I think the point you make at the end there Don is a good one and chimes with what the two YouTube gentlemen I mentioned are saying.
Yes for sure there are many users out there that seem to be having a good experience with 2024. However, there is no doubt that many folk (including some in my sphere of friends around the World) who like me just cannot make it work properly.
However, I didn't pop over from the excellent SOH 2020 forum to get into the 2020 v 2024 discussion or to bash 2024. The original post was merely to alert people on here to a phenomenon that I am seeing in Social Media. Now it may be that members on here have no interest or ascribe no value to the Flight Sim You-Tube content which is fine but it is nevertheless a meaningful barometer of what is happening in the hobby. After all Into-the-Blue has 62,000 subscribers and SimHanger 72,000 subscribers which I believe would represent roughly $27m in sales to Jorge assuming they all owned a full copy of the sim?
I very much value the SOH forum and it certainly provides heaps of rapid response answers and ideas! However, I do like the ability to watch the detailed reviews of new aircraft done by these guys and others. Yes you can argue that they are too detailed, too long or the presenters have an annoying style of delivery but it's pretty easy to sort through to the specific aspect that one wants to learn about. For example, Jonathan Beckett's crisp tutorials on subjects like avionics and navigation are also excellent for those of us that just don't have the knowledge or the time to plough through manuals.
The massive build up to the launch of 2024 created a huge wave of excitement and expectation in the hobby all of which I think even Jorge has acknowledged remains largely unfulfilled even 9 months later. This has resulted, as Don says, in a killing of the desire of many to fire up the sim of an evening. Hence the fact that these specialist channels are seeing a huge fall off in interest and they themselves are struggling to actually use the 2024 sim in their content making, particularly in areas like live streaming.