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With the Rise of Immersive Entertainment Content, XR Games Have More Business Opportunities in the International Market

ARVORE Immersive is a studio based in São Paulo, Brazil, that uses the latest immersive technologies such as VR, AR, and MR to develop interactive narrative experiences and games. ARVORE won the “Best VR Experience Award” at the 2019 Venice Film Festival and the “Outstanding Innovation Award for Interactive Media” at the 2020 Emmy Awards for its VR short film “The Line”. In 2021, ARVORE re-launched the VR game “YUKI” and received enthusiastic response. Currently, there are 4 more games under development simultaneously, which are ready to be released on major platforms between 2023 and 2024. Doede Holtkamp, ​​head of ARVORE Immersive brand business operations, shared the differences in business operations between narrative and game creation types from the aspects of content development, fundraising, and distribution channels, and why ARVORE is currently focusing on game creation and development.

“We are at a turning point in the immersive entertainment industry.” Doede Holtkamp said confidently. As devices become more popular and users grow exponentially, it is expected that the industry structure will change completely within ten years. In the future, in addition to VR entertainment experience will be more common In addition, it will also open a new XR generation. “Everyone should put more effort into XR games. No matter from the perspective of fundraising or channel distribution, XR games have more opportunities.” He did not deny that although the business opportunities for narrative XR creation have grown much more than in the past, However, games are still relatively more likely to successfully return on the type of XR creation: “Although ARVORE still hopes to continue to produce narrative content in the future, at this moment we are more focused on game development.”

Photo Credit: ARVORE Immersive Official Website / “Love is Nonlinear”
Photo Credit: ARVORE Immersive official website / “YUKI”

Narrative VS games need to think differently from the development stage

The ARVORE Immersive team straddles the creative fields of narrative and games. Doede Holtkamp said that because the team originally used a system similar to game development to create narrative content, the team has complete talents, including designers, game developers, and story designers. The way ARVORE Immersive develops for the two types of content is actually not that different. “The biggest difference is that the early development of the game has to deliver a working prototype (Prototype), and a more ideal situation is to be able to make a vertical slice (Vertical Slice, a short version of a high-quality game). And in the development process, from It is necessary to start continuous testing in the early stage and test the user experience for the target audience.” Doede Holtkamp also reminded that many teams have the myth that “prototyping is too expensive and cannot afford it”. In fact, there are already some tools, such as Horizon. Assist in facilitating the development of Prototype.

Another key difference is that the marketing of the game is more important, from the stage of content development to the subsequent marketing. “In narrative works, many teams don’t actually have dedicated marketing staff, and the producer is usually responsible for it. But if you switch from narrative to games, you must invest more effort in marketing, at least special marketing or public relations. personnel.”

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Photo Credit: TNL Brand Studio

Start from the industrial chain! “Finding the Right Partner” Improves Chances of Success

Narrative content is also completely different from the fundraising objects and distribution channels of games. According to Doede Holtkamp’s analysis, more opportunities for fundraising for narrative content come from channels such as public funds, film festivals, and broadcasting platforms, especially public funds are the main investors of narrative content. Doede Holtkamp also observed that more and more game developers will use Vertical Slic to raise public funds or sign up for film festivals. If there is a chance to be shortlisted for film festivals, public foundations are more interested in this work .

The main fundraising targets of XR games are private investors such as platforms and angel investors, and game publishers. Among them, he believes that game publishers are the most important. “Game publishers are entering this field. They are very proficient in business operations and are very interested in this field. They feel that it is full of business opportunities, but they also know nothing about this field.” Doede Holtkamp recalled that he once asked publishers what they wanted What kind of content do you want, but in fact this is the wrong question, because publishers often don’t really understand. Doede Holtkamp emphasized that when recommending his own work to investors, it is necessary to create prototypes (Prototype) and vertical slices (Vertical Slic). In addition, the most important thing is to express user experience and game mechanics, and to understand in advance the current market of the same type Opponents, make a difference in the works: “Don’t ask the publishers what they want, but tell them that your work is what they should want.”

Doede Holtkamp reminds the creative team that from the beginning, they should think about where the future distribution channel will be and where they can find potential partners. “Try to find these people, show them your game, don’t finish your game until you get their feedback, otherwise it will just waste time.” He said that just like he himself is not from a gaming background, ARVORE Immersive also started from Gradually explore the business operation method from the past experience. “This industry is still in the early stages of taking shape. It’s normal to not understand, and it’s okay to make mistakes!”

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Photo Credit/TNL Brand Studio
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Photo Credit: Li Huaijin, Director of TNL Brand Studio/Cultural Science and Technology Division, talks with Doede Holtkamp
Sign up for free! 2022 TCCF Creative Content Conference|Future Content Exhibition “Amplified Universe, Computing”

Web3.0 opens the door to the metaverse from the digital world, allowing the real world to rapidly expand the “multiverse” under real-time computing. The 2022 Future Content Exhibition takes “Amplified Universe, Computing” as the main axis, which means the entertainment experience of the metaverse era and shows the ambition to bring the content industry into the future. Starting from story planning and development, combined with technology and art to develop a blueprint for new future content, it will lead exhibitors to experience the sensory boundaries of content narrative and new media technology applications and business opportunities, and build a golden bridge between cultural content and commerce.

  • November 3-13, 2022
  • Warehouses 2 and 3 of Songshan Cultural and Creative Park

“Theme Salon” will be screened at the same time
The future content exhibition will also feature a wonderful salon stage, bringing together content creators, technology industry, and industry operators to create an industry exchange forum jointly created by the three parties. Learn more about creative production combined with technology, industry hotspots, curatorial views, international trends and business cases, don’t miss it! Free registration theme salon: https://www.tccf.tw/post/salon-free-registration