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How the gaming universe is preparing marketers for the metaverse

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IAB Anzu

IAB Anzu
Left to right: NBCUniversal’s Krishan Bhatia, Ashley Schapiro of American Eagle and Anzu’s Itamar Benedy. Image: IAB.

Brands are tip-toeing into immersive VR experiences, also known as the metaverse, through the gaming world. There are a wide range of options for brands to connect with the otherwise elusive gaming audience.

This led the discussion at IAB’s first-ever PlayFronts, an event dedicated to advertising and partnership opportunities in the gaming industry. The New York event showed marketers a crash course about the metaverse and how games are part of that. The road to games has been widened by powerhouse gaming publishers like Activision Blizzard (acquired by Microsoft in a jaw-dropping deal), media publishers like NBCUniversal and the adtech leaders who are connecting the pipes to playable ads and virtual metaverse activations.

“They say COVID was an acceleration for gaming, I believe this event will be an acceleration for gaming as an advertising medium,” said Itamar Benedy, co-founder and CEO of programmatic in-game advertising platform Anzu. “People who told me three years ago that I have a cool startup, but those geeks locked in their basement aren’t their audience – they’re at this conference, so I guess there’s a change in perception on that.”

Games and gamers are already using decentralized virtual environments And they are a core audience for brands looking for newer, younger customers they can’t find through other channels.

Untapped audiences identify as gamers

“It’s difficult to reach the gaming audience because they aren’t watching linear TV or streaming or other media,” said Zoe Soon, vice president of the Experience Center at IAB.

The gaming audience is also diverse, with 46% of U.S. gamers being female and 71% of U.S. moms playing games. And games become even more prevalent with younger audiences, Soon said. For Gen Z, 80% consider themselves gamers. One study shared at the conference found that only 10% of children ages six to 16 consider themselves not gamers.

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Brands like Acura see metaverse activations as a way to reach untapped audiences and new customers. That’s because if you don’t advertise in or around games, you won’t reach many of these gamers.

With high-profile music acts like Ariana Grande and Marshmello involved in the gaming scene and collaborating with gaming publishers, Soon pointed to a broader cultural impact that brands can tap into, as like Balenciaga and Gucci have.

“In-game advertising has the ability to dynamically change the content in the game to personalize at the device level, to sell it in a programmatic way to make the game more realistic,” said Benedy. “It also works within the whole advertising ecosystem around fraud detection, brand lift, brand impact, attention, distribution and even up to offline attribution.”

This year, Anzu partnered with NBCUniversal’s One Platform ad solution, to make gaming part of a holistic strategy. Anzu’s mobile, PC, console and Roblox deployments can now be part of a broader holistic media strategy for advertisers including streaming, audio and out-of-home.


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Key advertisers are aware that gaming is one of the most rapidly-growing media in advertising, said Krishan Bhatia, President and chief business officer, global advertising and partnerships for NBCUniversal. He added that they weren’t sure about how a campaign could be executed at scale. That’s where a programmatic partnership comes into play, so marketers have the same control as more established media channels.

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Zoe Soon of IAB. Image: IAB.

As gaming’s role in the ad ecosystem evolves, it offers more control to brands and their programmatic and media buying partners to manage brand safety.

“Leaving aside the ongoing debate as to whether violent content is actually detrimental to brand image, where there’s no conclusive research to show that, gaming offers advertisers so much control in terms of where their ad is placed, frame-by-frame,” said Soon.

Executing a holistic game plan

Bhatia also said that marketers have a great need for premium content, which would include some of the most popular global games and franchises. Alongside that, NBCUniversal’s premium streaming app Peacock is also ad-supported, as opposed to streamers like Netflix.

For brand placements in virtual gaming worlds like Roblox, it’s not just an in-game ad, but instead referred to as an experience – much like an experiential placement at a real world conference or event.

Last month, Anzu helped American Eagle launch a “Members Always Club” activation in Roblox. Specifically, the brand presence was located in a section of the territory called Livetopia. The metaverse promo was timed with a traditional and digital spring campaign featuring tennis star Coco Gauff, actress Madelyn Cline and other influential Gen Z figures.

“If we think about where our audience is, it’s in the metaverse,” said Ashley Schapiro, vice president, marketing, media, performance and engagement for American Eagle. “How do we take our campaign and bring it there? The answer was Roblox for us.”

Schapiro identified Livetopia as one of the top 10 roleplaying experiences on Roblox. This enabled Roblox gamers to visit the American Eagle experience, to play tennis or visit the on-site swimming pool, while also having the chance to try on the entire spring collection with their avatars.

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Five million people tried on the collection in a month, Schapiro said. In the spirit of inclusivity, the brand allowed access for free instead of charging Robux, the Roblox currency.

“Gaming can no longer be seen as a fringe activity,” said Soon. “It’s mainstream and it’s everywhere.”


About The Author

datafuelX launches predictive analytics solutions to improve linear TV and
Chris Wood draws on over 15 years of reporting experience as a B2B editor and journalist. At DMN, he served as associate editor, offering original analysis on the evolving marketing tech landscape. He has interviewed leaders in tech and policy, from Canva CEO Melanie Perkins, to former Cisco CEO John Chambers, and Vivek Kundra, appointed by Barack Obama as the country’s first federal CIO. He is especially interested in how new technologies, including voice and blockchain, are disrupting the marketing world as we know it. In 2019, he moderated a panel on “innovation theater” at Fintech Inn, in Vilnius. In addition to his marketing-focused reporting in industry trades like Robotics Trends, Modern Brewery Age and AdNation News, Wood has also written for KIRKUS, and contributes fiction, criticism and poetry to several leading book blogs. He studied English at Fairfield University, and was born in Springfield, Massachusetts. He lives in New York.


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How To Develop a Great Creative Brief and Get On-Target Content

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How To Develop a Great Creative Brief and Get On-Target Content

Every editor knows what it feels like to sit exasperated in front of the computer, screaming internally, “It would have been easier if I’d done it myself.”

If your role involves commissioning and approving content, you know that sinking feeling: Ten seconds into reviewing a piece, it’s obvious the creator hasn’t understood (or never bothered to listen to) a damn thing you told them. As you go deeper, your fingertips switch gears from polite tapping to a digital Riverdance as your annoyance spews onto the keyboard. We’ve all been there. It’s why we drink. Or do yoga. Or practice voodoo.

In truth, even your best writer, designer, or audiovisual content creator can turn in a bad job. Maybe they had an off day. Perhaps they rushed to meet a deadline. Or maybe they just didn’t understand the brief.

The first two excuses go to the content creator’s professionalism. You’re allowed to get grumpy about that. But if your content creator didn’t understand the brief, then you, as the editor, are at least partly to blame. 

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Taking the time to create a thorough but concise brief is the single greatest investment you can make in your work efficiency and sanity. The contrast in emotions when a perfectly constructed piece of content lands in your inbox could not be starker. It’s like the sun has burst through the clouds, someone has released a dozen white doves, and that orchestra that follows you around has started playing the lovely bit from Madame Butterfly — all at once.

Here’s what a good brief does:

  • It clearly and concisely sets out your expectations (so be specific).
  • It focuses the content creator’s mind on the areas of most importance.
  • It encourages the content creator to do a thorough job rather than an “it’ll-do” job.
  • It results in more accurate and more effective content (content that hits the mark).
  • It saves hours of unnecessary labor and stress in the editing process.
  • It can make all the difference between profit and loss.

Arming content creators with a thorough brief gives them the best possible chance of at least creating something fit for purpose — even if it’s not quite how you would have done it. Give them too little information, and there’s almost no hope they’ll deliver what you need.

On the flip side, overloading your content creators with more information than they need can be counterproductive. I know a writer who was given a 65-page sales deck to read as background for a 500-word blog post. Do that, and you risk several things happening:

  • It’s not worth the content creator’s time reading it, so they don’t.
  • Even if they do read it, you risk them missing out on the key points.
  • They’ll charge you a fortune because they’re losing money doing that amount of preparation.
  • They’re never going to work with you again.

There’s a balance to strike.

There’s a balance to be struck.

Knowing how to give useful and concise briefs is something I’ve learned the hard way over 20 years as a journalist and editor. What follows is some of what I’ve found works well. Some of this might read like I’m teaching grandma to suck eggs, but I’m surprised how many of these points often get forgotten.

Who is the client?

Provide your content creator with a half- or one-page summary of the business:

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  • Who it is
  • What it does
  • Whom it services
  • What its story is
  • Details about any relevant products and services

Include the elevator pitch and other key messaging so your content creator understands how the company positions itself and what kind of language to weave into the piece.

Who is the audience?

Include a paragraph or two about the intended audience. If a company has more than one audience (for example, a recruitment company might have job candidates and recruiters), then be specific. Even a sentence will do, but don’t leave your content creator guessing. They need to know who the content is for.

What needs to be known?

This is the bit where you tell your content creator what you want them to create. Be sure to include three things:

  • The purpose of the piece
  • The angle to lead with
  • The message the audience should leave with

I find it helps to provide links to relevant background information if you have it available, particularly if the information inspired or contributed to the content idea, rather than rely on content creators to find their own. It can be frustrating when their research doesn’t match or is inferior to your own.

How does the brand communicate?

Include any information the content creators need to ensure that they’re communicating in an authentic voice of the brand.

  • Tone of voice: The easiest way to provide guidance on tone of voice is to provide one or two examples that demonstrate it well. It’s much easier for your content creators to mimic a specific example they’ve seen, read, or heard than it is to interpret vague terms like “formal,” “casual,” or “informative but friendly.”
  • Style guide: Giving your content creator a style guide can save you a lot of tinkering. This is essential for visuals but also important for written content if you don’t want to spend a lot of time changing “%” to “percent” or uncapitalizing job titles. Summarize the key points or most common errors.
  • Examples: Examples aren’t just good for tone of voice; they’re also handy for layout and design to demonstrate how you expect a piece of content to be submitted. This is especially handy if your template includes social media posts, meta descriptions, and so on.

All the elements in a documented brief

Here are nine basic things every single brief requires:

  • Title: What are we calling this thing? (A working title is fine so that everyone knows how to refer to this project.)
  • Client: Who is it for, and what do they do?
  • Deadline: When is the final content due?
  • The brief itself: What is the angle, the message, and the editorial purpose of the content? Include here who the audience is.
  • Specifications: What is the word count, format, aspect ratio, or run time?
  • Submission: How and where should the content be filed? To whom?
  • Contact information: Who is the commissioning editor, the client (if appropriate), and the talent?
  • Resources: What blogging template, style guide, key messaging, access to image libraries, and other elements are required to create and deliver the content?
  • Fee: What is the agreed price/rate? Not everyone includes this in the brief, but it should be included if appropriate.

Depending on your business or the kind of content involved, you might have other important information to include here, too. Put it all in a template and make it the front page of your brief.

Prepare your briefs early

It’s entirely possible you’re reading this, screaming internally, “By the time I’ve done all that, I could have written the damn thing myself.”

But much of this information doesn’t change. Well in advance, you can document the background about a company, its audience, and how it speaks doesn’t change. You can pull all those resources into a one- or two-page document, add some high-quality previous examples, throw in the templates they’ll need, and bam! You’ve created a short, useful briefing package you can provide to any new content creator whenever it is needed. You can do this well ahead of time.

I expect these tips will save you a lot of internal screaming in the future. Not to mention drink, yoga, and voodoo.

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This is an update of a January 2019 CCO article.

Get more advice from Chief Content Officer, a monthly publication for content leaders. Subscribe today to get it in your inbox.

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Cover image by Joseph Kalinowski/Content Marketing Institute

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Quiet Quitting vs. Setting Healthy Boundaries: Where’s The Line?

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Quiet Quitting vs. Setting Healthy Boundaries: Where's The Line?

In the summer of 2022, we first started hearing buzz around a new term: “Quiet quitting“.

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Microsoft unveils a new small language model

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Microsoft unveils a new small language model

Phi-3-Mini is the first in a family of small language models Microsoft plans to release over the coming weeks. Phi-3-Small and Phi-3-Medium are in the works. In contrast to large language models like OpenAI’s ChatGPT and Google’s Gemini, small language models are trained on much smaller datasets and are said to be much more affordable for users.

We are excited to introduce Phi-3, a family of open AI models developed by Microsoft. Phi-3 models are the most capable and cost-effective small language models (SLMs) available, outperforming models of the same size and next size up across a variety of language, reasoning, coding and math benchmarks.

Misha Bilenko Corporate Vice President, Microsoft GenAI

What are they for? For one thing, the reduced size of this language model may make it suitable to run locally, for example as an app on a smartphone. Something the size of ChatGPT lives in the cloud and requires an internet connection for access.

While ChatGPT is said to have over a trillion parameters, Phi-3-Mini has only 3.8 billion. Sanjeev Bora, who works with genAI in the healthcare space, writes: “The number of parameters in a model usually dictates its size and complexity. Larger models with more parameters are generally more capable but come at the cost of increased computational requirements. The choice of size often depends on the specific problem being addressed.”

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Phi-3-Mini was trained on a relatively small dataset of 3.3 trillion tokens — instances of human language expressed numerically. But that’s still a lot of tokens.

Why we care. While it is generally reported, and confirmed by Microsoft, that these SLMs will be much more affordable than the big LLMs, it’s hard to find exact details on the pricing. Nevertheless, taking the promise at face-value, one can imagine a democratization of genAI, making it available to very small businesses and sole proprietors.

We need to see what these models can do in practice, but it’s plausible that use cases like writing a marketing newsletter, coming up with email subject lines or drafting social media posts just don’t require the gigantic power of a LLM.



Dig deeper: How a non-profit farmers market is leveraging AI

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