WEBVTT - E3 Is Dead for Reals

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<v Speaker 1>Welcome to tech Stuff, a production from iHeartRadio. Hey there,

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<v Speaker 1>and welcome to tech Stuff. I'm your host, Jonathan Strickland.

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<v Speaker 1>I'm an executive producer with iHeart Podcasts. And how the

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<v Speaker 1>tech are you? So I read the news today. Oh boy,

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<v Speaker 1>technically I read it yesterday when all my troubles seemed

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<v Speaker 1>so far away, But I had already recorded yesterday's tech

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<v Speaker 1>News episode, so I couldn't include it in that episode.

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<v Speaker 1>But the news is that E three, also known as

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<v Speaker 1>the Electronic Entertainment Expo, is no more. It has ceased

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<v Speaker 1>to be. It has rung up the curtain and joined

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<v Speaker 1>the choir invisible as it were, or to be less

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<v Speaker 1>monty python ish about it. The Entertainment Software Association or

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<v Speaker 1>ESA has announced that E three will stop trying to

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<v Speaker 1>make three happened. It's like fetch, It's never happening. E

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<v Speaker 1>three is over now. Some people would argue that E

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<v Speaker 1>three had already died years ago, and that in the

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<v Speaker 1>years following it was just a shambling, zombie husk of

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<v Speaker 1>what it once was. So today I thought we would

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<v Speaker 1>do a very short overview of E three, why it

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<v Speaker 1>was a thing and why it's now no longer a thing,

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<v Speaker 1>and I have done lots of other episodes about E three,

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<v Speaker 1>including some deep dives on E three's history, so please

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<v Speaker 1>check the tech Stuff archives for other E three episodes

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<v Speaker 1>if you want to learn more. This is more of

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<v Speaker 1>a high level look at the event and what happened.

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<v Speaker 1>So here we go. Now. Before E three, which officially

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<v Speaker 1>began in nineteen ninety five, the video game industry found

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<v Speaker 1>it difficult to promote itself, and this was for a

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<v Speaker 1>whole bunch of reasons. So, first of all, back in

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<v Speaker 1>the nineteen eighties in the United States, there was this

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<v Speaker 1>massive industry wide video game collapse and it reset home

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<v Speaker 1>video game entertainment and made a lot of retailers wary

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<v Speaker 1>of another potential crash. It really set back specifically console games.

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<v Speaker 1>Here in the US. There was a general point of

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<v Speaker 1>view among much of the mainstream public that games were

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<v Speaker 1>for kids and really only for kids, and a lot

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<v Speaker 1>of people found it beyond belief that an adult would

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<v Speaker 1>actually like to play video and computer games. This meant

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<v Speaker 1>that when games began exploring material that wasn't suitable for kids,

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<v Speaker 1>there was a huge disconnect. You know, people were saying,

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<v Speaker 1>you can't make a game where one guy rips off

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<v Speaker 1>his face and breathes fire to torch another guy. These

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<v Speaker 1>are for kids. That was the sort of thinking that

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<v Speaker 1>was going on back then. In fact, that problem led

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<v Speaker 1>to the formation of the Entertainment Software Association itself, the ESA.

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<v Speaker 1>This is the organization that formally put on E three. Now.

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<v Speaker 1>At the time, it wasn't called the ESA. It was

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<v Speaker 1>called the Interactive Digital Software Association or IDSA, but eventually

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<v Speaker 1>it would change its name. So the game's industry needed

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<v Speaker 1>to create a review board that could assign maturity ratings

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<v Speaker 1>to game titles to let people know what ages are

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<v Speaker 1>appropriate for specific video games. If the industry could prove

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<v Speaker 1>that it could regulate itself well, that would help prevent

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<v Speaker 1>the US government from getting involved. So this was really

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<v Speaker 1>an act of self preservation in the video game industry,

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<v Speaker 1>and it was all made necessary largely because the US

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<v Speaker 1>government was mostly comprised of old poops who were totally

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<v Speaker 1>out of touch with the modern world. Some things never

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<v Speaker 1>seemed to change. So the Entertainment Software Ratings Board or

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<v Speaker 1>ESRB became a thing, and the ESA, the organization behind it,

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<v Speaker 1>was a nonprofit. The ESA also would form working groups

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<v Speaker 1>to help tackle specific challenges in the home video and

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<v Speaker 1>computer game spaces, so stuff like intellectual property policies and

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<v Speaker 1>that kind of thing. E three would end up being

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<v Speaker 1>the main way that ESA would pay for all this activity.

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<v Speaker 1>It became a primary revenue generation kind of outlet, but

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<v Speaker 1>that wasn't the main purpose of E three. So the

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<v Speaker 1>main purpose outside of funding the ESA was to give

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<v Speaker 1>video game companies their own trade event where they could

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<v Speaker 1>speak directly to retailers and distributors and the press. They

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<v Speaker 1>could promote upcoming titles, they could make announcements, they could

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<v Speaker 1>provide people the chance to experience early builds of games

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<v Speaker 1>through demos. This meant that the companies wouldn't have to

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<v Speaker 1>accept the indignity of going to events like CES only

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<v Speaker 1>to get pushed out to a leaky ten in a

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<v Speaker 1>parking lot, because seriously, that's the sort of space these

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<v Speaker 1>companies would usually get assigned because no one in consumer

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<v Speaker 1>electronics actually respected the video game industry at the time,

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<v Speaker 1>so going to a big event like CES, it was

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<v Speaker 1>hard to get noticed and to stand out among every

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<v Speaker 1>other company at CES, and at the same time you're

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<v Speaker 1>in enduring really uncomfortable circumstances, all right, So E three

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<v Speaker 1>would become part promotional event, part networking opportunity, and part

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<v Speaker 1>revenue generator for the ESA. And then the ESA could

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<v Speaker 1>fund stuff like the ESRB and various working groups and

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<v Speaker 1>keep the entire industry safe from government intervention. So it

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<v Speaker 1>was a mutually beneficial system for everyone involved. But over

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<v Speaker 1>time potholes formed in the road for E three. It

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<v Speaker 1>got pretty wild pretty quickly, and this excess garnered attention.

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<v Speaker 1>E three started looking less like a professional trade industry

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<v Speaker 1>event and more like a wild Hollywood party with lots

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<v Speaker 1>of excess, and so the ESA tried to course correct,

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<v Speaker 1>but it used way too heavy of a hand. So

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<v Speaker 1>for a couple of years ethere was much much more subdued,

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<v Speaker 1>with individual sessions located in different hotels across town, and

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<v Speaker 1>gone was the party atmosphere, And gone too was a

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<v Speaker 1>lot of the appeal that brought people an attention to

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<v Speaker 1>the event in the first place. And so the ESA

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<v Speaker 1>course corrected again and a bit more party crept back

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<v Speaker 1>into the event. It wasn't as wild as the earlier days,

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<v Speaker 1>but it certainly wasn't as buttoned down as the more

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<v Speaker 1>restrictive years. But then another challenge began to emerge. See

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<v Speaker 1>some of the bigger companies started to realize that they

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<v Speaker 1>could hold their own event, and it could be a

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<v Speaker 1>physical event where people attend in person, such as Blizzard's

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<v Speaker 1>BlizzCon that started in two thousand and five. That allowed

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<v Speaker 1>the general public to purchase takes to this event, which

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<v Speaker 1>really set it apart from E three. E three was

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<v Speaker 1>still an industry only event, which meant to attend E

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<v Speaker 1>three you needed to be a game developer, a publisher,

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<v Speaker 1>a distributor, a retailer, or a journalist. The general public

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<v Speaker 1>was not allowed inside, although a lot of enterprising young

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<v Speaker 1>people would launch game focused blogs or websites or such

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<v Speaker 1>and they would gain access to E three that way. Anyway,

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<v Speaker 1>blizz Con was an early example of a company decided

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<v Speaker 1>to strike out and do its own thing and use

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<v Speaker 1>that as a promotional event for its various products. The

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<v Speaker 1>Internet also was really changing things up, so in the

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<v Speaker 1>mid nineteen nineties when E three first launched, the primary

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<v Speaker 1>media covering video games tended to be magazines, you know,

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<v Speaker 1>physical paper magazines with names like Nintendo Power or Game

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<v Speaker 1>Pro or Computer Gaming World. The Internet and the Web

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<v Speaker 1>were definitely things in the mid nineties. They exist, but

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<v Speaker 1>they hadn't saturated our world just yet, But by the

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<v Speaker 1>mid two thousands it became a different story, and upon

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<v Speaker 1>the rise of the consumer smartphone, things would really change quickly.

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<v Speaker 1>Folks turned to the Internet more and more for news

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<v Speaker 1>and entertainment, and this also meant it would become possible

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<v Speaker 1>for a video game company, particularly the larger ones, to

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<v Speaker 1>hold their own events digitally online and to control the

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<v Speaker 1>entire experience. See One of the downsides of E three

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<v Speaker 1>is that every company there is competing against everyone else

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<v Speaker 1>for attention. Usually, the big companies would have their own

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<v Speaker 1>presentations scheduled so that they weren't going up against anyone

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<v Speaker 1>else at that time. So Sony would have a press conference,

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<v Speaker 1>then later on Nintendo would have one, then Microsoft, et cetera.

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<v Speaker 1>Another downside is it was very expensive for these companies

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<v Speaker 1>to attend E three. They were spending millions of dollars

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<v Speaker 1>on presentations and booths. That's a lot of money. Yet

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<v Speaker 1>another is that E three happened on its own schedule,

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<v Speaker 1>regardless of how far along a company might be in

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<v Speaker 1>development of their next game. So imagine that you are

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<v Speaker 1>in charge of running a video game company and E

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<v Speaker 1>three is coming up, So you've got a new title

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<v Speaker 1>that's in development, but it's so early in the development

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<v Speaker 1>phase that it hasn't really coalesced into something that you

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<v Speaker 1>can talk about easily. So do you go to E

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<v Speaker 1>three with nothing new to show and just rely on

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<v Speaker 1>older titles that have already been released to kind of

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<v Speaker 1>carry you through? Do you not go and you're not

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<v Speaker 1>part of the conversation at all. Do you make a

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<v Speaker 1>guess as to where your barely formed game is heading

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<v Speaker 1>and then mock up something to show folks, And then

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<v Speaker 1>what happens if development takes a different turn and the

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<v Speaker 1>game you produce ends up being significantly different from the

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<v Speaker 1>preview you showed. It was a real problem. Holding your

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<v Speaker 1>own event would give you far more control, and you'd

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<v Speaker 1>have the spotlight all to yourself, and you wouldn't have

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<v Speaker 1>to worry about whether or not you quote unquote one

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<v Speaker 1>E three. So the transition of companies leaving E three

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<v Speaker 1>didn't happen all at once, but there were signs as

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<v Speaker 1>early as twenty eleven. That's where we'll pick up after

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<v Speaker 1>we take this quick break. So before the break, I

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<v Speaker 1>mentioned that in twenty eleven things began to change. That's

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<v Speaker 1>when Nintendo held its first Nintendo Direct Video News Conference,

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<v Speaker 1>and in twenty thirteen, Electronic Arts and Nintendo both chose

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<v Speaker 1>to forego a live stage keynote presentation, instead opting to

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<v Speaker 1>hold their own digital showcases around the same time as

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<v Speaker 1>the E three event. They did still maintain a presence

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<v Speaker 1>on the exhibition floor, so they still had booths and

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<v Speaker 1>stuff on the floor, but they didn't do a big

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<v Speaker 1>stage keynote, they didn't do a live presentation in front

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<v Speaker 1>of a live audience. Electronic Arts would further distance itself

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<v Speaker 1>from E three and twenty sixteen, and then Sony and

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<v Speaker 1>Microsoft began to hold their own events in order to

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<v Speaker 1>unveil hardware. They would just use E three to kind

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<v Speaker 1>of announce software. But then Sony announced in twenty eighteen

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<v Speaker 1>that it was not going to come back for E

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<v Speaker 1>three twenty nineteen or twenty twenty. In fact, nobody went

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<v Speaker 1>to E three twenty twenty because Covid took care of that.

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<v Speaker 1>Sony has been out of E three ever since. Nintendo

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<v Speaker 1>and Microsoft would announce earlier this year, back in January

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<v Speaker 1>in fact, that they were not going to go to

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<v Speaker 1>E three twenty twenty three, and again nobody would end

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<v Speaker 1>up going to E three twenty twenty three, because the

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<v Speaker 1>ESA chose to cancel the event because frankly, hardly anyone

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<v Speaker 1>was agreeing to show up to it. In fact, since

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<v Speaker 1>twenty nineteen, E three has only happened once, and that

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<v Speaker 1>was a digital only event in twenty twenty one, twenty

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<v Speaker 1>two to twenty twenty three. All of those events were canceled.

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<v Speaker 1>Other things contributed to E three's decline. For example, in

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<v Speaker 1>twenty seventeen, the ESA chose to open the event up

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<v Speaker 1>to the public on a limited basis. They offered tickets

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<v Speaker 1>for sale for the public to attend E three, and

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<v Speaker 1>a lot of the industry folks found this really frustrating,

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<v Speaker 1>particularly the journalists, at least in my experience, because those

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<v Speaker 1>were the people I was hanging out with. And that

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<v Speaker 1>was because getting around E three and doing your job

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<v Speaker 1>got a whole lot harder when the general public was

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<v Speaker 1>taking up space. But the ESA was in a losing battle.

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<v Speaker 1>E three was becoming less relevant as more companies drifted

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<v Speaker 1>away and started to hold their own events. Now that's

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<v Speaker 1>not to say that everyone found E three to be irrelevant.

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<v Speaker 1>A lot of independent game developers used E three to

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<v Speaker 1>connect with media and with fans, and for a while retailers.

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<v Speaker 1>But that does bring us to another thing that has

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<v Speaker 1>changed dramatically since the founding of E three. So back

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<v Speaker 1>in the mid nineties, if you wanted to buy a

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<v Speaker 1>new computer or video game, then you, as a consumer

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<v Speaker 1>had to go to a store, probably a toy store

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<v Speaker 1>or maybe a big like electronics box store. You'd peruse

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<v Speaker 1>the aisles and you would look for the title you

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<v Speaker 1>wanted and you would hope it was in stock. But

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<v Speaker 1>these days, with digital distribution, buying a physical copy of

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<v Speaker 1>a game is far less common outside of cartridge based systems.

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<v Speaker 1>That change meant that the role of distributors and retailers

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<v Speaker 1>pretty much disappeared, so a big chunk of E three's

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<v Speaker 1>reason for being also went away. Meanwhile, you had folks

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<v Speaker 1>like Jeff Keeley, who once upon a time played a

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<v Speaker 1>very important part in E three, but then would go

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<v Speaker 1>on to launch their own events that would compete largely

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<v Speaker 1>in the same space. Keighley's Summer Game Fest has become

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<v Speaker 1>an alternative platform where developers can announce upcoming titles to

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<v Speaker 1>drum up excitement, and then the game Awards would also

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<v Speaker 1>become a place to promote upcoming games. Also, you know

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<v Speaker 1>you could hand out awards and stuff, but if you

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<v Speaker 1>saw this year's Game Awards, you know there was way

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<v Speaker 1>more focus on video game trailers and celebrity appearances than

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<v Speaker 1>on the actual awards and recipients. That might be a

0:14:11.320 --> 0:14:15.160
<v Speaker 1>little commentary from my point of view. Anyway, you could

0:14:15.280 --> 0:14:19.680
<v Speaker 1>argue that E three's relevance really faded away a few

0:14:19.760 --> 0:14:24.240
<v Speaker 1>years back. Actually, since only one event and a digital

0:14:24.360 --> 0:14:28.000
<v Speaker 1>only version of E three has happened since twenty nineteen,

0:14:28.680 --> 0:14:31.240
<v Speaker 1>I don't think it's even arguable. I think it's obvious

0:14:31.680 --> 0:14:35.040
<v Speaker 1>E three was no longer relevant. Now. That's not necessarily

0:14:35.040 --> 0:14:38.480
<v Speaker 1>a bad thing, at least not for the individual companies involved.

0:14:38.720 --> 0:14:41.000
<v Speaker 1>It can be bad for some of the independent companies.

0:14:41.000 --> 0:14:44.720
<v Speaker 1>It decreases the opportunities they have to get in front

0:14:44.760 --> 0:14:47.640
<v Speaker 1>of people. It can be really challenging for an independent,

0:14:47.720 --> 0:14:52.200
<v Speaker 1>a small independent developer to get that kind of attention. Sometimes, however,

0:14:52.200 --> 0:14:55.080
<v Speaker 1>it can partner with a larger company like a Microsoft

0:14:55.120 --> 0:14:57.920
<v Speaker 1>or a Sony and become part of a showcase for

0:14:58.000 --> 0:15:01.560
<v Speaker 1>one of their events, but it's still challenge. For the ESA,

0:15:02.080 --> 0:15:04.560
<v Speaker 1>the loss of E three could be a real headache

0:15:04.600 --> 0:15:07.080
<v Speaker 1>because now the organization will need to determine how to

0:15:07.200 --> 0:15:10.920
<v Speaker 1>manage funds to still fulfill its other functions. Like E

0:15:11.000 --> 0:15:14.600
<v Speaker 1>three was probably the most visible thing that the ESA did,

0:15:14.920 --> 0:15:18.520
<v Speaker 1>but that ESRB, that's still a thing that goes on,

0:15:18.800 --> 0:15:21.800
<v Speaker 1>and there are still these issues of the working groups

0:15:21.800 --> 0:15:26.200
<v Speaker 1>that try to help forge the video game industry stance

0:15:26.360 --> 0:15:31.320
<v Speaker 1>on important issues, so that's still a challenge. I didn't

0:15:31.320 --> 0:15:34.480
<v Speaker 1>even touch on some of the scandals around the ESA

0:15:34.560 --> 0:15:39.920
<v Speaker 1>itself because it's not like it is immune to well

0:15:39.960 --> 0:15:43.880
<v Speaker 1>to scandal. There are lots of them, in fact, including

0:15:43.920 --> 0:15:47.320
<v Speaker 1>the time that the ESA accidentally docsed hundreds of video

0:15:47.320 --> 0:15:52.600
<v Speaker 1>game professionals, particularly journalists. Yikes. In an era where there

0:15:52.640 --> 0:15:57.360
<v Speaker 1>have been death threats made against game developers and journalists

0:15:57.400 --> 0:16:03.240
<v Speaker 1>from extremes, I guess I should say it's bad to

0:16:03.320 --> 0:16:07.440
<v Speaker 1>have all your personal information revealed online, And yeah, the

0:16:07.680 --> 0:16:12.040
<v Speaker 1>ESA did that. It was a whole thing. Anyway, after

0:16:12.200 --> 0:16:15.840
<v Speaker 1>years of asking the question, is E three dead, we

0:16:15.920 --> 0:16:21.440
<v Speaker 1>can now say definitively yes, it is really most sincerely dead.

0:16:22.080 --> 0:16:25.400
<v Speaker 1>Does that mean it will never come back? Never say never.

0:16:25.520 --> 0:16:29.840
<v Speaker 1>I mean maybe sometime in the future someone will resurrect

0:16:29.920 --> 0:16:33.040
<v Speaker 1>the E three brand. I mean, people do love nostalgia,

0:16:33.160 --> 0:16:36.160
<v Speaker 1>after all, Whether it's the ESA or maybe some other

0:16:36.320 --> 0:16:39.480
<v Speaker 1>entity that purchases the rights to the E three name.

0:16:40.160 --> 0:16:44.880
<v Speaker 1>Maybe that will happen, But the original intent of E

0:16:45.080 --> 0:16:49.360
<v Speaker 1>three isn't really a thing anymore. Right. We don't have

0:16:49.440 --> 0:16:53.080
<v Speaker 1>the barriers to promote oneself that existed back in the

0:16:53.160 --> 0:16:58.080
<v Speaker 1>nineteen nineties. We don't have the retail and distribution channels

0:16:58.280 --> 0:17:00.920
<v Speaker 1>that we had back in the nineteen ninety so a

0:17:00.920 --> 0:17:04.760
<v Speaker 1>lot of the stuff that E three was trying to

0:17:04.800 --> 0:17:08.320
<v Speaker 1>address no longer is an issue. It's moot. So I

0:17:08.359 --> 0:17:10.840
<v Speaker 1>don't think we're gonna get an E three, at least

0:17:10.880 --> 0:17:12.560
<v Speaker 1>not the way we had in the past. Maybe we

0:17:12.680 --> 0:17:16.440
<v Speaker 1>get some sort of larger public facing event that's run

0:17:16.480 --> 0:17:21.199
<v Speaker 1>by a different organization, but I don't know. Anyway, you

0:17:21.280 --> 0:17:24.359
<v Speaker 1>could say that it really stuck around longer than was necessary,

0:17:24.960 --> 0:17:28.520
<v Speaker 1>but still farewell E three, Fair winds and following seas.

0:17:28.960 --> 0:17:33.480
<v Speaker 1>I only attended E three maybe three times total since

0:17:33.680 --> 0:17:36.840
<v Speaker 1>since I started working this job back in two thousand

0:17:36.840 --> 0:17:40.680
<v Speaker 1>and seven, so I am by no means a veteran

0:17:40.760 --> 0:17:43.400
<v Speaker 1>of E three, like I've only been a few times.

0:17:43.800 --> 0:17:46.560
<v Speaker 1>But I can say like there was some stuff that

0:17:46.640 --> 0:17:49.320
<v Speaker 1>happened to E three, like some of those presentations. They

0:17:49.359 --> 0:17:53.160
<v Speaker 1>were so wack adoodle weird that I do. I am

0:17:53.240 --> 0:17:57.280
<v Speaker 1>sorry that they're gone, because I mean, it was real spectacle.

0:17:57.359 --> 0:17:58.680
<v Speaker 1>I will I don't. I don't know that it was

0:17:58.720 --> 0:18:02.359
<v Speaker 1>always effective in promoting a company or its video games,

0:18:02.760 --> 0:18:06.560
<v Speaker 1>but it was always worth talking about, not necessarily in

0:18:06.600 --> 0:18:08.960
<v Speaker 1>a positive way. But yeah, I kind of miss that

0:18:08.960 --> 0:18:11.399
<v Speaker 1>that's no longer a thing. I mean, you can still

0:18:11.480 --> 0:18:15.240
<v Speaker 1>sometimes see that in these individual companies events online, but

0:18:15.280 --> 0:18:16.840
<v Speaker 1>it's not quite the same because they're not trying to

0:18:16.840 --> 0:18:19.920
<v Speaker 1>outdo each other in the same space, so that takes

0:18:19.920 --> 0:18:23.359
<v Speaker 1>a big part of it out. Anyway, that's the update

0:18:23.400 --> 0:18:26.080
<v Speaker 1>on E three. As I said, you can go back

0:18:26.119 --> 0:18:28.680
<v Speaker 1>into the tech Stuff archives. There are lots of episodes

0:18:28.680 --> 0:18:31.959
<v Speaker 1>about E three. They go into much greater detail and

0:18:32.000 --> 0:18:36.000
<v Speaker 1>talk about the various changes that happened over the course

0:18:36.040 --> 0:18:40.160
<v Speaker 1>of its existence. But yeah, it's it's sad to say goodbye,

0:18:40.359 --> 0:18:43.360
<v Speaker 1>but I think it was pastime. I hope you are

0:18:43.440 --> 0:18:46.920
<v Speaker 1>all well and I'll talk to you again really soon.

0:18:53.119 --> 0:18:57.760
<v Speaker 1>Tech Stuff is an iHeartRadio production. For more podcasts from iHeartRadio,

0:18:58.080 --> 0:19:01.800
<v Speaker 1>visit the iHeartRadio app, app podcasts, or wherever you listen

0:19:01.840 --> 0:19:02.919
<v Speaker 1>to your favorite shows.