for a virtual theatre
In illustration, we chose the Dionysus Theatre, which you will find playing Assassin’s Creed Odyssey (Ubisoft). The virtual theatre is ready.
Only the artists are missing.
Why “a real theatre”?
One could simply imagine a company producing virtual shows.
And work with live performance companies.
In short, we could increase the power of all the motion capture rooms that video game companies possess.
It is true. It’s an option.
We do not retain it – because it is expensive and it does not achieve the goal: to offer an infinity of different shows, always renewed, always diverse and therefore always surprising.
A theatre works as follows:
* we establish a programming
* we think about technical times and we try not to have too many “empty times” due to these technical times.
These incompressible times are of two natures:
* the preparation of the stage, sets, lights, sounds.
* the artists’ rehearsals
and in some cases, there is also the return to the harmonious form of the musical instrument: a violin does not like to travel.
These moments are paid for by the theatre.
So, with a real theatre, we know that we will always have one or two companies in “empty” time – companies to which we will ask to proceed with the motion capture of all or part of their rehearsals.
We will not need to make them come in : they will already be there. They are already there.
It is there, the idea – which imposes a theatre.
In addition, a theatre, to have public, must program very different shows, in very large quantities.
That’s why we propose, in all simplicity, the policy of: All. All the time.
This will allow us mechanically to offer video game companies contents that will change constantly: they will not always have the same piece of entertainment, hidden behind a door, for 40 years.
No, dynamic programming keeps a show for 6/7 performances :
AT THE MAXIMUM.
So, thinking about the question, from the point of view of a video game company, having the opportunity to dig into the real programming of a real theatre is the best way to go.
From the companies’ point of view, creating – and then having – their Easter egg in video games gives them the empathy and curiosity of a young audience.
From the point of view of the real theatre, this game between the real scene and the virtual scenes conceived for the video games ensures the filling of the real theatre and the means of a programming always of very high quality.
Also ensures the possibility to produce shows that will be thought for games.
It’s in a future way. A near future, but future anyway.