This study will examine how branded games in the LEGO Ninjago franchise communicate the brand narrative through their mechanical, semiotic and referential design. Digital games as communicative tools facilitate a new paradigm of marketing focusing on experience creation through integrated marketing communication plans. The LEGO brand creates highly successful games that communicate the brand effectively. To explore the possibilities and counteract the simplistic use of branded games, this study introduces an innovative framework to formally analyze branded games and their communication of a brand narrative through mechanical, semiotic and referential layers. This framework introduces formal game design to advertising studies, while dragging game studies into branded ecosystems. Using the framework, we analyze LEGO Ninjago the Movie – The Videogame, to identify how this paid digital game expands the Ninjago universe and fulfills specific marketing purposes oriented to LEGO toy sets. Our analysis shows that on a mechanical and semiotic layer, the game presents a standalone experience catering to the universe of the Ninjago movie and the values of the Ninjago brand narrative. However, by framing the whole game as LEGO – in its materiality and interactable objects – the LEGO brand narrative of creative construction informs the act of play. The referential design in these games makes use of playful disruption of rules to instill additive comprehension in the player related to purchasable sets and content.
This article presents art as a tool in the construction of place narrative. Discussing that place narrative is beyond city marketing or city branding in the sense that it strives to take into account the relationship between visitors and locals, place narrative can explore the variety of rhizomatic dimensions of art. In this sense, and using the project of Hieronymus Bosch 500 as a case study, art is a motive and a means to build place narrative and bring together local communities and visitors. Art can act as a driving force for urban change within the symbolic framework of intertwined narratives that contribute to meaningful personal and collective experiences of place.
LINK
In view of the 75th commemoration of the liberation of World War II, Visit Brabant asked BUas to connect the main heritage locations in the province through storytelling in order to attract more visitors.In 2015, we developed a narrative concept entitled “Crossroads. Life changing stories 40-45”. In 2016, we developed a brand guide which explains storytelling guidelines. In collaboration with Brabant Heritage and Brabant Remembers, in 2017-208, 15 meetings were organized all over the province to collect personal WWII narratives. From over 600 narratives, together with a group of historians, we selected 75 narratives. Under our guidance, these 75 narratives have been rewritten into Crossroads stories by some 20 different authors. Brabant Remembers has launched a marketing campaign and (digital and physical) experiences based on these stories. The aim is to touch visitors and local people emotionally with personal stories from the past, and to offer new ways of interacting with these stories, especially for young people.WhenThe project has been running since 2015. We currently play an advisory role in the development of the Brabant Remembers app (for example augmented reality videos), and in physical products such as the Dilemma Maze and the Stilllevens of Studio Verdult.Partners: Visit Brabant, Brabant Remembers, Erfgoed Brabant, Stichting Crossroads
Despite Dutch Hospitality industry’s significant economic value, employers struggle to attract and retain early career professionals at a time when tourism is forecasted to grow exponentially (Ruël, 2018). Universally, hospitality management graduates are shunning hospitality careers preferring other career paths; stimulating the Dutch Hospitality to find innovative ways of attracting and retaining early career professionals. Following calls from the Human Resource Management (HRM) community (Ehnert, 2009), we attribute this trend to personnel being depicted as rentable resources, driving profit’’ often at personal expense. For example, hotels primarily employ immigrants and students for a minimum wage suppressing salaries of local talent (Kusluvan, et al 2010, O’Relly and Pfeffer, 2010). Similarly, flattening organizational structures have eliminated management positions, placing responsibility on inexperienced shoulders, with vacancies commonly filled by pressured employees accepting unpaid overtime jeopardizing their work life balance (Davidson, et al 2010,). These HRM practices fuel attrition by exposing early career professionals to burnout (Baum et al, 2016, Goh et al, 2015, Deery and Jog, 2009). Collectively this has eroded the industry’s employer brand, now characterized by unsocial working hours, poor compensation, limited career opportunities, low professional standing, high turnover and substance abuse (Mooney et al, 2016, Gehrels and de Looij, 2011). In contrast, Sustainable HRM “enables an organizational goal achievement while simultaneously reproducing the human resource base over a long-lasting calendar time (Ehnert, 2009, p. 74).” Hence, to overcome this barrier we suggest embracing the ROC framework (Prins et al, 2014), which (R)espects internal stakeholders, embraces an (O)pen HRM approach while ensuring (C)ontinuity of economic and societal sustainability which could overcome this barrier. Accordingly, we will employ field research, narrative discourse, survey analysis and quarterly workshops with industry partners, employees, union representatives, hotel school students to develop sustainable HRM practices attracting and retaining career professionals to pursue Dutch hospitality careers.
