Text/Echo
"At that time, she did not know the gift of fate, and she had already secretly marked the price."
If Stephen Zweig's sentimentality is enough to show that the tragedies of the world stem from the wanton behavior of an impermanent fate, this sentence describing Marie Antoinette would certainly be a great footnote to the helpless fate of Nokia 808 pureview.
With a 42-megapixel Carl Zeiss certified lens, equipped with a fully upgraded Symbian 3 Belle system, this ingenious work that was once in the spotlight may also be Nokia's desperate bet to restore its former glory in the 10,000-megapixel, it should have opened the vigorous PureView era for Nokia, but it can only be eclipsed in the background of the Symbian trend, On the contrary, because of its image rendering ability and the identity of the last generation of Symbian mobile phones, it has become a generation of classics competed by collectors, quite a bit of "monkey claw wishing" style of horror and irony.
But who knows? Maybe there is really a strange cloud travel businessman who promised Nokia that the new mobile phone of the Symbian system can become a classic of the generation again, otherwise why in 2012, when Nokia and Microsoft have already determined to cooperate, the Nordic telecom giant still has to "risk the world" and insist on continuing to live for the Saipan system?
Not to mention that the popular multi-touch screen system at that time has exposed the defects of the Symbian system's cumbersome operation, although the belle system has improved in this regard, but the feel can not be compared with more mature Android and IOS; and if Nokia did not gradually give up its own cherished game market, they will also find that their former partners have found a new direction for the increasingly homogeneous mobile game creation after leaving the Symbian system. After that, it can be said that it is ripped open like a restrictor to upgrade the old IP, explore new themes, and condense the beautiful vision of countless Saipan era players into a portable electronic dream that jumps on a new screen, and the painful commercial failure of the old generation of mobile game manufacturers.
Considering that most of those established manufacturers have now successfully transformed or just disappeared into the public, it is indeed an exaggeration to call their initial exploration a "painful failure", in fact, we should say that these high-quality mobile games that should have been sold as close as possible to the mainstream masterpieces, it seems that the high-quality mobile games that should have been sold out have not received commercial returns that match their investment, after all, they did have a groundbreaking and amazing scene, so that there are still a considerable number of players who miss the pastoral pastoral that did not have Kryptonite cards. I would like to call this short period of time the golden age of mobile games closest to the AAA masterpiece.
So the question is, and in the face of the menacing kryptonite tide, is the AAA single-player mobile game that is now highly respected by old players really so vulnerable?
If you only look at the results, the fact is true, but this involves the piracy problem that has never been really solved and the game payment model has been a long-term mutual game, simply put, that is, the piracy is gradually encroaching on the buyout mobile game market, resulting in the latter having to turn to a more secure new model of in-game kryptonite, and the story of the previous era is similar, but it is quite complicated to talk about, I think it is best to put it in the following special topic about Apple Android.
In addition to these clichéd objective factors, we should also note that although the AAA mobile game at that time was amazing, to some extent it still continued the production idea of the previous Saipan game, and the major manufacturers were just obsessed with the use of new technology to release themselves and try to realize the grand idea of the future possibilities of the game, but they failed to successfully incorporate a number of unique operations of the new system into the gameplay, and even because of this masterpiece thinking, the cart before the horse was reversed, thus losing the original heart. Ignoring the biggest advantage of the mobile platform, failure is naturally inevitable...
I understand that this conclusion sounds mysterious and mysterious, and seems to be full of "cause by effect" fallacy and even the stale of voluntarism, but I also believe that when we take off the filter and look back at some of the famous mobile game classics, we will find that those problems are quite obvious in some games.
Take Asphalt 7: Heat, for example, in this classic racing mobile game released in 2012, we will actually appreciate the game's free self when enjoying new technologies, and they seem to be "self-contained".
Of course, this is not to say that "Speed Heat" is boring and insincere, but rather, as the aggregator of the many generations of works in the Wild Drag Racing series:
On the one hand, "Speed Heat" retains the basic framework that has been proved to be most suitable for mobile racing mobile games, on the other hand, it will include a custom appearance system, nitrogen acceleration and gold coin collection in the game, which can almost be used independently as a new way to play vehicle collisions, and the resulting "collision knockout race", "limited time collection" and other highly acclaimed unconventional events, and even retain the analog keyboard, gravity sensing and two-sided screen clicks and other three control methods to choose from. It can almost meet the interest and expectation of any player for the racing mobile game, and naturally it has become a guide for many players to enter the "Wild Drag Racing" series and even know Gameloft.
In addition, thanks to the withdrawal of the Symbian system that lifted many restrictions on game production, "Extreme Heat" has truly made amazing progress in the literal sense of the naked eye:
The game modeling is more elaborate, the scene design is more ambitious, the more realistic vehicle materials and light and shadow changes make the game's picture quality in some angles and even the same period of the end game, with the series of works consistently vibrant excellent soundtrack, enough to persuade a large number of players, including IGN editor George Roush, TouchGen editor Dave LeClair and 148Apps Lisa Caplan, to quickly indulge in the miracle of light and shadow shown by the game. With the joy of dopamine rushing to write a good review of the game, he only expressed negligible dissatisfaction with the "social sharing" interface that "Fast Heat" repeatedly popped up and the kryptonite system at the beginning.
So it is conceivable that at that time, including AndroidPolice and Wired.com and other magazines and mobile game review agencies, the lack of innovation criticism of this game was harsh and out of place, and it was not excluded that Slide to Play, which was deliberately eye-catching, even bluntly pointed out that this game was no different from the previous game in the series.
It is indeed a bit exaggerated, but to some extent, it is also a helpless fact accepted by players, after all, with the passage of time, the picture quality of the "Extreme Heat" game is gradually stunning, and the more obvious "Saipan wind bone" makes the game more like a perfunctory remake popular in recent years, and the picture quality with a comprehensive upgrade still retains the operational feel of being eliminated by the times, but it really responds to the editor Nadia Oxford's sentence that there is no lower limit to the game:
Instead of spending money on Asphalt and continuing to make kryptonite in it, it's better to buy yourself a few ice creams.
To be fair, although many media outlets at the time thought that "Fast Heat" was an unsuccessful product with a cost-saving task, I did think it would be unfair to blame Gameloft for the lack of innovation in the game.
You know, as strong as EA also had to tearfully accept the public's ruthless criticism of the "Need for Speed" series "dozens of generations consistent", compared to Gameloft is much stronger, at least they are still perfect in their later works to use multi-touch technology to introduce the manual shift mechanism into the racing mobile game - although the operation is inconvenient and the response is flat, it has to be said that it is indeed quite innovative, and to some extent, it proves that Gameloft just accidentally took more detours when exploring innovation.
Of course, this means that Gameloft has achieved considerable success in the exploration of some other works into a new era.
For example, Ubisoft and Gameloft's former home IP "Brothers in Arms" series, when the war on the square inch screen led from the "Art of War" in the Saipan era to the new era of "Hero Glory", our protagonists who have experienced vicissitudes can finally get closer to the brothers on the PC side, from exaggerated high-quality pixel villains to grow into Allied soldiers who do not say that they stand on top of the sky, at least the style of painting is realistic:
The virtual ring in the lower left corner of the phone screen controls the warrior to move flexibly in all directions, or move the field of view to aim at the target in "Field of View" mode; a series of virtual buttons on the right will control the fighter to cover himself, fire freely, shoot with precision, or use grenades to pour out his ordeal; and the virtual weapon bar at the top of the screen allows the player to switch between various World War II deadly weapons at any time, and even drive the M4A1 Sherman medium tank or M8 "Scott" Self-propelled howitzers and comrades of the 101st Airborne Division fought all the way from the beaches of Normandy to the frozen Ardennes forest and into Bastogne to crush nazi Germany's last counteroffensive on the Western Front.
Born in 2010, the game mechanics of "Global Frontline" are similar to those of the previous game, except that the perspective has changed from the original third-person to a more immersive first-person, and the story has also changed from the simple unsung hero epic of the previous game to a suspenseful drama containing many factors such as family, war, intrigue, love, etc., and there is also a multiplayer online mode with a very "battlefield" and "Call of Duty"; four years later, "Children of War" has changed back to a more mature third-person bunker shooter. It provides players with an extremely rich companion system, equipment customization and kryptonite options, but the game mechanics are no different from the two previous games...
In fact, if you have the patience to watch all the name-calling shooter mobile games after "Hero Glory", you are likely to find:
Whether it is Gameloft's own "Modern Warfare" and "N.O.V.A" series, or the competitor EA's "Medal of Honor", or even the "Call of Duty" series later, its game mode cannot escape the basic framework set by "Glory of Heroes" that year, so we can be sure that at least this time Gameloft is in the lead, and even can be said to lead the trend.
It is indeed very glorious, but in addition to maintaining the tepid revenue of those mobile game masterpieces, "humiliating" the Saipan games that are still struggling to stick to the same period, it seems that there is no substantial help for Gameloft, after all, when it comes to mobile games that were on fire ten years ago, the first thing that comes to mind is often not Gameloft's "Brothers in Arms" or the better-paid "Modern Warfare" series, but the famous classic "Plants vs. Zombies", Lima Sky's "Graffiti Jump", Rovio's "Rovio's" Angry Birds," Halfbrick's Fruit Ninja, Chillingo's "Cutting the Rope" and even Disney's "Little Crocodile Loves bathing"...
It turns out that players at that time preferred to take out their phones and draw a comparison on the warm screen, and after a few minutes they were satisfied to put them back in their pockets.
After seeing the infinite possibilities that new technologies give mobile games, we seem to be ignoring an obvious fact:
At that time, the snake was able to combine with Nokia and create miracles, but not because the latter had any cool new technologies, but because the lighter and smaller Nokia with better endurance met people's simple desire to play anytime and anywhere; and the unexpected counterattack of the above-mentioned light games was only another reminder to practitioners many years later, at least under the premise that the technology was not yet mature, giving up the biggest advantage of the mobile platform and blindly pursuing the tall of mobile games is just a matter of wood and fish.
Of course, it is obviously unreasonable to simply summarize the reasons for the success of these games as light enough, they can not only subtly integrate the special operations of the IOS and Android systems into the gameplay, but also have their own characteristics so that each one is worth taking out a separate and careful analysis; at the same time, those who are not the usual "AAA mobile game" martyrs have never stopped their own pace of exploration, they have done their best, and even said that the alternative masterpieces offered to players at all costs are not as bright as the former. But it's also worth skimming off the years and savoring it, but that's the story we'll tell later.
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