Alcon Promotes ‘Blade Runner 2049’ World With Branded Experiences

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It has taken 35 years for Blade Runner to finally get a sequel and Alcon Entertainment, which acquired the rights to create new movies based on this property in 2011, has big plans for it.

Blade Runner 2049 opens October 6 and stars Ryan Gosling and Harrison Ford, who reprises his role as Rick Deckard from Ridley Scott’s original film. Scott and Hampton Fancher (co-writer of the original film) created the story for this sequel, which is set several decades after the original and returns audiences to a dystopian Los Angeles setting. Denis Villeneuve (Sicario, Prisoners) directed the film with Scott serving as executive producer.

While Warner Bros. will handle domestic distribution and Sony Pictures Releasing International handling the overseas distribution, Alcon is handling the film’s marketing. The first big push for the film came at San Diego Comic-Con in July, where a tent-covered parking lot was converted into the street scene from the original film—complete with vehicles and actors playing the roles of policeman, prostitutes and even a noodle chef. The entire experience was sponsored by Johnnie Walker, which is also one of the brands featured in both films.

Alcon co-founder and co-CEO Andrew Kosove, who serves as producer on Blade Runner 2049, told AListDaily that the people who come to Comic-Con are the most passionate fans in the world of storytelling.

“It started as comics decades ago and now it’s about a lot of different content, but it’s still about great stories,” Kosove said. “For those people to come and experience an immersive multimedia experience that combines VR with a practical set, and then for them to tell other people about it, is hugely valuable for us in spreading the word about Blade Runner 2049.”

The Oculus virtual reality experience, Blade Runner 2049: Replicant Pursuit, was created by Turtle Rock Studios using Unreal Engine 4. The presentation in San Diego featured Samsung Gear VR goggles and a D-BOX theater.

“We think this is really state-of-the-art VR and the D-BOX chairs give people the full motion of experiencing what it would be like to fly in a spinner through Los Angeles,” Kosove said. “Then when they land, they actually arrive in the physical set that we’ve recreated for them.”

The street scene, including the famous noodle bar from the original, was a two-thirds scale replica of what was used in the new film.

“One of the key aspects of our approach on Blade Runner 2049 was to do as much in-camera as possible,” Kosove explained. “Our brilliant director, Denis Villeneuve, who directed Prisoners for us, doesn’t like green screen, and frankly neither do I. So, we have visual effects, but very little of this movie is done in green screen. It’s really a very practical experience and allows the actors to work in a tactile environment where they had real props and real sets to work with. That was a big part of the creative vision for the movie.”

Part of those sets was retaining the iconic brands, including Atari and Johnnie Walker, which were featured in the original 1982 film.

Andrew Kosove

“We have a rule, which is that the original Blade Runner took place in 2019,” Kosove explained. “We’re in 2017, so obviously the Blade Runner 2019 is not our 2019. We’ve approached Blade Runner as an alternate timeline. So, our 2049 isn’t like what we expect 2049 to be thirty years from now. It’s what we expect it would be like in the Blade Runner world thirty years after the original film. No brand that did not exist when the original movie came out was eligible to be part of our film. Apple is not in the Blade Runner world. It doesn’t exist. IBM could, but not Apple. Of course, one of the most iconic aspects of the first film is Atari, and we thought we had to bring Atari back into our film and that’s why we did it.”

Atari was featured in the first trailer for the sequel, and can also be seen in the VR experience. “We think the design element and that shot of the spinner going through the deep canyon—we just love it,” Kosove said.

But when it comes to the classic Atari 2600 console, Kosove didn’t actually own one. “I honestly didn’t grow up as a big video gamer and my household didn’t allow it, so when I’d go to a friend that had an Atari, it was like the greatest thing,” Kosove said. “I was so delighted, and I remember the various games like Combat and really enjoyed it.”

Atari has partnered with NECA (National Entertainment Collectibles Association) to launch a Blade Runner 2049-themed speakerhat this fall ahead of the theatrical release. The speakerhat plays music through speakers hidden in the brim, and also has a social multi-person feature that allows people to share music and even talk to one another wirelessly through their smartphones.

“The Blade Runner Atari hat we’re debuting with wearable technology very much fits into the Blade Runner concept, where Blade Runner has influenced fashion,” Kosove said. “That’s an example of where Atari and Blade Runner, two brands, can combine to do something together. It’s awesome.”

As long as the new film connects with the large audience that has grown up watching the original, the plan is to bring more Blade Runner stories in the near future.

‘Annabelle: Creation’ Marketing Takes Cues From The Doll That Inspired It

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Horror film Annabelle: Creation haunts audiences this weekend, so New Line Cinema rolled out some spooky marketing to get fans ready.

The expansion to the prequel of The Conjuring has all eyes on the origins of Annabelle—a possessed doll first made famous by her solo film debut in 2014. Not surprisingly, marketing for the film has focused on the doll itself as well as the true story that inspired it.

The character Annabelle is inspired by an allegedly possessed Raggedy Ann doll of the same name, currently on display at the Occult Museum in New England. The doll is locked in a special display case that reads, “Warning—positively do not open.”

Bus stops bearing a 3D image of the film version of Annabelle have appeared, designed to look like a display case. The posters are labeled with a sign that says, “Warning—do not open” and are secured with a padlock.

Pop culture magazine Complex rigged the Bearded Lady’s Mystic Museum in Los Angeles with some Annabelle-themed scares of their own.

While the “real” Annabelle can only be viewed by special engagement, fans were invited to find 13 of them from Mezco Toyz hidden around the Ripley’s Believe It Or Not! Museum in New York’s Time Square. Those who spotted all 13 dolls got the chance to win tickets to an advanced screening of Annabelle: Creation.

Didn’t get to find the doll in real life? Fans can make the creepy doll appear anywhere with the “Annabelle’s Presence Photo Creator.” Users are invited to upload a photo or take one with a webcam, then insert Annabelle wherever they like, add filters and share on social media.

If becoming a possessed doll is more your thing, a special Snapchat filter can help with that. And a psychiatrist.

Special #AnnabelleDollDay Snapchat filter today.

A post shared by David F. Sandberg (@ponysmasher) on

Annabelle: Creation is the third film in The Conjuring series and is directed by David F. Sandberg (Lights Out).

The doll’s 2014 solo film earned nearly $257 million in worldwide box office sales during its run in theaters. Its prequel is anticipated to bring in around $25 million during its opening weekend.

Del Taco, IHOP, Boxed Water Bring In New CMOs To Lead Brand

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Stat Of The Week: Tech brands with more female executives pay female employees more fairly and have higher employee retention and satisfaction, according to a new study by Redfin.

Del Taco Restaurants announced the appointment of M. Barry Westrum as the Mexican-American QSR chain’s chief marketing officer. He will be tasked with leading the brand’s global marketing strategy.

“Barry is an established brand leader who has deep experience in strengthening brands, enhancing marketing and innovation, and creating strong partnerships with operators and franchisees to build sales and profits,” said John D. Cappasola, Jr., president and CEO of Del Taco. “As we look to further embed our QSR positioning to continue to drive brand momentum, Barry’s strong track record in our category will be an asset to our leadership team.”

Westrum brings marketing experience from previous positions with brands like Taco Bell, KFC, Long John Silver’s, A&W Restaurants and Dairy Queen.

“I am excited to join this iconic brand and work with John and this talented management team as they approach their next phase of growth,” said Westrum. “Del Taco has had great marketing success to date, which has led to some of the best results in the restaurant category, and I look forward to working with the team to grow the Del Taco brand.”

Twenty-four hour breakfast chain IHOP has brought on a new chief marketing officer in Brad Haley. Haley will oversee development of the brand’s menus, both core and promotional, as well as development of off-premise dining options and enhancement of guest experience.

“Brad is an exceptionally talented marketer who is uniquely qualified to lead our marketing and culinary efforts, bringing a bold vision to the development of our distinctive menus, integrated breakthrough campaigns and omnichannel experience,” said IHOP president Darren Rebelez. “His award-winning industry experience, history of working collaboratively with franchise operators and innovative approach are the perfect ingredients for the future success of this iconic brand.”

Haley formerly served as CMO to CKE Restaurants, where he headed marketing and public relations for Carl’s Jr. and Hardee’s.

“I am thrilled to be joining the IHOP family since the brand is so beloved and has truly become iconic in American culture,” Haley said. “I love a great breakfast and, as the original, all-day breakfast leader, IHOP has always delivered that while putting a big smile on its guests’ faces.”

Sustainable packaged water company Boxed Water has hired Rob Koenen as chief marketing officer. Koenen will be responsible for leading the brand’s communication efforts and e-commerce opportunities—with a focus on expanding brand awareness and increasing consumer engagement—especially with millennials.

Koenen joins the company after working for UGG Brand as global vice president of product and marketing for their men’s, apparel and kid’s categories.

“Our highly engaged community wants to connect with Boxed Water through multiple touchpoints in their day,” said Daryn Kuipers, CEO of Boxed Water. “Rob is exactly the person we need to cultivate and extend thoughtful conversations around sustainability, with a proven record developing lifestyle brands.”

“Boxed Water delivers a strong and simple message around sustainability and the importance of taking care of our planet,” said Koenen. “That message is already attracting passionate consumers, especially millennials. Our job is to make sure more consumers have the opportunity to join us in making a sustainable choice.”

Pop-culture cable channel Pop welcomed Kent Rees as their first chief marketing officer, where he will oversee the network’s efforts to engage further with social media and other digital platforms.

“It is rare that you get to add such an accomplished media crusader, brand-builder and digital innovator to your executive team,” said Pop president Brad Schwartz. “Kent has a demonstrated track record of building disruptive channels, break-through multi-platform brands and award-winning creative. We are lucky to have him join our extraordinary team.”

Previously, Rees worked for the now-defunct network Pivot TV as executive vice president and general manager. Before that, he led IFC’s rebranding efforts as senior vice president of marketing.

“I am really excited to join Pop at this moment in time,” Rees said. “It’s a fast-growing network with a lot of momentum already built. I look forward to accelerating the brand and digital growth as we prepare for a terrific slate of original programming in the near future.”

Jose A. Dueñas has been hired as QSR chain Sonic’s new executive vice president and chief brand officer. Dueñas, formerly the executive vice president and chief marketing officer for Olive Garden, will be responsible for the end-to-end customer experience including marketing and culinary innovation, digital strategy, consumer insights, guest relations, concept development and overall evolution of the Sonic brand.

“[Jose’s] experience and impressive track record complements our recent appointment of Lori Abou Habib as chief marketing officer,” said Sonic CEO Clifford Hudson. “Jose brings broad expertise and talent to Sonic. We are confident his leadership and expertise will support continued growth of our brand.”

Music streaming service Tidal will be hiring a new CEO, its fourth in just over two years. Assuming the mantle is Richard Sanders, who comes on board at a hectic time for the company, who just released Jay-Z’s controversial album 4:44 and sold a 33 percent stake to Sprint.

Sanders previously spent five years at Kobalt Music Group, departing in May from his role as president.

Drone maker DJI has promoted Roger Luo to president of the company. Luo will work to grow DJI’s business in expanding international markets.

“As we continue to expand our global footprint, we need to strengthen our management in the area of operations,” said Frank Wang, DJI’s founder and CEO. “Roger has stood out in his executive management skills and holds a track record in operational excellence.”

Luo’s promotion comes after two years as DJI’s vice president of operations, overseeing procurement, production and logistics.

“DJI is a fast-growing high-tech company and this is a very exciting time for the industry,” Luo said. “I look forward to working with the talented team at this company and, together to explore and maximize the creative possibilities of our technology.”

Ubisoft has expanded into the great white north, opening a new studio in Stockholm, Sweden, and picking Patrick Bach to helm the division as studio manager. Ubisoft Stockholm will work closely with Massive Entertainment, developer of last year’s action RPG Tom Clancy’s The Division, on upcoming titles such as the recently announced Avatar licensed game.

“When talking to Ubisoft about values and goals I noticed that we shared a lot of thinking, especially when it came to the creative and practical process of making games. I feel like I will be able to use my potential in a new and different way in the Ubisoft family. I’m also looking forward to working with new world class colleagues around the world,” said Bach.

Bach is jumping ship after 15 years at EA DICE Stockholm, where he worked as general manager on Star Wars Battlefront, Mirror’s Edge Catalyst and Battlefield 1.

Capcom Vancouver has a new COO and studio director in Tim Bennison, who’s joining the Japanese video game developer’s Canadian division.

“Tim will serve a vital role as a strategic partner for myself and the entire senior executive team,” said Kiichiro Urata, CEO of Capcom USA. “Tim will be responsible for the growth of Capcom Vancouver with a focus on quality, efficiency and commitment to our greatest asset—our people. We look forward to having him join and expand the passionate, talented team at Capcom Vancouver and position the studio for continued success.”

A 20-year veteran of the games industry, Bennison has held previous executive level positions at Radical Entertainment, Gener8 Digital and Eight Solutions.

Dirk Van de Put, currently the president and CEO of McCain Foods, is joining Mondelēz International as its new CEO. He will be replacing current CEO Irene Rosenfeld in November.

“I am very proud of what our 90,000 colleagues at Mondelēz International have accomplished,” said Rosenfeld. “Throughout my tenure as CEO, the world and our industry have undergone a period of unprecedented change. During that time, we anticipated emerging challenges, adapted accordingly and created significant value for our shareholders. The outlook is bright for this great company—one of the few that has consistently delivered on both the top and bottom lines while making critical investments for future growth.”

Brian Lesser, formerly the CEO for GroupM North America, is leaving the company to join AT&T and set up a new in-house ad division for the brand focusing on video and TV. An AT&T press release states that Lesser will build and lead an advertising and analytics business using the company’s unique customer data and growing content assets.

“Advertising is evolving from broad messages delivered through traditional media channels, to customized, individual content coordinated across all connected devices,” Lesser said. “AT&T has amazing assets for creating engaging advertising experiences for consumers. I am excited to work with Randall and the entire AT&T team to build a world-class advertising and insights business.”

In a separate move, AT&T named Matt Hickey vice president of global public sector channel marketing, where he will be responsible for overseeing paid media, sponsorship and marketing and promoting advanced technologies and communications solutions the company offers to customers. The AT&T global public sector, which totaled sales of $14.8 billion in 2016, supports government and education customers across federal, state, local and international markets.

Dennis Buchheim will join the IAB (Interactive Advertising Bureau) as its senior vice president of data and ad effectiveness and general manager of the IAB Data Center of Excellence.

“IAB has been a great champion for the industry’s use of data, while ensuring trust and safety for the consumers that turn to digital screens on a daily basis,” said Buchheim. “But we’re at a crossroads in making digital advertising truly effective for everyone—consumers, marketers, agencies and publishers and developers. We need to focus on delivering a better user experience and adopting clearer measurement standards to support continued growth of ad-funded businesses and realize the true potential of digital media.”

Universal Music Group has named industry veteran and prominent manager Paul Rosenberg as CEO of Def Jam Recordings. Rosenberg has handled the careers of artists like Eminem, 50 Cent and rap group D12, among others.

“Over the past four decades, Def Jam has played a pivotal role in elevating hip hop into what it is today—the world’s most culturally impactful musical genre,” said Sir Lucian Grainge, chairman and CEO of Universal Music Group. “Def Jam’s track record of introducing culturally significant artists is a direct result of the entrepreneurial brilliance that Russell Simmons and Rick Rubin instilled in the label from inception. Paul brings with him not only a remarkable record of success in hip hop, but an entrepreneurial drive and a deep passion for artist development that will build upon Rick and Russell’s enduring legacy.”

CBS is realigning its advertising sales organization with a trio of new appointments. Jo Ann Ross has been promoted to president and chief advertising revenue officer. David Lawenda, who previously served as head of US global marketing solutions at Facebook, was named executive vice president of digital sales and sales strategy. Dave Morris, previously chief revenue officer for CBS Interactive, was promoted to executive vice president of advanced advertising and client partnerships.

“We have a tremendous opportunity to grow CBS’ advertising revenue by working with clients to realize value from every impression across all platforms,” said Leslie Moonves, chairman and CEO of CBS Corporation. “This new structure, headed by the incomparable Jo Ann Ross, is the most advantageous way to achieve that goal. I am also pleased to have David Lawenda join the best ad sales team in the business to help accelerate our multi-platform sales effort with his remarkable linear and digital experience. This is the right team and the right structure to position CBS for maximum growth as viewer habits continue to change.”

Univision announced a slate of new leadership appointments for its ad-driven platforms. Trisha Pray has been promoted to executive vice president of sales and client development. Jorge Daboub has been promoted to executive vice president of local media sales. Jack Randall is being promoted to executive vice president of business development.

(Editor’s Note: This post will be updated daily until Friday, August 11. Have a new hire tip? Let us know at editorial@alistdaily.com.)

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Make sure to check back for updates on our Jobs Page.

Call Of Duty World League Committed To Growth Through Audience Engagement

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The Call of Duty World League’s (CWL) second season is coming to a close, and the finals for championship glory and a $1.5 million prize pool kicks off this week at the Amway Center in Orlando, Florida as 32 teams from around the world are set to square off against each other in Call of Duty: Infinite Warfare.

The competition takes place from August 9 to 13 and is sponsored by PlayStation in addition to brand partners such as Astro Gaming, Scuf, BenQ, DxRacer, G Fuel and Gunnar. Attendees will have a chance to go hands-on with the upcoming Call of Duty: WWII using demo stations. Meanwhile, online audiences can watch all the action take place across a multitude of platforms, including Twitch, YouTube and Facebook Live—players can even watch the championship from within Call of Duty: Infinite Warfare itself—but Activision’s Major League Gaming (MLG) recommends watching through MLG.tv for an enhanced viewing experience that delivers a source-quality stream, integrated player stats from the event and point of view streams for players on each side on top of the main action. As if that wasn’t enough, there is a score streak game for fans to play. European audiences have the option to go analog and can watch finals on television thanks to a partnership with Ginx.

Jay Puryear, director of brand development for the Call of Duty World League

Jay Puryear, director of brand development for the Call of Duty World League, has been working with the league since its inception two years ago to create a foundation for the competition. AListDaily sat down with Puryear to discuss how the CWL has grown and where it might be headed in the future.

According to Puryear, the CWL has seen significant year-over-year growth, with a 400 percent increase in participation from last year. “We’re seeing more players and fans responding well to the CWL when we look at participation, which is one key metric we look at to see how the league is doing,” said Puryear. “This is the first year that we’re doing the Global Pro League, which allows 16 teams throughout the course of two stages to go to the MLG Columbus office and play on LAN. This is something that both players and the community [have wanted], and being able to have the teams in a particular location for a week allowed us to create new content. So, we’re starting to see more creative content, players have the opportunity to tell their stories, and we’ve been able to create this personal connection with the players and the fans that follow them to find out what they’re about.

“Part of the goal for the CWL is to bring these players to life, and one of the ways we can do that is by having access to them to talk to them and find out more about them. It’s about building some color into who these players are and it builds a strong connection with the community.”

Puryear said that some of the new content includes “hot mic” segments that imitate talk show formats, except the host includes a set of unusual questions. Similarly, players have participated in a “Carpool Karaoke”-inspired segment where they sit in cars and answer questions. But most prominently, the CWL has also created a documentary series called the Road to Championships, which focuses on 16 teams as they progressed to the finals throughout the year. This is all being done to add richness to the players’ personalities so that they can be known beyond the game.

“We’re opening up different ways to view them and understand who they are and our community can get personal connections with them,” said Puryear.

Although building personal connections with the players remains the CWL’s top focus, Puryear also stated that having a broadcast schedule for viewers to tune in to helped grow the CWL this year. “I think giving them a platform that they can watch on a weekly basis along with other content [helped]. The studio has put in the ability to stream directly into the console [game], so the discoverability and being able to learn about Call of Duty World League has helped with the growth.”

While esports audiences love watching pro players demonstrate their skills, the CWL is unique in that its featured game changes each year as annual Call of Duty games release. Last year, it was Black Ops III, this year featured Infinite Warfare and next year will likely feature WWII. Puryear discussed whether having a different game each year impacted the way the CWL presented itself to audiences.

“If you look at the last few years, we’ve tried to incorporate—from a franchise level—a lot of key features that will go from game to game,” Puryear explained. “What we don’t want to do is create a situation where we’re presenting content in a different way. One of the features that we have is CODcaster, which gives our partners the ability to produce and broadcast matches in a uniform way. We have added different features to it, but we’re not necessarily changing how we broadcast every year. We’ve really tried our best to ensure that we’re packaging the league, how people view it, and the broadcast in a fairly uniform manner across the franchise so it’s not something that you need to learn over and over again. If you watch a Black Ops III match or Infinite Warfare, you might notice different maps, loadouts and weapons, but the overall feel of how the product is presented remains as consistent as possible from year to year.”

Activision has famously stated that its approach toward growing esports is inspired by traditional sports. Puryear said that one of the most important lessons from traditional sports is adding a sense of structure to esports.

“If we look at the big sports, their governing bodies decide what’s best for them—whether it comes to rules, how they broadcast etc.,” said Puryear. “We’re trying to apply those same principles and we’re looking at different things we can bring to the table that will enhance the Call of Duty experience through the CWL. We’re adding to that foundation knowing that we’re here for the long haul, and we’re going continue supporting Call of Duty to make it the number one esport on console.

“The only way to do that is to lay a strong foundation and put rules in place. We’ve got a code of conduct for players, we’re communicating with organizations, and we’re looking at how we can better define what we want the league to be. One of the ways is by listening to players and fans, and we invite them to share their feedback to strengthen the organization and make it better.”

Puryear also shared his thoughts about how esports could attract more non-endemic sponsors.

“It’s a great opportunity to reach a fan base that’s very tuned-in to the scene and getting to understand who these people are,” said Puryear. “The demographic is highly sought after, as far as traditional media is concerned. For me, the exciting part of the challenge—as we look at non-endemic advertisers and sponsors—is that they need to be incorporated into the scene and they need to feel like they’re part of the community. I think that as the CWL grows, more people will understand that this is a competition at its core and it’s entertainment.

“We’ve been able to grow by over 400 percent, and knowing that this audience is very mature, intelligent and all the things that you want out of a demographic [will attract them]. This is an area for non-endemic advertisers and sponsors to look at and reach.”

The CWL had a $4 million prize pool this year, with $1.5 million being given away during the championships. Puryear looked back at the evolution of the league and talked about what distinguishes it from other esports leagues.

“It’s about establishing Call of Duty as the number one console esports shooter out there,” Puryear said. “We’re doing everything we can through production quality, working with development studios, and listening to players, organizations and fans to help grow where this needs to go.

“We don’t know what that path is at the moment, but we’re constantly getting feedback and data, and focusing on what’s best for the CWL and Call of Duty is what separates our commitment from others. It’s very important for us to continue to push ourselves and the league to present the best esport from a production, broadcast and audience standpoint. If we continue to do that, I think the future looks very bright for us. Looking back at the past two years makes me very excited about what we can do over the next three or four years.”

Nintendo And Best Buy Partner For ‘Mario Kart’ Esports

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Nintendo is once again trying something different with its Nintendo World Championships. The October 7 event in New York at Manhattan Center’s Grand Ballroom will mark the culmination of eight regional events held exclusively at Best Buy retail locations across the country. Best Buy last partnered with Nintendo for a competition leading up to the 2015 World Championships, which were held at E3 2015.

Starting on August 19, eight Best Buy stores around the US will host two-day qualifying events. The focus for this year’s competition is Mario Kart 7 on Nintendo 3DS and players will be divided into two groups based on their age. The first age group, 12 and younger, will play as Mario on the Nintendo DS “Luigi’s Mansion” course. Meanwhile, the second age group, 13 and older, will play as Bowser on the Game Boy Advance “Bowser Castle 1” course. The player with the best time trial entry in each age group will qualify for the Nintendo World Championships.

Shane Kitzman, senior communications specialist at Best Buy

Shane Kitzman, senior communications specialist at Best Buy, told AListDaily that hosting the qualifiers in 2015 was so much fun that the retailer jumped at the opportunity to do it again in 2017.

“Considering the difficulties that specialty retailers like GAME (UK) have had with the slow trickle of Switch units making it to their stores, it is a smart move for Best Buy to align with Nintendo,” Joost van Dreunen, CEO of SuperData Research, said. “Improving brand awareness in the run-up to the holiday season is always helpful, but it also further weakens the competition if Best Buy is more closely associated with the most popular console currently in the market.”

Michael Pachter, video game analyst for Wedbush Securities, doesn’t see this marketing activation helping the big box retailer as much.

“Mario Kart 7 on 3DS isn’t exactly the most compelling esport in the world, and 3DS players are mostly younger, so their parents make the purchase decision,” Pachter said. “This will have a low impact for Best Buy.”

Anyone who visits these regional events at Best Buy will be able to try demo versions of Super Mario Odyssey, which launches on October 27 for the Nintendo Switch system, and the Metroid: Samus Returns game for the Nintendo 3DS family of systems, arriving on September 15. Plus, visitors who are My Nintendo members will be able to check in using their My Nintendo QR Code at any of the qualifier event locations to receive 100 Platinum Points. My Nintendo members who are one of the first 200 to check in daily at each location will receive a My Nintendo pin as an added bonus.

“Mario Kart is one of the most accessible Nintendo games from a competitive standpoint,” van Dreunen said. “By having a low barrier for folks to come to the store and give it a try, Nintendo maximizes the reach of this marketing effort. And while you wait your turn, why not see what else they have available?”

Following the format established in 1990 and updated in 2015, the Nintendo World Championships event in New York City will challenge regional winners across a variety of new and retro Nintendo games. A Nintendo spokesman said more details about the exact games will be announced closer to the event.

“Bringing back the World Championships will strengthen Nintendo’s relationship with its customer base, as a growing percentage loves to either watch or participate in competitive gaming,” said van Dreunen. “Titles like Super Smash Bros. and Splatoon 2 are uniquely positioned to benefit from this trend.”

The 2015 World Championship E3 event was filmed and aired as a taped production on Disney XD, which has recently increased its programming around competitive gaming. However, the streaming and television partners for this event have yet to be announced.

As for Best Buy’s brand recognition for gamers, the retailer has struggled to connect with that audience of late.

“Traditionally, Best Buy is the number three games retailer in the US, behind GameStop and Walmart,” van Dreunen said. “During its most recent earnings call, Best Buy’s numbers were up largely because of a combination of growing mobile and gaming sales, as competitors like Sears struggled and HH Gregg went bankrupt. However, those benefits are likely to be temporary as the dominance of online retailers, especially a juggernaut like Amazon, are crushing brick-and-mortar chains.”

Pachter added that while Best Buy still matters for video game hardware sales, the retailer is “a melting ice cube for software sales.”

Roundtable: Four Brand Executives Discuss Their Drone Racing Strategy

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A series of title sponsors are doubling down on DR1 Racing’s second season in the drone racing circuit.

The Champions Series will air internationally in over 100 countries on Eurosport, Fox Sports Asia and Twitch and will be backed by brands like DHL, Mountain Dew and Spin Master, makers of the Air Hogs drones.

The racing series—officially dubbed as the “DHL Champions Series fueled by Mountain Dew”—will pit five teams in six separate outdoor races in the Trona Pinnacles and The Mojave Bone Yard in California, a 3D skyscraper race in Bonn, Germany, Ireland’s historic Bunowen Castle and Spike Island and the Marine Drive on the Isle of Man throughout October and November.

Leading into the airing of the series, the US Army will be sponsoring the Twitch show DR1 Drone Tech.

Each partner has its own reasons to join in on the drone marketing. For Mountain Dew, it’s about connecting their consumers with an emerging sport that embraces their brand ethos. For DHL, it’s about delivering experiences in compelling formats while leveraging their specialty in logistics. For Spin Master, it’s about legitimizing their drone racing toy line at retail and broadening the access to the sport.

AListDaily united the quartet of executives instrumental for the deal—Brad Foxhoven, founder of DR1 Racing, Arjan Sissing, DHL’s senior vice president and director of global brand marketing, Manos Spanos, Mountain Dew’s senior director of global marketing and Kate Keller, global business unit lead for Spin Master—to discuss in detail how drone racing will be doused in their respective marketing dockets.

What kind of validation are sponsors and TV deals bringing to DR1 Racing?

Foxhoven: Dew and DHL are well-known sponsors, particularly in the racing and extreme sports areas. Their support of DR1, as well as the Champions Series, acknowledges that this sport is for real and DR1’s racing series should be taken very seriously. Each brand saw a unique opportunity with DR1, knowing that it’s a more authentic racing platform by having the drone races in these amazing outdoor locations. The biggest shift from last year is that more consumers are flying, whether it’s with pure racing quads that they’ve built, or consumer-friendly drones like the ones coming out from Air Hogs. The more people see drone racing content, the more likely they will try it themselves and participate in the culture as a whole.

Spanos: As with any “new sport,” drone racing needs mainstream brands and TV deals in order to become more approachable, more widely known and understood by fans. Our hope is that we can drive even more attention to the sport, and generate excitement amongst our fans that have an existing love for sports that carry similar characteristics to drone racing, like esports or racing. Drone racing generates that same high-action, on-your-tiptoes type of excitement that you find in NASCAR or Formula 1 and fuses it with the competitive, gamified action of esports.

Sissing: For DHL, it’s about sharing the same innovative technology and values—like speed, passion, precision, sustainability and teamwork. Drone racing represents an exciting new e-racing series, using innovative technologies. It’s also fast and green. In the past year, drones have become more accessible to more people—with lower prices and more available technology, almost everyone can afford to buy a drone and play with it.

Why are you interested in bringing brand credibility to the sport of drone racing by partnering with DR1 Racing?    

Spanos: Mountain Dew is a brand that instigates and pushes the boundaries of what’s possible, so it was a natural fit for us to be involved in a sport that accomplishes those two things, and do so with a partner in DR1 Racing that brings the most elite pilots and competitions to the sport. We’re certain that the Dew Nation will love the high-speed action, adrenaline and competitiveness of the sport.

Keller: Drone racing, and DR1’s racing series specifically, have proven themselves as legitimate contenders in the competitive racing sports category with a growing international fan base. Through the expertise and emerging technologies of our Air Hogs brand, Spin Master is ready to kickstart this partnership, enhancing the racing experience at the DHL Champions Series while making drone racing an accessible sport for kids of all ages.

Sissing: DHL has an extensive history in developing innovative and sustainable approaches toward future logistics solutions. DHL has been developing and testing drones like the Parcelcopter for more than four years as a delivery option for rural, remote and traffic-congested areas. Drones are an important technology within logistics today and will remain so in the future—at least for specific situations. As a pioneer in express shipping, it’s just logical for DHL to be a frontrunner and first logistics company in this new sport.

Will you look to maximize on your drone racing marketing by heading into esports, too? 

Spanos: Mountain Dew has a strong footing in esports already through the sponsorship of three professional esports teams—Dignitas, Splyce and SK—as well as the creation of the Mountain Dew League (MDL) that gives amateur gamers the opportunity to become pros. However, it’s not a coincidence that we’re involved in both esports and drone racing as both have crossover appeal between audiences, and they are a natural fit for our brand.

What kind of marketing activations will we see? What’s the game plan?  

Foxhoven: Each partner will be doing various levels of support. DHL has created an amazing commercial that shows the evolution of racing. Air Hogs has a commercial that features the Air Hogs DR1 Race Drone, alongside top pilots Johnny Schaer and Luke Bannister, as well as a digital promotion with a wide selection of drone pilots. Mountain Dew is releasing various digital pieces of content that feature Luke Bannister, who is now a Dew-sponsored pilot.

Spanos: As with most sports, fan love for the sport extends to the players, or in this case the pilots. We’re excited to be partnering with Luke Bannister to bring his elite level of play to the forefront, while also getting fans closer to his personality. We’ll also be heavily supporting the Champions Series, arguably the most competitive drone racing series in the world, and expanding the reach of this burgeoning sport.

What has been the biggest challenge in marketing drone racing? What are consumers having a hard time understanding?   

Foxhoven: The biggest challenge is in the education of the sport as a whole. There are varying degrees of drones being flown, new pilots to meet and know, and formats for the races themselves. Is drone racing indoors or outside? During the day or night? Are there teams or single pilots? For DR1, it’s the belief that real drone racing is done outside. The team format for Champions Series allows for more action on the location, more interaction between the pilots, and a setting that makes the view on screen really unique.

What are some other marketing avenues brands have not tapped into yet?   

Foxhoven: The brands have been smart in their approach, and have found creative ways to become integrated into the DR1 racing ecosystem. The teams and pilots themselves continue to be the best opportunity, particularly as it relates to the creation of great digital content, and opportunities to apply their experience and knowledge to various creative initiatives.

Keller: At Spin Master, we believe that drone racing can give consumers of all ages the opportunity to explore the world from a new vantage point, such as the first person view from the cockpit, and by turning real world environments into racecourses. This fall, DR1 and Air Hogs are encouraging kids to turn their world into a racecourse by sharing their races and experiences through the record-and-share function within the product. Drone racing is a budding sport, and we’ll bring compelling content to kids of all ages on the traditional broadcast, digital and social channels to help extend drone racing beyond its community.

Why should sponsors be flocking to enter the drones space? What kind of value are you envisioning?   

Foxhoven: As exciting as the sport is, and in embracing a pure convergence between technology and athleticism, the ascending value for brands is with the pilots and fans themselves. DR1 is the only drone racing organization with multiple pilots that have mainstream sponsorship deals. Luke Bannister is sponsored by Mountain Dew and Air Hogs, Johnny Schaer with Air Hogs, Tommy Tibajia with Mountain Dew and Chad Nowak with Amp Energy. These are the faces of the sport and will be the ambassadors over the coming years. But there are others who are also very talented and will be picking up sponsorships through DR1 this coming year. The content these pilots create is visually incredible.

Keller: Unlike many other sport racing categories, drone racing is not exclusive to the professionals on the big screen. At-home drones, like our Air Hogs DR1, are accessible for any level pilot, allowing them to mirror the speed and stunts of professionals while remaining safe. This at-home accessibility, in conjunction with the rapidly growing fandom, athletes and sponsorships of the drone racing sport, add up to an equation for future success.

Sissing: It’s a perfect fit both ways. Similar to Formula E, drone racing represents an exciting new series, which is why DHL took the opportunity to engage as the logistics partner and title sponsor for DR1’s premier league racing series. It also underlines our strong commitment to the topic of sustainability and our “Mission 2050: Zero Emissions” target. For drone racing, it’s important to have a credible, reliable and global partner who is really convinced about this e-racing sport and helps with its logistics services and worldwide network making the races happen all over the world—ideally in the most sustainable manner possible.

What needs to happen for drone racing to evolve from its underground roots to truly become a global sport?

Foxhoven: Continued exposure on television and digital, with content that is compelling and authentic. There is a growing fan base that already loves the sport, but to really achieve mainstream adoption and interest, it needs to expand from races in warehouses with smoke effects to courses that really showcase what a drone and the pilot can do. That is what Champions Series will be embracing—racecourses that are outside, with the environment being part of the course. Mother Nature has created the best racecourses.

Sissing: Drone racing represents an exciting new e-racing series, using innovative technologies which are gaining in recognition and usage . . . It needs to be exposed to a broader cross-segment of the general public.

How will you further build on your momentum and re-up on your strategy to reach a more mainstream audience?  

Keller: The DR1 Race series is the perfect introduction to help rookie pilots learn to train like pros and experience the exciting world of drone racing. Air Hogs is focused on attracting the next generation by creating approachable products that are safe and durable for anyone to use. In addition to the first-person view drone models, we expect technology and gaming to become more integrated with drone racing products, which will create opportunities to provide a more immersive experience and deeper gameplay for consumers.

Sissing: Because drones are increasingly accessible today, it’s a great opportunity to reach our B2C and B2B customers—and especially younger target groups in a new and fancy environment.

Foxhoven: We have a few strategic deals coming up that will build on the Champions Series’ momentum. In the meantime, we will continue to build on our current racing platforms.

Rideshare Partnerships Take Brands Where They Want To Go

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Around 31 million Americans will use rideshare services like Lyft and Uber this year, according to estimates made by eMarketer. With 70 percent of millennials hailing a vehicle when they go out with friends, brands are partnering with these services to come along for the ride.

Taco Bell recently teamed up with Lyft to offer its passengers a food run with “Taco Mode.” The in-app option hails a taco-themed car that will take users on the “ultimate Taco Bell experience”—including a Taco Bell Lyft T-shirt and light-up Lyft glasses, an in-car menu viewable on a taco-themed iPad and one free Doritos Locos taco for each passenger in Taco Mode.

Taco Mode ran two tests in Orange County, California and plans to expand the partnerships into additional markets by the end of the year.

“We’re combining two of our passengers’ favorite activities—a night out with friends and enjoying Taco Bell—which means there is even more of the night to love,” Melissa Waters, Lyft’s head of marketing, said in a statement.

In April, AEG announced a partnership with Uber that will help expand transportation options for visitors headed to and from different venues worldwide.

With the NHL’s Los Angeles Kings being one of AEG’s most prized possessions, there will be an LA-specific leg to marketing activations in the city, including special offers and merchandise for fans during away games, a driver incentive program for Kings fans who sign up to be Uber drivers and a “King of the Month” promotion, which will honor specific Uber drivers on-ice and reward them with tickets and VIP experiences.

“I think through collaboration with powerful brands such as Uber, continued communication directly with our fans, and through feedback, we will keep looking down any avenue that enhances the game day or live event experience,” Nick Baker, senior vice president of global partnerships for AEG, told AListDaily.

Video game fans got a surprise during PAX East last year when a number of Overwatch-themed vehicles were spotted around Boston.

Dubbed UberWATCH, the partnership between Uber and Activision-Blizzard invited riders to order special Overwatch-stamped vehicles to drive them around the city. Riders could get one seat in a Lamborghini, a two-seater buggy or a large multi-passenger truck to bring them around. The vehicles could be seen all across Boston and worked alongside Blizzard’s show floor promotion.

Juniper Research estimates that the ride share market will reach $6.5 billion by the year 2020.

People always have somewhere to go, so rideshare partnerships can be beneficial for any brand with the right marketing strategy.

‘Hellblade’ Champions New Technology And Empathy For Mental Illness

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Hellblade: Senua’s Sacrifice tells the story of a Celtic warrior’s journey through her own dark psychosis. This “independent AAA” title by Ninja Theory (Heavenly Sword) is more than a video game—it’s a demonstration of emerging game development technology while offering an empathetic, first-person view of mental illness.

The project is supported in part by the Wellcome Trust, a charitable foundation committed to a greater public understanding of science and health. Ninja Theory worked closely with experts in the field of mental illness, as well as people who shared their real-life experiences.

In Hellblade, Senua is a skilled warrior traumatized by a brutal Viking attack on her people. Determined to save the soul of her beloved, Senua must venture into the hell of her own psychosis and face the demons there.

“Developing Hellblade independently gives us the freedom to tackle a subject as challenging as mental health,” Ninja Theory said following the release of its E3 2015 trailer. “It is a subject that we are handling with all the respect it deserves, ensuring that our portrayal of Senua’s condition is both accurate and sensitive.”

Ninja Theory calls Hellblade an “independent AAA” game, meaning that it was created by a small studio, but strives for the quality of a larger one. The visual quality is driven by Unreal Engine 4, which can capture voice, motion and actor performances in real-time. This technology was on full display during GDC and SIGGRAPH last year, serving as a proof of concept for games, film and other forms of entertainment.

In an era when indie game developers often favor a retro aesthetic, Ninja Theory teamed up with Epic Games to go for extremely detailed photorealism.

“The reason we’re going for believability is [that] we are tackling some difficult themes in the game,” Ninja Theory Chief Creative Director Tameem Antoniades explained during the GDC presentation. “It’s very important for us to represent the physical, mental and the emotional trials of her journey as believably as possible.”

A photorealistic fantasy world lends itself to creativity, so Ninja Theory added a Photo Mode to the game. Players can easily take control of the camera and take snapshots at any point in the game to share on social media, which may be of particular interest to PlayStation 4 Pro and high-end PC owners since the game supports 4K resolutions.

Ninja Theory kept audiences up-to-date with the game’s progress through 29 developer diaries—each showcasing a different aspect of Hellblade: Senua’s Sacrifice from story to gameplay and controls, in addition to demonstrating how actress (and Ninja Theory’s video editor) Melina Juergens brought each scene to life in real-time.

Compared to other big game releases, it may appear on the surface that Hellblade: Senua’s Sacrifice didn’t get much in the way of marketing since it was first announced in 2014 at the PlayStation Gamescom media briefing. While it’s true the self-published title isn’t prominently featured in TV spots or Conan’s Clueless Gamer segment, Hellblade has created its own hype over time by simply being itself.

Players were still able to get their hands on some good old-fashioned pre-order bonuses, however. Those who pre-ordered on PlayStation 4 will receive an exclusive Hellblade: Senua’s Sacrifice Dynamic Theme that depicts the iconic burning tree scene from the game. Those pre-ordering on PC will receive an exclusive digital comic short, Hellblade: Senua’s Song. Fans can also head to the official website to pick up merchandise ranging from clothing to a special Hellblade candle that smells like “ancient trees and rain.”

Why Purchase Intent For VR Is Plateauing

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A third of Americans between the ages of 18-to-64 have used a virtual reality device, according to Magid’s new study, “America’s VR POV: The Reality of Virtual Reality.” Despite widespread awareness and hands-on experience, purchase intent for VR in the United States has plateaued across the board.

Compared to purchase intent from last October, responses in April were either the same or barely changed. Those who responded that they “definitely will purchase” any mobile VR device remained at 21 percent, for example, with the same being true for any tethered VR device which remained stagnant at 15 percent.

Magid found that price was the greatest deterrent for VR adoption among those surveyed. When asked what would make them more likely to purchase a VR device, 64 percent said “if VR devices were less expensive.” A perceived lack of content was the next biggest concern for respondents, with 34 percent citing a lack of VR content available.

Price restraints may be true for high-end electronics like HTC Vive that costs upward of $800, but what about low-cost options like Google Cardboard?

“Not everyone considers Cardboard the VR tech they aspire to,” Debby Ruth, Magid’s senior vice president of global media and entertainment told AListDaily. “Keep in mind that approximately 41 percent of the target market are heavy gamers—their expectations are usually for the higher end experiences like Oculus, Vive and PlayStation. It will be interesting to see if the price drop by Oculus registers in the next wave of our tracking study.”

Only six percent claimed that nothing could make them more interested in purchasing VR, which indicates an overall willingness to consider the idea. Feeling uncomfortable using VR alone may also be a factor in the lack of adoption. Other obstacles standing in the way of purchases include wanting to receive a strong recommendation (22 percent) and if more of their friends also had VR devices (nine percent).

Like gamers, public perception may be that VR is only for geeks and nerds. When asked how they feel about that statement, 19 percent agreed—seven percent “strongly.” Fifty-nine percent disagreed, but nearly a quarter (23 percent) remained neutral.

On the other hand, 67 percent of respondents believe that VR can be enjoyed by all types of people. Those who have actually tried VR have an affinity for the technology, with 50 percent saying they “love it” on a PC or console device and 44 percent saying the same about mobile. Thirty-five percent of those who purchased VR devices for PC over this past holiday season say that it exceeded their expectations. Forty-one percent said the same about VR headsets designed for a specific smartphone and 30 percent agreed for VR on any smartphone.

In both mobile and PC/console VR device segments, a majority would recommend the technology to others, at 84-and-86 percent respectively. For VR to become more mainstream, Magid believes a “major popular moment will help.”

“All eyes are on the upcoming Spielberg movie Ready Player One as a potential moment when VR enters mainstream interest. Beyond that the evolution of the ‘holy marketing trinity’ of lower prices, more and must-see content, and lowering friction of the technology itself (smaller HMDs, easier content discovery and access, etc),” Ruth added. “Not only do these things need to happen, they also need to break through to consumers’ awareness.”

So which VR apps are consumers using the most? According to Magid, Netflix VR is the most widely used at 22 percent. Minecraft VR is the next most popular app at 20 percent.

Live sports are also popular among VR users, as 19 percent have watched either live NBA or NFL games in the immersive format.

Neil deGrasse Tyson’s ‘Space Odyssey’ Set To Expand Into Gaming

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Game developer Space Media Ventures is tapping into the celebrity star power of Neil deGrasse Tyson to partner with the world-renowned astrophysicist and deliver a sense of wonder about the universe and beyond with its debut IP Space Odyssey.

The galactic real-time strategy game, which will include experiences playable on console, PC, mobile, VR and AR, allows users to explore worlds, colonize planets, create and mod in real-time and discover unique lifeforms with science-based missions, driven by real physics, and inspired by science.

“It’s exciting to be part of the creative team bringing this educational game based on real science, driven by real physics, to life,” Tyson, an advisor to the title, said in a statement. “Space Odyssey embodies a shared vision of creators, storytellers and science lovers who want to get people of all ages into space and exploration and encourage curiosity and imagination.”

Space Odyssey will be coming to a galaxy near you after reaching its Kickstarter crowdfunding targets last week. Backers, who have contributed over a combined $720,000 to date since pre-sale started on Kickstarter and Indiegogo during E3, will have access to the beta version of the game, tentatively scheduled for December 2018.

AListDaily sat down with Space Odyssey creative director Mark Murphy and strategic partnerships director Scott Bobrow to discuss how the flagship title came together, what to expect from the gaming experience and the marketing opportunities Tyson and the IP present.

How did you develop the idea for Space Odyssey with Neil deGrasse Tyson?

Scott Bobrow: This was a happy confluence. We had been thinking about the notion of space-based, word-building experiences both for PC gaming and VR. By happy accident, our other partner, Greg O’Connor, had a relationship with Tyson. Needless to say, there would be no other person who would be better to have on board to champion this than him. We initiated a discussion with him, and he was very interested about the idea of making space and science education available to the masses in an engaging and entertaining way. We agreed that using gaming and VR environments and formats would be a very impactful way to accomplish that mission.

Mark Murphy: Neil is a partner with us in the project, too. With his blessing, we built out a multiplatform approach. The core game itself is downloadable to PC and it is Mac supported. We’re going to have component pieces that can be done individually but also link into the major narrative of the entire Space Odyssey franchise. We also have partnerships we’re finalizing for the first set of VR missions. Furthermmore, we’re going to have aspects of core game compatibility on mobile, and will continue to expand the mobile accessibility and playability as we continue to go to beta on the core game. What we’re trying to do is make this accessible to a broad audience, but also to really amplify the sense of adventure, innovation and the future using defining technology on the market today.

How has Tyson been involved in implementing real science and physics in the game while playing an integral part of the creative committee guiding the game?

Murphy: Neil’s very hands-on. We have a very collaborative working relationship. Conceptually, we’ll come up with ideas. One of the things that we’re launching as a really nice driving force, that is impactful on the gaming side and exceptionally relevant on the science side, is a primordial engine—the physics engine that is essentially driving the game mechanics with Unreal—and really employing some cutting-edge and collaborative play. It’s all real physics and real science. That was a core element to Neil. He’ll also challenge us with ideas. With Neil as a “visionary in chief,” if you will, we’re very aware at all times to fully incorporate actual physics and science into the experience.

Why are you using virtual, augmented and mixed reality to complement the PC version?

Murphy: The idea behind the whole Space Odyssey franchise is that it will continue to expand, just like the universe, in complementary ways. As we look at AR, VR and MR, those things will become more interactive as the game grows, and it’s possible that the entire experience becomes VR or AR over time. At this point, what we want to do is show different engagements and challenges that fit the technology and try to unify them. There is an evergreen nature to this. As technology expands, the breadth and vision can surprise the people that are a part of our community.

What are the branding, marketing and sponsorships avenues the game has opened thanks to a celebrity astrophysicist? How are you navigating these waters to ramp up marketing?

Bobrow: In the game, we have a couple of endemic marketing partnerships with the integration of the National Space Society, and we have a relationship with Sky & Telescope Magazine. Neil is unique because he’s probably the only rockstar astrophysicist in the world. We’re really fortunate to have him as an advocate. He’s being well-received by partners and sponsors knowing that he’s on board. It lends itself to interesting partnerships and franchise extensions. We’re really just getting going with that. The game is the anchor. The VR missions will be on a major platform. They’re quite enamored with Neil and had an interest in educating about space. There are other brand extensions we have in the works, but it’s a little premature to speak to that.

Murphy: We’re very careful with the partnerships and sponsorships that we bring forward so that they feel organic to what we’re building. They have to complement the whole core concept of futurism. Anything we bring forward needs to adhere to that. Neil isn’t about selling his brand. This is really about a way to expand on education and engaging the future of science exploration. We might be slow on announcing these kinds of deals because they have to be really good.

Who is the core audience you’re marketing to?

Murphy: The core audience is pretty broad. If you are eight or 80 years old, you can play an engagement game. We’re creating a sandbox feel so that you’re actually able to play more in real-time.

What are the opportunities for scaling?

Bobrow: We’re also exploring location-based experiences that would potentially fit in malls, museums and science centers. It would allow us to bring real-world exhibits that are based on the franchise. That could include VR experiences, film and other attractions.

Murphy: Educational outreach is really important as well. We’re looking at classroom engagement and a way to work in those arenas, too. So, we’re open to discussing relationships, partnerships and sponsorships that would enable us to broaden our base out and support STEM learning, too.

Neil is also a part of the National Geographic show Star Talk. What are the cross-platform promotions you are planning to take advantage of his global reach?

Murphy: Integrating Star Talk is definitely something that’s happening, but we’re doing it in an organic, proactive and smart way. We’ll be using the team to collaborate on structured gameplay, create ideas, challenges and missions, or come up with innovative concepts, inventions and innovations that you can employ when exploring planets. We launched at E3 with a terrific panel that Neil was a part of with James Gunn, Chris Hardwick, Kiki Wolfkill, Randy Pitchford and David Benioff. It was an exciting and impactful discussion about world building. We were also at San Diego Comic-Con hosting experiences there. . . . We’re really excited to be working in this space, and the different relationships that we’re building. We encourage other companies and innovators to reach out to us and see if they some ideas on how we can work together. It’s always important for us, as we move forward, that when we create relationships and partnerships, that they’re mutually beneficial, and that there are things we can provide as well that magnify or elevate our partners.

Bobrow: We’ll also have the Star Talk all-stars, which are folks like Bill Nye, Janna Levin, astronauts and other scientists. Neil would actually like to incorporate these Star Talk all-stars into the game. So, it’s definitely something we’re working on. . . . There are also some really creative things that we’ve talked about in terms of the game. We’re going to have labs where you can actually go in and experiment. So, we can have some really creative sponsorships and partnerships in which these labs are named in a way that seems organic and endemic for a certain partner. We’re certainly open and amiable to marketing partnerships and franchise partnerships as we build out this brand—we’re looking for ones that are endemic to this world, and our mission.