Christmas
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All over the world startups are piling into the space marked “virtual interaction and collaboration”. What if a startup created a sort of “Club Penguin for adults”?
Step forward Cosmos Video, which has a virtual venues platform that allows people to work, hang out and socialize together. It has now raised $2.6 million in seed funding from LocalGlobe, with participation from Entrepreneur First, Andy Chung and Philipp Moehring (AngelList), and Omid Ashtari (former president of Citymapper).
Founders Rahul Goyal and Karan Baweja previously led product teams at Citymapper and TransferWise, respectively.
Cosmos allows users to create virtual venues by combining game mechanics with video chat. The idea is to bring back the kinds of serendipitous interactions we used to have in the real world. You choose an avatar, then meet up with their colleagues or friends inside a browser-based game. As you move your avatars closer to another person you can video chat with them, as you might in real life.
The competition is the incumbent video conferencing platforms such as Zoom and Microsoft Teams, but calls on these platforms have a set agenda, and are timeboxed — they’re rigid and repetitive. On Cosmos you sit on the screen and consume one video call after another as you move around the space, so it is mimicking serendipity, after a fashion.
As well as having a social application, office colleagues can work collaboratively on tools such as whiteboards, Google documents and Figma, play virtual board games or gather around a table to chat.
Cosmos is currently being used in private beta by a select group of companies to host their offices and for social events such as Christmas parties. Others are using it to host events, meetup groups and family gatherings.
Co-founder Rahul Goyal said in a statement: “Once the pandemic hit, we both saw productivity surge in our respective teams but at the same time, people were missing the in-office culture. Video conferencing platforms provide a great service when it comes to meetings, but they lack spontaneity. Cosmos is a way to bring back that human connection we lack when we spend all day online, by providing a virtual world where you can play a game of trivia or pong after work with colleagues or gather round a table to celebrate a friend’s birthday.”
George Henry, partner at LocalGlobe, said: “We were really impressed with the vision and potential of Cosmos. Scaling live experiences online is one of the big internet frontiers where there are still so many opportunities. Now that the video infrastructure is in place, we believe products like Cosmos will enable new forms of live online experiences.”
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Fortnite, the world’s most popular game right now with some 200 million players, has just announced that its much-anticipated Season 8 is available.
For those of you who don’t play Fortnite, the title takes an episodic approach with new features, tools and maps released every few months. That keeps things fresh, gamers engaged and the money flowing as each new season offers a Battle Pass, which costs around $10 and unlocks a load of goodies, including skins and emote dance moves.
Season 8 is pretty much what the leaks this week suggested. The theme is pirates, with new skins that include a gigantic banana suit, pirates and snakes, and pirate cannon is a new weapon that’s been added. Cannons can dish out 100 damage when there’s a direct hit, or administer 50 damage on those in the impact area — it can also be used to fire players to new locations.
The map is also a major Fortnite focus, and Season 8 has added lava to the existing volcano. Stepping on lava gives players one damage point per touch while there are volcanic vents that can be used to send a player or vehicle into the air using a gust of hot air. There’s also a range of treasure to be found inside pirate ships, another new addition (which is where the cannons can be found).
On the gaming-playing side, the major addition is “Party Assist” mode, which lets players bring their friends into Fortnite’s daily or weekly challenges. Those challenges are important to players because they unlock treasures, including skins, and, in fact, those who played Season 7 could earn a free Battle Pass for Season 8 by completing the right challenges. That might have saved a few million parents $10.
(By the way, if you’re struggling to load the game, that’s because scheduled maintenance kicked off at 4am EST in preparation for the new season launch — you can find more info on the status page here.)
Those are the main additions, though game-maker Epic Games has chucked in a few little touches — including extending the somewhat comical “infinite dab” feature from 11 hours to 12, meaning that your character will keep dancing a little longer when left in the lobby.
I can’t help but think Season 7 was a greater leap — as the addition of planes and ziplines really changed how players get around — but we’ll have to see how the gaming public reacts. This time around, a lot of the focus is on skins and emotes, rather than features.
A recent report suggested Fortnite’s revenue had dipped in January, but that was pretty unfair because it’s the month that followed a surge in spending around the December Battle Pass and also, more generally, a surge around the Christmas holidays.
Sources told us recently Epic Games banked $3 billion in profit across its entire business in 2018, thanks in particular to Fortnite, and it needs to keep its season releases compelling if that streak is to continue. There’s a lot riding on Season 8, particularly as credible rivals emerge.
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Nintendo has cut its ambitious annual Switch sales forecast despite enjoying a strong Christmas Q3 quarter.
The Japanese games giant recorded a 104.21 billion JPY ($958 million) net profit on revenue of 608.39 billion JPY ($5.59 billion) between October and December 2018. Revenue was up 26 percent year-on-year, which is an impressive feature given that quarter was a successful one for Nintendo, yielding its biggest operating profit in a Q3 for eight years.
The Nintendo Switch is now closing down on lifetime sales of the N64. Nintendo shifted a record 9.41 million consoles during the three-month period, up 30 percent annually, to take it to 14.49 million this financial year, which began in April 2018. However, despite a success last quarter, likely helped in no small amount by Christmas, Nintendo has trimmed its ambitious goal to sell 20 million Switch units this financial year. Instead, the target is 17 million, which means it is estimating around 2.5 million sales during January, February and March.
In terms of games, a bunch of new releases performed well in the last quarter. Pokémon: Let’s Go sold million titles since its November release, Super Smash Bros. Ultimate sold 12.08 million since its December launch and Super Mario Party, released in October, reached 5.3 million sales. Total game sales jumped by 101 percent to reach 94.64 million sales during the period.
Nintendo’s retro consoles — the NES Classic and Super NES Classic — sold 5.83 million. But there is bad news for Nintendo loyalists, the upcoming Mario Kart Tour mobile game won’t ship in March — its revised launch date is this summer.
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The removal of conspiracy enthusiast content by InfoWars brings us to an interesting and important point in the history of online discourse. The current form of Internet content distribution has made it a broadcast medium akin to television or radio. Apps distribute our cat pics, our workouts, and our YouTube rants to specific audiences of followers, audiences that were nearly impossible to monetize in the early days of the Internet but, thanks to gullible marketing managers, can be sold as influencer media.
The source of all of this came from Gen X’s deep love of authenticity. They formed a new vein of content that, after breeding DIY music and zines, begat blogging, and, ultimately, created an endless expanse of user generated content (UGC). In the “old days” of the Internet this Cluetrain-manifesto-waving post gatekeeper attitude served the slacker well. But this move from a few institutional voices into a scattered legion of micro-fandoms led us to where we are today: in a shithole of absolute confusion and disruption.
As I wrote a year ago, user generated content supplanted and all but destroyed “real news.” While much of what is published now is true in a journalistic sense, the ability for falsehood and conspiracy to masquerade as truth is the real problem and it is what caused a vacuum as old media slowed down and new media sped up. In this emptiness a number of parasitic organisms sprung up including sites like Gizmodo and TechCrunch, micro-celebrity systems like Instagram and Vine, and sites catering to a different consumer, sites like InfoWars and Stormfront. It should be noted that InfoWars has been spouting its deepstate meanderings since 1999 and Alex Jones himself was a gravelly-voice radio star as early as 1996. The Internet allowed any number of niche content services to juke around the gatekeepers of propriety and give folks like Jones and, arguably, TechCrunch founder Mike Arrington, Gawker founder Nick Denton, and countless members of the “Internet-famous club,” deep influence over the last decades media landscape.
The last twenty years have been good for UGC. You could get rich making it, get informed reading it, and its traditions and habits began redefining how news-gathering operated. There is no longer just a wall between advertising and editorial. There is also a wall between editorial and the myriad bloggers who write about poop on Mt. Everest. In this sort of world we readers find ourselves at a distinct loss. What is true? What is entertainment? When the Internet is made flesh in the form of Pizzagate shootings and Unite the Right Marches, who is to blame?
The simple answer? We are to blame. We are to blame because we scrolled endlessly past bad news to get to the news that was applicable to us. We trained robots to spoon feed us our opinions and then force feed us associated content. We allowed ourselves to enter into a pact with a devil so invisible and pernicious that it easily convinced the most confused among us to mobilize against Quixotic causes and immobilized the smartest among us who were lulled into a Soma-like sleep of liking, sharing, and smileys. And now a new reckoning is coming. We have come full circle.
Once upon a time old gatekeepers were careful to let only carefully controlled views and opinions out over the airwaves. The medium was so immediate that in the 1940s broadcasters forbade the transmission of recordings and instead forced broadcasters to offer only live events. This was wonderful if you had the time to mic a children’s choir at Christmas but this rigidity was bed for a reporter’s health. Take William Shirer and Edward R. Murrow’s complaints about being unable to record and play back bombing raids in Nazi-held territories – their chafing at old ideas are almost palpable to modern bloggers.
There were other handicaps to the ban on recording that hampered us in taking full advantage of this new medium in journalism. On any given day there might be several developments, each of which could have been recorded as it happened and then put together and edited for the evening broadcast. In Berlin, for example, there might be a bellicose proclamation, troop movements through the capital, sensational headlines in the newspapers, a protest by an angry ambassador, a fiery speech by Hitler, Goring or Goebbels threatening Nazi Germany’s next victim—all in the course of the day. We could have recorded them at the moment they happened and put them together for a report in depth at the end of the day. Newspapers could not do this. Only radio could. But [CBS President] Paley forbade it.
Murrow and I tried to point out to him that the ban on recording was not only hampering our efforts to cover the crisis in Europe but would make it impossible to really cover the war, if war came. In order to broadcast live, we had to have a telephone line leading from our mike to a shortwave transmitter. You could not follow an advancing or retreating army dragging a telephone line along with you. You could not get your mike close enough to a battle to cover the sounds of combat. With a compact little recorder you could get into the thick of it and capture the awesome sounds of war.
And so now instead of CBS and the Censorship Bureau we have Facebook and Twitter. Instead of calling for the ability to record and playback an event we want permission to offer our own slants on events, no matter how far removed we are from the action. Instead of working diligently to spread only the truth, we consume the truth as others know it. And that’s what we are now chafing against: the commercialization and professionalization of user generated content.
Every medium goes through this confusion. From Penny Dreadfuls to Pall Mall sponsoring nearly every single new television show in the 1940s, media has grown, entered a disruptive phase that changes all media around it, and is then curtailed into boredom and commoditization. It is important to remember that we are in the era of Peak TV not because we all have more time to watch 20 hours of Breaking Bad. We are in Peak TV because we have gotten so good at making good shows – and the average consumer is ravenous for new content – that there is no financial reason not to take a flyer on a miniseries. In short, it’s gotten boring to make good TV.
And so we are now entering the latest stage of Internet content, the blowback. This blowback is not coming from governments. Trump, for his part, sees something wrong but cannot or will not verbalize it past the idea of “Fake News”. There is absolutely a Fake News problem but it is not what he thinks it is. Instead, the Fake News problem is rooted in the idea that all content deserves equal respect. My Medium post is as good as a CNN which is as good as an InfoWars screed about pedophiles on Mars. In a world defined by free speech then all speech is protected. Until, of course, it affects the bottom line of the company hosting it.
So Facebook and Twitter are walking a thin line. They want to remain true to the ancillary GenX credo that can be best described as “garbage in, garbage out” but many of its readers have taken that deeply open invitation to share their lives far too openly. These platforms have come to define personalities. They have come to define news cycles. They have driven men and women into hiding and they have given the trolls weapons they never had before, including the ability to destroy media organizations at will. They don’t want to censor but now that they have shareholders then they simply must.
So get ready for the next wave of media. And the next. And the next. As it gets more and more boring to visit Facebook I foresee a few other rising and falling media outlets based on new media – perhaps through VR or video – that will knock social media out of the way. And wait for more wholesale destruction of UGC creators new and old as monetization becomes more important than “truth.”
I am not here to weep for InfoWars. I think it’s garbage. I’m here to tell you that InfoWars is the latest in a long line of disrupted modes of distribution that began with the printing press and will end god knows where. There are no chilling effects here, just changes. And we’d best get used to them.
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