Gaming
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Turkey’s Ace Games raises $7M to develop casual and ‘hyper casual’ games
Ace Games, a Turkish mobile gaming company founded by a former Peak Games co-founder, has raised a $7 million seed funding round led by Actera Group. Co-investment has come from San Francisco’s NFX. Former gaming entrepreneurs Kristian Segerstrale, Alexis Bonte and Kaan Gunay also participated. Firat Ileri is a previous investor from the pre-seed round.
The company runs two studios, one focused on casual and one on “hyper-casual” games.
Co-founded by CEO Hakan Bas, the former co-founder and COO at Peak Games, Ace Games has had some success on the U.S. iOS Store with its hyper-casual title, “Mix and Drink.”
In a statement, Bas said: “Ace’s main focus is actually the casual ‘hybrid puzzle’ game that we have been working on for a while now. However, our hyper-casual studio assists the main studio in many aspects like training talent, coming up with creative game mechanics and marketing ideas, generating cash, and creating user base.” Ace’s casual title is to be released late-summer this year and the global launch is expected in early 2022.
Peak Games, Gram Games and Rollic Games were all acquired by Zynga, showing that Turkey is capable of producing decent exits for gaming startups.
VCs such as Index, Balderton, Makers and Griffin have all made M&A deals with Dream Games, Bigger Games and Spyke Games.
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Supercell likes Metacore’s games so much it just gave it another $180M credit line
Metacore, a Finnish mobile games company, seems to have an amazing “relationship” with Supercell, another (quite successful) Finnish mobile games company.
Back in September 2020, Metacore raised $17.7 million in equity from Supercell and another $11.8 million line of credit, sometimes also called a debt round. That amazing relationship appears to be ongoing. Because Metacore has now raised yet another debt round from Supercell, but this time for €150 million ($180 million). These guys really like each other.
The simple reason for this is two words: Merge Mansion. This game has been so spectacularly successful that Supercell clearly wants a stake in that success, and it has the cash reserves to make that bet.
The puzzle discovery game has 800,000 daily players, and an annual revenue run rate of more than €45 million, so it’s really on a growth curve.
Why so successful? Well, players have really loved the idea that they can literally merge two items they pick up in the game to make a brand new thing. So for instance, you can merge two rakes and you get another kind of tool that you can then can use somewhere else. This is a very unique mechanic in mobile games.
Supercell is also enamored of Metacore’s games development strategy: It creates games with two- to three-person teams and only adds resources when a game takes off. This innovative approach to game development is at least part of the reason Supercell is doubling down on its investment, not just Merge Mansion itself. It’s a sort of “fail-fast” approach to game-making that is clearly paying dividends.
So why this approach to the latest financing?
I spoke to CEO and co-founder Mika Tammenkoski, who told me: “Yes, it is a credit line. We are more about scaling up the company as we are scaling up revenue. We already have meaningful revenue, we can invest the money, and we can expect a certain kind of return on investment. So this is the cheapest investment that we can get. Equity investment would dilute us. So this makes sense from that point of view. With Supercell, we have a really great partner backing us. They know exactly what is ahead of us. They know exactly the kind of challenges that we have, and that makes us aligned in that sense… We both think long term, we both want to scale the game as big as possible. And with Supercell we get the best terms overall.”
So there you have it. Metacore and Supercell are locked in an embrace which any other outside investor is going to have to invest in big to get a look in on the action.
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Riot Games and Konvoy Ventures back games publisher Carry1st in $6M Series A
Africa is the last frontier for basically anything. Mobile gaming is no exception. For a continent that is home to more than 1 billion millennials and Gen Zers, mobile gaming has never really picked up, despite the continent witnessing rapid economic growth and smartphone adoption.
Two issues have proved detrimental to this growth: distribution and payments. With fragmented and unresolved distribution and digital payments ecosystems, game studios have found it difficult to serve African consumers and make a ton of money doing so. Carry1st is a mobile games publishing platform fixing this problem, and today it is announcing the close of its $6 million Series A round.
This month last year, we reported that the company had just raised a $2.5 million seed investment. CRE Ventures led that round, but this time, the company, which has offices in Cape Town and New York, brought in a blue-chip group of investors spanning gaming, media and fintech.
U.S. VC firm Konvoy Ventures led the Series A round. The firm is known for its investment in the video gaming industry’s infrastructure, technology, tools and platforms. Riot Games (developer of League of Legends), Tokyo’s Akatsuki Entertainment Technology Fund (the company behind Dragon Ball Z), Raine Ventures and fintech VC TTV Capital participated.
Carry1st was founded by Cordel Robbin-Coker, Lucy Hoffman and Tinotenda Mundangepfupfu in 2018. The company started as a game studio, developing and launching its own mobile games. But a projection on what it could be in the long run made the company switch tactics.
Instead of the studio model (quite popular among gaming companies in Africa), Carry1st sought to become a regional publisher, thereby opening the continent to international studios. Also, the company helps local studios that find it difficult to create games with a global appeal by pairing them with strong operators.
“We learned that African users don’t need their own games; they want to play the best games in the world,” CEO Robbin-Coker told TechCrunch.
COO Hoffman said that the company provides a full-stack publishing platform for its partners. It also handles localization, distribution, user acquisition, monetization, customer experience for studios and licenses their games on exclusive, long-term contracts.
“We fund user acquisition so that the games are played by as many users as possible, and then send our partners a royalty in return for the ability to leverage their IP,” Hoffman said.
L-R: Cordel Robbin-Coker (CEO), Lucy Hoffman (COO) and Tinotenda Mundangepfupfu (CTO). Image Credits: Carry1st
This is somewhat akin to how Tencent-backed Sea Limited (parent company of Garena) took off. The company was the publisher of League of Legends across Southeast Asia but launched its own game, Free Fire. Now, the company has built out the largest consumer payments and e-commerce platform in the region, which is now worth over $130 billion. Carry1st aspires to do the same for Africa.
Although there aren’t many details about its e-commerce activity, Carry1st is tackling payments and difficult monetization issues by partnering with some fintechs like Paystack, Safaricom and Cellulant. These partnerships have been pivotal to developing its in-house payments platform Pay1st, which allows customers to pay in their preferred way. “For global studios, this is the difference between making money and not,” Robbin-Coker added.
Demand for Carry1st has grown rapidly. Since its seed round last year, the company has signed seven games with well-known mobile gaming studios. They include Sweden’s Raketspel (the company has more than 120 million downloads across its portfolio), Cosi Games and Ethiopia’s Qene Games.
All these signups happened in 2020 and the catalyst for this growth has pandemic-induced lockdowns written all over it. The African mobile gaming market has always pointed toward a strong growth market, but being forced indoors surely skyrocketed mobile usage and gaming.
People who might not have previously needed a mobile phone have now come to rely on them to keep in touch with family and friends. For the average user using a smartphone for the first time, there’s a natural tendency to explore the fun things available on their device.
“Typically, the first things people do when they get their first smartphone is to chat with friends and play games. This is the same all over the world — Africa is no different. For that reason, we are seeing more and more mobile gamers across Africa,” remarked Robbin-Coker.
The company has also grown its team from 18 to 26 across 11 countries with recruits from Carlyle, King, Jumia, Rovio, Socialpoint, Ubisoft and Wargaming — a testament to the company’s global ambitions to be a top gaming publisher.
Expanding the team, which cuts across product, engineering and growth departments, is one way Carry1st will put the new investment to use. The company also plans to secure new partnerships with global gaming studios while launching and scaling its existing games like Carry1st Trivia and All-Star Soccer.
User playing a Carry1st game. Image Credits: Carry1st
With this investment, Carry1st has raised a total of $9.5 million. On the caliber of investors brought on, Robbin-Coker said their investment in the company would put them in a place to “delight millions of users across Africa and the globe.”
Carry1st is Konvoy Ventures first foray into the African gaming market (same can be said for Riot Games), and representatives from both teams (Konvoy managing partner Jackson Vaughan and Riot Games head of corporate development Brendan Mulligan) believe the company is unequivocally solving the continent’s distribution and gaming experience problems. Vaughan will also join the company’s board.
Africa’s gaming industry has lacked innovation in times past. While we’ve seen companies try to change the narrative, most have operated as studios. Carry1st is one of the few companies to operate a hybrid model, but the endgame for the company really is to be one of the region’s dominant consumer internet companies.
“We think social games and payments is the best first step to doing so, but we have very large ambitions. If we execute this, we will catalyze massive growth in the digital ecosystem across the region, creating tons of high-quality jobs in the process. We think all of the ingredients are in place — we want to be the catalyst,” Hoffman said.
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Sony announces investment and partnership with Discord to bring the chat app to PlayStation
Sony and Discord have announced a partnership that will integrate the latter’s popular gaming-focused chat app with PlayStation’s own built-in social tools. It’s a big move and a fairly surprising one given how recently acquisition talks were in the air — Sony appears to have offered a better deal than Microsoft, taking an undisclosed minority stake in the company ahead of a rumored IPO.
The exact nature of the partnership is not expressed in the brief announcement post. The closest we come to hearing what will actually happen is that the two companies plan to “bring the Discord and PlayStation experiences closer together on console and mobile starting early next year,” which at least is easy enough to imagine.
Discord has partnered with console platforms before, though its deal with Microsoft was not a particularly deep integration. This is almost certainly more than a “friends can see what you’re playing on PS5” and more of a “this is an alternative chat infrastructure for anyone on a Sony system.” Chances are it’ll be a deep, system-wide but clearly Discord-branded option — such as “Start a voice chat with Discord” option when you invite a friend to your game or join theirs.
The timeline of early 2022 also suggests that this is a major product change, probably coinciding with a big platform update on Sony’s long-term PS5 roadmap.
While the new PlayStation is better than the old one when it comes to voice chat, the old one wasn’t great to begin with, and Discord is not just easier to use but something millions of gamers already do use daily. And these days, if a game isn’t an exclusive, being robustly cross-platform is the next best option — so PS5 players being able to seamlessly join and chat with PC players will reduce a pain point there.
Of course Microsoft has its own advantages, running both the Xbox and Windows ecosystems, but it has repeatedly fumbled this opportunity and the acquisition of Discord might have been the missing piece that tied it all together. That bird has flown, of course, and while Microsoft’s acquisition talks reportedly valued Discord at some $10 billion, it seems the growing chat app decided it would rather fly free with an IPO and attempt to become the dominant voice platform everywhere rather than become a prized pet.
Sony has done its part, financially speaking, by taking part in Discord’s recent $100 million H round. The amount they contributed is unknown, but perforce it can’t be more than a small minority stake, given how much the company has taken on and its total valuation.
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Riot Games updates its privacy notice to start developing voice comms moderation
Anyone who has played a video game with voice chat in the past decade knows that there is some risk involved. You might be greeted by friendly teammates, but you may also hear some of the most toxic language you’ve ever heard in your life.
Riot Games, the game developer behind ultra popular titles like League of Legends and Valorant, is thinking hard about this. And taking action.
The developer is today announcing changes to its privacy notice that allow for it to capture and evaluate voice comms when a report is submitted around disruptive behavior. The changes to the policy are Riot-wide, meaning that all players across all games will need to accept those changes. However, the only game that is scheduled to utilize these new abilities is Valorant, as it is the most voice chat-heavy game from Riot.
The plan here is to store relevant audio data in the account’s registered region and evaluate it to see if the behavior agreement was violated. This process is triggered by a report being submitted, and is not an always-on system. If a violation has occurred, the data will be made available to the player in violation and will ultimately be deleted once there is no further need for it following reviews. If no violation is detected, the data will be deleted.
Before we go any further, let me just say that this is a big fucking deal. Publishers and developers have long known that toxicity in gaming is not only a terrible user experience, but it’s actively preventing large swaths of potential gamers from dedicating themselves to it.
“Players are experiencing a lot of pain in voice comms and that pain takes the form of all kinds of different disruption in behavior and it can be pretty harmful,” said Head of Players Dynamics Weszt Hart. “We recognize that, and we have made a promise to players that we will do everything that we could in this space.”
Voice chat often makes games much richer and more fun. Particularly during the pandemic, people are craving more human connection. But in a tense environment like competitive games, that connection can turn sour.
As a gamer myself, I can safely say that some of the most hurtful experiences of my life have been while playing video games with strangers.
To be clear, Riot isn’t getting specific with how exactly this voice chat moderation will work. The first step is the update to its privacy notice, which gives players a heads up and gives the company the right to start evaluating voice comms.
It’s incredibly difficult to police voice comms. Not only do you need to be transparent with users and update any legal documents (which is arguably the easiest step, and the one Riot is taking today), but you must develop the right technology to do this, all while protecting player privacy.
I spoke with Hart and Data Protection Officer and CISO Chris Hymes about the changes. The duo said that the actual system for detecting behavior violations within voice comms is still under development. It may focus on automated voice-to-text transcription, and go through the same system as text chat moderation, or it may rely more heavily on machine learning to actually detect an infringement via voice alone.
“We’re looking at the technologies and we’re trying to land on the one that we want to launch with,” said Hart. “We’ve been putting a lot of time and effort into space and we have a pretty good idea of the direction that we’re going to take. But what we want to do is to have some audio to work with, to better understand if any other approaches that we’re looking at are going to be the best. To do this, we need to be able to process something real, and not just make a good guess.”
To get to that answer as quickly as possible, he added, the first step of updating the privacy notice had to go into effect.
Hart and Hymes also said that some layer of human moderation will be involved to ensure that whatever system is being developed is working properly and can ultimately be rolled out to other languages and other titles, as the system is initially being developed for Valorant in North America.
Advances in machine learning and natural language processing are making that development easier than it was 10, or even two, years ago. But even in a world where a machine learning algorithm could accurately detect hate speech, with all its nuances, there is yet another hurdle.
Gamers, even from one title to the next, have their own language. There is a whole lexicon of words and terms used by gamers that aren’t used in every day life. This adds yet another complication to the process of developing this system.
Still, this is a critical step in ensuring that Riot Games titles, and hopefully other titles as well, become an inclusive environment where anyone who wants to game feels safe and able to do so.
And Riot is careful to understand that developing games is a holistic endeavor. Everything from game design to anti-cheating measures to behavior guidelines and moderation have an effect on the overall experience of the player.
Alongside this announcement, the company is also introducing an update to its terms of service with an updated global refund policy and new language around anti-cheat software for current and future Riot titles.
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Cloud gaming service Shadow taken over by OVHcloud founder
Blade, the French startup behind cloud gaming service Shadow, has been acquired by Octave Klaba’s fund following a commercial court order. Klaba is better known as the founder of OVHcloud, a French cloud hosting company. He’s acquiring Blade (and Shadow) through his investment fund Jezby Ventures — not OVHcloud.
Shadow is a cloud computing service for gamers. People can pay a monthly subscription fee and gain access to a gaming PC in a data center. You can connect to this PC from your computer, a smartphone, a tablet or a smart TV. You can see a video stream of what’s happening on the screen and your actions are relayed to the server.
Unlike Google Stadia, Amazon Luna or even Nvidia GeForce Now, you can install whatever you want on your server. You get a full Windows 10 instance so it supports anything from Steam to Photoshop and Excel.
While the French startup has raised more than $100 million across multiple funding rounds, the company couldn’t keep up with pre-orders, didn’t generate enough revenue to be self-sustainable and couldn’t find cash to expand its service. Despite attracting 100,000 paid users, Next INpact reported that the company had no choice but to go into administration with the commercial court.
Several companies and a group of people submitted takeover bids. In particular, Blade CTO Jean-Baptiste Kempf teamed up with other employees, while Octave Klaba submitted his own offer. Klaba plans to keep all employees except Jean-Baptiste Kempf.
Now, it’s going to be interesting to see how the service changes over the coming weeks. Subscriptions currently start at €12.99 per month in Europe or $11.99 per month in the U.S. It’s unclear whether Shadow will remain available at this price point, how specifications are going to evolve and if the company is going to spin up more servers to attract new clients.
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PortalOne raises $15M from Atari and more for a new hybrid gaming/TV show app
Gaming and streamed video have been two of the biggest pastime winners during the last year+ of pandemic living. Today a startup that has created an app that brings those two entertainment formats together is announcing a notable seed round of funding as it prepares to come out of closed beta.
PortalOne, a hybrid gaming startup, is announcing a $15 million seed round of funding as it prepares to come out of closed beta with an app that lets people play on-demand games and also watch live shows in which users can play against a special guest.
The startup and its funding are notable in part because of who is doing the investing.
It includes Atari and camera maker ARRI, Founders Fund, TQ Ventures (the firm led by Scooter Braun and financiers Schuster Tanger and Andrew Marks), Coatue Management (specifically Arielle Zuckerberg), Rogue Capital Partners (Alice Lloyd George’s new fund), Signia Venture Partners (via Sunny Dhillon), Seedcamp, Talis Capital and SNÖ Ventures out of Europe.
Other investors included Kevin Lin, the co-founder of Twitch; Mike Morhaime, co-founder of Blizzard and Dreamhaven; Amy Morhaime, co-founder of Dreamhaven; Marc Merrill, co-founder of Riot Games; Xen Lategan, former CTO and executive advisor at various companies such as Hulu; and Eugene Wei, former head of Video at Oculus and head of Product at Hulu.
PortalOne is part tech startup and part media company. On the one hand, it has spent the last three years building a full stack of hardware and software that can be used to build games, record live shows and integrate the two into an experience that blends both on-demand and real-time gaming and entertainment.
“One of the benefits of building first is that what we are doing is extremely hard to do on a technical level,” said co-founder and CEO Bård Anders Kasin. “The way we do it is the key. It is our secret sauce.”
On the other, it is using that tech to create a gaming and live events platform and brand — providing a place for itself and third parties to build games and bigger live experiences around them. It believes that it’s managed to do something here that has eluded others for years.
“We come from the entertainment industry and have also been in games many years,” said Stig Olav Kasin, Bård’s brother and the other co-founder (and chief content officer). “We’ve talked to all the big companies and know that hybrid gaming combining games and TV is difficult,” not least because of the silos in companies where different groups “own” TV and gaming.
The Oslo-based company has so far been running a pared-down, early version of its service in the U.S. and Norway — two games so far, one called Blockbuster that, well, involves you throwing a massive ball and knocking over blocks, and another a reimagined version of Centipede — with corresponding talk shows set out of a living room that’s actually all computer-generated on a green screen.
Users can play and watch all this either through a VR headset or over a phone, and they win “prizes” for placing well in gaming competitions. Alongside that, PortalOne will sell virtual goods, much as companies like Fortnite do today.
The plan is to more widely launch the first iteration of its service — PortalOne Arcade, a selection of 80s-themed, old-school arcade games reimagined as multiplayer, immersive experiences combined with interactive talk shows — in the U.S. and Norway later this year before extending to other markets.
Bård Anders Kasin — who previously built a VR company and worked as a technical director at Warner Brothers, making movies such as “The Matrix” trilogy — and Stig Olav Kasin — who worked with his brother on VR and before that was a media exec on shows like “The Voice” and “Who Wants to Be a Millionaire?” — founded PortalOne back in 2018.
Between then and June 2020, when PortalOne launched its closed beta, the startup’s focus was on building out its technology and its content strategy and early partners.
From the sounds of it, it was no small task. Its tech stack incorporates virtual reality, computer vision, gaming technology and software and hardware to capture and stream video that drastically reduces the resources required for both, among other IP. Some of it PortalOne built itself; other areas it worked with Arri, a major player in motion picture camera equipment, which built a new kind of 3D camera for PortalOne.
Part of the challenge that PortalOne has been tackling has been the very process of creating content for a hybrid platform like the one it envisioned.
Typically, recording immersive experiences is complex and expensive because of the volumetric equipment that is used, the set-up of studios necessary to capture the experiences and more, which involve Hollywood movie studio size, staffing and costs.
PortalOne’s breakthrough has been to turn that process into something that can be produced more easily and at a much lower cost, necessary “since we have daily shows and we want to scale and mass produce more daily shows for each game,” said Bård.
In the PortalOne setup, in addition to the host — an affable Norwegian with a mostly American English accent called Markus Bailey — and his guest, there are only two other people involved, technician-producers triggering effects and controlling when the action switches from talk to game and back again.
From previously needing large sets and dozens of people, “now we can do all of this in a YouTube-sized studio,” said Bård.
On the content front, PortalOne is building its own games, but it is also tapping into an old-school gaming aesthetic, it said.
Atari is not only investing, but has inked a seven-year deal with PortalOne, giving the latter exclusive global distribution rights to some of its most popular arcade game franchises, which PortalOne is reimagining and rebuilding for its hybrid platform.
Bård said that the company wants to work with brands in music, sport, travel and education to build other games, too. (Braun’s reach here might not extend to Taylor Swift, but he’s pulled in Justin Bieber for the promo video, and possibly more.)
“Massive opportunities continue to emerge in the interactive entertainment space as distribution and business models evolve,” said Kirill Tasilov, a principal at Talis Capital, in a statement. “PortalOne is redefining mobile by unlocking new hybrid experiences at the intersection of games and video, and we are thrilled to be a part of their journey.”
Blurring the lines
In some ways, what PortalOne is doing is not completely new, since the lines between what is a game, what is interactive and what is linear entertainment have been getting blurred for decades.
You could argue that even game shows, one of the earliest TV formats, was an early stage in hybrid interactivity, although more modern programs like the ones that Stig helped build out, with interactive voting from at-home audiences using phones, definitely pushed the concept in new ways.
The coronavirus pandemic and the fact that so many in-person live events were cancelled, meanwhile, definitely paved the way for content players to think outside the box when it came to building new kinds of “live” shows. With Marshmello getting a huge response to his Fortnite “show” in 2019, the game saw 12 million people flock to its Travis Scott concert last year; and Roblox said in December its show with Lil Nas will pave the way for future events.
“When we see virtual concerts inside of TikTok, Roblox and Fortnite, it’s great but PortalOne offers an evolution of interactive metaverse entertainment — true real-time, one-to-many interaction between gamers around the world, all in a mobile-native hybrid game format,” said Dhillon, a partner at Signia Venture Partners.
Yet if well-established platforms really pick up on this trend, that’s an endorsement of what PortalOne has built. But they could also feasibly build their own live game shows, too, and blow PortalOne out of the water just as it’s dipping its toes in.
This is also where its time spent building tech could prove either to be a boost or a bust. Gaming is a notoriously tough one to call when it comes to resonating and taking off with audiences, and so too will presumably the experiences that are built around those games.
“The next big social platform will likely be a convergence of media with gaming at its core — a truly new immersive interactive experience — and PortalOne is a major contender for becoming such a platform,” said Kevin Lin.
Indeed, if PortalOne finds an audience for what it’s making, it will have the tools to serve them more content efficiently and and cheaply. But if it doesn’t strike the right note, the question will be how and if that tech will otherwise be used.
For investors right now, it’s more about the opportunity.
“As PortalOne continues to grow, it is seamlessly integrating the gaming and entertainment worlds to create a single interactive experience and endless opportunities for content creation,” said Braun. “Creators and performers alike want new and innovative ways to bring their craft to life, and PortalOne is meeting that demand in a way that no other business has done. I’m excited to work with the entire team to realize their trailblazing vision. I have never seen anything like this before.”
Delian Asparouhov, a principal at Founders Fund — in the news today for another reason, his role in bringing a lot of attention to Miami as a new tech hot spot — also thinks that the building of infrastructure and tech combined with the media element will give the startup a lot of runway.
“We back companies that we believe have strong potential to become global category leaders,” he said in a statement. “PortalOne creates a new category and simultaneously the platform that is clearly set to dominate that new category. The market is ripe, the opportunity is clear, and the potential is unlimited. PortalOne is poised to create a before and after in the industry.”
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US video game spending increased 30% in Q1
Even as signs of life after the pandemic have begun to emerge here in the U.S., increases in video game spending continue. There’s no doubt that much of last year’s big numbers were driven by stay-at-home requirements in much of the country and the world. All said, U.S. spending on the industry increased 27% for 2020.
There remains a broader question, however, around whether this momentum can maintain, as people start to, you know, leave the house more. For now, at least, things are continuing to look rosy for the industry. NPD noted this morning that U.S. spending on the category jumped 30% y-o-y for Q1 2021, to $14.92 billion.
When we break the number down a bit, however, it becomes clear that the driver goes beyond mere pandemic entertainment. Content was up 25% for the quarter, accessories jumped 42% and hardware went up 82%.
The motivator behind that last figure should be immediately obvious to anyone who follows the industry with any amount of interest. Where Nintendo’s Switch dominated the conversation for most of 2020, Sony and Microsoft both launched their next-gen consoles late last year.
“While we are still seeing elevated rates of both engagement and spending resulting from changes in consumer behavior driven by the pandemic, we are also seeing cyclical gains from the November launches of both the PlayStation 5 and Xbox Series consoles,” analyst Mat Piscatella said in a release The growth driven by these new platforms, combined with gains experienced in mobile, PC and VR content spending, as well as the continued strength of Nintendo Switch, have pushed the market to new highs.”
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MoviePass co-founder’s PreShow Interactive raises $3M to expand into gaming
PreShow Interactive is giving gamers a new way to earn in-game currency in exchange for watching ads — a concept that’s become familiar in mobile games but hasn’t really made much headway on PCs or consoles.
The startup is led by MoviePass’ founding CEO Stacy Spikes. When I spoke to Spikes about PreShow two years ago, he was beta testing an app that provided users with free movie tickets in exchange for watching ads. But obviously, theatrical moviegoing has taken a big hit in the past year.
Spikes told me yesterday that he’d always hoped to bring the PreShow concept to four categories — theatrical movies, gaming, subscription streaming and video on demand — but the pandemic forced the startup to shift focus more quickly than expected and explore what a gaming experience might look like.
The current plan is to launch a new PreShow Interactive app this summer, where viewers can connect their in-game accounts and identify how much virtual currency they want to earn. Then they watch a package of ads and PreShow will automatically transfer the currency to their account — in other words, it’s buying the currency for them.
Users will have to download a separate app to watch the ads and get the benefits, but Spikes said this is actually better than trying to integrate advertising or branded content into the game itself, which can be a slow process for the developer and the advertiser, while also being distracting for the players. And this means PreShow Interactive should be able to support 20,000 games at launch, across PCs, consoles and virtual reality.
Image Credits: PreShow Interactive
“We just didn’t see the purpose of spending the time on integrations when it’s not really necessary,” he added. “Our deal is only with the consumer for their time. We’re saying, ‘This is your time. It has value.’ ”
One of the key elements to Preshow’s approach is technology that can detect when the viewer is actually looking at their phone screen — the ads will stop playing if you turn away. This has been criticized as “creepy surveillance tech,” but Spikes claimed that early PreShow users have embraced it. He also argued that it’s more transparent than the data collection and targeting currently driving online advertising.
“We used to think data was the new oil, but now our feeling is that permission and engagement and attention is the new oil,” he said.
In addition to revealing its new strategy, PreShow is announcing that it has raised $3 million in seed funding led by Harlem Capital, with participation by Canaan Partners, Wavemaker Partners, Front Row Fund, ROC Fund, BK Fulton and Monroe Harris.
And to be clear, Spikes said PreShow isn’t abandoning theatrical movies. He said that the PreShow app will eventually offer both movie and gaming deals “under one roof,” but brands aren’t currently eager to advertise to moviegoers.
“We’re ready to go when the marketplace is ready to go,” he said.
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Westward plans a $30M debut fund to take Chinese indie games global
In Hefei, a Chinese city known for its relics from the Three Kingdoms period and its manufacturing industry today, Maxim Rate was thrilled to find a small studio crafting a Western role-playing game, a genre that attracts lovers of gritty aesthetics and dark storylines.
“The design and computer graphics are really good. You can’t tell they are a Chinese team,” said Rate.
Rate’s mission is to find Chinese studios like the bootstrapped Hefei team and help them woo international players. As Chinese regulators tighten rules on game publishing and make licenses hard to obtain, small studios find themselves struggling. Since last year, Apple has pulled thousands of unlicensed games from its Chinese App Store at the behest of local authorities. Small-time developers began to look beyond their home turf.
“The problem is these startups have no experience in overseas expansion,” said Rate.
An avid gamer himself, Rate quit his job at a Chinese cross-border payment firm last year and launched a part-incubator, part-investment vehicle to take Chinese games abroad. The firm, called Westward Gaming Ventures, took inspiration from Zheng He, a Chinese diplomat and explorer who embarked on state-sponsored naval expeditions to the “Western Oceans” during the Ming Dynasty.
Westward plans to raise 200 million yuan ($30 million) for its debut fund, Rate told TechCrunch in an interview. It plans to deploy the capital over the next three years with an intended check size of 2-4 million yuan per studio. It’s currently in talks with 20-30 teams that span a wide range of genres.
The Chinese fund being established is a so-called Qualified Foreign Limited Partners Fund, which, Rate said, for the first time will enable foreign investors (USD and EUR) to invest directly in Chinese gaming firms. Only a few institutions own a license for QFLP, and while Westward itself doesn’t hold one, it gained legitimacy for direct foreign investment by partnering with the private equity arm of a major Chinese financial conglomerate, which declined to be named at this stage.
To navigate such regulatory complications, Westward also seeks help from its advisors, including one that oversaw the legal and financial process of one of the largest joint ventures established between Chinese and foreign gaming firms in recent years. The partnership, which can’t be named, was also the first time a foreign entity has become the majority shareholder in a gaming joint venture in China.
China limits foreign investments in areas it considers sensitive, such as value-added services, so many companies resort to setting up elaborate offshore entities to receive overseas funding. The restriction makes it difficult for resource-strapped studios to land foreign investors, who could help them venture into global markets. They are left with the option of getting backed or bought by Chinese giants like Tencent or ByteDance.
Rise of Chinese plays
The idea of Westward is not just to lower the barriers for independent Chinese games to secure foreign capital but also to better prepare them for overseas expansion.
“Chinese gaming studios, big or small, used to rely heavily on ads for user acquisition when they went abroad,” said Rate. “Sometimes a game would take off, but the team had no idea why, so they continued to test. Those who failed may just give up.”
But taking a game abroad is not as simple as translating it, hitting the publish button and launching an ad campaign on Facebook.
Westward’s plan is to get involved in a game’s early development phase and help them position: Is it an RPG? Is the targeted user a casual or serious player? What’s the graphic style? In addition, the firm also plans to supply developers with workspace, technical assistance, marketing and localization expertise, connection to publishers and overseas operation help.
Image Credits: Westward Gaming Ventures
To provide post-investment support, Westward has partnered up with V+ Gaming Society, an incubator for games headquartered in Shenzhen, which Westward also calls home.
Chinese tech companies are facing mounting challenges in the West as geopolitical tensions rise. Many now prefer calling themselves “global firms” and even deny their Chinese roots outright.
But for Westward, the games it helps create don’t need to pretend they are non-Chinese. “Most players don’t consider where a game is from if it is a really good game,” said Rate.
“We actually hope to see elements of Chinese culture in these games that can be understood by overseas players.”
Amy Ho, a partner at Westward along with Rate and Edward He, said one of the few Chinese games that have managed to be both “Chinese” and transcend cultural boundaries is “Chinese Parents.” The simulation game became a global hit by letting users experience what it is like to raise a child in China.
The benchmark Rate gave was the generation of Japanese games that began exporting 20-30 years ago, which he described as “Japanese” in spirit but “globalized” in graphics and game design.
There have already been globally successful titles from Chinese makers like Tencent and rising studios Lilith and Mihoyo. In the past, many Chinese users on Steam would be asking foreign titles to rush out Chinese versions. Now, it’s not uncommon to see Western users demanding English editions of Chinese games, Rate observed.
Rather than politics, the bigger challenge, especially for small studios, is how to “collect key data for product iteration while complying with local privacy laws,” said Ho.
Westward expects 50-70% of its capital to come from Chinese institutions. The presence of Chinese investments inevitably leads to questions around censorship. Ho said while Westward provides resources and capital to studios, it will work to ensure their independence from investor influence.
If things go well, Westward could help facilitate cultural exchange between China and the rest of the world. Beijing has been trying to export the country’s soft power, and games may be a suitable conduit, suggested Rate. Amid the ongoing trade war, having foreign funding in Chinese companies may also do good to China’s “brand”, he said.
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