Summary
This presentation addresses the role of games in market research. It provides a working definition of what a game is and why the role currently assigned to games by market research misses the broader opportunity that they offer. Research games can be used to get us closer to real-life mindsets. Market research can learn from game designers and how we might create great games and research experiences that can be enormously beneficial to clients seeking to understand and predict behaviour.

Summary
The AFF Suzuki Cup is a biennial football competition organised by the ASEAN Football Federation and contested by the national teams of Southeast Asia. It has 13 sponsors. Nike is not one of them. The brand had one way to directly participate in the action, through a long-standing tactical deal; in return for supplying balls, Nike got one perimeter board by each pitch. That's one out of 20-30 boards depending on the stadium. Nike made a strategic decision to use its 'sponsorship' to put more fans at the heart of the action: Nike SHOUT, a world-first integrated digital media innovation which connected fans to live pitch-side digital billboards. This case tells how one perimeter board helped Nike be an active part of the tournament and help sell more official football shirts than ever before in South East Asia.

Summary
R/GA helped Nike take the NIKEiD design experience to the next level with the NIKEiD iPhone App. The iPhone app allows designers to capture inspiration and tap into the expansive NIKEiD community. It helped NikeiD regain its stature as the world's best customization tool.

Summary
This paper discusses a campaign for Nike which aimed to connect the brand with a new audience in a new way. Nike had developed a new range of kit focusing on the area of small-sided football, which has gained rapidly in popularity in the UK, and wanted to drive interest and sales among consumers. In an effort to move beyond selling shirts, the company aimed to make a bigger brand statement at the grassroots of the game, which takes place less on pitches, and more in urban enclaves and estates. Nike had always struggled to communicate with "urban footballers", who are a far from homogenous group, are unpredictable, and demand authenticity. Based on the understanding that football was an escape from the pressures of life, and on the world of "urban footballers", it was decided to take an unscripted approach, and simply film real-life games and events as they happened. As part of this spontaneous process, footage was caught of a young footballer "nutmegging" Wayne Rooney, the England player. A substantial amount of PR coverage resulted, and this incident also gave Nike a cultural cache with its audience. The moment was replayed over half-a-million times on YouTube, while the total bank of content was viewed over three million times, and 16,000 players signed up for Nike's "Show Your Five" tournament.

Summary
WARC Online's U.S. editor Geoffrey Precourt reports from the Association of National Advertisers annual Masters of Marketing Conference on the address given by Joaquin Hidalgo, Nike Brand CMO, on the brand's consumer centric approach to marketing. In a world where the physical and digital are merging, Nike's research has taught it a number of lessons about marketing to the modern consumer: Don't tell them (advertisers can no longer broadcast to consumers); Amplify your voice (talk loud enough to be heard); Don't make it, let them create; Don't tell them how to play; Give them experiences, not more things. Examples of the new Nike philosopy include NIKEiD, a digital tool that enables users to design their own shoes, and the Nike + iPod initiative that has led to Nike + Human Race in which 800,000 runners ran a 10k race in 25 cities all over the world on August 31, 2008.

Summary
This paper tells the story of how Nike sought to win women over through the powerful insight that women dancers were frustrated that ignorant men failed to see dance as uncompromising athleticism. In so doing, it produced a compelling expression of the 'just do it' ethos for that half of the population who had mostly viewed it as a male take on the world of performance. Prior to the campaign, Nike was seen as a male-oriented brand that embodied all the values that many women claimed to hate. Planning and research was able to get inside women's deepest frustrations and identify their 'enemy'. In the resulting creative work women confront their frustrations and challenge their enemy by demanding: 'Tell me I'm not an athlete'.

Summary
Nike was seeking to become the number one player in the women's sportswear category. To do this, it needed to inspire all women to feel like athletes - and it decided to use dance as the vehicle to communicate this message. The result was a powerful brand campaign encompassing all forms of the commercial media mix, and exploiting Nike's 'Just Do It' attitude to gain free exposure amongst non-paid for media.

Summary
Tiger Woods was one of the most acclaimed golfers in the world before he ever took a single swing as a professional. Nike, Inc., the footwear and apparel giant known for its industry-defining advertising campaigns featuring superstar athletes, bet the future of its golf product lines on this emerging star in 1996, signing the young phenom to a five-year, $40 million endorsement deal just after he announced that he would be turning pro. Woods's appeal to advertisers was manifold: he was said to be the most gifted golfer in the sport's history, he was handsome and articulate, he was young, and he was multiracial. The initial Woods-centered campaign and its immediate successor, both developed by ad agency Wieden+Kennedy, proved to be among the most noteworthy Nike advertising efforts in recent memory. "Hello World," released to coincide with Woods's turning professional, combined a three-page spread in the Wall Street Journal with a commercial aired on ABC's Monday Night Football as well as on other networks. The TV spot offered a provocative message contrasting Woods's unprecedented accomplishments as an amateur golfer with the fact that there were still golf courses in the United States where he would not be allowed to play because of his skin color. This introductory campaign was immediately followed up by a more affirmative nod to Woods's ethnicity, the "I Am Tiger Woods" campaign. TV spots showed people from a wide range of ethnic backgrounds saying, "I Am Tiger Woods," a statement that, thus repeated, suggested the inspirational nature of Woods's entry into a sport previously assumed closed to nonwhite Americans. Woods attracted legions of new fans to golf, and the grandstands at tournaments in which he competed began to appear more youthful and ethnically diverse. This, of course, created vast new markets for a sport that had traditionally appealed to a select audience, and Nike benefited greatly from its association with Woods. Sales of Nike golf shoes and apparel skyrocketed, and Woods quickly became the most sought-after product endorser in the world.

Summary
In 2002, before ever playing an NBA game, basketball prodigy LeBron James had secured a $90 million endorsement deal with the world's largest athletic company, Nike, Inc. The Zoom LeBron basketball shoe was born at Nike's Beaverton, Oregon, headquarters in the hope that LeBron could pick up the marketing mantle of retired superstar Michael Jordan and his industry-changing Nike Air Jordan shoes. By 2005 James had been named Rookie of the Year, thus living up to expectations. Nike featured him in introductory print and TV advertisements that played off the nickname "King James" that was often used in the press. James as a personality still had not broken through to the greater public. With that goal in mind Nike released a new TV-centered campaign called "Meet the LeBrons" in late 2005. Using a portion of Nike's $170 million that was allotted for advertising that year, Portland, Oregon, agency Wieden + Kennedy was responsible for the offbeat television commercials that depicted James as four different versions of himself, all living in the same upscale household. Each spot was meant to be a spontaneous look at the family. Wise LeBron, an old-timer, bickered with the slick All Business LeBron. Kid LeBron bounced around with earphones on, while Athlete LeBron practiced his athletic moves. A tag at the end of each spot directed viewers to www.nikebasketball.com, an elaborate "Meet the LeBrons" section of the Nike website. The "Meet the LeBrons" campaign generated plenty of buzz in the press and online, even spawning action figures of the four characters. In 2005 Nike footwear sales were up a healthy 11 percent over the previous year, and the company's annual report for 2005 stated that it had been a record year for sales and profits. James flourished on the court, being named to the All-Star team for that season, and off the court endorsement money from a variety of companies continued to flow in his direction.

Summary
Nike Inc., based in Beaverton, Oregon, and the world's leading manufacturer of athletic footwear, premiered its "Move" television spot in early 2002 during the Winter Olympics in Salt Lake City, Utah. A lyrical homage to physical activity, the 90-second sequence featured athletes and nonathletes alike, all engaged in the actions of their sports. From swimming to skateboarding, to video golf and gymnastics, each person's movements were coordinated with the next person's, creating a seamless paean to physical activity. Though passing images of Nike's famous "swoosh" logo appeared in the spot, the commercial did not promote a specific product. Instead, it capitalized on the emotional nature of the Olympic Games and equated the Nike brand with the same feeling of goodwill. The "Move" commercial was created by Nike's longtime advertising agency, Wieden+Kennedy (W+K), and directed by filmmaker Jake Scott. Although the 90-second spot had its premiere during NBC's coverage of the Olympics, 60-second and 30-second versions later ran briefly on other television networks. The games, with their huge ratings over a two-week period, offered advertisers a rare opportunity every two years to launch new products or to redefine brands by creating commercials that capitalized on the games. In the case of "Move," the tie-in was represented by cameo shots of famous Olympic athletes, including skier Picabo Street and speed skater Apolo Anton Ohno. Shots of these stars were intercut with shots of "ordinary" people, beginning with a boy running down a suburban street and ranging from the simple (a toddler playing on a bed) to the thrill seeking (a BASE jumper leaping from a bridge). The commercial's message was clear: No matter how you do it, just move. Nike did not make the cost of the commercial public, and by the spring of 2002 the company had moved on to other, more product-focused campaigns. "Move" continued to attract notice, however, and it won the 2002 Emmy Award as the outstanding commercial from the Academy of Television Arts and Sciences and a Gold Lion at the 2003 Clio Awards.