Government Influence on the Adoption of VR Technologies

[Shishirgano9]

As most mature entertainment markets demonstrate – think film and television, for example – the content that appeals to audiences varies from region to region and from niche to niche.

VR content creators have barely scratched the surface when it comes to the diversity of experiences that can be offered. For now, while consumers’ relatively limited access to experiences is nevertheless increasing, content creators who develop scalable experiences are the ones most likely to survive and thrive in the long term.

This requires developing a deep understanding of the consumers argentina mobile database who spend on VR at home and away from home, and what they are looking to get out of their purchases. As an example, in the US, Macklin sees increased interest in VR for at-home consumption among consumers in their late 20s to late 30s who have high incomes and an interest in technology.

While the level of interest may vary from region to region, most content creators will find it challenging to make a profit from English-language content that is only suitable for such an audience. Dawson sees the “immediate return” as the ability for publishers to internationalize their content, and reveals that there are strong titles in the market today that would benefit from pursuing more global distribution opportunities.

Generally speaking, the types of VR content that are doing well around the world right now are content based on well-known intellectual property (IP), including eSports and escape rooms. Macklin argues that well-known IP is “doing very well universally,” because it offers fans what she calls “dream fulfillment” by allowing them to momentarily experience what they’re familiar with. VR experiences inspired by Star Wars or Mario Kart require only limited localization before they can be exported globally.