Virtual Reality (VR) is experiencing continuous growth in France, with 49% of the French population having already experienced it, and the majority expressing high satisfaction with their VR experiences (CNC 2023). The French ecosystem for immersive content production is notably active and internationally appealing, with recognition for its quality at festivals such as Venice and other specialized events. Traditional players in new media, such as Arte and France Télévisions, have also contributed to this visibility.
Despite the burgeoning interest in VR, the economic and artistic challenges arising from its distribution remain significant. Various stakeholders from different fields, including video games, cinema, visual arts, and live performances, tend to apply familiar legal and economic models (Rochelandet et al. 2019). Currently, two main distribution options are emerging: online streaming and location-based experiences, especially within cultural venues. However, these approaches present distinct challenges and opportunities.
This article primarily examines the economic and artistic implications of implementing technical standardization in VR works. From an economic standpoint, this raises questions about the need for technical standards in an environment where substantial public and private funding is invested in the development of this art form. Technical standardization encompasses various essential aspects, such as the normalization of technological components, the development of management platforms, the establishment of standardized distribution formats, the implementation of standardized distribution systems, and the creation of adapted economic models. Simultaneously, this issue presents an artistic challenge, as it raises concerns about the risk of artistic homogenization (Bouquillon 2015).

Methodology
The study employs a combination of qualitative methods to explore the dynamics and challenges within the examined ecosystem. Initially, ethnographic methodology was applied by participating in relevant professional forums to observe practices and discourses of professionals, thereby capturing the realities experienced by stakeholders and emerging challenges in this evolving ecosystem. To delve deeper into the questions raised during observations, approximately fifteen semi-structured interviews were conducted with key actors in the ecosystem, including artists, producers, venue managers, programmers, and key figures in cultural policy application, such as the BPI and the Caisse des Dépôts.

Preliminary Findings

In the domain of location-based entertainment (LBE), economic viability remains a significant challenge. The market is highly competitive, saturated, and revenue generated is often insufficient to support producers whose works require substantial investments. A promising avenue in the distribution of VR experiences, however, lies in cultural venues. Major museums and heritage institutions have become significant co-producers, while the live performance sector is exploring ways to showcase VR works in various venues. Notably, for publicly funded live performance stakeholders, the profitability of works often takes a backseat, allowing for a more pronounced willingness to take risks in developing innovative narrative devices.

Online distribution primarily occurs on platforms like the Oculus Store or Steam, primarily designed for gaming content. Discoverability of narrative works remains limited. However, numerous actors have highlighted challenges in promoting their works on traditional VR platforms (Steam, Oculus Store). On one hand, these works are offered on a platform known for gaming content, and many customer reviews, often negative, on the work's sales page indicate confusion regarding the nature of the product, which does not fall within the realm of video games. Moreover, these platforms do not prominently feature such content, even when indirectly co-produced by the platform (as in the case of the Oculus Foundation's VR For Good program). The absence of dedicated platforms and difficulties in achieving widespread distribution in metaverses pose major obstacles. In response to these challenges, some actors are turning to vertical integration of the value chain, as exemplified by Astrea and Unframed, recently established distribution platforms by production companies (Altas V and Lucid Realities, respectively). This professional-driven standardization contributes to securing value in their exploitation but inevitably results in market fragmentation, which can hinder the development and distribution of works.

Surprisingly, the standardization of immersive works is not primarily driven by tech giants (GAFAM). Although Oculus demands a certain level of compatibility for platform usage, it shares similarities with technical requirements for video games. Initiatives like the 4th Future Innovation Project (PIA 4) foster technical standardization in immersive technology utilization within live performances to promote the creation of shared technological assets, known as "technological commons." In a different vein, the CST, which more commonly deals with audiovisual applications, has published a technical recommendation on the "Design of VR Works for Public Exploitation" this year. This standardization project aims to establish common references and practices for the development of VR works. These efforts aim to regulate the production and distribution of these contents in terms of consistency and quality while reflecting the government's active role in guiding this burgeoning industry.


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