Video games The games industry is not only visually approaching Hollywood. The structures are also reminiscent of the film business, only the production costs are not (yet) as enormous. Advertising Week presents the most important studios and publishers. The video games industry seems more introverted, preoccupied with the transition phase from one generation of games consoles to the next. But just a year ago, hardly a week went by without headlines along the lines of "XY buys Studio Z." or "Studio ABC has to close its doors." In the run-up to the next generation, a market shakeout took place that is likely to continue. Not all producers of virtual fantasies are in a position to fork out the new production budgets of 10 million dollars on average for a high-quality title. Respected studios such as Eidos, the company behind cybersex icon Lara Croft, have been swallowed up by a more liquid fish, and even Europe's biggest entertainment software house Ubisoft has also taken a bite: Electronic Arts, the leading independent games producer, has unwantedly snapped up a 20 percent share package in the company behind hits such as "Tom Clancy's Splinter Cell" and "Prince of Persia".
In addition to the independent game studios mentioned above, the production facilities associated with the hardware manufacturers Sony, Microsoft and Nintendo naturally play a decisive role. With exclusive titles, they make a significant contribution to the appeal of a platform. A console defines its audience and its status not least through its own productions. If Nintendo did not have Mario, Pokémon and Zelda in its personal portfolio, the history of the traditional Japanese company would not look so rosy.
The console companies also earn the most money with these first-party titles. After all, it's not just licenses for the respective platforms that are sold, but the entire work of art that generates money. The composition of the first-party portfolio is ultimately decisive for the match, as manufacturers are known to put money on top of the hardware. Analysts at Merrill Lynch have calculated that every Xbox sold has a negative impact of 125 dollars on Microsoft. The situation is likely to be similar for next-generation consoles, as a simple Blu-ray player will initially cost around CHF 1200, while the "affordable" version of Sony's Blu-ray-capable Playstation 3 will cost CHF 750.
With regard to a possible involvement in the area of in-game advertising (more on this in the next Advertising Week), it is of central importance to find the right partner for a product placement or plot integration. Of course, it is not possible to provide a definitive overview here, but the most important players and their role in the games market are presented here.
Sony Playstation, JapanMarket capitalization: 45.02 billion $Target audience: broad spectrum, but primarily young adultsStill the undisputed market leader with 70 percent of the installed hardware base. Playstation 2 has sold over 100 million units worldwide. Although the PS3 will soon be
is launched on the market, a quick change of platform is not to be expected. Thanks to the broad support of third-party manufacturers, the PS2 offers the largest range of titles. Important in-house productions: GT4 (car), Tekken (fighting) Singstar (social) and EyeToy (social).
Microsoft Xbox, USAMarket capitalization: 248.53 billion $Target audience: Focused on young adults.In 2001, software manufacturer Microsoft (MS) also entered the gaming business as a hardware producer. Since then, MS has learned a lot and implemented it with the new Xbox 360 platform. Strong online community. Recently bought the in-game advertising agency Massive. Expected installed base by the end of 2007: 10 million: Halo (shooter), Project Gotham Racing (car) and Dead or Alive (combat).
Nintendo, JapanMarket capitalization: 27.41 billion $Target audience: Families and younger gamersOldest hardware provider with very strong own brands such as Mario, Pokémon and Zelda. Currently in third place with installed console base, but leading in portables with Gameboy. Very innovative, often brilliant combination of hardware and software, weak in the area of third parties. However, the next console, Wii, has broader support. Important in-house productions: Mario (racing/jump'n'run), Zelda (role-playing game), Pokémon (role-playing game) and Gehirnjogging (brain game).
Electronic Arts, USAMarket capitalization: 15.82 billion $Target audience: Broad spectrum, primarily young adultsElectronic Arts is in a different league compared to its competitors. Strong sports licenses such as Fifa, NHL and Madden as well as lucrative proprietary licenses are part of the annual line-up. Thanks to aggressive expansion in recent years and the acquisition of various studios, EA is ready for the next generation. Important in-house productions: Need For Speed (car), Medal of Honor (shooter) and Sims (social).
Activision, USAMarket capitalization: 3.89 billion $Target audience: Young adultsThe eternal number 2 has decided to copy the EA strategy and recently acquired the James Bond license that once belonged to the market leader. Activision relies on a mix of in-house and licensed productions, with the latter dominating. Marvel Comics is also a prominent license partner with blockbusters such as "Spider-Man" and "The X-Men". Important in-house productions: Call of Duty (shooter), Tony Hawk (sport) and True Crime (action).
Konami, JapanMarket capitalization: 3.55 billion $Target audience: Young adultsKonami recognized early on that focusing solely on the domestic market makes little economic sense. By integrating Western content, its titles are often more successful in Europe and the USA than in Japan. The star of the Konami studio is Hideo Kojima, who has already been compared to Steven Spielberg with his spy scenarios "Metal Gear Solid". Important in-house productions: Silent Hill (horror), Metal Gear Solid (action) and Pro Evolution Soccer (football).
THQ, USAMarket capitalization: 1.76 billion $Target audience: Families and children, young adults Traditionally, THQ is responsible for the interactive implementation of Pixar animation hits such as "Finding Nemo" and currently "Cars". In addition to these strong Disney licenses, THQ also relies on other cartoon heroes such as Sponge Bob and Scooby Doo. The in-house productions generally do not have their own face, the most important being Full Spectrum Warrior (shooter), Moto GP (motorcycle) and Titan Quest (role-playing game).
Ubisoft, FranceMarket capitalization: 1.01 billion $Target audience: Broad, primarily young adultsThe French publisher Ubisoft can look back on a real success story. In recent years, it has expanded its catalog with strong franchises of its own and collaborations with bestselling author Tom Clancy, for example. The positive prospects are such that gaming giant Electronic Arts has secured a 20 percent share package. Important in-house productions include: Tom Clancy's Splinter Cell (action), Ghost
Recon (Shooter) and Ray-Man (Jump'n'Run).     
THQ, USAMarket capitalization: 1.76 billion $Target audience: Families and children, young adults Traditionally, THQ is responsible for the interactive implementation of Pixar animation hits such as "Finding Nemo" and currently "Cars". In addition to these strong Disney licenses, THQ also focuses on other cartoon heroes such as Sponge Bob and Scooby Doo. The in-house productions generally do not have their own face, the most important being Full Spectrum Warrior (shooter), Moto GP (motorcycle) and Titan Quest (role-playing game).
Take Two Interactive, USAMarket capitalization: 928 million $Target audience: Young adultsTake Two suffers from the reputation of being a one-hit wonder, but apart from the controversial super-hit series "Grand Theft Auto", the publisher has very little to offer in the way of success. The recurring investigations by stock exchange supervisory authorities are also of little help. Important in-house productions: Grand Theft Auto (action), The Elder Scrolls (role-playing game) and Prey (shooter).
Midway, USAMarket capitalization: 832 million $Target audience: Young adultsMidway has been in business for a long time, but has recently been on the decline. The traditional company behind classics such as "Defender" and "Robotron" has, with a few exceptions, missed the boat. Important in-house productions: Mortal Kombat (combat), Spyhunter (action) and Rise and Fall: Civilizations at War (strategy).
Marc Bodmer

No fewer than three projects by Zurich-based agency Metadesign are on the shortlist for the German Communications Association's Corporate Design Award. Any corporate or packaging design created in Germany, Austria or Switzerland is eligible. A total of 27 projects made it to the final round for the design prize, which is being awarded for the ninth time this year. The winners will be announced on October 30. The publication of the yearbook for this year's Corporate Design Award is also planned for this date.  
Metadesign is one of the leading international branding and CI agencies. The three nominated projects are corporate designs and brand developments for Bucher Industries, Bank Bayern LB and Natur hat einen neuen Namen.

Fernsehen Cavegnwerbung invites you to the Screen-up & Congress 2006, which will take place on September 26, 2006 and will offer an exclusive and free preview of the coming year's highlights with program screenings from all leading TV stations. To the delight of the industry, Publisuisse is also taking part this time. TeleZüri, on the other hand, will not be screening any programs and the national and international opinion leaders for TV advertising and television marketing will be meeting at the congress. "TV and brands: What can TV do for your brand?" is the topic. The panelists include Ingrid Deltenre (SF), Dominik Kaiser (3+), Catherine Mühlemann (MTV), Anke Schäferkordt (RTL) and Roger Schawinski (Sat 1), chaired by Hannes Britschgi (Ringier-TV).
Goodbye ScreenyThe advertising campaign for Screen-up & Congress was once again created by Cavegnwerbung this year. As it is about communication for an electronic medium, Markus Cavegn wanted to focus the message in his print subjects on "directing the audience to the website www.screen-up.ch". To counteract the general overkill of information, he deliberately dispensed with the former mascot Screeny and only created headlines. Instead, nine subjects are aimed specifically at larger customers for TV advertising. Such personalized texts promise, for example: "The most efficient media purchase for Mars is on Earth" or "Where the post office sends its advertising department best." The organizers also want to make it clear to other potential advertising customers that they should not miss this event under any circumstances.
Good arguments in favor of visiting Screen-up & Congress are now available in trade press advertisements, mailings and on Internet banners.   
Andreas Panzeri

Awards Cannes Day is on September 6. With the premiere of this year's Cannes reel, all the award-winning works in the Print, Outdoor, Direct and Cyber categories in the original, the award ceremony for the Swiss Lion and Shortlist winners and a get-together afterwards. The day trip is made possible by Cinecom in cooperation with Publimedia, Clear Channel Outdoor Plakanda, Alex Schmid Direct, web2com, radiopower.ch, Swissfilm Association and bsw leading swiss agencies. Boarding time is 1.30 p.m. at the MaagEventHall in Zurich. Cavegnwerbung has provided an attractive travel companion with an advertising flyer that looks deceptively similar to a real boarding pass. The only difference is that you don't have to undergo any of the elaborate security checks for this flight to Cannes.

Media expert and presenter Eva Camenzind was recently named as a member of the jury for the 3+ presenter casting - the very casting in which "unknown faces" are currently being sought for the "short news, weather and future entertainment shows" (see Presenters wanted: 3+ in casting fever).

But on Wednesday, Werbewoche received the official media release from the new Swiss private broadcaster that Eva Camenzind will now not only be seen presenting Ringier's TV magazine "konsum.tv" and heard on Radio Energy, but that her face will also be a figurehead for the 90-second short news program on 3+. Certainly, with the 26-year-old Basel native, an experienced and prominent presenter has been brought on board. But didn't they explicitly want to give inexperienced people a chance?

Dominik Kaiser, Head of Broadcasting at 3+, answered questions from Werbewoche.
Werbewoche: Are there several news programs on 3+ or is more than one news presenter needed?

Dominik Kaiser: The news is christened daily, 365 days a year, so we need at least three news presenters. The presenters for the first few weeks have already been confirmed. Otherwise we wouldn't be able to go on air next week. We are currently looking for new talent. As we think very efficiently, we have combined the first campaign for the station shortly before the start of broadcasting and our promotion of young talent.

WW: Did Eva Camenzind also apply for the casting and was she the best?

DK: We've had Eva in mind for the job for a long time, so we cast her separately in advance.

WW: So the 550 people who signed up for the auditions are not being made fools of?

DK: The presenters for the first few weeks for News and Weather and our big event show Superstar are already finalized. At the moment we are looking for young talent for the time after that and to complement the established presenters. By the way, there are already more than 800 applicants! WW: If a celebrity were to be hired for the weather, would name recognition be the deciding factor?
DK: The fame certainly wouldn't hurt, but of course she would still have to look very good in front of the camera.

WW: So aren't the cast members simply the plan B if no familiar faces can be signed up?

DK: Some famous people are already there and known, we will announce a few more in the next few days. The casts are our future. We really want to find new talent and build them up. Of course, we will also turn the castings into a show. But it won't be very cheap. Organizing a casting of this size and then implementing it on TV in such a way that it meets our requirements requires a lot of personnel and technology. However, the combination of talent search and broadcasting makes sense for us.

WW: So isn't 3+ playing a false game with people's hopes with the casting shows?
DK: The path from registering on our homepage to becoming a TV star is of course much longer and rockier than most applicants probably imagine. The few that we select will be taken under our wing, trained and supported. In addition to talent, training and our support, a bit of luck is certainly also necessary for great success. However, Mirjam Weichsel-Braun is a good example of how it can work. We discovered her back then at a very similar casting in Germany for VIVA-Plus and today, 5 years later, she presents Saturday evening shows on ORF1 in her home country. If we find someone like her, we will have achieved our goal.

Interview: Yvonne Kunz
Editor: Kathrin Fischer

 

 

Interactive TV Daniel Gauchat, head of Betty-TV (Schweiz) AG, wants to bring interactive television to 50,000 Swiss households. WW: Interactive is in - is that why we need Betty-TV?
People have long wanted to offer interactivity not only on the internet, but also in other media - especially in emotional media such as television. Tests and analyses in Germany and Switzerland have shown that there is an audience need for a specific target group to react to what is shown on screen. This is particularly the case with booming TV formats where you can vote or choose candidates.in one sentence: What is Betty TV? Betty TV is a system, a cycle - for the end consumer it is only visible as an interactive remote control. This allows them to react in a timely manner to messages transmitted with the image signal.
What is a Betty event? is a text message that appears on the display of the Betty remote control.
You are planning to develop such Betty events further. What does that mean? The simplest form of interaction at the beginning was to ask the audience for additional information and offers. We will continue to drive the development forward so that people can give their opinions, for example in the Arena program. In an initial phase, the results will then be fed back to the Betty remote control. However, the aim is to be able to feed such information directly into the show so that the presenter can refer to it immediately.
Full interactivity, in other words. But the program remains as it is. This has nothing to do with certain audience expectations that the TV program can be changed on the screen at the touch of a button.
How widespread is the device in households? 6000 households in German-speaking Switzerland at the moment. But that doesn't mean that 6000 remote controls are in use at the same time. People are not watching more television than before. We can only influence television viewing behavior somewhat, but we can't change it. And that is not our aim.
French-speaking Switzerland and Ticino? audiences in French-speaking Switzerland and Ticino can easily take part in the Swiss-German program if they want to read enough German. However, as long as France and Italy have not yet introduced Betty, this makes little sense due to a lack of offers. As far as I know, talks are underway with major broadcasters in both countries.
What size of distribution are you aiming for? 50,000 households in Switzerland in the short to medium term. From then on, Betty TV could become a mass product. At the moment, however, it is still difficult to estimate because it is a completely new product worldwide with no comparisons. Switzerland is not necessarily a TV consumption-friendly country. A simultaneous launch with Germany would have generated a lot of support.
The launch in Germany is planned for the first of January 2007. Sales via ProSieben Sat 1 will start these days.
What do you have to pay for a remote control? It costs a one-off CHF 69 without any further follow-up costs. Swisscom pays for the connections between Betty, the TV and the telephone line to transmit the answers to the TV station.
The revenue model is based on advertising revenue for Betty events from third-party partners and on certain paid content. However, it is clearly defined that at least two thirds of Betty events are free of charge. So you don't have to spend any more money.
Interview René Worni
Betty likesObviously, the 6000 or so Swiss television viewers
who use Betty TV like the possibilities of the interactive remote control. This is shown by a representative study conducted by the IHA-GFK Research Institute. On behalf of Betty-TV (Schweiz) AG, the institute conducted a total of 1100 interviews with Betty users in German-speaking Switzerland in May and June/July, asking them about their initial experiences. 70 percent of those surveyed use Betty-TV.
use the interactive remote control every day, over 90 percent take part in quizzes and quiz shows, and one in three respondents would like to take part in competitions and quizzes more often. The results of the study confirm that many viewers are willing to take a reasonably active part in TV events. 
According to the study
the narrower user group of over 10-year-olds is between 58% and 83%. The remote control is used most frequently by 31 to 50-year-olds. Knowledge quizzes (92%) and competitions (81%) as well as additional information about programs or their actors (85%) are the most popular content and are very popular for participation. It is therefore not surprising that three quarters of respondents have taken part in competitions more often since they have had a Betty remote control. In terms of broadcast content
sports is in the lead with 41 percent. According to the study, 15% of users would like to see more events during sports broadcasts. In addition, 39% of respondents appreciate the so-called Betty events during movies and TV series. The majority of respondents rated the functionality and size of the device positively. Almost 70% of them also had no concerns about any data protection problems. (rw)

Publicom, which specializes in media research and consulting, interviewed 40 experts from leading media companies and representatives from advertising, media journalism, communications science and corporate communications about on-demand media such as podcasting.
Most experts are convinced that podcasts meet a widespread need for flexible media use and are not just a gimmick for media enthusiasts. However, they consider the commercial potential to be modest.

However, media consumption has generally changed under the influence of time- and location-independent media use. Under this influence, traditional radio and television programs could increasingly develop into live event media to counter the trend.

Meaningful use of podcasts 86% of respondents see the most meaningful use in the distribution of target group-specific content. 75 percent consider podcasts to be a suitable way of addressing new customer segments. However, only a few believe in the possibility of generating additional revenue with podcasts. However, 20 percent do believe in paid podcasts and 33 percent believe that financing through advertising makes sense.
Picture: Publicom

Low commercial opportunities When asked about the future prospects for the commercial potential of on-demand media, the industry was also pessimistic. Two-thirds see little commercial opportunity for podcasts. Only 25 percent can imagine strong growth. The outlook is different with regard to the financing possibilities for podcasts. Over 50 percent consider financing through sponsorship or advertising to be promising. In contrast, 11% do not see podcasts as financially viable at all.
Synergy potential According to the respondents, TV and radio in particular will be able to generate synergies in the future with the help of podcasts. 70 percent see the greatest potential in radio in particular. 50 percent for TV, 10 percent for the Internet and only 8 percent for print.

Environmental protection Everyone knows the organization with the world-famous panda logo. And everyone knows that the WWF works tenaciously - albeit often in less spectacular ways behind the scenes - to protect nature. With a new advertising and poster campaign realized by Publicis, the WWF is giving us an insight into how it works. For example, by sitting down with partners from industry and creating environmentally friendly production conditions. Or by lobbying politicians for progressive ecological laws. The subjects show the WWF, embodied by a person in a panda costume, in its typical activities. >> see also New Campaign on p. 13

Magazines Jung von Matt/Limmat styles a nobody into a somebody for Style. "Isn't that that eh ... um ...? She's been engaged to this eh ... um ... for a long time!" - This was the reaction of those responsible at Ringier when Jung von Matt presented the first photos with advertising ideas for the new Style magazine. However, Eh and Ähm were neither a Hollywood celebrity nor an ex-anything from Swiss gossip columns. What nevertheless made the figures in the advertisers' subjects look famous was the photographic code for paparazzi shots: the right angle, the slight blur, the hasty gesture: with the right photo, everyone has "what it takes to be a star". And this star quality is not only part of the content, but also what the readership should have after reading Schweizer Illustrierte Style. Readers can become the stars of their own environment if they make the tips and fashion trips suggested in the magazine part of their own lives.
Schweizer Illustrierte Style is the new celebrity and fashion magazine from Schweizer Illustrierte. Every month, the editorial team headed by Urs Heller and Marc Walder presents fashion and lifestyle features as well as what the stars of the world are doing and, above all, what they are wearing. But that's not all. Schweizer Illustrierte Style also sees itself as a real star navigator. The magazine tells you where to get Paris Hilton's white sunglasses, for example, or where to buy similar frames. With this star-mapping, every reader knows where and how to get the stuff of the stars.
Unlike Hilton or a dork, however, the campaign focuses on potential readers, as they know where to dress like stars and what they do all day long. "They naturally internalize the style of the glamorous of this world and are inspired by it without clumsily imitating them," says CD Alexander Jaggy.
This summer, his campaign stars were staged in style for the campaign in various fairly normal locations in German-speaking Switzerland. For example, a pregnant woman with the caption: "Will she give birth in Herisau after all? Anne-Catherine Z., Calandapark, Chur." Or a woman shopping, with the text: "Turned into an ex on the phone... Deborah S., Opera House, Zurich."
For the clothes presented in the paparazzi picture, the creative team naturally sought advice from a stylist on future trends so that the advertisements would still be received by the target group with the latest styles even after the launch. By the end of the year, the advertising department must help to convert the free styles included with SI into fixed subscriptions. Urs Heller comments on the current situation: "Subscribers get Schweizer Illustrierte Style for free for a year. The big conversion campaign is coming up in 2007. We have the first concrete indications of the level of awareness and reach and are very enthusiastic about it." The Fashion & Beauty & People formula has been very well received. The advertising industry and Schweizer Illustrierte Style have also quickly found each other. "We already reached our annual budget in August. Acceptance in Switzerland is already very high, and we are grateful for that." Abroad, a new title first has to gain accreditation. However, Style is convinced that the magazine will also grow quickly in this market.
The large-scale campaign with eight different motifs can be seen on large-format advertisements and posters throughout German-speaking Switzerland. Radio spots and stylish guerrilla campaigns will follow later.
Andreas Panzeri
The style of StylePublishing Director Urs Heller on the concept:
"Of course, Schweizer Illustrierte Style is first and foremost a youthful, fresh fashion magazine. With elaborate, fantastically beautiful fashion spreads. With sophisticated little fashion sections. First-class fashion editors, stylists and photographers of international caliber work for Style.
Of course style is
also a
Beauty magazine. We are there when the big brands present their new products. We
show the latest beauty trends in elegant photo spreads. And we ask experienced beauty coaches for insider tips to make our readers even more beautiful.
Style is also a celebrity
Magazine.
We show how stars live and travel. We ask them for big interviews. And we are there with the camera when VIPs open their very private closets. Style stands for fashion. For beauty. And for stars.
Style is a Swiss magazine.
We say what fashion costs - in francs, not in euros. We
where to find the objects of the
finds desire: In Zurich, Basel, Bern and Lucerne. Not in Munich, Hamburg or Paris." (pan)

Media The 3+ launch campaign created a well-orchestrated hype. The press kept the excitement high with PR articles about the casting right up to the start of the channel - free of charge. As with perfectly planned coups, the story about the new private TV channel 3+ ended up on the front page of 20 Minuten - and the corresponding advertisement a few pages further back in the Pendlerblatt. The trigger for the cover story was not the fact that 3+ wanted to draw attention to its presenter casting show with some of the figureheads of its big rival Schweizer Fernsehen.press as a well-behaved multiplier ... That alone would have made for a good thigh-slapper, but hardly for the "fuss" and the necessary advertising impact. That's why the deliberate - or flimsy - play with fire was already a fact at the center of the media coverage: the violation of personal rights was stylized as a "major risk" for the future broadcaster.
The exploitation rights that were not obtained provided what would have been withheld from the rather small advertising budget. And lo and behold, the calculation worked out. The advertising story went through practically all the media. Although the actual risk of a legal dispute is relatively low.
The creator, creative agency Ruf Lanz - co-owner and CD Danielle Lanz is the life partner of managing director and station initiator Dominik Kaiser - took a very pragmatic approach. She did not want to make the channel known to the potential audience, but rather the proven and - in this case more important - interactive format of star casting. The first 3+ advertising campaign - five motifs are planned - has not only made waves, but also killed several birds with one stone: the unusual job advertisements are ostensibly aimed at undiscovered talents and encourage them with the role models that they too started out small. At the same time, however, the campaign positions 3+ as an innovative, unconventional channel for the young audience and directs them to the 3+ homepage, where all the information can be found.
... and flattered celebritiesThe fact that the pointed and flattering homage to the presenters of the state broadcaster would be met with their sympathy rather than end in a petty dispute shows how deeply CD Markus Gut has looked into the psyche of the TV stars. In addition to Kurt Felix - in his "Stöck-Wys-Stich" days (1968 - 1970) - Christine Maier with a voluminous hairdo, a bearded Beni Thurnheer and a shyly smiling Katja Stauber also appear in the campaign. TV legend Kurt Felix was the first to prove that he knows how to have fun, says CD Markus Ruf. "The advertising idea is original," the TV veteran told Blick Online. "I'm not going to complain about it because I'm rather relaxed about it and the content of the ad is right." Felix told the SonntagsZeitung, still five days after the campaign launch, that his head could not be associated with an erotic quiz programmed by 3+. He was spared the dubious pleasure, as he would not receive the channel in his second home country of Italy.
Whether the entertainment channel can fulfill the expectations whipped up by the campaign will be judged from the end of August. In the meantime, the press continues to deliver new PR reports about 3+.
Luca Aloisi

In its current issue, the German women's magazine Woman is running an Ottoversand advertisement in a new advertising format, the Jetlabel, which works like this: two sides are joined with a silicone adhesive. The upper side is punched out like a sticker. The reader can peel this off. The advertising motif appears underneath, in this case top model Eva Padberg for the Hamburg-based Otto mail order company. First you see her in a fall outfit. Now the reader can detach this page and she appears in a winter outfit.
Gruner + Jahr, the publisher of Woman, is delighted that this type of advertising encourages very intensive contact with the advertising material. Claudia Herzog-Geiling, the responsible division manager at Ottoversand, is also convinced by the special form of advertising: "This makes our season of experiences tangible and the campaign surprising," she tells Werben & Verkaufen.
The German news magazine Focus has also already published a jet label advertisement for Pilsener Urquell.  

A thriller written by a marketing professor and a managing director of an advertising agency. Schütz and Kroth tell the story of a hostile company takeover in which no prisoners are taken. They do this with a lot of black humor; they skillfully and pointedly caricature the perpetrators and victims. Everyone gets their comeuppance, everyone gets their turn - sooner or later, but at exactly the right time - when staff are cut again. And without a social plan ... The story is probably fictional, but sometimes so close to reality that the laughter sticks in your throat.
> Mordsbetrieb by Peter Schütz and Robert Kroth; Business Village, 2006, 187 pages, 19.80 francs.