Technology in entertainment
It is hard to believe, but among the most fantastic inventions tried to predict in the twentieth century, there was not the one we use the most: the Internet. Making predictions about the future is a thankless task, especially where cold calculation and economic logic collide with creative energy. First of all, it concerns cultural and, of course, entertainment area, where casino not on gamstop also belongs. New technology is changing the industry with incredible speed. So that the tastes and habits of one generation become irrelevant to the next.
The XX century is rightly considered the century of cinema. The invention of the Lumière brothers in just a few decades created a global art and entertainment industry from nothing. Cinema not only supplanted theater and literature but also touched deep mythological structures. Within the cinema came idols, legends, icons – the dream factory worked uninterruptedly, providing the accelerated pace of life with appropriate culture and recreation. Today, cinema has lost its novelty and level of influence. The 21st has already been called the age of video games, although the first ones were not even born yesterday.
Chronologically, one of the first video games saw the light of day in 1958. It was Tennis for Two, created at Brookhwain National Laboratory using an oscilloscope for the amusement of the public during an open house. Over the course of half a century, video games have evolved from an engineering joke to a $100 billion industry. And while movies have opened the door to culture for a large number of technical professions, games have only multiplied them.
Over the last 30 years, the video game production process has grown larger and larger, but it hasn’t changed much on its own. We still use consoles and computers, albeit with a noticeable increase in power. In recent years, mobile platforms on phones and tablets and new controller systems like the Nintendo Wii or Kinect have joined them, but essentially they are still the same consoles. In the near future, however, things could change dramatically. There is a qualitative leap forward in the industry today that promises to revolutionize gaming. We are talking about virtual and augmented reality technologies, the potential of which, even in our innovation-driven age, is like magic.
Virtual reality is an invention of the 20th century. Game helmets, immersing the user into the total world of dreams, first appeared on the pages of fantasy books, then it was picked up by movies and even brought to the market as a real device. Nintendo’s Virtual Boy game console went on sale in 1995. It could display real 3D graphics, but it had a few significant drawbacks-the picture was monochrome, and many players got nauseous while isolated in artificial space. After the failure of Virtual Boy in the market, virtual reality systems were in the rearguard of the industry and only managed to get out of it 20 years later thanks to the 18-year-old genius Palmer Lackey. In his parents’ garage, he created the Oculus Rift gaming helmet, which overcame the shortcomings of previous systems. Lucky’s company raised $2.5 million on Kickstarter to upgrade and mass-produce the helmet, and the developers loved it so much that two years later it was purchased by Facebook for $2.4 billion.
After the success of Oculus Rift, many large companies began to produce virtual reality helmets. Sony, Samsung, Valve and HTC made their own version. Today the market has two types of helmets: more accessible – for cell phones, where the device screen is used as a display, and self-sufficient systems. What are they for? So far, mostly for games. There are already more than 100 titles that support the full immersion effect. You can have an experience for all tastes: fear, competition, fishing, flying into space, romantic relationships, or even the experience of playing new uk casinos. Imperfect graphics are redeemed by the fullness of the experience.
What will happen with VR technology in 20 years? They will finally become ubiquitous. They will require professionals so broad that it is impossible to list them. Engineering applications will require peripherals, from joysticks to moving platforms that make the virtual experience more realistic. The number of required specialists in visual special effects and motion design will increase manifold – that is what architects and builders of this parallel world will be called. Moreover, almost any service occupation existing today, in reality, is likely to be transferred to virtual space, either for its creation or for the maintenance of work: from a security guard to an operator of a psychological helpline.
The impact of modern technology on entertainment
Deep immersion in an art object or entertainment process is now commonly referred to as immersive. Experiences involving as many sensory practices as possible are becoming a method. New event formats are emerging at the intersection of technology and creativity. Contemporary art exhibitions are turning into technological happy-go-lucky events with a focus on science and media, as is happening at Transmediale in Berlin. Theatrical performances go beyond a single stage. By adopting the mechanics of video games, they turn into quest theaters like those made by the famous London troupe Punchdrunk. Frontier experiences using augmented reality, music, film, and interactive technology are becoming the focus of attention at such global trade shows as South By Southwest, where the best in the industry gather.
Entertainment Formula of the Future
The entertainment formula includes extreme experiences, hyperstimulation and instant access. An ideal example of entertainment of the future today looks like a five-star cruise ship Quantum of the Seas, where you can drink a cocktail prepared by a robot bartender, fly over the ocean in a transparent capsule, ride waves right on deck, float freely in a giant aerotube, walk through transformer spaces, play squash, watch theatrical performances. All at once.
The Internet and new information technology are making entertainment producers less dependent on the money of big institutions and their tastes. In the coming decades, creative industry professionals will have even more ways of self-employment and distribution channels at their disposal. Already today the democratic Youtube is seriously competing with TV, opening the way for talented singles. The market of independent game developers is flourishing, and the concept of “freelancer” has become a profession and a way of life. By their example, one can understand that the technological future will favor the sphere of culture and entertainment, if only because it is one of the leading drivers of its growth.