Following up on my previous piece on “Hallmarks of Future Sensory Entertainment”, and in preparation for my participation in the 2017 Busan International Film Festival’s VR Forum, here are ten observations on immersive storytelling in the context of future sensory entertainment… (full post on AWN)
In addition to the time that I spend creating stories in the present, I spend a fair amount of time thinking about the nature of storytelling in the future. This past August, I had the pleasure of participating in the “Future of Storytelling” panel at the NEU Future Forum in Beijing. Though our panelists had prodigious technical chops, we focused upon the creative aspects of storytelling and content creation. Given the day’s packed agenda, our panel of five had just a half hour of time, so I needed to be succinct (which doesn’t come naturally). As the microphone made its way to me, I thought about all the things I could say about the future of storytelling: how the technology will sublimate itself, how content will become increasingly immersive and adaptive, and how an active audience will be assumed. It’s all been said before, and is not really that important. Ultimately, I came back to this: (full post on AWN)
*** SPOILER ALERT: This article contains plot information related to the book READY PLAYER ONE If you have not read the book and do not wish your experience spoiled, please return to this link when you’re ready (Player One). ***
My friend Alvin Wang Graylin, China Regional President of HTC Vive, recently authored a thoughtful op-ed piece entitled, “Real world lessons for the VR-First future: An industry insider’s analysis of READY PLAYER ONE”, the English version of which is published on technode.
As Alvin observes, Ernest Cline’s best-selling book, READY PLAYER ONE, is an insightful fictional take on our virtual reality future, and recommended reading for pretty much everyone, irrespective of your current interest (or lack thereof) in VR. READY PLAYER ONE imaginatively portrays the transformative possibilities of virtual reality across every aspect of our lives. The book also vividly illustrates the dystopian consequences that may arise from the neglect of actual reality in the embrace of virtual reality. At its core, READY PLAYER ONE is a cautionary tale of the consequences of immersive escapism in the face of increasing ecological crisis, economic disparity and socio-political disintegration.
I’ve given Alvin plenty of well-intentioned ribbing regarding HTC’s ongoing use of READY PLAYER ONE’s sandblasted mobile home stacks as a backdrop for their presentations on the “VR-first future.” Mobile home stacks are, to put it mildly, a bad ad: suitable for the poster image of VR contrarian / convert(?) Steven Spielberg’s forthcoming READY PLAYER ONE film adaptation, but questionable as consumer enticement for a VR hardware manufacturer. Imagine a surfboard company advertising with a JAWS poster. 😉
If, as maintained in the technode op-ed piece, “READY PLAYER ONE will do for VR what AVATAR did for 3D in general awareness,” the question naturally follows: “Does this awareness make the general public more or less favorably inclined towards VR?” In other words, is this “VR-first future” a future you want to live in? The hero of READY PLAYER ONE provides a succinct answer: “For me, growing up as a human being on the planet Earth in the twenty-first century was a real kick in the teeth.” His explanation doesn’t get any more complimentary from there.
The global energy crisis, wars, social calamities and ecological disasters which characterize daily life in READY PLAYER ONE aren’t caused by VR technology, but they are facilitated and exacerbated by it. Not only does technological saturation deplete the world’s resources, but VR escapism provides an easy alternative to real-world problem-solving: a new “opiate of the masses.”
I came away from READY PLAYER ONE with three thoughts… (full post on AWN)
360 view: http://vr8.tv/88/3F1840
Earlier this month, immersive content development took an experimental step forward with China’s first improvisational VR “table read” on the interactive cinematic VR short film, FOUR DISHES AND A SOUP. (full article on AWN)
360 view: http://vr8.tv/88/3F187D
Thanks to Toony Wu and the talented team at Jelly Monster in Beijing for hosting an iAVRrc salon yesterday afternoon, featuring my presentation on “The Art of Indirection”, and a few words from Nokia’s Jill Smolin on the creative potential of the OZO virtual reality camera.
Rick Garson is a unique figure in entertainment. A colorful, controversial executive and entrepreneur, Rick’s range of experience includes promoting Michael Jackson’s “Bad” tour as well as creating and producing the Billboard Music Awards. He career has also been defined by innovation such as his development and promotion of the Rolling Stones’ “Steel Wheels” pay-per-view music special, the first of its kind.
Rick first hit China’s radar in 2008, when he produced the Beijing Olympics’ “Divas in Beijing” concert TV series. Since then, he’s had his hands dirtied and his nose bloodied in the rough-and-tumble world of Chinese events and entertainment. Rather than turn tail and go home, Rick doubled-down and moved to China in 2013.
He’s now breaking new ground in mixed reality with his latest venture, VX Entertainment. VX Entertainment provides world-class content for the immersive media era, and features what may be the first high-end mixed reality showroom (at least the first of its kind in China) combining projection technology, virtual reality and holography.
I had the opportunity to catch up with Rick in his Beijing studio, experience VX Entertainment’s mixed reality showroom for myself (one word review: awesome) and ask some questions about where he is and where he’s…(full post on AWN)
My 2017 VR Wish List is up on Animation World Network. Check it out!