With five years passing since the last Fallout release, and stiff competition from the likes of Call of Duty: Black Ops III and Star Wars: Battlefront, all bets were off for the return of the post-apocalyptic survival RPG franchise. But thanks to the sight of the winning smile, wink, and thumbs-up of Vault Boy being totally unmissable all over London, the UK and Europe at large (Belgium, Netherlands, Luxembourg, Italy, Spain, and four Nordic countries), Fallout 4 not only stormed to #1, but broke records doing it. The juggernaut of a game outsold every previous Bethesda title (including Skyrim) by a wide margin, and even catapulted the Fallout series into the exclusive club of selling half-a-million units in its first week on sale, alongside the FIFA, Call of Duty and Grand Theft Auto franchises.
Our campaign revolved around the iconic Vault Boy mascot, showing up in magazines and newspapers, on buses, bus stops and the underground, billboards and digital OOH, and even the famous huge Piccadilly Circus screens. This was augmented by the fantastic live-action ‘The Wanderer’ TV/online spot, set to the tune of Dion and the Belmonts’ iconic tune, which showed the 1950s-inspired retrofuture of the Fallout universe destroyed by atomic detonations and the player character (and their dog) exploring the wasteland killing mutants and donning the recognisable T-45 Power Armor. Imagery from this video ad was repurposed for one of the crown jewels in the campaign, a 360-degree ceiling-to-floor wrap including digital screens at Oxford Circus underground station, an immersive ad experience which brought commuters and travellers into the world of Fallout 4 from every direction. Other cutting-edge ad opportunities were also utilised for the campaign, such as the bright LED lights which outlined the logo on bus T-sides, an eye-catching sight at night and the first-of-its-kind use for this technology. A digital standout was the Facebook carousel ad which showed panoramic key art from the game in a horizontal scrollable post, showcasing the open-world nature of the title.
During the launch period, the internet was absolutely irradiated with Fallout articles, lists, videos, streams, statuses, tweets, fan-art and many more kinds of earned media. Everyone was talking about the game both offline and on, proving the quality and excitement of Bethesda titles is highly desired by a mainstream audience. Target couldn’t be happier with the Fallout 4 sales, and we’re all strapping on our Pip-Boys and exploring the nuclear wasteland in our spare time!
Television, Cinema, Digital (Social, Video, Display, Programmatic, Content), Outdoor, Print
Fallout: New Vegas, The Elder Scrolls Online, The Elder Scrolls V: Skyrim
Tom Wallace, Stephen Juson, Loki Atanda, Nicola Teague, Kim FitzGerald, Reuben Litman, Alistair Reid, Nick Toogood