This model can also give the platform access to new data on its consumers’ preferences and enable it to acquire films in its early stages at a lower cost. This strategy will incentivize filmmakers and distributors to use the platform instead of competitors and it will solve the problem of industry fragmentation. Cusumano, the analysis in this paper shows that a company can become a platform leader by integrating two sides of the value chain: distribution and funding. Annabelle Gawer, as well as the “coring and tipping” strategy outlined by Prof. By applying the platforms framework proposed by Prof. In addition, the independent film industry has a fragmented value chain, which makes it challenging for filmmakers to fund and distribute their films. Today, platforms such as Netflix, iTunes, and YouTube are in the face of major industry challenges: more competitors are entering the market consumers are demanding more diverse content and higher quality service and cost of content acquisition keeps increasing. The company has began a second crowd funding campaign, this time on Slacker Backer, to net more fans into the mix. After the vastly successful kickstarter campaign that netted over 6 million dollars from 69,000 backers, developer Ys Net is still looking for more fans to join in the project. This thesis proposes a new model for online platforms for independent films. Shenmue 3 To Launch Trial Release This September The demo (or more accurately, trial) will only be made available to original Kickstarter backers or those who entered on the ‘slacker. Shenmue 3 is back on the crowd funding market. Art Book A printed art book, curated by Yu Suzuki, is a reward at the 175 tier and above. By mapping the history of the Shenmue franchise from its original failure in the era of physical distribution to its recent crowdfunded success, this article argues that the empowering potentials of crowdfunding cannot be readily assumed without a contingent analysis of the cultural and political economy underlying Web 2.0 and its digital platforms. A Shenmue 3 t-shirt was part of several reward tiers, including a 30 Slacker Backer tier, and two separate editions have been made: one for Kickstarter backers and one for Slacker Backers. This controversial episode shows how commercial platforms like Kickstarter are increasingly facilitating a process of financialization of crowdfunding, whose main effect is not so much the equal coming together of media consumers and producers as the minimization of risks for large video game corporations. In particular, the Shenmue III campaign illustrates how the crowdfunding initiative was instrumentally mobilized by its organizers to attract further corporate sponsorships and stakeholders outside crowdfunding. Although the campaign displays some of the participatory elements often attributed to crowdfunding and digital convergence, it also sheds doubts on accountability and the effective capacity of crowdfunding to substantially challenge and de-hierarchize power relations in the video game industry. This article takes this campaign as an endemic case study of the changing funding mechanisms concerning video game production in the digital ecosystem of Web 2.0. In July 2015, a crowdfunding campaign launched to revive the notoriously unprofitable video game series Shenmue closed with the record figure of above US$6 million, to date the highest amount ever raised on Kickstarter for video game funding.
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