Latest news with #Sekiguchi
Campaign ME
4 days ago
- Entertainment
- Campaign ME
Sony on connecting with MENA gamers at the Esports World Cup
When Sony Middle East and Africa set up at the 2025 Esports World Cup (EWC) in Riyadh, it wasn't approaching the event as a one-off sponsorship. For Koji Sekiguchi, Head of Marketing, the Esports World Cup represented a focal point in a longer-term regional strategy. 'Sony's participation in the Esports World Cup in Riyadh showcases our continued commitment to the Middle East's rapidly growing gaming and esports ecosystem,' Sekiguchi tells Campaign Middle East. The numbers underpin the move. Saudi Arabia's gaming market surpassed 7.88bn SAR in 2024, with esports contributing over 83 million SAR. Across the GCC, there are now more than 33 million gamers – a population Sony sees as central to its growth plans. By anchoring itself at an event designed to draw the region's most passionate fans, Sony aimed to do more than demonstrate its hardware; it wanted to establish itself as part of the infrastructure of competitive gaming. Sekiguchi frames the company's approach around two pillars: providing high-performance technology for both professional and casual players, and creating long-term connections within the gaming community. The Esports World Cup platform allowed both to come into play. 'With over 33 million gamers across the GCC, we see this as an opportunity to engage with a rapidly expanding market and build long-term connections,' he says. From strategy to the show floor Sony's most visible presence in Riyadh came through its tie-up with Fnatic, one of the world's leading esports organisations. The INZONE x Fnatic booth in the Esports World Cup's Content Creator Park ran from 8 to 13 July 2025 and was positioned as a fan-first space. Visitors could meet Fnatic's Valorant team – including Jake 'Boaster' Howlett, Austin 'Crashies' Roberts, Timofey 'Chronicle' Khromov, Kajetan 'Haremski' Kobielski, and Emir Ali 'Alfajer' Beder – while trying the same INZONE monitors and headsets used by the players in training and competition. View this post on Instagram A post shared by Sony Middle East and Africa (@sonymea) The booth also featured interactive gaming zones, product testing areas, and daily giveaways. An additional meet-and-greet took place at Sony World in Riyadh's Granada Mall, where fans not only met the team but also exchanged gameplay tips and experienced the INZONE range in a retail environment. For Sekiguchi, these activations are not just brand exercises. 'Our participation goes far beyond showcasing our products; it's about creating real, tangible connections with gamers and fans,' he says. The authenticity, he explains, comes from collaboration. Fnatic's players have been involved in co-developing Sony's gaming peripherals, ensuring they meet the demands of competitive play. 'We collaborate closely with esports organisations like Fnatic, whose players help co-develop and test our INZONE range, ensuring our products meet the high standards of competitive gaming.' Using events as engagement laboratories While visibility is an undeniable advantage of an event like the Esports World Cup, Sekiguchi stresses its value as a testing ground for Sony. 'Events like the Esports World Cup serve both as a visibility platform and a space for testing fan engagement strategies,' he says. By observing how players and spectators use Sony's gear in a live competitive setting, the company collects insights that influence both product design and marketing approaches. 'By allowing fans to try our products in a competitive environment, we can better understand their preferences, which informs future product development and marketing strategies.' In MENA, these insights feed into a strategy shaped by the region's demographics. Saudi Arabia's young, tech-driven audience is a major driver of demand for premium hardware and integrated entertainment ecosystems. For Sony, this has meant growing its INZONE range for PC gamers, while also catering to console players with BRAVIA televisions that optimise HDR tone mapping for PS5. Both strands are positioned less as product launches and more as components of a broader experience. Localising the global brand For Sony, building credibility in MENA's esports community depends on more than hardware launches. Sekiguchi points to a growing emphasis on localised initiatives — from university-level tournaments to community gaming events — designed to create opportunities for aspiring professionals and casual gamers alike. The company's recent launch of an e-commerce platform tailored to Saudi customers, reflects the same philosophy. The site offers exclusive deals and membership benefits aimed at deepening brand loyalty, while also making the product ecosystem more accessible to local consumers. Sekiguchi believes that the region's trajectory leaves room for both scale and specificity. With the MENA gaming market projected to reach 10.5bn SAR by 2029, Sony plans to expand its involvement in competitive programmes, grassroots events, and retail experiences that double as community hubs. 'The biggest opportunity lies in continued investment in localised esports initiatives, fan engagement, and exclusive collaborations with regional esports organisations,' he says. Beyond the Esports World Cup Sony's investment in the Esports World Cup is part of a broader plan to position itself as more than a technology supplier. Its partnerships and activations aim to embed the brand in the lived experience of the region's gaming audience — whether that means meeting pros in a retail store, competing in a campus tournament, or testing new gear at a flagship esports event. Sekiguchi sees these touchpoints as essential to long-term relevance. 'Our commitment to MENA's gaming scene will be driven by deeper community involvement and a tailored approach that reflects the unique needs of this dynamic market.' The Esports World Cup activation with Fnatic may have been high-profile, but for Sony, the real measure of success will come in the months and years ahead — in how the connections made in Riyadh translate into sustained engagement across the region's fast-maturing gaming landscape.
Campaign ME
07-08-2025
- Entertainment
- Campaign ME
How Sony adapted a global audio campaign for the Middle East
Global creative platforms are powerful, but in the Middle East, campaigns resonate most when they feel built for the market. Sony's launch of the WH‑1000XM6 headphones shows how a premium audio brand can take a global idea, apply it across diverse cultures, and create region‑specific experiences without losing its creative centre. Koji Sekiguchi, Head of Marketing for Sony Middle East and Africa, shares how the brand adapted its latest audio launch to the region – from localisation and influencer alignment to segment‑focused messaging and market rollout. Globally, the WH‑1000XM6 headphones sit under the Sony audio division – For The Music – which US artist Post Malone is the face of. Known for his cross‑genre sound and direct connection to fans, he also collaborated on campaign content. 'Post Malone was selected for his authenticity, creativity, and deep connection to music,' says Sekiguchi. 'His influence and genre-defying style align with the WH-1000XM6's promise of immersive audio experiences. His involvement in the campaign, including co-creating ads, showcases how Sony's audio technology brings fans closer to the music, embodying the essence of For The Music campaign. View this post on Instagram A post shared by Sony Middle East and Africa (@sonymea) In the Middle East, this creative foundation was used as a starting point. 'Creative assets and messaging were adapted to reflect regional preferences, including language, cultural nuances, and aesthetic choices,' Sekiguchi says. 'It's important that people feel a campaign speaks directly to them, even if the core idea is global.' Localising experiences Sony's 1000X series has established a strong presence in the Middle East's premium audio segment by focusing on three key pillars: innovation, quality, and emotional connection. With the release of the WH-1000XM6, the brand builds on that foundation, introducing improved noise cancellation, refined sound performance, and user-focused features. 'At Sony, our focus has always been to meet the needs of our customers especially in the audio and content creation segment,' says Sekiguchi. The launch in Dubai was designed as a premium, interactive event. 'The launch event brought together a curated guest list of tech, lifestyle, and audio enthusiasts for an exclusive hands-on experience and featured dedicated demo zones that highlighted the WH-1000XM6's industry-leading noise cancellation and adaptive sound technology,' says Sekiguchi. Midway through the evening, attendees connected their headphones to a dedicated app streaming music created for the launch. The live performers on stage played a backing track that could not be heard through the headphones – a deliberate way to showcase the product's ability to isolate sound in busy or noisy environments. Influencers played a central role in the regional rollout. 'We collaborated with relevant local influencers whose profiles align with our brand values and resonate with our target audience to amplify our messaging across digital and social platforms,' says Sekiguchi. This approach supports a multi‑segment audience strategy. 'Audiophiles are drawn to Sony's offerings of superior sound fidelity and industry‑leading noise cancellation, which deliver the immersive listening experience they crave,' says Sekiguchi. 'Meanwhile, commuters appreciate the comfort, noise cancellation, and the ability to escape the hustle and bustle during their daily travel and remote work.' For Sekiguchi, versatility is a key driver. 'The product was designed with versatility in mind, making it suitable for various lifestyles and preferences, allowing it to seamlessly integrate into different daily routines, from on‑the‑go listening to focused work or study environments.' The headphones campaign covers the Sony's network in the GCC, Levant, Africa and Central Asia. 'All our initiatives are strategically positioned to cater to diverse markets, each with its own unique consumer preferences and technological demands,' Sekiguchi says. The media approach included region‑specific adaptation of campaign assets and messaging. 'Localised content helped ensure stronger engagement and greater authenticity, while region‑specific media channels were leveraged to maximise reach,' Sekiguchi explains. Measuring the launch In the early phase, the campaign focused on awareness. 'This was driven through a targeted influencer campaign featuring regionally relevant creators, which helped amplify visibility across social platforms and build early buzz around the product,' says Sekiguchi. 'Simultaneously, a strategic pre-booking window was launched, serving as an important indicator of consumer interest and intent to purchase.' 'The response during this phase provided strong initial momentum and valuable insights into demand,' he says. But Sekiguchi adds that the impact of the launch will be judged on more than sales. 'Ultimately our goal is to ensure the products we bring to market deliver on value, benefit expectations, and premium quality of lifestyle – meeting the expectations of both new customers and loyal Sony fans in the region.'
Yomiuri Shimbun
23-05-2025
- Entertainment
- Yomiuri Shimbun
Artist Kotaro Sekiguchi Uses Newspapers, Adhesive Tape, to Create 3D Art; Materials, Techniques Inspired by Model Made in Elementary School
The Yomiuri Shimbun Kotaro Sekiguchi speaks in front of works he created with children at the Toyama Prefectural Museum of Art and Design in Toyama City. On Feb. 22, 'cat day,' 'Oneko-san' (Big cat), a 3-meter-high statue of a plump cat, was displayed at the TAD Gallery of the Toyama Prefectural Museum of Art and Design in Toyama City. The statue, made mainly of newspaper, color adhesive tape and a wooden frame, was made for an event held on the day, which is called cat day because the Japanese word for two, or 'ni,' sounds like the first part of a cat's cry of 'nyan' (meow). The statue was created by artist Kotaro Sekiguchi, 41, along with children. The Yomiuri Shimbun 'Oneko-san' (Big cat) created by Kotaro Sekiguchi with children When you were young, you may have made a ball by wrapping adhesive tape tightly around a rolled piece of newspaper. Sekiguchi uses these materials and techniques to create various artworks. He said the origin of these crafts was a model he made for a summer homework project when he was in third grade in elementary school. Sekiguchi, who in 2012 received the Taro Okamoto Award, a prestigious contemporary art prize for emerging artists, is known for his three-dimensional works of imaginary creatures and buildings made from newspaper and adhesive tape. He began creating these works while studying sculpture at an art university. 'I used to carve stone and wood for my works, but they were expensive and required specialized tools,' he said. 'I felt there must be an easier way to make sculptures.' He recalled a 60-centimeter-tall model of a stegosaurus that he made with newspaper and adhesive tape when he was in elementary school. Using the same method, he created an almost life-sized model of a professional wrestler, which made him feel satisfied. 'I was drawn to how I am able to easily try out new ideas while adjusting things such as the shape of the statues,' Sekiguchi said. Feelings, imaginations He makes all his artwork in the same basic way — by rolling newspaper to soften them up before shaping them into a desired form and wrapping adhesive woven tape around them. When making an animal figure, for instance, he first makes the head, legs and other body parts separately, then puts them together with adhesive tape. Courtesy of Kotaro Sekiguchi Sekiguchi's work, 'Yamata-no-Orochi' To make his works resemble real things, he squeezes and bends the paper to gradually sculpt the shape. 'No material is as handy as newspaper. The feel of crumpling them up sparks my imagination,' he said. 'Let's create, not destroy' Sekiguchi also works as an art teacher at a special needs school in Tokyo. He chose the job because he feels he can see children's growth through art. When participating in an art show, he creates his work at the venue, because some pieces can be more than five meters tall, making them difficult to transport by truck. Since he has classes during the school year, he often creates works during summer vacation. 'I still do what I started doing during the summer vacation when I was in elementary school,' he said. The Yomiuri Shimbun Children play with newspaper to make them soft and easy to use before making 'Oneko-san.' Courtesy of Kotaro Sekiguchi Sekiguchi's university graduate project, 'Shunkan Jiin' ('Instant Temple') Sekiguchi is also actively involved in activities at art events for children. He travels on request to various locations to teach children how to create three-dimensional works using newspaper and adhesive tape. He said he wants to introduce them to the joy of creating things with everyday materials and broaden their access to art. 'I feel sad when I see things created by people being destroyed by disasters or wars. Nevertheless, I believe it is my role as an artist and art teacher to convey a positive message saying, 'Let's make something new,'' Sekiguchi said.
