From the "Red Sea Action" in 2018 to the "Wandering Earth" in 2019, Chinese films have gradually compensated for their shortcomings in different types of content with high-input industrial production standards. This is an advancement in the Chinese film industry.
But the game industry, which belongs to the same cultural field as the movie, is still repeating the story of yesterday.
The bottlenecks, regulatory and version numbers encountered by the game industry in 2018 are not all fig leafs. Even if the version number is not stopped, mainstream game makers are faced with the old problems of head monopoly, product aging and aesthetic fatigue.
In theory, the cultural industry is the industry field that is the most natural and not afraid of monopoly. The artistic creativity of human beings is almost infinite. Who can imprison the subjective initiative of people? There is only one reason why the Chinese game industry can go to the present level.
Game plus wrong point
If the development of the game industry is seen as a development game, then the Chinese game industry must have added the wrong skills.
Players, technology, business and culture have always been the driving force behind the development of the game industry. In addition to the unpredictable changes in player demand, several other factors are traceable. Therefore, technology, commerce and culture constitute the technology tree of the game industry in China.
The current situation is that the technology is added, the business skills are all full, and the talents of the “adding value of the props” are opened, and the culture is simply not added.
The result of this addition is that we are technically mediocre as a whole, but it will not fall behind in the application field, but it is not a pioneer in leading the technology trend. In terms of the core game engine, the general-purpose commercial engine is the exclusive engine of the series game, and the results of the Chinese company are negligible.
Commercially, the Chinese game industry has created a value-added model of props that is based on Internet thinking. It has become the mainstream in China and has become a globally competitive “export product” for Chinese games. Not only did many international big companies enter the shackles, but even Blizzard, the eye-catching guy, came in through the dark hand.
Culturally, there is no cultural point in Chinese games. It is not just a 3A masterpiece without its own characteristics, but also a series of games with long-lasting appeal, and no influential game brands on a global scale.
Such a technology tree has already made Chinese games have reached a desperate situation.
Twenty years of game road, technology is nothing to lead, commercialization is almost a dead end of the stock market, there is no well-known game brand in the overseas market to do benchmarking, the name of the game sheet metal is well-known overseas, the domestic gameplay is not necessarily played overseas. If you have to turn around, you won’t be able to play for a long time. People’s local companies are not vegetarian. Rewashing the culture? Still a hard work, not a few years to see the results.
In history, Hu Ren’s iron ride is sharp, but without a hundred years of national transport, it is the reason for disregarding culture. This is also true in the game.
No culture, the player is just the traffic number, there is a demographic bonus and can be washed, now has washed a few waves, the player has also been washed into old fritters. Keep washing, the players are not stupid.
But to say that these decades have developed, it is not a bit of culture. In October 2018, the Xinhua News Agency's think tank think tank and the Beijing Cultural Fair Organizing Committee jointly released a report on cultural IP — "High-quality development: 2017-2018 IP evaluation report". As an IP report with a government background, the report produced a ranking for the IP value of Chinese contemporary cultural products, while in the IP of TOP20, there are "Glory of the King", "Fantasy Westward Journey", "Xian Jianqi" Xia Chuan and Xuanyuanjian have 4 game IPs.
The problem is that the glory of the king itself is a lot of IP characters, and it has a lot of different cultural labels, but it is not a cultural one. Fantasy Westward Journey starts from the Westward Journey and is considered an extension of the Journey to the West. The domestic original game series is also the sword and Xuanyuan sword. Coupled with the swordsman, the Chinese game for decades, the game that can be with the culture, that is, the three swords that support the scene here.
Similar to Chinese movies, the development of the game industry is as fatal as it is. There are foreign works in the market before, and there is capital to help promote the market. As a result, domestically produced films have been published with benchmarking works in the past two years. The hardcore sci-fi movie "Wandering Earth" has also received the blessing of Cameron for the first time, but the game is still the way to go, the point of culture. Ding points did not add, so that the blizzard with Chinese mobile games also ushered in the public relations crisis brought by the red brother in 2018.
An MMO game, the player adds a little extra to play professional features is understandable, but an industry plus points are also so extreme, no problem is strange.
You can only add some points after washing the game industry.
Don't tell a story
There are three levels of cultural skills in the game: first-level storytelling, mid-level games, and high-level IP.
Storytelling is the basic skill of game culture. Since every video game has been born, if it is not the first in terms of technology and type, then the good story is almost standard.
The resurgence version of Resident Evil 2 sold more than 3 million in the first week, stemming from a zombie story that took place in Raccoon City.
The "Heroes of Legends: The Track of the Flash" series has sold more than 1.5 million in total because of a series of stories in several countries on the mainland of Semliya.
"Goddess of Different Records 4 Gold Edition" caused a weekly increase in the sales of PSV consoles by 150%, because a long nose monster called Igor led the player into the virtual space and a lot of stories happened.
"StarCraft" is all the rage, in addition to competitive, it tells the story of the struggle between the Terran, Zerg and Protoss in the Krupp Star District.
Although GTA is a sandbox game, there are also plot lines of many characters.
Poland's national treasure game "Witcher" series was given to other leaders as a national gift, "Witcher 3" won nearly 1000 awards including the best plot award.
"Call of Duty 4" became the best-selling game brand of the New Year class because of the stories of Price and Makarov.
"Need for Speed 9" is regarded as the work of the most classic Need for Speed series, and the beautiful police detective undercover catching the party's plot is a perfect substitute.
As mentioned earlier, Blizzard launched the "Dark" mobile game to make the legend of the red-headed bald brother. Correspondingly, in 2017, Blizzard was responsible for the creative development of the story structure of most of its games. VP Chris Mason announced his departure.
The examples of good plots are not listed. Compared with movies, games are not good at linear content storytelling. However, with the complement of interactive features, game plots have a stronger sense of immersion than other literary content.
From simple text descriptions to exquisite original illustrations, to exquisite cutscenes and real-time calculus performances that take on hardware performance, developers have been experimenting with movie-level plots represented by StarCraft II. Try to bring players a more immersive story experience with cutting-edge technology.
Getting the immersion of this kind of story is the key to telling the story of the game, but unlike movies, the game is not highly dependent on the script, and more depends on what effect can be achieved under current budget and technical conditions. How to vividly express the story under these restrictions is the primary consideration for developers.
Storytelling is almost marginalized in the current Chinese game industry. If you use skill points to describe it, at most, you add one or two points to open a skill. There are no good stories or special story carriers.
But the reality is that good stories are not lacking, and the lack of stories is the story carrier of stand-alone games. The mainstream of Chinese games is online games. There is no player in the online game. Players need to know how to quickly get resources and grow in online games. It is better than other players, and the beautiful plots are skipped. presence.
Chinese games have to be revived, storytelling is the skill that needs to be learned, and stand-alone type games are also an indispensable hurdle. Without it as a story carrier, players' memory of the game will only have no memory power figures.
Some people think that the current situation of Chinese games is not worthy of good games, but the stable system will become untimely with the development of the times. The "Red Sea Action" proves that the current Chinese audience is equipped with a bloody war movie. Then the "800-day-old" box office of nearly 800 million people in the "Wandering Earth" proves that the Chinese audience is now worthy of the Chinese-speaking science fiction brain hole.
Many people are both audiences and players. Chinese movies can be done. There is no reason for Chinese games to lag behind. There is no problem with matching. The Chinese game market has gradually become more formalized. The copyright is conscious, and the quality requirements are different. The player's aesthetic improvement is enough to sweep through all the old ecology of the existing market.
Fortunately, the story-telling game has always existed, "The Legend of the Sword and the Chivalrous 7" will be released in 2019, although there are many twists and turns in the middle, but I believe this story will continue to talk about it.
A month ago, there was a player friend named Azhe who announced the news that he was going to abandon the tour in the game WeChat group of the guild.
He believes that playing this game is a waste of time, every day to brush the same task, it is meaningless to repeat the game every day, it is better to play a few kings.
This game is a mobile game adapted by a domestic manufacturer according to the classic "Contra". Azhe has been with me for more than a year. At the beginning, it was still elated. Later, more and more games were played, and activities were more and more. The number of times I and Azhe teamed up to brush the book was getting less and less, until Azhe abandoned the game a month later, he also uninstalled the game.
I sent a message to Azhe & ldquo; I was so tired that I finally got rid of it, Azhe’s reply was "Congratulations>
As a person who has been in the game industry for many years, it is hard to stick to it if you don't have love, but the feeling now is that more and more games are too tired to play.
The result is not because of the plagiarism of the cottage, piracy, but because the Chinese game industry will not play games.
I won't be playing games, and I can get a glimpse of it from the development of the game.
In the current division of game planning in China, scripts, numerical values, scenarios, UI, systems, copywriting, etc. are all dedicated to the planning staff, but the salary of numerical planning is often significantly different than the system planning and copywriting planning, this is not only The mathematical knowledge required for numerical planning has invisibly increased the threshold. More importantly, numerical planning is responsible for determining the balance of the game and the growth rhythm of the player from a specific logic level, and thus providing reference for setting up numerous billing points.
Because of the potential revenue of the direct relationship game, you can understand why developers with such numerically planned births have higher salaries and are more likely to be promoted to producers and even higher-level channels. Similarly, due to the plot in online games. It is often an option for players to skip, so you can understand why plot (copywriting) planning will become the most marginalized presence in planning. As a result, the gaming industry has a large number of developers who are skilled in numerical growth and billing design, and they have become the backbone of the industry.
In addition, the annual increase in the amount of purchases is also considered as external feedback that will not be a game.
The act of buying is not unique to China, but there is not much market that can be achieved at the scale of China. The purchase of games is only an auxiliary means, but as the right to speak in the game channel increases, the purchase of channels has become the main form of the industry. In addition, in recent years, the buying side has moved closer to more traffic centers. Game companies are often the most sensitive companies to respond to new traffic pools.
At the end of 2018, today's headlines released the "White Paper on the Game Industry". The data in the white paper shows that in 2018, the game industry spent 40 billion yuan to buy, and the media combined with Tencent, Baidu, 360, Ali, hard-core manufacturers, and ad networks. Later, similar results were obtained, which means that compared with the mobile game market size of 133.96 billion yuan in 2018, advertising marketing investment has accounted for 30% of the mobile game market.
The logic between buying and not playing games is that the amount of buying directly brings traffic. This is related to the creative and has no internal connection with the quality of the game. The simple and rude way and effect have led to many publications obsessed with this. It will not be placed on the improvement of product quality. This kind of approach is better in the high-speed growth period, but with the end of the demographic dividend, the buying effect is weakening, and the cost per unit user has risen sharply, which will lead to a sharp increase in marketing expenses.
We don't know what the cost threshold is, but in the current closed trend of the mobile Internet ecosystem, the value and value of the traffic resources are increasingly prominent. And these expenditures are bound to be obtained from the companies that purchase the traffic. How long will the purchases last? In the end, it depends on the content itself.
China's game industry can be described as "digital" period, data growth system design, traffic data user acquisition, single warfare experience, games from the inside out only cold numbers, such games should not It is considered a game, but a data collector.
I talked with Azhe after abandoning the tour. If the game makes any changes, he will not give up the pit?
Azhe’s first reaction was to add at least the scenes and NPCs like DNF, which did not seem to be the current task and character entry.
After a while, Azhe once again replied with a message “Best, there is an animated story like a dungeon, and it may take longer to play. ”
High-level IP development techniques
Nanpai, the author of Tomb Notes, once did a "What is my super IP" speech, which talked about the idea of super IP.
“Super IP is divided into two levels, one is called the heavy industry chain, and the other is called the light industry chain. ”
“The heavy industry chain is a very popular game in Europe and America, including “Finding Nemo”. The movie box office is only two or three hundred thousand dollars, but the overall derivative value has reached more than 60 million yuan. This is the true value of IP.
A lot of IP in Japan starts with comics. The IP itself has an image and can be spread from the source. Then start with comics, use animation to expand this IP, and finally use a relatively light game, which is a light industry chain.
The real super IP must be the coexistence of two industrial chains: light industry chain and heavy industry chain. The heavy industry chain makes him have social influence, and the light industry chain makes him have fans. Only when these two points are available, he is called Super IP. ”
In other words, the uncle's argument that the influence and the ecological chain are all over the online and offline IP can be called super IP, but the reality is that we can't do half of the super IP.
The Chinese game industry loves to talk about IP, loves to talk about cross-border, loves to talk about pan-entertainment, and is in line with the international giants in terms of ideas. But under the skill tree with the wrong point, the game industry has not reached the path of reciprocal with foreign giants.
The content forms of film and television, games, anime, and stage dramas are all clearly defined today. The video game linkages often mentioned in the industry in the past few years have now disappeared. After the "Flower Thousand Bone", there has been no work by the industry as an example.
After all, our IP work is a single authorized adaptation, without linkage between works. The lack of large-scale industrial production has bottomed out, and there is no such a rich worldview expansion as Marvel. Without these support, there will be no online influence of IP, no online influence, and where is the expansion of the line? Super IP is nothing more than a shadow.
Will China have its own super IP? I think there is still. In the 2019 New Year's Day, the theme restaurant of "The Legend of the Sword and the Chivalrous Man" was opened in Shanghai. There are many decorative decorations in the restaurant, and many dishes with the theme of the sword are also introduced. Li Xiaoyao, Zhao Linger and Lin Yueru have all been made into theme meals, which is also a rare game-themed restaurant in China.
Online games, film and television dramas, big movies, plus the surrounding areas, restaurants, etc., "The Legend of the Sword and the Chivalrous Man" is a step by step to spell the super IP's jigsaw puzzle, just use the game to tell the story behind, super IP Absolutely not a delusion.
Why do you always mention the sword? It is a pity that when it comes to culture, apart from Xianjian, there is nothing to say about the game. The existence of these games proves that Chinese games have added a little bit of cultural skills, but they are really not much.
Because there are not many points in the culture, there is not much influential game and game IP, but the domestic players have improved their aesthetics. Domestic companies need to spend more money to buy IP abroad, and even buy a feat of the enterprise, so There is an annual fee for paying astronomical copyright fees and more than $8 billion for equity acquisitions.
The market is fair, how much money is earned in commercialization skills, and how much money you have to make in culture.
History is also fair. You can’t wait for the various authorizations of foreign giant companies today, and the various sequels are so excited that they still learn the means of Chinese props to pay for props. That’s because people have already ordered cultural skills. Even if it is washed, it will not be as extreme as we are.
The cultural industry has suffered from a lack of culture for so many years, has not eaten enough?