SALT LAKE CITY — Screens are everywhere inside Delta Center. At one point a few of those screens, along with the rich voice of the building’s public address announcer, issue a message to fans.

“We remind you to drink responsibly,” is the message, and it’s a rather common one delivered by teams throughout professional sports.

But then, the in-arena cameras immediately cut to a fan holding a beer. With an orange-red beard and dressed in Carhartt T-shirt, the fan promptly starts chugging and the crowd erupts as each ounce goes down. The cameras then cut to another person. And another person. And another person.

The “Celly cam” and its instant popularity produced two of the memorable moments in a night that saw the Utah Hockey Club win its first-ever game. The first was when the entire Delta Center crowd booed someone because they couldn’t chug half of their beer. The second was when the arena was brought to its collective feet because another person poured their cup of beer into their Retro Jordan 1s and guzzled it down like they were Daniel Ricciardo after winning a Formula 1 race.

“We love it! We love the Celly cam!” said Christian Priskos, a lifelong Salt Lake City resident whose friends smile and nod in agreement. “We’ve never seen that at a Jazz game! This is a first in Utah history right here! Seriously, I’ve never seen a Celly cam at any Utah sports or anything in any sort of capacity at all. To have the hockey game, the first one, sets a precedent.”

Utah’s players noticed a difference too.

“That was pretty cool,” said forward Dylan Guenther, who scored the first goal in franchise history. “That building was special. That was a ton of fun. A lot of fun to play in front of that crowd.”

Goal horns. Goal songs. The pregame introductions. The breakout chants. The mascot. And the in-game highlights of thousands of people celebrating how someone drinks a beer. These are how an NHL team and its fans foster an identity.

After deciding in June that the team’s name for Year 1 would be “Utah Hockey Club” (with no nickname), Tuesday was the first official step in the team’s path toward creating something the franchise can call its own. Architects of this process often share how developing an environment takes time to perfect, while also admitting it can take years to craft a presentation that will never be perfect.

After an abrupt sale, and subsequent move from Arizona, the Utah Hockey Club had four months to figure out how to create an in-game experience that was unique, memorable and specific to its fans. They also had to create an entirely new identity, because the former owners of the Coyotes retained the name and intellectual property of that franchise.

The team did it with the hope that the big surprise it spent countless hours curating would be a big hit.

Although much of the UHC’s game operations staff has experience doing this for the NBA’s Utah Jazz, they still needed to figure out how their game experience would be different from a Jazz game. They had to create and execute ideas that they hoped would work — with the knowledge that their plans could also fall flat on the most important night in franchise history.

Above all, they had to cultivate an experience that felt like both a hockey game and a Utah-specific event.

“It’s been a challenge, but we’ve had unbelievable collaboration,” Utah president of hockey operations Chris Armstrong said. “We’ve had good collaboration internally and had some great agency partners that have helped us accelerate our output with the timelines we’ve had.”

LAMONT BUFORD IS the vice president of entertainment experience and production for the Seattle Kraken. Eric Schulz is a senior lecturer at Utah State University, who once oversaw the Jazz’s marketing department. Together, they provide the context necessary to understand what was at stake for the Utah Hockey Club.

Buford, who has worked for the St. Louis Blues and the Arizona Coyotes, was part of the team that developed the Kraken’s in-game experience. The Kraken had nearly two years to create something ahead of their opening night. They used their time to observe crowd dynamics at other Seattle sporting events. They also had one employee who was dedicated to studying the nautical history of Seattle, given the team’s name and how it is part of the city’s sports fabric.

As Buford points out, the UHC didn’t have that runway — which only adds to what is an already high degree of difficulty.

“You have to think about every little thing, every little detail,” Buford said. “You talk about the goal horn, then you have to think about the goal song. You’re thinking about those other small nuances for a power play or a penalty kill. What’s that thing that might be a tradition somewhere else, and is it something you can bring over? Or what is your tradition?”

Buford and those who operate in the field of in-game operations often refer to everything from the arena to the PA announcer’s voice as a character. They view the game experience as a show, and as with all shows, there are characters who can make or break a production.

The challenge that comes with having characters is knowing when to use them, how to use them or if you even need them. Buford cited having a mascot as an example. He said that a mascot is one of the primary ways a team interacts with its fans because players cannot be everywhere.

“It’s putting together all of that stuff and asking, ‘What is Salt Lake City known for?'” Buford said. “‘Are they a music city? What are they?’ You have to figure out what that is and does that fit within the mold of what you’re trying to put forth. Sports and entertainment has changed so much over the years. It’s evolved that it’s not just about the product on the ice. The product on the ice is very important, but how you’re entertaining people and grabbing their attention is even more important.”

Schulz explained what the in-game presentation landscape has historically looked like in Salt Lake City. He said it started 30 years ago when Grant Harrison, who was the VP of game operations for the Jazz, was among the first to lay the foundation for many elements now routinely seen throughout sports.

Harrison and the Jazz did everything from indoor fireworks to being among the first teams to use indoor blimps to drop tickets on fans to hosting cow-milking contests at halftime. They also created Jazz Bear, who is one of the seven NBA mascots to have been inducted into the Mascot Hall of Fame.

Jazz Bear ultimately paved the way for fans across Utah to have high expectations for their mascots. That continues today with Cosmo the Cougar, BYU’s anthropomorphic mascot who has gone viral for smoothly pulling off everything from hip-hop dance routines to jumps through flaming hoops.

“Grant’s philosophy was you can’t control wins and losses on the court and some nights are going to be stinkers,” Schulz said. “If we can entertain people and it doesn’t matter what the final score is, they’re going to be happy.”

ARMSTRONG SAID THE UHC wants to create an environment that’s respected by fans. Doing that meant it needed to address concerns about Delta Center’s obstructed seats.

As a basketball-first building, Delta Center’s setup for hockey includes seats behind each goal that are obstructed to the point that fans can see only the goal on the far end because of the steep angles.

Chris Barney, the Smith Entertainment Group’s president of revenue and commercial strategy, said that the UHC has taken a transparent approach. Any fan who purchases one of those tickets receives a form acknowledging that the seat they’re about to buy comes with an altered view.

“Transparency through this whole thing was really important to us,” Barney said. “Lessons were learned from talking to other hockey clubs that had been in NBA buildings in the past. … It’s also the other end of the stick in that we are trying to develop a fan base and acclimate people to hockey and get them excited to support the team.”

A day after the first game, the team issued a statement that it drew 16,020 fans to Delta Center by “leveraging the use of single-goal view seating to welcome more guests to watch the game live beyond the arena’s typical hockey capacity of 11,131.”

That’s what makes relying on the characters Buford referenced so crucial. And for any team, the arena it plays in might be the biggest character of all.

That was even more evident with Delta Center’s interior signage, which appeared to be more extensive than what most NHL arenas have. There were scoreboard screens tucked in the highest corners of the building, as well as smaller scoreboards closer to ice level, a detail that’s associated with NBA teams.

Delta Center has a four-sided videoboard above center ice. It also has four smaller videoboards within the larger videoboard, in addition to an LED ribbon above the main one. That’s how the UHC is able to create an immersive environment, such as when the team took the ice for the first time.

As the lights dimmed, all of the LED scoreboards went black, and then the screens started showing falling digital snowflakes which were then complemented by smaller artificial snowflakes that dropped from the ceiling and became visible when the arena’s strobe lights started flashing.

It’s all part of creating that unique fan experience that becomes part of the team’s identity.

“In the spirit of the strength of the community in Utah, you’re going to see us support Utah football, BYU football, the Jazz and Real Salt Lake,” Armstrong said. “We share many of the same fans and have our own unique fans as well. At the end of the day, all of it is about the pride for Utah, the identity of Utah and showing the potential of this state.”

DYLAN GUENTHER SCORING THE first goal in franchise history was an important moment. But it needed those other elements to make it feel even more unique. Shortly after Guenther scored, the UHC’s goal horn blared. It wasn’t one single sound. It was the combination of several goal horns from across hockey, a detail that Armstrong said was deliberate.

While the goal horn was something the team teased on social and in its one preseason game, the goal song was another matter. Immediately after the horn, the arena shook when its sound system began blaring “Papi” by Swedish electronic artist Kaaze. It’s an anthem that needed a few seconds to let the beat build before the bass dropped with the same earworm tendencies that make “Seven Nation Army” by The White Stripes such an oft-played stadium favorite.

When it came to finding a goal horn, Armstrong said his team studied what it felt were the most iconic ones in the NHL. The in-game operations staff learned those horns generated a physiological response that brought fans to their feet. That’s when the club worked with a sonic expert to create a horn that suited the building’s acoustic range.

Choosing a goal song was — and remains — a conversation that continues to evolve because “it’s a living and breathing thing,” according to Armstrong.

“Through our first season, we’ll get feedback from our fans,” he said. “We may try to develop something custom over time. We’re keeping an open mind there. In terms of our goal for when we launch, it was to really elevate and sustain the energy level of our building that we want to deliver to our fans. We also wanted something that had interactive components because of fan participation.”

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Dylan Guenther scores Utah Hockey Club’s first-ever goal

Dylan Guenther nets Utah’s first ever goal in the NHL and the hometown crowd erupts.

Given the team has yet to choose a name and is currently called the Utah Hockey Club, how does that work when it comes to forming fan chants?

Armstrong said it wasn’t an issue — because the fans were already coming up with ideas. He said there was one chant in which fans in one part of the building screamed “U” and those in another answered with “TAH.” The classic “Let’s go, Utah” also was heard during the first game at Delta Center.

And for anyone wondering about a mascot, Armstrong said the team will have one, and it will be representative of the permanent team name that’s eventually chosen. In the interim, Jazz Bear will do double duty at NBA and NHL games this season.

Asked whether team captain Clayton Keller gave away the team name at the NHL’s player media tour in August — “It sounds like it’s going to be the Yeti, but I don’t know,” he told NHL.com — the exec smiled.

“Kels, I think, was speaking to the public sentiment,” Armstrong replied.

THEY HAVE A goal horn. They have a goal song. They have chants. They even have a temporary mascot with plans for a more permanent solution. They have many of the boxes checked, but some are left to answer.

For example: the national anthem. Nearly every NHL team’s fans seemingly have some part of “O Canada” or “The Star-Spangled Banner” that they loudly sing as a fan tradition. There was no one moment that stood out during Utah’s first game, but could it be possible that UHC fans scream “YOU” in the American anthem’s first line as a way of invoking the letter U for Utah? Or could they go down another route?

These are the sort of details that will be figured out in time.

But as for the initial impression after Game 1, head coach Andre Tourigny, who previously coached the Arizona Coyotes, appreciated the extravagance of the franchise opener.

“Today was special, there’s no doubt about it,” Tourigny said. “One day we will look back. I received texts from about half of the head coaches in the league today. That means something, and it’s because it’s special.”

There were fans who said they liked a lot of what they experienced during the first game, too. Priskos said what made something like the Celly cam so amazing is the fact that Utah has a history of being one of the nation’s more restrictive states for alcohol.

“What I hope people realize is that whatever you’ve heard about Salt Lake City is just not true,” Priskos said. “That it’s a sleepy town. That’s what the assumptions are. But it’s Tuesday night and everything is happening. We’re hosting the Olympics in 10 years. We’re not this quiet town anymore, and people need to realize that the Stanley Cup now comes through Utah.”