Subhankar Das - Digital Entertainment: The Next Evolution in Service Sector

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Digital entertainment (DE) includes Internet-based gaming, wireless gaming, online discussion clubs for sports or music fans, and any other form of consumer-to-consumer (C2C) entertainment that involves humancomputer or humanhuman interaction via the Internet (or wireless). According to a recent article in Financial Times, the corporate spending on IT has become stagnant in recent years while the market for consumer technologies maintains a strong growth trend. DE is an especially bright spot among the fastest growing business models targeting the consumer market. For instance, five years into the U.S. market, Sonys popular online game, EverQuest, has already attracted 400,000 subscribers and is expected to earn Sony up to $500 million in eight years. This stellar growth is not without problems: many early business developments on DE, even the ones from the largest and most experienced game developers such as Electronic Arts, have faltered. These failures can cost DE companies tens of millions of dollars. Past failures and successes seem to suggest that the success of DE depends not only on solid DE systems development that deliver competitive technological performance and enduring entertainment content, but also on deep comprehension of DE systems adoption and usage by consumers who ultimately decide the fate of any DE product. Newer generations of DE systems, such as World of Warcrafts from Blizzard Entertainment, Netflix, Amazon Prime, Voot, Zee5, Alexa, Google home have greatly improved their technological performance by tapping into the latest computing and communication technologies. Nevertheless, huge gaps exist in our understanding of how to make DE systems and content more entertaining while controlling the development cost. Furthermore, DE providers often fail to capitalize on their investment. For instance, Internet-based board games, while popular, have contributed little profit to vendors as consumers generally shun fee-based games. Finally, there is a lack of understanding about the roles of DE communities in DE markets. After all, DE users typically interact with a community of peers, a feature that distinguish DEs from stand-alone entertainment or TV-based entertainment. With Covid-19, the primary entertainment source for all is now these over the top (OTT) platforms who stream content directly to digitalized consumers via Internet bypassing all cable television process and satellite entertainment sources.

Next, we center around entries inspecting vivid digital excitement, starting with computer games. Computer games can be considered the quintessential advanced stimulation medium. The articles we incorporated into this territory inspect how these virtual encounters influence us mentally both inside and outside of the game world. We close with three articles on vivid 3-D virtual conditions. These articles inspect mental procedures and impacts of virtual universes as spoke to in vivid, three-dimensional, interceded conditions. The articles in this topical gathering center around the mental procedures and impacts of diversion in VR, just as contrasting VR encounters with nondigital, nonmedicated encounters. We trust that, altogether, this unique book features new edge analysis in advanced excitement in a manner that shows what we know are as yet finding out about stimulation in the digital world. Then we will look for new integrations with Deep learning, Big Data, AI & ML research aspect for digital entertainment. How they will affect the digital entertainment more in future.

The purpose of this book is to bring together industry experts and IS researchers to

We will argue that DE represents an underexplored, new territory and IS researchers are well-positioned to tackle the aforementioned problems with our interdisciplinary background and accumulated knowledge in technology systems.