locations were: Atlantic Canada Austin, Texas Boston, Massachusetts Denver, Colorado Colorado Springs, Colorado Cincinnati, Ohio Detroit, Michigan Fargo, North Dakota Knoxville, Tennessee Little Rock, Arkansas Lynden, Washington Minneapolis-St. Paul, Minnesota Northern Wisconsin Oklahoma City, Oklahoma Omaha, Nebraska Portland, Oregon Providence, Rhode Island Sacramento, California Seattle, Washington OK Soda never captured more than 3% of the beverage market in any of the target locations, failing to match Zyman's hype. The project was canceled by Coca-Cola just seven months after its kickoff, and the soft drink was never widely released to the public. Marketing OK Soda has been remembered more for its unique advertising campaign than for its fruity flavor. The name and advertising campaign attempted to poke fun at the "I'm OK, You're OK" pop-psychology of the early 1970s. OK Soda was intentionally marketed at the difficult Generation X markets, and attempted to cash in on the group's existing cynicism, disillusionment and disaffection with standard advertising campaigns. OK Soda's concept was that the youth market was already aware that they were being manipulated by mass-media marketing, so this advertising campaign would just be more transparent about it. Its indirect advertising was a form of rebel advertising similar to the McDonald's commercials for the Arch Deluxe. The campaign was designed by Portland, Oregon-based advertising firm Wieden+Kennedy. Spokespeople for the company and their advertisers were very frank about the fact that they were marketing the drink entirely on the "feeling" rather than the taste. OK Soda's own advertisements went so far as to disparage the beverage's taste comparing it to things like "carbonated tree sap." The general public did not respond to the offbeat campaign, and most critics point out that the campaigning was too overt in its courting of the youth and teen market. Can design Both the cans and the print advertisements for the soft drink, created by Wieden+Kennedy creative director Charlotte Moore, conceptual artist Peter Wegner, and designer Todd Waterbury, featured work by popular "alternative" cartoonists Daniel Clowes (Eightball, Ghost World) and Charles Burns (Black Hole, The Believer), as well as work from illustrator Calef Brown. Though skeptical of the campaign, Clowes took the job because his work illustrating a couple of cans and a few posters paid more than publishing five books of comics. In an act of subverting OK Soda's already subversive marketing scheme, Clowes gave his OK Soda mascot the facial features of Charles Manson, saying that