Gaming
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Facebook has bought several virtual reality game studios over the past couple of years, and they added one more to their portfolio Friday with the acquisition of Seattle-based BigBox VR.
The studio’s major title, “Population: One,” was one of the big post-launch releases for Facebook’s Oculus Quest 2 headset and is a pretty direct Fortnite clone, copying a number of key gameplay techniques while adapting them for the movements unique to virtual reality and bringing in their own lore and art style.
As has been the case for most of these studio acquisitions, terms weren’t disclosed. BigBox raised $6.5 million according to Crunchbase, with funding from Shasta Ventures, Outpost Capital, Pioneer Square Labs and GSR Ventures.
“POP: ONE stormed onto the VR scene just nine months ago and has consistently ranked as one the top-performing titles on the Oculus platform, bringing together up to 24 people at a time to connect, play, and compete in a virtual world,” Facebook’s Mike Verdu wrote in a blog post.
It’s not unusual for a gaming hardware platform owner to build up their own web of studios building platform exclusives, but in the VR world things are a little different, given that Facebook has few real competitors.
While many of the developers inside Oculus Studios continue to build titles for Valve’s Steam store, which are accessible with third-party headsets, most non-Facebook VR platforms seem to be a shrinking piece of the overall VR pie, having been priced out of the market by Facebook’s aggressive pursuit of a mass market audience. Facebook’s Oculus Quest 2 retails for $299 and the company has said that it outsold all of its previous devices combined in its first few months.
In April, Facebook acquired Downpour Interactive, maker of the VR shooter “Onward.”
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Apple incorporated the announcement of this year’s Apple Design Award winners into its virtual Worldwide Developers Conference (WWDC) online event instead of waiting until the event had wrapped, like last year. Ahead of WWDC, Apple previewed the finalists, whose apps and games showcased a combination of technical achievement, design and ingenuity. This evening, Apple announced the winners across six new award categories.
In each category, Apple selected one app and one game as the winner.
In the Inclusivity category, winners supported people from a diversity of backgrounds, abilities and languages.
This year, winners included U.S.-based Aconite’s highly accessible game, HoloVista, where users can adjust various options for motion control, text sizes, text contrast, sound and visual effect intensity. In the game, users explore using the iPhone’s camera to find hidden objects, solve puzzles and more. (Our coverage)
Image Credits: Aconite
Another winner, Voice Dream Reader, is a text-to-speech app that supports more than two dozen languages and offers adaptive features and a high level of customizable settings.
Image Credits: Voice Dream LLC
In the Delight and Fun category, winners offer memorable and engaging experiences enhanced by Apple technologies. Belgium’s Pok Pok Playroom, a kid entertainment app that spun out of Snowman (Alto’s Adventure series), won for its thoughtful design and use of subtle haptics, sound effects and interactions. (Our coverage)
Image Credits: Pok Pok
Another winner included U.K.s’ Little Orpheus, a platformer that combines storytelling, surprises and fun, and offers a console-like experience in a casual game.
Image Credits: The Chinese Room
The Interaction category winners showcase apps that offer intuitive interfaces and effortless controls, Apple says.
The U.S.-based snarky weather app CARROT Weather won for its humorous forecasts, unique visuals and entertaining experience, which is also available as Apple Watch faces and widgets.
Image Credits: Brian Mueller, Grailr LLC
Canada’s Bird Alone game combines gestures, haptics, parallax and dynamic sound effects in clever ways to brings its world to life.
Image Credits: George Batchelor
A Social Impact category doled out awards to Denmark’s Be My Eyes, which enables people who are blind and low vision to identify objects by pairing them with volunteers from around the world using their camera. Today, it supports more than 300,000 users who are assisted by over 4.5 million volunteers. (Our coverage)
Image Credits: S/I Be My Eyes
U.K.’s ustwo games won in this category for Alba, a game that teaches about respecting the environment as players save wildlife, repair a bridge, clean up trash and more. The game also plants a tree for every download.
Image Credits: ustwo games
The Visuals and Graphics winners feature “stunning imagery, skillfully drawn interfaces, and high-quality animations,” Apple says.
Belarus-based Loóna offers sleepscape sessions, which combine relaxing activities and atmospheric sounds with storytelling to help people wind down at night. The app was recently awarded Google’s “best app” of 2020.
Image Credits: Loóna Inc
China’s Genshin Impact won for pushing the visual frontier on gaming, as motion blur, shadow quality and frame rate can be reconfigured on the fly. The game had previously made Apple’s Best of 2020 list and was Google’s best game of 2020.
Image Credits: miHoYo Limited
Innovation winners included India’s NaadSadhana, an all-in-one, studio-quality music app that helps artists perform and publish. The app uses AI and Core ML to listen and provide feedback on the accuracy of notes, and generates a backing track to match.
Image Credits: Sandeep Ranade
Riot Games’ League of Legends: Wild Rift (U.S.) won for taking a complex PC classic and delivering a full mobile experience that includes touchscreen controls, an auto-targeting system for newcomers and a mobile-exclusive camera setting.
Image Credits: Riot Games
The winners this year will receive a prize package that includes hardware and the award itself.
A video featuring the winners is here on the Apple Developer website.
“This year’s Apple Design Award winners have redefined what we’ve come to expect from a great app experience, and we congratulate them on a well-deserved win,” said Susan Prescott, Apple’s vice president of Worldwide Developer Relations, in a statement. “The work of these developers embodies the essential role apps and games play in our everyday lives, and serve as perfect examples of our six new award categories.”
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Microsoft will soon launch a dedicated device for game streaming, the company announced today. It’s also working with a number of TV manufacturers to build the Xbox experience right into their internet-connected screens and Microsoft plans to bring cloud gaming to the PC Xbox app later this year, too, with a focus on play-before-you-buy scenarios.
It’s unclear what these new game streaming devices will look like. Microsoft didn’t provide any further details. But chances are we’re talking about either a Chromecast-like streaming stick or a small Apple TV-like box. So far, we also don’t know which TV manufacturers it will partner with.
It’s no secret that Microsoft is bullish about cloud gaming. With Xbox Game Pass Ultimate, it’s already making it possible for its subscribers to play more than 100 console games on Android, streamed from the Azure cloud, for example. In a few weeks, it’ll open cloud gaming in the browser on Edge, Chrome and Safari, to all Xbox Game Pass Ultimate subscribers (it’s currently in limited beta). And it is bringing Game Pass Ultimate to Australia, Brazil, Mexico and Japan later this year, too.
In many ways, Microsoft is unbundling gaming from the hardware — similar to what Google is trying with Stadia (an effort that, so far, has fallen flat for Google) and Amazon with Luna. The major advantage Microsoft has here is a large library of popular games, something that’s mostly missing on competing services, with the exception of Nvidia’s GeForce Now platform — though that one has a different business model since its focus is not on a subscription but on allowing you to play the games you buy in third-party stores like Steam or the Epic store.
What Microsoft clearly wants to do is expand the overall Xbox ecosystem, even if that means it sells fewer dedicated high-powered consoles. The company likens this to the music industry’s transition to cloud-powered services backed by all-you-can-eat subscription models.
“We believe that games, that interactive entertainment, aren’t really about hardware and software. It’s not about pixels. It’s about people. Games bring people together,” said Microsoft’s Xbox head Phil Spencer. “Games build bridges and forge bonds, generating mutual empathy among people all over the world. Joy and community — that’s why we’re here.”
It’s worth noting that Microsoft says it’s not doing away with dedicated hardware, though, and is already working on the next generation of its console hardware — but don’t expect a new Xbox console anytime soon.
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Machine learning models have already mastered Chess, Go, Atari games and more, but in order for it to ascend to the next level, researchers at Facebook intend for AI to take on a different kind of game: the notoriously difficult and infinitely complex NetHack.
“We wanted to construct what we think is the most accessible ‘grand challenge’ with this game. It won’t solve AI, but it will unlock pathways towards better AI,” said Facebook AI Research’s Edward Grefenstette. “Games are a good domain to find our assumptions about what makes machines intelligent and break them.”
You may not be familiar with NetHack, but it’s one of the most influential games of all time. You’re an adventurer in a fantasy world, delving through the increasingly dangerous depths of a dungeon that’s different every time. You must battle monsters, navigate traps and other hazards, and meanwhile stay on good terms with your god. It’s the first “roguelike” (after Rogue, its immediate and much simpler predecessor) and arguably still the best — almost certainly the hardest.
(It’s free, by the way, and you can download and play it on nearly any platform.)
Its simple ASCII graphics, using a g for a goblin, an @ for the player, lines and dots for the level’s architecture, and so on, belie its incredible complexity. Because Nethack, which made its debut in 1987, has been under active development ever since, with its shifting team of developers expanding its roster of objects and creatures, rules, and the countless, countless interactions between them all.
And this is part of what makes NetHack such a difficult and interesting challenge for AI: It’s so open-ended. Not only is the world different every time, but every object and creature can interact in new ways, most of them hand-coded over decades to cover every possible player choice.
“Atari, Dota 2, StarCraft 2… the solutions we’ve had to make progress there are very interesting. NetHack just presents different challenges. You have to rely on human knowledge to play the game as a human,” said Grefenstette.
In these other games, there’s a more or less obvious strategy to winning. Of course it’s more complex in a game like Dota 2 than in an Atari 800 game, but the idea is the same — there are pieces the player controls, a game board of environment, and win conditions to pursue. That’s kind of the case in NetHack, but it’s weirder than that. For one thing, the game is different every time, and not just in the details.
“New dungeon, new world, new monsters and items, you don’t have a save point. If you make a mistake and die you don’t get a second shot. It’s a bit like real life,” said Grefenstette. “You have to learn from mistakes and come to new situations armed with that knowledge.”
Drinking a corrosive potion is a bad idea, of course, but what about throwing it at a monster? Coating your weapon with it? Pouring it on the lock of a treasure chest? Diluting it with water? We have intuitive ideas about these actions, but a game-playing AI doesn’t think the way we do.
The depth and complexity of the systems in NetHack are difficult to explain, but that diversity and difficulty make the game a perfect candidate for a competition, according to Grefenstette. “You have to rely on human knowledge to play the game,” he said.
People have been designing bots to play NetHack for many years that rely not on neural networks but decision trees as complex as the game itself. The team at Facebook Research hopes to engender a new approach by building a training environment that people can test machine learning-based game-playing algorithms on.
The NetHack Learning Environment was actually put together last year, but the NetHack Challenge is only just now getting started. The NLE is basically a version of the game embedded in a dedicated computing environment that lets an AI interact with it through text commands (directions, actions like attack or quaff)
It’s a tempting target for ambitious AI designers. While games like StarCraft 2 may enjoy a higher profile in some ways, NetHack is legendary and the idea of building a model on completely different lines from those used to dominate other games is an interesting challenge.
It’s also, as Grefenstette explained, a more accessible one than many in the past. If you wanted to build an AI for StarCraft 2, you needed a lot of computing power available to run visual recognition engines on the imagery from the game. But in this case the entire game is transmitted via text, making it extremely efficient to work with. It can be played thousands of times faster than any human could with even the most basic computing setup. That leaves the challenge wide open to individuals and groups who don’t have access to the kind of high-power setups necessary to power other machine learning methods.
“We wanted to create a research environment that had a lot of challenges for the AI community, but not restrict it to only large academic labs,” he said.
For the next few months, NLE will be available for people to test on, and competitors can basically build their bot or AI by whatever means they choose. But when the competition itself starts in earnest on October 15, they’ll be limited to interacting with the game in its controlled environment through standard commands — no special access, no inspecting RAM, etc.
The goal of the competition will be to complete the game, and the Facebook team will track how many times the agent “ascends,” as it’s called in NetHack, in a set amount of time. But “we’re assuming this is going to be zero for everyone,” Grefenstette admitted. After all, this is one of the hardest games ever made, and even humans who have played it for years have trouble winning even once in a lifetime, let alone several times in a row. There will be other scoring metrics to judge winners in a number of categories.
The hope is that this challenge provides the seed of a new approach to AI, one that more fundamentally resembles actual human thinking. Shortcuts, trial and error, score-hacking, and zerging won’t work here — the agent needs to learn systems of logic and apply them flexibly and intelligently, or die horribly at the hands of an enraged centaur or owlbear.
You can check out the rules and other specifics of the NetHack Challenge here. Results will be announced at the NeurIPS conference later this year.
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Even as NFT sales dip below their most speculative highs, startups aiming to tap into their potential are still scoring big funding rounds from investors who believe there’s much more to crypto collectibles than the past few months of hype.
Mythical Games, an NFT games startup based out of Los Angeles, has banked a $75 million raise from new and existing investors betting on the startup’s aim to expand the ambitions of their first title and locate a substantial platform opportunity amid helping developers build blockchain-based gaming experiences.
The round was led by WestCap. Existing investors were joined by 01 Advisors and Gary Vaynerchuk’s VaynerFund in the Series B funding. The startup has raised a whopping $120 million to date.
The company has been building a title called Blankos Block Party that seems to be Fall Guys meets Roblox meets Funko Pop. The PC game capitalizes on a number of big social gaming trends around user-created content, while adding in a marketplace where users can buy avatar figures and accessories crafted by a variety of artists and designers that Mythical has partnered with. Users can buy or sell the limited run or open edition items through their marketplace. Unlike some other NFT platforms, the goods live on a private blockchain so they can’t be re-sold on public marketplace platforms like OpenSea.
Mythical Games is part of a growing movement to bring blockchain-based game mechanics mainstream while leaving behind elements of crypto platforms that are seen as less ready for primetime. Users can purchase avatars on the platform with cryptocurrency through BitPay but they can also pay with a credit card. Users don’t need to walk through the mechanics of setting up a wallet or writing down a seed phrase either.
While the company has big hopes for Blankos as it onboards more users, the bigger investor opportunity is likely in the game engine that the team is building. The startup’s “Mythical Economic Engine” is being designed to help budding game builders create NFT-based marketplaces that won’t get them in any regulatory trouble, marrying compliance across geographies and tools that help creators comply with anti-money laundering laws and know-your-customer frameworks.
“With any new market like [NFTs], it goes through all these different cycles,” Mythical Games CEO John Linden tells TechCrunch. “We think this will actually change gaming for the long haul. The more we talk to game studios, we’re finding more and more potential use cases.”
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Playdate, app and game designer Panic’s first shot at hardware, finally has a firm price and ship date, as well as a bunch of surprise features cooked up since its announcement in 2019. The tiny handheld gaming console will cost $179, ship later this year and come with a 24-game “season” doled out over 12 weeks. But now it also has a cute speaker dock and low-code game creation platform.
We first heard about Playdate more than two years ago, were charmed by its clean look, funky crank control, and black and white display, and have been waiting for news ever since. Panic’s impeccable design credentials combined with Teenage Engineering’s creative hardware chops? It’s bound to be a joy to use, but there wasn’t much more than that to go on.
Now the company has revealed all the important details we were hoping for, and many more, to boot.
Originally we were expecting 12 games to be delivered over 12 weeks, but in the intervening period it seems they’ve collected more titles than planned, and that initial “season” of games has expanded to 24. No one knows exactly what to expect from these games except that they’re exclusive to the Playdate and many use the crank mechanic in what appear to be fun and interesting ways: turning a turntable, opening a little door, doing tricks as a surfer, and so on.
The team hasn’t decided how future games will be distributed, though they seem to have some ideas. Another season? One-off releases? Certainly the presence of a new game by one-man indie hit parade Lucas Pope would sell like hotcakes.
But the debut of a new lo-fi game development platform called Pulp suggests a future where self-publishing may also be an option. This lovely little web-based tool lets anyone put together a game using presets for things like controls and actions, and may prove to be a sort of tiny Twine in time.
A dock accessory was announced as well, something to keep your Playdate front and center on your desk. The speaker-equipped dock, also a lemony yellow, acts as a magnetic charging cradle for the console, activating a sort of stationary mode with a clock and music player (Poolsuite.fm, apparently, with original relaxing tunes). It even has two holes in which to put your pens (and Panic made a special yellow pen just for the purpose as well).
The $179 price may cause some to balk — after all, it’s considerably more than a Nintendo 3DS and with the dock probably approaches the price of a Switch. But this isn’t meant to be a competitor with mainstream gaming — instead, it’s a sort of anti-establishment system that embraces weirdness and provides something equally unfamiliar and undeniably fun.
The team says that there will be a week’s warning before orders can be placed, and that they don’t plan to shut orders down if inventory runs out, but simply allow people to preorder and cancel at will until they receive their unit. Shipping will begin in late 2021, and if the 20,000 units in the initial run don’t cover it, they’ll make more and ship as they come in.
We hope to get one ourselves to test and review, but since part of the charm of the whole thing is the timed release and social aspect of discovery and sharing, it’s more than likely we’ll be experiencing it along with everyone else.
(This article originally stated Playdate ships next month, but it will actually ship later — preorders begin next month.)
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Facebook has been making plenty of one-off virtual reality studio acquisitions lately, but today the company announced that they’re buying something with wider ambitions — a Roblox-like game creation platform.
Facebook shared that they’re buying Unit 2 Games, which builds a platform called Crayta. Like some other platforms out there, it builds on top of the Unreal Engine and gives users a more simple creation interface teamed with discovery and community features. Crayta has cornered its own niche pushing monetization paths like Battle Pass seasons, giving the platform a more Fortnite-like vibe as well.
Unit 2 has been around for just over three years, and Crayta launched just last July. Its audience has likely been limited by the studio’s deal to exclusively launch on Google’s cloud-streaming platform Stadia, though it’s also available on the Epic Games Store as of March.
The title feels designed for the lightweight nature of cloud-gaming platforms, with users able to share access to games just by linking other users, and Facebook seems keen to use Crayta to push forward their own efforts in the gaming sphere.
“Crayta has maximized current cloud-streaming technology to make game creation more accessible and easy to use. We plan to integrate Crayta’s creation toolset into Facebook Gaming’s cloud platform to instantly deliver new experiences on Facebook,” Facebook Gaming VP Vivek Sharma wrote in an announcement post.
The entire team will be coming on as part of the acquisition, though financial terms of the deal weren’t shared.
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Twitch announced today that it will release major updates to its Emotes this month to celebrate its 10th anniversary. These new features will include Animated Emotes, Follower Emotes and a Library for Emotes.
Since the origin of the livestreaming platform for gamers, Emotes — Twitch’s version of emojis — have been a key component of Twitch culture. They’re micro memes, and images like Kappa, TriHard and PogChamp have come to carry meaning in the greater gaming world, even off the Twitch platform.
“Emotes are a language that transcends countries,” said Ivan Santana, senior director of Community Product at Twitch. “Anywhere you are in the world, they mean the same thing for us.”
The Amazon-owned platform regularly adds new global Emotes, which can be used on any streamer’s channel. Individual creators can make custom Emotes for their own community, which paying subscribers can use across the platform. But the ability to add animated gifs as Emotes is something that the community has been asking for since Santana can remember.
“I’ve been at Twitch for four years, and it’s something people have been asking for since before I joined,” Santana told TechCrunch. “It’s certainly been a very, very long time.”
Streamers who lack animation skills need not worry. While the more tech-savvy among us can upload custom gifs, Twitch will provide six templates for streamers to choose from, which can animate their existing Emotes. These animations include Shake, Rave, Roll, Spin, Slide In and Slide Out. Viewers who are sensitive to animations will be able to turn off the feature in their Chat Settings.
Image Credits: Twitch
Twitch is also beta testing Follower Emotes, which will be available to select Partners and Affiliates. This feature creates a fun, free incentive for viewers to hit the follow button on a channel they might be checking out for the first time. When viewers follow a channel, they’ll be notified when the creator is streaming, which can lead to an eventual subscription. Twitch takes 50% of streamers’ subscription money, creating a valuable revenue stream for the company.
In Q1 of 2021, Twitch viewership hit an all-time high, growing 16.5% since the previous quarter. Twitch viewers watched 6.34 billion hours of content in Q1, making up 72.3% of the market share. That’s double the total hours watched on Twitch in Q1 of 2020. Facebook Gaming and YouTube Gaming earned 12.1% and 15.6% of viewership in the sector, respectively.
“For a long time, creators have been asking for better ways to attract and welcome new viewers into their channel,” said Santana. “The idea is generally to create a lot of excitement around that community, and more feelings ultimately of community.”
Creators with beta access will be able to upload up to five Emotes for their followers, but unlike Subscriber Emotes, followers won’t be able to use these across other channels. There’s no guarantee that Follower Emotes will be here to stay — Santana says it’s a feature Twitch is “experimenting” with — but if all goes well, the feature will roll out more widely later in the year.
Finally, the Library function will make it easier for creators to swap Emotes in and out of subscription tiers without having to delete and reupload them each time. This builds upon an upgrade that launched in January, which centralized channel-specific icons into an Emotes tab on the Creator Dashboard. As usual, new Emotes have to be approved by Twitch before they’re put into use. The Library will roll out soon to all Partners and Affiliates, staggered over a few months to account for an expected increase in volume of new Emotes.
“As Twitch has scaled, we now have millions of communities across many different cultures across the world,” Santana said. “We can hand over more of the controls of our Emote language to our community, and let them sort of evolve in a way that we never could imagine that ultimately serves them in their unique ways.”
Twitch teased that there’s more in the works to celebrate the platform’s 10th anniversary, including an official 10-Year celebration.
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In December, Microsoft wrote a blog post highlighting “The year ahead for Surface Duo.” The news highlighted the dual-screen device’s upcoming availability outside the U.S. (including Canada, the U.K., France and Germany this year), as well as a smattering of features. It’s been pretty well acknowledged from most everyone who reviewed the device (us included), that it’s very much a work in progress.
After making the feature available in beta, Microsoft today is issuing at update to Xbox Cloud Gaming for Android that will unlock some of the product’s entertainment potential. It’s something the company has discussed, and even previewed, but until now, it has remained one of a handful of blind spots.
The app works as you’d expect on the Duo — displaying the game on the top screen and transforming the bottom into a virtual version of an Xbox controller in the Compose Mode orientation. Obviously you can only go so far on that front with a touchscreen, but gaming is genuinely an application where having a second screen can really come in handy.
As Engadget notes, there are now more than 50 titles that support Xbox Touch Controls. Those will be available to users with an Xbox Game Pass Ultimate subscription.
A much-hyped — and eagerly anticipated — alternative to the foldable form factor, the Duo was a disappointment on launch. The company has since dropped the product’s price from $1,500 to $1,000 — not exactly a sign that it was selling well — but continued software support like this is, perhaps, an indication that the company is going to support the line going forward, in spite of early stumbles.
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While it would be nice to write about something other than yet another tech company looking to list via a SPAC, the deals keep dropping, so our more traditional fare of covering startup trends will remain on hold for at least one day more.
This morning, we’re looking at the Jam City deal to merge with DPCM Capital. Jam City is a bit like Zynga, but unless you are a mobile-gaming aficionado, you might not have heard of it.
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You likely have not heard of DPCM Capital, either, but you know more about it than you’d think.
As Jam City notes in a release, the SPAC is “led by Emil Michael.” Michael is most famous for his time at Uber, where he served as chief business officer. He left the firm, as The New York Times wrote in 2014, after a board-called “investigation into [the company’s] culture and business practices” led to a “recommendation for Mr. Michael to exit Uber.”
He’s the gentleman who floated the idea of funding a team to “dig up dirt” on Uber’s “critics in the media,” as BuzzFeed News reported in late 2014.
Regardless, we’re not here to go back through Uber and its various cultural messes. We’re here to dig into the Jam City SPAC deck to see if the company is similar to Zynga. Why do we want to know that? Because Zynga has done great in recent quarters, including posting record revenue and bookings in the first three months of 2021.
With lots of folks stuck at home in the last year, gaming has done well in aggregate. And mobile gaming is a huge chunk of the larger gaming world.
More broadly, why do we care about Jam City’s SPAC transaction? Because the mobile gaming concern has raised more than $300 million, including a $145 million round in 2019 that TechCrunch covered here.
The company attracted capital from Austin Ventures, Netmarble, Bank of America Merrill Lynch and JP Morgan Chase while private, per Crunchbase, so we’re very curious if Jam City has enjoyed a Zynga-like last few years and how it’s being valued as part of the SPAC deal. Let’s find out.
When Jam City raised that huge 2019 round, co-founder and CEO Chris DeWolfe said that the “global mobile games market [is] consolidating.” At the time, the company intended to use some of its new funding to acquire other mobile gaming companies.
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