Digital Unicorn - Volume 1, Issue 3, Q4 2020 - Wildly inspired content! by Digital Unicorn

VOLUME 1, 1, ISSUE ISSUE 3 3 //////// Q4 Q4 2020 2020 //////// DigitalUnicornMag.com DigitalUnicornMag.com VOLUME

THE ENTERTAINMENT ISSUE

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WILDLY INSPIRED CONTENT FOR INNOVATORS, DREAMERS & IDEALISTS!

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WILDLY INSPIRED CONTENT FOR INNOVATORS, DREAMERS & IDEALISTS!

DIGITAL UNICORNÂ© VOL. 1, ISSUE 3 | Q4 2020 PUBLISHER & CEO

Stephen Skura, MBA Publisher@DigitalUnicornMag.com EDITOR-IN-CHIEF

Christine G. Adamo Editor@DigitalUnicornMag.com CONTRIBUTORS

Manny Frishberg Vanessa Nidode John Sailors DESIGN

CREATIVE DIRECTOR ILLUSTRATOR, COVER ILLUSTRATOR, PORTRAITS TECHNICAL CONSULTANT

Blair Stelle Luke Swinney Baraschi-Ehrlich Bria Rose McKouen

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DOES OUR BUSINESS NEED CUSTOMERS? We deliver digital marketing strategies that drive customers to your business.

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CONTENTS

EDITOR’S LETTER

Inside Digital Unicorn

MEET THE EXPERT Guest Essay By Bria Rose McKouen

CHASING UNICORNS

Data, stats, trends & more—verified!

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THE SHOW(S) MUST GO ON It’s Not ‘Live’ –but Party Like It Is By Manny Frishberg

AWESOME FILMS OF THE PAST 50 YEARS Must-See Movies: ’70s, ’80s, ’90s – and then some! By Christine G. Adamo

A WORLD OF TECNO OPTIONS

2021 COMIC BOOK SCENE: FIRST TIME IN PRINT

EDM Aritsts Who Keep Me Jamming By Steve Skura, MBA

Four ‘comiXology Originals’ Titles Bound for Stores By Christine G. Adamo

THE FUTURE OF FILM & TV: ENTERTAINMENT AS WE KNOW IT By Vanessa Nirode

BE WILDLY INSPIRED Meet 5 Standout CREATE-X Startups

PUBLISHER’S LETTER The Legendary Final Word

ESPORST GO COLLEGIATE Hawai’i Pacific vs. UC Irvine By Steve Skura, MBA

HIGHER ED & ESPORTS PROGRAMS

Why Not Major in Video Games? By John Sailors

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EDITOR’S LETTER

Inside Digital Unicorn

ENTERTAINMENT : WHAT DOES IT MEAN TO YOU? It may mean browsing to see what’s newly streaming. Or viewing stacks of DVDs in a tricked-out basement. It could mean banging heads and air guitaring your way through all-time favorite tunes. Other times it may mean revisiting favorite comic book titles before cracking open a graphic novel. Then, of course, there’s scouring the ’net to check for recent developments. Or maybe you prefer to login with your sights set on crushing the competition in the esports arena. Let’s talk esports, since that industry touched off a wave of behind-the-scenes talk that led to “The Entertainment Issue”—as in this particular edition of Digital Unicorn Magazine. The term electronic sports isn’t exactly new. Jumbo-console6 | DIGITAL UNICORN Q4 2020

loving video gamers (like those featured in a film I recommend later in this issue) have used the term for decades to describe: capturing their at-home gaming efforts on VHS and mailing those submissions to worldtitle HQ for judging. So, what changed? How the term is applied. And the fact that gamers are now being courted by major universities from all corners of the globe. Who knew that beyond gaining local notoriety for your strategic prowess you could: Earn college credits, become a worldwide icon and make a living playing video games online? Old school Donkey Kongers and Galaga fans (like me) never saw that one coming. Still, it’s now part of the wacky fabric that weaves us all together. This edition’s about: • Esports/online gaming • The future of films/theaters • Virtual events, concerts, etc. • Trends in EDM/techno • Must-see movies In general? Entertainment. Living in a digital age has its drawbacks— hackers, spammers, social media trolls, excessive screen time—but it also has its perks! Amid a pandemic, say, folks are no longer limited (as

before) in the number of ways they can entertain themselves from home: watching TV, listening to the radio, reading books, spinning vinyl records or darning socks to while away the time. For today’s Innovators, Dreamers and Idealists, the possibilities are increasingly infinite. When you do get online, drop us a note. Tell us what you like doing when you’re not reading comic books, graphic novels or Digital Unicorn. Clue us in to avenues of entertainment we may have overlooked. Give us a sense for how you and your friends are spending your time alone or together. For all we know you’re sick of being on lockdown, out of options and going stir crazy. If so? Let us entertain you!

Christine

CHRISTINE G. ADAMO Editor-in-Chief, Digital Unicorn Editor@DigitalUnicornMag.com P.S. - Ask me how you can become a guest contributor or feature writer. Or simply tell me what matters to you when it comes to business, tech, the natural world, etc. And be sure to follow us online and become a subscriber.

CONTRIBUTORS

MANNY FRISHBERG was born just south of NYC and studied writing and journalism in Portland, Oregon. His byline has appeared in regional and national publications for 40 years. A founding member of the Northwest Science Writers Assoc., he’s received four SPJ awards. For non-writers, that’s the Society of Prof’l. Journalists. He practices photography and writes science fiction in his spare time … going where “no Manny” has gone before!

VANESSA NIRODE is a writer based in NYC. She writes for a variety of publications like: HuffPost, BBC Travel, “Fodor’s,” Refinery29 and “Threads.” In her spare time, Vanessa also works as a tailor and pattern maker for film and TV. She’s sew insanely talented that Digital Unicorn simply had to partner with her! New York

JOHN SAILORS has worked as a writer and an editor in the U.S. and Asia. His love for technology and words has led him to find numerous ways to combine both. As a tech reporter, he’s written extensively on how technology can change industries and lives. John’s currently based in the San Francisco and Silicon Valley area, a true technology hub. Vive la tech et les mots! Silicon Valley

Pacific Northwest

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Guest Essay

MEET THE EXPERT BY BRIA ROSE MCKOUEN Being an industrial design student at Georgia Tech has opened doors I never knew existed. Its CREATE-X launch program was introduced to me by one of my professors who’s involved in it over the summer months. After learning more about the companies which have come out of the program, I knew I had the perfect business idea! My partner Samantha and I started developing a game on our own while we were roommates. We made prototypes and played it out with our friends. We’d always loved games like “Mafia,” “The Resistance” and “Werewolf.” Games where the objective is complex and driven by the players and not the board. So, why not make our own? I pitched the idea to Samantha: We should start a company so we could make this dream game a reality. Copy Games was born! With our new company launched, we could develop board games— our first of which we affectionately named “Shadow’s Keep.” It’s a social strategy game for groups of 8 to 25 players. We’re currently developing it in both board game and virtual formats. “Shadow’s Keep” involves deception, betrayal and mystery: It begins in the King’s castle, where everyone’s simply gathered to celebrate the Queen’s birthday. 8 | DIGITAL UNICORN Q4 2020

We quickly had to start development on a virtual version because we couldn’t (and still can’t) test our game in person while staying safe. Later that night, the Queen is murdered by a secret cult that’s invaded the kingdom. The King locks down the castle, trapping everyone inside until he finds out who killed his beloved Queen. There are three allegiances in this game: village, cult and lawless. The villagers work together to find the cult members, the lawless roles have their own individual goals and the cult members try to kill all of the other players. Our game keeps everyone actively involved. That’s true even with up to 25 players. It encourages open conversation, problem solving and large-group involvement. At this point, we’ve had dozens of players test our game during the ongoing development stage and we’ve achieved a 100-percent retention rate—every player wanting to come back and play again. We’ve received excellent feedback from each playtest and continue to develop with users in mind. That said, developing this game and trying to create a business around it hasn’t been (and isn’t ever) easy. I didn’t appreciate business

as much as I should have before this experience. There’s endless paperwork involved. Talking to intellectual property, or IP, lawyers is a long process. So is talking to accountants. And so is testing the game over and over and over again— making slight adjustments all along the way. Before CREATE-X, I thought I’d wind up being an inventor. I figured I’d come up with ideas for awesome products and someone else would run the company. Running a business is not the same as coming up with ideas. Great ideas can lead to great businesses but you can’t have one without the other. The most helpful thing I did upfront was talk to people with experience. With their guidance and kindness, I learned even more about how to kickstart a business and how important it is to have good people around you. A huge challenge Samantha and I faced was dealing with coronavirus since our game is made for large groups. We quickly had to start development on a virtual version because we couldn’t (and still can’t)

Your ideas matter, your passion matters, the market matters—but who you choose to keep around you will define your success. might fade and your own opinions can easily blind you to the market’s truths. My partner and I have been avidly playing board games for a collective decade. Our experience playing games coupled with our background in product design makes us qualified and excited to make our own games. That’s not a requirement to start a business. Yet, as I said before, the people you surround yourself with will define your success. Try to find someone with field experience to join the team. When developing your product, keep in mind: You’re designing something for consumers, not for yourself. Conduct thorough research and build something that caters to what people truly want or need, not to what you think that is. There’s no one key to success. I’d be lying if I tried to lay out a direct path to victory. Putting your heart into your work can only help. Creating a business is an exciting and scary process. Finding time is difficult. I’m a full-time student, a part-time employee and a startup co-founder. But it’s worth it. Just be sure to always find time to be with the people you love. And sleep well! If you’re thinking about creating your own startup, I implore you to do research into: the market, the topic of interest and the team you’ll need to make it happen. Believe in yourself every step of the way, even when unexpected upsets happen. Keep an open line of communication with others and seek guidance from outside sources. There’s no shame in

asking for help. Not every business has to make $1 Billion to be happy, either. I’ve only made $250 in revenue so far and I couldn’t be happier. Everyone starts somewhere. Good luck to every one of you who are starting the journey toward making a business a reality— and hats off to those who are already going down that road!

BRIA ROSE MCKOUEN majors in industrial design at Georgia Institute of Technology. She’s Chief of Design for Copy Games, which she co-founded with Samantha Weinberg via Georgia Tech’s CREATE-X program. Bria, 21, takes a heavy course load, holds down a job and is set to graduate May 2022. She lives in Atlanta and—when she can—makes time for yoga, reading, hiking, drawing, caring for plants and playing board games.

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IMAGE COURTESY: BRIA ROSE MCKOUEN

test our game in person while staying safe. Having the experience of adapting quickly was stressful but it made us better. As designers, we came into this thinking we’d design games. Instead, we learned how to run a business and overcome obstacles. CREATE-X is an incredible program that offered us guidance and led us to resources for fulfilling a dream. In a company like ours, the biggest challenge is communication. As a two-person startup, communication is the glue that holds the company together. Unfortunately, it’s not always easy; not even with only one other person to communicate with. I’ve struggled with evolving from friends to business partners and with needing to have tough conversations which, as a friend, are difficult but, as a business partner, are essential. Going into it, I’d heard it’s difficult to start a business with a friend. I dismissed those warnings as silly narratives. We evolved after launch, becoming more effective business partners. My biggest bit of advice to anyone starting a company, though, is: Your ideas matter, your passion matters, the market matters—but who you choose to keep around you will define your success. I warn anyone against starting a business with a friend if they have any hesitations about it. It’s possible to go into business with a friend and find success and happiness. But it’s extremely difficult to have serious conversations with someone if you otherwise have a frictionless friendship. If you start off with an end product in mind, it’s best to understand the field you’re headed into. If you want to make a board game but never play them, your interest in the product

CHASING UNICORNS Data, stats, trends & more—verified!

Fans of “League …,” “Fortnite,” “Dota 2” and “CS:GO” unite! Programs in competitive multiplayer video gaming, aka esports, are infiltrating U.S. higher ed. In June, Matt Gardner for “Forbes” said top esports players had already scored up to $300K each in 2020 earnings. Are COVID-19, a shift to virtual life and digital media fueling the boom? Find out.

esports

2016

JULY 28: THE NAT’L. ASSOC. OF COLLEGIATE ESPORTS WAS OFFICIALLY FOUNDED

214

U.S. COLLEGES AND UNIVERSITIES, AS NACE MEMBERS, OFFER VARSITY ESPORTS PROGRAMS (SOURCE: MICHAEL BROOKS, EXEC. DIR. OF NACE)

(SOURCE: MICHAEL BROOKS, EXEC. DIR. OF NACE)

VIRTUAL HAPPENINGS

$1+ Trillion

300 Million

CIRCULATES ACROSS THE GLOBAL ECONOMY BY WAY OF BUSINESS CONFERENCES

ZOOM MEETINGS ARE NOW HELD DAILY; IT WAS 10 MILLION PRIOR TO BUSINESS BEING SO VIRTUAL

(SOURCE: PROF’L. CONVENTION MGM’T. ASSOC.)

(SOURCE: THE VERGE)

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Digital Media Trends

Million

NEW U.S. USERS IS WHAT NETFLIX REPORTED Q1 2020. QUARANTINE MUCH? (SOURCE: TECH CRUNCH)

495 Million

# of total esports audience members anticipated for 2020 (SOURCE: NEWZOO)

50%

Billion

IN VIDEO STREAMING REVENUE IS ANTICIPATED WORLDWIDE DURING 2020 (SOURCE: STATISTA)

THE ESPORTS INDUSTRY keeps trending upward. In its 2019 global report, Newzoo projected marketwide revenues of $1.1 Billion USD in 2020 (75 percent coming “from media rights and sponsorship”) and roughly 16 percent year-over-year growth. Occasional and enthusiast audience numbers had grown, too.

of esports enthusiasts live in the Asia Pacific, North America or Europe (SOURCE: ROUNDTREE INVESTMENTS)

4 Billion

sports fans globally favor soccer, 2.5 Billion cricket, 500 Million baseball (SOURCE: WORLD ATLAS)

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A WORLD OF TECHNO OPTIONS EDM ARTISTS WHO KEEP ME JAMMING

MUSIC REVIEWS BY STEVE SKURA, MBA Techno, now more often dubbed “electronic dance music,” has exploded in popularity globally and in the U.S. No longer constrained to methods popular in the 1980s and ’90s, today’s EDM artists are increasingly: mixing tracks with strong beats, relying on a range of instruments or sounds and blending in talented vocals. With beats from hard-pumping to ethereal, the 12 EDM artists reviewed here have kept me jamming all year long.

TECHNO REVOLUTION EDM has attracted ever-larger audiences over the past few decades and especially the past few months thanks to SiriusXM (Channel 053), Comcast Xfinity, YouTube (i.e., EDM.com) and SoundCloud. If you’ve been a listener, you know there’s no shortage of new beats. Artists like Norwaybased Kygo have quickly been asked to feature on dozens of mainstream hits. Electronic artists come from all over the world, though the most popular seem to be based in Europe. Styles can vary, depending on the mixer. Belgian artists Amelie Lens and Charlotte De Witte—who both play at Tomorrowland Electronic Dance Music Festival in Belgium each year—often

12 | DIGITAL UNICORN Q4 2020

use a more traditional style that’s laden with heavy bass. Nora En Pure, Tourist and Nora Van Elken offer a softer EDM style that’s great when you just want to chill. You may have seen one of them streaming live events on Facebook and other digital platforms during the recent pandemic. In doing that, they’ve provided fans even more opportunities to engage with their favorite DJs. Miss Monique and Jai Wolf are two EDM artists I’ve enjoyed more recently. The EDM experience can be exciting, dreamy or relaxing—yet it’s always entertaining.

1 5

4 6 7

2 3

8 9

1. KYGO (NORWAY)

7. M83 (FRANCE)

2. ERIC PRYDZ (SWEDEN)

8. NORA EN PURE (SWITZERLAND)

3. MIRA KATER (GERMANY)

9. GIOLI & ASSIA (ITALY)

4. NORA VAN ELKEN (NETHERLANDS)

10. MISS MONIQUE (UKRAINE)

5. TOURIST (ENGLAND)

11. JAI WOLF (BANGLADESH)

6. AMELIE LENS (BELGIUM) CHARLOTTE DE WITTE (BELGIUM) DigitalUnicornMag.com | 13

GIOLI & ASSIA (Italy) GioliandAssia.com Amazing YouTube videos Gioli & Assia have been, by far, my favorite EDM artists to listen to this year. In my opinion, the duo has created more hits in just a few years’ time than many musicians have over a lifetime. Both in their early 20s, they’re just getting started. I highly recommend their videos, which feature: exotic locations, amazing imagery and mixes which include an array of instruments and soothing vocals. They occasionally book live events in the U.S. My favorite Gioli & Assia tracks are: “Fever,” Feel Good,” “Starry Night,” “Borderline” and “Underwater.”

MIRA KATER (Germany) Mira-Official.de Endless beats on SoundCloud Mira has been creating techno beats in Europe for years. Her version of EDM is wild. It’s exactly what you’d expect to experience live at Burning Man—held in northern Nevada’s Black Rock Desert—where she’s performed for several years as a resident artist. Warning: If you start listening to her SoundCloud mixes, you could find yourself jamming to her beats for days. She has an enormous amount of content posted. If you’re interested in catching her live, she does book other events in the U.S. 14 | DIGITAL UNICORN Q4 2020

M83 (France) ILoveM83.com Ethereal, Sci-Fi/Fantasy style “The sky is a planet … a colony.” – M83. The band’s namesake, M83, is a “big, bright and beautiful spiral galaxy (that) lies a mere 12 Million light years away.” (Thanks, NASA.) While listening to these artists much closer to home, you’ll quickly find yourself daydreaming. They’ve worked on several movie soundtracks and are commonly booked for runway shows. However, M83 offer a version of EDM that makes you want to take a road trip: It’s an amazing mix of beats and strong vocals. You’ll notice that’s a theme for most of the artists reviewed here. Check out M83’s website for listings of future live events.

ERIC PRYDZ (Sweden) EricPrydz.com | So many amazing mixes Eric Prydz (aka Pryda, Cirez D, et al.) has been performing since around the early 2000s. He has several well-played remixes, most popularly 2004’s “Call On Me.” His mixes are wide-ranging and offer multiple styles depending on what you choose. I find myself often listening through all of his tracks while I’m working. His songs are typically longer and flow well together. If you hope to see him live, you’ll be happy to know that he often plays events in the U.S.

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THE FUTURE OF FILM & TV: Entertainment as We Know It? BY VANESSA NIRODE In 1977, as a 7-year-old, I saw “Star Wars” at a drive-in theater with my Mom and my three brothers. My older brother and I sat in awe, having shifted our way to the very edge of the front seat of our family’s 1975 Ford van. A janky speaker hung from the nearest window. The franchise’s original trilogy defined our childhoods. Streaming services, video-on-demand platforms and even naturally-occurring events have shifted the viewer experience so much since then. Waiting for a new episode of a favorite show to air at a specific time, on a specific date and on a specific channel is gone. People have grown used to watching an entire season of a series in one go: wherever, whenever. Major film and TV studios have jumped on the streaming bandwagon. But are they making money and is it a sustainable business model? The film industry alone has undergone an evolution in the past 100 years or so—and the current landscape may be cause for some of the biggest changes. Several experts weigh in on how and why.

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‘STREAMING’ ECONOMICS Media researchers have noted that, by the 1990s, general economic decline in the U.S. led to a decrease in box office revenues. At the same time advances in special effects, soaring celeb salaries and the threat of striking crews raised production costs. See the “Old Hollywood Big Tech” sidebar for an expanded film industry overview. Streaming services arrived on the scene in the 2000s. Associate Professor of English & Film Studies Gregory Steirer, PhD, at Dickinson College (Carlisle, Pennsylvania) told Digital Unicorn that Universal Pictures released “Trolls World Tour” on digital platforms in March 2020 at a rental price of $19.99 USD. When the studio did that, he explained, it utilized the same basic profit model used for theatrical distribution. He added, however, that if—as with Disney’s landmark release of the original Broadway production of “Hamilton”—a streaming platform were to release a film title for free to its subscribers, the model used would be completely different. Producers and others make money from “points” negotiated into their

contracts. Those points have entitled them to a percent of box office sales. Without a box office, they get no direct profits. Thus, Steirer explained, producers now have to negotiate for more money upfront. That sort of deal shifts revenue away from a studio’s streaming platform. Consider Marvel having experienced a series of theater mega hits. Films which are especially expensive to make, said Steirer, have the potential to drag down overall earnings. Subscription-based streaming platforms which don’t utilize ads face the same incomegenerating dilemma. There will always be a limit to the amount to be made from subscriptions alone. Steirer said, too, that high-quality shows cost more to produce without generating added revenue for studios based on a platform’s existing subscriber base. Those shows could earn them added revenue by attracting new subscribers—if they became extremely popular. Financial analysts have stated that Netflix has funded much of its newcontent generation with nothing in its pockets but debt.

“I think even major studios will start to take a more film-by-film approach (to) release strategy …. We’ve already witnessed some of it during the pandemic.” – Kevin Sanson, PhD, Assoc. Professor (Queensland University of Technology)

VOD VS. BOX-OFFICE RELEASE Video-on-demand features, as laid out by MTC Communications, differ from pay-per-view in that VOD subscription channels offer hundreds

$19.99 USD

is what Universal set as digital-rental price of “Trolls World Tour” SOURCE: GREGORY STEIRER, PHD

$30 USD

is what Disney’s set as its digital rental price of “Mulan”—on top of any Disney+ subscription fees SOURCE: TRUSTED DISNEY INSIDER

of free TV, film and other titles only available “on demand.” And, unlike one-and-done PPV events, viewers incur an ongoing access fee via their cable packages. In that way, VOD is similar to services like Netflix, Hulu and Amazon Prime Video. Subscribers can access their provider’s existing content, browse additional free content or rent/buy other fee-based content. Likewise, VOD allows viewers to watch selected titles straight through or pause, play, fast forward, rewind and revisit them later. Kevin Sanson, PhD, is an associate professor at Queensland University DigitalUnicornMag.com | 17

<$0 Debt is what financial analysts say Netflix uses to fund much new content SOURCE: VARIOUS

of Technology in Australia and a co-founder of the open-access journal “Media Industries.” He said on-demand options have not typically added up the same way revenues from massive, global box office hits have. Disney, for one, would have needed to attract lots of subscribers and VOD transactions to equal what it made selling theater tickets to “Avengers” (2012). Per IMDB.com, the film’s cumulative gross worldwide earnings were $1.5 Billion. In addition, what constitutes “a good deal” for a large-scale franchise or an indy film differs. “I think even major studios will start to take a more film-byfilm approach,” Sanson told me, suggesting they might ask, “‘What release strategy makes the most sense for this particular property?’ We’ve already witnessed some of it during the pandemic.” For a smaller film which may not find distribution otherwise, a directto-streaming release could make sense. DEFINE ‘BLOCKBUSTER’ Associate Professor Anne Gilbert, 18 | DIGITAL UNICORN Q4 2020

PhD, teaches media studies at Grady College of Journalism and Mass Communication for the University of Georgia. In her view, the definition of “blockbuster” is based on the monetary value of box office receipts. “There is no independent, thirdparty calculation for streaming views,” explained Gilbert, who researches social, technological and industrial factors’ impact on how pop culture is shaped and perceived. “For example, only Netflix knows Netflix’s viewing numbers.”

prefer a windowed release in theaters followed by at-home rights for streaming and on-demand purchases or rentals. Projects like 2020’s “Wonder Woman 1984” (WW84) and “Tenet” were initially put on hold for that reason versus planned for straightto-streaming release. Films also released this year which skipped theaters have mostly been lowerbudget (i.e., “The Lovebirds,” which was moved to Netflix) or family-

“There is no independent, third-party calculation for streaming views. For example, only Netflix knows Netflix’s viewing numbers.” – Anne Gilbert, PhD, Assoc. Professor (University of Georgia’s Grady College)

Is it possible to achieve “blockbuster” status by going online only? Gilbert said that, as for major blockbuster features, distributors

oriented (“Trolls World Tour”). Gilbert said that when Disney moves its costly 2020 dramatic remake of “Mulan” to streaming it

will try to recoup costs by charging audience members $20 USD each (a Disney insider told us $30 USD) to view it online—on top of Disney+ access fees: $6.99/month, $69/year. As of August 4, Disney+ had 60.5 Million subscribers. Films proven to earn more in theaters, Gilbert added, also command higher streamingdistribution rights. MORE ON THE BUSINESS SIDE Prominent streaming and subscription services have utilized business models Sanson shared a few basics of along with brief commentary: • Amazon – Entertainment is secondary. Its streaming platform is a way to redirect consumers to retail offerings. • Apple – Similar model to Amazon. Its main business is still technology. • HBO – Subscription-based. Obtains added revenue by licensing its content in other territories. • Hulu – Reliant on ad support and subscriptions. Originally created to distribute parent corporation broadcast content. (Disney holds majority ownership.) • Netflix – Subscriber-funded model. • Showtime – Same as HBO. All seem to still be figuring out how to approach streaming content. Due to the relative newness of such platforms, they are also still deciding

how to best leverage them. Gilbert said Amazon, for instance, has not been earning money by offering Prime Video content. Instead? It views its online brand extension as a loss leader. A marketing strategy that allows for pricing below cost is how it has gotten people in the door. Prime subscribers gain access to streaming content which, Amazon has hoped, may encourage them to spend more money on other things. As for shifting business strategy, Steirer cited HBO as one example. In the past, HBO made money by not only producing shows for its own channel but by producing content for others. Now that the channel was acquired by AT&T, Steirer predicted it will soon end up with a business model indistinguishable from Netflix’s. Licensing Revenue Through licensing, a cable TV or streaming network with a market of its own pays a content owner (i.e., ABC, Disney, NBC) for the legal right to host that content on its own platform for a specified time period. “Licensing has been a pillar to legacy business practices in the entertainment industry,” said Sanson, “and constitutes one of the most prominent sites of change and confusion in the contemporary landscape.” In general, content rights are bound by legal terms settled long before anyone dreamt up Netflix, etc. Distribution of “The Wonder

Years” TV series was hindered by the fact that the music rights for songs heard on the show did not include provisions for use in DVD format or via streaming services. Residuals The organizing union Screen Actors Guild-American Federation of TV and Radio Artists represents more than 150,000 performers (i.e., actors, announcers, broadcasters, stunt performers). SAG-AFTRA has been dealing with contracts and terms related to digital and streaming platforms. In June, a press release from the labor union noted its reps had reached a tentative deal with the Alliance of Motion Picture and TV Producers pursuant to a “lucrative contract package” for SAG-AFTRA members. Among the new terms were residual gains for high-budget subscription streaming and no more “grandfathering” new episodes of existing series into prior agreements. Following industry patterns, they also said to have “replaced the fixed residual with a 6-percent, revenue-based residual … to secure improvements in high-budget subscription streaming—the fastest growing part” of the film and TV

> 150K performers is who SAG-AFTRA represents as it pursues better DigitalUnicornMag.com | 19 digital content deals SOURCE: SAG-AFTRA

“The industry is still trying to figure out how best to monetize (its offerings).” – Kevin Sanson, PhD, Assoc. Professor (Queensland University of Technology) business. Does that mean movie theaters are on their way out? Not necessarily.

“There will always be people who will go to the theaters as long as films are released that way. It provides a collective experience ….” – Anne Gilbert, PhD, Assoc. Professor (University of Georgia’s Grady College)

IN THEATERS NOW Movie theaters have held to a business model neither mass audiences nor studios (small-scale distributors in particular) want anymore. That model—based on the time between theatrical release and availability elsewhere—has already changed. Party, said Swanson, because audiences are increasingly opposed to a distribution strategy designed to produce scarcity. Significant changes in how theaters operate, both industrially and culturally, seemed inevitable to him. Future shifts within the sector, he said, may include:

20 | DIGITAL UNICORN Q4 2020

• Niche marketing • Prioritizing special events • Catering to specific demographics (i.e., IFC Midnight distributing horror, thriller and Sci-Fi genre films) Audiences want to access content “whenever” without paying extra for the privilege of viewing it asap. Yet, is anyone making money from online distribution? Sanson thought not, not even in the case of Netflix: “The industry is still trying to figure out how best to monetize (its offerings).” The experience of going to a theater, though—especially to see a movie rich in action scenes and

special effects—can it be replicated at home? Steirer said he thinks theaters “will bounce back once COVID-19 is no longer an issue.” “There will always be people who will go to the theaters,” added Gilbert, “as long as films are released that way. It provides a collective experience and (is currently the first stop). It makes movies feel special. (The) size of that audience is shrinking—as people opt for convenience over experience. Still, there’s nothing like going to a theater.” Only time may tell.

Old

BIG TECH

The U.K.’s National Science & Media Museum and “Film History: An Introduction” co-authors and film critics Kristin Thompson, PhD, and David J. Bordwell, PhD, have credited the Lumiere brothers for showing the first moving-picture film to a paying audience (Paris: December 1895). Four years prior Thomas A. Edison and William Dickson rolled out the Kinetoscope, a freestanding film-projector forerunner built for one that showed moving pictures via peephole lenses. Read on for a recap of the experts’ take on film history: • 1910: D. W. Griffith’s “In Old California” premiered in Hollywood. • 1914: Cecile B. DeMille’s “The Squaw Man” was released. • 1920s: Harry, Albert, Sam and Jack formed Warner Bros. Pictures. “The Jazz Singer” used synchronized sound, record discs playing in time to film reels.

owned theaters could not restrict showings to only films they produced. • 1950s: To compete with TV, tech gadgets like a curved-screen setup with three projectors and multi-track surround emerged. Audiences were shown younger, “hipper” actors: James Dean, Brandon and Monroe. Theater attendance in decline, studios began producing made-for-TV features. • 1960s: Studios added music recordings, TV series and TV films to their offerings. • 1970s: Partly due to the Vietnam War, the industry was depresed. A rise in counterculture and new attitudes about sex, language and violence impacted subject matter. Special effects in movies like “Jaws” (1975) and “Star Wars” led to a small rebirth for Hollywood. VHS and laser disc technology emerged. • 1977: Because? “Star Wars.”

• 1930s: The Golden Age of Hollywood? Most features had sound and by mid-decade many had color. Laurence Olivier and Shirley Temple were stars. Studios owned the theaters. Beneath it all and for industry women, the “golden” was debatable.

• 1980s: As use of special effects increased, so did film budgets. Ticket prices dropped, however. The decade’s most memorable films may be “Raiders of the Lost Ark” (1981) “Return of the Jedi” (1983) and “The Terminator” (1984).

• 1940s: The House Un-American Activities Committee arm of the U.S. House of Rep. sniffed out hints of communism. Among the blacklisted: Charlie Chaplin, Orson Welles, Dorothy Parker. The U.S. Supreme Court ruled, in 1948, that studio-

• 1990s: General economic decline decreased box office revenues. Production costs soared due to advanced special effects, salary increases and impending strikes. • 2000s: Streaming services emerged.

DigitalUnicornMag.com | 21

The 5,000 students at HPU represent nearly 65 countries; 24 play for it varsity esports teams.

ESPORTS GO COLLEGIATE vs. HAWAI‘I PACIFIC

UC IRVINE

BY STEVE SKURA, MBA Aside from gaining popularity on a global scale, esports has begun shaking off the “strictly entertainment” label. Each new trend, development and milestone has further legitimized the industry, bringing it to the attention of larger numbers of potential fans and players. A few hundred U.S. colleges and universities have embraced esports by establishing teams and/or leagues. Some offer related courses, certifications and degree programs. In the process, most have made it official by joining forces. As esports and social researcher Nico Besombes wrote at Medium.com last September: “Though esports is largely constructed around commercial stakeholders … it has simultaneously always been a local, grassroots-driven activity deeply tied to (organizers and local) communities of players.” Whether on a mission to serve as overseers at the varsity level or not, he said, regional esports

22 | DIGITAL UNICORN Q4 2020

associations have played a role in organizing and commercially decentralizing its practices. “Since the early 2000s,” Besombes added, “the number of such national associations has only increased in all geographical areas of the world. Although the significance of (these nonprofits’ roles could) be questioned—both on a case-by-case basis and in a systemic way—their creation and/or existence underlines the willingness of some (to) unify, federate and represent the diversity of their own local ecosystems.” By viewing esports as “a real sport” through which students hone leadership, strategic and team-building competencies, U.S. colleges and universities have played a role in helping to unify, federate and represent the diverse needs and composition of their own ecosystems. Hawai‘i Pacific University and University of California-Irvine are two such schools.

HP SHARKS Student gamers at Hawai‘i Pacific (aka HP Sharks) began competing nationally after university President John Gotanda, JD, set out to make esports a priority three years ago. Manager of the school’s 3,000-sq.-ft. esports arena Dominique Bushong interviewed with Digital Unicorn recently, highlighting on-campus trends. “Most didn’t know what it was like to be captain or lead a group,” said Bushong, “prior to joining our esports program.” Located in Honolulu, HPU is said to be the largest private university in the central Pacific. Among a diverse 5,000-student population representing nearly 65 countries, 24 currently serve on its A and B varsity esports teams. Those 24 students have trained to compete in the Peach Belt Conference: five as starting players on A team, five on B team. Hawai‘i Pacific esports competitors have chosen various majors: computer science, business, marine biology, etc. While esports game design and business certificate

programs are in the works, HPU has hosted esports summer camps and has offered annual scholarships which help players compete nationally in “Overwatch” and “League of Legends” tournaments. Bushong was excited to note that HPU has a Peach Belt Top 3 LOL team that hopes to win a 2021 “Overwatch” championship. She also said that, as the second U.S. institute of higher ed to receive access, HPU’s arena is set to offer a premium experience via League Unlocked—an honor reserved for official LOL partners and live events. For HP Sharks, that means: • LOL champions are unlocked. • They can access 100+ LOL skins. • They get additional “bonus” rewards. The HPU arena is equipped with 18 gaming rigs, 12 consoles and virtual reality stations. It has hosted “Call of Duty,” “FIFA,” “Halo,” “NBA 2K” and “Smash” events. The school’s long-term goals for its esports program are to win a Peach Belt national championship and to move into a Division I West Coast Conference.

“Most (student gamers) didn’t know what it was like to be captain or lead a group prior to joining our esports program.” – Dominique Bushong, Esports Arena Manager at Hawai‘i Pacific

DigitalUnicornMag.com | 23

UCI ANTEATERS LThe esports program at University of California’s Irvine campus has seen rapid growth since it was rolled out in 2016. Kathy Chiang, assistant director of esports at UCI, shared related details. “Students make up a staff of 15 to 70 who run the program and the UCI Esports Arena which funds the entire program,” said Chiang. “The arena can hold 144 in attendance and run up to 72 (gaming computers). We host live events and tournaments there.” Staffing needs vary by season. In addition to arena revenue, UCI has funded varsity-level esports with help from its sponsorship partners: Mountain Dew, iBuyPower, Logitech, Hyperize, etc. Ranked among America’s top 10 public colleges by “U.S. News & World Report” for the past five years, UCI offers 26 esports scholarships and esports management certification. Its varsity gamers (aka Anteaters) won the 2018 League of Legends College Championship and took part in the 2018 Fiesta Bowl Overwatch Collegiate National Championship. Several of its “Overwatch” players are known in the amateur circuit and a few of its other talented players, like Bloodwater (LOL), have gone on to crush it at the pro level. “UCI’s esports program,” explained Chiang, “is based on five pillars: Competition, Academics & Research, Community, Entertainment and Careers.” All five are outlined in the order she cited them. For more info, visit Esports.UCI.edu: • UCI scholarship teams compete in “Super Smash Bros.,” “Overwatch” and “League of Legends.” Ultimately? Truly popular esports. • Its program supports world-class games scholars

24 | DIGITAL UNICORN Q4 2020

by connecting them to large swaths of elite and recreational gamers. • Its community of fans is “massive” and its gaming clubs have grown into large student organizations furnished with space, resources and mentors. • It has hired and trained other students to “live broadcast” matches on its Twitch channel. Shoutcasters offer play-by-play and color commentary. Others work behind the camera. • It has connected its gamers with internship and career leads in the video game and esports industries. Events, panels and more have helped students and other gamers expand their individual networks. “UCI (varsity gamers pursue) STEM, business management, art and other degrees,” said Chiang, who added, “Gaming can be productive—not the enemy of parents.”

“Gaming can be productive— not the enemy of parents.” – Kathy Chiang, Asst. Director of Esports at UC Irvine

Esports has infiltrated education in Asia, Europe and now the U.S. Chiang estimated that up to 500 American collegiate teams compete in popular national tournaments. If those schools follow models like the ones set by Hawai‘i Pacific and UCI, American higher ed seems poised to offer career and leadership tracks which land students plum assignments in the global esports industry.

~ 500

HPU GAMERS PLAY ON ITS A/B VARSITY ESPORTS TEAMS

U.S. COLLEGIATE TEAMS NOW COMPETE IN NATIONAL TOURNAMENTS

(SOURCE: DOMINIQUE BUSHONG FOR HPU)

(SOURCE: KATHY CHIANG FOR UCI)

UCI ANTEATERS: WINNERS OF 2018 LEAGUE OF LEGENDS COLLEGE CHAMPIONSHIP

DigitalUnicornMag.com | 25

HIGHER ED & ESPORTS PROGRAMS

Why Not Major in Video Games? BY JOHN SAILORS

For decades parental logic was stern: Sitting around playing video games will not get you anywhere in life. Today, though, video games and esports offer a variety of education and career opportunities. With the revenues involved, the serious gamer may soon join the doctor, the lawyer and others on parents’ lists of favored professions. As a parent of a college-age gamer, this info was anything but new. In researching it further, though, a few things became clear: The esports industry has grown, U.S. institutions have responded and educational pathways have been laid. Esports programs have gained traction—meaning higher ed has officially embraced esports. What follows is an overview of the educational possibilities. 26 | DIGITAL UNICORN Q4 2020

VIDEO GAME ECONOMICS As an economic force, video games have scored big. In May, Tom Wijman for Newzoo (with analysis focused heavily on shifts in the video game industry) estimated that “2020’s global games market would generate revenues of $159.3 Billion” for growth of about 9.3 percent over 2019 and a total 2.7 Billion gamers worldwide. Wijman also said that—combined across platforms (desktop, mobile and console)—the video game market may generate $200 Billion in annual revenue by 2023. It is worth noting: The market spiked in 2020 given a boost from COVID-19 lockdown measures which meant people were forced indoors. Esports have taken off, too. Fans can watch their favorite pro-level

“League of Legends” and “Call of Duty” teams compete on streaming platforms or on ESPN in between traditional sports programs. Newzoo projected esports revenues may reach $1.1 Billion this year (mainly via ads, sponsorships and media rights) while attracting an audience of 495 Million globally. Esports’ reach has pointed to an even bigger future. The popularity of some games crosses borders more readily than it does for traditional sports, only a few of which are truly global. (Soccer has yet to be fully embraced in the U.S.) VARSITY-LEVEL ESPORTS Schools across the country have paid attention, offering courses in game design for some years. Students have studied the technical side, gaining programming skills

UCI Anteaters huddle together during the 2019 League of Legends College Championship.

$159.3 BILLION —IN USD—IS WHAT 2020’S GLOBAL GAMES MARKET MAY GENERATE (SOURCE: NEWZOO)

useful in numerous industries. Or they have studied art and production, learning to develop and market video game content. Others have chosen management: event, player and/or league. Formal esports programs have emerged at hundreds of U.S. colleges and universities. At last count, the Nat’l. Assoc. of Collegiate Esports reported 214 member schools, 5,000-plus student athletes and $16 Million in scholarships and aid. NACE is one group that has helped organize collegiate esports. Varsity-level teams at large and small institutions alike compete in tourneys dedicated to everything from “Overwatch” to “Madden NFL.”

Some schools have built esports arenas which compete in size and cost with traditional stadiums. A focus on esports can be a perk for game-minded students—even if their parents frown on it. More and more, higher ed is inclined to embrace formal varsity esports programs in lieu of Video Game Clubs. In April 2019, though, collegiate esports programs lost an endorsement of sorts when the NCAA Board of Governors decided to not take them under its governance. It cited two main concerns: 1. Esports are predominantly played by males, an equity issue the NCAA has come up against elsewhere. DigitalUnicornMag.com | 27

2. A number of video games are deemed M-rated for “mature” (i.e., violence, profanity), which the NCAA views as counter to its image. Ergo others have stepped in: NACE, the American Collegiate Esports League, the Electronic Gaming Federation and—at the high-school level with emphasis on STEM—the North American Scholastic Esports Federation. ESPORTS MANAGEMENT A handful of U.S. schools have gone a step further to develop degree and certificate programs in esports management itself. Students are said to learn skills needed to oversee teams and plan events, often with hands-on experience gained working for the schools’ varsity programs. Esports, after all, have similar needs to football, baseball and basketball: • Team Management • Marketing/Merchandising • Planning & Overseeing Events Esports management requires other skills, too: Esports execs, for example, need to have a greater handle on streaming technology, video editing and social media networking. Platforms used heavily include Twitch, YouTube and Twitter. Various schools have thrown their virtual caps in the ring. As the esports industry is still emerging in the U.S., its colleges and universities have taken differing approaches. The graphic- and game-design focused publication “Animation Career 28 | DIGITAL UNICORN Q4 2020

Collegiate esports programs like UCI’s train athletes, broadcasters, etc. (IMAGES: UCI Esports)

Review” compiled a list of what it called 10 leading programs. Four are profiled here. Ohio State University In 2018, OSU launched an interdisciplinary curriculum that spans five colleges. Aiming for a robust program, it began by offering courses in both esports management and game design. A sampling of skill areas emphasized includes: game art, game production, programming, the business of gaming and health/ rehabilitation. Becker College Located in Worcester, Massachusetts, Becker College began developing its video game

education program in 2018. It added a Bachelor of Science esports management program, having designed its curriculum around face-to-face coursework that covers: event planning, streaming technology, business planning, marketing, etc. University of California-Irvine UCI students can pursue Bachelor of Arts and MBA degrees and/or certificates in esports management with core units focused on: social media, event management and operations. UCI gamers have competed nationally, ESPN tracking a few in the “Good Game: UC Irvine” docuseries in the lead-up to a 2019 League of Legends College Championship.

Shenandoah University Located in Winchester, Virginia, Shenandoah put together a multitrack esports major. It has offered, for example, an esports minor and an esports Media & Communications track. The school’s programs are said to center on: international experience, internships with game developers and hands-on work for the school’s varsity esports teams. OTHER GAMING DEGREES Video game design programs have been around a bit longer, offered at numerous schools and often with a focus on design and programming, art and production or both. Since 2010, “The Princeton Review” has ranked the Top 50 Undergraduate Colleges to Study Game Design at. Topping its 2020 list was University of Southern California (USC). Meanwhile, much smaller Becker College has made the list each year. In 2020, it ranked at No. 2. Becker offers a Bachelor of Arts in Interactive Media Design and an MFA

in Interactive Media. While enrolled in the BA program, students choose concentrations aligned with tasks tied to video game creation: • Game Arts, Audio or Design • Game Production & Management • Game Development & Programming Featured next on that Top 50 list were: NYU’s New York City campus (No. 3), DigiPen Institute of Technology in Redmond, Washington (No. 4), and Rochester Institute of Technology in Rochester, New York (No. 5). Music, too, has played a central role in the video game experience. Composing for video games is said to present its own challenges, just as scoring for Film & TV does. Some U.S. music schools have developed coursework to prepare their students. In Boston, Berklee College of Music offers a minor in scoring for video games and has partnered with other colleges which offer game

TOP 5

U.S. COLLEGES TO STUDY VIDEO GAME DESIGN AT: 1. 2. 3. 4.

USC – CALIF. BECKER COLLEGE – MASS. NYU – NEW YORK CITY DIGIPEN INSTITUTE OF TECHNOLOGY – WASH. 5. ROCHESTER INSTITUTE OF TECHNOLOGY – N.Y. (SOURCE: THE PRINCETON REVIEW)

As the esports industry is still emerging in the U.S., American colleges and universities have taken differing approaches. Student gamers and esports fans test out UCI Esports Arena offerings at a 2016 grand opening.

DigitalUnicornMag.com | 29

At last count, the Nat’l. Assoc. of Collegiate Esports reported 214 member schools, 5,000-plus student athletes and $16 Million in scholarships and aid. design programs. This has given its music majors a chance to develop hands-on skills as they interact with video game developers and publishers. The results span genres like: chiptunes (melodies common to early video games), video game soundtracks and video game scores—the latter two as complex and orchestral as film scores. Fans today can purchase and play their favorite video game themes, such as music from Mario Bros., as performed by symphony orchestras, jazz combos, etc. ‘REAL-WORLD’ APPLICATIONS As for the merits of it all, parents and schools may have remained skeptical; video games are still viewed as unhealthy in many ways. In the age of digital interface, large doses of screen time are

chided. Video game addiction and the violence portrayed in popular titles have also led to a pause. Yet, emerging research has pointed to gaming’s positive sides. A team at UC Irvine set out to observe students, parents and coaches during UCI’s 2018 Spring esports season. That team made some surprising discoveries and was led by Constance Steinkuehler, PhD, a professor in the Dept. of Informatics. As a senior policy analyst for the White House under President Barack Obama’s lead, she focused on science, tech, games and digital media. Steinkuehler is also founder of the Higher Education Video Games Alliance—a national network of game-related programs. While at University of Wisconsin-Madison, she assisted its Center for Healthy Minds with “translating interventions” to digital media and games for mainly

In 2016, UCI’s Esports Arena opened with the support of fans from Orange County and beyond. 30 | DIGITAL UNICORN Q4 2020

youth populations. Her work at UCI is focused on the cognitive and social aspects of multiplayer online video games and esports: teenage boys and gameplay, parenting and video games, etc. In follow up to the recent UCI study, she described “positive changes” in behavior: • Students moved quickly from focusing on their own play to team spirit. It became, “We lost,” and, “How can we improve?” • The games motivated students (in clubs or alone) to create websites and fill pages with expository writing and promotional media—skills useful in many careers. • Simultaneously, students studied their gameplay and stats to learn how to improve their skills. They applied math and statistics in real-world applications. Very importantly, those students also showed they could learn to manage their emotions and get along with others at team and/or league levels. At a time when social media has reinforced that the world revolves around “me,” the shift in focus to “we” is reassuring. If video games can do that, there are no losers. EDITOR’S NOTE: Up your math and statistics game. Read “Get Yer Esports Stats Here!” also by John Sailors at DigitalUnicornMag.com.

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THE SHOW(S)

MUST GO ON! It’s Not ‘Live’—but Party Like It Is

BY MANNY FRISHBERG This has turned out to be a bad year for shows. Bad for anything called a show. Movie and TV productions shut down while directors pondered how to shoot socially-distant love scenes. On-and off-Broadway “live” theatre, as well as regional theatres across the U.S., took a hit. Bad year for live music, too, from orchestral concerts to touring acts to the neighborhood blues band playing for tips at a local tavern. It has even been bad for baseball. The Major League, aka “The Show,” was plagued by teams whose entire rosters seemed to contract the novel coronavirus—forcing postponements and cancellations. Still other kinds of shows have fared badly. Trade shows, exhibitions and all variety of conventions have been forced to cancel their 2020 IRL plans. Some are gone forever. Others are rescheduled for 2021, fingers crossed! Any which have gone ahead have had to find ways to: Gather without gatherings, get together without being together. 34 | DIGITAL UNICORN Q4 2020

YOU KINDA HAD TO BE THERE Within one week of the World Health Organization labeling COVID-19 a pandemic on March 13, 2020, major expos like Facebook’s F8 Developers Conference and the Austin-based annual extravaganza of technology and culture that is SXSW (South by Southwest to the uninitiated) were cancelled. Tech giant Google reverted to form, holding its Cloud Next 2020 event. IBM not only moved its Think conference from San Francisco’s

“I have

zero interest

in putting on a virtual conference.” – Joe Hage

producer of 10x Medical Device Conference

Moscone Center to the internet but added a number of localized Think events around the country. Fortunately, as the world has been demonstrating, internet connections are fast enough and bandwidths

80-ish

U.S. THEATRE COMPANIES NOW STREAM PERFORMANCES

5000+ 27,000 FANS MIGHT HAVE FLOCKED TO CONZEALAND

(SOURCE: WORLD SCIENCE FICTION SOCIETY)

(SOURCE: VIMEO BLOGGER ROBYN SHOWERS)

(SOURCE: ACTOR’S EQUITY)

robust enough to make room for any size virtual meeting or event. Unfortunately, for some, nothing is like being there. Joe Hage has produced the 10x Medical Device Conference since 2013 but chose to cancel the 2020 San Diego event slated for April. Hage said he simply did not think he could replicate the experience of being at one of his live conferences, designed to be social networking opps for folks in the medical device industry rather than typical trade shows or industry conventions. The irony is that the genesis for Hage’s 10x events was had online. It began with a now largely dormant LinkedIn group that ballooned to 75,000 members pretty quickly in 2012 and now has more than 300,000 members. The good news is Hage was able to pull off his first scheduled event of 2020—held in London this past February—without a hitch. “I have zero interest in putting on a virtual conference,” Hage told Digital Unicorn in an exclusive interview. “The reason I created the (10x) event in the first place is that I wanted to

“ATTENDED” 58TH ANN ARBOR FILM FEST—17K MORE THAN TICKETHOLDERS ALONE

meet the people (from within the medical device) community in person. “(Its typical agenda) is 50 percent speakers, 50 percent ‘Let’s just sit down and have a meal.’ When physical meetings became impossible, I said: ‘There’s no way I could hug you virtually and there’s no way I can do my Ice Cream Social. So, what’s the point?’” Hage said he has been able to accomplish most of what he does at those conferences during his weekly open conference calls and was glad to not have to spend entire days sitting at his desk. THERE’S NO PEOPLE LIKE SHOW PEOPLE Pop culture is one area of American society that has adapted relatively quickly to the new reality. During the 1918 influenza pandemic, America’s stages went dark en masse. Unlike then, help from modern technology meant the response from U.S. regional theatres could differ today. Deadline.com noted that Actors’ Equity—a stage actors’ union—is working on new streaming-media

agreements with regional theatre producers to make ticketed performances available online for one-time viewing. Actors’ Equity reported that, as of April 2020, roughly 80 theatres across the nation had begun streaming performances online. Anime, a genre full of wildly popular Japanese animation programs, had already developed a rich subculture of fans and followers. At annual conventions members have routinely cosplayed together, watched new and specially-produced cartoon content and discussed the fine points of the art form. They have taken part in panel discussions and parties in and around the usual convention sites. A majority of those events have been fan-inspired and -run. 2020 and coronavirus changed all that. In April, “Japan Times” culture reporter Roland Kelts wrote that hundreds of Anime cons (most bringing together thousands of fans from Paris to Toronto, Seattle to Tokyo) had to be cancelled or postponed due to pandemic spread. Among them was AnimeJapan, a major industry trade fair often held in DigitalUnicornMag.com | 35

Virtual Con—Like a Pro! Event planner Karen Anderson kindly offered to share lessons learned by volunteering to work the May 2020 Nebula event weekend with the Digital Unicorn crowd. Feel free to apply her (4) Tips for a Successful Virtual Conference:

SET A LIMIT.

DEVELOP A SYSTEM.

GIVE IT A TEST RUN.

KNOW IT’S 8X AS BAD.

Limit the number of platforms reached across. If instructions for using Discord are on Google Docs but cannot be located, so you then have to send somebody an email—but the only way to reach them is via a Slack channel? Expect them to be busy running a Zoom conference.

Develop a basic problemmanagement system. Pronto. There should be a whole system in place that deals with event management. Have one component deal with what is working and one component deal with what is not working (aka problems: big and small).

Try, try, try … in advance. Be sure presenters are fluent with Zoom, for example, and that what they plan to present is Zoomable. Do this before launch. The pre-Nebula cocktail event mimicked a few presentations and private parties expected at the online conference. It helped!

Virtual interaction is different, making it extremely hard to do anything that involves audience participation. There are delays, people’s audio may not be good, strange noises chime in—and/or “people don’t shut up.” Everything to do with managing an audience is eight times as bad online.

March and based in Tokyo. Funimation Global Group, a U.S. importer and distributor of Japanese Anime, is one enterprise that tried to fill that gap by producing a virtual Anime con of its own: Funimation 2020. As told to Ollie Barder at “Forbes,” the group’s CEO Colin Decker said that “when events started to cancel due to COVID-19, we felt an obligation to do whatever we could to fulfill this need on behalf of the Anime community, … for the love of Anime and to bring fans together during a time when we couldn’t gather in person.” While it was the group’s first foray into producing a virtual con, it 36 | DIGITAL UNICORN Q4 2020

had previously taken part in dozens of such shows and had extensive website streaming capabilities fans could tap into. BEAM ME DOWN, ZOOM-Y In the next universe over are Science Fiction and Fantasy cons, also largely fan-inspired and -run. Sci-Fi cons have been going on unnoticed by the wider world since the late 1930s. Yet, dozens of such annual conventions often attract a few hundred to a few thousand of the following: • Costumers & Cosplayers • Video & Tabletop Gamers • Agents & Publishers’ Reps

• Artists, Writers & Filksingers Yep, filksingers—entertainers who write and perform folk songs with a Sci-Fi bent (i.e., space chanteys). Many of these assorted attendees have been known to frequent the World Science Fiction Convention (connected to the World Science Fiction Society) which travels country-to-country each year and by itself attracts several thousand people. The 2020 Worldcon (aka CoNZealand) was scheduled to be held in the “Kiwi” capital city of Wellington. There were 10 weeks or so to reshape it from an in-person event expected to attract 5,000

“Right out of the gate, (she) committed to an online model that would deliberately replicate all the positive experiences one would have in real life.” – Karen Anderson

volunteer & prof’l. event planner

people to a globe-spanning virtual event. Tom Whitmore, who had helped Hage run events and has served as a volunteer at MidAmeriCon (Kansas City), etc., worked the virtual iteration. He said the amount of money needed to set up a conference as large as this one via computers was comparable to renting a convention center large enough to house other Worldcon events. A SMALL NEBULA On a much smaller scale was the annual Nebula get together sponsored by Science Fiction and Fantasy Writers of America. In addition to a banquet at which one of the literary genre’s highest honors is awarded, SFWA presents this weekend-long conference for professionals and fans. Events range from panel and small-group discussions to parties and mixers. Taking the event digital this year fell to the organization’s current president, author Mary Robinette Kowal. Karen Anderson, herself a writer and both a volunteer and a professional event planner, worked the Nebula weekend and said Kowal’s determination to bring as much of the live experience online as possible made this year’s event especially memorable.

“Right out of the gate,” said Anderson, “(she) committed to an online model that would deliberately replicate all the positive experiences one would have in real life. “That included hallway meetings and small, private chats,” she added, describing some of the breakout spaces arranged by interests and open for Nebula participants to virtually wander through. “There was a crafting session where people brought their knitting. There would typically be six to 10 people in the room.” In an effort to imbibe its newlyvirtual Cocktail Party with a bit of “social lubrication,” Anderson told DU, Nebula organizers hired two very real bartenders: “You would arrive at the bar and they would say, ‘What have you got in your house?’ Hmmm. “I’ve got orange juice and Cointreau.’ They would then say, ‘This is what you can do with it.’” Participation in the Nebula weekend event cost the same $135 it would have had it been live. REAL LEMONS, VIRTUAL LEMONADE The challenges associated with turning a live event into a virtual one can be daunting. But by applying a bit of creativity and leveraging the right technologies, holding a convention in cyberspace has proven to deliver

unique experiences and offer genrespecific fans wider access than a live event may be able to. Organizers of the 58th Ann Arbor Film Festival held in Michigan had less than two weeks to pivot from their planned 2020 screening and presentation events to a virtual format prior to a March 24 start. Yet, noted Vimeo blogger Robyn Showers, the fest wound up expanding its audience from 10,000 actual ticketholders to 27,000 remote viewers from across 50 countries—who watched a total of 16,000 streams. No one has to figure out how to go virtual on their own, either. Open-source enterprise software maker SourceForge made a list of 70-plus virtual event platforms, citing advantages and strengths. Zoom was said to accommodate up to 100 participants talking to one another in a single, virtual meeting with up to 10,000 onlookers. Meanwhile, the BlueJeans platform (a Verizon property) has been hosting ondemand content: live events, trade shows, trainings, etc. Whenever an end to the pandemic does arrive, virtual events may remain part of the new normal. Live streaming events and online content accessed from any location at any time can make people wonder how they ever did it before. DigitalUnicornMag.com | 37

50 Y

AWESOME FILMS OF THE PAST

must-see movies:

1970 S

LEGEND: “Film Title” (Year) Genre(s) Director | Runtime Recap, review or highlights in < 50 words.

38 | DIGITAL UNICORN Q4 2020

FILM REVIEWS BY CHRISTINE G. ADAMO

“Harold and Maude” (1971) Cult, Romantic Comedy Hal Ashby | 91 min.

As a film fest insider and arts reviewer, I’ve learned that turning folks on to lesser known indy, art, cult and foreign films can be awesome. It opens up whole new worlds for them! I’ve also learned that, bona fide critic or not, it’s crucial to have a basis of comparison to rest your Cannes, SXSW or everyday film lover laurels on. Meaning? If a celluloid snob you must be, be willing to watch anything. What follows is a recap of five awesome flicks per decade (beginning with the 1970s)—plus one bonus title per—and other celluloid gems! Gen X, Gen Y or Millennial: Check ’em out at a local library, pull ’em up online or stream ’em across that smart TV.

Played by Bud Cort, Harold has a habit of getting in his uppity mother’s way. Bored being rich, he’s lured away from the usual pastimes of faking his suicide or obsessing over death by decades-older Maude (Ruth Gordon) and her zest for life. “American Graffiti” (1973) Comedic Drama, Drag Racing George Lucas | 110 min. True movie fans get giddy when they spot celebs at early points in their careers. The cameos and lead roles here are filled by then-upand-comers Ron Howard, Suzanne Somers, Wolfman Jack, etc. It’s full of classic cars and late-night antics, too.

YEARS

’70s, ’80s, ’90s — and then some! “Badlands” (1973) Action, Crime Drama Terrence Malick | 94 min.

“Mahogany” (1975) Drama, Fashion, Romance Berry Gordy | 109 min.

“Mad Max” (1979) Action Adventure, Sci-Fi George Miller | 88 min.

Loosely based on a true story, Martin Sheen and a super young Sissy Spacek pair up to make life interesting in a dead-end town outside of South Dakota’s badlands. The result is an on-the-run killing and foraging spree tinged with romance.

Travel from the gritty streets of NYC to Italy’s glam fashion scene and back again. Diana Ross is Tracy; Billy Dee Williams her love interest, Brian. As sadistic fashion photographer Sean, Tony Perkins makes his “Psycho” roles seem tame by comparison.

Released first in Australia and then the U.S., this initial Mad Max franchise film is a must if you like dystopian films and apocalyptic action thrillers. Eschew all other films in the Mel Gibson canon guilt-free but do see this one.

Bonus Title: “Bedknobs and Broomsticks” (1971) – Animated Fantasy

When Mother surprises him with a blind date, Harold (Bud Cort) humors her by turning on the charm—briefly. “Harold and Maude” (1971) co-stars Ruth Gordon as his true love interest.

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1980 S “Adventures in Babysitting” (1987) Comedy, Action Adventure Chris Columbus | 102 min. Campy? Yeah. Creative? Totally. This ain’t no typical teenage drama: “Help! I’m stuck watching these brats—and they’re driving me nuts.” If you have a soft spot for Chicago or for comic book hero Thor, be on the lookout for related references. “The Elephant Man” (1980) Drama, Historical Biography David Lynch | 124 min. Polished yet tender, this B/W film produced by Mel Brooks delivers blow after blow. Raw yet refined, it depicts the tragedies and triumphs of John Merrick as deftly portrayed by John Hurt. He, Anthony Hopkins, Anne Bancroft, et al., are superb.

“The Bride” (1985) Horror Fantasy, Romantic Drama Franc Roddam | 118 min. I first saw this film in Bolivia, stumbling on the marquee while traipsing around with a hunky Dane. That amped up the ambiance, sure, but its unique twist on the Frankenstein story endures. Sting, Jennifer Beals, Quentin Crisp and all others are superb. 40 | DIGITAL UNICORN Q4 2020

“Fast Times at Ridgemont High” (1982) H.S. Comedy, Drama Amy Heckerling | 90 min. Pre-dating “Ferris Bueller’s Day Off” (1986), this one’s grittier and has a more diverse cast than that or similar fare: “The Breakfast Club” (1985), “Sixteen Candles” (1984), etc. Sean Penn, as burnout Jeff Spicoli, is a riot. Other highlights? The music. And Phoebe Cates.

“Wings of Desire” (1987) Foreign, Dramatic Fantasy Wim Wenders | 128 min. What can come of combining angelic forces, stark German architecture, Peter Falk of TV’s “Columbo” fame and Nick Cave and The Bad Seeds? A stirring film with a scattered soundtrack well-suited to everyone from punk rockers to disaffected circus hands.

Bonus Title: “Come and See” (1985) – YA Wartime Drama

“The Bride” (1985) is a lush, languid, adult-eyesonly twist on the Frankenstein story. One part horror, one part fantasy its cast is superb.

Those with a steampunk sensibility and surrealist bent will enjoy “The City of Lost Children” (1995). This French Sci-Fi/Fantasy film is as action-packed as it is wondrously unique.

1990S “American Movie” (1999) Documentary, Filmmaking Chris Smith | 107 min.

“Election” (1999) H.S. Comedy, Romantic Drama Alexander Payne | 103 min.

“Schizopolis” (1996) Satire, Comedic Fantasy Steven Soderbergh | 96 min.

Mark Borchart and entourage deliver some of the best lines and wackiest scenes in documentary film. Think “Grey Gardens” (1975) goes Midwest, Borchart and bestie Mike Schank as Big and Little Edie. And, remember: “There’s something to live for! Jesus told me so.”

More comical than “American Beauty” (1999), don’t let the Reese Witherspoon connection fool you: Her Tracy Flick is a main selling point. Matthew Broderick slays the role of H.S. teacher Jim McAllister and Colleen Camp crushes the part of Tracy’s mother, Judith.

Scientology-style subversion, corporate life and class wars collide in this indy spin on self-help and self-doubt. Doppelgangers, facial tics and nonsensical jargon provide relief in a world that now leaves little room for suspended disbelief. “Nose army!” And you’re welcome.

“The City of Lost Children” (1995) Foreign, Sci-Fi/Fantasy Marc Caro & Jean-Pierre Jeunet | 112 min.

“Jackie Brown” (1997) Crime Drama, Comedy Quentin Tarantino | 154 min.

Steampunk surrealism lights up every frame of this action-packed French film. Cast includes Ron Perlman, as One, and also Dominique Pinion— recognizable from “Delicatessen” (1991), “Amelie” (2001) and “Micmacs” (2009). For a similar mood see “Dark City” (1998).

Bonus Title: “Strictly Ballroom” (1992) – Dance, Romantic Comedy

Pam Grier’s always been a badass. Here? Tarantino wrote her a lead role worthy of that. As with his other films, the soundtrack’s killer—full of funky R&B. Props also to Robert Forster, Sam L. Jackson, Chris Tucker, Robert De Niro and Bridget Fonda.

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2000S “AEon Flux” (2005) Sci-Fi, Action Adventure Karyn Kusama | 93 min.

“New York Doll” (2005) Rockumentary Greg Whiteley | 75 min.

Break out the pommel horse and yoga mat! You’ll wanna perfect the moves Charlize Theron and cast whip out in this big screen adaptation of the eponymous MTV animated series (1991-1995). Films this rich in color, texture and detail are rare.

Quirky but shy Arthur “Killer” Kane is wildly endearing. Original bassist for punk pioneers New York Dolls, this is his story. High points: Kane at home and at work, Dolls’ rehearsal sessions, live concert footage, informed interviews, the streets of L.A. and timeline graphics.

“The King of Kong: A Fistful of Quarters” (2007) eSports Biography, Comedy Seth Gordon | 79 min. The Gen X crowd gets to relive its youth via this hilariously offbeat film. Real life characters range from Donkey Kong 1,064,500 point-scoring Steve Wiebe, his wife and his kids to Granny—Q*Bert fan and Guinness Book 2007’s oldest competitive video gamer.

“In the Realms of the Unreal” (2004) Arts Biography, Animation Jessica Yu | 71 min. Meet reclusive janitor Henry Darger, a posthumous Outsider art legend. Amid confusion over how to pronounce the 15,145-page novelist and artist’s name rests a hard-luck story awash in animation. Oh, the glorious animation! After seeing it I emailed the director my thanks.

Given carte blanche, the subject of this doc (above) mused: “I will make ‘Dune!’” See how far he got and how far, far away his concepts had an influence in “Jodorowsky’s Dune” (2013).

“Sexy Beast” (2000) Mob Thriller, Romance Jonathan Glazer | 89 min. Like a U.K. reply to “Goodfellas” (1990), this film opens hot—set to a tune by The Stranglers—and, no, never lets up: “No, no, no, no, no, no, no, no, no!” Ben Kingsley, Ray Winstone, Amanda Redman, et al., give tour de force performances.

Bonus Title: “Air Guitar Nation” (2006) – Rockumentary

Director Jessica Yu and an amazing crew bring the all-but-hidden legacy of Henry Darger to life with “In the Realms of the Unreal” (2004). Dynamic animation and narration are high points. 42 | DIGITAL UNICORN Q4 2020

David vs. Goliath story stretches from “Alien,” H.R. Giger and Salvador Dalí to Pink Floyd. “Marwencol” (2010) Arts Documentary Jeff Malmberg | 83 min. Sharing the nuts and bolts of this film without giving away too much is tricky. Suffice it to say that any sentient being fond of action figures, war stories, ingenuity and human triumph will walk away with their mind blown. Or, at least, pried opened.

2010 S “The Great Beauty” (2013) Foreign Drama, Satire Paolo Sorrentino | 141 min. In this case, “La Grande Bellezza” may be knowing there’s no need to leave home to enjoy the opulence afforded Rome’s glitterati. Tender moments abound as captured in the film’s sweeping vistas, musical score and intimate scenes. Toni Servillo, as Jep, is exquisite. “Jodorowsky’s Dune” (2013) Sci-Fi Documentary, Fantasy Frank Pavich | 90 min. Art/cult film director Alejandro Jodorowsky and his grand vision for adapting Frank Herbert’s 1965 Sci-Fi novel “Dune” are profiled here. Raw, energetic and oozing personality, this

The Zero Theorem (2013) Cult, Sci-Fi/Fantasy Terry Gilliam | 107 min.

Bonus Title: “Starbuck” (2011) – Comedic Drama, Romance

On a (film) roll? Don’t stop! See these: • 1960s: “Lolita” (1962) • 1950s: “Ikiru” (1952) • 1940s: “Abbott & Costello Meet Frankenstein” (1948) • 1930s: “M” (1931) • 1920s: “The Thief of Bagdad” (1924) • 1910s: “The Cameraman’s Revenge” (1912)

As a “worker bee,” it’s hard to stave off existential crises; to not wonder why one slaves away for “nothing” when those leading a tech revolution won’t provide simple answers. Like “Brazil” (1985), this film comes fully loaded. There’s also Tilda Swinton. “What We Do in the Shadows” (2014) Mockumentary, Vampires Jermaine Clement & Taika Waititi | 86 min. Finally, a film fans of the HBO “Flight of the Conchords” series can sink their incisors into! These vampires are just trying to get by in modern times. See how they negotiate dating, daylight, blood baths and breakdancing. A Funny or Die film.

Shelley Winters, James Mason, Sue Lyon and Peter Sellers are deliciously combustive in Stanely Kubrick’s “Lolita” (1962). Despite nine nominations, only Lyon snagged an award: 1963 Golden Globes Most Promising Newcomer, Female.

Got a film suggest?

Feel a need to splice and dice the lists you just read? Email our trusty Editor-in-Chief: Editor@DigitalUnicornMag.com DigitalUnicornMag.com | 43

2021

COMIC BOOK SCENE: FIRST TIME IN PRINT

Four ‘comiXology Originals’ Titles Bound for Stores

BY DIGITAL UNICORN STAFF Comic books and graphic novels can appear to occupy a small wedge of a household’s overall entertainment spend and footprint compared to video games, movies, music, magazines and other media. That industry, however, has continued to grow year after year. Research resource Comichron said print and digital sales in Canada and the U.S. totaled $1.21 Billion in 2019—up 11 percent from 2018. John Jackson Miller, who helped collect the data, noted: “Print comic sales had never before topped $1 Billion in current dollars; one has to go back to the boom of the early 1990s to find sales at or above that level when adjusted for inflation.” Digital downloads alone took in a $90 Million hunk of change. Looking back on 2011, Bridig Alverson for Comic Book

44 | DIGITAL UNICORN Q4 2020

Resources said comiXology would hold “the lion’s share” (76 percent) of 2011’s estimated $25 Million digital comics market thanks to $19 Million in gross merchandise value. B2B intelligence firm PE Hub predicted that $19 Million would “jump to about $70 Million” in 2012. What had morphed into a market-share leader began as a digital comic book app launched by CEO David Steinberger in 2007. ComiXology was then acquired by Amazon in 2014. For some, it has become the No. 1 place to find mainstream titles from major players (i.e., Marvel, DC) and to discover titles by creators worldwide who self-publish using comiXology Submit.

FIRST TIME IN PRINT! These days, fans of digital comics can subscribe to comiXology’s monthly streaming service. If collecting physical copies is still “a thing” in your household, though, we have news for you. In 2021, four Eisner Award-winning graphic novels from the “comiXology Originals” line—on the whole, exclusive digital content only available via comiXology and Kindle— will debut in print. Dark Horse Comics is slated to handle printing and distribution of the color, 136- to 152-pg. titles. MSRP for each is said to be $19.99 USD ($25.99 CAD): “AFTERLIFT” 978-1-5067-2440-9 Feb. 2: bookstores Feb. 3: comic shops

“Youth: Season One” 978-1-5067-2461-4 April 6: bookstores April 7: comic shops

“Breaklands” 978-1-5067-2441-6 March 2: bookstores March 3: comic shops

“The Black Ghost” 978-1-50672-446-1 May 4: bookstores May 5: comic shops

SOURCE: BRIGID ALVERSON FOR CBR

“What had morphed into a market-share leader began as a digital comic book app launched by CEO David Steinberger in 2007. ComiXology was then acquired by Amazon in 2014.”

SOURCE: COMICHRON

While ISBNs and release dates are helpful, DU gathered additional details of interest (see next page). Complete synopses can be found at comiXology.com.

$1.2 Billion 2019 TOTAL COMIC BOOK SALES IN THE U.S. AND CANADA: PRINT/DIGITAL

76 %

COMIXOLOGY’S ESTIMATED SHARE OF 2011’S $25 MILLION DIGITAL COMICS MARKET DigitalUnicornMag.com | 45

“AFTERLIFT” Quick & Dirty Recap: Janice Chen ditched her day job in finance to drive for a ride-sharing app. But will she go through Hell and back? | This 2020 Eisner Award-winning series was written by Eisnerrecipient Chip Zdarsky, known for his work on “Sex Criminals” and Marvel Comics. Featuring art by Jason Loo (who worked on “The Pitiful HumanLizard”), colors were handled by Paris Alleyne, letters by Aditya Bidikar and editing by Allison O’Toole.

“YOUTH: SEASON ONE” Quick & Dirty Recap: Franklin and River have struggled with family, friends, high school, work drugs—the pressures of growing up. Yearning to escape small town bigotry, the queer couple steals a Mustang and hits the road. Destination: California. Will they party too hard? | Written by Curt Pires with art by Alex Diotto (co-creators of “Olympia”), this title was colored by Dee Cunniffe and lettered by Micah Myers. A sequel underway, the series is being developed for TV by Amazon Studios.

“BREAKLANDS” Quick & Dirty Recap: Humanity uses its newlyhoned psychic powers to reinvent the world. Nearly everyone possesses powers of varying degrees and potential for danger, except for teen outsider Kasa Fain. When her younger brother is kidnapped, everything changes. | This title was written by Justin Jordan, co-creator and writer of “The Strange Talent of Luther Strode.” Also of note are art by Tyasseta, colors by Sarah Stern and letters by Rachel Deering.

“THE BLACK GHOST” Quick & Dirty Recap: Lara Dominguez has been chasing that one, big story—traveling to the Middle East before trading hometown Miami for Creighton, a mid-Atlantic city that’s crumbling. Craving a viral hit, she pursues The Black Ghost: a masked vigilante targeting wealthy oligarchs. Lara confronts corruption, virtue and demons. | Co-written by Monica Gallagher and Alex Segura, it features art by Marco Finnegan and George Kambadais. Color was laid down by Ellie Wright with lettering by Taylor Esposito and editing by Greg Lockard.

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More “comiXology Originals” titles are said to appear in print sometime in the future.

CREATORS & COMIXOLOGY SUBMIT

ive years ago Digital Unicorn publisher Steve Skura created a Sci-Fi comic book series (“Edge of Extinction”) using comiXology Submit, a platform launched in 2013 through which indie creators can upload their work for digital-distribution approval. Once approved, customers are then able to purchase those self-created titles by way of comiXology. “Comic book creators are very imaginative,” marveled Skura. “As a platform, comics allow them to bring their dreams to life on a large scale but on tighter budgets than filming indie movies might cost them—which is likely $5 Million or more per film. “ComiXology Submit offers creators, writers and artists a way to get great stories told, even if they tried but couldn’t get backing from another publisher. In researching it as a venue for self-publishing, I found that

creators were able to retain their intellectual property rights and a much larger percentage of eventual revenues compared to standard publishing agreements. “So,” he added, “there’s a reason the program has been successful. It’ll be interesting to see how much comiXology uses its award-winning Originals line content to occupy the traditional print space. Is there a chance comiXology will acquire Dark Horse, IDW or Boom! Studios? We’ll see. In the meantime, I’ll continue to support my favorite creators—both in stores and digitally.” With brick-and-mortar comic shops shuttered for most of 2020 but beginning to reopen, it may be time to make room in that humble abode for a few new titles. Say at least four? Digital sales have continued to grow, sure, but comic books remain one product true fans love to page through and enjoy in printed format.

DigitalUnicornMag.com | 47

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Innovators, Dreamers & Idealists

Meet 5 Standout CREATE-X Startups 136

230

total startups created

active startups

$60M+

different majors

jobs created by the largest startup

STARTUPS REPRESENTED THE COVID-19 NICHE ALONE

OTHERS FELL WITHIN THE SOCIAL, NETWORKING, GIG & COLLABORATION CATEGORY

$310M+

4000+ students involved

total valuation of all startups launched

highest total revenue by one startup

startups with women cofounders

CREATE-X DEMO DAYS are sponsored by Georgia Institute of Technology and were launched as part of a broader Georgia Tech initiative to “instill entrepreneurial confidence in students and empower them to launch successful startups.” The institute has opened up knowledge, skills, experiences and more to students looking to steer their future outcomes as entrepreneurs.

This past July, DU publisher Steve Skura, MBA, attended a Preview edition of Demo Day. Typically a live event, the online Gatherly platform this virtual event was hosted on opened up new experiences to him. Expecting a Zoom atmosphere and seminar-style pitches, he said that what he actually got was “much more engaging.” Read on to get a sense for what his Demo Day experience was like.

“There were roughly 70 booths total. I visited 15 and want our readers to know about the five I found to be the most interesting ….” – DU publisher Steve Skura, MBA, referring to CREATE-X Preview Day (July 2020)

50 | DIGITAL UNICORN Q4 2020

IMAGE CREDIT: DANA HICKEY

CREATE-X by the numbers

5 Standout Startups After logging in, Skura’s mouse cursor landed on what looked like the floor of a 2-D conference center. Booths labeled with startup names lined several such “floors”—each meant to represent, on the whole, a different sector. Major business categories included:

Copy Games was launched with the intent of discovering how board games could be played virtually alongside friends and family. Still in development, “Shadow’s Keep” is one of this startup’s virtual/board game titles and can be played by small or large groups. With so many people feeling stuck at home right now, it makes sense. Skura played a round and found the game “entertaining.”

Praan sought to build the world’s most low-cost, advanced, filterless and artificially-intelligent air purification systems. In speaking with Praan’s founders, Skura said he “got the impression their filtration technology might be able to filter air across large, indoor commercial spaces as well as homes.” Theirs is not only a large potential market, he added; a rapidly growing need exists in the sustainability space.

Melon’s goal is to offer efficient, cost-effective food delivery powered by improved logistics and curated offerings. The startup team said current delivery fees have become too expensive to be manageable for businesses or their consumers. With Melon there are no fees and no tipping. By encouraging advanced orders, Melon has been able to deliver food in time for lunch or dinner while keeping costs down.

Senteon’s founders launched an AI-powered cybersecurity program designed as an autonomous, all-inone solution for select markets (i.e., dental, health care). Rather than require a team of trained personnel to operate—thereby increasing business expenses and maintenance issues—Senteon’s turnkey solutions come at modern threats with an eye toward shoring up cybersecurity without the complexity.

• Niche: COVID-19 • Industrials (Smart City) • B2B Enterprise & Platforms • Apparel, Consumer Goods & Food • Health, Medical, EdTech & FinTech • Retail/Small & MediumSized Business • Social, Networking, GigBased &/or Collaboration In order to get around, Skura took an “elevator.” He was then able to explore the virtual event floor-by-floor and, if he wanted, startup-by-startup. Upon clicking near a booth, his cursor would jump to it. Once he arrived, a video popup enabled him to meet with that startup’s founders. “I thought it was a very engaging and personal way to conduct a virtual event,” said Skura. “Interestingly, the Gatherly hosting platform used had emerged from the CREATE-X program. There were roughly 70 booths total. I visited 15 and want our readers to know about the five I found to be the most interesting: Copy Games, Melon, Museq, Praan and Senteon.”

Online at:

Museq is meant to be an automated, all-in-one marketing platform for artists. Skura found it similar to Patreon in the way it connects fans with creators: “However,” he said, “Museq goes a step further by helping musicians grow their fan bases.” Upload a video performance, tell Museq which famous musician sounds most similar and choose a markeing goal. AI then takes over, targeting potential fans.

• CopyGames.MyPortfolio.com/Work • TryMelon.com • Museq.io • Praan.io • Senteon.co LEARN MORE ABOUT DEMO DAY,

the dozens of mostly seed-stage ventures represented in July and similarly-affiliated startups at CREATE-X.GATech.edu/. DigitalUnicornMag.com | 51

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PUBLISHER’S LETTER

The Legendary Final Word The rapid shift from traditional to digital channels (i.e., retail, entertainment) has been kind of scary. Maybe even destructive, though it has accelerated progress in the Virtual Event sector. The idea to broadcast rapper Travis Scott, in collaboration with “Fortnite,” for a multi-date “Astronomical” tour April 23 to 25 was groundbreaking. Epic Games said the event got 12 Million people watching. In other genres, the June 14 live-streaming global concert put on by Korean (K-pop) performers BTS found 750,000 fans attending at $35 USD per ticket. New virtual-event technologies seem to be popping up each month, offering more unique and engaging ways to experience (if nothing else) trade shows and conferences. Once virtual reality catches up, the ability for a fan to attend tech-fueled concerts from home using a VR headset—as one of hundreds of thousands of other attendees—will take engagement to a whole other level. The potential to scale is enormous! Musicians will be able to offer lower ticket prices while earning more in total revenue. Fans will be able to see their favorite bands at lower prices with entirely different experiences bundled in. Total concert attendance numbers near the 1 Million mark will become commonplace. For me, the potential future of events like these is exciting. Globally, esports has been an industry. Over the past few years, however, its U.S. market has begun booming. With hundreds of American colleges and universities offering esports programs, even high schools are planning national leagues, teams and tournaments. Statistica said the 10 “leading esports players worldwide” each stand to make $3.63 to $6.89 Million in 2020. Pro players with less notoriety have each earned up to $300,000 YTD playing their favorite games. Several esports startups have seen large fundraising rounds. And the overall theme I took away from researching esports education programs is that—aside from tapping into a lucrative field—they impart tangible leadership and business skills while training students to compete on teams. Those traits are valuable to cultivate, especially 54 | DIGITAL UNICORN Q4 2020

when you consider the introverts among us. Meanwhile, has the entertainment industry been hurt by COVID-19? In March, “The Hollywood Reporter” said the global entertainment industry raked in a record $101 Billion in 2019. Theater box-office sales accounted for $42.2 Billion; home or mobile streaming $58.8 Billion. Then at a standstill for months, production lagged as people craved entertainment. With theaters reopening, I hope things get back to normal. As a movie fan, I don’t want the box office tradition to fade away. Also, I still love to read print magazines and comic books. The folks who publish them have been struggling, too, right alongside related retailers. As our economy has slowly reopened, I’ve gotten back in the habit of supporting stores again. My advice for all of you? Support what you love with your wallets. In challenging times, businesses need our help to stay in business. When it’s safe, go to that restaurant. Visit the local coffee shop or bookstore. See a movie, too. If our favorite retailers and entertainment venues are to continue existing, they desperately need the revenue. A massive shift to e-commerce has been easy to make during the pandemic. But, as the risks subside, expand your comfort zone: Support “your” brands— especially local ones.

My advice for all of you? Support what you love with your wallets. In challenging times, businesses need our help to stay in business. When it’s SAFE, go to that restaurant. Visit the local coffee shop or bookstore. See a movie, too.

Kind regards,

STEVE SKURA, MBA Publisher & CEO, Digital Unicorn Publisher@DigitalUnicornMag.com

DigitalUnicornMag.com | 55

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Digital Unicorn - Volume 1, Issue 3, Q4 2020 - Wildly inspired content!

Articles inside

Higher Ed & eSports Programs

Digital Comic Book Publisher ComiXology Turning to Print

50 Years of Film

THE FUTURE OF FILM & TV: Entertainment as We Know It?

Create-X Demo Day: 5 Standout Startups

eSports Go Collegiate

Techno Revolution