On June 28, 2007, Ben Kuchera of Ars Technica expressed a deep sense of frustration and anguish about the new incarnation of E3. That year, the world’s most iconic gaming industry fair had undergone a drastic reduction, promising a more intimate and focused experience. The idea was that, with fewer exhibitors, less accredited journalists and a smaller format, it would have been possible to obtain better access to games, their developers and publishers, allowing a deeper and superior coverage for readers. However, reality turned out to be quite different: Kuchera described a real logistic challenge, a chronic “headache”, in attempting to frame appointments between 32 companies spread over eight hotels and the main exhibition center, all within just 27 hours of actual time of the fair. Each planning attempt was a complicated set of times, locations and travel times, making it impossible for a normal team to cover the whole spectrum of the novelties presented. This situation, though described as a “good problem to have” – because it meant that there were too many good games to see – revealed an uncomfortable truth: the video game industry was growing apart, surpassing the ability of traditional events to contain it and present it consistently. Kuchera’s article, a vivid snapshot of a crucial moment, invites us to reflect on how this problem, rooted in 2007, is not only persisted but has become and amplified over the years, leading to a complete review of how industry presents itself to the world and how the media try to tell it. From those cramped hotel rooms and crowded corridors, to stunning digital productions and today's global festivals, the journey has been long, complex and incredibly dynamic, full of constant innovations, failures and redefinitions, all times to solve, or at least manage, the omnipresent problem of “too many companies, not enough time”.
The Evolution of the Colossus: From E3 2007 to today's Mega-Events and Beyond
The E3 of 2007, as brilliantly documented by Ben Kuchera, represented a crucial turning point for the video game industry, marking the beginning of a series of transformations that would profoundly redefine the panorama of industry events. That “significant reduction” of which Kuchera spoke, far from being a definitive solution to the problems of overload, proved rather a premonitor symptom of a deeper dysfunction, a tentenance of a model that was struggling to keep pace with the exponential growth of the sector. Historically, the E3 was the indisputable showcase, the place where the giants announced their next moves, where the games were unveiled for the first time and where the hype reached its peak. It was a physical, imposing event, with exorbitant costs for exhibitors and a complex logistics for participants, but its importance was undeniable. However, already in 2007, the increasing costs and the perception of a return on the increasingly diluted investment began to reflect publishers and developers. The companies wondered whether the huge expense for stands, logistics and staff was justified on a format that, for journalists, was already a overlapping appointments and endless transfer times. The attempt at miniaturization in 2007 was an experiment to make the event more manageable and “intimo”, but, as we have seen, it generated only a different kind of chaos. In the following years, this tendency to disaffection by some of the largest companies in the industry intensified. Giants like Sony, Electronic Arts and Nintendo began to cut out autonomous spaces for their ads, organizing private events, direct streams or separate press conferences, often strategically located close to the E3 but outside its direct control. This “exodus” gradually undermined the exclusivity and centrality of E3, transforming it from a single stage forced to one of the many options in an increasingly crowded calendar. In parallel, the democratization of development and distribution toolscombined with the explosion of the independent market (indie), led to further fragmentation. Thousands of games were published every year, and the E3, despite its attempt to reduce, could not and no longer wanted to be the only platform for all. Smaller events, focused on specific genres or types of games, began to flourish. The "official" end of the E3, announced in 2023 after years of decline and failed relaunch attempts (also due to the pandemic of COVID-19 which accelerated the transition to digital), was not a lightning bolt to serene, but the natural conclusion of a process started much earlier, already with the first signs of malaise of 2007. His disappearance left a void, but also opened the road to a multitude of new formats and approaches, each with their own challenges and opportunities, but all, somehow, heirs of Ben Kuchera's desire to find a more “magic” way to consolidate and present the world of video games.
La Frammentazione del Panorama: The Assumption of Digital and Hybrid Events
The legacy of the logistic difficulties of E3 2007, combined with the progressive decline of its traditional format, has paved the way to a unprecedented fragmentation in the panorama of gaming events. This process has accelerated dramatically in recent years, particularly with the COVID-19 pandemic that has made physical assemblies impossible, forcing industry to a forced and rapid innovation towards digital. New models emerged from this drive, which, although some of the problems highlighted in 2007, introduce new and complex ones. Among the protagonists of this new era, stand out the pure digital events, like Geoff Keighley's Summer Game Fest, The Game Awards, or PlayStation's Nintendo Direct and State of Play, which proved their effectiveness in reaching a global audience with high-profile ads and trailers. These formats offer many advantages: accessibility is at the top of the list, since anyone with an internet connection can tune, eliminating geographical barriers and travel costs for journalists and fans. Production costs, although not trivial, are often lower than organizing a physical mega-event, and flexibility allows developers to present their titles in a more controlled and targeted environment. In addition, the ability to analyze visualization data and real-time engagement offers precious insights for organizers and exhibitors. However, there is no shortage of disadvantages. The proliferation of these digital events has generated what has been called “event fatigue“, a sort of tiredness from too many ads diluted over time, making it difficult for individual games to emerge from the background noise. The lack of a “hands-on” experience – the possibility to try first-hand games – is a significant limit, both for journalists who want to provide in-depth reviews for both fans looking for a more complete dive before purchase. The human connection and networking that characterized physical events are also reduced, replaced by virtual interactions that, although useful, cannot replicate the spontaneity and effectiveness of direct contact. Alongside purely digital events, the hybrid models, who try to combine the best of the two worlds. These events provide an online component accessible to everyone, flanked by smaller and targeted physical sections, such as private testing sessions for printing, dating with developers or community-specific spaces. The goal is to preserve the benefits of the global reach of digital, while reintroducing the opportunity of deeper interactions and tangible experiences. Gamescom in Germany, for example, has successfully adopted a hybrid approach, maintaining its relevance as one of the world's leading gaming events. These new formats are not only solving the problem of geographical dispersion that afflicted Kuchera in 2007, but are also trying to redefine the very concept of “flower”, evolving from a commercial exposure to a celebratory and participatory festival. The challenge for the future will be to find the right balance between the efficiency and the scope of digital and the irreplaceable value of human experience and physical interaction, creating an ecosystem of events that is sustainable, engaging and able to really highlight the gems of the video industry.
The Challenge of Media coverage: Journalism, Creator and Visibility in Digital Era
Ben Kuchera’s headache and logistical distress in 2007, in an effort to cover an event like E3 with “too many companies and not enough time”, are just a anticipation of the exponentially more complex challenges that journalists and content creator face today. The panorama of media coverage has been revolutionized by digitalization proliferation of platforms and the emergence of a myriad of voices. If in 2007 the problem was physical – how to move between eight hotels and a fair centre in record times – today the problem is conceptual: how to navigate a constant and continuous flow of information, maintain its relevance and offer added value in a saturated environment. The “spreadsheet” of Kuchera was replaced by a virtual publishing calendar infinitely more dense, where every day brings with it “Direct”, “State of Play”, trailer surprise, press releases of hundreds of indie developers and announcements of partnerships. The pressure to be the first to cover a news has increased exponentially, leading to an acceleration of news cycles and a potential decrease in depth and analysis. Many traditional media struggle to compete with the speed and scope of independent content creators, such as Twitch and YouTuber streamers, which can produce immediate reactions, commented gameplay and custom insights with unthinkable speed for more structured editing. These new actors not only have democratized the production of content, but have also transformed the very concept of “videoludic journalism”, mixing information, entertainment and opinion in often fluid and unconventional ways. This has put new ethical and professional questions: what is the role of the journalist in an era of “influencer marketing”? How do you maintain independence and objectivity when relationships with developers and publishers become increasingly complex and customised? Visibility has become a valuable currency. With thousands of games launched every year and a fierce competition for the attention of the public, the ability of a title to “break the noise” depends not only on its intrinsic quality, but also on its ability to generate media coverage. Public relations (PR) have become an increasingly sophisticated discipline, with specialized agencies working to place the right media games at the right time. This also means that journalists and creators are constantly bombarded with requests, demos and invitations, and the selection of what to cover has become a strategic choice as much as a matter of personal interest. In addition content monetization has changed radically. Traditional advertising is accompanied by subscriptions to Patreon, sponsorships, affiliate links and donations, changing the business model for many and, in some cases, creating potential conflicts of interest. Kuchera’s anxiety in 2007 was a problem of time management and physical space; today, it is a problem of information management, attention and voice in a boundless digital ocean, where the “magic” he sought to consolidate the experience is still being discovered, perhaps being in a precarious balance between chaos and uninterrupted creativity of the digital landscape.
The Dilemma del Developer: Too many Platforms, Too many Games, Troppa Competition
If media coverage is a logistic calvary for journalists, the current panorama represents a even deeper and multifaceted dilemma for video game developers, regardless of their size. The “problem of having too many companies showing too many good games” Kuchera described in 2007, although a “good problem to have” on the surface, has now become a real crisis of visibility and sustainability for many. Then, the options were relatively limited: the E3 was the main showcase, flanked by a few other trade fairs and targeted press releases. Today, the situation is infinitely more complex. First, the number of games produced exploded. The “indie revolution”, enabled by accessible game engines (Unity, Unreal Engine) and digital distribution platforms (Steam, Xbox Store, PlayStation Store, Nintendo eShop, Epic Games Store, GOG, Google Play, Apple App Store), has knocked down barriers at the entrance, leading to a impressive amount of new titles every day. This, if on the one hand it enriches the offer for consumers, on the other it creates a “sea” of content in which it is incredibly difficult for a single game to emerge. A developer, big or small, must face the challenge of not only creating an exceptional game, but also finding a way to make it visible. This means navigating a labyrinth of digital and physical fairs, publisher events, independent showcases, gender festivals and influencer marketing campaigns, each with its own rules, costs and requirements. The decision of where and how to present a game has become a marketing strategy itself, which requires meticulous planning and often considerable financial resources, even for smaller studies. Then there is the problem of platforms. The games are no longer launched only on PC and a couple of consoles. Now there are new generation and older consoles, PCs, mobile devices (iOS, Android), streaming platforms (GeForce Now, Xbox Cloud Gaming), virtual reality (VR) and augmented reality (AR). Each platform has its audience, its technical specifications and its certification process, increasing the complexity of development and distribution. A study must decide whether to focus on a niche or try to cover multiple platforms, which involves significant development and porting costs. In addition, the life expectancy of a game does not end at launch. With the “games as a service” model (GaaS) and the culture of constant updates, developers are often engaged in a continuous cycle of adding content, patches and community support, which further engages resources and time. The pressure to generate “hype” is constant. A well-placed trailer, a playable demo at the right time or coverage by a spy influencer can make the difference between success and anonymity. This has made public relations and marketing no longer an appendix of development, but a integral component and often critical the creative process. Kuchera's exasperation in 2007 was understandable, but today's developers live an amplified version of that same pressure, with much more at stake, in an ecosystem where success is no longer guaranteed by the only quality of the product, but by a myriad of external and unpredictable factors.
Technology and Logistics: The Instruments that Redesigned the Experience of Events
Technology, in an era dominated by data and pervasive connectivity, acted as a double cut sword for the gaming industry, both solving some of the logistic problems complained in 2007, and creating new and complex ones. On the one hand, advanced tools have revolutionized content planning, communication and dissemination, making events more accessible and global. On the other hand, they introduced a dependence on technology itself and the need to manage an unprecedented flow of information. As for planning, if Kuchera’s “spreadsheet” was the main tool for organizing appointments, today there are events management software and online booking platforms highly sophisticated. These systems allow journalists, influencers and developers to request and manage appointments with much more efficiency, optimizing slots, managing overlays and providing real-time notifications. Event-dedicated apps offer interactive maps, up-to-date schedules, speaker information and even networking features, making physical experience (where present) much smoother. Communication has been transformed by digital tools. Instant messaging platforms (Slack, Discord), video calls (Zoom, Google Meet) and “press portals” online have become essential for PR teams to coordinate with media and the same media to collaborate internally. These tools have made it possible to create “only digital” events, in which presentations, interviews and Q& sessions take place entirely online, overcoming geographical and temporal barriers. A crucial aspect of technological evolution is video transmission and streaming quality. In 2007, the live stream of events was still a novelty and often of low quality. Today, thanks to broadband connections, advanced video encoding and platforms such as Twitch and YouTube, you can transmit events in 4K, with professional direction and real-time interactions. This allowed the creation of productions such as Summer Game Fest and The Game Awards, which are real online TV shows, with millions of viewers worldwide. However, this dependence on technology introduces new challenges. The need for a robust and reliable internet connection is critical, and technical failures can ruin an event. Cybersecurity is another concern, with the risk of hacker attacks or data escapes. The “digital divide” can exclude those who have no access to appropriate technologies or connections. In addition, technology has also amplified pressure on content production. The ease with which you can create and spread videos has led to an expectation of constant and high quality production, forcing marketing and PR teams to invest more and more in multimedia assets. The virtual reality and increased (VR/AR) is emerging as a new frontier for events, offering the possibility of immersive experiences that could one day recreate the feeling of being physically present, but also these technologies bring new complexity and costs. In summary, if the frustration of Kuchera was linked to a lack of coordination and limited infrastructure, the current scenario is that of a super abundance of tools and constant technological pressure, which requires a increasingly sophisticated and strategic management to successfully navigate the complex world of modern gaming events.
The Future of Gaming Events: Towards a Sustainable and Inclusive Model
Ben Kuchera’s reflections on E3 2007, which already highlighted a “tireness” and a logistic difficulty in managing “too many companies and not enough time”, constitute a precious starting point to imagine the future of gaming events. The disappearance of the traditional E3 was not the end of the video celebrations, but rather the catalyst of a necessary evolution towards more sustainable, inclusive and strategically aligned models with the needs of an expanding global industry. The future will probably not be dominated by a single “column” in E3, but by a diversified ecosystem of events, each with its own purpose and a well-defined target audience. We will see a continuous prevalence of pure digital events, like the Summer Game Fest and the directs of individual publishers, who will continue to represent the most efficient and economically beneficial way to reach a vast and global audience with important ads. These events will be perfected further, integrating elements of interactivity and customization to combat the “event fatigue” and improve the engagement of spectators. The challenge will be to better treat content and limit the “spam” of minor ads, to maintain the attention and perceived value. At the same time hybrid models, like Gamescom and Tokyo Game Show, will continue to thrive, offering a balance between the global reach of digital and the irreplaceable value of physical experience. The physical component of these events will evolve, perhaps more aimed at offering immersive experiences and “hands-on” to a selected audience (specialized press, creator, developers) and creating moments of celebration and networking for the community, rather than acting as a simple general commercial showcase. The emphasis will be placed on quality of interaction and the creation of a sense of tangible communities. A fundamental aspect for the future will be theincluded. Events must be accessible not only to high-end journalists or top streamers, but also to small indie developers, emerging creators and, above all, to a heterogeneous audience wishing to be part of the industry. This could mean more affordable participation costs for exhibitors, more intuitive digital presentation platforms and more effective virtual networking opportunities. The question of the environment will also become central: the sustainability of events, both in terms of environmental impact (travels, wastes) and in economic terms, will affect future choices. Digital events have a lower carbon footprint than big physical fairs, and this will be an increasingly considered factor. The “magic” that Kuchera hoped to find to consolidate everything could reside not in a single misunderstanding event, but in a strategic calendar and curated of interconnected events, each with a specific role. A future in which big ads take place online, in-depth gaming sessions in more controlled environments, and community celebrations in more targeted and regional physical events. This multi-level approach would maximize visibility, reduce costs, improve access and ultimately create a richer and less stressful experience for all participants, from developers to journalists, to the heart of this industry: players.
