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<journal-id journal-id-type="publisher-id">Front. Commun.</journal-id>
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<journal-title>Frontiers in Communication</journal-title>
<abbrev-journal-title abbrev-type="pubmed">Front. Commun.</abbrev-journal-title>
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<issn pub-type="epub">2297-900X</issn>
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<publisher-name>Frontiers Media S.A.</publisher-name>
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<article-id pub-id-type="doi">10.3389/fcomm.2026.1794134</article-id>
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<subj-group subj-group-type="heading">
<subject>Editorial</subject>
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<title-group>
<article-title>Editorial: Including the audience in Integrated Marketing Communication and branding: social media, gaming, and beyond</article-title>
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<contrib-group>
<contrib contrib-type="author">
<name><surname>Daniel</surname> <given-names>Emory</given-names></name>
<xref ref-type="aff" rid="aff1"><sup>1</sup></xref>
<role vocab="credit" vocab-identifier="https://credit.niso.org/" vocab-term="Conceptualization" vocab-term-identifier="https://credit.niso.org/contributor-roles/conceptualization/">Conceptualization</role>
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<role vocab="credit" vocab-identifier="https://credit.niso.org/" vocab-term="Writing &#x2013; original draft" vocab-term-identifier="https://credit.niso.org/contributor-roles/writing-original-draft/">Writing &#x2013; original draft</role>
<uri xlink:href="https://loop.frontiersin.org/people/1012817"/>
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<contrib contrib-type="author" corresp="yes">
<name><surname>Crawford</surname> <given-names>Elizabeth Crisp</given-names></name>
<xref ref-type="aff" rid="aff2"><sup>2</sup></xref>
<xref ref-type="corresp" rid="c001"><sup>&#x0002A;</sup></xref>
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<uri xlink:href="https://loop.frontiersin.org/people/2123501"/>
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<contrib contrib-type="author">
<name><surname>Lee</surname> <given-names>Shu-Yueh</given-names></name>
<xref ref-type="aff" rid="aff3"><sup>3</sup></xref>
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<aff id="aff1"><label>1</label><institution>Department of Communication, Appalachian State University</institution>, <city>Boone, NC</city>, <country country="us">United States</country></aff>
<aff id="aff2"><label>2</label><institution>Department of Management, Marketing, Entrepreneurship, and Fire &#x00026; Emergency Services Administration, Broadwell College of Business and Economics, Fayetteville State University</institution>, <city>Fayetteville, NC</city>, <country country="us">United States</country></aff>
<aff id="aff3"><label>3</label><institution>AMP: Ad, Multimedia Journalism and PR, University of Wisconsin Oshkosh</institution>, <city>Oshkosh, WI</city>, <country country="us">United States</country></aff>
<author-notes>
<corresp id="c001"><label>&#x0002A;</label>Correspondence: Elizabeth Crisp Crawford, <email xlink:href="mailto:ecrawfordjackson@uncfsu.edu">ecrawfordjackson@uncfsu.edu</email></corresp>
</author-notes>
<pub-date publication-format="electronic" date-type="pub" iso-8601-date="2026-02-17">
<day>17</day>
<month>02</month>
<year>2026</year>
</pub-date>
<pub-date publication-format="electronic" date-type="collection">
<year>2026</year>
</pub-date>
<volume>11</volume>
<elocation-id>1794134</elocation-id>
<history>
<date date-type="received">
<day>22</day>
<month>01</month>
<year>2026</year>
</date>
<date date-type="rev-recd">
<day>03</day>
<month>02</month>
<year>2026</year>
</date>
<date date-type="accepted">
<day>04</day>
<month>02</month>
<year>2026</year>
</date>
</history>
<permissions>
<copyright-statement>Copyright &#x000A9; 2026 Daniel, Crawford and Lee.</copyright-statement>
<copyright-year>2026</copyright-year>
<copyright-holder>Daniel, Crawford and Lee</copyright-holder>
<license>
<ali:license_ref start_date="2026-02-17">https://creativecommons.org/licenses/by/4.0/</ali:license_ref>
<license-p>This is an open-access article distributed under the terms of the <ext-link ext-link-type="uri" xlink:href="https://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution License (CC BY)</ext-link>. The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.</license-p>
</license>
</permissions>
<kwd-group>
<kwd>co-creation</kwd>
<kwd>gaming</kwd>
<kwd>hyper-personal communication</kwd>
<kwd>Integrated Marketing Communication (IMC)</kwd>
<kwd>social media engagement</kwd>
</kwd-group>
<counts>
<fig-count count="1"/>
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<page-count count="3"/>
<word-count count="1493"/>
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<custom-meta-group>
<custom-meta>
<meta-name>section-at-acceptance</meta-name>
<meta-value>Advertising and Marketing Communication</meta-value>
</custom-meta>
</custom-meta-group>
</article-meta>
<notes notes-type="frontiers-research-topic">
<p><bold>Editorial on the Research Topic</bold> <ext-link xlink:href="https://www.frontiersin.org/research-topics/52007/including-the-audience-in-integrated-marketing-communication-and-branding-social-media-gaming-and-beyond" ext-link-type="uri">Including the audience in Integrated Marketing Communication and branding: social media, gaming, and beyond</ext-link></p></notes>
</front>
<body>
<p>In 2025, the long-awaited indie game <italic>Hollow Knight: Silksong</italic> was released for digital download. Audiences generally praised video game developer Team Cherry&#x00027;s new title, which was nominated for &#x0201C;Game of the Year&#x0201D; by the <italic>Video Game Awards</italic>.<xref ref-type="fn" rid="fn0002"><sup>1</sup></xref> The intrigue and the game&#x00027;s attractive price drew many players to experience the game&#x00027;s grueling difficulty. Frustration led to feedback from gaming communities and content creators alike. Many gamers begged Team Cherry to dial the difficulty down. Based on the feedback, small changes were made to improve progression and accessibility via an in-game patch after initial release.<xref ref-type="fn" rid="fn0003"><sup>2</sup></xref> It&#x00027;s now commonplace in gaming communities to have an active voice, and developers are increasingly responsive, making changes to improve their products.</p>
<p>Drawing inspiration from gaming communities, contributions to this topic explore audience involvement in media and branding contexts. While the articles in this <italic>Frontiers in Communication</italic> Topic titled, &#x0201C;<italic>Including the Audience in IMC and Branding: Social Media, Gaming and Beyond</italic>&#x0201D; navigate the named contexts, the human contributions to Integrated Marketing Communication (IMC) remain central. This collection explores consumer contributions through interactive platforms, and the communication tactics brands use to facilitate interaction and integrate feedback. Feedback loops, sharing, and trust within digital media environments have created a network of consistent engagement, even after customers have already purchased the original releases.</p>
<p>Influencers and content creators act as &#x0201C;opinion leaders&#x0201D; by helping to voice community concerns when issues arise. Members of an influencer&#x00027;s community can discuss solutions on their channel (e.g., Discord, Twitch.tv). Then, influencers express these thoughts on their accounts. It&#x00027;s not uncommon for game developers to watch the content, listen to feedback, implement changes, and even reward content creators for their assistance. This cyclical process can foster brand loyalty, as community members can see that game developers value their communities&#x00027; opinions. Thus, when new releases or downloadable content (DLCs) are released, influencers are offered early access beta tests to review their product, and the cycle restarts.</p>
<p>This manuscript proposes a model to help visualize the cyclical hyper-personal feedback loop between brands, consumers, and opinion leaders (<xref ref-type="fig" rid="F1">Figure 1</xref>). The life-cycle consists of four stages. First, brands need to build audience enthusiasm for their product through awareness. Brands need to be in the same interactive channels as their audiences. Second, desire occurs when consumers find interest in the product through means of conversation. A brand needs to listen and be part of the conversation. Third, feedback from the audience will be provided, so brands need to take action to demonstrate they are moving forward with influencers&#x00027; and audience feedback. Lastly, loyalty can occur with trust between the brand and influencer/community, as all parties feel heard. As new products launch, the faith between the two parties can translate to sales. These tenets are expressed below through the lens of the modern video game industry.</p>
<fig position="float" id="F1">
<label>Figure 1</label>
<caption><p>Brand influencer co-creation cycle.</p></caption>
<graphic mimetype="image" mime-subtype="tiff" xlink:href="fcomm-11-1794134-g0001.tif">
<alt-text content-type="machine-generated">Diagram labeled &#x0201C;Brand Influencer Co-Creation Cycle&#x0201D; showing four connected circles in a cycle: 1. Awareness, 2. Desire, 3. Action, and 4. Loyalty, each with supporting activities outlined for gaming brand engagement.</alt-text>
</graphic>
</fig>
<p>A basic tenet of media planning research exemplifies the first step of the cycle: be present where your customers are. Ease of use, initial delivery, and approachable interface on widely shared platforms can create initial interest and promote sharing (<ext-link ext-link-type="uri" xlink:href="https://doi.org/10.3389/fcomm.2023.1197689">Peng et al.</ext-link>). Whether a brand is new or releasing a new product, its deliverables need to be approachable. The ease of use extends to influencers upon and before initial release to increase interest.</p>
<p>Brands benefit from active consumer participation. Gamification can increase brand loyalty by fulfilling social needs (<ext-link ext-link-type="uri" xlink:href="https://doi.org/10.3389/fcomm.2025.1388020">Zhang et al.</ext-link>). Content creators leave reviews, discuss uses, and convey their expectations and feelings. Understanding consumers&#x00027; emotional states fosters deeper relationships. For instance, television content can shape consumers&#x00027; emotions about an advertised brand, creating a halo effect (<ext-link ext-link-type="uri" xlink:href="https://doi.org/10.3389/fpsyg.2024.1266906">Bettiga and Noci</ext-link>). Moreover, listening to Key Opinion Leaders (KOLs) and encouraging interactivity can lead to stronger purchasing intentions (<ext-link ext-link-type="uri" xlink:href="https://doi.org/10.3389/fcomm.2023.1296174">Tran and Uehara</ext-link>). Opinion leaders&#x00027; motivations and narratives bolster their credibility (<ext-link ext-link-type="uri" xlink:href="https://doi.org/10.3389/fcomm.2024.1502109">Rodriguez-Hidalgo et al.</ext-link>) which enhances branding. By listening to consumers and understanding how their platform experiences connect to brand perceptions, marketers can enhance trust.</p>
<p>Brands should do more than just listen, brands should also act on feedback, demonstrate shared values, engage authentically, and boost engagement through symbolic content which can strengthen purchasing intentions (<ext-link ext-link-type="uri" xlink:href="https://doi.org/10.3389/fcomm.2025.1662524">Limna et al.</ext-link>). Offering resources to improve user experiences, like video game patches, proves that a developer values improving the user experience. These actions not only enhance the perception and relevance of the current release, but also subsequent releases.</p>
<p>When audiences feel understood, trust and loyalty follow. Consistency in branding while emphasizing innovation can also enhance brand value (<ext-link ext-link-type="uri" xlink:href="https://doi.org/10.3389/fcomm.2025.1475326">Zhang</ext-link>). Brand connections are strengthened when a brand&#x00027;s identity is aligned with an audience&#x00027;s ideal branding (<ext-link ext-link-type="uri" xlink:href="https://doi.org/10.3389/fcomm.2025.1682863">Crawford and Jackson</ext-link>). Ultimately, loyalty develops through authentic connection. Through gaming, players interact continually after the release by developing theories concerning the lore of the game, attempting to complete the game in the fastest time possible, discussing character &#x0201C;builds&#x0201D; and how to optimize the game, etc. As these conversations continue, brands earn attention through ongoing player-game engagement.</p>
<p>As new products are introduced, the cycle restarts. KOLs can be offered exclusive access or products before release. Featuring reviews and testimonials before release helps companies make changes before issues come on release. Brands obtain strong earned/paid media from KOL reviews on their channel. Moreover, brands demonstrating their ability to listen and implement changes based on feedback build digital communities with shared values, which is a determinant of customer loyalty (<ext-link ext-link-type="uri" xlink:href="https://doi.org/10.3389/fcomm.2025.1681417">Tahat et al.</ext-link>) that could ultimately drive sales.</p>
</body>
<back>
<sec sec-type="author-contributions" id="s1">
<title>Author contributions</title>
<p>ED: Conceptualization, Writing &#x02013; review &#x00026; editing, Writing &#x02013; original draft. EC: Writing &#x02013; review &#x00026; editing, Writing &#x02013; original draft. S-YL: Writing &#x02013; review &#x00026; editing, Writing &#x02013; original draft.</p>
</sec>
<sec sec-type="COI-statement" id="conf1">
<title>Conflict of interest</title>
<p>The author(s) declared that this work was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.</p>
<p>The author EC declared that they were an editorial board member of Frontiers, at the time of submission. This had no impact on the peer review process and the final decision.</p>
</sec>
<sec sec-type="ai-statement" id="s2">
<title>Generative AI statement</title>
<p>The author(s) declared that generative AI was used in the creation of this manuscript. The author(s) verify and take full responsibility for the use of generative AI in the preparation of this manuscript. Generative AI was used solely for language editing and assistance with word count. All ideas, analysis, and conclusions are the responsibility of the author(s).</p>
<p>Any alternative text (alt text) provided alongside figures in this article has been generated by Frontiers with the support of artificial intelligence and reasonable efforts have been made to ensure accuracy, including review by the authors wherever possible. If you identify any issues, please contact us.</p>
</sec>
<sec sec-type="disclaimer" id="s3">
<title>Publisher&#x00027;s note</title>
<p>All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations, or those of the publisher, the editors and the reviewers. Any product that may be evaluated in this article, or claim that may be made by its manufacturer, is not guaranteed or endorsed by the publisher.</p>
</sec>
<fn-group>
<fn fn-type="custom" custom-type="edited-by" id="fn0001">
<p>Edited and reviewed by: <ext-link ext-link-type="uri" xlink:href="https://loop.frontiersin.org/people/875908/overview">Steven Bellman</ext-link>, University of South Australia, Australia</p>
</fn>
</fn-group>
<fn-group>
<fn id="fn0002"><label>1</label><p>A yearly video game awards show that recognizes topics like story, music, gameplay, and the game of the year.</p></fn>
<fn id="fn0003"><label>2</label><p>A video game patch is software used to fix bugs, balance gameplay, add new features, etc. Patches can be automatically downloaded via game updates, thus changing specific components of the game.</p></fn>
</fn-group>
</back>
</article>