Rise Of Convergence Game Entertainment Two Souls, One Body

Quantic Dream, French developers, has released an interactive adventure game for Sony’s Playstation 3. It is a combination of both. Willem Dafoe and Ellen Page are portrayed against a background of seemingly endless storylines using sophisticated motion-capture technology. The player decides the story’s direction.

Welcome to the age convergence entertainment. What does convergence entertainment actually mean? It is the fusion of multiple media types, styles, systems, and platforms into entertainment that we all can enjoy, and which is financially feasible.

This convergence is evident in all of our beloved media forms. Television now outperforms cinema at their own game, providing the intellectual and emotional experiences often reserved for big-screen cinema. Is there anything more cinematic that the last season of AMC’s Breaking Bad.

Media logic is not the only source of convergence. Gaming opens up a new, brave, and possibly disconcerting world of economic and aesthetic convergences.

Game In Cinema

It is easy to see the influence of gaming in cinema. With its high-stakes spectacles, formulaic stories, and familiar characters, Michael Bay’s entire filmography is heavily influenced by a gaming sensibility.

Is it really so outrageous to suggest that Inception (2010) gets a lot of its drama from a simple platform game? We enter the virtual world with Cobb (Leonardo DiCaprio), and complete a set of goals to advance to the next level.

Beyond: Two Souls is a clear example of how convergence entertainment will evolve. It promises a more complicated integration of media platforms and media genres.

Companies like Disney and Sony are investing more in entertainment media, channeling resources into music, cinema, television and merchandising, as well as the gaming industry.

Multi-faceted entertainment industries can no longer be separate by production streams. They are not separable by production streams. Instead, they converge revenue sources in a way that allows them to take a little bit of each.

Own Elysium

Sony will also own Elysium (2013) by Neill Blomkamp, the follow-up to District 9 (2009). The PS4 will launch next month. It is a science fiction film and a gaming console.

Rock Star’s Grand Theft Auto V, (GTA V) was release recently. It recouped more that a billion dollars within its first three days. This is roughly the same time period as the studio’s opening weekend measure.

Tent-pole films are those that protect a studio from the financial losses of smaller, niche-market releases. GTA V’s monetary performance was not equal by Disney’s The Avengers (2012) or Avatar (2009) from 20th Century Fox.

The film industry faces a difficult truth. Despite a strong performance in a globalized entertainment market, gaming is outperforming films as a revenue source. This is true regardless of their many distribution streams, including theatre screenings, Blu-ray, DVD, and home entertainment providers.

Humble Console Game

Once a humble console game, gaming has become a more profitable art form than any other entertainment media. Gaming is no longer a hobby for teenagers and the mentally ill a common perception among gamers out there. It has the potential to reach a wide audience and appeal to a wide range of individual and collective fantasies.

Game designers have used a convergence media philosophy to diversify their target markets. An entertainment product should converge with other products that appeal to a wide range of interests. Sony, a multifaceted company, can benefit from the combination of its entertainment products and attract cinema customers to the gaming interface. This doubles the revenue for a Sony product.

Recently, I had the pleasure of being on a panel with David Cage, Quantic Dream’s visionary head, and also the founder of Beyond: Two Souls. This game is ambitious and offers a richly layered narrative experience. Publicity posters feature the high-wattage stars Elaine Page (and Willem Dafoe), dominating. This promotional material is very similar to any other set of movie posters released by Hollywood studios.


Social Media Entertainment Future Of The Screen Industry

Before 2010, success in the film industry was dependent on convincing producers and broadcasters to allow you to airtime or other production resources. Today, you only need an internet connection and a smartphone or laptop.

In the past decade, social media entertainment has emerged as a new creative industry. It is populated by young activists and entertainers you may not have heard of, such as Hank Green and Casey Neistadt from PewDiePie, Tyler Oakley, and Tyler Oakley.

These creators began as amateurs and have since become media professionals, making money through the content they post on social media platforms. They’re incubating their media brands, creating global fan communities and improving Australia’s image among young people all over the globe.

Separate inquiries are being conducted by the Australian government into the future of Australian television and film content, as well as the market effects of digital platforms. These decisions could have a significant impact on social media entertainment. It’s crucial that we fully understand the industry to avoid it becoming a chokehold.

The Australian Market Is Expanding Industry

Soon after Google purchased YouTube in 2006, social media entertainment was born. This coincided with the launch of Twitter and their counterparts in China, Youku, and Weibo.

This can be a very lucrative career. Over three million YouTube creators make a living from the content that they upload. There are also Twitch and Instagram. The more people you have, the more money you can make. Content creators made more than US$5.9 trillion in 2016 alone, across nine social media platforms and digital.

While the US is home to the majority of highest-paid creators, the most popular Australian creators are the Van Vuuren brothers and Wengie. According to estimates, the number of content creators has increased by more than two-thirds over the past 15 years. This increase is almost entirely due to the addition of 230,000 online video content creators.

A New Revenue Model Industry

The gig economy is definitely part of social media entertainment. It is inherently unstable and has seen huge growth over the past ten years. However, the business models for social media entertainment have seen fundamental changes.

In response to competition on platforms, creators have learned to diversify their offerings and manage risk. Instead of making money only from YouTube advertising, creators can now make revenue from multiple sources including licensing, crowdfunding, and live appearances.

One of the most significant changes has been the rise in the popularity of influencers who make money through brand integration. An example is when an Instagram star gets paid to post photos of themselves using a company product.

Social media entertainment creators who are successful engage in an entrepreneurial model that places as much emphasis on building and maintaining a community of subscribers as it does creating content.

These fan communities are passionate enough that they will follow creators through thick or thin. Feedback is instantaneous, continuous, full-bodied, and often confronting. Negative feedback, such as trolling, is also included.

Activated community support is the key to any revenue model in this industry. Creators have much to offer the mainstream arts, culture, and screen industries.

This takes effort. Creators upload content multiple times per week, manage their communities and deal with algorithms. They still enter the industry in their thousands.

Engage In A New Way

It is premature to place social media entertainment in the same bracket as other entertainment formats like film, television, and print – all of these are subject to Australian content regulation, or receive public subsidies. There is still much for the industry, policymakers, and regulators.

The problem is deciding where to draw the line between professional creators and amateur creators. This isn’t always easy. When it comes to content for screen, taste and quality are very much in the eyes of the beholder. However, quality debates must be more demand-side in order to be of use to policy makers. It is not just about the quality content but also the quality, and variety of engagement.


Entertainment, Art, Sport And Politics Are The Poorer

Entertainment was historically a means of engaging in meaningful activities, such as rituals or ceremonies. It has been associate with amusement, or diversion, in line with the French concept of divertissement.

Entertainment used to be the background noise in our lives. It is now the forefront of our lives. We live in sensurround, surrounded with billions of bits information, audio, visual, graphic and factual.

All this is distribute via algorithmically generate social media formats. It’s play on gadgets of decreasing size that laid over traditional platforms such as radio, television, and cinema.

This transformation was driven by the rapacious monetisation human activity: entertainment is money. However, this has led to the loss of a lot of the non-financial value of human activity. We are witnessing the loss of community in the areas of politics, sport, and the arts, as well as human expression that lacks genuine emotion, and the rise of fake news over true truth.

Sport Entertainment

Let’s take cricket as an example. I used to enjoy watching cricket. It’s not something I enjoy anymore. It’s hard to imagine how the players keep up.

Greg Baum, Fairfax journalist, recently wrote an article in which he proposed the idea of how the game was played to an imagined up-and-coming Australian cricketer.

It was amazing. There were pink balls, less-pink ones, white balls and red balls. You can follow the bouncing balls through a variety of formats. Big Bash. Twenty-Twenty. One-dayers Test matches

Because cricket has lost sight of its true attraction, it is experiencing a crisis in identity. The batsman can either play offensively or defensively against a bowler with different inclinations (spin, off, and leg) and speeds (fast, medium, and slow). It is a simple game of skill, strength, and hand-to eye coordination.

Over the past decade, a variety of novelty and gimmickry has been developed to make multiple income streams. Cricket is no longer a sport to be played live but an entertainment medium that can be enjoyed in empty venues around the globe. In the absence of real communities, the crackle of leather on willow is almost inaudible.

Cricket Sport Lose Its Way Entertainment

AFL, Australia’s national football team, declared 2015 the Year Of The Fan to combat declining crowd numbers and low interest. The previous administration tried everything to increase profit margins, from insinuating gambling into the spectator experience to obsessively changing the rules and tweaking the fixture to make it more fan friendly,

That administration clearly had one eye on the wealth creation-culture of NFL, American football, which for the uninitiate, appears to a game invented as a pretext for the advertising-sponsorship complex that underwrites the American corporate sector.

A highlight package is the only way a viewer can see the dramaturgy in NFL. The entertainment paraphernalia attached is completely obstructive to its operating system, the playbook.

The elements that give meaning to sport are the game itself, how it is play, and the interactions between spectators and the wider community. This performative dynamic is share by sport and the arts.

The Arts Entertainment

Some critics from Western Europe weren’t surprise when funding cuts of nearly 20% decimated the Dutch arts sector in 2010. These critics claimed that the shift away from art to instrumentalisation and entertainment was responsible for such consequential decisions. Arguments made that the arts give way to entertainment imperatives, and you end up with fast food culture. McCulture. McCulture.

Absolute buy-in to the arts market could lead to art losing its meaning. Artworks are cultural products, cultural commodities, presented in blockbusters, and spectaculars. The art lies in the packaging, the hype and the arousal factor. Content is secondary. There is no cake, there is only the icing.

This attitude is fuel by a culture that views Entertainment as populist and Art as elitist. It ignores the real differences the arts make – it celebrates the human spirit’s ability to transform the mundane into a deep shared meaning, transcend adversity and imagine new futures.

You don’t need to feel great. It’s even more enjoyable to feel nothing. The spectacle is what reduces art to, as does the game.


Entertainment can have serious consequences in the political arena. The progressive commentariat tries to disinter it after Donald Trump’s election. There is a cruel irony in their inability to see the larger context in which their politics takes place.

Trump’s win has much to do with Trump’s populist appeal in a politically context, as well as his perception of the American presidential election as an entertainment. The 1960 Nixon-Kennedy Debate has seen the presidential campaign transform from a key to the country‚Äôs democratic process into a long-form quadrennial entertainment.

The difference between the entertainment and the democratic process had become indistinguishable by the time that the reality TV series US Election 2016 premiered. The entertainment was the democratic process.

An American presidential campaign does not mean choosing the best candidate. It is about creating a narrative that voters will believe in – in Trump’s instance, he is a heroic outsider who triumphs over overwhelming odds.

A product that was successful and a producer in the entertainment industry, a reality TV star to be exact, was going to be able convince the US electorate to vote off a real politician.