Blumhouse’s latest strategy to scare the hell out of you: video games

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As a seasoned movie buff with over two decades of experience in the entertainment industry, I’ve witnessed firsthand the evolution of storytelling and the way audiences consume media. The announcement that Blumhouse is expanding into video games is an exciting development for me, as a studio known for its low-cost, original indie horror films is now dipping its toes into a new medium.

For the past 15 years, Blumhouse has gained a strong reputation in the film industry for creating financially affordable, original indie horror films like “Paranormal Activity” series and “M3gan.” Now, this esteemed studio is aiming to replicate this success in the video game sector.

A Los Angeles film and TV production company with a focus on games has unveiled its initial lineup, commencing with “Fear the Limelight,” an affectionate tribute to ’90s teen horror flicks. This third-person game involves intriguing puzzles and is scheduled for release in autumn on desktops and gaming consoles.

In an interview, Abhijay Praksh, President of Blumhouse, expressed that the company recognized a highly suitable prospect: not only was the gaming industry expanding, predominantly among the youth, but a significant number of Blumhouse’s fanbase acknowledged their affinity for gaming.

As a movie reviewer, I’ve noticed a fascinating shift in the entertainment industry. Gaming is no longer an overlooked niche, but a global marketplace bursting with potential. With audiences expanding and becoming more diverse, it only makes sense for us as content creators to tap into this growing trend. The opportunity to adapt our storytelling skills from films to games was too intriguing to ignore.

Blumhouse is the newest production company to join the booming video game industry. Companies like Annapurna (led by Megan Ellison), Skydance Media (headed by her brother David Ellison), and Bad Robot (founded by J.J. Abrams) already have gaming divisions. Warner Bros. Discovery’s gaming unit has a long history of producing major franchise titles, such as the successful Harry Potter game, “Hogwarts Legacy,” released last year.

“Danny Bilson, USC Games director, pointed out that it’s not only about earning potential, but also about being part of the culture and finding opportunities in thriving industries – just like fishermen casting their lines where the fish are.”

Video gaming is a major market in the United States. Over 190 million Americans engage in this pastime at least every seven days. The Entertainment Software Association reports that consumers spent approximately $57.2 billion on games last year.

Worldwide, the gaming industry is projected to have generated approximately $183.9 billion in revenue during the previous year, representing a modest growth from the previous year, as indicated in an updated report published by Newzoo in May, which is based in Amsterdam.

Additionally, the lengthy hours people devote to gaming and the significant funds they invest in this pastime have proven robust during economic downturns. Nonetheless, the gaming industry has seen a setback following a surge in employment and manufacturing triggered by the pandemic, leading to mass terminations.

As a movie buff who’s always on the lookout for exciting new experiences, I can’t help but notice how gaming has taken center stage in the world of entertainment. Interacting with a story and being an active participant instead of just passively watching is a game-changer (pun intended). It’s no wonder that studios are exploring games as a way to extend their intellectual property (IP) and reach new fans. After all, who wouldn’t want to step into their favorite stories and be part of the action?

An alternate direction has also proven effective for pipelines in certain instances. For example, the post-apocalyptic “The Last of Us” video game franchise gave birth to a hugely successful HBO series, which stars Pedro Pascal. Similarly, Amazon’s Prime Video developed a show based on Bethesda’s “Fallout” games.

Approximately three years ago, Blumhouse executives started considering the possibility of venturing into game development. Notably leading these deliberations was their CFO, Josh Small, who had played a significant role in Annapurna’s entry into gaming. (Prakesh mentioned this.)

Last year, the gaming division of the company was launched, now led by experienced video game producer Zach Wood and ex-PlayStation executive Don Sechler who were recently hired.

Producing games can be costly. However, Blumhouse is adopting an economical strategy in game production, similar to how they make low-budget horror films. Their goal is primarily to work within indie-level budgets, which are typically under $5 million per project.

As a movie buff and an avid gamer, I’d describe Blumhouse Games this way: I’m part of a small team at Blumhouse Games, where we collaborate with independent developers to bring their creative visions to life. We invest in the development process, providing them with the financial backing they need. Once the game is completed to our high standards, we take on the publishing responsibilities, ensuring it reaches a wide audience. You can find our games on various platforms such as Steam, Xbox, PlayStation, and Switch. Consumers can easily purchase each game individually and enjoy the fruits of our labor.

So far, the games slate has hewed closely to the horror content of Blumhouse’s roots.

“Cozy Game Pals’ creation ‘Fear the Spotlight’ in Los Angeles focuses on two teenage girls entering an old school for a seance with disastrous results. In contrast, ‘Crisol: Theater of Idols,’ developed by Vermila Studios in Madrid, merges religion and horror elements where players utilize their avatar’s blood as ammunition. Our lineup consists of various desktop, console, and mobile games.”

I was quite surprised to discover that none of the present lineup of games bears any connection to Blumhouse movies. This means that fans won’t be able to delve deeper into the worlds of “The Purge” or interact with M3gan. Wood, who holds the position of president at Blumhouse Games, explained that this deliberate separation was a conscious decision.

He explained, “Our strategy is to prioritize game development over adaptations of Blumhouse films at first.” Despite fans’ anticipation for games based on Blumhouse productions, the team aimed to follow in Jason Blum’s footsteps by creating original content initially.

Wood noted that Blumhouse Games doesn’t consider pitches from game developers primarily for potential film or TV alliances. Nonetheless, they do engage in discussions with the studio side, leaving room for future cooperations. However, their main priority is on “nurturing fan loyalty” by delivering original and innovative horror games.

Bad Robot Games began as a modest affiliate and subsequently grew into a prominent game creator and distributor. According to CEO Anna Sweet’s declaration, the company now concentrates on both established brands and original narratives.

She emphasized that prioritizing an engaging game experience is crucial; afterwards, we focus on creating a captivating world and narrative to enhance the enjoyment.

Creating games from well-known films is a common strategy for studios to boost a movie’s fame and generate more revenue, as well as keep fans engaged for longer periods. Netflix has followed this trend by introducing new mobile games linked to its successful reality shows like “Too Hot to Handle.” This move aims to decrease subscriber cancellation and enhance viewer engagement on the platform. However, relying solely on established movies isn’t foolproof.

I experienced a setback in the first quarter of this fiscal year when Warner Bros. Discovery suffered a $200-million loss due to underperforming sales of our game, “Suicide Squad: Kill the Justice League.” Our CEO, David Zaslav, described it as disappointing during a call with financial analysts in May.

As a devoted cinephile and follower of Walt Disney Company’s journey into the gaming world, I can’t help but acknowledge their bumpy ride. For years, they grappled with the challenges of game development and publishing, often finding themselves at a crossroads. However, in 2016, Disney made a strategic move by adopting a licensing model. This shift enabled them to collaborate with external partners, transforming their stories and cherished characters into captivating games for the enjoyment of fans everywhere.

As a passionate film enthusiast, I’m always excited about new collaborations that blur the lines between cinema and gaming. In February, Disney took things up a notch by revealing an impressive $1.5-billion partnership with “Fortnite” masterminds at Epic Games. This deal secured Disney a significant stake in their company and paved the way for creating an exhilarating new universe where Disney brands come to life within the realm of games.

“According to Chapman from Konvoy, the top media firms in Hollywood should explore gaming as a new avenue. Instead of solely focusing on box office revenue during opening weekends, they need to consider long-term monetization strategies if they enter the gaming industry.”

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2024-07-18 21:58