DIGITAL & INTERACTIVE ENTERTAINMENT

digital & interactive entertainment

START

Not new

• Think of examples of interactive entertainment
• Role Playing Games
• Board Games and Games in general
• Choose-your-own-adventure books
• And more recently…
• Video Games
• Interactive films and TV series

Based on literature

Escape Rooms and Murder Mysteries

Escape Rooms and Murder Mysteries

THE BUFFYVERSE

THE CASE OF THE WALKING DEAD

FANDOM

• So, what is a FAN?
• Trekkies (Roger Nygard, USA 1997):

“The word ‘fan’ actually is an abbreviated form of ‘fanatic’ and there are some people who fit that category who are the people who really do need to ‘get a life’. But most fans are pretty normal people who have a hobby, who have a sense of the desire to escape and, you know, they know it’s a show. Nobody really gets lost in it, it’s just fun.” “Apart from simply watching, fans purchase, engage with, appropriate, share, communicate, debate and create. They pre-view and constantly re-view their chosen texts, and seek out and exchange all possible information relating to those texts. […] In short, they are regarded as more actively active than mainstream audiences.” (Keane 2007: 83)

Keane, S., 2007. Cinetech: Film, Convergence and New Media. Basingstoke: Palgrave MacMillan.

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• Fans are an elite of experts despite not having any degree or social power.
• Their criticism is far from academic criticism:
• subjective and passionate engagement with the material
• rejection of specialized technical language and theoretical authority
• tendency to focus on the personal rather than institutional explanations (shipping)

The act of one wanting/supporting two individuals involved in a romantic relationship

• The Fandom is a subculture, a net of fans who enjoy empathy with others that share a common interest often to a fiction. They consume, create and recreate content.
• Fandom comes from the necessity to find a balance between fascination and frustration: fascination= engagement and frustration= drive to rewrite or remake it or complain about it.

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• Sometimes program producers take fandoms’ opinions into account (Buffy or The Walking Dead)
• Others, they don’t (The 100 or the letter campaign by Batman comic book fans angry about the casting of Michael Keaton as the Dark Knight.
• Fandom would bring the communications media the ability to actually communicate; not as has traditionally been, since no reciprocal action between transmitter and receiver had been allowed so far.
• New consumers are expected to be active and loyal to the characters and fictions created by the media. They are socially connected and able to change the fate of an entertainment product.

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“Media producers can garner greater loyalty and more compliance to legitimate concerns if they court the allegiance of fans; the best way to do this turns out to be giving them some stake in the survival of the franchise, ensuring that the provided content more fully reflects their interests, creating a space where they can make their own creative contributions, and recognizing the best work that emerges.” (Jenkins, H. 2006: 173)

Jenkins, H., 1992. Textual Poachers: Television Fans and Participatory Culture. New York: Routledge.

FANDOM

DIGITAL MEDIA TECHNOLOGIES

• All over the place
• Continuous evolution
• Continuous negotiation
• Connected to the changes in the world

Covid-19 and the digital world

Covid-19 and the digital world

• Definition
• Types:
• Gaming
• Video on Demand (VoD)
• Multimedia/Multientertainment
• Podcasts

THE CONSUMPTION PATTERN

VS