As soon as the Metaverse came out, the line travel felt deeply that winter was coming-with the Metaverse, will people not go to the scenic spot to play?
According to the most figurative Metaverse imagination, the virtual game “Oasis” in the movie “Ready Player One” is dazzling and rich, while the real world is decadent, boring and depressing; even the “Matrix” series goes a step further, combining “Matrix” with everything The fantasy space created is regarded as reality, while the real reality is a shocking giant petri dish.
In these imaginations, reality and the Metaverse are in a zero-sum game, and the Metaverse is like a cancer of reality that will sooner or later devour its own parent. Of course, from the perspective of movies, humanism is generally politically correct. Even the protagonist of “Ready Player One” has to persuade the players behind him to spend more time with his family in reality after winning. Space naturally has a deep vigilance, even a sense of malice.
In fact, the Metaverse is currently just a concept. Even if the imagination in the movie is to be realized, technologies such as ARVRMR, digital twin, blockchain and AI (artificial intelligence) are required to develop by leaps and bounds. In fact, we don’t have to imagine the application today in the high-level form of the Metaverse, just like we will one day go to the sea of stars, but it is more practical to deepen the exploration of the moon or try to explore the sun now.
That is to say, the reality and the Metaverse are far from reaching the point of confrontation and confrontation, and those are just the imagination and the forward-looking discussion of scientific ethics in the film and television works. Today, we should look for the possibility of combining the two, and this possibility is actually not difficult to achieve.
What is the Metaverse? If we go back to the idea of this concept, people always mention the way that American science fiction writer Neil Stephenson described in his novel “Avalanche” in 1992: “Put on headphones and eyepieces, find the connection terminal, and you can use the virtual avatar as a virtual avatar. way into a virtual space simulated by a computer and parallel to the real world.”
Although there is currently no clear concept of the Metaverse in the field of technology and investment, its essence is to establish a virtual space that exists forever and is completely covered on the basis of a hardware system. But for human beings, maybe one day this virtual world can be self-sufficient, but without the existence of human beings, it is meaningless to human beings.
Therefore, fundamentally speaking, human beings are the connection between the Metaverse and reality. As long as there are people, then whether it is hardware connection, symbolic mapping, or ethical rules, the Metaverse must maintain a certain degree of reality with reality before humans get rid of the flesh. Link.
If we put aside technical issues such as human-machine interface, AI learning, digital property protection, and digital currency upgrades, and return to the essence of the Metaverse, we will find that the Metaverse in a broad sense was born at the same time as human cultural history. Murals, spoken stories, words, plays, 2D and 3D games, are all Metaverses of some sort.
Professor Deng Jianguo of Fudan University proposed a concept of “Metaverse rate” . As long as there is an imagination beyond reality, then there is a Metaverse rate. Different technologies increase the ratio, but the pure Metaverse is like a distant place. The horizon, we can only approach, but not reach.
Conversely, not only the high-rate Metaverse can be applied, but also the low-rate Metaverse. The industries of each era can cooperate with the Metaverse of the ratio of that era to produce products that are half a step ahead of the era.
This is enough.
This is also the Metaverse+, the fusion of Industry and the Metaverse of the Fit Ratio.
In this case, we need to discuss how to make the existing industry realize the breakthrough of Metaverse+ more practically. Compared with online games, social media and other industries that have been talked about more in the past, offline travel can actually make a difference here.
We once proposed a concept of “urban drama” in view of the current situation of Suzhou Cultural Tourism.
Suzhou’s tourism resources are not like Beijing and Hangzhou, which have core scenic spots such as the Forbidden City and West Lake, but a string of beads (the gates along the moat) and a scene of stars (large gardens), which are relatively scattered and cannot be connected to a core. Therefore, it is difficult to form a story line. It is difficult to take out a Huqiu Humble Administrator’s Garden alone, and it is difficult to compare it with West Lake, Slender West Lake, not to mention the Forbidden City; and some scenic spots have forms, but lack of content can only make people feel A hasty view, such as Xiangmen City Wall and Shemen Ruins.
Since many tourism resources in the ancient city lack integration and lack of story lines, planners need to actively design and provide a story line to connect the overall tourism design. And “urban drama” is to break through the current predicament.
Urban Drama is the 3.0 version of Art Fusion Cultural Tourism. The 1.0 era is a theater drama, and the audience buys tickets to enter the venue, but the consumption standards and artistic thresholds are relatively high; the 2.0 era is a live performance in various places, represented by Zhang Yimou’s “impression series”, because it matches the real scene, so it has a relatively immersive look and feel Experience, the immersive “Six Records of Floating Life” created in Suzhou is a case of refinement and miniaturization. The urban drama of the 3.0 era is a model specially designed to solve the problem of “many, scattered and small” in the scenic spots of the ancient city of Suzhou.
The urban drama uses the entire ancient city of Suzhou as an immersive stage. In addition to FITs, tourists will be open to a class of specially invited guests. They will receive an invitation before coming to Suzhou, and the invitation will give the background of the story, suggesting that they will be in Suzhou for three days. A story of what will happen in the tour.
This story can be Wuyue’s hegemony, Tang Yin’s romance, Zhengming’s sigh, Huqiu Qingya, the Republic of China elegance, or “The Two Thousand Years of Suzhou” that connects the above elements.
Just like the concept of “curtain” on the stage of drama, it is just a “curtain” on the stage, which has become a real scene in Suzhou, such as the opening ceremony of the city in Panmen, the gathering of good friends in the Humble Administrator’s Garden, and the Su Lun Field. Onlookers watched the suspense and reasoning drama “Fifteen Links” (the classic Kunqu opera was adapted into the background of the Republic of China), and set a dramatic climax at the Thousand People Stone in Huqiu.
Every special guest is an immersive participant in this drama story. Adding elements of suspense and reasoning to the historical drama will affect the ending of the story to a certain extent. In this way, the immersive performance “Sleepless Night” similar to the adaptation of “Macbeth” in Shanghai, and the script killing of the Wuhan Zhiyin ship have been upgraded from one building and one ship to the whole city, which can effectively integrate urban tourism resources and provide different services. Grades and interactive opportunities for visitors to tiered special invitations.
The story of urban drama is created by a professional team. The story line can be changed every year. After a certain number of story lines are available, different story lines can be rotated every month to form an urban drama matrix “Twelve Gusu Months” , which visualizes Jiangnan culture. , participatory and holistic presentation.
Since the city drama is an immersive interactive experience, it can also be understood as a large-scale live-action game with a real city as the stage.
However, in the process of actual implementation, the biggest problem encountered is, how do we technically integrate the cultural and tourism resources of the city? This set of detailed and rich urban drama backgrounds, each of which is almost a thick book, if it is completely thrown to tourists, no one can have the patience to read these set texts, let alone clarify themselves in it. The characters are quickly integrated into the story and get a good immersive interactive experience.
For example, a friend of the author once conducted a test, set up a real-life immersive script killing on a street in a certain scenic spot, and invited a group of tourists including young and middle-aged people to participate. Unlike the secret room script killing each person, which starts with two books and reaches 20,000 to 30,000 words, the live-action immersive script killing script has been compressed to the scale of two pages. However, even so, many tourists can’t bear to read it. , not to mention the logical reasoning part inside.
So, how should the story background of the urban drama be passed on to tourists, so that their experience of urban cultural tourism not only changes from shopping and eating in one area to one in one city, but also has a more profound experience? ? We must have a medium beyond words to do such integration work.
This is – the Metaverse.
How does Metaverse intervene in the integrated system of urban cultural tourism? In fact, what we need to make is a digital platform that is closely connected with real cultural tourism projects, and serves as the basis for the overall story setting and the interaction of “tourists-system-reality”.
To put it simply, the background of the online game “World of Warcraft” is the continent of Azeroth, the background of the TV series “Game of Thrones” is the continent of Westeros, and the background setting of our Metaverse + cultural tourism is this Cultural tourism city.
Taking Suzhou as an example, there are three main aspects to the effect of the Metaverse on urban drama.
First, the deep integration of digital Suzhou and real Suzhou.
It is equivalent to building a digital Suzhou on the Internet. Each cultural tourism attraction serves as a node in this Metaverse Suzhou, and different versions of the story line connect these nodes together to become a cultural tourism route. The way these nodes pass is not to fight in the network, but to get answers in reality.
That is to say, at this stage, “Metaverse Suzhou” is actually a task distribution platform that guides tourists to find answers to questions in reality and complete tasks. In this way, visiting with questions is more rewarding than simply shopping, eating and watching dramas. depth and meaning.
Second, immersive character setting and interactive platform.
As mentioned above, text-only backgrounds and personas are very unfriendly to tourists. Through “Metaverse Suzhou”, tourists can understand their roles and tasks in advance, and through online games, they can complete the story logic between offline tasks of cultural tourism attractions, and rely on their own points, treasures, Experience points are realized online to interact with other tourists.
Taking the real scene script killing as an example, in our test, reading the script in the secret room is indeed not a relaxed and pleasant experience. Everyone wants to enter the real scene evidence search link earlier, and the Metaverse platform is to let this early part of the story participate in the story. The must-haves get a little more fun. Metaverse + Cultural Tourism is to combine the “remote presence” of super recording and transmission capabilities with the ” dasein” of real scenes .
Third, truly integrate and empower tourism resources.
Not all scenic spots have the same natural and cultural endowments, so this is the reason for the classification of tourist attractions. In the traditional sense, no matter how hard Sheshan works, it is still not as good as Huangshan, nor can Chaohu be comparable to West Lake. But with the addition of the Metaverse, the scenic spot can become a concrete action point under the Metaverse, even if it is a dirt slope, when there is the blessing of online tasks, it will become very “playable”. This kind of Metaverse + Cultural Tourism is especially suitable for two types of areas: one is the scattered, many and small scenic spots like Suzhou, which lack the main line; the other is the general endowment and lack of content.
In general, in the past, when we designed tourism additions, we generally considered building new parks, whether it was a theme park or a cultural tourism town, which not only required a lot of basic investment, but also difficult to drive the original Cultural tourism resources, and Metaverse + Cultural Tourism is equivalent to revitalizing existing attractions in virtual space, and realizing the series of cultural tourism routes by participating in games.
In the initial stage, there is no need for one-step technology, even 2D technology, as long as the content is fun and innovative, such a Metaverse belonging to a city can be built. With the development of technology, this Metaverse will be continuously upgraded and virtualized. Realize reality.
In this process, corresponding product development and promotion can be promoted, and some of them can be realized even at this stage. For example, the interaction between tourists and the Metaverse system can go beyond PCs, mobile phones, PADs and other tools, and wearable devices such as lighter smart glasses can be used not only in the special interactive areas of scenic spots, but also in daily life. It is used in scenes, such as when the restaurant is eating and other dishes are served, instead of swiping the mobile phone to kill time like now, but logging in to the urban culture and tourism Metaverse, and interacting offline and online; or sitting in a taxi to the scenic spot, smart Spectacles accepted the task list issued by the Metaverse AI.
So, what is the real pain point to realize the Metaverse of urban culture and tourism? It’s not technology. Technology can be continuously upgraded, and it will inevitably be popularized at low cost in the future, and there will not be any big differences between cities. Technology cannot become the moat of local cultural tourism. Moreover, the vision of the Metaverse must be open and wide-connected. These local Metaverses will one day be linked together, just like there are no national boundaries on the Internet. You can say that the Metaverse is technology, application scenarios, and even lifestyles, but in the end, it’s content, just like people live in the same world, but lead different lives, some wonderful, some more exciting.
Therefore, the moat of Metaverse + Cultural Tourism is content creation, what story integration is used, how to set the tasks of each node, what the participants are set up, how to interact with the real scene of the offline cultural tourism and the Metaverse space, and how to coordinate the main storyline and the sideline easter eggs , which need to be systematically formulated by original experts in the fields of cultural tourism, drama, and games.
Metaverse+ is not the simple Internet+ in the past. The former is not the latter because of technological progress, but has its own soul, that is, technology has given more possible narrative space.
At the end of the day, we need a good storyteller.
In the future world, not only cultural tourism, but also any industry will open up the boundaries between online and offline, so that the effect of 1+1>2 will be produced.
Metaverse + ( ), this is a fill-in-the-blank question for all industries, and finally deduced into an essay question.
Are you ready to answer the question?
- Author: playwright, associate professor at the School of Media and Communication, Soochow University.
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