E3 debuted in 1995 — 22 years ago. This year, for the first time ever, the Entertainment Software Association welcomed the public to the expo. As a follower of E3 since age 9, I was overjoyed to have nabbed one of the 15,000 publicly released tickets.
The days leading up to the event were spent streaming presentations from Microsoft, Bethesda, EA, and Sony. Nintendo’s event took place while I was in the air, so I dove headfirst into the tidy 25 minute Nintendo Spotlight upon touchdown. I’d missed Ubisoft’s presentation, but felt fairly caught up after scanning headlines during the cab ride from LAX to the Los Angeles Convention Center. I was ready for E3.
As expected, the entry lines snaked around the building. I had braced myself for standing in lines for three days straight. In the meantime, I took to booking appointments for the Sony booths via the Experience PlayStation app. I attempted to sign into the app with my PSN credentials only to find myself in an “incorrect password” loop bug, identifying storefronts and cars for CAPTCHA for upwards of 30 minutes. (Mind you, the likely “slammed by tens of thousands of E3 participants” LTE reception was poor. This did not bode well for my battery.) I could have signed in as a guest, but was hoping for a bit of PSN love if signed in. After several failed attempts, my password was finally reset, I successfully signed into the app, and was able to grab one of the remaining theater demo slots for Uncharted: The Lost Legacy. All other demos and theater slots were booked. Try again at 2pm.
Our entry line eventually moved into the Convention Center’s south hall where buzz was abound the cacophony of video game themed booths. Final Fantasy. Capcom vs. Marvel. Middle-earth: Shadow of War. Massive projections. Lighting flurries. Dragons. Cram over-the-top Disneyland aesthetics into an overcrowded casino and you have E3. Entering the gates of the video game holy land seemed everything I’d hoped it’d be.
Then we looked for games to play. And looked. And looked. And looked. The massive crowds had overtaken all available consoles for the next handful of hours. All lines were quickly capped. Luck being our only chance to play anything, it quickly became apparent that a three day pass for a single price was less of a steal as it was a requirement to actually feel like you were able to participate in what E3 had to offer. It would certainly take at least three days of waiting in lines for an attendee to play your top five choices of E3.
Clinging to hope that the crowds would thin out over the next two days, my friends and I took to wandering, stargazing, and stabbing our phones for appointment times at the Sony booth. Splitting up and sharing our experiences proved to be the best strategy. Nintendo’s construction of Super Mario Odyssey’s New Donk City was the star of the show. IGN’s production crew and round the clock coverage was captivating. A plethora of fighting game competitions littered both halls. (I was transfixed watching Injustice 2 fighter Jen annihilate nearly every competitor that showed up.) Ubisoft made their presence known with multiple massive projections, live demos from development teams, and plenty of Just Dance 2018 performances. (Any tips for getting Hyuna’s Bubble Pop out of one’s head?)
While it was nice to see and play highly anticipated games ahead of release, the real magic of E3 2017 were the extravagant booths, passionate publisher/developer staff, wandering games media personnel, and ecstatic fans. The lines were hellish and I really wish I’d been able to play more. It was an exhaustive, discouraging experience that could have been more conducive to consumers with better line management (Sony’s mediocre app was the best experience and even that was painful), more live demos rather than hands-on areas with larger theaters, co-op or multiplayer experiences when possible, more occupied floor space, and simply less people. One full day may have been enough, but three was required to participate in more than one activity. It was certainly a childhood dream come true and I was expecting no less, but I can’t say I’ll be retuning to E3 without media or industry credentials in the future.
At the end of day three, I walked away seeing live demos of Uncharted, Spider-Man, Monster Hunter World, Days Gone, and Middle-earth: Shadow of War, and played Super Mario Odyssey and Mario + Rabbids Kingdom Battle. (My friend and I lucked out by standing next to a nearly unoccupied Super Mario Odyssey demo and I waited two hours for 16 minutes of Mario + Rabbids Kingdom Battle.) In hindsight, it was not enough to feel fulfilled by the experience.
Of the two games I played, Super Mario Odyssey was the better. Odyssey feels like the perfect amalgam of all 3D Mario adventures: The playground of Super Mario 64’s introductory courtyard, Super Mario Sunshine’s NPCs, Super Mario Galaxy’s inventiveness, and Super Mario 3D World’s fidelity. Above all, there is a “weird” factor that has been generating buzz. The various worlds Mario can travel to feature a variety of art styles: the playable New Donk City feels like a Tony Hawk’s Pro Skater / Sims hybrid while the Sand Kingdom felt like a traditional 3D Mario world with a new classic 2D side-scrolling mechanic added to the mix. (Think The Legend of Zelda: A Link Between Worlds.) The game played as great as you can imagine, but the real allure is looking forward to the variety and trying to figure out just what the hell is going on!
Mario + Rabbids Kingdom Battle is the game I’m most looking forward to. It’s gorgeous and surprisingly deep. I can’t recall ever seeing the Mushroom Kingdom in such detail. And like any great Mario game, it feels like it may be deceptively difficult. I’ve never played an XCOM game, and the demo seemed to only scratch the surface, but the number of methods to approaching and evading battle seemed impressive. There is a certain chess-like quality to the game in that you may need to think twice or thrice before executing a move. Enemies lurk in around cover and, if you’re not careful, environmental elements can throw off your game. I do worry that variety will be a problem; the old “Sonic” syndrome where the first handful of levels feel great but then feel dull or repetitive or both. We shall see.
Uncharted looks like Uncharted. I certainly love the idea of playing as Chole, but the sequence shown did little to suggest that this would be any different from previous iterations. And that may be fine, but unless there is a drastically different element (Uncharted 2’s sequences > Uncharted 1, Uncharted 3’s story > Uncharted 2, Uncharted 4’s fidelity > Uncharted 3), I feel it’s a bit soon to jump back into this world.
The live Spider-Man demo went a little off script from the Sony presentation but was largely the same. I love the Arkham-like feel, but the reliance on quicktime events is a bit off-putting. Still, I’m looking forward to this game. (Now I want Insomniac to make a TMNT game!)
Days Gone was touted for it’s variety of mission approaches and environmental effects on the population, but the post-apocalypse / zombie infestation disenchanted me. How are we not done with zombies yet?
Both Monster Hunter World and Middle-earth: Shadow of War looked incredibly chaotic yet impressive. The highlight of Monster Hunter World came when a giant iguana-like monster crashed out of a nearby forest to feast on another gigantic beast — albeit lower in the food chain — plumping up like a snake after the meal, and sauntering back into the forest. Back at the nest, the iguana-like creature regurgitated part of his meal, summoning it’s offspring to the feast. Later in the demo, the same iguana-like creature would join our battle against a T. Rex-like monster as the T. Rex-like was trespassing on the iguana-like’s territory. Quite the world!
Middle-earth: Shadow of War looks to be focused more on castle raids than the previous entry. Players will recruit orc war chiefs throughout their play and choose which ones they will bring into a castle raid, strategizing their recruits’ strengths vs. the castle’s war chiefs’ weaknesses. Before the demo, director of technical art at Monolith Mike Allen touted enhancements to the nemesis system; however, these did not seem evident to me. I was expecting something more along the lines of the beloved Brûz.
There was lots of buzz about Detroit throughout the show. It plays like Heavy Rain, allowing payers to investigate a scene in attempts to build a successful outcome to a dire situation. While I did not get a chance to play Detroit, I did observe four different endings to the hostage scenario players were given the opportunity to partake in: 1 failure, 3 successes. The failure resulted in the hostage being killed. The successes varied in:
- the player sacrificing himself to save the hostage
- the player saving the hostage, but being shot during the encounter
- convincing the rival android to comply, saving the hostage and himself
There are plenty of games that offer a variety of situations and solutions, but to see these different scenarios play out next to each other simultaneous by different individuals’ actions was rather interesting to see. I can’t say the game is for me, but of those that played it, most felt it was the game for them.
As noted, I wasn’t able to partake in much. Nor were all games showcased during the presentations being showcased — Anthem and God of War most notably. Ultimately, I feel I’d gotten everything I needed from the presentations. A trip to E3 was not warranted.