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

By Karen Howe

I’m attending Cannes from the glory of my dining room table. There’s not a palm tree in sight, yet inspiration and intel are present in abundance.

Cannes Lions is a global cultural pulse check. The social course correction in the wake of the murder of George Floyd and BLM has delivered far greater diversity in the judging panels as well as the work. And we are all better for it.

I’m proud to say that creativity defeated COVID, which speaks to its power. Great work and big ideas flourished, despite unimaginable odds.

The work from the past two years spans a vast emotional range. From the profundity of Dove’s “Courage is Beautiful” to the hyper exuberance of Burberry’s “Festive,” they are opposite ends of the spectrum, but each answered a need in us.

Take note, the ascendency of gaming cannot be understated. Smart brands have embraced the channel. It makes sense, because gamers participate to meet others around the world, not just to play. And they represent a huge and powerful community. That’s why QSR Wendy’s gamified their iconic gal in RPG’s Feast of Legends.

Burger King sponsored the unknown Stevenage Football Club, transforming the team into online heroes and vaulting BK into the fray at the same time. Once again, the brand embedded itself in culture.

The birth of gaming tourism arrived when Xbox snuggled up to travel guides and created a brilliant baby: a travel guide for gaming worlds. It, too, embedded itself in culture.

From the standpoint of social good, Reporter Without Borders showed how it worked with Mindcraft for its “Uncensored Library” to bypass press censorship, with Minecraft providing a loophole to a space where young people could be educated. It provided youth with a powerful tool to fight oppression: truth.

COVID changed us in unexpected ways. We learned how to pay attention again and there was a notable lack of 30-second commercials. Instead, longer format content thrived. Apple’s WFH was seven minutes long. Entertainment reigned king, so we find ourselves returning to our advertising roots.

Seeing competitive brands form partnerships was one of this year’s other great surprises. The brilliantly simple “Beer Cap Project” by Aguila to reduce binge-drinking saw the brand reach out to competitive beers to join in. Aguila put incentivizing (keyword: free) reminders to drink water, eat food and get home safely on its bottle caps from all sorts of fast food chains, ride-share co’s and H2O brands.

On a personal level, I’m so proud of Canada again this year. Given that it was two years of work from all over the world being judged, even making the Cannes shortlist was an accomplishment. Canada is herding in the Lions in tremendous numbers – and it’s not even over. Fingers are crossed.

Karen Howe is a Canadian Cannes Advisory Board Member and founder of The Township Group