Responses by How&How.

Background: Volatile pricing, partial solutions, time-consuming processes and unpredictable forecasts have made it infinitely more difficult for European businesses to run their energy operations effectively. And while large corporations can buy their way out with procurement hires and specialist teams, small-to-mid-sized enterprises and the mid-market have no option but to overpay for a second-rate product.

Meteoric is a German gas and electric supplier that connects procurement, control and portfolio management in one integrated operating system. Basically, it helps businesses who can’t afford dedicated energy teams source the cleanest, greenest and most efficient power supply possible.

Design thinking: Given clean, green energy supply is seemingly impossible to locate on Earth, we created a solution from another galaxy—out-of-this-world power a million miles from the energy drains monopolizing a broken industry, designed to positively impact a market of fossil fuels. Whether it’s the interstellar name or the 3-D meteor, a utopian spin on HAL9000 or art direction that we couldn’t capture on camera, every aspect balances ’80s sci-fi nostalgia and NASA precision to maximum effect.

Challenges: Not letting everyone in the studio touch it. It was a dream client and a hugely creative approach from the off. We didn’t want it to end.

Specific project demands: The brief made everything a lot easier and a lot more exciting. It was a simple ask: stand out from a corporate, B2B industry where every player looks, sounds and charges exactly the same. Meteoric didn’t want gradients or blurples and it didn’t want a functional name—see Avoltra, CoPower and TerraOne. It wanted the brand to be universal globally. It demanded something unique, which is the best thing you can put to us.

Time constraints: The project was short—eight weeks start to finish—which meant we had to be as efficient as Meteoric’s operations. We made the early decision to truncate strategy and naming into one streamlined process, presenting names alongside strategic platforms, not after. It worked wonders, not just providing a litmus test for which narrative was right but letting us jump into the identity the second strategy was signed off.

Having a name as visual as Meteoric also meant that creative development had a rich foundation to build on. Whisper it, but less time might have actually been a blessing.

Favorite details: Oh, so many. Obviously, we love the monumental impact of the meteor. But we’re just as proud of the subtler moments, like the hover gradients and, particularly, the illustrated iconography. Inspired by the film Arrival, they feel organic as if they’re appearing for the first time. There’s such a nice quality to it.

We also love the depth of the voice, stretching from Christopher Nolan’s expansiveness in headlines to Stanley Kubrick’s precision in secondary and underpinning both with a custom LLM (OKSAR 3000) to answer FAQs and outline technical plans. This relevant role felt like a positive step forward for the technology: a utopian answer, opposed to a dystopian replacement.

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