David Wallace: Oblivion

The Focus Group was then reconvened in another of Reesemeyer Shannon Belt Advertising’s nineteenth-floor conference rooms. Each member returned his Individual Response Profile packets to the facilitator, who thanked each in turn. The long conference table was equipped with leather executive swivel chairs; there was no assigned seating. Bottled spring water and caffeinated beverages were made available to those who thought they might want them. The exterior wall of the conference room was a thick tinted window with a broad high-altitude view of points NE, creating a spacious, attractive, and more or less natural-lit environment that was welcome after the bland fluorescent enclosure of the testing cubicles. One or two members of the Targeted Focus Group unconsciously loosened their neckties as they settled into the comfortable chairs.

There were more samples of the product arranged on a tray at the conference table’s center.

This facilitator, just like the one who’d led the large Product Test and Initial Response assembly earlier that morning before all the members of the different Focus Groups had been separated into individual soundproof cubicles to complete their Individual Response Profiles, held degrees in both Descriptive Statistics and Behavioral Psychology and was employed by Team Δy, a cutting-edge market research firm that Reesemeyer Shannon Belt Adv. had begun using almost exclusively in recent years. This Focus Group’s facilitator was a stout, palely freckled man with an archaic haircut and a warm if somewhat nervous and complexly irreverent manner. On the wall next to the door behind him was a presentation whiteboard with several Dry Erase markers in its recessed aluminum sill.

The facilitator played idly with the edges of the IRPs forms in his folder until all the men had seated themselves and gotten comfortable. Then he said: ‘Right, so thanks again for your part in this, which as I’m pretty sure Mr. Mounce told you this morning is always an important part of deciding what new products get made available to consumers versus those that don’t.’ He had a graceful, practiced way of panning his gaze back and forth to make sure he addressed the entire table, a skill that was slightly at odds with the bashful, somewhat fidgety presentation of his body as he spoke before the assembled men. The fourteen members of the Focus Group, all male and several with beverages before them, engaged in the slight gestures and expressions of men around a conference table who are less than 100 % sure what is going to be expected of them. The conference room was very different in appearance and feel from the sterile, almost lablike auditorium in which the PT/IR had been held two hours earlier. The facilitator, who did have the customary pocket-protector with three different colored pens in it, wore a crisp striped dress shirt and wool tie and cocoa-brown slacks, but no jacket or sportcoat. His shirtsleeves were not rolled up. His smile had a slight wincing quality, several members observed, as of some vague diffuse apology. Attached to the breast pocket on the same side of his shirt as his nametag was also a large pin or button emblazoned with the familiar Mister Squishy brand icon, which was a plump and childlike cartoon face of indeterminate ethnicity with its eyes squeezed partly shut in an expression that somehow connoted delight, satiation, and rapacious desire all at the same time. The icon communicated the sort of innocuous facial affect that was almost impossible not to smile back at or feel positive about in some way, and it had been commissioned and introduced by one of Reesemeyer Shannon Belt’s senior creative people over a decade ago, when the regional Mister Squishy Company had come under national corporate ownership and rapidly expanded and diversified from extra-soft sandwich breads and buns into sweet rolls and flavored doughnuts and snack cakes and soft confections of nearly every conceivable kind; and without any particular messages or associations anyone in Demographics could ever produce data to quantify or get a handle on, the crude line-drawn face had become one of the most popular, recognizable, and demonstrably successful brand icons in American advertising.

Traffic was brisk on the street far below, and also trade.

It was, however, not the Mister Squishy brand icon that concerned the carefully chosen and vetted Focus Groups on this bright cold November day in 1995. Currently in third-phase Focus Testing was a new and high-concept chocolate-intensive Mister Squishy-brand snack cake designed primarily for individual sale in convenience stores, with twelve-pack boxes to be placed in up-market food retail outlets first in the Midwest and upper East Coast and then, if the test-market data bore out Mister Squishy’s parent company’s hopes, nationwide.

A total 27 of the snack cakes were piled in a pyramidal display on a large rotating silver tray in the center of the conference table. Each was wrapped in an airtight transpolymer material that looked like paper but tore like thin plastic, the same retail packaging that nearly all US confections had deployed since M&M Mars pioneered the composite and used it to help launch the innovative Milky Way Dark line in the late 1980s. This new product’s wrap had the familiar distinctive Mister Squishy navy-and-white design scheme, but here the Mister Squishy icon appeared with its eyes and mouth rounded in cartoon alarm behind a series of microtextured black lines that appeared to be the bars of a jail cell, around two of which lines or bars the icon’s plump and dough-colored fingers were curled in the universal position of inmates everywhere. The dark and exceptionally dense and moist-looking snack cakes inside the packaging were Felonies! ®—a risky and multivalent trade name meant both to connote and to parody the modern health-conscious consumer’s sense of vice/indulgence/transgression/sin vis à vis the consumption of a high-calorie corporate snack. The name’s association matrix included as well the suggestion of adulthood and adult autonomy: in its real-world rejection of the highly cute, cartoonish, n - and oo -intensive names of so many other snack cakes, the product tag ‘Felony!’ was designed and tested primarily for its appeal to the 18–39 Male demographic, the single most prized and fictile demotarget in high-end marketing. Only two of the present Focus Group’s members were over 40, and their profiles had been vetted not once but twice by Scott R. Laleman’s Technical Processing team during the intensive demographic/behavioral voir dire for which Team Δy Focus Group data was so justly prized.

Inspired, according to agency rumor, by an R.S.B. Creative Director’s epiphanic encounter with something billed as Death by Chocolate in a Near North café, Felonies! were all-chocolate, filling and icing and cake as well, and in fact all-real-or- fondant -chocolate instead of the usual hydrogenated cocoa and high-F corn syrup, Felonies! conceived thus less as a variant on rivals’ Zingers, Ding Dongs, Ho Hos, and Choco-Diles than as a radical upscaling and re-visioning of same. A domed cylinder of flourless maltilol-flavored sponge cake covered entirely in 2.4mm of a high-lecithin chocolate frosting manufactured with trace amounts of butter, cocoa butter, baker’s chocolate, chocolate liquor, vanilla extract, dextrose, and sorbitol (a relatively high-cost frosting, and one whose butter-redundancies alone required heroic innovations in production systems and engineering — an entire production line had had to be remachined and the lineworkers retrained and production and quality-assurance quotas recalculated more or less from scratch), which high-end frosting was then also injected by high-pressure confectionery needle into the 26 × 13mm hollow ellipse in each