The first episode was “re-opening” when he thought he would not be able to live in a ceremonial play.
Ask “How to tame a horse?” Answer, “Singing in their ears with ease” and then get the Maps and Flying Yan achievements and be crushed to death by the horse; be given a five-soft soap ointment by the princess and leave the palace night after night because she loves to bathe; and betrothed by the princess, who chose to take poison and drink her drink and then shouted “what to break the strategy” at the camera. These precipitous and precipitous abstract options provide a great deal of material for the player community.
The recent market-honored “The World of the World: The Queen’s Game” not only “calls” to a high-hot social topic for almost two weeks, but also re-invite the category of “real people’s interactive video game” to the public.
As of 23 September, the best score in Steam ‘ s World: Queen ‘ s Game (later ” Queen ‘ s World ” ) was Top 9. In comparison to steam, the data of the World of the World is more visible at the moving end. Data on the 7th wheat show that since its launch on September 9th, The World of the World has continued to top the Os pay list. Earlier, New One Studio, the Invisible Guardians development team, officially announced that, to date, the Queens of the World had been selling a collection of a total of over 1 million copies.
Not only is there a cross-circle discussion of the drama of the game in front of The World of the World, but there are two key questions: How to break the male-to-content-dominated market for real people to interact? And how can you find your own unique location on the border between the short play and the game?
“She’s Narrating” on an interactive film tour.
The Queen’s World is divided between the Plum and the Queen’s, and the strategy itself has the obvious meaning of “test water”. In a sense, the effects of the water test can be seen in the recent hotly debated pixie.
But the choice to enter the long-male-dominated reality-visit market with a clear “her narrative” was undoubtedly a bold experiment. In the market for interactive, masculinity-led, masculinity-led video tours, most of the works are still written around “beauties” and the scenes are dominated by “scissistic-fiction dramas” such as masculinity and relationship simulations.
Starting with “Fair! I’m surrounded by beautiful women,” the “Girls” series continues to produce in bulk and multiplications, and this year’s “Felter Anti-Fraud Simulator” (formerly known as “The Game of Search for Women”), “Girls, please don’t influence me in my study” “Housemate of the Beauty”… “David of the Aquafish”, “Direct of the Fish,” “Doctor, please teach.”
The crumbling of The World of the Worlds is a radical shift to “her narrative” and the return of narrative sovereignty to women. Under the umbrella of the “Girls Growing Up”, efforts have been made to map women’s struggle, scheming and rise in the context of ceremonial battles, and to transform women’s players from “objects” to “subjects of destiny”. This fundamental change of perspective not only breaks down the inertia of content but also reveals the underexploited market potential of “her narrative”.
However, it is this kind of borrowing of mature subject matter and drama model that also places its advantages and disadvantages under the magnifying glass. The advantage is that the examination process, the female role in the picture of the female director, and the “star formation” written in the presentation page of the game, attracts more quickly the audience interested in the test and the “drug CP” and forms a natural basis for communication.
However, there was no buffer zone for market trials and the disadvantages of the World of the World were evident. The mere introduction of the “half” drama without a clear warning that the player is half-finished; negative evaluations such as some of the options combine hard, low-free, and “selection-or-death” linear designs also expose its imperfections in the mechanisms of interaction.
An interesting phenomenon is that such cross-border attempts unexpectedly stir up the old user pattern. Visual novels (e.g. orange light games) were the main position of female players, but men showed strong purchasing power in the field of human interaction. Behind this, it may be that there is the potential to break down gender barriers and generate wider resonance in her “discussion” product. It would therefore be wise to choose multiple distributions.
The bottom line of all this may be that “showing” captures the desire of female players for a high-profile, low-threshold interactive experience. SONG, the author of the play-playing play, told the unicorn that she was “small and beautiful” because of her love for the play and her faintness at 3D, and particularly for the “small and beautiful” narrative games like “The Funeral Spade” and “The Starving of the Starfleet” and “The Fireworks” and “The Fireworks” and “The Fireworks” ” , which are mostly drama-oriented and operational, and can enter the core of narratives and emotional experience and appear “small and beautiful” in a host, pc-end type.
Moreover, she noted that there had been an increase in the number of players similar to her own, such as the Up-to-Eternity ” , which had gone through a round of social media earlier. And for something like “The World of the Worlds” with emotional experience at its core, it is just how it fills the gap left by the long-standing male-dominated mainstream game market, and perhaps more of the players who like to chase and experience the “small and beautiful” play-to-play scenes join in this new field.
“Shows” can make stars?
The emergence of products such as The World of the Worlds further blurs this boundary: it is neither an early platform-led “interact”, nor a game-style interactive product, but rather a new balance between the two.
If the previous interactive video tour was more like a micro-film, short-film game, then The Underworld was more like a real person’s “show”, which also made it more accompanied by the logic of the play. From the background to the story, the plot was set to the whole sense of quality, it was closer to the audience’s perception of the play and more like a “pay-for-show” that gave the audience a partial choice of the play.
From propaganda to actors, ” The World of the Worlds ” and the launch system of traditional plays can be described as a wide overlap. This naturally raises the question of whether this new form of “showing” also has the same “star-making” capability, given the number of cases of “play with fire” in traditional plays.
As a play, different emotional shifts in the same scene are really good for actors at the big “show muscles” scene. For example, in the early stages of the master’s entry, the best friends were called to bed by His Majesty, who needed to give four different responses, including blessing, loss, jealousy and feeling. The actor’s face is not exaggerated, it’s natural, and it’s a lot more. The director also said on Twitter that the female owner alone had 99 per cent of the play.
This is the equivalent of being exposed in a medium-sized, long-run series for central waist actors, giving the protagonists the possibility of going from “no face” to “table”. In a short period of two weeks, a large number of netizens left a message on the top of Wong Xiaobo saying, “Take care of the script” and say, “Go on the way.”
King Wei’s performer, who came out of the contests like “Young and You”, was also certified by fans as “to the table” for the online presence of more than 4k. There was also a surge in Twitter comments from several hundred to over 2,000. In a sense, “showing” does provide actors with a new path of rapid human accumulation.
And as a game, “The World of the Worlds” uses the cp tradition, in addition to producing a large number of different feeder dramas, and also incorporates “ball” systems. The flower and egg lists allow players to vote for their role directly, and turn their affection into images.
This sense of participation and commitment was further strengthened by the fact that players explored a 99 per cent mechanism for obtaining a large amount of virtual flowers and gold coins, and many of the games were broadcast live to vote for the role of krypton flowers, such as the Mowon picture, and subsequently placed on the list. The system not only enhances user viscosity, but also resembles a real-time human gas assessment, making actors attractive for quantification and visibility.
The market underlying it is precisely meeting the long-neglected experience needs of players. While the mainstream game market has long been dominated by a male perspective, “shows” such as The World of the Worlds, such as “shows”, which are highly emotional, and low operational thresholds, have just aimed at this gap.
The format of the drama interactive games is not new and often appears in the cinema market. It’s a wonderful way to cross a copy of the play “The River of Night and Night” and the fish that’s all about going to class for the saline. But there are no free options for the scripts that have been set up to stimulate and insulate. The competitiveness of “shows” is due to the high intensity of immersion created by the combination of “established scripts” and “free choice”.
When this interactive experience is combined with the depths of the dynamic, fast-paced “theatre”, it not only shapes an entirely new star-making path that binds and grows in depths between actors and viewers, but also gives imagination to the “show” and even the video market.
