Video Game Marketing

Playful approaches to news engagement

“…The former relates not only to the lucrative entertainment industry which the medium has fostered but also to how the internal dynamics of games work. The latter refers to technological innovation, such as advanced interfaces, algorithmic power, extended internet connectivity and networked devices that all support the spread of video game culture (Zackariasson, 2016).…”

Gamifikáció, avagy a játékosítás szerepe napjainkban

“…Ezék az óriásvállalatók még a kézdétékbén félismérték mékkóra léhétőségét nyújthat számukra, ha játékósítják bizónyós térmékéikét, szólgáltatásaikat [9]. Érdémés mégémlíténi, hógy a 2014-és "Thé Bést Usé Of Gaming" címét a "MyCókéRéwards" markétingkampányával a Cóca-Cóla nyérté még, térmészétésén a gamifikációt alkalmazva [10]. Egy másik érdékésség, hógy 2012-bén a Niké élindítótta a Niké Plus névű alkalmazását, améllyél a félhasználók nyómón tudják kövétni édzésstatisztikáikat, illetve megoszthatják ismérőséikkél.…”

Broken Promises Marketing. Relations, Communication Strategies, and Ethics of Video Game Journalists and Developers: The Case of Cyberpunk 2077

“…Thanks to these successes, CDPR became an essential brand for players, one that becomes associated positively with memories and histories experienced in previous gamesand shaping their future shopping habits (e.g., Palomba, 2018, Zackariasson & Dymek, 2016. Gamers tend to buy games because of the brand, as they assume it shows qualities they value (Lin, 2010;Zackariasson & Dymek, 2016).…”

“…Thanks to these successes, CDPR became an essential brand for players, one that becomes associated positively with memories and histories experienced in previous gamesand shaping their future shopping habits (e.g., Palomba, 2018, Zackariasson & Dymek, 2016. Gamers tend to buy games because of the brand, as they assume it shows qualities they value (Lin, 2010;Zackariasson & Dymek, 2016). Before Cyberpunk 2077, CDPR was valued not only because of high-quality games but it was also perceived as gamer-friendly (see, e.g., Epps, 2020, Siuda & Troszynski, 2017, even to the point where gamers and journalists were willing to tolerate to an extent accusations of difficult working conditions for employees (see, e.g., Burton, 2022;Morris, 2017;Purchese, 2017).…”

“…The 131 million USD spent was equal to 45% of the whole game's budget (Woldan ́ski, 2021), placing the game firmly in the Triple-A market segment. In this segment, marketing strategies strongly influence gamer reactions (see e.g., Şengün, 2018;Wawrowski & Otola, 2020;Zackariasson & Wilson, 2012) which is essential not only for sales and the final success of the game but also for the company's reputation. It should be noted, when considering the success or failure of a given marketing campaign, one must look beyond just the game's revenue and player opinions.…”