#1282 – Growing the Immersive Audience

AI Constructed Brief

Emerging trends reveal a strategic shift in entertainment investment towards immersive, transmedia, and phygital venues, integrating advanced projection, micro-LED, and SAR technology to enhance audience engagement. Major players like Bandai Namco and SEGA are expanding their IP across multi-platform experiences, including immersive arcades and retail stores. The industry is also witnessing the rise of “In Venue Experience” (IVE), blending live performances, interactive environments, and social media-driven buzz. However, high-profile immersive ventures face challenges, underscoring the importance of repeatability and audience participation.

Full Stinger Report

The latest rebranding of entertainment venues also sees the increased position of entertainment corporations into the Transmedia sphere. Along with the launch of new immersive display technology that will populate the new entertainment venue scene, all covered in this issue.

Amusement Rebranding

The need to reposition established entertainment brands in the changing market was best illustrated with the news that Bandai Namco Amusement Europe (BNAE) would be rebranding their Namco Funscape chain of FEC’s, to ‘NAMCO’. Seeing the chain of stores pivot to this new design and style of operation – the webpage soon to reflect the move.

The Namco Funscape chain first started in 1997, originally under the ‘Namco Station’ brand, with a famous London County Hall location later closed. But has retained six venues, led by the flagship Trafford Center site in Manchester. This venue will be the first to receive the new branding to ‘Namco’, and saw the investment in the store, which comprising bowling, bumper cars and amusement. The rebranding to the ‘NAMCO’ name was stated to be part of a refreshing of the design to strengthen connection to the company’s Japanese heritage. The ‘NAMCO’ venue brand is used in Japan across over 250 sites, under the tagline “Fun for All into the Future”.

Bandai Namco Entertainment represents the last remaining wholly Japanese owned amusement operator and distributor in the West. The company has been strengthening its market presence with the inclusion of the ‘Bandai Namco Cross Store’ chain of IP based retail outlets. The rebranding will align the operation into the Bandai Namco Experience divisions global positioning. The remaining Funscape stores fully refreshed in the coming months.

The iconic mascot of Bandai Namco was also in the news regarding the opening of the brand new Arcade Arena London venue. Operated and developed by Little Lion Entertainment, this marked the flagship location for the Spatial Augmented Reality (SAR) experience – following on from the Manchester and Dubai sites. Along with the debut of the new shooting experience ‘Alien Invasion’, and their projection mapped ‘Chaos Karts’, the company included in the new facility roll out their partnership with Bandai Namco Entertainment to create ‘PAC MAN Live Experience’.

The experience has players running round a projection mapped recreation of the famous videogame maze, collecting pills and avoiding ghosts in a multiplayer immersive game format, comprising a number of rounds and bonus games. The ‘Arcade Arena’ venue is the first to be a full dedicated experience, located in a large venue in Vauxhall, London. The venue along with the SAR attractions includes a bar and a selection of amusement machines installed by BNAE. A full report on the venue and its importance in the market covered in a coming Entertainment Social Arena feature.

Strategic IP Plans

“Transmedia” has been defined as a narrative that unfolds across multiple media platforms, with each new interpretation making a distinctive and valuable contribution to the whole. This based on the coining of the term in 2003 by media scholar Henry Jenkins.

In a recent article for Japanese media Nikkei Online, the President and COO of SEGA Corporation was interviewed towards the new “IP Transmedia Strategy” that the company is now employing. The telling interview defined the roadmap that SEGA is now undertaking and the plans it has for its properties with this new Global strategy.

This thought-provoking interview lifted the veil on the corporate strategy that the venerable videogame company has embarked upon, and the changes that it is implementing to its overall masterplan. The current chief executive comes from a background working for Disney and Warner Music and brings much of that media brand experience to his role.

It was confirmed that the company is looking to grow its licensing partners. 2026 will see increased investment in its properties across all media platforms, with the launch of new console game titles, and the next in the ‘Angry Bird’ movie releases. This will see an equally strong push in 2027, with the launch of the third instalment in the ‘Sonic the Hedgehog’ movie properties. SEGA has also invested in growing its ‘SEGA Store’ chain of retail venues, expanding into the Chinese sector, as well as moves into the Western market. One of several Japanese master brands with videogame roots that are developing retail store concepts that promote IP across merchandise, apparel and collectable brands.

In the interview the President confirmed that SEGA have changed some of their initial plans considering the Global situation. The company while still having a strong console and PC game pipeline, has decided to cancel its much publicised “Super Game” concept it originally announced in 2021. The FOG based gaming service based on Games as a Service (GaaS) seen as a challenge too risky in the current climate.

This has not stopped SEGA from continuing its transmedia strategy, with the corporation announcing new partnerships. Applying their brands across new international agreements. One of these linked to Immersive Entertainment, with breaking news that Little Lion Entertainment – who we previously mentioned, recently opened their flagship ‘Arcade Arena London’ venue – will be working with the Japanese corporation on a Sonic the Hedgehog based experience.

In concluding the interview, the SEGA president defined his corporation, and Japan in general, as being at the heart of anime and games, offering a deeply influential lifestyle culture. Reflecting the level of interest from the global audience in this culture, the corporation is undertaking a multi-layered IP deployment strategy defined as transmedia, achieved through games, music and media.

Bright Lights

One aspect of the immersive landscape regarding Spatial Augmented Reality (SAR) that we tend to forget is that of the tech that creates the image. The latest Immersive Social Entertainment venues have been deploying many projection and display experiences, but we have not given enough credit to the hardware manufacturers that make this application possible.

The Stinger Report recently made its annual pilgrimage to the PLASA Show 2026; trade exhibition in London, the leading trade event for the live entertainment technology industry. Looking at the theater, live stage performance and attraction lighting, audio and AV rigging side of the business. PLASA (Professional Lighting & Sound Association) was originally founded back in 1976, as the Discothèque Equipment Manufacturers association.

The annual gathering of the best in lighting, effects and audio for live events, theater and media (television, cinema and attractions) is one of the best examples of a niche trade gathering, but has an impact across  the LBE, Social Entertainment and attractions trade that is disproportionate to many other events. This years’ PLASA also reflected the change in how tech is applied across the sector.

Along with the latest micro-LED displays, the projection sector was also represented from the leading lights. Many of whom now play a significant part in equipping the new phase of “Phygital” immersive entertainment. As we covered in previous editions, the rise of SAR, with projection mapping and immersive display technology is driving the new phase of entertainment venue investment. Many of the new facility projects represented by technology at the show.

Exhibitors at PLASA’26 included Epson, the leading projection specialist division of the technology conglomerate has been involved in several competitive socializing installations. Most recently we saw them attending the launch of ‘Poolhouse’ – the twenty projection mapped pool tables flagship site employing Epson projectors. Also, the London installations of ‘TOCA Social’ use projection systems from the company in each of their soccer bays. And it was also revealed by representatives on the trade booth that Immersive Gamebox has used Epson hardware – both for their standard installation, and now on their new self-service standalone enclosure. The need in the application of projection systems for interactive entertainment is for versatility of design, quality of display image, and durability offering long life, many of the latest laser projection systems seeing 20,000+ hours operation before image degradation.

Other projection exhibitors at PLASA’26 included Panasonic – the well-known electronics firm has had their projection systems deployed in several entertainment installations we have visited recently. The largest gathering of Panasonic projectors seen at the opening of the new ‘Arcade Arena London’ that saw each of the three immersive arenas supported by over 40 projectors each, to paint the physical space with the digital experience. Immersive racing experience BattleKarts also uses Panasonic projection across some 50 installations. The electric karting environment using over 60 ceiling mounted units to create the projection-mapped space.  Immersive environments were covered in our reporting in the rise of the “Black Box” sites, such as that visited recently as part of London Experience Week, with ‘The Venue’, part of Piccadilly Lights.

The PLASA event also saw demonstration rooms set up to present other projection manufacturers such as BARCO who are well known for their immersive installations across the attractions and amusement sector. Along with projection the next phase of display technology development was seen.  It was interesting to witness at this year’s show the impact as new micro-LED display technology. In particular, wall and floor-based LED screen displays some linked to interactive feedback, able to walk across ultra-HD displays and see interaction with the digital image, as demonstrated on the Pixel Logic Solutions booth. A much higher contrast, and more versatile application of the previously seen interactive projection floor systems.

We can expect to see several new attractions in the coming months using interactive HD LED micro-tile display systems as a replacement to a projection alternative. We have already reported on the launch by VEX Solution of their ‘VEX PartyDash’ dual screen platform, as well as CONDUCTR and their Game Volt division released their ‘Battle Arcade’ system using a high-resolution interactive LED floor. Based on a similar design that was installed across several Dave & Buster’s social bays.

We would like to thank the team behind the PLASA event for their support as well as theirs and exhibitors’ hospitality. The value of the event continues to allow us to glimpse the trends shaping the sector that reflects on the amusement and attraction (and now social) scene. That PLASA took place only a matter of days before IAAPA Europe was telling. The PLASA event in its fortieth decade represents a technology stalwart event. The Stinger Report celebrating its thirtieth anniversary attending the trade gathering. The next few years will represent a culmination of anniversaries of trade show attendance for the owner / publisher of this news and views service. We look forward to charting the next phase of technology advancements.

Immersing The Audience

Much of the projection, display and lighting technology seen at PLASA are being deployed into a new generation of venue business. The term “In Venue Experience” (IVE) is becoming a new part of the social entertainment lexicon. A term that refers not just to the game experiences, hospitality or themality of a venue, but to the audience engagement within the new Phygital style entertainment venues. The IVE factor is rising with several new developments and venue concepts. A factor that shapes the repeatability of the experience, but also the reaction to the visit projected through guest’s social media footprint.

Venues that are looking at a strong large audience engagement fit into three key categories employing immersive technology. The first being that of immersive theatrical performances and live events supported by digital technology. This can be seen with the popularity of ‘Abba Voyage’ – housed in its purpose-built venue and linked to both a holographic stage performance and an experience event recreating the super-bands history. The cinema sector has seen a bounce in experiential performance, best illustrated by the release of ‘The  Odyssey’, shown across IMAX theaters and adding to the increased box-office the theater operation has seen in the “big film experience” category. The new generation of Secret Cinema performances will be housed in their new permanent London home under construction. Illustrating the moves in this sector.

Recently it was revealed that in a landmark deal Sony Pictures had taken a minority investment in COSM with a $100m investment also having one of their senior executives take a seat on the board. As seen with IMAX, the interest in a great audience experience is driving new investment. COSM while primarily a sports experiencing environment has also seen success with its specially curated theatrical screening of the ‘Matrix’ cult movie. It is expected that special movie presentations will baluster the sports roster of events at sites. News breaking that a re-release of the ‘Shrek’ movie will be one of the first.

The corporation behind COSM comes from an amalgamation of operations with an extensive track-record in commercial simulation, and planetary and large format projection. This has allowed them to create a turnkey installation offering a unique immersive viewing experience, supported by hospitality. The operation celebrating the opening of their fourth venue, with the Detroit, Michigan, 70,000-sq.,ft., facility. A fifth site is schedule to open early in 2027, and the operation seems to be on an ambitious trajectory. The unique screen experience that COSM has developed is also being mirrored by the Sphere in Las Vegas, again a unique LED screen presentation on a grand scale. The Sphere however has seen a rockier road to success through its ownership by MSG, only now turning the corner and looking at possible Middle East expansion.

The danger of operating an immersive theatrical experience that fails to drive the IVE factor was best illustrated by the implosion of the ‘Elvis Evolution’ venue by Layered Reality. Such an expensive and complicated Intellectual Property (IP) representing the estate of the legendary performer was, literally, a hard act to follow. Under delivering the venue experience a terminal situation, compounded by the amplification of a poor venue experience through social media. The sector has seen a number of high-stake immersive entertainment experiences close due to issues. Layered Reality also had to shutter their award winning ‘War of the Worlds Experience’ in London. While also in the news, the Felix & Paul Studios closure ended the ‘Interstellar ARC’ experience run at AREA15 in Las Vegas. After only some 12-months of operation.

The need to find the right fit in XR technology as well as create compelling and repeatable events seems to drive the next generation of investment. Interactive immersive technology is personified by Spatial Augmented Reality (SAR) linked to an interactive entertainment experience. This can be seen with the new large-scale area-based projection mapped developments, personified by the likes of Immersive Gamebox, and on a much larger basis by Little Lion Entertainment. The opening of the new ‘Arcade Arena London’, represents one of the largest installations of multiple levels of this tech in one venue. A full report and review of the venue covered in our sister publication Entertainment Social Arena.

We have seen within this category the explosion in “immersive destination venue”, (sometimes called “Black Boxes”), these venues spaces offer projection mapped environments used for brand promotions, immersive exhibitions and innovative performance. We have charted on these in coverage from London Experience Week – and visits to leading examples such as ‘The Venue’ Picadilly Lights,
FRAMELESS, and most recently NEON at Battersea Power Station. Immersive exhibitions such as ‘Ramses and the Pharaoh’s Gold: The Exhibition’ are traveling pop-up events driving on a high IVE factor. Depending on the word-of-mouth through social media to drive audience retention.

The next category is that encompassed by the term “Sportstainment”, crossing the boundary between audience theatrical and sports engagement. One of the big drivers in audience engagement in sportstainment is the popularity of events and celebrities. This is illustrated by the ambitious concept of TGL presented by SoFi, housed within the SoFi Center in Palm Beach Gardens, Florida – the 250,000-sq.,ft., facility offers an audience experience linked to both tournament events, as well as private hire and individual golfing experiences.

The whole concept of an indoor phygital golfing audience experience, linked to streaming, and supported by leading celebrities in the international golfing sector is an incredible undertaking. In partnership with the PGA Tour, the men’s team golf league is a full-on experience. Supported by high-tech interactive projection to simulator long drives during the game, employing both partner Full Swing Golf technology, represented on a vast screen created in partnership with Panasonic. The venue includes golf simulator bays and a extensive hospitality offering. With plans to roll out in other cities, the SoFi venue looks to achieve a high IVE factor.

The majority of theatrical IVE’s do not include an interactive element beyond participation and consumption. The Sportstainment approach includes both a high tournament and individual play element in most cases. The popularity of eSports tournament events, again from a IVE factor is high based on the atmosphere of the competition, while the actual engagement factor is low.

Looking to create an audience experience with strong gamification, incorporating a solid hospitality element, and repeatability, will be driving the concept going forward. Audience participation through a gameshow format, karaoke competition, or even via a rave version of bingo are all concepts currently being developed in the social entertainment sphere – an emerging market that may hold the key to the best way of achieving a high IVE factor.