Tag Archives | Easter Egg

Hidden ASCII Art Generates Buzz For Dante’s Inferno

Dante's Inferno ASCII Art

When the team behind the Dante’s Inferno video game hid ASCII art in the source code of many popular websites and then waited for that art to get discovered, they were taking a huge risk, but sometimes big rewards can only come to those that are willing to take equally big risks. The risk was mitigated by the fact that their campaign was innovative and well targeted, but there was still the chance that their idea was going to fall flat, or that consumers were not going to be receptive to the idea of hunting for what essentially boils down to fancy looking banner ads.

Hell Is Closer Than You Think

Before we dive into the campaign however, let’s do a quick history lesson: ASCII art, or art made with text, has been around since the early days of the computer. Back when printers weren’t able to make graphics, someone figured out that various characters could be combined to simulate them instead, and ASCII art was born. Because of its lengthy history and quirky nature, ASCII art has remained popular in the geek crowd for many years, and coders are even known to hide ASCII art in the source code of their websites so that other geeks will stumble across it and discover the hidden art while looking under the hood of another coder’s site. This type of ‘hidden reward’ is also found in video games, where coders will hide objects or inside jokes in hard to reach places or behind lengthy button combinations in what’s affectionately referred to as an Easter Egg. The goal for both is to reward users that dig into a website or explore in a video game beyond what the typical user would do, so that whether it’s hidden code in a website or a hidden Easter Egg in a video game, those that discover it feel like they have earned access to some sort of exclusive content or reward.

With that history lesson out of the way, lets look at how Dante’s Inferno combined the geek’s love of ASCII art with the gamer’s love of Easter Eggs into a unique and innovative ad campaign that generated a ton of buzz for their upcoming release.

Dante's Inferno ASCII Art - Death

The campaign featured six pieces of ASCII art that were hidden in the source code of various video game and technology websites. One of the first of these sites to get discovered was Digg (by Brent Csutoras) with the initial discovery leading to a large scale search that uncovered a number of other pieces of art scattered across the Internet in places like IGN, GameSpot, Daily Motion, Games Radar, and WWE. One site, Kotaku, even discovered art hidden in their own source code after a reader tipped them off to the campaign, which the editors claimed to have no knowledge of. In addition to the art itself, each hidden ‘ad’ also contained a URL and a password to a secret site, and by collecting all six of these passwords, users could visit that website and unlock a special bundle of content that included music, wallpapers, posters, concept art and more from the upcoming game.

Reap Your Earthly Rewards

What’s interesting about this campaign is that it was very risky, since the ads could have sat unnoticed for a lengthy period of time before being discovered, and even then, they would have to be almost exclusively passed around by word of mouth, since there is no way to view them except by manually selecting to view the source code of a website. Thus, the campaign would have been dead in the water if it had not generated the buzz that its creators were hoping for. In addition, there is no way to track who views the source code of a website or the traffic generated from those views, except through a very rudimentary URL tracking system that uses custom URLs to track the source of visits. Thus, the only way to judge the results of this campaign is to track how many users download the special bundle, and what kind of buzz the campaign generates. (It’s interesting to note that Dante’s Inferno decided not to track what sites users were grabbing their codes from, since the same URL was used across all sites, and secret codes were shared among sites as well.) Another challenge is that while bundle downloads do indicate the total number of people exposed to the campaign, they can’t differentiate between a user that actually viewed the ASCII art in the source code of a website, and a user that simply found or was given the six passwords on a gaming forum or other less involved medium and then used them to unlock the bundle.

The result of these challenges is that for a campaign like this to work well, it has to be used for the right product at the right time and with just enough luck thrown in to capture the interest of the right audience long enough to make an impression. Judging by the blog reactions and user comments about the campaign however, this seems to have struck just that balance, with comments ranging from “I am pretty impressed by this campaign” and “it is an advertising campaign and quite a clever one if I must say so myself” to “The latest stunt is eerie, and gets bonus points for both creativity and giving the fans some fun bonuses.” Even Digg’s Chas Edwards, Digg Publisher and Chief Revenue Officer was quoted as saying, “Since Digg’s early days, ASCII art has been ingrained in our site’s culture. We’re thrilled with the opportunity presented by our partnership with Electronic Arts and the Dante’s Inferno team — incorporating ASCII art into advertising on Digg, while providing the 40 million users in the Digg Community first access to the promotion code.”

Gluttony

Hiding an ad in the source code of a website is a great example of a company that’s willing to think outside the banner, but does the success of the Dante’s Inferno campaign mean that hidden ASCII art is a viable option for other ad campaigns as well? In this case, I don’t think that you could duplicate the results of this campaign in the near term, as the success was due in such large part to the combination of right place, right time to the right audience for the right product. However, if enough time goes by and users once again forget about a company’s ability to hide ads in places as remote as the source code of a website, I think we could see another campaign or two reach a similar level of success by using a similar idea.

So why can’t companies just start hiding ads in the source code of all of their favorite websites and then wait for people to find them?

  1. There is a very small percentage of people that even know how to view the source code of a website, and even then, it’s not a guarantee that they will like ASCII art.
  2. Much of the buzz around the Dante’s Inferno campaign was driven by the novelty of the idea, so each subsequent implementation will have substantially less buzz as people get accustomed to seeing ads hidden in source code.
  3. If people don’t care enough about a product to go searching for hidden art with secret codes and mystery websites in exchange for exclusive content, then the campaign will never get seen by more than a handful of consumers who accidentally stumble across it.

The take away from this campaign is that it’s important to always keep your eyes open for new and innovative ideas, and to be willing to take a risk on a new format that might drive a lot of interest in a product, even if that format can’t be directly tied to traffic or sales. In addition, because the lack of direct tracking means you will never know the exact impact of a risky or non-conventional campaign, you must find a new way of defining your reward (besides just traffic and clicks) so that you will know if the risks were worth it, and if the campaign was a success.

The Good:

  • Unique and innovative campaign generated a massive amount of buzz.
  • Exclusive content motivated users to seek out additional pieces of hidden art and pass along the campaign to others.

The Bad:

  • Results would be difficult to duplicate, as much of the buzz was driven by how innovative the idea was.
  • Limited tracking means the success of the campaign is based on a single number (in this case, bundle downloads) and that the awareness generated by the ads themselves, separate from clicks, was all but impossible to track.

The Future:

  • Unique ad formats that reward the viewer are sought out by consumers, rather than needing to be forced upon them.

Hell Is Nigh

Indie iPhone Developers Collaborate For Character Cameos

Minigore Enviro-Bear Collaboration

Size often dictates what a company can and can’t do with their advertising: Larger companies can use their larger budgets to make a big splash if needed, and smaller companies can get away with scrappier methods that larger companies can’t even consider. One example of the small and scrappy side of advertising is the recent trend among iPhone game developers of collaboration, in which they will swap character cameos as a way of cross-promoting each game to the other game’s audience.

Examples include:

  • Minigore’s John Gore swings through the worlds of Sway.
    Minigore Sway
  • Enviro-Bear 2010’s Enviro-Bear and Lizzy from Sway will make cameos in the upcoming release of Minigore.
    Minigore Cameos
  • Harbor Master features a special episode called Pocket God Attacks! which features the characters from Pocket God.
    Pocket God Attacks
  • Pocket God added a new episode to their game called Bait Master, which pays homage to Harbor Master.
    Bait Master
  • The Creeps features characters from both Doodle Jump and Pocket God.
    Creeps Doodle Jump Pocket God
  • Doodle Jump features a secret easter egg character from Pocket God.
    Doodle Jump Pocket God
  • And the list goes on…

GSB Overgrowth

In addition to iPhone developers, indie PC developers are also getting in on the action, as demonstrated by Cliff Harris from Gratuitous Space Battles featuring rabbit shaped spaceships that take their design cues from Jeff Rosen’s game Overgrowth.

What makes this trend so interesting is that with traditional advertising, companies avoid promoting their competitors at all costs. In the indie space however, developers see other developers as more friend than foe, and are willing to help each other do what it takes to get their name out there. Perhaps it’s the fact that iPhone game pricing means consumers don’t need to pick one game or another, as they can just buy both, or perhaps it’s the fact that indie shops are often just one or two man armies, and so they see each other as a support system, but either way, there’s a different type of relationship between indie developers that you don’t see in most spaces.

When talking about his collaboration with Jeff Rosen, Cliff Harris said:

The thing I find really interesting though, is the way in which our companies can do stuff like this, where we promote each others games, even stick content from one game in another, with the minimum of fuss. When I suggested we stick a rabbit ship in GSB to see how it could work, I didn’t need to get my lawyer to talk to Wolfire’s lawyer. I didn’t need a strategic planning meeting with the head of corporate strategy, or have to justify to shareholders why we should help out what they would see as our competitors…

This is what I like about the Indie attitude. Indie devs often share tips on game coding, getting decent contract work done, promoting websites and running forums, even the financial side of the best payment providers and who knows a decent accountant etc.

Can you imagine the head of EA giving the head of Activision tips on how to save on their bandwidth bill?

This is the indie attitude, and the indie advantage. We tend to take it for granted, because at the end of the day, me and Jeff are two guys who love games and love making games. Somewhere along the line, the mainstream industry forgot that.

Since the Minigore/Enviro-Bear collaboration was what sparked the idea for this post in the first place, I decided to reach out to the developers with a few questions and see if they’d respond. Not one to disappoint, Kimmo from Mountain Sheep replied to my questions with some great insight into the world of the indie developer:

  • As an indie developer, what challenges do you face with advertising your game?
    The biggest challenge is to stand out among all the noise. You need to come up with something clever and eye-catching every time since you don’t have the budget to just push it through. It makes you pick your shots. Which is great, because it forces you to be creative.
  • How did you come up with the idea of adding characters from other games into your own?
    Timo (the artist behind Minigore) took a bunch of different characters and gave them the Minigore-treatment – just for fun. It turned out the style worked really well and we asked ourselves: what would be the wackiest thing you could do with the upcoming co-op update… we had just recently played Enviro-Bear and it was almost immediately obvious we just wanted to get the darn bear into the game. Timo got a hold of Justin Smith and he loved the idea. We felt so good about the whole thing that we wanted others in, too, and got some great names. Lizzy from Sway is going to make an appearance and we also have others we haven’t even revealed yet.
  • Do you think it’s easier as an indie developer to do collaborations like this?
    The great thing about being an indie is you get to do whatever you personally think is right. It’s definitely a lot easier for indies to collaborate like this. It takes a lot of negotiation and paperwork to get two large companies to collaborate, but with smaller teams you can get the ok even on the same day!
  • Are collaborations just a fun way to work with other developers, or do you think they help cross-promote both games?
    They are both. It makes the whole process of developing so much more fun by offering a deviation from the daily routine. In the App Store the visibility on the device itself is crucial and that’s where cross-promotion and collaborations can really help. On-device cross-promotion is in fact how some of the larger companies with lots of games in the store are able to get their games to climb the charts. Indies on the other hand usually don’t have that many games, so collaborations like this can be huge for them.
  • What game would you love to see John Gore play a role in?
    Now that Disney has bought Marvel, John Gore absolutely needs to get involved in the mash-up and get his ass handed to him by the Iron Duck or Gooferine.

Unfortunately, I don’t think collaboration is a technique that will work for many industries, as the willingness to enter into a reciprocal relationship is a lot easier for indie shops that don’t have a team of lawyers scrutinizing each and every word in a contract. For those that can make it work though, it’s a great way to not only get the word out about your product, but to build a support system of peers for yourself along the way.

The Good:

  • Collaboration benefits both parties.
  • Advertising without ads avoids banner blindness.
  • Helps smaller companies build a support system.

The Bad:

  • Difficult for larger companies to manage.
  • Runs the risk of lopsided agreements that benefit one company more than the other.

The Future:

  • Small companies help themselves by helping one another, benefiting the industry as a whole and giving extra value to consumers along the way.