To have someone like him with his experience and over 200 film titles to his name, on the ground in LA, opens doors that otherwise would have been less accessible." "Doug oversaw, led and shaped the film studio's online and mobile marketing for the last decade in an ever adapting digital world. The team already boasts an exciting team of talented individuals across the entertainment and business world - including creative directors Jack Anthony Ewins (UK) and Manuel Bejarano (Spain) who worked on the Jurassic World digital fan campaigns with Universal - and Los Angeles-based Doug Neil, former Executive Vice President of Digital Marketing at Universal Pictures, who joins Chronicle in an Executive-level role.
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We're taking those same principals to create a series of immersive digital experiences - something we know from experience the studios can endorse and be a part of." "With Jurassic World we worked closely with the film creators and studio to create a series of unique digital experiences that were focused on the fans. "Something we know that works for the studios and their fans, making digital collectibles accessible to millions."
"With Chronicle we're building a platform for fans of beloved brands - user friendly, easy onboarding, no blockchain know-how." Tim explains. Tim Glover - best known for his work involving digital online fan experiences for Jurassic World (2015) and Jurassic World: Fallen Kingdom (2018) - has co-founded the global project alongside Jim Jin -early investor and advisor to Thorchain - who brings several years of blockchain advisory and business experience to Chronicle. Sure, Instagram may be a better place to see cute dog photos than 2008-era Facebook, but it’s hard not to miss the days when there was simply less happening on our phones.From beloved film franchises to celebrities and sport heroes, Chronicle is building a studio and marketplace app for authenticated digital collectibles, more commonly known as NFT's. Apple is even trying to combat time spent in apps in iOS 12 with its upcoming Screen Time feature. We endlessly scroll feeds that are determined to grab our attention and squeeze every last drop of ad revenue out of it in the process. The world is noisier now than it’s ever been, and our phones are constantly demanding our attention with notifications of likes and comments. The top apps of 2008 is a frozen snapshot of a time when people still loved Facebook rather than resenting it and when the biggest issue on the platform was spammy Farmville invites, not fake news.
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Social media apps have taken an even more all-encompassing role on the free side of things, which lines up with how users tend to actually use their devices today. 2018’s apps reflect some of the more recent trends in how we use our phones. Gag apps like iBeer, Koi Pond, and Lightsaber Unleashed may have been novel in 2008 when developers and users alike were still enjoying the power and, well, fun of the iPhone’s multitouch display and motion sensors.
(Apps like Uber and Snapchat couldn’t have existed in a pre-app era.) It’s not a coincidence that most of the then-big names on the 2008 list are gone, while most of the top apps in 2018 are services that grew up and around the smartphone.
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(In fact, neither company would offer an official app until 2010.) Even the services that were important in 2008 took some time to become mobile services, since companies had to learn how to adapt and build software for a whole new type of device that turned out to be vastly different from web and desktop services. Things like Netflix and Twitter that seem so critical to our connected and digital life today just weren’t as important then. But even the apps that are here paint a telling story about the kinds of services and sites users valued in 2008. Unfortunately, we don’t have Apple’s complete data from the first few months of the App Store - only mixed sales for both top games and apps - which is why both the free and paid charts tend to skew so heavily toward games.
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