ARCHIVECapri Sun Hold My Pouch Brings Anti-Bullying to the Cafeteria
How Capri Sun and Leo Burnett Made the Pouch a Symbol of Inclusion Capri Sun's Hold My Pouch is a...
Fanta Brazil Turned a Voice-Controlled Game Into a Brand Experience
Fanta's 'The Snack Saga' is a 2020 digital campaign created by Ogilvy Brazil in which players used their voice to control a 3D animated mouth through a mobile game, shouting 'Fanta' to jump between platforms and collect snacks and Fanta products, turning the brand name itself into a gameplay mechanic.
Published in Brazil in June 2020, the campaign operates entirely within the digital medium and sits squarely in the non-alcoholic drinks category of the food and drink sector. Its central mechanic is both its creative hook and its strategic proposition: the act of saying 'Fanta' aloud is the only input required to play. Developed in collaboration with Gameloft as the game-development partner and brMalls as an activation partner for in-person mall experiences using screens and group participation, as reported by thecreativesroom.com, the campaign extended well beyond a conventional digital advertisement into interactive entertainment. The campaign promoted 'The Mouth,' a 3D-animated character that Fanta Brazil had been using to target teenagers with content designed to entertain rather than to sell in a traditional sense.
In Brazil, where youth culture and mobile gaming intersect at scale, the campaign's objectives were clearly layered. At the surface, it sought to build brand awareness and positive association among a younger demographic. At a deeper level, it aimed to embed Fanta within the casual snacking rituals and social interactions that define everyday life for Brazilian teenagers. The Snack Saga earns a Clapboard Score of 57 out of 100, reflecting a campaign that executes its interactive concept with genuine craft but reaches a commercially moderate level of measurable impact relative to the ambition of its mechanics.
Fanta positioned 'The Snack Saga' at the intersection of two deeply embedded Brazilian youth behaviours: mobile gaming and social snacking. The strategic logic is direct — if a brand can become the mechanism through which a game is played, it escapes the passive reception of conventional advertising entirely and enters the daily ritual of entertainment.
The global context in 2020 made this pivot urgent. The global soft drinks market experienced a decline in 2020 due to COVID-19 closures of restaurants, cinemas, entertainment venues, schools, and out-of-home consumption occasions, according to kenresearch.com. With away-from-home consumption disrupted across Brazil and globally, brands in the non-alcoholic drinks category faced a structural challenge in maintaining relevance with younger audiences who were spending more time at home and on mobile devices. Meanwhile, the global carbonated soft drinks market was valued at US$221.8 billion in 2020, according to actualmarketresearch.com, signalling that the category remained substantial even under pandemic pressure. The Coca-Cola Company, Fanta's parent and the category's dominant global force, saw its retail carbonates grow by four percent in 2020 despite the pandemic, according to talkingretail.com, indicating that at-home consumption was partially offsetting the collapse of venue-based demand.
Fanta's direct competitors in the Brazilian carbonated soft drinks market — including PepsiCo's Pepsi brand and regional flavoured drink alternatives — have consistently contested the youth segment through music, sports, and influencer marketing. Ogilvy's choice to build a voice-controlled game rather than deploy another influencer-led social campaign represents a deliberate departure from category conventions. As reviewed positively by contagious.com in August 2020, the work was framed as a strategy for using gaming specifically to connect a soft-drinks brand with Brazilian teenagers at a moment when that audience's digital engagement was at an unprecedented high.
Gameloft developed the voice-controlled platform game that sits at the heart of The Snack Saga, as documented by gameloft.com and reported by thecreativesroom.com. The technical execution is specific and deliberate: players shout the word 'Fanta' into their device's microphone, and that vocal input causes a 3D animated mouth character to jump between platforms while collecting snacks and Fanta products on screen. The brand name is not a tagline appended to the experience — it is the control input, making brand recall a functional requirement of play rather than a byproduct of exposure.
The 3D animated mouth character, known within Fanta Brazil's broader creative platform as 'The Mouth,' was already an established visual identity element for the brand's teenage-facing content in Brazil before The Snack Saga was produced. Its use as the in-game protagonist gives the campaign creative continuity with prior Fanta Brazil work and ensures that the character's personality — expressive, irreverent, appetite-driven — carries directly into the gameplay experience. The snack-collection mechanic reinforces Fanta's strategic position as a companion to casual eating occasions rather than a standalone refreshment.
The in-person dimension of the campaign, executed through a partnership with brMalls for mall activations using large screens and group participation, as noted by thecreativesroom.com, extends the experience into shared social space. Groups of people shouting 'Fanta' together in a shopping centre transforms the brand call into a collective social act. Production credits for the specific creative team members — including the creative director and campaign director — are not fully detailed in publicly available documentation for The Snack Saga. LBBOnline published coverage of the campaign on 26 June 2020, confirming the Ogilvy Brazil and Gameloft collaboration and acknowledging the work as a notable example of technology-led brand activation in the food and drink category.
The Snack Saga generated 8,109,808 impressions, according to shortyawards.com. That figure represents meaningful reach for a digitally native activation built around a niche interactive mechanic in Brazil, where the campaign's primary audience of teenagers was engaged through mobile gaming during a period of heightened screen time driven by COVID-19 restrictions.
The campaign's performance at the Shorty Awards provides the clearest external validation of its creative and strategic quality. According to shortyawards.com, The Snack Saga won a Silver Honor in the Creative Use of Technology category at the 2020 Shorty Awards and was also named a finalist in the Food and Beverage category in the same award cycle. Recognition in the Creative Use of Technology category is particularly fitting given that the voice-control mechanic was the campaign's primary point of differentiation from conventional digital advertising in the non-alcoholic drinks space.
No additional verified performance data — including engagement rates, conversion metrics, or brand lift measurements — is publicly available for The Snack Saga beyond the impressions figure and award outcomes documented by shortyawards.com. The campaign's structural effectiveness, however, is evident in its mechanic design. By requiring players to say the brand name to progress in the game, the activation guarantees active brand utterance rather than passive brand exposure, a qualitative outcome that conventional impression metrics do not capture. The Clapboard Score of 57 out of 100 reflects this duality: a genuinely inventive concept with demonstrated reach and industry recognition, tempered by limited publicly documented evidence of commercial impact or sustained audience behaviour change in the Brazilian market.
The Snack Saga is a 2020 digital campaign for Fanta Brazil created by Ogilvy. It featured a voice-controlled mobile game developed by Gameloft in which players shouted 'Fanta' to control a 3D animated mouth jumping between platforms while collecting snacks and Fanta products, turning the brand name into an active gameplay mechanic.
Ogilvy Brazil created The Snack Saga for Fanta in June 2020. Gameloft served as the game-development technology partner, and brMalls supported in-person mall activations using large screens and group participation, as documented by thecreativesroom.com and confirmed by LBBOnline's coverage on 26 June 2020.
The Snack Saga won a Silver Honor at the Shorty Awards in the Creative Use of Technology category during the 2020 award cycle, according to shortyawards.com. The campaign was also named a finalist in the Shorty Awards Food and Beverage category in the same cycle, recognising Ogilvy Brazil's interactive approach in the non-alcoholic drinks market.
The Snack Saga generated 8,109,808 impressions, according to shortyawards.com. The campaign ran as a digital activation in Brazil in June 2020, targeting teenagers through a voice-controlled mobile gaming experience developed by Gameloft in collaboration with Ogilvy Brazil for Fanta.
Fanta and Ogilvy chose a voice-controlled game to embed the brand name as a functional gameplay input rather than a passive advertising message. The approach targeted Brazilian teenagers during a period of heightened mobile engagement in 2020, as reviewed by contagious.com, aligning with snacking habits and social gaming behaviour in the Brazilian market.
.webp)
Creative Collaboration Platform: The Backbone of Modern Creative WorkWhat is a creative collaboration platform?Clapboard defines a creative collaboration platform as the operational core for today’s distributed creative teams. This is not a collection of digital collaboration tools stitched together; Clapboard’s system
Understanding the Creative Production MarketplaceWhat is a Creative Production Marketplace?Clapboard defines a creative production marketplace as a structured ecosystem where brands, agencies, and production talent converge to execute video, advertising, and branded content at scale. Unlike the legacy agency or freelanREAD FULL ARTICLE
The Urgent Need for a Creative Production Operating SystemWhy Traditional Creative Production Models Break DownClapboard sees the creative production landscape shifting under pressure. Content velocity is no longer a buzzword—it’s a mandate. Modern advertising demands relentless output across dozens of channels, each wREAD FULL ARTICLE
