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Riot Games and Konvoy Ventures back games publisher Carry1st in $6M Series A
Africa is the last frontier for basically anything. Mobile gaming is no exception. For a continent that is home to more than 1 billion millennials and Gen Zers, mobile gaming has never really picked up, despite the continent witnessing rapid economic growth and smartphone adoption.
Two issues have proved detrimental to this growth: distribution and payments. With fragmented and unresolved distribution and digital payments ecosystems, game studios have found it difficult to serve African consumers and make a ton of money doing so. Carry1st is a mobile games publishing platform fixing this problem, and today it is announcing the close of its $6 million Series A round.
This month last year, we reported that the company had just raised a $2.5 million seed investment. CRE Ventures led that round, but this time, the company, which has offices in Cape Town and New York, brought in a blue-chip group of investors spanning gaming, media and fintech.
U.S. VC firm Konvoy Ventures led the Series A round. The firm is known for its investment in the video gaming industry’s infrastructure, technology, tools and platforms. Riot Games (developer of League of Legends), Tokyo’s Akatsuki Entertainment Technology Fund (the company behind Dragon Ball Z), Raine Ventures and fintech VC TTV Capital participated.
Carry1st was founded by Cordel Robbin-Coker, Lucy Hoffman and Tinotenda Mundangepfupfu in 2018. The company started as a game studio, developing and launching its own mobile games. But a projection on what it could be in the long run made the company switch tactics.
Instead of the studio model (quite popular among gaming companies in Africa), Carry1st sought to become a regional publisher, thereby opening the continent to international studios. Also, the company helps local studios that find it difficult to create games with a global appeal by pairing them with strong operators.
“We learned that African users don’t need their own games; they want to play the best games in the world,” CEO Robbin-Coker told TechCrunch.
COO Hoffman said that the company provides a full-stack publishing platform for its partners. It also handles localization, distribution, user acquisition, monetization, customer experience for studios and licenses their games on exclusive, long-term contracts.
“We fund user acquisition so that the games are played by as many users as possible, and then send our partners a royalty in return for the ability to leverage their IP,” Hoffman said.
L-R: Cordel Robbin-Coker (CEO), Lucy Hoffman (COO) and Tinotenda Mundangepfupfu (CTO). Image Credits: Carry1st
This is somewhat akin to how Tencent-backed Sea Limited (parent company of Garena) took off. The company was the publisher of League of Legends across Southeast Asia but launched its own game, Free Fire. Now, the company has built out the largest consumer payments and e-commerce platform in the region, which is now worth over $130 billion. Carry1st aspires to do the same for Africa.
Although there aren’t many details about its e-commerce activity, Carry1st is tackling payments and difficult monetization issues by partnering with some fintechs like Paystack, Safaricom and Cellulant. These partnerships have been pivotal to developing its in-house payments platform Pay1st, which allows customers to pay in their preferred way. “For global studios, this is the difference between making money and not,” Robbin-Coker added.
Demand for Carry1st has grown rapidly. Since its seed round last year, the company has signed seven games with well-known mobile gaming studios. They include Sweden’s Raketspel (the company has more than 120 million downloads across its portfolio), Cosi Games and Ethiopia’s Qene Games.
All these signups happened in 2020 and the catalyst for this growth has pandemic-induced lockdowns written all over it. The African mobile gaming market has always pointed toward a strong growth market, but being forced indoors surely skyrocketed mobile usage and gaming.
People who might not have previously needed a mobile phone have now come to rely on them to keep in touch with family and friends. For the average user using a smartphone for the first time, there’s a natural tendency to explore the fun things available on their device.
“Typically, the first things people do when they get their first smartphone is to chat with friends and play games. This is the same all over the world — Africa is no different. For that reason, we are seeing more and more mobile gamers across Africa,” remarked Robbin-Coker.
The company has also grown its team from 18 to 26 across 11 countries with recruits from Carlyle, King, Jumia, Rovio, Socialpoint, Ubisoft and Wargaming — a testament to the company’s global ambitions to be a top gaming publisher.
Expanding the team, which cuts across product, engineering and growth departments, is one way Carry1st will put the new investment to use. The company also plans to secure new partnerships with global gaming studios while launching and scaling its existing games like Carry1st Trivia and All-Star Soccer.
User playing a Carry1st game. Image Credits: Carry1st
With this investment, Carry1st has raised a total of $9.5 million. On the caliber of investors brought on, Robbin-Coker said their investment in the company would put them in a place to “delight millions of users across Africa and the globe.”
Carry1st is Konvoy Ventures first foray into the African gaming market (same can be said for Riot Games), and representatives from both teams (Konvoy managing partner Jackson Vaughan and Riot Games head of corporate development Brendan Mulligan) believe the company is unequivocally solving the continent’s distribution and gaming experience problems. Vaughan will also join the company’s board.
Africa’s gaming industry has lacked innovation in times past. While we’ve seen companies try to change the narrative, most have operated as studios. Carry1st is one of the few companies to operate a hybrid model, but the endgame for the company really is to be one of the region’s dominant consumer internet companies.
“We think social games and payments is the best first step to doing so, but we have very large ambitions. If we execute this, we will catalyze massive growth in the digital ecosystem across the region, creating tons of high-quality jobs in the process. We think all of the ingredients are in place — we want to be the catalyst,” Hoffman said.
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Riot Games updates its privacy notice to start developing voice comms moderation
Anyone who has played a video game with voice chat in the past decade knows that there is some risk involved. You might be greeted by friendly teammates, but you may also hear some of the most toxic language you’ve ever heard in your life.
Riot Games, the game developer behind ultra popular titles like League of Legends and Valorant, is thinking hard about this. And taking action.
The developer is today announcing changes to its privacy notice that allow for it to capture and evaluate voice comms when a report is submitted around disruptive behavior. The changes to the policy are Riot-wide, meaning that all players across all games will need to accept those changes. However, the only game that is scheduled to utilize these new abilities is Valorant, as it is the most voice chat-heavy game from Riot.
The plan here is to store relevant audio data in the account’s registered region and evaluate it to see if the behavior agreement was violated. This process is triggered by a report being submitted, and is not an always-on system. If a violation has occurred, the data will be made available to the player in violation and will ultimately be deleted once there is no further need for it following reviews. If no violation is detected, the data will be deleted.
Before we go any further, let me just say that this is a big fucking deal. Publishers and developers have long known that toxicity in gaming is not only a terrible user experience, but it’s actively preventing large swaths of potential gamers from dedicating themselves to it.
“Players are experiencing a lot of pain in voice comms and that pain takes the form of all kinds of different disruption in behavior and it can be pretty harmful,” said Head of Players Dynamics Weszt Hart. “We recognize that, and we have made a promise to players that we will do everything that we could in this space.”
Voice chat often makes games much richer and more fun. Particularly during the pandemic, people are craving more human connection. But in a tense environment like competitive games, that connection can turn sour.
As a gamer myself, I can safely say that some of the most hurtful experiences of my life have been while playing video games with strangers.
To be clear, Riot isn’t getting specific with how exactly this voice chat moderation will work. The first step is the update to its privacy notice, which gives players a heads up and gives the company the right to start evaluating voice comms.
It’s incredibly difficult to police voice comms. Not only do you need to be transparent with users and update any legal documents (which is arguably the easiest step, and the one Riot is taking today), but you must develop the right technology to do this, all while protecting player privacy.
I spoke with Hart and Data Protection Officer and CISO Chris Hymes about the changes. The duo said that the actual system for detecting behavior violations within voice comms is still under development. It may focus on automated voice-to-text transcription, and go through the same system as text chat moderation, or it may rely more heavily on machine learning to actually detect an infringement via voice alone.
“We’re looking at the technologies and we’re trying to land on the one that we want to launch with,” said Hart. “We’ve been putting a lot of time and effort into space and we have a pretty good idea of the direction that we’re going to take. But what we want to do is to have some audio to work with, to better understand if any other approaches that we’re looking at are going to be the best. To do this, we need to be able to process something real, and not just make a good guess.”
To get to that answer as quickly as possible, he added, the first step of updating the privacy notice had to go into effect.
Hart and Hymes also said that some layer of human moderation will be involved to ensure that whatever system is being developed is working properly and can ultimately be rolled out to other languages and other titles, as the system is initially being developed for Valorant in North America.
Advances in machine learning and natural language processing are making that development easier than it was 10, or even two, years ago. But even in a world where a machine learning algorithm could accurately detect hate speech, with all its nuances, there is yet another hurdle.
Gamers, even from one title to the next, have their own language. There is a whole lexicon of words and terms used by gamers that aren’t used in every day life. This adds yet another complication to the process of developing this system.
Still, this is a critical step in ensuring that Riot Games titles, and hopefully other titles as well, become an inclusive environment where anyone who wants to game feels safe and able to do so.
And Riot is careful to understand that developing games is a holistic endeavor. Everything from game design to anti-cheating measures to behavior guidelines and moderation have an effect on the overall experience of the player.
Alongside this announcement, the company is also introducing an update to its terms of service with an updated global refund policy and new language around anti-cheat software for current and future Riot titles.
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Tencent claims record 100M daily users on mobile game Honor of Kings
At its five-year anniversary gala graced by celebrities, esports stars and orchestras, Tencent’s mobile game Honor of Kings said it has crossed 100 million daily active users. The title has not only broken user records but generated other unprecedented accomplishments along the way.
For one, it consistently ranks among the top-grossing mobile games worldwide, jostling with PUBG Mobile made by another Tencent studio Lightspeed & Quantum — gaming has long been the cash cow for Tencent, better known for its WeChat messenger. The brain behind Honor of Kings is TiMi Studios, which ramped up hiring in the U.S. this year to further global expansion.
The game is credited for popularizing the multiplayer online battle arena (MOBA) category in China using clever designs like short sessions, friendly controls, esports integration, and social networking leverage, as games analyst Daniel Ahmad pointed out. The title has an unusually high female player base — around 50% — for a genre dominated by males.
TiMi focused on creating a MOBA that was tailored to the expectations of mobile players. Which included shorter session lengths, touch friendly controls and automated systems.
The game is great for beginners to the MOBA genre, but still requires skill to master. Broad appeal. pic.twitter.com/mSqMOKBEIc
— Daniel Ahmad (@ZhugeEX) November 1, 2020
Though not always seen as an original creator, Tencent pioneers monetization models for mobile games and can be Western studios’ sought-after partner. To name one, it helped develop the mobile version of Activision’s Call of Duty, which surpassed 250 million downloads in June.
Controversy has also arisen amid Honor of Kings’ fervor. A state newspaper chastised it for hooking young users and misrepresenting historical events. Tencent has since tightened age verification checks for players, now standard practice in China’s gaming industry.
TiMi unveiled its milestone at a time when Riot Games is testing a mobile version of League of Legends, widely seen as the desktop blockbuster that had inspired Honor of Kings in the first place. The overseas edition of Honor of Kings, called Arena of Valor, has had limited success outside Asia. It now comes the time for Riot, fully acquired by Tencent in 2015, to test its own interpretation, Wild Rift. TiMi told TechCrunch that it’s not involved in the development process of Riot’s new mobile title.
As part of the announcement, TiMi also revealed that it’s capitalizing on Honor of Kings for IP derivative works, including two new games in unspecified new genres, an anime, and a TV series.
“There is still plenty of room to further grow and develop the Honor of Kings IP in China,” Li Min, the game’s director and general manager of TiMi Studios, told TechCrunch. “I want to see it take on a life of its own and continue to resonate with and thrive among players for generations to come.”
“One of our great successes has been capturing historic moments, which were otherwise mostly irrelevant to young people today, and fuse them with modern aesthetics to bring them to life in Honor of Kings,” he added.
The story was updated on November 2, 2020 with comments from TiMi Studios.
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Cloud9 adds the MAJKL Valorant roster to create Cloud9 White as its first women’s esports team
Cloud9 has brought on the all-women MAJKL Valorant squad to become its first women’s esports team.
Moving forward, the team of Alexis “alexis” Guarrasi, Annie “Annie” Roberts, Jasmine “Jazzyk1ns” Manankil, Katsumi and Melanie “meL”Capone will compete as Cloud9 White in competition for Riot Games’ Valorant league.
The new team is sponsored by AT&T.
As MAJKL, the team has already won first place in the FTW Summer Showdown tournament — a part of the Valorant Ignition Series. That $25,000 prize put the team as the sixth highest paid team on the competitive circuit.
“What stood out to me about MAJKL is that they had to work hard to perfect their play, find each other, and then compete as a unit,” said Gaylen Malone, senior general manager of Cloud9, in a statement. “They are a talented group of women who came together with the goal of being the best at the game and were committed to doing what it took to get there, and watching their improvement over just the past few months has been incredible.”
Competitive esports should be one place where women and men can compete on equal footing, but the league is still subject to the same problems that beset other competitive events. Few women are members of the elite teams in esports. Competitors like FaZe Clan (which is sponsored by TechCrunch’s parent company’s parent company, Verizon) only has one girl on their Fortnite roster.
“Our goal is to not only provide value to gamers with AT&T’s products and services, but to also contribute to real, meaningful change in the industry by giving this powerhouse team and other talented women what they need to succeed,” said Shiz Suzuki, associate vice president, sponsorships & experiential marketing, AT&T, in a statement. “We can’t wait to tell their stories and see the best of the best represent Cloud9 and AT&T on some of the world’s largest stages.”
Female gamers experience the same kind of harassment and unequal treatment that women in other sports are subjected to.
“A lot of female gamers get driven away, and they don’t want to be seen as gamers,” Madison “Maddiesuun” Mann told the online publication ShondaLand. “I remember in high school, I was pretty insecure about it. I didn’t tell anybody I played video games until I graduated — it’s just that weird insecurity.”
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With stadiums closed, TV networks turn to live esports broadcasts
The COVID-19 pandemic has wiped out the spring seasons for professional sports and associated revenue for TV networks, but esports is filling part of that void.
Gaming companies behind titles licensed by each major league are the winners in this unexpected shift; Electronic Arts (EA) is first among them with FIFA, Madden NFL, NBA Live and NHL in its EA Sports portfolio and more than 100 esports events planned for 2020. The way EA, networks and sports leagues are responding to production challenges in this crisis will reshape the esports market going forward.
Millions of people sheltering in place has created a breakout opportunity for esports broadcasting:
- A large portion of the internet-using population is at home 24/7, with screens as their main entertainment outlet;
- Sports fans have few competitive live events to watch;
- Broadcasters like ESPN, CBS, and Sky lost their most valuable content for attracting live viewers and need alternative content;
- Star athletes and non-sports celebrities are stuck at home with wide-open schedules.
In late March, 900,000 viewers tuned into Fox Sports for Nascar’s iRacing series, with 1.1 million watching in early April; the network has also broadcast Madden NFL tournaments with NFL commentators and athletes. ESPN is televising NBA players facing off against each other in NBA 2K (by Take-Two Interactive) and pro drivers (and other pro athletes like Manchester City striker Sergio Aguero) are racing each other in Codemasters’ F1 2019 game. ESPN has broadcast competitive play of non-sports games with League of Legends (by Riot Games) and Apex Legends (by EA) tournaments.
To be clear, ratings for these events have varied widely, but networks and game companies are rethinking how esports is broadcast, which will advance its pop-culture appeal.
Games adapting pro sports are best bridge to non-gamers
Esports is a massively popular activity with its own large piece of turf in pop culture, but it hasn’t secured a central role. Research firm Newzoo pegs the global audience of “esports enthusiasts” at 223 million. But unlike soccer and basketball, esports is siloed because it caters to viewers who are generally avid gamers. The action is extremely fast, so commentary by a streamer rarely helps outsiders understand what is going on enough to become engaged.
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VCs see opportunities for gaming infrastructure startups and incumbents
As the infrastructure for developing games becomes more advanced, studios have turned to buying best-in-class technology from others instead of building everything from scratch (often with inferior quality).
This shift underpinned Unity’s rise as the most popular game engine. The current focus on games as ever-evolving social hubs that can remain popular for a decade requires investment in “live ops” to keep updating the game with new features and experiences, only adding to a game studio’s responsibilities.
There are big movements in gaming right now to make games cross-platform (not just restricted to mobile or PC or one console), incorporate new types of chat (in-game or outside of it) and to automatically remove bullies and bots among other things. Optimizing games’ virtual economies is only getting more complex as trade of virtual goods becomes increasingly popular.
All this means more opportunity for startups (and large incumbents) that provide new tools and platforms to game developers and gamers. To gauge which opportunities are prime for entrepreneurs, I asked four leading early-stage investors who focus on the gaming sector to share their analysis:
- Sam Englebardt, Galaxy Interactive
- Gigi Levy Weiss, NFX
- Amit Kumar, Accel
- Anton Backman, Play Ventures
Sam Englebardt, Galaxy Interactive
Which areas within gaming infrastructure seem firmly dominated by large incumbents, versus open for new startups to rise up?
I’m always rooting for the startup, but some of the really big and expensive infrastructure challenges seem unlikely to be solved by a startup, especially where the incumbents have a lead in time, money and the personnel they’re throwing at the problem. I’m thinking here, for example, about something like cloud computing, storage solutions, etc.
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Pragma is a back-end toolkit for gaming companies, so game developers can focus on games
These days, most of the games developed need to be social, multi-platform and extensible, but there are only a few developers with the expertise to bring those toolsets to the profusion of new games that crop up every year.
Well, now those development studios can turn to Pragma, which is building the back-end toolkit for gaming companies so their developers can focus on what they do best — making games.
It’s basically taking a page from the application development playbook where off-the-shelf toolkits can reduce by months the time it takes to get an app into the market, according to Pragma chief executive Eden Chen. In the game industry, a game can stay in beta for years as developers work out the kinks.
“In the game world, because of the necessity to build multiplayer, the length to launch a game has gotten way, way, way, way longer. Games are taking five to 10 years to launch out of beta,” Chen said.
Founded by Chen and former Riot Games engineering lead Chris Cobb, Pragma is offering a “backend as a service,” according to the company, selling a toolkit that includes accounts, player data, lobbies, matchmaking, social systems, telemetry and store fulfillment.
In a way it’s a complement to the front-end game engines from companies like Epic, the creator of Fortnite.
Indeed, Epic had announced plans to create a back-end system for game developers of its own, but Chen sees the benefits of having an independent operator doing the work — not a potential competitor.
Pragma’s investors agreed. The company raised $4.2 million in funding from a clutch of high-quality firms and individual investors, led by the Los Angeles-based Upfront Ventures with participation from Advancit Capital and angel investors Jarl Mohn, president emeritus at NPR and former Riot Games board member; Dan Dinh, founder of TSM; and William Hockey, founder of Plaid.
“In a world where gaming studios have long used third-party engines to power their front-end development, it makes no sense for the same studios to spend millions of dollars to build their own custom back-end,” said Kevin Zhang, partner at Upfront Ventures and board member at Pragma, in a statement. “This broken system has lasted for so long because creating a reusable, platform-agnostic backend is not just extremely complex but rarely prioritized compared to the game.”
The gaming industry is a $139 billion behemoth that in some ways lags behind its technologically-savvy peers in creating off-the-shelf tools to speed production. They’re combinations of social media platforms like Facebook and Snap, and big, high-budget movie productions, but lack any tools to simplify the process of development or ensure that persistence, scale and feature complexity don’t lead to downtimes. And downtimes could mean millions in expenses and lost revenues, Pragma said.
“Creating online multiplayer games is increasingly complex and expensive. Studios are hindered by the need to not just create compelling games, but also to build custom server technology to operate their game,” Chris Cobb, the company’s chief technology officer, said in a statement.
The company currently has one customer on its platform and will launch to an exclusive set of beta users in late 2020.
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Multiverse virtual worlds will be healthier for society than our current social networks
The basis of the classic James Bond film “Tomorrow Never Dies” is an evil media mogul who instigates war between the U.K. and China because it will be great for TV ratings. There’s been a wake-up call recently that our most popular social networks have been indirectly designed to divide populations into enemy camps and reward sensational content, but without the personal responsibility of Bond’s nemesis because they’re algorithmically driven.
(This is part five of a seven-part series about virtual worlds.)
The rise of “multiverse” virtual words as the next social frontier offers hope to one of the biggest crises facing democratic societies right now. Because the dominant social media platforms (in Western countries at least) monetize through advertising, these platforms reward sensational content that results in the most clicks and shares. Oversimplified, exaggerated claims intended to shock users scrolling past are best practices for individuals, media brands and marketing departments alike, and social platforms intentionally steer users toward more extreme content in order to captivate them for longer.
Our impending cultural shift to socializing equally as often through virtual worlds could help rescue us from this constant conflict of interest between what we recognize as healthy interactions with others and how these social apps incentivize us to behave.
Virtual worlds can have advertisements within them, but the dominant monetization strategies in MMOs are upfront purchase of games and in-game transactions. Any virtual world that gains enough adoption to compete as a social hub for mainstream society will need to be free-to-play and will earn more money through in-world transactions than from ads.
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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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Meet VENN, the company hoping to build MTV for the gaming generation
Maybe a network will be the thing that replaces the single streaming media star.
VENN, a new company launching with $17 million in funding from some of the biggest names in gaming, is hoping to harness the power of streaming media’s online celebrities and funnel them into a channel that can command the kind of advertising revenues of the networks of old.
The vision harkens back to the golden days of MTV, when shows like TRL ruled the media landscape and a New York-based network set the cultural agenda through the prism of pop music.
For the creators of VENN — who include Ariel Horn, a four-time Emmy-winning producer who brought the commercial storytelling from his network days working on Olympics broadcasts for NBC (a division of Comcast) to the esports phenomenons of Riot Games and Blizzard Entertainment; and Ben Kusin, a former global director of new media at Vivendi Games — MTV is the template for creating a cultural commodity from what’s becoming the lingua franca of a new generation of consumers.
Where music (and particularly music videos) was once the genre-spanning language for a generation, the two entrepreneurs see gaming culture as the touchstone for a new audience. And where fragmentation has created a confusing market for advertisers to reach that audience, the content funnel and single source that a network can provide offers an attractive alternative to reaching out to a single celebrity gamer, streamer or platform.
That’s the pitch behind VENN, which not only stands for Video Game Entertainment News Network, but also represents the Venn diagram, whose center resides at the intersection of gaming, music, fashion and entertainment broadly, according to the two co-founders.
VENN co-founders Ben Kusin and Ariel Horn
“You’re looking at a $150 billion per-year industry,” says Kusin. “We think streamers, casters, content creators, these are the new celebrities… what MTV TRL used to be back in the day, if that were to launch today, what would it look like? This culture would be seen through the lens of gaming.”
His co-founder, Horn, agrees. “We see gaming as the lens through which we want to create and contextualize Gen Z,” says Horn.
Horn knows the potential audience better than nearly anyone. In his last job, he presided over esports events that commanded viewership in the hundreds of millions. Both Kusin and Horn think the same-sized audience could exist for their network — if not larger, because the two producers and their channel aren’t beholden to a single title, franchise or publisher.
Nor are they subject or beholden to a single distribution platform.
“We’re a universal network,” says Kusin. “We will be distributed on Twitch, on YouTube and on Pluto, Hulu and Roku… Anywhere and everywhere that our customers are consuming content.”
The company is currently looking to recruit top-tier talent and bring their sponsor-based streams and formats into a traditional network environment, with higher production values and something approximating the types of talent contracts and deals that would be afforded to a network figure. These streamers, gamers and others would be able to supplement their existing sponsor-based income with their work on VENN, the two co-founders said.
The executives would not comment on what, specifically, the programming would include, but indicated that VENN was in discussions with a number of the top streamers in the gaming corners of services like YouTube and Twitch from which they’d pull programming. One genre that will likely make its way onto the network is an American Ninja Warrior-style competitive show for speedruns through different levels of games.
“There are already shows on Twitch,” says Horn. “It’s reported out there for you in real time. You’re getting all kinds of feedback.” What’s necessary, he says, is to elevate the production value and add other kinds of more traditional programming around it.
“There are two hundred million people consuming YouTube gaming content… There are esports teams [like] Liquid [and] G2 whose talent consider themselves entertainers,” says Kusin. “We’re giving the entire industry a home and a heartbeat.”
The appeal for brands is obvious. If there’s a single place to go to capture the audience that follows streaming celebrities like Ninja, Tfue or VanossGaming, that real estate is far more desirable than pursuing independent sponsorship deals with each individual streamer.
LOS ANGELES, CA – JUNE 12: Gamers ‘Ninja’ (L) and ‘Marshmello’ compete in the Epic Games Fortnite E3 Tournament at the Banc of California Stadium on June 12, 2018 in Los Angeles, California. (Photo by Christian Petersen/Getty Images)
“Brands trying to put their money into gaming is not that straightforward,” says Horn.”There isn’t really a network like this that exists right now… that exists for the industry at large.”
Other companies that have emerged to capture advertising dollars or create networks of entertainers in something akin to an agency model may beg to differ. These are companies like 3blackdot or Popdog, which represent a significant chunk of online gaming talent. Or more traditional sites that have significant followings like IGN, which bills itself as the No. 1 games media company.
Beyond the competition, VENN is still rolling the dice on whether the new generation of consumers wants to have a more produced, mediated entertainment network rather than continue to gravitate to the unmediated experience of watching live streams of their peers do the things that they’re doing themselves. YouTube is more than just a vehicle to mainstream stardom, these streamers are their own mainstream stars for millions of viewers who seem fine with the no-fi production values that YouTube almost demands.
Investors are betting that they are, because VENN has raised a $17 million treasure chest to spend on bringing its vision to the market. The money comes from some of the biggest names in gaming, led by the European investment firm BITKRAFT. Additional investors include: Marc Merrill, the co-founder of Riot Games; Mike and Amy Morhaime, the co-founder of Blizzard Entertainment and its former head of global esports; Kevin Lin, the co-founder of Twitch; and aXiomatic Gaming, an esports investment group with stakes in Epic Games, Team Liquid and Niantic.
“It’s about time we significantly raise the bar for video content in gaming and esports. We need to elevate the stars and stories in our community and provide a better and larger opportunity for brands to reach gamers,” said Jens Hilgers, founding partner of BITKRAFT in a statement.
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