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The public consumer of video games is a boon for potential advertisers. The demographics of 20-40 years correspond depending boldest, the new household under 50 years.
By interfering in the game as in other entertainment media such as television or film, advertisers saw an opportunity to reach additional customers at a time when they are very sensitive to visual scrolling on the screen . But despite the availability of the brain, the gamer is largely impervious to the publicity from his games.

What are the reasons for this fiasco marketing?
The in-game advertising does not know his luck. It has, unlike other passive media, a viewer who looks at the screen, even during downtime. You can further accentuate the responsiveness, although the mechanism is still under study.

Researchers have recently found that the players remembered best brands when they were linked to an interaction which sought a form of pleasure, apparently through the catharsis. By comparing the results of a normal racing game, with Target, with its gore version where the targets are replaced by pedestrians, the results are final. The player is a permeable public, it need only rub the good areas of his brain.

The process is not new. Desire and pleasure are terms that advertisers already use long for us to eat yogurt and low acid sweet, but that did not stop paddling when it is approaching the gamer, this stranger.

The players in the videogame industry themselves groping with the formula, since iD Software has acknowledged the failure of the bands included in Quake Live, while Sony had to withdraw his troops from Wipeout when players reported that they lengthened the loading time.

As a flyer on the soup

For the gamer ground incursion, advertisers have two phases of play to exploit: The action and load times. During the action, most brands injected into the game universe are arranged in the former, on billboards in the background. Simulations Sports lend themselves particularly well since you can load both panels that the jerseys. It sponsors the dance classics in a framework that does reproduce the reality that without pushing the spread further.

Other brands have tried the interference, with rather poor results. We will remember the failed partnership between Ax and Guitar Hero 3 in which babes appeared on stage at the beginning of song, dressed to represent the product and become embedded in our field of vision. Everything was awkward in the process. In addition to the relationship between unlikely spray musk and rock’n roll, the presence of bimbos was announced by a “Bom-Shikki-wa-wa” sampled from TV commercials. It was too much detail in a campaign already commonplace.

There are also those who think they can return the loading time for dragging its banner advertising, like a screen via a website. Except that if the screen Site is interrupted, the band while loading the advantage of operating time lost by definition. It is favored by the presence of a few short seconds, enough to be seen without going too far.

In spite of sizing and timing seem perfect, advertisers often plant their target and their consumption habits. The palm Marketing approximate amounts to Garnier, who has put banners for its shampoos in the middle of the loadings of Fight Night Round 4.

Either the target is missed, the proportion of amateur boxing receptive to the argument of shiny hair is much greater than previously suspected. We can explain many things for the homo-eroticism, but not entirely, anyway.

The alternative product placement

Some advertisers, including some parallels between virtual world and the outside world. They have grasped that the game is running, but looks like it consumes a film, and as such we can apply the recipe of product placement.
It is not enough to dress panels with the same posters that can be found in the subway or bus, this is about to take the item to sell and implemented in the video game into a concrete element. This digital life gives it a presence that is more or less enhanced by agreements between developers and brands.

The power of the brand, branding is the most important attribute of product placement in video gaming. The identification must be produced naturally, almost subliminally, to remain in memory of the player.

The most striking example is that of Yakuza 2 on PS2. While the first episode showed marks paronyms who flirted with their inspiration, the second opus has clearly stated its partnerships. In addition to covering the Japanese city street near the title had replaced all products and all the signs by the original.
Noodle restaurant at the corner of an intersection at the can of coffee drinks as the hero in the process, each brand had taken place. Going even further, the developers have also modeled the bottles of alcohol served in bars, enriching the menu of the official description of the product.

In less frontal and more contextual, Sony decorates its Home virtual lobby decorations and accessories according to current promotions, or the timing of sorties. We can walk down the stage for Resident Evil 5, dressing up as shopgirl of Idolm @ ster, but it still advertise the game on a console game, however, when Coca Cola reached an agreement with Sony Japan , are distributors of cans that can buy vouchers in real distributors, or fashion accessories for Coca stamped his virtual avatar.

It has gone beyond product placement to make a foray in both directions, from inside to outside and vice versa. The real money to buy intangible products to spread the visibility of a brand and generate word of mouth through the chat lobby.

The active product placement, so to speak, is still several years in force in Second Life. The brands have tried to settle there by free virtual objects, the freebies, or virtual places created during a launch. The open nature of the content user generated moreover many conflicts between trademarks and players that reproduced the products into the market without pay back a penny.

Marketing in Second Life, for his part fizzled for lack of leadership and investment. Which nevertheless gave advertisers some answers to create campaigns in-game better and controlled brands.

Everything is in the nature of the message

The purpose of such interruptions or the parasitism of the game is to convey a message. It is necessary that the receiver has grabbed the brand and about after his meeting with the pub. Besides soft drinks and shampoos, the visibility in-game support is also helpful for NGOs and politicians.

Barack Obama has been campaigning for about $ 44,500 over 18 games during the American elections. Players from 10 states allow early voting will have seen on billboards for his party in the backdrop of games like Burnout or Madden 09.
The device of Electronic Arts marketing boards and will broadcast Obama’s slogans in selected areas on the securities purchased by a certain section of gamers voting. The method is new, but it is proof that the candidate’s team knew how to use technology to their advantage.

Australia, however, very strict with game ratings, will be the site of a campaign for road safety. The Transport Accident Commission of Victoria, south-west of the country, has signed withthe direction of Microsoft, Massive, for spots that are visible in Guitar Hero 5 and Forza Motorsports 3.

The short films of the TAC are known for their raw imagery, which shows staged accidents to shake the mentality of young people and discourage them from driving lightly. In this case, it is the young Australian men, the most irresponsible on the road, which will be directly targeted. Dare to add a spot-shock on road safety in a racing game like Forza 3 is an unexpected idea but who knows exactly who it affects.

We note with these two cases the in-game advertising is the most relevant one that has something to say, having thought about who she should go. These are the basics of communication that apply before marketing objectives.

While advertisers will not know from these experiences, they will make the hawkers through virtual objects, set the context that gives meaning to their subject. In a digital environment, there must be a reason for the product, like any virtual object so that it becomes concrete in the eyes of the player. The balance is delicate, because the desire to play should not be parasitized by the desire object.

Taking the demographics as they are, as this suggests that the installed base users, advertisers ignore segmentation genres of games and their own demographics.
The real logic behind the in-game advertising is in one sentence “Tell me what you play and I’ll tell you what I can sell you”