![]() This study contributes to the extant literature in several ways. Second, we investigate the impact of flow on players’ attitude toward the brand promoted and purchase intention of their products. (2000), we examine the influence of five flow antecedents – namely, skills, challenge, interactivity, focused attention and telepresence – on players’ flow experience while playing a mobile advergame. First, based on the model of online flow proposed by Novak et al. Therefore, the purpose of this study is twofold. In addition, it is critical to understand which elements can promote flow within this context. In this context, it is worthwhile to analyse whether players experience flow while they are playing a mobile advergame, and if such flow state influences brand-related persuasion outcomes. However, despite the relevance of flow theory to mobile advergaming, compared with other types of flow-inducing media experiences, few research studies on mobile advergames have been built on this theory. This optimal experience can lead to positive outcomes ( Csikszentmihalyi and LeFevre, 1989). The flow experience refers to an optimal experience in which individuals are highly involved in a certain activity which is perceived as very pleasurable ( Csikszentmihalyi, 1975). ![]() Hence, flow theory is a particularly suitable framework for the study of mobile advergames. ![]() Previous studies have shown that games are most successful and engaging when they facilitate the flow experience ( Kiili, 2005). Nowadays, with thousands of games available for download in the App Store, creating a successful mobile advergame is a challenge. As such, mobile gaming platforms are an especially under-researched area in this field ( Terlutter and Capella, 2013), and therefore, more investigation examining advergames within mobile phone apps have been required ( Çardici and Gungor, 2018 Kinard and Hartman, 2013). Gross, 2010 Ham et al., 2016 Steffen et al., 2013 Vashist and Royne, 2016 Wang et al., 2015), and little attention has been paid to mobile advergames. However, past research has focused primarily on online advergames (e.g. Recently, Çardici and Gungor (2018) suggested that online and mobile advergames might influence brand-related outcomes differently as they have different characteristics. To take advantage of this opportunity, marketers are creating mobile advergames to capture players’ full attention anytime and anywhere. In addition, as mobile devices are usually carried everywhere, they can be accessed by players in situations where they cannot access other devices, such as consoles or computers. Thus, mobile devices are a small but powerful screen when it comes to gain Millennials’ attention, having the potential to create big impact. Smartphones reach 18-to 34-year-olds more than any other device ( Google, 2014). In recent years, mobile devices (smartphones and tablets), whose use is becoming almost compulsive among many people ( Hsiao, 2017), have also become an increasingly popular way to access advergames ( Tuten and Ashley, 2016). The rapid growth of interest in advergames indicates that marketers acknowledge their potential benefits for marketing ( Lee and Cho, 2017), such as building brand awareness, offering product information or persuading the consumer to form a positive attitude towards the brand or product promoted ( Terlutter and Capella, 2013). Defined as electronic games designed with the specific purpose of promoting a brand or product ( Winkler and Buckner, 2006), advergames represent an effort to make the game itself the brand message by embedding brand-specific information into features central to the game play ( Kinard and Hartman, 2013). While different forms of advertising, such as TV ads or banners, can be easily skipped or quickly forgotten, advergames can create hours of engagement. The full terms of this licence may be seen at Īdvergames are one of the newest tools through which advertisers are creating entertaining experiences to engage young adults ( Cicchirillo and Mabry, 2016). Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. This article is published under the Creative Commons Attribution (CC BY 4.0) licence. Copyright © 2019, Sara Catalán, Eva Martínez and Elaine Wallace License
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