Year Zero

Altair Achievement

I rather like this word “achievement” : it means both to succeed and to finish, if what the dictionary says is correct.

This is a rough draft that I will necessarily take over – but I need to put the actions in order a bit.

I stop assuming that I am stronger than the pandemic.
I stop assuming that I am capable of being too innovating as an entrepreneur.
So I stop assuming that I’ve managed to get through the years before this year of Altair’s completion.
So the assumption is: this is the year Altair is being built.

The rest, for now, is not up to me – and I don’t know how to do it.

But I know that the Year Zero is surely the most important year to complete.

There are several aspects to realize:

1 – The buildings: they require the work of architects and technical entertainment professionals – we might as well have efficient buildings. Then the construction – the construction deadlines – taking into account the delays in construction. The important – major – point is that it is finished for the launch of season 1.

2 – The particularity of Altair: the link with video games.
This means: identifying a video game company that will be willing to organize, at the end of our first season, an e.sport tournament associated with one of its games.

first mission: the company and the game.

mission 2 : identify a show to associate / modify the writing to make it work with the e.sport tournament.
put the show in order.

mission 3 : establish a series of shows in this theme – which will be the theme that will structure this link between our shows and this game. Program this theme throughout the performance season.

3 – Altair’s fun: Extreme Virtuality.
This means: identify how many shows will be performed in 3D, for how long in VR each.
We will start with shows already created.
We’re going to test the real shaping time of these experiments in VR – for the moment I have insurance in a vacuum – but I couldn’t (no, it didn’t depress me at all) perform the test.
– Testing my VR ideas: experience levels (from “granny” to “legendary”)
– the groups
– groups with children
– the efficiency of certain locations that I think are great ideas.
– the development of the spectator equipment: at home / in Altair’s premises with the idea of the mobile harness, attached to cables + helmet
– work on the actions of the spectators in these VR experiences: hanging on, identifying landmarks, changing direction, hoisting, jumping, running etc…

4 – The Particular Fun: these passages played in Virtual Reality placed in an adapted video game > there, we will be in the pure Alpha Version and we will need players. Here, too, the aim will be to develop and create partnerships with video game companies. In Year Zero, I think it makes sense to focus on actions with a single video game company – this will allow others to avoid taking risks and then being demanding. I have two companies in mind: Ubisoft, because they responded to me. And Epic Games, because of their creative drive and what they’re doing in Fortnite.

5- Programming :
Establish a seasonal program that is intense, fast, in all directions, in all possible genres, for all ages.
For several different venues, each with its own particular audience – and not neglecting at this point to program as many short shows as we have Virtual Reality content, so that we can program both at the same time.

Structure the year’s programming with : A theme related to video games; 5 other themes that will allow us to propose a series of shows.

6- Impossible Mission Festival : which makes it possible to achieve the complete real and virtual fusion, by making all the spectators, all the players, live a story – a story that will change according to their actions (by cheating, but I’m not going to say it too loudly – well, not by cheating, by strongly guiding them towards the paths I like).

• complete the Festival script designed over 5 full days > hire a professional screenwriter, which can adapt a video game writing with several possibilities of realization to a scene writing. Several endings are absolutely necessary – since it’s a dynamic narrative mode that will allow players and spectators to really participate in the unfolding of the story they will see throughout the Festival – this script will also be the basis of the e.sport tournament that will be truly legendary.
• propose the concept to the different performing arts companies – so that they can position themselves with shows adapted to the Festival. beg Chris Roberts and manage to get the virtual part of the Festival in Star Citizen – / buy a ship in Star Citizen and pre-test the concept. > pre pre alpha version, we will need players. (in Star Citizen or any other game)

7 – design the visible part of Altair Twin on the internet
Schematically, this will be the site of the theatre.
Conceive AT as a 3D object, with visitors in 3D and prepare/leave room for its future developments, which can allow: access to the rooms for Virtual Reality experiences of granny; access to the rooms for Virtual Reality experiences that can be realized from home; access to the ticket office to buy tickets; conditional access to the backstage to see how it is done; access – it would be beautiful but it is impossible – to the video games in which we will find excerpts of our shows.

Designing a version for old people – and finding another name, otherwise everyone will still hate me: the good classic site where you buy your tickets, where you watch the little video of the show, where you have access to the themes – in short, the same one, but flat, because flat is usual.

8 – Develop the AA App / launch it in alpha during the realization moments, so as to have it perfectly efficient and well-tried for the launch of Altair. This application requires the agreement of artists and companies to operate at full speed – so these agreements must be negotiated. I’m at: a photo/video of a show and a word from a pre-list given by the app to qualify it.

9 – Review and invent assignment contracts with companies / both video game and live show companies: these contracts must allow Altair to position itself as a virtual content production company and not as a content distribution company.

– take up the concepts of “image rights in the context of a show” and not let go of the point.

In the same way, it will be necessary to be able to invent prices that are consistent with the target audience. Invent, because Altair will be offering content that doesn’t exist – and we’ll have to put together financial proposals that are sustainable and profitable.

10. Communication : Given the targeted audience, there is no need to be in the classic channels of communication.
The year zero will allow to set up communication tools more adapted to a young and not very rich public.

• Application – obviously. My future so famous AA App
• Youtube – according to the youtubers interested in the proposed activities – they would be beta version testers, invited.
• Video game forums – to communicate with players.
• Altair’s forum – to communicate with players of alpha and then beta versions – and leave this forum open to satisfy the curiosity of others.
• The blind choice : to propose a way to buy a show which will not be on the title or the genre, but from other elements taken from the show trailers : music/video excerpt/rehearsal excerpt / The choice has to be validated after, because of the dates and schedules of the shows – but not before.
  This mode of choice, similar to a game, must therefore be accompanied by a bonus – a Virtual Reality activity would be welcome.
• Tickets in batches by theme / by activity: this allows you to have cheaper tickets. And even to sell derivative products around these themes of the season.
• Shows: “Not even afraid”: the company and the other spectators accept that the spectators criticize, stand up, protest – Shakespeare’s live version in short.

11 – Launch of Season 1 : It is necessary to write a particularly careful launch of season 1 with the following objectives: to make Altair known, to sell almost all the seats of the season (which is currently done with this principle in my French theatre), to establish the link with the worlds of Virtual Reality and Video Game: in other words, to put a huge focus on the game that will be in the spotlight during this season 1.

I must have forgotten a lot of things – I’ll correct this draft as I go along.

Some actions – such as contacts with video game companies have several stakes in the design of Altair – and obviously, it will be a question of being effective. But that’s obvious.

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