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Mrak
Nov.7,2023
No content and no audience! Is there still a need for offline exhibitions? Recently, well-known game presenter "Geoff Keighley" discussed some aspects of this year's Gamescom in an interview with the media VGC. He stated that this year's Gamescom would not focus on announcing entirely new projects but instead would provide fans with the latest updates on some major upcoming games. At the event, we can expect to see the fresh faces of games like "Psychonauts 2" and "Black Myth: Wukong." Hosting a major event like this in Cologne, Germany, presents logistical challenges. This event is directly connected with participating game companies, and they have been working hard to find ways to create a synergistic effect. Geoff Keighley's remarks indicate that we shouldn't expect to see unreleased projects from major game companies at this year's Gamescom. With more and more companies absent from these events, the decline of offline game expos seems to have become an undeniable reality. In fact, signs of this decline were evident since E3 announced its cancellation. In the past, the COVID-19 pandemic was an excuse, but as more companies, particularly the "big three," distanced themselves from E3, the lack of content rendered the event pointless. Many believe that E3's downfall was largely self-inflicted, primarily due to exorbitant booth fees and a lack of diverse content. E3 relied on the nostalgia factor more than anything else. However, even if E3 "played itself out," other game expos haven't fared much better. The Summer Game Fest, touted as the successor to E3, had a wide array of participating companies, but many players found it unremarkable in post-event polls. Regarding the online showcases of the "big three" game companies, it's evident that the format was largely uninspiring, with fewer big announcements. Even the hype generated felt subdued compared to past years. The advent of the internet and the rise of social media have completely transformed the way games are promoted. Game marketing has shifted from grassroots and print media to the ever-expanding world of the internet. In the last couple of years, the impact of the COVID-19 pandemic has further accelerated the decline of game expos. In the late 20th century and the early 21st century, players had limited means to obtain information. Strategies and gaming news were mainly spread through word of mouth among players. Newspapers and magazines were essentially the sole sources of gaming information. Game expos, such as E3, Gamescom, Tokyo Game Show, and various international and domestic expos, became booming events during this period. However, with the rise and development of the internet, players' access to information expanded exponentially. Various media outlets and leaks from insiders made information readily available. During this time, offline expos became less important to players, who could now access the latest news conveniently and anytime. Given that offline expos lost some of their appeal, why not host exclusive online events instead? Creating one's online showcase is cost-effective and can attract a large audience. Apart from changes in game marketing, many game companies now opt not to participate in offline expos mainly to avoid direct competition. These expos run for a few days, and numerous game companies concentrate their promotions during this brief period. The intense competition is something they want to avoid. Additionally, a barrage of AAA game releases can lead to player fatigue, making it challenging to stand out. This is where the advantage of online showcases becomes evident. Players can choose to watch the showcases of the companies they are interested in, rather than being bombarded with content they might not be excited about. You might be thinking that offline game expos have become unnecessary, but that's not entirely true. They are continually evolving with the times. Post-pandemic, offline game expos have become more diverse, and the objectives of participating companies have diversified as well. Some want to build brand awareness and expand their user base, while others host events with a focus on giving back to players, creating a community feeling. Companies that attend expos purely for game promotion are becoming less common. For instance, at this year's ChinaJoy, there were various electronic and digital products on display, even some unrelated to gaming. On the other hand, companies looking to gain exposure during the event were almost non-existent. Although ChinaJoy still provides insights into the news of various game companies, the content has become somewhat mediocre. The high cost of booth space combined with a lack of substantial content has discouraged many companies from participating. Nevertheless, this doesn't mean offline game expos have no purpose. Enhancing brand visibility and influence is crucial in any era. Large companies need to retain their current users and acquire new ones, while smaller companies require more opportunities to showcase their products. There's no reason for them to abandon such a platform. Moreover, when game companies actively promote their games during offline expos, the live audience's enthusiastic applause and cheers can provide an experience that online streams cannot replicate. Even though offline game expos might have become less important to players, many still hope that they will return in a fresh and exciting way, allowing everyone to relive the thrilling summers of the past. Now, what are your thoughts on offline game expos? Feel free to share your views in the comments!
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Mrak
Nov.7,2023
Voice acting in "Persona 5" criticized to the point of quitting? AI is in the hot seat again! The recent "busty Japanese legislator" who went viral on the internet has brought a new understanding of artificial intelligence. We saw a male legislator from the typically dignified and somewhat old-fashioned cabinet transform into a female legislator with a stunning figure thanks to AI. This sudden visual shock also shattered the public's preconceived notions of Japanese legislators. While one might have expected the development of AI to slow down after such a surge, it has now made its mark in the field of voice. With the rapid advancement of AI technology, AI-generated content is prevalent on the internet. People are showing unprecedented enthusiasm for AI's performance in the world of fan creations. However, it's essential to note that not all fan creations using AI receive the original creator's support. This includes American voice actress Erica Lindbeck. Erica Lindbeck is a well-known voice actress born in Boston, USA. Over the course of her career, she has lent her voice to various video game characters, including "Jessie" in "Final Fantasy VII Remake," "Black Cat" in "Marvel's Spider-Man," and "Futaba Sakura" in "Persona 5." Earlier this month, a YouTube user named "Virusanity" used "AI voice synthesis" to create a song titled "Welcome to the Internet" with the voice of "Futaba Sakura" from "Persona 5" and posted it online. Because of its accurate pitch and the unique qualities of the voice, this song quickly gained praise from many internet users. However, this song created with the voice of "Futaba Sakura" did not receive Erica Lindbeck's approval. She took to Twitter to request the original creator to remove the video and encouraged her fans to report the video. Erica Lindbeck believes that using her voice without permission could damage her reputation and potentially have a significant impact on her entire voice acting career, which is why she asked the original creator to delete the video. Erica Lindbeck's viewpoint is entirely valid, but the situation took a turn because of her and her fans' actions. The creator of "Welcome to the Internet," Virusanity, claimed that he had been subjected to online harassment by Erica Lindbeck and her fans. What was initially a minor dispute has now evolved into a large-scale "public opinion war." Supporters of Erica Lindbeck argue that Virusanity's actions constituted copyright infringement, stating that any content created using someone's voice should have the creator's permission. On the other hand, those against Erica Lindbeck believe that the fan-created content centered around "Futaba Sakura" made her overreact. They find it difficult to condone her call for fans to engage in online harassment. Ultimately, Virusanity removed the original video under the pressure, and Erica Lindbeck deleted her Twitter account due to the backlash from those opposing her. This "drama" did not end with both parties' withdrawal from the situation. It attracted the attention of industry professionals. Several voice actors voiced their support for Erica Lindbeck and criticized actions that involve using AI for voice mimicry without an actor's consent. Notable voices in the industry, such as Yuri Lowenthal, who worked on "Marvel's Spider-Man" and "Blades of Time," and Josh Keaton, who contributed to "Apex Legends" and "Starcraft II," were among those who spoke in support. Even prominent gaming media outlet IGN sided with Erica Lindbeck. While many may perceive Erica Lindbeck's actions as excessive, it's important to note that the lyrics of "Welcome to the Internet" contained explicit language, including words like "Fuck" and "Bastard." Regardless of whether this constitutes copyright infringement, basic respect for the original creators should be maintained. Using their voice for profanity is considered highly disrespectful. The unauthorized use of AI for voice mimicry is becoming increasingly common, and this has raised concerns among voice actors. However, there is no established legal framework to judge whether AI-generated voices constitute copyright infringement. It is hoped that future policies will be put in place to protect original creators. Respect for the original creators should be a fundamental principle of any form of fan creation. If the pursuit of so-called "authenticity" is built upon vilifying others, it raises questions about how different it is from being a "crybaby" on the internet. AI mimicking the voice of original characters and overusing it inappropriately is a widespread concern in various fan-created content. It has led to voice actors' dissatisfaction and protests. However, even though many voice actors are against it, they have not yet found a suitable countermeasure. The entire voice acting industry faces more complicated challenges than initially expected. Artificial intelligence, as a relatively new technology in recent years, lacks clear policies and legal boundaries regarding whether AI-generated voices can be used without the original creator's permission. This issue is still in a gray area of ambiguity. In the end, it's important to hope that future policies can be established to protect original creators. Regardless of the form of fan creation, respecting the original creator is a fundamental principle. Without even the most basic respect for original creators, it's essential to learn how to behave as a human being. The balance between creative freedom and protecting the rights and reputations of original creators is a complex issue in the world of AI-generated content.
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