The effect of product placement in computer games on brand attitude and recall

Media fragmentation and proliferation, in concert with declining television advertising efficacy, has engendered interest in developing more effective ways to reach consumers – particularly non-users of a brand. This study explores the effect of active product placement in computer games on both brand attitude (Abrand) and recall. Findings suggest that exposure to a particular brand in a computer game can increase Abrand among consumers whose pre-existing attitude towards the brand in question is fairly low. It was concluded that product placement within computer games is an effective means of fostering high spontaneous brand recall and even of influencing consumers less positively predisposed towards a brand (analogous to non-users). These findings have promising managerial implications for firms looking to grow their customer base through acquisition and conversion.

‘Computer games can get your brain working’: student experience and perceptions of digital games in the classroom

There is considerable enthusiasm in many quarters for the incorporation of digital games into the classroom, and the capacity of games to engage and challenge players, present complex representations and experiences, foster collaborative learning, and promote deep learning. But while there is increasing research documenting the progress and outcomes of game-based learning, relatively little attention is paid to student perceptions and voice. In order to effectively target game-based learning pedagogy, it is important to understand students' previous experience, if any, of the use of games in the classroom, and what they made of these. In this paper, we present findings from a survey of 270 primary and secondary school students in Year Levels 4–9 (aged 9–14) in 6 Queensland schools at the start of a 3-year Australian Research Council project researching the use of digital games in school to promote literacy and learning.

Shifting practices and frames: literacy, learning and computer games

Digital culture and the online world have profound implications for contemporary notions of literacy, learning and curriculum. The increasing integration of digital culture and technologies into young people’s lives reflects the energy and excitement offered by online worlds. Online forms of text and communication are shaping students’ experience of the world, including expectations and experiences about learning and literacy. While print literacies remain important, for schools to prepare students to participate in critical and agential ways in the contemporary and future world, they need also to teach them to be fully literate in digital and multimodal literacies, and at ease and in control in the online world. Computer games, and other forms of digital games, teach and exemplify multimodal forms of literacy. Schools can capitalize on their potential and work with them productively. Doing so however, entails recognizing the messy complexity of schooling, and the practicalities of classroom lives. This chapter reports on a three year project in five schools concerned with literacy and computer games, and discusses the important role of teachers as on-the- ground leaders in pioneering new conceptions of literacy, and of curriculum change, and the importance of school structures and support to enable such change to happen.

Multiliteracies in the wild : learning from computer games

The growth of interest in virtual worlds and other online spaces for children and young people raises important issues for literacy educators and researchers. This book is a timely and much-needed collection of current research in the area. It provides a synthesis of knowledge and understanding and will be a key resource for scholars, students and teachers, particularly those interested in digital literacies. The work presents a coherent vision of current knowledge, and some of the most engaging, empirical research being undertaken on virtual worlds and online spaces in and beyond educational institutions. It contains international studies from the UK, North America and Australasia.This is an important time for those researching virtual worlds, videogaming and Web 2.0 technologies, since there is growing professional interest in their significance in the education and development of children and young people. Whether these technologies are solely associated with informal learning or whether they should be incorporated into classroom contexts is hotly debated. This book provides a principled evaluation and appreciation of the learning, teaching and instruction that can occur in digital environments, showing children, young people and those who work with them as active agents with possibilities to navigate new paths.

48 hour game making challenge

The 48 hour game making challenge has been running since its inception at the NEXT LEVEL Festival in 2004. It is curated by Truna aka j. Turner and Lubi Thomas and sees teams of both future game makers and industry professionals going head to head under pressure to produce playable games within the time period. The 48 hour is supported by the International Game Developers Association (Brisbane Chapter)and the Creative Industries Precincts as part of their public programs. It is a curated event which engages industry with Brisbane educational institutes and which fosters the Australian Games Industry

48 Hour Game Making Challenge - In Progress [Four Episodes]

Statement: Jams, Jelly Beans and the Fruits of Passion Let us search, instead, for an epistemology of practice implicit in the artistic, intuitive processes which some practitioners do bring to situations of uncertainty, instability, uniqueness, and value conflict. (Schön 1983, p40) Game On was born out of the idea of creative community; finding, networking, supporting and inspiring the people behind the face of an industry, those in the mist of the machine and those intending to join. We understood this moment to be a pivotal opportunity to nurture a new emerging form of game making, in an era of change, where the old industry models were proving to be unsustainable. As soon as we started putting people into a room under pressure, to make something in 48hrs, a whole pile of evolutionary creative responses emerged. People refashioned their craft in a moment of intense creativity that demanded different ways of working, an adaptive approach to the craft of making games – small – fast – indie. An event like the 48hrs forces participants’ attention on the process as much as the outcome. As one game industry professional taking part in a challenge for the first time observed: there are three paths in the genesis from idea to finished work: the path that focuses on mechanics; the path that focuses on team structure and roles and the path that focuses on the idea, the spirit – and the more successful teams need to put the spirit of the work first and foremost. The spirit drives the adaptation, it becomes improvisation. As Schön says: “Improvisation consists on varying, combining and recombining a set of figures within the schema which bounds and gives coherence to the performance.” (1983, p55). This improvisational approach is all about those making the games: the people and the principles of their creative process. This documentation evidences the intensity of their passion, determination and the shit that they are prepared to put themselves through to achieve their goal – to win a cup full of jellybeans and make a working game in 48hrs. 48hr is a project where, on all levels, analogue meets digital. This concept was further explored through the documentation process. This set of four videos were created by Cameron Owen on the fly during the challenge using both the iphone video camera and editing software in order to be available with immediacy and allow the event audience to share the experience - and perhaps to give some insights into the creative process exposed by the 48 hour challenge. ____________________________ Schön, D. A. 1983, The Reflective Practitioner: How Professionals Think in Action, Basic Books, New York