Player Engagement and In-Game Advertising

Player Engagement and
In-Game Advertising
j e f f r e y b a r d z e l l , p h . d . • s h a owe n b a r d z e l l , p h . d . • t y l e r p a c e

In-game advertising (IGA) refers to the use of computers, the Internet, and video
games as a medium for the delivery of advertising materials. IGA is one of the fastest
growing forms of advertising in terms of yearly spending and anticipated growth.
PriceWaterhouseCoopers estimates total spending on in-game advertising to reach
$1 billion by 2010. The increasing popularity of in-game advertising can largely be
attributed to both the increasing popularity of video games in general and the desire
to reclaim the 18-35 year old male demographic, which is rapidly turning away from
television towards video games.
In this paper, we present an analysis of physiological engagement with advertising-rich
video games. Physiological engagement was measured with OTOinsight’s Quantemo™
neuromarketing measurement platform. Analyzing the results from three separate
physical traces in combination with eye tracking and interview data, we present a
series of five insights for the design and dissemination of future in-game advertising.
Insights
1. More recent ads are more readily remembered.
2. Highly visible placement compensates for low brand knowledge.
3. Brand knowledge compensates for low ad visibility.
4. Engagement and brand recognition are positively linked.
5. Context-appropriate ads build positive brand associations.
e x e c u t i v e s u m m a r y : :
Copyright © 2008, One to One Interactive www.onetooneinteractive.com 1

In-game Advertising
In-game advertising (IGA) refers to the use of computers, the Internet and video games
as a medium for the delivery of advertising materials. IGA is one of the fastest growing
forms of advertising in terms of yearly spending and anticipated growth. The projected
revenue growth for in-game advertising and the ability to recapture the waning 18-35
year old male demographic has brought major attention to in-game advertising.
Microsoft and Google both acquired in-game advertising startups within the last three
years: Massive, Inc., and Adscape Media, respectively. Additionally, numerous other
startup firms such as JOGO, NeoEdge, Double Fusion, IGA Worldwide, and Game
Creative are competing in the new game advertising arena. Finally, leading media firms
are developing an increasing interest in game-based advertising. Among other in-game
advertising ventures, One to One Interactive partnered with Ubisoft to deliver Comcast
branded advertising in the popular action game Rainbow Six: Las Vegas and its sequel
Rainbow Six: Vegas 2.
Even though the interest in in-game advertising is high, in-game advertising is a relatively
new and growing domain; accordingly, research is also in its infancy, as standard vocab-ularies
and evaluative approaches remain in development. To facilitate our discussion of
in-game advertising, we begin by distinguishing among three general types of in-game
advertising that have emerged: static, dynamic and online advertising.
s tat i c I n - g a m e A dv e r t i s i n g : :
Static in-game advertising is the oldest form of in-game advertising and for commercial
purposes dates back to the early 1990s, when sports games began placing static banner
ads for popular sports brands into their products (Figure 1).
Figure 1: Static In-Game Advertising, FIFA Soccer 1994.

Figure 2: Dynamic In-game Advertising, S.W.A.T. 2005. Advertisers are
able to swap ad posters in and out of the game at will.
Dynamic In-Game Advertising
Dynamic in-game advertising first appeared in the mid 2000s and depends on the
relatively recent ability for video game consoles to access the Internet. Network access
enables game publishers to dynamically serve and change ads in games (Figure 2)
based on a variety of criteria (e.g., time, season, demographics, and geography).
Online In-Game Advertising
Online in-game advertising refers to immersive online advertising environments, such as
the interactive areas in the virtual worlds of Second Life devoted to The L Word, NIke, and
the Pond. These 3D immersive advertising environments may include features ranging
from simple street banners to detailed recreations of a prominent building, car or other
product (Figure 3).
Figure 3: Online In-game Advertising, such as the site for The L Word in
Second Life, is a 3D immersive and interactive advertising environment.

Like all media, audience demographics are important to achieving success with in-game
advertising. The video game market is typically divided into two categories: casual and
hard-core. Casual gamers are predominantly female, ages 35-49, and play games
<10 hours a week, primarily when they need to take quick breaks and relax. Hard-core
gamers are mostly male, ages 18-35, and play games >15 hours a week. The present
report is focused on advertising aimed at the hard-core gamer market. In recent years
18-35 year old males, a key marketing demographic, have partly transitioned away from
television and movies, focusing more spending on video games, making video games the
fastest growing entertainment media sector (PriceWaterhouseCoopers, 2007). In-game
advertising is seen as the latest medium through which advertisers can reclaim access to
these consumers and build brands with the latest generation of gamers.
Figure 4: Breakdown of Gamer Demographics (Entertainment Software Association, 2008).
U l t ra C a s u a l / N o n - G a m e r I C a s u a l I Tra n s i t i o n a l / M o d e ra te I H a rd co re I U l t ra H a rd co re ‑ “ O b s e ss i ve ”
Entertainment
Looking to take a break and relax. So cial
May play as much as a professional.
Primary motivation is to spend time with
friends and meet new people.
Prof essio nal
Play to Win, Regularly Increase Skill
female
25-34
> 10hrs /wee k
male
18-49
15+hrs /wee k

One of the primary struggles with in-game advertising, especially when oriented towards
hardcore gamers, is managing the level of context appropriateness a particular ad has inside
its game setting. Gamers are receptive to ads that are appropriate or natural to the game
world. Appropriate ads provide the opportunity for gamers to make additional connections
between the game and reality through positive brand associations. Figure 5 demonstrates
an example of context appropriate advertising where Comcast, a regular sponsor of real
world sports, has an ad displayed in NBA Live 08 in a location analogous to that of real
basketball arenas.
However, not all in-game advertising remains context appropriate. Figure 6 shows a context
inappropriate use of advertising in the Counter-Strike first person shooter game. Counter-
Strike is an open source game that allows for any person or company to perform edits to
the game and rerelease the software. In this example, a user edited the game to include
excessive Subway advertising. Both Counter-Strike gamers and Valve Software, creators of
the closed source engine used to support Counter-Strike, took quick action to remove the
extremely context inappropriate advertising from their game world (Anderson, 2006).
FIGUR e 5: Context Appropriate In-game Advertising. Comcast is part of the background table
in a position where advertising normally exists in real world NBA games (NBA Live 08).
FIGURE 6: Context Inappropriate In-game Advertising in Counter-Strike. In 2006 Subway
heavily advertised inside a military themed first person shooter game.

Despite the challenges of developing in-game advertising and matching it to a context
appropriate game setting, the in-game advertising market is expected to grow rapidly
in the near future. In their 8th Annual Global Entertainment and Media Outlook Report,
PriceWaterhouseCoopers projects that the video games industry will grow to $47b
annually by 2010 (Figure 7).
While $47b is a smaller market than television ($227b) or movies ($104b), the video game
sector is the fastest growing form of advertising media. The annual compound growth rate
of games sales is expected to hit 11% annually by 2010, which is double the growth rate
of movies and television (Figure 8).
A high compound annual growth rate corresponds to overall advertising sales. According
to both PriceWaterhouseCoopers and Yankee Group, spending on in-game advertising is
expected to grow from its current $90m to nearly $1b annually by 2011 (Figure 9).
Finally, advertisers are not the only party hopeful for the future of in-game advertising.
Game publishers see advertising as a method for increasing profits, offsetting escalating
development costs and introducing new revenue models for the games industry, such as
free-to-play ad-supported games.
media sales in 2010
Games $47
Movies $104
TV $227
FIGURE 7: Media Sales (Billions).
Figure 9: In-Game Advertising (Millions)
$1,000
$900
$800
$700
$600
$500
$400
$300
$200
$100
$0
2006 2011
Figure 8: Compound Annual Growth Rate
12.0%
10.0%
8.0%
6.0%
4.0%
2.0%
0%
games TV films

study design
The effectiveness of in-game advertising is a growing topic among advertisers, researchers
and game publishers. Current metrics that measure in-game advertising are primarily
limited to ad impressions. Ad impressions have a troubled history as an effective adver-tising
measure for web, print and other traditional media. As evidenced by the work of the
Advertising Research Foundation and others, measures of engagement are rapidly replacing
impression based metrics for advertising research. In-game advertising is contained within
one of the most dynamic, visually stimulating and cognitively demanding media to date,
and as such provides a very challenging and poignant medium for measuring engagement
instead of impressions.
The study presented in this report explores the use of a broader range of metrics for
measuring in-game advertising. In particular, the study looks at whether or not players
actually look at ads, which and what type of ads they remember, and player associations
with in-game advertising. To achieve the goals of this study, a multi-modal approach to
digital media evaluation was used, which combines traditional behavioral and interview
assessments of user experience with the measurement of biophysical responses while
exposed to advertising materials.
OTOinsight’s Quantemo™ system served as the foundation of this study on in-game adver-tising.
Quantemo™ allows for the simultaneous capture of multiple biophysical responses
(breath rate, heart rate, galvanic skin response, body skin temperature), in addition to
eye tracking and click tracking information. After recording the biophysical measures,
Quantemo™ combines all of the measures into a single, representative measure of
physiological engagement. The Quantemo™ Physiological Index (QPI) serves as a single
point of reference for the overall level of physical engagement (or disengagement)
exhibited by a research participant. Positive QPI scores represent stronger physiological
engagement, while negative QPI scores represent weaker physiological engagement.
Analysis of eye tracking footage, QPI and interrogative data provide the basis for the
insights put forth in this report.
This study focused on user engagement of in-game advertising inside sports-based video
games. Sports games are among the earliest and most successful adopters of in-game
advertising. Generally, advertising in sports games is both high quality and highly prevalent,
giving participants an optimal opportunity to engage with ads in the games. In total, 11
games were chosen for the study. Games were selected based on two criteria: average
industry reviewer score and type of sport. High average industry reviewer scores were used
to ensure game quality and popularity (highly rated games are often best sellers); we also
sought to represent a variety of different sports. Multiple games for each sport (e.g., football,
basketball, racing, etc.) were used to account for variations in both advertised brands and
implementations of in-game advertising.

Figure 10: Breakdown of Selected Games provides a breakdown of the games featured
in the study. Each game is listed with its average industry reviewer score as reported by
Gamerankings.com, in addition to the median Quantemo™ Physiological Index (QPI)
calculated using the data collected from all study participants. As previously mentioned,
positive QPI scores indicate heightened levels of engagement while negative QPI scores
indicate disengagement. Overall, QPI scores for games in this study range from a
maximum of 2.3 for Guitar Hero 3 to a -2.074 for College Hoops 2K7. The implications
of high and low QPI scores in regards to the effectiveness of in-game advertising are
discussed in greater detail throughout this report.
Eight individuals participated in the study. The average age of participants was 25
with 2 female and 6 male participants (a proportion that loosely represents hard-core
gamer demographics). All participants were given a questionnaire, in which
they identified their video game playing history as well as knowledge about the
sports represented in the games selected for the study. Average weekly video game
playing was 7-10 hours and average years playing video games was 6-10 years for
the study subjects.
Burnout Paradise 87% .608
College Hoops 2K7 81% -2.074
Guitar Hero 3 86% 2.300
NBA Live 08 73% 1.132
NBA Street Homecourt 83% 1.805
Madden NFL 08 83% -1.939
Project Gotham Racing 4 86% -.609
Sega Rally Revo 77% .124
Skate 87% -.619
Tony Hawk Project 8 82% -.604
VirtuaTennis 3 80% .389
Games
Avg. Industry
Revi ewer Sco re
MED IAN
QPI
FIGURE 10: Breakdown of Selected Games including average industry
reviewer score and median QPI.

Each participant was shown prerecorded game play video clips from each of the
11 games. Game play clips, instead of live game play, were used for several reasons. First,
ad density and placement varies by game, and we wanted to ensure that each game the
subjects engaged with had reasonably comparable amounts of exposure to advertising.
Additionally, hard-core gamers are also spectator gamers, spending a great deal of time
watching game play when not actively playing. Finally, biophysical measures are easily
affected by various stimuli, and reducing a participant’s physical activity is one means
to control for extra noise in biophysical signals.
All game play clips were shown in a random counterbalanced order to account for the
time at which an ad was seen. After viewing each clip, participants were asked to fill out
a brief questionnaire inquiring about their most and least favorite moments in each video.
Finally, after viewing all the clips, participants were asked to identify as many brands
as they could remember from the videos. A list with both real and false brands was
provided to facilitate the brand recognition task.
GENERAL FIND INGS
Several general findings were developed from the study. Primarily, these findings validate
the research method, in addition to demonstrating broad behaviors associated with
exposure to in-game advertising.
First, the time a video was shown did not affect the level of physiological engagement with
a video. It is important to balance exposure to the game play videos and advertisements
to control for users who might become disinterested with the study prior to completion.
Disinterest with the study, and not necessarily the content, can artificially impact the
physiological measures recorded to calculate the QPI, especially with material presented
at the end of the study. In this study, participant reactions to videos were consistent
regardless of when they were presented. In other words, a video was just as engaging
(or disengaging) when it was shown to a participant first, last or somewhere in the middle.
Second, participants’ physiological reactions and the resulting QPI calculations were
consistent among the most and least engaging videos. Consistent QPI scores for the
extremes of the engagement spectrum provide early indication that the QPI is a
consistent and reliable measure of engagement.
Third, for 90% of participants, brands were remembered at a rate greater than chance,
which demonstrates actual recognition based on their exposure to in-game advertising.
At the core of this study is the hypothesis that in-game advertising promotes brand
recognition, and our results confirm this hypothesis.

I n s i g h t S : :
In the following sections, we summarize the findings from this study under the headings
of the primary insights derived from analysis of the QPI, eye tracking and interview data.
Insight 1: More Recent Ads are More Readily Remembered
Exposure to in-game advertising is largely directed by the forces of frequency and
recency. Frequency refers to how often an ad is delivered to the player during their
gaming session. With some games, impressions might be delivered every couple of
seconds, while in other games ads are delivered more sporadically every few minutes.
Analyzing for frequency and recency, we discovered that recency has a more potent
effect on brand recognition for in-game advertising. The majority (80%) of our
research participants remembered all of the ads from the second half of each video
clip. This effect holds true even in the earliest game play clips shown to a participant.
Additionally, Figure 11 demonstrates that while only 12% of brands participants
remembered were shown early in their game play clips, a striking 88% of remembered
brands came from the end of game play clips. Furthermore, QPIs tended to be higher
towards the end of a game play session (where more brands were remembered),
which lends further credibility to the association between heightened physiological
engagement and future brand recognition.
FIGURE 11: Recency Effect for In-Game Advertising. Brands displayed later in
video clips were more likely to be remembered and correspond to a higher QPI.
Average 12% .23 88% 1.26
% of Early
Brands
Rememb ered
Early
QPI
% OF LA TE
BRA NDS
RE MEMBERED
LA TE
QPI

This finding is consistent with the peak-end theory of memory, which states that once
a memory moves from immediate short term memory, people remember the peak
(best) experience and the end experience in the most accurate detail (Kahneman, 1999).
A combination of the information density of video games and the length of game play
sessions (30 minutes or greater) may limit the active recognition of brands to game
locations located at the peak or end of game play.
Placing ads in terminal game play locations, such as menus, finish lines, save points, etc.,
is one strategy for maximizing the strong recency effect discovered in this study.
Figure 12 demonstrates an example of a terminal in-game ad in Guitar Hero III. Pontiac
is highlighted in the background of the stage during the final seconds of the song. A
strong Pontiac logo is one of the final images seen by the player and thus more likely
to be remembered past the short term.
FIGURE 12: Recency Effect, Guitar Hero III. The Pontiac logo is
prominently displayed at the end of the song.

Insight 2: Highly Visible Placement Compensates for Low Brand Knowledge
In-game advertisements with the most prominent visual placements were remembered
more frequently than less prominently placed ads by those with limited knowledge about
the sport depicted in the game. High knowledge about a sport entails knowledge about
the brands and sponsors associated with that sport. This brand knowledge barrier can
be overcome by increasing the visual prominence of the advertisement.
As an example from this study, most participants reported little to no knowledge about
car racing. However, racing brands were among the most remembered by all participants.
The brands that were most often remembered benefited from particularly strong place-ment
as large, central banners (which were often in terminal locations) or as smaller ads
affixed to objects that were constantly in view, such as the race car itself. Not surprisingly,
the visually prominent locations accounted for the most eye gazes and views from the
eye tracking data. Visually prominent ads are seen and remembered, even in fast paced
game play.
Figure 13 and Figure 14 offer two examples from the study that demonstrate successful,
visually prominent ad placement. A large, clear Potenza banner is seen in Figure 13 at
the start/finish line of the racetrack. Players start the race under this banner, pass through
it on every lap and end their course under the banner. Potenza was one of the most
remembered brands presumably because of its unique position as both a terminal
and frequent advertisement. Figure 14 displays a Subaru logo on the back of a blue
Subaru race car. Even though the advertisement is relatively small as a percentage of the
overall display, it is easily remembered due to its fixed position on the player’s primary
object of focus. As evidenced by the eye tracking footage, the Subaru ad was the most
viewed ad of any in the study due to its fortunate placement.
FIGURE 13: Prominent Ad Placement, Project Gotham Racing 4. The Potenza
logotype is prominently displayed in the center of the screen.

Insight 3: Brand Knowledge Compensates for Low Ad Visibility
As an inverse to Insight 2, knowledge about a brand increases recognition and recall
when the advertisement is placed in a location with limited visibility. Ads with limited
visibility were more readily remembered in games which depicted sports most familiar
to the participants. Even though eye tracking footage shows fewer eye gazes for ads
with limited visibility, the brand recognition was as high as visually prominent ads for
participants with high knowledge about the sport.
Figure 15 and 16 highlight two examples from the study where advertisements with
limited visibility were remembered by participants with high knowledge and exposure
to the sport. In Figure 15, a Honda ad is displayed on the left side of the screen; however,
the iconic Honda logotype is mostly obscured by other in-game objects. Figure 16
shows two soda machines on the right hand side that feature the Sprite logo. In both
cases, participants familiar with tennis or basketball successfully identified the brands
even though the advertisements were small, peripheral, and even obscured.
FIGURE 14: Prominent Ad Placement, Sega Rally. The Subaru logotype is
fixed to the back of the player’s car and is always on screen.

Insights 2 and 3 together lead to the conclusion that, like most advertising, it is important
to understand the existing relationship between the brand and the consumer. Advertising
a brand unknown to the game’s audience will require more prominent placement in
order to be effective and vice versa. The extent to which game players do or do not
exclusively play games that represent their real world interests is largely unknown, so,
as an example, it is up to advertisers to determine whether or not consumers playing
the latest football video game are also real-life football fans familiar with brands
commonly associated with football.
FIGURE 15: Limited Ad Visibility, VirtuaTennis. The Honda logotype, while pushed to the side, was noticed by
participants who rated the highest on knowledge about tennis. Honda is a regular sponsor of tennis events.

Insight 4: Engagement and Brand Recognition Are Positively Linked
This study discovered a developing association between a player’s heightened
physiological engagement and the ability to correctly identify brands from their exposure
to in-game advertising. Inversely, negative or limited engagement with a game had
an adverse impact on player ability to remember brands. Figure 17 shows a developing
trend between an increase in physiological engagement (evidenced through the QPI
measurement) and brand recognition. In this study, 42% of brands remembered came
from more engaging (QPI > 1) games, whereas only 30% of brands remembered came
from games with average engagement levels (QPI < 1).
As with the recency effect detailed in Insight 1, peak-end memory theory supports the early
association between engagement and brand recall. Peak experiences are likely to be the
most engaging and therefore have the strongest and most accurate residence in memory,
making brands associated with those moments more likely to be successfully recognized
and recalled. Unfortunately, identifying engaging moments within games in which to place
advertising is a difficult matter. The exact qualities of what makes a given game experience
engaging to one person instead of another are unknown. Only thorough, primary research
into player engagement with anticipated game titles may help in the media buying process,
when the goal is to build brand associations through peak experiences.
FIGURE 16: Limited Ad Visibility, NBA Street. Sprite logos in the edges of the screen were consistently
remembered by participants who rated the highest on knowledge about basketball. Sprite is a regular
sponsor of NBA events and games.
Average 42% 1.08 30.15% 0.87
% Brands
FROM ENGAG ING
GAMES
FIGURE 17: Recency Effect for In-Game Advertising. Brands displayed later in
video clips were more likely to be remembered and correspond to a higher QPI.
AVG. QPI
ENGAG ING
GAMES
% Brands
FROM BASE
GAMES
AVG. QPI
BASE
GAMES

Insight 5: Context-Appropriate Ads Build Positive Brand Associations
Context-appropriate advertisements, which constitute the majority of those in our
game play clips, were universally rated as a positive aspect for each game in our study.
Advertisements which support and extend the game world and provide more oppor-tunities
to create connections between the game and reality positively impact the
gaming experience, thereby facilitating positive brand associations with game players.
All study participants encouraged the use of context appropriate ads as a means for
increasing the realism of the game world. As one player stated, “It wouldn’t be sports
without ads.”
However, advertisers participate in the fine line of balancing game play and fun with
realism. As more real world ads enter game worlds, the perceived realism of the world
potentially increases. As realism increases, pressure is placed on gameplay rules and
mechanics also to behave more realistically. If players perceive too great a disconnection
between the realism of the depicted environment and the gameplay rules and
constraints, the game becomes absurd. For example, in the study, the two participants
most knowledgeable about racing stated that the city streets in Project Gotham
Racing 4 (Figure 18), carefully recreated based on New York City complete with a variety
of real world brands, were too real, in the sense that they disrupted the game’s fantasy
that one would actually be able to race on New York streets. It would be more plausible
to race through a city’s streets if they are distanced enough from real life in some way,
such as stylization, abstraction, etc. Advertising is not, of course, solely responsible for
the negative impact of realism experienced by the participants, but advertisers should
be aware of the potential for their advertisements to change the game experience in a
variety of ways, not all of them beneficial or obvious.
FIGURE 18: Fine Line of Context In/Appropriate Advertising, Project Gotham Racing 4. Several participants
commented that the almost excessive amounts of real world branding inside the racing game made the
tracks feel unreal because it’s not possibleto race on real streets like the game depicts.

Conclusio n
The findings of this report suggest that in-game advertising can be highly effective, even
among players who profess little to no pre-existing knowledge about brands they see
in-game. Visual placement and frequency are critical in reinforcing brand recognition.
Identifying strategic visual locations for ads, rather than slapping them onto any visible
surface in-game, is paramount for achieving success with in-game ad campaigns.
However, a balance must be maintained between utilizing the best visual locations for
advertising and not breaching the barrier of player-perceived context appropriateness.
The expectations for in-game advertising are high, but the ability to meet and measure
those expectations is challenged by the very nature of video games. Video games, more
so than any previous media, are highly immersive, interactive, and visually dynamic
media, and accordingly their cognitive and physiological demands make the evaluation
of in-game advertising unusually difficult. Metrics based on impressions and screen
time may no longer be relevant or helpful when distributing advertising in the latest
generation of highly immersive digital games. Instead, as this report demonstrates,
in-game advertising may be better measured in terms of player engagement and context
appropriateness. Positive links between user engagement and brand association are
constantly developing; this report provides early evidence that positive physiological
engagement leads to increased brand recognition.
Overall, the chief finding in this report may be the affirmation of the importance of
conducting primary research to quantify player engagement with appropriate game
titles in order to facilitate the media buying selection process and ensure both higher
brand recognition as well as improved acceptance of in-game advertising among players.
References
1. Anderson, N. (2006). Following the money: how Subway ads ended
up in Counter-Strike. Retrieved August 3, 2008 from:
http://arstechnica.com/news.ars/post/20060116-5985.html
2. Entertainment Software Association. (2008). Essential Facts about the
Computer and Video Game Industry. Retrieved August 3, 2008 from:
http://www.theesa.com/facts/gameplayer.asp
3. Kahneman, D. (1999). Objective Happiness. In D. Kahneman, E. Diener, & N. Schwarz,
Well-Being: The Foundations of Hedonic Psychology (pp. 3-25). New York: Russel Sage
4. PriceWaterhouseCoopers. (2007). Global Entertainment and Media Outlook: 2007-2011
5. Yankee Group. (2007). Advertising and Games: 2007 In-Game Advertising Forecast

amplif ying USER engagement
New knowledge about human behavior brought to light by social and neuroscience
has fundamentally called into question the old mental models of how advertising
and marketing work. Gone is the notion that consumers make decisions in a
linear think-feel-do way and behavior is guided by rational-only principles. Instead,
memories, emotions, associations, and thoughts play a primary role in how
individuals relate and ultimately engage with brands.
OTOinsights is a primary research offering that is breaking new ground in neuro-marketing
to offer clients advanced and scientific levels of insights into how their
consumers engage with them across the landscape of new media channels.
To learn more about OTOinsights, visit www.otoinsights.com
Complete One-To-One So lutio ns for Brands, Agencies, and Publishers
OTOinsights is a One to One Interactive company. Established in 1997, One to One
Interactive is the first enterprise to assemble a complete solution for brands, agencies,
and publishers executing one-to-one marketing strategies. By bringing together one
of the nation’s leading digital marketing agencies, the world’s most comprehensive
portfolio of permission marketing platforms, unique performance-based social media
networks, and cutting-edge neuromarketing research techniques, the companies
of One to One Interactive build informed and creative customer/constituent strategies
on the belief that digital media’s ability to enable engaging one-to-one dialogues is
the future of marketing.
To learn more about One to One Interactive, visit www.onetooneinteractive.com
OTOinsights
529 Main Street, Charlestown, MA 02129
617.425.7300
www.otoinsights.com
info@otoinsights.com

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