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How Roblox completely transformed its tech stack

Picture yourself in the role of CIO at Roblox in 2017.

At that point, the gaming platform and publishing system that launched in 2005 was growing fast, but its underlying technology was aging, consisting of a single data center in Chicago and a bunch of third-party partners, including AWS, all running bare metal (nonvirtualized) servers. At a time when users have precious little patience for outages, your uptime was just two nines, or less than 99% (five nines is considered optimal).

Unbelievably, Roblox was popular in spite of this, but the company’s leadership knew it couldn’t continue with performance like that, especially as it was rapidly gaining in popularity. The company needed to call in the technology cavalry, which is essentially what it did when it hired Dan Williams in 2017.

Williams has a history of solving these kinds of intractable infrastructure issues, with a background that includes a gig at Facebook between 2007 and 2011, where he worked on the technology to help the young social network scale to millions of users. Later, he worked at Dropbox, where he helped build a new internal network, leading the company’s move away from AWS, a major undertaking involving moving more than 500 petabytes of data.

When Roblox approached him in mid-2017, he jumped at the chance to take on another major infrastructure challenge. While they are still in the midst of the transition to a new modern tech stack today, we sat down with Williams to learn how he put the company on the road to a cloud-native, microservices-focused system with its own network of worldwide edge data centers.

Scoping the problem

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Tokyo-based virtual reality game developer Thirdverse gets $8.5 million Series A

Thirdverse, the virtual reality game developer behind “Swords of Gargantua,” has raised $8.5 million in Series A funding. The round was led by JAFCO, with participation from Presence Capital, Sisu Ventures and Incubate Fund, and will be used for hiring, co-founder Masaru Ohnogi told TechCrunch.

Based in Tokyo, Thirdverse was started four years ago as Yomuneco, but relaunched as Thirdverse in June to align with its corporate mission of creating a “Third Place inside the Metaverse,” where “each person has choices in his or her own hands and can live whatever life he or she wants to.” The company is currently focused on multiplayer virtual reality games, but its ultimate goal is to combine virtual reality with blockchain technology to create “VR worlds” where people can create online communities.

The concept has taken on a new relevancy, as COVID-19-related stay-at-home orders prompted organizations to bring online gatherings, including conferences, concerts and even their offices.

Users have also spent more time playing online games during the pandemic, with titles that have a social element, like “Animal Crossing: New Horizons,” proving especially popular.

“Our sales and active users started increasing in late March as people started spending more time at home,” said Ohnogi. “And this increased engagement has remained consistent, even as some communities have lifted stay-at-home orders.”

Most of Thirdverse’s current users are located in America, and Ohnogi said many of them use Oculus Quest headsets. During Facebook’s href=”https://techcrunch.com/2020/09/16/facebook-is-officially-killing-off-the-oculus-rift-line/”> virtual reality conference last month (which itself was held virtually), the tech giant announced it would release its new Oculus Quest 2 in Japan this month. Ohnogi said this is a big opportunity for Thirdverse because many Japanese people will see the new headsets in retail stores. “As one of the earliest leading VR companies in Japan, we’ve already seen a huge number of traction. We are really excited about it.”

Thirdverse is currently preparing to release other virtual reality games, including “Frostpoint VR: Proving Grounds,” a multi-player shooter game that will be available later this year for Oculus Rift, HTC Vive VR and Valve Index headsets.

In a statement, Sisu Ventures and Presence Capital founding partner Paul Bragiel said, “In the rapidly growing VR gaming landscape, Thirdverse stands out as having strong leadership, deep relationships and a big vision to become the category leader in this market.”

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5 top gaming investors explain how the pandemic is reshaping MMOs and social games

Now that the COVID-19 pandemic has forced millions into isolation, video games are seeing a surge in usage as people seek entertainment and social interaction.

When we surveyed gaming-focused VCs in October, Andreessen Horowitz partner Jonathan Lai predicted that “next-generation games will be bigger than anything we’ve seen yet,” eventually reaching “Facebook scale.” This month, when we asked 17 VCs how this era would impact consumer startups, gaming was one of the top verticals they named.

We wanted to learn more about how the venture community thinks about the future of this sector, so we asked five experienced gaming investors about where they do — and don’t — see new opportunities within this trend:

Below are their responses, edited for space and clarity. We’ll follow up with surveys on other gaming categories in the next couple of weeks.

And if you’re interested in understanding the challenges for gaming companies aiming to become next-generation social platforms, be sure to read my eight-part series on virtual worlds.

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Tencent to grow gaming empire with $148M acquisition of Conan publisher Funcom in Norway

Tencent, one of the world’s biggest video and online gaming companies by revenue, today made another move to help cement that position. The Chinese firm has made an offer to fully acquire Funcom, the games developer behind Conan Exiles (and others in the Conan franchise), Dune and some 28 other titles. The deal, when approved, would value the Oslo-based company at $148 million (NOK 1.33 billion) and give the company a much-needed cash injection to follow through on its longer-term strategy around its next generation of games.

Funcom is traded publicly on the Oslo Stock Exchange, and the board has already recommended the offer, which is being made at NOK 17 per share, or around 27% higher than its closing share price the day before (Tuesday).

The news is being made with some interesting timing. Today, Tencent competes against the likes of Sony, Microsoft and Nintendo in terms of mass-market, gaming revenues. But just earlier this week, it was reported that ByteDance — the publisher behind breakout social media app TikTok — was readying its own foray into the world of gaming.

If it goes ahead, that would set up another level of rivalry between the two companies. Tencent also has a massive interest in the social media space, specifically by way of its messaging app WeChat . While many consumers will have multiple apps, when it comes down to it, spending money in one represents a constraint on spending money in another. ByteDance currently profits from having content on its social apps related to Tencent gameplay, so building its own content could be one way of moving away from that. The two have (naturally) also been battling it out in court in China over unfair competition claims, in part related to that gaming content.

Today, Tencent is one of the world’s biggest video game companies: in its last reported quarter (Q3 in November), Tencent said that it make RMB28.6 billion ($4.1 billion) in online gaming revenue, with smartphone games accounting for RMB24.3 billion of that.

Acquisitions and controlling stakes form a key part of the company’s growth strategy in gaming. Among its very biggest deals, Tencent paid $8.6 billion for a majority stake in Finland’s Supercell back in 2016. It also has a range of controlling stakes in Riot Games, Epic, Ubisoft, Paradox, Frontier and Miniclip. These companies, in turn, also are making deals: just earlier this month it was reported (and sources have also told us) that Miniclip acquired Israel’s Ilyon Games (of Bubble Shooter fame) for $100 million.

Turning back to Funcom, Tencent was already an investor in the company: it took a 29% stake in it in September 2019 in a secondary deal, buying out KGJ Capital (which had previously been the biggest shareholder).

“Tencent has a reputation for being a responsible long-term investor, and for its renowned operational capabilities in online games,” said Funcom CEO Rui Casais at the time. “The insight, experience, and knowledge that Tencent will bring is of great value to us and we look forward to working closely with them as we continue to develop great games and build a successful future for Funcom.”

In retrospect, this was laying the groundwork and relationships for a bigger deal just months down the line. 

“We have a great relationship with Tencent as our largest shareholder and we are very excited to be part of the Tencent team,” Casais said in a statement today. “We will continue to develop great games that people all over the world will play, and believe that the support of Tencent will take Funcom to the next level. Tencent will provide Funcom with operational leverage and insights from its vast knowledge as the leading company in the game space.”

The rationale for Funcom is that the company had already determined that it needed further investment in order to follow through on its longer-term strategy.

According to a statement issued before it recommended the offer, the company is continuing to build out the “Open World Survival segment” using the Games-as-a-Service business model (where you pay to fuel up with more credits); and is building an ambitious Dune project set to launch in two years.

“Such increased focus would require a redirection of resources from other initiatives, the most significant being the co-op shooter game, initially scheduled for release during 2020 that has been impacted by scope changes due to external/market pressures with increasingly strong competition and internal delays,” the board writes, and if it goes ahead with its strategy, “It is likely that the Company will need additional financing to supplement the revenue generated from current operations.”

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Tencent to take 29% stake in multiplayer games maker Funcom

Chinese social media and gaming giant Tencent is taking a 29% stake to become the largest shareholder in Oslo-based Funcom.

The indie games developer is responsible for multiple adaptations involving the “Conan the Barbarian” franchise, such as “Age of Conan” and “Conan Exiles,” as well as a number of other multiplayer titles — including a forthcoming open world sandbox game that will be set in the “Dune” sci-fi universe.

The news that Tencent has entered into a share purchase agreement to acquire almost a third of the company was announced in a press release today. The Chinese giant has agreed to acquire all the shares belonging to the Norway-based KGJ Capital AS, which is currently the largest shareholder in Funcom.

Commenting in a statement, Funcom CEO Rui Casais said: “Tencent has a reputation for being a responsible long-term investor, and for its renowned operational capabilities in online games. The insight, experience, and knowledge that Tencent will bring is of great value to us and we look forward to working closely with them as we continue to develop great games and build a successful future for Funcom.”

Tencent, which has a substantial games operation of its own, also holds stakes in a number of other major games makers — including Riot Games, Epic, Supercell, Ubisoft, Paradox, Frontier and Miniclip.

A prolonged games licensing freeze in China dented Tencent’s profits last year. And earlier this year, while it reported record profits in its Q1, it also recorded its slowest revenue growth since going public.

Regulatory risk at home is one reason for Tencent to expand its stakes in overseas games developers and tap into a global audience to stoke growth.

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Loot boxes in games are gambling and should be banned for kids, say UK MPs

UK MPs have called for the government to regulate the games industry’s use of loot boxes under current gambling legislation — urging a blanket ban on the sale of loot boxes to players who are children.

Kids should instead be able to earn in-game credits to unlock look boxes, MPs have suggested in a recommendation that won’t be music to the games industry’s ears.

Loot boxes refer to virtual items in games that can be bought with real-world money and do not reveal their contents in advance. The MPs argue the mechanic should be considered games of chance played for money’s worth and regulated by the UK Gambling Act.

The Department for Digital, Culture, Media and Sport’s (DCMS) parliamentary committee makes the recommendations in a report published today following an enquiry into immersive and addictive technologies that saw it take evidence from a number of tech companies including Fortnite maker Epic Games; Facebook-owned Instagram; and Snapchap.

The committee said it found representatives from the games industry to be “wilfully obtuse” in answering questions about typical patterns of play — data the report emphasizes is necessary for proper understanding of how players are engaging with games — as well as calling out some games and social media company representatives for demonstrating “a lack of honesty and transparency”, leading it to question what the companies have to hide.

“The potential harms outlined in this report can be considered the direct result of the way in which the ‘attention economy’ is driven by the objective of maximising user engagement,” the committee writes in a summary of the report which it says explores “how data-rich immersive technologies are driven by business models that combine people’s data with design practices to have powerful psychological effects”.

As well as trying to pry information about of games companies, MPs also took evidence from gamers during the course of the enquiry.

In one instance the committee heard that a gamer spent up to £1,000 per year on loot box mechanics in Electronic Arts’s Fifa series.

A member of the public also reported that their adult son had built up debts of more than £50,000 through spending on microtransactions in online game RuneScape. The maker of that game, Jagex, told the committee that players “can potentially spend up to £1,000 a week or £5,000 a month”.

In addition to calling for gambling law to be applied to the industry’s lucrative loot box mechanic, the report calls on games makers to face up to responsibilities to protect players from potential harms, saying research into possible negative psychosocial harms has been hampered by the industry’s unwillingness to share play data.

“Data on how long people play games for is essential to understand what normal and healthy — and, conversely, abnormal and potentially unhealthy — engagement with gaming looks like. Games companies collect this information for their own marketing and design purposes; however, in evidence to us, representatives from the games industry were wilfully obtuse in answering our questions about typical patterns of play,” it writes.

“Although the vast majority of people who play games find it a positive experience, the minority who struggle to maintain control over how much they are playing experience serious consequences for them and their loved ones. At present, the games industry has not sufficiently accepted responsibility for either understanding or preventing this harm. Moreover, both policy-making and potential industry interventions are being hindered by a lack of robust evidence, which in part stems from companies’ unwillingness to share data about patterns of play.”

The report recommends the government require games makers share aggregated player data with researchers, with the committee calling for a new regulator to oversee a levy on the industry to fund independent academic research — including into ‘Gaming disorder‘, an addictive condition formally designated by the World Health Organization — and to ensure that “the relevant data is made available from the industry to enable it to be effective”.

“Social media platforms and online games makers are locked in a relentless battle to capture ever more of people’s attention, time and money. Their business models are built on this, but it’s time for them to be more responsible in dealing with the harms these technologies can cause for some users,” said DCMS committee chair, Damian Collins, in a statement.

“Loot boxes are particularly lucrative for games companies but come at a high cost, particularly for problem gamblers, while exposing children to potential harm. Buying a loot box is playing a game of chance and it is high time the gambling laws caught up. We challenge the Government to explain why loot boxes should be exempt from the Gambling Act.

“Gaming contributes to a global industry that generates billions in revenue. It is unacceptable that some companies with millions of users and children among them should be so ill-equipped to talk to us about the potential harm of their products. Gaming disorder based on excessive and addictive game play has been recognised by the World Health Organisation. It’s time for games companies to use the huge quantities of data they gather about their players, to do more to proactively identify vulnerable gamers.”

The committee wants independent research to inform the development of a behavioural design code of practice for online services. “This should be developed within an adequate timeframe to inform the future online harms regulator’s work around ‘designed addiction’ and ‘excessive screen time’,” it writes, citing the government’s plan for a new Internet regulator for online harms.

MPs are also concerned about the lack of robust age verification to keep children off age-restricted platforms and games.

The report identifies inconsistencies in the games industry’s ‘age-ratings’ stemming from self-regulation around the distribution of games (such as online games not being subject to a legally enforceable age-rating system, meaning voluntary ratings are used instead).

“Games companies should not assume that the responsibility to enforce age-ratings applies exclusively to the main delivery platforms: All companies and platforms that are making games available online should uphold the highest standards of enforcing age-ratings,” the committee writes on that.

“Both games companies and the social media platforms need to establish effective age verification tools. They currently do not exist on any of the major platforms which rely on self-certification from children and adults,” Collins adds.

During the enquiry it emerged that the UK government is working with tech companies including Snap to try to devise a centralized system for age verification for online platforms.

A section of the report on Effective Age Verification cites testimony from deputy information commissioner Steve Wood raising concerns about any move towards “wide-spread age verification [by] collecting hard identifiers from people, like scans of passports”.

Wood instead pointed the committee towards technological alternatives, such as age estimation, which he said uses “algorithms running behind the scenes using different types of data linked to the self-declaration of the age to work out whether this person is the age they say they are when they are on the platform”.

Snapchat’s Will Scougal also told the committee that its platform is able to monitor user signals to ensure users are the appropriate age — by tracking behavior and activity; location; and connections between users to flag a user as potentially underage. 

The report also makes a recommendation on deepfake content, with the committee saying that malicious creation and distribution of deepfake videos should be regarded as harmful content.

“The release of content like this could try to influence the outcome of elections and undermine people’s public reputation,” it warns. “Social media platforms should have clear policies in place for the removal of deepfakes. In the UK, the Government should include action against deepfakes as part of the duty of care social media companies should exercise in the interests of their users, as set out in the Online Harms White Paper.”

“Social media firms need to take action against known deepfake films, particularly when they have been designed to distort the appearance of people in an attempt to maliciously damage their public reputation, as was seen with the recent film of the Speaker of the US House of Representatives, Nancy Pelosi,” adds Collins.

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Roblox announces new game-creation tools and marketplace, $100M in 2019 developer revenue

A week after gaming platform Roblox announced its new milestone of 100 million monthly users — topping Minecraft — the company said at its fifth annual developer conference that its developer community is on track to earn $100 million in 2019. Roblox also introduced a new set of developer tools for building immersive, more realistic 3D experiences; detailed its plans to make its developer software fully cloud-based; unveiled a new Developer Marketplace where creators can set their development assets and tools to others; and more.

Over the past decade or so, Roblox has grown to become a $2.5 billion company, with roughly half of U.S. children ages 9 through 12 playing on its platform.

The company provides game-creation tools via Roblox Studio, which developers use to build their own games for people to play. Roblox doesn’t pay the developers for their work — rather, the developers generate revenue through virtual purchases, which players buy using the in-game currency Robux.

At its invite-only event, the Roblox Developers Conference, which was held Friday, August 9 through Sunday, August 11, the company announced new tools aimed at enabling small developer teams to work together to build more massive games that can support hundreds of players.

The news follows the growing popularity of Roblox’s larger games, like Adopt Me (180.7K players), Royale High (68.7K players), Welcome to Bloxburg (66.7K players), MeepCity (52.4K players), Murder Mystery 2 (33.7K players), Work at a Pizza Place (32.7K players) and others.

The new toolset will offer developers access to an enhanced lighting system, updated terrain and other visual upgrades, including support for building competitive matchmaking games that will match players of similar skill levels, the company said.

Roblox had earlier discussed its plans for these sorts of visual improvements, which VP of Product Enrico D’Angelo said were prioritized in order to up the quality of the games.

The company said at RDC it’s also on track to bring its creation tools, Roblox Studio, to the cloud by year-end. This will allow developers to collaborate in real time, access their development files online and work across computing platforms to do things like manage permissions, versions and rollbacks.

In addition to monetizing their games, developers also will be able to monetize their development assets and tools through a new Developer Marketplace, where they can sell their plug-ins, vehicles, 3D models, terrain enhancements and other items.

RDC 2019 Audience

“The Roblox creator community thinks of things we could never imagine, and their continued growth is our future,” said David Baszucki, founder and CEO, Roblox, in a statement about the new tools. “With top Roblox experiences achieving more than 100,000 concurrent users and 1 billion plays, there’s no denying the power of user-generated content. We are committed to supporting our creator community with the tools and resources they need to realize even greater success,” he added.

The company also made note of its improved localization support for Brazilian Portuguese, English, French, German, Japanese, Korean, Simplified and Traditional Chinese and Spanish, and discussed its recent Microsoft partnership in more detail.

Roblox had previously announced a collaboration with Microsoft Azure PlayFab, which made PlayFab’s LiveOps analytics service free to Roblox’s top 10,000 developers. This allows the game creators to track trends in player behavior, purchase history and game telemetry.

Alongside Roblox’s user growth, its creator community has been expanding, as well.

Today, there are more than 2 million Roblox game creators worldwide, ranging from indie developers to studios with teams of 10 or 20 people. Over 500 developers attended the three-day event in San Francisco and the private RDC 2019 viewing party in London.

“We ultimately become more and more inspired and convinced that this is not just the future of gaming, this is really the future of a whole new category,” said Baszucki, during the keynote. “I believe we’re sitting with not just the future of gaming,” he said, addressing the crowd of developers at RDC, “but the future of human co-experience.”

“We have this vision that there’s a new category emerging that’s bigger than gaming,” the CEO continued. “It’s the category that allows people around the world to connect, to not just play together, but to work together, to learn together and to create together.”

TechCrunch’s Extra Crunch recently analyzed Roblox’s history and business in its EC-1, which you can read here (Extra Crunch membership required).

Photo credits: Ian Tuttle/Getty Images for Roblox

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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.

roblox maus 1

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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Roblox hits milestone of 90M monthly active users

Kids gaming platform Roblox, most recently valued at over $2.5 billion, has reached a new milestone of 90 million monthly active users, the company said on Sunday. That’s up from the 70 million monthly actives it claimed at its last funding round — a $150 million Series F announced last fall. The sizable increase in users is credited to Roblox’s international expansion efforts, and particularly its more recent support for the French and German languages.

The top 150 games that run on the Roblox platform are now available in both languages, along with community moderation, customer support and parental resources.

The gaming company also has been steadily growing as more kids join after hearing about it from friends or seeing its games played on YouTube, for example. Like Fortnite, it has become a place that kids go to “hang out” online even when not actively playing.

The games themselves are built by third-party creators, while Roblox gets a share of the revenue the games generate from the sale of virtual goods. In 2017, Roblox paid out $30 million to its creator community, and later said that number would more than double in 2018. It says that players and creators now spend more than a billion hours per month on its platform.

Roblox’s growth has not been without its challenges, however. Bad actors last year subverted the game’s protections to assault a child’s in-game avatar — a serious problem for a game aimed at kids, and a PR crisis, as well. But the company addressed the problem by quickly securing its platform to prevent future hacks of this kind, apologized to parents, banned the hackers and soon after launched a “digital civility initiative” as part of its broader push for online safety.

Months later, Roblox was still surging.

International expansion was part of the plan when Roblox chose to raise additional funding, despite already being cash-flow positive.

As CEO David Baszucki explained last fall, the idea was to create “a war chest, to have a buffer, to have the opportunity to do acquisitions,” and “to have a strong balance sheet as we grow internationally.”

The company soon made good on its to-do list, making its first acquisition in October 2018 when it picked up the app performance startup, PacketZoom. It also followed Minecraft’s footsteps into the education market, and has since been working to make its service available to a global base of users.

On that front, Roblox says Europe has played a key role, with millions of users and hundreds of thousands of game creators — like those behind the Roblox games “Ski Resort” (Germany), “Crash Course” (France) and “Heists 2 (U.K.).

In addition to French and German, Roblox is available in English, Portuguese and Spanish, and plans to support more languages in the coming months, it says.

But the company doesn’t want to face another incident or PR crisis as it moves into new countries.

On that front, Roblox is working with digital safety leaders in both France and Germany, as part of its Digital Civility Initiative. In France, it’s working with e-Enfance; and in Germany, it’s working with Unterhaltungssoftware Selbstkontrolle (USK). Roblox also added USK’s managing director, Elisabeth Secker, to the company’s Trust & Safety Advisory Board.

“We are excited to welcome Roblox as a new member to the USK and I’m honored to join the company’s Trust & Safety Advisory Board,” said Elisabeth Secker, Managing Director of the Entertainment Software Self-Regulation Body (USK), in a statement. “We are happy to support Roblox in their efforts to make their platform not only safe, but also to empower kids, teens, and parents with the skills they need to create positive online experiences.”

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BioWare’s ambitious Anthem is off to a rough start as players bring servers to their knees

The gaming world is excited to play Anthem, BioWare’s answer to Destiny and other big-budget online shooters — but an exclusive preview weekend for the mech-flying game has struggled to get off the ground. Of course, it wouldn’t be a game launch these days without a few hiccups to spice things up, but it is a little embarrassing.

The 40-gigabyte demo was made available today to those who had pre-ordered the game, as well as press and other “VIPs.” The game, announced last year at E3, is a loot-focused shooter where you pilot mechs through a huge open world, engage in cooperative combat and exploration and all that.

At least, so they say. Reports immediately came flooding in on forums and social media that not only was Origin, the service on which the demo is offered, failing to function properly, but that the game itself wasn’t connecting to servers, or if it did, wouldn’t load beyond the intro sequence.

I encountered this myself; after eventually getting loaded and logged in, I managed to get into the starting town area where you will, in the full game, upgrade your gear, accept quests and so on. But when I attempted to launch the first mission or otherwise enter the actual game world, the loading bar would stop about 95 percent of the way done and stay there forever (I waited about five minutes and reloaded a couple times to make sure it wasn’t just my aging rig). Those who made it all the way in complained of lag and glitches.

No one really ever expects a major title, especially one with a major online components, to launch even in a limited way without a few speed bumps, but something like this can really put the brakes on a hype train. Publisher EA admitted to the laundry list of issues from a support Twitter account:

Funnily enough EA Help’s own servers were having trouble as well, so not only could people not play Anthem, they couldn’t report that they couldn’t play Anthem.

Patience is a necessary virtue in today’s AAA game launches, but the people hoping to play this weekend aren’t randos but paying customers; this preview demo weekend was supposed to be a pre-order bonus, but the first day is a bust so far. Considering BioWare and EA knew exactly how many players could be trying to connect today — and those numbers are likely far less than those who will try the open beta or connect on launch day — it’s rather odd that they were seemingly caught so off-guard.

Anthem is certainly promising and the developers have gone out of their way to assure players that many of the hated practices of online games these days would not find a home on their platform. But launch problems always jar the confidence of undecided buyers, and there’s almost no question that the game will be better a month or two after its actual debut. Launch numbers could be affected by players not believing the game is ready to play, and therefore not being willing to pay.

I fully anticipate these issues getting resolved at some point soon, however, and will collect my impressions of the game in a separate post when that happens.

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