Honda – The Other Side

Honda – The Other Side

Car brands are always trying to show that their cars have different sides to their personalities, sporty vs reliable, safe vs cool, etc. What makes Honda’s latest effort unique is its YouTube video. By simply holding down the “R” key on the keyboard, the viewer can instantly switch between two different videos.

To execute this innovation, Wieden & Kennedy London had to create two storylines, one of an easygoing Dad doing the school run and the second as an undercover cop posing as a getaway driver. Both of which were then expertly mirrored with contrasting style and tone. The interactive experience was then put together by Stinkdigital at Honda’s YouTube Channel.

Why the mechanic matters more than the novelty

The “hold R to switch” idea is a simple interaction mechanic, meaning the viewer action changes how the story is revealed, but it changes how you watch. You are not just viewing a story. You are actively comparing two versions of the same moment, in real time.

Extractable takeaway: When a brand claim depends on contrast, the strongest format is often one that lets the audience trigger the comparison for themselves.

The real question is whether the interaction makes the brand point clearer, not whether the tech looks clever.

  • One scene, two meanings. The mirrored structure makes contrast instantly legible.
  • Viewer control. You control the cut, which increases attention and repeat viewing.
  • Storytelling as product proof. Different “sides” of a car become a narrative device, not a claim.

Execution discipline: mirrored scenes, opposite tone

This only worked because the two storylines were designed to align. Timing, framing, and beats had to match so the switch felt seamless, not like two unrelated edits.

The payoff is that contrast becomes the hero. Calm family routine vs high-pressure escape. The same underlying vehicle context. Two different emotional reads.

In digital brand storytelling, interactive mechanics only earn their place when they make the positioning easier to grasp, not harder.

The business intent is clear: turn Honda’s “different sides” message into a felt comparison, so the format demonstrates the proposition instead of leaving copy to explain it.

What to take from this if you build interactive brand content

  1. Make the interaction explain itself. If the mechanic needs instructions, you lose momentum.
  2. Design for replay. The best interactive films reward going back and re-watching with intent.
  3. Let structure carry the message. When the format proves the point, you do not need heavy-handed copy.
  4. Keep the tech invisible. Viewers remember the feeling of control and contrast, not the implementation details.

A few fast answers before you act

What is Honda “The Other Side”?

It is an interactive film experience where viewers can switch between two parallel storylines by holding down the “R” key.

What are the two storylines?

One follows an easygoing Dad doing the school run. The other follows an undercover cop posing as a getaway driver, with both narratives mirrored scene-by-scene.

Why is the “hold R to switch” mechanic effective?

It gives the viewer control and makes the contrast immediate. That active comparison increases attention, engagement, and replays.

Who created the work?

Wieden & Kennedy London created the two mirrored storylines, and Stinkdigital put the interactive experience together on Honda’s YouTube Channel.

What is the transferable lesson for digital teams?

If you can express your message through an interaction that is instantly understandable, the format itself becomes the persuasion.

Happy Holiday Videos 2013: Agency Stunts

Happy Holiday Videos 2013: Agency Stunts

Welcome back. Hope everyone had a great holiday season. Now for a great start to 2014.

Taking off from my last post, here are a series of holiday action videos created by agencies around the world in their lead up to Christmas 2013. By “holiday action videos” I mean greetings built around a single visible action or interaction, not a passive message.

Holiday greetings that behave like products

The mechanism across this set is simple. Use the “holiday card” moment as permission to ship a stunt, an installation, or an interactive video that people can experience rather than merely watch.

In global agency culture, holiday cards are a low-stakes sandbox for experimentation that teams can ship fast and share widely.

The real question is whether your greeting can demonstrate something people can experience, not just a sentiment you can post.

This format is worth copying because it turns a seasonal hello into proof of craft.

Why this format keeps working

These pieces earn attention because they trade greeting-card sentiment for an observable action. Put in a coin. Click a button. Gather people in front of a webcam. One clear trigger, one visible result.

Extractable takeaway: If you want something to travel during peak-season noise, design a one-step interaction that produces a visible payoff, and make the payoff easy for someone else to describe in a sentence.

Christmas Chocolate Coin Factory by W+K London

Wieden+Kennedy London turned their Hanbury Street office window into a Christmas installation. Passers-by who inserted a 1 pound coin into Dan & Dave’s Chocolate Coin Factory activated the machine on display which then dispensed a special gold Belgian chocolate coin at the other end. All the money collected from this coin factory was donated towards building a new playground for Millfields Community School in Hackney, East London.

Disrupted Christmas by Holler

Holler, an agency from Sydney, created a live interactive installation that gave the general public a chance to disrupt the agency as it worked throughout the day. Electric Muscle Stimulation (EMS) units were hacked and hooked up to the Internet via IP cameras. Then key members of the agency were connected to the EMS units, and the Internet via a live stream. The public could then watch the agency staff online and instantaneously zap them at will with the click of a button.

For each disruption the agency donated $1 to The Factory, a local community centre with a long history of supporting socially and economically disadvantaged local residents.

The More the Merrier by Publicis Groupe

The Publicis Groupe was back again with another Maurice Lévy holiday video. This time they worked with DigitasLBi to create a video that uses your webcam to detect how many faces are watching together, and then adapts the video based on the number of viewers.

The Epic Christmas Split by Delov Digital

Delov Digital from Hungary used Chuck Norris to top Jean-Claude Van Damme’s epic Volvo split with the help of some serious digital enhancement.

A repeatable structure for next year’s greeting

  • Give the audience one trigger. A single action that anyone can explain and repeat.
  • Make the payoff visible. Something that changes on-screen or in the real world, immediately.
  • Design for retellability. If the idea cannot be summarized in one sentence, it will not spread.
  • Let craft do the selling. Use the holiday excuse to demonstrate what you can build, not just what you can say.

A few fast answers before you act

What makes “holiday action videos” different from normal holiday ads?

They are built around a visible action or interaction. The greeting is the excuse. The experience is the asset that people talk about and share.

Why do agencies use holiday cards as a playground for experimentation?

The stakes are lower and the audience is receptive. That creates room to try unusual formats, technical tricks, and interactive mechanics that would be harder to justify in a client campaign.

What is the common mechanism across the best ones?

One clear trigger and one clear payoff. Insert a coin and get a coin back. Click a button and something happens. Add more people and the video changes.

How do you choose a mechanic that people will actually try?

Pick a one-step trigger that feels effortless, then make the payoff obvious within seconds. If someone cannot explain both in one sentence, the interaction will not travel.

How do you keep it from feeling like a gimmick?

Anchor the interaction in a simple human reward. Delight, togetherness, surprise, or a small act of good. Then keep the mechanic effortless so the idea does not collapse under friction.

Honda Jazz Interactive TV Ad

Honda Jazz Interactive TV Ad

You watch the Honda Jazz “This Unpredictable Life” TV spot. At the same time, you open a companion iPhone app and literally “grab” what is happening in the ad. A character jumps onto your phone in the exact moment it appears on TV. Then you take that character with you and keep playing after the commercial ends.

Wieden + Kennedy London is behind this interactive TV campaign for the new Honda Jazz. The idea is simple and sharp. Use the iPhone as a second screen that syncs to the broadcast and turns a passive spot into a real-time experience. Here, “second screen” means the phone becomes the companion interface while TV stays the primary video canvas.

What the iPhone app does while the ad plays

The mechanic is “screen hopping.” The iPhone app recognises the sound from the TV ad and matches it to predefined audio fingerprints. That timing tells the app exactly which character or moment is live in the commercial, so it can surface the right interactive content on your phone in real time. Because the sync is driven by the ad’s audio, the handoff can happen on the exact beat the viewer sees on TV, which is what makes the interaction feel seamless.

In European consumer-brand marketing teams, this pattern matters most when broadcast reach and mobile engagement are owned and designed as one experience.

The real question is whether your second-screen sync can stay instant and obvious enough to feel like part of the spot, not a separate product.

What happens after you “grab” a character

Once a character lands on your iPhone, you interact with it away from the TV. You can trigger behaviours and mini-interactions, including singing into the phone to make characters react and dance. The TV spot becomes the gateway. The mobile experience becomes the engagement layer you keep.

Why this matters for interactive advertising

This is a clear step toward campaigns that treat broadcast as the launchpad and mobile as the control surface. When the second screen is tightly synchronised, you can design moments that feel native to the content people are already watching, rather than forcing a separate “go online later” call-to-action. This is worth doing when the sync is instant and the post-spot interaction is fun enough to continue without the TV.

Extractable takeaway: If you want broadcast to create action, design the mobile handoff so it happens on the same beat the viewer sees on TV, then give the phone a simple loop that keeps going after the spot ends.

This is also not the first time an iPhone engagement model starts to bridge media and action. A related example uses a similar iPhone-led interaction pattern for coupons and augmented reality: location based augmented reality coupons.

Design cues to reuse from this campaign

  • Anchor everything on a single trigger. Let the TV spot be the trigger, and let the phone pick up the same moment without delay.
  • Make the interaction obvious in one move. “Grab a character” is a clean mental model that needs almost no instructions.
  • Carry the payoff beyond the broadcast window. Treat the spot as the gateway and the phone as the layer that continues after the ad ends.
  • Keep the experience playful, not feature-heavy. Simple behaviours and reactions beat complex menus when timing is the point.

A few fast answers before you act

What is “screen hopping” in advertising?

Screen hopping is when content “jumps” from one screen to another during a live experience. Here, the TV spot triggers synchronized content on an iPhone so viewers can capture and interact with elements of the ad.

How does the Honda Jazz app sync to the TV commercial?

The app uses audio recognition. It matches the ad’s sound to predefined audio patterns so it knows what is playing at any moment and can show the right character or interaction on the phone.

What is the value of a second-screen experience like this?

It extends a short broadcast moment into a longer engagement loop. The ad becomes a gateway. The phone becomes the interactive layer that continues before, during, and after the spot.

What should a brand get right to make this work?

Timing and simplicity. The sync must feel instant, the interaction must be obvious, and the “reward” for participating must be fun enough to carry beyond the TV moment.