Since the record-breaking 70,000 people participated in the conference in 2005, E3, the world’s most important game show, has never been so lively. On the first day of the show, 15,000 additional players gathered at the entrance of the Los Angeles Convention Center. For security reasons, the organizer ESA decided to open the door 15 minutes early.
This is not because the E3 has suddenly become more important, but because this year is the first time that they are open to players and fans outside the media and game industry.
Fans and organizers seem to be entering the honeymoon period. Players are willing to queue for four or five hours in exchange for a ten-minute gaming experience. ESA is also very close to the heart, in order to limit the flow of people, they reduced the pass issued to the media and industry insiders, clearly stated that the E3 does not belong to them.
The addition of players brought the atmosphere of the company's conference to the climax. More loud screaming, more enthusiastic applause, when the camera swept the auditorium, a stimulating face and the media people in the past expression of a perfunctory formed a sharp contrast.
The E3 fans seem to be showing an unprecedented grand event in the game industry. However, under the buzzing appearance, E3 is actually experiencing a continuous crisis of existence. This crisis has caused people living in it to feel more or less embarrassed. .
Game makers want to draw closer to players, but...
The fundamentals of E3's existence have been shaken, and the rise of digital sales has caused the original E3 for physical retailers to lose their original function. The features of new media, such as quick and easy access, wide coverage, and easy proximity to consumers, have also replaced E3 as the primary platform for companies to publish information. If you can allow your game to monopolize millions of people online and live online with Twitch, who would want to put it into a trade show full of competitors and be intimidated?
This is the reason why when the initial excitement and this year's press conference turned out to be a lack of surprises: Most players know the progress of game manufacturers in advance months. Leakage of design drawings, disclosure of online shopping pages, and disclosures from insiders... Provocative marketing that has lasted for months has left many people calm because almost no news is unexpected.
Traditional conferences are still the mainstream on E3. Microsoft, which is offering a new console Xbox One X, has adopted the most classic form of release. It is composed of hardware secrets, explanations of game owners, and previews of the world premiere; Ubisoft still interspersed with speech and warmth at the meeting. Song and dance show.
Phil Spencer at the Microsoft conference
However, this traditional form is being gradually abandoned.
In order to match the player-oriented attributes of this E3, Sony completely cut away the previous series of shows. "We want to focus on the game itself," said Shawn Layden, CEO of Sony Entertainment. He personally presided over the entire press conference. Every time he took the stage, he only spoke the shortstops briefly and then let the audience continue to watch the trailer. He admits that this is more like a short film than a conference.
You can understand why Sony does this. In the previous E3, the manufacturer's press conference deliberately took care of the presence media. They invited developers to come to power, let the responsible persons talk about sales data, company progress, and creative ideas in the publicly considered language. It was just for the media to act as a better voice.
E3's reforms have brought a large number of players into the venue this year. They are more concerned with the game itself and are more likely to be motivated. The above-mentioned conferences that people are unable to promote will naturally have to make adjustments to simplify the links and directly release the most exciting parts. This direct display does indeed create a revelry atmosphere for players who are present or watching live broadcasts.
Sony PS Conference
This in turn weakened the significance of E3. Sony's simple video presentation is indistinguishable from online broadcast. The actual site was wasted and the activity did not provide additional information except the demonstration.
It is also for this reason that the status of Cyber ​​Red is unprecedented on E3. Manufacturers want to use their influence to extend the product to more people. EA invited YouTube Redskins Jesse Wellens to host the launch of "Speed ​​Race: Revenge." His stuttering speeches were later selected for multiple E3 moments, and people are even more skeptical about his identity: Wellens is running a prank channel, he is not a game anchor himself, what qualifications do he stand there? ?
Because he has 10.3 million channel subscriptions, it's that simple.
For EA, understanding the game is not necessarily an essential quality for marketers. The high efficiency of mobile game money tells manufacturers that if you want to make money, you have to cater to the more mainstream society and the wider population. “Want to be closer to the player,†players in this context not only refer to hardcore players who have a large number of game consoles, but also to potential consumers. They are less valued in the game, but are also willing to spend money, many of which are Unconditional belief in the promotion of Jesse Wellens.
But this kind of unreliable attempt was met with a ruthless ridicule from the player community. "This is really ambiguous."
E3 is a microcosm of the game industry. They all become very unrestrained.
When a reputable company tries to make another profit from the work of six years ago, you should be able to realize that there is something wrong with the industry.
That's what Bethesda did. In this E3, the game company referred to as "B" for its best efforts is recommending a 2011 old work "The Elder Scrolls: Skyrim". The "new content" includes "Horizon" Switch Edition and "Horizon". VR, Skyrim paid MOD, and Skyrim heroes join the Elder Scrolls card game.
“Why are you still squeezing money from Skyrim? Where is the new one? Are you developing in the end?†This is a common question. They joked that 35 years later, B may release “Horizon. †The PS8 version.
r/gaming
We have talked about the trend of console vendors moving from selling games to selling long-term services. Compared to one-time buyouts, manufacturers are now more willing to rely on paid DLC and networking to continue their vitality for certain games. B agency is a step closer to creativity, they decided to charge the old game MOD.
Compared to DLC, the content of MOD is generally relatively simple, it may just change the armor, or give you a new weapon, just an extra pleasure. Prior to this, freedom of creation and downloading the free MOD community were not controlled by the B community. However, B Agency now smells the opportunity to continue making money and decides to break this balance by turning all mods into paid products.
The so-called "creative club" is just that B wants to strengthen its control over the MOD community.
This move puts them completely on the opposite side of the player, and the irresistible and greedy image makes them the most appropriate group mocking object.
Users of social networking sites were so excited about the crushing of old games by manufacturers that they even ignored the two new games that B Club had put into the final stage, “Evil Spirit Bodies 2†and “German Headquarters 2â€. Of course, they can only be regarded as sequels.
This is also the most significant feature of E3 this year. From "Uncharted Waters: Lost Legacy" to "Assassin's Creed: Origins", from "Fate 2" to "Call of Duty: World War II", from the remake of "Wanda and Colossus" to "Speed ​​Race", almost every attraction Eyeball's works are continuing the company's previous series.
Even new games are not new. The naval battle game "Skull and Bones" actually came from the "Flag of the Black Flag" four years ago. BioWare's "Chapter" has the same sense of "Fate". The "Vampire" is like "Shame" and "Emperor 1886". Fit.
Manufacturers are even working on older works that have been revived for longer periods of time: Whether they are "Galaxy Warrior 4" or "Beyond Good and Evil 2," they have been at least 10 years old.
"hymn"
So after watching the initial excitement of the conference, you may wonder if they really have improved? Isn't this industry stagnant?
This reliance on old IP is in complete conflict with the bold style of innovation that the industry should have. At this point, the game industry has become less creative Hollywood. They are cautiously picking IPs that are worth continuing, with the intention of minimizing the risk of releasing new products and re-implementing the already successful works.
Of course, this strategy will be popular, in part because the superhero film slams Hollywood. People are willing to buy sequels, and they do not necessarily love new ideas more. Although everyone is sarcastically EA and is conservative about Star Wars: Frontline 2, it does not prevent it from becoming the most watched E3 game on YouTube.
"This can be said to be a sign of this era," said Joost van Dreunen of SuperData, a market monitoring agency. "People want to play games that they already knew would be fun."
Nobody wants to run counter to the player's wishes, and the long-term service also reduces the pressure for the development of new IP, which makes the entire industry content to stand still.
Strauss Zelnick, CEO of Take-Two, once rescued the company from his dependence on Grand Theft Auto. After he took office, the company developed other popular new IPs, including Wilderness. He asked, "If you only rely on sequels, what are you?"
This is probably the question all vendors need to ask themselves.
Cross-border talks come in handy when there is nothing to say about it
Coliseum is an addition to E3 this year. Its main body consists of interviews with individual game developers. Almost every popular game has 30 to 40 minutes for behind-the-scenes creatives to discuss game creation.
However, in addition to game creation, film and television companies have become the most attractive place on this series of forums.
In addition to inviting guests from Microsoft and Gearbox, the forum called World Builder also invited astrophysicist Neil Degrasse Tyson and director of the Galaxy Guard James Goun to the stage to discuss the virtual world. The construction of "Feng Sao Lawyer", Gennifer Hutchison, "Colofer 10" director Dan Trachtenberg, designer from B Club and naughty dog, and suspense novelist Marcus Sakey discussed different types of narrative; Hideo Kojima did not bring in a new game called Death Stranded, but had an hour-long dialogue with "Vajra: The Island" director Jordan Vogt-Roberts; the "Ninth District" director Neil Bronkamp put an end to the finale. Appearing, talking about his own studio and independent short film.
Hideo Kojima and Vogt Roberts discuss the adaptation of "Metal Gear"
The game industry is still sticking out its olive branch to the film and television industry. One of them was captured by the sequel and the other was remake of the classic movie of the 1980s. The two scarce creative industries are in dire need of each other to promote their own "progress." Although they did not have a pleasant cooperation experience before, the game adaptation movie did not succeed. The precedent.
This can't be regarded as more frustrating, but the two sides do not want to let go of "Metal Gear", "Tomb Raider" is a ready-made hot work. However, past failures also forced them to act cautiously and become more concerned with narrative shifts and adaptations of scripts. Coliseum’s cross-border program reflects the willingness of the two parties to continue their cooperation and the next steps.
The game will also collide with TV dramas in the coming year. The TV dramas of "The Devil" and "Assassin's Creed" will all be developed by Netflix. These messages may cause players to be mixed, but everyone will watch it as soon as the finished product is released.
They all know that you will do this.
Everyone is aware of the routine, but they will still be concerned about the next E3
Regardless of whether the reforms or the format of the conference have changed, viewers who have been paying attention to E3 have discovered the same set of routines in this exhibition: Manufacturers' cakes allow players to save money in advance.
Looking tired of this set, the anti-Rule Devolver Digital has gained more players' praise. This publisher, known for its support for independent games, designed its own E3 conference as a giant spoof show that satirized the industry.
They only produced a 15-minute conference video but launched an 8-hour “Pre-show†live broadcast on YouTube; when the feature film began, the fake CEO of comedian Mahria Zook took office and promised to show the industry’s “most†The "immoral" side, such as offering "super advance pre-sale" that is more radical than "pre-sale", will be immediately available for the designer to produce a new idea. Another new technology allows people to throw cash directly into the screen into game currency.
Evolution of EA: Super Advance Sales
This unabashedly criticized the ethos of the industry - making money from unfinished games, constantly tempting players to buy, and letting irrelevant celebrity recommended games - is considered by many to be the best conference of the year. However, it is foreseeable that such a trend will not disappear, so long as it is still effective and can maximize profits, they will remain as E3's tradition.
Just as E3 has become boring and lacks creativity, it must still exist.
"E3 has to exist, so that the game industry can continue to exist," Polygon made such an inference. It is not that E3 will be eliminated and the game industry will disappear. This form is gradually larger than the exhibition of content, and giving more people is a spiritual comfort. It strives to embody the most attractive element of this industry. The effectiveness may be temporary.
In the novel "American Gods," Neil Gaiman imagined a system of the existence of the gods. God relied on human beliefs to maintain his vitality. "Video Games" is probably such a new god. Although it is still young, the annual E3 has moved closer to the most ancient sacrificial activities: crowds of people come from all over the world and worship video games on the big screen. Manufacturers use the enthusiasm of the participants to render the event more grand. The player's love for the virtual world is turned into a visible entity on this occasion.
No one hopes that the new god, whose body has become bloated, will lie still.
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