Chery M11: Road M11

Chery M11: Road M11

Hundreds of people design their own “dream roads” online. Then one of those roads gets built in the real world, and the person who created it ends up navigating a rally run alongside a professional driver.

That is the core idea behind Chery M11’s “Road M11” project by Voskhod, built to tackle a real market perception problem. In Russia, Chinese cars were widely seen as unreliable and unpleasant to drive, so the campaign had to create proof, not promises.

Instead of leading with specs, the brand launches an internet game where anyone can create roads and drive them using a computer model of the Chery M11. People race against the clock and vote on the best road. After a month and more than 800 submitted roads, a winner is selected. The winning road is then constructed in reality for a rally-style event, journalists are invited, a Russian rally champion is chosen as driver, and the road’s creator becomes the navigator.

Turning “prove it” into a participation loop

The mechanic is not just gamification. It is co-creation with consequences. The audience builds roads, competes, and votes. The brand takes the best idea and commits to building it at full scale, then lets independent observers experience the car on a course the public designed rather than a track the brand curated.

In automotive categories where trust is the main barrier, converting digital participation into a real-world test creates credibility that advertising claims cannot buy.

Why it lands

The campaign reframes skepticism as a challenge the audience can test. That matters because the negative belief is about performance and reliability, and those beliefs tend to change only through experience or trusted proxy experience. The road-building game gives people viewer control over what the car is “asked to do”, and the real rally event creates a clean narrative of proof. If the car cannot handle it, the idea collapses publicly. That risk is what makes the demonstration persuasive.

Extractable takeaway: When a category suffers from “untrusted origin” bias, meaning buyers discount the product because they distrust where it comes from, move the claim from messaging into a public test. Let the audience help define the test, then invite credible witnesses to validate the outcome.

What the business intent really is

The obvious goal is traffic and attention. The deeper goal is to earn test drives and journalist coverage by making the car’s capabilities feel observed rather than asserted. The legacy write-up reports strong site visitation and sales impact, which fits the logic of the mechanism. Participation creates investment, investment creates trial, trial creates conversion.

The real question is whether the brand can turn skepticism into a public proof event that feels harder to dismiss than an ad.

What to borrow from Road M11

  • Design a proof that scales. Digital participation can scale fast, but the proof moment must be simple enough to summarize.
  • Let the public set the challenge. Co-creation increases trust because it reduces suspicion of “staged conditions”.
  • Bridge online to offline. The handoff from game to real-world event is where credibility is minted.
  • Invite credible witnesses. Journalists, experts, or known practitioners make the proof travel beyond your owned channels.

A few fast answers before you act

What is “Road M11” in one sentence?

An online road-building game for the Chery M11 where the winning user-created road is built in real life for a rally-style demonstration with journalists and a pro driver.

Why use a game instead of a traditional test-drive campaign?

Because the barrier is trust. A participatory mechanic creates investment, and the game-to-real-world conversion creates a visible proof story that journalists and viewers can follow.

What perception problem is this designed to solve?

That Chinese cars in the Russian market were seen as unreliable and poor to drive, so performance had to be demonstrated rather than claimed.

What results did the legacy write-up claim?

It reported more than 340,000 visitors in three months, sales exceeding plan by 76%, and annual sales growth of 186% versus market averages. Treat these as campaign-reported figures unless you have primary reporting to validate them.

What is the biggest risk in this approach?

If the real-world build and rally experience does not match the promise, the proof flips into a public counter-proof. The execution has to be operationally strong, not just creatively strong.

Be Your Own Souvenir: 3D-printed human statue

Be Your Own Souvenir: 3D-printed human statue

The crew from blablablab.org creates a unique digital installation in La Rambla, Barcelona, a place made famous by street artists posing as “human sculptures” and the constant flow of tourists who stop to watch them stand still.

This installation reverses the roles and lets the tourist become the producer as well as the consumer. The system invites visitors to perform as a human statue, with a free personal souvenir as the reward: a small figure of themselves, printed three-dimensionally from a volumetric reconstruction generated using three structured-light scanners (Kinect).

On La Rambla, where people already queue for a photo moment, converting spectators into performers is a reliable way to earn attention without forcing a pitch.

A street ritual, rewritten

La Rambla already has a clear “script”. You stop, you watch, you take a picture, you move on. This project keeps the same script, but switches the hero. Instead of photographing someone else’s performance, you become the performance, and you leave with a physical artifact that proves you did it.

The real question is how you get strangers to choose public participation without feeling like they are being pitched.

How the scanning becomes the experience

The tech is not framed as “3D scanning”. It is framed as a playful stage. You step into position, hold still like the living statues nearby, and the system quietly captures you. The output is a miniature you can take home, which makes the digital process feel tangible and earned.

In European tourist corridors with heavy foot traffic, public-space interactivity succeeds when the action is instantly legible and the payoff is immediate.

Why the reward loop works

A souvenir is usually generic. Here it is personal, location-specific, and instantly story-worthy. The value is not the plastic. The value is the transformation: tourist to performer, data to object, moment to keepsake. The reward loop here is simple: pose, get captured, receive a miniature you can take home. This kind of public-space interactivity works best when the reward is earned through participation, not handed out as a promo.

Extractable takeaway: Turn spectators into performers with a one-step action and an earned artifact, and you can win attention without forcing a pitch.

What to steal for public-space interactivity

  • Borrow a behavior people already understand. The “human statue” pose needs no explanation in this location.
  • Make participation the content. The audience is literally the subject.
  • Deliver a physical takeaway. A real object extends the memory past the street corner.
  • Keep the instruction simple. “Stand here and pose” beats any multi-step onboarding.

A few fast answers before you act

What is “Be Your Own Souvenir”?

It is a public installation on La Rambla that invites tourists to pose as human statues, captures them with structured-light scanning, and produces a small 3D-printed figure as a personal souvenir.

How does the system capture the person?

It uses volumetric reconstruction generated from three structured-light scanners (Kinect), producing a digital model that can be sent to a 3D printer.

Why does the “human statue” framing matter?

Because it matches the culture of the street. People already understand the pose-and-watch ritual, so the interaction feels native rather than imported.

What makes this more than a tech demo?

The outcome is personal and physical. The tech disappears behind an experience and a takeaway that visitors actually want.

What is the main lesson for experiential design?

Anchor the interaction in a familiar behavior, then reward participation with an artifact that makes the moment portable.

The Escape Service: Press the red button

The Escape Service: Press the red button

DDB Paris creates a new service for the French rail booking site Voyages-sncf.com. “The Escape Service” lets people escape to any destination they want by simply pushing a magical red button.

Together with the French collective Pleix, they design three celebrations that emerge from a 3×3 meter black box that unfolds like a giant jack-in-the-box. In Paris, the cube lures passers-by in, asks where they want to go, then bursts into a destination-themed surprise and hands out a mock ticket for the chosen trip.

The film also ends by inviting viewers to press the button themselves and experience a first-person view version of the Escape Service. That first-person view version is a POV cut where the camera takes your place at the button.

A black box that behaves like a travel shortcut

The mechanism is deliberately minimal. There is one obvious choice, press the red button. The payoff is oversized, because the box transforms into a celebration that makes “go anywhere” feel real without explaining routes, prices, or schedules.

In European rail and travel marketing, turning an abstract promise like “escape” into a public, physical moment helps people imagine the journey instantly.

Why the red button is the real interface

The button turns travel intent into an action you can perform in one second. That matters because it removes hesitation. You do not need to “plan” to participate. You only need curiosity, and the street does the rest.

Extractable takeaway: When your promise is intangible, make the first step a one-second action that people can try without planning, then let the payoff do the explaining.

What the campaign is really proving for Voyages-sncf.com

This is not about a single destination. It is about choice and immediacy. The idea says: if you can decide on the spot, you can book on the spot. The mock ticket detail pushes the story from spectacle into something you can take away and show.

The real question is whether your service promise can be compressed into one action people will try without needing more information.

This kind of one-action interface is worth copying when you need to turn curiosity into intent fast.

Moves to borrow from the red-button mechanic

  • Reduce the interaction to one decision. One button is better than a menu when you need street participation.
  • Make the reward visible to bystanders. If spectators can understand the payoff, the crowd recruits the next person.
  • Personalize the outcome fast. A destination choice and a ticket-like takeaway make the moment feel “mine”.
  • Bridge offline to online without forcing it. A first-person online version extends reach without changing the story.

A few fast answers before you act

What is “The Escape Service” for Voyages-sncf.com?

It is a public pop-up experience where a black box invites people to press a red button, choose a destination, and trigger a surprise celebration that dramatizes the idea of escaping by train.

Why use a red button and a box?

Because it is self-explanatory. A single button removes friction and creates a clear before-and-after moment that people remember and film.

What makes this more than a stunt?

The mechanic maps cleanly to the service promise: pick a destination and go. The mock ticket detail turns the experience into a personal travel intent, not only entertainment.

How does this support online booking?

It makes “decide and book” feel effortless. The film’s first-person online extension reinforces that the same impulse can continue digitally.

What is the transferable lesson for service marketing?

When your product is intangible, build a physical interface that compresses the benefit into one action and one memorable payoff.