An array of studies has shown that games can be suitable for marketing communication - but that not all game genres can be expected to be equally successful in generating advertising effects. Since the game task in shooter games requests players to strictly focus on objects that can pose a threat, that game genre seems especially problematic for in-game advertising. Subliminal communication can theoretically be expected to overcome (part) of that problem. Therefore, our experimental study (N = 143) focuses on marketing communication effects of subliminally presented brand logos. We aim to find out (i) whether subliminal marketing communication causes recognition effects and (ii) whether pictorial logos differ from textual logos in the size of the effect they generate. This way we can shine a light on the message processing mechanisms that are foundational to subliminal message effects. The results of our study show that subliminally presented brand logos do have a communicative potential: the recognition effects are significant. Besides, our study indicates that pictorial logos have a greater propensity to subliminally communicate than textual logos.
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In this paper we show the Casanova language (and its accompanying design pattern, Rule-Script-Draw) in action by building a series of games with it. In particular we discuss how Casanova is suitable for making games regardless of their genre: the Game of Life, a shooter game, an adventure game and a strategy game. We also discuss the difference between Casanova and existing frameworks.
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Psychophysiological measurements have so far been used to express player experience quantitatively in game genres such as shooter games and race games. However, these methods have not yet been applied to casual video games. From a development point of view, games developed in the casual sector of the games industry are characterized by very short production cycles which make them ill-suited for complex and lengthy psychophysiological testing regimes. This paper discusses some methodological innovations that lead to the application of psychophysiological measurements to enhance the design of a commercially released casual game for the Apple iPad, called 'Gua-Le-Ni'; or, The Horrendous Parade'. The game was tested in different stages of its development to dry-run a cycle of design improvements derived from psychophysiological data. The tests looked at the correlation between stress levels and the contraction of facial muscles with in-game performance in order to establish whether 'Gua-Le-Ni' offered the cognitive challenge, the learning curve, and the enjoyment the designers had in mind for this product. In this paper, we discuss the changes that were made to the game and the data-analysis that led to these changes.
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