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Daily Crunch: Google shutters internal game studios
Google rethinks its gaming strategy, Microsoft rolls out its quantum computing platform and UiPath is now valued at $35 billion. This is your Daily Crunch for February 1, 2021.
The big story: Google shutters internal game studios
When Google announced its Stadia cloud platform, it also said it was forming Stadia Games and Entertainment, an internal studio that would create titles for the platform. Now it seems the company is abandoning this approach.
It’s a surprising move, not just because Google has yet to release a single game from the studio, but also because the company opened studios in Montreal and Los Angeles, as well as acquiring Typhoon Studios — so it seems like a real investment.
“Given our focus on building on the proven technology of Stadia as well as deepening our business partnerships, we’ve decided that we will not be investing further in bringing exclusive content from our internal development team SG&E, beyond any near-term planned games,” Google exec Phil Harrison said in a blog post.
The tech giants
Microsoft’s Azure Quantum platform is now in public preview — Azure Quantum is Microsoft’s cloud-based platform for using quantum hardware and software tools from partners like Honeywell Quantum Solutions, IonQ, 1QBit and others.
Xiaomi sues the US government over blacklisting — The filing, which was submitted on Friday, calls the decision “unlawful and unconstitutional.”
Google now gives you more information about the sites in your search results — Clicking the new hamburger-style menu icon will pop up a new info panel with additional information about the site.
Startups, funding and venture capital
Robotic process automation platform UiPath raises $750M at $35B valuation — The company’s automation platform aims to “transform the way humans work” by giving companies a way to build out and run automations across departments.
Databricks raises $1B at $28B valuation as it reaches $425M ARR — Databricks is a data-and-AI focused company that interacts with corporate information stored in the public cloud.
Weights & Biases raises $45M for its machine learning tools — Weights & Biases says it now has more than 70,000 users across more than 200 enterprises.
Advice and analysis from Extra Crunch
Robinhood’s Q4 2020 revenue shows a return to growth — Robinhood has been the world’s most discussed startup over the last week.
Best practices as a service is a key investment theme to watch in 2021 — It’s one thing to give people and businesses tools, and something else to train them to use those tools effectively.
Lightspeed’s Gaurav Gupta and Grafana Labs’ Raj Dutt will tell us why they financially tied the knot (twice!) — The new and improved Extra Crunch Live pairs founders and the investors who led their earlier rounds.
(Extra Crunch is our membership program, which helps founders and startup teams get ahead. You can sign up here.)
Everything else
Amazon says government demands for user data spiked by 800% in 2020 — Amazon said it processed 27,664 government demands for user data in the last six months of 2020.
What investors need to know about research and inspiration in the COVID-19 era — Remote research will remain the rule even as the worst of the pandemic mercifully ends.
The Daily Crunch is TechCrunch’s roundup of our biggest and most important stories. If you’d like to get this delivered to your inbox every day at around 3pm Pacific, you can subscribe here.
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Google shuts down its internal Stadia game studios
When Google originally announced Stadia, its cloud gaming service, the company also announced a first-party game studio. Stadia Games and Entertainment was supposed to release exclusive titles for the new platform. And yet, Google has changed its mind and is now shutting down its internal game studios.
“Given our focus on building on the proven technology of Stadia as well as deepening our business partnerships, we’ve decided that we will not be investing further in bringing exclusive content from our internal development team SG&E, beyond any near-term planned games,” Google Stadia VP and GM Phil Harrison wrote in a blog post.
That’s right, the company has yet to release a single game under the Stadia brand but it’s already over. This is an odd move as Google has made some significant investments in the space. It originally created a studio in Montreal Canada and acquired Typhoon Studios. It then opened another studio in Los Angeles.
Jade Raymond was leading Google’s first-party studios. She has been working in the video game industry for more than 15 years. In particular, she was a producer for Ubisoft in Montreal working on the first Assassin’s Creed games. She also worked for Electronic Arts on an unreleased single-player Star Wars video game.
Today’s news also means that Raymond is leaving Google. Other Google employees working for Stadia Games and Entertainment will move on to new roles.
Going forward, Stadia will focus on third-party games. The company says that Cyberpunk 2077 has been quite popular on the cloud gaming platform for instance. It lets you launch the game on a server in a data center near you and stream the video feed to your device.
Many readers will likely think that Google might shut down Stadia soon as the company has shut down many, many services in the past. The company tries to be reassuring.
“We’re committed to the future of cloud gaming, and will continue to do our part to drive this industry forward. Our goal remains focused on creating the best possible platform for gamers and technology for our partners, bringing these experiences to life for people everywhere,” Harrison writes.
But do you believe him?
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Gwoop Academy wants to help you get better at video games
Every sport has its practice drills and exercises to help players hone skills between games. Why would esports be any different?
Gwoop, a startup out of Minnesota, wants to be the place where gamers go to train between matches. They’re building up a collection of free browser-based training tools meant to help you measure and improve vital stats like reaction time, mouse control, and aim, and see how your stats compare to the best.
Some of the training games currently up and running:
- Reaction Training: Wait for it … click! As soon as the screen changes from grey to orange, you click the mouse button. The lower your reaction time (measured in milliseconds), the better. Harder levels throw in more colors to fake you out and give you a bit of pause.
- Visual Speed: Targets spawn one-at-a-time all around a 2D plane. Click one and another appears. The more targets you click before time runs out, the higher your score.
- Keyboard speed: Straightforward keyboard key-finding practice, because any time spent looking at your keyboard is time not spent dodging shots.
Image Credits: Gwoop
- Mouse control: If you can’t get your mouse to go where you want it, you can’t aim. Gwoop’s mouse control exercise has you drag a ball through a curved track. If your cursor strays outside the track, the ball returns to the beginning. The more tracks you successfully complete before time is up, the higher your score.
- FPS Training Arena: Strafe around a 3D arena (pictured up top), scanning for randomly generated targets and clicking them as they appear. Bonus points for hitting the dead center of a target.
All of the tools are linked back to an analytics dashboard, allowing you to gauge your performance metrics over time. Each skill gets its own leaderboard so you can see, for example, how your average reaction time compares to others worldwide and amongst your friends.
Even in its 3D exercises, Gwoop’s graphics are pretty simple — and that’s intentional. They want it to work for as many players as possible. They’ve got no reason to try to look like a AAA title; the more graphically intense a game is, the more powerful your computer would have to be to run it smoothly. Co-founder Gavin Lee tells me that their goal is to keep it so that “all you need is a computer and the internet. It doesn’t matter if your device is 10 years old.” Even its 2D exercises have switches you can flip to further simplify the graphics and improve performance.
It’s the same reason they’ve built everything to work in the browser: not requiring any downloads means more people can train, with the added benefit for the Gwoop team of not having to worry about maintaining separate Mac/PC clients.
While the existing exercises might seem focused around improving first-person shooter skills, Lee tells me that they’re aiming to be “genre-agnostic” and are planning expansions tailored to other kinds of games. He mentions a “MOBA Arena” in the works meant to help polish skills required for games like League of Legends or DOTA, and another exercise in progress that’s “very Rocket League-centric.” Their training tools seem mostly focused on keyboard/mouse users right now, but they’re working on more functionality for players who prefer controllers.
Image Credits: Gwoop
Gwoop is entirely free to players — so how will they make money? Lee tells me they’ve got two different strategies there: They’ll sell additional advanced analytics tools to teams, and, once they’ve got enough players clicking around, hopefully be able to serve as a platform for esports recruiters. Lee says players should be able to opt-in to having their data shared with potential sponsors and esports teams, with Gwoop getting paid to connect the dots. “All these division one schools have these platforms where you can upload football films and get recruited,” says Lee “we want to become that platform [for esports].”
Why the name “Gwoop”? Is it a bit of super cool gaming lingo, or some sort of acronym? Nope! It was just a quick, memorable domain Lee had been holding onto for decades. “I wish I had a better story for you,” he says, “but I bought the domain in 2002 just because I wanted a five-letter domain that you could pronounce and was available.” It’s okay, Gavin: Most people don’t care why Google is called Google, after all.
The team’s timing is pretty good here. With most people being stuck at home, more people are getting into gaming than ever before. Battle Royale games like Fortnite, PUBG and Apex Legends are blowing up … but it’s hard to get better in a game where you spend the first 10 minutes looting only to get shredded in 10 seconds when a skilled team rotates through. While many titles have dedicated training areas or firing ranges to practice in, they’re usually meant more for quick pre-game warmups and don’t do things like help you track metrics and improvements over time.
Image Credits: Gwoop
The Minneapolis-based team is currently comprised of its three co-founders. It’s self-funded to date, but I’m told a seed round is underway.
Gwoop is currently in semi-closed beta and generally requires an invite to signup, but Lee tells me that the code #TC2021# should let our readers past the signup gate.
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How Roblox’s creator accelerator helps the gaming giant build new platform opportunities
As Roblox eyes what could be a historic debut on public markets in the coming months, investors who have valued the company at $29.5 billion are certainly eyeing the gaming company’s dedicated and youthful user base — but it’s the 7 million active creators and developers on the Roblox platform that they are likely most impressed by.
Since 2015, Roblox has been running an accelerator program focused on enabling the next generation of game developers to be successful on its platform. Over the years, the program has expanded from one annual class to now three, each with around 40 developers participating. That means more than 100 developers per year are working directly with Roblox to gain mentorship, education and funding opportunities to get their games off the ground.
As the company’s efforts on this front have grown more formalized, Roblox in 2018 hired former Accelerator alumni Christian Hunter, a Roblox gamer since age 10 and game developer since 13, to run the program full time. Having been through the experience himself, Hunter brought to the program an understanding of how the Accelerator could improve, based on a developer’s own perspective.
However, the COVID-19 pandemic threw into disarray the company’s plans to run the program. Instead of being able to invite developers to spend three months participating in classes hosted at Roblox’s San Mateo office, the company had to revamp the program for remote participation.
As it turned out, developers who were used to playing and building games taking place in virtual worlds quickly adjusted to the new online experience.
“Before COVID, everyone was together. It was easier to talk to people. [Developers] could just walk up to someone that was on our product or engineering team if they were running into issues,” explains Roblox Senior Product Manager Rebecca Crose. “But obviously, with COVID-19, we had to switch and think differently.”
The remote program, though differently structured, offered several benefits. Developers could join the program’s Discord server to talk to both current participants and previous classes, and reach out and ask questions. They could also participate in the Roblox company Slack to ask the team questions, and there were more playtests being scheduled to gain reactions and feedback from Roblox employees.
Meanwhile, to get to know one another when they couldn’t meet in person, developers would have game nights where they’d play each other’s games or others that were popular on Roblox, and bond within the virtual environment instead of in face-to-face meetings and classes.
The actual Accelerator content, however, remained fairly consistent during the remote experience. Participants had weekly standups, talks on topics like game design and production, and weekly feedback sessions where they asked Roblox engineers questions.
But by its nature, a remote Accelerator broadened who could attend. Instead of limiting the program to only those who could travel to San Mateo and stay for three months, the program was opened up to a more global and diverse audience. This drove increased demand, too.
The 2020 program saw Roblox receiving the largest number of applications ever — five times the usual number.
As a result, the class included participants from five countries: The Philippines, South Korea, Sweden, Canada and the U.S.
The developers at IndieBox Studios saw the program as a chance to double down on their game development side hustles. The young friends spread across the U.K. and Kentucky spent their time during the accelerator scaling up their photorealistic title called Tank Warfare.
“We’ve actually never once met in real life, like, we’ve been friends for going on, what, nine years now,” Michael Southern tells TechCrunch. “We met on Roblox.”
IndieBox is representative of many of Roblox’s early developer teams — younger gamers that have spent more than a decade learning the ins and outs of the evolving Roblox gaming platform.
“We all joined Roblox way back in 2008,” IndieBox’s Frank Garrison says. “But we only started developing on the platform in 2019. And for us, the decision to choose Roblox was more down to like, well it’s what we know, why not give it a bash?”
The demographics of the accelerator have been shifting in other ways as the developer base grows more diverse.
“I would say, in the beginning, it was mostly young males. But as we’ve watched the program evolve, we’ve been getting so many new interesting teams,” notes Program Manager Christian Hunter.
The 2020 program had more women participants than ever, for example, with 12 in a class of 50. And one team was all women.
The age of participants, who are typically in the 18 to 22-year-old range, also evolved.
“We’ve seen a lot more older folks,” Hunter says. “With [the COVID-19 pandemic], we actually saw our first 50-year-old in the program. We’ve never had anyone older than, I’d say, 24. And in 2020, we had 12 individuals over the age of 30,” he notes.
Two of the teams were also a combination of a kid and a parent.
Shannon Clemens learned about the Roblox platform from her son Nathan, learning to code and bringing her husband Jeff in to form a studio called Simple Games. Nathan’s two sisters help the studio part time, as well as his friend Adrian Holgate.
“Seeing [my son’s] experience on Roblox getting involved with the platform, I thought it would be neat to learn how to make our own games,” Shannon Clemens told TechCrunch.
Their title Gods of Glory has received more than 13.5 million visits from Roblox players since launching in September.
“Our whole family is kind of creatively bent towards having fun with games and coming up with things like that,” Jeff Clemens tells us. “Why would we not try this? So, that’s when we applied to the program and said, ‘well, we’ll try and see if we get accepted,’ and we did and it’s been awesome.”
In addition to the changes facilitated by a remote environment, Roblox notes there were other perks enabled by remote learning. For one thing, the developers didn’t have to wake up so early to benefit from the experience.
“With it being remote, the developers were working their hours,” says Crose. “As a developer, we tend to work later and stay up at night. Having them come in at 9 AM sharp was very difficult. It was hard for them because they’re just like…a zombie. So we definitely saw that by letting them work their own hours, [there is] less burnout and they increase their productivity,” she says.
Though the COVID-19 crisis may eventually end as the world gets vaccinated, the learnings from the Accelerator and the remote advantages it offers will continue. Developers from the program hope that the growth seen on gaming platforms like Roblox continues as well.
“The pandemic has been great for most game studios,” developer Gustav Linde tells TechCrunch. “Obviously, it’s a very weird time, but the timing was good for us.”
The Gang Stockholm, a Swedish game development studio co-founded by Linde, has been building experiences — largely branded ones for clients, exclusively on the Roblox platform. The team of 12 has used the accelerator to slow down development deadlines and dig into some unique areas of the platform as well as focus wholly on their upcoming title, Bloxymon, which they plan to release this year.
“If you look at Steam and the App Store and Google Play, those markets are extremely crowded, and Roblox is a very exciting platform for developers right now,” said Linde. “Roblox is also getting a lot of attention and a lot of big brands are interested in entering the platform.”
Roblox says that going forward, future Accelerator programs will feature a remote element inspired by the COVID experience. The company plans to continue to make its program globally available, with the limitation for now, of English-speaking participants. But it’s looking to expand to reach non-English speakers with future programs.
The fall 2020 Accelerator class graduated in December 2020, and the next spring class will start in February 2021. Roblox says they are already in the process of recruiting for their summer 2021 class, which will again have some 40 participants. Roblox will again aim to continue diversifying the group of creators.
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Plex launches a subscription-based retro game streaming service, ‘Plex Arcade’
Plex, the media software maker that’s expanded into streaming in recent years, is adding to its service once again with today’s launch of game streaming. Unlike other game streaming efforts from companies like Microsoft or Google, the new “Plex Arcade” isn’t focused on top gaming titles and new releases, but rather on retro games. At launch, the service is offering around 30 games, including titles like Asteroids, Centipede, Missile Command, Adventure and Ninja Golf.
The game streaming service was spun out of Plex’s in-house incubator, Plex Labs, and represents more of a passion project for the company, rather than some larger shift in direction, we’re told. The technology to make it available was already 95% built, so the team decided to put together the game streaming service as a surprise for users, as well as a way to expand Plex’s core mission of becoming a broader entertainment platform.
The company says it actually kicked around the idea of adding games to Plex for years, but over the course of 2020 in particular, the team was drawn to the idea even more out of personal interest and a need for a distraction.
Image Credits: Plex
The game service was built with the help of new partner Parsec and its underlying, low-latency streaming technology, Plex says. This made it possible to bring fully playable game libraries to Plex.
To build the game library, Plex partnered with Atari to license a catalog of classic titles.
At launch, the full list of games include: 3D Tic-Tac-Toe, Adventure, Alien Brigade, Aquaventure, Asteroids, Avalanche, Basketbrawl, Centipede, Combat, Dark Chambers, Desert Falcon, Fatal Run, Food Fight (Charley Chuck’s), Gravitar, Haunted House, Human Cannonball, Lunar Battle, Lunar Lander, Major Havoc, Millipede, Missile Command, Motor Psycho, Ninja Golf, Outlaw, Planet Smashers, Radar Lock, Sky Diver, Sky Raider, Solaris and Super Breakout.
Due to the partnership and licensing fees involved with the project, Plex Arcade will not be a free addition.
Instead, it will be offered as a separate subscription for $2.99 per month for existing Plex Pass subscribers (Plex’s existing $4.99/mo plan). For nonsubscribers, Plex Arcade is $4.99 per month. A free, 7-day trial is also available.
Plex Arcade’s server will require either a Windows or Mac to run (due to Parsec’s limitations), which means it won’t work on Linux, NAS devices or NVIDIA Shield. Gameplay, meanwhile, is restricted to iOS, Android (mobile or TV), tvOS and the Chrome web browser.
It will also support Bluetooth and USB game controllers that are compatible with your device, or you can use a keyboard for Chrome-based gaming. Plex recommends the Sony DualShock 4 or Xbox One controller for the best results.
Image Credits: Plex
The company is taking a wait-and-see approach to expanding the service over time. If it demonstrates interest and traction in the form of subscriptions, Plex may consider growing it further.
Plex Arcade is the latest addition to what’s now a growing lineup of entertainment options for Plex users.
Over the past several years, the media software company has moved beyond being a tool to organize home media collections to also allow users to do things like stream live TV from an antenna or via the web, listen to music and podcasts, watch ad-supported movies and TV, watch the news and more.
These efforts are slowly paying off in terms of user growth. In 2017, Plex had 10 million registered users. A couple of years later, it had 15 million. Today, Plex says it has 25 million users.
Plex Arcade is available as of today.
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10 VCs say interactivity, regulation and independent creators will reshape digital media in 2021
The digital media industry will give us plenty to talk about this year.
When we last surveyed venture capitalists about their media investments, the big topic was the impact that the pandemic would have on the industry, and on the prospects for new startups.
Obviously, the pandemic hasn’t gone away, but when asked to predict the biggest storylines for 2021, VCs pointed to themes as varied as new distribution models, new kinds of interactivity, new tools for creators, the return of advertising business models and even the role of media in a democratic society.
“We are headed toward a content universe where consumers’ power of choice grows to new heights — what premium content to consume and pay for, and how to consume it,” Javelin’s Alex Gurevich wrote. “The consumers will have the final choice! Not traditional media and content distribution companies.”
For this new survey, we heard from 10 VCs — nine who invest in media startups, plus a tenth who’s seeing plenty of media pitches and was happy to share her thoughts. We asked them about the likelihood of further industry consolidation, whether we’ll see more digital media companies take the SPAC route and of course, what they’re looking for in their next investment.
Here’s who we surveyed:
- Daniel Gulati, founding partner, Forecast Fund
- Alex Gurevich, managing director, Javelin Venture Partners
- Matthew Hartman, partner, Betaworks Ventures
- Jerry Lu, senior associate, Maveron
- Jana Messerschmidt, partner, Lightspeed Venture Partners
- Michael Palank, general partner, MaC Venture Capital (with additional commentary from MaC’s Marlon Nichols)
- Pär-Jörgen Pärson, general partner, Northzone
- M.G. Siegler, general partner, GV
- Laurel Touby, managing director, Supernode Ventures
- Hans Tung, managing partner, GGV Capital
Read their full responses below.
What do you think will be the biggest trend or story in digital media in 2021?
Daniel Gulati: Defining media’s role in a democratic society. What accountability exists when an individual company’s pursuit of scale leads to the spread of disinformation? When a platform’s terms of service appears to collide with constitutional rights, who makes the call and what happens? To what extent should governments support the viability of local media organizations in the face of global competition and a rapidly changing digital landscape?
These are high stakes issues that will be front and center through the year.
Alex Gurevich: The continued disruption of content distribution models, whether that’s the debundling of cable via the plethora of SVOD services, or the way new content is released (i.e., on-demand at home versus movie theaters). We are headed toward a content universe where consumers’ power of choice grows to new heights — what premium content to consume and pay for, and how to consume it. The consumers will have the final choice! Not traditional media and content distribution companies. The pandemic has greatly accelerated this trend.
Matthew Hartman: The two largest social networks, Twitter and Facebook, removed the account of a sitting president and a set of related, follower accounts. This has fundamentally reset the media stack. This will accelerate action the government had already planned to take, including to reshape Section 230. The ripples will be felt throughout media, affecting how news is distributed through social media, what startups can use bigger platforms to grow, what the exit options are for small talent acquisitions and the fragmentation already occurring.
Second, the rise of synthetic media. Algorithmically enhanced or created media is a shift we identified at Betaworks in 2018 and in 2021 it will only increase in scale and scope. Yes, this affects deep fake detection (with companies like Sensity.AI leading the way) and other nefarious uses — but it will also start to fundamentally reshape the way media is created, from the cost of animation to the cost of writing stories, to editing and creating CGI.
Third, game streaming will continue to grow, with audiences that are starting to blow away those of regular TV. An enormous number of people tuned in last year to watch Alexandria Ocasio-Cortez play Among Us on Twitch with popular streamers (she hit 435,000 concurrent viewers at one point). And that wasn’t even close to the biggest event ever on Twitch, David Martinez, aka TheGrefg, hit 2.4 million concurrent viewers for the unveiling of his new Fortnite skin. Game publishers have finally started to understand the power of streamers not just to launch a new game, but to revive old ones, with games that groups of streamers can play together (like Among Us or Rust) soaring in popularity this past year.
Jerry Lu: The emergence of interactive media platforms outside of just gaming.
Because of their isolation due to COVID, people are yearning for social interaction and we’re seeing greater engagement across platforms like Twitch and Zoom, which make interactive communications possible. Previous iterations of media platforms were top-down broadcast, whereby companies produced content they thought consumers would like. Over the past five years, we’ve started to see a greater shift toward the long tail, whereby content comes straight from the consumer.
Gaming and esports were at the forefront of this shift from passive content viewing to interactive entertainment experiences. I believe that 2021 will be the year when we see platforms beginning to embrace interactivity as a form of audience participation, blurring the line between viewer and active participant. I’m excited at the prospect of seeing this form of interactive content consumption applied to other sectors, like education, childcare and commerce, to name a few.
Jana Messerschmidt: We will see a proliferation of products that enable content creators to build businesses outside of traditional media companies. These creators will leverage their existing brand, following and social media engagement to become entrepreneurs, building revenue streams across multiple different products.
There are a plethora of new tools for creators: for writers (Substack, Medium), personalized video shoutouts from creators (Cameo*, PearPop), new audio platforms (LockerRoom*, Clubhouse) or all-in-one tools for creators that include merch, subscriptions, tipping and more (FourthWall* ). Now is the time for creators to be rewarded by their fans for their content creation.
Historically, the big social platforms (Facebook, Instagram, Snap*, Twitter, TikTok) have failed to create meaningful paths for their creators to monetize. They make money from advertisers and thus their resources are focused on those advertising customer demands.
- denotes Lightspeed portfolio company
Michael Palank: If 2020 was the year every major media company either announced or grew their direct-to-consumer video/audio/gaming offering, 2021 will be the year where those offerings optimize and differentiate or die. We expect the hunger for original content to continue, but we feel the type of content will continue to diversify from both a story and IP perspective and a format perspective. It is not unthinkable that a major media company like Apple, Amazon or Disney looks to acquire Clubhouse in 2021.
As the lines between video games and filmed entertainment continue to blur we can also envision new companies popping up to take advantage of this trend. I also feel these content platforms will need to differentiate by way of better discovery and personalization.
I fully expect every major media company from Disney to Apple to Amazon to Microsoft will be looking for new and innovative ways to separate themselves from the rest of the pack in 2021.
Marlon Nichols: I think that the continued creation of streaming platforms from content creators/owners (e.g., Disney+, HBO Max, etc.) will force downward subscription pricing adjustments across the board and streaming platforms will need to revisit advertising as a revenue stream. That said, we know that watching ads on a paid platform won’t fly with consumers so I believe we’ll see contextually relevant product placement become the accepted form of brand/content collaboration going forward. I led MaC’s investment into Ryff because of this thesis.
Pär-Jörgen Pärson: Institutions and legislators will have a big effect on social media platforms. I think there will be pushes on antitrust behavior, and social networks will have to behave like media — meaning that they also need to take responsibility for the content that’s on their platform, not only from a user agreement standpoint like today but from an editorial standpoint. I think we’ll see many more editors-in-chief in this industry, as editorial becomes more and more important in our polarized world. This has the potential to change the social media platform landscape quite dramatically, and I’m not entirely sure yet on the long-term impact commercially.
M.G. Siegler: It’s sort of boring, but I wouldn’t be shocked if we see a swing back toward advertising-based models. I think there are two parts to this: First, if and when the pandemic recedes, I think a lot of traditional big advertising players like travel, will come roaring back. Second, it feels like there’s been a move away from advertising to paid subscriptions for a while now and I think these things are cyclical.
To be clear, I think both will continue to exist, I just think that after years of underindexing on paid subs, now we’re perhaps on the verge of overindexing on it … Obviously, advertising never went away, I just think it may be due for a bit of a renaissance (though I say that hoping the powers that be make those ads a better user experience — I think that’s the only way there’s not another backlash against them).
Laurel Touby: The biggest trend in digital media will be companies that don’t call themselves media companies, but that clearly draw from the business model playbook of media companies. For example: Companies that monetize their communities by giving sponsors and advertisers access to their audiences; or technology startups that sell wearable products and upsell their customers with access to premium high-value content.
Hans Tung: Contextual social networks: Video and livestreaming with the likes of TikTok and with other players like Instagram and Snap will continue to drive creativity and engagement. Clubhouse is now garnering a lot of attention as audio captures the attention of a new generation. This also creates new opportunities for established audio players like YY or Ximalaya. At the same time, apps like Clubhouse are an evolution of Snap or Twitter where influencers of all sorts gather to build a new following on new platforms.
However, one of the most interesting things we’re seeing is the emergence of contextual social networks that are focused on solving real-life problems. We see a lot more companies taking the best of audio and video experiences and experimenting with the next iteration of apps like Headspace and Calm, to solve societal issues, personal issues such as how to deal with anxiety, etc. These social networks may not scale as quickly or grab headlines like Clubhouse but they’re designed to bring people together to solve problems. We are also seeing professionalized networks such as Valence or Chief use these audio/video networks to address issues for a particular gender or underrepresented group, or apps that create virtual networking for communities.
Digital media delivered with differentiated experiences: Peloton may not immediately jump to mind as a digital-media company but they are one of the best at producing a high-value experience using extremely high-quality content that goes far beyond simple fitness or even the need for hardware. Increasingly more categories will become “Netflix-ized” where content is king and the experience is delivered through your smartphone.
As with Peloton, the experience is further enhanced with social interaction, such as leader boards, access to the best instructors, etc., which in turn expands the reach of the content. It’s a powerful loop that is driven by quality content, and the components feed off each other to make it more accessible. If you then couple it with Affirm to make it more affordable, you’ve got a flywheel on steroids. This pattern will emerge in other categories.
Consumerization of enterprise communication: Another aspect of media is communication, which we are seeing evolve in the enterprise space. It started with Slack a few years ago and Zoom more recently. Now with companies like Yak or the emergence of various conference apps, we see a higher usage frequency between companies, companies and their customers, and within the enterprise itself.
How much time are you spending looking at media startups right now?
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Xbox Live Gold is getting a big price hike
In what feels like an attempt at kicking some bad news under the rug on a Friday, Microsoft announced this morning that the price of Xbox Live Gold is going up.
Here’s how the price changes break down:
- The one-month plan is going from $10 per month to $11.
- The three-month plan is going from $25 to $30.
- The six-month plan is going from $40 to $60 — but only for new customers, says Microsoft.
“But what about the twelve-month plan? Didn’t they used to offer those?”
They did! It was $60 — or the price that a six-month subscription will go for now. They stopped selling twelve-month plans back in July of last year, presumably because this change was on the horizon and they would’ve had to acknowledge on the price tag that 12 months of Live Gold would cost $120.
The good news: the price hike on the six-month plan only impacts new customers. If you’ve already got a six-month subscription (or are grandfathered into an auto-renewing twelve-month subscription), Xbox Support confirmed in a tweet that the price won’t increase:
If you’re on the one-month or three-month plans, though, it sounds like you’ll be paying the new price.
So why bump the cost? Microsoft doesn’t officially outline their reasoning (beyond pointing out that they haven’t increased the price in years, or as long as a decade in some regions), but one can assume it’s at least partially to make the $15 a month Xbox Game Pass (which bundles Xbox Live Gold with a library of all-you-can-eat, on-demand titles) that much more alluring.
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Chinese esports player VSPN closes $60M Series B+ round to boost its international strategy
eSports “total solutions provider” VSPN (Versus Programming Network) has closed a $60 million Series B+ funding round, joined by Prospect Avenue Capital (PAC), Guotai Junan International and Nan Fung Group.
VSPN facilitates esports competitions in China, which is a massive industry and has expanded into related areas such as esports venues. It is the principal tournament organizer and broadcaster for a number of top competitions, partnering with more than 70% of China’s eSports tournaments.
The “B+” funding round comes only three months after the company raised around $100 million in a Series B funding round, led by Tencent Holdings.
This funding round will, among other things, be used to branch out VSPN’s overseas esports services.
Dino Ying, Founder, and CEO of VSPN said in a statement: “The esports industry is through its nascent phase and is entering a new era. In this coming year, we at VSPN look forward to showcasing diversified esports products and content… and we are counting the days until the pandemic is over.”
Ming Liao, the co-founder of PAC, commented: “As a one-of-its-kind company in the capital market, VSPN is renowned for its financial management; these credentials will be strong foundations for VSPN’s future development.”
Xuan Zhao, Head of Private Equity at Guotai Junan International said: “We at Guotai Junan International are very optimistic of VSPN’s sharp market insight as well as their team’s exceptional business model.”
Meng Gao, Managing Director at Nan Fung Group’s CEO’s Office said: “Nan Fung is honored to be a part of this round of investment for VSPN in strengthening their current business model and promoting the rapid development of emerging services and the esports streaming ecosystem.”
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PlayVS acquires GameSeta to accelerate expansion into Canada
PlayVS, the esports company bringing organized leagues to high schools and colleges, is today announcing its first acquisition. The startup, which has raised more than $100 million, has acquired GameSeta, a Vancouver-based startup that is also looking to provide infrastructure for high school esports teams. The terms of the deal were not disclosed.
The deal will accelerate PlayVS during its growth phase and help it expand into the Canadian market. GameSeta has a partnership with BC School Sports, the governing body for organized school sports in British Columbia, which will transfer to PlayVS.
PlayVS has a similar (and exclusive) partnership with NFHS, the high school equivalent of the NCAA, here in the States. The company has also sprinted into the college market, launching a college product as part of a partnership between PlayVS and Epic Games. Since launching a college offering, total player growth is up 460 percent. The company has also launched a new $900,000 scholarship pool for high schools and colleges.
Founded by Delane Parnell in the beginning of 2018, PlayVS has grown rapidly, brokering partnerships with school sports organizations and publishers alike. In fact, PlayVS title offerings include League of Legends, Rocket League, SMITE, Overwatch, Fortnite, FIFA 21 and Madden NFL 21. PlayVS has served more than 19,000 high schools across all 50 states. It boasts more than 230,000 registered users.
PlayVS acts as a portal for schools to create esports teams and compete against other schools. Traditional sports like basketball and baseball have established systems (and governing organizations) to organize league schedules, playoffs, referees and more. PlayVS has positioned itself as that governing body and organizational system for esports.
Not only does PlayVS facilitate these leagues, but it also offers colleges and esports organizations a much-needed recruitment tool, letting them view games and track metrics of individual players.
As part of the acquisition, GameSeta’s Tawanda Masawi and Rana Taj will join the PlayVS team and lead Canadian operations.
Alongside geographic expansion, PlayVS is also looking to expand beyond high schools and colleges with plans to launch a direct to consumer product.
“We’re going to launch some direct consumer products directly in partnership with publishers to open up the PlayVS ecosystem so people can organize and join competitions, whether they are associated with high schools or otherwise,” said Parnell. “We’re really excited about that. The markets in general have just shown great appetite for gaming as a form of entertainment and content. Obviously, players are really excited about eSports as a form of content and a way to engage in competition and so we want to make sure that PlayVS is a place where people compete more broadly.”
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Valve and five PC games publishers fined $9.4M for illegal geo-blocking
A lengthy antitrust investigation into PC games geo-blocking in the European Union by distribution platform Valve and five games publishers has led to fines totalling €7.8 million (~$9.4 million) after the Commission confirmed today that the bloc’s rules had been breached.
The geo-blocking practices investigated since before 2017 concerned around 100 PC video games of different genres, including sports, simulation and action games.
In addition to Valve — which has been fined just over €1.6 million — the five sanctioned games publishers are: Bandai Namco (fined €340,000), Capcom (€396,000), Focus Home (€2.8 million), Koch Media (€977,000) and ZeniMax (€1.6 million).
The Commission said the fines were reduced by between 10% and 15% owing to cooperation from the companies, with the exception of Valve, which it said chose not to cooperate (a “prohibition Decision” rather than a fine reduction was applied in its case).
Valve has been contacted for comment. Update: A company spokesman said: “During the seven year investigation Valve has cooperated fully, providing all requested evidence and information to the Commission. We disagree with these findings, and plan to appeal the decision.”
An in-depth antitrust investigation was announced publicly by the Commission in February 2017, with a formal statement of objections issued just over two years later — when it accused the companies of “entering into bilateral agreements to prevent consumers from purchasing and using PC video games acquired elsewhere than in their country of residence” in contravention of EU rules.
The mechanisms used by the companies to prevent certain cross-border sales of certain PC games were geo-blocked Steam activation keys and bilateral licensing and distribution agreements to restrict certain cross-border sales.
EU lawmakers has now found that these business practices partitioned certain European markets according to national borders — denying regional consumers the benefits of the EU’s Digital Single Market to shop around for the best offer.
Commenting in a statement, EVP Margrethe Vestager, who heads up competition policy for the bloc, said: “Today’s sanctions against the ‘geo-blocking’ practices of Valve and five PC video game publishers serve as a reminder that under EU competition law, companies are prohibited from contractually restricting cross-border sales. Such practices deprive European consumers of the benefits of the EU Digital Single Market and of the opportunity to shop around for the most suitable offer in the EU.”
According to the Commission’s investigation, geo-blocking of Steam activation keys prevented activation of certain of the five games’ publishers titles outside of Czechia, Poland, Hungary, Romania, Slovakia, Estonia, Latvia and Lithuania.
It said agreements between the companies to geo-block activation keys had lasted between one and five years and were found to have been implemented at various times between September 2010 and October 2015.
While four of the games publishers (not Capcom) were found to have entered into licensing and distribution agreements with various PC games distributors (not Valve) in the European Economic Area (EEA) which contained clauses which restricted cross-border sales of the affected titles within the EEA, including the aforementioned Central and Eastern European countries.
The Commission said these agreements lasted generally longer (“between three and 11 years”), and were implemented at different times between March 2007 and November 2018.
Since the investigation started, EU lawmakers have passed a regulation against unjustified geo-blocking. Although the legislation only applies to PC video games distributed on CDs or DVDs, not to downloads. So games are only partially covered.
A Commission review of how the geo-blocking regulation is operating, published last November, discussed a possible extension of its scope in a range of areas, including for games. However it did not make a strong case for that change. (It also found demand for cross-border access to games, and software generally, relatively low versus other content services.)
But while games distributed via digital downloads look set to remain outside the scope of the EU’s unjustified geo-blocking regulation, the fines against Valve et al. show that geo-blocking can still be a legal minefield as contractual agreements to restrict cross-border sales run counter to the bloc’s antitrust rules.
The specific breaches are of Article 101 of the Treaty on the Functioning of the European Union (TFEU) and Article 53 of the Agreement on the European Economic Area which prohibit agreements between companies that prevent, restrict or distort competition within the EU’s Single Market, per the Commission.
Update 2: Valve has now sent additional details of its disagreement with the Commission’s findings, and denied that it did not cooperate with the investigation. It also warned the elimination of region locks could result in games publishers raising prices in some “less affluent” regions to avoid price arbitrage.
Its spokesman told us:
During the seven year investigation, Valve cooperated extensively with the European Commission (“EC”), providing evidence and information as requested. However, Valve declined to admit that it broke the law, as the EC demanded. Valve disagrees with the EC findings and the fine levied against Valve.
The EC’s charges do not relate to the sale of PC games on Steam – Valve’s PC gaming service. Instead the EC alleges that Valve enabled geo-blocking by providing Steam activation keys and – upon the publishers’ request – locking those keys to particular territories (“region locks”) within the EEA. Such keys allow a customer to activate and play a game on Steam when the user has purchased it from a third-party reseller. Valve provides Steam activation keys free of charge and does not receive any share of the purchase price when a game is sold by third-party resellers (such as a retailer or other online store).
The region locks only applied to a small number of game titles. Approximately just 3% of all games using Steam (and none of Valve’s own games) at the time were subject to the contested region locks in the EEA.
Valve believes that the EC’s extension of liability to a platform provider in these circumstances is not supported by applicable law. Nonetheless, because of the EC’s concerns, Valve actually turned off region locks within the EEA starting in 2015, unless those region locks were necessary for local legal requirements (such as German content laws) or geographic limits on where the Steam partner is licensed to distribute a game. The elimination of region locks may also cause publishers to raise prices in less affluent regions to avoid price arbitrage. There are no costs involved in sending activation keys from one country to another, and the activation key is all a user needs to activate and play a PC game.
This report was updated with comment from Valve. We also made a correction after initially stating that the EU’s investigation had taken four years, starting in 2017. That was the date the Commission announced it was launching an in-depth investigation. But, per Valve, the probe took longer — spanning seven years.
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