1. Social Entertainment 7

2. Learning Objectives (1)
How can social media marketers use social entertainment to meet branding objectives?
What are the types of social entertainment?
Why is social entertainment an effective approach for engaging target audiences?
What is branded entertainment? How is it distinguished from content marketing used in social publishing?
Social Media Marketing, 2e©
© Tracy L. Tuten and Michael R. Solomon 2015

3. Learning Objectives (2)
What are the characteristics of social games and gamer segments?
How can marketers effectively use social games?
How are alternate reality games different from other social games?
In what ways are marketers using social music, social television, and social celebrity to share brand messaging?
Social Media Marketing, 2e©
© Tracy L. Tuten and Michael R. Solomon 2015

4. Branded entertainment
Brands can create owned vehicles of social entertainment by creating branded content (a category of branded entertainment) whether it be games, music, or film. This option is known as ________
Branded entertainment

5. How are Netflix Originals related to social media?
The Netflix Social Sharing app enables viewers to share and discuss what they’re watching in Facebook.

6. Power, identity, fantasy and frivolity
Play and the motivations for individuals to participate include what four aspects of play?
Power, identity, fantasy and frivolity

7. ________ make up the largest active area of social entertainment.
Social games

8. We define a ___________ as a multiplayer, competitive, goal-oriented activity with defined rules of engagement and online connectivity among a community of players.
Social game

9. Estimates suggest that 32% of the time people spend on a smartphone is dedicated to ___________
Game play

10. Overall games exhibit a high degree of _______, describes the ability of a medium to attract an audience and keep that audience.
stickiness

11. A ______________ refers to the hardware systems on which the game is played.
Game platform

12. __________ refers to the way the game world is experienced, while _________ describes the visual nature of the game, such as science fiction, fantasy, horror, and retro.
Mode / milieu

13. RPG stands for ________ and MMPORPG stands for ________.
Role playing games / massive multi-player online role playing games

14. A(n) _________ is a game that delivers a branded message, compared to a(n) ________ that is integrated into a game’s environment as billboards, movie posters, etc.
Advergame / display ad

15. ______ ads are hard-coded into the game and ensure that all players view the advertising, while _____ ads are variable; they change based on specified criteria.
Static / dynamic

16. _________ is the idea that there are way too many games out there that compete for players’ attention.
Game clutter

17. ARGs are _________________
Alternate reality games

18. Game characters, events, places, and plot are imagined and explored by the game writers of ARGs, known as ___________
Puppet masters

19. Social Entertainment Zone
Social Media Marketing, 2e©
© Tracy L. Tuten and Michael R. Solomon 2015

20. Social Entertainment
Social entertainment encompasses the digital and social forms of entertainment media.
Social games
Casual, social games
Socially-enabled video games
Alternate reality games (ARGs)
Social music
Social television
Social Media Marketing, 2e©
© Tracy L. Tuten and Michael R. Solomon 2015

21. What is Social Branded Entertainment?
When brands create owned vehicles of branded content, in the form of games, music, or film, which is participatory and shareable via digital connections, that is social branded entertainment.

22. Social Entertainment as Play
Play as power
Play as identity
Play as fantasy
Play as frivolity

23. What is a Social Game?
Social games are multiplayer, competitive, goal-oriented activities with defined rules of engagement and online connectivity among players.

24. What is a Social Game?
Social games are multiplayer, competitive, goal-oriented activities with defined rules of engagement and online connectivity among players.

25. Typical Elements of Social Games
Leaderboards
Achievement badges
Friend lists

26. Gamer Segments
Casual
Hardcore

27. How Can We Characterize Social Games?
Platform
Mode
Milieu
Genre
Social Media Marketing, 2e©
© Tracy L. Tuten and Michael R. Solomon 2015

28. Simulation Action Role-Playing Strategy Genres
Social Media Marketing, 2e©
© Tracy L. Tuten and Michael R. Solomon 2015

29. Options for Game-Based Marketing
In-game advertising
Product placement
Brand integration
Advergames
Social Media Marketing, 2e©
© Tracy L. Tuten and Michael R. Solomon 2015

30. For Discussion: Is Water the Enemy?
Gatorade’s Bolt game portrayed water as the enemy.
The game met its objectives, achieving 2 million downloads, 87 million plays, and millions of brand impressions.
While illustrating the value of social advergames, did it cross a line?
Social Media Marketing, 2e©
© Tracy L. Tuten and Michael R. Solomon 2015

31. Why Do Social Games Work For Marketers?
Gamers are open to advertising content in games.
Brands benefit when they associate with a successful game.
Players identify with the brands their characters use, increasing brand involvement.
Branding within a game’s story is an unobtrusive way to share a brand’s core message.
Targeting to specific groups is possible.
Marketers can measure a game’s promotional value.
Social Media Marketing, 2e©
© Tracy L. Tuten and Michael R. Solomon 2015

32. ARGs: An Intensive Form of Social Game
An ARG is a cross-media genre of interactive fiction using multiple delivery and communications media, which may include traditional media such as television, radio, newspapers, and postal service and digital media.
Social Media Marketing, 2e©
© Tracy L. Tuten and Michael R. Solomon 2015

33. The Vocabulary of ARGs
Puppet master: The authors, architects, and managers of the story and its scenarios and puzzles.
Curtain: The invisible line separating the players from the puppet masters.
Rabbit hole: The clue or site that initiates the game.
Collective detective: A term that captures the notion of collaboration among a team of geographically dispersed players who work together to flesh out the story.

34. The Vocabulary of ARGs
Lurkers and rubberneckers: Lurkers follow the game but do not actively participate; rubberneckers participate in forums but do not actively play.
Steganography: The tactic of hiding messages within another medium so that the message is undetectable for those who do not know to look for it.
Trail: A reference index of the game including relevant sites, puzzles, in-game characters, and other information.

35. How Can We Evaluate the Effectiveness of an ARG?
Number of active players
Number of lurkers and rubberneckers
Rate of player registration
Number of player messages generated
Traffic at sites affiliated with the ARG
Number of forum postings
Average play time
Media impressions made through ARG-generated publicity

36. For Discussion: Disney’s The Optimist
Explore The Optimist’s main character, Amalia, using her Twitter or other summaries of the story.
Is it compelling? Does it involve you in the Disney brand?

37. Other Forms of Social Entertainment
Social Music
Social Television

38. Options for Marketing with Social Music
In-Network Advertising
Social music is primarily based around cloud services providing streamed sound.
Brands can include many types of ads on social music sites, including audio ads, display ads, billboard ads
Immersive Branding ->

39. Options for Marketing with Social Music
Immersive Branding
A more integrated option
Recent examples include branded playlists and branded microsites that focus around artists or styles of music that target markets value.

40. Social TV
Social TV is technology that supports communication and social interaction in either the context of watching television or related to TV content.
The experience of watching TV is enhanced by social media.
The phenomenon relates to social celebrity and the rise of “microcelebrities”.
GetGlue -> Tvtag -> gone

41. Recap and Questions (1)
How can social media marketers use social entertainment to meet branding objectives?
What are the types of social entertainment?
Why is social entertainment an effective approach for engaging target audiences?
What is branded entertainment? How is it distinguished from content marketing used in social publishing?

42. Recap and Questions (2)
What are the characteristics of social games and gamer segments? How can marketers effectively use social games?
How are alternate reality games different from other social games?
In what ways are marketers using social music, social television, and social celebrity to share brand messaging?