Digital_Advertising_in_2142

DIGITAL ADVERTISING IN 2142
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18 & 19 March 2008,
The Riverbank Park Plaza,
London
Paper 6
Measuring the Effectiveness of Advertising to the PlayStation® Generation
Ed Bartlett
IGA Worldwide
Graeme Griffiths & Vish Badian
TNS Media

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Measuring the Effectiveness of Advertising to the PlayStation® Generation
Ed Bartlett IGA Worldwide
Graeme Griffiths TNS Media
Vish Badian TNS Media
BACKGROUND
The $400bn advertising industry is currently experiencing what is undoubtedly the most challenging period in its history,
as rapidly advancing technologies and changing consumer habits and attitudes conspire to rob brands of a captive mass
audience that they have enjoyed since the advent of mainstream broadcast TV.
Aside from the introduction of multi-channel television services and the resulting audience fragmentation, two of the biggest
disrupting factors in media over the past 15 years have been the rapid rise to mainstream prominence of videogaming, and
the penetration of high-speed Internet connectivity into family homes which has seen a worldwide growth average of 265.6%
between 2000 and 2007
Videogaming is not only now one of the most popular past-times, with on average 10.9 hours per week spent playing it has
also gained a mainstream demographic, with the average age of a UK gamer now 28 and over 45% female. With growing
evidence that the majority of gaming now takes place in the living room during what would have traditionally been ‘prime time’
for TV viewership, many brands have begun capping, and even reducing their TV ad spend, focusing instead on promising new
opportunities with more robust ROI metrics such as online advertising, itself set to double in value in Europe by 2012 to €16bn
or 18% of total ad budget.
Ad avoidance
Despite their growing prevalence, online banner adverts suffer significant levels of intentional avoidance and the more intrusive
pop up ads are actively disliked by 90% of users. Furthermore, the type of creative suited to this format, and the resulting
advertising effect is typically very different to the ‘above the line’ (ATL) image-building and awareness – generating advertising
that communications channels such as TV deliver, and so brands and agencies have continued to search for a medium that is
able to deliver ATL advertising content in a mass reach entertainment setting, but with the strong ‘below the line’ measurability
characteristics and trading metrics of new media such as online.
‘In-game’ advertising
Since 2000 there has been a fast growing form of marketing communication termed “advergames”. These are interactive
games with embedded commercial messages and associate imagery, typically made available for play online either free of
charge or heavily subsidised by the client. In most instances advergames are clearly discernable as the product of a brand,
but in the most thoughtful iterations it is not uncommon to find the gameplay or environments having seamless context to the
brand or product. These games are the modern digital equivalent of finding a toy in your cereal packet, giving the consumer
an engaging experience with a perceived value. The downsides to these games are (typically) relatively low fidelity versus a
traditional retail product and the need to generate a dedicated audience.

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In an increasing number of cases, advertising is being stitched into the fabric of blockbuster retail game releases, similar in
many ways to product placement in films where the brand pays to feature in scenes in as natural (but conspicuous) a way as
possible. However the clear advantage within a videogame is that rather than just watching an actor using a branded product,
within a game the player themselves are the hero, and can directly experience the functional benefits of a given product in
an interactive environment. A succinct example of this would be the integration of energy drink, Red Bull as an energy-giving
‘power-up’ into the hit game ‘Worms 3D’ by SEGA in 2004.
However the aspect of advertising in videogames which is generating the most interest and activity, generating a compound
annual growth rate (CAGR) of 51% and a market forecast of $950m by 2011 is dynamic in-game advertising, or DIGA.
Pioneered in 2005 by two rival New York-based companies, IGA Worldwide and Massive Incorporated, dynamic advertising
was conceived to combine the awareness benefits of TV advertising with greatly enhanced measurability, using sophisticated
technology to aggregate placeholders within a potentially limitless network of different game titles and platforms, generating
huge reach particularly in the sweet-spot 18-34 male demography so lacking in the ‘traditional’ ad mediums today.
As well as large aggregate reach, dynamic in-game advertising offers a number of other unique benefits over advergames and
product placement, allowing clients to target users by country and to change, update and balance delivery of their campaigns
immediately and as often as required via the Internet.
However the most attractive USP is the advanced capability for measurement and reporting metrics of the advertisements.
Unlike passive ad media like TV, music and outdoor advertising, games by nature are ‘lean forward’; the requirement for
interactivity at all times ensuring the user is focusing their attention completely on the screen. As such, it is a compelling
argument that any ad message reaching a certain size on screen for a set duration will be positively identified and recalled
by the viewer. With dynamic in-game advertising, advertisers pay on a CPM basis (cost per 1000 delivered impressions) and
so if the impression validation metric is set sufficiently high, theoretically advertisers are guaranteed to only be paying for
messaging which has been delivered to the consumer.
Of course whilst the theory may be compelling, it’s important to back up assertions with independent scientific validation.
Deal (2005) states that “Despite the potential advantages of this new medium, there are those that point out that its actual
effectiveness has yet to be scientifically proven….” Deal indeed proceeded to carry out a small exploratory study that
suggested brand name registration was more effective in this medium than with banner adverts, adding to the previous
discovery that half (52%) of gamers actually liked their games to feature real products and an amazing 70% feeling that such
advertising made the game environments feel more genuine.
In order to further address this we must examine the theoretical underpinnings of the approach and generate an empirical case
study.
However, before discussing how to measure the effectiveness of such advertising we will consider first how in-game
advertising works (the theory) and the do’s and don’ts of such communications.
The Theory
To understand how different types of advertising work we draw on a number of theories. This is because the objectives of the
advertising may well differ. For some campaigns the emphasis is on moving a brand top of the mind whereas for others it might
be more about communicating a specific message or creating a certain impression about the brand.
Since the number of times an individual might play the same game is many, the number of exposures to brand name and
messages can reach 100 or more or last up to 30 hours. In these cases learning by frequency and duration of exposure is a
simple principle to understand. However, there are other reasons why in-game advertising is deemed to be effective.
In the first instance, the emotions associated with the game might generalise to the brand (Pavlov’s classical conditioning). This
begs the question whether transparency is an issue. Positive emotions might include enjoyment, involvement, identification,
fun, satisfaction, accomplishment and so on. The characteristics of the game itself might also generalise (sophistication,
perceived target player etc.).

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In terms of message, in particular verbal ones, transparency might be an issue. It is arguable the consumer’s defences are
down if the advertising is less transparent and not obviously real advertising. Not unconnected is McGuire’s Inoculation theory.
Watchdogs, the media and educational initiatives attempt to inoculate consumers against some types of advertising – to be
critical even sceptical. So it makes sense this inoculation will be more likely to be effective when advertising or attempts to
persuade are more obvious or transparent.
Dos and Don’ts
The golden rule for in-game advertising is that the brand should never alienate the gamer by:
• intruding at an inappropriate moment
• involuntarily taking control away from the gamer
• appearing out of context to the reality created by the genre/specific game (e.g. sportswear in a medieval war
scenario)
• lacking the high level of creative input of the game’s developers
• hi-jacking the gamers’ attention by trying too hard
What the brand should ideally do is:
• seamlessly inhabit and enhance the games’ alternate reality
• intensify some aspect of gamer involvement
• interact with the gamer (either ‘live’ or in choice of team, car, sponsor, logo etc.)
• be aware of issues of advertising to youngsters
• overcome resistance from the vocal minority of ‘hardcore’ gamers who decry the very idea of advertising in games
through positive case studies
• produce a measurable degree of communication/product benefit
METHODOLOGY
Background
In order to validate the medium and accelerate the growth of advertiser spend on in-game advertising, IGA sought to better
understand both the specific areas of consumer awareness and perception effected by in-game advertising as well as the
metrics and values of change therein.
Therefore the main objective for the project was to accurately measure the impact of advertising within the gaming
environment. To achieve this, it was necessary to prove the advertising was noticed and to find a metric that could be
quantified.
TNS, the commissioned agency, worked closely with IGA to design a custom advertising research study which examined the
awareness of in-game advertising both pre and post-exposure. All the partners involved recognised the advertising area would
be very different to most other pre and post studies and consequently, it was necessary to understand the game environment
and tailor the study accordingly. This is nothing new for market research; nearly all studies are customised but here TNS saw
that the ability, at a micro level, to place and track specific advertising would be very relevant.
IGA sought backing from two of its largest associates, Mindshare and Electronic Arts (EA). Having successfully got these
companies on board, a game was soon identified, EA’s Battlefield 2142, and big-ticket advertisers uncovered, Samsung, Nike
and Sure for Men.
With three major advertisers, a media agency and game developer on board TNS hoped to provide meaningful insights across
the spectrum of stakeholders. This would prove invaluable for IGA as their goal was to not only increase their understanding of
the effectiveness of their platform but also raise the company profile and that of the industry as a whole. The gaming industry
does not have a problem seeing the potential of this advertising platform but advertisers are still slow to commit large portions
of ad spend to anything new.

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Recruitment Design
Gamers were recruited from a list of registered Battlefield 2142 users supplied by EA. An email invitation was sent to these
gamers to participate in an online questionnaire. Concerned initial response would be slow, TNS worked closely with EA to
devise a suitable incentive. This is a prime example of when projects with multiple stakeholders can work if each party plays
to their strengths and everyone is working towards a common goal. We were able to offer respondents who were willing to
participate, a choice of top EA games to download, each with a retail value of £34.99. So here was a targeted incentive of real
value to respondents that they would appreciate.
Key to the success of recruitment was the fact that Battlefield 2142 is a PC game which requires registration before online
gaming can commence; since at least 90% of all Battlefield 2142 game play takes place online, there was already an
exhaustive list of players from which to recruit.
For obvious reasons, the study was conducted using an online methodology. For the pre wave, 621 respondents were
interviewed and for the post-wave, 603 respondents were interviewed.
Once the pre-wave questionnaire had been completed, IGA inserted the five live ads into the game. During the pre-wave the
ads’ positions were taken up with other advertising or generic place holders designed to maintain the seamless integration of
the sites.
Between waves, we allowed a period of two weeks for the ads to bed in. We were confident this was sufficient time, based on
statistics provided by both IGA and EA about average game play, session times and game play frequency.
Qualification for the study was based on the ‘recency’ of Battlefield 2142 game play. For the pre-wave, those who had played
the game in the previous 4 weeks qualified, whereas for the post-wave this was reduced to 2 weeks so as to ensure there had
been the opportunity to see the ads.
For reasons of comparability both questionnaires were kept virtually identical.
Questionnaire Content
Areas covered by the questionnaire were broken into three groups:
Gaming information
• Concentration during common activities
• Ownership and playing of gaming platforms
• Game purchasing behaviour
• Frequency of gaming
• Average time spent on Battlefield in the last week
• Duration of last session
• Attitudes to in-game advertising as a concept
Product information
• Awareness of brands
• Usage of brands (including most often)
• Image metrics
• Advertising awareness
General Demographics
The Adverts
In total, five ads were used in the study and by working closely with Mindshare; each advertiser was able to offer the project a
different type of advertising allowing us the luxury to test three different propositions.
Sure for Men provided two ads that had been part of a nationwide campaign running for many months. The brand acted as
the ‘familiar’ campaign and enabled us to benchmark possible changes in awareness for all the brands, whilst still allowing us
to investigate the impact of an existing nationwide campaign from within the gaming environment. As things turned out these
ads gave us our clearest insight into what works and what doesn’t in this environment.

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Nike provided one ad for a very niche brand called NKE 6.0, which explicitly supports surf, snow, wake, skate, BMX and
Motocross sports. This brand does not have mass appeal and conducts very little advertising relying mainly on word of mouth
and guerrilla campaigns. The brand was a useful though unfamiliar brand; since not all respondents would be aware of it, It
acted as an interesting addition and allowed us to look at the possibility of using games for brand building.
Samsung was the most collaborative and cooperative. The Samsung team produced two bespoke ads designed specifically
for this project. These ads provided a familiar brand name coupled with previously unseen copy. This enabled us to separate
advertising awareness from mere brand recall. In addition, Samsung made a deliberate effort to tailor the ads to the Battlefield
2142 environment. Consequently, we were able to test if there was a specific advantage to be gained from designing bespoke
ads for specific games.
The advertising was placed as it would be in normal circumstances, using the IGA tools described earlier in the paper. As the
game is set in a bleak future vision of earth, the advertising mainly takes the form of billboards or crumbling building facades.
Figures 2-5 show some examples of the adverts in situ and it is clear that the sites are well integrated into the gaming
environment.
Figure 1: The 5 ads used

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KEY FINDINGS
While looking over the findings it is important to recognise the universe that
was researched. The respondents for this study were all very serious ‘core’
video game players. The game itself, Battlefield 2142, is an intense game
that requires a sophisticated gaming computer setup to play on. Players
of this type of product are serious about computer games and invest large
amounts of money in the latest computer equipment in order to play the
most up to date games.
This means that they tend to be older (average age of our respondent was
32) and more affluent (average annual salary was £25k) than the regular PC
or console user; maintaining a high spec PC for playing top-end computer
games can be expensive requiring frequent and ongoing hardware
upgrades. It also shouldn’t be overlooked that this group of gamers
represent a significant portion of the population. The Battlefield franchise
alone has sold more than 15m copies and PC games represented around
14% of total retail game sales in 2007. It should also be noted that digital
distribution of PC titles is not counted in the retail figures at this stage, with
this ‘core’ demographic of gamer likely to be early adopters to this model
due to their use of ultra-high-speed web connections
It is fair to say that this group of consumers are spending a lot of time
playing computer games. We found the average time spent playing
Battlefield was 12½ hours in the last week, with the average for the previous
session alone being three hours. This is time that is not spent consuming
traditional media. To illustrate the idea that this group of consumers are well
targeted using in-game advertising we found that almost three out of five
cited in-game advertising as “more vivid and interesting than other types of
advertising.” And nearly half of 16-24s agreed that ‘Advertising in games is
a more relevant way of advertising to me than other types of advertising’
This is a captive audience that is difficult for advertisers to reach using
conventional routes.
TV, radio and the internet are all valuable advertising platforms, but today’s
consumer is most interested in products and offers that are targeted
and which directly relate to their needs and lifestyle. Gaming has been
incredibly successful in engaging particular audiences where traditional
mass media fails.
Advertisers who use games as an advertising platform are immediately
tapping into the lifestyle or attitude of a shared group. Players of many
‘Triple A’ quality PC based games consider themselves to be part of an
exclusive club. You only have to look at the online message boards for
many of the games to see the passion and camaraderie gamers feel;
many even group together on the message boards and in the game in
‘clans’. When an advertiser appears in one of these games, if they get the
creative execution right, they can immediately become part of that group’s
consciousness simply by association: 44% of 16-34s agree simply that ‘A
brand is innovative if it advertises in games’
Context is key here much more than on any other medium. Gamers expect
a certain kind of advertising. They do not expect to see adverts for fabric
softener on the side of a building in the middle of a war zone. That is not
Figure 2: Sure for Men
Figure 3: NKE 6.0
Figure 4: Samsung Mobile
Figure 5: Samsung Mobile

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to say there wouldn’t be an effect based on how out of context the ad is but it was found that gamers expect context to
be respected: 70% of 16-34s believe ‘Advertising in games should be specifically designed for the environment in which it
appears’ When asked, respondents said that other games, films, music and electronic devices were best suited to general in-
game advertising.
Gaming is probably the most lean-forward media of all and from an advertising stand point there is simply no more
engaging platform. Gamers must concentrate 100% during a session as they are controlling the action. A gamer who is not
concentrating is likely to be out of the game pretty quickly.
Respondents were asked to use a sliding scale from 0-50, in order to rate the level of concentration required when taking part
in some common activities like watching TV, going to the cinema or playing computer games. Figure 6 shows the mean levels
of concentration required for each activity. There were especially high levels of concentration required for computer games
and nearly 40% of respondents claimed this activity required total
concentration (gave a score of 50/50).
One of the basic objectives of the study was to find out if in
a hectic and hostile game environment like Battlefield 2142
the adverts even get noticed? Concentration is one thing but
advertisers need to believe that some of this concentration is
directed towards the advertising and not just completing the
games goals.
Within the industry the platform is most likened to that of outdoor
advertising. Much of the dynamic ad placement that occurs in
games is through static sites strategically placed around the game
and while there are exceptions to this it is certainly the case within
the Battlefield franchise. Similar to outdoor, in-game advertising is
highly visible and well-noticed; 64% of all respondents noticed the ads in Battlefield 2142, rising to 76% for 16-24s.
So concentration is very high during game play and respondents are still noticing the advertising. This environment also allows
players to go further and if they feel particularly engaged in an ad then they are able to approach it and spend time reading it.
We asked respondents “have you ever specifically approached one of the billboards to read or look at it?” and 62% said they
had, this rose to 66% among 16-34s and 70% among 16-24s. This shows that gamers are not only aware of the advertising
but are also prepared to interact with it.
EVALUATING THE ADVERTISING
Although we have discussed how visible in-game adverts are and how engaging gaming is, awareness is a key metric used to
measure ad effectiveness. When respondents were faced with unbranded creatives, ‘top of mind’ awareness for the brands
was relatively low. As we will show however the mediums strength and appeal to advertisers should not be about high impact
exposure as there are other platforms that do this much better. What games allow advertisers to do is to tap into a subset or
segment of the population in a highly targeted manner and successfully build brand image.
Before going on to evaluate the effectiveness of the advertising, below is a reminder of the creatives used.
NKE 6.0: New, less familiar brand and creative, with high-profile umbrella brand
Samsung Mobile: Imaginative, bespoke creative from 3rd leading mobile handset provider in the UK
Sure For Men: High-profile, best-selling established brand, familiar creative also appearing in a nationwide multi media
campaign.
Shifts in prompted NKE6.0 brand awareness were slight; there were no positive shifts overall for the under 25 age group. The
greatest shift came from those who regularly notice in-game ads. Between the pre and post waves, brand awareness only
Figure 6: Mean levels of concentration across media

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increased from less than one in five to about a quarter.
The Samsung creative also generated slightly increased brand recognition at the post-wave stage, more so for the under 25
age group.
Even with the more recognisable Sure For Men creative, shifts in prompted brand awareness were slight, though perhaps this
was unsurprising given the high profile nature of the brand and the size of the overall cross-media campaign.
Shifts in recognition of the Sure For Men brand were also marginal and this can mainly be attributed to only 3% recognising the
ads as being from the game
The study clearly showed that the power of in-game advertising comes from brand-building – boosting brand perceptions and
imagery through highly targeted campaigns
NKE6.0:
As a new and less familiar brand, NKE6.0 unsurprisingly registers lower attribution figures on the brand imagery metrics tested.
Post-wave uplifts amongst those exposed to the in-game advertising were slight, but they were driven by the brands target of
those aged under 25; in the post wave the brand was seen as slightly more exciting, better for action sports, more modern and
up-to-date and a brand I’ve talked to my friends about.
Samsung:
The Samsung brand was perceived as being both more cutting edge and more modern up-to-date. Positively for Samsung,
these uplifts were led by Samsung non-users and the under 25 age group. This age group were also more likely to perceive
Samsung as being for people like me, futuristic and cool highlighting the power of good copy and association.
Sure for Men:
This brand generated the greatest post-wave uplifts, particularly amongst those who regularly notice in-game ads, not only for
the product itself, but by extension, for the overall Sure brand too. Sure for Men deodorant was perceived as more modern
up-to-date, more expert, more masculine. There was also an increase in one of the core attributes of this brand: ‘Among the
best at giving you day long protection against odour/wetness’
There seems to be evidence that building brand awareness is harder in this environment but if your brand image fits with
a particular game or genre then this image can certainly be enhanced by in-game advertising. The platform works best to
supplement a national campaign rather than break new advertising.
ADVERTISING SUMMARY
The scores for the Nike brand NKE 6.0 were not what we expected. Given the tailored look of the creative we thought this
would perform highly as it appeared to fit well into the background. Ultimately we now believe this was its downfall. The
creative was a little too similar to the walls and billboards they were placed on (see Fig 3). This meant they were easily missed
by many respondents and so much of their potential impact lost. This was a brand that should have had appeal to many of our
respondents yet it failed to live up to our expectations. This highlights the danger of creatives that are too integrated into the
scenery.
Samsung delivered to us some very smart and unique advertising and this seemed to work well. The advertising was
approached by respondents and they paid attention to it as it slotted in well to the game. The concept of Battlefield 2142 is
an earth ravaged by war and nearly destroyed. All old infrastructures have been abandoned in favour of survival. Samsung did
their homework on the game and one of the creatives in particular really played to this premise. The World Skating Tournament
Ad has a date of 2140 on it which is the year the troubles started in the game storyline and so subtly blends the ad into the
framework of the game. A gamer would expect to see ads like this that are left over from the old ‘establishment’. The fact
that gamers notice and more importantly appreciate this attention to detail from a brand should not be underestimated. This
attention to detail did pay off and while general brand awareness did not increase by much, key attributes did increase again
pointing towards the strength imagery plays for this group of consumers.
The results for the Sure for Men ads were the most surprising. We did not think these would work very well in the game
environment as they had been on display nationwide for a few weeks prior to this study. What was surprising was that the
brand saw some definite uplifts in strong image metrics. So not only did Sure for Men benefit but the wider Sure brand also

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benefited. This was welcome news for IGA and Mindshare as it showed that the gaming platform has benefits for major
existing campaigns running ‘through the line’ across other media.
IN-GAME ADVERTISING PERCEPTIONS
Another key element of the research from IGA’s perspective was to gauge player’s attitudes towards the general concept of in-
game advertising. Little work has been done by the industry to canvass players on their feelings towards the explosion of this
newest advertising platform.
We found there to be good levels of acceptance (62% felt in-game advertising was a good idea) and some positive attitudes
towards in-game advertising. These attitudes seemed to come mostly from a pragmatic stand point – an acceptance that this
is inevitable.
There were gamers that accepted ads in games because without them many games would not be as ‘realistic’ as they want
them to be. 64% felt that having in-game ads gave the game a more realistic feel.
There were also gamers who recognised that the cost of producing ‘Triple A’ titles is spiralling (it is not unusual for a developer
to spend more than $10 million creating a game). Many gamers obviously welcome this because in the end it usually means
better games but at the same time they also realise that in order to keep the purchase price of games affordable as production
costs grow, advertising has to been involved.
When we asked respondents what their worries were about the emergence of in-game advertising we found most of the
concerns related to misconceptions of in-game advertising and its future, rather than the reality:
The ‘slippery slope’ worry, a fear of games being completely covered with advertising and that the advertising would eventually
detract from the game play itself.
The PC performance worry, fear that adding adverts would slow down the running of the game.
The game-play worry that adverts would interfere with game play. The thought that in the future perhaps there would be ad
breaks interrupting games.
The fear of the unknown was quite common, simply that players did not know what to expect and felt that they didn’t know
enough about how the technology worked to be confident of what impact it might have.
The reality is much more mundane. The technology that serves the ads into Battlefield 2142 and other PC titles is benevolent,
and significantly less intrusive than the average web page featuring banner advertising, but some ‘core’ gamers need more
convincing that this is the case.
THE FUTURE
The overall results of the study backed up much of what IGA has previously asserted about the values of in-game advertising,
however one area where there was a genuine surprise was regarding ‘contextual relevance’. The generally accepted
understanding has previously been that the more a given ad blends in with its surroundings the better, however the results of
the NKE 6.0 and to a certain extent the Samsung creative shows that there is a fine line between blending in and disappearing
completely. Based on this, IGA has since taken on in-house creative support whose role it is to adapt the given ad assets for
the titles to maximise impact whilst remaining in keeping with the game environments.
TNS recognise that this is a developing area for advertising and market research and that much work still needs to be done
to not only test the effectiveness of different types of ads in different types of games but also to look closer at the interaction
between the player and the ad.
One area TNS is especially keen to explore would be to link research to the tracking metrics IGA use to provide advertiser
summaries and look at awareness and recognition directly against actual exposure rather than claimed or presumed exposure.
There is a lot more that can be done in terms of research by utilising the wealth of ad measurement metrics at IGA’s disposal
and this is something we will be looking at together in the future.

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APPENDIX A:
About IGA Worldwide
The client in this study is IGA Worldwide, the leading independent in-game advertising network. IGA has a suite of proprietary
technologies (known as the Radial Network) for dynamically delivering and reporting on a range of standardised advertising
formats, and currently reaches an audience in excess of 15m people across a network of over 50 games from such leading
publishers as Electronic Arts.
IGA’s founding team brings together a number of senior executives from the advertising, videogame and IT industries, giving
the company unique perspective and insight into the challenges faced by each part of the media landscape and how best to
approach solutions in a rapidly evolving sector..
IGA has already successfully run advertising campaigns in its network for many of the top 100 brands, including Coca-Cola,
Burger King, McDonald's, Nokia, Intel, MTV, Gillette and Unilever.
REFERENCES
BBC. (2005) “Gamers In the UK” survey
Forrester Research, Jennings R. (2007). “European Online Marketing Tops €16 Billion In 2012“
PriceWaterhouseCooper. (2007) “Global Entertainment and Media Outlook”
Dahl, S., Eagle, L.C. Fernandez, C. (2006a). “Analyzing Advergames” In proceedings of the 11th International Corporate and
Marketing Communications Conference, Ljubljana, Podnar, K. Jancic, Z. (eds.), pp. 181 - 189.
Dahl, S. Eagle, L.C. Baez, C. (2006b). “Analyzing Advergames: Active Diversions or Actually Deception”. Middlesex
University Business School Discussion Paper Series, No. 37.
Deal, D. (2005) The Ability of Branded Online Games to Build brand Equity: An Exploratory Study. Proceedings of DiGRA 2005
Conference: Changing Views –World in Play.
Neilsen Interactive Entertainment. (2004) ‘Video Game Habits. A comprehensive examination of gamer demographics and
behaviour in US television households.’
Gunn, E. (2001). ‘Product Placement Prize’. Advertising Age, 72 (7), p. 10.
Kennish F. (2006) In games Do and Don’ts http://www.imediaconnection.com/content/8489.asp
Nelson, M.R., Keum. H. Yaros, R.A. (2004). ‘Advertainment or Advercreep? Game Players’ Attitudes towards Advertising and
Product Placement in Computer Games’. Journal of Interactive Advertising, 4 (3), pp. 1 – 30.

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