Master Fernanda Gu Zhoujie

The effects of in-game advertising on purchase intention of
digital objects
Fernanda Gu ZhouJie
Master in Marketing
Supervisor:
Dr. Daniela Langaro, Assistant Professor, Department of Marketing,
Operation and General Management
ISCTE-IUL
November, 2022
Department of Marketing
The effects of in-game advertising on purchase intention of

digital objects
Fernanda Gu ZhouJie
Master in Marketing
Supervisor:
Dr. Daniela Langaro, Assistant Professor, Department of Marketing,
Operation and General Management
ISCTE-IUL
RESUMO
Uma grande pandemia atingiu 2020, o COVID-19 afetou muitas indústrias ao

redor do mundo exceto a indústria de videogames. A indústria de videogames
cresceu tanto nas últimas décadas que criou muitas oportunidades para o mercado.
Estudos anteriores mostraram os efeitos positivos que a publicidade indireta tem
na intenção de compra dos consumidores e este estudo foca nos impactos da
publicidade no jogo na intenção de compra de diferentes objetos digitais. Para
verificar se o tipo de objeto digital afeta a consciência de marca, se brand fit
modera os efeitos do tipo de objeto digital na consciência de marca, se a
consciência de marca afeta a intenção de compra e se a intenção de compra difere
entre os grupos; foi realizada uma pesquisa com 300 jogadores do jogo Mobile
Legends: Band Bang e eles foram separados em 5 grupos diferentes onde cada
grupo viu uma condição diferente; uma marca (high fit e low fit) aparece em um
item virtual diferente (skins e estátuas) e uma condição é o grupo controle que não
viu marca. Os resultados mostram que a consciência de marca é preditor da
intenção de compra do objeto digital e as pessoas que se lembram da marca
apresentam um nível de intenção de compra maior quando comparadas com as
pessoas que não se lembram da marca. O item virtual skin possui um nível maior
de intenção de compra quando comparada às estátuas. E o grupo controle
apresenta maiores níveis de intenção de compra quando comparado aos demais
grupos.
Palavras-chave: Publicidade indireta, in-game advertising, consciência de marca,

intenção de compra e itens virtuais.
Classificação JEL: M31; M37.
i
ABSTRACT
A major pandemic struck in 2020, the COVID-19 affected many industries around
the world except the video game industry. The video games industry has grown so
much in the past decades, that has created many opportunities for the market. Past
studies have shown the positive effects that product placement has on the
consumers' purchase intention and this study focus on the impact of in-game
advertising on the purchase intention of different in-game digital objects. To
verify if the type of digital object affects brand awareness, if brand fit moderates
the effects of the type of digital object on brand awareness, if brand awareness
affects purchase intention and if purchase intention differs between the groups; a
survey was conducted with 300 players from the game Mobile Legends: Bang
Bang and they were separated into 5 different groups in which every group saw
one different condition; where one brand (high fit or low fit) appears in one
different virtual items(skin or statue) and one condition was the control group that
did not see any brand. The results show that brand awareness is a predictor of
purchase intention towards the digital object and the people that recalled the brand
had a higher level of purchase intention when compared to the people that not
recalled the brand. The virtual item skin has also a higher level of purchase
intention when compared to the statue. And the control group has higher levels of
purchase intention when compared to the remaining groups.
Keywords: Product placement, in-game advertising, brand awareness, purchase

intention, virtual items.
JEL Classification: M31; M37.
ii
TABLE OF CONTENTS
RESUMO………………………………………………………………………………….i
ABSTRACT………………………………………………………………………………ii
TABLE OF CONTENTS………………………………………………………………..iii
LIST OF FIGURES…………………………………………………………………….. v
LIST OF TABLES……………………………………………………………………….vi
1. INTRODUCTION..…..……………………………………….……………… 1
2. LITERATURE REVIEW …………………………………………………….4
2.1.Games ……………………………………….……………………….…..…4
2.2. In-Game advertising as a promotional tool .…………..……………..……8
2.2.1. Product placement….…………………………………………..……….8
2.2.2. Product placement in in-game advertising………………….…………10
2.2.3. Influencing factors and consequences …….…………………………..11
3. CONCEPTUAL MODEL.…..……..….……..………………………………14
4. METHODOLOGY.…………..….……..…………….………………………20
5. RESULTS AND DISCUSSION .………….……………………………..…..24
5.1. Descriptive statistics…………………..………………………………….24
5.2. Reliability tests……………………………………………………………32
5.3. Hypotheses testing ……………………………………………………….33
5.4. Discussion…………………….……………………………………..……38
6. CONCLUSIONS AND RECOMMENDATIONS…..………….…………..41
6.1. Limitations of the study and future research ……………………………..42
REFERENCES ……..…………………………………………………………..44
ANNEXES ………………………………………………………………………53
Annex A- Survey PT……………………………………………………………..53
Annex B- Survey ENG…………………………………………………………..67
Annex C- H1a Outputs ………………………………………………………..…80
Annex D- H1b Outputs…………………………………………………………..84
Annex E- H1c Outputs………………………………………………………….. 88
Annex F- H2a Outputs………………………………………………………….. 92
Annex G- H2b Outputs…………………………………………………………..94
iii
Annex H- H2c Outputs…………………………………………………………. 96
Annex I- H3a Outputs……………………………………………………………98
Annex J- H3b Outputs…………………………………………………………..100
Annex K- H3c Outputs…………………………………………………………102
Annex L- H4a Outputs………………………………………………………….104
Annex M- H4b Outputs…………………………………………………………105
Annex N- H4c Outputs…………………………………………………………106
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LIST OF FIGURES
Figure 3.1- Model ……………………………………………………………….19

Figure 4.1- Survey video 1………………………………………………………21
Figure 5.1- Gender ..……………………………………………………………..23
Figure 5.2- Nationality …………………………………………………………..24
Figure 5.3- Age and Education ………………………………………………….24
Figure 5.4- Frequency and like to play………………………………………..…25
Figure 5.5- Mobile phones and computer……………………………………..…26
Figure 5.6- Groups Gender………………………………………………………28
Figure 5.7- Group Nationality……………………………………………………28
Figure 5.8- Group Age ..…………………………………………………………29
Figure 5.9- Group Education level……………………………………………….29
Figure 5.10- Group and Like to play MLBB…………………………………….30
Figure 5.11- Group and frequency to play……………………………………….30
Figure 5.12- Groups electronic device ..…………………………………………31
v
LIST OF TABLES
Table 5.1- PCA …………………………………………………………………..26

Table 5.2- Cronbach Alpha PI……………………………………………………27
Table 5.3- Cronbach Alpha BF ..…………………………………………………27
Table 5.4- Moderation BAA ……….……………………………………….……29
Table 5.5-Moderation BSA………………………………………………………30
Table 5.6- Moderation BF………………………………………………………..30
Table 5.7- Hypotheses Outcomes……………………………………………….. 38
vi
The effects of in-game advertising on purchase
intention of digital objects
1. INTRODUCTION
The COVID-19 pandemic had a potential effect on the macroeconomy (Mohsin,

Hongzhen, and Hossain, 2021). This means that all the industries felt the impact
in the last two years, not only did many sectors have to deal with the fact of a
worldwide epidemic, but it also brutally changed people's personal lifestyles
(Palma, Vosough and Liao, 2022). Industries had to readapt their realities to the
present condition; in the food industries, for example, most restaurants around the
world had to do delivery or at least take out to survive, and people had to
quarantine themselves and keep social distancing as the basic premise to avoid
viral outbreaks among consumer (Barreto, Loureiro, Rubio, and Romero, 2022).
Tourism was mainly impossible; the hospitality industry and airline companies
suffered consequences of the lack of customers. Airbnb, one of the growing start-
ups as an online platform for stays, reported on Forbes that it had to cut two
thousand employees and refocus its business on its core services which are more
related to local rentals and local outdoor activities. Also in the entertainment
industries for example; movie and series shooting was postponed, and concerts
and festivals were only done in an online format. Nevertheless, Hall (2020), at the
World Economic Forum, reported that the game industry is thriving and that the
COVID-19 lockdowns have boosted consumers’ engagement with video games
and e-sports events. Revenues for worldwide gaming companies also have
increased throughout the pandemic. People had to change their ways to entertain
themselves at home, which is a factor for games to innovate and try to reach more
consumers. With the boom of the online economy in the current digital era, digital
games generate big interest (Sánchez-Navarro, Aranda, and Martínez-Martínez,
2015).
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It is undeniable the growth mobile game industry in the past decade, their
development is totally related to technological innovations and mostly; the
increased global access to the internet and its advances (Syahrivar, Chairy,
Juwono and Gyulavári, 2022). The seek for adventure, entertainment, and
excitement without leaving home has set the potential of the games industry.
People had to change their ways to have fun and consumption habits, by keeping
it mainly online and in digital forms. If so many people are joining the game
industry, how should games increase their players’ purchase intention toward the
digital objects? There are many studies regarding product placement and in-game
advertising (IGA), but there are limited studies on how in-game advertising (IGA)
on the mobile gaming platform can influence players’ purchase intention towards
the in-game digital object. The present dissertation theme is about the effects that
in-game advertising has on the players’ purchase intention. With a particular
interest in the following questions:
1. What is the impact of in-game advertising on the purchase intention of digital

objects?
2. What is the role of brand awareness and brand fit between the game and the
brand in explaining the effects?
The aim of this dissertation is to investigate if the type of digital object that is
used (skin and statue) affects brand awareness and if the brand fit(high and low)
between the game and the brand moderates the effects of the type of digital object
on the brand awareness. To understand if brand awareness affects purchase
intention towards the digital object and if levels of purchase intention vary
between the groups that saw a high fit brand on the digital objects, low fit brand
on the digital objects, and no brands on the digital objects. The objective is to
develop a dissertation thesis by collecting, comparing, and analyzing data from a
survey with game players and see if it can gather enough evidence to support the
theory and review if in-game advertising affects the purchase intention of digital
objects and if brand awareness and brand fit can explain the effects.
2
Games audience includes the game players and also game fans who watch the
games. Live streaming when playing video games has emerged in recent years as
a major new topic in media and communication studies, the potential impacts of
this broadcasting are further facilitated on different platforms that allow talking to
the streamer through a chat window while watching them, the streamer will often
respond the fans and then generate conversation, with the majority of profit
coming from advertising or sponsor revenue. (Johnson and Woodcock, 2019).
Electronic sport (E-sport) is a video game-based competition between individual
players or between teams. As one type of sporting event, E-sports has also been
popular in attracting millions of spectators to the host cities in person or online
through live streaming services (e.g., YouTube and Twitch). Due to the popularity
of games, e-sports, e-sports teams and players, e-sports events have been
sponsored by global companies as an online marketing venue to focus consumers’
attention on companies and their products and services without the limitations of
time and space. Based on the trend, the e-sport industry brings economic benefits
to host cities’ local communities, social media platforms, the gaming industry, and
sponsored companies (Kim and Kim, 2020).
Over the few years, live-streaming platforms, such as Twitch and YouTube,
have been dramatically developed and used for individuals’ broadcast of digital
content, including online video games. Consequently, online game live-streamers
have played an important role in the advertisements industry as well as the online
video game industry (Kim and Kim, 2022).
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2. LITERATURE REVIEW
2.1. Games
Different kinds of games were always present during human evolution. The
British Museum has records from board games that were invented in 1250–1150
BC. Games have an ancient history indeed, but technological innovations such as
computers and the internet, made the games also renovate and innovate to keep
people entertained, smartphones are now a necessity in our modern world
(Rauschnabel, Felix, Hinsch, 2019).
According to Scholz & Barlow (2019), the first game was Tennis for Two
invented by William Higinbotham in 1958, it already presented a competitive
gaming element since it was played by two players against each other. Tennis for
Two was a game developed on an analog computer, which simulated a tennis
game or ping pong on a graphical display. Therefore, until the 70’s not all people
could have access to a computer, and way fewer could access the internet because
it was just starting. But when computers became more popular; there was also an
increase in investments in new video games, companies saw their opportunity
with games like Space Invader or Atari and The Magnavox Odyssey was the first
video game console. Nowadays video games are all around and they can be
grouped into different types and depends on characteristics such as how to play
the game and the gameplay interaction (Quwaider, Alabed, and Duwairi, 2019).
Games can be first-person shooters (FPS); the ones that the player’s perspective
from the first person and usually involves shooting against the enemies (eg. Call
of Duty), real-time strategy (RTS) games are the ones the players are usually
required to build bases, spawn units to destroy the opponent (eg. The Age of
Empires), role-playing games (RPG) are the ones that create a fantasy role-
playing game (eg. Skyrim) and there are the multiplayer online battle arena
(MOBA) ones that are online matches between 2 teams and it can last anywhere
from 20 minutes and beyond, depending on players’ skill levels (eg. Defense of
the Ancients). Games in general come in different electronic device; consoles,
4
computers, tablets, and VR but all games also try to do their mobile version, so
players can have the games in their hands all the time just like their smartphones
(Clement, 2022). Many games in their initial concept were computer games or
consoles, but nowadays many of them launch their mobile version; League of
Legends is an example. It started as a computer game but now invests heavily in
competitive events for its mobile versions (Liao, 2021). As a growing part of the
population is playing video games worldwide, more audiences can be reached
through advertising in video games, it is gaining strength as a marketing
communications tool, by placing brands and products in video games, marketers
expect to influence cognitive, affective, and influence in consumer outcomes
including brand recall, brand recognition, brand attitude, brand choice or purchase
intention (Martí, Bermejo and Aldás-Manzano, 2017). A partnership of brands and
games varies a lot, can be with make-up brands, just like The Sims did by adding
MAC (MAC Makeup) to their sims make-up, advertisers can place ads on
banners, events, player jerseys, or any other in-game object. Sports games can be
related to sports brands such as FIFA could with Nike or Addidas, racing games to
car brands just as Forza could with Ferrari, and many other partnerships.
In 2020, Travis Scott, an American hip-hop singer, collaborated with Fortnite
to give an experimental virtual experience concert; it was highly divulged in wall
posters in-game and through social media. All the media, game fans, and Travis
fans were talking about, creating a huge engagement; over 27 million logged in-
game to join the concert and that generated over 40 million views, stated the game
company Fortnite on Twitter. It is common to partner with celebrities; Free Fire
did a partnership with DJ Alok and make exclusive Alok skins, they also partnered
with the Netflix series La Casa de Papel, making events to engage the community
and sell thematic skin. It’s a win-win situation giving more exposure to the game
and the brand. There are many possibilities to promote a brand in-game, in
League of Legends 2020 Summer Split Tournament, it was the first time
Mastercard had an in-game banner for promotion. There are still ways to promote
sponsorships in e-sports events, just like Intel and Red Bull did in many e-sports
like Dota 2, Counter-Strike, and FIFA.
5
Game professional teams are also usually sponsored by brands, they can also
collaborate with game influencers or influential game streamers, and partnerships
can start online but can be extendable to offline events. E-sports events usually
happen every year for different games and according to the Consumer Technology
Association; the global audience for e-sports will hit over 500 million people in
2024 (Sinclair, 2021). Sponsorship of e-sports events has become a marketing
communication tool as it is able to particularly impact the target audience, the
interaction between sponsor and sponsored has become a mutual benefit; it
increases brand awareness in the market also facilitates communication with the
selected audience (Rosário et al., 2021).
E-sports means electronic sports and involves competitive gaming as Scholz &
Barlow (2019) described, it involves much more than the game development team
and the players, it will have its own social media, customer service, tournaments
team, media team, investors, hardware/service/infrastructure support, general
public and of course the sponsors and advertising; which comes partly from the
total revenues from e-sports (Parshakov and Zavertiaeva, 2018). The gaming
market keeps getting larger, with people of all ages, gender, and with all
demographic groups. In 2017 over 80 million watched the League of Legends
World Championship which is very close to the 2017 Super Bowl with 111.3
million (Kim, Nauright, and Suveatwatanakul, 2020). Gamers are spending more
time engaged in play and increasing their social and community activity, the
estimated number of gamers worldwide in 2021 is 2.7 billion (Kelly, Schuler,
Johnson, 2021). The opportunity is not only for the game and their professional
players but also their content creators since their views are very high for game
streaming, Forbes reported that more people watch e-sports than NBA. A widely
diffused access to smartphones and the internet, made new players join the
gaming market, it is also an instrument that popularized games, Accenture
estimates that the value of the gaming industry already exceeds $300 billion.
That's from the $200 billion in direct spending on consoles, software and
subscriptions, in-game purchases, and mobile advertisement revenues. With a
further $100 billion of value from adjacent
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industries such as mobile devices, gaming PCs, peripherals, and gaming-related
communities.
Three of the largest markets are; China, USA, and Japan, but gaming’s
popularity is also growing particularly in Latin America, the Middle East, and
many southeast Asian countries with a mobile-first profile (Statista, 2021). As a
result of the growth of the internet and mobile adoption, there are now nearly as
many female gamers as there are males, most young people compared to usual
sports; according to Scholz & Barlow (2019). The audience is usually digital and
international, and after COVID-19 more audiences turn to e-sports since there
were restrictions on the usual sports competition (Valverde, Campos, and Alpízar,
2020). Kim et al. (2020), said that the success of e-sports depends on the GDP of
the country; which means a higher GDP allows the population to spend more
money and time on entertainment, and also depends on the legitimacy of e-sports
and the institutionalization of e-sports. Games are far away from decreasing in
popularity or any kind of innovation stagnation, they are much ahead, by simply
developing cloud gaming (Newzoo, 2021).
It’s common for stores like Epic Games to allow users to connect to their
console and to their computer through the same store account, but the innovation
now; it’s similar to the movies and series streaming like Netflix, the games will be
supported in a server xCloud and will be there available to play by subscription in
any technological devices, the concept is to have a package of games per month
for members of the store (Amazon Prime Gaming). Xbox from Microsoft
launched their Xbox Game Pass Ultimate Cloud Gaming Beta, in which it is
possible to play the games with friends on different Microsoft devices; such as
computers, smartphones, tablets, and consoles (Xbox Cloud Gaming, 2021).
E-sports is frequently played and transmitted via the Internet but now is also
commonly shown on television with live commentating very similar to traditional
sports, the exclusive online event has morphed into in-person mega-events while
maintaining its presence through a variety of online channels (Jenny, Keiper,
Taylor, Williams, Gawrysiak, Manning, and Tutka, 2018). E-sports can boost the
economy with their unlimited potential growth (Jin, 2021). E-sports fans and
7
viewers are strongly loyal and supportive of their teams and athletes (Rosário and
Raimundo, 2021). The future growth in the perception of e-sports as sports is
undeniable (García and Murillo, 2020), the e-sports industry has a highly dynamic
environment, combined with self-organization and self-governance, which can be
seen as a liberal environment (Scholz & Barlow, 2019).
2.2. In-Game Advertising as a promotional tool
2.2.1. Product Placement

Product placement or brand placement indicates the inclusion of a logotype or
a logo mark, the brand name, a product, or its packaging in entertainment media.
Product placements normally involve “placing the brand inside an already existing
plot” (Russell, 1998) in the case of traditional advertising, consumers can
typically recognize that they are the target of a persuasive attempt from a brand,
and can react properly. In contrast, product placements, specifically subtle
placements, often add to the perceived realism of the narrative setting, with less
attention given to the persuasive intentions; Gillespie, Muehling, and Kareklas
(2018). Coviewing settings that encourage interaction between friends also
enhance recall of product placements more than solo viewing settings (Coker and
Altobello, 2018). For Chaney et al. (2018), product placement can also be the
insertion of a billboard with the brand's advertising message, the effect of the
product placement on the consumer is somewhat different between computer
games and other contexts. For example, watching a television program or a film is
a passive action, whereas a video game player actively interacts with the game
and there might be differences between product placement in games and in
traditional media. And because product placement is more expensive than
traditional advertising, it shouldn’t be an easy choice for the various different
types of brands (van der Westhuizen and Mulder, 2019).
It is effective to use traditional media to do product placement as show studies
with product placement in television (Corkindale, Neale & Bellman, 2021) and
film (Srivastava, 2018). A positive perception due to product placement has a
8
positive impact on purchase intentions; and a purchase decision is the process of
selecting two or more alternative choices that result in a decision to buy or not to
buy (Asnawati, Nadir, Wardhani, and Setini, 2022).
Brands and their marketing team should believe that gamification can
potentially increase customers’ engagement, awareness, and loyalty toward the
brand (Mishra and Malhotra, 2021). Gaming can also provide the opportunity for
creative experimentation, which is the key to success in a post-pandemic world.
Since most gamers are young people, brands that want to target the young
generation should consider the game industry to help their promotion.
Technological advances will also significantly increase the sensory richness of
social media (Yadav and Pavlou, 2020). Within the marketing domain, e-sports
can conceptualizes as a distinct segment of computer-game consumption,
identified by the particular experiences of competitive gameplay that immerse,
educate, entertain, and engage consumers in play, co-created within the value
network of marketing actors by a means of the specific forms of the online and
offline performances (Seo, 2013). Computer-based games are likely to be played
many times, thus providing repetitive brand exposure (Eagle and Dahl, 2018).
To Palmas, Reinelt, and Klinker (2021); in-game advertising at its core work
as an important communication tool in marketing, which aims to contribute to an
increase in brand awareness and at the same time aims to influence the recipient's
brand attitude positively, but advertiser may not only rely on exclusively in-game
promotion and should focus on prominent advertisement displays for better brand
recall when advertising high-involvement products by achieving as many
interactive player-contacts as possible. According to Leng, Rozmand, Low, and
Phua (2021) when advertising in-game; familiar brands tend to be recalled more
when compared to unfamiliar brands, and players from multi-player games are
more likely to recall a brand in comparison with the ones from single-player
games. Fast-paced types of games also resulted in higher thought favorability to
brand attitude than slow-paced games (Vashisht and Mohan, 2018). Billboards in-
game show more effectiveness than other forms of advertising and the challenge
for designers is to incorporate in-game advertisements that are dominant on small
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screens to facilitate recall and recognition (Chaney et al., 2018).
A study conducted by Chernikova and Branco (2019) revealed that gamers
generally respond positively towards product placement and that product
placement can indirectly impact emotional responses that will impact consumers’
purchase intention and advertising in the video game highlights brand recognition
and the perception of virtual reality. Experiencing virtual product placements in
immersive virtual reality may strengthen its effectiveness and the stimulus
(Oberdorfer, Straka and, Latoschik, 2021). Additionally, game players showed a
low intention of purchasing products or brands that only appeared on billboards, it
is hypothesized that players will be more likely to select brands that appear as
products used by a character than those that simply appear on background
billboards (Techawachirakul, 2020).
2.2.2. Product placement in in-game advertising

The main advantage when using product placement in video games is that
video game players can spend lots of time playing their favorite video games,
therefore marketers may expect a higher brand exposure time when compared to
other media like television or magazines (Martí, Bermejo and Aldás-Manzano,
2017). Consumers also pay more attention and recall larger advertisements and for
games, context is better for the ad to be in the focal area rather than the peripheral
area when prominently placed it’s recalled at a better rate than those placed subtly,
the more immersed a player is in the game their capacity to remember products
and brands decrease (Chaney et al., 2018). Spectators of games have recall levels
up to five times greater than those actually playing the game, so marketers should
consider the advertisement for not only the players but mostly the watchers; a
realistic environment is more appropriate to sell, and positive placement effects on
a higher brand placement memory, outstanding placements enhance brand
placement memory while not evidencing any significant backlash on persuasive
effects (Babin, Herrmann, Kacha, and Babin, 2021). Advertisers should try for
integrating the brands into the games they appear in, making them a part of the
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video game, thereby increasing their likelihood of being processed by gamers, and
advertising in games that encourage social gathering would result in greater reach
than in games designed for individual play (Gangadharbatla, 2016). Product
placement in video games is mainly visual, which can be presented in many
shapes of in-game items; starting as banners or billboards and other many digital
objects, these visual screen placements can be manipulated to help increase brand
recall and brand recognition, therefore they can strongly affect consumers' brand
awareness and brand familiarity; brand familiarity has been defined in terms of
the previous experience a consumer has with a brand (Martí, Bermejo and Aldás-
Manzano, 2017).
Regarding Park and Lin (2020), many consumers perceive user-based content
as more trustworthy than traditional commercial strategies and product placement
in-game can be extended to also game influencers’ live and game events which
can be unusual and give the game and the brand some extra attention. Associating
the brand with cool people and cool technologies makes the brand cool and
consumers spend more money on cool brands (Warren, Batra, Loureiro, and
Bagozz, 2019). Brand coolness can also influence brand engagement from
consumers (Khamwon and Kularbkaew, 2021).
Digital marketing campaigns that focus on social media marketing may also
use advertising in games as a tool, this type of entertainment is widely popular
and provides a huge engagement, especially when the game is presented in virtual
reality, it can significantly increase the effectiveness of social advertising
(Borawskaa, Borawskib, Biercewiczb, Latuszyńska and Dudac, 2020).
Advergame is an interactive online game made with the purpose to advertise a
product for a company, it is a very common way to promote video games and it is
highly influential on customers when compared to traditional advertising media
(Vashisht and Royne, 2016). In-game advertisement is not a new tool, but with
VR for example; it can become as unique as the new technology experiences
when not many people have tried therefore it continues to disrupt traditional
media (Lupinek, Yoo, Ohu and Bownlee, 2021).
2.2.3 Influencing factors and consequences
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Video games are known to be born in a digital era (De Prato, Feijóo, Nepelski,
Bogdanowicz and Simon, 2010), and currently, mostly all industries should
consider digital marketing; since it has increased year by year (Ghorbani,
Kargaran, Saberi, Haghighinasab, Jamali & Ebrahim, 2021). Digital and social
media marketing allows companies to achieve their marketing objectives at
relatively a low costs (Dwivedi et al., 2021). The adoption of new technologies
such as Augmented Reality (AR) and Virtual Reality (VR) is increasing and there
are applications in different areas including marketing (Langaro and Martins,
2020). Using AR in retail environments also showed an increase in customer
engagement with their shopping experience and an enhancement in brand
recognition and recall (Lopera, Ospina, and Victoria, 2021).
At present, the use of mobile phones ranges from basic entertainment and
communication to corporate meetings (Gomez and Raizada, 2020). That's a factor
to consider when promoting a brand, choose the right advertisements in a platform
that can be accessed by the majority, digital marketing is on the top of the list for
reaching customers and is expected to continue to be at the forefront of the
technological revolution; regarding Kim, Kang and Lee (2021). Most brands to
succeed must communicate clearly with their consumers, and also must identify
with them, games can provide an ambiance online and offline to target different
types of consumers and new audiences (Schreiner, 2008).
There are many ways to promote a brand but nowadays you must consider
digital marketing to communicate with your consumer (Giantaria, Yasaa,
Suprastoa, and Rahmayantib, 2022). The social network is the latest development
in advertising products and communicating with consumers (Shareef, Mukerji,
Dwivedi, Rana, and Islam, 2019). When individuals watch television, series, or
movies, they relax and let the information come to them, different from when
playing video games, individuals playing video games are in an active processing
mode, they interact with the video game and seek information actively, sometimes
modifying how and what information is presented to them (Gangadharbatla,
2016).
12
The choice of communication channels is very broad, several possibilities are
available to use. Television, radio, newspapers, magazines, direct mail, the
Internet, and billboards are all suitable for media planners to find the right way to
target relevant consumer segments with advertising campaigns that will be
effective in one particular context (Hackley, 2005), and the emerging of new
communication tools like social media as Facebook, YouTube, Instagram, TikTok,
Twitter, and many others are the “best possibilities available” to communicate
with potential customers; because it interacts socially and really engages with
customer online (Sl, 2016). Social Media boost is a result of the popularization of
smartphones and the internet which attracts young generations Z and Millennials
and because they were born into the technology era, they are more malleable to
learn and adjust to these new evolutions. Young adults (from ages 18 to 29) are
the most likely to use social media; 90% do. Still, the usage among people with 65
years or more has more than tripled since 2010 when only 11% used social media.
Today, 35% of all those who are 65 years or older report using social media,
compared with just 2% back in 2005 (Parihar and Rai, 2020).
Multiplayer video games amplify social interaction between gamers (Bankov,
2019), some multiplayer online battle arena (MOBA) games have their own social
network, in-game you can check your friends’ list, chat and play with them. Apart
from them, there are big social platforms that allow gamers to interact and watch
live video streaming of people playing the games (Discord and Twitch). Typically
older generations of gamers are more hesitant to engage on general purpose social
media platforms such as Twitter or Facebook, meanwhile, mobile games are more
popular amongst young children and teens that are more likely to use social media
to share video game moments (Bankov, 2019).
13
3. CONCEPTUAL MODEL
Brand awareness which is the level of awareness that the consumer has for a
brand, being the first brand in mind when in a search for a product (Bilgin, 2018)
is the main factor when it comes to deciding which brand the consumer will
consider at the time of purchasing (Srivastava & Dorsch, 2020). Brand recall, a
component of brand awareness, is the customer‘s ability to recall a brand using
information from memory (Khurram, Qadeer, and Sheeraz, 2018). Brand recall
influences consumer purchase intention, and the type of advertisement and
product will also affect brand recall (Srivastava, 2016).
Virtual objects in-game include skins for the avatar and for Allen and Anderson
(2021); avatar identification has been defined as a temporary merging of
characteristics of the avatar with concepts of the self and players tend to distance
themselves from immoral avatars. Identification refers to the mental activity of
temporarily imagining oneself in the position of another one (Riet, Meeuwes,
Voorden & Jansz, 2018). Players can increases their self-esteem in real life
through their avatar self-identification, avatars function as humans in online
environments to enable communication in online environments (Choi, 2019). As
for Kim, Gupta, and Koh (2011), self-identity shows that an avatar can be viewed
as a unique way of representing one's self-identity and desire for self-disclosure.
Their study focuses on a graphical digital item that includes digital avatars, avatar
accessories (e.g., clothes, shoes, hats), decorative items for virtual rooms (e.g.,
furniture, art paintings, wallpapers), background skins/templates and emotes, that
can be used to represent their users. Those virtual items can be defined as the ones
that provide a competitive advantage; functional items and non-functional items;
that are purely for the aesthetic (Marder et al., 2019). Younger players are more
likely to buy in-game items, players who spend more time will also spend more
and income is not a significant predictor of the willingness to pay and how much
players would pay is determined not by their financial capability but by the game
itself; regarding Cai, Wohn and Freeman (2019). Gamers can also perceive virtual
items as things that improve their gameplay or as symbols of status and
14
achievement which encourages players to either spend real-world money on them
or become really good in the game to unlock them naturally (Hsiao and Chen
2016). Because gamers view in-game characters as part of themselves, they are
most likely to purchase non-functional virtual items to make their in-game
characters more fashionable or attractive (Wang, Sun, and Luo, 2022). Revenues
from the online gaming industry have increased over the last few years, and the
virtual items market has also grown. When gamers identify with the game
characters, they place increased value on the in-game items and when gamers
perceive greater values of those items, they are more inclined to purchase them
(Park and Lee, 2011).
Advertising in video games enhances brand recognition and the perception of
virtual reality (Chernikova and Branco, 2019). Recognition is the ability to
remember when there was previous exposure to the brand (Roettl and Terlutter,
2018). Brand awareness is the fundamental and foremost limitation in any brand-
related to search and it is the ability of a consumer to recognize and recall the
brand in different situations, it affects the decision-making of a consumer about a
product (Shahid, Hussain, & Zafar, 2017). Unaided awareness or spontaneous
awareness is one of the situations where the digital objects(skin and statue) will be
tested for recall, the other situation is the opposite; aided awareness, and the last
situation is tested for brand recognition. Previous studies have not studied
responses due to the involvement of different types of virtual objects and the
significant effect on awareness.
Thus, the first hypotheses are developed:
H1a: The type of digital object that is used (Statue and skin) has a significant
effect on aided awareness;
H1b: The type of digital object that is used (Statue and skin) has a significant
effect on spontaneous awareness;
H1c: The type of digital object that is used (Statue and skin) has a significant
effect on brand recognition.
15
In-game advertisement’s success is traced back to a high degree of involvement
based on the emotional influence experience while playing a game, and prominent
brands were recalled slightly more often than peripheral ones (Palmas, Reinelt,
and Klinker, 2021). When it is an outstanding placement, brands tend to appear in
the central part of the game screen, thus, processing the in-game brand placements
is more integral to the action of game-playing, and requires the less spare capacity
to successfully perform the secondary task which is processing the in-game brand
placements (Vashist, 2018). Games with prominent brand placement, and low
game involvement resulted in greater brand recall than high game involvement
conditions (Vashisht, 2017). Marketers and advertisers need to make sure that in-
game brand placements are really being viewed and paid attention to by the
players and watchers and understand that regarding advergame; the more the
attentional capacity gets used up for game-playing activities, the less remains for
processing in-game brand placements (Vashist, 2018). As seen in past studies,
brand fit is an important variable when measuring awareness, because the
relevance of fit determines the success of brand extensions (Knoerzer and
Millemann, 2021).
Brands that can be integrated into the game experience, on a deeper emotional
level advertisements, with a high level of integration can offer the highest chance
of successful brand recall from the gamers. In the context of the in-game
advertisement, it can be said that players need to use most of their cognitive
resources to process the first stimuli that is to play the game, which can be the
moving targets in a shooting game or the changing track in a racing game, the act
of playing game leaves little cognitive ability to absorb surrounding information
as the product placement (Chaney et al., 2018; Gangadharbatla, 2016). Video
game live streaming is like real-time video social media that integrates traditional
broadcasting and online gaming (Li, Wang, and Liu, 2020). Regarding Sjöblom
and Hamari (2017), it has been assumed that watching others play does not
provide the same thrills as playing games but watching others play may provide
social gratifications that are commonly absent in a normal single-player
16
experience. Which is the reason to highlight the importance of the players’
perspective and its big part in the games monetization process.
Previous research provides interesting findings on the impact of co-viewing on
the recall of product placements in social settings; it suggests that co-viewing
settings with friends generate superior recall when compared to watching alone,
watching passively with a friend, or watching with a non-friend (Coker and
Altobello, 2018). But when co-viewing the product placements in TV
commercials reduces the effectiveness because the presence of another person
distracts each co-viewer’s attention from the screen (Bellman, Rossiter, Schweda
& Varan, 2012). The limited-capacity model of attention of Kahneman (1973)
suggests that a game player’s limited processing capacity must be divided into the
resources necessary for playing the game itself (primary task) and those needed
for processing in-game brand messages (secondary task) (Lee & Faber, 2007). For
Lee and Faber (2007) the more capacity is used for the primary task, the less
capacity is available for the secondary task, inexperienced players also tend to use
more capacity for the primary task unlike experienced players; when their
involvement with the game is not very high. As for game-product congruity, it
was also found that highly incongruent brands (brands that have no relations to
the game) are better recalled than either moderately incongruent brands or highly
congruent brands (brands that have relations to the game).
It is confirmed by Vashisht, Mohan and Chauhan (2020) that incongruent-
newness produces a large contrast effect, which results in high mind-engagement
of the players resulting in higher brand recall unlike a congruent-newness case,
which means that when there is a strange and unexpected ad component it has
more positive effects on the advertising effectiveness. So it is expected that
gamers are more likely to use their cognitive resources more in processing
incongruent newness than congruent newness. For Lee and Faber (2007), low-
relevant brands (e.g., pet foods) were better remembered than high-relevant
brands (e.g., gasoline) within a car racing type of game. As for Kim, Kim & Song
(2019) gamers are more likely to have favorable brand evaluation when the game
characters are congruent with the brand compared to the incongruent one. Another
17
previous study conducted by Srivastava (2018) with product placement in films;
indicated that low-involvement products have better purchase intention when
compared to high-involved products.
Because there are not many studies that measure if brand fit (high/low)
moderates the effects of the type of digital object on awareness, the second
hypotheses are:
H2a: The brand fit with the game (high/low) moderates the effects of the type of
digital object on aided awareness;
H2b: The brand fit with the game (high/low) moderates the effects of the type of
digital object on spontaneous awareness;
H2c: The brand fit with the game (high/low) moderates the effects of the type of
digital object on brand recognition.
The use of brand awareness when dealing with purchase intention is

unquestionable, higher levels of brand awareness are a positive effect; which
motivates consumers to buy (Chakraborty, 2019). And to test if awareness has a
significant effect on the purchase intention of digital objects; the third hypotheses
are:
H3a: There is a significant effect of aided awareness on purchase intention

towards the digital object;
H3b: There is a significant effect of spontaneous awareness on purchase intention
towards the digital object;
H3c: There is a significant effect of recognition on purchase intention towards the
digital object.
The motivation for players to purchase virtual items can be classified into two
different types: (a) functional or instrumental props that assist players to increase
the offensive or defensive power of their virtual characters (e.g., increased vehicle
speeds); or (b) decorative or expressive props to alter the appearances of virtual
18
characters, or improve social relationships or communication (e.g., items that
allow players to make love proclamations or offer congratulations to other
players) (Wu and Hsu, 2018). In this study, the intention to purchase is defined as
the consumer’s intention to buy skin or a statue. Finally, the last hypotheses are:
H4a: Purchase intention towards the brand for participants exposed to the high fit
object (skin) is higher than those exposed to the high fit turret (statue);
H4b: Purchase intention towards the brand for participants exposed to the low fit
object (skin) is higher than those exposed to the low fit turret (statue).
H4c: Purchase intention towards the brand for participants exposed to brands is
different from those not exposed to any brands(control group).
Based on the previous hypotheses, the conceptual model is presented in Figure

3.1 below:
Brand fit
(high/low)
H2c Aided
awareness H4b
H2b H1a
H4a
H2a
H3a
Digital Object Spontaneous Purchase

(skin/statue) H1b awareness H3b Intention
H3c
H1c H4c
Brand
Recognition
Figure 3.1 - Model
19
4. METHODOLOGY
4.1. Stimuli
This study is an experiment between subjects, in which participants were asked
to watch test situations from a gameplay cut of the game Mobile Legends: Bang
Bang (MLBB), a MOBA type of game was chosen because most past
studies(Chaney et al., 2018; Vashist, 2018; Lee and Faber, 2007) have already
studied the racing type of games. Four situations contained one brand on a
different execution inside the game and one situation is the control group of the
experiment, with no brand exposure, resulting in a total of five experimental
conditions.
4.2. Participants and procedure

In all, 300 respondents were randomly assigned for the video exposure, and
then asked to fill out an online questionnaire in Portuguese (Annex A) eliciting
their memory of the brands embedded in the game and their purchase intention
towards the digital items. The survey method was used in this study to collect the
data and it was distributed among the unofficial Facebook community of MLBB
players from Brazil and Portugal and also the staff that works for the game. The
survey was conducted via Qualtrics and it contained four sections.
In the first section, respondents were informed that the information is treated in
a confidential, anonymous, and aggregated way, being used only for academic
purposes. In the second section, respondents were asked to watch one video
containing one product placement in different executions in-game. As for the
brand choice for the product placement; it was considered the brand congruency
with the game. For Gross (2010), game-product congruity is scaled in four
dimensions: (1) the brand is perceived to be a central object used in the content of
the game (2) the lifestyle associated with the content of the game matches the
lifestyle associated with the product or brand (3) the brand image is perceived to
contribute to the theme of the game and (4) the product category of the brand
seems appropriate to be associated with the theme of the game. A high fit for an
20
online game is also a digital brand with online products, mostly in the
entertainment field (movies or music) and the low fit includes brands that are
known for their physical products (food or beverage). The first video has a high fit
(Netflix) on the skin (Figure 4.1). The second video has a high fit (Netflix) on the
turret (Figure 4.2). The third video has a low fit (Mc Donald’s) in the turret
(Figure 4.3) and the last video has a low fit (Mc Donald’s) on the skin(Figure 4.4).
And, there is also a control group in which there is no brand in it, only the game
gameplay(Figure 4.5). Each respondent will be assigned to watch one of the short
videos randomly and each respondent won’t watch more than one video. The
videos were created based on a promotional gameplay video from the game in
2022, a short part where the skin and statue are most centered in the screen was
cut out from the original video to be used as video stimulation for the survey, the
brands’ logos were added to the video using the video editing software Adobe
Premiere and uploaded as a not listed video on Youtube. Then the videos were
added to the survey and randomly assigned to each one of the respondents.
Figure 4.1 - Survey video 1 Figure 4.2 - Survey video 2

https://youtu.be/ewEG5czH7cg https://youtu.be/kaZwFUHOVoI
Figure 4.3 - Survey video 3 Figure 4.4 - Survey video 4

https://youtu.be/S30SrcGVvS0 https://youtu.be/KqSVtFx68cc
21
Figure 4.5 - Survey video 5
https://youtu.be/cmKI-DVcwnM
In the third section of the survey, respondents were asked to answer questions
related to the video that they just watched in the previous section, to check what
brand they recall and recognize from the video and which digital object they have
the intention to purchase. In the last section of the survey to better understand the
respondents, socio-demographic questions will be presented. In this section, there
will be questions with answer options: about gender, age, educational level, and
income.
After gathering the results obtained from the participants and comparing each
other’s values, confirm the hypotheses.
4.3. Measurements
The participants' awareness and intention to purchase digital items are
measured from the same scales as past studies: Herrewijn and Poels (2015) and
Balakrishnan and Griffiths (2018) respectively. The game-product congruency or
brand fit refers to the degree to which the product category of the embedded brand
is related to the content of the game (Peters & Leshner, 2013), and the scales used
are adapted from Lee and Faber (2007).
Specifically, we asked them first to report spontaneously the brands they
remembered encountering in the digital game, subsequently, participants were
presented with a list of brand names (i.e. brand name recognition), and then a list
of brand logos (i.e. brand logo recognition) (Herrewijn and Poels, 2015). In
addition to this, we also captured the purchase intention measurement adapted
from Balakrishnan and Griffiths, 2018 comprised of five items; (1) I intend to
purchase… (2) I strongly recommend others to purchase… (3) I find purchasing
22
…. to be worthwhile (4) I am likely to purchase… and (5) I plan to spend more on
purchasing. Participants were also asked to rate from 1 (totally disagree) to 7
(totally agree) the level of the perceived congruence of each brand with the game,
the measures used were: (1) the shown product category is a relevant object to the
game; (2) the images I associate with the brand are related to the images I
associate with the game; (3) the brand represents a lifestyle associated with the
game; and (4) the advertised brand is a good fit for the game (Lee and Faber,
2007).
23
5. RESULTS AND DISCUSSION
5.1. Descriptive statistics

For starters, with the descriptive analysis, to profile the population of this
sample which is composed of a total of 300 valid respondents, from which about
74.3% are men and 23.7% are women and 2% are non-binary (Figure 5.1) which
shows an increase in the female percentage when compared to previous studies
from Hsiao & Chen (2016) and Hamari & Al. (2017) that 11% and 9% of their
sample were female, respectively. The survey was conducted in Portuguese and
most majority with 96.3% being Brazilian, 3.3% being Portuguese and the
remaining 0.3% being Chinese (Figure 5.2).
Figure 5.1- Gender
24
Figure 5.2- Nationality
The majority of respondents have an average age of approximately between 19

to 25 years old. And when analyzing the relationship between age and the highest
level of education completed, it can be concluded that 71% of the population
between 19 and 25 years has completed high school (Figure 5.3).
Figure 5.3- Age and Education
25
Moreover, when analyzing the relations of respondents that like to play the
game with the frequency they play the game, it shows that 85.5% of the
respondents that like to play; play every day or at least once a week. And 5.3% of
respondents that never plays but played once before dislike the game. (Figure
5.4).
Figure 5.4- Frequency and like to play
The majority of 90,3% of the respondents used mobile to answer the survey
and the remaining 9,7% used a computer (Figure 5.5) which reinforces the
popularity of smartphones from recent studies (Ericsson, 2022).
26
Figure 5.5- Mobile phone and computer
With the descriptive analysis is also important to categorize each one of the
groups, every group had a total of 60 respondents with valid answers. The group
that saw the brand Mc Donald’s on the statue (M2) had 80% of male respondents
(Figure 5.6) and 50% aged between 19 to 25 years old (Figure 5.8), 41.7% had
finished high school (Figure 5.9) and 98.3% are Brazilians (Figure 5.7), 96.7%
like to play MLBB (Figure 5.10) and 51.7% play every day (Figure 5.11). 88.3%
of the respondents answered the survey using mobile phones (Figure 5.12). The
group that saw the brand Netflix on the skin (N1) had 71.7% of male respondents
(Figure 5.6) and 61.7% aged between 19 to 25 years old (Figure 5.8), 63.3% had
finished high school (Figure 5.9) and 93.3% are Brazilians (Figure 5.7), 96.7%
like to play MLBB (Figure 5.10) and 48.3% play once a week (Figure 5.11).
88.3% of the respondents also answered the survey using mobile phones (Figure
5.12). The group that saw the brand Netflix on the statue (N2) had 76.7% of male
respondents (Figure 5.6) and 55% aged between 19 to 25 years old (Figure 5.8),
50% had finished high school (Figure 5.9) and 98.3% are Brazilians (Figure 5.7),
91.7% like to play MLBB (Figure 5.10) and 38.3% play every day (Figure 5.11).
90% of the respondents answered the survey using mobile phones (Figure 5.12).
27
The group that saw the brand Mc Donald’s on the skin (M1) had 76.7% of male
respondents (Figure 5.6) and 55% aged between 19 to 25 years old (Figure 5.8),
50% had finished high school (Figure 5.9) and 98.3% are Brazilians (Figure 5.7),
91.7% like to play MLBB (Figure 5.10) and 38.3% play every day (Figure 5.11).
90% of the respondents answered the survey using mobile phones (Figure 5.12).
The last group is the control group which did not see any brand had 71.7% of
male respondents (Figure 5.6) and 65% aged between 19 to 25 years old (Figure
5.8), 55% had finished high school (Figure 5.9) and 96.7% are Brazilians (Figure
5.7), 93.3% like to play MLBB (Figure 5.10) and 51.7% play every day (Figure
5.11). 95% of the respondents from the control group answered the survey using
mobile phones (Figure 5.12).
Figure 5.6- Groups Gender
28
Figure 5.7- Groups Nationality
Figure 5.8- Groups Age
29
Figure 5.9- Groups Education Level
Figure 5.10- Groups and Like to play MLBB
30
Figure 5.11- Groups and Frequency of play
Figure 5.12- Groups and electronic device
31
5.2. Reliability tests
To verify if each item on the survey fits the right dimension measured, a Principal
Component Analysis(PCA) was conducted and resulted in two dimensions; Purchase
Intention and Brand Fit respectively (Table 5.1).
Table 5.1- PCA
32
After, to validate the items of each variable studied(Purchase Intention and
Brand Fit) a Cronbach Alpha test was conducted to see if each Alpha is higher
than 0,7. For Purchase Intention it is 0,954 and for Brand Fit it is 0,993 (Table 5.2
and 5.3).
Table 5.2- Cronbach Alpha PI Table 5.3- Cronbach Alpha BF
An ANOVA test was also conducted to verify and see if the groups that saw a
brand had a different mean than those that were not exposed to brands [F(4, 295)
= 62.330, p<.001]. While the means from the four groups that saw a brand remain
almost the same(M=4.08, DP=0.381; M=4.08, DP=0.334; M=4.13, DP= 0.468;
M=4.18, DP=0.537) it is different from the mean of the group that did not see any
brand(M=5.02, DP=0.129).
5.3. Hypotheses testing

Finally, to reach the objective of the research and test the hypotheses a few
analysis was conducted. As a common method used by Martí-Parreño and Aldás-
Manzano (2017) mainly due to their dichotomous nature, for the H1 a binary
logistic regression was conducted to verify if the type of digital object (statue and
skin) is a predictor for the variable Brand Aided Awareness, Brand Spontaneous
33
Awareness, and Brand Recognition. Thus, the H1a it was found that the model
that contained the type of digital object (statue and skin) was not statistically
significant [X2(1)=.352, p=.553], see Annex C. For the H1b, it was found that the
model that contained the type of digital object (statue and skin) was also not
statistically significant [X2(1)=.200, p=.654], see Annex D. And for the H1c it was
found that the model that contained the type of digital object (statue and skin) was
not statistically significant as well [X2(1)=.352, p=.553], see Annex E. Which
does not support the H1a, H1b, and H1c.
Because in the H2 there is a moderator variable, a variable used to investigate

the strength of the relationship between an independent and dependent variable, a
moderation analysis using the PROCESS macro extension installed in SPSS was
conducted in order to verify if a (high/low) brand fit with the game moderates the
effects of the type of digital object on aided awareness, spontaneous awareness,
and recognition. As seen in Table 5.4 there was no statistically significant effect
regarding the interaction between the variable Brand Fit (high/low) and the
variable Brand Aided Awareness, so it can be concluded that there was no
moderation which does not support the H2a (Annex F).
Moderation model effect
Coefficient SE t p
Constant 3.2562 .3776 8.623 <.0001
Type of Digital Object (X) -.3934 .7552 -.5210 .6024
Brand fit with the game (W) .1301 .0466 2.792 .0052
Type of Digital Object *
Brand fit with the game -.0292 .0932 -.3140 .7535
(X*W)
Table 5.4- Moderation BAA
For the H2b, a moderation analysis was conducted in order to verify if a (high/
low) brand fit with the game moderates the effects of the type of digital object on
spontaneous awareness. As seen in Table 5.5 there was no statistically significant
34
effect regarding the interaction between the variable Brand Fit (high/low) with the
game and the variable Brand Spontaneous Awareness, so it can be concluded that
there was no moderation which does not support the H2b (Annex G).
Coefficient SE t p
Constant 2.4915 .2609 9.550 <.001
Type of Digital Object (X) .0692 .5218 .1326 .8945
(X*W)
Table 5.5- Moderation BSA
For the H2c, a moderation analysis was conducted in order to verify if a (high/
low) brand fit with the game moderates the effects of the type of digital object on
brand recognition. As seen in Table 5.6 there was no statistically significant effect
regarding the interaction between the variable Brand Fit (high/low) with the game
and the variable Brand Recognition, so it can be concluded that there was no
moderation which does not support the H2c (Annex H).
Coefficient SE t p
Constant 3.2562 .3776 8.623 <.001
Type of Digital Object (X) -.3934 .7552 -.5210 .6024
(X*W)
Table 5.6- Moderation BF
35
Commonly used for predictive analysis, for the H3 a simple linear regression
with a categorical independent variable was conducted to verify if Brand Aided
Awareness, Brand Spontaneous Awareness, and Brand Recognition are able to
predict the purchase intention towards the digital object. The analysis resulted in a
statistically significant model [F(1,238)=12.782, p<.001; R2=.051]. The variable
Brand Aided Awareness (β=-7.132; t=-3.572; p<.001) is a predictor variable of the
purchase intention of a digital object, explaining 5.1% of its variance which
supports the H3a (Annex I). It can also be assumed that the participants who
mention the brand tend to present higher values of purchase intention of a digital
object, compared to the participants who did not mention the brand. For H3b, a
simple linear regression with a categorical independent variable was conducted to
verify if Brand Spontaneous Awareness is able to predict the purchase intention
towards the digital object. The analysis resulted in a statistically significant model
[F(1,238)=7.822, p=.006; R2=.032]. The variable Brand Spontaneous Awareness
(β=-4.256; t=-2.797; p=.006) is a predictor variable of the purchase intention of a
digital object, explaining 3.2% of its variance which supports the H3b (Annex J).
It can also be assumed that the participants who mention the brand tend to present
higher values of purchase intention of a digital object, compared to the
participants who did not mention the brand. For the H3c, a simple linear
regression with a categorical independent variable was conducted to verify if
Brand Recognition is able to predict the purchase intention toward the digital
objects. The analysis resulted in a statistically significant model
[F(1,238)=12.782, p<.001; R2=.051]. The variable Brand Recognition (β=-7.132;
t=-3.575; p<.001) is a predictor variable of the purchase intention of a digital
object, explaining 5.1% of its variance which supports the H3c (Annex K). It can
also be assumed that the participants who mention the brand tend to present
higher values of purchase intention of a digital object, compared to the
participants who did not mention the brand.
As for the H4a (Annex L), to verify whether there are statistical differences
regarding the purchase intention between the people who saw the brand Netflix in
the skin and the people who saw the brand Netflix in the turret, a t-test was
36
conducted for independent samples to check if the null hypothesis if fulfilled and
to compare the means from the two groups. Through the Levine test it was
verified that the assumption of homogeneity of variances was fulfilled (p=.743).
Lastly, it can be concluded through this test that there is a statistically significant
difference between the two groups[t(118)=2.583, p=.011]. Thus, the group of
people who watched Netflix in the skin (M=48.15, SD=6.671) had a higher
average purchase intention than the group of people who watched Netflix in the
turret (M=45.03, SD=6.548) which accepts H4a. For the H4b (Annex M), to
verify whether there are statistical differences regarding the purchase intention
between the people who saw the brand Mc Donald’s in the skin and the people
who saw the brand Mc Donald’s in the turret, a t-test was conducted for
independent samples. Through the Levine test it was verified that the assumption
of homogeneity of variances was fulfilled (p=.743). Lastly, it can be concluded
through this test that there is not a statistically significant difference between the
two groups[t(118)=-1.466, p=.145] which rejects H4b.
And lastly, for the H4c (Annex N), in order to compare the purchase intention
of the groups exposed to brands and the group not exposed to brands(control
group), a non-parametric Kruskal-Wallis test for independent samples was
conducted after the ANOVA assumptions were not fulfilled. Thus, it was found
that there are significant differences between the groups regarding purchase
intention [H(4)=171.889, p<.001]. By the pairwise comparisons between the
groups, it can conclude that the control group is significantly different from the
other groups (p<.050), with a higher purchase intention(M=94.25, DP=10.787)
when compared to the groups that were exposed to brands (M=42.08, DP=6.458;
M=48.15, DP=6.671; M=45.03, DP= 6.548; M=43.83, DP=6.618).
To sum up, Table 5.7 shows if each one of the hypotheses’ results is accepted
or rejected.
37
Hypotheses Sig. Results
H1a The type of digital object that is used (Statue and skin) has a
significant effect on aided awareness .553 Rejected
H1b The type of digital object that is used (Statue and skin) has a
significant effect on spontaneous awareness .654 Rejected
H1c The type of digital object that is used (Statue and skin) has a
significant effect on brand recognition .553 Rejected
H2a The brand fit with the game (high/low) moderates the effects of
the type of digital object on aided awareness .7535 Rejected
H2b The brand fit with the game (high/low) moderates the effects of
the type of digital object on spontaneous awareness .3266 Rejected
H2c The brand fit with the game (high/low) moderates the effects of
the type of digital object on brand recognition .7535 Rejected
H3a There is a significant effect of aided awareness on purchase

intention towards digital object .001 Accepted
H3b There is a significant effect of spontaneous awareness on

purchase intention towards the digital object .006 Accepted
H3c There is a significant effect of recognition on purchase intention

towards the digital object .001 Accepted
H4a Purchase intention towards the brand for participants exposed to

high fit object (skin) is higher than those exposed to high fit turret .011 Accepted
(statue)
H4b Purchase intention towards the brand for participants exposed to
low fit object (skin) is higher than those exposed to low fit turret .145 Rejected
(statue)
H4c Purchase intention towards the brand for participants exposed to
brands is different from those not exposed to any brands(control .001 Accepted
group)
Table 5.7- Hypotheses Outcomes
5.4. Discussion
To answer the main research questions regarding the impact of in-game
advertising on the purchase intention of digital objects and the role of brand
awareness and brand fit in explaining the effects, the survey items were tested and
38
compared with each other to conclude that brand awareness and brand fit indeed
explain the effects of in-game advertising on the purchase intention of the digital
object.
The first and second hypotheses test if the type of digital object used (statue
and skin) is a predictor for brand awareness and if a (high/low) brand fit with the
game can moderate the effects of the type of digital object on the brand
awareness, the results showed the opposite just as in previous research
(Oberdorfer et al., 2021).
As seen before by Chakraborty (2019), brand awareness can motivate
consumers to buy. In this study, the third hypothesis resulted that brand awareness
is a predictor of purchase intention towards the digital object, and respondents that
mention the brand correctly have higher means of purchase intention towards the
digital object, this can be explained because of respondent’s lack of attention in
remembering the brand, some of the answers from the survey was “I forgot”, “I
don’t remember” or “I don’t know”. It can also be understood that brands that are
more known among the game target tend to have higher levels of purchase
intention toward the digital object, which is in line with the previous study
(Catalán et al., 2019).
It was also found that people who saw a high-fit brand on the skin have
higher levels of purchase intention towards the digital object when compared to
the people who saw a high-fit brand on turrets which means that the company
tested in the survey (MLBB) have higher levels of purchase intention with its
skins instead of statues when comparing the two in-game virtual items,
reinforcing the part research from Techawachirakul (2020). The low-fit brand on
the skin and low-fit brand on turrets do not differ regarding the purchase intention
towards the digital object confirming that only the high-fit brand has higher levels
of purchase intention as seen in a previous study by Chang et al. (2010).
The last finding exposed an unusual expected result, which is that the groups
exposed to the brand has lower purchase intention towards the digital object when
compared to the groups that were not exposed to any brand, the reason can be
explained because the in-game advertising negatively affects the in-game flow
39
experience of the players (Akhan & Özdemir, 2021), the role of flow has a
positive impact on the attitude toward the game (Mishra et al., 2021), and the role
of flow also has a positive impact on purchase intention towards the digital
objects (Catalán et al., 2019).
40
6. CONCLUSIONS AND RECOMMENDATIONS
The aim of this study is to understand if the in-game advertisement is useful on

the purchase intention towards the digital object and if brand awareness and brand
fit explain the effects. As a function of this, an experiment with 5 different groups;
each group was exposed to a different condition to test the variables of brand
awareness, purchase intention, and brand fit. The 5 groups are divided into the
ones who saw Netflix on the skin, Netflix on the turret, Mc Donald’s on the skin,
Mc Donald’s on the turret, and one control group that did not see any in-game
brand advertisement. Brand awareness, purchase intention, and brand fit were
measured through all the groups that saw a brand while the group that did not see
a brand was only measured by the purchase intention of the digital objects.
The report that can be drawn out of this study is that the type of digital object
that is used (skin and statue) have not a significant effect on aided awareness,
spontaneous awareness, and recognition, and the brand fit with the game (high
and low) does not moderate the effects of the type of digital object on aided
awareness, spontaneous awareness, and recognition. But there is a significant
effect of aided awareness, spontaneous awareness, and recognition on the
purchase intention toward the digital object. The variables aided awareness and
recognition both explain the same 5.1% of the variance of the purchase intention
towards digital objects while the variable spontaneous awareness explains 3.2% of
the dependent variable purchase intention towards the digital object. In all of the 3
hypotheses from H3; regarding the effect of aided awareness, spontaneous
awareness, and recognition on the purchase intention towards digital objects the
participants who mention the brand correctly present higher values of purchase
intention of a digital object, compared to the participants who did not mention the
brand correctly. The group that saw Netflix on the skin had a higher mean of
purchase intention that the group that saw Netflix on the turret but there were no
differences between the group that saw Mc Donald’s on the skin and the group
that saw the brand Mc Donald’s on the turret. Nevertheless, when comparing the 5
groups together regarding the variable purchase intention it is assumed that there
41
are significant differences between the groups and that the control group has
higher values of purchase intention, in short, the group that did not see any in-
game advertising has more intention to buy digital object when compared to the
groups that saw in-game advertising. Under this circumstance, in-game
advertising has a negative impact the purchase intention of digital objects because
the level of purchase intention towards the digital objects was higher in the group
that did not see any in-game advertising. Brand awareness impact the purchase
intention of the digital object but the brand fit only impact on the purchase
intention of the digital object when compared between a high fit and a low fit,
excluding the control group.
In conclusion, the type of digital object does not impact awareness and brand
fit does not moderate the effects (Oberdorfer et al., 2021), but brand awareness
impacts on purchase intention of digital objects, and the presence of brands
indicate lower purchase intention of digital objects when compared to the absence
of brand; which can be explained by the in-game advertising negatively affects the
game flow (Akhan & Özdemir, 2021), consequently affects the brand attitude
towards the game (Mishra et al., 2021) and affects the purchase intention towards
the in-game digital object (Catalán et al., 2019). Games should be very cautious
when partnering with brands and also brands should choose wisely their
collaborations; to find a common target from both companies, because not every
in-game advertising that is brand and game congruent will for sure be accepted by
the players. The product placement must first be authentic and not intrusive, after
all, consumers prefer to buy a brand they know instead of a new product (Shahid
et al., 2017). It’s important to understand the brand target and the game target,
learn who are the consumers and what they need should be the main goal for the
companies to ensure the flow experience and to have positive effects with the in-
game advertising on the purchase intention of digital objects.
42
6.1. Limitations and future research
This study was based on a MOBA(Multiplayer Online Battle Arena) mobile
game which means that the findings should not be generalized to all types of
video games. The limitations of this study consist firstly in the type of video game
tested, future research should definitely test the effects of in-game advertising on
purchase intention for many other types of games (e.g. shooter games, role-
playing games, simulation games) and the many platforms(e.g. PC, console, VR)
it has. Secondly, this survey was conducted in Portuguese which excluded many
other players from the game, future research can consider a more diverse sample
to do the analysis because a different culture can also influence the responses
from the survey and lead to different results in the end. Lastly, the in-game
advertising had limitations of size and position which affected the realism of the
IGA. Due to time limitations, it was not possible to create an experimental real
game base, it was used a cut from a pre-made video instead, for the manipulations
on Adobe Premiere.
It would be interesting for future work to research the impact of mobile IGA on
purchase intention by displaying the actual product instead of a brand logo, and to
use more interactive and realistic stimuli to understand the effects. Future research
should definitely focus on the brand fit and game flow experience when exposing
in-game advertising.
43
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52
ANNEXES
Annex A - Survey in PT
Intro Question Block
Caros participantes,
Esse questionário faz parte da minha dissertação de Mestrado em Marketing e não vai demorar mais de 10 minutos.
As informações serão tratadas de forma confidencial e anônima, sendo utilizadas apenas para fins acadêmicos.
Você aceita realizar o questionário?
Agradeço desde já!

Sim
Não
Bloco M2
Para responder as perguntas por favor escute e assista com atenção o video abaixo:
O video que você acabou de assistir é do jogo MLBB?

Sim
Não
Não sei
No vídeo que você acabou de assistir aparece um herói e uma torre?

Sim
Não
Não sei
Para responder as perguntas por favor escute e assista com atenção video abaixo:
Você conseguiu ver bem o vídeo?

Sim
Não
Não sei
O vídeo que você acabou de assistir foca em um confronto/batalha?

Sim
Não
Não sei
O vídeo que você acabou de assistir tem som?

Sim
Não
Não sei
53
Você lembra de ter visto alguma marca no video?
Sim
Não
Não sei
Que marca você viu no vídeo?
Qual marca você viu no vídeo?

Shell
Mc Donald's
Burger King
Master Card
None
54
None
Com base no vídeo anterior onde aparece a marca Mc Donald's na torre, avalie seu nível de concordância com as
afirmações a seguir sobre estátuas com o tema Mc Donald's:
Nem
concordar
Discordar Discordar nem Concordar Concordar
totalmente Discordar parcialmente discordar parcialmente Concordar totalmente
Eu pretendo comprar estátuas
(torre) com o tema Mc
Donald's
Eu recomendo fortemente que
os outros comprem estátuas
Donald's
Eu acho que comprar estátuas
Donald's valem a pena
É provável que eu compre
estátuas (torre) com o tema
Mc Donald's com frequência
Eu pretendo gastar mais em
Mc Donald's
Com base no vídeo anterior avalie seu nível de concordância com as afirmações a seguir:
Nem
concordar
A categoria do produto
apresentado é um objeto
relevante para o jogo
Associo imagens da marca
apresentada com as imagens
do jogo
A marca apresentada
representa um estilo de vida
associado ao jogo
A marca apresentada combina
55
com o jogo
Bloco N1

Sim
Não
Não sei

Sim
Não
Não sei

Sim
Não
Não sei

Sim
Não
Não sei

Sim
Não
Não sei

Sim
Não
Não sei
56
Shell
Netflix
Burger King
Master Card
None
None
Com base no vídeo anterior onde aparece a marca Netflix na skin, avalie seu nível de concordância com as
57
afirmações a seguir sobre skins com o tema Netflix:
Nem
concordar
Eu pretendo comprar skins
com o tema Netflix
os outros comprem skins com
o tema Netflix
Eu acho que comprar skins
com o tema Netflix valem a
pena
skins com o tema Netflix com
frequência
skins com o tema Netflix
Nem
concordar
do jogo
A marca apresentada
associado ao jogo
com o jogo
Bloco N2

Sim
Não
Não sei

Sim
Não
Não sei
58
Sim
Não
Não sei

Sim
Não
Não sei

Sim
Não
Não sei

Sim
Não
Não sei

Shell
Netflix
Burger King
Master Card
None
59
None
Com base no vídeo anterior onde aparece a marca Netflix na torre, avalie seu nível de concordância com as
afirmações a seguir sobre estátuas com o tema Netflix:
Nem
concordar
Eu pretendo comprar estátuas
(torre) com o tema Netflix
valem a pena
Netflix com frequência
Netflix
Nem
concordar
60
do jogo
A marca apresentada
associado ao jogo
com o jogo
Bloco M1

Sim
Não
Não sei

Sim
Não
Não sei

Sim
Não
Não sei

Sim
Não
Não sei

Sim
Não
Não sei

Sim
61
Não
Não sei

Shell
Mc Donald's
Burger King
Master Card
None
62
None
Com base no vídeo anterior onde aparece a marca Mc Donald's na skin, avalie seu nível de concordância com as
afirmações a seguir sobre skins com o tema Mc Donald's:
Nem
concordar
com o tema Mc Donald's
os outros comprem skins com
o tema Mc Donald's
com o tema Mc Donald's
valem a pena
skins com o tema Mc Donald's
com frequência
skins com o tema Mc Donald's
Nem
concordar
do jogo
A marca apresentada
associado ao jogo
com o jogo
Block C
Para responder as perguntas por favor assista com atenção o video abaixo:

Sim
Não
Não sei
63
Sim
Não
Não sei
Para responder as perguntas por favor assista com atenção o video abaixo:

Sim
Não
Não sei

Sim
Não
Não sei

Sim
Não
Não sei
Nem
concordar

os outros comprem skins
valem a pena
skins com frequência
skins
Eu pretendo continuar
comprando estátuas (torre)
(torre)
(torre) valem a pena
estátuas (torre) com
frequência
estátuas (torre)
64
Socio Demographics
Com qual gênero você se identifica?

Feminino
Masculino
Não binario/a
Qual a sua idade?

Menos de 18 anos
Entre 19 a 25 anos
Entre 26 a 30 anos
Entre 31 a 35 anos
Mais de 36 anos
Qual seu nível completo de escolaridade?

Ensino fundamental
Ensino médio
Ensino superior
Mestrado
Nenhum
Qual sua nacionalidade?
Você gosta de jogar MLBB?

Sim
Não
Qual a frequência que você joga MLBB?

Todo dia
1x por semana
1x por mês
1x por ano
Nunca, mas ja joguei
Você costuma comprar skins?

Sim
Não
Você costuma comprar estátuas para torre?
65
Sim
Não
Você está respondendo esse questionário via celular ou computador?

Celular
Computador
66
Annex B - Survey in ENG
Intro Question Block
Dear participants,
This questionnaire is part of my Master's thesis in Marketing and will not take more than 10 minutes. The
information will be treated confidentially and anonymously, being used only for academic purposes. Do you agree to
take the questionnaire?
Thanks in advance!
Yes
No
Bloco M2
To answer the questions, please listen and watch carefully the video below:
Is the video you just watched from the game MLBB?

Yes
No
Don't know
In the video you just watched, does a hero and a turret appear?
Yes
No
Don't know
Could you see well the video?

Yes
No
Don't know
Does the video you just watched focus on a confrontation/battle?

Yes
No
Don't know
Does the video you just watched have sound?

Yes
No
Don't know
67
Do you remember seeing any brands in the video?
Yes
No
Don't know
What brand did you see in the video?

Shell
Mc Donald's
Burger King
Master Card
None
68
None
Based on the previous video where the Mc Donald's brand appears on the turret, rate your level of agreement with
the following statements about statues with the Mc Donald's theme:
Neither
Totally Partially agree nor Partially Totally
disagree Disagree disagree disagree agree Agree agree
I intend to purchase statues
(turret) with the Mc Donald's
theme
I strongly recommend others to
purchase Mc Donald's themed
(turret) statues
I think to purchase statues
(turrets) with the Mc Donald's
theme are worthwhile
I'm likely to purchase Mc
Donald's themed statues
(turrets) more often
I plan to spend more on
statues (turrets) with Mc
Donald's theme
Based on the previous video, rate your level of agreement with the following statements:
Neither
The shown product category is
a relevant object to the game
I associate with the brand are
related to the images I
associate with the game
The brand represents a
lifestyle associated with the
game
The advertised brand is a good
fit for the game
69
Bloco N1

Yes
No
Don't know
Yes
No
Don't know

Yes
No
Don't know

Yes
No
Don't know

Yes
No
Don't know

Yes
No
Don't know
70
Shell
Netflix
Burger King
Master Card
None
None
Based on the previous video where the Netflix brand appears on the skin, rate your level of agreement with the
following statements about skin with the Netflix theme:
Neither
71
I intend to purchase skins with
the Netflix theme
purchase Netflix themed
(turret) skins
I think to purchase skins with
the Netflix theme are
worthwhile
I'm likely to purchase Netflix
themed skins more often
I plan to spend more on skins
with Netflix theme
Neither
game
fit for the game
Bloco N2

Yes
No
Don't know
Yes
No
Don't know

Yes
No
Don't know
72
Yes
No
Don't know

Yes
No
Don't know

Yes
No
Don't know

Shell
Netflix
Burger King
Master Card
None
73
None
Based on the previous video where the Netflix brand appears on the turret, rate your level of agreement with the
following statements about statues with the Netflix theme:
Neither
(turret) with the Netflix theme
purchase Netflix themed
(turret) statues
(turrets) with the Netflix theme
are worthwhile
I'm likely to purchase Netflix
themed statues (turrets) more
often
statues (turrets) with Netflix
theme
Neither
74
game
fit for the game
Bloco M1

Yes
No
Don't know
Yes
No
Don't know
To answer the questions, please listen and watch carefully the video below :

Yes
No
Don't know

Yes
No
Don't know

Yes
No
Don't know

Yes
No
Don't know
75

Shell
Mc Donald's
Burger King
Master Card
None
76
None
Based on the previous video where the Mc Donald's brand appears on the skins, rate your level of agreement with
the following statements about skins with the Mc Donald's theme:
Neither
I intend to purchase skins with
the Mc Donald's theme
purchase Mc Donald's themed
skins
I think to purchase skins with
the Mc Donald's theme are
worthwhile
I'm likely to purchase Mc
Donald's themed skins more
often
with Mc Donald's theme
Neither
game
fit for the game
Block C

Yes
No
Don't know
77
Yes
No
Don't know

Yes
No
Don't know

Yes
No
Don't know

Yes
No
Don't know
Neither
I intend to purchase skins

purchase skins
I think to purchase skins are
worthwhile
I'm likely to purchase skins
more often
(turret)
purchase statues (turret)
(turrets) are worthwhile
I'm likely to purchase statues
(turrets) more often
statues (turrets)
Socio Demographics
Gender
78
Female
Male
Non-binary
Age
Less than 18 years
19 to 25 years
26 to 30 years
31 to 35 years
Over 36 years
Complete level of education

Primary school
High school
Bachelor degree
Master
None
Nationality
Do you like to play MLBB?

Yes
No
What's the frequency do you play MLBB?

Every day
Once a week
Once a month
Once a year
Never, but played before
Do you buy skins?

Yes
No
Do you buy statue(turrets)?

Yes
No
79
You are answering via mobile phone or computer?
Mobile phone
Computer
80
Annex C- H1a Outputs
81
82
83
84
Annex D- H1b Outputs
85
86
87
88
Annex E- H1c Outputs
89
90
91
92
Annex F- H2a Outputs
93
94
Annex G- H2b Outputs
95
96
Annex H- H2c Outputs
97
98
Annex I- H3a Outputs
99
100
Annex J- H3b Outputs
101
102
Annex K- H3c Outputs
103
104
Annex L- H4a Outputs
105
Annex M- H4b Outputs
106
Annex N- H4c Outputs
107
108
109

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The effects of in-game advertising on purchase intention of

The effects of in-game advertising on purchase intention of

Uma grande pandemia atingiu 2020, o COVID-19 afetou muitas indústrias ao

Palavras-chave: Publicidade indireta, in-game advertising, consciência de marca,

Classificação JEL: M31; M37.

Keywords: Product placement, in-game advertising, brand awareness, purchase

JEL Classification: M31; M37.

Figure 3.1- Model ……………………………………………………………….19

Table 5.1- PCA …………………………………………………………………..26

The COVID-19 pandemic had a potential effect on the macroeconomy (Mohsin,

1. What is the impact of in-game advertising on the purchase intention of digital

2.2. In-Game Advertising as a promotional tool

2.2.1. Product Placement

2.2.2. Product placement in in-game advertising

2.2.3 Influencing factors and consequences

The use of brand awareness when dealing with purchase intention is

H3a: There is a significant effect of aided awareness on purchase intention

Based on the previous hypotheses, the conceptual model is presented in Figure

Digital Object Spontaneous Purchase

Figure 3.1 - Model

4.2. Participants and procedure

Figure 4.1 - Survey video 1 Figure 4.2 - Survey video 2

Figure 4.3 - Survey video 3 Figure 4.4 - Survey video 4

5.1. Descriptive statistics

Figure 5.1- Gender

The majority of respondents have an average age of approximately between 19

Figure 5.3- Age and Education

Figure 5.4- Frequency and like to play

Figure 5.6- Groups Gender

Figure 5.8- Groups Age

Figure 5.10- Groups and Like to play MLBB

Figure 5.12- Groups and electronic device

Table 5.1- PCA

Table 5.2- Cronbach Alpha PI Table 5.3- Cronbach Alpha BF

5.3. Hypotheses testing

Because in the H2 there is a moderator variable, a variable used to investigate

Moderation model effect

Moderation model effect

Moderation model effect

H3a There is a significant effect of aided awareness on purchase

H3b There is a significant effect of spontaneous awareness on

H3c There is a significant effect of recognition on purchase intention

H4a Purchase intention towards the brand for participants exposed to

Table 5.7- Hypotheses Outcomes

The aim of this study is to understand if the in-game advertisement is useful on

Allen, J. J. and Anderson, C. A. (2021). Does avatar identification make

Vashisht, D. (2017). How gamers process in-game brand placements under

Intro Question Block

Você aceita realizar o questionário?

Agradeço desde já!

O video que você acabou de assistir é do jogo MLBB?

No vídeo que você acabou de assistir aparece um herói e uma torre?

Você conseguiu ver bem o vídeo?

O vídeo que você acabou de assistir foca em um confronto/batalha?

O vídeo que você acabou de assistir tem som?

Que marca você viu no vídeo?

Qual marca você viu no vídeo?

Qual marca você viu no vídeo?

O video que você acabou de assistir é do jogo MLBB?

No vídeo que você acabou de assistir aparece um herói e uma torre?