(Department of Visual Communication Design, School of Creative Industries, Telkom University, Bandung, Indonesia)(2) Yanuar Rahman
(Department of Visual Communication Design, School of Creative Industries, Telkom University, Bandung, Indonesia)(3) Wirania Swasty
(Master of Design, School of Creative Industries, Telkom University, Bandung, Indonesia)*corresponding author
AbstractThe rise of mobile games has opened a new potential market for brands, but there is a lack of research focusing on mobile game collaboration designs, as they tend to focus on other industries despite the mobile game industry having a high rate of collaborations. The objective of this study is to extend the subject of brand collaboration design analysis into the mobile gaming landscape. In addition, we will analyze how mobile game collaborations incorporate brand identity extensions of heterogeneous visual identities into distinctive designs, and the rationale of how these collaborations work well despite the contrasting brand identities. To analyze, we used a qualitative case study method. The case study includes three cases of mobile game collaborations chosen based on heterogeneity, originality, and utilization. The main findings of this paper are the design characteristics of the collaborative product, which consists of six attributes. This study can be used as a reference for the key design characteristics in heterogeneous mobile game collaboration designs in the future.
KeywordsBrand Identity; Collaboration; Customer Value; Mobile Game; Heterogenous; Design
|
DOIhttps://doi.org/10.31763/viperarts.v7i1.1753 |
Article metrics10.31763/viperarts.v7i1.1753 Abstract views : 117 | PDF views : 40 |
Cite |
Full Text Download
|
References
[1] F. Mäyrä, “Mobile Games The Expanding Field of Mobile Gaming,” in The International Encyclopedia of Digital Communication and Society, Wiley, 2015, pp. 1–6. doi: 10.1002/9781118767771.wbiedcs014
[2] Y. Wu, “The style of video games graphics: analyzing the functions of Visual styles in storytelling and gameplay in video games,” Simon Fraser University, 2012.
[3] X. Wang, M. Abdelhamid, and G. L. Sanders, “Exploring the effects of psychological ownership, gaming motivations, and primary/secondary control on online game addiction,” Decis. Support Syst., vol. 144, p. 113512, May 2021, doi: 10.1016/j.dss.2021.113512.
[4] D. D. K. S. Karunanayake, R. A. A. R. Perera, and N. D. U. Vimukthi, “Impact of Mobile Phone Game Addiction on Sri Lankan Teenagers: An Exploratory Study,” Asian Journal of Education and Social Studies. pp. 61–72, 28-Dec-2020, doi: 10.9734/ajess/2020/v13i430343.
[5] E. Uhlmann and J. Swanson, “Exposure to violent video games increases automatic aggressiveness,” J. Adolesc., vol. 27, no. 1, pp. 41–52, Feb. 2004, doi: 10.1016/j.adolescence.2003.10.004.
[6] B. D. Bartholow and C. A. Anderson, “Effects of Violent Video Games on Aggressive Behavior: Potential Sex Differences,” J. Exp. Soc. Psychol., vol. 38, no. 3, pp. 283–290, May 2002, doi: 10.1006/jesp.2001.1502.
[7] C. P. Barlett, C. L. Vowels, J. Shanteau, J. Crow, and T. Miller, “The effect of violent and non-violent computer games on cognitive performance,” Comput. Human Behav., vol. 25, no. 1, pp. 96–102, Jan. 2009, doi: 10.1016/j.chb.2008.07.008.
[8] B. J. Bushman and C. A. Anderson, “Violent Video Games and Hostile Expectations: A Test of the General Aggression Model,” Personal. Soc. Psychol. Bull., vol. 28, no. 12, pp. 1679–1686, Dec. 2002, doi: 10.1177/014616702237649.
[9] J. D. Ivory and S. Kalyanaraman, “The Effects of Technological Advancement and Violent Content in Video Games on Players’ Feelings of Presence, Involvement, Physiological Arousal, and Aggression,” J. Commun., vol. 57, no. 3, pp. 532–555, Sep. 2007, doi: 10.1111/j.1460-2466.2007.00356.x.
[10] E. J. Jeong and D. J. Kim, “Definitions, Key Characteristics, and Generations of Mobile Games,” in Mobile Computing, IGI Global, 2009, pp. 289–295. doi: 10.4018/978-1-60566-054-7.ch026
[11] M. Böhmer, S. Gehring, M. Löchtefeld, M. Ostkamp, and G. Bauer, “The mighty un-touchables,” in Proceedings of the 13th International Conference on Human Computer Interaction with Mobile Devices and Services, 2011, pp. 605–610, doi: 10.1145/2037373.2037468.
[12] A. Suryani, R. Hurriyati, and H. Hendrayati, “Mobile Games Impact on Food Marketing Towards Gen-Z.” pp. 503–509, 2024, doi: 10.2991/978-94-6463-234-7_51.
[13] M. Ingendahl, T. Vogel, A. Maedche, and M. Wänke, “Brand placements in video games: How local in?game experiences influence brand attitudes,” Psychol. Mark., vol. 40, no. 2, pp. 274–287, Feb. 2023, doi: 10.1002/mar.21770.
[14] M. R. Nelson, H. Keum, and R. A. Yaros, “Advertainment or Adcreep Game Players’ Attitudes toward Advertising and Product Placements in Computer Games,” J. Interact. Advert., vol. 5, no. 1, pp. 3–21, Sep. 2004, doi: 10.1080/15252019.2004.10722090.
[15] J.-N. Kapferer, Strategic brand management: New approaches to creating and evaluating brand equity JN Kapferer. London: Pearson Education, 1994.
[16] G. Michel and R. Willing, The Art of Successful Brand Collaborations. Milton Park, Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. doi: 10.4324/9781351014472-14
[17] R. van der Lans, B. Van den Bergh, and E. Dieleman, “Partner Selection in Brand Alliances: An Empirical Investigation of the Drivers of Brand Fit,” Mark. Sci., vol. 33, no. 4, pp. 551–566, Jul. 2014, doi: 10.1287/mksc.2014.0859.
[18] J.-Y. Baek and Y.-M. Kim, “The Strategic Collaborative Plans for Mobile Game : Focused on The Case of Collaboration,” Cartoon Animat. Stud., vol. 39, pp. 365–391, Jun. 2015, doi: 10.7230/KOSCAS.2015.39.365.
[19] M. Liu, Y. Shan, and Y. Li, “Heterogeneous Partners, R&D cooperation and corporate innovation capability: Evidence from Chinese manufacturing firms,” Technol. Soc., vol. 72, p. 102183, Feb. 2023, doi: 10.1016/j.techsoc.2022.102183.
[20] A. Papa, A. Mazzucchelli, L. V. Ballestra, and A. Usai, “The open innovation journey along heterogeneous modes of knowledge-intensive marketing collaborations: a cross-sectional study of innovative firms in Europe,” Int. Mark. Rev., vol. 39, no. 3, pp. 602–625, Jun. 2022, doi: 10.1108/IMR-03-2021-0109.
[21] M. Lee and R. J. Faber, “Effects of Product Placement in On-Line Games on Brand Memory: A Perspective of the Limited-Capacity Model of Attention,” J. Advert., vol. 36, no. 4, pp. 75–90, Dec. 2007, doi: 10.2753/JOA0091-3367360406.
[22] M. Yang and D. R. Roskos-Ewoldsen, “The Effectiveness of Brand Placements in the Movies: Levels of Placements, Explicit and Implicit Memory, and Brand-Choice Behavior,” J. Commun., vol. 57, no. 3, pp. 469–489, Sep. 2007, doi: 10.1111/j.1460-2466.2007.00353.x.
[23] Z. Wenting, “Widespread, Globalized and High-economic-value: The Rise of In-game Advertising as Modern Mass Media,” Acad. J. Humanit. Soc. Sci., vol. 6, no. 16, 2023, doi: 10.25236/AJHSS.2023.061604.
[24] Y. K. Lee, S. A. Choi, Y. Choi, and M. Lee, “The Effect of Brand Identity Extension through Inter-Industry Collaboration : The Case of a Fashion Brand and a Long-Lived Domestic Brand,” Int. J. Costume Fash., vol. 23, no. 1, pp. 59–77, Jun. 2023, doi: 10.7233/ijcf.2023.23.1.059.
[25] A. Dimitrova, Lusiyana Ivanova; Björck, Linnea, Fregne, “Limited edition: Collaborations between luxury brands.” LBMG Strategic Brand Management - Masters Paper Series, 2018.
[26] B. Alexander and L. O. Contreras, “Inter-industry creative collaborations incorporating luxury fashion brands,” J. Fash. Mark. Manag., vol. 20, no. 3, pp. 254–275, Jul. 2016, doi: 10.1108/JFMM-09-2015-0075.
[27] Y. Li and J. Li, “The Influence of Design Aesthetics on Consumers’ Purchase Intention Toward Cultural and Creative Products: Evidence From the Palace Museum in China,” Frontiers in Psychology, vol. 13. 01-Jul-2022, doi: 10.3389/fpsyg.2022.939403.
[28] P. V. B. Van‘t Klooster, Erik, Frank Go, “Exploring destination brand communities: A business model for collaboration in the extremely fragmented tourism industry,” in 17th International Bled eCommerce Conference–eGlobal, 2004, pp. 21–23.
[29] H. Jianrong, Z. Xiaofeng, and Yingkui, “An empirical study of consumers emotional reaction on brand collaboration,” African J. Bus. Manag., vol. 11, no. 21, pp. 630–645, Nov. 2017, doi: 10.5897/AJBM2017.8155.
[30] K. S. K. Winata and M. R. Adiwaty, “Kapferer’s Brand Identity Prism Analysis on Brand Stord to Increase Brand Awareness,” East Asian J. Multidiscip. Res., vol. 3, no. 7, Jul. 2024, doi: 10.55927/eajmr.v3i7.10041.
[31] A. Ponnam, “Comprehending the Strategic Brand Building Framework of Kingfisher in the Context of Brand Identity Prism,” Icfai J. Brand Manag., vol. 4, no. 4, pp. 63–71, 2007.
[32] R. W. Putra, “Manga matrix’s approach to creating Indonesian ghost game visual characters on Dreadeye VR,” Int. J. Vis. Perform. Arts, vol. 4, no. 1, pp. 39–46, Jun. 2022, doi: 10.31763/viperarts.v4i1.655.
[33] J. E. Lewis, M. Trojovsky, and M. M. Jameson, “New Social Horizons: Anxiety, Isolation, and Animal Crossing During the COVID-19 Pandemic,” Frontiers in Virtual Reality, vol. 2. 30-Mar-2021, doi: 10.3389/frvir.2021.627350.
[34] L. Zhu, “The psychology behind video games during COVID?19 pandemic: A case study of Animal Crossing: New Horizons,” Hum. Behav. Emerg. Technol., vol. 3, no. 1, pp. 157–159, Jan. 2021, doi: 10.1002/hbe2.221.
[35] S. Kovarovic, “Hello Kitty: A brand made of cuteness,” J. Cult. Retail Image, vol. 4, no. 1, pp. 1–8, 2011.
[36] S. Lee, “Evolution of Character Culture Through Collaboration in Japan: The Sanrio Case,” in The IAFOR International Conference on Arts & Humanities, 2023, pp. 1–8. doi: 10.22492/issn.2432-4604.2023.29
[37] S. J. Kim, J. Yoo, and E. Ko, “The effects of brand collaboration with the online game on customer equity and purchase intention: moderating effect of fashion brand type,” Asia Pacific J. Mark. Logist., vol. 35, no. 9, pp. 2282–2299, Nov. 2023, doi: 10.1108/APJML-03-2022-0279.
Refbacks
- There are currently no refbacks.
Copyright (c) 2025 Naira Pelangi Annisa, Yanuar Rahman, Wirania Swasty
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
___________________________________________________________
International Journal of Visual and Performing Arts
ISSN 2684-9259
Published by Association for Scientific Computing Electronics and Engineering (ASCEE)
W: http://pubs2.ascee.org/index.php/viperarts
E: sularso@ascee.org
Organized by:
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0