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Unity IPO aims to fuel growth across gaming and beyond

Eric Peckham
Contributor

Eric Peckham is the creator of the Monetizing Media newsletter and podcast. He was previously TechCrunch’s media columnist.

Unity Software Inc. is set to list on the New York Stock Exchange this month, following its S-1 filing two weeks ago. The 16-year-old tech company is universally known within the gaming industry and largely unknown outside of it. But Unity has been expanding beyond gaming, pouring hundreds of millions of dollars into a massive bet to be an underlying platform for humanity’s future in a world where interactive 3D media stretches from our entertainment experiences and consumer applications to office and manufacturing workflows. 

Much of the press about Unity’s S-1 filing mischaracterizes the business. Unity is easily misunderstood because most people who aren’t (game) developers don’t know what a game engine actually does, because Unity has numerous revenue streams, and because Unity and the competitor it is most compared to — Epic Games — only partially overlap in their businesses.

Last year, I wrote an in-depth guide to Unity’s founding and rise in popularity, interviewing more than 20 top executives in San Francisco and Copenhagen, plus many other professionals in the industry. In this two-part guide to get up to speed on the company, I’ll explain Unity’s business, where it is positioned in the market, what its R&D is focused on and how game engines are eating the world as they gain adoption across other industries.

In part two, I’ll analyze Unity’s financials, explain how the company has positioned itself in the S-1 to earn a higher valuation and outline both the bear and bull cases for its future.

For those in the gaming industry who are familiar with Unity, the S-1 might surprise you in a few regards. The Asset Store is a much smaller business that you might think, Unity is more of an enterprise software company than a self-service platform for indie devs and advertising solutions appear to make up the largest segment of Unity’s revenue.

What is a game engine?

Unity’s origin is as a game engine, software that is similar to Adobe Photoshop, but used instead for editing games and creating interactive 3D content. Users import digital assets (often from Autodesk’s Maya) and add logic to guide each asset’s behavior, character interactions, physics, lighting and countless other factors that create fully interactive games. Creators then export the final product to one or more of the 20 platforms Unity supports, such as Apple iOS and Google Android, Xbox and Playstation, Oculus Quest and Microsoft HoloLens, etc.

In this regard, Unity is more comparable to Adobe and Autodesk than to game studios or publishers like Electronic Arts and Zynga.

What are Unity’s lines of business?

Since John Riccitiello took over as CEO from co-founder David Helgason in 2014, Unity has expanded beyond its game engine and has organized activities into two divisions: Create Solutions (i.e., tools for content creation) and Operate Solutions (i.e., tools for managing and monetizing content). There are seven noteworthy revenue streams overall:

Create Solutions (29% of H1 2020 revenue)

  • The Unity platform: The core game engine, which operates on a freemium subscription model. Individuals, small teams and students use it for free, whereas more established game studios and enterprises in other industries pay (via the Unity Plus, Unity Pro and Unity Enterprise premium tiers).
  • Engine extensions: A growing portfolio of tools and extensions of the core engine purpose-built for specific industries and use cases. These include MARS for VR development, Reflect for architecture and construction use with BIM assets, Pixyz for importing CAD data, Cinemachine for virtual production of films and ArtEngine for automated art creation.
  • Professional services: Hands-on, specialized consulting for enterprise customers using Unity’s engine and other products. Unity expanded its consulting capacity further in April with a $55 million acquisition of Finger Food Studios, a 200-person team in Vancouver that builds interactive media projects for corporate clients using Unity.

Aside from these three product categories, Unity is reporting another group of content creation offerings separately in the S-1 as “Strategic Partnerships & Other” (which accounts for further 9% of revenue):

  • Strategic Partnerships: Major tech companies pay Unity via a mix of structures (flat-fee, revenue-share and royalties) for Unity to create and maintain integrations with their software and/or hardware. Since Unity is the most popular platform to build games with, ensuring Unity integrates well with Oculus or with the Play Store is very important to Facebook and Google, respectively.
  • Unity Asset Store: Unity’s marketplace for artists and developers to buy and sell digital assets like a spooky forest or the physics to guide characters’ joint movements for use in their content so they don’t each have to create every single thing from scratch. It is commonly used, though larger game studios often use Asset Store assets just for initial prototyping of game ideas.

Operate Solutions (62% of H1 2020 revenue)

  • Advertising: Via the 2014 acquisition of Applifier, Unity launched an in-game advertising network for mobile games. This expanded substantially with the Unified Auction, a simultaneous auction that helps games get the highest bid from among potential advertisers. Unity is now one of the world’s largest mobile ad networks, serving 23 billion ads per month. Unity also has a dynamic monetization tool that makes real-time assessments of whether it is optimal to serve an ad, prompt an in-app purchase or do nothing to maximize each player’s lifetime value. While the Unity IAP feature enables developers to manage in-app purchases (IAP), Unity does not take a cut of IAP revenue at this time.
  • Live Services: A portfolio of cloud-based solutions for game developers to better manage and optimize their user acquisition, player matchmaking, server hosting and identification of bugs. This portfolio has primarily been assembled through acquisitions like Multiplay (cloud game server hosting and matchmaking), Vivox (cloud-hosted system for voice and text chat between players in games), and deltaDNA (player segmentation for campaigns to improve engagement, monetization and retention). There is also Unity Simulate for training AI models in virtual recreations of the real world (or testing games for bugs). Live Services products have usage-based pricing, with an initial amount of usage free.

Unity versus Unreal, versus others

Unity is compared most frequently to Epic Games, the company behind the other leading game engine, Unreal. Below is a quick overview of the products and services that differentiate each company. The cost of switching game engines is meaningful in that developers are typically specialized in one or the other and can take months to gain high proficiency in another, but some teams do vary the engine they use for different projects. Moving an existing game (or other project) over to a new game engine is a major undertaking that requires extensive rebuilding.

Epic Games

Epic has three main businesses: game development, the Epic Games Store, and the Unreal Engine. Epic’s core is in developing its own games and the vast majority of Epic’s $4.2 billion in 2019 revenue came from that (principally, from Fortnite). The Epic Games Store is a consumer-facing marketplace for gamers to purchase and download games; game developers pay Epic a 12.5% cut of their sales.

In those two areas of business, Unity and Epic don’t compete. While much of the press about Unity’s IPO frames Epic’s current conflict with Apple as an opportunity for Unity, it is largely irrelevant. A court order prevented Apple from blocking iOS apps made with Unreal in retaliation for Epic trying to skirt Apple’s 30% cut of in-app purchases in Fortnite. Unity doesn’t have any of its own apps in the App Store and doesn’t have a consumer-facing store for games. It’s already the default choice of game engine for anyone building a game for iOS or Android, and it’s not feasible to switch the engine of an existing game, so Epic’s conflict does not create much of a new market opening.

Let’s compare the Unity and Unreal engines:

Origins: Unreal was Epic’s proprietary engine for the 1998 game Unreal and was licensed to other PC and console studios and became its own business as a result of its popularity. Unity launched as an engine for indie developers building Mac games, an underserved niche, and expanded to other emerging market segments considered irrelevant by the core gaming industry: small indie studios, mobile developers, AR & VR games. Unity exploded in global popularity as the main engine for mobile games.

Programming Language: Based in the C++ programming language, Unreal requires more extensive programming than Unity (which requires programming in C#) but enables more customization, which in turn enables higher performance.

Core Markets: Unreal is much more popular among PC and console game developers; it is oriented toward bigger, high-performance projects by professionals. That said, it is establishing itself firmly in AR and VR and proved with Fortnite it can take a console and PC game cross-platform to mobile. Unity dominates in mobile games — now the largest (and fastest growing) segment of the gaming industry — where it has over 50% market share and where Unreal is not a common alternative. Unity has kept the largest market share in AR and VR content, at over 60%.

Ease of Authoring: Neither engine is easy for a complete novice, but both are fairly straightforward to navigate if you have basic coding abilities and put the time into experimenting and watching tutorials. Unity has prioritized ease of use since its early days, with a mission of democratizing game development that was so concentrated among large studios with large budgets, and ease of authoring remains a key R&D focus. This is why Unity is the common choice in educational environments and by individuals and small teams creating casual mobile games. Unity lets you see but not edit the engine’s source code unless you pay for an enterprise subscription; this protects developers from catastrophic mistakes but limits customization. Unreal isn’t dramatically more complex but, as a generalization, it requires more lines of code and technical skill. It is open source code so can be completely customized. Unreal has a visual scripting tool called Blueprint to conduct some development without needing to code; it’s respected and often used by designers though not a no-code solution to developing a complex, high-performance game (no one offers that). Unity recently rolled out its own visual scripting solution for free called Bolt.

Pricing: While Unity’s engine operates on a freemium subscription model (then has a portfolio of other product offerings), Unreal operates on a revenue-share, taking 5% of a game’s revenue. Both have separately negotiated pricing for companies outside of gaming that aren’t publicly disclosed.

Proprietary engines

Many large gaming companies, especially in the PC and console categories, continue to use their own proprietary game engines built in-house. It is a large, ongoing investment to maintain a proprietary engine, which is why a growing number of these companies are switching to Unreal or Unity so they can focus more resources on content creation and tap into the large talent pools that already have mastery in each one.

Other Engines

Other game engines to note are Cocos2D (an open source framework by Chukong Technologies that has a particular following among mobile developers in China, Japan, and South Korea), CryEngine by Crytek (popular for first-person shooters with high visual fidelity), and Amazon’s Lumberyard (which was built off CryEngine and doesn’t seem to have widespread adoption, or command much respect, among the many developers and executives I’ve spoken to).

For amateur game developers without programming skills, YoYo Games’ GameMaker Studio and Scirra’s Construct are both commonly used to build simple 2D games (Construct is used for HTML5 games in particular); users typically move on to Unity or Unreal as they gain more skill.

There remain a long list of niche game engines in the market since every studio needs to use one and those who build their own often license it if their games aren’t commercial successes or they see an underserved niche among studios creating similar games. That said, it’s become very tough to compete with the robust offerings of the industry standards — Unity and Unreal — and tough to recruit developers to work with a niche engine.

UGC Platforms

User-generated content platforms for creating and playing games like Roblox (or new entrants like Manticore’s Core and Facebook Horizon) don’t compete with Unity — at least for the foreseeable future — because they are dramatically simplified platforms for creating games within a closed ecosystem with dramatically more limited monetization opportunity. The only game developers these will pull away from Unity are hobbyists on Unity’s free tier.

I’ve written extensively on how UGC-based game platforms are central to the next paradigm of social media, anchored within gaming-centric virtual worlds. But based on the overall gaming market growth and the diversity of game types, these platforms can continue to soar in popularity without being a competitive threat to the traditional studios who pay Unity for its engine, ad network, or cloud products.

What’s at the forefront of Unity’s technical innovation?

DOTS

For the last three years, Unity has been creating its “data oriented technology stack,” or DOTS, and gradually rolling it out in modules across the engine.

Unity’s engine centers on programming in C# code which is easier to learn and more time-saving than C++ since it is a slightly higher level programming language. Simplification comes with the trade off of less ability to customize instruction by directly interacting with memory. C++, which is the standard for Unreal, enables that level of customization to achieve better performance but requires writing a lot more code and having more technical skill.

DOTS is an effort to not just resolve that discrepancy but achieve dramatically faster performance. Many of the most popular programming languages in use today are “object-oriented,” a paradigm that groups characteristics of an object together so, for example, an object of the type “human” has weight and height attached. This is easier for the way humans think and solve problems. Unity takes advantage of the ability to add annotations to C# code and claims a proprietary breakthrough in understanding how to recompile object-oriented code into “data-oriented” code, which is optimized for how computers work (in this example, say all heights together and all weights together). This is orders of magnitude faster in processing the request at the lowest level languages that provide 1s-and-0s instructions to the processor.

This level of efficiency should, on one hand, allow highly-complex games and simulations with cutting-edge graphics to run quickly on GPU-enabled devices, while, on the other hand, allowing simpler games to be so small in file size they can run within messenger apps on the lowest quality smartphones and even on the screens of smart fridges.

Unity is bringing DOTS to different components of its engine one step at a time and users can opt whether or not to use DOTS for each component of their project. The company’s Megacity demo (below) shows DOTS enabling a sci-fi city with hundreds of thousands of assets rendered in real-time, from the blades spinning on the air conditioners in every apartment building to flying car traffic responding to the player’s movements.

Graphics

The forefront of graphics technology is in enabling ray tracing (a lighting effect mimicking the real-life behavior of light reflecting off different surfaces) at a fast enough rendering speed so games and other interactive content can be photorealistic (i.e. you can’t tell it’s not the real world). It’s already possible to achieve this in certain contexts but takes substantial processing power to render. Its initial use is for content that is not rendered in real-time, like films. Here are videos by both Unity and Unreal demonstrating ray tracing used to make a digital version of a BMW look nearly identical to video of a real car:

To support ray-tracing and other cutting-edge graphics, Unity released its High Definition Render Pipeline in 2018. It gives developers more powerful graphics rendering for GPU devices to achieve high visual fidelity in console and PC games plus non-gaming uses like industrial simulations. (By comparison, its Universal Render Pipeline optimizes content for lower-end hardware like mobile phones.)

Next-gen authoring

The Unity Research Labs team is focused on the next generation of authoring tools, particularly in an era of AR or VR headsets being widely adopted. One component of this is the vision for a future where nontechnical people could develop 3D content with Unity solely through hand gestures and voice commands. In 2016, Unity released an early concept video for this project (something I demo-ed at Unity headquarters in SF last year):

Game engines are eating the world

The term “game engine” limits the scope of what Unity and Unreal are already used for. They are interactive 3D engines used for practically any type of digital content you can imagine. The core engine is used for virtual production of films to autonomous vehicle training simulations to car configurators on auto websites to interactive renderings of buildings.

Both of these engines have long been used outside gaming by people repurposing them and over the last five years Unity and Unreal have made expanding use of their engines in other industries a top priority. They are primarily focused on large- and mid-size companies in 1) architecture, engineering, and construction, 2) automotive and heavy manufacturing, and 3) cinematic video.

In films and TV commercials, game engines are used for virtual production. The settings, whether animated or scanned from real-world environments, are set up as virtual environments (like those of a video game) where virtual characters interact and the camera view can be changed instantaneously. Human actors are captured through sets that are surrounded by the virtual environment on screens. The director and VFX team can change the surroundings, the time of day, etc. in real-time to find the perfect shot.

There are a vast scope of commercial uses for Unity since assets can be imported from CAD, BIM, and other formats and since Unity gives you the ability to build a whole world and simulate changes in real-time. There are four main use cases for Unity’s engine beyond entertainment experiences:

  1. Design & Planning: have teams work on interactive 3D models of their product simultaneously (in VR, AR, or on screens) from offices around the world and attach metadata to every component about its materials, pricing, etc. The Hong Kong International airport used Unity to create a digital twin of the terminals connected to Internet of Things (IoT) data, informing them of passenger flow, maintenance issues, and more in real-time.
  2. Training, Sales & Marketing: use interactive 3D content so staff or customers can engage with: a) photorealistic renderings of industrial products; b) VR trainings for risky construction situations; c) online car configurators that render custom designs in real-time; or d) an architect’s plan for new office space with every asset within the project filled with metadata and responsive to interaction, changes in lighting, etc. 
  3. Simulation: generate training data for machine learning algorithms using virtual recreations of real-world environments (like for autonomous vehicles in San Francisco) and running thousands of instances in each batch. Unity Simulation customers include Google’s DeepMind and Unity teamed up with LG to create a simulation module specific to autonomous vehicles.
  4. Human Machine Interfaces (interactive screens): create interactive displays for in-vehicle infotainment systems and AR heads up displays, as showcased by Unity’s 2018 collaboration with electric car startup Byton.

Unity’s ambitions beyond gaming ultimately touch every facet of life. In his 2015 internal memo in favor of acquiring Unity, Facebook CEO Mark Zuckerberg wrote “VR / AR will be the next major computing platform after mobile.” Unity is currently in a powerful position as the key platform for developing VR / AR content and distributing it across different operating systems and devices. Zuckerberg saw Unity as the natural platform off which to build “key platform services” in the mixed reality ecosystem like an “avatar / content marketplace and app distribution store”.

If Unity maintains its position as the leading platform for building all types of mixed reality applications into the era when mixed reality is our main digital medium, it stands to be one of the most important technology companies in the world. It would be the engine everyone across industries turns to for creating applications, with dramatically larger TAM and monetization potential for the core engine than is currently the case. It could expand up the stack, per Zuckerberg’s argument, into consumer-facing functions that exist across apps, like identify, app distribution, and payments. Its advertising product is already in position to extend into augmented reality ads within apps built with Unity. This could make it the largest ad network in the AR era.

This grand vision is still far away though. First, the company’s expansion beyond gaming is still early in gaining traction and customers generally need a lot of consulting support. You’ll notice other coverage of Unity over the last few years all tends to mention the same case studies of use outside gaming; there just aren’t that many than have been rolled out by large companies. Unity is still in the stage of gaining name recognition and educating these markets about what its engine can do. There are promising proof points of its value but market penetration is small.

Second, the era of AR as “the next major computing platform after mobile” seems easily a decade away, during which time existing and yet-to-be-founded tech giants will also advance their positions in different parts of the AR tech, authoring, and services stack. Apple, Facebook, Google, and Microsoft are collaborators with Unity right now but any of them could decide to compete with their own AR-focused engine (and if any of them acquire Unity, the others will almost certainly do so because of the loss of Unity’s neutral position between them).

Read Part 2 to break down Unity’s current financial position, how its positioning itself in the S-1 to achieve a higher valuation, and what both the bear and bull cases are for its future.

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Over 2,500 games removed from Apple’s China App Store in early July, as crackdown begins

More than 2,500 mobile games have been removed from China’s App Store during the first week of July, according to a new report from app store intelligence firm Sensor Tower. The removals were expected due to a planned crackdown on unlicensed games, but this data is the first to demonstrate the impact on the app economy.

For comparison, the July figure is four times the number of games that were delisted during the first week of April, five times higher than the first week of May and more than four times higher than the first week of June.

The removals have to do with Apple’s new compliance with Chinese gaming regulations.

Apple earlier this year set a deadline of June 30 for app developers to comply with a Chinese law for mobile games, first introduced in 2016. The law requires game developers offering paid downloads or in-app purchases to get a license from one of the country’s censorship bodies, the General Administration of Press and Publication of China.

For years, iPhone game developers had skirted the law by publishing their games, then waiting for their license approval. This can be a long and tedious process that could take many months, or longer if there’s a freeze underway — as in 2018. Then, the gaming industry saw a nine-month halt on the issuing of licenses as Chinese regulators reshuffled their duties to clamp down further on games containing pornography, gambling, violence and any other content deemed inappropriate by Beijing.

Major Android app stores had already enforced the 2016 rule, but Apple’s loophole allowed a mobile gaming industry to thrive on the iPhone platform in China for years.

Image Credits: Sensor Tower

Apple’s decision was expected to see the removal of thousands of games from the App Store, starting in July. Sensor Tower data indicates that came to pass.

However, its data is only able to capture those games that saw enough downloads to rank in the App Store’s charts, including the game subcategory charts.

Out of the 2,500+ games that were pulled, nearly 2,000 (80%) had less than 10,000 downloads since the start of 2012, the firm estimates. Together, the titles had seen a total of 133.4 million lifetime downloads.

Combined, the removed games generated $34.7 million in lifetime gross revenue, with one game accounting for more than $10 million and six that earned over $1 million.

Notable removals included Contract Killer Zombies 2 from Glu, Solitaire from Zynga, ASMR Slicing from Crazy Labs and Nonstop Chuck Norris from Flaregames. More recently, Hay Day from Supercell was also taken down.

The changes to the gaming market as well as the coronavirus impact on the app economy have already allowed the U.S. to reclaim the top spot in terms of iOS consumer spend in Q2. According to App Annie, the U.S. saw 30% quarter-over-quarter growth in iOS consumer spend in Q2, besting China.

The longer-term fallout from the removals may show up in Apple’s bottom line, as China has been the most lucrative mobile games market in the world, noted Sensor Tower, including on iOS. In 2019, games on China’s App Store generated an estimated $12.6 billion, or 33.2% of all global games spending on Apple’s marketplace last year, the firm said.

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Female-led Robin Games raises $7M to combine lifestyle content with fantasy gaming

As a former Jam City executive, Jill Wilson led teams behind some of the top-grossing gaming franchises, like Cookie Jam and Panda Pop. Now she’s running her own startup, Robin Games, where a team of mostly women is working to create a new niche in mobile entertainment they’re calling “lifestyle gaming.” As the name implies, the idea is to create a mobile gaming experience — in this case, fantasy gaming — that’s more like the sophisticated and stylish lifestyle content that’s popular today.

Robin Games is backed by $7 million in seed funding, the company announced on Thursday, as it made its public debut. The round was led by early-stage fund LVP, which has invested in other to game companies including Supercell, Playfish, and NaturalMotion . Additional investors in the oversubscribed round include 1Up Ventures, Alpha Edison, Everblue Management, firstminute Capital, Greycroft Tracker Fund, Hearst Ventures, and Third Kind Venture Capital.

“Traditionally in gaming, when you say ‘fantasy,’ you mean dragons and other mythical creatures, disproportionately built women, armies and battles and explosions and glory,” explained Wilson, Robin Games’ sole founder and CEO. “As a lifelong gamer, I love (most) of these themes, but traditional gamers are no longer in the majority. Thanks to the smartphone, everyone now has access to a gaming console in their pockets. We are expanding the definition of “fantasy” for this modern wave of gamers, whose fantasies are just as diverse as they are,” she added.

Wilson clarified that she’s not meaning to stereotype women as not enjoying fantasy games about things like warriors and dragons. Instead, Robin Games aims to expand the types of fantasies being explored through gaming — including those mobile gaming has yet to include.

While the company isn’t yet announcing its first titles or specific details, like launch dates, the games are said to cover content you’d typically find in a lifestyle magazine, on an Instagram influencer’s profile or on a lifestyle blog for example.

“We are focused on developing games that are deeply sophisticated under the hood, with an elevated, real-world, approachable style that reflects more of the lifestyle content you’d previously see outside of gaming,” Wilson told TechCrunch .

All this will be wrapped up in the free-to-play business model that powers most top-grossing games. In addition, Robin Games’ strategy will allow it to expand to include a partnership strategy, which will diversify its revenue streams further down the road.

Wilson said the idea for Robin Games was something she had in mind for some time, as she was personally looking for games to like this to play herself — only to find they didn’t exist.

“I’ve always designed products for myself first and foremost, which allows me to deeply connect with what the end-user really wants — since the end-user is me,” said Wilson. “Recently, I realized that not only did we have a unique answer to a pretty major gap in the market, but also that the timing was right and, most importantly, that we could pull together the exact right team to execute this vision.”

The startup is currently a team of nine based in Venice Beach. Management is 80% women and everyone had worked together to make hit games in years prior. In terms of hiring, the company is focused on building out a diverse team in order to better realize its vision, Wilson said, and, more broadly, change the face of the gaming industry as it stands today.

“Our mission goes beyond filling a gap in the market. We’re really looking to shake up the games industry, not only redefining what a modern game team looks like, but also changing the definition itself of what it means to be a gamer,” noted Wilson.

In previous studies, female players have been shown to prefer match-3 and social farming games, among others, with fantasy and MMOs further down the list, and sports and shooting games last. But the types of games Robin Games is proposing don’t really fit into any one category that exists today, so it’s still unknown how female gamers will respond.

However, it makes sense to target this underserved market, given that women account for 46% of all U.S. game enthusiasts.  

“Jill Wilson and her incredible team are already further along than most developers starting out,” added Are Mack Growen, partner at LVP and member of Robin Games’ Board of Directors, about the firm’s investment. “This team has developed and operated some of the world’s most successful games for a decade, and now they have assembled to bring premium experiences to the massively underserved audience of women. In addition to their industry expertise, they fundamentally understand their audience and the ingredients for powerful entertainment. We are proud to have led their seed round and look forward to helping them redefine what it means to be a gamer.”

 

 

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The future (and past) of mobile gaming

The summer of 2008 changed everything.

Apple’s launch of the App Store a year after the release of the iPhone was a watershed moment not only in the business of technology, but in every aspect of humanity. Nearly every industry can look back at data before July 2008 and after and see how rapidly and profoundly things changed. But one sector in particular turned into a completely different beast.

Gaming.

We’ve seen some amazing firms come out of the mobile gaming space, some with more success than others. One gaming founder who experienced the full gamut of entrepreneurial emotion is Thor Fridriksson, founder of QuizUp. As we head into 2020, I hopped on the phone with him to discuss the rapid rise of QuizUp in the early oughts, its hard fall from grace following a botched deal with NBC and Fridriksson’s predictions about the next decade of mobile gaming.

(This interview has been edited for length and clarity. Emphasis is mine.)

Jordan Crook: Can you believe it’s almost 2020? Doesn’t feel real.

Thor Fridikksson: I remember when I was teenager. I was into role playing games like the typical nerds. One of the ones I loved the most was called Cyberpunk 2020. It was set in 2020, and it was all about bionic arms and implants and very, very futuristic stuff. And this is kind of why 2020 has a special meaning to me. But, usually, when people predict the future, they’re always so far off. It’s almost unbelievable.

Yeah, we haven’t quite gotten that that down yet, have we? Really being good at predicting the future. Maybe this next decade, with the era of big data, will change that. But let’s focus on the past for a bit. Take me 10 years back. I want to hear about how QuizUp became the popular game it was. You guys reached 20 million users in the first 12 months.

At the beginning of the decade, I was just graduating from university. I had lived in Iceland all my life, but for my MBA I moved to the UK to attend Oxford. It was a pretty wild time for me, especially because Oxford University had this annual thing called ‘Silicon Valley Comes to Oxford.’ I was watching this whole smartphone revolution that was just taking place.

We had the privilege of getting some really top entrepreneurs from the Valley at Oxford and they actually spent a whole week with students in the MBA program. People like Reid Hoffman, the founder of LinkedIn, and Biz Stone, one of the founders of Twitter, and others. I volunteered to be a tour guide for them.

And it was just fantastic! It was fantastic to be having dinners with these entrepreneurs from this totally different kind of environment in Silicon Valley. The environment for the U.S. entrepreneur is so much different from the European, in many ways. U.S. entrepreneurs have this kind of boldness, this fearlessness. Their feelings about failure were something that I was fascinated by.

At later stages, I would have to experience this myself. Personally, I think that one of the things that the U.S. entrepreneurial ecosystem gets right is that the stigma of starting a business and failing one is not nearly as strong as it is in Europe. If you start the business in Europe and you somehow fail, you will not have any chance to … it’s like, you’re an immediate loser. Whereas the thinking, or how people perceive entrepreneurs in the U.S., is that they’re those guys that try and try and try again. This is such a big difference in mentality between the two continents, and this is one big advantage that the U.S. has.


Fridriksson returned to Iceland after graduating Oxford during one of the biggest economic collapses in the world, which hit Iceland particularly hard. “There was absolutely nothing for a newly graduated business guy to do,” he said. This is around the time he started Plain Vanilla, which would be the parent company of QuizUp. He completely focused on the Icelandic market, unconcerned with the U.S., after having seen the smartphone unlock various geographies.

The first game out of Plain Vanilla wasn’t a trivia game at all. It was actually a children’s game called The Moogies that Fridriksson spent 18 months designing and producing. He recalls it as the classic founder story — he sold all of his stuff, spent all of his money and took out a bunch of loans to fund the project. “I wasn’t really thinking about VCs or anything like that, especially because there weren’t any here in Iceland at the time,” said Fridriksson.

In 2011, Plain Vanilla launched the Moogies, a sort of interactive, cartoon-based game for kids.


It was a massive failure. It’s one of those moments in life where you just put your heart and soul into something. I will always remember this moment. It was a pivotal moment before I started QuizUp. We were working with this big publisher, and I was waiting to see the first sales numbers for the game after it launched.

It was a big thing in Iceland. I was in the press and doing interviews and the launch of the game was big news in Iceland because we’re such a small country. I was really excited and I was thinking, ‘I hope it’s going to be 500,000 downloads, but 100,000 would be great. 50,000 would be OK.’ I was refreshing the dashboard and when I finally saw the number, it was only 500 units sold. Immediately, in one heartbeat, I knew that one and a half years of hard labor was down the drain.

What do you think went wrong there? Did you spend too much time building it out without an MVP or a beta? Do you think it would have done better if you shipped something a bit more bare bones earlier?

I don’t think that was what I did wrong. Actually, I’m a big believer in polish. Especially when it comes to games, I don’t think you should just try to get something out to prove something. You should really, in all your products, think about the details and offer a more finished product than an MVP.

In the case of the Moogies, it was a paid app. This is just around the time when free-to-play and the freemium economy was starting. So, paid apps just did significantly worse. The reason I wanted it to be paid is because I didn’t like advertising, especially not in children’s apps. I was against in-app purchases at the time and advertising, and I just wanted to create a very safe and nice experience for young children. I had my own toddler at the time who was the Chief Tester of the game.

So, it was a paid app. But the other issue is that breaking into the children’s category is so tough. They are probably the most brand loyal audience you will ever find. And I’m not really talking about the kids, I’m talking about their parents. When you have a kid that likes a certain theme of toy, like Mickey Mouse or whatever it is, their parents will only buy that. It’s very hard to get any sort of virality or break into children’s brands without mainstream marketing money.

Was the Moogies the only game Plain Vanilla launched before QuizUp?

Well, I get this idea of QuizUp. It’s a dark winter night in Iceland. I had just realized that I was bankrupt. And there was no way for me to get any more funding from Iceland. I was really feeling, what I mentioned before, this scorn. I would go to see investors and they’d ask how Moogies went, and I would tell them and try to make it look prettier than it was. They would block me immediately because there is this stigma of failure. And this is when I really felt that being in Europe, and having failed on my first try… it really damages your chances of getting up again.

I get this idea for QuizUp and write it on this electric bill that I can’t pay. And I was just convinced. I get this really strong feeling that this game would be the formula to virality and success. Users would play real people in real time and they would have all these rankings and titles. People are so vain, in general, that I knew they would just love it. It felt like something that hadn’t been done before and I really wanted to do it.

But, again, I had no money. I was totally bankrupt and had no employees anymore. But I remembered those guys from Oxford, Reid Hoffman and Biz Stone, and I think to myself, ‘I’m so connected. I’ll just go there. I’m 100 percent sure that with this great idea, these VCs will just throw money at me. I’ll be able to do this. Easy Peasy.’


Fridriksson hired two engineers on the promise of getting to move to San Francisco and help on the project. The plan was for the engineers to build a prototype of QuizUp while Fridriksson went around to VCs trying to secure seed funding. They all lived in a small apartment together.


This plan was a bit naive, when I look back at that time. I was expecting a red carpet to be waiting for me. That, when I arrived in San Francisco, people would be throwing money at me. And it was actually quite the opposite. Getting seed funding with just an idea is quite hard.

So did you get the funding?

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GameClub offers mobile gaming’s greatest hits for $5 per month

Apple Arcade introduced the idea of all-you-can-eat subscription-based mobile gaming to the mainstream. Google Play Pass soon followed as a way to subscribe to a sizable collection of both apps and games on Android devices. Today, a startup called GameClub is launching in the U.S. to offer an alternative. For $4.99 per month, mobile consumers will be able to access a library that includes some of the best games to have ever hit the App Store.

To be clear, GameClub is not a cloud gaming platform, like Google Stadia. It’s a way to subscribe to actual App Store games, similar to Arcade. In GameClub’s case, however, the focus is not on new releases but on quality games that already have proven track records and high ratings.

In fact, many GameClub games have made Apple’s own editorially selected “Game of the Year” lists in years past. And like the games offered on Apple Arcade, they don’t have ads or any in-app purchases.

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At launch, GameClub’s library includes more than 100 titles, with around half that available for play today. More titles will roll out on a weekly basis in the months ahead. Combined, the games have over 100 million collective downloads, the company says.

On GameClub, you’ll find games like: Super Crate Box, Hook Champ, Mage Gauntlet, Space Miner, Forget-Me-Not, MiniSquadron, Plunderland, Pocket RPG, Sword of Fargoal, Incoboto, Tales of the Adventure Company, Hook Worlds, Orc: Vengeance, Mr. Particle-Man, Legendary Wars, Deathbat, The Path to Luma, Grimm, Zombie Match, Faif, iBlast Moki 2, Kano, Baby Lava Bounce, Run Roo Run, Gears and many others.

It’s a selection that extends across gaming categories, like Action, Arcade, Puzzle, Adventure, Platformer, Retro, Role Playing, Simulation, Strategy and more.

To use the service, you first download the main GameClub app, which becomes the hub for your GameClub activities. You then sign up for the $4.99 per month subscription, which includes a 30-day free trial. Within the main app, you can browse the available titles as well as read editorial content like in-depth overviews and histories, get tips and learn about gaming strategies.

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The startup was founded last year by game industry vets Dan Sherman and Oliver Pedersen.

Sherman, GameClub CEO, has worked in the gaming industry for around 17 years, including time spent at EA and his own startup, Tilting Point. His experience has involved, predominantly, signing content partnerships with game creators. Pedersen, meanwhile, built backend systems and platforms for games, including at Yahoo Games.

Though GameClub is seemingly arriving after Apple Arcade’s debut, it actually began before that. The startup was founded in 2018, ahead of any Apple Arcade rumors. It went live on iOS outside the U.S. before Arcade launched.

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The founders say they were inspired to address the issues caused by the free-to-play model that has infiltrated the gaming industry. In addition, they had witnessed a decline in consumers’ willingness to purchase content upfront, which was impacting the industry.

“I was seeing all these amazing game developers leave mobile because the types of games they make are not the types of games that monetize through in-app purchases and ads,” Sherman tells TechCrunch. “The free-to-play model actually only works for a handful of genres,” he explains. “A lot of companies make a lot of money through a very small number of genres and game experiences — to the exclusion of a lot of other types of genres that GameClub is bringing back — action, adventures, arcade, tower defense — anything that can be completed.”

With free-to-play, games are built around perpetual retention loops. “And the freemium model comes out of the casino industry, not the premium game industry,” Sherman points out.

But because this is how games could make money, it led to homogeneity in the marketplace, he says.

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GameClub aims to offer a subscription to the premium games that got left behind.

They are meant to be wholesome and fun, not overly addictive. They’re not designed to manipulate you into spending money. You simply pay your subscription fee every month to access the catalog, then play unencumbered.

Thanks to Apple Arcade and Google Play Pass, consumers are now comfortable with the idea of the subscription model for mobile games. And other services — like Spotify Netflix, and Xbox Game Pass, for example — have pushed the idea of subscription access to content across platforms and genres.

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GameClub is different from Arcade, however, because it’s not funding the development of content upfront — at least, not yet. Instead, it’s forging agreements with largely indie developers to release their existing IP as a GameClub exclusive.

This may include bringing an older game into the 64-bit era — something GameClub handles on their behalf.

“Many of [the GameClub titles] have been gone for many years,” says Sherman. “It’s with our team, our technology and our developers that they’ve been brought back. And they’ve been brought back in a way that is 100% using the original code and the exact same design…but making them look and feel new, with higher resolution, Retina Display assets and by optimizing for the latest screen sizes and configurations,” he adds.

The company doesn’t discuss the business model for GameClub, but it’s not the same as Apple Arcade’s pay-upfront model.

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What Sherman could say is that the more important the game is to the GameClub service, the more money the creator makes. Additionally, GameClub says it’s transparent with developers about its subscription revenue, so there’s no question about which games are earning or why.

The same can’t be said for Apple Arcade, which is a total black box to the point that consumers don’t know which Arcade games are most popular, developers can’t see how they’re doing compared with others and third-party measurement firms have no data.

Of course, there could be concerns that GameClub exists in a gray area, with regard to App Store policy. Those with longer memories may recall that Apple banned app-stores-within-a-store starting back in 2012. The company had kicked out apps that recommended other apps like AppHero, FreeAppADay, Daily App Dream, AppShopper and more. It also banned the more popular app recommendation service AppGratis the following year.

But Apple’s concern was that these apps were leveraging their power to manipulate App Store charts and rankings, often charging for that service. GameClub, on the other hand, plays fairly. Its service also benefits Apple, by offering subscription access to quality games that couldn’t thrive as free-to-play titles.

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Longer-term, GameClub wants to produce its own original content and offer its service across platforms, starting with Google Play, but eventually tackling PC and console gaming.

The startup is headquartered in New York City, with offices in Copenhagen. In addition to the founders, it includes Eli Hodapp, the former editor-in-chief of the popular game news and review site TouchArcade, and COO Britt Myers, the former chief product officer of subscription-based edtech apps platform Homer.

With the close of a seed round last week, GameClub is backed by $4.6 million in funding.

Investors from a round that closed last year include GC VR Gaming Tracker Fund, CRCM Ventures, Watertower Ventures, Ride Ventures, BreakawayGrowth Fund and others. New investors include GFR Fund, Gramercy Fund, Century Gold and others.

GameClub is available on the App Store.

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3 lessons from Roblox’s growth to gaming dominance

Our recently published EC-1 on Roblox recounts the origin story and growth prospects of the company. But there’s one more piece to the story: what Roblox’s impact will be on gaming and the broader startup industry, if the company manages to multiply its current 90 million users.

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Sources: TechCrunch, VentureBeat, Roblox

We’ve distilled three key ideas out of the EC-1 — lessons that may apply not only to game developers and gaming entrepreneurs, but also to the broader startup industry.

Lesson 1: UGC is a missed opportunity in games

Roblox has shown that user-generated content (UGC) is a missed opportunity for much of the game industry. The company aspires, in a way, to be the YouTube of games. And it is succeeding, with 50 million experiences from 2 million creators to date.

The game industry generally has two problems with UGC. One is the games themselves: AAA games today are too complex, and lack the flexibility and simplicity needed for robust UGC. Roblox shows that a simpler look and feel is a valid alternative to today’s super-sized, beautiful AAA games. (Minecraft proved much the same.)

The other problem is the greater complexity of making games than, say, videos or music. Roblox solved this problem by building its own game engine, which is designed solely to output Roblox-style experiences.

But increasingly, engines like Unity are capable of accomplishing similar feats: games are getting easier to build. It’s now possible that savvy entrepreneurs could build a platform like Roblox, without building an entire game engine.

Lesson 2: New opportunities in gaming are still coming

The game industry is infamously cyclical. New platforms emerge, become promising, then grow overcrowded and competitive. Usually, this cycle relates to hardware (the iPhone, virtual reality helmets, game consoles like the Nintendo Switch) or massive changes in consumer behavior (the emergence of Facebook, the early growth of the internet). But Roblox, a pure software play, shows that exceptions could exist.

It’s still early days. Roblox reported that it paid out $30 million to game developers in 2017, doubling to $60 million in 2018. Developers receive a quarter of the revenue made from their games, with another quarter covering payment processing and another quarter covering cloud hosting. Its top 10 developers made about $3 million on average each. Seven of its games have also entered a “billion plays” club:

Adopt Me, a newer game, hit 440,000 concurrent users in June, a new record for the platform.

When a new platform appears, it’s usually found by amateur developers first. That’s certainly the case with Roblox: its successes are being created almost exclusively by first-time game developers in their teens and twenties. At some point, professional developers are likely to conclude they can do at least as well. The current market is particularly exciting because many games are fairly simple and lightweight — recent breakout hits like Camping 2 and Weight Lifting Simulator 3 are significantly smaller than comparable games on other platforms.

For entrepreneurs interested in creating new platforms or portals Roblox’s success as a combined game engine and self-contained platform also shows that opportunities still exist — if you have the patience to wait for them to mature.

Lesson 3: Patience can create amazing growth cycles

It took Roblox 15 years to grow to its current point. But most of that growth is recent: as seen in the chart above, Roblox experienced 10x growth in about 3 years, from 9 million users in February 2016 to 90 million in April 2019.

So what went into the decade or so during which Roblox was a much smaller platform? As we tell it in the origin story: a great deal of work, and very little paid acquisition.

In its early years, Roblox did buy users, to seed a user base while it worked on an impossibly large vision that included a game engine, platform, social features, a creator community, and its own games. But after a few years, it stopped buying users.

All of its growth since has been organic. That’s from two main sources: word of mouth, and YouTube users who watch one of the many Roblox streamers. Of course, any company can try to do the same. But Roblox had the patience to build a unique product — one which took years of work to even reach partial completion.

The key to it all was long-term adherence to a long-term goal: the creation of a new category, which it calls “human coexperience”. Today, Roblox still can’t be called part of a new category; it’s a game platform. But with more years of work, it may eventually get there.

For more on the Roblox story, see Part 1: The Origin Story, and Part 2: The Business Plan.

Update: TechCrunch corrected “2 million experiences” to be 50 million experiences from 2 million creators. We also provided more context of the revenue breakdown of payments made on Roblox to developers.

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Northzone’s Paul Murphy goes deep on the next era of gaming

As the gaming market continues to boom, billions of dollars are being invested in new games and new streaming platforms vying to own a piece of the action. Most of the value is accruing to the large incumbents in a space, however, and the entrance of Google and other big tech companies makes it difficult to identify where there are compelling opportunities for entrepreneurs to build new empires.

TechCrunch media analyst Eric Peckham recently sat down with Paul Murphy, Partner at European venture firm Northzone, to discuss Paul’s view of the market and where he is focusing his dollars. Below is the transcript of the conversation (edited for length and clarity):


Eric Peckham: You co-founded the hit mobile game Dots before moving to London and joining Northzone last year. Are you still bullish on investment opportunities in mobile gaming or do you think the market has changed?

Paul Murphy: I’m bullish on mobile gaming–the market is bigger than it has ever been. There’s a whole generation of people that have been trained to play games on mobile phones. So those are things that are very positive.

The challenge is you don’t really have a rising tide moment anymore. The winners have won. And so it’s very, very difficult for someone to enter with new content and build a business that’s as big as Supercell or King, regardless of how good their content is. So while the prize for winning in mobile gaming content big, the likelihood is smaller.

Where I’m spending most of my time is not on content, it’s on components within mobile gaming. We’re looking at infrastructure: different platforms that enable mobile gaming, like Bunch which we invested in.

Their product allows you to do live video and audio on top of mobile games. So we don’t have to take any content risk. We’re betting that this great product will fit into a large inventory ecosystem.

Peckham: New mobile game studios that are launching all seem to fall under the sphere of influence of these bigger companies. They get a strategic investment from Supercell or another company. To your point, it’s tough for a small startup to compete entirely on its own.

Murphy: It’s possible in mobile gaming still but it’s really, really hard now. At the same time, what you’ve seen is the odds of winning are lower. It is hard to reach the same scale when it costs you $5.00 to acquire a user today, whereas when Candy Crush launched, it was $0.05 per user. So it’s almost impossible to achieve King-like scale today.

Therefore, you’re looking at similar content risk with reduced upside, which makes that equation less attractive for venture capital. But it might be perfectly fine for an established company because they don’t need to do the marketing, they have the audience already.

The big gaming companies all struggle with the challenge of how to create the next hit IP. They have this machine that can bring any great game to market efficiently, with a large audience they can cross promote from and capital they can invest to build a big brand quickly. For them, the biggest challenge is getting the best content.

So it’s natural to me that the pendulum has swung towards strategic investors in mobile gaming content. Epic has a fund that they set up with Improbable, Supercell is making direct investments, Tencent has been making investments for years. Even from a content perspective, you’re probably going to see Apple, Google, and Amazon making more content investments in mobile gaming.

Image via Getty Images / aurielaki

Peckham: Does this same market dynamic apply to PC games and console games? Do you see a certain area within gaming where there’s still opportunity for independent startups to create the game itself and find success at a venture scale?

Murphy: The reason we made our investment in Klang Games, which is building an MMO called Seed that people will primarily play through PC, is that while there is content risk–you’re never going to get rid of the possibility that the IP doesn’t fly–if it works, it will be massive…an Earth-shattering level of success. If their vision comes to life, it will be very, very big.

So that one has all the risks that you’d have in any other game studio but the upside is exponentially larger, so the bet makes sense to us. And it so happens that it’s going to be on PC first, where there’s certainly a lot of competition but it’s not as saturated and the monetization methods are healthier than in mobile gaming. In PC, you don’t have to do free-to-play tactics that interfere with the gameplay.

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A chat with Niantic CEO John Hanke on the launch of Harry Potter: Wizards Unite

Just shy of three years ago, Pokémon GO took over the world. Players filled the sidewalks, and crowds of trainers flooded parks and landmarks. Anywhere you looked, people were throwing Pokéballs and chasing Snorlax.

As the game grew, so did the company behind it. Niantic had started its life as an experimental “lab” within Google — an effort on Google’s part to keep the team’s founder, John Hanke, from parting ways to start his own thing. In the months surrounding GO’s launch, Niantic’s team shrank dramatically, spun out of Google, and then rapidly expanded… all while trying to keep GO’s servers from buckling under demand and to keep this massive influx of players happy. Want to know more about the company’s story so far? Check out the Niantic EC-1 on ExtraCrunch here.

Now Niantic is back with its next title, Harry Potter: Wizards Unite. Built in collaboration with WB Games, it’s a reimagining of Pokémon GO’s real-world, location-based gaming concept through the lens of JK Rowling’s Harry Potter universe.

I got a chance to catch up with John Hanke for a few minutes earlier this week — just ahead of the game’s US/UK launch this morning. We talked about how they prepared for this game’s launch, how it’s built upon a platform they’ve been developing across their other titles for years, and how Niantic’s partnership with WB Games works creatively and financially.

Greg Kumparak: Can you tell me a bit about how all this came to be?

John Hanke: Yeah, you know.. we did Ingress first, and we were thinking about other projects we could build. Pokémon was one that came up early, so we jumped on that — but the other one that was always there from the beginning, of the projects we wanted to do, was Harry Potter. I mean, it’s universally beloved. My kids love the books and movies, so it’s something I always wanted to do.

Like Pokémon, it was an IP we felt was a great fit for [augmented reality]. That line between the “muggle” world and the “magic” world was paper thin in the fiction, so imagining breaking through that fourth wall and experiencing that magic through AR seemed like a great way to use the technology to fulfill an awesome fan fantasy.

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The definitive Niantic reading guide

In just a few years, Niantic has evolved from internal side project into an independent industry trailblazer. Having reached tremendous scale in such a short period of time, Niantic acts as a poignant crash course for founders and company builders. As our EC-1 deep-dive into the company shows, lessons from the team’s experience building the Niantic’s product offering remain just as fresh as painful flashbacks to the problems encountered along the way.

As we did for our Patreon EC-1, we’ve poured through every analysis we could find on Niantic and have compiled a supplemental list of resources and readings that are particularly useful for getting up to speed on the company.

Reading time for this article is about 9.5 minutes. It is part of the Extra Crunch EC-1 on Niantic. Feature illustration by Bryce Durbin / TechCrunch.

I. Background: The Story of Niantic

Google-Incubated Niantic, Maker of Ingress, Stepping Out on Its Own | August 2015 | In August of 2015, Niantic announced that it would spin out from Google and become an independent company. As discussed in WSJ’s coverage of the news, Niantic looked at the spin out as a way to accelerate growth and collaborate with the broader entertainment ecosystem.

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You can play Alto’s Adventure on your Mac now

Everyone’s favorite endless, serene snowboarding game just made the leap from mobile to the Mac App Store. Available now for $9.99, Alto’s Adventure for Mac is a desktop port of the side-scrolling snowscape game that’s won hearts and accolades since it first hit iOS in 2015.

Earlier this year, the team behind Alto’s Adventure introduced a second game, Alto’s Odyssey, which trades the first game’s snowy terrain for sand and sun while maintaining its charm. If you’ve already spent some time with Alto’s Odyssey, the Mac version of the classic is a good reason to circle back.

The game’s serene setting and blissed out music make Alto’s Adventure eminently replayable, even if you’ve already sunk tens of hours into lengthening your scarf in an infinite procedurally generated snowy world dotted with charming villages, dramatic slopes and many, many things to trip over.

If you’ve yet to dive into Alto’s Adventure, and we really recommend that you do, the Mac version is probably a good starting place. For everyone else, progress in the game syncs across devices through iCloud, so it’s a good excuse to push a little further into one of the most thoughtful, pleasant mobile game experiences to date.

And while you’re hanging out in the Mac App Store, don’t forget to update to Mojave — Apple’s latest desktop operating system is available now.

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