NEW REALITY AS REFLECTION OF NEW MEDIA FORMS
BRINGING REALITY CLOSER TO GAMERS
Zdenko Mago
ABSTRACT: Digital games have always been characteristic as well as popular by the possibility to escape physical reality into virtual worlds for fun and relaxation. Although, current technological development (e.g. AR, VR) and various marketing strategies (e.g. SoLoMo) paradoxically push this reality closer to gamers’ genuine reality, creating new perceptions, feelings and experiences. The study defines and illustrates new forms of reality between pure virtual immersion within digital games and alternate reality games, created by always-available (mobile) localisation and social contact with people from close surroundings.
KEY WORDS: alternate reality games, digital games, immersion, pervasive games, reality, SoLoMo
Introduction
Since their inception, digital games have always been a very popular way of spending free time for various age groups of people, but the motivation for playing significantly differs one by one. The act of playing a game is where the rules embedded into the game’s structure start operating, and its program code starts having an effect on cultural and social, as well as artistic and commercial realities.1 In general, digital games are taken as an interactive entertainment medium and just their ability to mediate fun makes them a casual, even short- term, leisure activity. On the other hand, the playing of digital games is also considered as an interaction with the complex mechanics of immersive virtual worlds beyond simple entertainment, leading to the existence of phenomena like hyperreality or escapism, although within digital games a specific negative context is not required.2 Imaginative worlds created by digital games provide seemingly the most natural transition between physical and virtual reality, compared to other media, due to the freer definition of what is or can be “real” as well as the freer definition of their own identity. Also for this reason, there has appeared an assumption within digital-gaming spheres that the more realistic the environment, thrilling narrative, and extended space for
1 ERMI, L., MÄYRÄ, F.: Fundamental Components of the Gameplay Experience: Analysing Immersion, in Changing Views: Worlds in Play. In DE CASTELL, S., JENSON, J. (eds.): Selected Papers of the 2005 Digital Games Research Association’s Second International Conference. Conference Proceedings. Vancouver : DiGRA, 2005, p. 15-16. 2 CALLEJA, G.: Digital Games and Escapism. In Games and Culture, 2010, Vol. 5, No. 4, p. 348.
81 MEGATRENDS AND MEDIA player’s interaction is a part of the game, the more intense immersion gamers will reach. Therefore, the rapid development of photorealism was a logical result. The study deals with the fundamentals of digital games’ experience as motivation and immersion with an aim to understand gaming market trends in the past. Subsequently it analyses current approaches influenced by technological innovations and new marketing strategies, which have shaped the current gaming market, essentially within the limits of Milgram’s reality- virtuality continuum.3 The goal is to indicate how marketing (especially SoLoMo strategy) and technologies (VR, AR, mobile, localisation, social media, etc.) redefine borders between virtual and physical worlds, which are a part of the reality generated by digital games.
1 Fundamentals of digital games’ experience
An analysis of the motivation for playing requires distinguishing between the intrinsic motivation, considerably subjective and very individual, and the extrinsic motivation, causing the gamer to become less involved in the task just for subjective enjoyment and more for the proposed reward. In general, fun is the most prevalent motivation to play among gamers,4 although this greatly depends also on the gamers’ level of skills and other factors (as shown for example by the findings of factor analysis of MMORPG players5). According to Przybylski, Rigby and Ryan, activities to be experienced as inherently enjoyable or fun reflect satisfying basic psychological needs: competence (a presence of adequate challenge), autonomy (a sense of equifinality), relatedness (opportunities for social interaction), and mastery of controls (the learned ability to effortlessly perform intended actions in the game’s virtual environment).6 Particularly regarding skilled gamers, the element of fun often transforms its nature into enjoyment from overcoming challenges. The challenge itself is closely linked to the flow experience (a state of mind whereby a person is fully immersed in a task) that can partially explain the compelling character of digital games.7
3 MILGRAM, P., KISHINO, F.: A Taxonomy of Mixed Reality Visual Displays. In IEICE Transactions on Information and Systems, 1994, Vol. E77-D, No. 12, p. 1321. 4 REID, G.: Motivation in video games: a literature review. In The Computer Games Journal, 2012, Vol. 1, No. 2, p. 74. 5 YEE, N.: Motivations for Play in Online Games. In CyberPsychology & Behavior, 2006, Vol. 9, No. 6, p. 772-774. 6 PRZYBYLSKI, A. K., RIGBY, C. S., RYAN, R. M.: A Motivational Model of Video Game Engagement. In Review of General Psychology, 2010, Vol. 14, No. 2, p. 155-156. 7 See: REID, G.: Motivation in video games: a literature review. In The Computer Games Journal, 2012, Vol. 1, No. 2, p. 78; CSIKSZENTMIHALYI, M., LEFEVRE, J.: Optimal Experience in Work and Leisure. In Journal of Personality and Social Psychology, 1989, Vol. 56, No. 5, p. 815-816.
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People play digital games for the experience that can only be achieved by engaging in gameplay. Taking into account Pine and Gillmore’s categorisation of different experience types, the gameplay experience can be classified as escapist experience, where in addition to active participation, also immersion (becoming physically or virtually a part of the experience itself) plays a central role.8 Immersion is understood also as a sense of presence in game, thus gamers act as if they are a part of the game environment and story. For example, gamers immersed in Horizon: Zero Dawn9 may prioritize travelling by riding mechanic animals (a way related to the game world), over using fast travel through user interface. Two general categories of games facilitating immersion can be classified: (1) creating a rich mental model of the game environment; (2) creating consistency between the things in that environment (see Table 1).10 According to McMahan, three conditions need be met to create a sense of immersion in digital games: (1) the user’s expectations must match the game’s conventions fairly closely; (2) the user’s actions in the game must have a non-trivial impact; (3) the conventions of the game world must be consistent, even if they don’t match those of the physical world.11
Table 1: Characteristics of games that facilitate immersion The concept of richness The concept of consistency • multiple channels of sensory • lack of incongruous visual cues in the information game world • consistent behaviour from things in the • completeness of sensory information game world • an unbroken presentation of the game • cognitively demanding environments world • a strong and interesting narrative, plot, • interactivity with items in the game or story world Source: MADIGAN, J.: The Psychology of Video Game Immersion. [online]. [2018-04- 18]. Available at:
8 ERMI, L., MÄYRÄ, F.: Fundamental Components of the Gameplay Experience: Analysing Immersion, in Changing Views: Worlds in Play. In DE CASTELL, S., JENSON, J. (eds.): Selected Papers of the 2005 Digital Games Research Association’s Second International Conference. Conference Proceedings. Vancouver : DiGRA, 2005, p. 17-18. 9 GUERRILLA GAMES: Horizon: Zero Dawn. [Digital game]. San Mateo : Sony Interactive Entertainment, 2017. 10 MADIGAN, J.: The Psychology of Video Game Immersion. [online]. [2018-04-18]. Available at:
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Ermi and Mäyrä suggested the gameplay experience model called SCI-model that represents key elements structuring the gameplay experience. Sensory immersion is related to the audiovisual processing of games. Challenge-based immersion is the most powerful when gamer achieves a satisfying balance of challenges and abilities. Imaginative immersion occurs when a gamer becomes absorbed with the game story and world, begins to feel for or identify with game characters, or just enjoys the fantasy of the game (see Picture 1).12
Picture 1: SCI-model of the gameplay experience Source: ERMI, L., MÄYRÄ, F.: Fundamental Components of the Gameplay Experience: Analysing Immersion, in Changing Views: Worlds in Play. In DE CASTELL, S., JENSON, J. (eds.): Selected Papers of the 2005 Digital Games Research Association’s Second International Conference. Conference Proceedings. Vancouver : DiGRA, 2005, p. 8.
During the period of on-going intense immersion, the immersed digital- gaming world or reality can become the only perceived reality of a gamer, but such intense immersion mostly lasts just a short term (similar to
12 ERMI, L., MÄYRÄ, F.: Fundamental Components of the Gameplay Experience: Analysing Immersion, in Changing Views: Worlds in Play. In DE CASTELL, S., JENSON, J. (eds.): Selected Papers of the 2005 Digital Games Research Association’s Second International Conference. Conference Proceedings. Vancouver : DiGRA, 2005, p. 22.
84 NEW REALITY AS REFLECTION OF NEW MEDIA FORMS other media like TV) and the gamer can interrupt it by himself at any time. Although, these moments belong to arguments about why digital games are such popular leisure time activities. The current development of virtual reality (VR) technology within the digital-gaming industry even offers to gamers the undisrupted immersive experience.13
2 Realism and reality of digital games as marketing appeals
The assumption that the high quality of the graphic and sound processing of games toward photorealism has had a major impact on immersion, and subsequently on the success of games (popularity as well as sales), is implicitly accepted by the entire gaming industry and also by many gamers as some kind of paradigm. However, research results in this field are not unambiguous as demonstrated by the following case. Half-Life 214, a photorealistic dystopian sci-fi action game, was awarded dozens of “Game of the year” awards, “Game of the Decade” award, and also appears practically on all gaming portals discussing first-person shooting (FPS) games in any context considered as one of the most important representative of the genre. According to the results of Ermi’s and Mäyrä’s research, it seemed to be the overall strongest game (from 13 tested) in immersing its players.15 Nacke and Lindley used mods of Half-Life 2 as research material for the measurements of spatial presence and found significant results within the designed for immersion level (high on “self-location” and highest on “possible actions”).16 Although, Przybylski, Rigby and Ryan found that photorealism has a minor role in the process of immersion, unlike the degree to which games satisfy motivational needs – when players have their needs satisfied within the game, they are more phenomenologically embedded in the emotional, physical, and narrative elements of the game world.17 Anyway, there are no doubts
13 MAGO, Z.: New trends of marketing communication based-on digital games. In European Journal of Science and Theology, 2017, Vol. 13, No. 6, p. 177. 14 VALVE CORPORATION: Half-Life 2. [Digital game]. Bellevue : Valve Corporation, 2004. 15 ERMI, L., MÄYRÄ, F.: Fundamental Components of the Gameplay Experience: Analysing Immersion, in Changing Views: Worlds in Play. In DE CASTELL, S., JENSON, J. (eds.): Selected Papers of the 2005 Digital Games Research Association’s Second International Conference. Conference Proceedings. Vancouver : DiGRA, 2005, p. 25. 16 NACKE, L., LINDLEY, C. A.: Flow and Immersion in First-Person Shooters: Measuring the player’s gameplay experience. In KAPRALOS, B., KATCHABAW, M., RAJNOVICH, J. (eds.): Future Play ‘08 Proceedings of the 2008 Conference on Future Play: Research, Play, Share. Conference Proceedings. New York : ACM, 2008, p. 86. 17 PRZYBYLSKI, A. K., RIGBY, C. S., RYAN, R. M.: A Motivational Model of Video Game Engagement. In Review of General Psychology, 2010, Vol. 14, No. 2, p. 162.
85 MEGATRENDS AND MEDIA that detailed photorealism is still a trend of the gaming mainstream,18 and technologies implemented in the newest gaming consoles (e.g. Playstation 4 Pro supports playing in the 4K resolution) enable its further development.
Marketing communication of digital games has used the realism of games to promotionally appeal since the very beginning of the gaming industry, because more realistic appearance has been associated by gamers with expected higher quality of a game that should guarantee a more intense immersion. Actually, it can be said that digital-gaming marketing sells “new”, “better” or “unavailable” reality. Many even current digital games bet on their ability to experience a reality indistinguishable from the real. An example is the racing games series Forza19. On the other hand, many games of “lower” gameplay graphics use photorealistic cinematic trailers for promotion, too. World of Warcraft20 and its extensions are famous not only for the gameplay itself, but also for high quality cinematics.
2.1 Approaches to gaming reality changes
Due to the increasing popularity of casual games that began with the internet rise in the late 90’s, many digital-gaming companies are shifting resources away from hyperrealism and are rather focusing on alternative interfaces, simple puzzle and arcade games, and also experimental games.21 Gamers’ and market’s surfeit of realism in games has contributed to this return, respectively revitalisation of classic digital-gaming genres as well as the original graphical appearance, e.g. pixel art. Paradoxically, this has created several new relations of games to physical reality than just attempting to make the visual experience from a game more realistic and immersive.
2.1.1 Alternative gaming interfaces Alternative interfaces and extensions of gaming platforms have already started to appear with the first arcade (even analogy) machines22 like
18 STUART, K.: Photorealism – the future of video game visuals. [online]. [2018-04- 18]. Available at:
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Qwak!23. Regarding adaptation for home usage and its popularization, the Nintendo Company deserves the greatest merits. In 1984, they came up with the Zapper light gun, a firearm looking game controller based on a laser clay shooting system, enabling gamers to interact with shooting gallery-style games,24 e.g. Duck Hunt25. In 2006, Nintendo Wii with modern motion control system launched the next important generation of platforms’ extensions. After Sony Playstation Move had appeared on the market, numerous types of accessories for both Wii and Move controllers interconnecting gaming and physical reality have been released – guns, bows, swords, sports accessories (e.g. tennis racket), etc. Microsoft Xbox Kinect, as another gaming market leader, uses the gamer’s body as an extension, which creates a different gaming experience as well as the perception of borders of both physical and game realities. Currently, Nintendo Labo, cardboard cut-outs extension sets for Nintendo Switch platform released in April 2018, is a representative example of such direction occurring in the digital-gaming sphere. Referring to iconic (offline) construction toys like Lego, gamers can make their Nintendo Switch (so far just minigames from Labo series) gaming experience more realistic by themselves, from the fishing rod kit to the piano, motorcycle or robot kits.
2.1.2 Augmented reality games The technology of augmented reality (AR) enables users to use common devices with a screen, a camera and an internet connection to perceive the physical world augmented by useful information, fantasy items, gameplay elements, and many others. From the opposite side, AR acts as a means of sharing virtual and physical reality, which, particularly within digital games, redefines the perception of game worlds, basically, removes its borders, and creates new experiences. In 2016, Proxy42 made Father.io26, the world’s first real-life AR FPS game. Fundamentally, it is like Counter-Strike: Global Offensive27 with the difference that photorealistic virtual (and bounded) levels were replaced by real-world squares, streets, parks and other outdoor spaces, so gamers can experience the tactics, strategies and adrenaline of thrilling FPS battles in their everyday-life reality (see Picture 2).28
23 ATARI: Qwak!. [Digital game]. Sunnyvale : Atari, 1974. 24 DONOVAN, T.: Replay: The History of Video Games. Lewes : Yellow Ant, 2010, p. 166. 25 NINTENDO RESEARCH & DEVELOPMENT 1: Duck Hunt. [Digital game]. Kyoto : Nintendo, 1984. 26 PROXY42: Father.io. [Digital game]. San Francisco : Proxy42, 2016. 27 HIDDEN PATH ENTERTAINMENT, VALVE CORPORATION: Counter-Strike: Global Offensive. [Digital game]. Bellevue : Valve Corporation, 2012. 28 Father.io. [online]. [2018-04-28]. Available at:
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Picture 2: Father.io gameplay preview Source: Father.io. [online]. [2018-04-28]. Available at:
2.1.3 Alternate reality games Alternate reality games (ARGs) can be defined as immersive transmedia games played in the real world, unlike AR games, ARGs interconnect experiences of physical and virtual reality by combining several online and offline media and gaming mechanisms within one mutual fictional background.29 The game nfamous Second Son30 has a free alternate reality downloadable content (DLC) entitled Paper Trail. While playing it, a gamer takes the role of a detective and, through the web portal interconnected with console gameplay, must find all clues, investigate them and uncover the untold story behind the main narrative of the game. Originally, this DCL was released in parts – each Friday during six weeks in 2014. Although, this was just a less extensive example, ARGs are often utilized as a part of digital games’ marketing campaigns, including teasers, and attempting to reach
29 See: WOJCIECHOWSKI, Ł. P., MAGO, Z.: Advertainment – The Relation between Guerrilla Marketing and Digital Games. In PETRANOVÁ, D., RYBANSKÝ R., MENDELOVÁ D. (eds.): Marketing Identity: Online rules – part I. Conference Proceedings. Trnava : FMK UCM in Trnava, 2017, p. 443-445; BAKIOĞLU, B. S.: Alternate Reality Games. In MANSELL, R., ANG, p. H. (eds.): The International Encyclopedia of Digital Communication and Society. Hoboken : John Wiley & Sons, 2015, p. 1. 30 SUCKER PUCH ENTARTAINMENT: inFAMOUS Second Son. [Digital game]. San Mateo : Sony Interactive Entertainment, 2014.
88 NEW REALITY AS REFLECTION OF NEW MEDIA FORMS overlaying of both game and real world realities even on the global level, like in a case of the campaign No Hope Left31 for Resident Evil 632.
2.1.4 Alternate reality games Montola, Stenros and Waern define a pervasive game as a game that has one or more salient features that expand the contractual magic circle of play spatially, temporally, or socially. It means, there are no longer certain times, places and participants regarding the game.33 There exist various names for this type of games like adaptronic, ambient, trans-reality, crossmedia, mixed reality games, ubiquitous games, urban games, etc. Andrade and Medeiros state that locative games reflect the opposite side of digital games, considering that the game’s content leaks from screens and consoles to pervade the player’s space, using locative media.34 Technology used by pervasive games enables tying virtual content to real-world locations. Ghostbusters: Paranormal Blast35, Ingress36 or the newly released Jurassic World™ Alive37 are just a few examples. However, pervasive games have been significantly popularized by Pokémon GO38 and this game also represents how pervasive games may be currently highly useful for purposes of marketing communication.39
3 SoLoMo marketing and digital games
Technology development is not only responsible for the changed approach to the game reality experience. Because of marketing communication adaptation to those changes, new strategies and trends were created. According to Mendelová and Zaušková, a huge trend of innovative advertising
31 WOJCIECHOWSKI, Ł. P., MAGO, Z.: Advertainment – The Relation between Guerrilla Marketing and Digital Games. In PETRANOVÁ, D., RYBANSKÝ R., MENDELOVÁ D. (eds.): Marketing Identity: Online rules – part I. Conference Proceedings. Trnava : FMK UCM in Trnava, 2017, p. 444-445. 32 CAPCOM: Resident Evil 6. [Digital game]. Osaka : Capcom, 2012. 33 MONTOLA, M., STENROS, J., WAERN, A.: Pervasive games: theory and design. Burlington : Morgan Kaufmann Publishers, 2009, p. 12. 34 ANDRADE, L. A., MEDEIROS, M.: Towards a (Ludic) Resonant and Sensory Enviroment: Space, Music and Locative Gaming. In Acta Ludologica, 2018, Vol. 1, No. 1, p. 17. 35 XMG STUDIO: Ghostbusters: Paranormal Blast. [Digital game]. Toronto : XMG Studio, 2012. 36 NIANTIC: Ingress. [Digital game]. San Francisco : Niantic, 2013. 37 LUDIA: Jurassic World™ Alive. [Digital game]. Montreal : Ludia, Universal, 2018. 38 NIANTIC: Pokémon GO. [Digital game]. San Francisco : Niantic, 2016. 39 For more information, see: MAGO, Z.: New trends of marketing communication based-on digital games. In European Journal of Science and Theology, 2017, Vol. 13, No. 6, p. 177-180.
89 MEGATRENDS AND MEDIA campaigns currently lies in discovering new insights, connecting the online and offline environments, etc., as a result of the rise and development of new technologies – mobile technologies, easily available internet connections as well as the development of social media,40 for example phygital marketing.41 One of the very latest trends, SoLoMo marketing involves the integration of social media, location-based services, and mobile channels.42 Louis Vuitton, Mercedes, Walmart and many other brands have already applied this strategy. For example, Krispy Kreme’s Hot Light Locator and later Krispy Kreme’s Rewards were created to alert users when a nearby branch has baked some fresh hot doughnuts, and users can also earn points towards free doughnuts, beverages and other benefits.43 The mentioned SoLoMo principles are also typical and trendy within current digital-gaming spheres, therefore outputs of SoLoMo marketing implementation may take the form of digital games (including advergames) or gamified applications (Nike+, Mini Getaway, etc.).
The social part, naturally interconnected to popular social networks, enables users to keep in touch and share content with people they know. It includes the possibility to share the gaming experience (e.g. cooperatively, competitively), because social interaction and socialization are closely related to playing games on social networks and other multiplayer game forms like massive multiplayer online games (MMOGs).44 Geo-targeting and location-based services represent the local element. Essentially, it means that the brand / advertising or gameplay are tied to users’ locations, so all their surroundings become the playground. The mobile aspect refers to mobile technology that is portable, widely (relatively cheaply) available and extended. The smart feature converts mobile devices to the perfect medium for advertising as well as digital games playing. However, some research shows that immersion increases with the size of the playing device screen,45
40 MENDELOVÁ, D., ZAUŠKOVÁ, A.: Innovation in the Slovak Advertising Environment. In Communication Today, 2015, Vol. 6, No. 1, p. 45. 41 For more information see: ZAUŠKOVÁ, A., GRIB, L., KYSELICA, P.: Phygitalové komunikačné nástroje na podporu environmentálnych inovačných procesov v slovenskom podnikateľskom prostredí. Trnava : FMK UCM in Trnava, 2016. 42 AMIRKHANPOUR, M., VRONTIS, D., THRASSOU, A.: Mobile marketing: a contemporary strategic perspective. In International Journal of Technology Marketing, 2014, Vol. 9, No. 3, p. 262. 43 Life needs more rewards. [online]. [2018-04-28]. Available at:
90 NEW REALITY AS REFLECTION OF NEW MEDIA FORMS pervasive games are enhancing other immersion factors such as a strong story, an interesting challenge and an imagination, in this case, of the level of fantasy and reality linking. Regarding the development of blending realities of digital games and the physical world, technology and marketing obviously make a circle of influence. The technology of digital games creates new opportunities and approaches for marketing, and subsequently, adapted communication strategies, like SoLoMo marketing, create trends towards profit, which cannot be underestimated or ignored by the digital-gaming industry, thus creating a kind of “pressure” on the next developments within this field.
Conclusion
Digital games have always been a popular way of spending free time mainly due to their ability to mediate fun as well as the experience with complex mechanics of immersive imaginative worlds, which provides seemingly the most natural transition between physical and virtual reality, compared to other media. According to the theoretical framework, in general, digital games’ experience is related to the gamers’ intrinsic and extrinsic motivational factors, and immersion (sensory, challenge-based, imaginative), although both significantly depend on the individual psychological needs of gamers. Despite the fact that the research is not unambiguous, the digital-gaming industry and also many gamers have implicitly accepted the assumption that photorealism has had a major impact on immersion, quality of games and subsequently on its success. The current surfeit of realism in games has contributed to shifting resources away from hyperrealism to the development of alternative interfaces, augmented reality, alternate reality games, pervasive games, etc., which paradoxically created some new relations between gaming and physical realities. Besides technology development, marketing is also responsible for the changed approach to the game reality experience. SoLoMo marketing strategy is a representative example, because it integrates social aspects (including social networks), users’ localisation, and advantages of mobile technology, thus the same principles, which are popular within current digital-gaming sphere. The conclusion is that both technology development and marketing communication influence the digital-gaming industry, contributing to the redefinition of perceiving and experiencing the reality generated by digital games, as well as to a reduction of borders between virtual and physical reality, transferring fun, challenges and entire gaming experience closer to gamers.
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Acknowledgement: The paper is a part of research project VEGA 1/0708/18 named Aspects of use of the SoLoMo marketing concept to enhance awareness of eco-innovations.
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VALVE CORPORATION: Half-Life 2. [Digital game]. Bellevue : Valve Corporation, 2004. WESLEY, D., BARCZAK, G.: Innovation and Marketing in the Video Game Industry. Surrey : Gower, 2010. WOJCIECHOWSKI, Ł. P., MAGO, Z.: Advertainment – The Relation between Guerrilla Marketing and Digital Games. In PETRANOVÁ, D., RYBANSKÝ, R., MENDELOVÁ, D. (eds.): Marketing Identity: Online rules – part I. Conference Proceedings. Trnava : FMK UCM in Trnava, 2017, p. 437-447. WOLF, M. J. P.: Arcade Games of the 1970s. In WOLF, M. J. P. (ed.): The Video Game Explosion: A History from PONG to PlayStation® and Beyond. Westport : Greenwood Press, 2008, p. 35-44. XMG STUDIO: Ghostbusters: Paranormal Blast. [Digital game]. Toronto : XMG Studio, 2012. YEE, N.: Motivations for Play in Online Games. In CyberPsychology & Behavior, 2006, Vol. 9, No. 6, p. 772-775. ISSN 2152-2715. ZAUŠKOVÁ, A., GRIB, L., KYSELICA, P.: Phygitalové komunikačné nástroje na podporu environmentálnych inovačných procesov v slovenskom podnikateľskom prostredí. Trnava : FMK UCM in Trnava, 2016.
Contact data: Mgr. Zdenko Mago, PhD. University of Ss. Cyril and Methodius in Trnava Faculty of Mass Media Communication Námestie J. Herdu 2 917 01 Trnava SLOVAK REPUBLIC [email protected]
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