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Brand-engagement from a game-studies perspective: a theoretical background to analyse the benefits of games for branding
Ludwine Dekker | 355 4090 | Game Studies | Final Essay | David Nieborg | 08-07-2011
Introduction
This essays aims to show the benefits of game-theory for branding by suggesting a theoretical framework through which brands can be better understood. Kornberger notes that in branding the focus has shifted from the product to values, symbols and culture. Gamebrander.com lists several reasons why brands should use games, including a fun experience and making the customer want to interact with a brand (Gamebrander.com). Another example is Zed-Axis, a digital advertising company that claims; The interactive elements of a game creates a relationship between the product and the customer that leads to an overall enhanced corporate brand-experience (Zed-axis.com). However, these claims are not grounded in research. Though the aim to provide branding practices with a theoretical background (Braun Thom, Zicherman Gabe & Linder Joselin) or link it to (digital) cultural practices (Mathieson Rick, Gould Mark R.) is not new, the specific (potential) benefits of gaming for brand-engagement have not yet widely been researched. Both 'branding' and 'games' are much debated concepts (Huizinga Johan, Collois Roger) and in order to say something specific, this essay focusses on brand-engagement and brand-experience from the viewpoint of game-studies in two ways. The first perspective is that of Calleja's frames of involvement, and the second is that of fan-studies. The first is necessary to research whether concepts from game-studies can actually be applied to branding. One reason not to use Calleja's model is that his case-study is an MMOG, and this essay covers modding as an example to support the theoretical background. However, Calleja's aim remains to explain games as a designed experience, which is also true for branding (Kornberger, Martin). Second, a fan-theory perspective is necessary to validate the examples that profit brand-engagement. For this goal, the practice of modding has been chosen because it is an example where a positive interest creates value exchange based on active contribution. A fan theory approach will be used to analyse these practices (Sotamaa, Ollie). The first motivation to connect fan-activities to branding and game-studies comes from Harrington & Bielby; A person "becomes a fan not by being a regular viewer of a particular program but by translating that viewing into some type of cultural activity .... For fans, consumption sparks production, reading generates writing, until the terms seem logically inseparable. Second, both brand-experience and brand-engagement are two branches of branding that are directed at consumers and their practices. For example, brand-management is practised within and aimed at the company (Kotler, Philip). In addition, engaged without
experience is unattainable. A third reason to link is that, according to Chief Marketing Officer of Deloitte David Redhill:
Today brands are no longer understood as trademarks; they are not asking you to keep your hands off. Rather, theyre an invitation to participate, to actively construct meaning. This is a key point brands need interaction and engagement, otherwise they remain empty vessels.
Kornberger, Martin
Brian Phipps, a brand strategy expert, identifies several problems. First, companies create a chasm which separates consumers from companies, and second, brand-engagement is seen as a way of persuasion instead of adding value to a brand. After establishing the theoretical background (part one), the example of modding (part two) will demonstrate a value-feedback loop that diminishes the chasm and explains the gains of this disappearance.
affect (advertising perspective), in promotional activities a different emotion is targeted (game-studies perspective). The intellectual dimension of a brand is represented in propositions such as This brand stimulates my curiosity and problem solving. (Brakus Josko, J. et. al.). In this sense, correspondences are found in Calleja's tactical involvement frame that includes setting goals, using a certain strategy to attain such a goal and the final reward. Whether this process is satisfying depends on multiple factors. One example of a strategy that is not naturally offered by the game architecture, is that of grinding. In this case a player will continually rehearse a action in order to attain more experience or new or exclusive materials. Though the aim of the game would be to reach the goal through following the provided quests, the player is practising a strategy outside the normal framework of the game. One example that will be discussed later on is that of modding as a way of innovation and product improvement. Another example that highlights curiosity of participants, is the total conversion of Half-Life into Counterstrike. However, these are still examples of game-industry practices. Nonetheless, these are signals that the participants' love for a certain object can translate into experiencing the brand on an intellectual level. The sensory dimension supports claims regarding This brand makes a strong impression on my visual sense or other senses. (Brakus Josko, J. et. al.). In comparison with Calleja's frames of involvement, the most correspondence is with the spatial involvement: With the considerable advances in graphics and sound technology it has become possible to create vast visual worlds in which the desire for stimulation through active engagement with unfamiliar situations, can be aesthetically satisfied.. Though spatiality is a complex concept, Calleja's notion is also in line with Lindstrom who, in his book Brand Sense, argues that brands should focus their brand-experience more towards sensory experience. Some brands already practice this notion outside the digital environment, one example being the iconic Gucci store, which has to create the ultimate Gucci-experience for consumers. In a digital environment however, the spatial brand-experience remains an attempt that is often shaped in an advert-game, such as the McVideoGame, that aims at giving the consumer insight in McDonald's practices in a fun way (McDonalds). If McDonald's holistic brand-experience would be 'fun', and the game would be too, then brand-experience is achieved through the digital sensation. However, more complex brand values such as 'luxury', can be hard to translate to a digital environment. In this sense, a pleasant brand-experience can look at game environments as an example, that creates e.g. tourist moments for players, who want to take pictures of the scenery (Calleja Gordon). The benefits
for travel brands could be significant. Though by no means exhaustive, this initial comparison between brand-experience dimensions and frames of involvement will provide the basis of this essays aim to show the benefits of game-theory for branding. However, the narrative involvement frame in relation to brand-experience is hard to defend, as is the notion of shared involvement. Though it is likely that because of the extensive nature of brands, both frames 'fit' somehow, the conclusion in the case of Brakus et. al. model is that Calleja's model is not entirely transferable. One reason could be that brands simply are not games, but this essay tries to defend exactly that notion. Another explanation is that this particular game-model is simply not suited, but the arguments above prove otherwise. One suggestion is that Calleja's frames might be say more about other aspects of branding, such as brand-personality. The disconnection between the model at some points calls for further research, though 'tailoring' the notions to fit each other must be avoided. Nonetheless, support can certainly be found for the use of game-theory for branding as long a critical approach of what works and what does not is kept. One last test of Calleja's framework applied to branding is left; that of the behavioural dimension and performative involvement that entails agency of the player in a virtual environment and the related meaning making (Calleja Gordon). This will be demonstrated in the second part of this essay.
and experiences. From the perspective of branding, it is almost an utopia to give each consumer exactly what they want from a brand. This is often translated in personalisation of products as seen in e.g. Amazon's product suggestions (Okonkwo, Uche). Though this might be a good service, the exchange of value and meaning making as Modthesims.info demonstrates is by far not yet implemented. It is possible to place product reviews, but this is not the main aim. Another example is Gucci that is visible in social networks where meaning is exchanged but this not yet resembles the engagement that game-fans show, because most of the posts are placed by Gucci and contributions mostly take the form of 'likes' (GUCCI). These examples show that attempts are still lacking and the chasm has not yet disappeared. One reason will now be further explored.
Conclusion
Game-studies as a cultural study and branding, have more in common the one might initially expect. Therefore this essay has tried to create a theoretical background for the use of games-studies in branding. Some frames of involvement support the aspects of brand-engagement that according to Brakus et. al. are measurable and usable for creating a brand-experience. This is demonstrated by the practical examples, that combine Brakus et. al's behavioural dimension and Calleja's performative frame of involvement. One important finding to acknowledge is the link that both branding and gaming share with the consumer or gamer. Without this link, the 'transfer' of game-theory to brand-engagement is weak. Another important conclusion is that, though this essay focusses on the positive convergence of branding and gaming, some problems have been found. Tailoring one theory to fit an argument is not to be recommended, and not doing so shows the holes of the narrative and shared involvement frames that do not fit brand-engagement. This mean attention should be paid when using game-theory for branding, since there are clearly some obstacles. Therefore, it is reasonable to suggest that 'elements of play' might be more beneficial for branding then literal game-related acts. Summarising, this means that this framework of theory highlighted the potentials of game-theory for brand-engagement but that this is not applicable to the overall field. To create a stronger framework that allows for actual use, more research is needed. Research aimed at brand-engagement should consider the gamer or consumer, and the core experience of a brand and a game.
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