Friday, November 6, 2009

How does it feel to feel?

My Friday afternoon took a rather sinister turn after a fight broke out at Melbourne airport.

A couple of guys walked through the terminal, found their man, and then came a violent eruption of punches until a couple of brave passengers stood between them. The attackers checked themselves, uttered a few choice words about broken noses, and then turned and traced their steps back through the airport.

It was all over quite quickly, but the emotion in the air was intense.

Admiration for the brave men who had put themselves in the middle of the melee, and stopped the fight from going any further. Fear from the female Qantas ground staff who found themselves in the thick of it as the fight spilled behind the customer service desk. And a mixture of anxiety, shock and excitement swirled around the scene, along with pretty much every other emotion you care to name.

And it reminded me of just how emotionally charged we are – as a species, I mean.

Yes, granted we spend a great deal of time thinking – "Cogito ergo sum", as Descartes once famously pronounced – but so much of our existence also relies upon our capacity to feel.

Earlier this week, Adam Ferrier wrote in his blog, Consumer Psychologist, about the Melbourne Cup, gambling and the concept of variable positive reinforcement – the practice of rewarding desired behaviour (for example, gambling) at random times and with random amounts. And he wondered why marketers didn't use this concept more often and not just in promotions, under the pretext that, "If it's the strongest conditioner of human behaviour, shouldn't marketers be trying to understand it and applying its principles in a slightly more sophisticated way"?

Again, what Adam is raising here is the very visceral nature of the human race – ideas that relate to our deepest inward feelings rather than to our intellect.

The automotive industry, for one, has always worked hard on designing a human feel to its cars. Not simply when it comes to how they function, but also how they look. In fact, most cars smile.



If you look at the VW Beetle or the new model Mazda 3 (just to name a couple), the bonnet, grille and headlights are often designed and positioned to mirror a human face. And a happy one at that.

At the opposite end of the scale to happiness is loss – specifically death, in the form of cult brand, Death Cigarettes.



Here's some of the on-pack copy:

A pack of Death cigarettes leaves no doubt as to the risks of smoking. We don't print a health warning just because it's law. We believe in telling the truth...a responsible way to market a legally available consumer product which kills people when used exactly as intended.

You couldn't get a more honest smoke.

As humans, we are a complex race full of raw emotion and feeling. They say the truth hurts, and they're right. But not because it's true in thought, more so because it hurts our feelings.

So it is, that the most successful brands are often also the most primal. And if you ask me, that feels just about right.

2 comments:

  1. Smiling cars, I was reading about that the other day. I believe it is called Anthropomorphism. Humans have a habit of projecting human qualities to accept foreign objects better often subconsciously, like on cars or animals in cartoons such as Spongebob Square pants or on any breakfast cereal mascot. Probably why marketing/branding to primitive emotion works so well on children, there emotions are still developing so they look to the most comfortable choice.

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  2. Matt, thanks for the comment. I think you're right about people seeking comfort in familiarity as it gives them common ground or a shared experience.

    However, where I think this gets more exciting is when you start to decipher between where you tow the line and where you blaze your own trail. In other words, give people enough familiarity to draw them in, but then reignite their interest by taking them beyond their expectations.

    And you're spot on in saying that cartoons do this well – they give the characters enough human traits to build audience empathy, but then leave enough room for their creators to stretch the imagination while we temporarily suspend our disbelief long enough to enter their world.

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