Academic literature on the topic 'Video game advertisements'

Studies have shown that in-game advertisements can be effective. However, these studies typically examine single player scenarios. This study aimed to investigate the effects of social dynamics on brand awareness of in-game advertisements in sports video games. Two studies were conducted with soccer and basketball simulation games. In each study, participants were split into two groups where they either played against a computer-controlled opponent or against another player. For both studies, independent-samples t-tests were conducted to compare the recall rates between both groups. Both studies showed similar findings where respondents in the single player group reported higher recall and recognition rates when compared to respondents in the multi-player group. These findings suggest that the social environment can affect the effectiveness of in-game advertisements.

Sport video games (SVGs) are a popular form of sport media and sponsorship, and advertising in SVGs is increasingly common. This study assessed the effectiveness of SVG in-game advertisements in 3 consumption domains: cognitive, affective, and conative. An experimental study was designed with 89 gamers randomly assigned to 1 of 2 conditions: (a) experimental, playing an SVG with advertisements, or (b) control, playing an SVG without advertisements. Consumption background and identification level were incorporated as covariates to ensure group equivalence. Participants responded to a questionnaire measuring brand awareness, brand attitude, and purchase intentions. MANCOVA revealed that after controlling for the effect of covariate variables, the experimental group had a significantly (p < .05) greater mean brand-awareness score than the control group. Mean brand-attitude and purchase-intention scores were not significantly (p > .05) different between groups. The findings indicated that SVG in-game advertising was effective in creating awareness.

The purpose of this research was to examine the effect of sport video game difficulty and brand congruity on gamers’ brand recall, brand recognition, and attitudes toward the brand using a controlled experimental design. A total of 116 participants were recruited to play an interactive sport video game and randomly assigned to one of two game difficulty conditions (easy vs. hard). They were then asked to respond to questions concerning the brands featured in the in-game advertisements. The procedure entailed a pretest survey, main experiment, and posttest survey. Data analysis was conducted through use of McNemar’s test, repeated measures analysis of covariance, and binary logistic regression. Findings revealed significant effects for game difficulty and brand congruity on brand recognition (but not brand recall) and attitudes toward the brand. This study contributes to the growing body of literature that suggests video game settings and brand placement are key considerations for achieving desired advertising results.

Purpose In-game advertising continues to increase in importance for both industry and academia. However, game difficulty – an important, real-world factor – has received little attention as a specific game-related factor that might impact the effectiveness of in-game advertisements. This study aims to investigate the influence of game difficulty on players’ affective response and subsequent memory of in-game ads, which were presented as either gain- or loss-framed messages. Design/methodology/approach Three experiments were conducted. Study 1 and Study 3 implemented a 2 (difficulty: easy/difficult) × 2 (ad framing: gain/loss) design. Study 2 implemented a 2 (background music: calm/stressful) × 2 (ad framing: gain/loss) design. All experiments took place in a research laboratory in which participants consented to the study, completed a pre-test questionnaire, played a video game, completed a post-test questionnaire and were debriefed. Findings More difficult game play led to greater negative affective response. A different game-based attribute – background music – did not influence affective response. A significant interaction in Study 1 revealed that brand recognition increased as players in a more negative affective state were exposed to the loss-framed message. The results were explained to occur via the congruency effects that game difficulty exerts on players’ affective and cognitive states. Originality/value The studies are the first to incorporate both videogame difficulty and ad framing into one study, which two real-world factors that can influence advertising’s effectiveness. Theoretical and practical implications are discussed.

Media publishers that have commonly relied on profits from advertisements and content sales to fund their operations are not only content providers (manufacturers) to media aggregator platforms (retailers) but are also competing service providers (rival retailers) in the digital video supply chain. Different from a traditional media supply chain, they can easily operate their own direct distribution channels in the Internet era. In the digital video supply chain, it is not clear whether commercialization of the direct distribution channel would be beneficial for the media publisher because it would decrease profits from advertisements. The choice about commercialization should be investigated thoroughly because it is closely related to the media publishers’ sustainability as a public medium in a digital environment. In this study, we analyze the impacts of commercializing the direct distribution channel based on a game-theoretic approach. Specifically, we compare the profits of a media publisher with and without the commercialization of the channel from analyses of sequentially defined games. Our results show that media publishers prefer to use a free service on their direct channel if the content they provide is not highly valued. They can also choose not to provide their content to the media aggregator with a paid service.

Abstract A study of the translation of advertising material cannot be restricted to the analysis of language transfer, as the effectiveness of advertisements is contingent upon the successful linkage of (audio)visual elements, media of dissemination and written text. This paper analyses the cross-cultural dissemination of advertisements for the video-game industry, examining commercial arguments from a linguistic and cultural perspective. It is posited here that, in spite of their apparent disparity, the disciplines of translation theory and marketing interface to a large extent in the context of cross-cultural advertising. In the global marketplace, multinationals are faced with the choice to either internationalize or localize the promotion of their products, an issue that mirrors the long-standing debate on naturalising (or domesticating) vs. foreignizing translation strategies. The conclusion reached is that the cross-cultural dissemination of advertising material is best served by adopting an instrumental approach to translation, as described by Nord (1989).

Social media is the new tool for marketing which helps in influencing shopper’s decision making process for buying goods and services. In the era of digitalisation and availability of so many social media platform marketers are now looking forward towards social media for the launching and for promotion of their products. YouTube is selected as social media platform using to influence the shoppers for this research. As in this digital era YouTube advertisements have become the major source to reach mass audience hence making YouTube to become the new marketing tool for businesses to influence the shoppers by collaborating with popular youtubers as well as by posting non skip able and skip able advertisements before the starting of any video. So the role of YouTube in influencing buying choices of shoppers was analyse with the help of secondary data, which is collected from Amity University Digital Library and Google Scholar. The data was analysed and found that people actually get influence from YouTube advertisements and it is a game changer for the businesses as by the recommendations provided by any popular youtuber for a product actually influences the people and most of the people actually end up buying the product and recommend it to their friends and family members as well.

The versatility of the appropriation of Shakespeare in recent years has been witnessed in a variety of registers and media, which range from special effects on the stage, music, cartoons, comics, advertisements, all the way to video games. This contribution looks at some of the novels in the Shakespeare Re-told Hogarth series as effigies of the contemporary process of adapting the Elizabethan plays to the environments in which the potential readers/viewers work, become informed, seek entertainment and adjust themselves culturally, being, ultimately, cognitive schemes which are validated by today’s reception processes. The first novel in the series was Jeanette Winterson’s Gap of Time (2016), in which the Shakespearean reference to the years that separate the two moments of The Winter’s Tale’s plot becomes the title of a video game relying mainly on fantasy. Margaret Atwood’s Hag-Seed (2016) rewrites The Tempest as a parable of the theatrical performance and its avatars, as undisputable authority, on the one hand, and source of subversiveness, on the other. Dunbar (2018) is Edward St. Aubyn’s response to the family saga of King Lear, where kingship, territorial division and military conflict are replaced by modern media wars, and the issues of public exposure in the original text are reinterpreted interpreted by resorting to the impact of the audio-visual on every-day life.

Video game advertising is a major venue for game industry to promote its products. As a form of advertising, game advertising reflects national cultural values. It also manifests game cultural values which gamers are able to identify with. Millions of people, youth and children in particular, are being exposed to game advertising. Video game advertising may not only influence viewers' purchasing decisions, but has the potential to influence their attitudes and perceptions of important societal issues such as gender roles, violence and sex. However, few studies have examined the information content and messages of game advertising. The purpose of this study is to begin to fill the gap. This study examined the content of 1,021 print game advertisements in four popular game magazines published between December 2006 and May 2008 in China and the United States. The study was built on a variety of theoretical backgrounds and game studies. First, built on Resnik and Stern's (1977) classification of information cues and conceptual differences between advertising service and tangible products, the study found that Chinese game advertisements used more information cues than U.S game advertisements. Second, built on a variety of cross-cultural frameworks including Hofstede's ─ individualism vs. collectivism, Kluckhohn and Strodtbeck's human and nature relationship and time orientation, the study found that that U.S. game advertisements used more individualistic appeals, manipulation-of-nature appeals and future-time-orientation appeals than Chinese game advertisements. It was found that Chinese game advertisements used more collectivistic appeals, oneness-with-nature appeals and past-time-orientation appeals than U.S. game advertisements. Third, the study, on the basis of synthesizing game literature, examined gender representation, sex and violence, and major game cultural values in Chinese and U.S. game ads. The study found that in both Chinese and U.S game advertisements, males were more likely to be featured (83.5% in U.S. ads and 55.9% in Chinese ads) as primary characters than females (12.4% in U.S. ads and 42% in Chinese ads). Female characters were sexualized when presented. The study also found 29.8% of Chinese advertisements contained sexual content and only 4% of U.S. game advertisements contained sexual content. It was found violent content was common in U.S. game advertisements and 61% of U.S. game advertisements contained violent content. U.S. game advertisements contained more violent words than Chinese game advertisements. The study examined three online game cultural characteristics reflected in game ads. Compared with U.S. ads, Chinese game advertisements used more character progression, virtual item accumulation and socialization appeals. Limitations of the study and directions for future study are discussed.

碩士
國立成功大學
電信管理研究所
104
Because of the maturity of Internet and the development of mobile broadband technology, video content for users to access is no longer restricted to computers or televisions. Instead, such content can also be enjoyed via Over The Top (OTT) video services through mobile devices. The rapid growth of OTT video services has driven the development of online advertisements. More and more advertisers are paying attention to this emerging platform in order to acquire more advertising revenue. However, online advertisements cause several problems and inconveniences for OTT viewers when the webpages are replete with advertisements. In response, the appearance of advertisement avoidance software (AAS) has emerged to eliminate the disturbance to users; however, it has affected the revenues of advertisers and OTT video platform operators. Our research adopts sequential games to simulate the interaction between a major OTT video platform, namely YouTube, and users. In doing so, we separate users’ advertisement tolerance into two groups and take the AAS user-cost and the cost for YouTube to invest in detection into consideration. We discuss the different equilibriums that result when YouTube’s successful detection rate is 100%, as well as the users’ anticipation of the successful detection rate when YouTube’s successful detection rate is not 100%. We then collect each scenario’s equilibrium and the range of the successful detection rates in order to provide relative suggestions for YouTube. The research results when YouTube’s successful detection rate is 100% are as follows: 1.For low advertisement tolerance users (1.)In the case where the value of subscribing to watch ad-free videos is greater than the value of skipping all skippable advertisements, users are willing to subscribe directly. In addition, users choose to use AAS when the cost to use AAS is zero and if detected, users will subscribe. (2.)In the case where the value of subscribing to watch ad-free videos is greater than zero, but is less than the value of skipping all skippable advertisements, users will not use AAS. If the value is lower than zero, users will choose to use AAS in the situation where the cost to use AAS is greater or equal to zero, and the cost for YouTube to detect it is greater than zero. (3.)The case where the value of subscribing to watch ad-free videos is equal to the value of skipping all skippable advertisements is a special case in our research. The equilibriums are a combination of the above (1.) and (2.). For high advertisement-tolerance users, regardless of the cost of using AAS being zero or not, users will neither use AAS nor pay to subscribe ad-free service. The results when YouTube’s successful detection rate is not 100% are described in the following: 1.When the cost to use AAS is not zero, low advertisement-tolerance users will care about what YouTube’s successful detection rate is. In contrast, users will not care about YouTube’s successful detection rate when the cost to use AAS is zero, and will choose to use AAS. YouTube’s successful detection rate will not influence users who don’t use AAS. 2.For high advertisement-tolerance users, when the cost to use AAS is in the rational range that they can accept, their action will seldom be influenced by YouTube’s successful detection rate. High advertisement-tolerance users will choose to use AAS. Our research results suggest that YouTube should invest in detection, find a way to improve its successful detection rate, and provide users with different strategies depending on their characteristics. First, YouTube should ensure advertisements’ quality on their platform, and use online behavioral targeting to give users precisely the advertisements they may be interested in to reduce the impact from advertisements. In addition, YouTube should develop a technique to counter AAS to ensure their advertisements are not blocked. For low advertisement-tolerance users, YouTube could attempt to enhance user stickiness by providing exclusive content and enticing them to subscribe to YouTube Red because of the content. Additionally, YouTube is recommended to strengthen their online targeting technique, because it can not only record users’ habits but also trace users’ online activities. By tracing records to post advertisements according to high advertisement-tolerance users’ habits could enhance the click through rate and advertising revenue. Because there are many free OTT video platforms competing in this industry, if YouTube adopts the strategy of whole subscription, it may lose its advantage of being the biggest free video platform. Besides, if users have no choice but to subscribe, it may lower the willingness for advertisers to post advertisements on YouTube, which would lead to lower advertising effects. Thus far, the majority of YouTube’s revenue is from advertising fees; as such, if it gives up advertising fees and turns to acquiring subscription fees, it would face substantial loss. Moreover, it would also reduce the willingness of users to upload videos. If the number of videos was to reduce, it would directly influence the number of users. Moreover, if YouTube were not free, and users needed to subscribe to watch content, the amount of users would decrease and likely choose to upload their videos to other platforms. Consequently, our research findings indicate that the strategy of “pay to watch ad-free videos” and “advertising fees” for YouTube will coexist. For the OTT video industry, our research found that each OTT video platform depends on an enormous number of users to operate their business, and due to AAS, has lost a large amount of revenue. Hence, each OTT video platform must have exclusive content to keep or attract users, which means that OTT video platform operators should maintain close cooperation with content providers in order to provide exclusive content. Moreover, advertisers also need to produce more attractive advertisements to attract users and through the OTT video platform operator’s precisely posted advertisements, users can watch ads they are interested in. In this manner, revenue for both advertisers and platform operators could be gained.

This chapter explores the transnational dimensions of authorship through three types of video game developers: the invisible American developer, the Japanese auteur developer, and the Asian North American game developer. The absence of Western designers in game media and advertisements allows companies to blame players themselves for a game’s violence, sexual transgressions, and virtual racisms. As Western developers gain little recognition for their work, the cults of personality around Japanese designers reinvent “the Orient” as a space of development and playful innovation. Toying with Roland Barthes’s theories of love within an “amorous discourse,” this chapter explores the player as “ludophile,” whose attention to game designers (particularly Asian North American designers) can offer erotic readings of games as objects of attachment, queer intimacy, and obscurity. The “ludophile” does not invest authority into the author so much as call attention to speculative ways of playing routed through ethnic authorship.

Visual literacy is a requirement in many college composition programs; yet explicit methods for teaching it are often undefined. This chapter provides a pedagogical resource for composition instructors who seek foundational approaches for teaching visual literacy in the first-year and sophomore writing classroom. The pedagogy includes classroom exercises and assignments which emphasize teaching visual literacy using a combination of mass media (advertisements, magazines, Photojournalism) and popular media (social media, YouTube, music videos, video games, Websites, and screen-based technologies). Such media signify the visual rhetorical environments with which college students engage regularly, but less often consider critically. The author demonstrates a variety of approaches for teaching students to become engaged participants in their own visual meaning making. Sample assignments include a personal narrative photo essay, a visual argument essay, a multimodal research project, and a student-designed Website.

The third chapter encompasses a wide variety of subjects related to media awareness and audience's conscious and subconscious perception of media. Discussed are the context layers of usually neglected types of media such as advertisement, music videos, and video games and their place in universal codes of media is established through articulated cases and industry status changes with the arrival of world wide web and other globalization tendencies. Additional cases represent importance of such second-tier media in international political communication, serving as a reason to dwell on political context in specialized media in general. The chapter serves as a gateway to all following chapters, crossing over in some of the represented cases and showing the interconnection of different layers in universal codes of media in international political communication.