Araştırma Makalesi
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COMMUNICATION WITH AVATARS: A REVIEW ON VIRTUAL INFLUENCERS AND PRODUCTION TECHNIQUES

Yıl 2023, Cilt: 8 Sayı: 16, 90 - 105, 31.07.2023

Öz

With the 21st century, borders have disappeared in the world of social networks after web 2.0, which
allows two-sided data flow, and the individual influence power of people has turned into a marketing
tool as a commodity. In this period, the options for the end user have increased in terms of digital
tools in which they can express themselves socially. Mobile devices, which have become a part of
daily life, have allowed new forms of narrative and expression. Another advantage of bilateral
interaction has been the increased availability of experience. Social media users, who shared their
knowledge and experiences, also made it possible to create a unique network around them. These
networks, which have quickly turned into a marketing tool by advertisers, and which are reliable and
directly appealing to the target audience, have also made the concept of "influencer" a part of daily
life.
The ecosystem that has developed around the cinema, animation and game industry has created new
areas of expertise and facilitated the application methods. The concept of avatar, which is the user's
own representation within the concept of social media, has also evolved from a transformed
representation to original digital characters thanks to these techniques. As a result of this period, the
concept of virtual influencer has rapidly created its own space and audience in virtual social
networks.
Virtual influencers are virtual animatic characters designed according to the content and medium to
be transmitted. They require technical expertise from many branches of art to produce the content
they share through social media. Academic studies on virtual influencers at the intersection of
animation, game and communication disciplines were scanned and it was seen that there was no
research in terms of production techniques. Considering the detailed production techniques, the
production styles of the selected virtual characters were compared.

Kaynakça

  • Avatar. (2023). Içinde Cambridge. https://dictionary.cambridge.org/dictionary/englishturkish/avatar B. (@bee_nfluencer) • Instagram fotoğrafları ve videoları. (t.y.). Geliş tarihi 12 Haziran 2023, gönderen https://www.instagram.com/bee_nfluencer/
  • Baklanov, N. (2020, Kasım 9). The Top Instagram Virtual Influencers in 2020. HypeAuditor.Com. https://hypeauditor.com/blog/the-top-instagram-virtual-influencers-in-2020/
  • Baklanov, N. (2022). The Top Virtual Instagram Influencers in 2022. HypeAuditor.Com. https://hypeauditor.com/blog/the-top-virtual-instagram-influencers-in-2022/
  • Bernazzani, S. (2021). Micro-Influencer Marketing: A Comprehensive Guide. https://blog.hubspot.com/marketing/micro-influencer-marketing
  • Digital 2023: Global Overview Report. (2023, Ocak 26). DataReportal – Global Digital Insights. https://datareportal.com/reports/digital-2023-global-overview-report
  • Galbraith, P. W., & Karlin, J. G. (Ed.). (2012). Idols and Celebrity in Japanese Media Culture. Palgrave Macmillan UK. https://doi.org/10.1057/9781137283788
  • Geyser, W. (2016, Kasım 1). What is Influencer Marketing? - The Ultimate Guide for 2023. Influencer Marketing Hub. https://influencermarketinghub.com/influencer-marketing/
  • Geyser, W. (2023). The State of Influencer Marketing 2023: Benchmark Report. Influencer Marketing Hub. https://influencermarketinghub.com/influencer-marketing-benchmarkreport/
  • Hirschmiller, S. (2022). Now Avatars Are Getting Their Own Model Agency. Forbes. https://www.forbes.com/sites/stephaniehirschmiller/2022/09/07/photogenics-modelagency-opens-new-avatar-division/
  • Huizinga, J. (2013). Homo Ludens: Oyunun Toplumsal İşlevi Üzerine Bir Deneme (A. Önal, Çev.).
  • Influencer. (2023). Cambridge Dictionary. https://dictionary.cambridge.org/dictionary/english/influencer
  • Justin.TV Teams Up With On2 And Opens Network. (2007, Ekim 3). TechCrunch. https://techcrunch.com/2007/10/02/justintv-teams-up-with-on2-and-opens-network-finally/
  • Kaplan, A. M., & Haenlein, M. (2010). Users of the world, unite! The challenges and opportunities of Social Media. Business Horizons, 53(1), 59-68. https://doi.org/10.1016/j.bushor.2009.09.003
  • Lu do Magalu (@magazineluiza) | Instagram. (t.y.). [Sosyal Medya]. Geliş tarihi 20 Mayıs 2023, gönderen https://www.instagram.com/magazineluiza/
  • Meet This Year’s 25 Most Influential People on the Internet. (2018, Haziran 30). Time. https://time.com/5324130/most-influential-internet/
  • Miao, F., Kozlenkova, I. V., Wang, H., Xie, T., & Palmatier, R. W. (2022). An Emerging Theory of Avatar Marketing. Journal of Marketing, 86(1), 67-90. https://doi.org/10.1177/0022242921996646
  • Miquela (@lilmiquela) | Instagram. (t.y.). Geliş tarihi 20 Mayıs 2023, gönderen https://www.instagram.com/lilmiquela/
  • Molenaar, K. (2023). Discover The Top 12 Virtual Influencers for 2023—Listed and Ranked! Influencer Marketing Hub. https://influencermarketinghub.com/virtual-influencers/
  • Mouritzen, S. L. T., Penttinen, V., & Pedersen, S. (2023). Virtual influencer marketing: The good, the bad and the unreal. European Journal of Marketing, ahead-of-print(ahead-of-print). https://doi.org/10.1108/EJM-12-2022-0915
  • Moustakas, E., Lamba, N., Mahmoud, D., & Ranganathan, C. (2020). Blurring lines between fiction and reality: Perspectives of experts on marketing effectiveness of virtual influencers. 2020 International Conference on Cyber Security and Protection of Digital Services (Cyber Security), 1-6. https://doi.org/10.1109/CyberSecurity49315.2020.9138861
  • Nizri, E. (2022). Council Post: Macro-Influencers Vs. Micro-Influencers: The Great Social Media Debate. Forbes. https://www.forbes.com/sites/forbestechcouncil/2022/03/01/macroinfluencers-vs-micro-influencers-the-great-social-media-debate/
  • @noonoouri • Instagram fotoğrafları ve videoları. (t.y.). Geliş tarihi 13 Haziran 2023, gönderen https://www.instagram.com/noonoouri/
  • Pikkov, Ü. (2010). Animasophy: Theoretical Writings on the Animated Film. Estonian Academy of Arts.
  • Poissant, L. (2009). A passagem do material para a interface. Içinde D. Domingues (Ed.), Arte, ciência e tecnologia: Passado, presente e desafios (1a edição). Editora Unesp.
  • Rasmussen, M. (2021a). 4 Reasons Brands Love to Work with Virtual Influencers. https://www.virtualhumans.org/article/4-reasons-brands-love-to-work-with-virtualinfluencers
  • Rasmussen, M. (2021b). Video Game Engines Bring Virtual Influencers to Life. https://www.virtualhumans.org/article/the-video-game-engines-bringing-virtualinfluencers-to-life
  • Ruiz-Gomez, A. (2019). Digital Fame and Fortune in the age of Social Media: A Classification of social media influencers. aDResearch ESIC International Journal of Communication
  • Research, 19(19), 08-29. https://doi.org/10.7263/adresic-019-01
  • Santaella, L. (2016). Temas e dilemas do pós-digital: A voz da política (1a edição). PAULUS Editora.
  • Santaella, L. (2021). The Cities and the Bodies As Cyberinterfaces. Içinde C. Vidales & S. Brier (Ed.), Introduction to Cybersemiotics: A Transdisciplinary Perspective (ss. 541-552). Springer International Publishing. https://doi.org/10.1007/978-3-030-52746-4_18
  • Shudu (@shudu.gram) • Instagram fotoğrafları ve videoları. (t.y.). Geliş tarihi 13 Haziran 2023, gönderen https://www.instagram.com/shudu.gram/
  • Silva, M. J. de B., Delfino, L. de O. R., Cerqueira, K. A., & Campos, P. de O. (2022). Avatar marketing: A study on the engagement and authenticity of virtual influencers on Instagram. Social Network Analysis and Mining, 12(1). https://doi.org/10.1007/s13278-022-00966-w
  • Šmahel, D. (2003). Psychologie a internet: Děti dospělými, dospělí dětmi. TRITON. https://is.muni.cz/publication/490469/cs/Psychologie-a-internet-deti-dospelymi-dospelidetmi/Smahel
  • Subrahmanyam, K., & Šmahel, D. (2011). Constructing Identity Online: Identity Exploration and Self-Presentation. Içinde K. Subrahmanyam & D. Smahel (Ed.), Digital Youth: The Role of Media in Development (ss. 59-80). Springer. https://doi.org/10.1007/978-1-4419-6278-2_4
  • Tamkin, E. (2023). A Cultural History of Barbie. Smithsonian Magazine. https://www.smithsonianmag.com/arts-culture/cultural-history-barbie-180982115/
  • The Fictional (Yet Amazingly Popular) Singers of Japan. (2012, Eylül 7). Kotaku. https://kotaku.com/the-fictional-yet-amazingly-popular-singers-of-japan-5940894
  • Turkle, S. (1997). Life on the Screen: Identity in the Age of the Internet. Simon & Schuster.
  • Universe of League of Legends. (t.y.). Geliş tarihi 13 Haziran 2023, gönderen https://universe.leagueoflegends.com/en_US/kda/
  • van der Sloot, B., & Wagensveld, Y. (2022). Deepfakes: Regulatory challenges for the synthetic society. Computer Law & Security Review, 46, 105716. https://doi.org/10.1016/j.clsr.2022.105716
  • VirtualHumans.org. (2023). https://www.virtualhumans.org/#influencers
  • What is Virtual Influencer and The Benefit For Your Business. (2023, Şubat 23). Superpixel. https://www.superpixel.sg/blog/virtual-influencer
  • What Is Web 2.0. (t.y.). Geliş tarihi 02 Nisan 2023, gönderen https://oreilly.com{file}
  • YouTube ventures into live event webcasting. (2008, Kasım 12). Reuters. https://www.reuters.com/article/us-media-youtube-idUSTRE4AB40U20081112
  • Zhu, Y.-Q., & Chen, H.-G. (2015). Social media and human need satisfaction: Implications for social media marketing. Business Horizons, 58(3), 335-345. https://doi.org/10.1016/j.bushor.2015.01.006

AVATARLAR İLE İLETİŞİM: SANAL INFLUENCERLAR VE ÜRETİM TEKNİKLERİ ÜZERİNE BİR İNCELEME

Yıl 2023, Cilt: 8 Sayı: 16, 90 - 105, 31.07.2023

Öz

21.yy ile beraber iki taraflı veri akışına olanak veren web 2.0 sonrası sosyal ağlar dünyasında sınırlar
ortadan kalkmış, insanların bireysel etki gücü meta olarak bir pazarlama aracına dönüşmüş
durumdadır. Bu dönemde son kullanıcı için sosyal olarak kendisini ifade edebileceği dijital araçlar
bakımından da seçenekler artmıştır. Günlük hayatın bir parçası haline gelen mobil cihazlar yeni anlatı
ve ifade biçimlerine olanak tanımıştır. İki taraflı etkileşimin bir diğer avantajı da deneyime
ulaşılabilirliğin artması olmuştur. Bilgi birikimlerini ve deneyimlerini paylaşan sosyal medya
kullanıcıları, çevrelerinde kendine has bir ağ oluşmasını da olanaklı kılmışlardır. Reklamverenler
tarafından hızla bir pazarlama aracına dönüşen, güvenilir ve doğrudan konuyla ilgili hedef kitleye
hitap eden bu ağlar “influencer”1 kavramını da günlük yaşamın bir parçası haline getirmiştir.
Sinema, animasyon ve oyun sektörü çevresinde gelişen ekosistem yeni uzmanlık alanları yaratmış,
uygulama yöntemlerini kolaylaştırmıştır. Sosyal medya kavramı içerisinde kullanıcının kendi temsili
olan avatar kavramı da bu teknikler sayesinde dönüşmüş, temsilden, özgün dijital karakterlere
evrilmiştir. Sanal influencer kavramı da bu dönemin bir sonucu olarak sanal sosyal ağlarda hızla
kendi alanını ve kitlesini yaratmıştır.
Sanal influencerlar, aktarılacak içeriğe ve mecraya göre tasarlanan sanal animatik karakterlerdir.
Sosyal medya aracılığıyla paylaştıkları içerikleri üretmek için birçok sanat dalından teknik uzmanlık
gerektirmektedirler. Animasyon, oyun ve iletişim disiplinlerinin kesiştiği noktada bulunan sanal
influencerlar üzerine hazırlanan akademik çalışmalar taranmış ve üretim teknikleri bakımından bir
araştırma yapılmadığı görülmüştür. Detaylandırılan üretim teknikleri göz önünde bulundurularak
seçilen sanal karakterlerin üretim biçimleri karşılaştırılmıştır.

Kaynakça

  • Avatar. (2023). Içinde Cambridge. https://dictionary.cambridge.org/dictionary/englishturkish/avatar B. (@bee_nfluencer) • Instagram fotoğrafları ve videoları. (t.y.). Geliş tarihi 12 Haziran 2023, gönderen https://www.instagram.com/bee_nfluencer/
  • Baklanov, N. (2020, Kasım 9). The Top Instagram Virtual Influencers in 2020. HypeAuditor.Com. https://hypeauditor.com/blog/the-top-instagram-virtual-influencers-in-2020/
  • Baklanov, N. (2022). The Top Virtual Instagram Influencers in 2022. HypeAuditor.Com. https://hypeauditor.com/blog/the-top-virtual-instagram-influencers-in-2022/
  • Bernazzani, S. (2021). Micro-Influencer Marketing: A Comprehensive Guide. https://blog.hubspot.com/marketing/micro-influencer-marketing
  • Digital 2023: Global Overview Report. (2023, Ocak 26). DataReportal – Global Digital Insights. https://datareportal.com/reports/digital-2023-global-overview-report
  • Galbraith, P. W., & Karlin, J. G. (Ed.). (2012). Idols and Celebrity in Japanese Media Culture. Palgrave Macmillan UK. https://doi.org/10.1057/9781137283788
  • Geyser, W. (2016, Kasım 1). What is Influencer Marketing? - The Ultimate Guide for 2023. Influencer Marketing Hub. https://influencermarketinghub.com/influencer-marketing/
  • Geyser, W. (2023). The State of Influencer Marketing 2023: Benchmark Report. Influencer Marketing Hub. https://influencermarketinghub.com/influencer-marketing-benchmarkreport/
  • Hirschmiller, S. (2022). Now Avatars Are Getting Their Own Model Agency. Forbes. https://www.forbes.com/sites/stephaniehirschmiller/2022/09/07/photogenics-modelagency-opens-new-avatar-division/
  • Huizinga, J. (2013). Homo Ludens: Oyunun Toplumsal İşlevi Üzerine Bir Deneme (A. Önal, Çev.).
  • Influencer. (2023). Cambridge Dictionary. https://dictionary.cambridge.org/dictionary/english/influencer
  • Justin.TV Teams Up With On2 And Opens Network. (2007, Ekim 3). TechCrunch. https://techcrunch.com/2007/10/02/justintv-teams-up-with-on2-and-opens-network-finally/
  • Kaplan, A. M., & Haenlein, M. (2010). Users of the world, unite! The challenges and opportunities of Social Media. Business Horizons, 53(1), 59-68. https://doi.org/10.1016/j.bushor.2009.09.003
  • Lu do Magalu (@magazineluiza) | Instagram. (t.y.). [Sosyal Medya]. Geliş tarihi 20 Mayıs 2023, gönderen https://www.instagram.com/magazineluiza/
  • Meet This Year’s 25 Most Influential People on the Internet. (2018, Haziran 30). Time. https://time.com/5324130/most-influential-internet/
  • Miao, F., Kozlenkova, I. V., Wang, H., Xie, T., & Palmatier, R. W. (2022). An Emerging Theory of Avatar Marketing. Journal of Marketing, 86(1), 67-90. https://doi.org/10.1177/0022242921996646
  • Miquela (@lilmiquela) | Instagram. (t.y.). Geliş tarihi 20 Mayıs 2023, gönderen https://www.instagram.com/lilmiquela/
  • Molenaar, K. (2023). Discover The Top 12 Virtual Influencers for 2023—Listed and Ranked! Influencer Marketing Hub. https://influencermarketinghub.com/virtual-influencers/
  • Mouritzen, S. L. T., Penttinen, V., & Pedersen, S. (2023). Virtual influencer marketing: The good, the bad and the unreal. European Journal of Marketing, ahead-of-print(ahead-of-print). https://doi.org/10.1108/EJM-12-2022-0915
  • Moustakas, E., Lamba, N., Mahmoud, D., & Ranganathan, C. (2020). Blurring lines between fiction and reality: Perspectives of experts on marketing effectiveness of virtual influencers. 2020 International Conference on Cyber Security and Protection of Digital Services (Cyber Security), 1-6. https://doi.org/10.1109/CyberSecurity49315.2020.9138861
  • Nizri, E. (2022). Council Post: Macro-Influencers Vs. Micro-Influencers: The Great Social Media Debate. Forbes. https://www.forbes.com/sites/forbestechcouncil/2022/03/01/macroinfluencers-vs-micro-influencers-the-great-social-media-debate/
  • @noonoouri • Instagram fotoğrafları ve videoları. (t.y.). Geliş tarihi 13 Haziran 2023, gönderen https://www.instagram.com/noonoouri/
  • Pikkov, Ü. (2010). Animasophy: Theoretical Writings on the Animated Film. Estonian Academy of Arts.
  • Poissant, L. (2009). A passagem do material para a interface. Içinde D. Domingues (Ed.), Arte, ciência e tecnologia: Passado, presente e desafios (1a edição). Editora Unesp.
  • Rasmussen, M. (2021a). 4 Reasons Brands Love to Work with Virtual Influencers. https://www.virtualhumans.org/article/4-reasons-brands-love-to-work-with-virtualinfluencers
  • Rasmussen, M. (2021b). Video Game Engines Bring Virtual Influencers to Life. https://www.virtualhumans.org/article/the-video-game-engines-bringing-virtualinfluencers-to-life
  • Ruiz-Gomez, A. (2019). Digital Fame and Fortune in the age of Social Media: A Classification of social media influencers. aDResearch ESIC International Journal of Communication
  • Research, 19(19), 08-29. https://doi.org/10.7263/adresic-019-01
  • Santaella, L. (2016). Temas e dilemas do pós-digital: A voz da política (1a edição). PAULUS Editora.
  • Santaella, L. (2021). The Cities and the Bodies As Cyberinterfaces. Içinde C. Vidales & S. Brier (Ed.), Introduction to Cybersemiotics: A Transdisciplinary Perspective (ss. 541-552). Springer International Publishing. https://doi.org/10.1007/978-3-030-52746-4_18
  • Shudu (@shudu.gram) • Instagram fotoğrafları ve videoları. (t.y.). Geliş tarihi 13 Haziran 2023, gönderen https://www.instagram.com/shudu.gram/
  • Silva, M. J. de B., Delfino, L. de O. R., Cerqueira, K. A., & Campos, P. de O. (2022). Avatar marketing: A study on the engagement and authenticity of virtual influencers on Instagram. Social Network Analysis and Mining, 12(1). https://doi.org/10.1007/s13278-022-00966-w
  • Šmahel, D. (2003). Psychologie a internet: Děti dospělými, dospělí dětmi. TRITON. https://is.muni.cz/publication/490469/cs/Psychologie-a-internet-deti-dospelymi-dospelidetmi/Smahel
  • Subrahmanyam, K., & Šmahel, D. (2011). Constructing Identity Online: Identity Exploration and Self-Presentation. Içinde K. Subrahmanyam & D. Smahel (Ed.), Digital Youth: The Role of Media in Development (ss. 59-80). Springer. https://doi.org/10.1007/978-1-4419-6278-2_4
  • Tamkin, E. (2023). A Cultural History of Barbie. Smithsonian Magazine. https://www.smithsonianmag.com/arts-culture/cultural-history-barbie-180982115/
  • The Fictional (Yet Amazingly Popular) Singers of Japan. (2012, Eylül 7). Kotaku. https://kotaku.com/the-fictional-yet-amazingly-popular-singers-of-japan-5940894
  • Turkle, S. (1997). Life on the Screen: Identity in the Age of the Internet. Simon & Schuster.
  • Universe of League of Legends. (t.y.). Geliş tarihi 13 Haziran 2023, gönderen https://universe.leagueoflegends.com/en_US/kda/
  • van der Sloot, B., & Wagensveld, Y. (2022). Deepfakes: Regulatory challenges for the synthetic society. Computer Law & Security Review, 46, 105716. https://doi.org/10.1016/j.clsr.2022.105716
  • VirtualHumans.org. (2023). https://www.virtualhumans.org/#influencers
  • What is Virtual Influencer and The Benefit For Your Business. (2023, Şubat 23). Superpixel. https://www.superpixel.sg/blog/virtual-influencer
  • What Is Web 2.0. (t.y.). Geliş tarihi 02 Nisan 2023, gönderen https://oreilly.com{file}
  • YouTube ventures into live event webcasting. (2008, Kasım 12). Reuters. https://www.reuters.com/article/us-media-youtube-idUSTRE4AB40U20081112
  • Zhu, Y.-Q., & Chen, H.-G. (2015). Social media and human need satisfaction: Implications for social media marketing. Business Horizons, 58(3), 335-345. https://doi.org/10.1016/j.bushor.2015.01.006
Toplam 44 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Güzel Sanatlar
Bölüm Araştırma Makalesi
Yazarlar

Hüsnü Çağlar Doğru

Yayımlanma Tarihi 31 Temmuz 2023
Yayımlandığı Sayı Yıl 2023 Cilt: 8 Sayı: 16

Kaynak Göster

APA Doğru, H. Ç. (2023). AVATARLAR İLE İLETİŞİM: SANAL INFLUENCERLAR VE ÜRETİM TEKNİKLERİ ÜZERİNE BİR İNCELEME. Uluslararası Disiplinlerarası Ve Kültürlerarası Sanat, 8(16), 90-105.