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Number of Advertisements and Media
Gaming marketers have capitalized on almost all social media and video platforms, including YouTube, Facebook, Instagram, Tiktok, Twitter, LinkedIn, Telegram, and Pinterest. For this research, I viewed five advertisements for each game on YouTube, Facebook, and Instagram for a day. The promotions were similar on all platforms for each game, and they appeared randomly following a search interest on different search buttons in each media, demonstrating organic marketing strategies.
Cyberpunk 2077 has one of the most controversial YouTube advertisements within the gaming world. The commercial contains a sexualized model whose penis is prominently displayed (Alexandra). The promotion designer describes the nature of the push as a mere extension of what happens in other sectors of society. The fashion industry, for instance, is known for sexualizing all genders. Sexualized content unconsciously attracts the attention of targeted audiences. The marketing strategy incorporated in the gaming world has sexualized ideology as other business plugs to increase sales.
An exciting gaming promotion on YouTube is Sony’s PS5 gaming commercial. The advertisement emphasizes PS5’s unique features, such as its haptic feedback, which is felt through the wireless controller of the PS5. It also highlights PS5’s 3D audio system- a feature that is a stack difference from earlier versions (PlayStation). Another critical feature notable from the push is the adaptive trigger- which is the feeling experienced through the wireless controller. Overall, the PS5 commercial mainly appeals to the emotions of its target audiences through an emphasis on its main features.
Another special promotion is the Nintendo Super bowl’s switch commercial on YouTube. From the start, the ad shows a boy playing the game with his father. The advert focuses more on Switch’s benefits rather than its features (Nintendo). One can switch between TV-connected, home, and portable consoles. An outstanding feature displayed in the marketing message is switching between devices; thus, the name switches seamlessly.
Among many other commercials, I find Sony’s PS5 to be effective. The first five minutes of the advertisement are dedicated to giving an incentive to customers. The fifth series comes with the most played game in the fourth series, ‘Grand Theft Auto 5’ (PlayStation). A person who was to get the PS5 console during its launch would get the game for free. It is no secret that gamers like free offers. What makes it even fascinating is the fact that ‘Grand Theft Auto 5’ is a prime game. In addition, the promotion offers customers two versions to choose from. Those who feel that the disc is old school can opt for the digital version. Unlike the former, a digital version tends to be cheaper. The company taps in on the community divide and offers a solution that befits all parties. Sony also used the power of mystery in the PS5 launch marketing message. The company did not reveal the release date or the console’s price. The intention is to keep people curious and constantly talk about the launch. Indeed, the idea trended on news outlets until the console was launched.
I find the Cyberpunk 2077 game push to be quite displeasing. The imagery and terminology used are the points of interest. The advertisement portrays the person who appears in it as transgender. It essentially violates the community values of privacy. While some people might be comfortable revealing their sexuality in public, some would opt to stay discreet. The promotion asks the viewer to equate the trans body that appears prominently in the commercial with soda. It means that one is free to walk out of the norm anytime they feel like- an impossibility. I find it relatively insensitive to use LGBTQ for profiteering purposes. The company exploited and used an image of an LGBTQ+ person t makes profits. The commercial appears that time when the debate regarding LGBTQ is causing jitters. Also, I do not understand why the artist involved in the art finds the model fetish. The sexualization of the model’s body is in bad taste.
The primary role of mass media advertising in society is to drive social change. For instance, before HIV and leprosy transpired, people believed that the disease spread through physical contact (Singh and Pandey 127). However, targeted campaigns through mass media outlets have corrected the misinformation (Singh and Pandey 127). Mass media has especially played an informative role in canceling conspiracies associated with the COVID-19 pandemic. Media advertising has played a role in uniting people worldwide. For instance, it is now possible to watch global sporting events through media outlets. Viewing football events from around the globe integrates audiences into a worldwide village. Besides, it is now possible to stream live events worldwide on social media (Singh and Pandey 127). Finally, the realization that people share products such as soft drinks, refrigerators, phones has enhanced feelings of oneness. The technological developments reinforce the notion of a shrinking world.
Mass media advertising influences people’s viewpoints on contemporary societal issues. An example is a debate regarding LGBTQ, where traditionally, most societies have considered the idea of same-sex marriages as taboo. However, this notion is changing gradually with the inception of mass media advertising. A typical case is the Cyberpunk 2077 gaming commercial which tends to normalize transgender people through sexualized marketing. Western mass media is normalizing LGBTQ+ discourse through strategic corporate advertisements.
Works Cited
Alexandra, Heather. “Cyberpunk 2077 Artist Says Controversial In-Game Image Is Commentary on Corporations.” Kotaku, 2019, Web.
Nintendo. “Nintendo Switch Super Bowl LI Commercial – Extended Cut.” YouTube, 2017, Web.
PlayStation. “New and Upcoming Games | PS5.” YouTube, 2020, Web.
Singh, Gaurav, and Nity Pandey. “Role and Impact of Media on Society: A Sociological Approach with Respect to Demonetisation.” IMPACT: International Journal of Research in Humanities, Arts and Literature, vol 5, no.10, 2017, pp. 127-136.
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