How Activision Invaded Black Ops 3 This Weekend to Begin the Marketing of Infinite Warfare

AKQA integrates Facebook Messenger into latest Call of Duty launch

Activision could have announced its brand-new Call of Duty game, Infinite Warfare, through any number of paid media outlets and reached millions of people. But why do that when you already own an entire fictional world where you can do real marketing to millions of people who are already avid gamers? 

Activision did just that this weekend, creating a four-day "Hostile Takeover" puzzle for gamers inside Black Ops 3, Activision's massively popular 2015 COD title, that culminated Monday with the reveal trailer for Infinite Warfare. 

The tactic is similar to what Activision did last year for Black Ops 3, which it promoted with Snapchats hidden inside Black Ops 2. But this campaign, coordinated by AKQA, was blown out on a completely different scale.

First off, here is the reveal trailer:

Now, let's backtrack. Here's what happened, chronologically:

On Friday morning, Black Ops 3 players in the popular Nuketown map noticed a mysterious spaceship hovering overheard in the cinematic that ends the level, promoting feverish speculation from players who'd watched the video hundreds of times and never seen anything out of the ordinary.

On Saturday morning, the bad guys from Infinite Warfare infiltrated the Black Ops 3 universe, leaving propaganda all over the place. On Sunday morning, the hero from Infinite Warfare, Lt. Reyes, appeared and directed players to what he described as the only secure communications channel left—Facebook Messenger—where players could interact with him and get help finding clues hidden within the game and elsewhere the internet.

The new COD franchise

Players who found the codes could unlock the Infinite Warfare reveal trailer at 9 a.m. Monday morning, an hour before it was scheduled to be released widely. (In the end, this didn't exactly go according to plan—but more on that later.) Those players were also promised special content they could carry with them into the new game when it launches this fall.

Activision CMO Tim Ellis told Adweek last week, leading up to the four-day stunt, that it only made sense to target Black Ops 3 players, particularly after last year's Snapchat stunt in Black Ops 2 helped to make Black Ops 3 the biggest entertainment opening of the year—with more than half a billion dollars in its opening weekend (a bigger opening than any Hollywood movie, including Star Wars).

"We've seen the greatest player engagement in franchise history [with Black Ops 3], which is an important fact when you consider how we're using that game and that platform to introduce the next game," Ellis said.

"We wanted to create the widest possible net—to use what turned out to be the biggest game of the year to introduce our new game, Infinite Warfare. We wanted to drive that message from the outset that Infinite Warfare is going to be the next epic entertainment launch of the year."

The Black Ops 2 Snapchat stunt "just kind of just scratched the surface of what was possible" with in-game launches of a new game, Ellis added. So, he challenged AKQA and the gameplay studios—Treyarch and Infinity Ward, which had to collaborate to bring their two worlds together—to take the concept to a new level.

For AKQA, it was a fun challenge, all rooted in the simple truth that marketing—if done subtly and entertainingly—conducted inside a Call of Duty game, for real Call of Duty players, is likely to be much more powerful than any advertising effort outside the game could be.

"No ad or stunt or microsite or commercial is ever going to be better than the greatest game ever," AKQA group creative director Nick Strada told Adweek. "So, what we try to do is create a really awesome Call of Duty experience. We take the game, and the principles of the game, and bring it to life in a way that the marketing vanishes into the game and creates moments that are memorable and shareable and awesome." 

The agency knew it wanted to expand on what it did with Snapchat in Black Ops 2. "We started to build that muscle. We asked ourselves: How do we double, triple, quadruple down on that?" Strada said.

Thus was born the idea for a four-day mystery, and the Facebook Messenger integration.

"It started with something really subtle," Strada said. "If I went into your living room and moved something two feet to the left, you would notice. We went into one map in the game, Nuketown, which is like the Lambeau Field of this game, and put the bad guys' spaceship in there. We just wanted players to say, What the heck is going on here?"

Importantly, the players could choose whether to investigate further. None of this added adventure—which is basically marketing materials in disguise—was compulsory. 

With the advent of chatbots, the Facebook Messenger integration seemed like a fun way to coordinate an game- and internet-wide scavenger hunt for alphanumeric codes that would unlock the reveal trailer. 

"You might have to zoom in with your sniper scope to see one of [the codes]. There might be one on the other side of a wall, that you can only see if you jump to your death. What we didn't want was for somebody to hack this in 30 seconds," said Strada.

The hunt went well beyond the game, too.

"It's this multichannel thing," Strada said, "where what you see in the game, and what you see on Twitch and on Snapchat, and what you see buried in the code of our website—actually buried in the source code of—it all comes together in this Messenger experience, where we get to reward our fans with an early view of the game trailer and, later, with content they can take with them into the next game." 

AKQA partnered with an automated conversation company called PullString on the chatbot. Strada touched on the creative challenges of writing for it.

"I'm trained as a copywriter," he said. "When you write for most brands, you write a piece of copy. It's linear. You write it, your boss approves it, and it's only going to be experienced one way—the way you wrote it. This was an experience where we had to assume things, and write copy for scenarios that may or may not ever happen. And we had to do it in a way that didn't feel like you're talking to a robot. The fans know they're taking part in an experience. But we can't break that fantasy by having it be junky." 

Overall, the strategy is both practical and delightful—practical in that it's so targeted (it's like if Disney could put an ad for the next Star Wars inside the current Star Wars—though of course, games can do this and movies can't), and delightful in that it gamifies the very announcement of a new game.

There was one unfortunate hiccup, though, and it happened very early Monday morning: The reveal trailer was leaked on Hulu, an Activision partner, several hours before the players with the codes were supposed to see it first exclusively. 

It's not yet clear what exactly happened, but this, of course, is the downside of the powerful interconnectedness that makes an activation like this possible in the first place. When there's a leak, it spreads just as quickly and dismantles the framework you've so carefully set up. 

Activision took the development in stride and moved up the trailer release.

Lt. Reyes sent all fans who participated an official message, in character, sharing a link to the official reveal trailer—in a sense, giving them a head start on seeing it, though the leaked copy had spread far and wide by then. Also, all players who solved the puzzle will receive an official Infinite Warfare Playercard unique to the "Hostile Takeover" experience for participating.

The company declined to comment on the leak specifically, but did tell Adweek in a statement: "This past weekend was all about the community coming together to directly participate, learn about the new game and engage with the character for the first time. And the fan reaction at each step was fantastic."

A few more images, and credits, below. 


Call of Duty: Infinite Warfare

"Hostile Takeover" Activation

Client: Activision

Project: "Hostile Takeover"


CEO Activision Publishing – Eric Hirshberg

EVP, Chief Marketing Officer – Tim Ellis

SVP, Consumer Marketing – Todd Harvey

Vice President, Global Media – Caroline McNiel

Global Head of PR and Digital Marketing – Monte Lutz

Senior Director, Digital Marketing – Justin Manfredi

Senior Director, Global Media – Simone Deocares-Lengyel

Senior Manager, Digital Marketing – Richard Elmore

Vice President of Production – Daniel Suarez

Sr. Executive Producer for Infinity Ward games – Marcus Iremonger

Executive Producer for Treyarch games – Kevin Hendrickson

Executive Producer – Yale Miller

Senior Producer – Jason Ades

Producer – Graham Hagmaier


Studio Head – Mark Lamia

Game Director, Multiplayer – Dan Bunting

Director of Brand Development – Jay Puryear

Director of Communications & Social Media – John Rafacz

Producer – Miles Leslie

Infinity Ward

Studio Head – Dave Stohl

Development Director – Luke Vernon

Studio Art Director – Brian Horton

Director of Communications – Eric Monacelli


Group Creative Director – Nick Strada

Creative Director – Simone Nobili

Associate Creative Director – E.B. Davis

Art Director – Nils Westgardh

Senior Designer – Charles Calixto

Senior Art Director – Hovin Wang

Associate Copywriter – Tandeka Lauriciano

Client Partner – Kristin Goto

Account Director – Andrew Furth

Senior Account Executive – Mal Gretz

Senior Motion Graphics Designer – Arturo Lindbergh

Motion Graphics Designer – Ryan Jones

Director of Film and Motion – Dave Shuff

Senior Project Manager – Joel Wasko

Associate Director of Technology – Jesse Fulton

Strategist – Thijs Van de Wouw


VP, Strategy – Sam Kennedy

Account Supervisor – Lauren Curtis

Social Media Strategist – Ben Lewis

Social Media Strategist – Justin Fitzwater

Community Manager – Kurt Wendler


SVP, Brand Marketing and Communications – Michele Wyman

Senior Director, Talent Relations – Missy Mele

Director, Brand Marketing and Communications – Mark Van Lommel

Director, Talent Relations – Jonathan Kichaven

Senior Account Executive, Talent Relations – Ashley Studer

Program Manager – Chong Kim

Account Executive, Brand Marketing and Communications – Renee Felton


Engineering Lead – James Chalfant

Writer – Scott Ganz

Writer – Dan Clegg

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