NEW ADVENTURES:
The Strength of the Immersive Entertainment Industry
The Immersive Entertainment Industry was valued in 2019 at $61.8 billion,
prior to the onset of the COVID-19 pandemic. This market value reflects
tremendous growth in this exciting and unique industry.
This second annual report of the Immersive Entertainment Industry has quadrupled in length
over last year and still is just beginning to scratch the surface of the incredible variety,complexity, vastness, and impacts of the next generation of mass entertainment. This industry
continues to revolutionize entertainment as we know it, offering audiences a deeper
connection to innovative and creative work being produced around the world than ever before.
The following report aims to spotlight the best of immersive entertainment in 2019 while
continuing to offer observations, research, and guidance on where this industry is headed as awhole and how new creators can best learn from successes of the past on a quest for scaling,sustainability, and growth for years to come. This report is published for creators, journalists,
investors, and sponsors to obtain a better understanding of the incredible potential and promiseof the Immersive Entertainment Industry.

QUESTIONS ANSWERED
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How big is the industry? How fast has it been growing?
What are industry trends in reach, revenue, attendance, and value?
What are the industry’s most recent success stories?
What funding & investment opportunities are emerging?
How can the public better understand the variety of immersive experiences?
What impacts did immersive works in 2019 have on audiences and the industry?

KEY TAKEAWAYS
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Upward trend in the Immersive Entertainment Industry
2019 by-the-numbers industry impact and growth trends
As the buzz word wears off, true "immersive" works begin to stand out
At least 775 new immersive projects were created in 2019
Audience & creator surveys results reveal pricing, expectation, and reaction data
Opportunities for immersive sub-industries to connect through shared design
methodologies and business practices
New companies strive for a balance of innovation, risk, scale, and sustainability
Proposal for industry-wide standardized categorization and nomenclature of immersive
experiences defining experiences based on level of interaction, age-appropriateness,
category, and size of team / nature of funding

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TABLE OF CONTENTS
Publisher’s Preface

3

Author’s Preface

4

About

5

Executive Summary

6

Problem & Solution

9

Immersive Successes of 201910

By the Numbers

13

Creator & Audience Surveys
Creator Survey Results

16

Audience Survey Results

42

Further Defining the Immersive Entertainment Industry

57

Industry Life Cycle

60

Iteration

65

Competition

67

Industry Growth
Metrics for Success

69

Challenges

71

Social Impact

77

Industry Impact

78

ImpactImmersive Experience Rating System

82

Category of Work

84

Participation / Interaction Levels

86

Age Appropriateness90

Team & Resource Size

93

Graphic Representation of Rating System

97

Funding

100

Conclusion

102

Discover More

103

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PUBLISHER’S PREFACE
Destiny Deferred
A funny thing happened to, well, all of us on the way to publishing this year’s Industry Report.
If you’re reading this at the time of publication you know all too well what I’m referring to:
COVID-19. If you’re reading this a couple of decades from now and aren’t familiar with that
term, congratulations: you really had to be there and you’re glad you weren’t.
The preparation of the report, and the launch of the publishing entity — the HERE Institute —were well underway when word came down that we would not be able to release the report at
the first annual HERE Summit & Festival as intended.
We were left with a choice: scrap the research that had been done and kick the project down
the road until the dust had settled or finish what we began. We chose the latter, in large part
because the 2020 report is about where we were as much as it was about where we are going,collectively, as a field.
The accomplishments and the underlying issues have not been wiped away by the arrival of
COVID-19. The same triumphs and trials will remain as the world finds its new normal, which
as of this writing is still some unknown ways off.
What follows does not center on the Immersive Entertainment Industry as it stands at thismoment, but it is not offered in ignorance. You will find that the authors have flagged questions
related to the impact of COVID-19 throughout.
Nevertheless, to know where we are going we must know where we have been. The velocity of
our industry has changed because of the current pandemic, but it is our firm conviction that theenergy that fuels the immersive renaissance has not been destroyed. We already see that theinventive spirit of this industry’s creators has not been stymied by these trying times, with newforms of experiential work being produced across multiple disciplines and around the world.
We also know that when it is safe again for patrons to gather that the kinds of experiences thatthe immersive field has to offer are exactly what so many will be so sorely missing. For this is
not a time of rest, but restlessness, as we wait for the world to heal.
It is with that in mind that we offer up this snapshot of where we were, where we were going,
and where our destiny still awaits us.

Noah Nelson
May 20, 20203

AUTHORS’ PREFACELOOKING BEYOND THE CORONAVIRUS
With the HERE Summit & Festival planned for the weekend of March 27th, 2020, we weredeep into researching and writing this report when the COVID-19 pandemic took hold of theworld’s attention. Suddenly, this report about the successes and future of the Immersive
Entertainment Industry became far more valuable as a beacon of hope for the eventual return tonormal life filled with laughs, social gatherings, and live entertainment of all kinds.
This report was roughly 65% complete when the coronavirus began to shut the world down.
From early calls for social distancing to the increasingly narrow restrictions on gatherings andevents of any kind, it became abundantly clear that much of our industry would be hurt.
There has been no choice but to close down the world’s theme parks, escape rooms, andlocation-based entertainment of all kinds for months – an unprecedented move in the history ofthis industry.
But while this pandemic may have temporarily stunted the immediate growth of this industry, it
will not stop us.
So while the world paused to focus on keeping humanity safe and healthy, we completed thereport – not to register the current state of the industry, but as a record of how it was before thepandemic struck.
This report now presents a tremendously positive outlook for the future of immersive
entertainment and design. As society emerges from a time of social distancing, people will no
doubt be eager and excited to gather once again to enjoy all things immersive.
Further research and analysis of the overall impact of the coronavirus on the Immersive
Entertainment Industry will need to be conducted in the weeks and months ahead. For now, wecelebrate the victories of where we were before COVID-19 with excitement for the future of the
Immersive Entertainment Industry.

Ricky Brigante & Sarah A.S. Elger
May 13, 2020

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ABOUT
RICKY BRIGANTE, CO-AUTHOR – Ricky is best known as the founderand former editor of Inside the Magic, which under his 14-year leadership
became a respected leading source of news, information, and expertise in
the themed entertainment industry. His coverage of theme parks andimmersive attractions worldwide has been seen by more than 1 billion
viewers, listeners, and readers as a podcast pioneer and on YouTube.
Today he is the Creative Technologist and VP of Pseudonym Productions,where he has designed and implemented immersive technology systems, produced originalscores, and led the company’s efforts in video production, graphic design, photography, andsoftware development. Ricky’s work has been featured in Entertainment Weekly, USA Today,
Los Angeles Times, Fox News, NPR, Playboy, Business Insider, and the Orlando Sentinel.

SARAH A.S. ELGER, CO-AUTHOR – Sarah‘s career spans work withwizards, volcanos, King Kong, Big Bird, fast cars, and secret R&D projects.
She started her themed entertainment design career as a Disney Imagineer
and went on to design blue sky efforts for Universal Creative, SeaWorld,
NASA, and Chimelong. On Broadway, Sarah also worked with leadproducers Kevin McCollum and Jeffrey Seller on the productions of In the
Heights, Avenue Q, and West Side Story.
Sarah is the founder, Creative Director, and CEO of Pseudonym Productions, where she has
co-written and directed seven original immersive experiences with an emphasis on open world
gameplay, branching narratives, and meaningful interactions that connect people together in
unexpected, memorable ways. She has led teams of actors, scenic artists, designers, andtechnicians to bring to life vibrant fantasy worlds, themed environments, and surprising stories.
NOAH NELSON, EDITOR – Founder and publisher of No Proscenium, theself-styled Guide to Everything Immersive. As a public media journalist he’s
covered the arts, technology and politics beats for two decades. Mr. Nelson
holds a Theatre Arts degree from San Francisco State University, and iscurrently using it to help organize the emerging immersive theatre andexperiential arts community in Los Angeles, co-producing the Immersive
Design Summit and its spiritual successor the HERE Summit & Festival,and helping to define the frontier where the immersive arts roam wild.
SPECIAL THANKS TO: George Walker (Universal Creative), Kathryn Yu (No Proscenium),
Tommy Honton (Stash House), Philip Hernandez (Seasonal Entertainment Source),
Carlyn Topkin (Lou Hammond Group)5

EXECUTIVE SUMMARY"While immersive experiences have always been around, it is the shift into
today's experience economy that is driving growth in the Immersive
Entertainment Industry.
It's a perfect fit – but recognize that experience creators now compete against
the world for the time, attention, and money of individual experiencers. You
must therefore innovate ever-greater immersions into the new and thewondrous."- B. Joseph Pine II
co-author, The Experience Economy

In 2019, the Immersive Entertainment Industry has achieved a huge leap over the prior year.
The industry has continued to be fueled by tremendous growth in themed entertainment –including theme parks and haunted attractions – as well as a growing excitement for virtual
reality. But the innovations of immersive art experiences have really broken ground with new
businesses models catching hold as new markets begin to form throughout the world, adopting
these new types of experiences. Growth is occurring in all of these segments as experiences
become more creative, more elaborate, and receive more funding.
The next standout success of the future may lie in the mysteries of immersive theater, which
until recently did not show any signs of finding its financial footing any time soon. But as ahandful of businesses begin to solidify their offerings into products that are not only driving
huge revenue but also attention from major corporations and massive audiences alike, there iscertainly something exciting to watch in this emerging field.
After the world emerges from the COVID-19 pandemic, people will be eager to once again
attend events and attractions. The pace of returning to normal is unclear, but it is inevitable thatpeople will once again be craving new experiences outside of their own homes.
Every industry has a lifecycle and newcomers to the Immersive Entertainment Industry arelargely in the introductory phase figuring out products, innovating, and rightfully failing along
the way. At least 775 new immersive projects were created in 2019. The pandemic has
created a sharp increase in digital / virtual experiences, which we can only expect to become6more interesting and inventive products. Creators who have formerly only worked in physicalmediums are now looking toward digital products as an opportunity to scale.
While immersive digital experiences are still evolving, there is enough data to begin to draw
consistent conclusions regarding how physical immersive experiences will continue to growand evolve. Building off last year’s first-ever immersive creator survey, this year’s survey
reached out to twice the number of creators as well as audience members to discover trends inthe industry.
Theme parks, haunted attractions, and escape rooms have been testing and tweaking pricing
models for many years. While theme parks today can command upwards of $100 per day toattend, independently run haunts and escape rooms are generally in the $15-30 range perhead. But now we are beginning to see new models emerging for immersive theater andsimilar pop-up events, as well as learning more about audience expectations of such events
based on pricing.
The average price paid for such experiences is around $50, which allows immersive
experiences to cater to smaller audiences, as the value of those experiences increases withmore personal attention. But survey data shows that with every $10 deviation from thisaverage comes a dramatic change in expectations. For every $10 mark above, a new level ofprofessionalism and polish is expected. And every $10 below, audiences are more forgiving. As
new experiences are formed, creators are encouraged to form their business models not justaround covering their own costs, but also juggling audience sizes and expectations properly.
Only through careful consideration of these factors will mass audience adoption occur for eventhe most unique immersive experiences.
Equally important is how the industry is describing these new and innovative experiences. It
took the past few years for audiences to begin to understand what immersive art experiences,like the offerings of Meow Wolf of the Museum of Ice Cream, are all about. But the variety ofexperiences under the “immersive” banner stretches far beyond those types of experiences into
eclectic and fully interactive adventures. To try to avoid continued poor comparisons “like Sleep
No More” for every immersive theater experience or “like an escape room” for every interactive
experience, this report is proposing a standardized system of categorization, rating, andnomenclature to help set proper expectations to mass audiences. By clearly defining
experience type with consistent language, along with required participation levels, age
appropriateness, and the size of the creative and support teams behind new experiences,audiences will have a better understanding of what they are buying into and can form
appropriate expectations on their own.
In the continued rise to mainstream popularity of immersive theater and self-defined art
experiences like those of Meow Wolf, there has also been a critical push to try to decide7whether these are truly “art” or if they are merely “entertainment.” What’s incredible about theevolution of the Immersive Entertainment Industry is that the differentiation between thosewords is rapidly blurring. Much of what was formerly considered mass entertainment is now
thought of by many as art. And even the most wild art is now finding forms to be entertaining
for the masses. Through emerging business models, artists are discovering new opportunities
to leave the “starving artist” cliche behind in favor of one that encourages them to actually beable to make a living off their art and not feel like a sell out.
Many newcomers to the Immersive Entertainment Industry seek creative success first andforemost, as the industry is drawing artists of all kinds. Yet as these artists find the value intransforming their art into a living, there still exist widespread struggles across the newer
segments of the industry to establish scalable, sustainable business models. The costs to
produce elaborate works are expensive and traditional grant and donation based theatermodels are not always sufficient, nor are admissions models for productions where audiences
sizes are small. As these emerging parts of the industry continue to learn how to better market
their immersive experiences, especially as wider audiences become familiar with them, these
problems of scaling and sustainability become even more obvious. Over the past year, creators
who once thrived off critical success and rave audience reviews are burning out over the
struggle to translate those passion projects into viable long term businesses.
There are, after all, an increasing number of options for consumers’ time, attention, and money.
So where just a few years ago creators were inventing bold new ways of entertaining
audiences, today they are iterating through models around which they can grow those creative
visions, without losing the essence of what made them special to begin with.
Not every creator in the Immersive Entertainment Industry is up for the challenge of converting
artistic ideals into a sound business model. But for those who make that leap, much of thatgrowth work requires a support system. Funding paths for early stage creative immersive
companies are needed to be established to fuel the growth of the best and most attentiongrabbing groups who are determined to do whatever it takes to make their visions live on.
Outside of the many immersive technology companies, only a very small number of immersive
entertainment companies have found their way into receiving the funding they need to catapult
them to success. But investors are starting to take note that there is something particularly“magical” happening in the immersive entertainment space.
This is the field on which Walt Disney built an empire, beginning with animated films thatlaunched him into revolutionizing entertainment through his development of the original
immersive entertainment: theme parks. Now we are on the verge of another entertainment
revolution, one in which the next generation of innovators are pushing boundaries anddazzling audiences with spectacles unlike anything they’ve seen before.
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PROBLEM & SOLUTION
In 2019, the first Immersive Entertainment Industry Annual Report was released as the
beginning of the yearly process of tracking innovation and growth across this revolutionary
and creative global industry. The report quickly spread, cited globally in articles on business1,
themed entertainment 2, theatre3, experiential marketing4, hospitality 5, XR6, and translated for
Chinese markets7 . The buzz word “immersive” is becoming more prominent in 2020, and more
focused on its most appropriate uses in the worlds of entertainment, design, and technology.
The word is most important when used to define and categorize the mesmerizing qualities
that creative and impactful works within this industry uniquely produce.
As defined in last year’s report, the Immersive Entertainment Industry includes a variety of subindustries, with intents that include entertainment, social impact, art, and innovative newcompanies. This year’s report aims to further define the industry and its components byoffering success metrics and identifying the industry’s life cycle status, while continuing to
spotlight standout achievements from the past year.
In addition, as the industry grows and more artists and organizations of all sizes emerge,
consumers are often left confused, unable to set proper expectations and differentiate between
scales of the works being created thanks to clever, well-executed marketing efforts. Where thestage theater world has Broadway and off-Broadway distinctions and cinema has studiobacked and independent designations, much of the immersive world does not currently have a
way to distinguish between experiences that have large backing and those that are smaller inbudget and scale. It is a goal of this report to propose a nomenclature for the industry to adopt
to help audiences understand what level of immersive experience they are getting into. Setting
proper consumer expectations is paramount to this industry’s continued growth,understanding, and widespread adoption.
By further defining the industry together with charting its recent growths and successes, thisreport continues to offer audiences, creators, journalists, marketing professionals, investors, andsponsors a window into the incredible forward-looking importance of the Immersive
Entertainment Industry – a powerhouse that is making great strides toward revolutionizing theway consumers interact with entertainment and commerce, shaping the future of theexperience economy.

1 https://qz.com/1721357/how-shows-like-sleep-no-more-get-you-to-accept-new-realities/
2 http://seasonalentertainmentsource.com/immersive-design/
3 https://www.contemporarytheatrereview.org/2019/safety-risk-and-speculation-in-the-immersive-industry
4 https://medium.com/@toddstreetnyc/awe-art-wonder-and-experiential-88f5a157f8e1
5 https://www.hospitalitynet.org/opinion/4095031.html
6 https://xrmust.com/report-immersive-design-summit/
7 https://mp.weixin.qq.com/s/7Ml2nnrwl6Jy6_na5G8Tfg

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IMMERSIVE SUCCESSES OF 20192019 was the year the “experience economy” truly took hold. We have entered an era inwhich goods and services have become overtaken by experiences. Consumers are valuing theexperiences they receive for their dollars more than ever.
The experience economy has long been foreseen, first predicted in a 1998 article by B. Joseph
Pine II and James H. Gilmore in a Harvard Business Review article8. This 22-year-old article
documented the transition from an economy based on services to an emerging one ofexperiences that extends far beyond entertainment. Then mentioning the yet-to-become-buzz
word “immersive” just once in the piece, Pine and Gilmore emphasized the importance ofexperiences to the world’s economy as a response to a growing emphasis on technology. And
they couldn’t have been more right.
Today we are seeing a strong reaction to being connected to technology 24/7. Whether
fueled by millennials’ growing obsession with their cell phones9 or the staggering statistic that
80% of online conversations taking place on social media platforms are people talking about
themselves10 , people are actively seeking out more and better experiences in the real world at a
rapid pace, particularly ones which allow people to connect together. That bond is becoming
equally valuable as a photo opportunity and a chance to simply disconnect from tech.
Theme parks continue to lead everything immersive with tremendous continued growth inattendance across 2019. Major themed attractions have exceeded a collective half billion visits
for the first time in history – nearly 7% of the world’s population11.
At the forefront of attention in 2019 was Disney’s debut of the Star Wars: Galaxy’s Edge in its
California and Florida theme parks. Though the new land’s phased rollout initially produced asurprising slump in summertime attendance, alongside a high level of disappointment amongfans balking at a general failure to follow through on previously-announced interactive andcharacter-driven elements, the end-of-year debut of the land’s innovative “Rise of theResistance” attraction ultimately turned Galaxy’s Edge into one of the year’s standout
immersive wonders.
Outside theme parks, the industry has begun to see the solidification of new business models
and ongoing growth and innovation of immersive experiences.
As online commerce continues to command the landscape of basic transactions, newexperiences such as New York City’s House of Showfields have seized the opportunity to
8 https://hbr.org/1998/07/welcome-to-the-experience-economy
9 https://qz.com/1737079/the-experience-economy-will-be-worth-12-billion-by-2023
10 https://www.scientificamerican.com/article/the-neuroscience-of-everybody-favorite-topic-themselves/
11 https://behindthethrills.com/2019/05/tea-attendance-report-shows-huge-gains-for-disney-and-theme-parks-world-wide/10

transform the traditional brick-and-mortar store into – as their marketing puts it – ”the mostinteresting store in the world.” With timed entries and multiple floors of Instagram-worthy
moments inspired by a curated set of products that were formerly sold only online, this shop
embodies the essence of the experience economy.
“Can an Art Collective Become the Disney of the Experience Economy?” asked The New YorkTimes12 in a feature piece on Meow Wolf in May 2019. The company, alongside Museum of Ice
Cream, Color Factory, and a small handful of others producing similar exploratory permanent
art installations, are leading one iteration of the experience economy by way of massive dollar
signs. By finding a new way to monetize art and shared experiences on a mass scale, thesecompanies attracted more than $200 million in private and venture capital investments in 2019.
Coupled with Area 15, the world’s first “immersive bazaar” – a new spin on the old mallconcept with a planned opening soon in Las Vegas that blends a traditional mall layout withunique immersive experiences – the experience economy has been on a path toward booming
success.
It’s not just dollar signs that are soaring in the immersive museum space. An immersive
museum in Tokyo from art collective teamLab announced in 2019 that they received more
visitors than the Van Gogh Museum in Amsterdam last year, becoming the world’s most visited
single-artist museum13, drawing 2.3 million visitors in its first year of operation in addition to
1.2 million visitors to the collective’s temporary light experience.
Throughout 2019, it was more than art museums commanding attention to the experience
economy. Home unit sales of VR continued to grow steadily, largely thanks to the ongoing
success of the Oculus Quest selling 49% of VR headset sales in 2019 with hundreds ofthousands of units sold14. Despite this, saturation of VR in the household has remained low,with just 8% of broadband households owning a VR Headset15 in 2019.
VR has continued to expand outside the home via evolutions of the traditional arcade andfamily entertainment center (FEC) concepts. Location-based experiences (LBE) now comprise amarket that is expected to grow to a $12 billion value by 202316 . Backed by Steven Spielberg,
film composer Hans Zimmer, and multiple Hollywood studios, Dreamscape Immersive quickly
emerged in 2019 as a leader in VR LBE while The Void and a number of similar businesses
continue to expand VR LBE offerings around the world.
Immersive theatre innovation in 2019 often stalled in the face of business trial-and-error as
some of the most popular small organizations sought out new ways of scaling and monetizing
12 https://www.nytimes.com/interactive/2019/05/01/magazine/meow-wolf-art-experience-economy.html
13 https://news.artnet.com/exhibitions/teamlab-museum-attendance-1618834
14 https://www.androidcentral.com/nearly-half-all-vr-headsets-sold-2019-were-oculus-quest
15 https://www.emarketer.com/content/virtual-and-augmented-reality-users-2019
16 https://www.pcbc.com/PCBC/CUSTOM/Exhibits/StoryTechTrendsSample.pdf

11their creatively successful productions. While there were no noteworthy positive industry
movements in immersive theatre in the United States in 2019, select overseas groups in moremature parts of the industry have found unprecedented successes.
Bringing in box office revenue of more than $10 million from each large-scale event, Londonbased Secret Cinema has announced a multi-title agreement with Disney to adapt blockbuster
Hollywood movies into immersive theatrical experiences, including expanding into the UnitedStates market. 17 Meanwhile London’s longest-running immersive theatre production,“Immersive Gatsby” expanded the experience to a temporary version in Brussels, Belgium anddebuted its newest incarnation in Seoul, South Korea.
Not every experience relies on revenue or attendance figures for success. Several impactfulexperiences in 2019 offered glimpses into new innovations and important works of education.
A small number of immersive creators have begun bridging the gap between physical anddigital, allowing live interactions to scale across the Internet. Art and games studio Tender
Claws debuted an innovative blend of VR and immersive theatre with “The Under Presents” on
Oculus Quest, bringing together elements of single-player gaming and multi-player puzzlebased ARGs while offering interactions with live actors portraying non-player characters(NPCs) after launch. (This experience has reached the national spotlight during the COVID-19
pandemic as a standout among virtual theatrical gaming experiences.)
Other immersive industry creators who experimented with remote experiences in 2019 include
Candle House Collective and immersive artist Keight Leighn, offering immersive theatre-styleperformances via webcams and phone calls. (This trend accelerated in 2020 as theaters andother venues are unable to open at the time of publication due to the pandemic.)
Making the leap from podcast to VR, host of “Hardcore History” Dan Carlin drew attention to
mixed-reality as a mechanism for “immersive memories” with the debut of “War Remains,” avirtual experience that powerfully transports participants to a realistic battle in World War I. At
SXSW 2019, Giant Spoon created a Game of Thrones immersive experience in partnershipwith the American Red Cross that led to more than 20,000 pints of blood being donated. And
NY arts organization Creative Time granted artist Risa Puno an opportunity to create an escaperoom like no other. Called “Privilege of Escape,” this art installation turned the immersive
experience genre on its head to deliver attendees with a social impact statement about societal
structures of privilege and inequity.
Across all sub-industries of the Immersive Entertainment Industry, there are thousands ofindividual creators, companies, and other organizations. But no matter the intent – whether for
profit, innovation, or impact – only a small fraction of those creating immersive works
experienced remarkable growth in 2019.
17 https://www.hollywoodreporter.com/heat-vision/secret-cinema-tackle-disney-movies-immersive-experiences-1272343

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BY THE NUMBERS
After a tremendously successful, growth-oriented year in 2019, the Immersive Entertainment
Industry is valued at $61.8 billion, including a large jump in theme park market value to $52
billion18.
The size of the industry, minus theme parks, is valued at $9.7 billion.
Last year’s annual report featured a first attempt at placing a value on the Immersive
Entertainment Industry, at $49.7 billion. The 19% increase in market value from the 2019
report to this report can largely be attributed to phenomenal growth in the themed
entertainment and VR sub-industries.
The substantial increase is also reflective of the timing of the release of this report. The 2019
report was finalized before the annual International Association of Amusement Parks andAttractions (IAAPA) report was released, thus relying on the 2017 market value of the
Immersive Entertainment Industry’s largest sub-industry.
The themed entertainment industry is growing at an incredible average rate of 7% per year,
so the large jump between last year’s Immersive Entertainment Industry market value and thisyear’s can partially be attributed to two years of themed entertainment growth being factoredin.
(Reminder: The full and lasting impacts the COVID-19 pandemic has had on the market value
and predicted growth of the Immersive Entertainment Industry has yet to be fully researched or
documented and is beyond the scope of this report.)
The $52 billion themed entertainment industry continues to be led by The Walt Disney Co. In
2019, Disney opened the highly-anticipated theme park land Star Wars: Galaxy’s Edge both atDisneyland in California and Walt Disney World in Florida. While this land initially suffered fromsmaller than expected attendance due to overhype leading to fears of overcrowding, the land
and its innovative attractions have ultimately set new gold standards for immersive
entertainment, particularly with the “Rise of the Resistance” ride. In late 2019, the “Smuggler’s
Run” attraction was reported to have carried more than 5 million people combined across bothcoasts.19
Behind themed entertainment, Virtual Reality and Augmented Reality have been by far thesecondary leaders of the Immersive Entertainment Industry in terms of market value. The
introduction of the Oculus Quest offered record-breaking sales of home VR headsets and, in
18 https://ttra.com/wp-content/uploads/2019/10/IAAPA_Amusement-Park-Outlook_2019-2023.pdf
19 https://www.cnbc.com/2019/11/07/disney-guests-are-deferring-visits-until-galaxys-edge-is-complete.html

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turn, more than $300M in sales of home VR content. With companies like Dreamscape
Immersive, Hologate, and Sandbox VR attracting increasing attention to VR LBE, the total
market value of VR in 2019 was approximated at $5.97 billion.20 Augmented Reality (AR) and
Mixed Reality (MR) together were valued in 2019 at $2.06 billion21.
Haunted attractions continue to be a powerhouse of the Immersive Entertainment Industry, notonly fueled by consumer purchases but also through healthy commerce between vendors
continuing to push the entertainment form forward. More than 37 million haunted attraction
customers visited an average of 2 haunted houses in 2019 with an average ticket price of $15,
yielding a market size exceeding $1.1 billion, according to the Haunted Attraction Association.
Escape rooms have continued to boom, though are showing signs of slowing growth. In the
United States, 2,350 escape room venues / locations were catalogued in 2019, versus 2018’s
count of 2,300. The count remained largely the same due to almost as many escape rooms
closing as new ones opened in 201922. Globally in 2019, there were at least 3,300 escape room
venues / locations in operation. With an average admission price of $26.50 and an average of
147 players per week23 per location, this sets a rough market value estimate of escape rooms at$656 million.
Immersive theatre is the sub-industry that is still the most challenging to calculate an accurate
market value, due to so many companies, organizations, and creators who keep their financial
information private. Nevertheless, immersive theatre continues to grow in popularity,
particularly in London. While it’s still very much in an introductory phase in the United States,
the UK is experiencing rapid growth and expansion in immersive theatre. Last year’s industry
report included only US estimates for immersive theatre ticket sales, so this year’s market value
has increased significantly factoring in several tremendously successful global productions.
Secret Cinema has publicly released its box office numbers for many of its events, posting
impressive revenue of more than $10 million for its biggest productions. Combined withestimated gross from immersive theatre’s biggest companies including Sleep No More’s two
global locations, Then She Fell in NY, Immersive Gatsby in multiple countries in Europe, as well
as results from our own creator survey, this report sets the 2019 global immersive theatre
market value at $28.1 million.
Experiential art museums continue to arrive in cities primarily across the United States.
Financials show that they are indeed big business adding to the Immersive Entertainment
Industry. Meow Wolf in Santa Fe has seen an increase in attendance, drawing $18 million24 inrevenue, while the remainder of similar experiences (Museum of Ice Cream, Color Factory,
20 https://www.globenewswire.com/news-release/2019/11/27/1953103/0/en/Virtual-Reality-in-Gaming-and-Entertainment-Market
21 https://www.globenewswire.com/news-release/2020/02/20/1987732/0/en/The-augmented-reality-mixed-reality-market
22 https://roomescapeartist.com/2019/08/08/5-year-us-escape-room-industry-report-august-2019/23 https://seoorb.com/state-of-escape-room-industry-survey/
24 https://www.bizjournals.com/albuquerque/news/2019/09/24/meow-wolf-ceo-touts-record-visitors-revenue.html

14

Wonder Spaces, and more) total an estimated $10 million, bringing the total market value ofexperiential art museums to $28 million – and growing.
No new data was available for calculating the value of immersive experiential marketing
activations, ARGs, LARPs, or themed bars and restaurants, all of which remain importantparts of the Immersive Entertainment Industry. Immersive pop-ups command headlines, withpop culture nostalgia driving themed bars and restaurants and Hollywood driving much of theelaborate work done in experiential marketing. Backed by large studios, experiential marketinghas also continued to set the bar for what big budget immersive events look like. The financialsof such activations – while entirely private – are said to be in the millions of dollars per largescale activation to promote a large TV show or movie. These events are not designed for profit,
instead a marketing tool generally accessible to a relatively small crowd with a goal of
maximum reach online.

15

CREATOR & AUDIENCE SURVEYS
In the first months of 2020, we issued two surveys to groups within the Immersive
Entertainment Industry to obtain quantitative and qualitative data to continue to catalog andanalyze the industry’s current state and growth trajectories. This data was compiled prior to theonset of the COVID-19 pandemic.
More than 300 creators, professionals, independent artists, and immersive fans responded
across both surveys, which offers us an overview of industry trends from throughout 2019.
This response offers more than twice the data obtained for last year’s Immersive Entertainment
Industry report, furthering our efforts to accurately portray the industry’s future and potential.
In 2019, a total of 755 new immersive experiences and shows were catalogued by theindustry-leading news and information website No Proscenium. The survey results below
provide a snapshot and analysis of the data offered by creators and audiences alike.
The majority of respondents to our surveys were based in the United States, so theinformation below is a reflection of creators and companies in the US, primarily.

CREATOR SURVEY RESULTS
For this year’s report, we asked creators to categorize themselves so we may more accurately
track not only the path of the overall industry, but also those within strong growth segments.
The overall market size of the Immersive Entertainment Industry is largely dependent upon afew key segments. The Immersive Entertainment Industry does include massive companies,
such as The Walt Disney Company. However, the results below do not aim to chart suchcompanies, as there is ample analysis available for companies already in the public eye,particularly those who report to shareholders.
It is most useful for the scope of this report to track the growth of the size and number ofthe smaller organizations who are producing innovative work at a smaller scale as anindicator of the future of the industry, as it begins to break out beyond the biggest
companies.

16

CREATOR SURVEY – QUANTITATIVE RESULTS
Categorization Breakdown
Small and independent organizations comprised 81% of respondents. As such, the survey
results below most closely represent the long tail of the Immersive Entertainment Industry.
Four responses were received from medium businesses (between 101 and 1,000 employees)
and zero responses were received from large businesses ( more than 1,000 employees).

Other mass media industries have widely known categorization methods that help the generalpublic understand the scope of the work created. In the film industry, for example, thedifference is widely known between films that are studio-backed versus independent films.

17

Beginning with this survey, we asked creators to classify their works within the Immersive
Entertainment Industry under the following categories:
●

●

●
●

●

Student○ Immersive work created by students for or with the assistance of schools oruniversities
Independent○ Immersive work produced by individual or groups of creators, not as part of abusiness
Festival / Convention○ Immersive work created as part of a larger event, festival, or convention
Professional○ Immersive work produced by small or medium businesses, not for or in
conjunction with any large businesses
Large Scale Professional○ Immersive work created for or by large businesses

This is not a hierarchy, but rather the first pass at a simple nomenclature system to allow
audiences to properly set expectations when making buying decisions and in critiquing work.

After reviewing the survey data, we evolved this proposed naming system, with further
details and recommendations for widespread adoption of an Immersive Entertainment
Rating System included later in this report.
18

89% of respondents to our creator survey have self-classified as either independent creators or
professional companies and organizations. As this number continues to increase in the years
ahead, it is of vital importance that we emphasize the need for such a categorization to be
widely adopted.
Starting with the release of this report, the website No Proscenium will be adopting a category
and classification system with every immersive experience or show listing, offering greatertransparency for readers to allow them to approach new works with appropriate expectations.
While financial success is generally the best metric for quantifying the growth of an industry,the Immersive Entertainment Industry is largely rooted in creativity and artistry.
The following four success metrics were measured in our survey on an importance scalefrom 1-4:● Creative / Artistic Achievement● Financial Gain / Profit● Social Impact● Customer / Audience Satisfaction
Averaging creator survey ranking results revealed that the margin between the importanceof each of these metrics is nearly negligible, placing value on all four almost equally withSocial Impact and Financial Gain / Profit edging out slightly, on average.

19However, when specifically focusing on the highest ranked as most important of these metrics,
Creative / Artistic Achievement tops what respondents most strive for with 43.5% ranking it
as their leading metric of success.

While the average result and the focus on the highest rank may seem contradictory, thetakeaway is that while a significant concentration of creators in the Immersive Entertainment
Industry are primarily focused producing artistically significant work, the industry as a whole iswell balanced in terms of striving toward all of these success metrics evenly. Any single
entity within this industry would thus be wise to pursue all of these metrics equally.
Beyond the core four metrics above, other noteworthy success metrics identified by creatorsurvey respondents include:● Artist support● Community engagement● Safety● Awareness of the medium / creating new audiences● Education● Emotional impact● Recognition● Innovation● Fun
These all represent signs of a healthy, growing industry.
20

Experiential Products
Of respondents to our creator survey, 46% represented the artist-driven immersive theatre
segment. While still comparatively small in market value, this segment is one of the fastest
growing. Immersive theatre presents a low barrier to entry, allowing even individual artists toexperiment and stage creative theatrical experiences that continue to push boundaries of what
theatre has traditionally offered.
With leader Secret Cinema leading the charge toward reaching mainstream audiences, this
explosive segment is one to watch carefully in the years ahead as innovative new approaches
emerge.

21

Remote / Digital Experiences
Physical experiences are far more easily categorized than that of the emerging fields of remote,digital, or online experiences.
22% of creator survey respondents have created immersive works that reach beyond
traditional physical spaces into virtual worlds. But those virtual worlds vary far beyond any
simple categorization.
Common platforms used in 2019 to create remote or digital experiences included:● Virtual Reality (Oculus Rift, Oculus Quest, Oculus Go, HTC Vive)● Augmented Reality (Magic Leap, HoloLens, ARkit, Instagram filter)● Telephone● Email● Text messages● Custom app / platform● Web-based● 360 Video● Social media● Webcam / streaming video● Audio headsets
But there are seemingly limitless boundaries for remote experiences, with immersion being
created by survey respondents through innovative uses of sensors, projectors, robots, cassettetapes, 35mm film, and even repurposed musical instruments.
(Since the emergence of COVID-19, video streaming platforms like Zoom have rapidly become
popular tools for creators, particularly actors and other performers, to offer online immersive
experiences.)

Reach & Growth
While specific industry-wide data cannot be determined from charting the relatively small
sample size of new companies and organizations that participated in our creator survey, we cancontinue to track overall growth trends.
The vast majority of work represented by the results of our creator survey was staged orotherwise took place within the United States, with 29% in California and 16% in New York.

22

Both this year’s report and the 2019 report show an initial explosion of new companies andorganizations within the Immersive Entertainment Industry beginning 6 years ago.
Since then, the pace at which new companies and organizations are formed within the industry
has slowed down, but continues on an upward trend.

23In an industry with such a high percentage of individual creators and startups, it’s not surprising
to see that 63% of respondents have bootstrapped their efforts, relying on founders and pastrevenue to continue to produce work. 27% of respondents have brought in additional capitalvia outside sources including grants, crowdfunding, sponsorship, donations, and private
investments.

Equally unsurprising is to see the predominance of volunteer and contract-level financial
relationship between startups and young organizations to their staff, cast, and crew.

24

Nearly ¼ of those working for survey respondents are unpaid volunteers, with only 12%
working on full-time roles.
But this pay structure (or lack thereof) corresponds to how the vast majority of respondents
classify themselves in the life cycle of their segments of the Immersive Entertainment Industry.
The industry life cycle stages are defined as:
1. Introduction (Still developing work, not yet proven business model, high expenses, lowrevenue, limited customers, low competition)
2. Growth (Product is developed and driving consistent revenue, strong growing customer
base, competition is strong, and marketing required to differentiate)
3. Mature (Growth and innovation slow, products across industry are defined, focus onefficiency, profitability is primary goal, competition peaked)
4. Decline (Revenue declining, no growth, product becoming obsolete, businesses leaving
industry)

Half of respondents are still in the introductory stage, with another 40% working their way
through growth – an accurate representation of the overall state of the Immersive
Entertainment Industry, which is still finding its footing in many areas.

25

Creators within this industry are actively developing new temporary and permanent works,
contributing to the growth of the industry.
The majority of respondents have created 1-5 temporary immersive works over their
lifetime, but the long tail of this data represents more than 1,000 temporary works.

26

The majority of respondents (55%) have never created any permanent works, though thisdoes align with the large percentage of respondents who are creators of immersive theatre –which by nature is often temporary or limited run by design.
The definition of permanent works ranges from an art installation to a fully functional immersive
experiential business, so the specific quantities of works charted below matter less than the
distribution of how many groups have created lasting immersive work.

89% of respondents created at least one new immersive work in 2019, with 51% having
created more than one.

46.5% of respondents had an immersive work that was still open or active from year to year
over the last 2 years. This percentage directly matches with the number of respondents who
have created permanent works, indicating the ongoing lasting effect of immersive works thatare designed to stick around.

27

Pricing, Attendance, and Revenue
The admissions business model is by far the most commonly used by companies andorganizations in the Immersive Entertainment Industry, with 74% of respondents listing it has
their primary source of revenue. 13% rely on work for clients / other businesses as their primary
revenue stream.

28

59.9% of respondents reported revenue in excess of $10,000, which is a 23.5% increase fromlast year’s survey. 44.8% of respondents brought in revenue exceeding $25,000, which is a
3.7% increase over last year. Nearly ¼ of respondents reported revenue of more than$100,000 in 2019.

Looking closer at sub-industries within the Immersive Entertainment Industry reveals a clear
revenue disparity:

29

30

31

Of the five above, immersive theatre stands out as the sub-industry that is poised to
become the next to enter the growth phase. (We did not receive a sufficient number of
responses to quantify revenue trends for ARG, AR, exhibitions, experiential marketing,interactive art museums, or themed entertainment, so we have not included charts for them.)
Roughly ⅓ of new immersive experiences created in 2019 were designed for simultaneousaudiences of 10-49 patrons.

Following the trends from last year, the majority of survey respondents reported total
attendance of 100-499.

32

Charting the total attendance for individual immersive experiences throughout 2019 reveals
significant spikes at around 40, 90, 150, 250, and 1,000 attendees
There are also attendance concentrations in the areas of 40-100, 150-600, 1,000 - 2,000, and
15,000+ attendees.

We can infer from this data that there are opportunities for creators to design new experiences
for these specific ranges of attendees.
Designing for specific attendance goals within these concentrations allows creators to properly
scale and control production costs and marketing efforts.

33

Spending trends mirror last year’s report as well, with 30.6% of customers spending $25-$49
on each immersive experience.

Rent
One of the biggest expenses identified by last year’s report for creating live / physical immersive
experiences is space rental. The goal of charting rental rates here is not to show real estate
trends based on location or square footage, but rather to identify trends in what rent ranges
creators are paying for space.

34

Daily rental prices are reasonably balanced from inexpensive locations at less than $50 / day
upwards to $2,500 per day, so no clear conclusions may be drawn from this data.
Charting monthly rent shows that the majority of respondents who do rent space monthly arepaying rent in the range of $1,000 - $3,000 per month:

Beyond paying for space, 20% of respondents borrow space for their immersive experiences,while 5% own their spaces and thus do not pay rent.

CREATOR SURVEY – QUALITATIVE RESULTS
It’s equally important to monitor qualitative trends of the Immersive Entertainment Industry tounderstand how the evolution of work within the industry is perceived and described, both bycreators as well as audiences.
Like last year, the words Interactive, Experiential, and Intimate continue to be the mostcommonly used. Narrative has replaced Storytelling as the 4th most commonly used.

35

Newcomers to the top 10 terms are live, adventure, fun, game, and creative, replacing lastyear’s participatory, agency, engaging, environmental, and sensory, suggesting creators havebegun choosing to use descriptive language more accessible to the average consumer.

36

Creator survey respondents identified their most effective marketing words to attract
consumers to their work. By far Immersive and Interactive lead the group, unsurprisingly.
Compiling the words not specific to any category or genre, we can form a description thatsummarizes the current state of how creators are best summarizing their work:
The Immersive Entertainment Industry offers unique, intimate, and bespoke
experiences that are like a live choose-your-own-adventure, in which guests
are invited to have fun on a secret journey to discover, explore, and interact.

37

Many of the same words that were deemed most effective for marketing by some respondents
were also identified as the least effective. Specifically, general words like Immersive andInteractive are good for some audiences while confusing for others. Likewise, using words thatcategorize the industry such as Escape Room, Immersive Theatre, VR, AR, and XR excites fansof these types of experiences but potentially confuses audiences who are not familiar with theterms.
What is clear from these two lists is that there are no right or wrong ways to conduct
marketing. It all depends on the product and who the target audience is for each message.

38

It may seem obvious, but the most common desire for audiences seeking out immersive
experiences is summed up by one simple word: fun.
The word chart below is a compilation of the most commonly used words by customers who
have praised immersive works. Allowing one to simply drift across this graphic offers a sense of
the emotional reactions customers have when they enjoy an immersive experience. Words like
Magical, Engaging, Transformative, and Meaningful combined with phrases like Unlike
Anything I’ve Seen and Mind Blown are exactly the types of reactions creators strive for whenworking within the Immersive Entertainment Industry.
According to its customers, this is an industry that brings strangers together to become acommunity across beautiful and emotional dream-like experiences that come to life throughworlds, characters, and sets.

To try to evolve how immersive experiences are described to the public in marketing, it’senlightening to read some of the interesting comparisons offered by customers:●●●●"It was like being in a video game.""Excuse for adults to play and be openly vulnerable.""It’s like a horror movie come to life.""This was like a haunted house but not scary, and really fun!"39

● "I’ve never so fully walked in another person's shoes."
But for every piece of praise from a customer comes a flurry of common complaints that stillplague many works within the Immersive Entertainment Industry. Expectations are everything
when it comes to customer satisfaction and it is clear from the word chart below that
customers expect more.
"Not Enough" and "Want More" are two of the most commonly used phrases by customers,
according to creator survey respondents. This could be spun to describe the insatiable appetite
fans have for this kind of work – but it could also simply mean that many of the works being
created don’t quite hit the mark, or don’t live up to expectations set by marketing.
The biggest concrete complaints can be found in the areas of headsets, interactive elements,
locations, and pricing. Customers who haven’t enjoyed respondents’ immersive experiences
have found them too confusing, boring, games are too easy or too hard, problems hearing, andthat they are too short. In short, some experiences have simply been described as soup.

40

Challenges
Since last year’s report, there have been significant changes in the balance of challenges facedby artists, companies, and organizations in the Immersive Entertainment Industry.
Last year, high production costs were by far the most problematic as creators tried to find waysof bringing their visions to life – while scaling issues were noticed by ⅓ as many creators.

In 2019, scaling is on the forefront as attitudes shift toward growth and sustainability
among creators. Expensive resources continue to be problematic, but less so than keeping
experiences running and moving forward. This is a sign of a healthy industry that is rapidly
shifting from the introductory phase into a growth-oriented phase.
Customer satisfaction continues to be an insignificant challenge in this industry led by creative
artists and professionals.
But finding solid business footing proves to be the challenge at hand across much of theindustry.

41

AUDIENCE SURVEY
In addition to the creator-focused survey that gathered the data above, a separate survey wasoffered by No Proscenium to self-identified audiences and fans of the Immersive Entertainment
Industry. With more than 150 responses, this effort allows us to add important data from thecustomer’s perspective, identifying trends, likes, dislikes, and overall spending habits.
Since this industry’s value relies on its ability to both satisfy customers and bring in revenue
directly from customers, then the following data serves as a guideline to new perspectives thatdiffer from creators’ motivations, instead focusing on the market’s reaction to immersive works
that have been created.
Note: The vast majority of respondents to our survey were based in the United States, so thefollowing survey results do not include global audience data.

42

AUDIENCE SURVEY - QUANTITATIVE RESULTS
Within the United States, Los Angeles continues to have the highest concentration of selfidentified fans of the Immersive Entertainment Industry amongst respondents, followed closely
by New York City. Trailing cities beyond those two include Denver, San Francisco, Salt Lake
City, Philadelphia, and Chicago.
21 states are represented in the results of this survey by at least one respondent.

4386.3% of self-identified fans of the Immersive Entertainment Industry travel occasionally or
frequently to attend immersive experiences.
This data suggests that creators of immersive works should not focus on targeting local
audiences, but design for and reach out to tourist markets as part of a growth strategy.

There is no denying that immersive experiences capture an audience’s attention and leavethem wanting to experience more:● 89% of respondents attended 3 or more experiences in 2019
● 48% of respondents attended 10 or more experiences in 2019
● 3.7% of respondents attended 50 or more experiences in 2019
This data reflects that it’s not only the “hardcore” fan who is attending multiple immersive
experiences in a year, but actually the norm.
Moreover, 43% of respondents attended more immersive experiences in 2019 than 2018, while
only 15% attended fewer in 2019.
44

Summer and Fall are the most popular seasons for immersive experiences with a combined
75% of the overall annual attendance, largely thanks to the increase in experiences offeredduring Halloween time.

45

Virtual Reality
While VR continues togrow strongly in thelocation-based
entertainment (LBE)
space, its home adoption
is still slow, as only 28.8%
of respondents currently
own the necessary
hardware to take part in
VR experiences.

Likewise, the vast majority(81.7%) of respondents
have no plans to purchase
VR hardware within thenext year.

46

Prices
Prices across the Immersive Entertainment Industry vary as much as the products offered. But
based on survey data, a price ceiling for “expensive” immersive experiences is rather clearly
defined at $150. 60% of respondents have never paid more than $150 for admission to asingle experience. Prices above $150 risk limiting the number of interested customers.

Mirroring data gathered from the creators survey, the most common price consumers havebecome used to paying for attendance to immersive experience is around $50. This reflects theupper end of average customer spending reported by creators.

47

However, this does not mean every experience should be priced at $50, as that ultimately does
depend on what is being offered. It is a useful metric by which creators can decide whether
their products are worth more or less than the average.
Consumer feelings about the average price ($50) and ceiling price ($150) for immersive
experiences are largely positive. 71% of respondents feel that these prices are right – if not
low – for the value received.

To determine pricing, creators must gauge how well their product stacks up against customers’
expectation of a certain degree of polish.
At the average price point of $50, audience expectations spike, with expectations further
elevated at $75 and $100. Below $50, every $10 increase to prices results in an additional
layer of expectations, though they remain tempered until that $50 mark is reached.
This is especially valuable data for experiences that have variable pricing that occasionally
exceeds $50, suggesting that experiences designed for lower price points will have diminishingreturns in customer satisfaction above $50.

48

Immersive Qualities
No single quality within the Immersive Entertainment Industry attracts customers more thanothers, according to respondents. In fact, it is the very combination of entertainment,
emotion, intelligence, theme, and subject or story that makes immersive experiences socompelling and attractive to audiences.

49

Other noteworthy qualities of interest to some respondents include physical contact, intimacy,
innovation, and originality.
The concept of participant agency is nearly absent from survey respondents' top interests.
This aligns with its drop since last year in reported usefulness for creators in both describing
their work and in marketing it.
Agency was at the forefront of much of the innovative work being produced in recent years. But
now, there has been a noteworthy shift in immersive experiential work away from theconcept of agency and more focused on the creation of entertainment that is viscerally andpsychologically rewarding – but above all is fun, regardless of the level of participation fromaudiences.

Immersive Favorites
More than half of respondents selected Immersive Theatre as their favorite type of
immersive experience, with Themed Entertainment, Extreme Haunts, and Escape Rooms nextin popularity.
This data is backed by the novelty and explosive growth of immersive theatre, the most exciting
part of the Immersive Entertainment Industry for early adopters. It is also the sub-industry thatis having the most struggles with scaling and sustainability, except in the standout unicorns –the handful of large-scale companies who have created a formula for long-term success on theback of years of show and business development together with a bit of luck.

50

Three production formats have emerged across the Immersive Entertainment Industry:● Sandbox / Open World (Like a free-roaming video game)● Tracked (Linear flow, like a theme park dark ride – but with or without vehicles)● One-on-One (Intimate experiences designed for the smallest of audiences)
41% of respondents prefer the Open World format, but the margins are small so overall that
one format is not necessarily preferred over another in the consumer’s eyes.

Five types of participant agency are used throughout the Immersive Entertainment Industry:● Narrative (Power to change story)● Investigative (Power to reveal, but not change story)● Emotional (Power to influence performance, but not change story)● Traversal (Freedom to move through space)● Co-Creation (Active Improvisation)
While just over ⅓ of audiences prefer the choose-your-own adventure feeling of Narrative
agency, the preference is not overwhelmingly high compared to other types. In general, while
agency can be an important tool to bring value to an immersive experience, a specific type ofagency is not necessarily preferred over another across all audiences.

51

It’s not surprising that since respondents of this audience survey are predominantly fans ofimmersive theatre, they are drawn toward interaction with performers. 76.1% of respondents
desire modern to heavy interaction with performers within an experience.

92% of respondents also reported they have no problem with experiences that involve physicaltouch. (Note: This survey was conducted several weeks before the coronavirus emerged.)52

When it comes to genre work in the Immersive Entertainment Industry, the favorites are
Mystery, Adventure, Drama, Fantasy, and Horror, according to survey respondents. Anyone
who has visited a theme park would easily recognize all of these genres as being popular for
decades. The addition to the list that continues to make waves through the industry isDreamlike / Spiritual, as many audiences of immersive work seek out transcendent /transformative experiences.
The least popular genres are Social Realism and Crime, both of which are contrary to theescapist entertainment draw of the Immersive Entertainment Industry.
Of course, there is always an opportunity for subverting expectations. While Musical, Historical,
and Conspiracy are among the least favorite genres for these entertainment experiences, thoseare exactly the three elements that make up the smash Broadway hit “Hamilton.”53

Market & Marketing
18.2% of respondents feel that experiences are too frequently over-marketed, but 33.4% feelthat most experiences are accurately marketed.
With nearly half of respondents feeling indifferent about the state of marketing, so far
marketing of experiences has not negatively impacted the perception or satisfaction from the
majority of audiences.

While the Immersive Entertainment Industry continues to grow, it has a broad reach through somany sub-industries with a wide variety of products and experiences offered.
40.5% of survey respondents feel there is sufficient immersive work in their area and that themarket is saturated. However, 59% of audience survey respondents are from Los Angeles and
New York City, which are the most saturated areas of the United States for immersive
experiences.

54

Removing Los Angeles and New York City from the survey responses results in 83.9% of
respondents reporting that they feel there are not enough immersive experiences in theirarea.
This suggests this industry still has a lot of room for growth. Even in Los Angeles and New
York, audiences are not satiated as 59.5% feel there is not enough there either.

55

AUDIENCE SURVEY - QUALITATIVE RESULTS
Audience survey respondents throughout the United States offered what they feel are
the best aspects of immersive works in their region of the country:● Room for innovation● Scrappiness of creators● Growing communities● Small, but dedicated groups● Unique offerings / little overlap or repetition● Experimentation
Respondents identified the following worst aspects of immersive experiences in their regionsof the country:● Not enough experiences● Immersive is used only as a buzzword● Low quality of creativity● Poor puzzle designs● Low production values● Lack of audience familiarity● Lack of competition● Lack of overall knowledge in the community● Cliquey community● Need for less pop-ups, more long-running experiences● Overly ambitious experiences● More work needed outside of Fringe festivals

56

FURTHER DEFINING THE
IMMERSIVE ENTERTAINMENT INDUSTRY
Last year’s report offered an overview of the history of immersive experiences, dating back to
the earliest days of Disneyland. The Immersive Entertainment Industry has become an everexpanding collection of varied experiential works that aim to entertain, educate, and provide
artful context for the world around us all.

This industry includes themed entertainment, haunted attractions,virtual reality, augmented reality, mixed reality, transmedia, escaperooms, immersive theatre, alternate reality games, live-action roleplaying, themed bars and restaurants, experiential marketing
activations, and experiential museums.
It’s important to note that within each of these sub-industries are creators that are speaking thesame “language” of design. That is, the basic tenets of immersive design apply no matter
whether it’s an individual artist creating an immersive theatrical production for an audience of
one or a global entertainment leader creating a multi-billion dollar immersive theme park land.
This industry was essentially invented by Walt Disney, with bold ideas to bring his company’s
beloved animated films to life. With the birth of the theme park came a whole new type ofexperience in the world, one in which casual visitors become surrounded by and immersed in
the story being told, interacting with characters, and literally experiencing the thrills theypreviously only could watch on a screen.
Over the decades that followed Disneyland’s opening in 1955, many more types of immersive
entertainment were born of the same design principles that Disney’s early “Imagineers” firstcreated.
As sub-industries within the Immersive Entertainment Industry continue to iterate and innovateon experiential concepts of the past, it’s important for all creators within this space toremember that the immersive worlds of theme parks, virtual reality headsets, or alternate reality
games all have a shared goal. This offers opportunities for creators to adopt methodologies
from within each of these sub-industries.
Much of the Immersive Entertainment Industry is young, established within the last 20
years. But themed entertainment and haunted attractions predate the rest of the industry by
several decades. And it is to these parts of the industry that new creators can look whensearching for tools and techniques to draw from.

57

The language and process of how a theme park ride is designed, for example, can easily andappropriately be applied to the creation of a LARP.
That process, for every employee of the Walt Disney Company (designer or not), begins withthe four Keys: safety, courtesy, show, and efficiency – specifically in that order of importance.
In an industry that prides itself on regularly asking audiences to surrender themselves over toan experience to achieve that state of total immersion, it is absolutely paramount for every
creator within this industry to value safety above all else. The safety of customers and staff
alike is more important than any other element of the experience being created. For thisindustry to accelerate growth, it is the responsibility of all creators – even individual artists – toensure that safety is always first on the mind. This includes taking gentle care with thepsychological and physiological safety of every audience member.
Courtesy comes next, still ahead of the show itself. On Maslow’s famed hierarchy of needs,
following physiological and safety needs comes love and belonging – a sense of friendship andconnection. This is what every experiential designer can and should offer, from the beginning.
That’s not to say that once an immersive experience begins that a sense of kindness cannot be
replaced with other emotions or feelings for the sake of the show. But before and after theexperience, a responsible level of courtesy should be maintained to allow every audience
member or participant to walk away feeling cared for, welcomed, and appreciated. These are
the feelings that contributed to further growth of this industry, as positive word spreads about
how participants felt as they entered and exited, which leave lasting impressions.
Show is the third Key for a reason. The old adage “the show must go on” might apply for astage show, but when it comes to immersive experiences it is far more important for safety andcourtesy to be met than for the show to continue if something goes wrong. Even if an entire
experience is cancelled, audiences who feel cared for and appreciated won’t walk away bitter.
Likewise, once every participant feels safe and welcomed, they enter in the correct mindset tohave the best possible experience. Ultimately, show as a Key means more than the experience
itself. It means that once the audience is prepared for an experience, every element thereafter
must not break the illusion of the show for them. Attention to detail is what creates the best
sense of immersion, when nothing removes a participant’s delicate state in suspension ofdisbelief.
Lastly, efficiency is the final Key that allows the most people to enjoy an immersive experience
with ease. If creators recognize that every audience member’s time is valuable, then efficiency
in operating an immersive experience can take a good experience to a great one, creating theideal impact that will continue to drive this industry forward.
This example of Disney’s four Keys is just one example of the many immersive design principles
that applies to nearly every experience within this industry. The language of each sub-industry58

– and subsequently the knowledge and talent – can apply across the entire Immersive
Entertainment Industry.
Emerging creators who are seeking mentors or established organizations looking to growtheir team can look to any of the sub-industries for assistance. Many a haunted attraction
owner has ventured into the escape room industry as a way to offer year-round attractions
rather than simply seasonal, such as 2019’s evolution of the ScareHouse traditional haunt in
Pittsburgh, PA into The Basement theatrical haunt and Stalked by a Killer escape room. And not
too long ago those who built a career in themed entertainment design could only seek out workin designing for theme parks. But today those same talents have allowed companies like
Dreamscape Immersive, Evermore Park, Scout Expedition Co, and the authors’ own Pseudonym
Productions to apply those skills to create innovative new immersive works.
To give a sense of the scope of what makes up the work within the Immersive Entertainment
Industry, skill sets include: set design, architecture, CAD / 3DS / SketchUp, lighting design,
QLab, DMX, sound design, Arduino / Raspberry Pi programming, live music, acting, aerial
acrobatics, improvisation, writing, directing, producing, event planning, real estate development,
software and hardware development, illustration, graphic design, and many more.
Year over year, the Immersive Entertainment Industry continues to expand upon the knowledge
and talent of the past, all in the name of creating unforgettable experiences that allow people tofeel safe and welcome as they venture into the unknown – and return to tell their friends andfamily all about it.

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INDUSTRY LIFE CYCLEAs the Immersive Entertainment Industry continues innovation and expansion, it’s vital torecognize the concept of the industry life cycle. It’s a path that every industry, company, or
product inevitably follows. In the case of this industry, it’s important to recognize where in thelife cycle each of the sub-industries exist in order to properly analyze industry data and chart its
evolution.
The four stages of industry life cycle, as they apply to the Immersive Entertainment Industry,are:
1. Introduction – When new companies and products enter the market. It’s a time of highexpenses and low revenue. It is when most people don’t know the product exists or
don’t quite understand why they would want or need it. Much education, innovation,and iteration is needed for standouts to begin to emerge. Demand must be created in
the marketplace. This is where 90% of startups fail, never leaving their introduction
phase.
Currently in this stage: Immersive theater (USA), LARP, ARG
2. Growth – As products become defined and companies find consistent revenue streams
while earning new customers, an industry begins to grow and expand. The first few
successful companies will be followed by carbon-copies, with newcomers finding ways
to improve upon the original and differentiate themselves in the marketplace. Customer
loyalty toward specific brands begins to occur. This is the stage in which serious
investors begin to take note.
Currently in this stage: Immersive theatre (UK), virtual reality, augmented reality,
mixed reality, experiential marketing, interactive art museums.
3. Maturity – The surge in growth slows in a mature industry, as competition takes hold.
The market is saturated with companies all producing similar products. Customers have
many choices, forcing companies to spend more time than ever marketing themselves
effectively, whether through continued innovation or clever messaging.
Currently in this stage: Themed entertainment, haunted attractions, escape rooms,
themed bars and restaurants
4. Decline – The downfall of an industry can occur for many reasons. Customers may growtired of the products being offered. New products may come in that replace the old,
fulfilling customers’ needs in new and more exciting ways. Growth is gone in this stage60

as revenue slows and companies must follow new trends or reinvent themselves inorder to stay relevant or even remain in business.
Currently in this stage: None yet

Creators who responded to last year’s industry survey noted that high production costs,
problems with the education of consumers, scaling, and sustainability were the largest
problems they were facing in bringing experiences to market. This year, just 30% of
respondents still stated that education of consumers and marketing were ongoing issues, withthe rest continuing to be problematic for the majority of respondents.
This path perfectly illustrates the transition portions of this industry are going through movingfrom the introduction phase into growth. But it is also necessary for continued growth that the
younger parts of the industry need to continue to innovate, not just in creativity but also in
business.
The Immersive Entertainment Industry is filled with incredibly creative innovators who arepushing the boundaries of immersive experiences. But business innovators are the ones whowill take those creative ideas and transform them into new working business models thatsolve the problems of high production costs, produce work faster and more efficiently, introduce
more effective marketing efforts to continue to educate consumers, and scale up the work toallow for sustainability.
Once these processes are achieved, funding will become more frequent for creators. This iswhen capital investment enters the industry, once investors see a promising new business
opportunity – not just exciting creative endeavors.
For the parts of this industry that are still figuring its products out creatively, there is no harm incontinuing to experiment – and not become frustrated at repeated failures. There will be a lot ofthem. That’s the nature of the introduction stage.
The market will decide when the right products have been created, as different types ofcustomers begin to emerge.
An industry’s growth is fueled by five different types of customers 25:
1. Innovators – Represents 2.5% of the population. The first to try a new product. They
are willing to try just about anything. They generally do not spread the word.

25 https://www.referenceforbusiness.com/management/Or-Pr/Product-Life-Cycle-and-Industry-Life-Cycle.html#ixzz6EzXJcVvW

61

2. Early Adopters – Represents around 13.5% of the population. There are vocal leadersof this group. They are the friends and family who always talk about new experiences or
products. A long or short life cycle depends on the satisfaction of this group and theirability to spread the word.
3. Early Majority – Represents around 34% of the population. Once early adopters havegiven their approval, growth picks up quickly as others feel secure in buying into a new
product.
4. Late Majority – Represents an additional 34% of the population. This group does nottake risks and only feels comfortable buying into a product after the above 50% of the
population has confirmed it’s worth spending money on. When the late majority enter
the marketplace, an industry has reached maturity.
5. Laggards – Represents the final 16% of the population. This group generally does notlike trying new things and will often feel “forced” into it when older products orexperiences disappear. They enter the market only when 84% of the population has
done so already.
Considering the five customer types above, creators in each sub-industry can track their own
growth and success based on what types of audiences they are seeing.
Much of the Immersive Entertainment Industry has yet to breach the early majority.
In 2019, roughly 30% of the US population visited a theme park and around 22% visited ahaunted house. The rest of the industry is still starting to see the vocal early adopters try toconvince others to join them at an immersive experience or still making themselves known to
the innovators. There is a lot of ground yet to cover for many new areas of this industry.
The path toward finding those early adopters is a give-and-take for creators within theindustry.
In the introductory phase, many have an aversion to classifying their work as one type oranother, keen on paving new ground in the name of being an artist or an innovator themselves.
Many groups in the younger, budding areas of this industry are inventing their own languagefor defining what they are.
For the industry to grow forward and products to be understandable and exciting for early
adopters, it’s important for new works to be able to be collated into a familiar
categorization. Only then will people be able to point toward different experiences andimmediately become interested, instead of leading with confusion and questions.

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The recent path of experiential museums is an excellent example of what happens when a firm
product emerges. What were previously seen as potentially “weird” art installations have now
come together into a cohesive and understandable product and business model that can andwill be replicated around the world. The content and brand are different for each one. But thenotion of a product in which you walk through an immersive space and marvel at the artistry
and spectacle of it all is consistent. Some are designed for taking photos, others for sheer awe.
But the pattern is the same. Consumers will try multiple and pick their favorites. There is nofurther education needed for customers who have already been to one in order to get them totry another – or to convince others to see them.
Likewise, escape rooms took a while to catch on but once a consistent product formula was“agreed upon” by creators worldwide, this type of experience has grown to thousands oflocations, with each creator simply offering their own take on the formula.
The biggest example of all is that of theme parks. Anyone visiting a theme park – no matter inwhat country – has an expectation of rides, shows, food, drinks, and immersive environments.
When Disneyland was first conceived, people thought it was a crazy idea. Today it’s thelargest component of the Immersive Entertainment Industry industry, 70 years later. And manyothers have replicated this formula to develop their own parks, meeting audiences expectations
with different content.
A final example is that of haunted attractions, which have multiplied tremendously over the
past few decades. The formula is a solid business model that meets a basic purpose: to scare as
many people as possible in a night. And many haunted house visitors have gone on to create
their own elaborate experiences.
But when it comes to the rest of the Immersive Entertainment Industry, there is aninconsistency that is preventing any of the early majority from entering the marketplace.
Virtual reality is still iterating through headsets, which are costly and uncomfortable for many.
Good content is still relatively sparse. Augmented reality is clunky and requires a firm
understanding of and access to new technologies to use. ARGs and LARPs are generally
trapped in an audience niche, requiring a significant amount of imagination on the part ofparticipants’ to function.
Immersive theatre experiences are each far too different for most consumers to wrap theirheads around as a recognizable and familiar category of entertainment. A trip to Sleep No More
has required wearing a mask in dark environments while rapidly traversing stairs to follow
silent dancers while a night at Secret Cinema has surrounded audiences with thousands ofother people in sprawling environments with actors amidst the context of a film screening.
Smaller experiences frequently have placed participants in close proximity with performers,
sometimes in intimate and jarring situations.
63While all of these experiences are perfectly valid as immersive entertainment, they bear little tono resemblance to each other. With traditional theatre, there is a consistency in that patrons
buy a ticket, find their seats, and enjoy a performance – big or small, intense or light-hearted –that takes place on a stage in front of them. Immersive theatre, so far, requires the“innovator” mindset of customers who are simply willing to try something new.
For these younger, still emerging parts of the Immersive Entertainment Industry to achieve
growth, some consistencies and similarities must begin to take shape in order for the early
adopters to arrive and subsequently tell the early majority about these must-see experiences.
If, for example, immersive theatre creators around the world were to agree on a consistent
formula for – at minimum – language, ticketing process, introduction / on-boarding, andconclusion, then consumers would have something to latch onto.
Much like with a theme park ride, they might not know exactly what they are getting into, but atleast they would have the comfort of familiarity of how and why they are getting into and out ofit, and what they can expect to take away.

64

ITERATION
Upon reaching the growth stage, every industry will begin to see carbon-copies of successful
business, which subsequently become direct competitors. Competition is what fuels industry
growth and ultimately forces companies to iterate upon products, producing more interestingand exciting experiences for consumers.
While areas of the Immersive Entertainment Industry are filled with artists, many of whom
strive to break out and display their own uniquely creative take on the world, it is absolutely
vital to the industry for this process of iteration to occur, from a business growth standpoint.
There is more than enough room for artistry within every successful business – but there israrely a successful business to be found within art alone.
The individual or organization that sets the standard for iteration is not always the one to firstinnovate. It is simply the one that succeeds in catching the public eye by way of grabbing
headlines, obtaining more customers, or making more money.
The most recent examples of iteration in immersive design can be found in the interactive art
museum space. Meow Wolf most notably and quite successfully began a trend of transforming
an art collective into a business. Since their permanent location debuted in Santa Fe, othercompanies iterating on the concept have begun to emerge, including Factory Obscura andOtherworld. Experiences like ZeroSpace offer the same business model, but with a vastlydifferent approach to the creative elements within – a distinctive iteration on what Meow Wolf
began.
Likewise, Museum of Ice Cream defined the Instagram-fueled experiential craze followed by aseemingly endless stream of pop-up experiences devoted to capturing the perfect photo. That
formula is still working, though the length of its life cycle is still unknown.
The Blackout experience broke new ground by evolving the haunted attraction concept into
what has since become known as extreme haunts, followed by many copycat companies. But
even Blackout’s creator has publicly admitted that it was a poor business model from the
beginning, deciding in 2019 to conclude its 10-year run by ending future large-scale
experiences. When iterating on a concept in an emerging market, it’s important to understandwhether the original is worth copying at all.
Punchdrunk’s Sleep No More is by no means the world’s first example of immersive theater, but
it has become renowned for inspiring nearly every immersive experiential creator in some way.
But even one of that famed show’s producers was unable to duplicate its staying power with afollow-up show called Queen of the Night, which ran for just two years. Early success is no65

guarantee of widespread adoption into the majority of people, even for those who follow theformula.
In an article with UK’s The Stage26 Felix Barrett of Punchdrunk noted:“Nobody knows what the next big thing is, but it will come and it will
shift the paradigm. Everyone is trying to pull the rug from under theaudience’s feet. But that still means that those of us who are making
this work must start from a place where everyone involved knows what
the boundaries are and, if necessary, how to press the ejector seat.”
Aside from duplicating Sleep No More in Shanghai, Punchdrunk has yet to create anotherexperience that matches the financial success of the original. They have recently turned theirattention to iterating internally on their own concepts, testing entirely new ideas to evolve whothey are as a creative company.
Iteration within one’s own work also fuels industry growth. There is a tendency for artists towant to create something entirely new with each piece of work. But to create forward
movement that consumers can understand, there must be momentum on a single concept.
Before Sleep No More’s success in NY, it first ran in Boston, working out the kinks. Before Meow
Wolf built The House of Eternal Return, they created another installation called The Due Return(among many others) that proved their concept. Wonderspaces and Color Factory began as
pop-ups, solidifying their products, and have since moved into permanent installations.
This process is not fast, often taking years of work on a single idea to evolve it to a product thatwill propel this industry forward. In this way, the development process of financially soundimmersive work bears more resemblance to that of studio films and Broadway productions thanthat of independent movies and storefront theater.
Scout Expedition Co’s The Nest recently launched its 2.0 version of the same experience, in a
new and better location with enhanced production value and a refined model. Performance
artist Keight Leign has successfully moved from real-life experiences to online ones, iterating
through remote experiences using the same structure with entirely different creative
approaches to each one. The author’s own Pseudonym Productions began with a raw live
immersive experience called The Republic, which later evolved into a much more elaborate andrefined version called When Shadows Fall, now developing further iterations on the concept
for future debut.
No matter whether iterating internally or on another company’s successful concept, industry
growth comes from consistency and dedication to something familiar in the consumer’s eyes.
26 https://www.thestage.co.uk/features/2018/immersive-theatre-growing-growing-big-quickly/

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COMPETITION
The concept of competition is one that the younger parts of the Immersive Entertainment
Industry don’t yet have to be concerned with. But as those sub-industries move into growthand maturity, competition will become a crucial component that will require clever navigation
around.
Themed entertainment competition is rampant in the Central Florida and Southern California
markets, while other amusement parks around the world face less local competition. Multiple
escape rooms have opened in or around most cities in the United States as have haunted
attractions over the years. VR LBE is starting to feel the competitive spirit as The Void is by nomeans the only major player on the scene anymore.
In immersive theatre, London has become competitive as multiple companies are finding theirway into sustainable productions. Meanwhile in the United States, outside Sleep No More andThen She Fell, year-round immersive theatre productions are few and far between – even in Los
Angeles, despite so much work being done on a limited run basis.
Ultimately the question of competition depends on its definition. There are few directcompetitors in most areas of the Immersive Entertainment Industry. That is, other competingcompanies in the same sub-industry with the same revenue goals don’t generally exist in thesame market, with the exception of escape rooms and haunted attractions.
While the sub-industries of the Immersive Entertainment Industry exist in the same immersive
vertical, they largely have different markets and customer bases. Fans of escape rooms are notnecessarily fans of virtual reality, nor are fans of haunted attractions necessarily fans of ARGs.
Audience survey respondents were asked to rank the categories of immersive experiences inorder of their preference. Correlations in audience preferences were derived from these
responses, indicating the crossover appeal between some of the industry's segments.
On average from our survey, crossover interests are:
● People who ranked traditional haunted attractions highest also tend to enjoy extreme
haunts and immersive theater, but ranked ARGs and VR lowest.
●

People who ranked immersive theater highest also tend to enjoy themed entertainment
and escape rooms, but ranked extreme haunts lowest.

●

People who ranked themed entertainment (theme parks) highest also tend to enjoy
immersive theater and escape rooms, but ranked home VR and extreme haunts lowest.

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●

People who ranked home VR high also tend to enjoy VR LBE and immersive theater
most, but ranked ARGs, haunted houses, and extreme haunts low.

●

People who ranked escape rooms highest also tend to enjoy immersive theater andthemed entertainment, but ranked extreme haunts and VR lowest.

But arguably all forms of nightlife and attractions are in competition with each other. Bars,
restaurants, axe throwing, movie theaters, and stage shows all compete for consumers’ timeand money.
The upside is that the Immersive Entertainment Industry's emerging entertainment forms
are “replacement competitors” for other businesses, on which consumers spend their sametime and money on substitute products.
Customers tired of going to movie theaters, the same local bars, or Dave & Busters (forexample) can turn to immersive experiences as new activities and sources of fun andentertainment.
In this still-emerging industry, it’s encouraging for all designers to know that most immersive
creators are generally not in direct competition with each other (for now), instead seizing an
opportunity to disrupt how consumers spend their free time.
Other industries will definitely take note.

68METRICS FOR SUCCESS & GROWTH
There are no rules when it comes to defining success. For an industry to grow, there must be
financial success, since all measures of industry advancement are based on money changing
hands.
In this industry significantly driven by creative work and artistry, success metrics can and do
stretch beyond profits alone.
In this year’s immersive creator survey, 43% of respondents consider creative or artistic
achievement to be their primary success metric, followed by social impact as the second mostimportant, financial gain / profit as third most important, and customer satisfaction last.
A seasoned business person might find this mentality contrary to the very core of doing
business, but it’s important to note that 46% of respondents to our survey create immersive
theatre experiences – an art form before a business. Moreover, 50% of respondents are in the
introductory stage of their life cycle as a part of this industry.
While not wholly conclusive, this data suggests that a significant percentage of the work being
created in the Immersive Entertainment Industry is currently focused on being creative,
innovative, and experimental. When asked for other success metrics, among the most common
responses were: fun, growth, impact, joy, transformation, recognition, innovation, collaboration,awareness, pay rate, education, and community.
All of these are perfectly valid metrics for success and each creator must establish their own
criteria for what drives them forward. But ultimately, even an artist-driven industry must findcommon ground in the commercial nature of the work being produced. For the Immersive
Entertainment Industry to continue to be seen as a growing and thriving industry, increasing
widespread attention and education of the products within, there must be commercial successas well as creative success.
With the increasing use of the word “immersive” to describe various types of experiences, there
has been much debate within immersive and art communities alike as to whether theseexperiences should qualify as “art” or “entertainment.” The question that remains is that thosesemantics simply do not matter when it comes to the advancement of the industry as a whole.
As Tyler Cowan succinctly put it in his controversial book In Praise of Commercial Culture:“We must celebrate creativity and artistic skill in all its forms—
graphics, so-called commercial art, and fine art. We must let theart speak for itself and ignore the rest.”

69

Cowan underscored the importance of artists appreciating the need for capitalism andcommercialism as a means to further art itself:“The capitalist market economy is a vital but under-appreciatedinstitutional framework for supporting a plurality of coexistingartistic visions, providing a steady stream of new and satisfying
creations, helping consumers and artists refine their tastes, andpaying homage to the eclipsed past by capturing, reproducing, anddisseminating it.”
The current paradox in the Immersive Entertainment Industry, however, is that companies like
Meow Wolf were founded on the very principles of supporting artists in an effort to create a
new economy that values artistic achievement more than traditional monetary success. And yetthat very company is now one of the most commercially and financially successful in theindustry, thanks to traditional venture capital funding helping to transform the art collective intoa business-first organization.
When it comes to funding – an inevitable stage of growth that this industry is just starting tofind its way into – it’s a given that many investors simply do not care about the artistry of an
immersive experience. It is the financials that will convince them whether to invest or not.
One poignant story was shared in a report entitled “The Art of Measuring the Arts”27:“I remember a conversation that I had a few years ago with a veteran artist.
There was a funder who was interested in pouring more money into thearts but who asked for hard numbers. The artist told me, “I can’t quantify
my work in that way, but every time I do the work that I do, I can feel it in
my heart and I can see it in the faces of my audience.”
As an educator, I understood how she felt. And that is what we told thefunder: Do not just look at the report, come see the work, come and see
how the work impacts the audience. The funder, however, said,“Just give me the report and that’s fine. I’ll still fund the project.”Creative success is what drives public interest in the Immersive Entertainment Industry.
Financial success is what will fuel its growth.
Along the way, it’s important for creators to only compare metrics of success against otherentities of a similar scale. The success metrics of a major theme park are going to be vastlydifferent than those of a new VR LBE establishment and that of a two-person immersive
theater production. While one escape room can easily compare success metrics against a
27 https://lkyspp.nus.edu.sg/docs/default-source/ips/the-art-of-measuring-the-arts_full-report-on-the-roundtable-on-bang-for-the-funding-buck_final.pdf

70competitor down the street, it’s rather deflating for small immersive theatre creators to compare
their numbers against that of Sleep No More.
In determining a creator’s appropriate success metrics, it’s necessary to answer questions ofwhat growth looks like for that particular experience – and in what was growth achieved, bothcreatively and financially. Following the finances can also lead to determining important successmetrics as well – from ticket sales ( marketing success), grants (artistic success), or donations(customer satisfaction success).
Only by following those financial paths will the younger parts of the Immersive Entertainment
Industry find their paths out of the introductory stage and into growth, ultimately forming asolid ground on which a system may begin to form for new funding opportunities.

Industry Growth Challenges
Theme parks, haunted attractions, and escape rooms have already experienced growth as they
have solid business models and are in or on their way to maturity in the industry life cycle. Allother parts of the Immersive Entertainment Industry are still in introductory or early growthstages.
In 2019, many earlier-stage companies of the industry, such as immersive theater, have worked
on figuring out how to find a path toward growth by focusing on scaling and sustainability.
68% of respondents from our creator survey stated scaling is a problem for them and 53%
identified sustainability as a problem. While the immersive industry works on overcoming
these obstacles and pushes forward, there are still many questions that companies are asking
about finding their own paths towards sustainable growth, while fighting to retain thesubstance and appeal of their works.
The tough questions for many creatively-driven immersive industry companies are:
● How do we keep creating and growing without losing what’s inherently appealing
about intimate works?
● How do we scale into sustainable projects that still have “soul”?
● In order to grow as an industry, will artists have to focus on mass appeal entertainment
and let go of artistic vision?
● Is there a sustainable model for reaching small audiences through high prices?
● Are some types of immersive works better off as temporary / limited-run withextensions or is this model simply doomed to repeat the inherent problems known to
traditional theater?
We can identify several newer types of immersive sustainable business models that allow
companies to generate a steady stream of revenue and achieve growth. Interactive art
museums, traveling and permanent Instagram palaces, escape rooms, and haunted houses all71

have functional business models that enable them to maintain a consistent stream of revenue.
Pop-up pop culture-licensed themed bars and restaurants have also found a working model,
but there is only room in the market for so many of these to exist at once before their novelty
factor wears off.
Immersive companies that don’t fit (or don’t wish to fit) any of these models or producttypes – i.e. immersive theater, ARGs, LARPs – have been creating experiences that pop up
infrequently, causing stress on long term cash flow and a general inability to sustain.
In the case of VR experiences, which are beginning to find their footing, the problem is not oneof sustainability as much as barrier to entry for consumers, who either need to know about andhave a desire to attend a VR LBE location or invest hundreds (or thousands) of dollars into
hardware systems at home.
While experiential marketing efforts are thriving on the backs of Hollywood studio dollars, they
are still too often designed as limited run experiences aimed at creating a sense of FOMO andshort-term awe, rather than a sustainable entertainment product for the masses. Most of thebiggest ARGs and some immersive theater productions also fall under this category as forms ofexperiential marketing, unable to sustain beyond the length of a marketing cycle or specificpop-up promotional event.
In order for these types of immersive experiences to grow and continue to add increased value
to the industry as a whole, customers in new and existing markets need to be able to accessthese experiences with regularity, familiarity, and ease, not just on a hyper-limited basis.
The industry won't grow until artists create sustainable projects or a sustainable known
calendar of experiential products.
In the traditional theater industry, shows follow specific public schedules, with venues andproducing groups selling tickets to multiple upcoming shows months in advance, in addition tohaving memberships that encourage patrons to attend numerous shows at the same venue
within a season or year. With so many immersive theater experiences popping up so rapidly
and for such short durations, it's hard for audiences outside a company’s normal mailing list toeven know they exist. And it’s extremely rare for immersive theater producers to announce
projects or even plan beyond only their next endeavor, making it extremely difficult for new
customers to discover them or plan to see them.
Frequency and ease of access are necessary to build mass familiarity to experiences that aredesigned from the beginning to be exclusive or limited run. The number of experiences thatare accessible year-round or repeat seasonally needs to grow substantially, whether in personor online. Customers need to be able to have time to get excited about them, plan to experience
them, and then actually experience them.

72Escape rooms have a notoriously long lead time for customer acquisition. The lead time for an
escape room sale is longer than many other businesses due to the need to coordinate a group
together to play.28 Without making this lead time available, many customers will simply never
get a chance to experience some of the best immersive works being created.
Beyond the established markets for theme parks, haunted attractions, and escape rooms, VR
LBE and home VR has been leading the path for the rest of the industry as the next big
breakout. LBE has been establishing local VR locations that allow anyone to go and see
something new for a reasonable price, at their convenience. Home headsets allow people toexperience VR wherever they are.
Immersive theatre, ARGs, AR, themed bars, pop up themed restaurants, experiential marketing,and experiential museums are still hard to follow for the majority of consumers. Too often, by
the time they hear of a new experience, it’s already gone or nowhere near them. The London
immersive scene has escalated thanks to numerous examples of long-running experiences
dating back to 2015, all within the same metropolitan area, allowing a firm saturation andsubsequent industry growth. Familiarity leads to growth, but familiarity cannot be reachedwithout access first.
With familiarity and access comes word of mouth and recommendations, which are vital to
growth of this and any industry. But unlike traditional theater, movies, music, TV, and otherestablished forms of entertainment, there is not yet a firm recommendation system to discover
new immersive experiences. Moreover, because today’s most innovative immersive experiences
are so vastly different from each other, attempts to make recommendations solely on the baseof the word “immersive” are causing inaccurate comparisons to be made and incorrect
expectations set, leading to consumer confusion and disappointment.
For example, in the Northeast US, the go-to comparison for anything “immersive” is Sleep No
More – which is specifically a sprawling choreographed dance interpretation of Shakespeare’s
Macbeth. But the specific audience flow, mood, content, and general structure of thatexperience is the sole framework on which many consumers in the Northeast define“immersive.” With this and escape rooms as the only regularly accessible, familiar frame ofreference for that market, it’s difficult for patrons to recommend anything new without falling
into the trap of saying it is or is not “like Sleep No More” or “like an escape room.”
Without widespread familiarity and access to a variety of immersive experiences, it’s nearly
impossible for audiences to offer or receive proper recommendations. In other words, it’s toughfor patrons to say, “If you like [this], you‘d also like [this].”Despite the flexibility of immersive design to be complementary across many other industries,
there are very few examples of the newest forms of immersive experiences that have solidified
a place in mainstream conversations.
28 https://www.escapefront.com/escape-room-business/

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The European immersive theater market can be looked to as a preview of the future of the US
immersive market, as it’s further into the growth cycle. But many European companies are also
struggling with finding a sustainable path forward. In an article with UK’s The Stage in 2018,
immersive theater was noted as “one of the fastest-growing sectors” but also “one in which
increasing numbers of theatre companies are operating without subsidy as they try to work out
how to push the creative boundaries and make sustainable models.”29
A significant challenge many portions of this industry currently faces is the intimacy paradox.
One of the most powerful elements of immersive works is the form’s ability to connect
individually with each participant, often with transformative results. Many immersive
experiences are created for individual customers or small customer groups to guarantee thatunique level of intimacy. Many customers of immersive theater specifically have come to know
and expect a product to be personalized and when the group size is larger than their desires or
expectations, customer satisfaction drops.
That strength of customer connection is also the biggest weakness of these works, standing
in the way of growth, scaling, and sustainability.
Sleep No More, the Museum of Ice Cream, and a handful of other new immersive companies
have been able to translate their products into additional locations. VR and AR have thepotential of scaling more easily with not only new locations, but also access to customers intheir own homes. The popular immersive theater show Then She Fell has had good fortune tothrive with just 15 audiences members at a time, finding their own sustainable model. But thatsustainability is less about their actual business model and more about that show’s reputation
spread by word-of-mouth and glowing reviews. Even the company behind Then She Fell has
been unable to replicate the success of that show, after an apparent attempt with their followup effort The Grand Paradise failed to generate equivalent demand. The company, Third Rail
Projects, has shifted to a different model in the years since that show closed in 2016.
The popular Los Angeles Halloween time immersive theater experience Delusion worked overthe last few years to scale their product to a wider audience year-round, but ultimately was
unable to remain open after Halloween beyond a few extra months, despite efforts to make theexperience regularly open and available.
In order for intimate experiences like immersive theater to grow, creators need to find ways tobring the feeling of intimate experiences to larger groups, alter expectations of existing early
adopters, and/or invent new systems and approaches that allow for sustainable experiencesthat are financially viable long term. Being new and innovative alone is simply not enough tosustain.

29 https://www.thestage.co.uk/features/2018/immersive-theatre-growing-growing-big-quickly/

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Accessing the mass audience and educating them about immersive work is vital for industry
growth. New markets are slowly being created, but they don’t always align with the products
creators wish to develop. One way companies are finding success is by translating innovative
immersive work into existing, known, more traditional business models. There are many
traditional business types that can be enhanced through new immersive experiences. While
many are focused on the art and entertainment side of the immersive industry, the same
concepts can extend to social experiences as well. These experiences can serve as a primaryfunction for people to be social and to meet each other.
The hospitality industry is a prime example of an industry that has and will continue togreatly benefit from offering immersive experiences. Hotels, bars, and restaurants haveexisting markets filled with eager patrons. The hospitality industry is looking towards
immersive products as a way towards growth. In turn this partnership will help the immersive
industry grow too.
A classic example lies in the family-owned Kalahari Resorts, which stand out as experiential
hotels, featuring water parks, VR, escape rooms, arcades, and other entertainment offerings.
These experiences have borrowed a lot from the themed entertainment industry. Meow Wolf
has announced plans to add their immersive touch to a Phoenix hotel as a new way to attract
attention to their brand and offer a different type of product.30“The most successful hotels and restaurants are investing in immersive designs andexperiences as a way to engage customers and differentiate themselves from competitors,” said
Linda Ralph, VP of international business development at Mood Media. “I’m confident we willcontinue to see investment in immersion with the customer in mind, this is an extremely
exciting time for the hospitality industry as we see the trend towards immersion becoming
increasingly important to the sector.” 31
To help open up new markets, festivals and conferences have been featuring immersive
elements in recent years. There are different conferences all over the world that are engaging
with the word “immersive.” The debut of the publisher's own HERE Summit & Festival in Los
Angeles ( planned for 2020 but postponed due to COVID-19) is "one of the few solely focusedon immersive content”. 32 SXSW has featured attention-grabbing immersive experiences forseveral years as marketing activations. The Overlook Film Festival has included immersive
events each year since its debut in 2017. But 8 of the 10 recent conferences that haveprominently featured immersive components as a focus have leaned primarily on tech, such as
AR/VR.

30 https://meowwolf.com/articles/meow-wolf-hotel-coming-to-phoenix
31 https://www.essentialretail.com/comments/retailtrends2020-immersive/
32 https://venturebeat.com/2019/06/09/the-top-10-immersive-marketing-and-brand-experience-events/

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Utilizing new technologies is one way companies have found to grow in the immersive industry.
But “tech is the tool, not the goal.”33 That is, companies need to use tech to increase the valueof the experience, not just as a stand out example of the technology itself. In other words, thenovelty of VR experiences is fresh for consumers who have never experienced VR before, but
upon subsequent visits the content and experience are far more important than the technology
itself. The technology is simply a means toward scaling and sustainability.
Within technology-focused companies, growing them to become “a scalable reality” is still achallenge. According to Chris Bobotis, director of immersive at Adobe, “If immersive tech is tobecome a commercial reality with true end-user adoption, experiences that are universal need
to be identified and focused on. Something important for the industry and creators to figure out
is to identify use cases that are entertaining and pragmatic and will become part of people’s
day-to-day lives in a very meaningful way. This will create a tipping point where the R’s [VR,AR,MR,XR] go from being a novelty to mainstream consumption.”34
New technologies require an investment in education to build, program, and operate thosetechnologies. Another path toward the growth of the Immersive Entertainment Industry isthrough universities. Today students are already learning and thinking about immersive work
across universities. For example, one UK student has recently published work to “measureaudience perceptions of impact and value of different immersive experiences” determining“what makes a curated piece of content ‘impactful’ and ‘valuable’ from the perspective ofcontent funders and content creators of immersive productions”.35
Penn State is opening “The Center for Immersive Experiences” that “will feature comprehensive
services around teaching, learning, and research involving immersive technology by increasing
access to virtual reality, augmented reality, 360-degree video, mixed reality and more.”36
In recent years, there has also been an increase in theme park design at university-level
education. This has led to an influx of the next generation of theme park designers prepared toenter the workforce with new ideas on the future of themed entertainment. There is now adirect path to enter the theme park industry out of college. Immersive design in universities arefollowing the established path of theme park design. With immersive research occurring in the
education sector, students will be trained to think about the future and growth of this industry.
Above all, the most unique benefit of companies operating within the Immersive Entertainment
Industry is that “immersive” is a quality – a feeling – rather than a specific product type,
category, or execution. This alone gives the industry the potential to grow in endless
unexpected ways.
33 https://cmsimpact.org/fair-use-blog/immersed-immersive-media-sxsw-2019/34 https://cmo.adobe.com/articles/2019/3/what-itll-take-to-make-immersive-tech-a-scalable-reality.html#gs.1g0gld
35 https://research.gold.ac.uk/27152/1/IBC2019%20Paper_V2.5_JF_130819.pdf
36 https://news.psu.edu/story/593942/2019/10/22/research/center-immersive-experiences-set-debut-serving-researchers-and

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IMPACTThe Immersive Entertainment Industry is no doubt impactful in many ways, but there are two
distinct versions of impact that are worth analyzing. One is impact on the audience, viewer, or
participant – the ability for immersive work to change their perception of the world aroundthem. Subsequently, the other is impact on the industry itself, offering growth of the industry byaffecting change on the world.
In 2019, there have been a wide variety and number of immersive experiences produced. With755 logged new immersive productions to No Proscenium in the year 2019, the industry is
growing.37

Social Impact
Artists are turning to immersive experiences as a new way to reach audiences on a deeper
level and achieve social impact.
The results from our surveys show that more new companies producing immersive work werecreated in 2019 than any other year. 11.4% of surveyed companies had greater than 100,000
total all-time attendees / users / customers, indicating that audience education and exposure to
this industry are growing.
While industry exposure is increasing, one of the most common responses from audiencesurvey respondents is still “I’ve never seen anything like this.” It’s a statement that illustrates
the exciting potential of the innovative new experiences emerging from this industry, but also
shows there is still a long way for mass exposure and understanding. The masses are even still
discovering some of the more established parts of this industry. Not everyone has tried an
escape room, for example.
But escape rooms are certainly still getting increased attention. One standout artistic example
from 2019 is “The Privilege of Escape,” an escape room aimed at creating an impactfulexperience. This experience was funded from an art grant championing “inventive approach to
public art.” This project is an example of how immersive art experiences can offer a new avenue
into meaningful statements on society, as it was more than an typical escape room but “adisarming demonstration of social inequality.”38
According to research conducted by conservation-focused AR app Krikey “after having ameaningful immersive experience (like cutting down a virtual tree or watching yourself

37 https://noproscenium.com/everything-immersive-this-year-2019-3d8b866c0e27
38 https://www.nytimes.com/2019/07/23/arts/design/escape-room-creative-time.html

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personify and perish as a piece of bleached coral), there is an increased willingness to engage
and support conservation causes.”39
An incredible example of how corporations are also seeing how this industry can bring aboutchange and impact could be found in the first Impact Reality Summit hosted by Vulcan
Productions and funding platform Kaleidoscope, which aimed to “showcase immersive
storytelling for a cause.”40 This event brought together philanthropists, investors, journalists,and creators to spotlight important impact work while featuring companies like Conservation
International, the Rainforest Alliance, Connect for Climate/World Bank, Google, Microsoft, andOculus. It also gave a platform for impact project creators to compete for $50,000 in funding
awards across categories including Best in Climate Change, Best in Sustainability, and Best in
Community & Social Justice.
Likewise, in 2019, EarthxInteractive brought an immersive celebration of Earth Day to Dallas,
highlighting more than 40 experiences covering environmental issues.
Festivals highlighting experiences like these help industry growth as they allow audiences
previously unaware of the power of immersive design to experience its impact and fun and to
discover more immersive work.

Industry Impact
Creators in the Immersive Entertainment Industry are pushing boundaries, taking risks, anddeveloping innovative experiences. Some prove to be creatively successful and some do not. At
this moment in the industry’s life cycle, this is exactly what should be happening; trial and error.
And for those who fail, they get up and try again – and maybe fail again. This is the way for the
newer segments of this industry to grow.
To be an innovator is to take risks, fail often, and learn constantly from mistakes. Every newly
created experience that doesn’t work financially, creatively, or both should be applauded andcreators supported for their efforts to contribute to the growing industry. The industry islearning. With so many different types of experiences that fall under the immersive industry,
trial and error leads forward into financially stable systems. For now, based on survey results,
the focus of many creators is continuing to produce creatively successful experiences whileslowly working towards identifying how these experiences can become viable products.
The biggest question when shifting focus to turning a creative project into an impactful,sustainable business is how to not lose the value of the original creative product while scaling
and adapting toward mass appeal. Experiences should not have to lose all their creative andemotional impact in exchange for financial success. But in order to be impactful in the industry,
39 https://blogs.unity3d.com/2019/11/22/how-immersive-experiences-inspire-empathy-and-real-world-behavior-change/
40 https://www.geekwire.com/2019/vulcan-host-first-impact-reality-summit-showcase-immersive-storytelling-cause/78

creators need to strive for a balance or new models need to be established that find ways tomake risk sustainable.
It is with forward-looking companies like Vulcan and Kaleidoscope that this industry is finding a
way to help fund experiences focused on impact and not only for entertainment purposes. In
other industries like theater and film, grants are accessible to artists and companies looking toinnovate and challenge.
Kaleidoscope CEO René Pinnell stated that “we believe artists play a pivotal role in shifting
global culture toward a more sustainable and equitable future. If we're going to survive theimpending ecological collapse, we need to radically reimagine our global culture. And artists
have the power to do that. But they need support and they need money. And that was thegoal of the Impact Reality Summit and the ongoing mission of both Kaleidoscope and Vulcan
Productions.”
Funding avenues like this for immersive projects are beginning to become available to empower
artists to embrace impactful statements and projects, leading to industry growth throughphilanthropic efforts. There is tremendous value in the growth of artist-created works in the
Immersive Entertainment Industry. But the future of an industry cannot solely be based on
traditional models of supporting artists in their creative efforts.
In recent years, this industry has seen a substantial rise in frequency and attention on art- andtheater-driven immersive experiences. The increasing popularity of immersive theater has
allowed for artistic individuals and small groups to create emotionally impactful experiences forsmall audiences with a lower barrier to entry. It’s a relatively new and bold field for artists tocreate and explore various ways to connect with their audiences and participants.
Immersive theater artists have been creating works out of friends' apartments, bathtubs, street
corners, and endless types of free or inexpensive site specific locations that allow them to pop
up quickly and easily. 24% of creator survey respondents indicated they do not rent or own
space for their events, instead borrowing space for their immersive experiences. Likewise,
lavish and expensive scenic or prop work are not obligatory for immersive theatrical
productions and creators can focus on crafting their story and working with actors, or evenperform in their own experiences.
The vast majority of these artistic immersive experiences are limited run not just by design but
by the sheer unsustainable nature of the productions being created. They contribute
substantially to the growth of the creative side of this industry and to audience satisfaction, but
too often offer very little toward the growth of the financial impact of the industry overall.
The artistic immersive experiences that have had the greatest impact on the industry havebeen ones in which the notions of art, entertainment, and business have successfully
merged.
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The immersive industry was first dominated by theme parks and haunted attractions. These
products are generally considered to be “entertainment” experiences more than “art” – and bothhave sound business models, allowing them to sustain. Only in recent years have people
started to focus on the artistic value in both types of entertainment, especially as more
immersive experiences are developed with richer levels of detail and more artists involved intheir creation. The Orlando Museum of Art recently featured a presentation by Joe Rohde ofWalt Disney Imagineering, who offered his view on how “art and intellect play into creating theimmersive experiences … at the Disney theme parks.”41
There is no doubt that there is endless artistry to be found within the more established forms of
immersive entertainment. But as more and more art-first immersive experiences emerge, there
is much debate as to whether those should be strictly viewed as art or as entertainment – or towhat extent such works are contributing value to the industry as a whole.
The notion of “starving artists” still thrives today in the immersive space. There are many artists
producing immersive works who either have been unable or are unwilling to focus on thebusiness aspect of what they are creating, whether out of a classic artistic spirit of rebellion
against capitalism or simply out of inexperience. A balance of creative and financial successes
must be found for this industry to continue to become more impactful, on both audiences andits own growth.
As soon as a project turns from a small art experience to one that charges money, strives to becommercially viable, and financially supports its own artists, artists should be encouraged tomake every effort to succeed commercially. Making money from art is not exploitation. The
Immersive Entertainment Industry is evolving new opportunities for artists to embrace bothartistic and commercial sides through a budding infrastructure. The idea of a starving artist
doesn't need to exist in this industry because models are emerging for artists to create projects
that are commercially successful.
Various immersive experiences in London have branched out into several different financial
models, integrating immersive theater into cocktail experiences and bake-off style competitions.
They are having sold out experiences and looking to these models other than standard theatermodels which rely mostly on financial gifts and grants to make money, furthering the overall
industry.42
Whether various immersive experiences are deemed to be “art” or not is up for debate – but it
always will be. This industry is and should be challenging the traditional meaning of “art” toform new ways of impacting how the world around us is perceived.

41 https://attractionsmagazine.com/pandora-orlando-museum-art/
42 https://www.culturewhisper.com/r/immersive/new_immersive_experiences_london_2019/12772

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Even a century-old media format like film is still debating art vs entertainment. Everyone has
their opinion of what is art. In a recently controversial New York Times article, famed director
Martin Scorsese explained why he feels that Marvel movies aren’t true cinema: “I've tried towatch a few of them and that they’re not for me, that they seem to me to be closer to themeparks than they are to movies as I’ve known and loved them throughout my life, and that in theend, I don’t think they’re cinema.” To Scorsese, there is still a clear divide between art andentertainment in an industry that has already evolved for decades. “We now have two separate
fields: There’s worldwide audiovisual entertainment, and there’s cinema. They still overlap fromtime to time, but that’s becoming increasingly rare. And I fear that the financial dominance of
one is being used to marginalize and even belittle the existence of the other.”43
Art films provide great value to the movie industry. But that industry could not thrive on small
art films alone. Likewise, there will always be a place for “art” and “entertainment” to offer great
impact in the Immersive Entertainment Industry, in different ways.
Beyond “art” and “entertainment,” immersive design is making an impact worldwide and theterm ‘immersive’ has become one of the world's biggest buzzwords.
Falling under greater “immersive” promotional banners are experiences such as online AR
shopping tools, productivity tools like video conferencing, or even simply having a higher
quality sound and video component on a phone, tablet, computer, or TV. 44 “Immersive” is theword everyone is using – and yet in our survey, “immersive” is the marketing word that creators
say has been the most misleading or disappointing for customers, due to its many inappropriate
or exaggerated uses.
There is no arguing that the concept of “immersive” works are having a great impact on theworld in many ways. But in a debate of the artistic value of immersive entertainment, Charlie
Miller, curator and co-creator of the Denver Center’s Off-Center programming aptly stated thatthe word immersive “now means everything and nothing.”
It ultimately comes down to the industry’s works being created with “varying degrees ofseriousness and artistry. If it’s interactive, participatory or experiential, digitally enhanced,
augmented or virtual reality, it’s likely billed as ‘immersive.’ […] Immersive as a word no longer
has any meaning because it can be used to describe almost anything.”45
To keep the industry impactful in meaningful ways, new language must also be defined andused to describe works to consumers.

43 https://www.nytimes.com/2019/11/04/opinion/martin-scorsese-marvel.html
44https://www.thedometour.com/single-post/2019/06/20/Defining-Immersive-in-the-age-of-Everything-Immersive
45 https://coloradosun.com/2019/01/18/immersive-experiences-are-they-art/

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PROPOSAL:IMMERSIVE EXPERIENCE RATING SYSTEMAs the Immersive Entertainment Industry grows, it needs ways of categorizing product types
and scale to help differentiate and define what guests can expect from each new experience.
The goal of identifying industry nomenclature is to solve the problem in marketing experiences
and products so that customers know what size / type / category they are stepping into. Doing
this will help creators reach the best audiences, set proper expectations, offer a path towardaudience recommendations, and prevent creators from unnecessarily comparing the success ofworks from one category to another. Right now, because such similar marketing language isbeing used for solo artists as well as large companies, having standard nomenclature will
benefit creators and audiences alike as this industry grows.
The following is meant as a guideline and as the beginning point for discussion on the topic
of how this industry can define its work and adopt a universal system. This is certainly a
topic that will require substantial further consideration from the industry as a community.
There are a wide variety of immersive experiences and in forming a universal system of ratingsand nomenclature, we have looked at several different factors that can help set guest
expectations as the industry grows into attracting mass audiences.
Factors that vary greatly between experiences are:
● The type of work being created● Interaction/customer participation levels● Age appropriateness● Size of creative and operational teams● Financial backing size and sources for the work
To begin this conversation, we looked to how the film and gaming industries categorize theirwork, guiding what will become the Immersive Entertainment Industry’s system.
For example, the film industry has big studio movies, small studio movies, and independent
movies. Knowing these broad categories, audiences can set appropriate expectations whenbuying a ticket to see a Hollywood studio-backed movie versus an independent movie.
Likewise, the film rating system from the Motion Picture Association (MPA) is widely known toaudiences to help them set expectations and determine if they think they would enjoy aparticular movie or not in advance of seeing it.
The gaming industry has a similar standardized system, derived and enforced by theEntertainment Software Rating Board (ESRB). This system will look familiar instantly to82anyone who has purchased a video game, featuring a consistent graphical representation on
product packaging and marketing materials.

The ESRB’s system, first established in 1994, focuses on Rating Categories, Content
Descriptors, and Interactive Elements. 46
Like the MPA rating system for films, the ESRB is an independent board that rates every game,not the game creators themselves.
There has been debate as to whether the theater industry should ever adopt a rating system, orat least on Broadway, for example, which is increasingly targeted toward families. Theater isgenerally considered more of an art form than entertainment and as such many have rebelledagainst any suggestion that it should be given any sort of ratings.
Historically, the MPA and ESRB systems were created as a way for adults to ensure thatchildren do not engage with what adults might deem to be inappropriate content for children.
Immersive entertainment is by definition far more intimate, up-close, and hands-on. And as it
branches out beyond the family-friendly entertainment of theme parks into adult-oriented
situations, sometimes extreme, situations, there stands to be an increasing need to classify thework being created within the industry, particularly with an eye on the need for widespread
understanding in the years to come.
In addition to age appropriateness, it’s important for the future of the industry to move awayfrom adding the word “immersive” to works simply to attract more attention and ultimately
charge a higher price for experiences that actually offer nothing from the immersive design
disciplines that drive the actual immersive industry.
46 https://www.esrb.org/ratings/#how-was-the-rating-system-created83“For some producers, it’s become a licence to print money,” says Andrzej Lukowski, theatre
editor for Time Out. “It’s a party night and infantilised. It’s not attempting to be high art or
progressive. Theatre as an art form often tries to do something excellent and reaches for thestars even when it fails, but this current crop of immersive shows have to make money. You
don’t see them striving for brilliance or pushing boundaries or doing anything genuinely
meaningful.”47
This is why this industry needs to be proactive about being clear with descriptions. By
educating customers and defining each experience, flighty marketing terms as money grabs willlose their value, leaving the standout work to shine.

Category of Work
In beginning the conversation about creating a system of nomenclature for the immersive
industry, the first focus is on the type of work being created. For example, one company has
defined their work as “‘game theatre’ but says that storytelling is at the heart of what it does
and, while there is no script, there is a structure.” 48This type of description identifies play type, emphasis on story, and structure in a sentence thatmakes sense to those in the industry – but to the masses this would be entirely confusing, as
they likely have never experienced anything in the immersive industry before and have minimal
context for any of those descriptors.
There is a need for a clearer way to describe immersive work to allow audiences tounderstand in simple terms.
Video games are able to be identified as a first person shooter, role-playing game, or numerous
other standardized categories that make sense to anyone who has ever encountered anothergame of a similar type.
A problem in much of the immersive industries is that each new experience often feels like anentirely new type, rather than recognizably adhering to an existing one.
From our survey, creators have identified they are starting to use terms like live, adventure, fun,and game that are more accessible descriptions to the average consumer.

47 https://www.theguardian.com/stage/2020/feb/02/high-art-tipsy-night-out-immersive-theatre-lost-its-soul
48 https://www.thestage.co.uk/features/2018/immersive-theatre-growing-growing-big-quickly/

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Categorizing experiences can begin with groupings that most creators are already using:
●
●
●
●
●
●
●
●
●
●
●
●
●

Art ExperienceAR
VR (Home)
VR (Location Based)
MR (Mixed Reality)
ARG (Alternate Reality Game)
Escape Game
Extreme Haunt
Haunted Attraction
Immersive Theater
Themed Entertainment
Themed Bar
Themed Restaurant

As the industry grows, these categories will become further defined and new ones will
inevitably be included. But it is important for growth of the industry that the majority of newworks are able to be classified in one of the above in order to be understandable to the masses.
Within each high-level category of work being created above, there are endless subcategories
that can be identified: free roam or structured, whether the customer is either passive or active,
participatory or observational, audience communication or remaining silent, performer driven or
guest driven experience, etc.
The key is to define types of experiences clearly in words that are understandable to anyone
in an ongoing effort to clearly set expectations for all audiences. By labeling and defining thetype of experience separately from the hyperboles of marketing language, the goal is todistance the word “immersive” from being solely a marketing buzzword and give it specificmeaning and value.
Experiential marketing is a category that should also be clearly identified, separately from anyof the above suggested categories. These experiences take place in support of something else
as a means to sell a product. The funding is coming from a client, generally for major studios.
While these marketing activations are important parts of the Immersive Entertainment Industry,
as companies producing this work are quite profitable, it would be helpful to consumers toknow up front when an experience is branded and in promotional support of a product.
Likewise, there can be crossover of categories. There can be experiences that are both
Immersive Theater and Virtual Reality, for example. It’s encouraged to identify any and all
categories that accurately help describe the experience being presented and sold.

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Participation / Interaction Levels
The second and arguably most challenging way to describe immersive works is their customer
interaction / participation levels. While the ESRB’s system features a rating for the gaming
industry’s interactive systems, the Immersive Entertainment Industry should consider taking
this many steps further as interaction moves off of a screen and into real life.
The words “active” and “passive” are insufficient to describe levels of interaction. More thanthese two terms, we are proposing identifying four distinct levels of interaction.
These levels are not intended to note whether participants interact with performers or not.
That type of interaction is not what this is gauging.
These interaction level designations are intended to define to what degree a guest needs tointeract with an experience – without making a distinction between the type of interaction,
whether it is pushing a button, moving props, or speaking with a performer. These types ofinteractions should be defined separately within the category or subcategory of the immersive
experience.
Likewise, walking through or moving around a space is not considered a different level ofinteraction, rather a defining feature of the type or category of experience.

Level 0 – No Interaction

Level 0 is defined as no interaction and no participation whatsoever by audience members,
only observation. Guests do not speak, touch, or communicate in any way with the experience.
This level is intended to make it very clear to customers when purchasing tickets that this will
be a fully passive experience with zero interaction required.
For example, this level of interaction could be found in a play where the customer sits in a seat
and watches. This could also be for a moving play in which the customer is allowed to movearound the space and watch as scenes unfold but still are considered ‘ghosts’.
Most haunted houses would be categorized as Level 0 interaction because while the customer
does walk through the experience, they are not permitted to engage with the performers orwith the set.
Most older and traditional theme park rides are Level 0 interaction as they are entirely passive,in which the customer sits and simply observes the story and action unfolding around them.

86Since the debut of Sleep No More, there have been many productions that have structured theirexperiences in a similar audience-moment capacity, but without Sleep No More’s additional
layer of interaction that allows audiences to discover elements in rifling through parts of the set.
Level 0 does not include that layer.

Level 1 – Optional Interactions
Level 1 is defined as minimal interaction or participation. The customer can engage with theset or props, or can speak to the performers, but is not required to do so.
Engaging does not merely mean the ability to touch an object, but simply involves an elementof the customer doing something physical. This level allows customers the understanding thatthey will have the opportunity to engage with the experience minimally, yet will not be requiredto ‘do’ much. This level is still mostly a passive experience, but offers limited involvement fromaudiences.
Level 1 interaction with performers would offer audiences the ability to speak to performers in
the experience, but the performers will offer limited replies. That is, they may only respond via
scripted one-liners or simply acknowledge the customer’s existence, but the customer’sinteraction will not dramatically impact the flow of the experience overall.
Theme parks have many examples of experiences that are Level 1 interactions. There are many
forms of queue entertainment that have interactive moments while customers wait. A classic
example is The Mummy queue at Universal Orlando in which customers can push a button thattriggers an air spritz effect onto customers who are further along in the line. This is a minimal
interaction.
Another example of Level 1 is the entirety of Meow Wolf’s House of Eternal Return. Guests
mostly walk around the space, but there are opportunities to touch, open, and minimallyengage with the set in interactive ways. Likewise, Sleep No More does fall into this category, as
the majority of the production does not involve any level of interaction from audiences, butaudiences are able to explore sets by way of opening drawers and cabinets while reading andexamining props within for a deeper understanding of the story and world being presented.
These interactions are not required, but they do enhance the experience for those interested in
opting in to pursue them.

Level 2 – Interaction Encouraged
Level 2 interaction is an intermediate level of interaction. The main difference between Level 1
and Level 2 interaction is the guest impact on the experience. Level 2 is an experience that
contains interactions that are designed to encourage the audience to “play along” in order toenhance and in some cases maintain the illusion of the experience.

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Audiences who see a Level 2 designation will understand that they are encouraged toparticipate and “try” as part of the experience.
Arguably, this is the most challenging level for creators to achieve because it requires a carefulbalance of meaningful interactions and show elements.
A Level 2 experience is not fully a game nor a show, but a combination of both. It is trying todeliver impactful moments through interactivity. Currently, the most experimentation in the
Immersive Entertainment Industry is happening on this level, finding a way to create aninteractive experience that is fulfilling for those who love to feel in control while not leaving
behind those who are timid about interacting.
An example of a Level 2 interaction is Disney’s new Smuggler’s Run attraction in Star Wars:
Galaxy’s Edge. The attraction changes dramatically with different results if guests do or do notparticipate in their individual roles, and their interactions change the experience for themselves
and everyone around them. While it is possible to sit back in the ride vehicle and refuse toparticipate, the ride will carry on its course, leaving the riders with a shattered illusion thanks totheir own actions.
A Level 2 immersive theater example is the Delusion experience. Customers get to engage withthe set at specific moments and speak with performers while receiving direct responses. They
may be asked to crawl behind a bed, hide from another performer, or find a specific object. The
production continues forward “on rails” whether the customer performs the task or not, but it isencouraged for them to do so and generally at least one person is eager to interact. But
ultimately it’s all optional for each individual participant.
Guest reactions have been mixed on this type of experience, as some guests long for a more
active role with greater impact while others desire a more passive one that’s closer to a
traditional ride. It’s a tough balance to achieve successfully for every type of participant.
Another example of Level 2 is The Basement in Pittsburgh, a more accessible version of an
extreme haunt. Guests interact in each scene but nothing extreme is ever absolutely required of
the customer to move forward. The more guests participate in the manner that is being asked,
the more they get out of the scene, but the experience will move forward even if guests choose
to not participate. This may not satisfy seekers of the most extreme experiences, but does makeit approachable by more types of audiences.
What is most interesting about Level 2 is the balance between “show” and “interaction.” Whenachieved perfectly, audiences can feel emotionally invested and excited as they would in a
traditional linear storytelling experience while simultaneously feel as if they are truly ameaningful part of the experience as well.

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Level 3 – Interaction Required
Level 3 interaction is intended to give customers a sense of autonomy and a feeling that theirindividual presence is absolutely necessary. Without the customer’s interaction, the experiencewould no longer exist.
For example, escape rooms are Level 3 interactions, requiring customers to fully engage withthe experience. They can move elements around and are able to move their experience forward
at their own pace. Without the customer driving it forward through interaction, there would be
no experience. Nothing will ever happen if an entire group passively just stands around in an
escape room.
Many extreme haunts are also examples of Level 3 interactions. In order to progress in thoseexperiences, audiences are often required to perform certain tasks or consent to havesomething done to them personally. Even though the experiences often follow a linear path, theparticipant’s experience does not move forward unless you complete whatever the designers
want them to complete, or they will be removed. The experience itself does not exist without
the participants' interaction and interacting is the majority of the experience.
A less intense example of a Level 3 interaction is the Harry Potter wand experience at Universal
Studios theme parks. Guests trigger special effects throughout themed areas by waving apurchased magic wand in a specific way, in specific locations. Without guests completing theseactions, the experience is not activated – and thus interaction is absolutely required. It is up to
participants to make it happen.

Interaction Summary
Level 0 offers no opportunities for interaction with the audience, who are by definition notparticipants.
Level 1 provides opportunities for interaction, but they are purely optional and generally haveno lasting impact on the experience as a whole, or on anyone else's experience. Pieces of theexperience might be triggered by the interaction, but the interaction does not have a larger
impact on the experience. Most importantly, in this level interactions have no negative impacts
on the experience and the experience can happen in its entirety without anyone everinteracting.
Level 2 interactions are encouraged and have significant impacts on experience. If none of
the interactions took place, the experience would still exist, but in a vastly different form than if
participants engaged. In general, active participation has the ability to enhance the experience
for all audience members, whether they are individually interacting or not.

89Level 3 is for experiences that 100% rely on interactions to exist. This describes experiencesthat are purely interaction-driven.
It’s vital to reiterate that these levels of interaction do not imply intensity levels. It’s not hard
to imagine a Level 0 passive experience that is extremely intense to watch, or a Level 3
interactive experience that is easy for anyone to play in.
These levels are intended as metrics to simply define if there is, or is not, interaction with theexperience and its various elements. It’s an important metric that, if implemented across all
immersive experiences, will allow audiences to choose experiences based on their own desires
and comfort levels, setting proper expectations when joining a new experience.
This would prevent audiences who simply want to watch from accidentally stumbling into an
experience that requires 100% participation commitment from them and subsequently disliking
it simply on this fact. (“I hated it – I didn’t know I would have to do things!”) Likewise, having
these designations up front will prevent audiences who are extremely eager from being
disappointed when they mostly are observers. (“I hated it – I wanted to interact with theperformers and change the whole story, but felt stifled the whole time, forced to simply
watch!”)Age Appropriateness
Every useful rating system offers guidance for age appropriateness. As immersive experiences
become increasingly adopted by more mass audiences, a need arises to clearly define theappropriate ages for each experience.
While theme parks are generally regarded as family-friendly, some events ( particularly aroundHalloween time) have made it clear that while all ages are welcome, they are recommended forages 13 and above due to subject matter and intense situations. Likewise, many immersive
theater experiences have featured intense adult situations or alcohol, making them unfit foranyone under 18 or 21, respectively, in the United States. (Other nations have different laws
regarding minors and consumption of alcohol and narcotics.)
Age rating systems are not intended as a form of censorship and there is certainly merit toallow patrons to ultimately decide what they deem to be appropriate. The intent of establishinga clear age appropriateness system for immersive experiences is to inform audiences to makethe best choices for themselves and anyone who they might wish to have accompany them,including children.
Unlike similar rating systems video games or movies, our industry needs to consider the
impact of the real world. That is, for example, allowing a child to watch an R-rated movie orplay a video game that’s rated “M for Mature” is very different from allowing a child to freely90

explore a real-life experience containing adult content, face-to-face. Moreover, children do
require some level of supervision or guidance in an experience in which they can move aroundfreely. No one would want to see children turning Sleep No More into a playground, forexample.
The Immersive Entertainment Industry in the United States could most closely follow the
ESRB’s video game rating system, with a few changes:
Everyone
This designation is very clear: “Content is generally suitable for all ages.”
Under this category, immersive experiences may contain required movement through a set, an
understanding of alternate worlds, mild violence, infrequent use of mild language, and/or
minimal fantasy elements. This rating allows children to play freely, but without the need forfurther instruction or guidance. Like a playground, there is no instruction needed, but children
should, of course, always be supervised by parents or guardians.

Age 10+This age level is defined as: “Content is generally suitable for ages 10 and up.”In this designation, immersive experiences may contain non-human characters, interaction withscenic elements, mild violence, mild language, and/or minimal suggestive themes. Supervision isstill very much required with children traversing such experiences in real life.

Teen
In this age level: “Content is generally suitable for ages 13 and up.”
Here, immersive experiences may contain violence, suggestive themes, crude humor, minimal
blood, special effects, bright lights, light touch by performers, simulated gambling and/or
infrequent use of strong language. This level allows freedom to explore and interact
independently from adults, but adults must accompany anyone under 18 in order to participate.

Adults Only 18+
Deviating from the ESRB’s video game system, it becomes necessary to differentiate between
18+ and 21+ immersive experiences.
In this category: “Content is suitable only for adults ages 18 and up.”
Immersive experiences may include prolonged scenes of intense violence, minimal sexual
content, brief nudity, strong themes, and/or complex movement through space.
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Adults Only 21+
This final category is defined as: “Content is suitable only for adults ages 21 and up.”
Immersive experiences here may serve alcohol to guests and there may be strong sexual
content, violence, and/or potentially triggering themes or situations.

It is important to reiterate that guidance on age appropriateness should be tailored to local
cultural norms.
Including an age-based system such as this one as part of the overall nomenclature of how touniversally describe immersive experiences would allow audiences to have a better handle on
the subject matter and situations in which they might become part of while attending or
participating in an experience. Again, it is helpful to be informative up front and give audiences
guidance so they may make the best decisions for themselves.

Size of Team & Resources
The final category proposed as part of our guide to help begin the conversation on universally
defining immersive experiences is to clearly identify the size of the team, backing, andsupport system behind the works being created.
There is a substantial difference in production value and execution of work that has backing
and support from Broadway producers, Hollywood producers, theme parks, or other large
corporations / studios than those created by smaller companies, independent organizations, or“home grown” productions.
Today it is not difficult for smaller scale creators of immersive experiences of any size to
produce online marketing efforts that include imagery and language that is nearly
indistinguishable from high-budget productions, often setting improper expectations fromaudiences.
The negative result is that it has become difficult for some customers to know which “level” ofexperience they are about to step into. When expectations are inflated, it can also lead tocustomer disappointment, which leads to negative perception of the works and creatorsthemselves. Ultimately, this leads to a negative impact on the industry as a whole.
As such, the size of the team behind creating an immersive experience is valuable knowledge inconjunction with the scale of its financial backing. For customers to know in advance that anexperience was created by 1 person as a solo artist experience sets a very different expectation92

than knowing that an experience was created by a team of 50 people with support of investors,
a studio, or a profit-minded company.
By clearly identifying the size of the team and scope of the project, it also allows audiences
to make better buying decisions that are more in tune with their own interests.
For example, the types of people who like indie movies will most likely also be interested inindie immersive experiences. In contrast, audiences who mostly enjoy Hollywood blockbuster
movies are more likely to enjoy studio-backed, large immersive experiences.
Unlike the film and gaming industries, there is currently no studio system in place for immersive
experiences, so the differentiation between “independent” and “studio” does not exist. But likethe film industry, being an independently produced experience versus one that is backed by astudio or corporation does not necessarily reflect on the quality of the work.
It’s important to also note that including this element as part of our proposed categorization is
not intended to be based on the size of the companies or organizations as a whole, but rather
specifically representative of the works being created. This scale category is tied to the work
itself.
This categorization is also not intended for the benefit of creators, but rather for the benefit of
the general public. Indeed this kind of transparency can be discomfiting for creators andproducers, as the practice of “faking it until you make it” is a tried and true principle ofmarketing. However, setting clear expectations benefits the outcomes of experiential work.
Everyone who has partnered, collaborated, or worked on a project (including marketing) should
be factored into this designation so the public can set proper expectations based on who isbehind the experiences being created.

Resource Scale Categories
As the final element of our proposed nomenclature system, immersive experiences can beclassified based on their backing and support system into one of five simple categories:
Student, Micro-Independent, Independent, Professional, or Corporate.
It’s important to emphasize that the categorization proposed here is intended to define thescale of the immersive work itself, not necessarily those who have created it.
Again, these designations are also not an indication of quality, but rather another way foraudiences to set expectations for the ambition of the work based on the resources brought to
bear.

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These categories are defined as:Student
Immersive experiences are considered “student” work if they are created by students andmatch ALL of the following criteria:● Created with school / university support.
● Designed, produced, created in a school / university setting for the purposes of research,experimentation, and learning.
● Self-funded or funded by stipends or grants received from a school or university.

Micro-Independent
Immersive experiences are considered “micro independent” projects if they are created byindividuals or small teams and match ALL of the following criteria:● A total project team size between 0 and 10 paid and/or stipended employees,
contractors, freelancers, artists, or other collaborators. There is no ceiling on the numberof unpaid team members on a “micro independent” project. (Individuals whose only roleis contributing money toward crowdfunding, grants, or donations are not counted in theteam size.)● Creative independence: Creators have developed a wholly original immersive experiencethat is not work for hire for a corporation, client, or any other third party.
● Financial independence: Creators have paid for the development and debut of theimmersive project themselves and/or may have received crowdfunding, grants, or
donations. Excluding donations, sponsors, and/or partnerships, the project has notreceived financial support or production assistance from a professional company or
corporate funding.

Independent
Immersive experiences are considered “independent” if they are created by individuals or small
teams and match ALL of the following criteria:● A total project team size of between 11 and 49 paid and/or stipended employees,
contractors, freelancers, artists, or other collaborators. There is no ceiling on the numberof unpaid team members on an “independent” project. (People whose only role iscontributing money toward crowdfunding, grants, or donations are not counted in theteam size.)● Creative independence: Creators have developed a wholly original immersive experiencethat is not work for hire for a corporation, client, or any other third party.
● Financial independence: Creators have paid for the development and debut of theimmersive project themselves and/or may have received crowdfunding, grants, or
donations. Excluding donations, sponsors, and/or partnerships, the project has notreceived financial support or production assistance from a professional company or
corporate funding.
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Professional
Immersive experiences are considered “professional” if they are created by a company ororganization with ALL of the following criteria:● A total project team size between 50 and 499 paid employees, contractors, freelancers,
artists, or other paid collaborators. There is no ceiling on the number of stipended or
unpaid artists, collaborators, or volunteers on a “professional” project.
● Creative independence: Creators have developed a wholly original immersive experiencein which the primary creative product does not have influence or oversight from a
corporation.
● Self-funding or funded by crowdfunding efforts, grants, donations, joint venture
partnerships, or investors. The project may not be wholly owned by or receive themajority of its funding from a corporation, combination of corporations, or corporate
subsidiary/ies. Financial involvement from corporations are allowed, as long as they do
not comprise more than 50% of total project funding.
There is no budget ceiling for “professional” categorization of immersive experiences.

Corporate
Immersive experiences are considered “corporate” if they are created by an individual, company
or organization with ANY SINGLE ONE of the following criteria:●

The project is work for hire for a legal corporation that has 500 or more paid employees,
contractors, freelancers, artists, marketing professionals, and/or other paid collaborators.

●

The total size of any company or organization responsible for creating, producing, orcommissioning the work, even in part, has 500 or more paid employees, contractors,
freelancers, artists, marketing professionals, and/or other paid collaborators.

●

The work contains officially sanctioned or licensed corporate intellectual property.

There is no budget ceiling for “corporate” categorization of immersive experiences.

Client Work & Collaborations
Immersive work created for or in collaboration with clients, other creators, or a third party of
any kind must factor in the scale of any third parties into the categorization of the work.
That is, if a single artist is commissioned by a large corporation to create immersive work, thatwork is considered Corporate, even if the single artist does not get paid and does all the95creative work. In this example, the creation of a work for hire contract places this work in the
Corporate category.
Likewise, if a small design services company (under 10 paid employees or contractors) is hiredby a client to produce immersive work, then the size and category of the client will factor into
the categorization of the work.
If the client is a corporation, then the work is Corporate. If the client is another company and thetotal team size for both companies becomes greater than 10 paid contributors, the work is
considered Professional, as long as it upholds the other creative and funding criteria for thatcategory. But if that design services company has between 10 and 499 paid employees orcontractors, then any work it creates does not qualify as Independent, no matter who else thework is created for or with.
Lastly, if two independent art collectives collaborate on a project resulting in a total team size
larger than 10 paid contributors, the work they produce is categorized as Professional. But if
fewer than 10 are paid contributors to the project, then it remains in the Independent category,as long as it upholds the other creative and funding criteria that define that category.

Further Examples
The Westworld: Live Without Limits experience at SXSW 2018 would be classified as
Corporate, due to its status as work for hire with a major studio and creative connection to the“Westworld” TV show. Theme park attractions created by Disney and the famed ARG
promoting “The Dark Knight” are also both examples of Corporate immersive experiences.
Sleep No More, haunted attractions created by the company Thirteenth Floor Entertainment
Group, and Meow Wolf’s House of Eternal Return are all examples of Professional immersive
experiences, as they all feature original intellectual property, were created without corporate
financial backing, and have employed fewer than 500 people at any given time.
YouTube is home to trailheads for seemingly endless examples of ARGs that would be classified
as Independent, as they have no financial or creative connection to any companies or
corporations. Many immersive theater productions also fall under this Independent category,such as the events from E3W Productions, as they are wholly developed, funded, and producedby the artists themselves.

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Visual Representation of the Immersive Entertainment Rating System
The most intuitive way to bring this system all together is to represent it in graphic form, easy
for audiences to understand at a glance. Again borrowing from the video game industry, asimple “label” could be created to reflect the experience type, interaction level, age
appropriateness, and backing size, for inclusion on websites and promotional materials.
The images below offer proposed examples of what such a representative graphic could
look like for the Immersive Entertainment Industry:97

If the immersive experience has both digital and physical components, each of thesecomponents could be detailed within the Participation Level section, as the methods ofinteraction would be different. (i.e. “Digital: Text, Video Chat with Performers; Physical: Faceto-Face Conversation with Performers”)

Immersive Experience Rating System Summary
The system proposed above, along with these graphics, are intended as a starting point fora greater conversation to be had about the need for standardization in nomenclature for the
Immersive Entertainment Industry.
There are certainly many details to be discussed in order to properly form a system that
accurately represents all facets of the industry while serving the purposes of better setting
expectations for the general public.
As this industry continues to grow and with an endless stream of pop-up experiences,categorizing these experiences will help set customer expectations and prevent works ofdifferent wildly different resources and ambitions from being unfairly compared to each other.
In the film industry, customers do not go see an independent movie expecting the production
quality of, for example, a Marvel movie. Likewise, consumers who buy a major Xbox release
have different expectations than games obtained from popular indie site itch.io.
As new markets begin to form around the world, it is all too easy for consumers to use their first
immersive experience as a comparison for every one they experience thereafter. But if their firstexperience is the equivalent of a Hollywood blockbuster movie, they might have a hard time
understanding or appreciating an independent-level experience afterward. Likewise, consumers
who are first acquainted with immersive experiences via an experimental independent
production may be hesitant to try another if that first experience is less than spectacular.
Currently, as Sleep No More has set a rather high bar and very specific point of reference forimmersive theater, it’s hard for customers not familiar with the variety of immersive experiences
to expect anything but something that is Sleep No More-esque when stepping into anythingelse billing itself as “immersive.” Because they aren’t informed, they are expecting the samelevel of design and production quality from that high budget project out of other experiences
created with many fewer hands and on a much smaller budget.
By beginning to create this specific system for the categorization and nomenclature of
immersive experiences, customers will more easily be able to understand what they arepurchasing or buying a ticket to and ultimately they will have a better mental framework under98

which they can enjoy the experience, without any misconstrued expectations getting in theway.
In absence of the formation of the "ESRB / MPA of the Immersive Entertainment Industry," sucha system as is proposed here will only become widespread if creators come together to adopt it
voluntarily.
This is the beginning of that conversation with the intent that guidelines can be written
alongside a place online where creators to easily generate a graphic like the examples abovethat they can embed on their own sites and promotional materials. This will only help educate
the public as a whole as to just how many different types of immersive experiences there are to
enjoy in the world – not only that not every experience is made for every individual’s enjoyment,
but that there truly is a niche for everybody.

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FUNDING
As more small companies and organizations enter the Immersive Entertainment Industry,defined paths toward funding need to be established.
Theme parks have grown out of large corporations. Haunted attractions and escape rooms area mix of large companies that span multiple cities as well as small, individually-owned, single
location companies. The rest of the industry is a mix of companies and organizations of all
sizes, many of whom have identified that the cost of getting new immersive works up fromscratch is among the most daunting challenges.
Other industries have established prizes, grants, sponsorships, and other clear fundraising
paths that allow smaller creators to apply for or win funding they need to become established.
For newcomers in the Immersive Entertainment Industry, that path is not clearly defined yet.
This industry is in need of simple paths towards raising funds for any level of project.
In industries with more clear funding paths, actually obtaining funds is generally competitive.
There are accessible and organized lists of grants, funding competitions, and otheropportunities for a variety of categories, as well as investors who are specifically interested inand experienced in those industries. Looking at the theater and film industries, there are a few
examples of funding models that the Immersive Entertainment Industry could adopt to spark
innovation and growth, with the right supporters.
In theater, fundraising efforts that include “grants for playwrights, directors, and actors, funding
and financial assistance for production costs, and support for general organizational needs.”49
There is an established system for theaters of any size to find resources and connect withspecific grants.
Similarly, there are many established film fundraising efforts, even though funds many comefrom many different sources for one project. Film producers generally rely on “patchworked
creative combinations of equity and debt finance with government grants and subsidies inorder to cover the entire budget of the film. Many sophisticated financiers including hedge
funds, ultra high net worth investors, tax credit buyers, buyer representatives, and private
equity firms will supply the capital needed to finance films — this may happen at thedevelopment, pre-production or production stage.”50 There are also comprehensive film grant
guides broken down to make it as simple as possible to raise needed funds “because there arefilm grants for every filmmaker.”51

49 https://www.insidephilanthropy.com/fundraising-theater-grants
50 https://www.hgexperts.com/expert-witness-articles/the-basics-of-film-finance-7309
51 https://www.studiobinder.com/blog/film-grants/

100Not only are film companies applying to grants, but also working with investors. This
combination of gathering resources from different funding options could be a direction the
Immersive Entertainment Industry can lean, given the variety of work being produced. No one
single type of funding will make sense across the widespread industry.
Crossover companies are bridging the industries of film and immersive. Secret Cinema received$4.55M in later stage venture capital backing in 201552 . Likewise, Dreamscape Immersive
leveraged its film industry connections to raise more than $60M to date from studios like 21stCentury Fox, Warner Bros, and Nickelodeon.
These examples showcase the power and impact of the growing immersive industry forestablished and seasoned investors, who may already be familiar with models from the film
industry but can now begin to learn the ins and outs of what’s to come in the immersive
entertainment space as a natural progression from traditional entertainment of the past.
Another example is Innovate UK, focusing specifically on investing in immersive tech. It is clear
why because it is “estimated that the UK’s immersive industry generates £660 million in sales
every year.” To help further grow the industry, Innovate UK is working with 11 investor partners“to offer simultaneous grant funding and venture capital investment in early-stage projects led
by UK companies.53 With the UK leading the way in investor relationships, it is time forinvestors in the US to follow suit with clear precedence.
On the other side of fundraising, the Polycarp Foundation created a contest in Paris that “aimsto support the work of a writer wanting to continue writing an immersive drama text, with aprize of € 3,000 awarded to the winning project.” 54 Immersive work is beginning to receive
attention from both investors and grant makers.
Creating more fundraising opportunities would tremendously aid in industry growth byencouraging artists from different mediums to participate in this industry. To enable thisindustry to grow, it is up to established companies and investors to begin the process of
forming these funding paths. The call-to-action is for immersive experiences of all kinds to be
added to existing channels of grants or investor portfolios.

52 https://pitchbook.com/profiles/company/119464-12
53 https://www.gov.uk/government/news/new-investment-to-support-early-stage-immersive-businesses
54 https://www.le-secret-paris.com/concoursdecriture?fbclid=IwAR0Z5miQsbbv7OxRbEsqFeDwhzbJEpFQBd2D9_rnhphdaSa3nCUJKORzwgU

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CONCLUSION
The destiny of the Immersive Entertainment Industry is clear. It’s filled with incredible
innovation, amazing business opportunities, and the most stunning variety of entertainment
the world has ever seen.
Right now, the pace to reach that destiny is more unknown than ever. But that doesn't meancreators will stop.
This is an industry built on wild new ideas: What if we brought fantasy worlds to life? What if
we thrust people into their own horror movies? What if we shut people in a room and told themto solve their way out? What if we let people step into their favorite TV show? What if there
was no stage and the performance was all around you? And what if you could be at the centerof it all?
Before the arrival of COVID-19, the Immersive Entertainment Industry was showing
unstoppable signs of invention, growth, and amazement. With each new immersive experience,creators in this industry have found ways to transport audiences into worlds they’d only
dreamed of and offered them opportunities to choose their own adventures and live out theirgreatest fantasies in ways never before seen.
But like the rest of the world, the COVID-19 pandemic has brought these live, often intimate
events to a halt – for now. We can’t predict the lasting effects of the pandemic. But this industry
is built on new ideas. And even in unprecedented times, the quest for an escape from theroutines and troubles of life will never fade.
Entertainment offers a chance to feel free – to be the best version of yourself, or even become
someone else, if only for a little while. At the forefront of that is the Immersive Entertainment
Industry.
Right now is the best time for the world to take note of the Immersive Entertainment Industry,
which uniquely holds the highest potential for providing people worldwide with something tolook forward to when they need it most, while simultaneously creating new business and job
opportunities for artists, entrepreneurs, and investors alike. Today, companies are working hardto create the world’s next great entertainment experiences. There is a uniting force acrosscompanies and organizations of all sizes to create unreal experiences that have a meaningful
and lasting impact on audiences.
No matter the state of the real world, this industry that is built on wild ideas and fantasy worlds
will always be around to offer new ways of providing people with a chance to take a break fromtheir daily lives, enjoy amazing new experiences, and create memories that will last forever. The
Immersive Entertainment Industry is only just getting started.

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DISCOVER MOREABOUT THE IMMERSIVE ENTERTAINMENT INDUSTRY
If you have questions or want to learn more about portions of this report, the state of the
Immersive Entertainment Industry, its biggest achievements, or its future, please don’t hesitate
to ask. Members of the press, investors, creators, analysts, researchers, and students areencouraged to reach out to us directly at the email addresses below.

Contact the Authors
Sarah A.S. Elger
Pseudonym Productions
President, CEO, & Creative Director
sarah@questionreality.com
Ricky Brigante
Pseudonym Productions
VP & Creative Technologist
ricky@questionreality.com

Contact the Editor

Noah Nelson
No Proscenium
noah@noproscenium.com

Subscribe to our Shows
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Connect with the leading online community
supporting immersive creators:
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