|Title||THE MASSACRE OF KINGDOM|
|Product / Service||NETFLIX KINGDOM|
|Category||A08. Live Brand Experience|
|Entrant||THE GLUE SOCIETY Sydney, AUSTRALIA|
|Idea Creation||WIEDEN+KENNEDY TOKYO, JAPAN|
|Production||REVOLVER Sydney, AUSTRALIA|
|Production 2||SKETCHEDSPACE Seoul, SOUTH KOREA|
|Additional Company||THE GLUE SOCIETY Sydney, AUSTRALIA|
|Scott Dungate||Wieden+Kennedy Tokyo||Executive Creative Director|
|Jordi Luna||Wieden+Kennedy Tokyo||Creative Director|
|Sol Oh||Wieden+Kennedy Tokyo||Art Director|
|So Hyun An, Devin Altman, Max Cameron||Wieden+Kennedy Tokyo||Copywriter|
|Kerli Teo||Wieden+Kennedy Tokyo||Head of Production|
|Jennifer Chien, Siyun Kim||Wieden+Kennedy Tokyo||Agency Producer|
|Shinya Kamata, Ara Jo, Liwon Kim, Yurie Wiles, Ryan Johnson||Wieden+Kennedy Tokyo||Account Team|
|Justin Lam||Wieden+Kennedy Tokyo||Comms Planner|
|Jacob Kim, Eiji Iwakawa, Vinod Vijayasankaran||Wieden+Kennedy Tokyo||Editor|
|Donna Kwon||Wieden+Kennedy Tokyo||Designer|
|Ryan Fisher||Wieden+Kennedy Tokyo||Managing Director|
|The Glue Society||Revolver||Director|
|Aaron Younglae Cho||sketchedSPACE||Executive Producer|
|Michael Ritchie||Revolver||Managing Director/Co-Owner|
|Pip Smart||Revolver||Executive Producer/Partner|
|Jasmin Helliar||Revolver||Executive Producer|
|Jongmin Jung, Sara Jiwon Liu||sketchedSPACE||Production Assistant|
|Yeon Bun||sketchedSPACE||Illustration Artist|
|Jane JaeEun Lee, Woobin Jang||sketchedSPACE||Production Manager|
|Tamon Fujimi, Junya Terui, Rick Sakurai, Yuhki Kurihara, Sayaka||Massive Music||Sound Design/Music|
|Ryuzaki (Mockumentary)||sketchedSPACE||Sound Design/Music|
|Jon Clarke, Lou Ellen (360 Video)||Factory Studios||Sound Design/Music|
|Jiwon Lee||sketchedSPACE||Sound Design/Music|
|Edward Kim||sketchedSPACE||Web Development|
|Yoobin Park, Seunghyun Lee||sketchedSPACE||Print Design|
|Nam Cho||sketchedSPACE||Producer (Mockumentary + 360 Video)|
|Song Kyung-A||sketchedSPACE||Actress(Mockumentary / 360)|
‘Kingdom’ is the #1 Korean series on Netflix.On the back of this great success, the ambition for Netflix is to take ‘Kingdom’ to the next level - franchising it out into other IP, games and series, based in the history and lore of ‘Kingdom’. This work was a crucial keystone in that expansion of the ‘Kingdom’ world.This exhibition took Netflix out of people’s homes, and brought it into the real world in a way that has never been done at such scale before.Proving again, that Netflix is a brand capable of delivering unique, memorable and conversation-worthy experiences to its customers.
The Netflix Original series, ‘Kingdom’, is a fictional story set hundreds of years ago, in Joseon-era Korea. A plague of the undead ravages the land, creating political turmoil within a rich historical context. But what if that story was actually historical fact? The brief from Netflix was to create a rich and rewarding multidimensional experience for the existing massive Kingdom fan base, both in Korea and abroad. This event was particularly important in positioning Netflix as a brand that is culturally relevant, understands fans, and rewards them with experiences that competitors aren’t capable of. This project was also a crucial keystone to start building the franchise as the biggest Netflix Original IP in Korea.
With ‘Kingdom’ already the #1 series on Netflix in Korea, the premiere of the second season in 2020 presented an opportunity to build on the global hype surrounding the show, build brand love and drive further subscribers & superfans to Netflix. Recognising this, we tapped into the audience insight of an incredibly engaged fan base, and built ‘The Massacre of Kingdom’ - a three-story museum of historical artifacts in Seoul. In this archaeology museum, the story of ‘Kingdom’ played out as real-life-history. Three floors of exquisitely presented artifacts, were re-created true to the narrative, and the period. Fans of the show were invited to come explore and interact with the rich history of ‘Kingdom’ in a world where fiction becomes reality.
The show already had millions of fans. The real goal here was to take those fans and turn them into super-fans. This both set the stage for Season 2, but also future expansions of the Kingdom IP to come. By making the fictional world of Kingdom something tangible - a real part of Korea’s untold history, we could cement the stories and lore of the ‘Kingdom’ series as something that felt real. This allowed us to break the division between truth and fiction, and bring fans closer to the show’s detailed world than ever before. And beyond all that, there’s the pure entertainment factor - giving the fans something great, memorable and conversation-worthy.
Over six months, we took the concept from idea to execution. With constant remote collaboration (due to COVID19) between Tokyo, Seoul and Sydney we were collectively able to realise an exquisite level of craft, creating relics with traditional techniques authentic to the time period. Every detail had to live up the quality and precision of a real museum. From hand-painted scrolls, blown glass and mummified artifacts, to a traditionally carved wooden pagoda – decimated by fire. The lucky visitors were able to study the relics up close in gruesome detail. This intimate study set them up for one final twist... The Undead Artifacts, which awoke from their motionless states, with a deadly hunger for human flesh. *COVID19 safety protocols were followed to ensure the utmost safety for visitors and zombies alike.
Tickets sold out within hours. We filled 18 days of booking slots in less than a day, prompting extended hours of operation.Thousands of fans had the chance to experience the exhibition in person - safely spaced for COVID conditions.Lead actors from the series also stopped by - stunned by the level of detail.For those that unable to attend the event in person, a 360 degree video experience ensured fans wouldn’t miss out.To enable a broader audience access, we also launched the film ‘The Massacre of Kingdom Documentary’ explaining the events of ‘Kingdom’, recast as an actual historical event.The website saw more than 100,000 unique visitors. With the exhibition receiving rave reviews, local and international press, and front page coverage on Korea’s #1website.Social media was alight with thousands of images, videos, tags and mentions across various platforms. Resulting in millions of social impressions, and Netflix brand sentiment reaching a historic high.