TUNE IN. Criteria for effective live stream advertising.
Prepared by Todd Hinkle
Figure 1. TV icon. Author’s image. 1
The Researcher Todd Hinkle M.A. Design Management Candidate SCAD 2015
Design Management Definition Design Management is the mastery of the process that leads to progress regarding challenging problems within businesses and communities. It is the process by which design thinking is utilized within collaborative groups to develop human-centered solutions to complex and wicked problems. In Design Management design and business are merged in order to allow for the emergence of new and innovative methods of thinking and problem solving. Due to the nature of human-centered design, the solutions often lead to innovations that are unique and increasingly more accurate than previous design and analytical methods. Final Project submitted to the faculty of the Design Management Program at the Savannah College of Art and Design on November 19, 2015, in partial fulfillment of the requirements for the degree of Master of Arts in Design Management.
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INTRODUCTION
Figure 2. Observation collage photo. Author’s image. Figure 3. Introduction icon. Author’s image. 3
Abstract Tune In was a study of live streaming media offerings for eSports and how users interacted with those offerings in order to develop criteria for the facilitated development of innovative advertising systems within the industry. The researcher focused his efforts through design thinking and various methods used within the field of Design Management to create a thorough and empathetic understanding of the current users and advertising systems within live streaming media for eSports. After months of research that included a plethora of professional resources, observations, and interviews the researcher analyzed and affinitized the collected information and applied the findings to the development of personas, How Might We questions, sources of opportunity within the industry, and nine key criteria that must be considered in the development of innovative advertising systems. Prototypes were developed and tested, with the strengths of each being applied to the final offering of a Project Workbook and Creative Facilitation Workshop. The potential of the Project Workbook is that it is capable of providing the means for organizations to develop innovative, competitive, and unique advertising systems for a new age of media. This study was conducted strictly for organizations within live streaming media for eSports; however, it was recommended that the information from this study be put into use not for the enhancement of the organization, but for the betterment of the consumer.
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Dedication I dedicate this project to my loving partner and best friend, Hannah. Without her continued guidance and understanding regarding our relationship, my projects, and my sometimes relentless attitude of work before rest I would have never succeeded in starting or finishing this project, let alone my Master’s Degree. She has and always will be the raging current of the river, while I am merely the fallen tree branch caught within its stream. Thank you for everything, Hannah.
Acknowledgement I would like to acknowledge my friends within the live streaming community: Adrienne, Anita, Pat, Hannah, Brian, Dave, James, Kyle, Maarten, and Ryan. I would also like to acknowledge the contribution from my friends in advertising: Alex, Katie, and Justin. I would like to acknowledge the entirety of the Design Management faculty for their assistance and growth regarding my education. Lastly, I would like to acknowledge the tremendous effort put in by James, the professional streamer, who provided several sources of contact and information all due to his passion for live streaming media and eSports.
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Table of Contents INTRODUCTION....................................................03-05 Abstract.................................................................... 04 Dedication................................................................05 Acknowledgement................................................ 05 PROJECT FRAMING.............................................08-11 Subject of Study..................................................... 08 Problem Statement................................................08 Target Audience.....................................................09 Purpose of Study....................................................09 Scope of Study........................................................10 Significance of Study.............................................11 PROJECT POSITIONING.....................................12-28 Opportunity Statement.........................................13 Collaborator Landscape.......................................13 Collaborator Analysis............................................14-24 Collaborator Insights.............................................25 ZAG Steps................................................................ 26-27 Value Proposition...................................................28 Onliness Statement............................................... 28 RESEARCH ACTIVITY AND SYNTHESIS.......29-43 Research Space Map............................................ 30 Research Methodology........................................ 31 Research Question Matrix................................... 32 Research Protocols................................................33-34 Data Collection Methods..................................... 35 Key Findings from Interviews..............................36-37 Observation Synthesis..........................................38 Personas...................................................................39-41 Summary of Insights..............................................42 Research Findings at a Glance...........................43 DESIGN OPPORTUNITIES AND CRITERIA, REFRAMING........................................................... 44-48 Opportunities for Design..................................... 45 Opportunity for Design Map............................... 46 Design Criteria for Prototype..............................47 Reframing.................................................................48
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PROTOTYPE DEVELOPMENT AND TESTING.................................................................. 49-61 Concept Exploration..............................................50 Concepts..................................................................51-55 Testing Approach...................................................56 Concept Testing..................................................... 57-59 Final Prototype Adjustments...............................60 Final Prototype........................................................61 FINAL DELIVERABLE...........................................62-70 Packet Description.................................................63 Workshop Agenda.................................................64 Workshop Booklet................................................. 65 Business Model Canvas.......................................66 Business Structures...............................................67-69 Final Design to Market..........................................70 CONCLUSIONS AND RECOMMENDATIONS.........................................71-72 Conclusions.............................................................72 Recommendations.................................................72 REFERENCES......................................................... 73-79 Annotated Bibliography........................................74-76 List of Figures..........................................................77-78 List of Tables............................................................79 APPENDICES......................................................... 80-136 Appendix A: Timeline............................................80-82 Appendix B: Signed Consent Forms................ 83-84 Appendix C: Protocols..........................................85-88 Appendix D: Transcriptions................................. 89-95 Appendix E: Final Design to Market................. 96-134 Appendix F: Working Wall................................... 135-136
PROJECT FRAMING
Figure 4. Project framing icon. Author’s image. 7
Subject of Study Online live streaming media organizations provide advertisers the potential to creatively reach loyal and engaged viewers within the eSports market through new and innovative methods.
Problem Statement eSports can be categorized as professional computer gaming that is housed in both a digital and physical reality. There are celebrities, professional teams, large events, announcers, commentators, and an assortment of games to keep the industry growing in popularity (Taylor, 2012). Users are now capable of immersing themselves with unlimited access to their favorite video game or celebrity gamer in real time. This is capable due to the emerging service of online live streaming media that has been coupled with the eSports market. (Taylor, 2012). Due to the live feed nature of the service, the current advertising system is a disruptive device that leads to an intrusive experience for the audience and actively blocks the viewer from experiencing live content. An organization’s brand value is potentially being harmed and experiencing lesser impression quality due to the current advertising system, which is arguably the opposite of the system’s intended effect.
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Target Audience The target audience for this project was divided into two vital groups: the current users of online streaming media and the live streaming organizations that control the advertising content. This first group, the current users, continually visit live streaming websites and provide analytical data for advertisers with each visit, while also acting as a consumer group for the advertisers. The second group consists of various online live streaming media organizations. These organizations control the form and content of all advertising regarding their websites and hold the potential to enact change.
Purpose of Study The purpose of this study was to apply design thinking to understand and develop criteria for more effective advertising platforms based on human-centered design in online advertising within the realm of live streaming media for eSports. Reaching a better understanding of this interaction ultimately can lead to further exploring the development and creation of empathetic advertising systems.
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Scope of Study Throughout this project the researcher utilized processes and techniques within the Design Management field within the boundaries of online live streaming advertising, while studying online advertising as a whole to enhance understanding of the subject matter. The researcher did not seek to provide insights or understanding in other forms of media outlets such as television, print, radio, and out-of-home marketing as their relevance is out of scope for this particular project. The scope of this project has no geographic center as it was purely based on a digital environment whose users span the entirety of the globe. The research subjects within the project included strategy and planning advertisers, users of the live stream media services, and a professional eSport gamer currently broadcasting through online live streaming media. This project was conducted over a ten week period that began on September 14, 2015 and ended on November 19, 2015.
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Significance of Study Throughout this project the researcher applied the culmination of his academic learning within the field of Design Management to solve a current and real-world business problem. Process and ways of thinking typically associated with Design Management are showcased in this project and provided an opportunity for those methods to be used in a unique context by the researcher. Clients using the criteria developed through this process will potentially have the capability to apply their findings to ondemand and traditional media outlets. Clients may also discover that the application of their findings may potentially enact change in advertising platforms throughout all current and future media offerings. The researcher was pleased to propogate understanding of live streaming media, eSports, and advertising—all of which are growing industries that serve of interest to the researcher’s future career goals.
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PROJECT POSITIONING
Figure 5. Project positioning icon. Author’s image. 12
Opportunity Statement Live streaming media services lead to the expansion of the fan base for the emerging market of eSports entertainment. eSports is continuing to grow in popularity on a global scale with live streaming websites serving as the vehicle currently providing an unlimited stream of access for its fan base (Twitch Interactive Inc., 2014). These online live media streaming websites are currently offering advertisers a system that adopts the best practices of online advertising methods that have originated from different entertainment media such as television, mobile devices, and various techniques currently applied throughout the internet (Smith, 2015). There was an opportunity to improve both the impression quality for the viewer and the brand value for the advertiser through the advertising system provided by the live streaming media organizations. To facilitate a more enjoyable and immersive entertainment experience, an enhanced version of the advertising system is needed. Advertisers may also potentially leave a greater positive impression on an emerging media service with a rapidly growing audience through the use of these new systems.
Collaborator Landscape The live streaming community has been developing on the internet for the past several years. Live streaming media organizations offered an easily accessible platform for viewers and streamers alike to enjoy the niche entertainment of electronic sports. There are three forms of live streaming media available that fall within the catagory of eSports: Community eSports organizations, Professional eSports organizations, and eSports as an offering within a multitude of other industries.
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Community eSports Organizations Collaborator Analysis Chart: Twitch Community eSports organizations provide live streaming media platforms that allow amateurs, budding celebrities, event hosts, professional individuals, and professional teams the capability to stream live content from their computers for others to see.
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www.twitch.tv Twitch.tv was purchased by Amazon in a bidding war with Google for $1B. Twitch.tv is a organization that offers free live streaming media with an emphasis on eSports. Recently, their website was expanded to include channels to stream creative content. Table 1 Collaborator analysis chart for Twitch Objectives
Providing a platform for live streaming available to the public and spreading gaming culture on a global scale.
Members
Entrepreneurs, Entertainers, Instructors, Hobbyist, Professional eSport Gamers.
Lessons
A multitude of games are available that provide a large degree of options for viewing.
Approach
Providing a gathering point for amateur and professional eSport participants through live streaming media.
Channel
Online presence, events, conventions.
Collaborator Opportunities
Largest amount of streamers and channels.
Collaborator Analysis Chart: HitBox
Collaborator Analysis Chart: YouTube
www.hitbox.tv
www.gaming.youtube.com
Hitbox.tv is an organization that provides live streaming media and on-demand content for individual and eSports teams. Hitbox is attempting to develop innovative ways for viewers and streams to interact via online live streaming video and chat.
YouTube is an organization that is globally renowned for on-demand video content. YouTube provides users the capability to post recorded videos of themselves for others to watch at any time. As of late 2015, YouTube has revamped their live streaming offering and pushed it into the growing industry of eSports.
Table 2 Collaborator analysis chart for HitBox
Table 3 Collaborator analysis chart for YouTube
Objectives
Hitbox is looking to take on the major live streaming offerings by including a deeper level of interaction between viewers and streamers.
Objectives
Providing a platform for live streaming available to the public.
Members
Entrepreneurs, Entertainers, Instructors, Hobbyist, Professional eSport Gamers.
Members
Entrepreneurs, Entertainers, Instructors, Hobbyist, Professional eSport Gamers.
Lessons
Simplistic and direct layout, on-demand content also made available.
Lessons
Easy to understand iconography, on-demand content also made available.
Approach
Providing deeper interaction than previously seen through live streaming media services.
Approach
Using an already stable system of video entertainment to provide for the upcoming live streaming market.
Channel
Online presence only.
Channel
Online presence, events, conventions.
Collaborator Opportunities
Various interactive offerings within their chat function, such as live polling and gif posting.
Collaborator Opportunities
Video storage of recently streamed events.
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Collaborator Analysis Chart: D!ng It (Beta) www.dingit.tv Slowly developing itself in the background, the creators of D!ing It TV have launched the beta version of their online offering with less stream delay and cash prized tournaments. The D!ng It creators provide unique opportunities that expand on previous live streaming platforms within eSports. Table 4 Collaborator analysis chart for D!ng It
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Objectives
Providing a platform that has fewer delays than previous offerings with in-house hosted cash prize tournaments.
Members
Entrepreneurs, Entertainers, Instructors, Hobbyist, Professional eSport Gamers.
Lessons
Offering cash per viewer and unique tournament hosting.
Approach
Providing a one-stop shop for eSports entertainment. This includes news, unique tournaments, calendar of events, livestreaming, and re-run offerings.
Channel
Online presence only.
Collaborator Opportunities
Average view delay of four seconds.
eSports Alongside a Multitude of Other Industries Collaborator Analysis Chart: LiveStream These organizations have created platforms for any business, event, or individual to pay a monthly fee for the ability to stream live content to their viewers. They do not focus on eSports, but instead cover any form of media that their client organizations wishes to broadcast live over the internet.
www.livestream.com Livestream is an organization that offers businesses and individuals the capability to purchase a channel on the livestream. com website. Livestream offers their clients the ability to chat, keep on-demand content, re-wind live content, and do away with any advertisements and branding. Table 5 Collaborator analysis chart for Livestream Objectives
Providing a website where their clients are capable of streaming live content for a monthly fee.
Members
Businesses, Consumers.
Lessons
Charging for streaming services.
Approach
Creating an up-to-date and easy to set up platform for streaming services for any client that wishes to do so through various payment structures.
Channel
Online presence only.
Collaborator Opportunities
Rewinding of live streaming media as it takes place. Popular accounts section.
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Collaborator Analysis Chart: Ustream www.ustream.tv Ustream is an organization that offers live streaming capabilities to any business, person, or organization that finds the need to utilize such an activity. Ustream has covered a wide variety of offerings, such as: product releases, major press releases, how-to classes, international protest, church services, etc. Table 6 Collaborator analysis chart for Ustream
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Objectives
Allow businesses and societies to maintain transparency while cultivating more meaningful relationships between streamer companies and viewers.
Members
Businesses, Consumers.
Lessons
Creating offerings for broadcasters, teams, and marketers.
Approach
Offering a completely customizable streaming platform for any organization, business, or person that wishes to pay a monthly fee.
Channel
Online presence only.
Collaborator Opportunities
Completely customizable pages.
Professional eSport Organizations Collaborator Analysis Chart: Major League Gaming Professional eSport streaming organizations currently have the capability of hosting live streaming content for major eSport events around the world. These organizations focus solely on providing live content, on-demand videos, and information regarding major events, conventions, and professional individuals and teams regarding eSports around the world.
www.majorleaguegamng.com Major League Gaming was founded in 2002 as a professional eSports organization. Beyond sponsorships the organization has expanded its offerings to that of MLG.tv. MLG.tv is a live streaming media platform the organization has dedicated to hosting live video of eSports tournaments and events. Table 7 Collaborator analysis chart for Major League Gaming Objectives
An organization dedicated to the expansion, sponsorship, and viewership of events within the eSports industry.
Members
Professional eSports Gamers, Enthusiast.
Lessons
A channel selection tool that is within the same interaction box of the chat device to allow for easily switching live channels.
Approach
Using a well-known eSports tournament brand to expand its offering into the live streaming content that is currently being sought after by the eSports community..
Channel
Online presence, eSports events and tournaments.
Collaborator Opportunities
Dedicated eSport professionals that may bring strong personalities with dedicated followers.
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Collaborator Analysis Chart: Cutting Edge
Collaborator Analysis Chart: ViaGame
www.cuttingedgesports.com
www.viagame.com
Cutting Edge is an organization that host and manages live streaming eSports events. Their business platform is built around collaborating with various live streaming websites and serves as a middleman with customization offerings for a variety of eSports teams.
ViaGame is an organization that provides eSports information in the form of Interviews and video on-demand (VODS). ViaGame live streams major tournaments for eSport games through its website and provides a detailed and organized layout to access these videos once it is completed.
Table 8 Collaborator analysis chart for Cutting Edge
Table 9 Collaborator analysis chart for ViaGame
Objectives
Provide viewers with the option of watching sponsored eSports events. Cutting Edge also works as an eSports team apparel and product provider.
Objectives
Providing in-depth interviews with eSport celebrities and live streaming major events while cataloging the videos from those events.
Members
eSport viewers, eSport teams, eSport event holders and streamers.
Members
eSport enthusiast, eSport tournament host.
Lessons
Playing a single sponsored video to cut back on clutter and indecisiveness.
Lessons
Simplistic and holistic layout for live streaming and on-demand video for the professional side of eSports.
Approach
Consulting eSports teams on design and offerings. Promoting single live streaming events through their website.
Approach
The simplistic design allows for less clutter and easy to find videos.
Channel
Online presence only.
Channel
Online presence only.
Collaborator Opportunities
Design packages for teams, partnerships with other live streaming media and tournament outlets.
Collaborator Opportunities
A segregation of professional gaming and eSport upstarts.
Collaborator Analysis Chart: GFINITY www.gfinity.net GFINITY is an organization that offers users the ability to observe major eSports events through three different partnerships within live streaming media in an easily navigable system. GFINITY covers eSports gaming through news, team profiles, and the analysis of players and prior performances. Table 10 Collaborator analysis chart for GFINITY Objectives
Providing a one-stop professional eSports database.
Members
eSports enthusiast, eSports even hosts.
Lessons
Offers a great deal of easy to understand information directly from the landing page.
Approach
Partnering with live streaming websites and event host to create a holistic offering of professional eSports information.
Channel
Online presence only.
Collaborator Opportunities
Increased exposure within the professional side of the eSports industry.
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2x2 Viewer/Streamer Interaction
The level of interaction between viewers maintains a critical component in audience acceptance of advertising as traditional forms of media content become increasingly ignored (Heath, 2012). Through their offerings, live streaming media organizations provide the potential to create celebrities out of the most unlikely individuals while also allowing professionals to exhibit their skills. Immediate interactions between viewer and streamer are capable due to the live feed nature of this form of media, which is ripe with the possibility for innovation to take place.
Figure 6. 2x2 analysis of the research space for viewer/streamer interaction. Author’s image.
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2x2 Ad Space
Live streaming organizations are currently offering a multitude of options considering advertising and monthly subscriptions. Advertisements increase as the freedom to view and stream are offered without a subscription, but advertisements have the ability to disappear or become customized as monthly subscription rates increase.
Figure 7. 2x2 analysis of the research space for ad space. Author’s image. 23
2x2 Customization
Customization on behalf of the viewer and on behalf of the streamer allows for the assessment of capabilities for future advertising platforms. The higher the level of customization between each of the categories allows for a higher level of flexibility for advertisement design and functionality.
Figure 8. 2x2 analysis of the research space for customization. Author’s image. 24
Collaborator Insights Insights were created through the analysis of the competitor charts and 2x2 matrices: 1. Live streaming media organizations are offering no unique advertising platforms. 2. Viewers are limited to a chat box with various simplistic functions. 3. Live stream media organizations are pursuing greater interactive platforms. 4. Amateur online celebrities are forcing adjustments to be made within online media offerings.
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ZAG Steps
ZAG is a branding method developed by Marty Neumeier. Mr. Neumeier seeks to assists organizations through a 17-step process in developing a clearly defined description of the organization’s brand to ensure they are a unique and effective offering.
Step 1: Who am I? Tune In is a set of criteria developed through the use of design thinking that live streaming organizations use to facilitate the creation of innovative advertising systems for live streaming media regarding eSports.
Step 2: What do I do? The intent of Tune In is for live streaming organizations to use the information contained within in the creation of innovative and more impactful advertisement systems in live streaming media regarding eSports.
Step 3: What is my vision? The vision of Tune In is to have increased interaction and acceptance of online advertisements.
Step 4: What wave am I riding? Tune In is meant to be used to capitalize on the exponentially growing trend of watching eSports on live streaming media.
Step 5: Who shares the brand-scape? There is a growing number of organizations who are creating platforms of live streaming media for eSports. The current organizations are offering similar and traditional online advertising systems to their viewers.
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Step 6: What makes you the “only”?
Step 12: How do you spread the word?
Tune In is the only collaborative study where design thinking is used to create a set of development criteria for creating empathetic advertising platforms for live streaming media regarding eSports.
Sending the set of criteria to online streaming services and being hired by those services to create change from the inside.
Step 7: What should I add or subtract?
Through application and use of the criteria to develop updated advertising systems.
Step 13: How do people engage with you?
The researcher should add capabilities for the criteria to be used by advertising systems outside of live streaming media.
Step 14: What do they experience?
Step 8: Who loves you?
Advertising systems developed through human-centered design.
Viewers, streamers, and relevant organizations.
Step 15: How do you earn their loyalty?
Step 9: Who’s the enemy?
Experience of using the criteria and activities mixed with the potential positive response from the new advertising systems.
The enemy is the resistance to change within advertising and large corporate structures.
Step 10: What do they call me? Tune In.
Step 11: How do you explain yourself? The researcher develops criteria for innovative and more impactful advertising systems.
Step 16: How do you extend success? By adapting the criteria to media platforms outside of live streaming.
Step 17: How do you protect your portfolio? Each advertising system created from the criteria has the potential to be unique from the ones that come before and after each new creation.
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Value Proposition Tune In is FOR live streaming media organizations WHO are seeking innovative approaches to advertising within the growing industry of eSports being broadcasted through live streaming media. Tune In is a set of criteria that was developed through design thinking that serves as a guide for creating these new approaches to advertising. IT DOES THIS BY engaging viewers of live streaming media with advertisements that are developed with the same entertainment value as the stream itself while maintaining a foundation of progressive advertising tenets. UNLIKE previous advertisement systems that have been adapted from previous and dated platforms, Tune In provides the potential to create innovative platforms in live streaming media advertising for eSports with the opportunity for a higher degree of impact and interaction from its viewers.
Onliness Statement Tune In is the only collaborative study where design thinking is used to create a set of development criteria for live streaming media organizations regarding eSports in a digital and physical format for the creation of empathetic advertisement platforms in an era of exponential growth for new media. WHAT: The only collaborative study HOW: where design thinking is used to create a set of development criteria WHO: for live streaming media organizations regarding eSports WHERE: in a digital and physical format WHY: for the creation of empathetic advertisement platforms WHEN: in an era of exponential growth for new media
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RESEARCH ACTIVITIES AND SYNTHESIS
Figure 9. Research activities icon. Author’s image. 29
Research Space Map The overall context for this project has been highlighted by the researcher through the development of the research space map. The core of the research space, positive viewer impact, has been expanded into four intersectional categories: online advertising, eSports, streaming services, and user-experiences. Through the identification and exploration of these four categories through the use of design thinking, this project located connections that lead to the cultivation and creation of criteria that serve to ultimately enhance the effectiveness of advertising systems within online streaming media services.
Figure 10. Map of the study’s research space. Author’s image. 30
Research Methodology The primary methodology was that of a qualitative contextual research project as it is practiced in the design field with an ethnographic lens focusing on the livestreaming advertising market for eSports. This methodology was useful due to the limited number of offerings within live streaming media for eSports. Live streaming media carries a heavy social context and therefore requires a human-centered approach to develop accurate solutions for future offerings.
Main Research Question How might a set of criteria, derived through design thinking, be useful for creating effective advertising in live streaming media for eSports?
Sub Research Questions 1. How might design thinking be a conduit for solving complex problems within advertising systems? 2. How might a set of critiera need to be structured so that live streaming organizations may accurately predict the outcome of future systems? 3. How might live streaming media be a catalyst for new advertising platforms? 4. How might the advertising industry adapt to evolving media opportunities? 5. How might we create a more impactful advertisement system for eSports?
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Research Question Matrix Table 11 Research question matrix
How might a set of criteria, derived from design thinking, be useful for creating effective advertising in live streaming media for eSports? What does the researcher need to know?
How might design thinking help in solving complex problems within advertising systems?
How design thinking is applied to solve wicked problems
How might a set of critiera need to be structured so that live streaming organizations may accurately predict the outcome of future systems?
How to properly construct a list of criteria based on design research
How might live streaming media be a catalyst for new advertising platforms?
Analytical assessments of the progress of live stream media Ability to incorporate change
Why does the researcher need to know this?
What type of data is needed?
Where can the researcher find this data?
To properly incorporate design thinking into the process and completion of the project
Qualitative: Secondary
Related academic reading
Quantitative: Secondary
Professional news and magazine articles
To accurately predict the success of future systems based on certain qualifiers
Qualitative: Secondary
Related academic reading
Quantitative: Secondary
Professional news and magazine articles
To establish a greater understanding of the industry
Qualitative: Secondary and Primary
Internet: Case studies, news articles
What type of data collection methods are needed for this?
Secondary Research
Quantitivate: Secondary
Research personnel within the SCAD Library
When does the researcher need to get a hold of this data?
What will the researcher be taking away from this data?
Secondary Research
Research personnel within the SCAD Library
What might the researcher be missing? How might the researcher be wrong?
Monday, September 22, 2015
Dependable and systemic design solution principles
Design thinking is complex and difficult to master. Misunderstanding of its processes may lead to incorrect and inaccurate solutions.
Monday, September 22, 2015
The ability to construct criteria to accurately predict the success of new systems
Criteria development may not be as effective as a workshop.
Friday, October 9, 2015
Industry knowledge and functionality
Online live streaming may not be a strong catalyst for new advertising platforms.
Design Management professors at SCAD
Design Management professors at SCAD
Secondary Research Interviews
To locate and establish areas of opportunity
Who does the researcher contact for collecting this data?
Strategic Planner within the marketing firm Foote, Cone, and Belding’s Chicago office
Industry members Observations
Live streaming media organizational employees
Secondary Research
Strategic Planner within the marketing firm Foote, Cone, and Belding’s Chicago office
Live streaming media websites
Valuable interview participants may not be readily available.
Likelyhood of adoption Related academic reading
How might the advertising industry adapt to evolving media opportunities?
Current advertising platforms and their current capabilities
To understand the balance between advertising and it’s platforms
Adaptability Measures of success
Qualitative: Secondary and Primary
Internet: Case studies, news articles
Interviews Quantitative: Secondary
To locate and establish areas of opportunity
Industry/community members
Friday, October 9, 2015
Current capabilities and practices within online advertising
Current platforms could be performing adequately Interviews carry the potential to be out of scope
Observations
Related academic reading
How might we create a more impactful advertisement system for eSports?
Industry background and future predictions for growth User group information
Advertising potential To effectively develop working solutions to current issues
Qualitative: Secondary and Primary Quantitative: Primary and Secondary
Related academic reading
Secondary Research
Viewer community
Internet: Case studies, new articles
Interviews
Professional and casual streamers
Observations Industry/community members Live streaming media websites
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Live streaming media organizational employees
Friday, October 9, 2015
A greater understanding of user interactions within live media streaming for eSports
The eSport user group may not have a strong opinion on the current advertising model Valuable interview participants may not be readily available.
Research Protocols
Consent Form Tune In: Criteria for effective livestream advertising.
Informed Consent Form
The following information provides an introduction to field research that will be conducted in Savannah, GA between September 14, 2015 to November 19, 2015 by Todd Hinkle, Design Management graduate student at the Savannah College of Art and Design.
I voluntarily agree to participate in an interview/inquiry performed by students at the Savannah College of Art and Design. I understand that this interview/inquiry is being
RESEARCHER BIO: Todd Hinkle is a Design Management M.A. candidate at the Savannah College of Art and Design. His professional background consist of military training for infantry tactics and leadership, a B.A. in marketing, sales experience, and interning as a strategic planner at Foote, Cone, and Belding’s Chicago office.
Research protocols are devices used to inform research participants of the subject matter and background of the project. They also serve as a record of consent of those who wished to be involved as research participants within the project.
PURPOSE OF THE STUDY The purpose of this study was to apply design thinking to understand and develop criteria for more effective advertising platforms based on human-centered design in online advertising within the realm of live streaming media for eSports. Reaching a better understanding of this interaction ultimately can lead to further exploring the development and creation of empathetic advertising systems RESEARCH QUESTION(S) Our research will be guided by the following question(s):
Todd Hinkle conducted by _______________________________, in order to identify opportunities for design.
I understand that the evaluation methods which may involve me include:
1. the recorded (audio and/or video) observations of my work 2. my completion of an evaluation questionnaire(s) and/or 3. my participation in a 30-90 minute interview.
How might a set of criteria, derived from design thinking, be useful for creating effective advertising in live streaming media for eSports?
I grant permission for the interview/inquiry to be recorded and transcribed, and to
Todd Hinkle be used only by _______________________________for analysis of interview data.
DATA COLLECTION METHODOLOGY Data will be collected through: Surveys, interviews, and observations.
I grant permission for the evaluation data generated from the above methods to be used in an educational setting.
DATA MANAGEMENT Data will be anonymized through participant’s request or researcher’s decision. Data will be stored via: Digital audio recording devices, digital and physical written notes, photographs, and video. All data will be represented and stay in circulation in the form of a final process book. CONTACT INFORMATION This project is being conducted through the Design Management department at the Savannah College of Art and Design. For additional information please contact Regina Rowland at rrowland@scad.edu. Project Design Manager: Todd Hinkle, thinkl20@student.scad.edu, (706)-840-1297.
I understand that any identifiable information in regard to my name and/or company name will be removed from any material that is made available to those not directly involved in this study.
_______________________________________ Research Participant Name and Signature _______________________________________ Date
Printed 11/14/2015
Advertiser Interview Form
Live Stream Professional Interview Form
Professional Advertiser Interview Form Interviewee Name:
Streamer Interview Form Tune In - Contextual Research Collection
Tune In - Contextual Research Collection Sex:
Interviewee Age:
Occupation:
Informed Consent Form
Date:
Time:
Interviewee Name: Occupation:
Interviewee Age: Date:
Sex:
Time:
1. Tell me about your job and what it is that you do? 2. Tell me about the current advertising platforms in live streaming media from your point of view as a streamer?
1. How do you define advertising?
3. Do you have a consistent viewer base?
2. What do you think are advertising’s core values?
4. Why do you think they continue to visit your stream? 3.What do you think the goals of advertising are?
5. Do you interact with your users?
4. Do you think there is a difference between online advertising and other types of advertising?
6. If yes, how?
5. Is there something special about online advertising?
7. Are there events, offerings, or special occasions that you feel work in drawing in new viewers?
6. What do you think consumers are looking for when they see advertisements?
8. Have you noticed events, offerings, or special occassions that spur viewers to interact more in the chat channels?
7. How might consumers see advertising as negative?
9. Have you noticed any interactions that other streamers have done that have improved their user base?
8. Do you use certain methods to construct your advertisements? 9. Have you noticed any advertisement methods or platforms that have been effective previously?
10. Tell me about when you had the most viewers visit your stream and describe what you were doing at that time?
10. Have you noticed any interesting advertising methods that have emerged recently?
11. Have you ever noticed anything that has caused a negative reaction from your users?
11. How do you picture the future of advertising?
12. What’s your vision of the future of live streaming media?
Viewer Interview Form Live Stream Viewer Interview Form Interviewee Name: Occupation:
Observation Research Form Tune In - Contextual Research Collection Observation Form
Tune In - Contextual Research Collection Interviewee Age: Date:
Sex:
Time:
Location: Time: Date:
1. What websites or services do you typically use when you want to watch live streaming media?
Photo of observation space:
2. How often do you visit live streaming websites? 3. Walk me through what you do when you visit live streaming websites? 4. Do you use live streaming websites as a primary or secondary form of entertainment? 5. Do you multi-task when you watch the streams? 6. What drives you to use that form of entertainment?
Observations:
7. What level of interaction do you seek when you visit these websites? 8. Have you had any memorable experience on a live streaming website so far? 9. If yes, what was it like? 10. Have you had any negative experiences? What happened and what was that like? 11. If yes, what was it like? 12. What would you like to see in the future of live streaming entertainment?
Figure 11-16. Research Protocols. Full size images are located in Appendix C. Author’s images.
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Research Activities Secondary research was conducted between the months of June to September in 2015 to establish foundational understanding of advertising, eSports, live streaming media, design thinking, and the development of criteria. Observations were executed in two separate occasions during the month of September in 2015 utilizing a fly on the wall approach of live streaming media viewers in their personal environments. Semi-structured interviews were conducted between the months of August and September in 2015 with six enthusiast of eSports on live streaming media. Semi-structured interviews were conducted during the month of August in 2015 with three professional advertisers within UX and strategy. A semi-structured interview was conducted during the month of August in 2015 with one professional eSports live streamer.
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Research Participants
Data Collection Methods
This section includes the description of those who chose to willingly participate in the research through either interviews or observations, an explanation of how the data was collected, and a description of how the data was processed and analyzed.
Observations and interviews regarding eSport enthusiast consisted of volunteers within the viewer community and moderators of channels of professional eSport streamers. Interviews regarding advertising were conducted with employees of the Chicago office of the marketing firm Foote, Cone, and Belding in the Strategic Planning and UX departments. The interview regarding a professional eSports streamer was with an expert in the field who has chosen this industry as his occupation and main source of income.
Data Collection Qualitative data was collected via semi-structured interviews that were designed with ambiguity by the researcher so that the interviewee may answer their questions in any manner they pleased. The researcher used this data collection method in the cultivation of unique insights from each of the participants. Qualitative data was also collected through observations by the researcher for the purpose of providing a glimpse into the personal environments of the research participants. One of the participants observed has watched live streaming eSports for several months, while the other participant has only been exposed to it for approximately one month.
Processing of Data The data was collected through audio recordings, various notetaking devices, and photographic recording. The data was then transferred to a working wall where it underwent various organizational processes and affinitization by the researcher to cultivate a comprehensive and holistic understanding of the information.
Analysis of Data Once the researcher processed the data appropriately, the use of various organizational models such as personas, semantic profiles, and key findings were created to effectively assist in eliciting insights for future criteria development. 35
Key Findings from Interview Synthesis
These key findings are the culmination and holistic view of the information gathered from the interview research synthesis.
“I’ve got my laptop and I might do some reading with it on in the background or something like that.” - Dave N. “I feel like that’s totally find to have on in the background since I can come in for the punchline and zone back out and not really miss anything substantial.” - Kyle F.
“...you get people typing in the chat, “what happened? What happened??” -James A.
ATTENTION
“A lot of this is community driven...” - James A.
“...I always hit the “following” button just in case I miss somebody who is always streaming...” - Kyle F.
“Occasionally you’ll see roleplay streams where they’ll dress up like someone or act like someone.” -James A.
Figure 17. Final synthesis working wall. Author’s image.
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“I think it would be pretty cool if some of the unknown games or some of the game that people don’t normally watch were able to have some viewers or some publicity. ” - Kyle F.
Viewers were dividing their attention between mutiple other taskings while watching live streaming media. Due to their lack of focus on what is taking place on the stream they are viewing, they tend to miss important moments or exciting plays.
“...I make donations to FilthyRobot occasionally.” - Maarten B.
SUPPORT
“...like a lot more people could watch it without having a computer to see it necessarily.” - Ryan T.
VARIETY
The viewers have created communities with other viewers who have met in the common interest of following a streamer. They enjoy interacting with each other and work to support the streamer and the growth of the overall community.
Viewers thoroughly enjoy watching their favorite streamers play, but also seek out new opportunities for entertainment. They also want to see live streaming entertainment expand its internal and external offerings in the near future.
“...the community that’s set up there has been deliberately set up in a way that’s supposed to promote there being meaningful interaction.” -James A. “Sometimes [chat] will be going too fast and I’ll type out my response and the conversation has jumped to somewhere else or I’ll think of a response and it’s jumped to somewhere else. ” - Kyle F.
COMMUNICATION
“You get people who like the game but either can’t play it on their own or don’t have the time… or just enjoy watching it.” - James A. “The “what’s in it for me” will be like “I just got some information about this thing that relevant to me,” but I think that’s ultimately what people look for...” - Alex S.
“experience has increased exponentially in value primarily because the advertising space has gotten so loud and noisy.” - Katie S. “...the most effective thing is not getting compartmentalized about what you like or what your client likes, but really what the person who will buy the product or engage with this advertisement will like, enjoy, and appreciate and be useful to them.” - Justin D.
“I would definitely say I like when [streamers] speak to the chat or answer questions from chat. I like them to interact with the audience a lot.” - Ryan T.
“I always want to kind of get something out of it or at least learn a little bit from it.” - Kyle F.
VALUE
“[Online advertising] is more disruptive and in my opinion a lot lazier and just not as good.” - Alex S.
IMMERSION
Viewers will continue to return to channels where they feel appreciated and have the ability to actively communicate with other viewers. They also wish to see the streamer interact on occassion with themselves or others in the chat.
The viewers are looking for several things that are unique to their own enjoyment when searching for a stream to watch. The majority of these qualifications are viewers that are looking for a streamer that would be considered an expert; so that they might learn how to play better themselves, or some outside value that serves to enhance their life in a relevant way at the time of viewing.
Viewers see live streaming media as a form of entertainment and seek to immerse themselves in the culture and gameplay that come with it. Anything that interupts or takes them away from this experience will decay their immersion and will be regarded as negative.
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Novice Enthusiast
Veteran Enthusiast
Figure 18. Picture of Novice Enthusiast watching Twitch.tv. Author’s Image.
Figure 19. Picture of Veteran Enthusiast watching Twitch.tv. Author’s Image.
Observation Synthesis
The researcher is using the semantic profile to portray the culmination and holistic view of the information gathered from the observation research synthesis.
Short Viewing Periods Low Interaction
Long Viewing Periods High Interaction
No Multi-tasking
Several Multi-taskings
Relaxed Posture
Attentive Posture
Unfocused on the Game
Focused on the Game
Unfocused on the Chat
Focused on the Chat
Low Volume Watched One Channel Watched One Game Low Time Per Channel Didn’t Watch Ads Didn’t Click on Ads
High Volume Watched Multiple Channels Watched Multiple Games High Time Per Channel Watched Ads Clicked on Ads
Figure 20. Semantic profile of observation synthesis. Author’s image.
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Persona 1: Jason Crawford 22 years old Single Student eSports Enthusiast and Gamer Accepts $30,000 a year from loans for living expenses Lives in an apartment close to campus Plays Magic the Gathering with a group of friends
THINK AND FEEL I need to increase my skill level. I want to learn about new games.
HEAR The best players have the highest views. Subscribe to support the community.
SEE Figure 21. Stephen Rivera. Picture representing Persona One. © 2013 Rivera. Reprinted with permission.
Narrative:
Alex typically finds himself turning on Twitch.tv several times throughout his day. He uses the app on his smartphone and watches a stream for a few minutes when he can between classes, meals, homework, and hanging out with friends. Once Alex is home for the night he will usually turn on his home PC with dual monitor set-up and turn one monitor on to Twitch.tv while the other is used to play games, scroll through Reddit, or work on homework until he goes to sleep.
I can learn from the best in the world. A new community of like-minded people.
SAY AND DO I like to talk about my own strategies. I give donations to support a streamer I enjoy.
Needs: A constant internet connection, constant flow of
information regarding topics of interest, quick and easy to use formats for sporatic entertainment.
Motivations: Increasing his own gaming skills, something to
talk about with friends who watch, finding entertainment options to fill boughts of boredom.
Pain Points: Low resolution and bad connections that decrease quality of gameplay, distractions from the action, irrelevant chat questions and topics.
Satisfaction Points: Exciting and new tactics used in games
he enjoys, large monitors, fast connection speeds, being walked through what’s taking place in a game.
Figure 22. Semantic profile for Persona One. Author’s image. 39
Persona 2: Chris Newsome 38 years old Married with two children Brand Manager Old School Gamer and Full Time Dad Makes $90,000 a year Owns a home in a suburban neighborhood Enjoys light exercise on a daily basis Participates in activities with his children Figure 23: Garon Muller. Picture representing Persona Two. © 2015 Muller. Reprinted with permission.
Narrative:
Chris has played video games like Pacman and Tetris since he was a child. Over the years his taste have evolved into more up-to-date games that he enjoys playing when time allows. His wife and children take up the majority of his free time after work and on the weekends, but he still manages to watch others play on live streaming media by using the phone apps that are available for convenient viewing. Chris looks after himself by eating healthy and exercising daily, but knows when it comes to downtown there isn’t much else he would rather do than watch someone play a game on live streaming media or simply play one himself if time allows.
THINK AND FEEL I don’t have the time to play. I want to learn quickly and from the best.
HEAR Exciting games are constantly being released. Streamers have to support families just like I do.
SEE Viewers are constantly donating / subscribing. Streamers not using their time efficiently.
SAY AND DO I quickly jump in and out of viewing. I watch when my kids are in bed.
Needs: More convenient methods to watch his favorite games without interruption, less downtime between game matches, easily selectable channels for speedy viewership changes.
Motivations: Enjoying time outside of work, spending time appropriately between family and personal interest.
Pain Points: Time constricted, needs faster options for speedy viewing, doesn’t want to be interupted when investing time into an interest.
Satisfaction Points: Viewing from anywhere through apps on a smartphone, 24 hour nature of live streaming media, his interaction level is completely up to him
Figure 24. Semantic profile for Persona Two. Author’s image. 40
Persona 3: Kristin Clark 24 years old Single Accountant Tech blogger Earns $45,000 a year Lives in an apartment with a roommate Loves to cook, exercises daily, YouTube addict
THINK AND FEEL I still feel uncomfortable within this community. Other viewers see me as uninformed.
HEAR I’m a girl so I don’t know much about gaming. Girls have some of the most popular chanels.
SEE Figure 25. Picture of Hannah Foerster representing Persona Three. Author’s Image.
Narrative:
Kristin has been spending an increasing amount of her free time watching YouTube videos and Netflix on her laptop she purchased while she was in college. An ex-boyfriend introduced her to gaming, but she enjoyed watching him play more than participating herself. She learned about eSports and live streaming media from him and has allowed her interest to grow in the subject since their break up. She doesn’t watch much during her breaks at work, or in the morning before or after she works out. Kristin mostly watches live streaming media at night on her couch with a glass of wine, the laptop in her lap, and the TV on in front of her. Her attention is divided between the two entertainment options, but this has evolved into her regular evening ritual.
Expert girl gamers being accepted. Girls proving themselves.
SAY AND DO I watch for entertainment. I watch to build my knowledge of the industry.
Needs: Entertaining streamers and chat channels that are informative.
Motivations: Learning about geek culture, occupying her free time with new, fast paced, and safe but exciting options.
Paint Points: Boring or non-talkative streamers, chat that moves to quickly to follow and learn from.
Satisfaction Points: Smaller and entertaining channels with a community that supports questions from new viewers.
Figure 26. Semantic profile for Persona Three. Author’s image. 41
Summary of Insights 1. Viewers will multi-task while watching eSports. Because of this multi-tasking behavior the viewer will often miss key moments of entertainment. 2. Viewers want to participate and support others within their community, including the streamer who holds it all together. 3. Viewers will typically choose to watch streamers they’ve seen before or the most popular channels because they trust they will provide the most value. 4. Viewers enjoy breaks in watching normal gameplay for special events or unique and interesting offerings. 5. Viewers yern for a larger selection of channels, games, and options and wish to be informed of ones they may not find organically. 6. Viewers stop participating in their only form of communication, the chat channel, if it’s too crowded or unruly. 7. Viewers feel connections to the streamer and want others and themselves to be recognized for giving their time and money to the stream. 8. Viewers visit streams to be entertained and to learn. When streamers spend too much time away from playing a game they can become antsy. 9. Viewers will be more likely to engage with an advertising system if they have control over the content and timing of what they are being shown.
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Research Findings at a Glance Map The researcher uncovered an immense amount of information during the process of completing this project. The research findings at a glance map is provided so the readers may quickly view and assess the entirety of the research findings uncovered by the researcher. Within the orange outer rim, the original foundation of the research may be found and includes User Experience, Online Advertising, Streaming Services, eSports, Design Thinking, and Criteria. Within the large blue circles, the findings from the affintizing process may be found and includes Communication, Support, Attention, Variety, Value, and Immersion. Outside of the blue circles are surrounding descriptions that fall within the realm of the category within the blue circle. The large blue lines with directional arrows show the relationships that flow between all of the various research categories.
Figure 27. Research findings at a glance map. Author’s image. 43
DESIGN OPPORTUNITIES AND CRITERIA, REFRAMING
Figure 28. Design opportunities and criteria, reframing icon. Author’s image. 44
Insights
How might we...
There is an opportunity to...
Viewers will multi-task while watching eSports. Because of this multi-tasking behavior the viewer will often miss key moments of entertainment.
Maintain viewing habits without missing out on the most entertaining parts of a stream?
Create options that will allow viewers the capability of viewing recent events without interupting their current stream.
Viewers want to participate and support others Provide viewers more options of support for their within their community, including the streamer who online communities? holds it all together.
Develop simplistic donation and message methods for the streamer and those within the community.
Viewers will typically choose to watch streamers they’ve seen before or the most popular channels because they trust they will provide the most value.
Harness the value viewers seek from the most popular streams to build trust in advertising?
Integrate the habit of viewing the most popular offerings into advertisement platforms.
Viewers enjoy breaks in watching normal gameplay for special events or unique and interesting offerings.
Create sponsorships to integrate advertisement offerings into development of special events?
Develop non-intrusive advertisements into highly anticipated and viewed events.
Viewers yern for a larger selection of channels, games, and options and wish to be informed of ones they may not find organically.
Inform viewers of different options available without disrupting their current viewing experience?
Become the informative source of unknown streamers, events, and games through integrated advertising.
Viewers stop participating in their only form of communication, the chat channel, if it’s too crowded or unruly.
Enhance the chat experience as to not alienate viewers from interaction?
Increase usability by creating separate chat experiences that limit the information overload that takes place.
Viewers feel connections to the streamer and want others and themselves to be recognized for giving their time and money to the stream.
Ease the burden put on streamers to recognize their viewers individually?
Assist streamers in simplifying their interaction levels with viewers.
Viewers visit streams to be entertained and learn. When streamers spend too much time away from playing a game they can become antsy.
Allow viewers access to learning without taking away from viewers who enjoy non-game related entertainment?
Provide options for users to learn while streamers are no longer playing or speaking about playing.
Viewers will be more likely to engage with an advertising system if they have control over the content and timing of what they are being shown.
Provide viewers with the power to choose exactly what they want to see, when they want to see it?
Enhance engagement by integrating advertisements into entertainment options that users are choosing to watch.
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Opportunity for Design Map
Figure 29. Opportunity for design map. Author’s image. 46
Design Criteria for Prototype The design criteria for developing a set of strategic criteria to be used by the researcher for this project was informed largely by the researchers Martinsuo and Poskela (2011) in their journal article “Use of Evaluation Criteria and Innovation Performance in the Front End of Innovation.� For the prototypes to provide positive future business potential for the organizations who choose to adhere to their parameters, they will need to contain the following criteria: 1. Assist in understanding and organizing the complexity of accurate and innovative business solutions to advertising platforms. 2. Offer the capability to develop long-term strategic opportunities. 3. Offer the capability to develop unique offerings when considering competitive analysis. 4. Push the organization to seek ideas and concepts that are technically challenging and beyond their current knowledge base.
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Reframing Reframing took place in this project as the researcher uncovered insightful information regarding user interactions with live streaming media. The researcher originally studied advertising as a negative aspect in the opinions of live streaming viewers of eSports. It was found that the viewers were not overly bothered by the disruption created by advertisements, but did not notice or engage the ads either. The researcher pivoted the project into the cultivation of criteria that are relevant, timely, delightful, innovative, and strategically sound as well. When live streaming organizations create new systems of advertising it is necessary to ensure that not only are they not disruptive to the viewer experience, but that they are also noticed and positively engaged by the viewer as well.
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PROTOTYPE DEVELOPMENT AND TESTING
Figure 30. Prototype development and testing icon. Author’s image. 49
Concept Exploration The researcher enlisted the assistance of a second designer to join in the conducting of a series of Crazy Eights for each of the opportunity statements. Crazy Eights is where the participants brainstorm up to eight concepts within a small timeframe for each thematic element. A total of nine sessions were completed, which provided the researcher with roughly 80 different ideas for inspiration. After each session the ideas were analyzed and combined to create the final five concepts that the researcher chose for testing. The final five concepts were each rated by adding a point structure to the pro/con/interesting list. Those with the highest scores were inspected and adapted to create the final concept.
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Concept 1: Innovation Insight Glasses
Users will be able to utilize the processes and criteria within a Pocket Guide for the development of reliable innovation within advertising platforms and systems for eSports. Users will be required during certain tasks to wear glasses that are representative of one of four roles. The user will then argue and make decisions based on the role selected. The available roles are that of a Viewer, Advertiser, Streamer, or an Executive of their own organization. They must then spend a set period of time discussing the prior concepts from the frame of view of their chosen perspective. This will ensure that each viewpoint is represented throughout the process and each idea created by the users maintain the high level of acceptance required to properly diffuse new innovations.
Pros
Cons
Of Interest
+3 Reminds the users to constantly consider outside viewpoints.
-3 Users may feel uncomfortable.
+2 Users have the opportunity to say what they feel outside the realm of personal judgement when assuming another role.
+1 Highly repeatable process.
-2 Users may not wish to roleplay or properly participate.
+1 Easily transportable.
-1 Can be easily lost or misplaced.
+1 Easy to understand.
-1 Too much time consumption.
+1 Objects may be easily substituted for more appropriate items.
+2 Can be applied without the use of props. +3 Easily accessible information from innovation pocket booklet. +1 Low cost of manufacturing.
Total: 12-7+3 = 8
Figure 31. Innovation Insight Glasses concept sketch. Author’s image.
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Concept 2: Writing the Future of History Book
Users will be exposed to a semi-completed history book to which they assume the role as the new author. Outside of the criteria necessary for accuracy; users will fill in dates, chapter headings, major events, future solutions, write dialogues from notable celebrities that used and experienced their new advertising systems, and other innovations that took place once their solutions had diffused. This will allow users to write about their innovative ideas as if they have already happened and assess assumed public perception, timelines, acceptability, avenues of diffusal, and likely consequences.
Pros
Cons
Of Interest
+4 Helps to alleviate the fear of exploring new concepts when writing about them as if they’ve already taken place.
-2 Limited uses.
+1 Users may insert themselves as heroes of history and innovation within their own stories.
+3 Creates dialogues that will help explain ideas in a more holistic manner. +2 Use of storytelling will help in persuasion. +1 Simple to reproduce.
-2 Time consuming. -2 Requires a great deal of writing and reading. -2 Users may not utilize the entire book if certain portions become cumbersome.
Total: 10-8+1 = 3
Figure 32. Writing the Future of History Book concept sketch. Author’s image.
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Concept 3: Level Up RPG
Users will have the ability to gamify innovation by treating each idea as a character within a Role Playing Game (RPG). Characters within these games will typically wear magical armor and have mystical abilities that will be upgraded as the character levels up and gains experience. For this prototype, each idea will be provided updated gear, abilities, and achievements as each portion is filled out according to the criteria. This will allow users to visually see their progress as they continue to work and improve their idea, while building confidence toward their final solution.
Pros
Cons
Of Interest
+3 Visual identification of progress.
-3 May seem uninteresting to some users.
+2 Using hobbies of gamers in the application of their work environments.
+3 High engagement. -3 Large space demand. +3 High drive for progress. -3 Difficult to reproduce.
+1 Plethora of character models for personalization.
+2 Interesting illustrations. +2 Achievement System for motivation.
Total: 13-9+3 = 7
Figure 33. Level Up RPG concept sketch. Author’s image.
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Concept 4: Cards of Creation
Users will use a deck of cards to facilitate creative thinking and the utilization of criteria for innovation. The cards will be separated into four unique decks. The Opportunity Deck will have one insight and one opportunity that stems from the insight. The Inspiration Deck will have quotes and pictures that users may manipulate and use in any way they deem necessary for their creative process. The Brainstorm Deck will have activities listed that users may complete to develop a wide range of solutions. The Criteria Deck will have the criteria necessary for success.
Pros
Cons
Of Interest
+1 Extremely portable.
-1 Easy to misplace or lose.
+1 Extremely reusable.
-2 No true ending point.
+1 Cheap to manufacture.
-1 Not as visually stimulating as the other prototypes.
+2 Heightened sense of mystery as the next card is drawn which enhances creative and unique outcomes.
+4 Easily understandable. +4 Low barrier of entry for other participants.
Total: 11-4+2 = 9
Figure 34. Cards of Creation concept sketch. Author’s image.
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Concept 5: Tune In the Board Game
Each player will choose their player piece, which is either a streamer, viewer, advertiser, or their own organization. Each player will draw an opportunity/ insight card and roll a die to see whose opportunity is addressed for the game. The players will roll and draw criteria cards and create solutions based on the criteria. They will then receive currency from each individual player if they agree that they’ve met their standards regarding the criteria. This will allow each player to offer unique solutions for each question, but also hear the solutions from other viewpoints if their ideas do not suit the needs of all players involved.
Pros
Cons
Of Interest
+2 Visual board game is also a product roadmap.
-1 Several pieces and size of the board may be difficult to manufacture.
+2 Roles can be switched to allow for unique play and development experiences.
+1 High replayability. +2 High level of entertainment for a group.
-2 Difficult to pack up and continue the next day. -2 Set up may be time consuming. -1 Potential stalemates between player opinions.
Total: 5-6+2 = 1
Figure 35. Tune In the Board Game concept sketch. Author’s image.
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Testing Approach The researcher then developed the top three rated concepts into working prototypes and tested each prototype with a group of four participants. Two of the participants were previously observed by the researcher and the other two participants were new to the project.
Final Scores Concept 1: Innovation Insight Glasses
8
Concept 2: Writing the Future of History Book
3
Concept 3: Level Up RPG
7
Concept 4: Cards of Creation
9
Concept 5: Tune In the Board Game
1
The researcher introducted the project to the participants with a short Q&A session to ensure each participant was aware of the theme, goals, and desired outcomes. Each of the three concepts were then introduced one at a time and tested to completion by the participants. The group completed each prototype while the researcher documented the negative and positive aspects that arose through verbal and physical cues. At the end of each test the participants were asked to verbally critique the process to increase the potential success of the final prototype. The testing of the three concepts took approximately three hours on October 24, 2015.
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Concept 1: Innovation Insight Glasses
Observations •
The participants misinterpreted the pocket guide as a quick fix, not a lengthy process
•
The procket guide served as an excellent tool for instruction
•
The participants enjoyed the use of large glasses as artifacts
•
The brainstorming session was quick, but the amount of ideas created was limited
•
The participants happily assumed their assigned roles and played the part throughout the process
Feedback “Very clear instructional layout” -Pat B.
“I like the aspect of looking at it from different points of view... it’s a big plus” - Pat B.
“The choosing of opportunities allows me to weigh the pros and cons” -Pat B.
“I really liked the perspective stuff. It really allowed us to think from that perspective” -Hannah F.
“This is good for ‘ok let’s find a problem” -Adrienne W.
“The roles engage you more” -Anita M.
Final Prototype Adjustment
Figure 36: Participants testing Innovation Insight Glasses concept. Author’s image.
•
The participants quickly assumed that the pocket guide was a speedier process, which the participants viewed as negative when they discovered it to be extremely lengthy
•
The participants enjoyed the idea of moving to a different physical area to brainstorm
•
The participants enjoyed using physical artifacts to stimulate their imagination when taking on the perspective of the different players in the advertisement system
•
The participants were provided brainstorming activities to assist in the facilitation of creative ideas
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Observations
Concept 2: Level Up RPG
•
Participants seemed hesitant to begin and were slightly confused where to start
•
Participants didn’t understand how to use the pieces of equipment at first
•
The reading of the scroll was passed off to one of the more energic participants
•
Participants didn’t see the process as relevant to their own hobbies and therefore lacked connection
•
The participants were confused when reading the scroll as they didn’t understand its message
•
Once the process was understood, the particpants increasingly enjoyed the experience
Feedback “It’s something different and it’s making your business more fun” -Pat B. “This is almost like us creating a flowchat” -Anita M.
“The achievements seem like an afterthought” -Pat B. “This may be taking away from what you’re trying to accomplish by focusing too much on the game” -Pat B.
“I would rather do something interactive like this one” -Hannah F.
Final Prototype Adjustment
Figure 37: Participants testing Level Up RPG concept. Author’s image.
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•
Participants enjoyed the concept once it was understood, but wanted it to be used in a more relvant way such as a roadmap
•
The participants found the process to be overly complex and frustrating
•
Participants did not have renewed interest or energy when gaining an achievement
•
Participants thoroughly enjoyed the visualization of their progress
Observations
Concept 3: Cards of Creation
•
Participants were pushing their ideas to their limit to test boundaries
•
Participants were extremely collaborative throughout the entirety of the process
•
The user needed to be informed that the rating system of one to ten is for their internal use of critique and is useful when revisting weaker sections of the solution
•
Some of the participants were hesitant to share all of their ideas from the brainstorming exercise
•
Participants seemed confused during the use of the inspiration card
Feedback “Encourages a lot of discussion” - Anita M. “It’s nice to have everything laid out for you” - Pat B. “The group effort was great” - Adrienne W.
“It needs a visual component...Maybe adding a flowchart or something” - Anita M. “If I’m stuck on an idea while working on the criteria is there a way to revitalize our creativity?” - Anita M. “We understood the goal but needed some direction” - Pat B.
Final Prototype Adjustment
Figure 38: Participants testing Cards of Creation concept. Author’s image.
•
The researcher needed to insert some form of visual roadmap into the process
•
The researchers card artifact was implemented within the final prototype
•
Instructions needed to be revisted to add additional clarity
•
The researcher’s brainstorming and inspiration sections were successful and were implemented within the final prototype
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Final Prototype Adjustments 1. Participants requested a visual roadmap so they may keep track of their progress. 2. Participants enjoyed the Cards of Creation concept as it was the strongest facilitator of chance/mystery in the selection process 3. The researcher’s instructions are too complex and needed to be broken down into the most basic level of understanding possible 4. Participants needed the brainstorming activities to facilitate the creation of the largest number of ideas possible regarding the intial solution 5. The participants enjoyed using the Inspiration Cards, but the researcher must clarify their meaning to enhance understanding of their purpose 6. The researcher’s implimentation of different perspectives through the use of artifacts was found to be enjoyable and extremely helpful by the participants 7. The researcher must incorporate simplicity in understanding at each touchpoint to negate the participants perceived complexity of the activities
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Final Prototype: Booklet with Detatchable Cards
Final Prototype Description For the final prototype the researcher created a booklet that is separated by the sections labeled Introduction, Opportunity, Inspiration, Brainstorming, and Criteria. Each section was made up of two parts the researcher described as instructions and cards. The participants were to read the instructions to understand why the information in the section was useful and how to use the cards on the next page. The card pages were connected and perforated and the participants were capable of choosing whether to keep the cards connected on the page or tear them out and use them as a tool for chance decision making. The Criteria section was different from the others as it consisted of a larger page that participants tore out and used as a visual progress tracker. The torn out page had a scoring system of one to ten for each criteria listed and each participant would take on the role of an Advertiser, Streamer, Viewer, and the Organization and provide a rating for each of those perspectives for each criteria. Once the process was complete the participants had developed an innovative and competitive advertising concept.
Observations •
The entire process ran smoothly from start to finish
•
The participants never felt as if they needed to slow down or stop
•
The participants were able to understand each section and what they represented with minimal debate
•
Slight modifications to the instructions and sections headers needed to be made for 100% clarification
•
The brainstorming sessions needed a time limit that the group should strive to meet
•
Participants should have only used Wild Cards in groups containing three or more members
Feedback “Concise and straight forward” - Anita M. “I’m not sure if I need to keep the cards in order” - Hannah F.
Figure 39: Participants testing the Final Prototype. Author’s image.
“The sections should be numbered” - Hannah F.
“I need to know what the 1-10 score is referring to” - Hannah F. “[the progress chart] is great because we can visually see the ratings very quickly” - Hannah F. “I don’t know if I should read ahead or not at certain points” - Anita M.
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FINAL DELIVERABLE: WORKSHOP PITCH PACKET
Figure 40. Final deliverable icon. Author’s image. 62
Description The workshop pitch packet consists of a project workbook, a creative facilitation session, and upgraded content to be displayed upon its development.
Workbook
Workshop
Additional Content
The project workbook will consist of exercises and activities separated by the sections labeled Opportunity, Inspiration, Brainstorm, and Criteria. The client may use the workbook to navigate through the process of creative innovation without the assistance of the researcher and the creative facilitation workshop. Once the client has completed the workbook a structured, accurate, and capable advertising system will have been created.
The researcher will conduct the creative facilitation workshop in collaboration with team members of the client organization over a three day period. The workshop will be provided to the client and used to accompy the activities and process within the project workbook. The client will find value in the creative facilitation workshop as the employees are led by the researcher through the process of innovation and the creation of a competitive and unique advertising system.
The researcher will make the upgraded content, to include market trends and consumer insight information, available on his personal website upon its completion. The client may use the updated content to facilitate the enhancement of older advertising systems that they created using the initial project workbook as a guide. The client may also use the upgraded content to aid in the creation of new and unique advertising systems based on updated consumer and market insights.
Figures 41-43. Icons for offerings. Author’s image. 63
Workshop Agenda
The creative facilitation workshop will be led by the researcher, who will take the employees of the client organization through the entirety of the process found in the project workbook. The researcher will ensure that the client meets and exceeds the standards found within each section so that the client may create the most capable advertising system possible by day three of the workshop.
Day 1: Ideation 9-10am: Introduction to Project and Workshop 10-11am: Opportunity Selection and Discussion 11-12am: Inspiration and Discussion 12-1pm: Lunch 1-3pm: Brainstorming Sessions 3-5pm: Initial Concept Selection 5-5:30pm: Next Steps
Day 2: Criteria Fulfillment 9-10am: Introduction to Criteria 10-11am: Criteria One Discussion 11-12am: Criteria Two Discussion 12-1pm: Lunch 1-2pm: Criteria Three Discussion 2-3pm: Criteria Four Discussion 3-4pm: Criteria Five Discussion 4-5pm: Criteria Six Discussion
Day 3: Criteria Fulfillment 9-10am: Information Recap 10-11am: Criteria Seven Discussion 11-12am: Criteria Eight Discussion 12-1pm: Lunch 1-2pm: Criteria Nine Discussion 2-3pm: Final Concept Development 3-4pm: Next Steps and Conclussion
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Workshop Packet Booklet
SECTION 2:
INSPIRATION
Figure 44. Final offering project workbook icons. Author’s image. 65
Business Model Canvas
Table 12 Business Model Canvas for Tune In
Key Partners
Key Activities
Live Streaming Organizations: Live streaming organizations will serve as the most significant key partner for this venture as they are the most likely to implement future systems of advertising platforms.
Consumer Research: Extended research will need to be conducted to maintain revenue and continued future business. Content Creation: Developing workshops and books will need graphic and layout designs that will allow for the best results possible.
Design Firms: Design firms whose focus of innovation within any field will serve as partners when searching for new methods of creating innovative advertising systems and platforms.
Creative Facilitation: The researcher will lead creative workshops as necessary.
Advertising Agencies: Advertising agencies will need to devise new ways to harness and utilize new platforms.
Key Resources Intellectual Property: Future content will be copywritten to avoid illegal replication.
Printing Company: Physical copies of the project workbooks will need to be printed with specialized needs for perferation and for pages that fold out to become larger sections.
Human Participation: Creation of these new systems from the criteria will only be capable through human intelligence and collaboration. Workshop Booklet: The booklet is formatted to allow for updated information and customization. It is the tool necessary for the development of advertising systems to take place.
Value Proposition
Consumer Relations
Consumer Segments
Tune In is FOR live streaming media organizations WHO are seeking innovative approaches to advertising within the growing industry of eSports being broadcasted through live streaming media.
In Person: Interactive and cooperative assistance. Relationships will be developed through regular contact and collaborative actions.
Software Engineers: Software engineers will be the main customer for this offering as they will be developing the new advertising systems first hand.
Online: 24/7 Q&A to reduce negative touchpoints and barriers to innovation.
Streamers: The streamers are the providers of entertainment regarding live streaming media and may very easily sway the opinion of viewers. Their involvement in the process is of the utmost importance.
Tune In is a set of criteria that was developed through design thinking that serves as a guide for creating these new approaches to advertising. IT DOES THIS BY engaging viewers of live streaming media with advertisements that are developed with the same entertainment value as the stream itself while maintaining a foundation of progressive advertising tenets. UNLIKE previous advertisement systems that have been adapted from previous and dated platforms, Tune In provides the potential to create innovative platforms in live streaming media advertising for eSports with the opportunity for a higher degree of impact and interaction from its viewers.
Cost Structure
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Viewers: The viewers are the core component that will be forced into interaction with any new advertising systems.
Channels Physical: In person at the organizations that develop live streaming content. Virtual: The researcher’s social media outlets and personal website will aid in providing 24/7 contact and information for anyone who wishes access.
Advertisers: Advertisers will maintain their position as the creators of content for new advertising systems and the buyers of time to fill and pay for these new systems.
Revenue Streams
Website Maintenance: Annual fees to web hosting company.
Content Creation: Creative materials and fees for the Adobe Creative Suite.
Creative Facilitation Workshop: Consulting fees valued at market price.
Print Manufacturing: Fees to printing agency for each physical booklet.
Promotional Materials: Fees regarding payment toward Google Adwords for website promotion.
Updated Content: Additional content will only be accessible after paying a set fee.
Printed Workbook Offerings: Additional fees will be added to the price of printing and shipping the workbook to compensate for time and effort spent on the part of the researcher.
Mission Statement Tune In is dedicated to the development of criteria through design thinking that organizations will use to assist in enhancing the impact of advertising systems within the market of live streaming media for eSports.
Vision Statement Tune In’s vision is to promote innovation within advertising systems and platforms that create a more enjoyable experience for the viewer, a more impactful message platform for the advertiser, a greater degree of experience control for the streamer, and a unique and effective competitive advantage for live streaming organizations.
Value Statement The researcher has maintained a particular set of values throughout the creation of Tune In’s workbook research. It is effectively ambiguous: Tune in was designed so that each client may experience a creative process that will aid in the development of a multitude of effective offerings. It is collaborative: Tune In’s process was designed so that the client may facilitate collaboration and participation from any user that wishes to join and contribute. It is updatable: Tune In was designed so the researcher may upgrade the information within, which the client may purchase and download to facilitate in the creation of advertising systems using the latest trend and consumer insight information.
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SWOT Analysis Table 13 SWOT Analysis of Tune In
Strengths:
Opportunities:
•
The workbook is in a digital space to which the researcher may add content
•
Growing number of live streaming organizations
• •
Capability of repeatable independent innovation production by the client
Increased viewership for eSports
•
Increasing interest by advertisers outside of eSports
Universally accepted form of instructional exercises
•
Digital media outlets outside of the live stream community
• •
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Ease of manufacturing
Weaknesses:
Threats:
•
The process takes several days
•
Design firms with larger teams and greater resources
•
The process can be mentally taxing
•
Changes in HTML and Java coding
•
The process of development has not been widely accepted in the business community
•
Future costs of implementation
•
Current system acceptance
Product The researcher has made the Tune In project workbook available through digital and print formats and has a dual capability in how it may be used. The first method, a book, is meant to be read from start to finish and leaving the book intact while the client uses the activties and instructions contained within. The second method, cards, is meant for the client to use as a facilitation tool to add a degree of chance to ease the burden of choice while aiding the client in pushing the process forward to completion. The researcher will offer workshop services separately as an additional product if the client decidely needs professional consultation and facilitation.
Place Clients may download the Tune In booklet from the researcher’s personal website and inquiries regarding a physical version may be requested from the website as well. The initial copies will be distributed digitally to live streaming organizations.
Price The initial digital copy of the Tune In booklet will be distributed free of cost to organizations that focus on live streaming content. Request for physical copies will require only the cost to print and ship the product. Any additional content to be uploaded in the future will be downloadable for an additional fee that is appropriate regarding current market prices.
Promotion Promotion will consist of digital versions being distributed to live streaming organizations through social media outlets, organization websites, and personal emails. The researcher will also display the project workbook and workshop offerings on his personal website for potential clients.
The workshop service will be held at any location deemed appropriate by the client.
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Final Design to Market Implementation Roadmap
Within the Final Design to Market Implementation Roadmap the researcher explored how the product was placed into the market and created a plan of repeat entry that will run on a cyclical process through phases one to three.
Figure 45. Final design to market implementation roadmap. Author’s image. 70
CONCLUSION AND RECOMMENDATIONS
Figure 46. Conclusion and recommendations icon. Author’s image. 71
Conclusion The project began when the researcher found a problematic area within a combination of his passions regarding eSports, advertising, and live streaming media. The problem became clear once the researcher was exposed to repeated interruptions by the current advertising system during his viewing experience. The researcher decided to champion the issue by creating a set of criteria that may be used by any live streaming organization to assist in the development of an innovative advertising system for this new form of media. The criteria was created through the aid of design thinking techniques involving an ethnographic lens that gave way to the cultivation of insights from interviews and observations with live streaming viewers, a professional streamer, a UX advertising professional, and two professionals in strategic planning for advertising. Once the insights were known, the researcher applied the insights to aid in the creation of several prototypes. The prototypes were tested by a group of consumers and the researcher then analyzed the strengths and weaknesses of each prototype. The researcher then used the insights from the testing of the prototypes to create the final design to market. The final design to market was a workbook with an accompanying facilitation workshop that would aid the client in the development of a unique, competitive, and innovative advertising system for live streaming media regarding eSports. The researcher will expand on this offering through updated content within the areas of market trends and consumer insights that will be made available by purchase on the researcher’s website. The researcher believes that if the process is followed diligently and to its completion, the clients will create a new age of advertising systems and usher in a new era of business-to-consumer communication.
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Recommendations It is recommended that the organizations take advantage of the information within this book to spark and inspire progress within the halls of their business and within their consumer base as well. Continue to seek updates to this information and be sure to never rest on a single new concept for too long. Media has the capability of being one of the strongest forms of social influence and allowing such a powerful tool to remain autonomous from the changes in consumer culture would be a travesty in itself. Continue to seek out methods to apply the new systems you created into other forms of media, such as on-demand and traditional television. Lastly, when committing your organization to this process be sure to be steadfast and maintain diligence regarding the single most important aspect behind these efforts: Do it for the user, not for the business.
REFERENCES
Figure 47. References icon. Author’s image. 73
Annotated Bibliography Bennett, S. (2011). Regulating online behavioral advertising. The John Marshall Law Review, 44(4), 899–962. This article by Steven Bennett covered the legality of online advertising within the context of behavioral advertising and its methods of targeting consumers. The author stated that the internet advertising platform is in the midst fundamental restructuring due to the recent recession and changes within the economics of the online market. This article assisted in the identification of the potential for marketers to use online behavioral advertising to develop psychographics to better target potential users for product placement. Buchanan, R. (1992). Wicked problems in design thinking. Design Issues, 8(2), 5–21. doi:10.2307/1511637 Within the article, Buchanan discussed the definition of wicked problems within design. Buchanan also discussed Horse Rittel’s original identification of wicked problems and how each design problem may be identified as such due to their naturally ambiguous nature. This article assisted in the identification of wicked problems in business and served as an informative foundation for the solutions found in this study. Cetinkaya, M., Johansson-Skoldberg, U., & Woodilla, J. (2013, June). Design thinking: Past, present and possible futures. Creativity & Innovation Management, 22(2), 121–146. doi:10.1111/claim.12023 The authors examined the meaning of design management within the business and design realms. The authors explored the offerings within each realm and argued that the different discourses are not in competition, but would be best served in paralleled development. The article aided the study by assisting in illuminating clear separations in the discourse of business management and design principles when utilizing design thinking. Chou, P. A., & Van Der Schaar, M. (Eds.). (2007, March). Multimedia over IP and wireless networks: Compression, networking, and systems. Burlington, MA: Academic Press. The authors of this book offered a technical understanding of live streaming media and an explanation of its current use. This book was useful to the study by assisting in the understanding of concepts regarding the technical flow of information through live streaming media and its current limitations. Christiaans, H. (2002, January 1). Creativity as a design criterion. Creativity Research Journal, 14(1), 41–54. doi:10.1207/S15326934CRJ1401_4 The author, Christiaans, explored the criteria necessary to properly rate performance quality in both art and design through the realm of creativity. His objective was to determine whether creativity has the ability to be reliably and validly judged by humans through design evaluation. Within this article, the author aided in supplying creative evaluation criteria that were applied to prototypes and concepts found in this study. Clemons, E. (2009, Mar 22). Why advertising is failing on the internet. Tech Crunch. Retrieved from http://techcrunch.com/2009/03/22/why-advertising-is-failing-on-the-internet. This article, written by Eric Clemons, discussed the major problems of internet advertising. Clemons stated that it’s not trusted, wanted, or needed. He evaluated these concepts in depth and moves on to defend them further with an update due to reader comments. This article assisted this study by aiding in the understanding of certain pitfalls that need to be taken into consideration and opportunities to work with, instead of against, these negative issues. Dalsgaard, P. (2014, April 1). Pragmatism and design thinking. International Journal of Design, 8(1), 143–155. The author, Peter Dalsgaard, examined the utilization of pragmatism as a foundational quality for design thinking. Dalsgaard argued that pragmatism has the capability to provide information and guidance in the development and execution of design projects. This article aided the study by assisting in understanding a practical base where design is capable of being developed. Dixon, W. W. (2013, May). Streaming: Movies, media, and instant access. Lexington, KY: University Press of Kentucky. The author of this book, Dixon, discussed the history of streaming and where it’s heading in the future. Dixon believed that in the future everyone will be constantly streaming due to our various and continuously updated mobile devices. This book aided the researcher in his understanding of live streaming media and its fundamental differences from the on-demand media platform. Euchner, J. (2012, May 1). Design thinking: An interview with Roger Martin. Research Technology Management, 55(3), 10–14. doi:10.5437/08956308X5503003 Within this article, Jim Euchner interviewed renowned design thinker, Roger Martin. Roger is asked questions about the relationship between analytical thought and intuitive thought and explained how these two schools come together to form the productive mix of design thinking. Wonderfully articulated insights into the understanding of design thinking are revealed within this interview and aided the researcher in strengthening his own understanding of the field and how it was applied to this study.
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Gardner, J. (2013, March 5). 5 huge digital marketing trends you can’t afford to ignore. Mashable. Retrieved from http://mashable.com/2012/03/05/future-digital-marketingtrends. Mr. Gardner, a director of communications at Vibrant Media, listed his predictions for online digital marketing trends and what one must do in order to be successful in the future. His predictions fell under the categories of location services, new ad formats, user-generated curation, integrated marketing, and advertising by format. This article aided this study by assisting the researcher in the understanding of certain value considerations that were considered during the interview creation process. Gobble, M. M. (2014, May 1). Design thinking. Research Technology Management, 57(3), 59–62. doi:10.5437/08956308X5703005 The author, MaryAnne M. Gobble, illuminated the lure of analytical thinking and its ability to charm corporate innovators into using big data to create solutions. She expanded on this idea to say that it is flawed in a way due to its lack of human insight, which is a key component within design thinking. This information aided the study in the application of practices of thought when considering the analyzing and synthesis of data. GO-Gulf. (2012). Global online ad spending statistics infographic. [Web log post]. Retrieved from http://www.go-gulf.com/blog/online-ad-spending. GO-Gulf portrayed a plethora of information based on online spending for advertisement within this infographic. The spending patterns were broken down into previous areas of investment and future predictions for online ad spending. This was helpful to the study due to its insight into online ad spending that led to a stronger understanding of the where and why regarding global online ad spending. Heath, R. (2012). Seducing the subconscious: The psychology of emotional influence in advertising. West Sussex, UK: Wiley-Blackwell. The author, Dr. Robert Heath, wrote this book as a historical overview of the psychology that stood behind advertising of the past and explored how it was evolving into the future. Dr. Heath’s dive into the modern psychology of internet banner ads, the examination of the brain’s interactions with advertising, and a breakdown of traditional ad methods illuminated fascinating insights into how humans react to advertising. This book assisted every portion of this study by aiding the researcher’s understanding regarding the psychology behind advertising methods. Heaven, D. (2014, August 16). Rise and rise of esports. New Scientist, 223(2982), 17. Within this article, Heaven explored some of the hype behind eSports and its current arenas for competition. Heaven also spoke on the current growth of the market and how live-streaming media has created a new slew of celebrities within the sport. This was helpful to the study due to her insider view of the industry that aided in developing a deeper understanding of eSports. Kimbell, L. (2015, April 15). Rethinking design thinking: Part I. Design and Culture, 3(3), 285–306. doi:10.2752/175470811X13071166525216 The author, Lucy Kimbell, argued that design thinking was misused and poorly mixed due to the attainment of the way of thinking by business schools and consultancies. Kimbell examined signs that design thinking has failed and offered a clarification in design thinking’s functionality so that the idea may carry forward. This article was useful to this study as it aided in the development of new viewpoints on the future and functionality of design thinking. Kurnit, R. (2015, February 25). Defining native advertising. Mondaq Business Briefing. Retrieved from www.mondaq.com. Within this article, Kurnit covered native advertising and listed different examples, liability concerns, and best practices currently being used in the industry. This information was useful to the study by aiding in the researcher’s understanding of what defines native advertising and how it was being used, so that the researcher was able to apply this information to various segments of his process. Lee, D., & Schoenstedt, L. J. (2011, October 1). Comparison of eSports to traditional sports consumption motives. ICHPER-SD, 6(2), 39–44. Within this study, Lee analyzed motivations and behavioral patterns for participants of eSports and its marketable values resulting from these motivations. This study assisted the researcher by aiding in the highlighting of the three motivators behind eSport participation to be competition, peer pressure, and building a skill. Incorporating these insights into the behavioral patterns of this emerging market assisted in developing interview questions for this study. Levin, J., & Milgrom, P. (2010, May). Online advertising: Heterogeneity and conflation in market design. The American Economic Review, 100(2), 603–607. doi:10.1257/ aer.100.2.603 The authors broke down some of the current advertising platforms that were found across the internet within this article. The authors portrayed potential flaws in the advertising systems, especially in Google’s cost per click platform, by illuminating their functionality and purpose for the consumer. This article assisted in the understanding of current advertising platforms at the time of the study and provided information regarding the need within the future of advertising to create finer ad targeting methods. 75
LifeCourse Associatates. (2014, June 4). The new face of gamers. [Web log post]. Retrieved from http://blog.twitch.tv/wp-content/uploads/2014/06/TheNewFaceofGamers.pdf. This report is a study created by LifeCourse Associates and was commissioned by Twitch.tv. LifeCourse Associates covered the characteristics and user groups within the eSports community as of 2014 with this study. They also listed various statistics regarding new gamers, target user breakdowns of personality, and how gamers engage with media. This report aided the researcher in the understanding of the base target market for this study as well as personality differentiators that needed to be considered when developing the final solutions and interview questions. Martinsuo, M., & Poskela, J. (2001, November 1). Use of evaluation criteria and innovation performance in the front end of innovation. The Journal of Product Innovation Management, 28(6), 896–914. doi:10.1111/j.1540-5885.2011.00844.x The authors of this article, Martinsuo and Poskela, explored the usage of evaluation criteria in idea and concept development firms. Their results showed that firms using evaluation criteria significantly assisted in the enhancement of competitive and business potential in the front end of innovation. This article assisted the study by increasing the understanding regarding assessment models and criteria for those models. Moses, L. (2013, October 21). The roadblocks of native advertising. Adweek, 54(37), 14. The discussion within this article revolved around clients not taking full advantage of the native advertising arena. This was blamed mostly in part due to the red tape that slows company decision making and using the right pieces to make these changes happen. This information assisted in understanding the inner working of companies when considering new forms of advertising and the pitfalls new advertising platforms potentially face. Norcini, J. J. (2011). Criteria for good assessment: Consensus statement and recommendation from the Ottawa 2010 conference. Medical Teacher, 33(3), 206–214. doi:10.3109/01 42159X.2011.551559 Within this article the author’s outline criteria for good assessment was examined and broken down into maintainable and repeatable steps. The author covered systemic steps in the process of good assessment; such as, validity, reproduction, equivalence, feasibility, educational effect, catalytic effect, and acceptability. This article assisted the study by aiding in the development of practice points, drafting, and the systemic construction of criteria for proper evaluation. Smith, M. (2015). Targeted: How technology is revolutionizing advertising and the way companies reach consumers. New York, NY: AMACOM. The author laid out all of the current processes being used in online advertising in the business-to-business atmosphere. Major areas of advertising sales were discussed such as Search Engine Marketing, Google’s advertising abilities, and real-time bidding. The book assisted this study by aiding in the understanding of the next steps to be taken by the advertising industry by laying out future potential strategies. Taylor, T.L. (2012). Raising the stakes: E-sports and the professionalization of computer gaming. Cambridge, MA: MIT Press. This book was one of the main sources of information in print regarding the eSports community and its stakeholders. The author covered valuable material such as different venues and media outlets within the eSports arena as well as information regarding the business behind the scenes. This book was a strong resource for this study as it aided in understanding the current viewership and fandom regarding the industry. Twitch Interactive, Inc. (2014). 2014 Retrospective. Retrieved from http://www.twitch.tv/year/2014. Within this retrospective, Twitch Interactive, Inc. covered several different aspects of the online streaming and eSports industries. Twitch showed their expansion into new media playing devices, ways to broadcast, merchandising options, and live concert and music streaming abilities. Twitch also listed minute’s watcher per month, video broadcast per month, unique viewers per month, partnered channels, unique broadcast per month, and a peak of concurrent viewers for the year. This report assisted in understanding the significance and selling effect of this emerging platform between the intersection of eSports and live streaming media. Ware, C. (2008). Visual thinking: For design. Burlington, MA: Morgan Kaufmann. The author, Colin Ware, discussed the psychological and physiological aspects that take place when humans view design. Ware’s explanation of color, pattern expansion, and spatial consideration are easy to grasp and apply when developing new designs. This book was pivitol in aiding the researcher in understanding design concepts that were applied to this study so that the criteria offerings were considered aesthetically pleasing when viewed by the human eye.
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List of Figures Figure 1. TV icon........................................................................................................................ 0 Figure 2. Observation collage photo...................................................................................3 Figure 3. Introduction icon..................................................................................................... 3 Figure 4. Project framing icon............................................................................................... 7 Figure 5. Project positioning icon.........................................................................................12 Figure 6. 2x2 analysis of the research space for viewer/streamer interaction.......22 Figure 7. 2x2 analysis of the research space for ad space...........................................23 Figure 8. 2x2 analysis of the research space for customization.................................24 Figure 9. Research activities icon........................................................................................ 29 Figure 10. Map of the study’s research space...................................................................30 Figure 11. Consent form part one.......................................................................................... 33 Figure 12. Consent form part two......................................................................................... 33 Figure 13. Advertiser interview form.................................................................................... 33 Figure 14. Streamer interview form...................................................................................... 33 Figure 15. Viewer interview form.......................................................................................... 33 Figure 16. Observation research form.................................................................................33 Figure 17. Final synthesis working wall............................................................................... 36 Figure 18. Picture of Novice Enthusiast watching Twitch.tv...........................................38 Figure 19. Picture of Veteran Enthusiast watching Twitch.tv......................................... 38 Figure 20. Semantic profile of observation synthesis.....................................................38 Figure 21. Stephen Rivera. Picture representing Persona One. © 2013 Rivera.......39 Figure 22. Semantic profile for Persona One................................................................... 39 Figure 23: Garon Muller. Picture representing Persona Two. © 2015 Muller........... 40 Figure 24. Semantic profile for Persona Two....................................................................40 Figure 25. Picture of Hannah Foerster representing Persona Three.........................41 Figure 26. Semantic profile for Persona Three.................................................................41 Figure 27. Research findings at a glance map................................................................. 43 Figure 28. Design opportunities and criteria, reframing icon.......................................44 Figure 29. Opportunity for design map.............................................................................. 46 Figure 30. Prototype development and testing icon...................................................... 49 Figure 31. Innovation Insight Glasses concept sketch....................................................51 Figure 32. Writing the Future of History Book concept sketch.....................................52 Figure 33. Level Up RPG concept sketch...........................................................................53 Figure 34. Cards of Creation concept sketch....................................................................54 Figure 35. Tune In the Board Game concept sketch...................................................... 55 Figure 36. Participants testing Innovation Insight Glasses concept...........................56 Figure 37. Participants testing Level Up RPG concept....................................................58 Figure 38. Participants testing Cards of Creation concept........................................... 59 Figure 39. Participants testing the Final Prototype..........................................................61 Figure 40. Final deliverable icon.......................................................................................... 62 Figures 41. Workbook icon..................................................................................................... 63 Figure 42. Workshop icon...................................................................................................... 63 Figure 43. Workshop icon.......................................................................................................63 Figure 44. Final offering project workbook icons............................................................ 65 Figure 45. Final design to market implementation roadmap....................................... 70
Figure 46. Conclusion and recommendations icon........................................................ 71 Figure 47. References icon..................................................................................................... 73 Figure A1. Timeline of the first five weeks..........................................................................81 Figure A2. Timeline for the second five weeks................................................................ 82 Figure B1. Signed consent form of Alex Soloman............................................................ 84 Figure B2. Signed consent form of Dave Nicolson..........................................................84 Figure B3. Signed consent form of Ryan Thacker............................................................84 Figure B4. Signed consent form of Katie Swindler...........................................................84 Figure B5. Signed consent form of Justin Davis...............................................................84 Figure B6. Signed consent form of James Ambler...........................................................84 Figure B7. Signed consent form of James Strickland......................................................84 Figure B8. Signed consent form of Pat Blume.................................................................. 84 Figure B9. Signed consent form of Hannah Foerster......................................................84 Figure B10. Signed consent form of Maarten Bruinsma..................................................84 Figure B11. Signed consent form of Kyle Foerster.............................................................84 Figure B12. Signed consent form of Brian Hinkle.............................................................84 Figure C1. Consent form one................................................................................................. 86 Figure C2. Consent form two.................................................................................................86 Figure C3. Advertiser interview form...................................................................................87 Figure C4. Streamer interview form..................................................................................... 87 Figure C5. Viewer interview form.........................................................................................88 Figure C6. Observation research form............................................................................... 88 Figure D1. Alex S. Interview Transcription...........................................................................90 Figure D2. Brian H. Interview Transcription........................................................................90 Figure D3. Dave N. Interview Transcription........................................................................91 Figure D4. James A. Interview Transcription......................................................................91 Figure D5. James S. Interview Transcription......................................................................92 Figure D6. Justin D. Interview Transcription.......................................................................92 Figure D7. Katie S. Interview Transcription.........................................................................93 Figure D8. Kyle F. Interview Transcription.......................................................................... 93 Figure D9. Maarten B. Interview Transcription..................................................................94 Figure D10. Ryan T. Interview Transcription........................................................................94 Figure D11. Pat B. Observation Transcription..................................................................... 95 Figure D12. Hannah F. Observation Transcription............................................................95 Figure E1. Tune In cover page............................................................................................... 97 Figure E2. Tune In icon page................................................................................................. 98 Figure E3. Tune In introduction............................................................................................. 99 Figure E4. Tune In section one page................................................................................... 100 Figure E5. Tune In section one description page............................................................ 101 Figure E6. Tune In opportunity icon page.......................................................................... 102 Figure E7. Tune In opportunity cards page........................................................................ 103 Figure E8. Tune In opportunity card back page............................................................... 104 Figure E9. Tune In section two icon page.......................................................................... 105 Figure E10. Tune In inspiration description page............................................................. 106 Figure E11. Tune In inspiration cards page......................................................................... 107 77
List of Figures Figure E12. Tune In inspiration card back page................................................................ 108 Figure E13. Tune In brainstorm icon page.......................................................................... 109 Figure E14. Tune In brainstorm description page............................................................. 110 Figure E15. Tune In brainstorm follow up page.................................................................111 Figure E16. Tune In brainstorm icon page.......................................................................... 112 Figure E17. Tune In brainstorm cards page........................................................................ 113 Figure E18. Tune In brainstorm cards back page............................................................. 114 Figure E19. Tune In initial concept icon page.................................................................... 115 Figure E20. Tune In initial concept description page......................................................116 Figure E21. Tune In initial concept cards page..................................................................117 Figure E22. Tune In initial concept cards back page...................................................... 118 Figure E23. Tune In progress tracker icon page.............................................................. 119 Figure E24. Tune In progress tracker description............................................................ 120 Figure E25. Tune In progress tracker role descriptions................................................. 121 Figure E26. Tune In progress tracker icon......................................................................... 122 Figure E27. Tune In progress tracker fold out front page.............................................. 123 Figure E28. Tune In progress tracker fold out back page............................................. 124 Figure E29. Tune In criteria icon page................................................................................ 125 Figure E30. Tune In criteria description page................................................................... 126 Figure E31. Tune In criteria cards page............................................................................... 127 Figure E32. Tune In criteria cards back page....................................................................128 Figure E33. Tune In criteria form one and two page....................................................... 129 Figure E34. Tune In criteria form three and four page....................................................130 Figure E35. Tune In criteria form five and six page......................................................... 131 Figure E36. Tune In criteria form seven and eight page................................................ 132 Figure E37. Tune In criteria form nine and final page...................................................... 133 Figure E38. Tune In congratulations page......................................................................... 134 Figure E1. Working wall week 2............................................................................................ 136 Figure E2. Working wall week 3........................................................................................... 136 Figure E3. Working wall week 4........................................................................................... 136 Figure E4. Working wall week 5............................................................................................136
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List of Tables Table 1 Collaborator analysis chart for Twitch................................................................................ 14 Table 2 Collaborator analysis chart for HitBox................................................................................15 Table 3 Collaborator analysis chart for YouTube............................................................................ 15 Table 4 Collaborator analysis chart for D!ng It................................................................................ 16 Table 5 Collaborator analysis chart for LiveStream....................................................................... 17 Table 6 Collaborator analysis chart for Ustream............................................................................ 18 Table 7 Collaborator analysis chart for Major League Gaming..................................................19 Table 8 Collaborator analysis chart for Cutting Edge................................................................... 20 Table 9 Collaborator analysis chart for ViaGame...........................................................................20 Table 10 Collaborator analysis chart for GFINITY.............................................................................21 Table 11 Research question matrix.......................................................................................................32 Table 12 Business Model Canvas for Tune In.................................................................................... 66 Table 13 SWOT Analysis of Tune In...................................................................................................... 68
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A APPENDIX A: TIMELINE
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Sept 15-21
Sept 22-28
WEEK 1 T
Section 1
Framing the Project Working Wall Updates Final Project Proposal Primary Research Documents Progress Check-In Submission
Section 2
Conducting Primary Research Working Wall Updates Conducting Interviews Conducting Observations Updating Research Documents Progress Check-In Submission
Section 3
Market Analysis Working Wall Updates Collaborator Analysis Finding Your ZAG Value Proposition Complete Primary Research Progress Check-In Submission
Section 4
Synthesis Working Wall Updates Finalize Research Affintizing Persona Development Progress Check-In Submission
Section 5
Midterm Process Book Process Book Initial Concept Exploration Progress Check-In Submission
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Figure A1. Timeline for the first five weeks. Author’s image.
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Exploration and Prototyping Working Wall Updates Concept Development Concept Testing Progress Check-In Submission
Section 7
Assesment and Validation Working Wall Updates Refining and Assessing Filling Gaps Progress Check-In Submission
Section 8
Refining the Prototype Working Wall Updates Finalize Prototype Progress Check-In Submission
Section 9
Business Planning Working Wall Updates Business Model Canvas Implementation Plan Progress Check-In Submission
Section 10
Final Process Book and Poster Finalize Process Book Progress Check-In Submission
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Figure A2. Timeline for the second five weeks. Author’s image.
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B
APPENDIX B: SIGNED CONSENT FORMS
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Consent Forms
Figures B1-12. Signed consent forms. Author’s image. 84
C APPENDIX C: PROTOCOLS
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Consent Form One
Consent Form Two
Tune In: Criteria for effective livestream advertising.
The following information provides an introduction to field research that will be conducted in Savannah, GA between September 14, 2015 to November 19, 2015 by Todd Hinkle, Design Management graduate student at the Savannah College of Art and Design.
Informed Consent Form
I voluntarily agree to participate in an interview/inquiry performed by students at the Savannah College of Art and Design. I understand that this interview/inquiry is being
RESEARCHER BIO: Todd Hinkle is a Design Management M.A. candidate at the Savannah College of Art and Design. His professional background consist of military training for infantry tactics and leadership, a B.A. in marketing, sales experience, and interning as a strategic planner at Foote, Cone, and Belding’s Chicago office.
PURPOSE OF THE STUDY The purpose of this study was to apply design thinking to understand and develop criteria for more effective advertising platforms based on human-centered design in online advertising within the realm of live streaming media for eSports. Reaching a better understanding of this interaction ultimately can lead to further exploring the development and creation of empathetic advertising systems RESEARCH QUESTION(S) Our research will be guided by the following question(s):
Todd Hinkle conducted by _______________________________, in order to identify opportunities for design.
I understand that the evaluation methods which may involve me include:
1. the recorded (audio and/or video) observations of my work 2. my completion of an evaluation questionnaire(s) and/or 3. my participation in a 30-90 minute interview.
How might a set of criteria, derived from design thinking, be useful for creating effective advertising in live streaming media for eSports?
I grant permission for the interview/inquiry to be recorded and transcribed, and to
Todd Hinkle be used only by _______________________________for analysis of interview data.
DATA COLLECTION METHODOLOGY Data will be collected through: Surveys, interviews, and observations.
I grant permission for the evaluation data generated from the above methods to be used in an educational setting.
DATA MANAGEMENT Data will be anonymized through participant’s request or researcher’s decision. Data will be stored via: Digital audio recording devices, digital and physical written notes, photographs, and video. All data will be represented and stay in circulation in the form of a final process book. CONTACT INFORMATION This project is being conducted through the Design Management department at the Savannah College of Art and Design. For additional information please contact Regina Rowland at rrowland@scad.edu.
I understand that any identifiable information in regard to my name and/or company name will be removed from any material that is made available to those not directly involved in this study.
_______________________________________ Research Participant Name and Signature
Project Design Manager: Todd Hinkle, thinkl20@student.scad.edu, (706)-840-1297.
_______________________________________ Date
Printed 11/14/2015
Figure C1. Consent form one. Author’s image.
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Informed Consent Form
Figure C2. Consent form two. Author’s image.
Advertiser Interview Form
Streamer Interview Form Tune In - Contextual Research Collection
Tune In - Contextual Research Collection
Live Stream Professional Interview Form
Professional Advertiser Interview Form Interviewee Name:
Interviewee Age:
Occupation:
Date:
Sex:
Time:
Interviewee Name: Occupation:
Interviewee Age: Date:
Sex:
Time:
1. Tell me about your job and what it is that you do? 1. How do you define advertising?
2. Tell me about the current advertising platforms in live streaming media from your point of view as a streamer?
2. What do you think are advertising’s core values?
3. Do you have a consistent viewer base?
3.What do you think the goals of advertising are?
4. Why do you think they continue to visit your stream? 5. Do you interact with your users?
4. Do you think there is a difference between online advertising and other types of advertising? 5. Is there something special about online advertising? 6. What do you think consumers are looking for when they see advertisements? 7. How might consumers see advertising as negative? 8. Do you use certain methods to construct your advertisements? 9. Have you noticed any advertisement methods or platforms that have been effective previously? 10. Have you noticed any interesting advertising methods that have emerged recently? 11. How do you picture the future of advertising?
6. If yes, how? 7. Are there events, offerings, or special occasions that you feel work in drawing in new viewers? 8. Have you noticed events, offerings, or special occassions that spur viewers to interact more in the chat channels? 9. Have you noticed any interactions that other streamers have done that have improved their user base? 10. Tell me about when you had the most viewers visit your stream and describe what you were doing at that time? 11. Have you ever noticed anything that has caused a negative reaction from your users? 12. What’s your vision of the future of live streaming media?
Figure C3. Advertiser interview form. Author’s image.
Figure C4. Streamer interview form. Author’s image.
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Viewer Interview Form
Observation Research Form Tune In - Contextual Research Collection Observation Form
Tune In - Contextual Research Collection Live Stream Viewer Interview Form Interviewee Name:
Interviewee Age:
Occupation:
Date:
Sex:
Time:
Location: Time: Date:
1. What websites or services do you typically use when you want to watch live streaming media?
Photo of observation space:
2. How often do you visit live streaming websites? 3. Walk me through what you do when you visit live streaming websites? 4. Do you use live streaming websites as a primary or secondary form of entertainment? 5. Do you multi-task when you watch the streams? 6. What drives you to use that form of entertainment?
Observations:
7. What level of interaction do you seek when you visit these websites? 8. Have you had any memorable experience on a live streaming website so far? 9. If yes, what was it like? 10. Have you had any negative experiences? What happened and what was that like? 11. If yes, what was it like? 12. What would you like to see in the future of live streaming entertainment?
Figure C3. Viewer interview form. Author’s image.
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Figure C4. Observation research form. Author’s image.
D APPENDIX D: TRANSCRIPTIONS
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Alex S. Transcript
Figure D1. Alex S. Interview Transcription. Author’s image.
Brian H. Transcript
Figure D2. Brian H. Interview Transcription. Author’s image.
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Dave N. Transcript
Figure D3. Dave N. Interview Transcription. Author’s image.
James A. Streamer Transcript
Figure D4. James A. Interview Transcription. Author’s image.
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James S. Viewer Transcript
Figure D5. James S. Interview Transcription. Author’s image.
Justin D. Transcript
Figure D6. Justin D. Interview Transcription. Author’s image.
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Katie S. Transcript
Figure D7. Katie S. Interview Transcription. Author’s image.
Kyle F. Transcript
Figure D8. Kyle F. Interview Transcription. Author’s image.
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Maarten B. Transcript
Figure D9. Maarten B. Interview Transcription. Author’s image.
Ryan T. Transcript
Figure D10. Ryan T. Interview Transcription. Author’s image.
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Pat Observation Transcript Tune In - Contextual Research Collection Observation Form Location: Living room, Savannah GA
Observations: Head movement showed that he may have been reading chat while switching back to watching the stream repeatedly. Focused on the stream for around 3 minutes and his girlfriend came into the room and turned on the TV.
Time: 2:15pm Date: 4 October, 2015
Viewer turned down the volume on the laptop.
Photo of observation space:
Viewer watched the TV and would look down to the laptop every 10-20 seconds as sound increased on the laptop. Viewer watched the last 2 minutes of a hand of Hearthstone without break. The game finished and the viewer clicked back and selected a new game, Destiny (number 8 on the list). Viewer scrolled down and briefly read about the streamer and quickly scrolled back up. Viewer looked over to chat and read for roughly 10 seconds before looking at the TV and then returning attention to the stream. Viewer watched the stream run in a circle with their online character several times then hit back and selected the third streamer on the list. Scrolled down boxes describing the viewer and scrolled back up.
Observations: Viewer selected “browse” and began to slide through games. Chose a game close to the top. (Hearthstone) Scrolled down briefly and returned to the top and chose the 4th largest stream. The picture to select the stream had 2 men at the bottom right with the game interface taking up the majority of the screen. An advertisement took up the entirety of the screen and the viewer looked at it briefly and moved the mouse cursor over to the chat box and began to read until the advertisement finished. Viewer said something about the stream being in French and clicked to go back to the browse page. Selected the top stream for the Hearthstone game. Scrolled down to the information section and read about the streamer. Scrolled back up and began to watch.
Viewer watched the TV for around 25 seconds and then looked back down to watch the stream for a little over 2 minutes. Alternated between watching the TV and the stream for around 5 minutes. Clicked back and scrolled quickly through the games and chose The Witcher III. Chose the first streamer in line that had English in the title. Scrolled down to the user bio and quickly scrolled back up. Left the stream running while alternating attention from TV to the laptop, sometimes looking over to the chat. This continued for around 8 minutes before the viewer closed the tab, closed the laptop, and said he was going to check it out later tonight if he had the chance.
Figure D11. Pat B. Observation Transcription. Author’s image.
Hannah Observation Transcript Tune In - Contextual Research Collection Observation Form Location: Bedroom. Savannah, GA Time: 3:15pm Date: 1 October, 2015
Photo of observation space:
Observations: Viewer leaned forward and clapsed her hands together in front of her face as she read the chat. Viewer scrolled down and read about the stream for a brief moment. Viewer opened up a different IE and typed in the name of the woman who was just being shown in the stream. She listened to the stream while reading the wiki page of the female from the stream. A new speaker came on the stream, an elderly male. Viewer leaned back in her chair and started to watch the actual stream again, which continued for 5 minutes. She read the chat for a minute and shook her head. Viewer clicked back and browsed for games and chose Super Mario Maker. Viewer selected a game with 3k viewers, not the top of the list. When the advertisement came on she began to check her phone. When she heard the voice of the streamer she looked back up and leaned to the left, resting her chin in her hand and started watching. Viewer put her phone down and turned slightly and watched the stream. The streamer failed three times in a row and the viewer said “unacceptable Patrick Clipek…” and continued to watch.
Observations:
Viewer laughed and read some of the lines from chat. “[laughs] why is he even doing that. Patrick is having an existential crisis.” “Why did you even throw it.”
Viewer went to the home page and watched a video on the homepage for around 5 minutes.
Viewer yawned and rocked her chair while watching the screen.
Viewer watched the advertisement and said it was “weird” out loud.
Viewer said come on Patrick… and said doo ittt…. Doo itttt. Come on Patrick come on. “ as he approached the end of a level.
Viewer leaned back in the chair and moved her eyes from the chat channel and back to the screen she was watching. The video she is watching is about female inequality in the gaming industry. Viewer folds her arms and exhales heavily. Viewer leaned forward and started to read the chat for several moments.
The streamer died and she cringed and squeezed her fist and said “that was really bad…” “They’re keeping count of his deaths… if he dies 4 more times then I’m done. He failed and she turned her head and squeezed her fist. He failed and she pursed her lips and swiveled in the chair slightly. He failed to more times and she sat still watching as he restarted.
Viewer said “who is this chick?”… “there’s 1.6 million people watching this.” Viewer typed a question into the chat stream.
He failed and said he was done streaming for the day. Viewer clicked her nails against the desk .
Viewer said “God, people are awful…” and “oh my God” out loud.
Viewer turned her chair and read the chat while the streamer spoke and gave details about what he would be doing over the next few hours.
Viewer said “This is making me sick…”
Viewer clicked and exited out of the website.
Figure D12. Hannah F. Observation Transcription. Author’s image.
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E
APPENDIX E: FINAL DESIGN TO MARKET
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Figure E1. Tune In cover page. Author’s image.
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Figure E2. Tune In icon page. Author’s image.
Figure E3. Tune In introduction. Author’s image.
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Figure E4. Tune In section one page. Author’s image.
Figure E5. Tune In section one description page. Author’s image.
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Figure E6. Tune In opportunity icon page. Author’s image.
Figure E7. Tune In opportunity cards page. Author’s image.
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Figure E8. Tune In opportunity card back page. Author’s image.
Figure E9. Tune In section two icon page. Author’s image.
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Figure E10. Tune In inspiration description page. Author’s image.
Figure E11. Tune In inspiration cards page. Author’s image.
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Figure E12. Tune In inspiration card back page. Author’s image.
Figure E13. Tune In brainstorm icon page. Author’s image.
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Figure E14. Tune In brainstorm description page. Author’s image.
Figure E15. Tune In brainstorm follow up page. Author’s image.
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Figure E16. Tune In brainstorm icon page. Author’s image.
Figure E17. Tune In brainstorm cards page. Author’s image.
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Figure E18. Tune In brainstorm cards back page. Author’s image.
SECTION 4:
INITIAL CONCEPT
Figure E19. Tune In initial concept icon page. Author’s image.
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SECTION 4: INITIAL CONCEPT
How do you use this section? Write down your initial concept on one of the blank cards on the following page. Your group can either tear out the card for reference of leave it within the book as part of your log. The remaining blank spaces will be used when the group decides to repeat the entirety of the process within this book.
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Figure E20. Tune In initial concept description page. Author’s image.
Figure E21. Tune In initial concept cards page. Author’s image.
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Figure E22. Tune In initial concept cards back page. Author’s image.
SECTION 5:
PROGRESS TRACKER
Figure E23. Tune In progress tracker icon page. Author’s image.
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Figure E24. Tune In progress tracker description. Author’s image.
Figure E25. Tune In progress tracker role descriptions. Author’s image.
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Figure E26. Tune In progress tracker icon. Author’s image.
Figure E27. Tune In progress tracker fold out front page. Author’s image.
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Figure E28. Tune In progress tracker fold out back page. Author’s image.
Figure E29. Tune In criteria icon page. Author’s image.
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Figure E30. Tune In criteria description page. Author’s image.
Figure E31. Tune In criteria cards page. Author’s image.
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Figure E32. Tune In criteria cards back page. Author’s image.
Figure E33. Tune In criteria form one and two page. Author’s image.
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Figure E34. Tune In criteria form three and four page. Author’s image.
Figure E35. Tune In criteria form five and six page. Author’s image.
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Figure E36. Tune In criteria form seven and eight page. Author’s image.
Figure E37. Tune In criteria form nine and final page. Author’s image.
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Figure E38. Tune In congratulations page. Author’s image.
F APPENDIX F: WORKING WALL
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Working Wall Week 2
Week 3
Week 5
Week 4
Figure E1-4. Working wall photos. Author’s image. 136
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TUNE IN Todd Hinkle 706.840.1297 todd.hinkle@hotmail.com toddhinkle.com
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