The challenge was to gain as much as possible from the spots aired at the Super Bowl. So, the brand developed a super-complex and engaging digital platform, with 17 apps.
The obvious intention? To dominate the dialogue, to be everywhere in the users’ experience. They used every brain power in the room to spread everywhere, to be in every media
The overall idea of the 2016 campaign that prolonged until 2018 was a parody of a secret society called the avocados that have good fats and are healthy. The entire story spins around the secrets that these Avocados might spill. Objective? To ensure that the campaign reigns over all digital environment and there’s no other way out, similarly to a secret society. As a user, wherever you got on their platform, you were invited to enter the secret world they’ve silently prepared.
The creative team created a game starting from the idea of a lost phone of a member from this secret society. The gamification part was the starting point for engagement. So, all this was created as an anticipation of the big reveal at the Super Bowl and generated 2 billion impressions before the game. The digital platform was created as a complementary tool for the video ads. Everything was concentrated around this cellphone lost by one of the members and found by the users. A whole another story was starting from there. The mock phone has apps of a normal smartphone, but each has a different function and helps the user to decrypt the story. For example, on Instagram, users will find 3 pics – each with a secret message. At the selection of the right filter, the message is revealed. They created the same story for the Snapchat as well, also including the discovery of area 51. Customers could leaf through the members inbox containing confidential data about national secrets. The password for entering the Twitter app from the mock up was #AvoSecrets.
2 billion impressions before the game
10,000 mentions of #AvoSecrets in 15 minutes after the commercial aired during the game
3.2 billion impressions overall