W2 S2: Research, Branding (11th Feb – 17th Feb)

Weekly Goal:

  1. Understand through
    research what main
    question my essay will
    follow?
  2. Create Final List of Cards,
  3. Define Brand Identity and
    post on social media.

Contents:

Reflective Journal

  • Neuroscience of consumer behaviour,
  • Consumer Loyalty,

Games Development

  • Branding (Monday),
  • Concept Art (Monday)
  • Final Card List (Wednesday),
  • Playtesting (Thursday),
    • Jump Mechanic,
    • Dice Rolling (Attacks).
  • Final Logo Design (Friday),
  • Social Media (Saturday),

Reflective Journal

Monday 11th


The Neuropsychology of consumer behavior and marketing (Shaw and Bagozzi, 2017)

Attention

Top Down vs Bottom Up Attention – Critical for decision making:

“Top Down is driven by a persons internal goals, motivations, external states or expectations (Connor, Egeth & Yantis, 2004: Corbetta & Shulman, 2002).”

“Bottom Up is automatic, or unconsciously driven and essential for first-impression judgements of stimuli – such as colour and brightness – within the first 2.5 s consumers make an average of four eye movements (Huddleston, Behe, Minahan & Fernandez, 2015; Milosavljevic, Navalpakkam, Koch & Rangel, 2012).”

Memory

“memory and decision making are tightly intertwined”

“emotionally arousing experiences are better remembered than non emotionally arousing experiences (Christianson, 1992).”

Reward Processing

“the reward circuit is activated in response to subjectively attractive desirable resources and experiences.”

Wanting vs Liking Responses

  • Wanting is driven mainly by dopamine in the ‘neural wanting system’ (Winkelman, Berridge & Wilbarger, 2005).
  • Liking is driven by and associated with opiod and endocannabinoid responsive regions of the brain. (Salamone & Correa, 2012)
  • Liking & wanting systems interact when observing desirable material and help form decisions through pleasure.
  • Consumers who find pleasure in rewards are more likely to have positive experiences with the brand and will seek out (want) more experiences in the future.

Conclusions

Consumer preference is driven by a multitude of factors including: experience and memory, wanting and liking and the anticipation of reward when engaging with a brand and it’s products. Pre-established preferences may be ingrained in consumer decisions – such as in the example of  Coke vs Pepsi: blind vs un-blind taste testing trials where consumers who preferred Coke chose Coke in the un-blind test despite preferring Pepsi in the blind taste test.

Influencing customer preference is done mostly through cultural and social means – working on a consumers Top Down attention – the things the consumer values, wants and considers intrinsic to their own personal self.

Bottom up features (colours, brightness, visually stimulating material) are also used to gain the consumers immediate attention – however – this cannot promise their attention is retained – this is where Top down attention must be engaged.

Price has a significant impact on consumer choice (it will be one of the main if not the ONLY deciding factor for some people),

Trust – inter brand-consumer interaction, word of mouth or endorsement promote continued brand loyalty.


Does brand experience translate into brand commitment? (Das et al., 2019)

  • Fig. 1. Sensory, Affective, Behavioural and Intellectual stimulation create a brand experience – when this brand is also perceived as being ethical the experience translates into increased and strengthened brand commitment and brand passion.Fig. 1

The consumer psychology of brands (Schmitt, B, 2011)

A consumer-psychology model of brands

“Consumers have different levels of psychological engagement with brands because of different needs, motives and goals.”

“connecting with the brand includes forming an attitude toward the brand, becoming personally attached to it and connecting with the brand in a brand community”

image

Conclusion

Re-enforces the necessity of engagement

Object engagement (items, products, adverts) leads to self engagement (personal attitudes, personal engagement, the development of opinion and relationship with brand) and then social engagement (media, real-world scope).


Minimum Viable Marketing (Intentional Purpose Per Click, 2019)

Minimum Viable Product:

MVP is described as your product with the least amount of features necessary to bring the product to market and still engage users with the core aspects of the product.

Minimum Viable Marketing:

the translation of this into a marketing sense is depicted by Ferris in the use of ad-words to start a campaign – you can use ad-words to see how much interest is generated by specific titles or keywords (with a product even needing to exist) so decisions can be made about the final title of the work in order to market the product to it’s maximum capacity.


Tuesday 12th

  • Consumer and marketing for games development
  • marketing and branding approaches for game development

Games Development

Monday

Branding guideline is begun to help organise and create a concrete brand image and themes.

Branding Guideline

Some character sketches and other design iconography was drafted in an attempt to visualise necessary concepts for the game:


Wednesday

Final Card List – First Edition

Discussion: (Why?)

Rarity Score (1-5): I’ve chosen this rarity scale in order to introduce an element of luck into the drawing of more powerful cards. Reducing the occurance of these cards into the population will hopefully allow for more balanced play overall. Each number on the rarity scale depicts the likelihood of drawing that card and also symbolises it’s power in play.

I haven’t yet refined this feature – this will be done through experimentation and during design to give the best results possible.

The rarity scale depicts rarity based on these descriptors: (standard to godlike) – this relates to the types of characters in play and their attributes.

1 : Standard

Standard cards are very basic and cost very little stamina to play – they are good to use as ‘throwaway’ or defensive cards. Symbolise ideas or characters in story – however – aren’t significant to plot.

2 : Common

Common cards are much less rare than their following classes. They are somewhat powerful with higher defense than attack. These characters are not significant plot points, however, they do come up in the lore on a more descriptive basis.

3 : Rare

These cards can prove very useful in battle, each character has unique traits and is balanced well depending on their use (attack vs defence). They are less powerful overall than level 4 or 5 cards, but, if played correctly can easily sway the battle in your favour.

4 : Heroic

These characters are significant in the plot, often aiding protagonists and causing change through their actions. These characters are very powerful yet balanced unlike the god-like cards.

5 : Godlike 

Highly regarded characters who have significant control over the events occuring in Lore & are considered more powerful in game-play than all other cards.

I have decided that this feature is signifcant as it drives collection by making certain cards more desirable than others – this is evidenced as being appropriate in many significant contemporary collectable card games: Pokemon TCG, Yu-Gi-Oh, Magic the Gathering, etc. This feature as described above also helps with balancing game-play; this is important as it takes away unfair advantages on players with more money or better access to cards.

Card Numbering: as can be seen in the collumn (no.) I have given each card a card number, I have done this for a number of reasons.

  • Help players organise their collections – the numbers show where each card sits in the collectors folder and signifies which card type a certain card belongs to, in example: cards ranging from 1-24 are playable character cards – it is important to note at this time that these splits are not final and are likely to change once production begins,
  • Keep track of what cards they have and don’t have (10/74 total cards) – this additionally allows players to seek cards online, in trading shops or with their friends in order to find and complete their set with ease,
  • Guides design – as each collectors folder will contain 6 slots for cards (at present): this is so that when the cards are stacked together they create a larger illustration and add value to the aesthetic value of the cards and their collect-ability.

Playable Card Names: each playable character has been created based on a brief story surrounding the game – this story is not necessary to know to play the game, it however, adds additional content for those who want to understand my choices better. Each character fits an affiliation – Light, Dark, Neutral – this simply explains their place in the plot and their likely mindset – how signifcant this concept remains now after development has taken place is uncertain. Decsions need to be made on deck orientation and play – such as: will players need to have a seperate Light/Dark deck? This idea is explored in last weeks blog – click here.

Final Character List

  • TBC

[View in Full:] CardListExcell_v1cardlistexcell_v1.png


Thursday

Quick Play-testing videos:

 

Discovering the jump mechanic!

As devised by Andrew, a jump mechanic would be really beneficial for play. Deviding the playable mat up into two halves increases strategic advantage for players and prevents immediate attacks.

V4-MAT-MOCKUP-FULL_AttackRule

Understanding cards playability better:

Rather than giving playable characters 2 or more attacks (similar to that in Pokemon) through play-testing I was able to devise a better method – that being adding a dice rolling mechanic into game-play.

Simply explained, when players choose to attack they must roll a dice, the number rolled either: multiplys the attack (stated on the card), decreases the attack damage (stated on the card) or misses the opponent completely. The following table shows an example of how this might work: (these are not fixed rules)

CharacterBase_LOOL

The attack shown on the card above does 30 damage; the (+) symbol indicates that this move can be multiplied by dice rolling.

IF _ is rolled:

 


Friday

Final Logo Design:

LogoStufflOGO2_v22_1lOGO2lOGO2_v22lOGO2_v22_small


Saturday

Almost all of the social media accounts are now active with content! Those accounts can be found at:

I’ve started to use my branding consistency guide to create content for others to see. Hopefully these accounts will build hype and a following for my project.

Output Total

  • Reflective Journal has been researched as is ready for the skeleton draft,
    • Essay title is still not finalised.
  • Started Social Media Sites,
    • Uploaded first bits of content.
  • Designed & Created a multi-functional logo,
    • This logo is now on all of my branded pages.
  • Created the final card list,
    • Still needs a bit of work to finish.
  • Did some basic Play-testing,
    • because of this the jump mechanic and dice rolling have been established as rules of play.

Not Done:

  • Essay title to be finalised and skeleton drafted,
  • Must finalise card list next week,
    • I can then start designing and creating my cards.

Bibliography

Das, G., Agarwal, J., Malhotra, N. and Varshneya, G. (2019). Does brand experience translate into brand commitment?: A mediated-moderation model of brand passion and perceived brand ethicality. Journal of Business Research, 95, pp.479-490.

Intentional Purpose Per Click (2019). [Video] How Tim Ferriss used Adwords to sell 1.35m copies of ‘The 4 Hour Work Week’ | Intentional. [online] Intentional. Available at: https://intention.al/blog/minimum-viable-marketing/ [Accessed 12 Feb. 2019].

Schmitt, B. (2012). The consumer psychology of brands. Journal of Consumer Psychology, 22(1), pp.7-17.

Shaw, S. and Bagozzi, R. (2017). The neuropsychology of consumer behavior and marketing. Consumer Psychology Review, 1(1), pp.22-40.

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