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The branding game: a study on advergames, a successful way to connect with today's gamified audience

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Content The Branding Game: A Study on Advergames

A Successful Way to Connect with Today’s Gamified Audience

By

Verónica Licha-López

A Thesis presented to the

FACULTY OF THE USC GRADUATE SCHOOL

UNIVERSITY OF SOUTHERN CALIFORNIA

In Partial Fulfillment of the

Requirements for the Degree

MASTER OF ARTS

(STRATEGIC PUBLIC RELATIONS)

May 2015

Copyright 2015 Verónica Licha-López

i

Acknowledgments

This paper would not have been possible without the help and support of
my committee, my family and friends.

ii

Table of Contents

Acknowledgments i

List of Figures iii

Abstract iv

Preface v

Introduction 1

Chapter One: A Brief History of Consumer Video Games 3

Chapter Two: Serious Video Games and Advergaming 6

Chapter Three: The Attraction of Playing 9

Chapter Four: Chipotle’s The Scarecrow 12

Chapter Five: 76’s The Quiet Game 21

Chapter Six: Progressive’s Rocket Cat Adventures 25

Chapter Seven: Domino’s Pizza Hero 30

Chapter Eight: Comparing and Contrasting the Games 37

Chapter Nine: The Audience 43

Chapter Ten: Promoting Social Games 45

Conclusion and Recommendations 47

Bibliography 51
Appendices 55

Appendix A: Interview Guide 55

Appendix B: Industry Interviews (Transcripts) 56

iii

List of Figures and Tables

Figure I: The Scarecrow Visuals 18

Figure II: Chipotle’s The Scarecrow Scale of Difficulty 19

Figure III: 76’s The Quiet Game Visuals 23

Figure IV: 76’s The Quiet Game Scale of Difficulty 24

Figure V: Progressive Insurance’s Rocket Cat Visuals 28

Figure VI: Progressive Insurance’s Rocket Cat Adventures Scale 28
of Difficulty

Figure VII: Domino’s Pizza Hero Visuals 31

Figure VIII: Domino’s Pizza Hero Scale of Difficulty 35

Table I: The Scarecrow’s Summarized Explored Aspects 20

Table II: The Quiet Game’s Summarized Explored Aspects 24

Table III: Rocket Cat Adventure’s Summarized Explored Aspects 29

Table IV: Pizza Hero’s Summarized Explored Aspects 36

iv

Abstract

This paper examines a series of games created by brands and attempts to
identify key aspects that a brand could consider when creating its own
advergame. The purpose of this study is to examine four brands’ advergames to
understand what strengths and weaknesses have made those games thrive or
flop among a technology-dependent audience. The principal conclusion is that
the fast-food industry has the ideal characteristics to create a successful
advergame. However, brands in a variety of industries can venture into
developing advergames if they follow the characteristics identified in this paper.

v

Preface

Research Methodology

In preparation for this thesis, the author selected four advergames,
developed by Chipotle, Progressive Insurance, 76 Gasoline and Domino’s, to
examine their level of popularity, promotional efforts and their level of
engagement with consumers. Primary research was conducted by the author in
the form of playing each game in its entirety and then evaluating it according to
six key characteristics within the game: setting; integration of key messages;
brand presence; interactivity between brand and player; promotion of the game,
and level of difficulty.

Primary research also included interviews with three industry
professionals. The first interview conducted was with Rob Jones, Vice President
of Edelman Digital and former Vice President of Gaming Programing at
Machinima. The second interview was with John Wie, a social media analyst and
communication specialist for the Academy of Interactive Arts & Sciences. The
third interviewee was Rex Cartagena, a current Flash Developer for CBS
Interactive and a former Game Developer at Zynga Games.

Secondary research for this thesis included review of various studies,
books, online articles, brand websites and social platforms and news reports.
The main purpose of both primary and secondary research was to obtain

vi

adequate knowledge to develop a list of characteristics that brands may apply to
the creation of advergames in order to be able to appeal to a gamified audience.

1

Introduction

Brands want to have two-way relationships with their audiences and
understand their needs and expectations. In today’s society, where technology
enables the launch of new trends over short periods of time, some brands
struggle to take the next step in innovation. They remain conservative until the
new trend is proven successful. In the last decade, brands have tried to engage
with their audience by offering a gamified experience. But what happens when
actual video games are used to garner attention?

Brands will have to implement engagement tactics and strategies in order
to achieve two-way communication in the future, which is noted in an Adweek
article by Steve Hicks, who writes:
“The next generation of marketing innovation
belongs, not to those who bring their advertising to the game, but to those who
know how to bring the game to their advertising.”
1
Brands that communicate with
audiences in ways that allows a member of their publics to become an emitter as
well as a receptor, are most likely to be successful in positioning themselves for
success in an interactive field.

Video game players are attracted to advergames by the chance to
demonstrate their ability to complete tasks and receive reinforcement. Brands are
using advergames to keep consumers continuously engaged by providing
challenges and opportunities that keep the user wanting more and at the same
time, taking that opportunity to communicate about their product.

1

Hicks, Steve. "Does The Video Game Industry Hold The Keys To The Future Of Advertising?
Engage Consumers via Brain Chemistry." Adweek. February 6, 2014. Accessed November 12,
2014. http://www.adweek.com/news/advertising-branding/engage-consumers-brain-chemistry-
155531.

2

This paper will explore a series of advergames that have been launched
by brands in a variety of industries. It will identify if the brands’ key messages,
colors, logo and reward system presented in their respective games were aligned
with the brand’s core messages, and how they may be portrayed in entertaining
yet marketable ways. Visual examples of each characteristic being explored will
be provided, as well as contrasts and comparisons of each brand’s game.

By exploring each game as well as the expertise and opinions of three
experienced social gaming professionals, the author hopes to provide a clear
understanding of the advergame opportunity; what type of brands should venture
into developing their own games, what aspects a game should include in order to
promote a brand’s message and be entertaining, and whether any particular
industry has a higher potential for achieving success with this method. By
studying these advergames, the author will attempt to define a series of best
practices that will enable brands to successfully interact with their audience
utilizing the game method.

3

Chapter One: A Brief History of Consumer Video Games

From the joystick to the controller to the tip of a finger, video games have
evolved into different platforms, genres and themes. In the late 1960’s Ralph
Baer, considered the father of videogames, was working as the Chief engineer
and division manager at the military contractor Sanders Associates. It was there
he saw the potential for playing video games. Baer decided to use his
technological knowledge to create an affordable game-playing device that could
be plugged in to the then-newly popular entertainment system, the television.
2

The Brown Box was Baer’s first proposal and after a few years of unfruitful
shopping for investors, a television company finally bought into his idea. The
Brown Box was redesigned, made more marketable and renamed the Odyssey,
manufactured by the electronics company Magnavox. This console offered a
series of games that would be shown on the television screen, including Tennis
(also known as Ping-Pong) and Cat & Mouse. These, along with Shooters, a
game that allowed the player to aim a plastic gun at the television simulating a
real hit, were amongst the first to be played on the device.

Meanwhile, in California, two engineers, Nolan Bushnell and Ted Dabney,
were working on creating coin-operated machines that allowed users to play
games in devices outside of labs, after being inspired by a game being played on
university computers called SpaceWars!. The two engineers set out to create

2

Donovan, Tristan. 2010. Replay: The history of video games. East Sussex, England: Yellow
Ant. Page 11

4

their own business when they decided to hire a design engineer named Al
Alcorn. “Bushnell wanted to give Alcorn a very simple game to get him used to
the basics of video game technology and thought of Ping-Pong, the Odyssey
game he had played the month before.”
3
Alcorn saw the potential to improve
Ping-Pong into a more interactive game that included a scoring system and
sound effects. In 1972, Atari introduced Pong as its first arcade game and two
years later made it available for the home. “Pong also helped Magnavox sell its
Odyssey console and by 1974 some 200,000 had been sold, largely on the back
of its Ping-Pong game.”
4
Magnavox decided to allow Atari to have the gaming
rights if the company paid a sum of $700,000 and then went on to sue bigger
companies that were copying Ralph Baer’s original idea.

Atari set out to pitch their home video console for Pong, but found no
support in the toy industry because of its high cost compared to the products
being sold in that market. They then turned to the large retailer Sears as a last
resort and found that their product fitted nicely in the sporting goods department.
As Tristan Donovan, author of Replay: The History of Video Games, mentions,
“The sporting goods department of Sears turns into a Ping-Pong, pool table type

3
Donovan, Tristan. 2010. Replay: The history of video games. East Sussex, England: Yellow
Ant. Page 23

4

Donovan, Tristan. 2010. Replay: The history of video games. East Sussex, England: Yellow
Ant. Page 26

5

of department around Christmas and it turned out that the year before they had
successfully sold out of a home pinball.”
5

In order to strike a deal, Atari had to agree to rebrand the game as the

Sears Tele-Games Pong and could not release an Atari-branded version until the
following year. Atari was able to sell 150,000 Sears-branded games that first
holiday season. The author thinks of this deal as perhaps one of the first
instances of a brand associating itself with a video game. By putting their name
on an innovative piece of technology that wasn’t yet secured as a staple, Sears
associated its name with the potential they foresaw in a new industry.

As the video game industry established itself more clearly as its own
medium, developers created characters that were more marketable and the
games themselves began to feature story lines that users could recognize,
allowing them to more easily follow and become engaged. Not surprisingly, some
brands took notice of the platform’s potential as a medium to communicate with
their audiences and integrate their product in an entertaining way.

5

Donovan, Tristan. 2010. Replay: The history of video games. East Sussex, England: Yellow
Ant. Page 35

6

Chapter Two: Serious Video Games and Advergaming

As early as the 1980’s, popular consumer brands such as Pepsi dabbled
in the video game industry by creating simple games that made their product the
main character or the center of attention. This practice is known as advergaming.
Max Lenderman refers to this concept in his book Experience the Message as
“…instead of placing a brand or product in a video game, advergaming makes
the brand or product the central protagonist in the game itself.”
6
This innovative
approach encouraged the player to entertainingly interact with a brand, without
being as intrusive as conventional advertising; it allowed the player to have a
more natural experience with the brand.

Advergaming is part of a larger marketing concept known as serious video
games, which “…refers to a broad swath of video games produced, marketed, or
used for purposes other than pure entertainment; these include but are not
limited to, gamification, games for change, game based learning, educational
computer games, edutainment, advertainment, corporate games, health games,
military games, and political games.”
7
Advergames act as a type of interactive
commercial, allowing players to willingly spend time with the brand and retaining
knowledge after their time together.

6

Lenderman, Max. 2006. Experience the message: How experiential marketing is changing the
brand world. New York: Carroll & Graf Publishers. Page 211

7

Egenfeldt-Nielsen, Simon, Jonas Heide Smith, Susana Pajares Tosca, and Simon Egenfeldt-
Nielsen. 2013. Understanding video games: The essential introduction. New York: Routledge.
Page 230

7

“You don't want to overdo branding inside the game because it will be
preaching to the converted, but making a game related to the brand purpose can
be more appealing.”
8
Former game designer for Zynga, Rex Cartegena explains
the importance of a brand’s presence in their own game and the context in which
it should be included. According to Cartegena, serious video games should
organically provide a brand experience that the consumer cannot obtain through
any other medium. “The advergame follows the same basic principle of gaming:
the better the game experience, the more people will play,”
9
he says.

The author of Experience the Message, Max Lenderman, shares a similar
view to Cartagena’s: “The better the advergame experience, the more people will
be engaged.”
10
In order for a brand to attract and retain players/consumers, the
game must serve as a unique opportunity that creates a memorable environment
that a player wants to continuously visit. The in-gaming experience should reflect
the brand’s values as well as encourage players to keep playing without getting
bored.

While the primary goal of any advertisement is to sell, in an advergame, a
brand has the challenge of creating content that will appeal to two aspects of a
consumer: first is to attract a consumer’s attention by creating interactive content
that will appeal to a player’s desire to be entertained. Second, the game must
appeal to a consumer’s buying power by exposing them enough times to the
brand’s presence. Both of these require the brand to have content that feels

8

Rex Cartagena, interview by Verónica Licha-López, January 7, 2015, Appendix B, transcript.

9

Rex Cartagena, interview by Verónica Licha-López, January 7, 2015, Appendix B, transcript.

10

Lenderman, Max. 2006. Experience the message: How experiential marketing is changing the
brand world. New York: Carroll & Graf Publishers. Page 212

8

subtle enough to be a non-branded game yet expose the player to enough brand
presence and repetition of a message that can therefore create a lasting impact
that could lead to a buy.

Advergames run the risk of quickly becoming a passing phase. A 2010
Mintel research report stated, “When it comes to free games, turnover is fast and
loyalty is low—28% of casual gamers try new games frequently (i.e., weekly or
more), and 23% have trouble finding games they like (also implying that 77% do
not).”
11
Brands need to make sure that the games they create keep the audience
interested enough for them to keep coming back to play. Not charging for a game
is a great way to attract initial attention, however, a player may not want to
continue playing a game past its primary stages if it doesn’t provide sufficient
motivation to do so.

11

Modern and Casual Gaming-US- December 2010.
http://academic.mintel.com.libproxy.usc.edu/display/482984/

9

Chapter Three: The Attraction of Playing

What is it about games that keep players wanting to play?

Steve Hicks, author of “Does the Video Game Industry Hold the Keys to
the future of Advertising?,” says “Game designers talk about a
‘compulsion loop.’ Every action within an experience is designed to make
you want to do it again. When we feel pleasure, a molecular shower of a
substance called dopamine is released in our brains. Sex, nicotine and
gambling all stimulate dopamine production. What game designers have
figured out is how to directly connect that to commerce. Win or lose, the
player is continually micro-rewarded, creating a tiny shower of dopamine
molecules.”
12

Adding scores and rewards to games make players want to come back and keep
playing. When a game allows them to share their scores or obtain a prize for
having achieved a higher level or by just having played, it keeps the player
engaged and with a good feeling they’ll soon want to repeat.

Rob Jones, Vice President of Edelman Digital and gaming expert, explains
this effect when a game contains “just enough of a challenge to make a game
engaging and just enough reward to keep (you) playing.”
13
Well-developed
games with a reward system attract gamers and have a higher retention rate
because they are continuously engaged. Having enough of a challenge will

12

Steve Hicks, “Does The Video Game Industry Hold The Keys To The Future Of Advertising?
Engage Consumers via Brain Chemistry” 2014 AdWeek.

13
Rob Jones, interview by Verónica Licha-López, October 20, 2014, Appendix B, transcript.

10

combat the bias of playing for a short period of time and will make the player play
again. To create an effective advergame, a brand has to understand what makes
a potential player want to keep coming back.

Understanding the incentives necessary to keep the audience playing is
vital for the success of any game. “The simplest route to closeness to the
consumer is to walk in the consumer’s shoes, in much the same way as the
anthropologist tries to do to understand cultures.”
14
Brands that continuously give
the player something to brag about or that makes them want to communicate
about what they’re playing, will keep the audience coming back. Consumers
need to be constantly reminded that they matter and that a brand values their
support. Badges (or tokens) and the ability to share scores online give that same
sentiment to a player, thus making them more inclined to come back to play
again.

Advergames enable brands to tell a story the audience can follow. “In a
game, the behavior of a character, situation, or idea changes when aspects of
that behavior can be off-loaded from the simulation into a branded product or
service.”
15
When brands create an environment that pushes the player to do
more and to feel like they need to perfect their technique in order to move along
in the game, engagement is created. A player will come back to practice what

14

Hackley, C. E. (2013). Marketing in context: Setting the scene. New York; Houndmills,
Basingstoke, Hampshire: Palgrave Macmillan. Page 38

15

Bogost, I., & Ebooks Corporation. (2011). How to do things with videogames. Minneapolis:
University of Minnesota Press. Page 55

11

they learned before and to try and reach another goal. Brands that create
advergames that keep fostering an environment where the player has to pay
attention and apply different tactics enable the player to feel like a part of the
story and therefore more a part of the brand.

12

Chapter Four: Chipotle’s The Scarecrow

Chipotle [NYSE:CMG], is a Colorado-based Mexican cuisine fast-food
restaurant that currently has over 1,000 stores in the United States and Canada.
It was started by Chef Steve Ells in July 1993 as a way to generate enough
income to later on create a fine dining restaurant.
16
Today, Chipotle earns over
$1 billion in annual revenues and serves over 750,000 people a day.
17

In 2013, the Mexican casual dining chain released a video on YouTube
titled “The Scarecrow.”
18
The 3:22 film featured an animated story, which
introduced a character, a scarecrow, who is discontent with his work. After
realizing his values don’t match with his lifestyle, he decides to make a change
for the better. In the video, the scarecrow is seen working for companies that
claim to be making healthy foods, when in fact behind-the-scenes he helps cover
up and produce products that are not made as advertised. He is thus promoting
an image that only appears to seem wholesome. As of January 2015, The
Scarecrow video had attracted over 13 million views and over 16,000 comments
on YouTube.

In the game, the scarecrow can be seen making a change and developing
his own line of healthy crops and foods. The character then goes out to promote
wholesome and honest meals made from healthy goods. The game intends to

16

Debaise, Colleen. "Starting Chipotle from Scratch." The Wall Street Journal. September 22,
2009. Accessed December 10, 2014. http://www.wsj.com/articles/SB125319598236119629.

17

Lean, Lucy. "Fast Food Using Slow Food?: Talking With Chipotles' Steve Ells." LA Weekly.
June 29, 2010. Accessed December 12, 2014. http://www.laweekly.com/restaurants/fast-food-
using-slow-food-talking-with-chipotles-steve-ells-2380462.

18

Chipotle Mexican Grill YouTube. The Scarecrow. September 11, 2013.
https://www.youtube.com/watch?v=lUtnas5ScSE

13

promote the chain’s key messages in an interactive and entertaining way while
allowing players to better understand what the chain stands for.

Scarecrows are generally known for protecting crops from unwanted birds
that damage the product. In Chipotle’s story, the character has lost the ability to
effectively do this job thanks to a food giant that has. This resembles the
restaurant’s passion to compete with companies that are disguised as
wholesome but are in fact sellers of mass produced unhealthy foods.

The Scarecrow Promotional Efforts

Until 2012, the then-19-year-old brand had never advertised on television
before. That year, Chipotle created a 2:20 video to the tune of the British band
Coldplay’s “The Scientist.”
19
In it, an animated world is shown, where the process
of how a farmer’s ingredients are industrialized and crops and animals are
enhanced with unnatural products until the original plan no longer exists. The
farmer decides, as the chorus of the song mentions, to “take it back to the start”
and develop a farm where crops and animals are free of unhealthy chemicals; his
products are then sent to a Chipotle truck. The ad, which was aired during the
2012 Grammy Awards and presented in 10,000 movie theaters nationwide,
marked the start of Chipotle’s “Real Food” campaign. One year after the video
was released; Chipotle uploaded “The Scarecrow” to YouTube and introduced
the advergame to its audiences.

19

Arnold, Chris. "Chipotle to Air "Back to the Start" During GRAMMY Awards." Chipotle.com.
February 10, 2012. Accessed November 12, 2014.
ir.chipotle.com/phoenix.zhtml?c=194775&p=irol-newsArticle&ID=1659494

14

Key Messages

By evaluating Chipotle’s campaigns and observing how the company
communicates about itself, the author has determined the brand’s primary key
messages are as follows:

● Chipotle produces food with integrity. Its ingredients and methods
are clear and wholesome.

● Chipotle enjoys collaborating with natural food growers who
practice safe cropping and don’t add unnatural chemicals to their
crops.

● Chipotle is seeking to create better food by using ingredients that
are not only fresh, but where possible are sustainably grown and
naturally raised with respect for the animals, the land, and the
farmers who produce the food.
20

● Chipotle’s food is made from fresh, high-quality raw ingredients,
prepared using classic cooking methods and served in a distinctive
atmosphere.
21

20

Arnold, Chris. "Chipotle to Air "Back to the Start" During GRAMMY Awards." Chipotle.com.
February 10, 2012. Accessed November 12, 2014.
ir.chipotle.com/phoenix.zhtml?c=194775&p=irol-newsArticle&ID=1659494

21

Arnold, Chris. "Chipotle to Air "Back to the Start" During GRAMMY Awards." Chipotle.com.
February 10, 2012. Accessed November 12, 2014.
ir.chipotle.com/phoenix.zhtml?c=194775&p=irol-newsArticle&ID=1659494

15

These key messages identify what Chipotle wants to express about their
product. While playing The Scarecrow game, the author made observations to
determine how clearly these messages were integrated into the game, to what
degree and level of interactivity they played in the game, and the consistency
with which they were communicated to the user throughout the game levels.

Level One

The Scarecrow is comprised of four interactive levels. The first, titled
“Crow Foods Factory,” enables the player to run through an artificial foods factory
that claims to be natural. As the player carries crates of vegetables and defeats
various obstacles that arise in their path, the factory is portrayed as a dark and
dangerous environment, hosting frequent signs that allude to the danger of
eating these types of foods. Sayings such as “Caution: Empty Calories” and “All-
Natural Artificial Foods,” and splatters of dirt and chemical stains give the factory
an alarming look.

This level introduces the player to the reason behind the game’s name.
Much like a real scarecrow, whose purpose is to induce fear and keep crows
away from crops, Chipotle’s The Scarecrow character intends to save the real
natural crops from being damaged by companies that look to enhance them with
artificial factors. In the game, the player experiences what it is like to be the hero
and do the right thing. The author believes this game utilizes the axiom of
utilitarianism, which supports that an action taken is good as long as the outcome
benefits a majority.

16

The scarecrow character intends to steal from others in order to save
people from ingesting foods that are harmful to their bodies. Although appearing
seemingly frail, the character is in fact sinewy and committed to conquering the
plague of genetically modified and non-natural foods that are being falsely
promoted as healthy and fresh. The key theme of honesty is portrayed
throughout this level by Chipotle exposing what the Crow Foods messages really
hide. The player observes how Crow Foods’ advertisements present a
discrepancy with what actually goes on inside the factory.

Level Two

The game’s second level, titled “Downtown Plenty,” provides the player
with the challenge of battling numerous false advertisements indicating that the
food served by local restaurants is grown without harmful chemicals and their
animals are raised cage-free. These advertisements appear as players try to
rescue animals that have been caged and kept in harsh unnatural environments.
The ads intend to sidetrack the player from going in the right direction to rescue
the animals, by providing false flags and obstacles that can divert the scarecrow
character from continuing to save the animals. The billboards and posters
become hurdles in this level that the players must surpass in order to heroically
save all the entrapped animals.

Level Three

The third level, titled “Scarecrow Farms,” enables the player to start a farm
by planting their own crops and keeping crowbots away from their all-natural
seeds. Crowbots are robotic crows that attack the player’s crops with harmful

17

chemicals. When one of these crowbots gets to a piece of land before the player,
the ground becomes infused with chemicals, impeding the player from planting or
collecting crops, and thus slowing down their ability to collect as much yield as
possible. By doing so, Chipotle is able to show, in an entertaining manner, the
work that has to be put into building and maintaining wholesome crops and why
the outcome is worth the effort.

Level Four

The fourth and last level of the game is titled “Plentyfull Plaza” and it
features the scarecrow selling the freshly grown, chemical-free crops he planted
in his farm during Level Three. The scarecrow intends to feed his natural foods to
the people in the plaza so that the public learns their options and shun foods
from less-healthy sources such as Crow Foods. With the content in this last level,
Chipotle hopes to showcase the beneficial outcomes of eating wholesome and
natural foods.

The key message of collaboration is featured in this fourth level, by
making the customers a part of the experience. If they choose to buy healthy,
good quality foods from the scarecrow, they help defeat those who promote
unhealthy foods while aiding the people who try to develop foods that are
sustainable and wholesome.

Throughout each level of the game, neither Chipotle’s logo nor name is
prominently showcased. As seen in Figure I, Chipotle’s brand visual style, which
could be defined as “rustic with a modern twist,” is also present throughout the

18

whole game. However, if a player is familiar with the promotional video The
Scarecrow and identifies the character with Chipotle, then the scarecrow
becomes another reinforcement of the brand’s visual presence.

Figure I: The Scarecrow Visuals

Scale of Difficulty

The Scarecrow’s four levels require the player to pay attention and gain a
few skills in order to level up and continue the game to its finale. Figure II
represents the author’s attempts to establish a scale of difficulty scale for the
whole game, based on a range from 1 to 10. In this scale, “one” means the game
requires no reading of instructions in order to follow along; “five” means the
player needs to acquire first-hand information in order to continue following up,
and “10” means that the player must obtain a new skill in each level of the game.
At this highest level of difficulty, the player must pay special attention to each

19

stage, in order to apply the expertise learned from the prior level and continue
progressing.

Figure II. Chipotle’s The Scarecrow Scale of Difficulty

1
4

5

10

10

The author rates Chipotle’s The Scarecrow as a level “four” in difficulty.
The game requires the player to read instructions before each level, as well as
some physical dexterity to move their phone in order to avoid obstacles and
make the character move.

The following table summarizes the main aspects being explored in
Chipotle’s The Scarecrow and will be compared to that of the other three games
being analyzed.

20

Table I: The Scarecrow’s Summarized Explored Aspects

Setting
Key
Messages

Brand
Presence

User
Interactivity

Promotion

Enclosed-
factory

Downtown
city.

Farm.

Crowded
plaza.

Food with
integrity.

Honesty.

Chipotle’s
colors and
rustic yet
modern
visual style.

User is
responsible
for:
balancing
objects,
overcoming
obstacles
and learning
about the
work that
goes into
their product.

YouTube
video

Television
advertiseme
nt

Webpage

21

Chapter Five: 76’s The Quiet Game

Phillips 66 [NYSE:PSX], is an energy manufacturing and logistics
company
22
based in Houston, Texas that owns more than 1,800 76 gas stations
across the United States. The company specializes in Top Tier gas, which it
markets as gas containing engine cleaning power.
23

In 2012, the 76 gas station chain came up with a series of eight different
games and instruments they classified as “Road Tools.” These simple tools are
provided in the form of a smartphone app and intended to help users during
driving, such as honking less, getting out of a ticket and keeping kids quiet. In
order to introduce the tools, 76 created 30-second television advertisements that
demonstrated how each game could be used in the corresponding situation.
Each tool mentions the 76 stations’ current slogan, “We’re not just top tier gas.
We’re on the driver’s side.”
24

How can a gas station chain take advantage of the struggles drivers
encounter on a daily basis to help build a brand? By relating to the audience and
providing an entertaining solution to their problem in the form of an advergame.
For example, one issue that a lot of drivers can identify with is keeping kids riding
in the back seat quiet for long periods of time. In order to offer a solution for this,
76 launched The Quiet Game for smartphones.

22
Phillip’s 66. About Us section. http://www.phillips66.com/EN/about/Pages/index.aspx

23

76 Gas. Our Gas. http://www.76.com/OurGas/

24

76 Gas. About Us section. http://www.76.com/AboutUs/

22

The gas station chain created a mobile downloadable game that could
easily accompany any customer during car rides. Essentially, the company
digitized a simple game that most people likely recognize from childhood and
made it available as part of the Road Tools package. This efforts showcases the
company’s passion for being part of the customer’s journey in a way that goes
beyond the service of fueling transportation.

The Quiet Game Promotional Efforts

76 introduced The Quiet Game by releasing a brief TV spot that featured a
mother driving her two kids and a pet dog. Her kids accept the challenge of
playing The Quiet Game and are shown losing the game at 48 minutes when
their dog barks. The mother is relieved to learn her kids are going to start the
game over. A video of 76’s ad also was placed on the brand’s YouTube page
and can be seen on the main website, next to the option to download the game.

By observing current 76 campaigns and assessing the way the company
delivers messages, the author has identified the following key messages:

● 76 strives to provide convenience for every customer.

● 76 wants every customer to obtain the most value for the money
invested.

● 76 gasoline is not just a product that helps drivers get places; it
wants to accompany the driver throughout the journey by fueling
the drive as well as the experience.

● 76 gasoline provides Top Tier gas; aiding drivers in maintaining
durable cars.

23

The Game

The Quiet Game opens up with the 76 logo and a message on the screen
urging the player to pass the phone to somebody who is not behind the wheel.
Once the user accepts the message, a three-second countdown prepares the
player to start the game. As seen in Figure III, the main background of the game
is a 76 logo that rotates like a minute hand, marking the time that the player has
successfully maintained quiet. The outer borders of the clock act as a sound
meter, allowing the player to physically see how they are doing in the game.

The Quiet Game includes a menu of options to adjust the game. The
player can modify the sensitivity in the phone’s microphone as well as set a goal
time that they can try to achieve, as seen in Figure III. The app lets the player
share scores on social media as well as identify nearby 76 gas stations.

Figure III. 76’s The Quiet Game Visuals

24

Scale of Difficulty

The author rates 76’s The Quiet Game as a level “two” in difficulty. The
game requires the player to read how the game works and only requires them to
remain quiet for as long as they can. Players are also given the option to make
simple and slight modifications if they wish to adjust the game.

Figure IV. 76’s The Quiet Game Scale of Difficulty

1

2

5

10

10 10

The following table summarizes the main aspects found in 76’s The Quiet Game.

Table II: The Quiet Game’s Summarized Explored Aspects

Setting
Key
Messages

Brand
Presence

User
Interactivit
y

Promotion

Logo
backgrou
nd

Customer
convenience.

Support every
step of the
way.

76’s logo
User is
responsible
for: Setting
goals or
clock and
keeping
watch of the
lock in order
to observe
their
progress.

Television Ad

25

Chapter Six: Progressive Insurance’s Rocket Cat Adventures

Progressive Insurance was founded in 1937 offering a variety of coverage
for automobiles, homeowners, RV’s, among more. According to its website, the
company was the first to launch its own website and offer comparative quotes.
25

In 2012, the insurance company launched a new commercial to promote
its bundled coverage, a promotion that allows customers to obtain a better priced
deal if they obtain a multitude of the company’s policies at the same time. This
commercial included Progressive’s notable character, Flo. This fictional character
started representing the company in 2008 and is still going strong in current day
(2015). “Progressive's initial goal for the campaign was to make shopping for
insurance a pleasant experience,”
26
says Jeff Charney, Chief Managing Officer of
the company, who was quoted in an interview with AdAge when explaining how
Flo was first thought up. According to Charney, throughout the seven years Flo
has been a part of Progressive, she’s managed to become a household name
and partake in myriad storylines in over 100 commercials that feature her in
different situations.

Rocket Cat Adventures Promotional Efforts

In the 2012 bundling advertisement, Flo is seen selling the bundling deal
to man; the customer attempts to apply the bundle in a situation not relating to
insurance, by trying to bundle his cat along with a rocket in order to make a

25

Progressive Insurance History. http://www.progressive.com/progressive-insurance/history/

26

Rodriguez, Ashley. "Flo's Progressive Evolution." AdAge. November 12, 2014. Accessed
January 2, 2015. http://adage.com/article/cmo-strategy/flo-s-progressive-evolution/295734/.

26

rocket cat. With this ad, Progressive introduced the advergame Rocket Cat
Adventures. Rocket Cat is first introduced in a short television commercial as part
of Progressive Insurance’s ‘bundle up’ campaign, in which Flo describes, in an
exaggerated manner, all the things a customer can secure with the help of
Progressive insurance.

According to advertisements and the brand’s company website, the author
has determined that the following are Progressive Insurance’s key messages:

● Progressive provides an easy and convenient way for people
to obtain quick quotes on insurance for all kinds of purposes.

● Progressive acknowledges the needs of busy customers that
are cost-conscious and increasingly savvy about auto
insurance and good service.
27

● Progressive is an industry pioneer in comparing quotes for
all types of insurance.

● Progressive Insurance strives to get customers the best
economical deal.

The Rocket Cat Adventures game is comprised of three levels, which
allow the player to collect coins and raise the score as they play. Throughout
each level, the game provides the player with the opportunity to share their score
on Facebook and Twitter as well as invites them to check out Progressive’s
insurance bundling offers through a link to their website.

27

Progressive Insurance Overview Page. (2015) http://www.progressive.com/progressive-
insurance/progressive-overview/

27

Level One

Rocket Cat Adventures features a cat named Mittens that has the ability to
fly through the use of rockets strapped to its back. In the first level, the player
gets to navigate Mittens through a Progressive Insurance store while attempting
to earn coins. As Mittens flies, the player can observe customers being attended
to by Progressive employees, multiple shelves of different available policies and
Progressive’s spokesperson, Flo, aiding Mittens every once in a while, such as
providing a helmet that will secure the cat’s journey through the hurdles he
encounters inside the store. The player also can raise their score by catching
different types of insurance policies and carrying them until they achieve a
bundle.

Level Two

The second level takes Mittens to an outdoor park, where he has to
surpass different obstacles and still collect coins in an attempt to create more
bundles. Flo continuously appears in order to provide him with security, as seen
in Figure V.

Level Three

Level three, similar to level two, takes Mittens to outer space. There, he
must continue to collect coins and create bundles while trying to avoid obstacles,
and also catch Flo’s helmets so he can remain secure and able to overcome the
hurdles that continuously come his way.

28

Figure V. Progressive Insurance’s Rocket Cat Visuals

Scale of Difficulty

Figure VI. Progressive Insurance’s Rocket Cat Adventures Scale of Difficulty

1

4
5
10

The author rates Progressive’s Rocket Cat as a level “four” in difficulty.
The game requires the player to read how the game works only for the first level.
After that, each level has the exact same mission: to collect coins and bundles.

29

The only aspect that changes is the setting. The player must be good at moving
the character by using the arrow keys on a computer keyboard; the player must
find a balance between speed and movement when utilizing these keys in order
to successfully grab objects.

The following table summarizes the main aspects being explored in
Progressive’s Rocket Cat Adventures game.

Table III: Rocket Cat Adventure’s Summarized Explored Aspects

Setting
Key
Messages

Brand
Presence

User
Interactivity

Promotion

A
Progressiv
e
Insurance
Store

An outdoor
park

Outer
Space

Customer
convenience.

Support
every step of
the way.

Progressive’s
logo

Presence of
Flo

Boxes of
bundles

User is
responsible
for:
attempting to
collect the
most coins in
a limited
amount of
time while
avoiding
obstacles
and collecting
bundles

Television
commercial

30

Chapter Seven: Domino’s Pizza Hero

Domino’s Pizza [NYSE:DPZ] is a fast-food pizza chain restaurant with a
specialty in delivery service. It was founded in Michigan in 1960. The pizza chain
has over 9,000 stores all around the world and is a pioneer in online ordering and
launched the first mobile app, allowing consumers to order pizzas online, and
track the progress of each order.
28

After receiving multiple negative reviews about the taste of the company’s
main product, Domino’s decided to make a change in the taste and quality of the
pizza. The company initiated this change in 2010 by trying a different recipe and
using fresher products to create the food. To promote this change, Domino’s
created an advertising campaign entitled “The Pizza Turnaround.” Television
and YouTube spots feature consumers’ negative comments as well as footage of
the company’s Chief Executive Officer (CEO), Patrick Doyle, admitting to
neglecting the product. The videos featured comments from a series of focus
groups where people tasted Domino’s pizza and gave their honest feedback.
Comments like “the sauce tastes like ketchup” and “the crust tastes like
cardboard” were among the most common complaints received.
29
In the spots,
Domino’s CEO is seen apologizing to customers and promising to, from now on,
put out a products that makes the company proud.

28

Domino’s Pizza. History. http://dominospizza.com.ng/index.php/about/our-history/

29

Domino’s
Pizza.
The
Pizza
Turnaround.
(2010)
https://www.youtube.com/watch?v=AH5R56jILag

31

Pizza Hero’s Promotional Efforts

In late 2011, Domino’s created the interactive game Pizza Hero. An
exclusive app for iPads, Pizza Hero allowed the player to be their own pizza chef.
Eleven levels of challenges, learning and facts from Domino’s made the game
different and entertaining to engage with customers. The first four levels of the
game are intended for the player to learn the basic processes necessary to make
a Domino’s pizza. All levels include real-time commentary from store managers
that indicate how well or how poorly the player is accomplishing each mission, as
seen in Figure VII. The Figure also illustrates the brand’s presence throughout
each level by having the logo and brand colors present at all times.

The game was not only intended for entertaining purposes; it actually
served as a way to recruit new members to the Domino’s team by sending out a
message to high scoring players, encouraging them to apply for a job with the
company. According to the Domino’s Pizza Hero case study, which was
published in source, the game became the third most downloaded free
application on the Apple App store during 2012.
30

Figure VII. Domino’s Pizza Hero Visuals

30
Domino’s: Pizza Hero (Case Study). 2012 https://www.youtube.com/watch?v=QzWEeOoFMfU

32

By examining Domino’s press releases and information pages, the author
has determined that the following are the brand’s key messages:

● Domino’s is a world leader in pizza delivery.

● Domino’s is continuously technologically innovative in order to
provide new ways to reach customers and ensure great service.
31

● Domino’s takes pride in the quality of the food and ingredients they
offer.

● Domino’s puts the customer first and enjoys connecting with them
in order to continuously make changes that reflect consumer
feedback.

Levels One to Four

The game’s first level, titled “Master the Dough,” allows the player to learn
how to properly roll out dough in order to create the base for a pizza. This level
requires the player to use their left and right index fingers on the iPad screen to
carefully roll out the base of the pizza.

The following level, “Sauce Superiority,” makes the user transform their
index finger into a ladle as they learn to swiftly apply sauce to their newly rolled-
out dough.

Level three, “Cheese Wisely,” takes the player through the process of
applying the cheese to the pizza in the correct places. Although seemingly

31

Domino’s. About section. http://www.dominos.com/about-pizza/

33

simple, the game requires the players to stay within the lines created to apply the
ingredients in the right areas; otherwise, players are unable to continue to the
next level.

The last basic level, “Terrific Toppings,” teaches the player how to apply
toppings to a pizza pie. After successfully completing all four levels, users can
move on to the more challenging and time-crunching steps.

Level Five

“How to Make Your Pizza” combines the first four levels into one. This
level introduces the player to managers who will critique their creations and
players must now work under the pressure of a clock.

Level Six

“Pizza Crunch” acts as a mini “game within the game,” by requiring an
extra skill (slicing) and allowing the player to gain points by seeing how fast they
can cut a designated number of pizzas into eight slices.

Level Seven

This level takes the player through their first night as a pizza maker. This
level requires the user to make the pizza from scratch, keep track of each order’s
toppings with the tickets and put them in the oven. Once the pizza maker
successfully completes their first night, they are able to work a second night and
continue to the next level.

Level Eight

In the game, the player’s second night is Domino’s busiest night of the
entire year. The player must complete pizzas from scratch and achieve an 80%

34

or more in their making score. Time is also measured in this level in order to gain
more points.
Level Nine

“Restocking Raucous” takes the player through night three on the job. This
time, they have to complete the pizzas from scratch and learn how to order new
toppings when they’ve run out. If the player forgets to restock an ingredient, they
might lose time while it loads and the new batch of toppings comes in. Players
have to be strategic about when they restock each ingredient since only one can
load at a time. This adds the element of multitasking to the game, adding extra
pressure and enabling the player to gain an extra skill needed in order to
continue moving forward in the game.

Level 10

“Bubble Pop Bonanza” lets the player take a break from pizza making in
order to bring another mini game within the game. Now, the player must take
over watch of the oven and attempt to pop every bubble from the pizzas crusts. If
the pizza is poked where there are no bubbles, points are taken off.

Level 11

Once again, it’s the busiest night of the year at Domino’s and the player
must take on the challenge to make the never-ending orders of pizzas. This last
level intends to make the player gain as many points as possible until they are
tired.

This last level requires the player to use every skill learned in the
preceding levels in order to successfully make as many pizzas as possible. The

35

pizzas orders in this level are never ending; the player decides when their game
is over.

Scale of Difficulty

The author rates Domino’s Pizza Hero as a level “eight” in difficulty. The
game requires the player to learn a new skill in each level and then apply it to the
level that follows it. The managers have very high standards and will not let a
player level up if the quality of the pizza or process is not up to company policy.
The last levels require that the player master each skill learned in the starting
stages and time management is crucial in order to put out as many pizzas as
possible.

Figure VIII. Domino’s Pizza Hero Scale of Difficulty

1

5

8

10

The following table summarizes the main aspects being explored in Domino’s
Pizza Hero game.

36

Table IV: Pizza Hero’s Summarized Explored Aspects

Setting
Key
Messages

Brand
Presence

User
Interactivity

Promotion

Preparat
ory table

Topping
station

Slicing
table

Oven
station

Technologica
lly innovative.

Pride in
quality of
food and
ingredients
used.

Customer in
mind.

World leader
in pizza
delivery.

Domino’s colors
and logo
throughout the
levels

Brand facts and
figures while
levels load

User is
responsible
for:

Learning the
basic steps
to make a
pie.

Following
steps in
order to
meet
demand.

Players can
order the
product in
every level.

Television
advertisement

37

Chapter Eight: Comparing and Contrasting the Games

The categories that were explored by the author in each advergame were:
setting, key messages, brand presence, user interactivity, and promotional
efforts. Each game was measured on a scale of difficulty created by the author,
which was intended to provide a clear understanding of how much engagement
was needed on behalf of the player in order to complete the game in its entirety.
This chapter will further explore how each game’s aspects compared to one
another.

Setting

All four games contain different settings for their intended purposes. The
backgrounds in the games are crucial for establishing the look and feel of each
story and how the brand’s presence is integrated within. The Scarecrow provided
the player with an animated version of Chipotle’s key messages, while
Progressive Insurance’s Rocket Cat Adventures did so in an exaggerated way,
which is consistent with the humor reflected in their television commercials.
Domino’s Pizza Hero provided the player with a realistic looking version of the
kitchens used by the company, while The Quiet Game maintained the 76 logo
throughout the time-measuring app.

The author believes that the game that most effectively utilized its
background space was Pizza Hero. The Domino’s brand’s colors and logo were
present in the game’s entirety and reinforced an authentic look-and-feel of the
company by actually immersing the player in a realistic digital version of

38

Domino’s’ kitchens. In contrast, The Scarecrow made little to no use of Chipotle’s
identifying brand characteristics. The main character, the scarecrow, was the
only represented tied aspect to the company throughout the game. However, the
game was able to successfully capture Chipotle’s essence by being an extension
of the current well-known advertising campaigns.

Rocket Cat Adventures initially allows the player to be exposed to
Progressive’s logo and a look inside a company store, exposing them to a
continuous brand presence. However, after the first level, the setting changes to
completely unrelatable backgrounds (such as outer space) and there are very
few instances where the player can relate the game to the brand. This differs
from The Quiet Game, where the player is continuously exposed to 76’s logo. In
the beginning, that’s all the player focuses on, but as the game continues, it
doesn’t require the player to actually interact with the phone; a player ultimately
might forget that it is a brand-created app.

Key Messages

It is the author’s opinion that, despite the difference in settings, The
Scarecrow and Rocket Cat Adventures each successfully presented a literal
visual representation of some of their corresponding brand’s key messages.
While The Scarecrow has written messages throughout the game about how
Chipotle’s competitors’ products are less wholesome, Rocket Cat Adventures
provides the player with an “insurance policy,” symbolized by the cat’s helmet,
that would enable them to safely tackle obstacles in the game. This showcases
the company’s purpose: to provide security and insurance.

39

The Quiet Game app allows the user to identify the closest 76 gasoline
station to their current location, demonstrating the company’s key message
associated with convenience. Pizza Hero was able to demonstrate how Domino’s
is a world leader in pizza delivery by creating challenges throughout the levels
that show an increase in orders as well as provide the player with a snapshot of
the effort the company puts into creating their main product.

The author believes that an advergame that is able to physically interpret
a brand’s key messages in a way that is authentic and integrated into the game’s
storyline, would more directly aid the brand in spreading their message. The
brand that best integrated their messages was Chipotle. The game not only
featured a recognizable character, it also allowed players to play out the key
messages. For example, the character learns to grow their own wholesome
crops and later tries to get their townspeople involved in buying local and eating
healthier.

Brand Presence

The Quiet Game features 76’s logo throughout the game by being the
main tool (a clock) and the literal center of the screen; however, after spending a
certain amount of time playing the game, it’s possible that the logo starts to
become too much a part of the background and doesn’t employ attention. This
causes the brand logo, although always present, to essentially disappear from
awareness because the player doesn’t interact with it. As Figure III showed in
Chapter Five, The Quiet Game’s background is similar to the game’s concept. A

40

‘sit, wait and remain quiet’ experience was the goal of the game and it felt like the
brand’s presence adopted the same tactic in actually presenting the advergame.

Pizza Hero features Domino’s logo constantly during the game. This
differs from The Quiet Game because when Domino’s logo does appear, it
means there’s another challenge or a fact about the brand with which the player
will engage. Domino’s brand colors, blue, white and red, are present during every
level in the Pizza Hero game, providing the player with a realistic experience of
feeling like they are in a real establishment but from the comfort of their own
playing space.

With a completely different strategy from Domino’s, The Scarecrow
manages to feature Chipotle’s physical brand colors and feel without their logo or
name actually appearing in the game. Chipotle achieved this by creating a story
around the character and making the brand’s key message of wholesome food
the main recognizable link between Chipotle and the game.

Throughout Rocket Cat Adventure’s entirety the player is continuously
exposed to Progressive Insurance’s logo, ‘bundle’ boxes and the spokesperson,
Flo. However, the main character, Mittens, is not associated with the company
unless the player is familiar with the advertising campaign. This game has
similarities to The Scarecrow in the way that it manages to reflect the company’s
key messages through a well-known character and at the same time have their
logo present all throughout each level, maximizing background space and
making good use of their established brand colors.

41

User Interactivity

The Quiet Game requires the player to pay careful attention to its sound
meter in order to determine how they’re doing in the game. A second form of
interaction happens through the app, when the user is interested in receiving
knowledge of where the nearest 76-gasoline station is to the player’s location.

Similar to The Quiet Game, Progressive Insurance’s Rocket Cat
Adventures only requires one main function for the player to participate. It is a
one-challenge game that needs the player to move their mouse, or arrow keys,
up and down in order to avoid obstacles and collect coins.

The Scarecrow needs the player to balance their phone and use their
fingers in order to play the game. Each level requires a different action that helps
the character and the story move forward. The game also requires the player to
read the storyline in each level in order to know what’s going on and why the
character needs the player’s help.

Pizza Hero shares some similarities with The Scarecrow in that both have
a cohesive order to them; each level progresses into another as the player needs
to complete a series of tasks that get more complicated as they higher up in the
game. Pizza Hero teaches the player different skills, which require the
completion of several tasks that employ the user’s attention at its fullest.

Promotional Efforts

All four brands promoted their games through the use of videos. They told
a story from beginning to end, explaining to the viewer and possible future player
how the game came to be and why it’s important for them to play it. Rocket Cat

42

Adventures, The Scarecrow and The Quiet Game utilized TV ads to introduce
their games, as well as videos on their main web pages and respective YouTube
channels. Domino’s promoted their game via video on their digital networks and it
also was recognized in year as part of the Apple App Store’s “Top 10,” which
helped promote the game to users who constantly depend on the list in order to
make an app investment decisions.

43

Chapter Nine: The Audience

Before creating a video game, brands should be aware of whom they want
to see playing their game. “I’ve seen brands who want to make a game, but the
people who play it are not the same people who buy their products,”
32
says Rob
Jones, Vice President of Edelman Digital, explaining the importance of being
strategic when creating a game. Understanding who is going to play an
advergame and what outcomes the game may entail should be one of the first
aspects a brand considers. If a brand fails to appeal to people who already are or
have the potential to become future customers, then the advergame is essentially
flawed.

It’s also important to take into consideration the difference between a
hard-core gamer and a casual gamer. Referring to his personal preferences,
Jones explains, “as a strategy, games aren’t for me. I have to know that they’re
(the brands) not coming after me, the hard-core gamer.”
33
Advergames should be
designed to appeal to a broad audience but without crossing over to the highly
skilled and detailed world of hard-core gaming.

According to Jones, the best strategy for a brand is to observe what
games are already capturing people’s attention, and from there apply the main
entertaining aspects to a brand’s advergame. Jones refers to this as the
“Farmville syndrome.” After Farmville, a social game where players tend their
own virtual farm by taking care of crops, livestock and decorations, became well

32

Rob Jones, interview by Verónica Licha-López, October 20, 2014, Appendix B, transcript.

33

Rob Jones, interview by Verónica Licha-López, October 20, 2014, Appendix B, transcript.

44

known, other social games started implementing some of Farmville’s key aspects
into their games. Farmville’s form of monetization (exchanging crops and stock
for cash), promotional efforts and style has been copied by myriad games that
followed suit.

Former Zynga games creator Rex Cartagena argues that brands should
target a specific segment. “I would say, regarding audience, adults in their 30's to
40's and children. The reason why is because adults in that range grew up during
the golden era of video games, they saw and played the classics. Some of them
abandoned the games, while some them stayed with current game systems, but
what all of them have in common is the nostalgia elements for old arcade
games.”
34
Cartagena believes that targeting a generation that grew up with video
games will be the ones most likely to want to play if the brand is one they like and
if the game itself is reminiscent of one they knew from their past.

34

Rex Cartagena, interview by Verónica Licha-López, January 7, 2015, Appendix B, transcript.

45

Chapter Ten: Promoting Social Games

In order to promote a game, brands should take into consideration all of
their communication platforms. Rob Jones says, “games should be integrated
into all that the brand does.”
35
Whether it is through their social media channels
or a traditional outlet, like Chipotle did with a television ad introducing The
Scarecrow during the Grammy Awards, brands should utilize the media used by
their customers in order to have a higher chance that consumers are paying
attention.

Promotional efforts don’t always have to come from within the brand; in
fact, it may be more personal -- and productive -- to let players tell their own
story. Expert social game promoter for the Academy of Interactive Arts &
Sciences, John Wie, states, “Players like to share their score or progress in their
games for bragging rights. Sharing is promoting the game organically.”
36
Using
the audience as a communications medium is itself an effective way to
organically let people receive a message. It can help new players discover a
game they hadn’t known existed before, as well as persuade users to try a game
because it comes recommended by a trusted source.

John Wie cautions, however, that “brands should see if a game fits into
their overall strategy and messaging, not as a cheap marketing tactic or gimmick

35

Rob Jones, interview by Verónica Licha-López, October 20, 2014, Appendix B, transcript.

36

Rex Cartagena, interview by Verónica Licha-López, January 7, 2015, Appendix B, transcript.

46

that they can leave behind after it releases.”
37
When creating and promoting an
advergame, it’s important that it aligns with the overall messages a brand is
trying to communicate. The advergame should fit into some aspect of the
messages being communicated and it should feel as an integral part of the
campaign. Wie ads, “If a game is sarcastic and witty, the promotion should be the
same while trying to explain the gameplay and hopefully push some critical
praise from both other consumers and critics.”
38
A game’s promotional efforts
should complement the tonality and voice of the broader brand campaign to
which it belongs.

37

John Wie, interview by Verónica Licha-López, November 20, 2014, Appendix B, transcript.

38

John Wie, interview by Verónica Licha-López, November 20, 2014, Appendix B, transcript.

47

Conclusion and Recommendations

After experiencing and analyzing the four advergames featured here, the
author believes that one specific industry is best suited for the creation of video
advergames. In the author’s opinion, the consumer food industry – both fast food
and consumer packaged goods -- provides the most interactive opportunities for
creating an entertaining form of communication, through the advergame platform.
As Rob Jones states, “food has a broader audience. There are more people with
all kinds of interests and tastes, there are different types of restaurants and food
providers.”
39
Brands in these industries may have the best opportunity to create a
conversation with a variety of customers willing to interact with the brand’s game.

Domino’s game, Pizza Hero, demonstrated how a food brand’s product
and image could successfully be integrated into a video game in an entertaining
way. Maximum user interactivity was also vital in the success of the Domino’s
advergame because it gave the brand credibility in multiple ways. First, the
variety of levels allowed the player to get to know Domino’s processes
personally, and the game provided challenges that represented real-life
obstacles that company employees would face. Second, the challenges required
the player to pay careful attention to procedures in order to complete tasks. As
the player was learning about the steps they should take in order to successfully

39

Rob Jones, interview by Verónica Licha-López, October 20, 2014, Appendix B, transcript.

48

complete a challenge, they also learned facts about the brand, while the game
organically integrated the company’s key messages throughout the play.

Other industries also have the potential to achieve success in creating
advergames, by into consideration the most effective aspects found in each of
the games studied. Brands should review the following list of characteristics
during the brainstorming process for creating their own game, in order to ensure
an entertaining and investment-worthy product that achieves brand prominence
and sales.

In order to have higher chances of player retention and success, a game
should consider the following aspects:

● The game should engage the product’s primary audience(s).

● A game must offer an incentive to be played. The player should be
rewarded with points or coupons for the brand.

● A video-based trailer should be used to promote the game,
showcasing the game’s entertainment and reward values.

● A game should provide easily accessible tabs for players to share
their scores and prizes on social channels. This encourages the
player to organically promote the game and show their enthusiasm
for the brand, creating a conversation by and for users.

● A game should be accessible to consumers through multiple
outlets. Not every user is going to have the same device, therefore
it’s essential for a brand to make its game accessible in more than

49

one platform so that consumers with different types of electronics
can enjoy the game.

● Social media should be implemented in the promotional efforts of
introducing a brand’s game.

● A brand’s game is most successful when supported by appropriate
creative and financial resources. Brands shouldn’t venture into
advergame design if the budget won’t allow for good quality in
content, challenge and aesthetics.

● A game should have a goal/objective. For example, Chipotle’s The
Scarecrow game was intended for audiences to get to consider
where their food comes from and how dedicated Chipotle is in
providing customers with a wholesome food experience.

● Brands should seek to showcase their key messages in their
advergames, utilizing the game as a tool that allows customers to
get to know the brand’s values and commitment on a more
personal yet entertaining level.

The advergaming industry is one with limited amount of research,
however, as Egenfeldt-Nielsen, et al. say, “By making these interactive
commercials fun for the consumer, these games facilitate exposure to the brand
that can last a lot longer than a typical commercial.”
40
Advergaming represents a

40

Egenfeldt-Nielsen, Simon, Jonas Heide Smith, Susana Pajares Tosca, and Simon Egenfeldt-
Nielsen. 2013. Understanding video games: The essential introduction. New York: Routledge.
Page 246

50

great new way to bring life to a brand’s product and services if created and
promoted correctly.

51

Bibliography

Arnold, Chris. "Chipotle to Air "Back to the Start" During GRAMMY Awards."
Chipotle.com. February 10, 2012. Accessed November 12, 2014.
ir.chipotle.com/phoenix.zhtml?c=194775&p=irol-newsArticle&ID=1659494
Bogost, I., & Ebooks Corporation. (2011). How to do things with videogames.
Minneapolis: University of Minnesota Press. Page 55
Chipotle Mexican Grill YouTube. The Scarecrow. September 11, 2013.
https://www.youtube.com/watch?v=lUtnas5ScSE
Domino’s Pizza. History. http://dominospizza.com.ng/index.php/about/our-history/
Domino’s Pizza. The Pizza Turnaround. (2010)
https://www.youtube.com/watch?v=AH5R56jILag
Domino’s: Pizza Hero (Case Study). 2012
https://www.youtube.com/watch?v=QzWEeOoFMfU
Domino’s. About section. http://www.dominos.com/about-pizza/
John Wie, interview by Verónica Licha-López, November 20, 2014, Appendix B,
transcript.
Donovan, Tristan. 2010. Replay: The history of video games. East Sussex,
England: Yellow Ant. Page 11
Donovan, Tristan. 2010. Replay: The history of video games. East Sussex,
England: Yellow Ant. Page 23

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Donovan, Tristan. 2010. Replay: The history of video games. East Sussex,
England: Yellow Ant. Page 26
Donovan, Tristan. 2010. Replay: The history of video games. East Sussex,
England: Yellow Ant. Page 35
Debaise, Colleen. "Starting Chipotle from Scratch." The Wall Street Journal.
September 22, 2009. Accessed December 10, 2014.
http://www.wsj.com/articles/SB125319598236119629.
Egenfeldt-Nielsen, Simon, Jonas Heide Smith, Susana Pajares Tosca, and
Simon Egenfeldt-Nielsen. 2013. Understanding video games: The essential
introduction. New York: Routledge. Page 246
Egenfeldt-Nielsen, Simon, Jonas Heide Smith, Susana Pajares Tosca, and
Simon Egenfeldt-Nielsen. 2013. Understanding video games: The essential
introduction. New York: Routledge. Page 230
Hicks, Steve. "Does The Video Game Industry Hold The Keys To The Future Of
Advertising? Engage Consumers via Brain Chemistry." Adweek. February 6,
2014. Accessed November 12, 2014. http://www.adweek.com/news/advertising-
branding/engage-consumers-brain-chemistry-155531.
Hackley, C. E. (2013). Marketing in context: Setting the scene. New York;
Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. Page 38
Lenderman, Max. 2006. Experience the message: How experiential marketing is
changing the brand world. New York: Carroll & Graf Publishers. Page 211

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Lenderman, Max. 2006. Experience the message: How experiential marketing is
changing the brand world. New York: Carroll & Graf Publishers. Page 212
Modern and Casual Gaming-US- December 2010.
http://academic.mintel.com.libproxy.usc.edu/display/482984/
Lean, Lucy. "Fast Food Using Slow Food?: Talking With Chipotles' Steve Ells."
LA Weekly. June 29, 2010. Accessed December 12, 2014.
http://www.laweekly.com/restaurants/fast-food-using-slow-food-talking-with-
chipotles-steve-ells-2380462.
Progressive Insurance Overview Page. (2015)
http://www.progressive.com/progressive-insurance/progressive-overview/
Progressive Insurance History. http://www.progressive.com/progressive-
insurance/history/
Phillip’s 66. About Us section.
http://www.phillips66.com/EN/about/Pages/index.aspx
Rex Cartagena, interview by Verónica Licha-López, January 7, 2015, Appendix
B, transcript.
Rodriguez, Ashley. "Flo's Progressive Evolution." AdAge. November 12, 2014.
Accessed January 2, 2015. http://adage.com/article/cmo-strategy/flo-s-
progressive-evolution/295734/.
Steve Hicks, “Does The Video Game Industry Hold The Keys To The Future Of
Advertising? Engage Consumers via Brain Chemistry” 2014 AdWeek.
Rob Jones, interview by Verónica Licha-López, October 20, 2014, Appendix B,
transcript.

54

76 Gas. Our Gas. http://www.76.com/OurGas/
76 Gas. About Us section. http://www.76.com/AboutUs/

55

Appendix A: Interview Guide
1. What do you believe a brand should take into consideration before creating a
game?
2. Who can create their own games?
3. What aspects should a brand include in their game content?
4. In your opinion, what makes a game successful?
5. Do you think there is a particular industry that serves better for video games? Or
Audience?
6. Are there any games made by brands that have caught your attention? Why?
7. What do you think motivates a user to participate in a brand-generated game?
8. Is creating video games by brand just a hype, or do you think it is here to stay?
9. What efforts should a brand use to promote their game?
10. What is the most important aspect when promoting a game on social media?
11. What approaches would you recommend when it comes to interacting with digital
brand gamers online?

56

Appendix B: Industry Interviews (Trancripts)

Industry Interview I: Rex Cartagena, Flash Developer for CBS Interactive
1. What do you believe a brand should take into consideration before creating a
game?
When you are a brand, you have to consider your audience, hence when
creating a game, you need to create a game that appeals to them, since they are
that buy your product or service. And of course depending the type of audience
you make a game more fit to them. If its seniors, you can make simple games
like Sudoku or puzzles, if it is a teenage crowd you want to make a game more
hip and fast paced. If its for children,something more easy and friendly.
2. Who can create their own games?
To be honest, nowadays, anyone, if they have the time and patience.
Back then, to make a game you really needed to know programming, and learn
on your own the hard way. Now, with the internet you are couple clicks away of
full tutorials, and demos where you can make games in a matter of hours using
engines designed to make games with close to no programming at all by only
dragging and dropping behaviors and commands. Even graphic libraries are
provided so you can use many assets, and only create what you really need
original. Now, this doesn't mean it will be a good game, same way having an
expensive camera doesn't make you a good photographer, original ideas and
implement them with good game design is something that requires more work.

57

3. What aspects should a brand include in their game content?
Proper product placement, and how the game is related to the product or
to any of its features. For example like an energy drink game should be about
action and energetic. You can be a runner in a race, and every time you get
an energy drink power up (the product) can make you run faster and longer. You
don't want to over do branding inside the game because it will be
preaching to the converted, but making a game related to the band purpose can
be more appealing.
4. In your opinion, what makes a game successful?
Success can be in different ways, because a game can be the most
played but not earn a dime, or vice versa. But many different factors can make a
game successful, sometimes is not even the game, but the buzz around it. For
example Flappy bird is a very simple game anyone can make, a simple formula,
simple design, and it became one of the most successful and copied games on
the mobile platform. It was all random. But regardless, the game was fun, its
challenging and is quick fun on the go.
A game can also be successful because of its story, theme, relevance to current
events, original idea, graphics, style or design. It is many factors, but to be
honest, I think the media coverage is what makes a game successful, being on
the spotlight. Of course it has to be a good game, the same way luck favors the
prepared. But nowadays with thousands of games available, what will get you

58

noticed is if someone important notices your game, covers it on YouTube or
some forum, gets recognition.
5. Do you think there is a particular industry that serves better for video games?
Or Audience?
I would say, regarding audience, Adults on their 30's - 40's and children. The
reason why is because adults on that range grew up during the golden era of
video games, they saw and played the classics. Some of them abandoned the
games, while some them stayed with current game systems, but what all of
them have in common is the nostalgia elements for old arcade games. So if you
take a brand they like, and mix it with an old school game they loved back in the
day, it will be an instant win. Younger crowds, are used to more appealing,
games with better graphics and detailed, while that range of adults loved the
simplicity of games years ago. Now kids, let's say they love Disney, McDonald's,
etc. If there is a game regarding that brand they like, they will play it regardless,
as long is related to that brand.
Also younger teen girls will play social games like Kim Kardashian while
younger teen boys will prefer more war games. I remember I worked on a game
that featured hip hop singers, but the target audience it was targeted to, just
didn't had the money to invest in the social game. So what would serve better?
Like I mentioned Adults on their 30's - 40's who work and their children. Children
related brands, and middle aged adult brands can benefit more in my opinion.

59

Industry wise, movie related games are good on the short term, same with music
related games. Usually the industry of consumable goods do better than others,
maybe because in games you consume or get things.
6. Are there any games made by brands that have caught your attention? Why?
Brand games that are weird, not the usual. There was a Pepsi running
man game on Playstation 1, caught my attention because it looks like the first
"endless" runner game, and had a Pepsi Man mascot running through a
neighborhood. Also the game came with weird videos of people over drinking
Pepsi. Another one, was a McDonalds game that came out on Sega Genesis,
you used Ronald McDonald in a world similar to the one of Super Mario, but
crazier. There is many more, but most of them were from the 80's or 90's,
nowadays they try to play it safe.
7. What do you think motivates a user to participate in a brand-generated game?
By experience, when making a game brand related, what the user looks
for is if they will get something out of it besides playing. Like, if they will get
rewarded by playing the game and achieving a goal. The user is engaging with
something related to your product or service, might as well reward them so they
do not feel they wasted their time with many games available to them. I used to
do for brand generated games that the highest score of the week will get
coupons or discounts, or even $100 gift cards from the brand, this
approach brought thousands of players who were engaging with the brand.

60

8. Is creating video games by brand just a hype, or do you think it is here to stay?
It is always been there, since the early 80's and always will be, it is just
another medium, not an usual one, but it is more engaging than any other,
because not only the users are looking at brand related visuals, but interacting
with them in a fun way.
9. What efforts should a brand use to promote their game?
Make video trailers of the game to show people its fun and not just a
brand logo slapped on. Show their audience it is easy to play and they will be
rewarded. Also social media integration. Players like to share their score or
progress in their games for bragging rights. Sharing is promoting the game
organically.
10. What is the most important aspect when promoting a game on social media?
Being able not only to share the game but the progress and score to
challenge others, who would do the same to more people. Facebook and Twitter
are mostly used.
11. What approaches would you recommend when it comes to interacting with
digital brand gamers online?
I would say, to be prepared for attacks and hacks. Have secured servers
if storing score or information. Once all that is set up, to start with a small user

61

base, to test the execution, and start growing from there, then advertise it. Many
social/mobile game companies releases games in other countries with smaller
user base to test before making a worldwide release.

62

Interview II, John Wie, Communications Specialist for the Academy of
Interactive Arts & Sciences.
1. What do you believe a brand should take into consideration before creating a
game?
I believe a brand needs to set concrete expectations for their game both
on a personal and financial level. A few example questions this may consist of:
What is the threshold necessary in order to recoup losses in
creating/distributing/marketing the game? Is the team ready to take on coming
challenges depending what is necessary for the game from dealing with long
development times to possibly having to start from scratch? What is the purpose
of the game itself and the statement the brand is trying to make? (for instance - is
the game a tribute to retro game titles or is the brand trying to create a
franchise?) A brand should be ready, overall, to tackle a bevy of problems and
make sure to assess the inherent risk of game development and in the end,
actually create a memorable product that serves to be more than just an
advertisement.
2. Who can create their own games?
I believe that we're currently in a terrific generation of games in which
nearly anyone with a bit of programming knowledge and creativity can create a
game. Perhaps that is a bit of a broad definition, but I believe that the numerous
game storefronts and lower barrier to entry has made it easier for game

63

developers to put their products on a variety of platforms like iOS or
Steam. Another aspect is the distribution of game creation tools such as Unity
which has also made it easier than ever to learn how to develop games quicker
and more efficiently. Because of these factors, you are seeing a number of
games from smaller teams and individuals than ever before in the marketplace
from students to veteran developers.
3. What aspects should a brand include in their game content?
A brand should focus on creating a memorable and unique experience
that is unique to the gaming medium. With the variety in game genres and types,
there are not any clear and easy blueprints on what a unique experience may
entail. If a brand decides to make a platformer game for instance, the game
needs to have tight controls and a clear goal with fun game mechanics to
continue to make the experience fresh. If the brand decides to make a quiz app,
the brand needs to make sure that the game is simply not a retread on other
products of the same nature. What will give it personality and it's own unique
voice to distinguish the game from the thousands of others in the marketplace?
4. In your opinion, what makes a game successful?
Again, this depends on the game's goals. The general metric is the
number of sales and/or downloads - what game sold the most in a month or had
the biggest amount of downloads? However, I do believe games have also
evolved in terms of their metrics as well, especially for brands. Brands may be

64

looking for viral output of a game. How many times has the game been
discussed on social media platforms (retweeted, shared) or how many views has
various videos about the game been received? I do believe that the greatest
indicator success for a game, however, is it's historical impact on the industry as
a whole. Will the game continue to be discussed for years and decades to come
(much like the classic greats like Super Mario and so on)?
5. Do you think there is a particular industry that serves better for video games?
Or Audience?
I do think that games work best with the hardcore sector that have played
games for years as they have an inherent interest in games and are easy to
market to. However, with the fact that games are played by a high percentage of
casual gamers as well, I believe that games can be easily targeted at nearly
anyone as long as the focus and slant is aimed well at that market
demographic. (For instance, if a game is trying to target the elderly about their
mental state, brain training games and nostalgic board games are usually utilized
and have made quite an impact on the market.)
6. Are there any games made by brands that have caught your attention? Why?
Probably the two most popular ones are the Chipotle Scarecrow and Kim
Kardashian: Hollywood. The former made a big splash because of Chipotle's
smart marketing campaign tied in with their viral video and transmedia property
that led to the game. It caught my attention because the game showcased a

65

surprising commitment to transmedia from a restaurant which seemed fairly
rare. However, the end game was unfortunately not a great game all-around
ridden with bugs and in the end was not a very memorable experience for many
who downloaded it. Kim Kardashian's mobile game, on the other hand, was
surprising for several reasons. One was that it was a very successful game and
was one of the most successful new IPs of 2014 both financially and in pop
culture. Second was that it was a surprisingly solid game in terms of engaging
players both in the brand experience and creating actual progression that kept
players within the Kim Kardashian world.
7. What do you think motivates a user to participate in a brand-generated game?
Although I do believe that this depends on the game and who it is targeted
towards, the essential rules focus on whether or not a game allows a user to
engage with a brand in a unique way and if the user feels rewarded or gratified
by the game. I think there's several interesting examples of this. One may be
exclusive content that may be only accessible by the brand although this is now
deflated with the advent of personalized video content channels like
Youtube. Another could be that users can experience being part of the brand
and feel that they are making a personal impact much like in the Kim Kardashian
game in which users feel like they are becoming a reality star and getting
personalized coaching from Kim Kardashian. Finally, users need to feel that they
are getting a good game. This point sounds simple yet a game still needs to

66

have essential parts of a good game such as good progression, solid/responsive
gameplay and a fun gameplay mechanic.
8. Is creating video games by brand just a hype, or do you think it is here to
stay?
I think games by brands are here to stay since games are still one of the
biggest entertainment platforms to date, and brands look to continually capitalize
on the latest technological and marketing trend. However, I do expect the
interest to ebb and flow as games continue to mature and like other markets,
brands will simply have games as another part of their overall media plan.
9. What efforts should a brand use to promote their game?
Brands should see if a game fits into their overall strategy and messaging,
not as a cheap marketing tactic or gimmick that they can leave behind after it
releases. A game can foster great brand advocates as well as easily damage a
brand as well with the game market filled with a very opinionated audience. This
also may mean that games may not also fit into a brand's strategy and shouldn't
be shoehorned in. A great example of this is movie-based games which used to
be very common throughout the early days of the game industry up until a few
years ago. There would nearly always be a movie game from 'Batman' to
'Spider-Man'. However, the quality of these games would continue to decrease
as tight schedules and small budgets did not allow the teams to create very good
games.

67

Eventually, most studios started to stop supporting these games or
essentially create much cheaper titles like mobile games. Studios that were a bit
wiser, however, were able to actually create better branded game titles that
actually made a huge impact on the industry. One great example is 'Batman
Arkham Asylum' which took a detour from other 'Batman' titles and create instead
an original game inspired by the Batman universe with great gameplay
mechanics and a stellar team behind it. In the end, the game spawned it's own
franchise, critical acclaim and a slew of fans.
10. What is the most important aspect when promoting a game on social media?
A game should really focus on promoting to its target demographic and in
it's voice. If a game is sarcastic and witty, the promotion should be the same
while trying to explain the gameplay and hopefully push some critical praise from
both other consumers and critics. A game should also try to cultivate a
community by being transparent and creating a conversation with it's potential
gaming audience.
11. What approaches would you recommend when it comes to interacting with
digital brand gamers online?
I would recommend transparency and staying true to your brand's
voice. It's tough to generalize the gaming audience because of how wide the
market is. However, I think that these points are appreciated by nearly all
communities.

68

Interview III, Rob Jones, Vice President of Edelman Digital.
1. What do you believe a brand should take into consideration before creating a
game?
Brands should take into consideration their budget, goal and audience
before starting to create their own game. A lot of brands think that because a
game worked for somebody else once, it’ll work for them and that’s just not how it
works. The budget and audience has to be kept in mind. I’ve seen brands who
want to make a game, but the people who play it are not the same people who
buy their products.
2. Who can create their own games?
Everyone can create their own games, it’s brands that are prepared to
invest a lot of money and time in identifying ways to interact well with their
audience through play, that will be more successful.
3. What aspects should a brand include in their game content?
A successful game should be able to incorporate the brand as lightly as
possible; no bullet points about the product. The game should be able to do
something. There’s a difference between teaching vs. branding with a logo. The
game should aim to take the teaching approach so that brand presence is more
prominent in the long run.

69

4. In your opinion, what makes a game successful?
A brand is successful in creating a game when it creates just enough of a
challenge to make a game engaging and just enough reward to keep (you)
playing. It’s like people that play slot machines at casinos; what makes them
want to keep doing more? The experience is different every time.
5. Do you think there is a particular industry that serves better for video games?
Or Audience?
I think that the food has a broader audience. There are more people with
all kinds of interests and tastes, there are different types of restaurants and food
providers. It encourages a more positive experience.
6. Are there any games made by brands that have caught your attention? Why?
Cuties, previously known as Halo’s, the clementine fruit brand for kids,
created a game similar to Angry Birds. It caught my attention because it
implemented characteristics that worked for Angry Birds, but edited it to work for
the fruit brand. It also helped that children found it entertaining, therefore letting
their parents know about the brand and why the game is fun to play.
7. What do you think motivates a user to participate in a brand-generated game?
As a strategy, games aren’t for me. I have to know that they’re (the
brands) not coming after me, the hard-core gamer. The player will probably be a

70

casual gamer that got attracted to play the game either because they already
know and love the brand or because the actual game offers a level of intrigue
that will keep them entertained.
8. Is creating video games by brand just a hype, or do you think it is here to stay?
I think advergames are here to stay. We’ve seen them evolve for a while
now and gaming is another platform that just hasn’t been completely saturated at
the moment. Games are a great way to carry on a brand message and keep
interacting with their audience without it getting boring.
9. What efforts should a brand use to promote their game?
Games should be integrated into all that the brand does. It would also help
to get a push from “the hand of God” (the Apple app store) where thousands of
people learn about new games. The game has to be seen in order for people to
play it. The more people play, the more it works for content.
10. What is the most important aspect when promoting a game on social media?
In social media, the most important aspect would be incentivizing the
player in order to feel like they’re obtaining something from playing the game.
Will posting on a platform unlock turns later on in the game? Make the player
earn turns or coins by promoting the game themselves.

71

11. What approaches would you recommend when it comes to interacting with
digital brand gamers online?
I think brands have to interact with games online by letting them rave
about their scores and what they’re able to accomplish. Let them post badges,
share on the social media the level they achieved and really let them tell their
peers why the game is worth exploring.

Abstract (if available)

Abstract This paper examines a series of games created by brands and attempts to identify key aspects that a brand could consider when creating its own advergame. The purpose of this study is to examine four brands’ advergames to understand what strengths and weaknesses have made those games thrive or flop among a technology-dependent audience. The principal conclusion is that the fast-food industry has the ideal characteristics to create a successful advergame. However, brands in a variety of industries can venture into developing advergames if they follow the characteristics identified in this paper.

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Asset Metadata

Creator Licha-López, Verónica (author)

Core Title The branding game: a study on advergames, a successful way to connect with today's gamified audience

School Annenberg School for Communication

Degree Master of Arts

Degree Program Strategic Public Relations

Publication Date 04/28/2015

Defense Date 04/27/2015

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag 76 Gas,advergames,Chipotle,Domino's Pizza,OAI-PMH Harvest,Progressive Insurance

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor LeVeque, Matthew (committee chair)

Creator Email lichalop@usc.edu,veronicalichalopez@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c3-562791

Unique identifier UC11301484

Identifier etd-LichaLpezV-3414.pdf (filename),usctheses-c3-562791 (legacy record id)

Legacy Identifier etd-LichaLpezV-3414.pdf

Dmrecord 562791

Document Type Thesis

Format application/pdf (imt)

Rights Licha-López, Verónica; Licha-Lopez, Veronica

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA