Target Audience – 2

I’ve mentioned this before – but that was a long time ago, and in several pieces.

Altair’s dream audience, as you know, is youth.
The ones who spend their time on their applications
The ones who spend their time in their video games
The ones who spend their time on Youtube
The one who hangs out on his forums

And who consider us, at best, as nice dinosaurs.

Based on this desire, we imagined a theatre that would break down the walls that exist between the old world of entertainment and the new world of different entertainment realities.

I noticed, while playing, that the major difference between the two types of audience, the old and the modern, is the relationship established with the characters.
The old audience is far from the characters, they look at them, they judge them, they admire them – but they are fundamentally distant from them.
The new audience lives with the characters, talks to them, judges them and admires them – but they are fundamentally responsible for them.

This has as a notable consequence : the real, very concrete and very persistent investment of this new public inside the proposed “narrations”.
In other words: “communities” of fans are formed, which are no longer beatified with admiration but are active.
They will create alternative worlds for their characters.
Videos – music – program lines… mods – and so on.

When I suggest inserting literature into video games from old and royalty-free excerpts, I am not only addressing professionals but the whole audience of gamers, who are quite capable of inserting “cult” lines for NPCs in their games themselves.

That’s why this new audience is fantastic and why you should definitely think about addressing them, knowing how they will react.

They’re not going to wait nicely. They’re not going to stay in their seats and then walk out. They’re going to participate. You have to give them the means to participate – the means, and accept their ideas for participation.
Most games now are created with a community of prospective players who give their opinions – their suggestions – their feedback.

So the application is not just a communication toy: it is a necessity to communicate regularly with this audience.
Altair Twin is the same thing – it’s the virtual meeting place between them and the theatre.

It is by working with them, for them, accepting and demanding their creativity, that Altair will truly become this new kind of performance space – this performance space where the audience has become, in a way, responsible for the characters.

To refuse this, to remain in the old ways, is to keep live performances under artificial respiration. And to deprive oneself of infinite sources of creativity.

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Featured Image : Slack’Night Fever 2017

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