#1208 – Impact of Asian Entertainment

Continuing our coverage of the Asian amusement scene, and the second part of the Asian Amusement & Attraction (AAA) Expo 2024 report looks at the developments on the extensive show floor.

Asian Expo and China Roundup (Part 2)

Continuing reporting on the UNIS Technology booth at AAA’24, and a new mid-range three-player variant of ‘Bigfoot Smash’ was on display. This is a unique platform from the conventional DX motion racer original, and the new variant seems to be aimed at younger players. Concerning video amusement, the reality of the business was on display, as Chinese versions of games already represented in the Western market jostled for recognition. Represented by SEGA Amusement International in the West, the Chinese version of ‘Apex Rebels’ was on display – this is a fast-paced racer, with dedicated motion cabinet and dual screen representation.

One aspect of the Chinese show trends was reflected on first by our partners at Arcade Heroes in their special coverage of the event. While several booths employed a no photo policy to address the copying of new ideas, what was revealed to the trade on some booths was an attempt to re-release previous Japanese amusement ideas now polished for modern release. This was illustrated on the Ace Amusement booth – the popular Chinese manufacturer had on show ‘Fierce Chase’, which was an obvious reimagining of the 1993 ‘Lucky & Wild’ NAMCO two-player driving shooting game. AH also reported other examples, such as a large motion cabinet air combat game and environmental cabinet shooter game. If these titles are given Western release, we will be able to offer a more detailed evaluation.

It is the question of whether some games seen at AAA will get Western release and are not only aimed at their home audience market that adds to some confusion. For example, with game name difficulties, as well as lost in translation issues. But also, the fact that games developed only for a Chinese audience can skirt the law of IP infringement much more than ones having to consider international deployment. So, some of our sources walking the AAA’24 event were obviously cautious to report on all the new releases seen, until there was proof these were serious releases for international consideration. One such example of this kind of confusion was surrounding rumors on the show floor that SNK was returning to the amusement scene. One exhibitor (Game Storm) presented joystick cabinets running fighting games, and a sign reporting these titles included a licensed SNK property (‘King of Fighters’). More detail is being sought on this, which has yet to be confirmed as of time of going to the wire.

 On the AAA’24 show floor, Huo Shi Chuan Yu Technology presented their range of eye-catching shooting amusement, in the Metal Gun style that seems so popular. The company had a new take, with a large screen, as well as the gun system being employed on a physical props style shooting gallery setup – all under the ‘Shoot N Win’ brand. The company was also demonstrating a novel shooting gallery version, crossing the redemption and prize gun game threshold.

Colorful prize and redemption systems, mirroring the new Chinese store aesthetic, was the order of the day from many exhibitors. DreamFun had a strong showing at AAA with their range of prize and crane machines that promote their trending series. Extremely eye-catching and colorful, this new genre of redemption and crane offering is supported by attractive merch. This was also reflected on the Jiuyou Animation booth, a manufacturer of coin operated game machines.

Other developers at AAA’24 included Yuto Games showing its ‘Tank Superiority’, a two-player, driving, shooting, arcade tank game, in its own motion base and with a big screen DX cabinet. Yet another Metal Gun game with realistic recoil was called ‘Cup Shots’, while VR was also represented on their booth with ‘VR 720 Rotation Chair’ – another of the rotation rider experiences that would find Western deployment difficult.

Regarding the condition of trends in the sector, the AAA show is a great barometer of these elements – beyond the emerging crane business, and the state of VR, another aspect was on display. Key exhibitors included FuninVR, who launched seven new products. Although not on the show booth, the company was promoting their arena VR technology with the ‘VD Hyper Space’ platform, using the PICO headset. AAA’24 exhibitor Game Art represented their ‘Oculeap VR’ – through Western title ‘VR Flying Leap’, with the six riders using DPVR E3C headsets, and the latest vehicle motion sim system inspired by DOF Robotic’s ‘Gravedigger’ attraction.

AAA’24 also saw presentations from Owatch, who had on display their ‘VR Racing’, ‘VR Egg 360’, ‘VR Space Travel’ (three rider motion bench) and their ‘VR Flying Theater’ (larger six-seater full motion)
all powered by DPVR headsets. DPVR (previously Deepoon) was represented as a headset force in the market with the company announcing their new DVR E4 Arc – the VR headset platform, especially developed for LBE application, has been now rolled out as a replacement headset for existing VR amusement releases. This includes UNIS’ ‘Sailor Quest VR’, WAHLAP’s ‘Asphalt 9 Legend Arcade VR’, ‘Overtake VR’, and UNIS’ ‘Ultra Moto VR’. This allows operators to replace their current headsets for the new DPVR version – addressing many of the issues previous encountered.

Other virtual reality investment seen at the show included that from exhibitor VR Star Space – showing their ‘VR Star Tower’, three-rider VR motion platform and a two-seat ride-on VR simulator. Meanwhile, Longcheng VR Theme Park presented their four-rider, flying saucer style motion attraction. A two-rider variant was also on display with 360-degree rotation. Chinese-specific VR offerings were seen from Ming Pai Technology, with a suite of VR ride-on creations from VR rotocopter to ride sims.

One question raised from those who covered and attended the AAA’24 event concerned the seeming slowdown in VR adoption. A show that would normally be flooded with the latest Chinese VR adaptations, this year’s event seemed only to have the bare minimum of representations – and most were previously seen variants. Where many international operators are turning to VR 2.0., personified by free-roaming VR arenas, the Chinese event seemed only to focus on the ride-on simulator VR applications with a small number of arenas. One source suggested that the Chinese market had cooled to VR, failing to see it generate the much-hyped ROI, and were now turning to more bankable amusement platforms.

Note – See coming feature on “End of Peek VR”.

Back at AAA’24 and filling the space that excessive VR releases once occupied, the Chinese show presented several “Active Entertainment” platforms – as seen in Japan as part of a drive to have highly physical entertainment experiences, such as with the BANDAI NAMCO Amusement ‘VS Park’ or the SEGA ‘JOYPOLIS Sports’ chain. At AAA’24 there was the physical archery game and a shooting gallery offering from Chou Yulong Intelligence Sports.

Regarding the crane business, and the popularity of the online crane app business (also defined by The Stinger Report as “Live Play”), we saw a new shakeup in the Japanese scene, with the announcement that Crane Games Japan would be acquiring the Peanut Club Group, and all their properties, towards rolling out a combined operation. The hope is to leverage the combined platforms and roll out an online crane game platform internationally. They hope to promote the franchise business overseas. This is the latest powerplay in the profitable online crane business, and we expect to see the consolidation of other brands in this sector.

A strong aspect of the crane and capsule game venues springing up in Asia is the inclusion of photo sticker and photo machines. At AAA’24 there was the appearance of what was hailed as the first AI-powered photo machine with the ‘Dola Foto’ platform. Images captured on the stylish looking cabinet are manipulated using an AI app embedded on the platform, offering a sophisticated editing tool, and even adding unique elements and clothing to the captured images. This represents the beginning of adding AI directly to the amusement platforms – and marks the beginning of a trend that we expect to mushroom considerably in the games, prize machine and attraction scene.

Concerning the Chinese amusement and attraction market, it was announced that the Lotte Town regional entertainment park, opened by Lotte Group, has been sold for over $300m to a local investor to the Chinese venue. This comes as Lotte Group looks to focus its business on its core South Korean business operation – which has seen a successful increase in business revenue by some 9-percent. Lotte Group and its chain of entertainment venues, including the Lotte World resort in Seoul, will now focus on business development within their region.

One aspect of the China AAA’24 show that receives limited coverage from our sources is the number of animatronic dinosaurs and mascots that are presented on numerous booths – a familiar aspect of Chinese amusement business development. These developments have become quite advanced in their application. In counter news to these developments, it was revealed that the Chuck E. Cheese (CEC) children pizza entertainment chain would be retiring (decommissioning) its animatronic brand entertainment. This is a famous element of the chain, popular with guests of all ages. The animatronic band performance will now be removed from all chain stores. Sources suggested the difficulty of maintenance of these systems forced the removal after 47-years of installation – replaced by a large screen on stage. The concept for this animatronics presentation was added when Nolan Bushnell first started the original Pizza Time Theatre chain concept.

This is all part of what was stated by CEC’s CEO as part of an aggressive transformation for the over-400 outlet children’s entertainment facility chain. It is looking to revitalize its brand and become more appealing to what is perceived to be the changed tastes of its core audience. The operation has revitalized its brand, getting involved with a frozen foods line, based on its signature meals, and has also upscaled its entertainment offering on site, while refurbishing the operation. The loss of the signature, albeit temperamental, animatronics is a new element of the rebranding, as the corporation reinvents itself after the tempestuous 2020 Chapter 11 bankruptcy. However, things are still in flux. Just days after covering the news of the retirement of the animatronic band, CEC announced their had reversed their decision following a public backlash. While the transformation and rebranding will continue, CEC executives bowed to public pressure across social media – and agreed to retain the band, bowing to the wishes of a generation of kids who remembered the iconic entertainers (yet another example of the power of public pressure against corporate intransigence).

In conclusion – AAA’24 seemed to be another successful and well attended trade event in the crowded Chinese amusement and attraction calendar. While the show included its billiards and cinema co-located events, the key focus seemed to be on the new amusement offerings and the next generation of crane gaming.