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Interactive Annual 14:
Get The Glass!
Clever and exceptionally well-executed. The use of stop-motion animation really was a great choice. Bart Marable
With a striking balance of intrigue, adventure and interactivity, visitors can live-out whats been in their imaginations as board-game players. Proving that milk trivia can be breathtaking, the designers have reset the bar for interactivity online. Liz Danzico
This groundbreaking game—the cornerstone of the Get the Glass campaign—aims to increase milk consumption in California. In the meantime, it makes it crazy fun to learn the benefits of drinking it. Innovative in both style and execution, the site combines numerous videos, 3-D components and details that make it special, interesting and beautiful. Although some standard, global navigation cues exist, allowing users to view the tv spots and explore the world of the game, in the style of traditional board-game play, the navigation is contingent on user behavior.
- Roughly 25 people from GS&P and 10 from North Kingdom worked on the site for 6 months.
- Players sent to Milkatraz, can ask a friend help them to escape.
- The campaign consisted of tv, print, out-of-home and banner ad support for this online presence.
What was the most challenging aspect of the project?
Developing the amount of content and the rules of game play were major feats and keeping milk top-of-mind was always a challenge, but by far our greatest obstacle was creating the characters. The 3-D characters were the most critical aspects of the game; not only did they need to be based on the talent that was selected for the tv spots, but we had the least amount of time to develop them. In addition, we were trying to execute an innovative style (combining 3-D and video), so the level of complexity was extremely high. Overall, this entire concept demanded a new approach to execution—although, we're not quite sure whether that actually made it easier or more difficult.
How did time constraints affect your final solution?
In order to really finesse the final product and make it special, we decided to do a phased launch. We led with the largest portion of the game and added a few final touches within weeks after the initial launch.
What would you do differently if you could start the project over?
We certainly learned new and successful ways to collaborate with a development partner, and our relationship with the California Milk Processor Board has been further strengthened by their trust in our strategy and creative development. But, if we had it to do over, wed re- and co-locate both the GS&P and North Kingdom teams throughout development of the entire project.
Will McGinness/Pat McKay/Feh Tarty, creative directors
Ronny Northrop, associate creative director
Jeff Goodby, executive creative director
Mike Geiger, director interactive production
Jorge Calleja/Brian Gunderson/Katie McCarthy/Jessica Shank, art directors
Paul Charney/Katie McCarthy/Jessica Shank, writers
Michael Damiani, broadcast producer
Kelsie Van Deman, interactive producer
Heather Wischmann, executive interactive producer
Asya Soloian, creative coordinator
Ashley Weber, account manager
Martha Jurzynski, account director
North Kingdom, project design and development
Goodby, Silverstein & Partners (San Francisco, CA), ad agency