Section B
-worth 30 marks
-spend 45 mins
- Target audience
- Content
- Social media channels
- Blended synergy
- Milestones and timelines
- Personnel
- Legal and ethical issues
- Feedback from audiences
The campaign would begin by using a range of online project development tools to help plan and structure the production stages. A Gantt chart, created in Excel or Google Sheets, would be used to set out all tasks involved in the campaign such as trailer editing, asset creation, influencer outreach and posting schedules. This tool helps the team organise deadlines, manage time effectively and identify any delays so that contingency plans can be put in place. The team would also use mind-mapping tools such as MindMeister to brainstorm ideas for the campaign, including themes, colour palettes, hashtags and ways to highlight Gizme’s ice powers. These mind maps allow the group to visually explore ideas and develop creative concepts. In addition, a digital mood board created on Pinterest would be used to collect visual inspiration for the campaign, such as icy blue colour schemes, zombie character designs and examples from similar mobile games. This ensures that all campaign content follows a consistent house style and appeals to the intended target audience.
To reach a large demographic of young gamers, the campaign would use a combination of social media channels that are popular among 12–25-year-olds. TikTok would be the primary platform because of its strong appeal to teenagers and its ability to push content quickly through short-form videos. The team could post fast-paced clips showing Gizme’s powers, level previews and humorous zombie moments, using trending audio to help increase reach. Instagram would support this by offering a space to upload high-quality character posters, countdown graphics and short Reels. Stories could be used for polls, Q&As and interactive stickers to increase engagement. YouTube would host longer content such as a full gameplay trailer and developer behind-the-scenes videos, while Twitter (X) would provide regular updates, announcements and quick responses to the gaming community.
The content plan for the campaign would run over several stages. During the pre-launch phase, teaser clips would be posted to introduce Gizme and showcase the icy environments. A countdown to release day would be run across Instagram Stories, with hashtag promotion such as #BigFreezeGame and #FreezeOrDie to build early awareness. In the launch week, the full gameplay trailer would be released on YouTube and shared on all other platforms. A TikTok challenge would be introduced encouraging users to recreate a “freeze frame” transition inspired by the game. Influencers in the gaming community would be paid to post first-look gameplay and reviews. During the Gizmo Games is launching a new zombie-themed mobile app game called Big Freeze, aimed at smartphone gamers aged 12–25. The game features the character Gizme, who has ice-related powers, and is designed to appeal to fans of winter sports and action games. To promote the launch of the game, the marketing team would develop a structured social media campaign using specific online tools, targeted social media platforms, a detailed content plan and clearly defined milestones. The aim of this campaign is to create excitement, build awareness before Christmas, and increase app downloads on launch day.
The campaign would begin by using a range of online project development tools to help plan and structure the production stages. A Gantt chart, created in Excel or Google Sheets, would be used to set out all tasks involved in the campaign such as trailer editing, asset creation, influencer outreach and posting schedules. This tool helps the team organise deadlines, manage time effectively and identify any delays so that contingency plans can be put in place. The team would also use mind-mapping tools such as MindMeister to brainstorm ideas for the campaign, including themes, colour palettes, hashtags and ways to highlight Gizme’s ice powers. These mind maps allow the group to visually explore ideas and develop creative concepts. In addition, a digital mood board created on Pinterest would be used to collect visual inspiration for the campaign, such as icy blue colour schemes, zombie character designs and examples from similar mobile games. This ensures that all campaign content follows a consistent house style and appeals to the intended target audience.
To reach a large demographic of young gamers, the campaign would use a combination of social media channels that are popular among 12–25-year-olds. TikTok would be the primary platform because of its strong appeal to teenagers and its ability to push content quickly through short-form videos. The team could post fast-paced clips showing Gizme’s powers, level previews and humorous zombie moments, using trending audio to help increase reach. Instagram would support this by offering a space to upload high-quality character posters, countdown graphics and short Reels. Stories could be used for polls, Q&As and interactive stickers to increase engagement. YouTube would host longer content such as a full gameplay trailer and developer behind-the-scenes videos, while Twitter (X) would provide regular updates, announcements and quick responses to the gaming community.
To keep the campaign organised and measurable, the team would set key milestones and review dates. In Week 1, the team would finalise branding and visual style using mind maps and mood boards. In Week 2, production of all teaser clips and graphics would take place, followed by a review meeting to ensure consistency across content. Week 3 would mark the start of pre-launch promotion, with daily analytics checks to measure engagement levels and make adjustments if needed. Week 4, the official launch week, would include posting the gameplay trailer, releasing influencer content and monitoring app download numbers. Weeks 5 and 6 would involve post-launch content and a final review meeting to evaluate the campaign’s success based on reach, engagement and conversion rates.
To keep the campaign organised and measurable, the team would set key milestones and review dates. In Week 1, the team would finalise branding and visual style using mind maps and mood boards. In Week 2, production of all teaser clips and graphics would take place, followed by a review meeting to ensure consistency across content. Week 3 would mark the start of pre-launch promotion, with daily analytics checks to measure engagement levels and make adjustments if needed. Week 4, the official launch week, would include posting the gameplay trailer, releasing influencer content and monitoring app download numbers. Weeks 5 and 6 would involve post-launch content and a final review meeting to evaluate the campaign’s success based on reach, engagement and conversion rates.
Overall, this structured social media campaign uses project development tools, targeted platforms, creative content and milestone tracking to successfully promote Big Freeze to its young gaming audience. The combination of TikTok, Instagram and YouTube ensures maximum visibility, while consistent branding and scheduled reviews help maintain quality and effectiveness throughout the campaign.
One negative cultural effect is the spread of harmful or unrealistic beauty standards. Social media platforms often promote filtered images and idealised lifestyles, which can influence users to internalise unrealistic expectations about appearance. This can lead to lower self-esteem, body dissatisfaction and pressure to conform to artificial cultural norms.
A second negative cultural effect is the rise of online echo chambers. Social media algorithms show users content similar to their existing beliefs, limiting exposure to diverse viewpoints. This can create cultural division, reinforce stereotypes and reduce critical thinking, as people become more isolated within their own digital communities rather than engaging with a broader culture.
One advantage is that social media allows producers to reach a large and diverse pool of talent quickly and cheaply. By posting job opportunities on platforms like Instagram, Twitter or LinkedIn, production teams can find skilled editors, actors or designers who may not be represented by agencies. This widens access to fresh talent and speeds up the recruitment process.
My Life Tv is a new local television station that will specialise in the broadcast of reality documentaries. It will feature a mix of light hearted and hard hitting stories featuring real people in the community. The content will be distributed online and traditionally at an age of 16-19 year olds. The marketing team have to develop a structures campaign of My Life Tv using social media and traditional channels.
The campaign would begin by using a range of online project development tools to help plan and structure the production stages. I would use a Gantt chart created in excel this would be used to set out all tasks involved in the campaign such as posting schedules, setting deadlines and contingencies. This tool helps the team organise deadlines manage time effectively and identify any delays so that it is all planned out. The team can also use mind maps tools on MindMeister to help brainstorm ideas for the campaign including blue sky thinking, colour scheme and any ideas to help promote product. This ensures that all campaign content follows a consistent house style and appeals to intended target audience
To reach a large demographic of young gamers, the campaign would use a combination of social media channels that are popular among 12–25-year-olds. TikTok would be the primary platform because of its strong appeal to teenagers and its ability to push content quickly through short-form videos. The team could post fast-paced clips showing Gizme’s powers, level previews and humorous zombie moments, using trending audio to help increase reach. Instagram would support this by offering a space to upload high-quality character posters, countdown graphics and short Reels. Stories could be used for polls, Q&As and interactive stickers to increase engagement. YouTube would host longer content such as a full gameplay trailer and developer behind-the-scenes videos, while Twitter (X) would provide regular updates, announcements and quick responses to the gaming community.
The content plan for the campaign would run over several stages. During the pre-launch phase, teaser clips would be posted to introduce Gizme and showcase the icy environments. A countdown to release day would be run across Instagram Stories, with hashtag promotion such as #BigFreezeGame and #FreezeOrDie to build early awareness. In the launch week, the full gameplay trailer would be released on YouTube and shared on all other platforms. A TikTok challenge would be introduced encouraging users to recreate a “freeze frame” transition inspired by the game. Influencers in the gaming community would be paid to post first-look gameplay and reviews. During the Gizmo Games is launching a new zombie-themed mobile app game called Big Freeze, aimed at smartphone gamers aged 12–25. The game features the character Gizme, who has ice-related powers, and is designed to appeal to fans of winter sports and action games. To promote the launch of the game, the marketing team would develop a structured social media campaign using specific online tools, targeted social media platforms, a detailed content plan and clearly defined milestones. The aim of this campaign is to create excitement, build awareness before Christmas, and increase app downloads on launch day.
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