This is my favorite advert in advertising history.

In retrospect, we should have foreseen how strange the World of Coke was going to be as soon as we got there. The woman at the Atlanta visitor’s center said it was “definitely” worth the $15, but then again the visitor’s center smelled strongly of Coca-Cola, suggesting that she either used Coke-scented air freshener or had been taking slugs of the soda all day and filling the office with Coke-flavored belches—either of which would have disqualified her as an objective authority.

As we waited in line to hand over our $15, listening to muzak that sounded like a Yanni playing Disney soundtracks, I studied the shrine’s exterior. I couldn’t decide whether it looked like a 1960s restaurant or a 1960s rendering of what restaurants might look like in the future—silver all over and full of right angles, with tall windows and an angled lower roof that hung well over the edge of the exterior wall, serving as a canopy for the entrance. Acting as the building’s spire was a tall, translucent block, with a white Coke bottle hanging in its core like Han Solo in suspended animation.

We entered through metal detectors. In the lobby there was a glass waterfall, in front of which hung poster-sized photographs of people of different cultures and ethnicities enjoying Coca-Cola and its subsidiary beverages: an Asian man smiling at a counter and grasping what looked to me like a can of peach preserves; a group of South American kids smiling adorable, gummy smiles and clutching cans of Minute Maid; a fashionable European man with flowing blonde hair, taking a break from trance-dancing to stare sexily into the camera with his Power Play energy drink. Behind me, a visiting family was immortalizing its own Coke moment by posing in front of three giant bottles made from “materials from all over the world.”

“OK kids, now on ‘three’ I want you to say ‘Coca-Cola’!” said the cheerful employee holding the camera. “Ready? One, two…” I imagined how daft the photo would look with each family member rounding that “O” with their lips.

Before we were allowed to roam free in the World of Coke, we were herded into a room for an orientation session. The ceilings and walls of the room were black fabric blanketed almost entirely with old Coke advertisements—a blonde boy scout toting home a six-pack for the family, a gorgeous couple holding each other in one arm and a Coke in the other, a famous jazz musician reaching for a bottle (which is naturally assumed to be the source of his talent), and so on.

There was something ineffably wholesome about these decades-old drawings. They did not promise that drinking Coke would make one appear more sexually attractive, improve one’s social status, or cure some finicky ailment, and did not require special effects, slapstick comedy, or the endorsement of some animated spokesperson; the small, caramel-colored bottle and the slightly open-mouthed smile of whoever was holding it were enough. I imagine that advertising is as clear a window into culture as any other artifact or data set, because it reflects the values, attitudes, and ambitions of the people it targets. The America these old Coke ads reconstructed was milder and less complicated, where the simple pleasure of a bottle of bubbly brown liquid was enough to make folks content with the world.

The orientation was tedious and clearly geared toward families with young children. Our guide would point out that Coke products are “enjoyed” 1.4 billion times daily, accounting for nearly a quarter of the world population (though this inference does not control for the 350-pound software developers in Fort Worth who average six 20-ounce bottles per day). Regardless, we were instructed to say “Woooow” and “Oh my gosh!” at these facts, and also at the museum's $2 million Norman Rockwell painting of a farm boy relaxing with a Coke in the shade of a tree. This lay insulated behind a pane of glass along with other treasures such as a Coke-themed bingo card and a pair of hideous logo-stamped beach pants.

Next, we were ushered into a theater and shown an animated “documentary,” called “Inside the Happiness Factory,” which purports to show what happens between the time you deposit change into a Coke vending machine and when the beverage lands in the drop box. This was especially informative to those who, like me, had assumed that this was a simple mechanical process involving an automated series of levers.

What actually happens is that the coins emerge into a vast, Middle-Earthean landscape, alerting an integrated team of small, colorful creatures with no eyes and initiating a fantastical process that could only have evolved from a Dr. Seuss fever dream: A fleet of bloated caterpillar larvae harnessed to helicopter blades airlift an empty bottle to a platform, where a sinister-looking cannon shoots it full of Coke. The full bottle is then transported to what looks like the North Pole, where it is flash-frozen by a high-powered cooling fan powered by dismembered snowman corpses. The final product is paraded down some sort of ethereal boulevard with much fanfare while the creatures rejoice like sailors returning victorious from the Pacific Theater. Then you get your Coke.

Interviews with those involved in the operation follow. Their comments are well-edited and somewhat droll, but what leaps out is the variety of accents among the various fairytale beings. The sample that was interviewed was no doubt selected to show the diversity of the workforce at the Happiness Factory, but it made me suspicious about this strange fantasy world to which Coke had apparently outsourced its labor. What exactly are the rights of the workers in this place, and had those rights been made clear to them? The process by which the Coke is prepared is dramatic, but also clearly dangerous. What sort of hazard pay are they getting out of this? What about health benefits? Also, some of the interviewees sounded like they couldn’t be much older than 15. The longer I watched, the more I was convinced that there was a dark side to this so-called Happiness Factory, and I made a mental note to e-mail Michael Moore when I got home.

When the movie let out, we were free to roam at last. Ben, Rachel and I went up to the second floor to the most popular attraction in the complex: the tasting room. The tasting room’s soda fountains gave visitors a chance to learn about foreign cultures by sampling the products that Coca-Cola had foisted upon them. I am not a big soda drinker, but fearing that I might appear uncultured, I tasted a few brands. Mexico’s Ciel Aquarius tasted like sweet tea. Peru’s Inca Kola tasted like club soda. China’s Smart Apple tasted like what you might get if you put a box of Mike and Ike in a juicer. Italy’s Beverly cola, flavored with grapefruit rinds, tasted like something you might take to keep diarrhea at bay. Honduras’s Delaware Punch, mercifully, tasted like nothing.

Once we were sufficiently nauseated, we went into another theater for a show that seemed designed for the express purpose of making us throw up. It was advertised as a “4-D” show, and it was only mid-show that we realized the fourth dimension was extreme physical discomfort. The movie was about why Coke tastes great, mostly set in a fictional laboratory run by an overenthusiastic man in a lab coat. Not the most exciting or motion-intensive subject matter, and yet the seats shook, jolted, spat water in our faces, and stabbed us in our spines—perks added to give kids a thrill and their parents heart attacks.

But it was the film they showed in the anteroom before the show that really drove home the running theme of the World of Coca-Cola. It was a film that takes place in the community of chemoreceptor cells that make up the human mouth. Crisis strikes when the mouth accidentally swallows a habanera pepper setting the mouth aflame. A cool wave of Coca-Cola saves the day, and just as the various social classes of nerves—the aristocratic nasal receptors, the blue-collar basic-taste buds, the new-age Umami hipsters—are about to come to blows over who most enables the mouth to enjoy that “sublime” Coke taste, the cerebellum intervenes and explains how enjoying Coke is a team effort, where all the senses are equally duped into thinking the chemical-laced beverage is something that should be inside the human body. Then the mouth drinks more Coke, and the cells have a dance party.

The lesson being that amid all the warring between nations, classes, and generations, a transcendent love of Coca-Cola is the one thing that all people—and anthropomorphic chemoreceptor cells—have in common. A hopeful message—except to those defective individuals who dislike Coke products, who are doomed to wander the earth alone, forever parched of human fellowship. We ruin it for everyone.    

Posted from Price Circle Road, Nashville, Tennessee.

You should have already seen the last few years of Coke’s activity; from an explosion of colour and images flowing from the iconic bottle silhouette to the Grand Theft Auto inspired advert, where the ‘bad’ guy goes around town doing good things (check out the images and movie below). These are all part of Coca Cola’s most recent strategic direction called ‘Coke side of life’. The idea being that anything can happen in the Coke side of life. Not a million miles from Dr Pepper’s ‘What’s the worst that can happen’ but as you shall see from reading on, the implementation is indeed a million miles ahead of Dr Pepper’s proposition.

Coke side of life press adverts

Coke 'Grand Theft Auto' inspired advert

Jonathan assured us that the 'Coke side of life' campaign had been very successful but was just the beginning as Coke looked to transform their creative thinking and advertising/ marketing with the evolution of ‘Trans-media Storytelling’. Oh dear, another marketing approach to learn, but thankfully this one is actually quite easy and only has three parts:

1. Trans-media Storytelling is about extending an ad or entertainment property across multiple touchpoints.
2. Trans-media Storytelling is narrative driven, so in that respect, the idea/ solution never ages.
3. Trans-media Storytelling requires significant initial investment but generates real money

The astute reader at this point will notice some striking similarities with Branded Entertainment but trust me, there is a difference. And whilst Jonathan himself was quick to point out that Coke are fully on the Trans-media Storytelling side, I think I’ll use examples from Coke to illustrate both points.

Branded Entertainment essentially piggybacks an entertainment property or story to marry the audience to it’s own mythology. In the US, Coke is very prominent in the American Idol series. This is very much branded entertainment, marrying one of the most iconic American brands with the (currently) most iconic American dream. Coke presents special 'behind the scenes' footage, Coke cup contests and much more besides. This is all very successful for Coca Cola and looks like a partnership set to continue. But this is branded entertainment. There is nothing particular that Coke are doing here that would be out of place with a number of other American superbrands. One irony I love is that Simon Cowell probably has the whitest teeth in the world and is promoting a drink that can dissolve an immersed tooth overnight – if you believe the urban legend!

The American Idol judges - with their Coke cups

Relaxing with Ryan on the ever subtle Coke couch

Trans-media Storytelling is different. Trans-media Storytelling builds a brand mythology without piggybacking an existing entertainment property or story. In Trans-media Storytelling there is no difference between the story and the brand. They are so richly entwined that they cannot be viewed separately. Coke’s latest campaign is a fantastic example of this, and one which you should of already seen in some form or another…

Happiness Factory is an advert about what happens inside a vending machine when you purchase a Coke. The premise started on the ‘Coke side of life’ before evolving in to the magical ‘story’ it is today. But there is so much more to come. If you have not seen the advert for Happiness Factory then check out the video below.

Original Happiness Factory advert

The great thing about this property is that Jonathan and the team did not stop there. They applied the properties of Trans-media Storytelling to take this story to the next level as a major piece of consumer entertainment. First, let’s look at what those Trans-media Storytelling properties are:

• An immersive world – with a past, present and future
• Involving characters
• Compelling story arc
• Timeless theme
• Multiple access points
• Loyal fanbase

Second, let’s think about what major consumer entertainment project would help them realise the full potential of this story. That’s right… Coke are making a movie! They have set out their vision over the next 5-10 years and looked at how they can really deliver a unique Trans-media Storytelling experience to their audience – potential and existing. The story is about what happens when the vending machine runs out of Coke. A tale of one worker, chosen from the masses, who must face the odds and find the source of the ‘Coke from the sky’. Of course, he will save the day and along the way meet some wonderful characters. This story was packaged as a second advert but there is a trailer version also for the forthcoming move. Check out the advert below.

Second Happiness Factory advert

So what are the thoughts on Trans-media Storytelling? My feeling is that it is a great new direction for creative in advertising and marketing but the sheer size of projects mean that it will remain something for the elite few who can bankroll such grand designs. Based on the stats that Jonathan was throwing my way there is no doubt that it has proved extremely successful for Coke already – and it sounds like there are still 10 years to run on this thing! When done right (as appears to be the case in Happiness Factory) it also opens up a wealth of touch points to reach new consumers – as in merchandising, music and much more.

You can go to the Happiness Factory website and immerse yourself in the story and a rich experience - but be warned that content varies across different territories and even on a good broadband connection you are going to spend way too much time looking at loading screens.

My only concern for the whole thing, and this is directed at this specific story and brand, is that Happiness Factory is extremely child friendly and something cynical inside me can’t help but feel this is a resourceful way to get around the whole ‘marketing high sugar/ fat products to children’ issue. Though that is a discussion for another day. For now let’s enjoy the wonderful story, production values and wonder who on Earth picked that ugly guy for the second advert!

• http://www.coke.be/hf/fr

Petite animation vraiment sympathique à regarder. Petit clin d'oeil à la trilogie "Le Seigneur Des Anneaux".

[googlevideo=http://video.google.com/videoplay?docid=3688185030664621355]

Apparently, this commercial was made in the 80's and there is no animation and that the cars were really flying in the air!

This commercial is from Coca Cola. You can download it at: http://www.coca-cola.com/HF

• Here Comes Another Bubble - A catchy (and funny) music video about the state of Web 2.0 and the Internet business set to Billy Joel's "We Didn't Start the Fire."
• Tony vs. Paul - A tale of two friends torn apart via stop motion video. The video was shot in a bunch of different towns in Massachusetts - including Upton. Wicked pissah!
• Coke's Happiness Factory - An animated movie from Coca Cola. So great!
• National Geographic - Your Shot - NG posts readers' photos. Love looking at these.
• Post Secret Blog - People anonymously submit their "secrets" to the editor, who posts them. Simple and successful concept.  (I'll be posting later with my list of other great amusing blogs....stay tuned)
• Milk Get the Glass - Got Milk? Well, you might after playing this visually impressive and fun online board game.
• Atom Films - Tons of great online video.
• Toyota Tacoma World of Warcraft Ad - This guy is the "lawgiver." Hilarious ad - you may have seen this on TV, but I believe it started on the web.
• Bud Light Swear Jar - Put a quarter in the jar....its for the good of the office!
• Starz Bunny Theatre - Popular movies cut to 30-seconds and re-enacted by animated bunnies. Huh? Exactly.
• Wired.com - Website for Wired Magazine. Cool beans!
• HowStuffWorks.com - Self explanatory. 

Udfra denne præmis har CocaCola bla. lavet en film

en hjemmeside

the Happinessfactory

og en facebookgruppe

Group 1

Hovedmediet er filmen der både køre som reklame i fjernsynet og i biografen i mange forskellige versioner.

De meget karakteristiske figurer lever desuden et liv på nettet hvor man bla. kan lege at man er dem og via forskellige onlineflash spil udforske deres funktion i the happiness factory.

Udover det kan man blive medlem af deres Facebook gruppe og derigennem holde sig updatet på coca colas univers.

Alt i alt et 360 graders koncept!

Fantástico e divertido comercial da Coca-Cola realizado em animação 3D. Criação da agência Wieden + Kennedy.

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+ Veja também:

• Cabeça de Olivetto: Pipoca e Pizza com Guaraná | Nizan Guanaes

• Cabeça de Olivetto: Cog

• Cabeça de Olivetto: Dove Evolution | Publicidade & Propaganda

Who didn't instantly fall in love with those strange little creatures?

And who didn't momentarily want to book a one way flight to that fairy tale land with the sunny hills? The land where happiness is made.

It just got a lot easier to get there!

The softdrink paradise opens its gates to the public. With cute games and visual delicacies ...

>> CLICK FOR HAPPINESS <<

(VIA IDEENVERTEILER)

“Fábrica de Felicidad” es la nueva mega producción que invita a descubrir el mundo dentro de una máquina expendedora de Coca-Cola,  contando la aventura de un trabajador que, tras un suceso inesperado, se ve embarcado en una fantástica búsqueda para  devolver la alegría a la “Fábrica de Felicidad”. El corto, de tres minutos y medio de duración fue producido por Wieden & Kennedy Amsterdam usando técnicas de animación de avanzada, con un equipo de más de cincuenta animadores en 3-D de la agencia PSYOP. 

En su preestreno en el mundo virtual Second Life, desde el Coke Cinema de Happiness Boulevard, cien celebrities, entre ellas Avril Lavigne y Bono, desfilaron por la red carpet ante periodistas acreditados de más de 16 países. También formaron parte del evento millones de internautas y fanáticos de la marca. 

Como parte del lanzamiento de la campaña, se presenta una promo donde participan todas las tapas de Coca-Cola de consumo personal (237cc, 410cc, 500cc y 600cc).

Ingresando a www.cocacola.com.ar  los consumidores podrán crear su propia “Fábrica de Felicidad” y cargar los códigos que vienen bajo las tapas verdes para acumular puntos en su cuenta e intentar ganar al finalizar la promo el “Tour de la felicidad”.

Con este premio el dueño de la Fábrica y tres amigos podrán visitar el fantástico “Mundo de Coca-Cola” en Atlanta,  recorrer los parques de diversiones de Orlando y por último, las paradisíacas playas de Cancún.  Complementan al premio principal, miniheladeras llenas de Coca-Cola y cientos de novedosas conservadoras de frío para conectar a la computadora.  

“Fábrica de Felicidad” cobrará vida también en la Costa Atlántica a lo largo de todo el verano en lugares como el parque de agua Aquasol (Autovía 2 Km. 386 - Mar del Plata) donde los visitantes se podrán  divertir y contagiar la alegría de los personajes del comercial.  También se intervendrán determinados lugares representativos de diversión y vacaciones como el Aquarium (Av. Martínez de Hoz Nº 5600 - Mar del Plata) y las salas de los cines de Mar del Plata y Pinamar, permitiendo a la gente interactuar y sacarse divertidas fotos con los diferentes personajes del comercial.        

Ficha técnica:

Agencia W+K Amsterdam
Directores Creativos: Al Moseley & John Norman
Redactor: Al Moseley (Rick Condors)
Director Artístico: John Norman (Hunter Hindman)
Compañía de Producción: Psyop
Director: Todd Mueller & Kylie Matulick
Productor Ejecutivo: Boo Wong 

Voici le film de 3 min et 30s en intégralité :

Persoonlijk vind ik het maar een landradig en flauw afkooksel van de vorige spot. Desalniettemin, toch knap gemaakt.

[youtube=http://www.youtube.com/watch?v=R1NnyE6DDnQ">