Marketing magazine Hong Kong, July 2019

JULY 2019

marketing – interactive.com

HONG KONG

HONG KONG’S MASSIVE MOBILE GAMING MARKET

人人都是贏家 龐 大的香港手機 遊 戲市場

HK$55

MARKETING MAGAZINE HONG KONG EDITION JULY 2019

THE ART & SCIENCE OF CONNECTING WITH CONSUMERS

Contents JULY 2019

Editorial Rick Boost, Editor Simon Yuen, Senior Journalist Sharon Kwok, Journalist Tracy Chan, Bilingual Sub Editor James Foster, Sub Editor

2

Advertising Sales Karen Yung, Sales Director Alvis Ng, Senior Account Manager Sandra Lui, Senior Account Manager

Editor’s letter

編者的話 4

Briefing

簡報 Design Production Julia Li, Senior Graphic Designer

6

Everyone’s a winner: Hong Kong’s massive mobile gaming market.

人人都是贏家：龐大的香港手機 遊戲市場

12 Ad watch

廣告點評 Circulation Deborah Quek, Circulation Manager

20 Snapped

營銷活動花絮

Marketing Cyrus Ching, Marketing Executive

32 Job shuffle

Event Production Andrew Wright, Head of Events Production & Content Selina Kwok, Senior Event Producer Venus Cheung, Event Producer Event Services Melissa Tam, Senior Event Manager Sharon Chu, Senior Event Executive Fiona Ng, Event Executive

人事變動

14

Gamification: Why HK campaigns are hitting peak playtime.

遊戲化：香港的推廣活動為何 愈來愈重視遊戲

Event Delegate Sales Nicholas Lam, Senior Project Executive Gloria Yam, Senior Project Executive Gigi Ip, Project Executive

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Management Vivien Peters, Publisher

A can-do attitude: Challenges in keeping Coca-Cola’s centenarian brand fresh.

敢於創新:可口可樂百年 潮牌之道 For advertising enquiries Karen Yung, Sales Director kareny@marketing-interactive.com To get in touch with our editorial team editorialhk@marketing-interactive.com

Lighthouse Independent Media Ltd. Printed in Hong Kong by Asia One Printing Ltd. For subscriptions, contact circulations at +852 2861 1882 or email subscriptions@marketing-interactive.com.

COPYRIGHT & REPRINTS: All material printed in Marketing is protected under the copyright act. All rights reserved. No material may be reproduced in part or in whole without the prior written consent of the publisher and copyright holder. Permission may be requested through the Hong Kong office. Disclaimer: The views and opinions expressed in Marketing are not necessarily the views of the publisher. Hong Kong: Lighthouse Independent Media Ltd, publisher of Marketing magazine Unit B-D, 16/F, Yardley Commercial Building, 3 Connaught Road West, Sheung Wan, Hong Kong Tel: +852 2861 1882 Fax: +852 2861 1336 Singapore: Lighthouse Independent Media Pte Ltd 100C Pasir Panjang Road, #05-01 See Hoy Chan Hub, Singapore 118519 Tel: +65 6423 0329 Fax: +65 6423 0117 To subscribe to Marketing magazine, go to: www.marketing-interactive.com

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Acknowledging the complexity of using data - Digital Marketing Asia & Smart Data Summit.

香港首屆亞洲數碼營銷暨智能 數據峰會演講嘉賓面向現實

SCAN TO SUBSCRIBE

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編者的話

EDS LETTER

GAME ON! 遊戲開始！ Riding on the MTR during the morning rush hour, crushed into a cabin full of bodies. Bump.

Your arm is awkwardly extended to cling onto the nearest available surface by sheer fingertips. Bump.

You’d be steady if it wasn’t for that person knocking into your back every 30 seconds. Bump.

You turn to identify the culprit, gently lurching to and fro. Both hands busy on their phone as cartoon fighters, explosions, and point scores flash on screen.

The train jolts. Bump.

They may not have the reputation of other consoles, but mobile phones are the world’s biggest gaming platform.

Newzoo estimates that 2.4 billion people will be playing smartphone titles this year. From Candy Crush to Clash of Clans, it’s a play method embraced by all ages, genders, and income brackets.

And if mobile gaming is a hurricane sweeping the globe then Hong Kong sits at its centre. Local consumers are intense fans of the format, with this city, and its neighbour Shenzhen, home to several of the industry’s most successful developers.

Simon Yuen has spoken with key members of Hong Kong’s mobile gaming industry to define its current state and – despite the glowing numbers – the problems it faces to survive amid immense competition.

And, on gaming’s widespread effect on consumer culture, I’ve taken my own look at how gamified elements have become an essential tool for Hong Kong marketers to use in campaigns. I have spoken to representatives from two agencies that have done just that – Reprise HK and Webs s’up – to get their take on the matter.

One of Reprise’s clients for a gamified campaign was Coca-Cola, a company that has been making waves on the Hong Kong scene to show off its sustained brand power and relevance. Sharon Kwok spoke with the beverage company’s marketing director to get answers about the never-ending stream of activity from the company.

And, if you’re reading this on a train – bump.

早上繁忙時間坐地鐵，擠進塞滿人群的車廂。砰！ 您艱難地伸長手臂，用指尖抓住最接近可扶手的地方。 砰！ 如果不是背後那個人每隔30秒撞一下你的背部，您會 保持穩定。砰！ 您轉過身去看看罪魁禍首，輕輕地來回搖晃。人人雙手 忙著按電話，卡通戰士、爆炸和積分在屏幕上閃爍，車廂一 顛簸，砰！ 手機是全球最大的遊戲平台。Newzoo預測，今年將 有24億人玩智能手機遊戲。從《Candy Crush》到《部落衝 突》，這種遊戲方式廣受所有年齡、性別和收入階層人士歡 迎。 如果手機遊戲是席捲全球的颶風，那麼香港正位於颶 風中心。本地消費者是手機遊戲的最強粉絲，多家行內最 成功的遊戲開發商都坐陣於香港和鄰近的深圳。 Simon Yuen 與香港手機遊戲行業的成員進行訪談，以 了解行業的現況。儘管手機遊戲增長驚人，但在激烈的競爭 環境下，行業仍要面臨種種生存問題。 而關於遊戲對消費者文化的廣泛影響，我探討了遊戲 化元素如何成為香港市場推廣人員的必備推廣活動工具。 我訪問了Reprise HK 及 Webs s’up兩家採用遊戲化推廣模 式的代理公司代表，了解他們如何解決這個問題。 Reprise其中一項遊戲化推廣活動的客戶之一是可口可 樂公司，該公司一直不斷在香港市場掀起熱潮，以展示其可 持續發展的品牌影響力及共鳴。Sharon Kwok訪問了其市 務總監，以了解該飲料公司的推陳出新的推廣活動秘訣。 如果您正在地鐵閱讀本文，砰！

Rick Boost Editor

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WHAT WOULD HONG KONG FOOTBALL FANS GIVE UP TO WATCH A LIVE GAME? What’s on?

Spark Awards What This awards programme celebrates Hong Kong’s top media companies and their innovation across their fields of content, client engagement, new media, and programming initiatives.

Where Hotel ICON. When 9 August.

PR Awards What Marketing magazine’s PR Awards are the region’s premier showcase for PR professionals.

Where Kowloon Shangri-La. When 30 August.

“The full benefits of 5G can only be reaped with the establishment of a solid ecosystem in which technology, regulatory, security, and industry partners all have a part to play.” 「要充分發揮5G的全部 優勢，必須先建立一套 穩固的生態系統，當中 科技、監管、安全及行業 合作夥伴缺一不可。」

為了到球場觀看球賽，香港球迷可以去到幾盡？ Plenty of football fans in Hong Kong dream of watching a live match in Europe. And many would pay a hefty price – in any form – to realise that fantasy. 很多香港足球迷夢想親身前往歐洲觀看現場球賽，許多人願意以任何形式或付出高昂的代價來實現夢想。

22%

20%

Nearly of Hong Kong Millennials would be happy to give up drinking for a month to watch a live football game.

of Hong Kong men and 18% of women would include watching live football games on their holidays.

20%的香港男士和18%的女士會在放假外遊 期間順道觀看現場球賽

近22%的香港千禧一代願意一個月不 飲酒來換取現場觀看球賽

23%

of respondents said they would miss someone’s birthday to watch a live game.

23%的受訪者表示他們會為了觀看現場 球賽錯過與某人慶祝生日

11%

of them would miss an anniversary. 其中11%會錯過週年紀念日

2%

would even miss a funeral. 甚至會錯過葬禮

But most shockingly 但最令人震驚的是

11%

of men said they would miss the birth of their child if they had a chance to attend the Champions League Final.

11%的男士表示如果有機會現場觀看歐洲聯賽冠軍盃決賽，他們 願意錯過見證自己的孩子出生。

Fredrik Jejdling Executive vice-president and head of networks at Ericsson.

Source: Destination: Football – An Expedia Group Study on Football Travel Trends.

愛立信執行副總裁兼業務領域網絡負責人

資料來源：《Destination: Football》Expedia集團對足球旅行趨勢的研究

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專題報導

FEATURE

HONG KONG’S MASSIVE MOBILE GAMING MARKET 人人都是贏家：龐 大的香港 手機 遊 戲市場

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專題報導

FEATURE

Hongkongers are obsessed with gaming.

But rather than PC, Xbox, PlayStation, or the Switch, this city’s dominant gaming platform is smartphones. Simon Yuen talks to several mobile gaming industry developers and experts to examine the challenges and opportunities in the industry ahead.

港人鍾情打機，但本港最受歡迎的電玩平台不是個人 電腦、Xbox、PlayStation或Switch，而是智能手 機。Simon Yuen訪問了幾位手機遊戲開發商及行業 專家，探討行業未來的挑戰及機遇。

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專題報導

FEATURE

Level up According to the “Games Market Report” by games and eSports analytics provider Newzoo Global, it’s estimated that in 2019 the global games market will generate revenues of US$152.1 billion, constituting a 9.6% year-onyear increase.

Mobile gaming, which includes smartphones and tablets, remains the largest segment this year. It is set to produce revenues of US$68.5 billion, 45% of the global games market. Out of that, 80% of all mobile game revenues – equivalent to US$54.9 billion – will come from smartphone games. The remaining part of the revenue is from tablet gaming.

The global market is thriving, and Hong Kong is no exception. PwC’s report “eSports – new horizons for Hong Kong and the world” showed that in 2019, annual revenues in the Hong Kong gaming industry will reach about US$900 million. And that figure will rise to US$1 billion (HK$7.8 billion) by 2021.

Hongkongers are indeed massive gamers.

In fact, according to the PayPal 2018 Global Gaming report, an overwhelming 90% of Hong Kong people said they played video games at least once a week; 65% of Hong Kong people said smartphones and tablets were their most-used gaming devices, while 21% and 14% preferred console or computer (PCs and Macs) respectively.

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The prevalence of mobile games opens up opportunities to game developers. As mobile games are not usually as complicated in their design as traditional PC or console games, the threshold of producing a mobile game is lower. This has resulted in dozens of small teams of developers jumping into the market.

“There is huge potential for the mobile gaming industry,” says William Lau, founder of Anti Gravity Game Studios.

“A small developing team is enough to produce a simple mobile game. Though many mobile games are free, the pay-to-play model enables developers to better the gaming process to make money.”

However, competition between mobile game developers is getting fierce, as there are literally tens of thousands of mobile games in the market.

“Competition forces us to innovate. Many years ago, Angry Birds achieved huge success, but gamers are not satisfied with the same gaming experience now. We are propelled by the ever-increasing demand to come up with more ideas and raise our products’ standards,” Lau explains.

升級 根據電玩及電競分析公司Newzoo的《全球遊戲市 場報告》預測，2019年的全球遊戲市場收入將達至 1,521億美元，按年增長達9.6%。 智能手機及平板電腦在內的手機遊戲仍然是 今年最大的遊戲細分市場，預計其產生的收入將 達至 685億美元，佔全球遊戲市場收入的 45%。此 外，80%的手機遊戲收入（相當於549億美元）將來 自智能手機遊戲，其餘則來自平板電腦遊戲。 全球市場發展蓬勃，香港也不例外。羅兵咸永道 的《電競—為香港及全球開拓新視野》報告顯示，香 港遊戲市場於2019年的年收入將達至約9億美元， 並將於2021年增長至10億美元（約78億港元）。 港人的確不遺餘力打機。事實上，根據 PayPal 的2018全球電玩調查報告，多達90%的港人表示每 星期最少打機一次，65%的港人表示智能手機及平 WWW. MARK E TING– IN TE RAC TI VE . C OM

專題報導

FEATURE The rapid development of mobile gaming also impacts other industries and services, including live-streaming, offline events, and exhibitions, diversifying gamers’ experiences.

The 5G network era on the horizon could further benefit the entire mobile gaming industry.

“High speed and low latency are crucial to enhancing the gamer experience, such as gameplay, and the quality of the game screen.

Gamers could use their mobile phones to play complicated PC games in the future,” says Hendrick Sin, co-founder and vice-chairman of CMGE Group.

Hard mode Yet, though the work is less demanding than in traditional gaming, and opportunity is rife, Hong Kong-based developers are suffering from a severe lack of talent. Currently, developers are finding it hard to recruit local talent – such as programmers and art designers – with more than five years of experience.

“The industry in Hong Kong has just started burgeoning. Seasoned talent is literally scarce,” Lau says.

Lau says the regional neighbourhood is offering stiff competition on the staffing front.

“Taiwan has been producing PC games over the years, and Chinese talent can develop world-class products already. More importantly, developers in China are capable of producing games appealing to not only domestic gamers, but also foreign players.”

In addition to a talent shortage, the cost of developing mobile games is also a major concern for developers.

“Hong Kong gamers are open to different types of mobile games, and they are really willing to splash the cash in gaming. However, the cost of producing games is way too high, along with the lack of talent, leading to the fact that Hong Kong is lagging behind China in terms of innovation and the number of mobile games,” Sin says.

Hongkongers’ willingness to explore new games means they are not satisfied with mediocre products. Quality games produced by well-established developers are appealing to gamers, so both renowned and boutique developers need to innovate to succeed.

“It’s a winner-take-all industry. Less than 5% of games can make a lot of money, and more than 90% cannot even break even,” says Silver Yu, CEO of Skytree Digital.

However, this doesn’t mean Hong Kong developers can’t or don’t produce quality mobile games. Lau says that developers simply have to be realistic; that they don’t need to produce “top-tier” mobile games.

“Some small games are popular as well. Local developers are capable of producing games that take the top spot of the rankings,” says Philip Lau, co-founder of Anti Gravity Game Studios.

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Localisation is a must to achieve success.

For example, when they browse Apple’s App Store and Google’s Play Store for games, Hong Kong gamers prefer to choose strategy games and titles with an element of fairness in the gameplay.

Yu agrees that Hong Kong-based mobile game developers are capable of producing popular games.

“Innovation is the key to success. We launched Hachi Hachi in 2015, (which was) the first mobile music game in the world to enable gamers to battle with friends online. Developers need to make an effort on gameplay to enhance gamers’ experiences and capture their hearts,” he says.

Gold coins Funding in the industry is also shifting as the pay-to-play model gives way to in-game ads as one of the primary sources of income for game developers. But incorporating ads into titles is no easy task – as many players have grown weary and resistant to watching ads during gameplay.

“Existing in-game advertising models simply fail to prioritise the needs of gamers,” says Nithinan Boonyawattanapisut, chief executive and co-founder of marketing automation platform HotNow. Mobile game ads can be divided into several types. Banner ads, interstitial videos, and product placements are the norm, as are “splash ads”; full-screen interstitial ads that are displayed immediately after the application has launched. However, all these ad types impede or distract from gameplay to some extent.

板電腦是最常用的打機裝置，而分別有 21%及14% 的人較喜歡使用電視遊戲機及電腦（PC及Mac）來 打機。 手機遊戲的熱潮為遊戲開發商提供了機遇。由 於手機遊戲大多不像傳統電腦或電視遊戲那麼複 雜，因此製作手機遊戲的門檻較低，從而吸引大量 小型開發團隊投身市場。 Anti Gravity Game Studios創辦人William Lau 說：「手機遊戲行業擁有巨大潛力。」 「一支小型開發團隊足以製作一個簡單的手機 遊戲。儘管許多手機遊戲都是免費，但收費遊戲模 式讓開發人員能夠改善遊戲過程來賺錢。」 但市場上有成千上萬的手機遊戲選擇，使開發 商之間的競爭愈趨激烈。 Lau解釋：「競爭驅使我們創新。Angry birds 在多年前大獲成功，但現時的玩家不再滿足於同 樣的遊 戲體 驗。我們必 須構思更多創意，提 升我 們的產品標準，以迎合不斷增長的需求。」 手機遊戲的快速發展也影響到其他行業及服 務，包括直 播、線下活動及 展 覽，使 玩 家 的體 驗 變得更多元化。隨著 5G 網絡時代即將來臨，整個 手機遊戲行業將進一步受惠。 中國手遊娛樂集團聯合創辦人兼副董事長冼漢 迪說：「高速及低延遲的網絡對增強玩家體驗，例如 遊戲過程及遊戲畫面質素非常重要。玩家未來可使 用自己的手機來玩複雜的電腦遊戲。」

困難模式 雖然製作手機遊戲比製作傳統遊戲較容易，而且商 機處處，但香港仍缺乏遊戲開發人才。遊戲開發商 目前難以招聘具有五年以上經驗的本地人才，例如 程式員及藝術設計師。 Lau說：「行業在香港剛剛興起，十分缺乏經驗 豐富的人才。」 「台灣已生產電腦遊戲多年，中國內地人才亦 已開發出世界一流的產品。更重要的是，中國的遊戲 開發商能夠生產出不僅吸引國內玩家、更吸引外國 玩家的遊戲。」

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專題報導

FEATURE

Boonyawattanapisut says banner and splash ads tend to interrupt gameplay, breaking the ambience of the game and ultimately creating a negative impression of the advertising sponsors and participating brands.

As for interstitial videos, gamers are often prompted to watch a 10 to 30 second ad to obtain some perks, such as an extra life. These videos are usually regarded as a necessary evil for game developers to monetise their free mobile games. However, this model may also leave a negative impression on gamers.

Product placement – a static form of advertising where in-game assets are branded by sponsors – has a longer history than other models. The problem is that as player demographics change, the assets fail to adapt, meaning advertisers cannot personalise the content.

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The goal in many marketers’ minds is to minimise disturbances to the experience or to customise the content to better target the right audience. Boonyawattanapisut says one solution to tackle the problem could be branded in-game assets.

“Integrating branded in-game assets into the gameplay narrative allows for products to be introduced within the world of the game in a more natural manner. The more important these branded assets are, the higher the possibility of gamers to engage with (the ads and branded content),” she explains.

Personalisation is crucial to maximising brand messages. What may be key is the localisation of in-game features, and developing key brand relationships with merchants that have greater brand recognition with any given target audience.

除了人才短缺，手機遊戲的開發成本也是開發 商的一大憂慮。 冼漢迪說：「香港玩家對不同類型的手機遊戲 持開放態度，並願意為打機大灑金錢，但遊戲的生 產成本太高，加上缺乏人才，導致香港在創新及手 機遊戲數量方面落後於中國內地。」 香港人願意發掘新遊戲，因此平庸的產品不能 滿足他們。知名遊戲開發商製作的優質遊戲對玩家 具有吸引力，因此不論是知名及新興遊戲開發商都 需要創新才能取得成功。 Skytree Digital行政總裁余泳峰說：「這是一個 贏家通吃的行業，少於5%的遊戲能夠賺大錢，超過 90%的遊戲甚至不能達到收支平衡。 但這並不表示香港的遊戲開發商無法或沒有 生產出高質素的手機遊戲。Lau表示，開發人員只 須切合實際，不需要製作「頂級」的手機遊戲。 Anti Gravity Game Studios聯合創辦人Philip Lau說：「一些小遊戲也很受歡迎，本地開發商有能 力製作出排名第一的遊戲。」 要取得成功，本地化是必要條件。例如，在蘋果 App Store及Google Play Store搜尋遊戲時，香港 玩家較喜歡選擇策略遊戲及具有平衡元素的遊戲。 余泳峰同意香港的手機遊戲開發商有能力製作 出熱門遊戲。 他說：「創新是成功的關鍵。我們於2015年推出 Hachi Hachi，（當時）是全球首款能夠讓玩家與朋 友在網上一較高下的手機音樂遊戲。開發人員要致 力設計遊戲玩法，以增強玩家體驗，贏取他們的歡 心。」

金幣 行業的資金來源也發生變化，遊戲開發商的主要 收入來源之一，已從收費遊戲變成遊戲內出現的廣 告。但要將廣告植入遊戲並非易事，因為許多玩家 已厭倦及抗拒在遊戲過程中觀看廣告。 市場推廣自動化平台HotNow 行政總裁兼聯合 創辦人Nithinan Boonyawattanapisut說：「現時遊 戲內的廣告模式根本無法滿足玩家的需求。」 手機遊戲廣告可分為多種類型，常見的包括橫 額廣告、插頁式廣告片及植入式廣告，還有在應用 程式啟動後，立即顯示全屏插頁式廣告的「遮屏廣

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專題報導

FEATURE 告」，但這些類型的廣告全都在某程 度上阻礙或擾亂遊戲過程。 Boonyawattanapisut表示，橫額 及遮屏廣告往往會打斷遊戲，破壞遊 戲氛圍，最終令玩家對廣告贊助商及 參與品牌產生負面印象。 至於插頁式廣告片，系統通常會 提示玩家觀看10至 30 秒的廣告以獲 得一些獎勵，例如額外復活機會。遊 戲開發商往往視這些廣告片為其免費 手機遊戲賺錢的必需品，但這種模式 仍可能會令玩家留下負面印象。 植入式廣告是一種靜態的廣告形 式，遊戲內會出現顯示贊助品牌的資 產。這種廣告模式相對應用了較長時 間，問題在於玩家的人口結構已發生 變化，但資產沒有與時並進，表示廣 告商無法為玩家打造個人化的內容。 許 多市 場 推 廣 人 員 的目標 是 盡 量減低對遊戲體驗的干擾，又或者度 身訂制內容以 更 好地瞄準正確的受 眾。Boonyawattanapisut表示，遊戲 內的品牌贊助資產可能是一個解決方 法。 她解釋：「將遊戲內的品牌贊助資產整合到遊 戲敘述中，能夠以較自然的方式在遊戲世界中介紹 產品。這些品牌贊助資產愈重要，玩家留意（廣告及 品牌內容）的可能性就愈高。」 個人化對宣傳品牌訊息至關重要，當中的關鍵 可能是本地化的遊戲特色，並與任何目標受眾較熟 悉的商家建立重要品牌關係。 但 個 人 化 也 可 以 建 立 客 戶 忠 誠 度。Boonyawattanapisut向《Marketing》表示：「 有效的個人化策略能確保發揮市場推廣訊息的最大 成效，以更具策略的方式瞄準品牌的目標受眾很重 要。」

秘技

But personalisation can also build customer loyalty. As Boonyawattanapisut tells Marketing: “Effective personalisation tactics ensure the maximum effectiveness of marketing messages. It is critical to properly address one’s intended audience in a more strategic way.”

Cheat codes Though Hong Kong developers are getting the limelight, it’s not all been for the most favourable reasons. Intellectual property theft is not new to the gaming industry, but the reputation of Chinese and HK knockoffs is becoming problematic for local developers.

In 2013, Hong Kong-based mobile application developer Mad Head was accused of plagiarism due to alleged gameplay similarities between its mobile game Tower of Saviors and a previous title from Japanese mobile game developer GungHo Online Entertainment, Puzzle & Dragons.

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Yet six years on, Tower of Saviors remains a popular mobile game. Lau says developers have become used to the situation of suspected plagiarism, and there’s not much they can do about it.

“We can take shooting games as an example. There are no major amendments on the gameplay over the years, and you won’t say the developers are copying each other. Also, the mobile game (which is accused of plagiarism) must have some features better than the ‘original’ one to be appealing to gamers,” William Lau says.

Yu agrees that developers can do almost nothing to prevent competitors from taking reference, if not copying, their products.

“Developers won’t use licensed characters since they will get sued. It is a common practice for game developers to take reference from their rivals and competitors, but it’s immoral to claim that you (have) developed a new product when in fact it’s just copying others’ hard work,” Yu concludes.

雖然香港遊戲開發商正逐漸成為眾人焦點，但並不 是出於最有利的原因。知識產權盜竊問題對遊戲行 業來說並不陌生，但中國內地及香港的「山寨品」名 聲正成為影響本地遊戲開發商的一個問題。 2013 年，香 港 手 機 應 用 程 式 開 發 公司 Mad Head因其手機遊戲《神魔之塔》，與日本手機遊戲 開發商GungHo Online Entertainment之前推出的 手機遊戲《Puzzle & Dragons》玩法相似，而被指 控剽竊。 但六年過去，《神魔之塔》仍然是一款受歡迎的 手機遊戲。Wiliam Lau表示開發人員對涉嫌抄襲的 情況早已習以為常，但他們也無能為力。 William Lau說：「以射擊遊戲為例，遊戲玩法 多年來都沒有大改變，但沒有人會說開發人員互相 抄襲。此外，該款（被指控剽竊的）手機遊戲肯定具 備一些比『原創』遊戲更好的遊戲特色才能吸引到 玩家。」 余泳峰同意指開發人員幾乎不可能阻止競爭對 手「抄考」他們的產品。 余泳峰總結道：「遊戲開發人員不會使用註冊 字符，否則會被起訴。開發人員參考其競爭對手的 做法很常見，但如果聲稱開發了一款新產品，但實際 上只是抄襲別人的辛勞成果，這就是不道德。」

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觀點

OPINION

Anson Leung Founder, business director Pontac

HOT: IKEA REAL LIFE SERIES IKEA has once again brought imagination and creativity into full play. By recreating iconic rooms from famous TV shows – both new and classic – using its own furniture, IKEA has created resonance with different generations.

In contrast to the continuous trend of digital usage in marketing campaigns, IKEA has gone back to the basics. The IKEA Real Life Series consists of only a few static images, nothing more.

This really inspires me because marketers nowadays are trying so hard to impress their audiences with fancy, flashy and interactive digital technologies – VR, AR, projection mapping, you name it. Such a clean and simple campaign is becoming rare.

Don’t get me wrong, I am a big fan of interactive technology, it certainly brings engagement to a whole new level. It is just the IKEA Real Life Series reminds me of the fundamentals of marketing: imagination and creativity. They are the soul of every marketing campaign; no amount of technology can save a campaign without a soul.

讚: 宜家傢俬 Real Life Series 廣告 宜家傢俬再一次將想像力及創意發揮得淋漓盡致！以自家傢俬重現不同經典 電視劇的場景，令不同年齡層的受眾看得開心之餘亦充滿共鳴。 有別於現時愈趨數碼化的市場營銷手法，宜家傢俬選擇回歸基本：整個 廣告只是運用了幾張圖片。現今的市場營銷大多追求華麗、奪目、能夠與受 眾互動的數碼化手法（VR、AR、影像投影…），如此簡潔的廣告實在買少見 少。 數碼科技的確能夠將互動性及趣味性大大提高，我個人亦很喜歡它所 帶來的衝擊。只是IKEA Real Life Series 提醒了我，想像力及創意才是市場 營銷的靈魂。假如沒有靈魂，再奪目的科技也是於事無補。

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AD WATCH 廣告 點評

NOT: THE TRUMPET BRAND

SEIROGAN TV AD It is not uncommon for a TV advertisement to have its own theme song. A catchy theme song creates a strong and long-lasting brand association; while a poorly composed song can do just the opposite.

The Trumpet Brand Seirogan simply has the worst ad theme song I have ever listened to. The completely out of tune lyrics, in combination with the unrecognisable mumbled singing of its actors, meant I could barely catch a word. I cannot see how it got approval to be aired and how it does any good for the brand.

A good TV ad theme song is extremely difficult to come up with: catchy lyrics, a simple, but memorable melody, an appropriate performance, etc. A perfect combination of these can create a classic (for example, the Vita Chocolate Milk theme song), but Trumpet Brand Seirogan just showed us how TV ad theme songs can go very, very, wrong.

彈: 喇叭牌正露丸電視廣告 電視廣告主題曲由來已久，並不是甚麼新鮮事。「入腦」的主題曲可幫助 建立鮮明的品牌形象；相反，劣質的主題曲則只會帶來反效果。 剛從電視中看／聽見喇叭牌正露丸的廣告，卻是我記憶所及中最難聽 的廣告歌。歌詞中每一隻字的聲調都不合音調，加上唱歌的廣告演員口齒不 清，我在聽完整首歌後居然一隻字都聽不明白…而更令我費解的是，如此質 素的廣告竟然可獲放行「出街」… 要創作一首好的廣告歌是何其困難：琅琅上口的歌詞、簡單易記的旋 律、到位的演繹，缺一不可。配合得宜的話可以創作出經典（例如：維他朱古 力奶的廣告歌），但喇叭牌正露丸卻正正作了一個反面教材的示範。

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FEATURE

GAMIFICATION: Why HK campaigns are hitting peak playtime 遊 戲 化：香 港 的 推 廣 活動為何愈來愈重 視遊戲

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FEATURE

In recent years, an increasing number of campaign descriptions have included claims of reaping the benefits from some form of gamification. But beyond the buzzword value, what worth does gamification present to Hong Kong’s marketing scene? Rick Boost speaks with two agencies who have won awards using it. 近年，愈來愈多推廣活動強調某種形式的遊戲化所帶來的好處。 但除了成為流行語之外，遊戲化還為香港的市場推廣環境帶來 甚麼價值？Rick Boost訪問兩家憑藉遊戲化推廣活動贏得獎項 的代理公司。

Rules of the game “I really don’t think gamification is something new, in APAC, or in the world,” says Penny Chow, managing director at Reprise HK. In the past year, the Reprise team has had notable success using gamification to great effect in campaigns for Nike and Coca-Cola.

But Chow thinks the industry has a major misconception about the term.

“There is a very big misunderstanding where people think gamification means a game or gaming,” she says.

“In the past, people asked, ‘what is gamification?’, and other people would say ‘you use games to amplify something’. That means the gaming tactic or execution can help you to achieve something. If you ask me, I would say gamification has now become an advertising or marketing tool, that in itself, is different from many other strategies we are using.”

Like many in the industry, she believes people have become hung up on the tech connotations of the term and vehemently reminds Marketing that gamification predates smartphones, AR, and VR. The toys may have changed, but old standards such as loyalty schemes, vouchers, and point collecting all included game elements long before their digital facelift.

“Marketers have always used gamification to engage with their consumers when there is something not easy to be engaged by,” she says.

That wisdom aside, it’s still undeniable that a growing number of agencies are using a vast array of digital capabilities to bring 1 6 M A R K ET I N G H O N G K O N G J ULY 201 9

elements from the world of gaming to the fore of their campaigns. “I think gamification is not just in your face, it’s in your head. It makes an emotional connection with the audience and leads to a longer relationship, not just simple brand awareness,” says Alco Ho, chief creative officer at Webs s’up.

He also supplies a reason for the sudden gamification push.

“Campaigns are no longer a sustainable form of marketing because consumers are getting smarter. They are blind to traditional advertisements. In order to reach the heart of our target audience, we need to incorporate fun and an element of competition to a marketing strategy.”

Ho posits his own definition of gamification as an integration of brand promotion via challenges and rewards. So, for example, a standard free product giveaway with a thematic relevance with the brand can be better promoted through contests.

“It triggers a sense of achievement and makes use of the competitive nature in people, encouraging them to visit the brand app/ website even more, just because they enjoy it,” he says.

Chow, likewise, believes games tap into something buried deep in our collective psyches.

“When we played games when we were young we got engaged because we wanted to achieve more, we wanted to see more, and we wanted to accumulate more. So I think it’s playing with the psychology or mindset of consumers.”

遊戲規則 Reprise HK董事總經理Penny Chow說：「我真的不 認為遊戲化對亞太區或全世界來說是甚麼新鮮事。」 Reprise團隊去年為Nike及可口可樂的推廣活動 加入遊戲化元素，並大獲成功，但Chow認為業界對 遊戲化的概念有重大誤解。 她說：「普遍認為遊戲化代表遊戲或玩遊戲，這 是一個非常大的誤解。」 「以往問到『甚麼是遊戲化？』，其他人會說『用 遊戲來宣傳某些東西』，這表示遊戲策略或執行方 式有助實現某些目標。如果你問我，我會說遊戲化 現已成為一種廣告或市場推廣工具，它本身有別於 我們正使用的許多其他策略。」 正如業內許多人一樣，她認為大眾過於著重討 論遊戲化的技術涵意，她向《Marketing》強調遊戲 化比智能手機、AR及VR更早誕生。 這些玩意可能已經轉變，但忠誠度計劃、優惠券 及積分等舊有標準推廣模式在換上數碼新裝之前， 早已將遊戲元素包含在內。 她說：「每當要宣傳一些不太吸引的東西時，市 場推廣人員都會採用遊戲化方式來吸引消費者。」 除了這種宣傳智慧之外，無可否認愈來愈多代 理公司正運用各式各樣的數碼技術，將遊戲世界的 元素引入成為其推廣活動的重點。 Webs s’up首席創意官Alco Ho說：「我認為遊 戲化不只產生即時吸引力，更會在大眾的腦海中發 揮作用。它與受眾建立一種情感聯繫，不僅提升品牌 知名度，亦延伸至更長久的關係。」 他亦解釋遊戲化突然興起的原因。 「消費者變得愈來愈精明，他們對傳統廣告視 而不見，因此推廣活動不再是一種可持續發展的市 場推廣形式。為了贏得目標受眾的歡心，我們需要將 趣味及比賽元素融入市場推廣策略之中。」 Ho 將遊戲化定義為結合挑戰及獎勵的綜合品 牌宣傳，例如通過比賽，可以更好地宣傳與品牌主 題相關的標準免費贈品活動。

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All the pieces matter Producing a gamification-focused campaign looks like a dauntingly complicated proposition in a digital world full of information and constant updates. Yet, it’s because of that environment that Ho believes the key to success is dumbing things down.

“Keep things easy, simple and fun. What’s the main point of gamification. How to net people? So make it easy to win, with a simple game structure, and user-friendly. Make attractive content where every user can feel like a champion. Who wouldn’t like that?”

Ting Shie, team head for the social and content team at Webs s’up, urges marketers to resist the allure of complexity and, instead, advocates going with a basic approach to drive a brand into people’s minds.

Shie says: “We want to make it stupid.

Simplicity is about patience. You don’t have that patience to figure out how to play. You want to figure it out instantly or within seconds, then it will attract the user to play it or even share it afterwards.”

That is one of the obvious drivers for the gamification push we’ve seen across marketing.

Agencies are not only seeking to capitalise purely on the ability to generate – through promises of reward or glory – a motivation for users to engage by joining up. The real promise of a connected gaming world is that players draw others into their play, as rivals, allies, or simply spectators. And that kind of seemingly just-add-water kind of hype is hard to resist.

But, as Chow points out, the lure of gamification isn’t just its rapid spread potential, but the quality of each of those hits.

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“When there’s a social video you engage via viewing or commenting or sharing. But gamification means you engage longer and engage deeper.”

She cites the difference in approach Reprise could have made when handling a campaign for Coca-Cola.

“It’s very easy to just ask teenagers to drink more Coca-Cola every summer. We can hire the most popular bands or singers in Hong Kong and give them a lot of prizes in a lucky draw. But then the consumer action just stops there. When they’ve drunk the Coke, they stop.

They don’t consider, when will I drink it again?”

Reprise instead chose to launch a Tetris game mobile activation where customers collected in-game puzzle pieces from bought cans. This hooked them emotionally and drove them to be invested in their next purchase.

Chow says: “I think gamification is playing with magic. If you can use it in a smart way you can actually engage with your consumers longer and deeper.”

Yet, as she tells Marketing, it’s not just what she calls “bling bling” beverage, fashion, or lifestyle brands that this engagement works for.

In fact, the biggest beneficiaries of gamification techniques could reside in brand categories perceived as more sedate.

“Who wants to know about a banking company? If you launch a brand campaign and say, ‘OK, we’ll put you in the heart of our business, and we have these services for you to choose from ...’, well the younger generation are not interested to know more. So gamification can take a very important place in this area if a marketer knows how to use it.”

他說：「它觸發成就感，並善用人們的競爭天 性，令他們產生興趣，鼓勵他們更多瀏覽品牌的應用 程式或網站。」 Chow同樣認為遊戲能觸動大眾的心靈深處。 「我們小時候玩遊戲很投入，因為我們希望達 成更多目標、看到更多、積累更多，我認為遊戲化正 抓緊消費者這種心理或心態。」

每一方面都很重要 在資訊豐富及不斷更新的數碼世界中，製作以遊戲 化為重點的推廣活動似乎是一項異常複雜的任務。 但正正因為處於這種環境，Ho認為成功的關鍵在於 簡化。 「容易理解、簡單、有趣，這就是遊戲化的重 點。如何吸引大眾？採用簡單的遊戲結構、容易取 勝、易於操作，製作具吸引力的內容，讓每位用戶都 能享受勝利的滋味，誰不喜歡那樣？」 Webs s’up社交及內容團隊負責人Ting Shie鼓 勵市場推廣人員化繁為簡，並提倡採用基本方式將 品牌印入大眾的腦海中。 Shie說：「我們想讓它變得一目了然。簡化的原 因在於耐性，用戶沒有耐性去弄清楚遊戲玩法，他 們想立即或在幾秒內能夠明白，然後便能吸引用戶 參與，他們甚至會在玩完遊戲之後與人分享。」 這是在市場推廣中採用遊戲化宣傳方式的明顯 因素之一。 代理公司不僅純粹想通過獎勵或榮耀來吸引用 戶參與賺取利潤，互聯遊戲世界的真正目標是想透 過玩家吸引其他人參與遊戲，成為其競爭對手、盟 友或僅僅作為觀眾，這種似乎易如反掌的大肆宣傳 令人難以抗拒。 但正如Chow所指，遊戲化的吸引之處不僅在於 其高速的傳播潛力，還有其宣傳的質量。 「社交影片的參與方式是觀看、評論或分享，但 遊戲化可以令大眾更長久深入地參與其中。」 她列舉了Reprise在策劃可口可樂推廣活動時可 採取的方式。

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「每年夏天向青少年宣傳多喝可口可樂很容易， 我們可以邀請香港最受歡迎的樂隊或歌手擔任代言 人，並舉行幸運抽獎向他們送出很多獎品，但隨後消 費者的行動便會止於此，喝完可樂便完結，他們不 會考慮甚麼時候再喝。」 因此 Reprise選擇推出一個俄羅斯方塊遊戲手 機推廣活動，顧客從購買的可樂罐收集遊戲的砌圖 塊，在情感上牽引他們，並鼓勵他們再次消費。 Chow說：「我認為遊戲化是一種魔法，如果能 夠巧妙運用，便可與消費者進行更長遠深入的聯 繫。」 然而她向《Marketing》表示，這種聯繫方式並 非僅適用於她所謂的「花哨」飲料、時尚或生活方式 品牌。事實上，遊戲化技術的最大受益者，可以是較 為低調的品牌。 「誰想了解一家銀行公司？如果推出一個品牌 推廣活動，內容是『好的，我們會將您放在業務的核 心，我們提供這些服務供您選擇......』，年輕一代不 會有興趣進一步了解。因此，如果市場推廣人員懂得 如何善用遊戲化，將會對這方面的宣傳大有幫助。」 如果品牌掌握資訊，並能夠向年輕消費者間接 灌輸品牌的意義，他們可以自行定制遊戲化推廣活 動。 Chow說：「可以通過許多不同方式吸引那些不 易被吸引的消費者，並通過較有趣的方式向他們傳 遞品牌的核心訊息。」 Shie及Ho均表示同意，並認為任何品牌都可以 推行遊戲化推廣活動。然而，除非該推廣活動能夠 打開對話，否則不會產生神奇的結果。 Ho說：「可以在市場推廣策略中注入一些本地 文化元素，善用一些熱門話題、KOL及本地俚語，會 較容易引起觀眾的注意。」

If a brand has the information on hand and the ability to indirectly tell younger groups of consumers what the brand is about, they can tailor-make a gamification campaign.

“There could be lots of different ways for you to engage with those consumers who are not easy to engage with and tell them your hard-core messages through more interesting ways,” Chow says.

Shie and Ho concur, telling us they think any brand can have a gamification campaign.

However, that campaign will not magically yield results unless it’s thrust into the conversation.

Ho says: “Local culture elements can be put into the marketing strategy. Ride on some hot topics, KOLs, and local slang to make it easier to drive the audience attention.”

High scores Despite the temptation to hire an army of developers to build a flashy multi-layered app, our subjects agree it’s a rash impulse. Though some strategies require something of the sort, Reprise and Webs s’up have successfully based campaigns around gamification with a far more frugal approach.

Webs s’up’s 2018 Christmas campaign for Fashion Walk embraced O2O by luring customers to the location for a scavenger hunt themed around the Looney Tunes character Marvin the Martian.

It began with a live teaser video showing local rock band Dear Jane encountering extraterrestrials during a busking performance outside the venue.

Meanwhile, the agency had also pulled a total of 200 KOLs/influencers who simultaneously posted they had had the same experiences that very same night. Heightened interest drew customers to Fashion Walk where the final actual gamification phase kicked in by 1 8 M AR K ET I N G H O N G K O N G J ULY 201 9

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challenging visitors to physically find and scan codes at various locations at the mall.

Shie says: “We had to think of a lot of elements to put it all together. We knew fashion walks attracted younger fashionistas who really care about what they wear. Then we’re getting the Looney Tunes and Marvin the Martian.”

From a development standpoint, it required little more than building a site for customers to claim rewards, but the offbeat approach stimulated conversations with the audience and client.

Webs s’up’s believes this resulted in people being strongly motivated for a longer period of time and more engaged with the content. Ho says it allowed them to “become part of the story, part of the journey”.

聘請一大批開發人員來構建一個花巧的多層式應用 程式，這個主意似乎很吸引，但我們的受訪者均認 為此舉是一時衝動。雖然有些策略需要這樣做，但 Reprise及Webs s’up已成功以較實際的方式推行 遊戲化推廣活動。 Webs s’up於2018年為Fashion Walk推出一 個 O2O 聖誕推廣活動，吸引顧客前往商場參與以 Looney Tunes卡通人物「Marvin the Martian火星 人」為主題的尋寶遊戲。 該活動首先以現場預告片為開始，片中看到本 地搖滾樂隊Dear Jane在商場外的街頭表演期間遇 到外星人。 與此同時，該代理公司與 200名KO L及網紅合 作，請他們同時在網上發文，表示在同一個晚上有相 同的經歷，吸引顧客前往Fashion Walk一探究竟。 隨後訪客會獲邀親自在商場內的不同位置尋找及掃 瞄代碼，展開最後的實際遊戲化階段。 Shie 說：「我們必須結合很多不同因素，我們 知道Fashion Walk吸引重視衣著品味的時尚年輕 人士，然後我們想到Looney Tunes及Marvin the Martian火星人。」 從發展的角度來看，只需建立一個網站讓顧客 換領獎賞便可以，但這個另類的宣傳方式開啟與觀 眾及客戶的對話。

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And though that project sounds minimalist, Chow tells Marketing how Reprise built a gamified campaign for Nike to cash in on the 2018 World Cup out of nothing, but Instagram and a single page on an existing site.

“The normal practice is, if you launch something for the World Cup, for example, some football apparel, you just send emails to all your members. Another way is you send emails to football-related members you have in the pool.

But last time during the World Cup we discussed with the client that it didn’t seem enough.”

Using the hashtag, #BelieveToUnlock, users would find coded messages in Instagram posts, which could be used to unlock rewards such as shopping discounts, event passes and training sessions with local players.

Nike had a huge pool of data on its HK users from its eCommerce activities, so tiered into categories of engagement and influence – from VIPs down to the more casual – Reprise was able to strategically pick when specific users saw which posts.

It bore huge results, doubling the membership and driving up click-through rates, sales and promotion code usage. Using little more than a hashtag, Chow puts the decision down to just having the right information.

“If a brand really needs to do gamification they need to understand their audience first, what’s their habits, what do they want,” she says.

“If they want something, no matter if you’re an app or if you’re an outdoor event or just a simple Instagram or Facebook activation they will engage with you so you need to understand their habits or their intentions if you want them to take action.”

Shie lays out his own view on the importance of social: “Ninety five per cent of all gamification has to go through social channels.

Nobody wants to download an app simply to play a few games. So we’ve been planning a lot of games based on the DNA of Facebook and Instagram. And YouTube now is allowing interactive paths where you can choose A or B to continue the story.”

Endgame As customers are incentivised to take part for rewards, game-infused campaigns provide a grand prize for marketers: data. While regulations have made it harder to gain access to user information, gamification creates a reasonable bargain for consumers to grant those required permissions.

“All the clients want to collect data for further upselling or engagement or even to target their audience. So, we can make the games have a filled form for incentives and rewards (and) they WWW.M A R K ET I N G – I N T ER A C T I V E .C O M

“Gamification is not just in your face, it’s in your head.” 「我認為遊戲化不只產生 即時吸引力，更會在大眾 的腦海中發揮作用。」

Webs s’up認為這能夠更長時間吸引大眾，並 令大眾更投入參與。Ho表示，這讓他們「成為故事 的一部分，成為旅程的一部分」。 這 個 項 目 聽 起 來 很 簡 單， 但 C h o w 向 《Marketing》表示，Reprise於2018年世界盃期間 為 Nike製作的遊戲化推廣活動，單靠 Instagram及 一個現有網站上的單頁便大獲成功。 「要推出世界盃主題產品，例如一些球衣，通常 只是向所有會員發送宣傳電郵；而另一種做法是向 數據庫中與足球相關的會員發送電郵。但上一次世 界盃期間，我們與客戶討論過，這似乎不夠。」 用 戶 可 使 用 # B e l i e v eTo U n l o c k 標 籤 在 Instagram帖文中找到編碼訊息，這些編碼訊息可用 於解鎖獎賞，例如購物折扣優惠、活動通行證、以及 與本地球員一同參與訓練課程。 Nike通過其電子商務活動獲得大量關於其香港 用戶的數據，按參與度及影響力分為VIP至較普通的 類別，因此Reprise可以精心規劃特定用戶在何時能 夠查看哪些帖子。 這項活動取得重大成果，會員人數增加了一倍， 並提高點擊率、銷售額及促銷代碼使用率。僅使用 簡單的標籤，Chow全憑正確的訊息作出決定。 她說：「如果品牌真的需要推行遊戲化推廣，首 先要了解受眾、他們的習慣、以及他們想要甚麼。」 「如果是他們想要的東西，無論是應用程式、 戶外活動、或只是簡單的Instagram或Facebook活 動，他們都會參與。因此如果想他們採取行動，必須 了解他們的習慣或意向。」 Shie認為社交媒體很重要：「95%的遊戲化推 廣活動必須通過社交渠道進行，沒有人想單為了玩 一些遊戲而下載一個應用程序式，因此我們設計了 很多Facebook及Instagram遊戲，現時YouTube亦 允許互動選項，可在觀看影片途中選擇A或B來繼續 展開故事。」 遊戲結束

just have to input some personal data. That can be quite sensitive so we have to make it natural for people to give it a try,” Ho says.

“We prefer to make the user feel comfortable to provide their information, play the game and redeem their rewards.”

Chow is in agreement about how games can calm skittish users: “If a bank asks you to give them your data or log in with their app and give them the data to use the app, people will be quite sceptical. But what if you say, ‘there’s a pretty good gamification campaign here, you can enjoy these benefits or play with your friends and all you need to do is login with your details’?”

She concludes: “It’s basically a very good channel for marketers to collect data that they couldn’t normally as people are more likely to tell you more.”

顧客可透過參與加入遊戲元素的推廣活動獲得獎 賞，市場推廣人員亦可從中獲得豐厚的獎勵：數據。 雖然受法例所限使其較難以獲取用戶訊息，但遊戲 化創造了合理誘因，說服消費者向品牌授予所需的 權限。 Ho說：「所有客戶都希望收集數據，以進一步推 銷或提升參與，甚至瞄準他們的受眾。因此，我們可 以在遊戲中設定一些表格，參與者只須填寫一些個 人資料，便可換領獎賞及優惠。消費者對於這方面 非常敏感，因此我們必須以自然的方式吸引參與者 嘗試。」 「我們希望用戶能夠自在地提供個人訊息、玩 遊戲並兌換獎勵。」 Chow同意指遊戲能夠讓那些敏感的用戶放鬆： 「如果一家銀行要求用戶提供個人數據，或要求用 戶提供個人數據來登入銀行的應用程式，大眾會對 此非常懷疑。但如果說『這裡有一個非常好玩的遊 戲化推廣活動，只須提供您的個人訊息登入，便可 享這些優惠或與朋友一起玩』，效果便會不一樣。」 她總結道：「這是市場推廣人員收集數據的一 個非常好的途徑，大眾會較平常更願意提供更多訊 息。」

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SNAPPED 快拍 “The Lobster” by Philip Colbert – debuts in Hong Kong DATE: 25 May – 16 June.

VENUE: Lee Tung Avenue.

1. The Lobster – a piece by

renowned British pop artist Philip Colbert – appeared in Hong Kong’s Lee Tung Avenue. A sixmetre wide and five-metre tall inflatable sculpture of a lobster.

2. Born in Scotland, and living and

working in London, Philip Colbert has created a global following for his cartoon lobster persona and his masterful hyper-pop history paintings. His work explores the patterns of the contemporary digital culture and its relationship to a deeper art historical dialogue.

He once said: “I became an artist when I became a lobster.”

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3. The first public display of the artist’s work in the city, The Lobster was promoting Lobster Land (Colbert’s first solo exhibition) which ran until 28 June at Whitestone Gallery, Hong Kong

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Baileys x All About Coffee Mart DATE: 24-26 May. VENUE: Mira Place, Tsim Sha Tsui.

1. Global cream liqueur brand Baileys launched a pop-up Baileys Café at All About Coffee Mart. It featured a monumental Baileys art decoration for photo taking opportunities, alongside an arcade claw machine stocked with surprise prizes from Baileys.

2. Partnering with local boutique

coffee shop Favilla Café, Baileys introduced a series of Summer Specialty coffee cocktails; Baileys Mocha, Baileys Latte, Baileys Frappuccino, and Baileys Cold Brew.

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3. To engage with customers, on-

site baristas shared their expertise of wine tasting and coffee culture, as well as info on brewing portions and methods.

4. Guests who purchased two or more Baileys Originals or Baileys Chocolat Luxes on the spot, received a complimentary liqueur gift set, including a mini bottle of Baileys liqueur and a limitededition Baileys wine glass.

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Facebook opens new Hong Kong office DATE: 20 May. VENUE: One Taikoo Place.

1. The workplace spans four floors and has a total spread of more than 60,000 square feet. Facebook invited four groups of local artists to create murals and artworks inspired by Hong Kong’s skyline and history.

2. The new office features

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local touches across the entire workspace, such as street food, classic movies, and colloquialisms.

For example, one meeting room has been named “Cook Phone Congee”, which (in Cantonese) means to talk on the phone for hours.

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3. Other facilities include a secret

room inspired by neon signs (a signature Hong Kong symbol), a Facebook live studio with advanced broadcast technology, and a games room.

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4. Chief secretary of the Hong Kong SAR government, Matthew Cheung, attended the opening ceremony.

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Decathlon’s new store opening DATE: 15 June.

VENUE: Sheung Tak Plaza, Tseung Kwan O. 1. The new store has 36,000 square feet in retail space and access to an outdoor sports playground of an equivalent size. It features 13,000 products from over 70 sports with spacious areas and displays specifically designed for customers to have a hands-on experience.

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2. Decathlon has launched an

array of indoor and outdoor sports activities - such as cycling, stand-up paddling, archery, pétanque, and yoga - free of charge for its members.

3. Customers can checkout autonomously on the Decathlon mobile app for a fast and seamless shopping experience.

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4. A year-round Hong Kong Sports Heroes photo gallery has been set up at the main entrance of the store. It will have a different theme each month, with an exhibition of more than 30 water sports photos being the first for the official store opening.

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敢於創新 Challenges in keeping Coca-Cola’s centenarian brand fresh. 可口可樂百年潮 牌之 道 With its iconic red and white packaging, an instantly recognisable logo, and a signature sweet flavour, Coca-Cola has captured people’s hearts around the globe. Clory Wong, marketing director for Hong Kong and Macau at Coca-Cola, talks about how this 133-yearold classic beverage brand stays on top of the industry. Sharon Kwok reports. 憑藉其經典紅白色包裝、一眼便認出的標誌、以及 特色甜味，可口可樂已俘虜全世界人的歡心。可口 可樂香港及澳門地區市務總監王潮坤分享這個擁 有133年歷史的經典飲料品牌如何保持行業領先地 位。Sharon Kwok報導。

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A diversified beverage portfolio In Interbrand’s “Best Global Brands 2018 Index”, The Coca-Cola Company was ranked fifth with a brand value totalling US$66,341 million, making it the top beverage company worldwide. It has grown far beyond the confines of its core brand. But even as brand Coca-Cola remains the soul of the company, it has broadened its beverage portfolio in a commitment to become what it calls a “total beverage company”.

Clory Wong has been with The CocaCola Company for more than 18 years and has observed the changing beverage market landscape.

In Hong Kong, the company maintains a comprehensive and diversified beverage portfolio in various categories such as sports drinks, dairy-based drinks, ready-to-drink coffees, and teas. Featuring 15 brands, these include its signature sparkling soft-drink brands – Coca-Cola, Sprite, Fanta, Schweppes, Glacéau Vitaminwater, Bonaqua water, and Minute Maid.

“Our company has a core strategy called ‘beverage for life’ where we aim to offer different beverages for customers throughout their lifetime,” Wong explains.

“But we are definitely selective when bringing in new innovation to the portfolio.

We will consider whether it is relevant to our 2 4 M A R K ET I N G H O N G K O NG J ULY 201 9

consumers and retail partners, and unique to the brand.

“We also adopted a consumer-centric strategy that we have to understand consumers’ needs before we launch any products such as their desire to purchase, how open are they towards the new product, and how we can offer products and packages that better meet their beverage needs.”

Local innovation is key to the brand. The tea culture is ubiquitous in Hong Kong, so the company launched a series of high quality ready-to-drink Chinese teas under the brand, Authentic Tea House.

Wong also tells Marketing the 2019 launch of “Mini Can” for the first time in Hong Kong is another example of responding to long-term consumer demand for a micro version of the brand’s soft drink. While Coca-Cola’s classic can size contains the standard 330ml in volume, a mini can stores only 200ml, appealing to customers who prefer a smaller serving.

“There were not so many choices for retailers and customers in the past. I think we have entered into the age of more. For example, we used to watch TV screens only, but now we are looking at our smartphones and tablets. Consumers demand more choice of products nowadays.”

Fast-forward to late June 2019 when the company introduced its first energy drink – “Coca-Cola Energy” – to Hong Kong. Following

多元化產品 在Interbrand的「2018年全球最佳品牌排行榜」中， 可口可樂公司排名第五，品牌總值達663.41億美元， 成為全球飲料業龍頭。儘管可口可樂品牌仍然是公 司的靈魂所在，但其業務發展已遠遠超出這個核心 品牌，並已擴大其飲品種類，致力成為其所謂的「全 面飲料公司」。 王潮坤效力可口可樂公司超過18年，並見證飲 料市場的轉變。 可口可樂公司在香港推出各類多元化飲品，例 如運動飲品、乳製飲料、即飲咖啡及茶類飲品，涵蓋 20個品牌，其中包括最具代表性的汽水品牌：可口可 樂、雪碧、芬達、玉泉、Glacéau維他命水、飛雪礦物 質水及美粒果。 王潮坤解釋：「我們公司的核心策略稱為『終身 飲品』，我們的目標是在顧客的整個人生當中，為他 們提供不同的飲品。」 「但 我 們 引 入 創 新 產 品 時，絕 對 會 小 心 選 擇。我們會考慮它是否適合我們的消費者及零售 合作夥伴，並且是否品牌獨有。」 「我們亦採取以消費者為中心的策略，在推出 任何產品之前，必先會了解消費者的需求，例如他們 的購買願望、他們對新產品的接受程度、以及我們 推出的產品及包裝如何能夠更好地迎合他們對飲品 的需求。」 本地創新是品牌的一大焦點。茶文化在香港無 處不在，因此可口可樂公司推出一系列高品質的「 淳。茶舍」即飲中國茶類飲品。 王潮坤亦向《 Marketing》表示，2019年首次 在香港推出的「迷你罐裝」可口可樂，是回應消費者 長久以來對品牌迷你罐裝飲品需求的另一個例子。

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an initial European debut in April, the goal was to tap into the energy drink market, with the product positioned as an energy drink that still had that signature Coca-Cola flavour.

Boasting natural caffeine-based guarana extract, vitamin B, and a taurine-free recipe, its launch targeted a group of young consumers who live hectic lives and require that little push to go the extra mile.

“The energy drink market is not huge in Hong Kong, but we see a rising trend in it.

We reckon there is still room to provide more choices to consumers,” Wong says.

Creating occasions Intriguingly, the company doesn’t take a onesize-fits-all approach. Instead, it produces individual marketing plans for each product, from top to bottom. Full bloom integrated marketing communications, OOH campaigns, digital marketing, in-market executions; each catered to different segments and business goals accordingly.

Wong points out the common ground of launching all its new products and marketing campaigns is ensuring they answer the needs of specific consumers with a unique offering different from other players.

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“Customers need different beverages for various occasions,” he says.

“Even though people are becoming more health-conscious, there are occasions that we want something sweet. For example, people may want something tasty and sparkling with an energy kick after an exhausting meeting. I believe sugary beverages still have a significant role.

And we try to create more occasions associated with having our beverages through marketing.”

One of the key concepts is to build a consumer’s habit of drinking CocaCola beverages while eating. And there is no shortage of campaigns which feature food and eating scenarios. Riding on Hong Kong’s local hotpot culture, in 2012 the company produced one of its most popular TVCs, featuring musical artist Charlene Choi having hotpot with a Coca-Cola.

“The association between eating and Coke is well-established. Looking forward, we will focus more on a strategy called segmented execution that leverages consumer insights to deliver the right message during different stages of the consumer journey,” he says.

“And we have to work harder on the allure of the Coca-Cola experience to draw people to share their moments on social media. Friend recommendations are effective.”

For another key occasion, “break time”, the company recently created several mixology recipes for the Schweppes series.

Targeted to be consumed during leisure time and socialising events, the campaign rolled out a series of four videos featuring singer Jun Kung, in which he demonstrates making cocktail recipes with sweet, sour, bitter and spicy tastes.

Wong says of the modern approach: “The Coca-Cola Company has a widely diversified target demographic. Youngsters aged from 10 to 20 are our potential customers. We start recruiting them to consume soft drinks by riding

經 典 罐 裝 可口可 樂 的標 準 容量為 330毫升，而迷你 罐 裝 只 有 20 0 毫 升，吸引到那些喜 歡小份量的顧客。 「以往零 售 商 及顧客的選擇不 多，我 想 我 們已進 入更多選擇的時 代。例如我們以往只 是看電視，但現時我 們會看智能手機及 平板電腦，現時的消費者要求更多產品選擇。」 一轉眼到2019年6月底，可口可樂公司在香港推 出首款能量飲品「Coca-Cola Energy」。繼4月在歐 洲首次亮相後，該公司的目標是憑藉這款標榜保留 特色可樂味道的能量飲品打入能量飲品市場。 Coca-Cola Energy能量飲品採用含有純天然 咖啡因的瓜拉納抽取物製成，含有維他命 B，不含牛 磺酸成份，針對一群生活忙碌、需要補充能量繼續 拼搏的年輕消費者。 王潮坤說：「香港的能量飲品市場不大，但我們 看到上升的趨勢，我們認為仍有空間為消費者提供 更多選擇。」

創造場合 有趣的是，該公司並沒有採取一刀切的方式，反而從 上到下為每種產品打造獨特的市場推廣計劃。全面 的綜合市場推廣宣傳、戶外推廣活動、數碼營銷、市 場分銷等，因應不同的細分市場及業務目標制定每 項相應推廣計劃。 王潮坤指出，該公司推出的所有新產品及市場 推廣活動的共通點，是確保能夠提供與別不同的獨 特產品，滿足特定消費者的需求。 他說：「顧客在不同場合需要不同的飲品。」 「儘管大眾愈來愈注重健康，但有時我們都想 嚐一些甜的東西，例如一場漫長的會議結束後，會 想要一些美味醒神的東西來補充活力。我相信含糖 飲品仍有其市場價值，我們嘗試通過市場推廣創造 更多適合享用我們飲品的場合。」 其中一個關鍵市場推廣概念，是讓消費者養成 在用餐時飲用可口可樂飲品的習慣，當中不乏以美 食及用餐場景為主題的推廣活動。迎合本港的「打 邊爐文化」，可口可樂公司於2012年製作了其中一個 最受歡迎的電視廣告，女星蔡卓妍在片中一邊打邊 爐一邊喝可口可樂。

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on the most relevant occasion – gaming. It is also an occasion which has a strong association with having beverages as well.”

Indeed, to create a relevant connection with youngsters, Coca-Cola is following the lead of many major brands by throwing its hat into the esports arena. The company has joined forces with Emperor Esports Stars to launch “CocaCola: The Emperor Cup 2019”.

Getting a connection “The way of connecting with consumers has changed tremendously. Consumers are wellconnected with different media that they are able to access many reviews and information on products. It will affect their decision-making process for purchase, therefore the power of the brand is important,” Wong says.

He further explains the advantages of leveraging strong branding, which includes being able to build consumers’ habits. Brand equity leads to faster decision-making on purchases and also reduces the difficulty in recruiting loyal customers.

In March, Coca-Cola experimented with an alternative product design, introducing a series of tall, thin cans. To resonate with the HK public, the cans’ bodies were decorated with elements of local heritage, including Oi!, Blue House, Sam Tung Uk, Shing Mun Reservoir Steel Bridge, Lui 2 6 M A R K ET I N G H O N G K O NG J ULY 201 9

Seng Chun, Stanley Post Office, Yau Ma Tei Theatre, and Tsui Sing Lau Pagoda.

“It is crucial to adopt localisation tactics for global brands like Coca-Cola, riding on local culture to create customer engagement and amplify the brand image,” Wong explains.

Apart from the continuous efforts on introducing new innovations, the company has also launched creative marketing campaigns to retain the 133-yearold brand’s relevance to its consumers.

Wong tells Marketing, over the years one of his favourite campaigns was the 2011 “Coca-Cola Chok Chok Chok”.

“The promotion method of the campaign was avant-garde at that time. It was the first marketing initiative that integrated a mobile app and TV ad. The brand created a mobile app where the audience could catch tumbling bottle caps from the TVC to win instant prizes. The app was downloaded over 380,000 times in one month.” In summer last year, the company launched a similar campaign called the “CocaCola City-wide Tetris Viva”. The brand revived the godfather of video games, Tetris, as a mobile game before bringing live audience gameplay to the OOH billboard in Causeway Bay as a realtime interactive experience. Followed by social videos with celebrities and KOLs, it aimed to rejuvenate the brand and connect with digital and social-savvy youngsters.

Sustainable drinks Wong points out a major challenge ahead is addressing concerns about consumer health and environmental protection.

To drive sustainable growth for its brands, Coca-Cola has encouraged consumers to control added sugar consumption. Wong is a member of the Committee on Reduction of Salt and Sugar in Food, which has

他說：「用餐與可樂之間已建立緊密的聯繫。展 望未來，我們會將更多焦點放在稱為細分執行的策 略之上，運用消費者洞悉在消費者旅程的不同階段 傳遞正確的訊息。」 「我們必須加倍努力提升可口可樂的體驗，以 吸引消費者在社交媒體分享他們飲用可口可樂的時 刻，因為朋友推薦是很有效的宣傳。」 至於另一個重要場合「休息時間」，可口可樂公 司最近為玉泉系列打造多款調製配方。該推廣活動 推出一系列四段影片，歌手恭碩良在片中示範如何 調製甜、酸、苦、辣四款口味的雞尾酒，主力宣傳玉 泉系列適合在休閒時間及社交活動場合享用。 王潮坤談到現代宣傳方式：「可口可樂公司擁有 十分多元化的目標客群，10至20歲的青少年是我們 的潛在顧客，我們透過打機這個與他們最息息相關 的場合，吸引他們飲用我們的非酒精飲品，這也是享 用飲品的絕佳場合。」 事實上，為了與年輕人建立共鳴，可口可樂公司 跟隨很多大品牌的步伐踏足電競領域，與英皇電競 聯手推出「可口可樂：英皇電競網紅盃2019」。

建立聯繫 王潮坤說：「與消費者聯繫的方式已徹底改變。消費 者時刻連接不同媒體，可以獲得很多關於產品的評 價及資訊，從而影響他們的購物決定，因此品牌的 力量很重要。」 他進一步解釋運用強大品牌推廣的優勢，包括 能夠令消費者養成習慣。品牌資產可以令消費者更 快作出購買決策，並有助品牌更容易招攬忠實顧客。 可口可樂於 3月嘗試另一款包裝設計，推出一 系列高罐裝。為引起香港市民的共鳴，包 裝 設計 以香 港 特 色 建 築 物為 主，包括 油 街、藍 屋、三棟 屋、城 門 水 塘 鐵 橋、雷生春、赤 柱 郵 政 局、油 麻 地戲院及屏山聚星樓。 王潮坤解釋：「採用本地化策略，透過本地文化 聯繫顧客及宣傳品牌形象，對可口可樂這類全球品 牌至關重要。」 除了不斷致力引入創新產品外，可口可樂公司還 推出創意市場推廣活動，使這個擁有133年歷史的 品牌與消費者保持同步。王潮坤向《Marketing》表 示，多年來他最喜歡的是2011年的「可口可樂Chok Chok Chok」推廣活動。 「那是首個結合手機應用程式及電視廣告的市 場推廣活動，這種宣傳方式在當時屬前衛。品牌研 發了一個手機應用程式，觀眾可以用手機搖開電視 廣告中出現的可樂瓶蓋贏取即時獎品。該應用程式 在一個月內錄得超過38萬次下載率。」去年夏天，該 公司推出類似的推廣活動，名為「COOL住夏天冰鎮 俄羅斯方塊」。該品牌將經典電子遊戲俄羅斯方塊 變成手機遊戲，然後在銅鑼灣設置戶外實時互動體 驗廣告牌，讓觀眾能夠現場參與遊戲。隨後又推出 名人及KOL社交影片，旨在重振品牌形象，並聯繫精 通數碼科技及社交媒體的年輕人。

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可持續發展飲品 王潮坤指出，釋除消費者對健康及環保的憂慮是品 牌未來面對的一大挑戰。 為推動旗下品牌的可持續發展，可口可樂鼓勵 消費者控制糖分攝取量。王潮坤是「降低食物中鹽 和糖委員會」成員，並已開始推動其公司生產更多 低糖飲品。 他說：「我們留意到大眾關注自己的糖分攝取 量，公司已重新調配現有飲品，不採用添加糖，同 時保留消費者喜歡的味道，並推出新飲品類別及品 牌，提供更多低糖及無糖飲品選擇。」 「零系可口可樂面世以來，無糖飲品選擇迅速 飆升。從長遠的市場發展來看，香港消費者（愈來 愈）注重健康，我們認為無糖茶的增長尤其迅速。」 王潮坤補充表示，可口可樂香港去年為10款產 品減糖，預計今年會增加至15款。 該公司亦推出另一項名為「全球零廢棄」的可持 續發展計劃，以解決包裝廢料的問題。飛雪推行「自 助加水站」計劃，目標是於2019年在全港設置300 個自助加水站，提倡「自備水樽」的生活方式。 回收再用雖已成為現時常用的一種策略，但升 級再造可以為廢物賦予新生命，因此被視為更好的 選擇。

led to the company’s creation of more lowsugar recipes.

“We realise that people have concerns about their sugar intake. The company is taking added sugar out of its drinks across the portfolio by reformulating existing beverages while preserving the taste consumers love, and by including more low and no-sugar options and drinks in emerging categories and brands,” he says.

“Since the launch of Coke Zero, the unsweetened beverage portfolio has soared rapidly. Looking at the market development in the long term, Hong Kong consumers are (becoming more) health-conscious. We see there is a rapid growth of unsweetened tea particularly.”

Wong adds that Coca-Cola Hong Kong reduced sugar in 10 of its products last year, and that number increased to 15 this year.

Another sustainability initiative – “World Without Waste” – was introduced by the company to tackle the issue of packaging waste. Bonaqua rolled out its “Water Station” WWW.M A R K ET I N G – I N T ER A C T I V E .C O M

programme, with plans to instal 300 water stations in Hong Kong during 2019, and has promoted a “Bring Your Own Bottle” lifestyle.

While recycling is a commonplace tactic nowadays, upcycling could be seen as an even better option when it comes to bringing new life to waste.

Coca-Cola has gone a step further with its edgy style – collaborating with Hong Kong contemporary art gallery Carré d’artistes and Le French May to present an eco-friendly exhibition by French artist Sophie Costa.

The installation showcased artworks made of everyday upcycled materials, in particular, Coke cans.

The Carré d’artistes gallery itself has also transformed into a highly Instagram-able space with a Coke Can wall. It was created with more than 650 pieces of Coca-Cola tall cans and mini cans.

It may be more than a century old, but the company makes a good pitch that things are always cooler with Coca-Cola.

可口可樂貫徹其前衛作風向前邁進一步，與香 港當代藝術畫廊Carré d’artistes及Le French May 攜手合作，舉行法國藝術家Sophie Costa的環保展 覽。該展覽展出由日常升級再造物料，特別是可樂罐 製成的藝術品。 Carré d’artistes畫廊本身也透過由650多個高 身 及 迷 你 可 樂 罐 砌 成 的 可 樂 罐 牆，化 身 成 為 Instagram打卡勝地。 品牌雖已有一個多世紀的歷史，但可口可樂公司 仍成功保持其新潮形象。

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SPOTLIGHT

ACKNOWLEDGING THE COMPLEXITY OF USING DATA

香 港首屆 亞 洲 數 碼 營 銷 暨 智 能 數據峰會演講嘉賓面向現實 At Marketing’s inaugural Hong Kong “Digital Marketing Asia & Smart Data Summit” – a number of speakers examined the roles of data in marketing; the importance of storytelling; influencer marketing; and how to leverage data to achieve goals within the present day digital ecosystem.

在《Marketing》舉辦的首屆「亞洲數碼營銷 暨智能數據峰會」上，多位演講嘉賓探討數據 在市場推廣的角色、講故事的重要性、網紅 營銷、以及如何在現今數碼生態系統中善用 數據實現目標。

DATE:

VENUE:

20 June 2019

The Mira

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SPOTLIGHT

GOLD SPONSOR

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EXHIBITORS

POWER LUNCH SPONSOR

WI-FI SPONSOR

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SPOTLIGHT

Kicking off the Digital Marketing Asia & Smart Data Summit conference was a keynote speech by Eva Ng, industry leader at Google, entitled “10 years is an age in digital marketing”.

She said during her talk: “In 2010, Eric Schmidt (then-CEO of Google) said Google would be mobile-first. However, things had changed in less than a decade. Just seven years later, current CEO Sundar Pichai said Google had switched from mobile-first to AI-first.”

She went on to explain that in the age of unified marketing, the marketing landscape has changed significantly. She described how the evolution from 3G to 5G has opened up opportunities for marketers such as instant responses to consumers, and streaming services.

After the keynote speech was a panel discussion moderated by Marketing editor Rick Boost on the oft-contentious subject of growth hacking. The panel members included Alex Law, head of marketing at foodpanda; Agnes Li, growth strategy manager at HSBC PayMe; Iris ten Teije, growth lead at Neat; and Anna Choi, head of digitalisation for Asia Pacific at Schindler.

The panel agreed the definition of growth hacking had changed throughout the years when it came to the mechanics, but had 30 M A R K ET I N G H O N G K O N G J ULY 201 9

retained the same mindset. “It’s also about the mentality of testing hypothesis. Growth hacking enables us to evaluate our efforts and make changes rapidly, and we can track the performance of our efforts easier compared to using traditional media,” Law said.

Ten Teije said a team of employees with all-rounded skills – particularly in data analytics – was crucial to growth hacking.

Before the lunch session, William Hung, business development director at Prizm, gave a talk that laid out how tracking and personalisation was the key to success.

“In the digital world, we can do tracking even before your target audience turns into your customers. Tracking gives you the raw data over the target audiences’ social footprint, behaviours, social ID and channel engagement, and I believe the true value is to make your customer happy through personalisation,” he said.

Power lunch sponsor of the conference IBM hosted a private lunch for selected participants.

JoJo Cheung, chief marketing officer of HKSTP, spoke on how she used the technology hub in Hong Kong to engage citizens, telling them what it has been doing, and persuading them on how the HKSTP could help Hong Kong become

Google行業領袖Eva

Ng發表題為「10年為一

個數碼營銷時代」的主題演講，為會議揭開序幕。 Ng在演講中說：「Eric Schmidt（時任Google 行政總裁）在2010年表示Google將以手機為先，但 未夠十年的時間，一切都經已轉變。僅僅七年之後， 現任行政總裁Sundar Pichai表示Google由手機為 先轉以人工智能為先。」 Ng繼續解釋指，在統一市場推廣時代，市場推 廣環境發生重大變化。她表示從3G到5G的發展為 市場推廣人員開拓各種機遇，例如能夠即時回應消 費者，以及提供串流媒體服務等。 主題演講之後，《 Marketing》雜誌編輯 Rick Boost主持一場有關「成長黑客」這個常見爭議話 題的小組討論。小組討論成員包括 foodpanda市場 總監Alex Law、滙豐PayMe增長策略經理Agnes Li、Neat增長總監Iris ten Teije、以及迅達集團亞太 區數碼總監Anna Choi。小組討論成員均認同，成長 黑客多年來在技術層面的定義已發生變化，但思維 模式依然不變。 Law說：「這也在於假設檢定的心態。成長黑客 讓我們能夠評估自己的工作，並迅速作出改變，相比 使用傳統媒體，我們可以更容易追蹤工作績效。」 Ten Teije表示，擁有全面技能、尤其是數據分析 能力的員工團隊，對推行成長黑客政策至關重要。 在 午 餐 之 前，Prizm 業 務 發 展 總 監 William Hung發表演講，闡述追蹤及個人化如何成為成功的 關鍵。

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an innovation hub. “We have done too much on sharing facts. Now we narrate the HKSTP brand stories, including our purpose, and how we serve our partners and engage stakeholders via technology-enabled interactions and experiences,” she said.

HKSTP has also hosted events to engage with Hongkongers. In late March, the park launched a two-week, “Work. Live. Play.”, themed experiential event to showcase the dynamic and vibrant culture present at the science park.

In the afternoon, the event’s focus moved on to influencer marketing. Instagram influencer Tina Chan said brands and marketers needed to better reward influencers, as they have spent a great amount of time and effort on research and post-production. Chan also advised brands to create unique experiences for influencers to post genuine content.

Eduard Castell, a delegate of LaLiga Global Network Hong Kong, said although the audience size of influencers was important, engagement was the clearest indicator as to the loyalty of their audiences.

The final speaker presentation at the conference – “Being smart with data” – was WWW.M A R K ET I N G – I N T ER A C T I V E .C O M

presented by Akina Ho, head of digital transformation and innovation at the Great Eagle Company. She stated that successful marketers needed to jailbreak the traditional marketing framework.

“Individual personalisation, dynamic and proactive interaction with data – and correctly leveraging machine learning and AI for breakthroughs – are the crux of jailbreaking,” she said.

“Don’t imprison yourself based on what is the proper way of marketing. Right now nothing is proper and everything is open for discovery and exploration. There are no limits.”

The summit closed with a panel discussion – “The digital future, centred around how customer service and customer experience have changed in the age of digitalisation”. This was moderated by the chair of The Marketing Society Hong Kong, Darren Chuckry, and featured panellists: Olivia Kosasih, former head of customer engagement at Bluebell; Ravel Lai, chief digital officer for Dah Chong Hong Holdings; Eric Thain, general manager of HK Express; and Tiffany Lam, director of marketing and customer experience of Hysan Development Co. Lam said that digital technology had changed the behaviours of customers. The estate company now creates unique experiences to make purchases feel more complete, as well as improving touch-points online and offline to improve ROI. Kosasih added that brands needed to offer on-demand information, as customers have been suffering from information fatigue.

Hung說：「在數碼世界，我們甚至可以在目標 受眾成為顧客之前開始進行追蹤。追蹤有助獲取有 關目標受眾社交足跡、行為、社交身份及渠道使用 的原始數據，而我認為追蹤的真正價值在於通過提 供個人化服務令顧客感到滿意。」 會議午餐會贊助商IBM為獲邀的與會者舉行私 人午宴。香港科技園公司首席市務總監張明華談到 她如何透過這個香港科技中心與市民交流，讓市民 了解香港科技園的工作，並讓他們明白香港科技園 如何可以幫助香港成為一個創新樞紐。 張明華說：「我們在分享事實方面已做得太多。 現時我們講述香港科技園的品牌故事，包括我們的 目標，以及我們如何通過科技互動及體驗為合作夥 伴提供服務並聯繫持份者。」 香港科技園亦舉辦不同活動與港人交流。3月下 旬，園方推出為期兩週、以「Work. Live. Play」為主 題的體驗活動，以展示科技園的精彩活力文化。 下午的會議將話題集中在網紅營銷之 上。Instagram網紅Tina Chan表示，網紅在研究及 後期製作方面花費大量時間及心力，因此品牌及市場 推廣人員要更好地獎勵他們。Chan亦建議品牌為網 紅打造獨特的體驗，讓他們能夠發布真實的內容。 西甲賽會駐香港宣傳大使Eduard Castell表示， 儘管網紅的粉絲人數很重要，但參與度才是其追隨 者忠誠度的最明確指標。 會議的最後一位演講嘉賓是鷹君集團數碼化 轉型與創新負責人Akina Ho，她發表題為「善用數 據」的主題演講。Ho表示，成功的市場推廣人員需 要擺脫傳統的營銷框架。 「個人化、靈活主動的數據互動、以及正確運 用機器學習及人工智能尋求突破，是打破常規的關 鍵。」 Ho解釋：「不要按照所謂的正確市場推廣方式 來規範自己，現時沒甚麼是正確的，一切都有待發掘 及探索，沒有限制。」 此次峰會，以題為「數碼未來，主要圍繞客戶 服務及客戶體驗在數碼化時代的轉變」的小組討論 作結。這次小組討論由Marketing Society Hong Kong主席Darren Chuckry擔任主持，小組討論成 員包括前Bluebell客戶聯繫總監Olivia Kosasih、 大昌行集團有限公司首席數碼官Ravel Lai、HK Express品牌總經理Eric Thain、以及希慎興業有限 公司市場推廣及客戶體驗總監林之芃。 林之芃表示，數碼科技已改變顧客的行為。該 房地產公司現時打造各種獨特體驗，使顧客的購物 體驗變得更完善，並改善在線及離線接觸點，以提 高投資回報率。Kosasih補充表示，顧客一直受到資 訊疲勞轟炸，因此品牌需要按顧客的需求提供他們 所需的訊息。 JU LY 2 019 MARK E TING HO N G KON G 31

職埸

CAREERS

JOB SHUFFLE 人事變動 Eight Inc has appointed Chris Dobson as principal to drive its growth across China’s Greater Bay Area. He will work closely with Eight Inc founder Tim Kobe to develop new business relationships and partnerships, while growing the team in the firm’s Hong Kong studio. Dobson will also lead multi-disciplinary teams to deliver the company’s projects in the region – from vision through to implementation.

Dobson was previously managing director of Imagination Asia and Australia, working with clients that included Huawei, General Electric, and Jaguar Land Rover. His regional projects included the GE Ecomagination Centre in Masdar City, and the GE Innovation Centres in Dharan, KSA, and Istanbul, Turkey.

EightEight Inc.任命Chris Dobson為主席，以 推動該公司在大灣區的發展。Dobson將與Eight Inc. 創辦人Tim Kob緊密合作，發展新的業務關係及合作 夥伴關係，同時擴大香港工作室的團隊。他亦會帶領 多部門團隊，負責在該地區制定願景及執行項目。 Dobson之前擔任Imagination亞洲及澳洲地區 董事總經理，與華為、通用電氣及捷豹路虎等客戶合 作。他曾負責的區域項目包括通用電氣在馬斯達爾城 開設的GE綠色暢想中心、以及在沙特阿拉伯Dharan 和土耳其伊斯坦堡爾開設的GE創新中心。

FTI Consulting has appointed Joanne Wong as a senior managing director for the strategic communications segment. She will be based in Hong Kong and report to Paul Downie, the segment’s chairman of Asia Pacific.

With 19 years of experience in corporate reputation, public affairs, financial communications, issues and crisis management, market entry and access, and cross-border strategies, Wong has held senior regional leadership positions at global communications consultancies, with responsibilities overseeing operations and client delivery in HK, China, Japan, and Korea. Before that, she held various roles in political analysis, media, and communications.

FTI Consulting任命Joanne Wong為策略傳 訊部門高級董事總經理。她將常駐香港，並向該部門 的亞太區主席Paul Downie匯報工作。 Wong在企業聲譽、公共事務、金融傳訊、問題 及危機管理、市場開拓及發展、以及跨境策略方面擁 有19年的經驗，曾在全球通訊諮詢顧問公司擔任高級 區域管理職務，負責管理香港、中國、日本及韓國地 區的業務營運及客戶服務。加入FTI Consulting前， 她曾擔任政治分析、媒體及傳訊方面的不同職務。

Publicis Groupe Hong Kong appointed Chen Kam Fatt as its managing partner of strategy and transformation. In this role, he will be responsible for driving strategy planning and transformation across its 13 agency brands. He will report to Tom Kao, CEO of Publicis Groupe Hong Kong.

With more than 14 years of experience in APAC, Chen has worked with blue-chip clients such as P&G, Shell Lubricants, and Abbott Nutrition. He has previously led planning departments at DDB Malaysia and Hong Kong, Saatchi & Saatchi X Guangzhou, and The Gate Greater China. Recently, he served as the regional planning director of Doremus for APAC. 陽獅集團香港任命鄭金發為戰略與轉型管理合 夥人。他將負責集團旗下13 個代理公司品牌的戰略 規劃及轉型。他將向陽獅集團香港行政總裁高東升 匯報工作。 鄭金 發在亞太地區擁有超過14 年的經驗，與 寶潔、殼牌潤滑油及雅培等藍籌客戶合作。他曾帶 領 DDB馬來西亞及香港的策劃部門、盛世長城 X 廣 州、以及The Gate大中華區。加入陽獅集團前，他是 Doremus亞太區策略總監。

Siyuan Aw has returned to BBH China as its head of strategy. He will be responsible for leading strategy on new and existing clients as well as developing products in response to BBH’s growth in the content, design and entertainment divisions. He will provide leadership to BBH’s strategy team, comprised of a mix of brand, digital, and data strategists.

Before joining BBH China, he held strategy roles with Saatchi & Saatchi and Ogilvy & Mather in London, as well as agencies in Singapore, including TBWA/, Ignition Factory, and Saatchi & Saatchi. He has delivered innovative strategy work for high-profile brands, including Audi, IKEA, Google, Airbnb, Harbin Beer, Dulux, British Airways, Singapore Airlines, Philips, and Unilever. 歐思遠重返百比赫中國擔任策劃部總監。他將負 責為現有及新客戶制定主要戰略；同時負責內容製作、 設計及娛樂等百比赫中國新業務的發展。歐思遠將帶 領一支由品牌、數碼、數據策劃人才組成的團隊。 加 入 百 比 赫 中 國 前，歐 思 遠 曾 在 倫 敦 的 盛 世長城 及 奧 美，以 及新加坡的 TBWA /、Ignition Factory及盛世長城擔任策劃職務。他曾為奧迪、宜 家、Google、Airbnb、哈爾濱啤酒、多樂士、英國航 空、新加坡航空、飛利浦以及聯合利華等知名品牌提 供創新的策劃服務。

B.S.C has appointed Ken Ip as its group head of marketing.

In his new role, he will oversee all brand and marketing teams across the B.S.C Group, and take overall responsibility for developing a singular and cohesive brand strategy. A seasoned marketing professional and brand communications strategist, he was formerly the marketing head for design practice at Leigh & Orange.

Before that position, he served as head of marketing at engineering and design consultancy Atkins. There, he was responsible for all aspects of the group’s external and internal communications, as well as its marketing, corporate branding, events, and digital engagement across APAC within its architectural, planning, landscape, and interior design divisions.

B.S.C任命Ken Ip為集團市場推廣總監。他將 負責管理B.S.C集團旗下的所有品牌及市場推廣團 隊，並全權負責制定一套統一的獨特品牌策略。 作為一名經驗豐富的市場推廣專業人士及品牌 傳訊策略師，Ip之前擔任Leigh & Orange設計業務 市場推廣負責人。在擔任Leigh & Orange的職位之 前，他擔任工程及設計顧問公司 Atkins的市場推廣 負責人，負責集團內外的一切傳訊業務，以及其建 築、規劃、景觀及室內設計部門在整個亞太地區的市 場推廣、企業品牌推廣、活動及數碼營銷業務。

Sandra Gin has joined Golin’s Hong Kong team as its digital director. She brings more than 10 years of digital and direct response experience to Golin. She has worked for FCB Global, Proximity BBDO, and Digitas, serving clients from the telecommunications, gaming, and technology industries. She will also be working with Golin global to develop relevant and useful products for Hong Kong customers.

Sandra Gin加入高誠公關香港團隊，擔任數碼 總監。Gin擁有超過10年的數碼及直效營銷經驗，曾 效力FCB Global、Proximity BBDO及Digitas，為電 訊、遊戲及科技行業的客戶提供服務。她亦將與高誠 公關的全球團隊合作，為香港顧客開發相關而實用的 產品。

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