Some observers might claim that Grand Theft Auto VI doesn’t need any promotional push because the series is already a household name. Strauss Zelnick, the president of Take‑Two Interactive, pushes back on that notion, stressing that even well‑established franchises must keep their visibility high and their fan base excited.
"When you launch a broad‑based entertainment property, there’s no way around marketing," Zelnick told GamesBeat. "You have to go out and spark enthusiasm every single time." He drew a clear line between simple awareness and genuine excitement.
"Awareness is one thing, enthusiasm is another. We need to show people exactly what they’re going to experience. In traditional, linear entertainment you sit back, the content is handed to you, and there’s no interaction required. You don’t need to install anything or have any particular skill set.
You either like it or you don’t, and it’s a purely passive, ‘lean‑back’ experience." Zelnick continued, "What we’re really doing is amplifying word‑of‑mouth. You can’t pay anyone to say that something terrible is great. Even the most opportunistic creator would lose credibility the moment they start making false claims, and their audience would abandon them.
No one will do that." He summed up his philosophy: "You can’t cheat the system. We can’t convince people that a bad product is good. What we can do is say, ‘Look, it’s out there. It’s being talked about.
It matters. You should give it a try.’" To illustrate his point, Zelnick compared the GTA VI rollout to the marketing blitz surrounding the Barbie movie, another globally recognised intellectual property. "Everyone saw the Barbie film, and the studio marketed it to the extreme, even though the brand was already iconic.
The campaign ran for weeks, the jokes about the film’s tone spread like wildfire, and the promotion was everywhere – and it worked. You could have taken the same approach with GTA," he said. Earlier, Zelnick had told GamesIndustry.biz that Take‑Two and Rockstar are deploying "a very significant, broad‑based marketing campaign that reflects where audiences and attention are today." So far, the campaign has taken several unconventional forms.
A soundtrack album was released to generate buzz among music fans, a feature story appeared in Dazed magazine, and an exclusive 27‑minute preview was streamed on Netflix, racking up 31.1 million views within four days. "What Rockstar did was incredible, but there was an element of tutorial baked in there," Zelnick noted.
"It was a different kind of proposition." He explained that previous GTA launches often included straightforward tutorials, whereas this time Rockstar blended instruction with entertainment. "The Netflix preview wasn’t just a trailer; it was a 27‑minute experience that both entertained us and taught us how the game works. That was really impressive." Zelnick emphasized that the ultimate aim of the campaign is to move the audience through a cycle: first, turn existing awareness into genuine excitement; second, convert the lack of awareness into new awareness. "We want to take people who already know the brand and make them eager, and we also want to reach those who haven’t heard of it and bring them into the conversation." He also highlighted how modern marketing must meet audiences where they spend their time.
Social media platforms, streaming services, and lifestyle publications now serve as the primary channels for reaching gamers and casual observers alike. By leveraging a soundtrack that can be streamed on services like Spotify, a fashion‑forward magazine spread, and a Netflix exclusive, Rockstar and Take‑Two are tapping into the cultural moments that matter to today’s consumers. The strategy reflects a broader industry shift. No longer can a game rely solely on its legacy to sell copies; even legacy franchises must continually reinvent their outreach.
The blend of traditional advertising, influencer partnerships, and immersive previews creates a layered narrative that keeps the conversation alive across multiple touchpoints. Zelnick’s comments also hint at a deeper understanding of consumer psychology. By presenting the game as an event rather than a product, the marketing team encourages fans to feel they are part of something larger—a cultural phenomenon rather than just another video game release.
This approach mirrors the success of other blockbuster properties that have turned marketing into a spectacle in its own right. In summary, Strauss Zelnick argues that even a titan like Grand Theft Auto cannot afford to rest on its laurels.
Continuous, creative promotion is essential to sustain interest, generate buzz, and ultimately drive sales. Whether through a high‑profile Netflix preview, a curated soundtrack, or a glossy magazine feature, the goal remains the same: keep the franchise top‑of‑mind, spark curiosity, and turn that curiosity into enthusiastic play.