On December 3, 2020, the flute player of station B’s up host Hamelun announced that it will work with more than 30 ups to create an “Ark New Year’s Eve” that will last more than 80 minutes and contain more than 30 programs ( Later, it was renamed Tomorrow’s Ark to Worship the Year[Jiaoxing Shows New Year].
And when the New Year’s Day went online on February 2, 2021, the audience found that the scale of participating up hosts has expanded to nearly 50, and the film duration has exceeded 144 minutes (this does not count the previous warm-up programs). The New Year’s greetings finally broke through 260w popularity in the B station live broadcast room, and even the game producer “Seacat Complex” also personally went off to reward 36888 yuan. The video version received 164w broadcasts within 24 hours, with a triple success of 30w/43.6w/22.2w, and still maintained 1.7w online viewers. It can be said to be a veritable feast for players.
I have never seen a domestic game with such a high degree of popularity after nearly two years of public beta. Two years ago, nearly 3 hours of original programs were broadcast continuously. Needless to say, players spontaneously organize, even if the official spends money to organize it, it is difficult to produce works of the same specification.
Why can tomorrow’s Ark attract so many second creators? This is indeed a question worth analyzing.
1. Worldview and role setting
If you ask Ark players why the game’s second fire, the answer is often “good worldview and great charm of the characters”.
The simplest feedback from witnesses naturally makes sense. Specifically, on the one hand, the style of the combination of beast ears and doomsday wasteland was relatively new in the game public beta, and the Ark’s excellent art quality can naturally attract some players to try. But I think more importantly, the Ark’s worldview and role modeling complement each other to build a clever “contradictory conflict”.
Since ancient times, creating and dealing with contradictions have been the key points for novels or screenwriters to shape and promote characters, and are also the driving force for readers (players) to study the plot in depth. In Tomorrow’s Ark, the conflicting points of the plot are bigger and reflected in “natural disasters and people”, “infected and non-infected”, and smaller are also reflected in the disagreement between the characters and concepts of specific characters. A typical example is the transformation of Huang and Graythroat from splitting to mutual understanding in the sixth chapter of the main line, which can be seen as a microcosm of the relationship between infected and non-infected.
What’s interesting is that often the more intense the conflict, the more likely it is to arouse the player’s desire for second creation. For example, Ark’s most famous two-wolf CP (Lapland & Texas). Lapland’s sentiment towards Texas includes the hostility caused by the differences between the family’s old feud and the status quo, and the two have extremely contrasting extreme personalities (fanatic and cold). This seemingly irreconcilable contradiction lies in the players. In his eyes, it has become a perfect creative (brain supplement) element.
Of course, the design of Lapland’s lines and the hard performance of cv are also indispensable:
Another example is the conflict between the “family of three” between Hemer, Ifrit and Celea in the Rhine Life Forces. It also includes the differences in personality concepts between the characters, and also the irreconcilability brought about by the general environment (the internal contradictions of Rhine’s life). Many games often only achieve the former in character shaping, ignoring the more profound latter.
After talking about the contradiction itself, let’s take another look at the important means of narrating contradiction in the bottom of the boat: click to the end, leave a lot of blank.
With reference to the same hot[Eastern Project]series of the Second Creation, if the official said everything is too detailed and too deadly, then the space for creators will be greatly restricted.
The most frequently used method in the Ark to explain the background of the cadres is the narrated cadre files from the perspective of a third party, fragmented cadre lines, various decorations appearing in the character paintings and other scattered information.
It is not difficult to do this in form, but there are many techniques to deal with the details.
We can see this description in Hemo’s token:
Look at Seleya’s vertical drawing. If you find this easter egg the first time, will you also have the urge to find someone to share it?
Of course, the practice of large amounts of white space and fragmented narrative also has obvious shortcomings. For example, Ark has received negative feedback including “riddler”, “digging holes but not filling”, “adding more water to the surface, adding more water to the surface” and so on due to the various “talking and stopping” of the characters in the main line and event plot. How to grasp the balance between the second set and the official plot may also be a big problem for the follow-up operation of Ark.
Second, you need to harden yourself
Although fragmented narratives can bring enthusiasm for a while, if you want to maintain the popularity of the game, the main storyline update is inevitable.
The Ark’s initial performance was obviously not satisfactory. The first four chapters of the main line use “textbook-like worldview settings to tell a few mediocre stories.” The key characters Misha and Broken Bone are not as good as the silver brothers and sisters who did not appear in the plot.
If the follow-up plot still does not improve, sooner or later the creative enthusiasm of the player when the server is opened will be exhausted.
But fortunately, Eagle Point found its way.
After changing the perspective of Chapter 5 to let players see the story of the Dragon Gate forces, the number of the second creation works of Chen and Xingxiong increased sharply, and they still retain high popularity.
The sixth chapter uses a compact plot to shape the Ark’s most popular “villain” Frost Star, and also sets off the second climax of the second creation outside the Ark’s opening service. The subsequent chapters also continued to move higher, and the popularity of integrated sports cadres soared.
The wonderful event story of[Born in the Dark]one year ago also made W a frequent visitor in the second creation works.
In contrast, the early events[Cavalry and Hunter]and[Fire Blue Heart]had mediocre script quality, and the characters in them had much lower enthusiasm for discussion among players.
Blacksmith need its own hardware. If you want to maintain the enthusiasm of the second creation of the game, it is difficult to do without paying attention to the long story.
Nowadays, Eagle Corner mainly uses the short stories of[Mini Story Collection]and[Secret Records of Operators]to release the character information (guaranteed to be blank), and then through the main line and SS activities (sidestory) to deeply shape the characters (low output). This approach seems to have found a balance on the surface, but the requirements for copywriting strength are also great, and it remains to be seen whether the follow-up can maintain high-quality plot output.
In addition, the “copy job” phenomenon brought about by the Ark’s tower defense gameplay (the player looks at the strategy map) is also the key to stimulating the strategy author’s output. However, strategy creation is not the focus of this article.
3. Feedback from creators
Although most of the second creation works, including the Ark’s Worship, use love to generate electricity, this does not mean that they have no return at all.
When the game has a sufficient audience and the demand for players to watch the second creation product is stimulated, as long as your work is of good quality, there is a high probability that it will not be unknown.
For creators, sometimes someone recognizes that your work is more attractive than pure monetary gain. What’s more, if the Ark works continue to be produced, the creators themselves may also achieve both fame and fortune.
It is true that Ark already has a relatively complete second-creation ecology and has entered a virtuous circle in terms of creators’ feedback. For games that do not yet have a corresponding second scale, the official rewards may be the only option. But without the support of the quality of the game itself, most of the time this approach is just throwing a grain of sand into the sea, without a ripple.
Fourth, the official attitude
It must be noted that the official here refers to two: Eagle Horn and Creative Platform.
The focus is on the platform, the most representative of which is naturally the B station. If the platform is not promoted, even if the enthusiasm of the second creation is soaring, there will be a lack of channels for exposure.
At least for now, it seems that Eagle Point and Station B have an in-depth cooperative relationship, and Station B will regularly hold video events according to the activities in the Ark game. Whenever difficult levels such as the “crisis contract” appear, Station B does not hesitate to recommend its homepage.
Players have needs, platforms have traffic, games have benefits-this win-win situation has also become the basis of the Ark’s second ecological cycle.
As for Eagle Horn, I can’t think of the reason why the game official cracked down on secondary creation (except for infringing commercial activities). The producer personally participated in the comic show, sang damedane, and rewarded 36888 in the New Year’s greetings, and other behaviors such as the characters in the cos game have already “infiltrated the players”, and they also inspired the players’ enthusiasm for second creation.
To sum up, the Ark Second Creation Community is currently hot, and the three elements of game quality, player enthusiasm, and platform promotion are indispensable. In the future, if there are games that want to replicate this kind of second-creation enthusiasm, they must also start from multiple aspects to create a second-creation ecology that can be a virtuous circle.