Winter is ending

July 9, 2021

During the last decade, fantasy fans were served promptly by the major studios. However, in 2019, Avengers Endgame wrapped up the third phase of the Marvel Universe, Star Wars IX: The Rise of Skywalker marked the end of the last trilogy, and season 8 of Game of Thrones meant the (preliminary) end of Westeros. Then it became quiet, “winter came”. A year later, COVID caused cinemas to close and productions to be postponed, complicating things even further. Although lockdowns spurred streaming media consumption, fantasy fans weren’t exactly spoiled. Consequently, since last year, most customer attention has turned to gaming, which has shown remarkable growth figures and is the preferred medium for younger generations. And with lockdowns ending, some media firms even fear an “attention recession”.Yet, this might be a bit exaggerated. Behind the screens, the major studios are preparing a new cycle of high-budget fantasy adaptations, which will strongly influence the outcome of the streaming wars in the next decade, determine box offices, and could forever change theatrical window strategies (to only name a few: Lord of the Rings (2022) on Prime, Foundation (2021) on Apple TV+, and House of the Dragon (2022) on HBO max. These modern fantasy worlds are built around epic stories, comics and nostalgia that will remain attractive to aging generations. And while we are accustomed to radically prefer the art of moviemaking to that of gaming, Hollywood seems to have begun embracing gaming IP. In the next fantasy cycle, gaming IP might even become one of the most important sources of fantasy adaptations (e.g., Halo (2022) and The Last of Us (2022)).

Burning questions:
  • According to some, the time is ripe for video gaming adaptations, but which screen and format are best suitable for video gaming intellectual property?
  • How will streaming platforms change theatrical windowing?
  • To what extent will the post-COVID period see consumers return to the cinema?
  • Who will be the winners and losers in the “attention recession”?

Series 'AI Metaphors'

1. The Tool
Category: Objects
Humans shape tools.

We make them part of our body while we melt their essence with our intentions. They require some finesse to use but they never fool us or trick us. Humans use tools, tools never use humans.

We are the masters determining their course, integrating them gracefully into the minutiae of our everyday lives. Immovable and unyielding, they remain reliant on our guidance, devoid of desire and intent, they remain exactly where we leave them, their functionality unchanging over time.

We retain the ultimate authority, able to discard them at will or, in today's context, simply power them down. Though they may occasionally foster irritation, largely they stand steadfast, loyal allies in our daily toils.

Thus we place our faith in tools, acknowledging that they are mere reflections of our own capabilities. In them, there is no entity to venerate or fault but ourselves, for they are but inert extensions of our own being, inanimate and steadfast, awaiting our command.
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2. The Machine
Category: Objects
Unlike a mere tool, the machine does not need the guidance of our hand, operating autonomously through its intricate network of gears and wheels. It achieves feats of motion that surpass the wildest human imaginations, harboring a power reminiscent of a cavalry of horses. Though it demands maintenance to replace broken parts and fix malfunctions, it mostly acts independently, allowing us to retreat and become mere observers to its diligent performance. We interact with it through buttons and handles, guiding its operations with minor adjustments and feedback as it works tirelessly. Embodying relentless purpose, laboring in a cycle of infinite repetition, the machine is a testament to human ingenuity manifested in metal and motion.
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About the author(s)

Economist and philosopher Sebastiaan Crul writes articles on a wide range of topics, including rule of law in digital societies, the virtualization of the lifeworld and internet culture. He is currently working on his doctoral degree on the influence of digitalization on mental health and virtue ethics, having previously published dissertations on the philosophy of play and systemic risks in the finance industry.

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