Untitled Future wants the crowd to come back

At VidCon in 2024, a little house appeared that looked as though someone had persuaded Minecraft to leave the computer. Its roof was pink. Its walls were orange. A pixelated pickaxe stood nearby. In a photograph of the installation, people gathered around the house with the unremarkable ease of people who already understood the reference. The architecture needed very little explaining.

The project, a YouTube x Minecraft Garden Block Party celebrating the game’s fifteenth anniversary, credits Untitled Future as its agency. Carter Shults’s project portfolio names the designers, strategist, producer and fabricators involved. Behind the apparently simple pleasure of walking into a familiar world was a collection of quite different jobs.

That is a useful place to begin with Untitled Future. “Community” can be a slippery word in marketing. Here, at least, it has walls, visitors and a place to stand.

A room is only the first appointment

Untitled Future sells the thinking and work required to bring people into a continuing relationship with an organization. Its service descriptions span audience research, content, program operations and experience production. It also helps activate the resources that a community is supposed to use. A platform or learning tool, in this account, needs a reason for people to open it.

The commercial problem is easy to recognize: an organization can pay for attention and still struggle to become useful to the people receiving its messages. Untitled Future’s chosen unit of work is the relationship across several encounters. An event becomes one occasion within that relationship.

Founder Justin Boone’s 2023 essay on events and programs makes the distinction through learning. A conference can supply a useful lesson; a program can help someone apply it and develop over time. For a buyer, that changes the brief. Alongside the stage and speakers comes a harder question: what should a participant be able to do differently later?

The practical implication is a budget with a longer memory. Someone must own the follow-up, answer questions and give participants another useful encounter. A team copying this approach could start by writing that second invitation before sending the first.

The arcade had a job to do

At VidCon the following year, YouTube marked its twentieth anniversary with several experiences involving Untitled Future. A creator lounge put branded arcade games alongside a product bar where creators could meet experts. A custom money-chamber attraction introduced Vertical Live monetization features. The details appear in BizBash’s July 2025 coverage.

There was also a useful division of labor: Untitled Future served as creative consultant to Advoc8 on the Shorts activation, with Advoc8 leading production. Visitors could try different features and see their content displayed. The distinction matters when crediting an agency: collaboration has actual names attached to it.

My reading of these choices is that the fun gave visitors a route into something practical. A game could lead to a product conversation; trying a feature could produce something visible. The design question becomes unusually concrete: after catching someone’s eye, what can you help them accomplish?

The price of keeping people involved

Gyde’s company spotlight reports projects ranging from $50,000 to $3 million. Treat that as a description of project scale, rather than a menu of agency fees. The same profile describes work on Microsoft’s C-Suite Series and YouTube creator gatherings around the world. These are different audiences with different reasons to attend.

This places Untitled Future among firms that combine strategic advice with the ability to get an experience made. A prospective customer might otherwise assemble a strategist, content team, event producer and internal community manager. The attraction of an integrated brief is continuity between the promise in the invitation and the experience people actually have.

There is a condition attached to that logic. If an organization only needs a single announcement, an ongoing community program may be excessive. If it wants continuing participation, it needs staff time and permission to respond to participants. A calendar full of gatherings cannot substitute for either.

The performer who questioned the room

Before his marketing career, Boone worked in musical theater. He told PCMA in December 2020 that he had been performing since age three. “There is a story arc to anything and everything,” he said. His interest was in an audience’s capacity to participate and change.

“There is a story arc to anything and everything.”Justin Boone / PCMA, 2020

In the same interview, he challenged the design of virtual breakouts. Beyond five or six people, he argued, a breakout risked becoming another keynote. Intimate conversation required suitable technology and multiple spaces, so moving online did not automatically produce savings. That was a specific weakness he identified in the format: shrinking the venue to a screen did not necessarily give the audience a voice.

Boone’s public founder profile connects his business to reducing loneliness. The ambition is broad, but the operating question can be small: does everyone in this particular conversation have a way in?

Then the questions changed the brief

In 2023, the team began making a podcast intended to explore questions arising inside the agency. It was going to share the company’s name. During development, Boone wrote, the questions proved larger than the professional setting that had produced them. The project became Living Untitled.

His July 2023 announcement offers a modest, useful account of changing one’s mind. The team revised the frame of the show when its inquiry exceeded it. For anyone making branded content, there is a copyable decision here: let the subject influence the format, even when it complicates the original naming plan.

The resulting conversations range widely. Curator Essence Harden discusses access to art and the relationship between artists and audiences in one episode. Boone’s conversation with UCLA researcher Idan Blank considers language and thinking; his interview with Hero Theatre founder Elisa Bocanegra explores representation onstage. The public archive lists 25 episodes.

A show like that gives prospective collaborators a way to hear the founder think. It also lets listeners encounter the company through an actual conversation. They can decide whether the questions interest them before committing to a business relationship.

Leave a place for the next person

Untitled Future’s more recent public work includes YouTube creator gatherings tied to Super Bowl weekend and Pokémon fandom. The company also shared support for ICA LA’s May 2026 Spring Benefit. Those updates, on its company profile, sit comfortably beside the larger commercial projects: each starts with people who have something in common.

The useful lesson for a reader is specific enough to try. Pick one group. Identify something its members want to learn or make. Give them a way to help each other do it. Then assign responsibility for what happens next. The Minecraft house makes a lovely photograph. The more demanding part of the assignment is giving its visitors another reason to meet.