Map the Future of Design for Enhanced Customer Experience by Prahalad Deepa

Author:Prahalad, Deepa...
Language: eng
Format: epub
Published: 2014-05-21T23:02:15.561000+00:00

Engaging Interactivity

Interactivity is the second dimension of consumer experience represented on Psycho-Aesthetics maps. The horizontal (or X) axis is based on the design’s level of interactivity...from passive interactivity to highly immersive. Although function can be a part of a design’s level of interactivity, this axis also serves to measure how many senses are activated and how deeply engaging the overall interactivity is.

Interactivity also considers the way in which people come to adopt—or dismiss the things they encounter in their daily lives. We use the degree to which a consumer is compelled to interact (play, examine, test-drive) with an offering to judge this. Interactivity can be observed reliably and is highly correlated with interest and purchase behaviors. Companies succeed when they engage as many senses as possible. People who touch products are more likely to buy them. Grocery store receipts increase when music is played. And who hasn’t fallen prey to the allure of that “new car smell”?

Interactivity can be seen and measured. One of the most successful illustrations of this idea was our work on Teddy Ruxpin, the toy industry’s first computer-animated, talking stuffed bear. It is still one of the best-selling toys of all time. Children have always engaged in play-acting, and many toys at the time were offering more sensory feedback (such as Strawberry Shortcake, which had a particular scent) and more accessories, varieties, and features (for example, the Barbie and GI Joe franchises). Teddy Ruxpin actually spoke back to children and interacted with them. This wasn’t just a toy; this was their friend. The technology inside of Teddy and the mechanisms required to change the audio tapes had to be carefully crafted to make sure that the illusion was not destroyed. Rather than engaging in passive play, which can quickly become boring, children played with Teddy Ruxpin for longer periods of time, became more attached, and created elaborate adventures involving the bear. This increased level of involvement with the brand created a success that continues to the present day: Since its inception in 1985, more than 20 million units of Teddy Ruxpin toys and merchandise have been sold worldwide. Brand recognition remains at a high 80 percent.4

As illustrated by Teddy Ruxpin, the amount of interaction that is encouraged by the design is a critical test of its success. Although there are devices such as the garage door opener that need to work at the touch of the button and then fade quickly into the background, these products rarely generate that consumer fervor that leads to explosive growth. More deeply engaging experiences move people and can turn them quickly into brand evangelists. Listening to a music CD is, for the most part, a passive act. The iTunes/iPod experience allows consumers to easily and immediately download a song to their iPod so that it can be enjoyed as part of an exercise routine or commute engages the consumer as it elevates the experience. Now look at Guitar Hero. By enabling the consumer to become an active participant in the

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