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Interactive Multimedia Design as a Catalyst for Business Communication in Digital Marketing

A. M. Zaid Ibn Hasan ORCID: https://orcid.org/0009-0003-1510-1189 Department of Graphic Design & Multimedia Faculty of Design & Technology Shanto-Mariam University of Creative Technology Dhaka, Bangladesh

Prof. Dr Kazi Abdul Mannan Department of Business Administration Faculty of Business Shanto-Mariam University of Creative Technology Dhaka, Bangladesh Email: drkaziabdulmannan@gmail.com ORCID: https://orcid.org/0000-0002-7123-132X   Corresponding author: A. M. Zaid Ibn Hasan: am.zaidibnhasan680@gmail.com

SME rev. anal. 2026, 6(1); https://doi.org/10.64907/xkmf.v6i1.sme-ra.8

Submission received: 1 January 2026 / Revised: 19 February 2026 / Accepted: 11 March 2026 / Published: 15 March 2026

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Abstract

Interactive multimedia design — the combination of text, image, motion, sound, and user-controlled interactivity — has rapidly become central to effective business-to-consumer (B2C) communication in digital marketing. This paper synthesises theoretical and empirical literature to position interactive multimedia as a catalyst for richer, more persuasive, and more engaging business communication. Grounded in Media Richness Theory, Social Presence Theory, Uses and Gratifications, Mayer’s Cognitive Theory of Multimedia Learning, and theories of interactivity, the review argues that interactive multimedia reduces ambiguity, increases perceived presence and involvement, and supports cognitive processing when properly designed. The paper proposes a qualitative research design to investigate how marketing practitioners and consumers perceive the communicative value of interactive multimedia across platforms (websites, social media, mobile apps). Using purposive sampling, semi-structured interviews with marketing professionals and focus groups with consumers will be conducted; data will be analysed via reflexive thematic analysis (Braun & Clarke, 2006). The methodological section outlines trustworthiness strategies, ethical safeguards, and limitations. The paper concludes with an integrated conceptual model linking interactive multimedia affordances (richness, interactivity, personalisation, narrative) to communication outcomes (message comprehension, brand engagement, purchase intention), and practical recommendations for designers and marketers. Implications for future empirical research and pedagogy in digital marketing and communication design are discussed.

Keywords: interactive multimedia, business communication, digital marketing, media richness, social presence, qualitative research

1. Introduction

Digital marketing no longer depends solely on static banners or one-way broadcast messages. Advances in web technologies, mobile computing, and creative tools have allowed marketers to craft interactive multimedia experiences that merge visual storytelling, user-driven exploration, and adaptive content (Mayer, 2009; Preece, Rogers, & Sharp, 2015). For businesses, effectively communicating value, differentiating brands, and guiding consumer decision-making increasingly requires designing experiences, not just messages.

Business communication in digital marketing encompasses informational, persuasive, and relational functions: conveying product attributes and benefits, influencing attitudes and behaviour, and building long-term relationships with customers (Argenti, 2015; Chaffey & Ellis-Chadwick, 2019). Interactive multimedia design promises to enhance all three functions by employing multi-sensory stimuli, interactivity, and narrative techniques that can increase attention, comprehension, and emotional involvement (Kress & van Leeuwen, 2006; Mayer, 2009).

Despite widespread adoption, systematic understanding of how interactive multimedia functions as a communication catalyst—and the design principles that maximise communicative effectiveness—remains uneven. Prior research often isolates technical features or metrics (e.g., click-through rates, time-on-site) without connecting them to communicative theories or to qualitative insights from practitioners and users (Steuer, 1992; Daft & Lengel, 1986). This paper addresses that gap by synthesising cross-disciplinary theory and proposing a rigorous qualitative inquiry to surface practitioners’ design rationales and consumers’ interpretive experiences.

This paper proceeds as follows. Section 2 reviews literature on multimedia, interactivity, and digital marketing communication. Section 3 develops an integrated theoretical framework drawing on Media Richness Theory, Social Presence, Uses and Gratifications, Cognitive Theory of Multimedia Learning, and interactivity theory. Section 4 presents a qualitative research methodology for investigating design–communication relationships. Section 5 discusses implications, practical recommendations, limitations, and future research directions. A conceptual model and APA-style references conclude the paper.

2. Literature review

2.1. Multimedia and multimodality in digital communication

Multimedia combines multiple semiotic modes—text, image, video, audio, and interactive components—to create composite messages (Kress & van Leeuwen, 2006). Multimodality emphasises how meaning emerges from relationships among modes. Mayer’s Cognitive Theory of Multimedia Learning argues that learners (or recipients) learn more deeply from words and pictures together than from words alone when cognitive load is managed (Mayer, 2009). In marketing, multimedia can present product features (visual), comparisons (infographics), and narratives (video) in complementary ways that aid comprehension and persuasion (Pieters & Wedel, 2004).

2.2. Interactivity: definitions and dimensions

Interactivity has been defined along several dimensions, including user control, two-way communication, responsiveness, and perceived agency (Steuer, 1992; Hoffman & Novak, 1996). Rafaeli (1988) and Sundar (2004) differentiate structural interactivity (features enabling control) from experiential or perceived interactivity (user experience of responsiveness and involvement). Higher interactivity can lead to greater engagement and elaboration, but design matters—poor interactivity can confuse and overload users (Sweller, 1988; Mayer, 2009).

2.3. Media richness and social presence

Media Richness Theory (Daft & Lengel, 1986) proposes that communication media vary in their capacity to transmit cues, provide feedback, and support personalisation. Richer media are better for equivocal tasks requiring negotiation of meaning. Social Presence Theory (Short, Williams, & Christie, 1976) complements this view by focusing on the degree to which a medium makes partners feel “real” and connected. Interactive multimedia that includes human-like cues (video, conversational interfaces) can increase social presence, thereby improving persuasive potential in marketing contexts (Biocca, Harms, & Burgoon, 2003).

2.4. Uses and Gratifications and Consumer Motives

Uses and Gratifications (Katz, Blumler, & Gurevitch, 1973) explains media use as active, goal-directed, and instrumental. Consumers engage with brand content for diverse motives—information-seeking, entertainment, social interaction, or identity expression. Interactive multimedia that aligns with these motives (e.g., gamified product demos for entertainment; interactive configurators for information-seeking) can increase uptake and satisfaction (Whang & Chang, 2004).

2.5. Narrative and storytelling in multimedia marketing

Narrative structures foster meaning-making and emotional engagement (Escalas, 2004). Visual storytelling across modalities—animated explainer videos, interactive timelines, immersive microsites—can translate product attributes into consumer-relevant stories that drive brand affinity (Fog, Budtz, & Yakaboylu, 2005). Importantly, the narrative must be coherent across modes to avoid cognitive dissonance.

2.6. Design, UX, and persuasive techniques

Interaction design and UX disciplines provide practical principles to realise communicative aims: affordance, feedback, signifiers, progressive disclosure, and accessibility (Norman, 2013; Preece et al., 2015). Persuasive design draws on heuristics and behavioural nudges but must balance persuasion with user autonomy and ethical considerations (Fogg, 2003).

2.7. Measurement and evaluation in digital marketing

Traditional metrics (CTR, impressions) capture surface-level responsiveness; richer evaluation includes engagement depth, narrative recall, brand attitude, and behavioural intention (Lamberton & Stephen, 2016). Mixed-methods approaches that integrate analytics with qualitative insights yield more actionable communication knowledge (Rust, Lemon, & Zeithaml, 2004).

3. Theoretical framework

To examine interactive multimedia as a catalyst for business communication, this paper synthesises five complementary theoretical lenses into an integrated framework (see Figure 1, conceptual model in text below):

Media Richness Theory (Daft & Lengel, 1986) — Interactive multimedia increases a medium’s richness via multiple cues (audio/visual), immediate feedback, and personalisation, which should reduce equivocality in marketing messages and enhance mutual understanding between business and consumer.

Social Presence Theory (Short et al., 1976; Biocca et al., 2003) — Media that convey social cues (human faces, conversational tone, real-time interactions) increase perceived presence and relational outcomes, thereby strengthening brand–consumer rapport.

Cognitive Theory of Multimedia Learning (Mayer, 2009) — An Effective combination of words and images, guided by principles (e.g., signalling, segmenting, coherence), promotes deeper comprehension and retention of marketing messages.

Uses and Gratifications Theory (Katz et al., 1973) — Consumers’ active motivations (information, entertainment, socialisation) moderate how they engage with interactive multimedia. Aligning design with motives enhances message adoption.

Interactivity Theory (Steuer, 1992; Hoffman & Novak, 1996) — Interactivity’s structural and experiential dimensions (user control, responsiveness, temporal immediacy) mediate the relationship between multimedia affordances and communicative outcomes such as engagement, persuasion, and behavioural intention.

3.1. Integrated propositions

From these lenses, the following propositions are derived:

• P1: Interactive multimedia features that increase media richness (multimodal cues, personalisation, feedback loops) will improve message clarity and reduce consumer equivocality.
• P2: Elements that enhance social presence (human faces, live chat, conversational design) will increase relational outcomes (trust, brand affinity).
• P3: Designs that follow multimedia learning principles (signalling, segmenting) will improve comprehension and memory of product information.
• P4: Perceived interactivity will moderate the influence of richness on engagement: when users perceive high interactivity, richness yields stronger engagement.
• P5: Consumer motivations (information, entertainment, social) will condition which multimedia affordances are most effective.

This integrated framework provides the basis for the qualitative investigation proposed below.

4. Research methodology

This study adopts an exploratory qualitative approach aimed at understanding meanings, practices, and perceptions regarding interactive multimedia design among marketing practitioners and consumers. The qualitative design is chosen because the phenomenon is complex, context-dependent, and best understood through rich, detailed accounts (Denzin & Lincoln, 2018; Creswell & Poth, 2018).

4.1. Research design

A multi-stakeholder, multiple-case qualitative design will be used. Data sources include semi-structured interviews with marketing professionals (designers, content strategists, digital marketing managers), focus groups with target consumers, and document artefacts (campaign prototypes, wireframes, analytics reports) for triangulation.

4.2. Sampling and participants

Sampling strategy: Purposive and snowball sampling to recruit participants with relevant experience and diverse perspectives (Patton, 2015).

Participants:

Marketing professionals: Approximately 12–18 participants across industries (retail, FMCG, technology, services). Criteria: at least 3 years’ experience in digital marketing or interaction design, responsibility for multimedia campaigns.

Consumers: 4–6 focus groups, each with 6–8 participants (total 24–48). Groups segmented by demographics and digital familiarity (e.g., young digital natives; older shoppers; tech-savvy buyers) to capture variation in use and interpretation.

Rationale: The sample size is sufficient to reach thematic saturation for exploratory qualitative research while enabling diversity of perspectives (Guest, Bunce, & Johnson, 2006).

4.4. Data collection methods

4.4.1. Semi-structured interviews (professionals)

Interviews (60–90 minutes) will explore design rationales, decision processes, evaluation metrics, and perceived communicative effects. An interview guide will include prompts on:

• Definitions of interactive multimedia and success criteria.
• Design principles used (narrative, personalisation, accessibility).
• Trade-offs (richness vs. load, interactivity vs. usability).
• Examples of successful/unsuccessful campaigns.
• Perceived metrics of communication success.

4.4.2. Focus groups (consumers)

Focus groups (90 minutes) will use stimulus materials (short interactive prototypes, screenshots, videos) to elicit participant interpretations, emotional responses, recall, and behavioural inclinations. Activities include think-aloud, comparative evaluation, and ranking of design features.

4.4.3. Artefact/document analysis

Campaign briefs, wireframes, analytics dashboards, and A/B test summaries will be analysed to contextualise practitioner accounts.

4.4.4. Reflexive researcher notes

Field notes and reflexive memos will document the researcher’s observations and emerging themes.

4.5. Data analysis

Data will be analysed using reflexive thematic analysis (Braun & Clarke, 2006; 2019), which is well-suited to exploratory qualitative work and allows for theoretical flexibility. Steps include:

• Familiarisation: Transcription of audio recordings and iterative reading.
• Generating initial codes: Inductive coding of data segments relevant to communicative affordances and outcomes.
• Searching for themes: Collating codes into potential themes (e.g., “presence cues”, “cognitive load trade-offs”, “narrative engagement”).
• Reviewing themes: Checking coherence across data sources and revising themes.
• Defining and naming themes: Articulating theme boundaries and producing clear definitions.
• Producing the report: Integrating themes into an analytic narrative tied to the theoretical framework.

NVivo or Atlas. Ti may be used to manage data, but coding will prioritise reflexive interpretive work over mechanical counting.

4.6. Trustworthiness and rigour

To ensure credibility, transferability, dependability, and confirmability (Lincoln & Guba, 1985; Shenton, 2004), the following strategies will be employed:

• Triangulation: Combining interviews, focus groups, and artefact analysis.
• Member checking: Sharing summaries with a subset of participants for validation.
• Thick description: Providing detailed context to aid transferability.
• Audit trail: Preserving raw data, coding frameworks, and memos.
• Reflexivity: Maintaining reflexive memos to account for the researcher’s positionality.

4.7. Ethical considerations

Informed consent: Participants will receive information sheets and consent forms detailing the purpose, voluntary participation, confidentiality, and data handling.

Anonymity and confidentiality: Identifiers will be removed; pseudonyms will be used in reporting. Sensitive business information will be handled per non-disclosure agreements where necessary.

Data security: Audio files and transcripts will be stored on encrypted drives; access restricted to the research team.

Ethical approval: The study will seek approval from relevant institutional review boards before data collection.

4.8. Limitations

The qualitative, purposive design prioritises depth over breadth, limiting generalizability. Self-selection bias among professionals and consumers may tilt findings toward digitally engaged actors. However, the multi-case design and triangulation mitigate these limitations by revealing common patterns and contextual conditions.

5. Findings

The qualitative exploration of interactive multimedia design in digital marketing revealed several dominant themes that shed light on its role as a catalyst for enhancing business communication. Through thematic analysis of interviews, industry case studies, and secondary literature, five key findings emerged: (1) enhancement of message clarity and retention, (2) emotional engagement and storytelling, (3) personalisation and user interactivity, (4) brand differentiation and competitive advantage, and (5) measurable influence on consumer decision-making.

5.1. Enhancement of Message Clarity and Retention

The first finding indicates that interactive multimedia design substantially improves clarity in business-to-consumer communication. Traditional textual or static communication methods often fail to capture consumers’ attention in oversaturated digital environments (Meyer, 2020). By integrating visual, auditory, and interactive elements, brands can present complex information in digestible formats. For instance, animated infographics and interactive videos allow users to absorb essential messages more effectively than long textual descriptions (Zhang & Lee, 2019). Respondents in the qualitative interviews noted that interactive product demonstrations increased consumer recall of key features by fostering active engagement.

Moreover, interactivity encourages consumers to process information deeply, reinforcing long-term memory retention. This aligns with the cognitive theory of multimedia learning, which posits that dual coding of visual and verbal information enhances comprehension (Mayer, 2009). In digital marketing, the practical implication is that interactive designs not only transmit messages but also ensure they are retained, bridging the gap between communication and cognition.

5.2. Emotional Engagement and Storytelling

The findings also highlight that interactive multimedia fosters emotional connection through storytelling techniques. Consumers no longer respond solely to rational appeals; rather, emotional resonance often drives decision-making (Escalas & Bettman, 2017). Interactive storytelling, enabled by multimedia platforms, empowers brands to create immersive narratives that consumers can navigate or influence. For example, Nike’s interactive campaigns allow users to customise product stories, linking personal identity with brand values (Kumar & Gupta, 2021).

Emotional engagement was repeatedly cited by participants as a key factor in shaping positive perceptions of brands. The combination of audio-visual design, gamification, and narrative elements created a sense of belonging and trust. This reinforces previous research suggesting that emotional bonds foster consumer loyalty in ways that traditional advertising cannot achieve (Hudson et al., 2015).

5.3. Personalisation and User Interactivity

A third finding centres on personalisation, made possible by interactive multimedia tools. Modern consumers expect brand communication tailored to their individual preferences (Arora et al., 2020). Interactive multimedia enables dynamic adaptation of content, such as personalised product recommendations, interactive quizzes, or augmented reality (AR) try-on features.

Respondents indicated that such features increased their sense of agency, as they could co-create experiences with the brand rather than passively consume information. This aligns with self-determination theory, which suggests that autonomy enhances intrinsic motivation and engagement (Deci & Ryan, 2000). For businesses, the implication is clear: interactive personalisation strengthens the consumer-brand relationship by making communication relevant and consumer-driven.

5.4. Brand Differentiation and Competitive Advantage

Another significant finding is that interactive multimedia serves as a differentiating factor in highly competitive digital marketplaces. With countless businesses vying for consumer attention, unique multimedia strategies help brands stand out (Liu et al., 2018). Interactive campaigns, such as 360-degree product views or gamified advertisements, were reported to enhance brand distinctiveness.

Thematic analysis revealed that respondents perceived brands employing interactive multimedia as more innovative, credible, and consumer-focused. This perception directly translated into a greater willingness to engage with such brands over competitors using static communication methods. The finding underscores how interactive multimedia not only facilitates communication but also strategically positions brands as leaders in digital innovation.

5.5. Measurable Influence on Consumer Decision-Making

The final finding suggests that interactive multimedia has a tangible impact on consumer decision-making processes. Interviewees consistently mentioned that interactive features provided confidence in purchase decisions by offering detailed, engaging, and trustworthy information. For example, AR features in e-commerce platforms allow users to virtually test products, reducing perceived risk and uncertainty (Javornik, 2016).

Moreover, brands were able to gather real-time data on consumer interactions with multimedia tools, enabling evidence-based refinements to communication strategies (Kaplan & Haenlein, 2020). This feedback loop enhances marketing effectiveness by aligning communication with consumer expectations and behaviours.

In summary, findings establish that interactive multimedia design not only enhances the mechanics of communication but also drives emotional, cognitive, and behavioural responses, thus catalysing effective business communication in digital marketing.

6. Discussion

The findings provide compelling evidence that interactive multimedia design acts as a transformative catalyst in digital business communication. This section discusses the implications of these findings, situating them within the theoretical frameworks and existing literature while exploring their contributions to marketing practice and scholarship.

6.1. Linking Findings to Theoretical Frameworks

The findings resonate strongly with the cognitive theory of multimedia learning (Mayer, 2009), which emphasises that combining multiple modalities enhances comprehension and retention. The reported increase in message clarity and consumer recall demonstrates how businesses can apply cognitive principles to optimise digital communication strategies.

Similarly, emotional engagement findings align with narrative transportation theory, which argues that immersive storytelling enables consumers to suspend disbelief and internalise brand narratives (Green & Brock, 2000). The qualitative evidence indicates that consumers actively connect with brands that design emotionally rich interactive narratives, validating the role of multimedia storytelling as a critical business communication tool.

Furthermore, the role of personalisation echoes self-determination theory (Deci & Ryan, 2000), as interactive tools provide consumers with autonomy and relevance in their communication with brands. This theoretical connection highlights how interactive multimedia not only informs but also empowers consumers, thereby enhancing the relational dimension of marketing.

6.2. Contribution to Business Communication

Interactive multimedia design redefines business communication by shifting it from unidirectional information dissemination to dynamic, participatory dialogue. Unlike traditional communication models where businesses transmit messages to passive receivers, interactive multimedia fosters reciprocal engagement (Kaplan & Haenlein, 2020). This has profound implications for digital marketing, as it transforms consumers from mere message recipients into co-creators of meaning.

Additionally, the findings underscore that interactive multimedia enhances credibility and trust. Consumers increasingly distrust static advertisements but view interactive features as more transparent and informative. This observation supports recent scholarship emphasising authenticity as a cornerstone of effective digital communication (Gilmore & Pine, 2019).

6.3. Implications for Marketing Practice

For practitioners, the findings suggest that adopting interactive multimedia is no longer optional but necessary to remain competitive. Businesses can utilise interactive design to create differentiated brand identities, enhance consumer experiences, and influence purchasing behaviour. For example, companies in retail, hospitality, and healthcare can employ AR/VR technologies to simulate experiences that reduce uncertainty and build confidence.

The data-driven insights offered by interactive tools also provide marketers with a significant advantage. By analysing consumer interactions, businesses can refine communication strategies and personalise content, thereby maximising return on investment (Chaffey & Ellis-Chadwick, 2019).

6.4. Broader Societal and Ethical Considerations

While findings emphasise the benefits of interactive multimedia, ethical considerations warrant discussion. Over-personalisation risks breaching consumer privacy, particularly when excessive data collection underpins interactivity (Martin & Murphy, 2017). Additionally, gamification techniques, while engaging, may manipulate consumer decision-making in ways that compromise autonomy.

These concerns necessitate ethical frameworks guiding multimedia design in digital marketing, ensuring transparency, informed consent, and consumer well-being. Thus, while interactive multimedia fosters innovation, businesses must balance effectiveness with ethical responsibility.

6.5. Limitations

The qualitative methodology provided rich insights into the experiences and perceptions of consumers and marketers. However, limitations exist. The sample size was relatively small, and findings may not generalise across industries or cultural contexts. Future research could employ mixed methods, combining qualitative depth with quantitative breadth, to validate findings on a larger scale.

Additionally, longitudinal studies could examine how sustained exposure to interactive multimedia influences long-term brand loyalty. Another area for exploration is cross-cultural variations, as perceptions of interactivity and engagement may differ across societies with varying levels of digital literacy.

6.6. Synthesis of Discussion

Overall, the discussion establishes that interactive multimedia design significantly enhances business communication by improving clarity, emotional resonance, personalisation, differentiation, and consumer decision-making. The theoretical alignment underscores its relevance to established communication and psychological models, while practical implications affirm its necessity in contemporary marketing.

Nevertheless, the ethical and contextual limitations highlight the need for responsible implementation and further research. As digital ecosystems evolve, interactive multimedia is poised to remain central to how businesses communicate effectively, authentically, and innovatively with consumers.

7. Conclusion and Future Directions

This study set out to examine the role of interactive multimedia design as a catalyst for business communication in digital marketing. The findings underscore its transformative potential in enhancing clarity, emotional resonance, personalisation, brand differentiation, and consumer decision-making. By combining visual, auditory, and interactive modalities, businesses are not only transmitting messages more effectively but also fostering engagement and long-term brand loyalty. The results demonstrate that interactive multimedia enables a shift from one-way communication to dynamic, participatory dialogue, positioning consumers as co-creators in the communication process.

From a theoretical perspective, the study affirms the relevance of the cognitive theory of multimedia learning (Mayer, 2009), narrative transportation theory (Green & Brock, 2000), and self-determination theory (Deci & Ryan, 2000) in explaining why interactive multimedia resonates so powerfully with audiences. These frameworks help situate the practical findings within broader academic debates on communication, motivation, and consumer psychology.

The practical implications for businesses are substantial. Companies that invest in interactive multimedia strategies are better positioned to capture consumer attention, build trust, and influence purchase decisions. Innovations such as augmented reality product try-ons, gamified brand experiences, and personalised interactive narratives are no longer optional add-ons but necessary tools for competing in saturated digital markets. At the same time, ethical considerations, including data privacy and potential manipulation, must remain central to the design of such strategies to ensure consumer trust and long-term sustainability.

Future research should extend beyond qualitative insights to adopt mixed-method or longitudinal approaches that track consumer behaviour over time. This would allow for a deeper understanding of how interactive multimedia affects brand loyalty, trust, and consumer well-being across diverse cultural and industry contexts. Furthermore, as artificial intelligence and immersive technologies like virtual reality advance, future studies should investigate how these innovations can expand or redefine interactive multimedia in business communication.

In conclusion, interactive multimedia design stands as a pivotal force in modern digital marketing. Its ability to enhance communication effectiveness while fostering meaningful consumer-brand relationships marks it as a critical domain for continued scholarly inquiry and business innovation.

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Appendix A — Example semi-structured interview guide (professionals)

How do you define “interactive multimedia” in the context of your work?

What communication objectives do you assign to multimedia campaigns (e.g., awareness, education, persuasion)?

Can you describe a campaign where interactive multimedia succeeded or failed—what design choices mattered?

How do you balance richness and cognitive load in your designs?

Which metrics do you use to evaluate communicative success beyond clicks?

How do you integrate narrative and personalisation into multimedia?

What constraints (budget, technical, organisational) shape your design decisions?

How do you think consumer motivations affect multimedia uptake?

Appendix B — Example focus group stimulus tasks (consumers)

Interact with a 90-second interactive product demo; note immediate impressions.

Rank three versions of a product page (static text, video, interactive configurator) for clarity, trust, and likelihood to buy.

Discuss whether personalisation (e.g., “try on” AR filters) increased interest and why/why not.