Tag Archives: lead

It’s World Emoji Day 2020 – Emoji Company CEO, Marco Huesges talks the continued success of the global brand

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It’s World Emoji Day 2020 and a happy World Emoji Day to you all, a day on which not only the Emoji Company itself, but the hundreds upon thousands of emoji users the world over celebrate the global popularity of those little icons that have been helping people spread their messages, and finding their way into the modern day lexicon and communication on a daily basis.

But today isn’t just about celebrating the estimated six billion emoticons used everyday as the world finds a universal language in emojis and emoji stickers, but also a day to celebrate the global success of the official Emoji brand – an award-winning lifestyle brand that spans the global licensing scene from retail partnerships, to making new waves in gifts, collectables, and more.

Over the past two weeks, Licensing.biz has been catching up with just some of the leading licensees of the Emoji brand in a series of video snippets talking to the strength of a brand that has continued to keep conversation going, even throughout the world’s ‘Great Pause’ throughout these testing times. And it all culminates with today’s celebration.

Licensing.biz catches up with Marco Huesges, CEO and founder of the Emoji company to talk about the international appeal of the brand.

Firstly Marco, Happy World Emoji Day to you. How are you celebrating World Emoji Day this year? What makes this such an important day in the calendar for you?

World Emoji Day is the day of celebrating the global popularity of icons and how they enable us to spread unmistakably messages and to connect with people from all over the world.

For us as emoji company, creator and owner of the Emoji® brand, it is also the day to celebrate the global success of the brand together with our license and agents whose ambitious and enduring brand support is the fundament for our success story and that motivates us every day to develop new concepts, style guides and emotional consumer product strategies.

We’ve seen from the video series you’ve been running with Licensing.biz that there is a great energy from licensees across the globe for the Emoji brand. What is it about the Emoji brand that unifies licensees, retailers, and consumers in this way?

Licensing is an emotional business. In an overloaded, fast moving consumer product world each company constantly seeks to find the perfect way to connect with their target audience. The Emoji® brand offers the ideal foundation to do exactly that. Our brand truly connects products and people; it builds inevitable relationships and helps to deliver understandable consumer messages.

The video series also highlights the real breadth of partnerships you have in place for Emoji. What’s the key to maintaining such a far-reaching portfolio of partners?

The universal character of the brand, its depth, its popular content variety and diversity allows us to work with partners from any industry sector which leads to our broad portfolio of licensing partners which come from so many diverse areas, such as consumer product, entertainment services or the marketing and advertisement space.

Can you talk us through some of the biggest campaigns/biggest success stories for the Emoji brand this year? What have been some of the break-through categories for you guys?

The year 2020 started with some great initiatives. We launched a very successful direct to retail program with the leading discounter LIDL in multiple countries. All through 2020 we continue to work with Ferrero for KinderJoy in various territories and Burger King will be launching a QSR program with collectable Emoji® plush toys in various countries.

Our brand collaboration program Emoji® by Britto has seen some great new partnerships with Goebel Porzellan GmbH for Europe that includes bags, spectacle cases, umbrellas, coaster and cups and that has recently launched.

In short we will be able to announce some new digital licensing as deals, some loyalty programs in South East Asia as well as some exciting international apparel brand collaborations very soon.

How does this position you for the coming months and years? Looking ahead, you’ve dropped hints of some pretty major partnerships coming, what have you got in store for us in the coming months?

Despite the Covid-19 situation we have partnered with lots of new licensee since the beginning of 2020 and continued existing partnerships. 2021 will see some exciting loyalty programs happening in Europe and the opening of more Emoji® apparel stores in Mainland China will continue.

We entered into various direct to retail partnerships with leading retailers from various countries and entered into some serious licensing deals in the digital space which will increase global brand visibility.

For now, we really want to wish everyone, all our partners, licensees, agents, and friends to stay healthy and hope to see them soon in person!

 

It’s World Emoji Day 2020 – Emoji Company CEO, Marco Huesges talks the continued success of the global brand

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It’s World Emoji Day 2020 and a happy World Emoji Day to you all, a day on which not only the Emoji Company itself, but the hundreds upon thousands of emoji users the world over celebrate the global popularity of those little icons that have been helping people spread their messages, and finding their way into the modern day lexicon and communication on a daily basis.

But today isn’t just about celebrating the estimated six billion emoticons used everyday as the world finds a universal language in emojis and emoji stickers, but also a day to celebrate the global success of the official Emoji brand – an award-winning lifestyle brand that spans the global licensing scene from retail partnerships, to making new waves in gifts, collectables, and more.

Over the past two weeks, Licensing.biz has been catching up with just some of the leading licensees of the Emoji brand in a series of video snippets talking to the strength of a brand that has continued to keep conversation going, even throughout the world’s ‘Great Pause’ throughout these testing times. And it all culminates with today’s celebration.

Licensing.biz catches up with Marco Huesges, CEO and founder of the Emoji company to talk about the international appeal of the brand.

Firstly Marco, Happy World Emoji Day to you. How are you celebrating World Emoji Day this year? What makes this such an important day in the calendar for you?

World Emoji Day is the day of celebrating the global popularity of icons and how they enable us to spread unmistakably messages and to connect with people from all over the world.

For us as emoji company, creator and owner of the Emoji® brand, it is also the day to celebrate the global success of the brand together with our license and agents whose ambitious and enduring brand support is the fundament for our success story and that motivates us every day to develop new concepts, style guides and emotional consumer product strategies.

We’ve seen from the video series you’ve been running with Licensing.biz that there is a great energy from licensees across the globe for the Emoji brand. What is it about the Emoji brand that unifies licensees, retailers, and consumers in this way?

Licensing is an emotional business. In an overloaded, fast moving consumer product world each company constantly seeks to find the perfect way to connect with their target audience. The Emoji® brand offers the ideal foundation to do exactly that. Our brand truly connects products and people; it builds inevitable relationships and helps to deliver understandable consumer messages.

The video series also highlights the real breadth of partnerships you have in place for Emoji. What’s the key to maintaining such a far-reaching portfolio of partners?

The universal character of the brand, its depth, its popular content variety and diversity allows us to work with partners from any industry sector which leads to our broad portfolio of licensing partners which come from so many diverse areas, such as consumer product, entertainment services or the marketing and advertisement space.

Can you talk us through some of the biggest campaigns/biggest success stories for the Emoji brand this year? What have been some of the break-through categories for you guys?

The year 2020 started with some great initiatives. We launched a very successful direct to retail program with the leading discounter LIDL in multiple countries. All through 2020 we continue to work with Ferrero for KinderJoy in various territories and Burger King will be launching a QSR program with collectable Emoji® plush toys in various countries.

Our brand collaboration program Emoji® by Britto has seen some great new partnerships with Goebel Porzellan GmbH for Europe that includes bags, spectacle cases, umbrellas, coaster and cups and that has recently launched.

In short we will be able to announce some new digital licensing as deals, some loyalty programs in South East Asia as well as some exciting international apparel brand collaborations very soon.

How does this position you for the coming months and years? Looking ahead, you’ve dropped hints of some pretty major partnerships coming, what have you got in store for us in the coming months?

Despite the Covid-19 situation we have partnered with lots of new licensee since the beginning of 2020 and continued existing partnerships. 2021 will see some exciting loyalty programs happening in Europe and the opening of more Emoji® apparel stores in Mainland China will continue.

We entered into various direct to retail partnerships with leading retailers from various countries and entered into some serious licensing deals in the digital space which will increase global brand visibility.

For now, we really want to wish everyone, all our partners, licensees, agents, and friends to stay healthy and hope to see them soon in person!

 

From CloudBabies to Shane the Chef: Why HoHo Entertainment is ‘turning it all on its head’ post pandemic

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Helen Howells, joint managing director at HoHo Entertainment – the entertainment company behind CloudBabies and Shane the Chef – understands that if you’re going to make an omelette, you’ll need to break a few eggs. Whether those eggs are the traditions of the toy industry, or the traditional licensing model of broadcast to merchandise, Howells appears to have little issue with turning the whole Chicken coop upside down.

In a rush to conclude the metaphor, the omelettes we’re talking about here are the licensing and merchandise strategies for both CloudBabies and Shane the Chef. In concept, the two couldn’t be further apart; one a fantastical series of adventures of cloud-dwelling babies that interact with the weather, the other a pre-school series grounded in the realism of a single dad on a mission to get children to eat healthily. The common thread that ties them together nicely under the HoHo Entertainment umbrella, is that when it comes to the licensing model for each, it’s all about pushing against the common tide.

But then again, it’s Howells’ suggestion that when you’re operating in the pre-school space, it’s just what you’ve got to do; how else are you going to deflect the constant comparisons to Peppa Pig and PAW Patrol?

Since its series run came to an end with the BBC’s CBeebies channel, CloudBabies has become a YouTube sensation. In the first half of the year alone it’s done over 150 million views and boasts a trans-Atlantic audience on the platform that has been growing steadily and organically over the course of the last four to five years. It’s now, amid the reformation of the world’s approach to content-viewing, its consumerism and shopping habits, and the inevitable impact this is to have on the merchandising model, that Howells pinpoints this period as “an interesting time to re-look at the licensing business.”

“When you start looking at YouTube and other VOD channels, that’s where it gets really exciting, when you can start really analysing the data,” says Howells. “With YouTube, there’s an ability to drill down into it and really understand what kids like and what they would be inclined to buy, given the choice.

“This is something that could – hopefully – better inform ourselves as we start planning towards a new way of merchandising.”

This new method of licensing that the managing director envisages is a hybrid model that meets the consumer halfway between the traditional business of licensing and a complete ecommerce model. A mix of the two that is dependent on the kind of categories they take the IP into.

“It might be that something like toys, we look at sourcing ourselves – in small quantities – so we can better see what works,” continues Howells. “Because toys is a huge investment. Toy companies have to think really hard about what they do, and it’s a big mistake to make if they get it wrong.

“The opportunity to start making small numbers of product ourselves, and see if it works, is a good way to start. These are things we are contemplating at the minute, alongside having discussions with licensees who are now much more open minded about non TV, non-film franchises and brands. I think they can see where that opportunity is.”

That’s a mind-set that’s taken a few years to take on, and one for which it will no doubt be a few years more before it becomes common thought within this line of business. That said, the turn of events at the on-set of the coronavirus pandemic have certainly done their bit to accelerate it.

“It’s definitely being driven by the current situation,” says Howells. “The shops have been closed and everybody is turning to ecommerce for toys and so on. That may well change, but I don’t think it will ever go back to the way that it was. People like the ease and simplicity of being able to buy something at the click of a button and it will turn up the next day.

“With CloudBabies, if our strategy is much more in the shape of ‘On Demand’, then that has to extend to the merchandise as well. People want to watch an episode, then wonder if they could buy something. A hybrid model would allow them to go directly from the show to the source, where they’d have the options to buy.

“That’s the way I see it for us, it’s being driven by the way that kids are consuming content far more. It may be different for your big brands and franchises; they always operate in the retail space and in ecommerce. But for companies like ours, it’s much tougher to get big toy companies on board, so we have to work on a different model.”

From field to fork – via the kitchen

Now, CloudBabies won’t be the only property to adopt a new model on its way to the toy shelves. In fact, from the moment Shane the Chef landed on Channel 5’s Milkshake block it’s been presenting a wholly new concept to the pre-school landscape; tackling important issues around not only healthy eating, but a ‘field to fork’ healthy lifestyle that encourages kids to create a narrative around food and where it comes from, through the eyes of a single father.

With her background of having worked on Fireman Sam on the CV, coupled with HoHo Entertainment’s other joint MD, Oliver Ellis’ history with Postman Pat – there was little deliberation that Shane the Chef was the perfect fit for the unit, and the potential for the pre-school series to strike a chord on a purely entertainment level was instantly recognised.

“But actually, as we started looking at the idea more, and started doing some research and looking at the British Nutritional Foundation survey, we spotted that there were some frightening statistics around children’s relationship with food,” says Howells. “The number of kids that didn’t know where things came from – they thought bacon came from sheep, that strawberries grew on trees – was concerning. Worse still, this was extending into teenagers and students.

“That’s where we started thinking that here’s an opportunity to not just make a great entertainment show, but to do something that, if it does nothing more, simply teaches children what a piece of fruit is, or where it comes from and what you can do with it.”

So, Shane the Chef is very much about food provenance, which has become the concept that shapes its of each episodes. What Shane the Chef is not, is a cooking show.

“We didn’t want to over saturate the show with recipes, because those are things we wanted to do off air,” says Howells. “Hence the book…”

Shane the Chef: Let’s Get Cooking is the result of a co-publishing deal with Candy Jar Books and the first expansion into licensing for the pre-school IP. It’s an obvious and well-executed brand extension that brings the narrative outside of the show and into its audience’s kitchen, and the prime example of just how avant-garde the HoHo Entertainment approach to licensing is.

“It was after years of being told by companies that ‘you need to have a master toy license first’, that we thought ‘hold on, the publishing business is the publishing business; people buy books.’ And the most obvious book for us to start with for this was a cookery book,” says Howells.

“I was banging my head with this, thinking: ‘Why do we have to have a toy line before we have the book? It doesn’t make sense.’ Thankfully, we had a publishing partner that equally had three children, loved the show, and we were all saying: ‘We have to do this book.’

Having landed just in time for Christmas, it should come as little surprise that it has been a success, and a launch that has helped drive plenty of social media feedback as children and families take the chance to engage and reproduce in the kitchen the kind of recipes that Shane the Chef whips up throughout the series.

Having recently announced its support of the Too Good To Go campaign to tackle food waste in the UK, Howells explains that with Shane the Chef, the focus will be very much on developing more partnerships like this.

“We worked with the British Dietetic Association on the series, so a lot of what we’re doing is looking at where we can really garner attention by introducing Shane through these great partnerships, while still working on how do we then pull together a licensing programme.”

And that just might turn a few of the heads of those who think they know what a master toy line should look like.

“The thing is, we’re all about sustainability,” says Howells. “For us, we’re keen to do things like wooden toy utensils… but again, it can be cost prohibitive. So we’re going to have to really think about ways to bring together a licensing programme that works and makes sense. That might not be the traditional master toy line.

“The really obvious one is dough play. We can’t use real food because it’s preschool, so a lot of what we’re looking at is play pattern and role play. But role play isn’t always the front runner for a master toy line. What we are doing is looking at the themes and categories that work within the context of the show, and we’re trying to be really innovative in ways that we can present that.”

What Shane the Chef does present is a property that can genuinely claim stand out in the market, and not only because of its ‘Super Secret Spinach Meatballs’ recipe, but because sustenance and thoughtfulness about food is at its heart, while it more than plays its part in fuelling awareness around the field to fork movement for a pre-school audience.

“I think it’s important for us to then look at toy opportunities with all of that in mind,” says Howells. “How does that translate? On the one hand we are encouraging kids to want to make the food with their parents, but on the other hand we want to encourage them to pretend play when their parents aren’t with them. It’s about finding the right balance and the right toy partner that is really on board with the ideas we have for the show.

“I also think the pandemic has heightened people’s awareness of this kind of sustainable lifestyle. We’re at a point now where I think it’s time to turn all of the ‘norm’ or the traditional approach on its head and be more open minded,” Howells concludes.

 

Expect cinema surge post-lockdown as UK’s viewing preferences are revealed in new survey

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New research carried out by the pop culture agency, Experience12 has revealed the UK’s viewing preferences during lockdown while highlighting a desire among consumers to get back into cinemas as the world adjust to the new normal.

The wide-ranging survey of over 3,000 pop culture fans in the UK was collected between June 25th and July 2nd this year through the MCM Comic Con online channels. 80 per cent of the respondents were aged between 18 and 34 (48 per cent were in the 25 to 34 year old category; 32 per cent in the 18 to 24 category). Meanwhile, 58 per cent were male, 38 per cent female, 2 per cent non-conforming and 1 per cent transgender.

The survey revealed that 61 per cent of respondents prefer watching films to TV – which is backed up by the fact that two-thirds say they will be heading to their nearest cinema within two months of venues re-opening. A further 11 per cent said that they would go to watch a movie within three months.

The most anticipated theatrical releases have also been revealed via the research:

Top 10 Most Anticipated Films

  1. Wonder Woman 1984
  2. Bill & Ted Face the Music
  3. A Quiet Place Part II
  4. Tenet
  5. Mulan
  6. The King’s Man
  7. The Conjuring: The Devil Made Me Do It
  8. Monster Hunter
  9. Candyman
  10. The Spongebob Movie: Sponge on the Run

 

However, with most people still spending time at home, TV has been championed as a vital commodity to consumers during the lockdown period. Streaming services in general have emerged as consumers’ favourite way to view content, with 90 per cent opting for this format, compared to 4 per cent preferring on-demand TV and just 3 per cent choosing live TV.

Netflix leads the way in terms of subscriptions, with 92 per cent of respondents accessing this service, followed by Amazon Prime Video at 72 per cent.

Disney+ has enjoyed a fast uptake, with 62 per cent of respondents subscribing to the service, no doubt thanks to it boasting some of the biggest IP in entertainment, but also due to its discount launch campaign during the early weeks of the pandemic. Indeed, 47 per cent of the sample audience said that they had subscribed to Disney+ during lockdown.

In terms of on-demand TV services, the BBC iPlayer is way ahead, with 47 per cent of respondents claiming it as their favourite, compared to All 4 at 24 per cent, Sky Go at 14 per cent, and ITV Hub at just 3 per cent.

Netflix remains top when it comes to content, with 54 per cent of the TV, film and games fans claiming that the service makes the best TV shows. HBO came in at second place with 21 per cent of votes, with both Amazon Prime Video and the BBC also applauded for their output.

TV Series Most Excited About

  1. The Mandalorian S2
  2. The Falcon and the Winter Soldier
  3. The Boys S2
  4. The Great British Bake Off
  5. RuPaul’s Drag Race
  6. Adventure Time: Distant Lands
  7. Doom Patrol S2
  8. Lovecraft Country
  9. Hanna S2
  10. Truthseekers

“Home entertainment has provided a lifeline for people during the lockdown – and still now, with many still spending much more time at home,” said Experience12 managing director, Chris Whittle.

“Netflix, Amazon Prime and now Disney+ are keeping the nation entertained and, while our research shows that Netflix retains the crown (and, indeed, The Crown) when it comes to the best content, it’s interesting to see that it’s actually output from Amazon Prime and Disney+, such as The Mandalorian S2, The Falcon and the Winter Soldier and The Boys S2 which are the most anticipated.

“Meanwhile, it’s clear to see that pop culture fans are keen to get back to the cinema as soon as they can. Superhero movies are, as ever, what fans are looking forward to the most. But what’s interesting is that – while 79 per cent of our respondents claim to prefer Marvel over 21 per cent who prefer DC – the top two most anticipated movies come from the DC comic stable, namely Wonder Woman 1984 and Bill & Ted Face The Music.”

 

Going viral after the virus: Fanbytes’ Timothy Armoo talks the new future of toy and brand marketing

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Timothy Armoo is the CEO and founder of Fanbytes, a digital marketing business that has shot to success in the three short years it has been plying its trade as a leading light in Gen Z marketing and tapping into the global TikTok sensation early doors. At 24 years old, Fanbytes is Armoo’s third business.

At the age of 17, the young entrepreneur had sold his second business, EntrepreneurXpress, a platform that held open the door for his subsequent success in the world of social media marketing.

Before the coronavirus really took hold of the UK earlier this year, Armoo – working alongside the team at Playtime PR – launched the first TikTok campaign for the global toymaker Bandai and its Yolkies product campaign.

Bandai is just one of five major toy companies that Armoo’s company is now working with, and one of many more global entertainment brands that have turned to the young marketing magician to better tap into today’s younger audiences.

Licensing.biz catches up with Timothy Armoo, CEO and founder of Fanbytes for his insight on the future of toy marketing in a post-pandemic world.

Last time we connected, Fanbytes had just kicked off a marketing campaign with Bandai – how did it all go? What was response like, and what kind of engagement did you guys see with that?

The reception was incredible, the brand Yolkies was a perfect fit for TikTok and working with the team at PlayTime PR meant that we could have a full 360 approach both with media and PR. The content now stands at millions of views but most important are the comments, with a 93 per cent positive sentiment across the comment. TikTok is one of those platforms where it can be very easy to swipe and leave

A lot has happened since back then. How have things evolved at Fanbytes over the last few months? How has lockdown and the pandemic impacted on the social media marketing space in that time?

Pretty interesting. At the start of the lockdown, we brought out the Bytehouse which was the first-ever UK TikTok house which did insanely well. We put 6 of the biggest and most influential creators on TikTok in one house to create content We’ve now clocked over 100 million views on our content and we signed on What Do You Meme as our games partner which did very well and now work with Rubik’s, Gymshark and even helped Government organizations with spreading the word about coronavirus.

I think the pandemic has accelerated some changes in the social media world where agencies who solely relied on client revenue from one service are failing. We’ve had to be nimble in what we do constantly bringing out products and services which are innovative. The Bytehouse for example was featured on BBC News, Sky and every major press article because it was genuinely innovative, taking all the IP and insight we’d used from helping brands reach this audience to then build our own brand.

How far do you think the last few months will influence the future of social media marketing? Will brands be adopting the ‘home made’ social media approach more? Have you guys seen an increase in activity here?

Yes, this was a trend we were already seeing with people not needing the Hollywood treatment of content with “shot at home” becoming more in vogue. It’s clear this works. People buy from people and the less photoshopped and real it looks the better.

Fanbytes is working with some big names in entertainment – Warner, Universal, Paramount and more – why are companies like these now turning their attention to this kind of marketing, and Fanbytes in particular? 

I think it’s because we’ve stayed incredibly true to what we do. Helping brands win Gen Z audiences. Everything we do is centred around that. The insights we share on our socials, the language we use when communicating to clients, it’s one of those things that if you’re an expert in, people will always come to you for.

We often turn down work if we think we can’t do a good job which is quite funny sometimes, try saying to your investors we turned down this six figure deal because we didn’t feel like it hit our sweet spot! But it’s been a good decision for us.

What’s the uptake been like from the toy industry to date? What potential do you think this market has for TikTok marketing – is the industry waking up to idea, and is it being quick enough to react?

We now work with five of the biggest Toy companies in Europe and funnily enough, they’ve all come to us. I think the shift has come because people think that on TikTok it’s just brand awareness, however, when you show clear case studies of being able to drive sales, that always wins.

We’ve developed a framework we use for all our campaigns which works exceptionally well to drive sales and when we can predictably guarantee results that’s very strong. We’re also starting to bring out long term collaborations with these toy brands, rather than just a simple collaboration.

What do you think the next stage of evolution for influencer/social media marketing could be for brands and for the toy industry in particular?

I think it’s going to be deeper integrations between influencers and brands where people will bring out their own collection in partnership with a brand. You see a lot of makeup brands doing this, but I think it will extend to toys where the influencer could bring out their own range of a particular toy. This makes intuitive sense. Most toy manufacturers sell through retailers so with a bit of personalisation you could have the influencer as the retailer, which will drive huge volume and sales.

How did this all get started for you? What does the future look like for Fanbytes in the coming years – any big plans we can be shouting about?

I built my first company at 14 and sold my second company, EntrepreneurXpress at 17 which really got me into the social media world. I started Fanbytes in university three years ago and it has grown well into being a strong force in the advertising world which I’m very proud of.

The future is very interesting for us, using our expertise we are building our own products tailored to Gen Z as well as branding out the agency itself into supporting clients on a whole range of things including paid media + partnerships. Of course, we’re also gearing up for our US launch, we do a lot of business there but no real meaningful presence. That’s going to change soon.

Going viral after the virus: Fanbytes’ Timothy Armoo talks the new future of toy and brand marketing

Posted on by

Timothy Armoo is the CEO and founder of Fanbytes, a digital marketing business that has shot to success in the three short years it has been plying its trade as a leading light in Gen Z marketing and tapping into the global TikTok sensation early doors. At 24 years old, Fanbytes is Armoo’s third business.

At the age of 17, the young entrepreneur had sold his second business, EntrepreneurXpress, a platform that held open the door for his subsequent success in the world of social media marketing.

Before the coronavirus really took hold of the UK earlier this year, Armoo – working alongside the team at Playtime PR – launched the first TikTok campaign for the global toymaker Bandai and its Yolkies product campaign.

Bandai is just one of five major toy companies that Armoo’s company is now working with, and one of many more global entertainment brands that have turned to the young marketing magician to better tap into today’s younger audiences.

Licensing.biz catches up with Timothy Armoo, CEO and founder of Fanbytes for his insight on the future of toy marketing in a post-pandemic world.

Last time we connected, Fanbytes had just kicked off a marketing campaign with Bandai – how did it all go? What was response like, and what kind of engagement did you guys see with that?

The reception was incredible, the brand Yolkies was a perfect fit for TikTok and working with the team at PlayTime PR meant that we could have a full 360 approach both with media and PR. The content now stands at millions of views but most important are the comments, with a 93 per cent positive sentiment across the comment. TikTok is one of those platforms where it can be very easy to swipe and leave

A lot has happened since back then. How have things evolved at Fanbytes over the last few months? How has lockdown and the pandemic impacted on the social media marketing space in that time?

Pretty interesting. At the start of the lockdown, we brought out the Bytehouse which was the first-ever UK TikTok house which did insanely well. We put 6 of the biggest and most influential creators on TikTok in one house to create content We’ve now clocked over 100 million views on our content and we signed on What Do You Meme as our games partner which did very well and now work with Rubik’s, Gymshark and even helped Government organizations with spreading the word about coronavirus.

I think the pandemic has accelerated some changes in the social media world where agencies who solely relied on client revenue from one service are failing. We’ve had to be nimble in what we do constantly bringing out products and services which are innovative. The Bytehouse for example was featured on BBC News, Sky and every major press article because it was genuinely innovative, taking all the IP and insight we’d used from helping brands reach this audience to then build our own brand.

How far do you think the last few months will influence the future of social media marketing? Will brands be adopting the ‘home made’ social media approach more? Have you guys seen an increase in activity here?

Yes, this was a trend we were already seeing with people not needing the Hollywood treatment of content with “shot at home” becoming more in vogue. It’s clear this works. People buy from people and the less photoshopped and real it looks the better.

Fanbytes is working with some big names in entertainment – Warner, Universal, Paramount and more – why are companies like these now turning their attention to this kind of marketing, and Fanbytes in particular? 

I think it’s because we’ve stayed incredibly true to what we do. Helping brands win Gen Z audiences. Everything we do is centred around that. The insights we share on our socials, the language we use when communicating to clients, it’s one of those things that if you’re an expert in, people will always come to you for.

We often turn down work if we think we can’t do a good job which is quite funny sometimes, try saying to your investors we turned down this six figure deal because we didn’t feel like it hit our sweet spot! But it’s been a good decision for us.

What’s the uptake been like from the toy industry to date? What potential do you think this market has for TikTok marketing – is the industry waking up to idea, and is it being quick enough to react?

We now work with five of the biggest Toy companies in Europe and funnily enough, they’ve all come to us. I think the shift has come because people think that on TikTok it’s just brand awareness, however, when you show clear case studies of being able to drive sales, that always wins.

We’ve developed a framework we use for all our campaigns which works exceptionally well to drive sales and when we can predictably guarantee results that’s very strong. We’re also starting to bring out long term collaborations with these toy brands, rather than just a simple collaboration.

What do you think the next stage of evolution for influencer/social media marketing could be for brands and for the toy industry in particular?

I think it’s going to be deeper integrations between influencers and brands where people will bring out their own collection in partnership with a brand. You see a lot of makeup brands doing this, but I think it will extend to toys where the influencer could bring out their own range of a particular toy. This makes intuitive sense. Most toy manufacturers sell through retailers so with a bit of personalisation you could have the influencer as the retailer, which will drive huge volume and sales.

How did this all get started for you? What does the future look like for Fanbytes in the coming years – any big plans we can be shouting about?

I built my first company at 14 and sold my second company, EntrepreneurXpress at 17 which really got me into the social media world. I started Fanbytes in university three years ago and it has grown well into being a strong force in the advertising world which I’m very proud of.

The future is very interesting for us, using our expertise we are building our own products tailored to Gen Z as well as branding out the agency itself into supporting clients on a whole range of things including paid media + partnerships. Of course, we’re also gearing up for our US launch, we do a lot of business there but no real meaningful presence. That’s going to change soon.

Spin Master and Warner Bros partner to launch Bakugan: Champions of Vestroia video game to Nintendo Switch

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Spin Master, Warner Bros Interactive Entertainment, and WayForward have detailed the upcoming launch of Bakugan: Champions of Vestroia. a new role-playing video game that will arrive exclusively on Nintendo Switch later this year.

The new video game is the latest extension of the Bakugan franchise that already spans its anime adventure TV series, innovative toy line, card game and more. The game will centre on an new original story and the franchise’s signature Bakugan brawls.

“We’re pleased to partner with Spin Master and WayForward to bring the brawling action of Bakugan: Champions of Vestroia to Nintendo Switch,” said Kevin Kebodeaux, senior vice president, Warner Bros. Interactive Entertainment. “The global popularity of Bakugan is undeniable, and this game is sure to excite players everywhere.”

“Bakugan: Champions of Vestroia expands the popular brawling franchise with a new exhilarating, interactive game format with customization, competitive action, deep strategy, and anime-style characters and worlds that all gamers and Bakugan fans will love,” said Simonetta Lulli, vice president, Spin Master Studios. “Whether playing solo or against Bakugan brawlers online, the game offers endless hours of play at home or on the go.”

“The brand new, action-packed video game and our partnership with Nintendo Switch and WayForward is so important to the Bakugan franchise as it continues expand globally,” said James Martin, SVP Brand Marketing and GBU Lead of Bakugan. “Now, a whole new generation of fans can experience the excitement and skill of Bakugan in more ways than ever before.”

Published by Warner Bros. Interactive Entertainment, produced by Spin Master and developed by WayForward, the Bakugan: Champions of Vestroia video game will take players on a journey through an original story expanding on the hit TV series and toy franchise. They can create and fully customize their Brawler to fight side-by-side with the mysterious alien Bakugan as their human partner in battle.

The game features a fully navigable 3D world divided into different districts each with dedicated battle arenas. Players can interact with other characters, go on quests, and explore with their Bakugan friends. They can also test their brawling skills online in head-to-head multiplayer against friends or players from the around the world to become a true Champion of Vestroia.

A physical Deluxe Edition pack, featuring the video game, an exclusive Ultima Dragonoid toy which transforms into a fierce Bakugan, Ultima Dragonoid trading card, Ultima Dragonoid metal gate card, plus two powerful BakuCores™ will also be available at launch.

Spin Master and Warner Bros partner to launch Bakugan: Champions of Vestroia video game to Nintendo Switch

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Spin Master, Warner Bros Interactive Entertainment, and WayForward have detailed the upcoming launch of Bakugan: Champions of Vestroia. a new role-playing video game that will arrive exclusively on Nintendo Switch later this year.

The new video game is the latest extension of the Bakugan franchise that already spans its anime adventure TV series, innovative toy line, card game and more. The game will centre on an new original story and the franchise’s signature Bakugan brawls.

“We’re pleased to partner with Spin Master and WayForward to bring the brawling action of Bakugan: Champions of Vestroia to Nintendo Switch,” said Kevin Kebodeaux, senior vice president, Warner Bros. Interactive Entertainment. “The global popularity of Bakugan is undeniable, and this game is sure to excite players everywhere.”

“Bakugan: Champions of Vestroia expands the popular brawling franchise with a new exhilarating, interactive game format with customization, competitive action, deep strategy, and anime-style characters and worlds that all gamers and Bakugan fans will love,” said Simonetta Lulli, vice president, Spin Master Studios. “Whether playing solo or against Bakugan brawlers online, the game offers endless hours of play at home or on the go.”

“The brand new, action-packed video game and our partnership with Nintendo Switch and WayForward is so important to the Bakugan franchise as it continues expand globally,” said James Martin, SVP Brand Marketing and GBU Lead of Bakugan. “Now, a whole new generation of fans can experience the excitement and skill of Bakugan in more ways than ever before.”

Published by Warner Bros. Interactive Entertainment, produced by Spin Master and developed by WayForward, the Bakugan: Champions of Vestroia video game will take players on a journey through an original story expanding on the hit TV series and toy franchise. They can create and fully customize their Brawler to fight side-by-side with the mysterious alien Bakugan as their human partner in battle.

The game features a fully navigable 3D world divided into different districts each with dedicated battle arenas. Players can interact with other characters, go on quests, and explore with their Bakugan friends. They can also test their brawling skills online in head-to-head multiplayer against friends or players from the around the world to become a true Champion of Vestroia.

A physical Deluxe Edition pack, featuring the video game, an exclusive Ultima Dragonoid toy which transforms into a fierce Bakugan, Ultima Dragonoid trading card, Ultima Dragonoid metal gate card, plus two powerful BakuCores™ will also be available at launch.

RuneScape: The $1bn video game franchise you’ve (probably) never heard of, and why it’s time to take notice

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When it comes to community-centric massively multiplayer online role-playing games, you may immediately leap to the likes of Fortnite and Overwatch, which is just so very… millennial of you. Because what you’ve done there, is you’ve overlooked one of the genre’s founding titles; one that boasts more than 280 million players around the world, and one that now, in its 20th year of operation, is a franchise totalling $1bn in value.

That’s right – it’s RuneScape, one of the most popular and commercially successful MMO (massively multiplayer online role playing games) that for some reason or another, you’ve most likely never heard of. Until now. And that’s because Jagex – the developer and publisher, and owner of RuneScape and Old School RuneScape – is now in the process of developing new projects and partnerships aimed at expanding the franchise’s global footprint to reach new audiences today.

It’s only recently that The Guinness World Book of Records recognised RuneScape as the Most Prolifically Updated MMORPG video game of all time, paying tribute to the matter that not only is RuneScape one of the most engaged with video game titles among audiences who caught the wave two decades ago, but that since then, the game itself has evolved, grown, and expanded, been refined and improved upon all in line with its audience base over that time, too.

RuneScape today certainly won’t be the same RuneScape you or the 280 million other players first picked up 20 years ago, but it is exactly that – the matter it has thousands of years of in-game lore and engaging narratives within its franchise – that helps it, as a commerical IP, go from strength to strength with each passing year.

To find out more about RuneScape, Old School RuneScape and the licensing activity that Jagex is now starting to build out around it, Licensing.biz caught up with Stewart Stanbury, director of business development at the video game specialist.

 

Can you tell us about Jagex and RuneScape – what is the story of the franchise, and what is the strength of the IP like today?

Jagex is a leading British video game developer and publisher best known for RuneScape and Old School RuneScape, two of the world’s most community-centric and successful massively multiplayer online role-playing games. We create ‘living games’ – deep, meaningful and ever-evolving immersive experiences that provide long-term engagement – and we inherently understand how to connect, engage and excite people through play.

Jagex, headquartered in Cambridge, has enjoyed five years of successive growth, almost doubling its staff in the last two years and generating revenues of around £100million a year. RuneScape, now in its 20th year of operation, is a $1billion franchise, reached its record membership number in the last year, and has reached more than 280 million players around the world. With thousands of years of in-game lore, engaging narratives and a huge, global player base that continues to play year after year, the company’s IP continues to grow from strength to strength.

Jagex is also working on some exciting projects and partnerships that we will be announcing in the coming months, aimed at expanding its global footprint and reaching new audiences.

What has Jagex and RuneScape brought to the video gaming space over the years? 

To keep a dedicated game going for almost 20 years is no small achievement. RuneScape grows and expands with its community and is constantly refined and improved by a dedicated team of creators, developers, and writers. RuneScape has set the global benchmark for what living game should be, and Guinness World Records agrees, having officially recognised the game as the Most Prolifically Updated MMORPG Video game.

A core pillar of this is the community polling we have put in place for Old School RuneScape. The games development, narrative and updates are all decided by our community; all changes are voted for, and with more than 11 million votes to date, it’s our community that has made it the game it is today.

RuneScape has also seen great success in the streaming and eSports arenas. Consistently in the Top 10 streamed games, RuneScape has generated more than 1 billion minutes of watch-time. Our quarterly Deadman Finals in 2018 hit number one on the Twitch charts.

RuneScape was also the first major Western MMORPG on mobile platforms. Thanks to strong partnerships with Apple and Google, Old School RuneScape has gone on to achieve number one across all apps in eight countries and featured in the top 10 across 16 more. RuneScape has also demonstrated the importance of having various entry points into the franchise via PC and mobile for both RuneScape and Old School, using the ability to put down and pick up on a different device seamlessly to engage players for longer and on the go. The game itself works on most mainstream computers and laptops, and across most mainstream operating systems, from Linux to Windows and Mac.

What is it about RuneScape that gives it such a strong appeal among a largely ‘underground’ audience? Why and how has it maintained this ‘underground’ recognition for so long?

The secret lies in our updates. We are constantly developing our game design with a large, dedicated team of developers, designers and artists who know how to create evergreen content. We use an ongoing interplay of analytics, data science and player feedback to determine the best possible content for the community to maximise enjoyment and engagement. Our agile infrastructure allows Jagex to act on this insight. Designing, iterating and executing efficiently and effectively to the changing needs of our community. Where other games chase trends or build obsolescence into their business plans, Jagex keeps its focus tightly on its audience.

This goes for things like setting new industry standards for player inclusion, community management and transparency. Jagex has more than 150 staff dedicated to engaging with our players across community platforms globally as well as 24-hour account, tech and payment support with an 87 per cent customer satisfaction rating. As a result, our average player spends six years and upwards playing RuneScape, accounting for more than 500billion minutes of accumulated playtime in total across the franchise.

What has the licensing programme for RuneScape looked like to date? What collaborations or partnerships have you launched so far?

Jagex had an early merchandise programme which ran from 2007 to 2010 with a focus on publishing novels with Titan Books, and what has become an iconic game guide from Scholastic – both of which remain popular with the RuneScape community. It has also worked with Back Street International (BSI) since 2015 for our official RuneScape merchandise store and has collaborated with creative members of the RuneScape community to add their designs and products.

2018 saw the commercial release of RuneScape’s award-winning soundtrack for the first time, with two vinyl releases from specialty gaming label Laced Records – including an orchestral album from composer James Hannigan with music recorded at Abbey Road Studios. On release, this soundtrack actually charted in the Top 10 on the US Classical Billboard Chart. Eight albums of RuneScape’s music are now also available digitally on leading streaming services. With a Guinness World Record for the most original music in a video game we have a lot more music still to release, with additional vinyl and digital releases planned.

More recently Jagex signed a license agreement with Pyramid Posters for posters and gifting solutions for our North American audience and will be announcing more details of a publishing partnership with Dark Horse Comics in the very near future.

Why is now the right time to be looking to build that licensing programme outwards and growing mainstream awareness of RuneScape?

With Old School RuneScape’s huge success following its expansion to mobile, and with RuneScape currently in mobile beta for both Android and iOS, we are reaching more players than ever before. No mean feat for a 19-year-old game. Our most recent launch of the Archaeology update for RuneScape has seen significant player growth and we are continuing to expand our games in new and interesting ways with an enviable roadmap for 2020 and beyond.

2021 will mark the 20th anniversary for the franchise, and we see this as a significant opportunity to develop commemorative merchandise and new product launches for our growing player base. We will also have some new and exciting projects to announce through 2021 which will have their own unique licensing opportunities and are actively seeking the right partners to work with us on these.

What does and what can RuneScape bring to the video game licensing/pop culture licensing space today?

RuneScape is not just a game, but a lifestyle for millions of players. Our data and insight show a strong desire from our players for more RuneScape outside of the core games themselves, but we recognise the desire for quality products that our community see as adding value to their experience.

Jagex is founded on principles of humour, fun, wit and creativity. RuneScape is a rich, fantasy world with unique and iconic characters, weapons and a long-term narrative and story roadmap that spans far into the future. At Jagex, we are identifying the ways in which we can bring our stories to life and enrich relationships with our players, not at the expense of them.

What sort of licensing partnerships are you looking to establish for the IP? And why would it lend itself so well to these categories?

Having a diverse player base, the IP is well positioned to appeal to opportunities spanning from in-game moments and stories with pin badges and apparel, to board games and unique, premium collectable items that mirror the most desirable in-game items and character creations.

Additionally, Jagex is engaging with OEMs, hardware/peripheral manufacturers, software developers, and one-of-a-kind unique creation studios to bring a range of new opportunities, accessories and collectibles to our players.

How do you foresee the growth of the licensing programme shaping a new audience for the game? In turn, how will this shape the future of the RuneScape IP?

Popular culture has embraced fantasy as a cornerstone of modern entertainment in a way that would have been hard to predict even ten years ago. Across film, TV series and video games, new audiences are looking to discover IP that has not only proven popular, but which is also widely available through new devices, mediums and products. As Jagex continues to grow RuneScape to new platforms, new titles and new license opportunities, we are in a great position to reach not only our dedicated players and collectors but also returning players and new audiences across the industry.

Following this period of lockdown – what do you think the future holds for video game licensing? Why is it important to be a part of that scene now?

The WHO has encouraged gaming as a way for people to continue to engage with friends and family during this challenging time, an encouraging sign of changing opinions about the utility of video games in bringing people together. The RuneScape community has never been more welcoming to new players, or stronger than it is now, with our player base growing daily and providing a space for people to explore, meet friends and build enduring relationships.

People will, as they always have, invest their time and money in the things that bring them closer to their friends and their passions. If RuneScape is fortunate enough to have been part of their journey through this time and brought them the camaraderie, community and lifestyle, we would love to be able to find ways to enrich that ongoing relationship.

Licensing will play an important role in bringing this together in a considered, respectful and authentic way.

For more information about Jagex licensing opportunities, contact melisa.bunce@jagex.com

 

Author and illustrator Nick Butterworth partners with The Point. 1888

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The Point. 1888 is partnering with the renowned children’s author and illustrator Nick Butterworth to bring the cast of literary properties from his portfolio to life in the consumer products arena.

Butterworth is the mind and talent behind popular children’s book creations such as Percy The Park Keeper series, My Dad is Brilliant, My Mum is Fantastic, My Grandma is Wonderful, My Grandpa is Amazing, and the Altogether Now series. He has sold over 20 million books in more than 35 languages.

The modern classic, Percy The Park Keeper has sold more than nine million copies in partnership with HarperCollins.

Signing the deal this week, Butterworth selected The Point. 1888 following a recommendation from a licensee who was impressed with the company’s retail-first approach and experience with literary brands such as The Gruffalo. The agency now prides itself on its work with brands with purpose, which include River Cottage, Battersea, Metropolitan Police Service and Mumsnet.

Butterworth said: “I am absolutely delighted to be working with The Point. 1888. Celebrating 30 years of dear old Percy The Park Keeper this year has shown me how much love there is for Percy and his animal chums. It is a privilege to know that children, parents, grandchildren and teachers get so much from the books.”

Hannah Stevens, head of retail at The Point.1888, added: “Children across the country have truly embraced these stories for 30 years. The books have a spirit of kindness and fun that resonates with children, parents, grandparents and teachers. We’re thrilled to be able to give families the opportunity to engage further with this ethos with the creation of branded products that can be played with and enjoyed time and time again.”

The Point.1888 aims to create new products based on the gaps it sees at retail, rather than what it thinks the brand’s target demographic might like. The strategy has been adopted in order to support a higher chance of retailer buy-in and a better sales performance.

The Point.1888 has already begun its brand immersion phase, which includes research and competitor analysis, and the team is now ready to engage with their vast network of retail and licensee contacts.