| Title | EYEZEN CHALLENGE |
| Brand | ESSILOR |
| Product/Service | EYEZEN LENSES |
| Category |
F01. Branded Games |
|
Entrant
|
HEREZIE Paris, FRANCE
|
|
Idea Creation
|
HEREZIE Paris, FRANCE
|
|
Production
|
MERCI MICHEL Paris, FRANCE
|
|
Additional Company
|
APOLLO STUDIOS New York, USA
|
|
Additional Company 2
|
MOOD IN MOTION: Paris, FRANCE
|
Credits
| Andrea Stillacci |
HEREZIE |
CEO - Executive Creative Director |
| Luc Wise |
HEREZIE |
Chief Strategic Officer |
| Stephan Schwarz |
HEREZIE |
Director of Digital |
| Jacques Decazes |
HEREZIE |
Creative technologist |
| Nicolas Bermond |
HEREZIE |
Copywriter |
| Julia Nguyen |
HEREZIE |
Account Supervisor |
| Roxane Matthews |
HEREZIE |
Account Supervisor |
| Adrien Pin |
Merci Michel |
Digital producer |
| Mathieu Domingues |
Merci Michel |
Digital producer |
| Benedicte Leclere |
APOLLO STUDIOS |
Executive Producer |
| Marc Cortez |
SCHMOOZE |
Director |
The Campaign
eSport is a cultural phenomenon on the rise: not only has it become a mainstream, multibillion dollar sport, but it is also all about gaming, vision and digital screens. So we partnered up with the best eSport team in the world, Fnatic, to build an interactive gaming experience, de facto creating a new “shoot ‘em up” game, the first of its kind, and giving our younger target audience the unique opportunity to challenge Martin Larsson, aka “Rekkles”, the star of Fnatic, to a duel. Using an innovative mix of eye-tracking technologies, our “gamers” were truly in control once a webcam mapped their pupils. Their weapon? Their eyes. The targets they have to shoot? The harmful blue light that Eyezen lenses fight against. The prize? A chance to see Fnatic play in the biggest eSport arena in the world, in Seoul, South Korea.
Creative Execution
Because of the size of the eSport community, we decided to only target real eSport fans. We created the www.eyezen-challenge.com website that was only reachable through the Fnatic social media channels and the positive buzz of the gaming press and eSport message boards. Players had a month to record their best score, only if they used the webcam mode, for a chance to win a trip to see Fnatic play in Seoul, Korea. The whole experience was branded to reflect the eSport universe but with touches of credibility and understanding from Eyezen. We “hid” the Eyezen reasons to believe throughout the whole gaming experience, to be as less intrusive as possible: in the video intro, at the end of the gaming experience and through a cool-looking store locator.
The gaming press in every geographical market of the world reported about the Eyezen brand with more than 250 articles dedicated to the experience and brand, significantly increasing exposure of the new product launch with its target audience. In just one month, with no paid media, we raised awareness about harmful blue light and the Eyezen brand with over 300,000 played duels and 50 000 product pages. Each visitor, on average, played the game twice, and stayed on the site for more than 6 minutes with a bounce rate of not even 5%
eSport, where professional gamers play video games in competition with others, is a massive spectator event. The audience for eSport has grown to 131 million enthusiasts and is estimated to grow from 463 million dollars in 2016 to 1.1 billion dollars in 2019. And screens are everywhere: For the players, obviously, but also the spectators who watch it from the comfort of their homes on their laptops, phones and tablets. We chose team Fnatic, the best eSport organization in the world, and “Rekkles,” the David Beckham of eSport, for their global reach: 2.5 million Facebook fans, and more than a million combined subscribers on Twitch and YouTube. And with eSport being created for and by digital natives, it was a perfect way for Essilor to become one of the first mainstream brands to engage this market.