Candy Crush’s Immersive Ads Bring Puzzles Into the Real World

King’s Candy Crush—one of the most popular mobile games in the world—brings the match-three puzzles beyond phone screens for its latest campaign.

A series of ads by agency Bartle Bogle Hegarty London depicts what players love about Candy Crush through the use of practical effects, accompanied by bright colors and oversized sweet props.

“These films are all about immersion,” BBH creative director Adam Newby told Adweek. “Combining as many in-camera effects as possible with a fanatical focus on candy texture in post helped us make you feel like you’re in these amazing candy worlds.”

A spot titled “Whoosh” shows beachgoers sitting on the sand and playing the game at sunset before lines of candy propel them into the clouds. Along with the practical lighting and wind effects, it has an acrobat backflip through the sky.

“Spin” portrays a woman playing the game while waiting for her food at a restaurant, only to be flipped upside down as the candy tiles appear on the ceiling and drop down on other patrons.

“Float,” which will be released in November, follows a player using the game to relax in bed and drifting off into a glowing dream realm filled with giant candies.

“The films speak to different reasons people play Candy Crush, and variations on these films will be used to promote in-game seasons,” Newby said. “Beyond driving people to get involved with these events, the films aim to remind lapsed players why they love Candy Crush so much.”

The initial idea and script for the campaign were developed by Candy Crush’s former agency, No Problem, with BBH London handling the final script development, creative execution and production. The agency worked with King’s in-house team to compose audio tracks for each spot that use sounds from the game and fit with the themes.

The campaign will run for the next 12 months.

CREDITS:

Campaign title: Whoosh, Spin & Float
Advertising agency: BBH (Script development, creative execution and production) (No Problem delivered initial script and ideation)
Media agency: OMD
Production company: Blink Ink

King credits

King senior marketing director: Johanna Gerhold
King brand marketing director: Stephanie Hobart
King associate brand director: Amy Kilty
King creative marketing manager: Ellie Stitcher
King associate creative marketing manager: Jake Bogira
Head of audio at King: Dominique Devoucoux
Audio lead at King: Sebastian Aav
Composer at King: Gabriele Griciute

BBH credits                     

CCO: Alex Grieve
Executive creative director: Helen Rhodes
Creative director: Adam Newby
Copywriter: Katy David
Art director: Simran Sidhu
Planners: Rob Meiklejohn and Jess Garlick
Business lead: Tessa Cranfield
Account director: Atalanta Purce
Account manager: Imogen Brooks
Agency film producer: Kurtison Bailey and Diane Chan
Media agency: OMD
Production company: Blink Ink
Director: Joseph Mann
DOP: Carlos Veron
Producer: Jack Bristow
Editor: Ed Cheeseman @ Final Cut
Post-production company: Absolute
Post-production producer: Sally Heath, Sarah Maerz, Maddie Godsill, Megan Shaw
2D lead artist: Harvey David
3D lead artist: Tony Atherton
Colorist: Matt Turner
Sound studio: ENVY
Sound engineer: Richard Martin
Music composer: Gabriele Gricute, Dominique Devoucoux, Sebastian Aav
Music company: King Audio Team
Transcreation and adaption: Hogarth