Kddi Corporation DM RAIL OTAKU CHAMPIONSHIP by Hakuhodo Kettle Tokyo

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Industry Internet Service Providers, Business equipment & services, Corporate Image
Media Direct marketing
Market Japan
Agency Hakuhodo Kettle Tokyo
Creative Director Koichiro Shima
Art Director Koichi Kosugi
Copywriter Hikaru Arashida, Hideaki Sakuma
Account Supervisor Ogino Takashi, Ginta Yamaguchi, Daisuke Goto
Released July 2009

Credits & Description

Category: Direct Response Digital: Mobile Marketing
Advertiser: KDDI
Product/Service: EZ WEB
Date of First Appearance: Jul 30 2009 12:00AM
Entrant Company: HAKUHODO, Tokyo, JAPAN
Creative Director: Koichiro Shima (Hakuhodo Kettle)
Copywriter: Hideaki Sakuma (Hakuhodo)
Copywriter: Hikaru Arashida (Hakuhodo)
Art Director: Koichi Kosugi (Hakuhodo)
Account Supervisor: Daisuke Goto (Hakuhodo)
Account Supervisor: Ogino Takashi (Hakuhodo)
Account Supervisor: Ginta Yamaguchi (Hakuhodo)
Media placement: Transit Advertising) Train Channel - Train - 3-9 August 2009
Media placement: Out Door Media) 46 Unexplored Stations - Station - 1 July – 31 August 2009
Media placement: Out Door Media) The Touch Point Of Railway Otaku - 58 Railway Fun Clubs / 20 Railway Institutions / 11 Bookstores / 24 Railway Mode - 1 July – 31 August 2009
Media placement: Magazine Advertisements) Timetables, Books And Magazines For Railway Otaku - Magazine, Book, Timetable - 1 July – 30 September 2009
Media placement: PR Event - The Railway Museum - 29 July 2009

Describe the brief/objective of the direct campaign.
The majority of Japanese men in their 30s and 40s use their mobile phones only for making and receiving calls, not for data services. We were charged with enticing them to experience the enjoyment of AU’s mobile phone content.

Explain why the creative execution was relevant to the product or service.
Otaku are so single-minded in their quest to be No. 1 that no matter how long it may take, or how difficult the question, they’ll commit every resource and waking hour to win. Moreover, their competitive zeal is proportional to the number of rivals. So each otaku who entered the quiz compelled other otaku to join, too. We banked on the fact that otaku like nothing more than showing off their knowledge. Sure enough, whenever an otaku found a new poster or answered a difficult question, they boasted about it. In other words, our target became our media.

Describe the creative solution to the brief/objective with reference to the projected response rates and desired outcome.
We targeted “otaku” or nerds, a perfect match for our demographic. Knowing that otaku famously compete with extreme zeal, we created a competition that would entice them to access data via their mobile phones. Focusing on Japan’s estimated 100,000 railroad otaku, we produced a stupendously hard 1,000-question quiz about railroad minutiae. We announced it via posters—placed at stations so remote and unusual that only true otaku would find them. We knew that once a single otaku saw the very first poster, word of the contest would spread like wildfire via blog.

Describe the results in as much detail as possible with particular reference to the RESPONSE of the target audience including deliverability statistics, response rates, click throughs, sales cost per response, relationships built and overall return on investment.
Our low cost campaign reached Japan’s many railroad enthusiasts, said to number around 100,000. Over 70,000 railroad otaku participated, flocking to au’s mobile phone content to crown the Otaku King of the Railroad. Through the quiz, we formed the largest railroad otaku community in Japan. As a result, we achieved our aim: getting people who normally don’t use mobile data service to spend many, many hours experiencing the enjoyment of mobile phone content.