower than the season 2 premiere’s 41,794 mentions. Lieban stated the partnership with Valiant brought “a bit over 1 percent of the total volume of conversation around the brand,” but that isn’t a clear indicator of whether the sponsorship is successful or not.

In any case, Lionsgate intends to focus on esports as an important area for marketing, community building and content creation. The media company is currently developing games with an eye on esports, and Engelhardt said the enthusiasm esports generates is critical to the brand’s success.

“We see this as a chance to build a long-term relationship with [Valiant], not just around Ash vs. Evil Dead, but other shows on Starz, [including] Power, Counterpart and more,” Engelhardt said. “We think this is a platform they’ll be excited to discover if they haven’t already, and through Valiant, we can continue to give them special experiences that take them behind the curtain.”

‘Ready Player One’ Posters Leverage Nostalgia To A Mixed-Bag Response

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While nostalgia is a powerful marketing tool, relying too heavily on the fond memories of consumers can make them feel protective. Ready Player One posters’ parody of classic films like Back to the Future and The Breakfast Club left some fans concerned and others inspired.

When Warner Bros. released movie posters that paid homage to classic films, fans said they felt insulted instead of nostalgic. Complaints quickly surfaced about the quality of the artwork as compared to original posters by Drew Struzan. The most common complaint, however, was in comparing Ready Player One to these classic films at all—as if doing so would be anything short of sacrilege.

https://twitter.com/TheMattDWilson/status/971145793217466369

The Ready Player One poster backlash serves as a cautionary tale about how marketers should treat nostalgia. In many cases, fond memories can entertain and encourage consumers to share franchises with new generations.

Stranger Things was rife with pop culture references from Steven King to video games of the 80s, but overall, fans embraced the nostalgia with open arms. The difference may lie in the fact that promotional art contained similarities but not direct references. Meanwhile, blatant pop culture references on the show were presented “in the wild” as a typical 80s kid might have encountered them naturally. This encouraged viewers to identify with the characters rather than feel that a new intellectual property is ripping off one they already know and love.

If you take the film marketing campaign at face value, it makes sense. Ready Player One revolves around a virtual reality world called the OASIS that allows users to be anyone and do anything they like. As we’ve seen from the trailer, the OASIS includes pop culture worlds and characters including Overwatch, King Kong, The Iron Giant and Back to the Future, just to name a few.

Ready Player One posters that pay homage to these and other franchises have been spotted around Los Angeles. The intention of this marketing campaign was most likely to illustrate how Ready Player One‘s characters can, and most likely will, interact or make reference to these films during their adventure.

Not all fans were angry. Others defended the campaign and its celebration of pop culture. After all, Ready Player One was directed by Steven Spielberg—a man single-handedly responsible for a wealth of pop culture.

Ironically, Warner Bros.’ attempt to leverage pop culture may have created a new meme. Angry or amused fans immediately began creating their own movie poster parodies in what the internet calls a “Photoshop battle.” Fan-created parodies of Warner Bros.’ posters began popping up that range in tastefulness from Paul Blart: Mall Cop to Schindler’s List.

A Guide To SXSW 2018 Parties

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For those of you headed to SXSW, you should know that it’s basically one big party. Here’s your 2018 guide to help you navigate this annual get together of creatives and (productive) party animals.

This list is presented in chronological order and will be updated regularly. Did we miss anything? Let us know!

Note that SXSW badges are required unless otherwise noted. While not all events specifically say they are restricted to ages 21-and-over, be prepared to show ID if alcohol is served—and please celebrate responsibly. Food and drink may not be free, regardless of entry price.

FOX Sports House

Sports fans descend on the Hangar Lounge to kick off the 2018 FIFA World Cup. Expert panels, live show programming and special guests. Features food, drinks and entertainment.

When: Friday, March 9 from 11 a.m. to 8 p.m.
Sports Kick-off Party runs from 7 to 10 p.m.
Where: Hangar Lounge, 318 Colorado St. Austin, TX 78701
Requirements: Platinum, Interactive, Music or Film Badge
Price: Free

Comcast Social Media Lounge Hosted By TechSet

Back for its 11th year, the SXSW Social Media Lounge is a place to chill out with friends or make new ones. Technology, food, beverages and networking.

When: Friday, March 9 from 11:00 a.m. to 6:00 p.m.
Saturday, March 10 from 9:30 a.m to 6:00 p.m.
Sunday, March 11 from 11:00 a.m. to 6:00 p.m.
Monday, March 12 from 9:30 a.m. to 6:00 p.m.
Tuesday, March 13 from 9:30 a.m. to 6:00 p.m.
Where: Austin Convention Center, Room 19 A/B, 500 E. Caesar Chavez St., Austin, TX 78701
Requirements: Platinum, Interactive, Music or Film Badge
Price: Free

SXSW Taco Meetup

Tacos aren’t just for Tuesdays anymore. The 7th annual Taco Meetup at SXSW is hosted by Magento Commerce. Ticket holders can take a culinary tour of five taco restaurants from the Austin area. Vegetarian options will be available.

When: Friday, March 9 from 12 to 2 p.m.
Where: Brush Square Park, 409 E. 5th St., Austin, TX 78701
Requirements: Platinum, Interactive, Music or Film Badge
Price: Tickets can be purchased with SXSW badges

Nerdist House

Star Wars, Guardians of the Galaxy and Batman Stern pinball tournaments, live music, custom alter ego silhouettes made on site and a zombie marching band await you away from the crowds.

When: Friday, March 9 from 12:00 p.m. to Saturday,  March 10 at 12:00 a.m.
Saturday, March 10 from 12:00 p.m. to Sunday,  March 11 at 12:00 a.m.
Sunday, March 11 from 10 a.m. to 3 p.m.
Where: Banger’s Sausage House and Beer Garden, 79 Rainey St, Austin, TX 78701
Requirements: No badge required
Price: Free

Mashable House And MashBash: Time Warp

Celebrating cultural moments and tech innovations of the past, present and future with drinks, music, dancing and “maybe a few surprises.”

When: Friday, March 9 from 12 to 5 p.m.
Saturday, March 10 from 12 to 5 p.m.
Sunday, March 11 from 11 a.m. to 3 p.m.
Where: The Main, 610 E. 6th Ave. Austin, TX 78701
Requirements: Platinum, Interactive, Music or Film Badge
Price: Free

Lesbutante And The Boss LBQTIA+ SXSW Bash

Party and network with a diverse host of entrepreneurs and creatives. Includes panels and a meet and greet. Those who RSVP get a drawstring backpack swag bag, a commemorative hat, guaranteed entry and a VIP section with available booth seating.

When: Saturday, March 10 from 9 p.m. to Monday, March 11 at 3 a.m.
Where: Sellers Underground, 213 W. 4th St., Austin, TX 78701
Requirements: No SXSW badge required
Price: Free for general admission, VIP access available from $20-$100

Film Industry Happy Hour Hosted By Rotten Tomatoes

Networking with professionals from movies and TV.

When: Friday, March 9 from 5 to 7 p.m.
Where: Intercontinental, Stephen P Austin Ballroom A, 701 Congress Ave., Austin, TX 78701
Requirements: 21+, Film and Platinum badges only
Price: Free

Interactive Opening Party

SXSW official kick-off sponsored by Accenture Interactive. This annual shindig features live music, an open bar alongside Accenture’s ad tech and client demos.

When: Friday, March 9 from 8 to 11 p.m.
Where: Micheladas, 333 E. 2nd St., Austin, TX 78701
Requirements: Platinum, Interactive, Music or Film Badge
Price: Free

Alita: Battle Angel Opening Party

A unique chance to visit the Iron City movie set for 20th Century Fox’s Alita: Battle Angel ahead of the film’s debut. A shuttle will take guests to Robert Rodriguez’s Troublemaker Studios, where they will be joined by members of the film’s cast and crew for a celebratory get-together.

When: Friday, March 9 from 9:30 p.m. to Saturday, March 10 at 12:30 a.m.
Where: Shuttle picks up at the 5th Street side entrance of the Hilton Hotel in Downtown Austin, 500 E. 4th St., Austin, TX 78701
Requirements: Film and Platinum badges only
Price: Free

SingularDTV Post-Panel Cocktail: Tokenized Economics And Mixed Drinks

Discuss blockchain, content funding and production over a drink with SingularDTV’s Zach LeBeau, EDM producer Gramatik, XYZ Films’ Nate Bolotin and others.

When: Saturday, March 10 from 4:30 to 5:40 p.m.
Where: Austin Convention Center, Room 12AB, 500 E. Cesar Chavez, Austin, TX, 78701
Requirements: Platinum, Interactive, Music or Film badge
Price: Free

Film Industry Happy Hour Hosted By Stream Space

One of many SXSW parties that are perfect for film and TV show enthusiasts.

When: Saturday, March 10 from 5 to 7 p.m.
Where: Intercontinental, Stephen P Austin Ballroom A, 701 Congress Ave., Austin, TX 78701
Requirements: 21+, Film and Platinum badges only
Price: Free

[a]list @ SXSW

Come hang out with us! Want to talk marketing? AListDaily has you covered. Stop by and connect with fellow marketing and media leaders over music, food and drinks.

When: Saturday, March 10 from 6 to 9 p.m.
Where: Lambert’s Downtown Barbeque, 401 W. 2nd St., Austin, TX 78701
Requirements: If you haven’t RSVP’d, please email us at sxsw@alistdaily.com!
Price: Free

Interactive Mix At Six Party

Presented by Cogeco Peer 1, this mixer provides snacks, networking and presumably drinks, since the venue is 21+.

When: Saturday, March 10 from 6 to 8 p.m.
Where: Swan Dive, 615 Red River St., Austin, TX 78701
Requirements: 21+, Interactive and Platinum badges only
Price: Free

SXSW Social Impact Opening Party Presented By Handshake

Enjoy a lake view cocktail party and rub elbows with philanthropists, storytellers and entertainers.

When: Saturday, March 10 from 7 to 10 p.m.
Where: Waller Creek Boathouse, 71 Trinity St., Austin, TX 78701
Requirements: Platinum, Interactive, Music or Film badge
Price: Free

SXSW Film Festival 25th Edition Party Hosted By Ready Player One and Vive VR

An interactive experience based on the upcoming Warner Bros. film. Guests are invited to explore OASIS, the VR world from Ready Player One using Vive VR headsets and learn more about the film’s dystopian setting. The party features live DJ performances by Them Jeans.

When: Saturday, March 10 from 10 p.m. to Sunday, March 11 at 3 a.m.
Where: Brazos Hall, 204 E. 4th St., Austin, TX 78701
Requirements: 21+, Film and Platinum badges only
Price: Free

Crunch By Crunchfest

TechCrunch throws SXSW parties each year and tickets go fast. Meet writers and watch live performances by Autograf, Mobley, MIEARS and Glassio.

When: Sunday, March 11 from 12 to 4 p.m.
Where: The Sidewinder, 15 Red River St., Austin, TX 78701
Requirements: Ticket required. Although RSVPs have closed, the site suggests contacting a TechCrunch writer for access.
Price: Free

Cities Summit Opening Party Presented By Bosch

The Cities Summit kicks off with networking and drinks.

When: Sunday, March 11 from 6 to 8:30 p.m.
Where: Palm Door on Sixth, 508 E. 6th St., Austin, TX 78701
Requirements: 21+, Platinum, Interactive, Music or Film badge
Price: Free

Viceland Party Lot

If your dream of SXSW parties involves farm animals, look no further. This three-day party bus includes drinks, music, swag, snacks and oh, yes—baby goats.

When: Sunday, March 11, Monday, March 12 and Tuesday, March 13 from 10 a.m. to 6 p.m.
Where: 98 Red River Lot., 98 Red River St., Austin, TX 78701
Requirements: Platinum, Interactive, Music or Film badge
Price: Free

John Hardy Celebrates International Women’s Day

A celebration of female strength as embodied by the Naga dragon of Balinese legend.

When: Sunday, March 11 from 6 to 8 p.m.
Where: Four Seasons Terrace, 98 San Jacinto Blvd., Austin, TX 78701
Requirements: 21+, Platinum, Interactive, Music or Film badge
Price: Free

Red Bull Media Presents The Dawn Wall After Party

Celebrating the North American premiere of The Dawn Wall, a film by Red Bull Media and Sender Films. Join the cast and crew for an interactive installation, artwork, behind the scenes and of course, a few drinks.

When: Sunday, March 11 from 6 to 10 p.m
Where: Parlor & Yard, 601 W. 6th, Austin, TX 78701
Requirements: 21+, Platinum and Interactive badges only
Price: Free

IFC Midnight Presents A SXSW Party

My dudes. If you ever wanted to see Frodo playing a DJ set, you don’t want to miss this. Elijah Wood will DJ along with Zach Cowie (Wooden Wisdom) and Death Waltz & Mondo Vinyl.

When: Sunday, March 11 from 8 to 11:30 p.m.
Where: Charles Johnson House – American Legion, 404 Atlanta St., Austin, TX 78703
Requirements: 21+, Film and Platinum badges only
Price: Free

Dance Party With Gramatik And Friends

Hosted by SingularDTV, electronic music producer Gramatik wants you to know about his GRMTK crypto tokens. He’s celebrating his anticipated wealth with a live performance.

When: Sunday, March 11 from 9 p.m to Monday, March 12 at 2 a.m.
Where: Clearport, 516 E. 6th St., Austin, TX 78701
Requirements: 18+, Platinum, Interactive, Music or Film badge
Price: Free

Film Industry Happy Hour Hosted By Killer Tracks

Another chance to hang out with fellow film and TV enthusiasts.

When: Sunday, March 11 from 9 p.m to Monday, March 12 at 2 a.m.
Where: Intercontinental, Stephen P Austin Ballroom A, 701 Congress Ave., Austin, TX 78701
Requirements: 21+, Film and Platinum badges only
Price: Free

HappyHourLab With CityLab

A get together for those passionate about the future of their cities. Features a conversation with musical artist Tunde Olaniran about his hometown of Flint, Michigan.

When: Monday, March 12 from 6 to 8 p.m.
Where: Four Seasons Terrace, 98 San Jacinto Blvd., Austin, TX 78701
Requirements: 21+, Platinum, Interactive, Music or Film badge
Price: Free

Strangeworks SXSW Launch Party

This brand new stealth quantum computing software startup is throwing a party. Come say hello.

When: Tuesday, March 13 from 8 p.m. to Wednesday, March 14 at 12 a.m.
Where: Lustre Pearl, 94 Rainey St., Austin, TX 78701
Requirements: 21+, Platinum, Interactive, Music or Film badge
Price: Free

Film Intermission Party Presented By Netflix

Right after the awards ceremony, shuttles will be available to take film buffs to an after party.

When: Tuesday, March 13 from 10 p.m. to Wednesday, March 14 at 1 a.m.
Where: Zach Theatre, 202 S. Lamar, Austin, TX 78704
Requirements: Film and Platinum badges only
Price: Free

Music Opening Party Presented By Greater Fort Lauderdale’s Underground

Kick off the SXSW Music Festival with drinks and live performances.

When: Tuesday, March 13 from 6 to 9 p.m., Riptide Music Festival runs from 9 p.m. to Wednesday, March 14 at 2 a.m.
Where: TBA
Requirements: Platinum or Music badge
Price: Free

Party At The Fort Worth Now House

This all-ages party features live music with free beer and whiskey, while supplies last. Performances by Quaker City Night Hawks, Grady Spencer & the Work, Abraham Alexander, Summer Dean and others.

When: Wednesday, March 14 from 1 to 6 p.m.
Where: Fair Market, 1100 E. 5th St., Austin, TX 78702
Requirements: Platinum, Interactive, Music or Film badge
Price: Free

SXSW Hackathon After Party

A 24-hour hackathon ends not with sleep, but with drinks and music following the awards ceremony.

When: Wednesday, March 14 from 5 to 7 p.m.
Where: TBA
Requirements: Platinum, Interactive, Music or Film badge
Price: Free

SXSW Gaming Opening Party

Join The Attack‘s Alex Corea and enjoy a host nerdcore musical artists as they kick off the SXSW gaming festival. Live performances by Mega Ran, SAMMUS, Rockit Gaming, NerdOut! and Super Soul Bros.

When: Thursday, March 15 from 8 to 11 p.m.
Where: Hilton Austin Downtown, Grand Ballroom, 500 E. 4th St., Austin, TX 78701
Requirements: 21+, Platinum, Interactive, Music, or Film badge
Price: Free

Sounds From Spain Paella Day Party

Sip on Sangria, munch on paella and watch live performances from Spanish artists including Neuman, Christina Rosenvinge, The Zephyr Bones, Los Wilds and Joe Crepusculo.

When: Friday, March 16 from 1 to 5 p.m.
Where: Brush Square Park, 409 E. 5th St., Austin, TX 78701
Requirements: 21+, Platinum, Interactive, Music, or Film badge, artist wristband
Price: Free

SXSW Gaming Closing Party

Alas, the Gaming Festival must come to an end, but not the revelry.

When: Saturday, March 17 from 11 p.m. to Sunday, March 18 at 1 a.m.
Where: The Belmont, 305 W. 6th St., Austin, TX 78701
Requirements: 21+, Platinum, Interactive, Music or Film badge
Price: Free

While VR For Kids Is Low Priority, Family-Friendly Games Still On The Way

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Oculus and other content publishers, particularly in the gaming space, are putting increased emphasis on the social aspects of virtual reality in an effort to win mainstream acceptance. While location-based experiences and competitive multiplayer games help to overcome the perception that VR is an isolating experience, some companies are also looking for opportunities in family-oriented entertainment.

But those doing so are making early bets. Kids and families aren’t a priority market, Stephanie Llamas, SuperData’s VP of research and strategy, told AListDaily. This is mainly because there isn’t much demand right now, as adults are still deciding whether to adopt VR for themselves, much less their kids.

Although some might see that as a good reason to put this audience aside, others view it as an opportunity to build a nascent market as awareness and adoption of VR technology continues to grow.

Playful, which also makes the Minecraft-like game Creativerse, developed Lucky’s Tale as a launch title for the Oculus Rift. It still comes free with purchase of the headset.

Mark Stanley, president and chief business officer at Playful, told AListDaily that offering the game for free was the most effective way to make the IP widely known, even among the relatively small number of headset owners when the Oculus Rift first launched, establishing Playful as a family-friendly brand. Awareness for the original Lucky’s Tale continues to grow as the price of VR hardware drops and more people purchase headsets for themselves.

“That’s a category that we’re going to be very clear on,” Stanley said. “That the experience with our content, whether it be VR or flat screen, is going to be a joyful experience and can bridge the gap between kids and parents.”

Establishing brand recognition is an important part of helping parents overcome their sense of apprehension when it comes to letting their kids try out experiences. Since you can’t always get a sense of whether VR content will be appropriate for kids, thinking of Playful along the same lines as Disney or Nintendo could go a long way. To this end, Playful expanded its franchise in November by partnering with Microsoft to launch Super Lucky’s Tale, a traditional action title it hopes will be regarded as the Mario game for the Xbox One platform.

Startup VR developer Rocket Worldwide also sees an opportunity when it comes to family entertainment and debuted Train Runner VR for the HTC Vive in December. The game, which involves constructing gadgets to rescue a puppy from a speeding train, will be updated with additional content in the future.

Rocket Worldwide CEO Doug Kryzan explained that there are essentially two target audiences—the first being the kids who will be playing the games and the other being their parents. The first step in engaging parents is to create entertainment that parents are comfortable with, meaning the games need to be non-violent while promoting aspects of personal empowerment and critical thinking.

Similar to Playful, Rocket is conveying the message that it is a brand that makes family-friendly games in order to appeal to both audiences. The company is doing this by taking a focused approach with its promotion, mainly relying on social channels such as Facebook, Instagram and Twitter to get the word out about Train Runner.

Both companies agree that VR content is currently geared heavily toward hardcore gamers. “There isn’t the same level of experiences for the wider audience,” Kryzan said. “So, as a game developer, we’re carefully watching this and working to understand what messages resonate with these two audiences and what the most effective ways to reach them are, given the maturity of the market.”

But Stanley believes engagement with a more hardcore audience is the key to growing awareness for family-friendly titles. For example, the communications Playful has done with the Xbox One community in partnership with Microsoft for the launch of Super Lucky’s Tale is helping to bring more attention to the original VR game.

“Xbox’s traditional target audience has not been kids and family,” Stanley said. “We just launched [Super Lucky’s Tale] in November, but we’re still finding new ways to reach kids and parents.”

However, according to Llamas, the ongoing view that VR is an isolating experience presents a major obstacle, especially as parents already battle the endless pull smartphones and computers have on kids.

To combat this perception, Stanley pointed out the “copilot mode” for the Xbox One game, where parents can help their children control the main character through trickier parts.

Rocket also plans to include cooperative play features in Train Runner in the future. But even though multiplayer will help VR be seen as a more social activity, Kryzan added that another opportunity comes in giving the nearby viewing audience—those who aren’t wearing headsets—a means of interacting with the game.

But the greatest challenge these companies face is that parents may not know whether or not VR headsets are safe for their children.

“Many manufacturers warn that kids under 13 should not use VR headsets, even though there is not enough scientific evidence proving one way or the other, so already that is a deterrent,” Llamas said.

Stanley believes VR has a long road ahead when addressing this matter. He said people need to have access to headsets outside of events such as E3 to gain a better understanding of the technology. That way, parents may become more comfortable with their kids trying out VR experiences. Both Playful and Rocket are currently in discussions with arcades and other location-based businesses to support their games, but Playful is also looking to develop non-VR theme park attractions based on the Lucky’s Tale franchise.

Llamas admits that even though the kids and family demographic isn’t essential to the growth of VR, since the money lies with tech-savvy adults, it will eventually become an important market.

Stanley agrees, and said it will be first adopters, comprised of older gamers with greater purchasing power, mixed with the massive content consumption teens and tweens have that will drive the VR market forward. He also added that the accessibility of VR content must be matched by the hardware for the market to grow.

“Setting up demo stations at every retailer across the country is a major investment, but I think it’s one that’s necessary to accelerate the install base and spread the understanding of what VR is,” Stanley said.

ABC Taps Viewer Nostalgia With ‘Roseanne’ Subway Car

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ABC hopes to stir up viewer memories of watching Roseanne in the 80’s and 90’s, continuing a trend of nostalgia-driven marketing within the TV industry.

To promote the sitcom’s upcoming revival, a New York City commuter train has been made to look like the Connor family’s famous living room. Running between Grand Central Station and Times Square, the subway car features seats that resemble the Connor family’s couch, complete with an afghan over the back. Family portraits hang on the walls and each end of the car is made to resemble a fireplace. Promotional images wrap the exterior of the train.

While subway advertising is an effective way to reach millions of commuters in New York each day, not all campaigns are so well-received.

Amazon fell under scrutiny for decorating a subway car with Nazi imagery to promote The Man In The High Castle in 2015. Subway commuters in New York were surprised to find one car decked out with a Nazi version of the American flag, as well as a stylized flag inspired by imperial Japan. Residents were so disturbed by the imagery that Mayor Bill de Blasio requested they be removed and Amazon complied within hours.

In October, Fox Sports decorated a subway car that called the New York Knicks players Tim Hardaway Jr. and Joakim Noah “hopeless.” Complaints from the team’s owner resulted in the ads’ prompt removal.

Responses to this activation have been positive on Twitter, where ABC spread images of the train and invited commuters to share their own experiences with the activation. Fans were nostalgic and excited for the show’s March 27 return.

Nostalgia also seems to be inspiring much of TV network strategy lately, from Will and Grace to Gilmore Girls and The X-Files. As cord-cutters spend less time on traditional TV programming, networks are falling back on what worked in the past by bringing back fan favorites. The rise of OTT services costs networks billion in lost ad revenue, according to estimates, so networks are competing to host the next—or return of—” must see TV.”

Facebook Watch Turns To Creators As It Attracts New Shows

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Facebook Watch may soon include creator content similar to YouTube, a move that would help ensure the platform’s competitiveness in digital video. In the meantime, Facebook’s social video platform continues to draw TV networks and motion picture studios hoping to reach young, digital consumers.

Despite only being a few months old, Facebook’s original programming channel is gaining traction with US consumers—especially teenagers who are otherwise leaving the site. According to Morgan Stanley, 40 percent of people using Watch on a daily basis are between the ages of 16-34. Unfortunately for Facebook, this happens to be the same age group leaving the social network in droves—two million of them, according to eMarketer predictions.

Facebook Watch is designed to compete with social networks like YouTube and Twitch that both offer live interaction during livestreams. Even Twitter is investing in live video content to keep users tuned in. During the fourth quarter, Twitter announced approximately 22 deals and streamed approximately 1,140 live events with 60 percent of those reaching a global audience.

Facebook is in a strong position to lure creators away from YouTube, which has changed or removed monetization options altogether for many users. The company hopes to offer ad revenue-sharing to online creators, a source told CNBC. Facebook’s ultimate goal, the source said, is to create a sustainable ad-supported video platform, where it won’t have to pay for the majority of content. The company invested $200 million in hundreds of shows for its new video platform, which can be accessed through a separate tab from the News Feed.

Entertainment awards offer the highest TV ad revenue of the year for many networks. So as traditional viewership declines, online streams help to keep consumers engaged. Case in point, The Golden Globes red carpet show was also streamed on Facebook Watch.

ABC aired “The Oscars: All Access” on Facebook Watch Sunday evening. The program included red carpet and backstage interviews. Fans were also able to request “digital autographs” from celebrities, as well. The companion stream also aired on social networks Twitter and YouTube Live, in addition to official websites.

Lionsgate is the latest to announce original programming for Facebook Watch. You Kiddin’ Me will be an unscripted series hosted by Kim Kardashian West that features children pranking their celebrity parents. Indie studio Big Beach TV has also announced a dark comedy, “Sorry For Your Loss” starring Kelly Marie Tran (Star Wars: The Last Jedi). These programs join a growing roster of around 50 shows currently airing or announced for Facebook Watch.

Cutting Ad Slots, NBCUniversal Seeks To Modernize TV Advertising

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Working on giving everyone what they want, OTT platforms have been offering fewer—or zero—ads to consumers and modern targeting options for brands. So far, everyone’s been winning—except for the TV networks losing out on viewers.

But NBCUniversal has a plan to plug the leaks. By the end of this fiscal year, the network, which owns and operates NBC, Telemundo, E! and numerous other channels, will cut the number of primetime hour ad slots by 20 percent and primetime ad time by 10 percent.

“There are more and more consumers, whether it’s from Hulu or the Netflixes or Amazons of the world, who are liberated via technology,” said Linda Yaccarino, chairman of advertising and client partnerships for NBCUniversal, to Variety. “TV networks would be crazy to believe that anything other than commercial overhaul was anything other than inevitable.”

Reducing ad clutter is just the tip of the iceberg for NBCUniversal’s modernization efforts. The network has also introduced a product it calls a “prime pod,” a 60-second ad break available to a maximum of two sponsors, offering advertisers the chance to air different ads that better align with the show’s mood and themes. Prioritizing scalability, Yaccarino promises that “prime pod” themes will be powered by artificial intelligence.

Other ad products NBCUniversal hopes to offer soon include displaying real-time commentary from advertisers, blurring the line between TV ad and Twitter account, and using its AI theme-detecting platform to play a brand’s ads during relevant sections of the programming itself.

These new ad products will focus on driving consumer recall, engagement and purchase conversion. “These are performance metrics that matter,” Yaccarino said, claiming many viewability metrics currently used by the industry don’t accurately reflect an ad’s effectiveness. “This is a whole sales effort to adopt a new vocabulary and conversation.”

Despite NBCUniversal’s efforts to push television toward a quality-over-quantity mindset for ads, the industry has generally been pushing in the opposite direction. According to Variety, TV networks have added more than 400,000 new ad slots over the past five years, and the average length of ad breaks rose by 3.9 percent in January alone.

Consoles Fueled Nearly $9B Worldwide Digital Game Sales In January

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Gamers spent $8.9 billion on digital games and add-ons in January, an increase of 11 percent year over year. According to SuperData Research’s monthly digital game sales report, digital console sales grew a staggering 57 percent year over year thanks to some high-profile game launches.

A large release of triple-A titles including Destiny 2 and Star Wars: Battlefront II propelled digital console sales over last year. Call of Duty: WWII is still going strong compared to its predecessor, Call of Duty: Infinite Warfare. Activision’s yearly Call of Duty installment maintained the number one spot on digital console revenue charts for January.

Mobile and Free-to-Play MMO segments continued to grow at 11 percent and one percent, respectively, SuperData reported. Social and Pay-to-Play MMO segments, however, continued to drop. Social game revenue dropped five percent and Pay-to-Play MMO income dropped nine percent in January.

Monster Releases

Dragon Ball FighterZ is the most successful fighting game digital console launch of all time. The hit title from Bandai Namco was the number six best-selling console game for the month of January, despite launching late in the month.

SuperData says that many factors attributed to the game’s success, but Dragon Ball‘s worldwide popularity was the primary reason. When Marvel vs. Capcom: Infinite failed to deliver the team-based fighting game fans had come to expect from the franchise—including a number of graphical issues—a well-polished Dragon Ball FighterZ filled the void. As always, marketing played a major role in the game’s success, as well.

“Bandai Namco handled [Dragon Ball FighterZ] marketing to the western audience very well, leveraging Game Informer and E3 (winning several “Best of E3″ awards) to build hype months prior to the game’s release,” Reginald McKim, market analyst at SuperData told AListDaily.

Bandai Namco announced that over 2 million copies of Dragon Ball FighterZ had been shipped as of February 2.

Capcom’s Monster Hunter: World is traditionally a Japanese-heavy IP but found international success, reaching the number two spot for digital console sales in January—no small feat considering the game launched January 26.

SuperData estimates that Monster Hunter World and Dragon Ball FighterZ sold over 1.5 million digital console units last month.

Watch Out For Overwatch

Activision Blizzard’s breakout hit Overwatch held its number 10 spot for digital PC revenue. Combined additional content revenue across both platforms doubled year-over-year, SuperData noted. With over 15 million MAU in January, the game is in a strong position as Overwatch League (OWL) continues into March.

Blizzard’s World of Warcraft held its number seven spot on the PC list. Digital revenue for premium PC grew 24 percent last month overall.

Battling For Supremacy

The ultimate battle royale is taking place between Epic Games’ Fortnite and Playerunknown’s Battlegrounds as both titles compete in the popular genre. The two leading battle royale titles earned over $200 million in digital revenue from console and PC last month. While PUBG defended the number five spot for digital PC, Fornite: Battle Royale rose three spots in January to number five on the digital console charts.

Epic recently announced plans to abandon its MOBA Paragon in order to divert all resources to Fortnite, which hit record high engagement in January.