Video games as an advertising media: A comparative analysis between
Portuguese and Spanish university students
Los videojuegos como soporte publicitario. Análisis comparativo entre
estudiantes universitarios en Portugal y España
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nº 43, pp. 197-219
| 197
July-December of 2026
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Tapia-Frade, A.; Bonales-Daimiel, G. and Moreno-Albarracín, B. (2026). Video games as an advertising media: A comparative analysis between
Portuguese and Spanish university students.
Doxa Comunicación
, 43, pp. 197-219.
https://doi.org/10.31921/doxacom.2839
Belén Moreno-Albarracín.
Assistant Professor of Creative Advertising at the San José State University, California,
and lecturer at the International University of La Rioja. Previously, she was a Predoc researcher at the University of
Malaga (FPU fellowship). She holds a BA in Journalism from the University of Málaga and a Master’s in Audiovisual
Communications for the Digital Age from the Complutense University of Madrid. She is currently nishing her PhD in
Communications at the University of Malaga. Her main research line is brand communications, with a focus on branded
content and brand identity.
San Jose University, California
[email protected]
ORCID: 0000-0003-1680-7389
Alejandro Tapia-Frade.
Associate Professor at the University of Cádiz. He has 17 years of university teaching experience
(European University Miguel de Cervantes, UNIR, and Loyola Andalusía University) and two six-year research periods,
resulting in the publication of approximately 100 articles and book chapters. He has also been a visiting professor at
universities in Portugal, the Netherlands, and Germany. Finally, he is the editor of some scientic journals and has
served on the scientic committees of numerous international conferences and high-impact journals.
University of Cadiz, Spain
[email protected]
ORCID:
0000-0003-1071-4536
Gema Bonales-Daimiel.
Professor at the Complutense University of Madrid for 7 years. Accredited by ANECA (National
Agency for Quality Assurance and Accreditation of Quality Assurance and Accreditation of Higher Education), she has
published many articles and book chapters, as well as coordinating several monographs. She has also been part of the
scientic committee of numerous international conferences. She has many publications on the interaction of brands in
various technological elds, prioritising in recent times her interest in the metaverse and its consequences for young
people and children.
Complutense University of Madrid, Spain
[email protected]
ORCID:
0000-0003-2085-2203
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
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Recibido: 20/11/2024 - Aceptado: 24/04/2025 - En edición: 25/02/2026 - Publicado: 01/07/2026
Resumen:
Los cambios en el consumo de ocio están provocando transformaciones
en las relaciones entre los jóvenes y las marcas. Un reejo de ello se halla
en los videojuegos, cuyo perl de usuario predominante es el de jóvenes de
entre 18 y 30 años. Cada vez invierten más tiempo en los universos digi
-
tales: juegan, socializan e incluso compran, y los ingresos del sector de los
videojuegos se han incrementado año tras año en España y en el mundo,
superando a los generados conjuntamente por el cine y la música. Una
revisión de la literatura previa indica la relevancia como objeto de estu
-
dio de los videojuegos que se emplean como formatos publicitarios, sobre
todo desde la perspectiva del usuario. Sin embargo, no son recientes y se
centran eminentemente en la infancia. Así, esta investigación parte del
objetivo principal de determinar, desde una perspectiva multicultural, el
perl del estudiante universitario gamer en España y Portugal. De él se
derivan dos nes especícos: evaluar la relación del usuario con la marca
integrada y comparar las percepciones atendiendo a factores culturales.
Para alcanzarlos, se realiza una encuesta a 603 estudiantes universitarios
con variables basadas en hábitos de consumo, identicación de marcas,
recuerdo publicitario y relación resultante con las marcas integradas. Los
resultados obtenidos evidencian diferencias en cuanto a intensidad y fre
-
cuencia de juego. Como conclusión, se observa una relación favorable,
aunque condicionada, entre las marcas integradas y los jugadores. Por su
parte, los universitarios portugueses muestran mayor reticencia al espa
-
cio promocional del videojuego, condicionando su cesión a la integración
efectiva de la marca en la narrativa del juego, y a que no sea protagonista
de la misma.
Palabras clave:
Videojuegos; publicidad; jóvenes; universidad; e-sports.
Received: 20/11/2024 - Accepted: 24/04/2025 - Early access: 25/02/2026 - Published: 01/07/2026
Abstract:
Changes in leisure consumption are causing transformations in the
relationships between young people and brands. A reflection of this
is found in video games, whose predominant user profile is that of
young people between 18 and 30 years old. They invest more and
more time in digital universes: they play, socialize and even buy, and
income from the video game sector has increased year after year in
Spain and in the world, surpassing those generated jointly by cinema
and music. A review of previous literature indicates the relevance
as an object of study of video games that are used as advertising
formats, especially from the user’s perspective. However, they are
not recent and focus primarily on childhood. Thus, this research is
based on the main objective of determining, from a multicultural
perspective, the profile of the university student gamer in Spain
and Portugal. Two specific purposes are derived from it: to evaluate
the user’s relationship with the integrated brand and to compare
perceptions based on cultural factors. To achieve them, a survey
is carried out on 603 university students with variables based on
consumption habits, brand identification, advertising memory
and resulting relationship with the integrated brands. The results
obtained show differences in intensity and frequency of play.
In conclusion, a favorable, although conditional, relationship is
observed between the integrated brands and the players. For their
part, Portuguese university students show greater reluctance to the
promotional space of the video game, conditioning their transfer to
the effective integration of the brand in the narrative of the game,
and to it not being the protagonist of it.
Keywords:
Videogames; advertising; youth; university; e-sports.
1. Introduction
Cinema, television, and music are no longer the only dominant forms of entertainment for teenagers. Screens are more present
than ever in their daily lives, and new formats such as video games have emerged in step with technological advancements.
By 2023, this sector is projected to lead leisure industry revenues not only in Spain but worldwide (AEVI, 2024), surpassing
the combined gures of the cinema and music industries. Furthermore, with the rise of metaverses, the dynamics of leisure
consumption among young people are being redened (Mainer-Blanco, 2020; Gómez, 2019).
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In this sense, the video games industry in Spain has grown annually since 2018, with a turnover increase of 15.8% in 2018;
13% in 2019, 12% in 2022 and 16.3% in 2023, when the market reached revenues of more than €2,339 million (AEVI, 2024). In
terms of the actual audience, 15-24 year olds represents the demographic group which consumes them the most. Considering
gender, a trend to equity has been detected (51% male and 49% female) (AEVI, 2024).
However, video games are much more than a powerful industry. ey have had a signicant impact on other sectors, such as
journalism, fostering a substantial market for specialized publications and media outlets. In this regard, video games have
become cultural assets, an additional medium for personal expression, particularly among young people, who often use them
to represent themselves. Brands have taken note of this expressive channel, recognizing in it an interactive means of engaging
audiences that are often indierent to traditional, passive forms of media consumption. Moreover, video games are inherently
transnational and transcultural in nature (AEVI, 2024).
us, this paper proposes a cross-cultural comparative study with the main objective of determining the prole of university
student gamers in Spain and Portugal and their relationship with brands and advertising. Two specic objectives (SOs) result
from this general aim:
SO1: Evaluate the relationship of university gamers with brands embedded in video games through advergames, ingame
advertising and ad around game.
SO2: Compare the perception of Spanish and Portuguese student gamers on the use of video games as advertising formats,
assessing the inuence of cultural elements.
1.1. Online games as a business model and the expansion of e-sports
Given that video games are the most consumed entertainment genre, the digital transition of everyday activities, such as
sports, is particularly noteworthy. Gamers have found in eSports a new way to compete virtually, even if physical exertion
has been replaced by time in a gaming chair. In 2020, the eSports sector generated $1.1 billion in global revenue, reecting
a year-on-year growth of 15.7%. Rather than harming the industry, the pandemic reinforced it, drawing 495 million players
and viewers to eSports and online gaming (AEVI, 2023c). Globally, the eSports market was valued at $1.44 billion in 2023
and is projected to reach $6.63 billion by 2032 (Skyquest, 2024). Its audience is expected to reach 580 million people in 2024,
an increase of 24.7% compared to 2023 (Europa Press, 2024). is exponential growth has not gone unnoticed by brands,
which increasingly view online gaming and eSports as fertile ground for commercial development. In Spain alone, the eSports
industry generated approximately 50 million euros in 2024, with 30 million coming from sponsorships and 2 million from
ticket sales (Statista, 2025).
ese gures result in the professionalization of the industry, which already counted 191 million gamers in 2018 (Cunningham
et al.
, 2018). Children can now say that they will grow up to be gamers and, far from being unfeasible, it is now a much more
widespread activity than traditional professional sport (Keiper
et al.
, 2017) and the International Olympic Committee is
considering including e-sports as a sport (Graham, 2017). Institutional support for this type of competition also comes from
the European Commission, which has recognized its inuence on the transmission of positive values such as fair play, non-
discrimination, social inclusion and gender equality (European Commission, 2022).
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e association of these video games with benecial outcomes results in the recruitment of more players, who begin to see
video games as tools for socialization rather than isolation. Specially young people, as the predominant prole of e-sports
players is between 18 and 30 years old (AEVI, 2023c).
1.2. Video games as advertising channels
Growing revenues, the exponential expansion of the video game industry as a form of entertainment, and the existence
of a well-dened target audience are among the key factors that have led brands to increasingly invest in video games as
promotional channels. In 2020, for example, 74.8% of global e-sports revenues came from sponsorships and media rights, an
increase of 17.2% compared to the previous year (Newzoo, 2021).
Video games oer a highly immersive means of engaging audiences, allowing not only brand integration but also direct
interaction with users. In this context, three main advertising formats stand out:
a.
Advergames, which are games created and nanced by brands to convey an interactive and explicitly commercial message.
b.
In-game advertising, which is integrated into the narrative or environment of an existing game that was not initially
designed for promotional purposes; and
c.
Ad-around-game advertising, which is displayed in peripheral spaces outside the game’s core narrative (João & Las Casas,
2023; Cañete & De La Hera, 2023; López & Arbaiza, 2023).
Each of these formats presents specic advantages and limitations from an advertising standpoint. Advergames oer the
greatest potential for narrative alignment, as they are fully funded and shaped by the brand, meaning all aspects of the game
are crafted to serve its messaging. However, their exclusively commercial nature often results in more limited development
budgets compared to mainstream titles.
In-game advertising, by contrast, is incorporated into pre-existing commercial games that are not nanced by the brand. is
limits the brand’s control over narrative elements, yet these ads benet from wider distribution, oering greater reach and
visibility than advergames.
Ad-around-game advertising represents the least immersive format. ese are conventional ad placements that surround but
do not penetrate the gameplay experience. Consequently, the brand lacks a meaningful presence within the game’s narrative.
eir main advantage lies in their lower cost, although this comes at the expense of user engagement and narrative integration.
Academic literature has long reected the relevance of video games as advertising tools. Studies over the years have explored
various dimensions, such as the inuence of video games on player behavior (Molesworth, 2006), perceptions of advergames
and in-game advertising (Nelson
et al.
, 2004; Hernández
et al.
, 2004; Winkler & Buckner, 2006), advertising recall (Nelson,
2002; Grigorovici & Constantin, 2004; Schneider & Cornwell, 2005; Yang
et al.
, 2006), and the impact of advertising on brand–
player relationships (Grigorovici & Constantin, 2004; Chaney
et al.
, 2004; Moore, 2006; Mallinckrodt & Mizerski, 2007). While
audience-focused research is prevalent, much of it is dated and tends not to explore the distinct typologies of video game
advertising in depth (Abbasi
et al.
, 2021).
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In light of these insights, the authors consider necessary to revisit the object of study in the context of recent technological
developments, such as the expansion of metaverses and the rise of digital advertising, which are signicantly transforming the
relationship between brands and audiences (Bonales-Daimiel
et al.
, 2022; Martín & Slade, 2023; Bonales-Daimiel
et al.
, 2024;
Moreno-Albarracín, 2024).
Given that the primary audience for video games is predominantly young, it is unsurprising that several studies have examined
their eects on academic performance (Farrel
et al.
, 2015; Ibáñez
et al.
, 2020). However, there remains a signicant gap in
the literature regarding the prole of student gamers and their relationship with video game advertising. Previous research,
such as that by Feijoo
et al.
(2022), has shown that children aged 10 to 14 are particularly exposed to advergame formats
during gameplay. Similarly, Hussain
et al.
(2022) emphasize how the credibility, personalization, and visual appeal of in-
game advertising shape users’ perceived value of these ads. Nevertheless, it is still unclear whether these ndings extend to
university students or how this demographic engages with brands integrated into video games.
is study seeks to address these gaps by exploring the relationship between brands and university students, focusing on
dening the gamer prole and evaluating their perception of advertising formats embedded in the games they regularly
consume. Building upon the work of Ibáñez
et al.
(2020), the research examines the same population group, university
students, within two distinct cultural contexts: Spain and Portugal. e aim is to assess how cultural factors inuence attitudes
and responses toward in-game advertising.
2. Method
2.1. Data Collection Instrument
A survey was conducted as the main research method, considering that the focus of the research is related to the demand
approach. Undoubtedly, in this circumstance it is one of the most widely used research techniques in the eld of Social
Sciences. e instrument was developed ad hoc for the object of study. Before its development, previous similar studies and
surveys were reviewed, as well as validation scales related to the study object (López Becerra, 2012; Núñez-Barriopedro
et al.
,
2020; Díaz López
et al.
, 2022; Lloret Irles
et al.
, 2018; González-Vázquez and Igartua, 2018; López Fernández,
et al.
, 2019).
e structure of the questionnaire includes specic sections with classication data (gender and age), the general use of video
games (length of use, frequency, session time, genres, platforms of use, modes and budget) and advertising development
possibilities (advergames, ingame advertising and ad around game). Links are provided in Spanish
1
and Portuguese
2
.
1
https://docs.google.com/forms/d/18E-wyuNLxGeiK7fWzkSeeFrynS7kN04gUpIT0MCXeaY/viewform?edit_requested=true
2
https://docs.google.com/forms/d/1R9_3ISXzah3dB5Muy698PRZ-8LCkHmirKIs-H7Xnnhc/viewform?edit_requested=true
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
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2.2. Participants
e sample was integrated by 603 participants. Consequently, a margin of error of 4.07% was assumed, considering a condence
interval of 95.5% in the worst case (p-q=0.5).
Interviewees were evenly distributed by gender (male 49.4%, female 49.3% and prefer not to say 1.3%), with ages associated to
the theoretical university period (M= 20.26 years, Dt= 3.46). Only 15 participants were outside of the theoretical age range of
the study (18-24 years). Regarding their location, 299 live in Spain and 304 in Portugal.
Also, considering the criteria of the Spanish Video Games Association -AEVI- (2023), 81.3% of the total sample elements
considered themselves to be gamers, and 54.1% of the total sample declared themselves to be regular consumers of video
games or hard players.
2.3. Design and Procedure
Specic, anonymous, self-administered questionnaires were distributed among a sample of young students from the
Universities of Cádiz, Complutense University of Madrid, European University Miguel de Cervantes (Valladolid) and
Universidade do Algarve (Faro, Portugal). ey were all chosen for convenience, so the results must be considered exploratory
in any case. e surveys were completed using a QR code that linked to the surveys, using the respondents’ mobile devices.
e survey was posted online through a Google Form. Beforehand, participants were provided with an information sheet with
the research objectives, details of their participation, and an informed consent form to be signed before the start of the survey.
It was decided to use quota sampling with a purposive nal choice of sample elements. Although it is a non-probabilistic
choice, this option oers an adequate compromise between reliability and cost (Reales Chacón
et al.
, 2022).
e interviewers followed an established protocol that included, among others, a preliminar survey testing, which was carried
out in Cadiz with 50 people to detect and correct errors in the survey, including typos and comprehension diculties.
In addition, three sessions with enumerators were scheduled to homogenize the data collection process and reduce bias. e
actual eldwork was conducted during the months of January and February 2024.
3. Results
Earlier, in accordance with the data provided by the AEVI (2023), it was noted that 81.3% of participants declared themselves
to be gamers. Delving into the question, it should be pointed that there exist relevant dierences depending on the country
of origin, since 73.5% of the Spanish and 89.3% of the Portuguese stated that they were gamers. In other words, Portuguese
students declared themselves to be gamers to a greater extent than Spanish, and this dierence was statistically signicant
(Sig.
Χ
²= ,000 and Contingency Coef. = ,198). Delving into this insight, it is observed that this dierence could be related to
the female gender presence, given that the percentage of Spanish non-gamblers (40.9%) is almost double that of Portuguese
non-gamblers (22.1%).
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When considering the length of time respondents have been playing video games, the analysis becomes more comprehensive.
As shown in the table below, both groups, more markedly in the case of Portugal, display a wide range of gaming experience,
with the majority concentrated in the 10 to 20-year range. A signicant proportion also falls within the 5 to 10-year range,
indicating consistent long-term engagement with video games. e dierences observed between the two countries are
statistically signicant (Chi-square Sig. = .000; Contingency Coecient = .216), reinforcing the relevance of gaming experience
as a variable in understanding user perceptions.
Continuing the analysis, gender appears to be a relevant dierentiating factor between countries. In particular, the male
segment shows a more signicant variation: among Spanish male respondents, 40.5% report between 5 and 10 years of
gaming experience, while 51.1% report between 10 and 20 years. In contrast, Portuguese male respondents present a dierent
distribution, with only 20% in the 5 to 10-year range and a signicantly higher proportion, 70%, reporting between 10 and 20
years of experience. ese ndings suggest that Portuguese male gamers, on average, have a longer gaming history compared
to their Spanish counterparts.
Table 1. Contingency table. Length of gaming experience by country
Country of
residence
¿
How many years have you been
playing video games?
e gender you identify with
Total
MaleFemale
I prefer not
to say
Spain
1 year or less
2,30%9,10%
5,20%
Between 1 and 3 years
3,10%11,10%
6,40%
Between 3 and 5 years
6,10%
2,60%
Between 5 and 10 years
40,50%34,30%66,70%38,20%
Between 10 and 20 years
51,10%38,40%33,30%45,50%
More than 20 years
3,10%1,00%
2,10%
Total100,00%100,00%100,00%100,00%
Portugal
1 year or less
8,30%
3,60%
Between 1 and 3 years
8,30%
3,60%
Between 3 and 5 years
13,20%
5,80%
Between 5 and 10 years
20,00%25,60%
22,10%
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Between 10 and 20 years
70,00%44,60%100,00%59,40%
More than 20 years
10,00%
5,40%
Total100,00%
100,00%
100,00%100,00%
Source: own elaboration
us, considering the dierences noted above, it can be observed that both Spanish and Portuguese university students report
having played video games for a signicant portion of their lives. is suggests that video games are a culturally integrated
product for this demographic and that they are highly familiar with this form of audiovisual expression.
e self-identication as gamers, combined with their long-standing engagement, can be further contextualized by examining
their frequency of play and the average duration of each gaming session. ese indicators oer valuable insights into the depth
of their connection with this audiovisual medium.
Regarding the rst element—frequency of play—a notable duality emerges in both samples, more pronounced in the
Portuguese group, between those who play very frequently (daily) and those who play infrequently (monthly) (Sig.
Χ
² = .000;
Contingency Coecient = .150). In contrast, longer gaming sessions are predominantly reported among male participants in
both countries. Detailed data can be found in the table below.
Table 2. Contingency table. Gaming frequency and country
Contry of
residence
How much time do you estimate
you spend on average playing video
games each time you play?
e gender you identify with
Total
MaleFemale
I prefer not
to say
Spain
Up to 30 minutes
19,80%33,30%33,30%25,80%
From 30 minutes to 1 h
17,60%23,20%66,70%20,60%
From 1 to 2 h
42,70%25,30%
34,80%
Between 2 to 3 h
14,50%11,10%
12,90%
Between 3 to 4 h
5,30%5,10%
5,20%
More than 4 h
2,00%
0,90%
Total100,00%100,00%100,00%100,00%
Portugal
Up to 30 minutes
20,00%39,70%
28,50%
From 30 minutes to 1 h
28,60%100,00%14,60%
From 1 to 2 h
20,00%23,80%
21,40%
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Between 2 to 3 h
30,00%4,80%
18,10%
Between 3 to 4 h
3,20%
1,40%
More than 4 h
30,00%
16,00%
Total 100,00%100,00%100,00%
Source: own elaboration
While a certain level of consensus regarding session duration, the study reveals a clear preference for short gaming sessions,
lasting less tan two hours, in both samples (Sig.
Χ
²= ,000 and Contingency Coef. = ,301).
Table 3. Contingency table of playing time and country
How much time do you estimate you spend
on average playing video games each time
you play?
Country of residence
Total
SpainPortugal
Up to 30 minutes
25,80%28,50%27,20%
From 30 minutes to 1 h
20,60%14,60%17,30%
From 1 to 2 h
34,80%21,40%27,40%
Between 2 to 3 h
12,90%18,10%15,80%
Between 3 to 4 h
5,20%1,40%3,10%
More than 4 h
0,90%16,00%9,10%
Total100,00%100,00%100,00%
Source: own elaboration
Considering this preliminary portrait of young Spanish and Portuguese university students, the next questions to consider
is related to the annual budg
et al.
ocated to video games, and their gaming mode. e ndings reect a predominant trend
toward playing free-to-play video games (51.6% of the total sample, 52.8% of Spaniards and 50.5% of Portuguese students) (Sig.
Χ
²= ,000 and Contingency Coef. = ,222).
Despite of this general trend, it should also be noted that 37.1% of Spanish and 40.8% of Portuguese men report having an
annual budget for video games of up to 120 euros (this means the purchase of 2 AAA games or more than 2 AA or indie games).
Aligned with this insight, males report higher annual spending on video games than females in both countries (Table 4).
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Table 4. Contingency table of budget by gender and country
Country of
residence
How much money do you think you
spend per year on video games?
e gender you identify with
Total
MaleFemale
I prefer not
to say
Spain
I don’t buy videogames / I always play
free games
38,20%70,70%100,00%52,80%
Less than 20 euros
14,50%11,10%
12,90%
Between 21 and 60
19,80%7,10%
14,20%
Between 61 and 120
15,30%8,10%
12,00%
Between 121 and 200
6,90%2,00%
4,70%
More than 200
5,30%1,00%
3,40%
Total100,00%100,00%100,00%100,00%
Portugal
I don’t buy videogames / I always play
free games
20,00%88,90%
50,50%
Less than 20 euros
20,00%11,10%
15,70%
Between 21 and 60
30,00%
16,00%
Between 61 and 120
10,00%
100,00%7,10%
Between 121 and 200
20,00%
10,70%
More than 200
100,00%100,00%100,00%100,00%
Source: own elaboration
e analysis of their gaming mode points out a remarkable divergence of views. Although the highest percentage is for solo-
gaming, the percentage for online gaming with friends is also notable. In this case, the data are homogeneous by country
(Sig.
Χ
²= ,078 and Contingency Coef. = ,115) but not by gender (Table 5): while males opt for online gaming with their friends,
female prefer solo-gaming.
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Table 5. Contingency table of mode of play by gender and country
Country of
residence
Do you prefer to play alone or in
other ways?
e gender you identify with
Total
MaleFemale
I prefer not
to say
España
Alone32,00%59,60%66,70%44,30%
With friends in the same place
14,80%22,20%
17,80%
With friends online
50,00%15,20%33,30%34,80%
With strangers online
3,10%3,00%
3,00%
Total100,00%100,00%100,00%100,00%
Portugal
Alone30,00%51,60%
39,10%
With friends in the same place
20,00%27,00%
22,80%
With friends online
40,00%17,50%100,00%31,00%
With strangers online
10,00%4,00%
7,10%
Total100,00%100,00%100,00%100,00%
Source: own elaboration
Following this preliminary characterization of participants as gamers, respondents were asked about the frequency of their
gaming sessions.
Table 6. Mean and Standard Deviation of frequency of play (0-10) and country by gaming mode
Country of residence
Free to play
games on
your mobile
phone
Free to
play games
on your
console
Paid games,
in campaign
or solo
adventure
mode
Paid games,
in multiplayer
mode
Games belonging
to e-Sports
España
Mean5,613,553,963,563,41
St. Dev
2,8272,6843,2572,9112,778
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Portugal
Mean6,244,244,044,254,45
St. Dev
2,9513,0393,5153,873,955
Total
Mean5,953,934,013,953,99
St. Dev
2,912,9033,3983,4883,514
Source: own elaboration
In this case, the results indicate the presence of dierent gaming modes (Table 6). When this question is linked to the
previous one, it suggests that students engage with both free-to-play and paid games. Given that most students have limited
or inexistent budgets, paid games may either consisto f multiple low-cost titles (such as indie games) or a high frequency of
play concentrated on a few high-value titles (such as AAA games like Fifa or Call of Duty). is latter patttern appears more
prevalent among male participants, who report a higher anual budg
et al.
ocated to video games.
3.1. Advertising in video games: advergames, in-game advertising and ad around the game
e main objective of this research, beyond characterizing young university students in relation to video games, is to assess
the potential of this audiovisual medium as an advertising platform in its various formats: advergames, in-game advertising,
and ad-around-game.
As an initial step, and focusing specically on in-game and ad-around-game advertising, the rst question asked whether
participants were aware of or recalled ever playing video games that featured branded content. While overall responses were
similar in both countries, a closer look reveals notable dierences between the two simples (Table 7).
Table 7. Contingency table of whether or not you have played with brands by gender and country
Country of
residence
Have you ever played video games that had
branding or brand advertising in them?
e gender you identify with
Total
MaleFemale
I prefer not to
say
Spain
Yes49,60%39,40%33,30%45,10%
No3,10%13,10%
7,30%
I am not sure
47,30%47,50%66,70%47,60%
Total100,00%100,00%100,00%100,00%
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Portugal
Yes60,00%22,50%100,00%43,00%
No20,00%15,90%
17,70%
I am not sure
20,00%
61,60%
39,20%
Total100,00%100,00%100,00%100,00%
Source: own elaboration
A higher percentage of armative responses is observed among men, though this pattern does not hold for women in the
Portuguese sample. In contrast, the Spanish sample shows a greater degree of similarity between male and female respondents.
Additionally, Portuguese students of both genders display greater initial reluctance toward the unrestricted inclusion of
advertising space for brands within video games, as illustrated in the table below.
Table 8. Contingency table of agreement with space allocation by gender and country
Country
Do you agree with video game
manufacturers selling or ceding space
to brands?
e gender you identify with
Total
MaleFemale
I prefer not
to say
Spain
Yes51,90%40,40%66,70%47,20%
No9,20%9,10%
9,00%
Depends36,60%44,40%33,30%39,90%
I prefer not to say
2,30%6,10%
3,90%
Total100,00%100,00%100,00%100,00%
Portugal
Yes40,00%27,50%
33,40%
No
3,60%
1,70%
Depends60,00%54,30%100,00%58,00%
I prefer not to say
14,50%
6,80%
Total100,00%100,00%100,00%100,00%
Source: own elaboration
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In this regard, Portuguese students strongly condition the acceptance of advertising spaces on the eective integration of the
brand into the game’s narrative, as well as on the brand not being the central protagonist of that narrative (categories 1, 2, and
8). Spanish students express a similar stance, although with less intensity. In fact, this dierence was statistically signicant, as
shown by the Mann–Whitney U test (Sig. = .000, .001, and .001 in the aforementioned categories).
Table 9. Mean and standard deviation of conditions for brands (0-10) by country
SpainPortugalTotal
Mean
St. Dev.
Mean
St. Dev.
Mean
St. Dev.
1. Provided that it does not aect playability
7,652,549,241,998,552,38
2. Whenever the brand is in the background
7,202,327,782,357,522,35
3. As long as I like the brand or do not dislike it
5,562,494,563,205,002,95
4. Provided that it has an impact on the quality of the game
6,972,396,843,546,903,09
5. Provided that it results in a lower purchase price.
6,592,696,553,196,572,98
6. .Provided that it makes the game free of charge
6,902,798,071,727,562,32
7. As long as it is enjoyable/entertaining
6,662,437,432,677,102,59
8. Provided that advertising in that location or circumstance
of the game is appropriate
7,142,207,752,267,492,25
9. Whenever you oer benets/rewards if you see or
interact with them.
6,772,547,232,387,032,46
Source: own elaboration
Turning to the next mode of video game advertising analyzed –the advergame– this study asked participants whether they were
familiar with the term. e response, although slightly higher among women and consistent across both countries, revealed
that the majority of respondents were unfamiliar with the concept (85.4% in the Spanish sample and 81.2% in the Portuguese
sample) (Sig.
Χ
² = .000; Contingency Coecients = .350 and .297 for gender-based dierences, respectively).
Importantly, and in line with the objectives of this study, it is entirely possible for participants to be unfamiliar with the
term yet have played advergames. Responses to this follow-up question remained mostly negative, though to a lesser extent
than the previous one: 76.7% of Spanish respondents and 66.9% of Portuguese respondents indicated they had not played
advergames. is dierence is largely attributed to the male respondents in both samples, with 79.4% of Spanish males and
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60% of Portuguese males stating they had not played such games. e female samples, by contrast, showed similar results in
both countries (73.5% in Spain and 76.8% in Portugal).
e following question explored whether participants generally agreed with the use of video games as advertising platforms.
e responses, presented in the table below, reveal signicant dierences between Spanish and Portuguese participants.
Table 10. Contingency table of agreement with advergames by gender and country
Country of
residence
In general, do you agree with the use
of promotional video games as an
advertising way?
e gender you identify with
Total
MaleFemale
I prefer not
to say
Spain
Yes46,90%46,00%33,30%46,30%
No17,20%11,00%33,30%14,70%
Depends35,90%43,00%33,30%39,00%
Total100,00%100,00%100,00%100,00%
Portugal
Yes30,00%16,70%
23,20%
No10,00%
5,10%
Depends60,00%83,30%100,00%71,70%
Total100,00%100,00%100,00%100,00%
Source: own elaboration
us, responses were predominantly armative in the Spanish sample, while Portuguese participants expressed more
reservations. is dierence is statistically signicant (Sig.
Χ
² = .000; Contingency Coecient = .315). e key question, then,
concerns the basis of these reservations. As shown in the table below, Portuguese participants are more likely to condition
their acceptance of advertising in video games on specic factors—namely, that the games are free, entertaining, and that the
brand is integrated into the narrative without being the central focus. In contrast, Spanish participants placed less emphasis
on the games being free and prioritized game quality as a more decisive factor.
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Table 11. Mean and Standard Deviation of conditions for advergames (0-10) by country
Country of residence
1.As long as
video games
are free
2. Provided
the video
game is high
quality one.
3. Provided
that the video
game is highly
entertaining
and/or
interesting.
4. As long
as the
video game
provides
quality
content in
relation to
the brand.
5. Provided
video games
are reasonably
priced.
6. Provided
that the game
is given more
prominence
than the brand.
Spain
Mean6,747,297,247,116,837,44
St. Dev
2,5692,522,7052,4252,3912,618
Portugal
Mean8,077,258,267,937,438,57
St. Dev
2,3792,5252,0362,0152,3552,053
Total
Mean7,57,277,827,587,188,09
St. Dev
2,5462,522,3972,2352,3872,376
Source: own elaboration
A closer examination of country-level dierences revealed statistically signicant variations in the scores assigned to all
categories except the second one (Mann–Whitney U test, Sig. = .000 for all categories except .003 in category 5).
Finally, the last question in this study explored students’ preferred form of advertising within video games. e results, presented
in the table below, indicate a degree of homogeneity between the two countries (Sig.
Χ
² = .005; Contingency Coecient = .168).
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Table 12. Contingency Table of Preferred Advertising Form by Gender and Country
Country of
residence
Imagine a car brand launches a new sports car next year
and wants to create excitement through video games.
Which option would you most like to see?
e gender you identify with
Total
MaleFemale
I prefer not
to say
Spain
e new model is included in an existing racing video
game (Ingame, high integration).
73,70%55,80%50,00%65,60%
e new model is shown on a advertising billboard of an
existing racing video game (Ingame, low integration).
7,60%8,40%
7,90%
A 30-second spot is included in the loading screen of an
existing racing video game (Ad Around Game).
8,50%7,40%50,00%8,40%
A new video game is created based on the new model
(Advergame).
5,10%21,10%
12,10%
Another5,10%7,40%
6,00%
Total100,00%100,00%100,00%100,00%
Portugal
e new model is included in an existing racing video
game (Ingame, high integration).
70,00%72,50%100,00%71,70%
e new model is shown on a advertising billboard of an
existing racing video game (Ingame, low integration).
3,60%
1,70%
A 30-second spot is included in the loading screen of an
existing racing video game (Ad Around Game).
20,00%
10,20%
A new video game is created based on the new model
(Advergame).
10,00%17,40%
13,30%
Another
6,50%
3,10%
Total100,00%100,00%100,00%100,00%
Source: own elaboration
e results reveal a clear preference for in-game advertising that is deeply integrated into the game’s narrative. Players tend to
favor interacting with the brand as part of the gameplay rather than perceiving it as a supercial add-on. is response points
to a compelling possibility: the creation of a shared narrative between the brand and the player, shaped through the player’s
experience of engaging with the brand in a meaningful way. In this context, the brand’s role should be to facilitate immersive
and emotionally resonant experiences that help build a deeper relationship with the user. One of the key challenges to achieving
this, however, lies in the technological limitations that inevitably mediate and constrain the nature of this interaction.
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4. Conclusions and Discussion
is research concludes, in line with previous academic studies and reports from key organizations (Urbaneja
et al.
, 2023;
AEVI, 2023; Newzoo, 2021), that video games represent a signicant form of audiovisual consumption among young people in
both Spain and Portugal. ey are a consolidated cultural reality across genders and national contexts. However, while video
games are widely consumed, the ways in which they are approached and experienced dier according to gender and country.
Portuguese female students report higher gaming intensity and frequency than their Spanish counterparts. Additionally,
Portuguese players overall spend more time playing video games than Spanish players. Another notable dierence lies in
session duration: female players in both countries report shorter sessions than male players.
Dierences are also observed in gameplay style: men are more likely to play online with friends, whereas women tend to
play alone—this pattern holds true in both countries. Moreover, women show a stronger preference for free-to-play games,
which suggests a greater inclination toward mobile gaming, often excluding other ecosystems such as consoles or e-sports.
ese trends are consistent with previous studies conducted in Spain (Deloitte, 2023; Digital Turbine and Mobile Marketing
Association, 2023). It is important to note that “free-to-play” does not imply the absence of revenue; rather, income is generated
through alternative channels such as in-app purchases, advertising, or various forms of sponsorship.
is characterization conrms, rst, that video games are an established cultural medium among university students in both
Spain and Portugal, and second, that relevant dierences exist in how this medium is consumed.
Turning to the second objective of this study, video games as advertising platforms, the ndings show that Spanish students
are generally more receptive to in-game advertising, albeit with certain conditions, echoing previous studies (Alabau-Tejada,
2021; Nelson, 2004). Portuguese students, by contrast, demonstrate greater initial reluctance toward the unconditional
inclusion of brand advertising within games.
Understanding the conditions under which advertising is accepted is thus crucial. Portuguese students strongly condition their
acceptance on the brand being eectively integrated into the game’s narrative—without becoming the narrative’s protagonist.
Spanish students express similar views, but with less intensity.
Regarding advergames, Portuguese students tend to disagree with their use unless certain conditions are met: the game must
be free, enjoyable, and the brand must be embedded in the narrative without dominating it. In contrast, a majority of Spanish
students express a general agreement with the use of advergames, placing more emphasis on the quality of the game than on
its cost.
When it comes to more traditional forms of commercial integration, such as in-game advertising and ad-around-game formats,
students in both countries clearly prefer in-game advertising that is meaningfully woven into the narrative. ey prefer to
interact with the brand during gameplay rather than simply observe it as a peripheral element (e.g., loading screen ads or static
placements), a nding consistent with other studies (Chang
et al.
, 2010; Rios & Almeida, 2019; Chaney
et al.
, 2004).
In other words, students prefer a brand experience that is interactive and immersive, rather than passive. is highlights the
potential for brands to develop a shared narrative with players, where the brand oers meaningful, engaging experiences. Such
experiences can foster a deeper connection between user and brand.
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Nevertheless, one of the main challenges in achieving this integration is technological limitation, which inevitably mediates
and constrains the player–brand relationship. Moreover, certain game genres or settings (e.g., those set in pre-industrial
contexts) may present obstacles to brand integration. ese constraints could potentially discourage studios from developing
such games if they are unable to secure advertising revenue, an issue already noted in previous literature (Sebastián Morillas
et al.
, 2016).
In sum, this study underscores the relevance of video games as a cultural and expressive medium and highlights their potential
as a platform for narrative-driven brand engagement. It also points to the willingness of young audiences to accept brand
presence, provided it respects certain conditions of relevance, quality, and integration.
Limitations of this research must be acknowledged. e sample size, although substantial, limits the generalizability of
the ndings. Additionally, the geographic scope, restricted to a single Portuguese university, suggests the need for broader
representation in future studies.
Future lines of research may explore comparisons with more culturally distant countries, or delve deeper into narrative modes
of integration between brands, products, and players.
5. Acknowledgements
is article has been translated into English by Belén Moreno-Albarracín, to whom we are grateful for her work.
6. Specic contributions of each author
Name and Surname
Conception and design of the workAlejandro Tapia Frade
Methodology
Alejandro Tapia Frade, Gema Bonales Daimiel and
Belén Moreno Albarracín
Data collection and analysisGema Bonales Daimiel and Belén Moreno Albarracín
Discussion and conclusions
Alejandro Tapia Frade, Gema Bonales Daimiel and
Belén Moreno Albarracín
Drafting, formatting, version review and approval
Alejandro Tapia Frade, Gema Bonales Daimiel and
Belén Moreno Albarracín
7. Conict of interest
e authors declare that there is no conict of interest contained in this article.
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nº 43, pp. 197-219
July-December of 2026
Alejandro Tapia-Frade, Gema Bonales-Daimiel and Belén Moreno-Albarracín
ISSN: 1696-019X / e-ISSN: 2386-3978
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