As I was shifting through the RSA Conference 2024 program guide, with it’s impressive comprehensive five day agenda, there was an enormous amount of activities going on to easily fill anyone’s calendar as an attendee for the week. 33 keynote presentations given on two stages in the West and South Stages at the Moscone Center, 650 speakers across 425 sessions, the Expo floors in the South and North Halls had over 600 exhibitors.
As I glanced into the program’s “keynote” section, I noticed one that immediately caught my eye entitled “A Conversation with Actor, Comedian, and Writer, Jason Sudeikis, hosted by RSAC Chairman, Hugh Thompson. It read…
BELIEVE. The Ted Lasso Way has put smiles on the faces of millions worldwide, and maybe made us all a little kinder. A little more focused on teamwork and collaboration. A little more aware of the power of community, and the importance of mental health needs. And a lot more aware of the impact of an inspiring leader. Join this keynote as Jason Sudeikis shares insights, laughs, and inspiration.
As a huge fan of the show, I was curious to know how much knowledge the four-time Emmy Award Winner Jason Sudeikis had in the Cybersecurity field. As I entered Moscone West Hall and tried to find a seat, I discovered that most of the capacity crowd also probably wanted to know, as well.
The Executive chair of RSAC and host Hugh Thompson introduced Sudeikis to the much appreciative crowd at Moscone West, and immediately asked Sudeikis what inspired him to be an actor and performer.
“I saw Beverly Hills Cop when I was nine years old… it was very motivational to me and I knew that’s what I wanted … to be a black cop from Detroit.”, Sudeikis replied.
From that moment on, you knew it was going to be a fun-filled afternoon with plenty of laughs with the always very playful Thompson, as host.
BE CURIOUS – NOT JUDGEMENTAL
In a few minutes after the introduction, the lights were further darkened to show a clip from the episode, “Diamond Dogs”, from Season One/Episode 8 of Ted Lasso. They played the infamous darts scene that contained the famous Lasso quote “Be curious, not judgmental”, which perhaps may be one of the most representative quotes based on Ted Lasso’s character reportoire, that easily can be applied practically everywhere in so many different situations. Thompson asked Sudeikis what he wanted people to take away from that scene.
“I just wanted to be cheering for the good guys…like the fact that people have taken and used that in commencement speeches… and I think even some political speeches”, Sudeikis explained...“I’m not sure what politics exactly…that monologue spilled out of me in 1/2 hour… I’m sure everybody has versions of this I know people speak about it a lot in the arts…”
Hopefully, to many of the conference attendees, they can bring this idea of “be curious, not judgemental”, when dealing with others. They should never “judge” whether someone has the means to effect change by contribution, but rather be “curious” having the power to apply and transform change for the better. With the advent of A.I. already now being a major force in Cybersecurity technology, it helps to not be judgemental.
A conversation with Actor, Comedian and Writer, Jason Sudeikis hosted by Hugh Thompson at the RSAConference2024. Photo by Marcus Siu
ALL ABOUT NETWORKING:
At the very beginning of the RSA conference, Thompson encouraged all attendees in the audience to go out an meet new people in the giant RSAC community where people could learn and feed off each other. He presented a hypothetical scenario in the “mean streets” of San Francisco during lunchtime to Sudeikis to the audience: If he was in line at a taco truck stand and would want to connect with a person right next to him, what would be his top five “icebreakers”?
Though Sudeikis didn’t come up with five all together, he and the audience certainly did have alot fun listening to his brainstorming answers.
“Well, I think I’d go “rub bellies” and ask what taco you getting?” “Have you been to this taco truck before?” “You know where the hot spots are?” Or if they are wearing a badge maybe ask them something about that…the big laminates…I don’t know what information is on there but” Sudeikis continued, “I don’t speak “curious”, to know… I mean this is “Playground 101″, I’d ask them their name OK?”
In the middle of Sudeikis’ rant, Thompson asked if tapping a person was okay…
“I think tapping someone might feel a little aggressive. (audience laughs) It depends on the line…if it’s proper like the way like Germans line up, like right behind each other and very rigid (audience laughs) …but if it’s a little “loosey-goosey” and I don’t know, you know, then maybe, yeah”.
Sudeikis then playfully voice acts out two characters in line.
“I apologize for my own hunger because of my tummy.”
“Sorry to hear that…oh, I didn’t hear your stomach.”
“Oh, OK, well it was actually my butt.”
The audience roared with laughter.
“So much of this stuff though is really just about hitting the playing TV Upbeat like your kids… you hit the balloon over to them and you see if they hit it back.“
“Number five would be, “have you seen anything on television that you’ve enjoyed recently?” as Sudeikis glances into the crowd and says “They are all looking for recommendations, and they can always go on “Rotten Tomatoes” but let me ask you perfect strangers.”, Sudeikis explained.
“This is great…which would be great if the answer was “Perfect Strangers”?”
THE ADMINISTER OF LAUGHTER
When Thompson asked Sudeikis, what role humor plays when battling, stress, depression, or burnout, Sudeikis credits his ten year experience on Saturday Night Live, which he was a both a writer and featured performer, as well as various TV projects, shows, and movies.
He highly credited his grandmother during his upbringing, Loretta Wendt, (also mother of Actor George Wendt) who was a volunteer at the Little Company of Mary Hospital in the Southside of Chicago, for teaching him how important humor was to healing.
“It’s always really moving and compelling to me what good medicine laughter is and being an administer of such things or at least a vessel, these projects has always really knocked my socks off and it was something about my grandmother, Loretta Wendt, she worked it, did a lot of work “, Sudeikis continued, “A big part of it was all about how important humor was to healing and I do believe that in between laughter, sleeping and crying are the three best medicines that you’re not going to give any money to a pharmaceutical company. There’s a fourth one too, the love and appreciation and execution of the arts…”
Of course, Thompson couldn’t resist pitching his own “brilliant” idea to Sudeikis for kicking the Emyy Award show into the next level by introducing a new character into the series and possibly leading up to the season finale for Ted Lasso. The concept of a mildly bald, suave, (but not to suave) cybersecurity character from some exotic background like Jamaica or the Carribean, who stalks down a hacker somehow didn’t quite make a very convincing pitch, even with Thompson’s impressive background in the Cybersecurity field.
“Would anyone believe that a character like that really existed…as a person?”, Sudeikis questioned.
So it became pretty obvious after the interview was over that the very delightful Jason Sudeikis didn’t have much to say about the very latest in cybersecurity trends at the RSA Conference, but to give him some due credit, his alter ego Ted Lasso certainly didn’t know much about European soccer (futbal) in his first season, either…and look what can happen. In any case, it couldn’t have been a more fun-filled entertaining afternoon for the RSA conference attendees.
Just like the movie industry from a year ago, the last twelve months have not been very kind to the video game industry. In contrast to the movie industry, where the pandemic single-handedly nearly ruined it with the “stay at home” order, video game sales spiked and reached unprescented highs, but soon plummeted as the pandemic slowly went away. Sales could not be sustained, which is why gaming companies had to make cuts in order to survive. Games in production were cancelled, studios shut their doors, as thousands of workers suddenly found themselves without a job.
Unfortunately, massive job layoffs started last quarter, with well over 10,000 jobs lost, and an additional 8,000 jobs were lost in the first quarter of this year. The industry has never experienced this much devastation ever. Even the big companies were vulnerable, as Sony Interactive Entertainment laid off 1,000 people in their last two quarters and Epic Games, laid off almost as many in just one day last year. As of today, layoffs still continue to worry the entire industry.
Even the prestigious E3 Conference, the most highly anticipated video game industry event in the country had to halt its operations a few years ago due to the the pandemic. It’s actual last live event was in 2019, the year before the pandemic hit. After the pandemic was over, the industry’s biggest names had pulled themselves out, such as Microsoft and Sony, two of the three biggest gaming console companies out there.
Indie games showcased at the IGF Pavilion at GDC2024 at the Moscone Convention Center. Photo by Marcus Siu.
WELCOME TO GDC 2024
This year, the Game Developer’s Conference, known as GDC, helped fill the empty void in the world of gaming conferences, at least in California and the West Coast. However, since the pandemic, companies continued to pull out conferences over the last few years. It became obvious that there just wasn’t a whole lot of new product to promote on the Expo floor compared to the pre-pandemic years.
Notably absent at GDC 2024 were Amazon Web Services and Sony Interactive Entertainment. Unity and Google were present, but did not have any product demos on the Expo floor. At least Epic – Unreal and Meta were at the show with their latest product demos.
One can easily make an argument that 2-D gaming that utilizes Unity isn’t as impressive as the heavy-weight large-scale advanced projects that Unreal Engine has or even the games coming from Meta using their latest Meta Quest 3 VR headset which is geared for Mark Zuckerberg’s vision of the Metaverse.
Regardless of the turnout on the floor, this year’s conference held at the Moscone Center in San Francisco still registered nearly 30,000 attendees from all walks of life from around the globe, which was about 2,000 more than a year before. The 730 nonstop sessions, workshops, and roundtable discussions to kept game developers busy for the entire week.
The Expo floor still was quite active mostly with Indie games, where you can play them as well as meet with the games creators and developers. In addition, hundreds of exhibitors were showing off there latest wares and tools, depending on your project needs. There were also various networking parties at separate off-site venues scattered around the city in a more relaxing atmostphere, as well.
Attendees came to meet, learn, and connect…and they did.
A GDC NEWBIE: MEET ALEX CRANE
Alex Crane in front of the entrance at Moscone Convention Center for GDC2024. Photo by Marcus Siu
Alex Crane, a 2019 graduate from the University of Kansas with a B.S. in computer science, was unsure what to expect at his first ever GDC. However, he was certain about achieving his ultimate goal; to be a game producer, project lead for a game company, or find another indie studio in the Midwest. He expressed what his intentions were while attending the GDC conference.
“My goals here were definitely to attend a lot of talks and learn a lot. I attempted to start an indie studio in the past…so attending talks about people who have done the same…figure out where we went wrong, what we could have done better…it would have been good attending talks at bigger companies and learn a lot about game development.”, Crane explained.
While an undergraduate, Crane’s background included a game project called “No Lives Left”, (much like the style of the classic game “The Legend of Zelda”), a meta imagining of what would happen if your games kept on going without you. Though he had regrets on not having completed the project during the three years he worked on it, he still gained tremendous knowledge in game design and its development, as well as having experience as a project lead for over thirty developers, engineers, and artists while using Unreal Engine 4.
At the same time, he became the President and Events chair for the “KU Game Developers Association” for the University of Kansas and has hosted many hackathons and jam events, such as “Game Jam”, which he is currently the Midwest Regional Organizer overseeing eight U.S. states for the “Global Game Jam”, an event that spans the entire world. In addition to having the opportunity to connect with professors who teach game design, as well as IGDA (International Game Developer’s Association) members, Crane was an organizer for “Flyaway Indies” and “Amber Waves of Games”, which is dedicated to connecting and showcasing video game developers who live in the Midwestern United States all through a discord server.
Even with all his Midwest connections, Crane was somewhat disappointed not having the opportunity to meet or connect with some of the bigger name game companies at GDC 2024, especially on the Expo floor.
“There’s a few of the bigger names and then not much else other than third party software that assists with the development of games as opposed to companies that develop games or game engines”, Crane continued. “You’ve got Epic and Unity here, a couple of other bigger names but I was expecting a bit more of that…Microsoft has their thing upstairs but it’s just for swag. They don’t really have recruiters here or anything or any of that. I didn’t know what to expect though since it’s my first time.”
However, as far as networking and connecting with other game developers from around the country, Crane found GDC to be quite useful. “I was surprised to meet so many people from the Midwest. I didn’t know there were so many developers in Wisconsin and Michigan. I wasn’t actually aware some companies have some campuses there.”, Crane remarked.
Indeed, out of all the advantages that the conference has to offer, connecting and networking is a huge plus at GDC. Despite all the gloom and doom around the Gaming industry now even more vulnerable than ever with the threat of A.I. in the horizon, it hopefully won’t stop the 30,000 attendees who like Crane, have drive and passion to pursue their dreams as game developers.
The world certainly needs them.
Meta Quest demo booth at GDC 2024. Photo by Marcus Siu.
20 DAYS IN MARIUPOL
directed, produced and filmed by MSTYSLAV CHERNOV. Courtesy of PBS
When watching the evening news every night on television with its almost repetitive nature of headlines covering yet another senseless mass killing somewhere in the U.S, I often hear criticism from others claiming there is hardly any media coverage in other parts of the world whose acts are even more tragic and horrific.
This is true, especially in those countries that do not represent human rights and whose brutal leaders do not want the “truth” to be exposed, especially when they are hiding possible war crimes. Such is the case in Ukraine, with the Russian invasion of the city of Mariupol.
The public takes it for granted that media covers just about everything with the utmost detail in the free world, but in reality, they have very little knowledge of what types of obstacles that journalists are up against in many corners of the world. Media certainly has its limitations with communications and can possibly spread misinformation or even disinformation that follows a propaganda agenda.
This is why director Mstyslav Chernov made “20 Days of Mariupol”.
“20 Days of Mariupol” is one of those rare films that shows the challenges that war-journalists have to face. Chernov, who also produced and shot the film, gives us a humanistic, yet non-sympathetic first person perspective of the ongoing crisis span during the first twenty days of the Russia-Ukraine war that your nightly news cannot possibly summarize, even if they had all of the footage sent to them on a timely basis each night for the broadcast.
Chernov had forty minutes of his footage published on television, but still had a good thirty hours of unused footage that would be used for the source of his documentary, which won the Audience Award for World Cinema Documentary at the Sundance Film Festival nearly a year ago.
“I wanted to do more with that because the scale was so huge and you can’t really show that with news pieces”, Chernov continues, “We live in age of not just misinformation but misinterpretation…to persist that misinterpretation we need much more context for better understanding in the audience.”
“That’s where documentary films are becoming to be so important that they they give more than just one or two minute news pieces which can be overwhelming, but still you see them and you forget”, Cerno explained. “I kept meeting people who escaped from Mariupol who carried this city within them, but the city was did not exist anymore, so the city was just there in in their hearts. Making this film was also a way to to preserve it as it was being bombed and destroyed, but still existed. It was the way to preserve Mariupol in history, as well”.
20 DAYS IN MARIUPOL directed, produced and filmed by MSTYSLAV CHERNOV. Courtesy of PBS
Along with Chernov, the film documents his AP (Associated Press) team of Ukrainian journalists trapped in the besieged city of Mariupol as they struggle to continue their work documenting atrocities of the Russian invasion. As the only international reporters who remain in the city, they capture what later become defining images of the war: dying children, mass graves, the bombing of a maternity hospital, and more.
The film also draws on Chernov’s daily news dispatches and personal footage of his own country at war. It offers a vivid, harrowing account of civilians caught in the siege, as well as a window into what it’s like to report from a conflict zone, and the impact of such journalism around the globe.
Chernov also serves as the narrator of the film and in spite of its subject matter, he does so in a calm fashionable manner. This was done after he realized he was imposing his emotions to the audience on the first take. His team agreed that his narration should sound like he would in a normal conversation, regardless of what was on screen. His narration reminds me of how Werner Herzog would narrate as an effective storyteller in his films, and it worked extremely well for this documentary.
Chernov initially emerged in 2008 as a fine arts photographer shooting in as many as forty different countries and winning awards all around the world. In 2013, he became the President of the Ukrainian Association of Professional Photographers (UAPF) and eventually started documentary multi-format (photo/video/text) working in journalism for the Associated Press, as well as being a war correspondent covering international conflicts and novelist known for his coverage of the Revolution of Dignity, War in Donbas, the downing of flight MH17, Syrian civil war, and the Battle of Mosul in Iraq.
He recently received the Pulitzer Prize for his work, shared with Evgeniy Maloletka, Vasilisa Stepanenko, and Lori Hinnant, for the Ukraine coverage. In addition, “20 Days of Mariupol” had just been selected last week as one of the fifteen shortlisted films to be elgible for the Academy Award for Documentary Feature film, as well as being shortlisted for International Feature film representing the country of Ukraine.
Unlike most documentaries, it is free to stream and accessible to everyone on YouTube above. It is also available on the PBS app. and is also available on DVD. Regardless of its bleak nature, this is essential viewing for everyone.
(L-R) Rick Goldsmith interviews Director Mstyslav Chernov at a screening of “20 Days of Mariupol” in San Francisco. Photo by Marcus Siu.
September 29th marks a very sad day for the remaining one million loyal Netflix DVD subscribers including myself. Unfortunately, but not surprisingly, the company announced earlier this year to pull the plug and close its DVD rental operations.
Needless to say, the DVD rental business for the company had been dwindling down ever since its streaming services became the primary choice for its subscribers all over the world and disrupted the video and movie industry.
To give you an idea, Netflix’s DVD revenue totaled $60 million for the first six months of 2023. In comparison, Netflix’s streaming revenue in the United States for the same period reached $6.5 billion. In 2022, the DVD business generated $145.7 million, down 20% year-over-year, which represented just 0.5% of its total revenue. That’s just half of one percent!
In their early beginnings in 1998, they couldn’t have chosen a more opportune time to get into the DVD rental business. DVD’s were at the beginning of their popularity. It also was the perfect format to ship and mail off to millions of customers due to its light weight and size. They wouldn’t have been very profitable during the days of VHS and Beta. Could you imagine Netflix stuffings bulky VHS or Beta tapes in the mail to make it in the video rental business to try to make a profit?
Instead of wasting time and gas and driving back and forth to rent and return the movies to brick and mortar video stores, customers only had to deal with their mailboxes with Netflix. They also had the luxury of returning it anytime, without any late fee to any mailbox. To many customers who are habitually late in returning their DVD rentals, it was a blessing.
Netflix was the primary reason why Blockbuster Video went out of business in 2010, along with the many independent mom and pop video stores that was virtually in nearly every neighborhood.
Nowadays, it’s unfathomable to even think that people actually made special trips back and forth to a video store just to rent and return a video.
As a Netflix subscriber, I had two gripes. There was no way to filter down movie titles that were only available in blu-ray when searching thru their inventory. The other issue that I had was trying to figure out what version of the movie that I would get if there was a title that had been released multiple times, I wouldn’t be able to tell which version of the movie I would get. Customer service was useless with those issues.
But, overall, I will miss this wonderful service.
Netflix not only changed our lives forever with the good old “red envelope” rental subscription for a good ten to fifteen years, but also with the introduction of their streaming services in 2007 it changed the world and the way we watched movies.
But is that a good thing?
Sure there are lots of great popular shows that are currently streaming on Netflix, but unfortunately the number of streaming titles in their catalog are very limited and cannot compete with the number of titles in the Netflix DVD catalog. Netflix streams about 4,000 titles at any given time, but during the peak of DVD rentals ten years ago, there were as many as 100,000 titles to choose from when DVD rental subscription peaked with over 20 million subscribers before streaming was even an option.
With their former DVD subscription, it was great to be able to search their vast inventory ranging from not just blockbuster feature films, but TV shows, documentaries, foreign films, and even music performances and videos. In addition, I loved being able to watch the extras and bonus features that were included on the DVD’s.
After mailing over five billion DVD’s and Blu-ray’s envelopes since 1998, Netflix has come to the end of an era for DVD rentals, but it certainly has been a great twenty five year run for Netflix and its appreciative customers, such as myself. It was a major part of my life.
In the future, I hope Netflix will realize that there is a demand for their own titles that should be released to home media. I do see some hope as “The Irishman” did get a release on the Criterion label, but would love to see more Netflix releases, such as “Squid Game” get a release, as well.
If they decide against releasing their movies to retail, they could at least compromise and have more special supplements streamable, like they did for “The Irishman”, with a Q&A session. I still want to know how certain movies were made along with a behind the scenes featurette, and watch interviews and commentaries with the filmmakers.
Now with my Netflix DVD subscription coming to an end, I may be forced to change my viewing habits and subscribe to their streaming services, but I know I will absolutely miss seeing Netflix’s red envelope in my mailbox every few days.
You could feel the sheer excitement in the air surrounding San Francisco’s Moscone Center where exhibitor’s and attendees convened at the 2023 Game Developer’s Conference. It recently happened a few weeks ago from March 20th thru the 24th when the Games Developer’s Conference tied its pre-pandemic record of 28,000 attendees in San Francisco that was set in 2019, more than doubling the number of in-person attendees from last year at San Francisco’s Moscone Convention Center.
It was all about the return of the “in-person” experience, having the strong desire and necessity of connecting with one another. Whether it was at one of the many numerous and inspiring sessions that was going on all week, or in one of the populated halls on the expo floor with some of the biggest names in the gaming world, or at a social mixer networking party with peers and leaders in the games industry; everyone seemed eager to seek and discover connections and to gain insight within their craft.
It seemed as though the conference hadn’t missed a beat since the pandemic.
For those who are unfamiliar with GDC, The Game Developers Conference® (GDC) is the world’s largest professional game industry event with market-defining content for programmers, artists, producers, game designers, audio professionals, business decision-makers, and others involved in the development of interactive games and immersive experiences. It also is the world’s largest and longest-running event serving professionals dedicated to the art and science of making games
All in all, GDC 2023 featured more than 1,000 speakers and 700+ sessions, workshops, roundtable discussions and networking opportunities. 330+ exhibitors were present to display their newest technologies, programs and services on the GDC Expo Floor, including industry leaders like Amazon Web Services, Adobe, Discord, Google, NEXON and more.
It was also a space for attendees to play and connect with the developers behind new and exciting independent games, including the finalists from the Independent Games Festival (IGF) and the alt.ctrl.GDC exhibit that is home to games that use alternative controllers like toaster ovens, giant oversized hats and others.
When you walk in the entrance on the South Side, some of the biggest name in gaming with attendees waiting in line for a demo as soon as they entered the hall, including Meta and Sony. Unity and Unreal were to the left of them and had even bigger booths with lots of play space. In fact, many of the companies were not signing anyone up for demos because they filled up within the first hour after the expo opened. Sign ups were available the next morning, as soon as they opened at 10 am, but filled up quickly. What I noticed this year compared to previous years is that there are more companies are using VR/AR/MR/XR and smart glasses for immersive gaming.
WELCOME TO THE METAWORLD
At the Meta booth, they had four demos, including Demeo, Ironman, Among Us, and a Mixed Reality Fencing Prototype which is the one I participated in. I requested the demo that would make use of the Meta Quest Pro, their flagship VR goggles. Unfortunately, Meta was having some wi-fi or battery issues and it took awhile to fix, but when it worked, I had a blast in my ten minute slot sword fighting against my opponent on the other side of the wall.
My opponent quickly got up to ten points, and just when I thought it was over, I was quick to go for another ten rounds. I was able to come out victorious. Ironically, after meeting my opponent, I found out he used to fence in Finland. Not sure if I should try the real thing next time I’m in Europe.
A swordfight at the Meta booth. The player on the left actually won, even thought the player on the right was an experience fencer.
A Meta rep also was roaming around the booth and touting their new Meta-Ray Ban glasses. She had me put them on and told me that they can capture what you are seeing in real time. Meta’s first generation of smart glasses have built-in cameras, open-ear audio, and seamless social sharing. Sort of a POV for the user that is sharable to others.
I can imagine that people may not have rush out and shoot with their smartphones any longer, if they wanted to capture something spontaneously by the touch of their finger. I immediately thought that this would be a great way to monitor the world around us and share our experiences together, as it doesn’t necessarily need to be for game sharing purposes. Perhaps, it could cut down on crime, since we might all be wearing these on a daily basis?
NReal booth demos the Air Glasses at GDC2023. Photo by Marcus Siu
AUGMENTED REALITYISJUST NREAL
Another company that I was happy to see having a nice booth at the Expo Hall was Nreal. I was first introduced to them at the Augmented World Expo in Santa Clara in 2019 and wrote about them with their impressive augmented reality technology. This time, they were demonstrated their latest “Air” AR Glasses on laptops and smartphones, which reminds me of Google Glass, but has much better promise.
My first impression with these ultra-lightweight Nreal Air glasses, which could easily be confused as regular fashion sunglasses, is an amazing 201″ spatial display that gets casted from your device, whether it’s streaming from a game on the cloud, a compatible smartphone, or a iMac.
It has Micro-OLED panels and it is just has an amazing immersive display. As I put them on, I was looking at floating apps and browsers that I could select with my mouse, and be transported watching videos. Imagine watching Netflix or having a big screen for cloud gaming on the big screen anywhere you go.
A glimpse at the Pico Booth at GDC 2023. Photo by Marcus Siu.
META’S MAIN COMPETITOR?
If there is a Meta competitor on the Expo floor, it would probably be Pico from China who made their debut at GDC. They had a nice booth showing the evolution of their hardware products over they years, much displayed like it would be at a VR museum, if there was one.
The release of their Pico 4 was getting some buzz on the floor, but didn’t get any official announcement when it would actually be released. This is probably due to the fact that their parent company, Bytedance, also owns TikTok, is still trying to settle with the Senate hearings.
What a great time to be a game developer! Here are a slideshow of a few scenes from the Expo floor.
originally published on https://mlsentertainment.wordpress.com/2023/04/21/the-2023-game-developers-conference-future-glimpse-of-the-latest-spectacles/
