Astronaut readjusts to life back on Earth
> Don’t give him a baby for a while.
HE GRABS THE CUP BUT THEN HE DROPS THE PEN 0.0003 SECONDS LATER
AND HE LOOKS UP AT THE CEILING INSTEAD OF AT THE GROUND WHEN HE CAN’T FIND THEM
I CAN’T STOP LAUGHING HE JUST DROPS IT
IT’S NOT FUNNY IT’S VERY LOGICAL THAT HE WOULD HAVE ADJUSTED TO LIVING LIFE WHILE HE WAS IN SPACE BECAUSE IT’S DIFFERENT FROM EARTH BUT I CAN’T FUCKING BREATHE
YES IT’S BACK ON MY DASH THIS IS MY FAVORITE VIDEO
One way to understand E3 is as a series of carefully timed PR blasts detonated in the epicenter of America’s entertainment industry. No wonder game journalists and pundits talk in terms of “bombshells,” “megatons" and which console maker "won" or blew away the competition.. E3 is an awkward mix of artistry, cutting-edge tech and old-fashioned hullabaloo, filled of grandiose proclamations delivered by hucksters with $200 haircuts. It’s a thing to see.
A more useful way to understand E3 is as an expression of values from the game industry’s Big 3 and a crafted set of signals aimed at the audience each wants to capture or retain. If E3 teaches us how each console maker sees its audience, the lesson we learned from Microsoft this year was especially discouraging.
"[We wanted] to bring a diverse lineup that had something for everyone. We wanted to show broad appeal and we wanted to curate this show."
—Yusuf Mehdi, Chief of Marketing and Strategy for Xbox 
It’s hard to see how this “curated” presentation of forthcoming Xbox games could be seen as having “broad appeal” and “something for everyone.” That is, unless Microsoft has narrowed its audience to a core group of gamers that 1) no longer comprises a diverse and sustainable base of consumers; 2) isn’t growing; 3) has restricted its gaming appetite to mildly differentiated killing simulators.
An analysis—with timed statistics—of Microsoft’s E3 conference.