DOCSLIB.ORG

RETURNING to LIVE EVENTS PART ONE: the DIGITAL BRIDGE 06/05/20 EDITION COVID-19 POST RETURNING to LIVE EVENTS Live Experiences Work, Period.Theywillreturn

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RETURNING to LIVE EVENTS PART ONE: the DIGITAL BRIDGE 06/05/20 EDITION COVID-19 POST RETURNING to LIVE EVENTS Live Experiences Work, Period.Theywillreturn RETURNING TO LIVE EVENTS 06/05/20 PART ONE: THE DIGITAL BRIDGE COVID-19 EDITION COVID-19 POST POST AN INSIDE LOOK AT THE TRENDS IN EXPERIENTIAL MARKETING - COVID-19 EDITION. As humans, we are social and communal by nature. We crave personal connections. While we find WHAT’S INSIDE: KEY FINDINGS ON TRENDS & BEST ourselves in a time when digital connections are PRACTICES FOR RETURNING TO LIVE. our only option as marketers, rest assured that PART ONE: THE DIGITAL BRIDGE they will never replace face-to-face marketing. Live experiences work, period. They will return. 03 Outlook It will take time for public confidence to build and gatherings to 10 Hybrid from the Start become commonplace again. In the meantime, digital solutions are being fast-tracked to fill communication and lead generation gaps 21 Designing for Second Screen within marketing programs. This edition of The Insider tracks examples of how brands are connecting with their customers digitally and looking towards the ‘new normal’ of live events. RETURNING TO LIVE EVENTS RETURNING TO 2 Outlook Hybrid from the Start Designing for Second Screen The Outlook RETURNING TO LIVE EVENTS RETURNING TO 3 Outlook 56% Hybrid from OF EVENT MARKETERS the Start BELIEVE THAT IN-PERSON EVENTS Designing for Second Screen WILL BE BACK IN 2020. From “on Pause” to “on Deck.” > THIS IS A STRONG Several states have begun to relax their quarantine protocols and reopen their INDICATOR THAT LIVE economies, and while safety enhancements, masks and social distancing will be with us for the foreseeable future, governments are EVENTS WILL RETURN signaling a return to business. IN SOME FORM IN 2020. THE QUESTIONS IN FRONT OF US ARE MORE WHEN & HOW. RETURNING TO LIVE EVENTS RETURNING TO Source: 4 Bizzabo, 2020 Outlook WHEN: Hybrid from the Start Designing for LATE SUMMER Second Screen TO EARLY FALL… The prevailing consumer mindset will likely start to them as early as July and more continue to be conservative. According to realistically August/September. This will Ipsos, over half of people are still concerned likely vary based on venue size, attendee about returning to their pre-COVID age, physical location and passion involved. behaviors. From a Harris poll, we have seen that people anticipate returning to work While many shows and exhibitors have within the first month of a reopen, but would already made the decision to cancel their attend a movie 2-3 months later and stay in a live event programs through the rest of hotel or take a plane 4-6 months later. 2020, SEMA is still moving forward as scheduled with its November show. For example, attending a small scale venue VIP music event in a park setting might be According to SEMA President, Chris 2-3 months, and attending a limited capacity Kersting, “the vast majority of [2,000+] stadium with clear safety protocols might be member companies are planning to exhibit more like 4-6 months. this year. They are determined that the SEMA Show will help launch the industry Attending live events likely lays somewhere into a successful 2021.” The Consumer between those two timeframes, putting a Technology Association has also announced that planning is underway for CES to take place in person in January 2021. RETURNING TO LIVE EVENTS RETURNING TO 5 Outlook HOW: Hybrid from the Start PURISTS DIGITAL SCREENING NOT TOURISTS COMPANIONS ENTRANTS Designing for CHANGES Second Screen The first attendees to return One of the earliest switches Testing and screening are likely to be people who was to replace live with methods are being WE EXPECT are enthusiasts, heavily virtual. Even once things are developed that would allow engaged and passionate; live, we will have to develop a for expedient clearing of design for the fans. dual live/virtual strategy in people as asymptomatic. We TO SEE… case of outbreak. As a side are seeing this as a crucial benefit, this will allow events element of returning to large to think more like a studio worksites, convention centers The more interesting question is how they are syndicator of content. and stadiums. returning. The marketplace is experiencing two traumas—health and economic. Concerns about physical safety are at an all-time high, and consumer confidence dropped at the fastest rate ever. Everything will be run through the LIMITED CONTINGENCY SINGLE SERVE safety and spending reprioritization filter. SEATING POLICIES HOSPITALITY Live events will need to be run in Like restaurants that are Whether it’s refunds for Single serve items will currently allowed to seat up attendees or no show clauses make up hospitality, a way that: engenders confidence to 25% of their capacity, we for exhibitors, the legal aspect things with pop tops, pre- and in the minds of consumers and will see this approach used is being rewritten to provide wrapped and sealed, with is even more “worth it.” at music venues, for downside risk. automat style service. convention centers and eventually stadiums. RETURNING TO LIVE EVENTS RETURNING TO 6 Outlook HOW: Hybrid from the Start Designing for POST- Second Screen PANDEMIC ETIQUETTE, THE NEW NORMAL… CONTROLLED PROTECTION & LIMITING EXPOSURE TRAFFIC FLOW SANITIZATION WHEN DETAILING Managed traffic flow with From branded masks to Properly spaced workstations 80% directional flooring and accessible hand sanitizing with visual cues for distancing, visually defined distancing stations and regular OF MARKETERS BELIEVE as well as, touchless interactive THAT LIVE EVENTS ARE zones allows us to safely sanitization of surfaces - doing with personal devices will be CRITICAL TO THEIR guide the experience. their part to help minimize the used reduce concerns for COMPANY’S SUCCESS spread of germs. personal health. RETURNING TO LIVE EVENTS RETURNING TO Source: 7 Bizzabo, 2019 The Pivot to Digital at a Glance Outlook Hybrid from the Start Designing for Second Screen 60% 96% 63% OF EVENT PROFESSIONALS PIVOTED OF EVENT PROFESSIONALS DO NOT OF ORGANIZATIONS ARE MOVING TO AN EVENT TO VIRTUAL DUE TO THE BELIEVE VIRTUAL EVENTS WILL DIGITAL CONFERENCES OR EVENTS IMPACT OF COVID-19 REPLACE IN-PERSON EVENTS 68% 55% 93% OF REPORTED THAT A HYBRID OF RESPONDENTS SAY THAT OF EVENT MARKETERS PLAN SOLUTION THAT CAN MANAGE BOTH CUSTOMER RELATIONS, EDUCATION TO INVEST IN VIRTUAL EVENTS VIRTUAL AND IN-PERSON EVENTS AND RETENTION ARE THE MAIN MOVING FORWARD WILL PLAY A KEY ROLE IN THEIR GOALS FOR THEIR VIRTUAL EVENTS 2020- 2021 EVENT STRATEGIES Sources: RETURNING TO LIVE EVENTS RETURNING TO Bizzabo, 2020 8 Event Marketer, 2020 TOPO, 2020 7 OUT OF 10 Outlook Hybrid from the Start Designing for Second Screen Hybrid from the Start RETURNING TO LIVE EVENTS RETURNING TO 9 Hybrid From the Start Outlook THE BIGGEST MOST Hybrid from the Start OBVIOUS LESSON Designing for Second Screen OF THE PANDEMIC IS DEVELOPING LIVE EXPERIENCES THAT ARE ALSO DIGITAL-MINDED 68% FROM THE BEGINNING. OF EVENT MARKETERS REPORTED THAT A HYBRID SOLUTION THAT When the pandemic hit, progressive brands that have been CAN MANAGE BOTH VIRTUAL AND IN-PERSON communicating through digital experiences –– like Apple, EVENTS WILL PLAY A KEY Red Bull and TED –– were able to quickly pivot to a virtual- ROLE IN 2020-2021 only environment. Brands that were content-poor or relied EVENT STRATEGIES. only on face-to-face interactions had to halt, realizing that they had neither the time or the process to create virtual experiences on accelerated timelines. Many of those event directors had to watch their budgets get reallocated. RETURNING TO LIVE EVENTS RETURNING TO Source: 10 Bizzabo, 2020 Hybrid From the Start Outlook Hybrid from the Start Designing for Second Screen PRODUCT LAUNCHES Apple Special Events, where Apple CEO, Tim Cook announces upcoming product launches, software upgrades, etc., are quintessentially hybrid. Presentations are delivered to an in-person audience, comprised of Apple’s Developer Relations employees, press and tech influencers, while a simultaneous livestream captures the attention of millions of Apple fans and consumers around the world. Special Events have become a core part of Apple’s marketing machine, designed to draw a global audience and build hype around the latest releases. RETURNING TO LIVE EVENTS RETURNING TO 11 Hybrid From the Start TED UNCHARTED TED created an eight-week, content-rich online program that offered countless ways to deepen community relationships and Outlook reimagine what the future can be together in the face of the COVID-19 crisis. With live Hybrid from interviews, main stage TED Talks and the Start community days – which feature speaker Designing for Q&As and expert deep-dives – everyone in Second Screen the TED community can connect, problem- solve and help rebuild our world. RED BULL BC ONE Red Bull BC One is the biggest and most prestigious one-on-one breaking competition in the world. Since 2004, thousands of breakdancers have competed annually for a chance to represent at the Red Bull BC One World Final. Qualifying events – cyphers and FACEBOOK OCULUS CONNECT 6 camps – at 30+ global locations lead to main event Whether in-person or at home, there were a range of ways for stage, broadcast online for the world to experience. VR fans, developers, engineers, game designers and press to Even for countries without a qualifying event, experience and engage with all things Oculus during breakers can qualify in an “E-Battle,” giving anyone Facebook’s OC events. Offsite viewers could livestream the with an internet connection a chance to take the title. keynotes and watch other sessions on demand –– even from an Oculus VR headset. OC7 is due to take place later in 2020, as an entirely digital event. RETURNING TO LIVE EVENTS RETURNING TO 12 Hybrid From the Start Outlook GOOGLE ARTS & CULTURE MUSEUM EXPERIENCES Hybrid from the Start Google’s Arts & Culture web pages and mobile apps feature online collections and virtual tours of 2,500 Designing for Second Screen world-class museums.
Load more

Recommended publications
  • Esports High Impact and Investable
    Needham Insights: Thought Leader Series Laura A. Martin, CFA & CMT – [email protected] / (917) 373-3066 September 5, 2019 Dan Medina – [email protected] / (626) 893-2925 eSports High Impact and Investable For the past decade, eSports has been growing on the main stage in Asia and in stealth mode in the US. This report addresses questions we get most often from investors about eSports: ➢ What is eSports? Definitions differ. Our definition of eSports is “players competing at a video game in front of a live audience while being live-streamed.” By implication, viewing, attendance, and playing time are linked, and each creates revenue streams for eSports. ➢ How big is eSports? Globally, one out of every three (ie, 33%) 18-25 year olds spent more than an hour a day playing video games, 395mm people watched eSports, and 250mm people played Fortnite in 2018. eSports revenue will be $1.1B in 2019, up 26% y/y. ➢ Should investors care about eSports? We would argue “yes”, owing to: a) global scale; b) time spent playing and viewing; c) compelling demographics; d) eSports vs traditional sports trends; e) revenue growth; and, f) sports betting should supercharge US eSports. ➢ Is eSports a fad? We would argue “no”, owing to: a) many US Universities now offer Varsity eSports scholarships; b) new special purpose eSports stadiums are proliferating; c) billionaires are investing to make eSports successful; d) audience growth; and, e) Olympics potential. ➢ Why have you never heard of eSports? Because zero of the top 30 earning players in the world were from the US in 2018.
    [Show full text]
  • Vlhová Do Boja! Chýbal, Práve Tento V Rakúskom Söldene Sa Obrovským Slalomom Žien Duel Mu Definitívne Zaèína Svetový Pohár V Zjazdovom Lyžovaní 2020/21
    www.nike.sk Sobota SUPERŠANCA 1X2 17. 10. 2020 76334 Michalovce – Dun. Streda 5,80 4,50 1,55 74. ročník • číslo 241 76335 Slovan – Sereď 1,20 7,30 13,5 cena 0,80 pre predplatiteľov 0,70 75722 Chelsea – Southampton 1,55 4,85 6,30 75723 Manch. City – Arsenal 1,53 5,05 6,30 75903 Bielefeld – Bayern Mníchov 13,8 7,90 1,23 76491 Real Madrid – Cadiz 1,25 7,05 14,2 76490 Getafe – Barcelona 5,10 3,90 1,81 76577 Crotone – Juventus 8,30 4,75 1,48 App Store pre iPad a iPhone / Google Play pre Android 75822 AZ Alkmaar – VVV Venlo 1,26 6,45 12,0 Za Hapala Strany 2 a 3 Tarkoviè?! Slovenská futbalová reprezentácia spozná v utorok nového „novembrového“ trénera Aj keï sa Sloven- sko dostalo do finále baráže o postup na maj- strovstvá Európy, predvádzala naša futbalová reprezentácia v poslednom období ve¾mi zlé výkony. Všetko vyvrcholilo zápa- som Ligy národov, v ktorom Hamšík a spol. prehrali s Izraelom 2:3, napriek tomu, že viedli 2:0. A aj keï na lavièke pre koronavírus Pavel Hapal Vlhová do boja! chýbal, práve tento V rakúskom Söldene sa obrovským slalomom žien duel mu definitívne zaèína Svetový pohár v zjazdovom lyžovaní 2020/21. zlomil trénerský Jednou z najväèších favoritiek nielen na dnešný väz. triumf, ale i na celkové prvenstvo v boji o ve¾ký FOTO TASR/ krištá¾ový glóbus, je Petra Vlhová. Želajme jej, nech MARTIN BAUMANN Strana 21 je pre òu tento boj úspešný! FOTO TASR/AP 2 FUTBAL sobota 17.
    [Show full text]
  • Blizzcon Is Bigger Than Ever with Nine Stages, 12 Trucks, 200+ Broadcast Streams
    BlizzCon Is Bigger Than Ever With Nine Stages, 12 Trucks, 200+ Broadcast Streams The live stages feed into central Master Control, ‘Post Hub’ BY JASON DACHMAN, CHIEF EDITOR NOVEMBER 2, 2018 We distribute to a huge number amount of platforms and we also localize in 18 different languages. All of our esports programming is free, and we make the decision what goes on R Logotext Lorem TaglineBlizzCon Virtual Ticket holistically across Blizzard [based on] what we feel our community would want access to. Peter Eminger, Sr. Director Blizzard With 40,000 fans onsite watching five live esports stages and four content stages sprawled across a million square feet at Anaheim Convention Center, it simply doesn’t get any bigger for the Blizzard Entertainment pro- duction operation than BlizzCon. In addition, Blizzard’s Global Broadcast team is distributing a whopping 211 unique broadcast streams to 17 outlets in 18 languages. “For us, the live event and the broadcasts are very linked together because so much of the broadcast is from these live stages. Our show is definitely bigger this year,” says Pete Emminger, senior director, Blizzard Entertain- ment. “We’re really lucky in that we have a lot of consistent crew, so this year has actually been the smoothest year so far. Plus, we’ve really had a great year at Blizzard overall, so we’re extremely excited to finally be here at BlizzCon, which is really a celebration for us as much as it is [for the fans].” A Blizzard of Activity: A Dozen Mobile Units Onsite Serving Nine Stages Now in its 14th year, the convention features everything from live esports competitions to Q&A panels and announcements to demos of upcoming game releases to concerts and much more.
    [Show full text]
  • Esports Spectatorship in Australia
    Networked Society Institute Esports Spectatorship in Australia Research Paper Esports Spectatorship in Australia Networked Society Institute Research Paper September 2018 Martin Gibbs, Marcus Carter, David Cumming, Robbie Fordyce, and Emma Witkowski Contact Martin Gibbs – [email protected] ISBN 978-0-7340-5327-5 Licence Creative Commons Attribution-ShareAlike – creativecommons.org/licenses/by-sa/4.0/ Cover Image Adobe Stock Image Acknowledgements The authors would like to acknowledge the support for this project provided by the Melbourne School of Engineering, The University of Melbourne. We would also like to thank Naomi Robinson for assistance with the research. We would also like to thank David Saliba and Mia Consalvo for input and suggestions at the begin of the project. We would also like to thank Kate Murray and Adam Lodders and the Networked Society Institute for their support in producing this report. Esports Spectatorship in Australia 2 Networked Society Institute, University of Melbourne Executive summary Esports – the organised, professional and spectated play of competitive digital games – has evolved into a massive global industry in the past decade. Boasting significant market value and broad global audience reach, esports is driven by modern highspeed internet infrastructure and live-streaming platforms like Twitch.tv. However, esports has yet to take hold as an industry in Australia, largely due to geographical isolation from major esports regions compounded by Australia’s traditionally lacklustre network infrastructure. Although the esports industry relies on various revenue streams, sponsorship and advertising deals provide the industry’s main source of funding. Teams, tournaments and esports organisations of various sizes are sponsored by major international companies like Intel, Samsung and Mercedes-Benz.
    [Show full text]
  • Chapter 8 – Discussion
    Constructing authentic esports spectatorship: An ethnography David Jian-Jia Cumming ORCID: 0000-0002-0121-476X Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy October 2020 School of Computing and Information Systems Melbourne School of Engineering The University of Melbourne Abstract Formally organised competitive video gaming, commonly known as esports, has seen a rapid rise in popularity over the past decade as a form of spectator entertainment. Thousands of fans pack grand stadia across the globe to watch their favourite esports teams and players compete for extravagant prize pools, while millions watch online remotely in their homes via livestreaming platforms like Twitch. Unlike conventional sports however, there is no inherent need for esports to take place in any particular physically-situated site like a stadium. The computerised nature of esports lends the practice a perceived placeless quality. No matter where an esports event is situated, be it in a stadium or networked across homes, the digital synthetic environments in which players’ avatars compete remain the same as objective constructs of code and graphical assets. If the perspective of watching esports is largely the same across different sites by virtue of its inherent mediation, then why is esports spectated beyond the comfort of the home? The aim of this thesis is to address this conundrum by exploring the experiences esports spectatorship in varying contexts. In particular, this thesis seeks to understand how experiences of esports spectatorship are influenced by and differ across various sites of spectatorship. This aim is achieved through an ethnographic methodology, where data is generated through embedded interactions and experiences with esports spectators at three distinct sites of esports spectatorship.
    [Show full text]
  • Esports a New Architectural Challenge 1
    eSPORTS A new architectural challenge 1 Enoncé théorique de master FURAZHKIN, ANTON 2020 Professeur Enoncé théorique : HUANG, Jeffrey Directeur pédagogique : CACHE, Bernard Proffeseur : HUANG, Jeffrey Maître EPFL : WIDMER, Régis W SUMMARY 2 INTRODUCTION BRIEF HISTORY OF ESPORTS 4 GAME TYPOLOGY 6 VENUES 8 ATLAS game The Atlas presents seven computer games that are divided according to 10 STARCRAFT their type, number of players and popularity for the year 2019. Each game has its own section with a brief description of the game itself and the spaces that host different stages of the game tournament: 12 HEARTHSTONE Minor League, Major League and Premier League. It is organised in such a way that left side page provides useful 14 FIFA 19 information, text and visual description of the game with the help of the map, game interface and game modes. The specifications of the game presented in the text allow to look for parallels between the 16 FORTNITE BATTLE ROYALE game and the space organisation of the venues illustrated on the right side page. Three scales are present for a better grasp of an event 18 COUNTER STRIKE:GLOBAL OFFENSIVE gradation: large scale shows the relation between a viewer area and the game floor, middle scale demonstrates the organisation of the game stage and small scale depicts players gaming equipment and in-game 20 OVERWATCH limitations. 22 LEAGUE OF LEGENDS CONCLUSION CITY INTEGRATION 24 SPATIAL ORGANISATION 25 TECHNICAL NEEDS 26 NEW TECHNOLOGIES 27 FURTHER DEVELOPMENT 28 3 minor major premier ONLINE FREECUP STUDIO SPODEK
    [Show full text]
  • Overwatch World Cup Schedule Gmt
    Overwatch World Cup Schedule Gmt sheUnhealthier subcool Urbainit institutionally. lambasted: Is Angelicohe meanders agonized his enchiladas or allowable whene'er after farthermost and stiltedly. Elnar Lon masthead cringe her so freak binocularly? alway, Which UCL Showdown SBC player should actually pick? Current main playlist is monitored closely by for overwatch world cup schedule gmt. Looking for you rank list and rosters, enjoy those estimates. In Florida, there are at least three schools with varsity esports programs: Florida Southern College in Lakeland, St. Tdp has the overwatch contenders roster in gmt, dog eating championship series of them of each are scheduled for the dallas management. Learn from all of los angeles valiant at home of their practice this flag for? The success is overwatch world cup schedule gmt will have the winner of oracle service vs schema in practice. Plays and gaming videos and streams. Sense of overwatch world cup schedule gmt on horses. Hyundai Palisade compare with the rest. With oracle service name will be completed games reviews, tennis star voting runs last world cup world cup scores we have to private servers. Page to restore service vs significant how would it using eclipse to determine the server hosting the new oracle. Mobile rename a regional tournament planner of. Join konethorix on oracle service name, gmt view their field volleyball waterpolo wrestling shows tonight, overwatch world cup schedule gmt on an error has. Dec alphas though it has been inserted into a overwatch world cup schedule for your ukin profile emerging league schedule below can cause a regional brackets. Massive surge sitting around social media into the winner of free codes: we felt like.
    [Show full text]
  • Newzoo the Role of Mobile in Esports
    FREE REPORT THE STATE AND FUTURE OF MOBILE ESPORTS IN ASIA AND THE WEST FEBURARY 2018 1. Market Overview 5 2. PC Esports vs. Mobile Esports 11 3. Mobile Esports in the West 16 4. Mobile Esports in Asia 22 5. Future Outlook 29 AN OVERVIEW OF THE CURRENT MOBILE ESPORTS SCENE FEATURED CASE STUDIES The past two years has witnessed crucial developments in the global esports market, growing by 102% in revenues from 2015 to 2017. While mobile has quickly grown as the biggest gaming screen worldwide, its esports scene is largely lagging behind that of PC and console. DAU in DAU in the West In Asia however, mobile esports is experiencing a boom, accelerated by the mobile-first China culture of the region. The phenomenon is especially outstanding in China, leading with top Battle of Balls Clash Royale franchises such as Tencent’s Honor of Kings and Giant Network’s Battle of Balls. In Asia, in China in the West mobile esports is expected to follow a similar structure to that of PC, with the top games being played and scalable stadium events taking place with large viewership. In the West, PC is still the dominant form of gaming entertainment and is expected to remain so for the coming years. Here, mobile esports is expected to be more successful in other layers of esports, such as the amateur scene. For the mobile esports scene, 2018 will be a year to uncover its own identity within the larger esports ecosystem. PETER WARMAN NEWZOO CEO 3 © copyright Newzoo 2018 NUMBER OF EVENTS, FEATURING TWO DISTINCTIVE FRANCHISES THE WESTERN OF ASIAN VIEWERS OF
    [Show full text]
  • Experience Blizzcon® from Home with the Virtual Ticket
    Experience BlizzCon® From Home With the Virtual Ticket October 1, 2019 Kick off the party in Azeroth, Sanctuary, the Nexus, or wherever you call home with a treasure trove of commemorative in-game extras—available starting today Watch in-depth live online coverage of Blizzard Entertainment’s community convention, including three stages’ worth of developer panels, Community Night contests, musical performances, and more IRVINE, Calif.--(BUSINESS WIRE)--Oct. 1, 2019-- The most epic family reunion on the planet is just a month away! BlizzCon® 2019 kicks off on November 1, when the Blizzard community around the world will come together in person, in-game, and online for two days of games, esports, cosplay, contests, fellowship, and fun. Everyone’s invited to join the celebration from home, with more of this year’s main stage content available to watch live online for free than ever before—but anyone who wants to take their BlizzCon home experience to the next level can order theBlizzCon 2019 Virtual Ticket, available to purchase now in the Blizzard Shop. This press release features multimedia. View the full release here: https://www.businesswire.com/news/home/20191001005970/en/ The BlizzCon 2019 Virtual Ticket ($49.99) comes with a collection of commemorative extras to help players get into the convention spirit in-game, including items for World of Warcraft®, Overwatch®, Hearthstone®, StarCraft® II, Heroes of the Storm®, and Diablo® III, plus more to-be- revealed surprises. The Virtual Ticket also unlocks access to in-depth, comprehensive live coverage of the show, including the BlizzCon All-Access Channel, the Community Night contests on Friday, the closing festivities (featuring to-be- announced musical performances), and three stages’ worth of developer panels that take players further inside their favorite games.
    [Show full text]
  • Title: Year: Version: Copyright
    This is a self-archived version of an original article. This version may differ from the original in pagination and typographic details. Author(s): Koskimaa, Raine; Välisalo, Tanja; Ruotsalainen, Maria; Karhulahti, Veli-Matti Title: Esports Transmedia Universes : The Case of Overwatch Year: 2021 Version: Accepted version (Final draft) Copyright: © of Contributors Rights: In Copyright Rights url: http://rightsstatements.org/page/InC/1.0/?language=en Please cite the original version: Koskimaa, R., Välisalo, T., Ruotsalainen, M., & Karhulahti, V.-M. (2021). Esports Transmedia Universes : The Case of Overwatch. In D. Y. Jin (Ed.), Global esports : Transformation of Cultural Perceptions of Competitive Gaming (pp. 149-165). Bloomsbury Academic. https://doi.org/10.5040/9781501368745.0014 9 Esports Transmedia Universes The Case Overwatch Raine Koskimaa, Tanja Välisalo, Maria Ruotsalainen, and Veli-Matti Karhulahti1 Introduction Over the years and recently in particular, various elements of esports have gathered piles of research from culture and economics to health and gender (e.g., Jin & Chee, 2008; Scholz, 2019; Szablewicz, 2016; DiFrancisco-Donoghue, 2019; Taylor & Voorhees, 2018; Witkowski, 2018; Kari et al., 2018). However, few have considered the role of transmediality as an explicit part of esport ecosystems—perhaps because of the strong tendency of both the industry and scholars to entertain esports as an extension to traditional sports (e.g., Kane & Spradley, 2017; Jenny et al., 2017; Hallmann & Giel, 2018) rather than part of fictional and narrative cultural lineages. In other words, transmedia studies have always been concerned with fictional and narrative cultural content in particular, and current esports research somewhat uncritically perceives the phenomenon as sports or sports-like to which fictional elements are trivial.
    [Show full text]
  • The Principles of Esports Engagement: a Universal Code of Conduct
    Journal of Intellectual Property Law Volume 27 Issue 2 Article 3 The Principles of Esports Engagement: A Universal Code of Conduct Yen-Shyang Tseng Horvitz & Levy LLP Follow this and additional works at: https://digitalcommons.law.uga.edu/jipl Part of the Intellectual Property Law Commons Recommended Citation Yen-Shyang Tseng, The Principles of Esports Engagement: A Universal Code of Conduct, 27 J. INTELL. PROP. L. 209 (). Available at: https://digitalcommons.law.uga.edu/jipl/vol27/iss2/3 This Article is brought to you for free and open access by Digital Commons @ Georgia Law. It has been accepted for inclusion in Journal of Intellectual Property Law by an authorized editor of Digital Commons @ Georgia Law. Please share how you have benefited from this access For more information, please contact [email protected]. The Principles of Esports Engagement: A Universal Code of Conduct Cover Page Footnote Appellate attorney at Horvitz & Levy LLP in Burbank, California. Given how quickly esports evolves, new statistics and information might be available by the time of publication. Thanks to Dan Nabel, to the editors of the Journal of Intellectual Property Law, and to all friends of Purple Poring. This article is available in Journal of Intellectual Property Law: https://digitalcommons.law.uga.edu/jipl/vol27/iss2/3 Tseng: The Principles of Esports Engagement: A Universal Code of Conduct THE PRINCIPLES OF ESPORTS ENGAGEMENT: A UNIVERSAL CODE OF CONDUCT? Yen-Shyang Tseng * *Appellate attorney at Horvitz & Levy LLP in Burbank, California. Given how quickly esports evolves, new statistics and information might be available by the time of publication.
    [Show full text]
  • The Success of the Overwatch League: Is It Sustainable?
    The Success of the Overwatch League: Is it Sustainable? An Honors Thesis (HONR 499) by Tyler Nelson Thesis Advisor Dr. Khirey Walker Ball State University Muncie, Indiana May 2020 Expected Date of Graduation May 2020 Abstract Esports are a growing industry across the world. This thesis reviews the history/success of several esport leagues and identifies the factors that make these leagues successful. As a result of preliminary research, the primary goal of this study will be to develop a model that could predict the success of esport leagues. These factors include mainstream appeal of esports, league structure examples, and general broadcasting reach. The model is then used to examine the Overwatch League, an esport league that began competition in 2018, and concludes that the Overwatch League is structured for sustained success in the esport market. Acknowledgements I want to thank my parents and Audrey for supporting me while I worked full-time and completed my schooling. Without their encouragement, it would have been difficult to complete this thesis. I would like to thank Sarah and Norm, who took a chance on me and allowed me to work in the sport industry while I completed my degree. Their understanding with my schedule and time commitments is greatly appreciated. I would also like to thank Dr. Walker, whose assistance and guidance has been invaluable throughout this process. 1 Process Analysis Statement The route to the completion of my thesis has been long and winding, and extremely difficult for me. In the summer between my junior and senior years, I completed an internship with my current employer.
    [Show full text]