E3 2010 (Actual) Day 1

First day the show floor is open and I spent it locked in my hotel room writing. Thank god I had a large McDonald’s latte and a scrumptious Bubu Lubu–a mexican candy bar with strawberry jelly, chocolate and marshmallow. Breakfast of champions.
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Around noon I headed to the Convention Center, grabbed a bite at Lucky Strike (from a decidedly disinterested barmaid), then went to see the hit of this year’s E3 – the Nintendo 3DS. The line to see this baby was muy ridiculo, wrapping around and around like a two-for-one buffet line in Vegas. Funnily enough, this year Nintendo hired like, 200 young girls to introduce attendees to the 3DS. They were lined up outside the Nintendo booth like acolytes in some bizarre, blazer-wearing cult.
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Fortunately, I had an appointment and ‘only’ had to wait 20 minutes to get in. I have to say, with what they were showing, if I’d had to wait in line for 2 hours to get in, I’d have been pissed. The demos, such as they were, consisted of a slew of stations with different game titles on them, each of which you were allowed to spend something like 20 seconds with.
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First impression? Not that favorable. I mean, it’s cool and all that they got this no-glasses 3D to work, but it kind of looks like the holograms you get on trading cards or cereal boxes. The effect is sort of blurry and nausea inducing and for my money, doesn’t add much to the gaming experience.

I didn’t spend much time at the Convention Center after seeing the Nintendo 3DS and Realtime Worlds’ new MMO All Points Bulletin, but I did stop and see the digital art show on the lower level. More evidence that I’m a weirdo magnet – this strange man sidled up to me while I was looking at a beautiful concept piece by a Ubisoft artist, and started giving me an art lesson.

He explained to me why the piece was good, urging me to notice the construction, the composition, the technique… He told me he was an artist’s rep for L.A. artists and assured me that “this piece would go down great in L.A.” Funny thing–he was going on about the fine detail in the piece and I broke it to him that the very detailed bits were photographic elements layered in with the painting and that many concept artists do that in the interest of time. The look on his face when I told him that–I think he was actually hurt by it. In any case, while he was preoccupied by his disillusionment, I took the opportunity to escape.

When I went outside, I was greeted by the sight of a giant crane lifting a bright orange sports car up over the street. You gotta love L.A.
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