Gaming
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Singularity 6 raises $30M to fund upcoming fantasy ‘community simulation’ MMO
LA-based game studio Singularity 6 has banked more funding as it scales itself up and readies for the launch of its debut title.
The startup tells TechCrunch they’ve raised $30 million in a Series B bout of funding led by FunPlus Ventures with additional participation from Andreessen Horowitz (a16z), LVP, Transcend, Anthos Capital and Mitch Lasky. The studio has now disclosed some $49 million in funding, a sizable sum, but one that showcases how much investors are looking to rally around gaming platform plays in the wake of Roblox’s monster IPO.
In 2019, Singularity 6 raised a $16.5 million Series A led by Andreessen Horowitz. At the time, the studio was mum on details about its upcoming debut title, but we’ve learned more about it since.
The title, Palia, is a community simulation game that seems to be more focused on Animal Crossing-like community mechanics in an MMO environment, rather than endless battles. Last month, the studio showcased a launch trailer of the title which hinted at a good deal of the gameplay. Palia looks to be a medieval Zelda-like environment where users can move between towns in an open world environment while farming and collecting resources to build structures in a shared world.
The company has said in marketing materials that the title is “designed to create community, friendships and a real sense of belonging.” In a statement, a16z partner Jonathan Lai called the upcoming title, “warm and dynamic.”
There are still quite a bit of unanswered questions about the title, which is currently taking sign-ups on its website to be alerted to pre-alpha access. We do know that plenty of VCs are betting millions on the prospect that this multiplayer title could be big.
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Dream Games raises $155M at a $1B valuation as its Royal Match puzzle game hits a royal flush
Istanbul in Turkey continues to prove itself as very fertile ground for casual gaming startups, which appear to be growing from small seedlings into sizable trees. In the latest development, Dream Games — a developer of mobile puzzle games — has raised $155 million in funding, a Series B that values the startup at $1 billion.
This is a massive leap for the company, which raised $50 million (the largest Series A in Turkey’s startup history) only 3.5 months ago. This latest round is being co-led by Index Ventures and Makers Fund, with Balderton Capital, IVP and Kora also participating. It also comes in the wake of a bigger set of deals in the world of gaming and developers in Turkey, the most prominent of which saw Zynga acquire Peak Games for $1.8 billion, amid other acquisitions. Dream is one of several startups in the region founded by alums from Peak.
The focus of the funding, and currently of Dream Games itself, is Royal Match, a puzzle game (iOS, Android) that launched globally in March.
The game has been a huge hit for Dream, with 6 million monthly active users and $20 million/month in revenues from in-game purchases (not ads), according to figures from AppAnnie. (A source close to the company confirmed the figures are accurate, but Dream did not disclose its revenue numbers or revenues directly.) This has catapulted it into the top-20 grossing games categories in the U.S., U.K., and Germany, the same echelon as much older and bigger titles like Candy Crush and Homescapes.
“The funding will be used for heavy user acquisition in every channel and every geography,” Soner Aydemir, co-founder and CEO, Dream Games, told me in an interview. He said Asia would be a focus in that, specifically Japan, South Korea and China. “Our main target is to scale the game so that it becomes one of the biggest games in the global market.”
The world of mobile gaming has in many respects been a very cyclical and fickle one: today’s hot title becomes tomorrow’s has-been, while for developers, they can go through dozens of development processes and launches (and related costs) before they find a hit, if they find a hit. The role of app-install ads and other marketing tools to juice numbers has also been a problematic lever for growth: take away the costs of running those and often the house of cards falls apart.
Aydemir agrees, and while the company will be investing in those aforementioned in-game ads to encourage more downloads of Royal Match, he also said that this strategy can work, but only if the fundamentals of the game are solid, as is the case here.
“If you don’t have good enough metrics, even with all the money in the world it’s impossible to scale,” he said. “But our LTV [lifetime value] is high, and so we think it can be scaled in a sustainable way because of the quality of the game. It always depends on the product.”
In addition to its huge growth, Dream has taken a very focused approach with Royal Match, working on it for years before finally releasing it.
“We spent so much time on tiny details, so many tests over several years to create the dynamics of the game,” he said. “But we also have a feel for it,” he added, referring to the team’s previous lives at Peak Games. “Our users really appreciate this approach.”
For now, too, the focus will just one the one game, he said. Why not two, I asked?
“We believe in Pixar’s approach,” Aydemir said. “When Pixar started, it was very low frequency, a movie every 2-3 years but eventually the rate increased. And it will be similar for us. This year we need to focus on Royal Match but if we can find a way to create other games, we will.”
He added that the challenge — one that many startups know all too well — is that building a new product, in this case a new game, can take the focus away when you are a small team and also working on sustaining and maintaining a current game. “That is the most difficult and challenging part. If we can manage it we will be successful; otherwise we will fail because our business model is basically creating new IP.” He added that it’s likely that another game will be released out into the world at the beginning of next year.
The focus, in any case, was one of the selling points for its investors. “The Dream Games team’s deep genre insight, laser-focus on detail and team chemistry has helped create the early success of Royal Match,” said Michael Cheung, General Partner at Makers Fund, in a statement. “We’re excited to be on the journey with them as they grow Royal Match globally.”
In terms of monetization, Dream Games is pretty firmly in the camp of “no ads, just in-app purchases,” he said. “It’s really bad for user experience and we only care about user experience, so if you put ads in, it conflicts with that.”
Some of the struggles of building new while improving old product will of course get solved with this cash, and the subsequent hiring that Dream Games can do (and it’s doing a lot of that, judging by the careers section of its website). As more startups emerge out of the country — not just in gaming but also areas like e-commerce, where startups like Getir are for example making big waves in instant grocery delivery — it will be interesting to see how that bigger talent pool evolves.
“Since its launch in early March, Royal Match has become one of the top casual puzzle titles globally, driven by once in a decade retention metrics. It speaks to the sheer quality of the title that the Dream Games team has built and the flawless polish and execution across the board,” commented Stephane Kurgan, venture partner at Index Ventures and former COO of King. Index is also the backer of Roblox, Discord, King and Supercell, in a statement.
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Electronic Arts buys mobile game studio Playdemic for $1.4 billion
Video game giant Electronic Arts is continuing to make M&A moves as it looks to bulk up its presence in the mobile gaming world.
Fresh off the $2.4 billion acquisition of Glu Mobile this past April, their biggest purchase to date, Electronic Arts announced Wednesday that they are buying Warner Bros. Games’ mobile gaming studio Playdemic for $1.4 billion in an all-cash deal. The Manchester studio is best known for its release “Golf Clash” which the studio boasts has more than 80 million downloads globally.
The rather ominously named startup is being jettisoned to its new home ahead of the $43 billion WarnerMedia-Discovery deal where the rest of the Warner Bros. Games division will live post-merger.
Electronic Arts is the second-largest Western video games company with a market cap around $40 billion. Their success has largely come from desktop and console titles, including titles in their most popular franchises like Battlefield, Star Wars and Titanfall. Mobile dominance hasn’t come easy to the company, which has spent much of the past decade or so trying to keep pace with competitors like Activision Blizzard which struck gold with its 2016 King acquisition.
Electronic Arts has been on a studio-buying spree as of late — in 2021 they’ve announced three major acquisitions worth some $5 billion combined.
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Hit game PUBG Mobile returns to India with scores of questions
Krafton, which filed for an IPO earlier this week, has built a gigantic gaming empire. If the firm is able to raise the target $5 billion from the IPO it will be the largest public offering in its home country, South Korea. The firm has something to celebrate elsewhere in the world, too.
On Thursday, it pulled off another feat that no other firm has been able to achieve: Its sleeper hit title, PUBG Mobile, has made a return to India, which banned the title more than nine months ago.
The world’s second-largest internet market banned over 200 apps last year citing national security concerns. All the apps New Delhi blocked in the nation had links to China. The move was seen by many as retaliation as tension between the two nuclear-armed neighboring nations escalated last year.
Every other app that has been banned by India — and pulled by Google and Apple from their respective app stores in the country in compliance with local government orders — remains in that state. ByteDance, whose TikTok app identified India as its largest market, has significantly downsized its team in the country. (ByteDance runs several businesses in India and many remain operational. Employees have been instructed to stay off the radar.)
Which is what makes PUBG Mobile’s return to India all the more interesting. The game, which has been rebranded to Battlegrounds Mobile India in the South Asia market, is available to download from the Play Store for any user in the country — provided they sign up for an early access before the imminent launch.
Even as PUBG Mobile is now using a different moniker, the game follows the same plot, and the identical home screen greets users with the familiar ecstatic background score.
Moreover, users are offered a quick and straightforward option to migrate their PUBG Mobile accounts to the new app.
Rishi Alwani, the quintessential gaming reporter in India who edits IGN India, told TechCrunch that the new game is “essentially PUBG Mobile with data compliance, green blood, and a constant reminder that you’re in a ‘virtual world’ with such messaging present as you start a game and when you’re in menus.”
The changes are likely Krafton’s attempt to assuage previous concerns from the local authorities, some of whom had expressed concerns about the game’s affect on youngsters.
Image Credits: TechCrunch / screen capture
But these on-the-surface changes raise a set of bigger questions that have been a topic of discussion among several startup founders and policy executives in India in recent months:
- Did the government of India approve the new game?
- If not, why has Google permitted the app on the Play Store?
- Assuming the Indian government has approved the new game, what steps did Krafton take that adequately addressed the Indian government’s concerns?
- Why has no other app been able to make a return to India so far?
Neither the Indian government nor Krafton have publicly said anything on this subject. Krafton, on its part, has taken steps to assuage India’s concerns. For instance, last year the South Korean firm cut ties with its publishing partner Tencent, the only visible Chinese affiliation — if the Indian government was indeed banning just Chinese apps. Krafton also publicly announced that it will be investing $100 million in India’s gaming ecosystem.
The Indian government’s order and the communication and compliance mechanism for concerned entities have been so opaque on this subject that it is unclear on what grounds Krafton has been able to bring the game back.
One explanation — albeit admittedly full of speculation — is that it’s a new app in the sense that it has a new app ID. In this instance, it happens to have a new developer account, too. Remember, India banned apps, and not the firms themselves. Several Tencent and Alibaba apps, for instance, remain available in India.
This would also explain how BIGO has been able to launch a new app — Tiki Video — under a new developer account and plenty of effort to conceal its connection. That app, which was launched in late February, has amassed over 16 million monthly active users, according to mobile insight firm App Annie. The app’s existence and affiliation with BIGO have not been previously reported.
But the question remains, are these simple workarounds enough to escape the ban? To be sure, some apps, including Battlegrounds Mobile India, are also hosting their data in the country now, and have agreed for periodic audits. So is that enough? And if it is, why aren’t most — if not all — apps making a return to India?
Regardless, the return of PUBG Mobile India is a welcome move for tens of millions of users in the country, many of whom — about 38 million last month, according to App Annie — were using workarounds themselves to continue to play the game.
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E3 2021 wrap-up
E3 2021 kicked off with news about E3 2022. Kind of a funny way to start a show, as Mayor Eric Garcetti told the crowd, “we look forward to seeing you in-person, here in the City of Angels, in 2022.” Also a bit funny when the mayor’s video game show announcement has less confetti and Minions than his state-reopening speech, but that’s something for another post.
It’s understandable, of course, that E3’s organizers led with that news. The 2021 show was, like so many other things over the past year-and-a-half, a historic anomaly. After opting to skip the 2020 show altogether (understandably), it went ahead with the first — and for the time being, last — all virtual event.
The virtual event always seems like a good idea, in theory. In practice, results vary wildly depending on a number of factors, not the least of which is content. Many shows have an uphill battle when it comes to moving all online. CES, I think, was a struggle, due in part to the size of the show, but also the content. As ubiquitous as consumer electronics are, I don’t see wide swaths of the internet champing at the bit to watch a presentation from anyone but, say, Apple and maybe Samsung.
E3 doesn’t have that problem. The show already had a leg up, having moved away from industry-only to something more hybrid years ago. Unlike other shows I attend regularly, people in downtown LA actually get a bit of a buzz when E3 comes to town. Everyone’s a gamer and most are excited about some piece of upcoming news. Uber and Lyft drivers love to tell you about it that week.
It follows that the show’s online presence is immense. The days leading up to the event, E3-related content was trending all over the place — people watch trailers, argue about the trailers, stream about the trailers and argue about other people’s streams about the trailers on their own streams. It’s a recipe for success around a virtual event — especially coming after a year when, even before the latest Xbox and PlayStation were released, the industry was already setting records amid the pandemic.
Of the big three, Microsoft won, hands down. Sorry, Sony, you can’t win if you don’t play. Nintendo was solid, but not spectacular. But more on that in a moment.
I talked a fair bit about the Xbox press conference in the last one of these. But the long and short of it is Microsoft won on two flanks: sheer volume and Game Pass titles. That last bit feels about as close to a silver bullet as we’re going to see in this generation of consoles. Likely Sony is going to have its own virtual event in the near future — but it’s going to be a tough act to follow.
In all, Microsoft showed off 30 games (and a fridge), a whopping 27 of which will be available on Game Pass, if there were any doubt as to how all-in the company is on its subscription service. And, of course, there’s the fact that this was billed as a Microsoft/Bethesda event, which shows you how important that massive acquisition is to the future of Xbox.
As for Nintendo, let’s be honest. Anything that didn’t include the long-rumored Switch Pro was going to be a disappointment. The original Switch is four years old and due for a big upgrade, beyond the Switch Lite and a refresh with added battery. It’s time for that HD screen — the thing would sell like hotcakes next holiday.
Thing is, the Switch had a spectacular 2020. Even with an initial supply chain shortage (something all three current consoles are guilty of), it did gangbusters during the pandemic, due in no small part to the arrival of a long-awaited new Animal Crossing game. A low-pressure, social title between fuzzy animals was precisely what the world needed last year, and Nintendo was happy to deliver.
There’s also a good chance that Nintendo is dealing with continued supply chain issues around the new components. So while it seems likely the Pro is on the way (see: the new Guardians of the Galaxy game), we’ll likely have to wait until next year.
We’ll also have to wait until next year for Breath of the Wild 2, but at least the sequel to the much-loved Zelda game had the decency to show up this year. And, of course, we’ve got a bunch of great-looking titles coming for the system. Some highlights.
Some old-school 2D side-scrolling hotness for Metroid Dread.
Hey, neat, a Game and Watch with some classic Zelda titles.
Talk about long-awaited, Shin Megami Tensai V has been teased since 2017.
Mario Party Superstars is coming October 29, with 100 mini-games.
Super Monkey Ball Banana Mania arrives October 5, doing what Super Monkey Ball does best.
In addition to all of the Square-Enix and Ubisoft stuff we discussed last time, Capcom gave us updates to Monster Hunter Stories 2: Wings of Ruin and Resident Evil Village.
That about does it. See you next year in LA. But maybe leave the Minion costumes at home (sorry Mr. Mayor).
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Facebook CEO Mark Zuckerberg hosts first test of Live Audio Rooms in US
In April, Facebook announced a slew of new audio products, including its Clubhouse clone, called Live Audio Rooms, which will be available across both Facebook and Messenger. Since May, Facebook has been publicly testing the audio rooms feature in Taiwan with public figures, but today the company hosted its first public test of Live Audio Rooms in the U.S. The event itself was hosted by Facebook CEO Mark Zuckerberg, who chatted with fellow execs and creators.
Joining Zuckerberg were Facebook VP and Head of Facebook Reality Labs Andrew “Boz” Bosworth, Head of Facebook App Fidji Simo and three Facebook Gaming creators, including StoneMountain64, QueenEliminator and TheFierceDivaQueen.
Image Credits: Facebook screenshot
The creators used their time in the Audio Room to talk more about their gaming journeys on Facebook, what kind of games they were streaming and other gaming-related matters. Zuckerberg also briefly teased new gaming features, including a new type of post, coming soon, called “Looking for Players.” This post type will help creators find others in the community to play games with while they’re streaming.
In addition, badges that are earned from livestreams will now carry over to fan groups, Zuckerberg said, adding that it was a highly requested feature by creators and fans alike.
Fan groups will also now become available to all partnered creators on Facebook Gaming, starting today, and will roll out to others in the coming weeks.
Image Credits: Facebook screenshot
The experience of using the Live Audio Room is very much like what you’d expect on another platform, like Clubhouse or Twitter Spaces. The event’s hosts appear in rounded profile icons at the top of the screen, while the listeners appear in the bottom half of the screen, as smaller icons. In between is a section that includes people followed by the speakers.
The active speaker is indicated with a glowing ring in shades of Facebook blue, purple and pink. If verified, a blue check appears next to their name.
Listeners can “Like” or otherwise react to the content as it streams live using the “Thumbs Up” button at the bottom of the screen. And they can choose to share the Audio Room either in a Facebook post, in a Group, with a friend directly or through other apps.
Image Credits: Facebook screenshot
A toggle switch under the room’s three-dot “more” menu lets you turn on or off auto-generated captions, for accessibility. From here, you can also report users or any issues or bugs you encountered.
The Live Audio Room today did not offer any option for raising your hand or joining the speakers on stage — it was more of a “few-to-many” broadcast experience.
Before today, TechCrunch received a couple of tips from users who reported seeing the Audio Rooms option appear for them in the Facebook app. However, the company told us it had only tested Live Audio Rooms in the U.S. with employees.
During the test period, Live Audio Rooms are only available on iOS and Android, we’re told.
Zuckerberg also used today’s event to talk more broadly about Facebook’s plans for the creator economy going forward.
“I think a good vision for the future is one where a lot more people get to do creative work and work that they enjoy, and fewer people have to do work that they just find a chore. And, in order to do that, a lot of what we need to do is basically build out a bunch of these different monetization tools,” explained Zuckerberg. “Not all creators are going to have the same business model. So having the ability to basically use a lot of different tools like Fiji [Simo] was talking about — for some people it might be, Stars or ad revenue share or subscriptions or selling things or different kinds of things like that — that will be important and part of making this all add up.”
He noted also that the tools Facebook is building go beyond gaming, saying that Facebook intends to support journalists, writers and others — likely a reference to the company’s upcoming Substack clone, Bulletin, expected to launch later this month.
Zuckerberg additionally spoke about how the company won’t immediately take a cut of the revenue generated from creators’ content.
“Having this period where we’re not taking a cut and more people can get into these kinds of roles, I think is going to be a good thing to do — especially given how hard hit a lot of parts of the economy have been with COVID and the pandemic,” he said.
More realistically, of course, Facebook’s decision to not take an immediate cut of some creator revenue is a decision it’s making in order to help attract more creators to its service, in the face of so much competition across the industry.
Clubhouse, for example, is currently wooing creators with a payments feature, where creators keep 100% of their revenue. And it’s funding some creators’ shows. Twitter, meanwhile, is tying its audio product Spaces to its broader set of creator tools, which now include newsletters, tips and, soon, a subscription platform dubbed Super Follow.
Zuckerberg didn’t say during today’s event when Live Audio Rooms would be available to the public, but said the experience would roll out to “a lot more people soon.”
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Nintendo teases 2022 release for Breath of the Wild sequel and releases Zelda Game & Watch to tide us over
Nintendo defied expectations today with an E3-timed Direct showing off not the hoped-for new Switch hardware but a dozen or so new games — as well as a general release window for the much-anticipated next Zelda game. And to celebrate the original’s 35th anniversary, it will sell a new Game & Watch featuring the first three games in the series.
Among other things, Nintendo showed off remasters or remakes of titles from the “Monkey Ball,” “Mario Party,” “Advance Wars, “Wario Ware” and other series, and announced new entries in the “Mario + Rabbids” and “Shin Megami Tensei” worlds. Other newly announced or teased games will be making it to Switch as well, like the new “Guardians of the Galaxy.”
Perhaps most surprising was the inclusion of a new side-scrolling Metroid game, the first in nearly 20 years — and in fact, it has been in and out of development for half that time. “Metroid Dread,” the fifth in the mainline series that began on the NES, will release October 8, and we’ll see if Nintendo has managed to keep pace in a genre it pioneered but others have refined.
Image Credits: Nintendo
Everyone was hoping for Zelda news, however, and Nintendo… only slightly disappointed us. As the announcers noted, it’s the 35th anniversary of the NES original, and the perfect time to announce something truly special, but they have “no campaigns or other Nintendo Switch games planned.”
Instead, they offered an admittedly tempting Game & Watch in the style of the one we saw released last year for the Mario series. I had lots of good things to say about that device, and the new one will no doubt be just as fun. The ability to pause the game and pick it up later (but not rewind or save states) should make for a fun, authentic playthrough of the first three games in the Zelda series: “The Legend of Zelda” and “Zelda II: The Adventure of Link” for NES, and “Link’s Awakening” for Game Boy (recently remade).
Image Credits: Nintendo
The last item on the list was a new look at the follow-up to Breath of the Wild, which years after its debut still shines as one of the, if not the, best game on the Switch. Its sequel has a lot to live up to!
While the first trailer was all cinematic, this one showed gameplay and the overworld, including a new level of verticality that brings flying fortresses and castles in the air into play. It certainly looks impressive, but one wonders how much further the company can push its Switch hardware. After all, “Breath of the Wild” pushed the system to its limits at its debut, and even then it was not as powerful as its rivals from Microsoft and Sony — both now replaced by a new generation.
One hopes that Nintendo is simply being weird and has a trick up its sleeve, as it has many times before. The Switch was announced out of nowhere, and previous hardware updates have also dropped with little or no warning and seemingly arbitrary timing. What’s expected is an updated Switch that’s physically the same dimensions but considerably updated inside and using a larger, better display. Perfect backwards compatibility, like with the 3DS series of handhelds, also seems only logical. But Nintendo has always done its own thing and its fans wouldn’t have it any other way.
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Mobile game spending hits record $1.7B per week in Q1 2021, up 40% from pre-pandemic levels
The COVID-19 pandemic drove increased demand for mobile gaming, as consumers under lockdowns looked to online sources of entertainment, including games. But even as COVID-19 restrictions are easing up, the demand for mobile gaming isn’t slowing. According to a new report from mobile data and analytics provider App Annie in collaboration with IDC, users worldwide downloaded 30% more games in the first quarter of 2021 than in the fourth quarter of 2019, and spent a record-breaking $1.7 billion per week in mobile games in Q1 2021.
That figure is up 40% from pre-pandemic levels, the report noted.
Image Credits: App Annie
The U.S. and Germany led other markets in terms of growth in mobile game spending year-over-year as of Q1 2021 in the North American and Western European markets, respectively. Saudi Arabia and Turkey led the growth in the rest of the world, outside the Asia-Pacific region. The latter made up around half of the mobile game spend in the quarter, App Annie said.
The growth in mobile gaming, in part accelerated by the pandemic, also sees mobile further outpacing other forms of digital games consumption. This year, mobile gaming will increase its global lead over PC and Mac gaming to 2.9x and will extend its lead over home games consoles to 3.1x.
Image Credits: App Annie
However, this change comes at a time when the mobile and console market is continuing to merge, App Annie notes, as more mobile devices are capable of offering console-like graphics and gameplay experiences, including those with cross-platform capabilities and social gaming features.
Games with real-time online features tend to dominate the Top Grossing charts on the app stores, including things like player-vs-player and cross-play features. For example, the top grossing mobile game worldwide on iOS and Google Play in Q1 2021 was Roblox. This was followed by Genshin Impact, which just won an Apple Design Award during the Worldwide Developer Conference for its visual experience.
Image Credits: App Annie
The report also analyzed the ad market around gaming and the growth of mobile companion apps for game consoles, including My Nintendo, Xbox Game Pass, PlayStation App, Steam, Nintendo Switch and Xbox apps. Downloads for these apps peaked under lockdowns in April 2020 in the U.S., but continue to see stronger downloads than pre-pandemic.
Image Credits: App Annie
On the advertising front, App Annie says user sentiment toward in-game mobile ads improved in Q3 2020 compared with Q3 2019, but rewarded video ads and playable ads were preferred in the U.S.
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E3 2021 catch up
If you’re like me, you spent the weekend longing for the mixed bag that is downtown Los Angeles during E3. I’ve got fond memories of fish tacos, The Last Bookstore, watching playoff basketball in garishly lit hotel lobbies and, of course, video game press conference after video game press conference.
For a second year in a row, the show’s gone all virtual, owing to…well, you know, that virus that has defined the past year and a half of our lives. Last year’s show was canceled altogether (though a handful of companies still kept to the schedule). Show organizers simply didn’t think they would be able to pull together a digital event — and frankly, it’s probably for the best that they understood those limitations.
The 2021 event, which kicked off on Saturday, marks the first all-virtual version of the event. For the time being, it’s also the last. Mayor Eric Garcetti kicked off the show by announcing that E3 would return to the LA Convention Center in 2022.
Gaming had a banner 2020, and while growth has slowed, as parts of the world look forward to a post-pandemic life, things are still growing. Some well-timed numbers from NPD this morning point to a 3% year-over-year growth for May 2021, as spending on gaming rose to $4.5 billion. Year-to-date, things are up 17%.
The timing of last year’s canceled event was certainly unfortunate from a hardware standpoint. Console refreshes are massive events at E3. 2020 gave us the PlayStation 5 and Xbox Series X. Announcements were relegated to Sony and Microsoft’s own events. That meant the companies were able to draw things out — revealing small details, piece by piece, rather than saving everything for the big show. It’s a strategy that lends itself much better to virtual presentations and blog posts than it does big conventions.
Sony is sitting this one out, too. While it’s entirely possible the company will be holding a big, virtual State of Play event at some point this summer, it won’t be tied to E3. Still, some Sony execs like PlayStation Studios head Hermen Hulst used the opportunity congratulate Microsoft on “a great showcase” on Twitter. So that’s a nice thing.
Thus far, Microsoft is the only one of the big three to present at the event. Nintendo will be holding a Treehouse event tomorrow. The Switch Pro could be on tap for the event, with an upgraded OLED display and internals. That would likely also mean a bunch of upgraded content for the new version of the four-year-old console.
Microsoft, meanwhile, went big on games. Understandable, given the recent launch of the Series X. And, let’s face it, these virtual events are perfectly suited for playing a whole bunch of trailers. The company showcased 30 games (and a fridge) in all. Of those, 27 will be part of the Xbox Game Pass, in case you had any doubt about what the future of gaming on the Xbox will look like. The event was framed as a combination Xbox and Bethesda showcase, having acquired the publisher earlier this year.
“Our growing family of 23 studios is devoted to advancing the medium we all love,” the company writes, “so we were happy to share that now through the end of the year, you can look forward to back-to-back monthly releases coming to Xbox Game Pass on day one, led by a record five new titles from Xbox Game Studios this holiday, including Halo Infinite.”
Highlights include:
Halo Infinite got a trailer and some in-game multiplayer footage. The latest version of the beloved Xbox mainstay is arriving this holiday season.
Starfield will be arriving November 11 [deep breath] 2022. The expansive space title will be an Xbox exclusive at launch.
Forza Horizon 5 will arrive in November. The latest installment of the popular racing series is set in Mexico.
In a no-brainer crossover event, Sea of Thieves will be teaming up with Pirates of the Caribbean for gameplay featuring Captain Jack Sparrow and others.
Age of Empires IV got an extended trailer and release date: October 28.
Battlefield 2042 got its first gameplay, including a sweet new wing suit.
Microsoft’s Flight Simulator will be hitting the new Xboxes on July 27th, along with a Top Gun expansion pack. That’s in honor of Top Gun: Maverick, which is apparently still coming out at some point.
Square Enix also held its customary big showcase on Sunday. The publisher will be releasing a bunch of new Marvel titles. Highlights include:
The long-awaited Guardians of the Galaxy. The adventure title is set to launch this October.
Marvel’s Avenger, meanwhile, will be getting the Black Panther-themed expansion pack, War for Wakanda. That’s arriving in August.
It wouldn’t be a Square Enix event without a Final Fantasy spinoff, right? The perennial favorite RPG is birthing Stranger of Paradise Final Fantasy Origin, which arrives on a slew of different platforms next year.
Ubisoft, meanwhile, made waves on Saturday with a first look at the new Avatar adaptation, Avatar: Frontiers of Pandora.
Tom Clancy’s Rainbow Six: Extraction is due out on September 16. Originally titled Rainbow Six: Quarantine, the name was changed for obvious reasons.
Capcom and Take-Two will showcase tonight, followed by Nintendo Direct and Bandai Namco tomorrow. On Thursday, EA is set to hold its own Play Live event. Meanwhile, here’s some video of that new Xbox fridge. Who said there wasn’t any new hardware?
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Niantic is working with Hasbro on a Pokémon GO-style Transformers game
Niantic has encouraged the world to roam the streets as Pokémon trainers and wizards… next up? Time to transform and roll out.
Eighties mega toy Transformers is the latest IP to partner with Niantic to build a map-heavy, geolocation-centric game.
Details are still a bit light, but here’s just about everything we know:
- It’ll be called Transformers: Heavy Metal. They’ve put up a pre-registration page here.
- It’s being built in collaboration with Hasbro, TOMY and Seattle game team Very Very Spaceship.
- Players will be a part of the “Guardian Network,” according to the announcement, “a group of humans who have banded together with the Autobots in a war against the Decepticons.”
- It’s built on Niantic’s Lightship platform, the same underlying engine that powers Pokémon GO, Harry Potter Wizards Unite and the still in-development Catan: World Explorers.
- When’s it arriving? Nothing too specific yet, but it’ll launch in “select markets” soon, and then globally “later this year.” This staged rollout tends to be Niantic’s approach; Pokémon GO landed first in Japan, while Catan was quietly rolled out in New Zealand last year.
They’ve only released a bit of concept art so far, and it suggests gameplay not unlike GO and Wizards Unite. That battle screen on the right definitely looks a whole lot like a Pokémon GO battle:
Image Credits: Niantic
Will this one take over the world the way Pokémon GO did in the summer of 2016? Maybe not — that one hit a lot of the right notes at the right time, the perfect blend of novelty and nostalgia. But Wizards Unite has found enough of an audience that it’s still in active development two years after launch, so it seems Niantic sees room for more map-centric games. A rep for Niantic mentioned this being one of 10 real-world titles that the company currently has in development, suggesting that they see lots of room there.
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