Mobile Interactive Video Advertising: History
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Contributor:
Chao Gu
,
Shuyuan Lin
,
Wei Wei
,
Chun Yang
,
Wei Miao
,
Jie Sun
,
Yingjie Zeng

With the rapid spread of mobile devices and the Internet, mobile interactive video advertising has become an increasingly popular means of accessing advertising information for a large number of users. Interactive narratives are advertisements that require collaboration between consumers and designers to complete the story. Interactive narratives influence marketing impact and the advertising experience.

  • interactive advertising
  • interactive narrative
  • digital marketing

1. Research Background

In the field of multimedia research, interactive narrative design is one of the most important directions [1]. With the rapid development of digital technology, storytellers have been given greater means and opportunities to present traditional linear narratives in innovative ways. While the design and marketing advantages of interactive videos over traditional linear videos remain unclear, it could be argued that interactive videos might influence consumers’ preferences and purchasing intentions more due to co-creation and interactive experiences, while the artful sequencing by directors might be more impactful in linear videos. Nonetheless, as a novel marketing approach, interactive videos have seen enthusiastic experimentation from certain brands and designers. Notably, some studies suggest that interactive videos can increase user engagement by up to 591% and offer experiences that are 32% more memorable than linear videos, and have a conversion rate during viewing that is 11 times higher than traditional media [2]. When producing interactive videos, to achieve better design outcomes, interactive narratives stand out as one of the pivotal factors worthy of exploration. Recently, interactive narratives have drawn the attention of researchers keen to explore their potential benefits. It is widely used in marketing, education, video games, contemporary theater, and the visual arts [3][4]. For instance, Dionisio et al. [5] developed an interactive narrative augmented reality picture book. This interactive picture book integrates features like scanning, gestures, and sounds, encouraging young readers toward environmental consciousness. Interactive narratives effectively convey cultural information and showcase tourist attractions [6]. During the digital viewing, visitors can engage with original commentaries presented as interactive narratives from tour guides. Feng et al. [7] emphasize the growing importance of examining interactive narrative structures as an increasing number of marketers adopt interactive videos for brand storytelling. An appropriate interactive narrative design method should take into consideration factors such as product characteristics, media types, and consumer preferences.
Interactive narratives come in various forms, ranging from simple branching structures to deeply immersive experiences. Various media showcase interactive narratives, such as interactive novels, movies, hypertext fiction, and narrative games [8]. In the field of marketing, mobile phone interactive video advertisements have emerged as a fresh medium for interactive narratives, aiming to enhance user experience and boost sales. Interactive narratives enable a two-way communication channel between enterprises and consumers. Enterprises employ interactive technology to move beyond the conventional one-way content delivery from businesses to consumers [9]. With interactive narratives, designers empower consumers to shape the story. Interactive experiences enrich consumer engagement beyond just the story’s content [10]. Compared to designer-only content, co-created content offers more customization due to consumer participation. Mobile interactive video advertising has gained attention in the fields of management and consumer research based on these characteristics [11]. Many companies have widely adopted mobile interactive video ads to advertise and promote their products. However, there is currently no solid theoretical foundation guiding the creation of interactive narrative features, which would help designers develop these advertisements more efficiently.
According to Ryan [12], interactive narrative comprises text structure, interaction form, and the completeness of the story. The story’s completeness can be simply classified as either ‘yes’ or ‘no’. For marketing, mobile interactive video ads need to provide complete information as they are not just artistic endeavors [13]. Videos with complete stories are more shareable and viewable than those with incomplete narratives [14]. However, elements like text structure, interactive forms, and their combinations warrant closer scrutiny. Gu, Lin et al. (2022) emphasize the need for consumers to critically assess interactive narratives considering both text structure and interaction form. The text structure denotes how the story text is arranged, while the interaction form signifies the medium through which users input data and engage with the advertisement. Companies and researchers in the field of interaction design are slowly realizing the importance of systematic research on interaction narratives. Ferguson et al. [15] contend that both interaction and story structure are essential to virtual reality environments. The researchers noted that research into these two concepts was a vital part of developing excellent interactive works.
Mobile interactive video ads, characterized by interactive narratives, have shown significant potential in the marketing domain. For sustained positive marketing outcomes using interactive narratives, enterprises and designers urgently require rigorous theoretical support. However, subjectively assessing the effectiveness of ads that merge text structure with interactive elements poses challenges. Research shows that while highly immersive interactive storytelling enhances a viewer’s overall positive sentiment, it might diminish their ability to recall specific story details [16]. The details that are overlooked in a story may be exactly what a business wishes to convey in its marketing efforts. This implies designers cannot merely opt for interactive narrative combinations based solely on heightened interactivity or improved storytelling. As a form of interactive media that combines both design and marketing implications, mobile interactive video advertising requires an objective examination of the interactive narrative method.

2. Product Involvement

Involvement is defined by the degree to which a specific situation engages an individual’s interest and motivation [17]. For example, product, website, and social media. The research specifically zeroes in on consumer product involvement. According to Das and Ramalingam [18], product involvement refers specifically to consumers’ interest and enthusiasm when it comes to purchasing a particular product. A major component of explaining the concept of participation is the relevance of the consumer’s internal needs and interests. According to Li et al. [19], high involvement signifies a strong connection between the product and the individual. In other words, the degree of product involvement not only depends on the attributes of the product, but also on consumer perceptions. It has been suggested by Ghali-Zinoubi and Toukabri [20] that consumers will be more involved with the product if it has irreplaceable value to them or if it impacts their lifestyle fundamentally. Consumers seem to make preliminary judgments on product involvement by integrating their needs, habits, and knowledge about the product. It has been argued in previous studies that product involvement can be defined as the relationship between consumers’ perceptions of a product and their intrinsic needs, values, and interests. Peng et al. [21] demonstrate this in their study. Given this, product involvement can signify change. Individual needs and perceptions of products may differ between consumers in the same period of time. In different periods, product involvement may vary for the same consumer due to factors such as changes in living habits and cognitive functions. According to the Wu and Liang [22] study, consumers process information in different ways depending on product category and product involvement, thus influencing their purchasing decisions. For businesses and designers, factoring in product involvement is essential during the design and marketing promotion processes. As Habib et al. [23] found, consumers with high product involvement may consider shopping in a more thoughtful manner; however, consumers with low product involvement may make more impulsive purchases. In this case, designers must select appropriate design strategies based on consumer behavior patterns. In addition, relevant research on marketing has confirmed that product participation impacts consumer purchasing intentions [24]. Therefore, the research considers the possible impact of product involvement and includes it as one of the classification variables of advertising in order to make suggestions about the interaction design and marketing efforts of different products and enterprises at the same time.

3. Interactive Narrative

The distinction between interactive and linear narratives lies primarily in the user’s engagement: in interactive narratives, users have agency within the digital system [25]. When compared with traditional narratives that focus more on the story itself, interactive narratives offer designers new possibilities when telling stories. The current interactive technology supports a wide range of scenarios due to the development of interactive technology, making the user experience more comprehensive and realistic [26]. The surge in Internet usage and technological advancements in mobile devices have further propelled the popularity of interactive narratives. Increasingly, companies and designers are considering interactive narrative as a marketing and design strategy. In academia, researchers are also becoming increasingly interested in this kind of storytelling method that has gradually spread from the field of gamification to a broader range of application areas. As an example, Mercer et al. [27] introduced an interactive narrative system to bolster civic and moral education, allowing children to cultivate critical thinking via immersive play. As a result of this digital narrative, children are able to practice and develop their abilities to think and express themselves through playful experiences. De la Fuente Prieto et al. [28] discuss design approaches for future cross-media interactivity. According to them, the cognitive transformation of users in the virtual world has contributed to the development of a worldview, and interactive narratives have the potential to spread content across different media and construct virtual worlds. As Cardona-Rivera et al. [29] put forth, interactive narratives are dynamic: the story evolves through the interplay between the user and the system, culminating in a unique narrative molded by user decisions. In their view, interactive narratives carry an emotional power due to engagement, interruption, and inevitability. It is considered that text structure is one of the most important attributes to consider when designing an interactive narrative information system [30]. It is important to understand how the designer sets the text structure and how the user selects the interactive node. Both of these variables contribute to the plot’s arrangement and occurrence. In other words, as the audience experiences the story, it is also editing it. Moreover, as stated by Ryan [12], the form in which users interact and the way in which they interact also affect the effectiveness of interactive narratives. An interactive form’s design determines how the user will interact with the interactive narrative. An effective use of interactive storytelling can assist marketing efforts in driving innovative publicity and sales strategies. According to previous studies, interactive storytelling can stimulate the creativity and imagination of young people [31]. Particularly in video media, where technology and art are closely linked, viewers are able to participate in and contribute to the development of the story [32]. Researchers examined consumers’ perceptions of interactive narratives in mobile interactive video advertisements in order to find a reasonable method of designing an interactive narrative that meets both user needs and marketing objectives.

4. Subjective Video Quality Assessment

In order to provide the best entertainment and marketing experience, some businesses have begun investigating whether there is a relationship between video quality and consumer satisfaction. Messai et al. [33] emphasized that image quality assessment (IQA) plays an essential role in diverse image-related processes and applications. There are two types of quality evaluations, subjective methods based on human opinion scores and objective methods based on parameters or computational models. Varga and Szirányi [34] contend that subjective evaluations offer a more trustworthy and precise method for assessing digital video quality. In order to obtain more rigorous evaluation results, a subjective evaluation should be conducted in conjunction with established recommendations or literature. For instance, ITU-R. [35] outlined specific experimental protocols, equipment prerequisites, and analytical techniques tailored for SVQA measurements. These included what type of observation mode (with or without reference images) was required for subjects, how the experimental environment was constructed, and how to collect the data. Varga [36] simplifies this by stating that the core approach of SVQA involves gathering users’ subjective opinions on each video’s quality and subsequently deriving an average opinion score. SVQA is a useful tool for assessing the impact of parameter changes on user experience, since a cost-effective image enhancement effect will be more valuable if the user perceives a significant change in image quality [37]. The actual application environment for video is not limited to the laboratory, and the subtle objective differences between different quality videos may become meaningless when they are confronted with the effects of people, environment, or hardware. Zhou et al. [38] underscored that, historically, SVQA has been a dependable metric for justly evaluating image quality. The challenge with SVQA is ensuring observational rigor while controlling costs, a concern that computer vision-driven video quality assessments also grapple with. Despite this, some studies, developing an automated video quality evaluation, attempt to make their objective evaluation results consistent with the subjective evaluation results of human scoring so as to demonstrate the model’s robustness [39].

5. Immersion

Morélot et al. [40] define immersion as the ability of a digital system to simulate a lifelike experience, encompassing attributes such as inclusiveness, extensiveness, surroundness, and vividness. By its nature, a heightened immersion level inherently suggests an enhanced interactive experience, filled with positive emotions. According to previous studies, the level of immersion is the objective ability of the system to provide sensory stimulation to the user through the use of technology [41]. Such immersion encompasses visual and auditory sensations, and in certain systems, it might even extend to tactile and olfactory senses. Daassi and Debbabi [42] highlight that users can engage with immersive digital content that mirrors the multisensory experiences of the real world. To put it another way, while the user interacts with the system, his or her audiovisual system can simultaneously receive information and stimulation. Tang et al. [43] observe that with the advent of immersive technologies, the lines separating the real from the virtual are increasingly becoming indistinct. Due to this, some classic explanations for immersion include the difficulty of feeling the passage of time by the user. Tang et al. [44] point out that while immersion and flow share similarities, flow represents an all-or-nothing state of presence, while immersion possesses nuanced layers. Alternatively, immersion can be classified into several distinct levels based on its intensity. Comparatively, flow experiences emphasize the balance between challenge and ability in contrast to immersion experiences [45]. Due to the fact that viewers are not faced with urgent tasks while watching interactive videos, immersion is chosen as the measurement variable. Shin [46] notes that immersion, a symbiosis between the system and user, can enhance a system’s efficacy. Hsieh et al. [47] state that achieving immersion often entails eliciting arousal and delight in the user’s interactive journey. Considering the importance of immersion in measuring the design effects of interactive systems, researchers have incorporated this concept into the research framework.

6. Satisfaction

Bakti et al. [48] argue that satisfaction encompasses more than just the evaluation of a product or service’s inherent attributes, it also extends to external considerations like image, cost, and other aspects. Individuals may determine their overall satisfaction based on the results of their use or experience. Hepola et al. [49] describe satisfaction within the confirmation–disconfirmation paradigm as the outcome of juxtaposing prior expectations with actual encounters. The underlying idea is that consumers exhibit higher satisfaction when their actual experiences surpass notably modest expectations. Rodríguez et al. [50] assert that users base their evaluations of services on past experiences. Due to this, enterprises should not only pay attention to the products and services they provide, but also consider the impact that expectations have on customer satisfaction. Besides consumers’ own experiences, expectations may also be influenced by other consumers’ descriptions of their experiences. A high level of satisfaction among existing consumers may generate an important incentive for other consumers to engage in this type of shopping. Melović et al. [51] believe that transferring such positive experiences can notably bolster the potency of digital marketing strategies. While positive promotional impacts can emerge over time, they could potentially oscillate toward a less favorable outlook eventually. While much of the current satisfaction research spotlights transient emotions, Li et al. [52] emphasize the evolving nature of consumer contentment over time. In order to measure consumer satisfaction with mobile interactive advertisements, researchers have included this variable in the survey. Measuring satisfaction allows researchers to gain a better understanding of the overall evaluation results of consumers when adjusting interactive narrative design methods.

7. Purchase Intention

Lu and Chen [53] assert that purchase intention directly underpins and determines actual buying behavior. Market researchers often consider improving consumers’ purchase intentions as one of their most important objectives. In recent years, businesses have increasingly acknowledged the role of human–computer interaction systems in shaping consumer purchase decisions. Jung et al. [54] found that interactive environments boost consumers’ willingness to buy products. Because the virtual environment provides consumers with an interactive experience, they may obtain product-related information. Yu and Huang [55] posit that engaging in game-like experiences can evoke psychological reactions in consumers, potentially driving actions like purchases. Mobile interactive video advertisements must pay attention to consumers’ psychological reactions, as each node may require them to perform activities similar to those required for games. Diwanji and Cortese [56] highlight that user-generated videos tend to be more effective in prompting purchases than brand-generated ones. Unlike traditional video ads, mobile interactive video ads necessitate collaborative creation by both consumers and brands. Therefore, mobile interactive advertising may have a different impact on consumers’ purchase intentions than traditional video advertising. It has been demonstrated in previous research that interactive technology, particularly interactive video, can be helpful when making a purchase decision. Rausch and Kopplin [57], for instance, point out that consumers seek extensive product information before deciding to buy. Technologies like panoramic and close-up images can help fulfill this informational need. Meng et al. [58] emphasize that the product type can impact ad design effectiveness, with different product ads conveying positive emotions influencing consumer decisions variably. Researchers therefore divided product types according to product involvement and evaluated the impact of mobile interactive video advertising’s interactive narrative on consumers’ purchase intentions based on this premise.

This entry is adapted from the peer-reviewed paper 10.3390/systems11090471

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