Digital Work: From brief to browser

A collection of digital case studies.

Monopoly City Streets: Agency Tribal DDB


Since Monopoly's invention in 1935 the game-play hasn't changed all that much, but last year Hasbro unveiled a radical spin-off in the form of Monopoly City Streets. The company wanted a 'big idea' to promote this new version of its classic board game. At the core of Monopoly is negotiation, so any campaign would have to work at amplifying this brand value and encourage deal-making. Hasbro wanted to use digital media to deliver a more intense, rewarding and social experience to Monopoly's target audience of 12 to 17 year-old consumers.


The Monopoly City Streets initiative was Hasbro's most high-profile campaign of last year, and as such the pitch for the account was extremely competitive.

Following a presentation to executives at Hasbro's global headquarters in New York, Tribal DDB London was eventually selected to promote the launch of the radically revised game.

The agency's big idea centred on taking the brand into the real world with a live game that used the Google Maps program to turn the globe into a giant Monopoly board.

The concept was developed by Tribal's 'ideas team'. At the start of every large brief the agency creates a specialist team composed of creative staff and technologists who brainstorm an idea and then work together to bring it to fruition.


The agency set out to build momentum in the campaign by creating a competition for Monopoly fans to design their own building using Google SketchUp.

A social media initiative was launched to foster a community of interest around Monopoly City Streets, and consumers were encouraged to vote for the top three submitted building designs to be included in the final game.

Monopoly City Streets then went live online via monopoly and players were given $3 million in virtual cash to purchase and construct virtual buildings on any street in the world using Google Maps.Players earned rent from their properties and could increase the earning potential of their streets by adding positive features such as schools and municipal parks.

By picking up Chance Cards, players could also sabotage their opponents' plans by erecting negative features such as prisons or sewage plants on their virtual properties, negating all rent on a particular rival street.

With the right card, players could even demolish their competitors' buildings and wipe them off the map.

Media Plan

As this was a global digital campaign, local Hasbro markets were expected to develop their own media plans around the Monopoly initiative and tailor it to their specific country of origin.

From a global standpoint, the media plan was effectively 'earned media'. There were no paid-for media ads or traffic drivers explicitly for Monopoly City Streets.

Instead, Tribal DDB created branded Facebook and Twitter accounts, as well as a Monopoly City Streets blog to enable word-of-mouth and advocacy to spread as simply and easily as possible.

According to information gathered by Tribal DDB, more than 2.2 million people around the world joined the game online after a suggestion from a friend.


Initially, Tribal DDB rolled out a teaser campaign spanning Monopoly fan blogs and social networking sites, telling relevant consumers that they would soon witness a major development of the game.

The agency had ambitious plans for the full-scale launch of Monopoly City Streets, including demolishing a real building to herald the opening of the online game and creating real Monopoly estate agents in major cities around the world to promote the initiative.

On launch day, 1.7 million people accessed monopoly and started buying virtual streets.

Such was the initial success of the game that all further launch campaign activity was shelved by Hasbro.

The company claims that Monopoly City Streets ranks in the top 20 biggest online games in the US, with more than 17 million visits to the website to date and around 1.4 million registered players.

Hasbro says more than 70 per cent of users spend 10 or more minutes on the site during each visit, while 50 per cent spend half an hour or more playing the game.


Campaign: Fantasy Festival
Agency: Altogether Digital

Background: In the face of increased competition from rivals, Sony wanted to build an emotional connection with 18 to 34 year-old Europeans.

Aims: Research showed that many of the target audience spent significant time online listening to and downloading music. Sony wanted to provide a social platform for consumers to share their opinions.

Execution: Altogether Digital created Sony's Fantasy Festival, an online game similar to Fantasy Football where users create their ultimate music festival line-up. As part of the campaign, a partnership was set up with, which hosted and promoted the game site, giving exposure to the web service's 40 million global users. The game, launched in November last year, encourages participants to use their musical knowledge to trade and edit their line-up based on a 'buzz' score - calculated according to the number of plays of the chosen artists on and mentions of them online (using Yahoo! data and Twitter). The winner of the competition will receive a VIP experience at a festival.

Results: The game closes in May, and so far more than 50,000 users have registered their interest and spent an average of over three minutes on the site. Sony claims that 20 per cent of users have visited the site more than five times and there have been 622,039 total visits to date.

Tottenham Hotspur

Campaign: Spurs Kit Launch
Agency: Bluhalo

Background: The launch of a new kit for the upcoming season is a big event in the football calendar and is highly anticipated by fans. Premier League club Tottenham Hotspur wanted to use digital channels to unveil its new kit, and created what it claims is the first online-only kit launch.

Aims: The football club was keen to generate sales, provide a measurable return on investment and create an engaging experience that would heighten word of mouth around the launch of the kit. With no additional offline media or marketing spend, the digital campaign needed to be as compelling as possible.

Execution: Last summer, Bluhalo developed microsite to reflect the club's positioning statement that 'Glory comes in three colours'. A freestyle footballer was filmed performing tricks clothed in the new kit. The tricks could be performed on-demand for visitors to the microsite.

Users could also choose which kits to view in 360-degree panorama. Extra content, such as downloadable wallpaper, was added to the site in a bid to increase engagement. Calls to action generated click-throughs to the online store, and social media tools were built into the site to boost word of mouth.

Results: According to Spurs, the campaign delivered a 99 per cent return on investment within 24 hours, and 272 per cent within one month. The microsite has remained active and has made a significant contribution to e-commerce sales via the club's website,

Nissan Europe

Campaign: Sales activation
Agency: Tullo Marshall Warren

Background: Nissan Europe wanted to build brand loyalty and encourage repeat purchases among existing customers via eCRM.

Aims: The brand set out to define the primary car models of interest for individual customers and prospects, encourage them to book a test drive and ultimately convert their interest into sales. The programme would need to run across 23 countries in Europe.

Execution Tullo Marshall Warren was briefed to create a series of email templates, focusing on personalisation to create cut-through and make the messages as relevant as possible to individuals. Emails used existing data to identify when consumers were likely to replace their car and predicted the model they were likely to be interested in. Personalisation went beyond the copy of the email - if the recipient's interest was sports cars, for example, his name appeared on a chequered flag. Copy was kept to a minimum, with a link through to the Nissan website.

Results The campaign launched in December last year and open rates so far have been 36 per cent on average, versus an industry standard of 20 per cent. The click-through rate for the campaign has averaged 20 per cent.

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