The future of e-books: iPad's Bram Stoker's Dracula

While e-books are growing in popularity, they represent only 8% of all books sold today. Sales will continue to climb as new concepts hit the market like the iPad-based Official Stoker Family Edition of Bram Stoker’s classic Dracula.
This isn’t your Mom’s Kindle e- book.
While it’s the original 1897 Stoker tome, Dracula has been wonderfully re-imagined. Most of the 300 pages come alive, driven by a game engine developed for the Apple iPad by PadWorx Digital Media. This enables readers to experience a book in a whole new way, from social media to gameplay to touch screen interaction.
And then there’s the glorious, shiny, iPad color “pop.” When blood trickles and howling wolves walk across the page, it’s mesmerizing.
There are hundreds of interactive experiences in this iPad Dracula. The compound effect is addictive. We’ve all talked about books “we can’t put down,” but this app takes the expression to a new level:
  • Can’t read a page because it’s too dark? Light a candle, then move it closer to the text.
  • A heavy gravestone slab is blocking your path… so… drag it and listen as the stone scrapes and moves away.
  • As Stoker describes Lucy being hypnotized, she appears in illustrated form, eyes open. Move your finger across her face and she falls into a trance.
  • Press the tip of a transfusion needle and blood flows through the tube.
  • Tilt the iPad and a character’s face changes from glorious to macabre.
  • Blow leaves off a tombstone so you can read the text beneath.
But the real kick, for me, were the small, unexpected touches like…
Snow falling across the page…Touch an envelope and out comes a handwritten letter…Press a (blood) red word and it launches you to a just-received telegram…Rats scramble across the page… Open the window of an insane asylum and peer inside…Unlock a mausoleum’s door with a key…Feed sugar to flies as they buzz across a page.
Music plays a key role in setting the mood. Each of the book’s 27 chapters features original, full-length songs – activated by touching a drop of blood. Eerie music starts playing when you’re reading a particularly creepy or suspenseful passage.
If all this wasn’t enough, there are eight “bonus” forms of content hidden within the application, including:
  • The entire 1922 film Nosferatu, based on the 1897 Bram Stoker Dracula
  • The entire Orson Welles radio adaptation of Dracula
  • The death certificate of Bram Stoker
“It really is a different kind of reading experience," said Jeffrey Schechter of PadWorx Digital Media.
He got that right. Dracula is the future of e-books. And you get all this for $4.99.

Super Bowl ads 2011: what worked, what didn't

What worked & what didn't with 2011's Super Bowl ads

  • What happened to social responsibility? Super Bowl ads were trending this way but we lost it last night. My hopes started rising when Timothy Hutton began talking about Tibet, but the ad speedily deteriorated into a pathetic sales pitch for Groupon. Not aligning purpose-driven brands with authentic social responsibility marketing campaigns is a missed opportunity.
  • Bloat busts brands - I usually love Coke's Super Bowl ads, but not this year. The medieval-themed animated world was visually mesmerizing but the idea fell apart. The evil dragon can't breathe fire because he guzzled a Coke...the invading army retreats. Too much set-up for a petering payoff. Ditto for Coke's enemies border guard ad - a lengthy build-up to a disappointing ending. Other brands lost their way: Motorola's de-positioning of Apple's iPad tablet was another example.
  • Jumping the shark - The E*TRADE babies aren't cute anymore - the concept is hackneyed. Cloud computing must be jumping the shark when animated Black Eyed Peas characters are pitching the atmospheric technology concept in salesforce.com ad. Some topics should never go consumer. 

 

  • Simple trumps complicated - the ads that stuck were also short and simple. VW's endearing Darth Vader and Faith Hill's "your rack" ad for Teleflora artfully demonstrated how a tight focus generates the most impact and memorability. 
  • Dumbing down can be dumb - we faced an onslaught of sophomoric Doritos and Bud Light spots in the early going. Post-SB measurement is validating how the lowest common denominator doesn't always equal effectiveness.
  • Dumbing down cleverly is better - Bud Light's dog-themed "They'll do whatever you want" was clever-dumb, right down to the canine poker game fade-out.
  • Long builds can work if the concept is tight - while bloated, convoluted ads (see Coke) can lose the brand, the Detroit-themed "this is what we do" Chrysler commercial featuring Eminem was captivating.

 

  • Connecting TV to the online brand - Go Daddy made the most blatant connection between traditional and new media, driving viewers to its website to see the presumably titillating payoff.  
  • Fresh creative will always pop - the CarFax ads were original and felt it. The messaging platform "Service shouldn't be a thing of the past" was brilliantly set up by eager beaver 1950's era service station attendants and home delivery milkmen. Ditto for this brand's "I feel like a..." ad. It was fun to watch because we haven't seen it before. Ditto for GM's Camaro ad featuring voice-overs from TV creatives talking through their ad concept as we saw it unfolding. The schoolteacher ending was cherry-topping.
  • Flashback montage winner - who wasn't sucked into the NFL Channel's zippy montage of favorite TV characters brought back to life? 
  • Seventies music ruled - from Budweiser's Western gunslinger to BMW's X3, the music often took a retro turn featuring baby boomer classics like Elton's "Tiny Dancer" to Bowie's "Changes." 
  • Best tease - went to VW's "Beetle" ad. Their only mistake was using Ram Jam's politically incorrect 1977's "Black Betty" as the theme. They could've picked a better-fit song; this will backlash.
  • Subtlety thy name is not Audi - it's unusual to see a car company select one - and only one - competitor to aggressively and directly de-position. Like its previously themed ads, Audi used nearly all the time from last night's spot emphasizing how Mercedes is no longer relevant. The new Audi 8 makes a quick appearance a few seconds at the end as the shiny relevant machine. Meanwhile, Mercedes relied on Janis Joplin's tune and P. Diddy to assert its hipness - it didn't work. 

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