Playdium creates order from chaos

When is a video arcade not a video arcade? When it’s a ‘location-based entertainment centre.’

Such is the designation that Toronto-based Playdium Entertainment has given to the 29 locations it currently operates across Canada. Essentially, these are electronic gaming destinations – but Playdium’s ambitious goal is to make game-playing a rich and engaging experience, not just an addictive pastime.

Much of the distinction between arcade and ‘entertainment centre,’ of course, comes down to the way in which the experience is packaged. So the creative team at Kramer Design Associates (KDA) discovered when they assumed the task of developing signage and other interior display graphics for Playdium’s new flagship location in downtown Toronto.

‘We wanted to create an immersive environment,’ says Jeremy Kramer, vice-president and creative director with KDA. The firm’s design work for the Toronto location, which opened in November, has since been replicated at Playdium centres in Burlington, Ont. and at the West Edmonton Mall.

Playdium, which opened its first location in Mississauga, Ont. in 1996, aims to deliver a unique experience. Even if a game is offered at other arcades, the company will work with the game manufacturer to put its own stamp on it, and ensure that the Playdium visitor experiences it differently.

Walking into a Playdium centre is a visual experience, Kramer says. From the moment they enter the venue, visitors are surrounded on all sides by merchandising for the games. Graphic display is by far one of the most important elements of the environment, serving to heighten the energy and excitement of the place.

‘The fun of the game should start long before people start playing,’ Kramer says.

A kind of visual hierarchy is at work in the downtown Toronto location. Overarching all is the Playdium brand itself, which defines the general look of the place – unique, unusual and irregular. ‘Its consistency is its inconsistency,’ Kramer says. ‘All of it is done with a twist.’

At the same time, however, the graphics need to create some sense of logical order, to help visitors find their way around. Hence the various zones that have been created: ‘Speed,’ ‘Sports,’ ‘Music,’ ‘Kids’ and so on.

Kramer describes the zones as ‘communities’ – each showcases a particular game genre, and has its own distinct visual theming, created through various means, including theatrical lighting. (The ‘Contact’ zone, for example, is devoted to martial arts games and features Chinese lanterns, as well as dragons and other Oriental images splashed on the walls and floors.)

The challenge, he says, was to develop graphics that would be unique to each zone, but would also integrate well with one another.

In addition to creating excitement and defining themes, the graphics also had to communicate more detailed information about certain games.

Take the Virtual Coaster, which allows players to take a simulated roller coaster ride that they themselves have programmed. Since there’s frequently a queue for this popular game, KDA created a display that serves multiple purposes: it keeps people entertained while they’re awaiting their turn, gets them charged up about the game and provides instructions for programming their own ride. Video screens show roller coasters from around the world in action, while the graphics provide explanations for such roller coaster terminology as ‘helix’ and ‘airtime.’

Playdium locations are constantly evolving to maintain the excitement level – and that creates unique design challenges. KDA’s ongoing task, Kramer says, is to keep the visuals fresh, and to update displays as newer games are introduced.

While Playdium’s core target, obviously, consists of Nintendo-obsessed teens and young adults, Kramer says the audience extends far beyond that narrow segment – a point that KDA needed to keep in mind when designing the interior graphics. With two bars on-site, the Toronto location attracts a significant adult audience; in fact, it markets itself as a prime venue for corporate functions.

Accordingly, the graphics must have a sophisticated adult appeal, while remaining sufficiently cutting-edge to interest the younger generation.

‘One of the keys was creating something that would be visually interesting and challenging for all ages,’ Kramer says.

Also in this report:

– Resistance is futile: Whether the trade show industry likes it or not, the Internet is changing the exhibition business p.19

– Sex show to target mainstream audience: Everything To Do With Sex event will offer a walk on the mild side p.22

Cannes Lions 2025: Canadians nab more medals on final festival day

Strategy is on the ground in Cannes, bringing you the latest news, wins and conference highlights all week long. Catch all the coverage here.

Friday’s batch of Silver and Bronze winners included the oldest category at the Cannes festival, Film, as well as Sustainable Development Goals, Dan Wieden Titanium, Glass: The Lion for Change and Grand Prix for Good. Canadians were recognized with four Lions today: two Silver and a Bronze in Film, as well as a Bronze in Sustainable Development Goals.

FCB Toronto was given yet another nod for its work, “The Count,” for SickKids, bringing the medal count for that campaign to four, including a Gold for Health & Wellness. Another Canadian agency recognized on the final day of the festival was Klick Health Toronto, which earned a Silver in Film for its work “Love Captured” for Human Trafficking Awareness and a Bronze for “18 Months” for Second Nurture. And over in Sustainable Development Goals, the Bronze went to Publicis Canada and its “Wildfire Watchtowers” work for Rogers.

Another massive win for Canada included not one, but two Young Lions (pictured above) taking home medals in the annual competition. In Design, the Gold Young Lion was awarded to Rethink’s senior motion designer Jesse Shaw and ACD Zoë Boudreau. The second, a Bronze in Media, went to Cossette Media’s business intelligence analyst Samuel David-Durocher and product development supervisor Tristan Bonnot-Parent.

Film (2 Silver, 1 Bronze)

1 SILVER: “The  Count” by FCB Toronto for SickKids Foundation

“The Count,” a striking campaign from FCB Toronto for SickKids Foundation, has earned 1 Gold, 2 Bronze and now 1 Silver for Film at Cannes. If you watch it, it’s easy to see why. The collaboration between brand and agency honoured the hospital’s “VS” platform, while steering it in a new direction from its initial development by previous AOR Cossette. The creative celebrates childhood cancer patients who have to fight for every birthday, while honouring the hospital’s own milestone – 150 years and counting.

 

1 Silver: “Love Captured” by Klick Health Toronto for The Exodus Road

Klick Health Toronto added to its medal tally with a Silver in Film for it’s work “Love Captured” for The Exodus Road. The creative features a romantic getaway that isn’t what it seems in an experiential short film for the global anti-trafficking organization. The experience takes viewers through a tragic and twisting experience of exploitation.

 

1 BRONZE: “18 Months” by Klick Health Toronto for Second Nurture

Klick Health Toronto also won a Bronze in the Film category for its work, “18 Months,” done for the charity organization Second Nurture. The animated film is based on a real-life story in which a same-sex couple adopts a baby found in a subway station, and the 18-month journey into a story of hope.

Sustainable Development Goals (1 Bronze)

1 BRONZE: “Wildfire Watchtowers” by Publicis Canada for Rogers

Publicis Canada landed on the winners board for its work, “Wildfire Watchtowers,” for Rogers. The Canadian-developed wildfire-detection tech – which has been billed as “a fire alarm in the forest” – uses AI-powered sensors installed on 5G towers to monitor vast remote areas in real time. By scanning, identifying and reporting early signs of wildfires (up to 16 minutes faster than other systems), the technology helped prevent 54 fires in 2024 alone.

Catch the Gold winners later today when they’re revealed at the gala in Cannes.