A lot has been written about the benefits of using game mechanics and game design as marketing techniques – or gamification as it is also known – in particular when marketing to the young hyper-connected audiences (Gen-Zs and Millennials).
There is plenty of research available that shows how immune these age groups are to traditional advertising techniques. To get their attention, instead we are advised to listen and invite their feedback, play the transparency and authenticity cards at all times and most importantly provide them with top entertainment. In Edelman’s 8095® 2.0 Global Study, we learn that 80% of Millennials simply want brands to entertain them, making games one of the obvious ways to their young consumers’ hearts.
Having said this, the latest research for the IGEA has dispelled many myths about the age and gender of the typical gamer, as we learn that the average Australian gamer is 32 year-old and 47% likely to be a female. Other revelations include the fact that 81% of mums and 83% of dads play video games nowadays, with 71% of Australian households counting 2 or more gamers.
But I am digressing here.
The reason why I set out to write this post in the first place was to show that gaming as a marketing device is as effective for raising awareness about a social cause and getting people to act as it is for entertaining.
I recently stumbled upon a couple of such ‘serious’ games – and to my surprise, as I started playing one of them, it had the desired effect on me i.e. it made me too acutely aware of the complexity of the issue at hand.
If you haven’t come across it yet, I strongly encourage you to play the below game, SPENT, and see for yourself what I mean. You can play it here. This is one of these instances where actions speak louder than words.
Another game in the same vein, currently in the making and that caught my attention, is the crowd-funded game Choice: Texas. It bravely addresses the highly sensitive and divisive topic of abortion access in Texas.
The funds have now been raised and the game will soon be made available online. I invite you to regularly check its dedicated Tumblr site and experience the game as soon as it becomes available.
The fundraising campaign video gives you the background to the project and its intent:
A couple of weeks ago, I touched on Coca Cola’s latest foray into social TV with its 2013 Super Bowl’s Mirage Big Game ad campaign. Although it did experience a few glitches on D Day, there is no doubt Mirage is one of the most sophisticated and successful social TV campaigns to date, having generated over 11 million fan engagements according to Coca Cola.
In a nutshell, the campaign starts with a TV ad that kicks off a story (the story of 3 teams competing for an iced Coke bottle in the middle of the desert). That story is in fact a game that unfolds over 3 stages (pre, during and post Super Bowl game), and plays out simultaneously across the small screen and the social Web, as TV viewers get to choose how the story ends by voting for their favourite team on the campaign site and the brand’s social media channels.
Before Coca Cola, Mercedes Benz used Twitter in a similar fashion in its UK #YOUDRIVE TV advertising campaign at the end of last year. The campaign let viewers choose the ending of a 3-part story on the new A Class model that played during commercial breaks in the “X Factor” show. According to research conducted by Twitter UK, Mercedes Benz and ITV, the integration of Twitter into the TV ads had a positive impact on the brand’s metrics and 71% of the tweets generated contained the campaign hashtags with 1 in 4 wanting to find out more about the car.
By combining dynamic story telling, gamification and social media interaction, both campaigns are great examples of TV ads linking to a social conversation – and back. Traditionally a passive consumption experience, they reinvent TV advertising by letting the audience take control of the content and viewing experience.
These campaigns are just two examples of how social TV works. There are plenty more as social TV tends to vary in complexity of the execution and may extend out beyond Twitter and Facebook to include advertiser-owned platforms.
At its most basic – the broadcast of tweets in real time during a TV programme is one of the most prevalent forms of social TV e.g. when the ABC’s TV programme Q&A takes questions and reactions live from TV viewers via Twitter back onto the small screen – a simple yet effective way of maximizing audience participation.
At the other end of the spectrum – we have companion apps such as Zeebox or Yahoo7! Fango that go a step further by centralizing all social conversations about one or multiple shows in one place, serving up related content in real time, and rewarding users for their loyalty with exclusive content or prizes.
Whichever way you go about social TV, the one common denominator and pre-requisite to its success is the brand’s ability to tell a compelling story that everyone wants to talk about. In other words, without cut-through content there is no social buzz, no social TV.
Why is social TV so much on the rise? (and here to stay.)
Which begs the question: what do they do on that second screen?
According to a recent Yahoo!7 survey into the viewing habits of Australians, 43% use social media whilst watching TV, with a large number of them posting on Facebook about what they are watching.
Twitter is the other big favourite destination for our TV-related banter to take place – so much so that it fully embraces TV as an integral part of its corporate future – why buy Bluefin Labs, a social TV analytics start up that tracks conversations about brands and TV shows, if for no other reason?
In other words, Facebook and Twitter have become the perfect companions to TV shows and ads. By enabling a shared viewing experience with friends, likeminded fans and viewers as well as 1:1 conversations with our favourite brands and shows, they have in essence redefined the home entertainment experience for most of us.
But are all brands equal in front of social TV?
At first, it appears not. A recent report reveals that Television shows are amongst the most liked Facebook pages, closely followed by Retail fashion and Food brands. This makes social TV an opportunity not to be missed for brands in these categories given their target audiences’ propensity to congregate in social forums.
However, thinking about it some more, it is not so much the category that is a driver in my opinion, but I would argue the brand’s ability to effectively use social media in the first place.
If the brand does a great job out of it i.e it has a clear, single-minded social media strategy and purpose (e.g. promote the overall business – ref. Shell, provide customer service – ref. US retailers, promote a lifestyle – ref. Red Bull etc.) and the resource behind it (talent and $$), then any brand can have a shot at social TV.
And how about measurement I hear you say?
As the TV viewing experience evolves to integrate social media platforms, measurement metrics for TV programmes and ads have to evolve too.
Audience reach can no longer be judged on traditional TV ratings only; new measurement metrics need to be introduced to capture user engagement across social media platforms and devices as the story plays out on the small screen and triggers conversations on the second screen (Nielsen US is ahead of the pack in that respect as it makes it its mission to devise new metrics for TV consumption).
All in all, I think social TV is brilliant news for advertisers, creative and media agencies alike.
Not only does it give TV as a medium greater accountability and further proof that the (costly) investment is worthwile, it also gives TV advertising and the TV viewing experience as a whole a new lease of life.
I was just reading about the latest developments about the Google Glass when I came across one of the many digital buzzwords: the Outernet a.k.a the OuterWeb. Defined as “the explosion of the internet into the real world.” by TrendOne. Or the art of overlaying information from the web on top of real-world objects. Or more simply: one way of describing the application of Augmented Reality in our everyday lives. To help you visualise, here is a brilliant-yet-creepy short-film by Israeli students Eran May-raz and Daniel Lazo on how AR at its most extreme could change our lives and human relationships forever:
This is an extrapolation of what Google Glass could become in the (distant) future i.e. just swap the glasses for the retina implants. Yet who is to say it can’t be done? The GG promo video is not that dissimilar after all…a little stretch of the imagination and we are there. Fascinating and creepy at the same time.
Digital Fabriq 