Magnum Pleasure Hunt 2: bigger, bolder sequel

Last year, to launch the all new Magnum Temptation Hazelnut ice-cream, Swedish agencies Lowe Brindfors and B-Reel created an advergame, a branded game built to promote a product, called “Magnum Pleasure Hunt Across The Internet”. In the game, players are taken across 20 well known websites as they collect Bon Bons, the special ingredient of the Magnum Temptation Hazelnut ice-cream.

Since the game did exceedingly well, Magnum and team came up with round 2, enhanced with 3D graphics. This time players were taken on a run in New York, made to fly over Paris, and surf the waves in Rio De Janeiro, using a map and street-view style interface as the playground.

What changes from round 1 to round 2

The first game is a browser-bending sprint that treats the wider internet as a set of levels. The sequel shifts the same chase mechanic into city environments, with more depth, more spectacle, and clearer “set pieces” you can remember after one play.

In global FMCG brand launches, advergames like this work when they turn “a product promise” into a simple, replayable challenge people can explain in one sentence.

The real question is whether your sequel escalates the world without changing the one rule people already learned.

  • Round 1: web-hopping levels and Bon Bons as the core collectible.
  • Round 2: city-based runs plus a stronger 3D feel for movement, obstacles, and momentum.

Why it lands: it feels like discovery, not advertising

This is not a microsite you click once and forget. It is designed as a time-and-score loop. You play again to improve your route, your timing, and your collection count, and that repeat play is where the brand association gets built. It also matches Magnum’s “pleasure seeking” positioning with a mechanic that is literally a hunt. Because the loop rewards replay with visible improvement, the hunt association gets reinforced without asking the player to read a product pitch.

Extractable takeaway: When the brand promise is an action verb, make that verb the gameplay loop, and make replay the fastest way to feel the promise again.

The smart brand logic behind the Bon Bons

Bon Bons are a neat choice because they let the product story travel inside the gameplay. You are not only collecting points. You are collecting the “ingredient” that makes the new variant feel specific, even if you never read a product description.

I think it is a great follow up to the first version. Magnum Pleasure Hunt 2 could be experienced at www.pleasurehunt2.mymagnum.com.

Sequel campaign rules worth copying

  • Keep the core rule the same. Sequel energy comes from familiarity, then escalation.
  • Upgrade the world, not the instructions. New environments create novelty without re-teaching the game.
  • Build signature moments. New York, Paris, and Rio act like memorable chapters, not just backgrounds.
  • Make it easy to share a result. If the outcome is a score or time, people instantly understand what “good” looks like.

A few fast answers before you act

What is Magnum Pleasure Hunt?

It is a branded advergame where players chase and collect Magnum Bon Bons, originally by racing across well known websites as game levels.

What is different about Magnum Pleasure Hunt 2?

The sequel moves the action into city environments, adds a more cinematic 3D feel, and turns New York, Paris, and Rio into distinct stages of the chase.

Why does the “hunt” mechanic fit the Magnum brand?

Because it translates the idea of “pleasure seeking” into a simple action loop. Keep moving, keep collecting, keep chasing the next reward.

What makes an advergame replayable enough to matter?

Clear scoring, short rounds, and visible improvement. If players can beat their own time or score, they come back.

What is one practical takeaway for marketers?

If you plan a sequel, keep the rules familiar and escalate the world. That is how you get “new” without losing the audience you already earned.

KLM: Meet & Seat

Most brands use social channels tactically, mainly to reach people with social ads. KLM takes a different route by turning social into a flight feature, not just a media channel.

Last year KLM announced it would launch a social seating service in 2012 that lets Facebook and LinkedIn users meet interesting passengers on their flight.

From social graph to seat map

The mechanism is opt-in. Passengers can link a Facebook or LinkedIn profile to their booking, view other participating passengers, and use that context to decide who they might like to sit near. Instead of “broadcasting” brand messages, KLM uses social signals to make the journey feel more connected and a little less anonymous.

In global airline customer experience, social features only earn their place when they reduce travel friction while keeping passenger comfort and control intact.

Why this goes beyond advertising

The real question is whether your “social” idea earns a place inside the core workflow, or stays a bolt-on marketing layer.

This is not a campaign that ends when the media stops. It is a product layer that sits inside the booking and seat-selection experience. That matters because the value is practical. The idea helps solo travelers find relevant people. It helps professionals spot peers. It helps conference-goers connect before landing.

What makes the idea feel safe enough to try

The service is framed as voluntary. You choose to participate, and the experience only works if passengers trust they can opt in, opt out, and keep the interaction lightweight. That balance is the difference between “novel” and “creepy”, especially when your setting is an enclosed cabin for many hours.

Extractable takeaway: If a feature touches identity inside a captive environment, design for clear consent, easy exit, and low-pressure interaction first.

Where it is live, for now

Meet & Seat has now gone live and is currently available on KLM flights between Amsterdam and New York, San Francisco and São Paulo. The stated intent is to extend the service to other sectors over time.

Steal this pattern for social utility

  • Turn social into utility. A social feature that solves a real moment beats social content that asks for attention.
  • Make it opt-in by design. Voluntary participation is how you earn trust for anything identity-adjacent, meaning tied to real identity or profile data.
  • Embed it in a workflow. Booking and seat selection are high-intent moments where new features get tried.
  • Keep the promise small. Help people meet someone interesting. Do not overclaim “matchmaking”.

A few fast answers before you act

What is KLM Meet & Seat in one line?

An opt-in service that lets passengers connect via Facebook or LinkedIn and use that context during seat selection to sit near people they find interesting.

Why is this different from a normal social media campaign?

Because it is a service embedded in the travel journey, not content distributed around it.

Why does opt-in matter so much here?

Because seatmate selection touches identity and comfort. Participation needs to feel controlled, reversible, and low-pressure.

Where should a similar feature live in the journey?

Put it in a high-intent step, such as booking or seat selection, so people can try it when they already have a reason to act.

What is the main transferable lesson?

Stop treating social as a megaphone. Treat it as a signal you can convert into a useful moment inside the customer journey.

eBay: Give-A-Toy Store

One of the things that all people do during the holidays, besides real shopping, is window shopping. Storefront window displays therefore have a stronger significance during the holiday season. Keeping that in mind, eBay has developed a way to make this experience move from passive to interactive and engaging.

Give-A-Toy Store is a 3D Christmas window installation with QR code tagged toys, built to evoke the passer-by’s giving side. Scanning the QR codes inside the eBay app allows passers-by to donate that toy on the spot, with the window lighting up and rewarding them for the donation.

The window installation is currently available at Toys for Tots in New York (at 35th and Broadway) and San Francisco (at 117 Post St).

Additionally customers can also customize their own toys on eBay’s Facebook page. For each toy created, eBay will donate $1 (up to $50,000).

From window shopping to “giving on the sidewalk”

This is a simple flip. The window is no longer just display media. It becomes a donation interface. You look, you scan, you give. Then you get instant feedback in the physical world.

How the mechanism does the heavy lifting

The mechanic is intentionally friction-light. Toys are visually presented as scannable choices. The QR tag is the call-to-action. The eBay app is the checkout. The window lighting up is the reward loop, confirming that something happened and making the act feel social even if you are alone.

In high-traffic retail corridors, a good interactive storefront turns waiting and wandering into measurable intent, without asking people to step inside.

Why it lands in a holiday crowd

It works because it respects the window-shopping mindset. People are already browsing. They are already comparing. This just adds a small, clear next step that feels aligned with the season. The visual “thank you” in the window also matters. It makes the donation feel immediate and real, not abstract and back-end.

Extractable takeaway: If you can make the environment visibly react to a mobile action, you create trust and momentum. The moment becomes self-explanatory, and bystanders learn the behavior just by watching.

What the brand is really building

The real question is whether a holiday storefront can turn passing attention into a mobile action that feels immediate enough to complete on the sidewalk.

This is not only about donations. It is a product demo for mobile commerce in disguise. It shows that scanning can be a legitimate buying action, that the phone can complete a transaction in seconds, and that the brand can connect physical retail ritual with digital conversion.

What this teaches about interactive storefronts

  • Make the first action obvious. If scanning is the behavior, the codes must look like the product tag.
  • Design a physical confirmation. Light, motion, or animation reduces doubt and makes the act feel rewarding.
  • Keep the choice set tight. Fewer, clearer options beat a cluttered scene when people are walking past.
  • Match the moment. Holiday giving is a natural fit for “instant donate” mechanics.
  • Make it watchable. When others can see the window respond, you get free teaching and free social proof.

A few fast answers before you act

What is the core idea behind Give-A-Toy Store?

Turn a holiday window into a scannable donation experience, so giving happens in the same moment as browsing.

Why does the window lighting up matter?

It provides immediate confirmation and reward. That reduces hesitation, makes the interaction feel real, and invites others nearby to notice and copy the behavior.

What makes this different from a normal QR campaign poster?

The display is the product experience. The scene feels like a store window first, and the QR code is integrated as a natural “price tag” action rather than a separate ad instruction.

What is the biggest execution risk?

Friction. If scanning is unreliable, the app flow is slow, or the codes are hard to spot at walking distance, people will not complete the action.

How would you adapt this if you do not have an app?

Keep the structure. Use a fast mobile entry point, and pair it with a visible physical confirmation so people know their action worked.