video gaming
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Nintendo buys Canadian game studio in rare acquisition
While gaming giants Sony and Microsoft have made M&A a critical part of their strategic growth plans, Nintendo has always seemed to be more reluctant to bring outside talent into the fold of its video game empire. Today, the company announced that it will be acquiring the developer behind Luigi’s Mansion 3, Canada-based Next Level Games.
Nintendo’s announcement is the first studio acquisition for the company since their 2007 purchase of Xenoblade Chronicles developer Monolith Soft.
Next Level Games has been working on Nintendo-licensed IP exclusively for the better part of the last decade, crafting a number of titles across some of the company’s second tier of intellectual property including the Super Mario Strikers series as well as mobile iterations of Metroid Prime and Luigi’s Mansion.
The Vancouver-based studio’s recent Luigi’s Mansion 3 title for the Nintendo Switch has been a pretty huge success for the company which has had pretty light offerings of first-party IP since the system’s launch. In a recent earnings report, Nintendo shared that Luigi’s Mansion 3 had sold nearly 8 million copies, earning it a spot as one of the system’s top-selling titles.
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How Niantic evolved Pokémon GO for the year no one could go anywhere
Pokémon GO was created to encourage players to explore the world while coordinating impromptu large group gatherings — activities we’ve all been encouraged to avoid since the pandemic began.
And yet, analysts estimate that 2020 was Pokémon GO’s highest-earning year yet.
By twisting some knobs and tweaking variables, Pokémon GO became much easier to play without leaving the house.
Niantic’s approach to 2020 was full of carefully considered changes, and I’ve highlighted many of their key decisions below.
Consider this something of an addendum to the Niantic EC-1 I wrote last year, where I outlined things like the company’s beginnings as a side project within Google, how Pokémon Go began as an April Fools’ joke and the company’s aim to build the platform that powers the AR headsets of the future.
Hit the brakes
On a press call outlining an update Niantic shipped in November, the company put it on no uncertain terms: the roadmap they’d followed over the last ten-or-so months was not the one they started the year with. Their original roadmap included a handful of new features that have yet to see the light of day. They declined to say what those features were of course (presumably because they still hope to launch them once the world is less broken) — but they just didn’t make sense to release right now.
Instead, as any potential end date for the pandemic slipped further into the horizon, the team refocused in Q1 2020 on figuring out ways to adapt what already worked and adjust existing gameplay to let players do more while going out less.
Turning the dials
As its name indicates, GO was never meant to be played while sitting at home. John Hanke’s initial vision for Niantic was focused around finding ways to get people outside and playing together; from its very first prototype, Niantic had players running around a city to take over its virtual equivalent block by block. They’d spent nearly a decade building up a database of real-world locations that would act as in-game points meant to encourage exploration and wandering. Years of development effort went into turning Pokémon GO into more and more of a social game, requiring teamwork and sometimes even flash mob-like meetups for its biggest challenges.
Now it all needed to work from the player’s couch.
The earliest changes were those that were easiest for Niantic to make on-the-fly, but they had dramatic impacts on the way the game actually works.
Some of the changes:
- Doubling the players “radius” for interacting with in-game gyms, landmarks that players can temporarily take over for their in-game team, earning occupants a bit of in-game currency based on how long they maintain control. This change let more gym battles happen from the couch.
- Increasing spawn points, generally upping the number of Pokémon you could find at home dramatically.
- Increasing “incense” effectiveness, which allowed players to use a premium item to encourage even more Pokémon to pop up at home. Niantic phased this change out in October, then quietly reintroduced it in late November. Incense would also last twice as long, making it cheaper for players to use.
- Allowing steps taken indoors (read: on treadmills) to count toward in-game distance challenges.
- Players would no longer need to walk long distances to earn entry into the online player-versus-player battle system.
- Your “buddy” Pokémon (a specially designated Pokémon that you can level up Tamagotchi-style for bonus perks) would now bring you more gifts of items you’d need to play. Pre-pandemic, getting these items meant wandering to the nearby “Pokéstop” landmarks.
By twisting some knobs and tweaking variables, Pokémon GO became much easier to play without leaving the house — but, importantly, these changes avoided anything that might break the game while being just as easy to reverse once it became safe to do so.
GO Fest goes virtual
Like this, just … online. Image Credits: Greg Kumparak
Thrown by Niantic every year since 2017, GO Fest is meant to be an ultra-concentrated version of the Pokémon GO experience. Thousands of players cram into one park, coming together to tackle challenges and capture previously unreleased Pokémon.
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How esports can save colleges
A few months ago, I wrote a piece about esports and the Olympics after sitting on a panel discussing whether, as a result of the coronavirus pandemic, esports had an opportunity to work with the International Olympic Committee. After careful consideration and research, my conclusion was basically, “I think that the Olympics need esports a whole lot more than esports needs the Olympics.”
I was surprised by some of the data I uncovered in the course of researching the Olympics piece, specifically on audiences for international, professional and collegiate sports. I observed that while the esports model isn’t as mature as in traditional sports, esports actually garnered close to the same level of viewership, and the audience was growing astronomically. I couldn’t help but wonder how long this phenomenon would go unacknowledged by the institutions that might benefit most from it.
Enter colleges’ and universities’ flirtation with esports: There are currently more than 170 collegiate varsity gaming programs in NCAA Division I, and the number of clubs is even higher. So even as institutions investment in esports, there are still many misunderstood and overlooked aspects of the potential to drive value (and even revenue) in the collegiate esports space.
College in the 21st century
The college experience today is very different than it was 50 years ago. The pace of change outside of institutions is ever-accelerating, often leaving colleges struggling to keep up. Technology, students’ interests, evolving economies and workplaces, and changes in cultural norms have left colleges and universities in a place of less relevance than at many points in the past.
The same can be said of college sports: Outside forces have eroded a once-near-hegemonic source of collegiate pride, cultural power, recruitment, alumni engagement and, in some cases, revenue.
I did a quick review of the audience for the biggest NCAA events in the world; the Football Bowl Subdivision Bowl Championship and the NCAA Men’s Division I Basketball Tournament.
Image Credits: Brandon Byrne
Image Credits: Brandon Byrne
Look at the average viewership of the big bowl games before the championship system went into effect in 2015, as well as after. Above, you see the trend line for viewership for the various big bowl viewership as well as an average. While there are certainly occasional spikes, the best case you could make here is that the product is flat — when you isolate the trend line for both, here is the result:
Image Credits: Brandon Byrne
In the aggregate, the trend seems mostly downward.
Look at the same trends in viewership for the NCAA Final Four — the early semi-final, the late semi-final and finally the championship game.
Image Credits: Brandon Byrne
They look rather similar. So, while collegiate sports still have a massive following, there are two concerning issues here. First, the audience isn’t growing at all; in fact, it appears to be slightly contracting. Secondly, the audience is aging, making collegiate sports less relevant to younger people. While an older audience is still a valuable source of alumni donations and ancillary revenue, it doesn’t exactly align with another core target demographic: potential college students.
Now despite this, there is data that suggests that schools with elite academic departments do enjoy a phenomenon known as the “Flutie effect,” named after Doug Flutie, a quarterback for Boston College whose exciting performance on the gridiron was credited with boosting BC applications. An article in Forbes breaking down an HBS study goes into the phenomenon more deeply than we can here.
Granted, much of the data is from a few years ago, when college sports were perhaps more relevant, but the point is broadly the same: Having an elite program in an activity students enjoy benefits the institutions that sponsor and promote them. But what happens when enthusiasm for those activities among the student body is waning? One idea is to explore involvement in what the students of today are interested in.
As a comparison to FBS football (maxed out at 35 million viewers) and the NCAA Final Four (maxed out at 28 million), Riot Games’ Mid-Season Invitational event for League of Legends had a total viewership of 60 million people. In second place is the Intel Extreme Masters tournament in Katowice with 46 million people. While precise demographic data isn’t readily available, it stands to reason that the latter two events skew younger than the former two.
A few caveats, as these are not precisely apples-to-apples comparisons: These esports events are broken up over a number of days and encompass a significant number of matches — comparable to March Madness, perhaps — and the content is consumed in different ways. Much of the NCAA’s content is presented on television, some of which is on paid, premium channels. Esports events are broadcast on Twitch and YouTube via streams for free.
But the thing to understand is that esports audiences are growing at a 15%-16% year-over-year clip and it commands a worldwide audience, meaning its total addressable market (TAM) is MUCH bigger. The NCAA events are not likely to draw serious audiences outside of North America.
COVID-19
In the context of the pandemic, colleges are hamstrung by students’ inability to engage in a college experience in-person, which is one of the primary reasons one goes to college. Networking, developing new friends and having new experiences are all a part of the collegiate draw, none of which work as well from students’ parents’ living rooms. Similarly, collegiate sports as we know them have essentially ceased to exist, along with their functions of institutional pride, marketing and revenue. The NCAA Tournament was canceled in March of 2020 and there is no sign that it, or any other sport, will be back anytime soon.
Esports, on the other hand, are thriving in this context, thanks mostly to their ability to offer remote competition and viewing. Esports tournaments can isolate audiences, teams and even referees to allow for safe content creation and consumption.
Esports and college
Believe it or not, esports is a better fit for college than it is for the pros. I won’t go into all of the details here, but I actually wrote a separate article about why the pro sports model is NOT a good one for esports. In this article we talk about intellectual property, who owns the league in esports and how all of the entities make money. The biggest problem is, in pro sports, the teams own the league and can then act in the best interest of all of the teams. In esports, the league is usually owned or regulated by the publisher of the video game, meaning you have hands in the monetization pie in a way that pro sports doesn’t have.
The interesting thing about this is that college athletics actually has the same problem and has found a way to mitigate that. The athletes get their scholarships, and the schools, their athletic conference, and the NCAA itself all own a piece of the pie that gets packaged and sold for distribution to the ESPNs and Fox Sports of the world.
This is a much better model for esports. It’s unlikely that any group that “owned” football IP would tell the Dallas Cowboys how to market their team, what their cut is and how it will be distributed. This process happens all the time in college, though. In fact, in order for everyone to get their seat at the table, you HAVE to work all of this out so that the schools make some money (equivalent to a team), the conference makes their money (equivalent to the league) and the NCAA makes their money (equivalent to the publisher themselves). If the chain breaks down at any point, then the whole process grinds to a halt and nobody makes money.
I mention this in my article about the Olympics. The IOC is used to having full autonomy over how the Olympic Games are broadcast, which events are part of the games, who is eligible and who isn’t, etc. There is no chance this would be the case if the Olympics took on esports. The publisher would absolutely wield an incredible amount of influence over how the games are portrayed, broadcast, judged and the like. The IOC isn’t used to that. In college, that’s just a typical Saturday afternoon.
College admission is down and not just because of COVID-19. Even before the pandemic, colleges were trying to find their footing with potential students as people reevaluate the college experience. Forbes wrote back in 2019 that college enrollments were down two million students in that decade. Add onto that the preliminary data we are getting on the effect of COVID on colleges, we could see enrollment in 2020 down anywhere from 5%-20%.
Image Credits: Brandon Byrne
The outlook
For colleges, it’s not great. Revenue is massively down, with even stalwarts like Harvard University hemorrhaging cash. With enrollment down before the pandemic, we have reached a point where colleges and universities have to adapt to survive.
The good news is, I believe that esports could be an opportunity to do just that. Colleges are diving into esports, with 115 different programs offering scholarships for esports and club programs are growing even faster. Certainly, it will help attract students, but monetization in esports is really tricky.
It’s critical that colleges and universities get expert advice on how to create an ecosystem that ultimately compensates all of the stakeholders, including the college themselves. It also will require universities to move quickly and get on board with a model that is still being formed in real time. The coronavirus pandemic isn’t going away anytime soon, but I think there will be many colleges that will. The time to move is now.
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Gaming rules the entertainment industry, so why aren’t investors showing up?
As gaming’s popularity reaches epic heights, venture investors’ activity in the industry doesn’t seem to equate with the overall size of the games market. Spurred by an unreal year where traditional entertainment has been upended by the COVID-19 pandemic and consumers find unity in virtual worlds like Animal Crossing and Fortnite, gaming has never been more popular.
Late-stage investors have shown that they have a tremendous appetite for businesses in the gaming industry. They’ve been pouring capital into established gaming companies like Scopely, which on Wednesday announced a $340 million investment round at a $3.3 billion valuation. But venture capital simply hasn’t given the gaming industry and the broader synthetic market the attention it deserves given its place in the entertainment and cultural firmament.
Just ask LeBron “Bronny” James Jr., the son of the NBA’s biggest star, who became a professional athlete this week — as a gamer with one of the most popular teams in online gaming, FaZe Clan. Or look at Unity, the creator of a popular game development engine, whose stock price has nearly doubled since its public offering in mid-September. Since opening trading at $56 per share, the stock has nearly doubled in value and is now trading at $100 per share.
In the first half of the year gamers spent $36.8 billion on games through both the Android and iOS app stores, according to data from SensorTower. New game installs are also up for the year. The app analytics company said that new game installs were up to 28.4 billion over the first half of the year. Annually the 15 billion new game downloads in the second quarter represented a 45.2% year-on-year growth in gaming.
Then there’s Bitkraft, one of the only venture firms to focus on the totality of the gaming industry, which announced the close of its most recent fund, a $165 million investment vehicle. The firm, which added a former Goldman Sachs managing director earlier in the year to capitalize on the opportunity in what the firm calls “synthetic reality” investments, raised $25 million more than its $140 million target. One of these things is not like the others.
“I’ve been in the games industry for 23 years now [and] I’ve always had this huge fundamental conviction of video games not only dominating the entertainment industry but sort of taking up a big part of what society is — where video games create the digital identities that define evermore of what we understand of ourselves,” said Jens Hilgers, Bitkraft’s founding general partner. “We feel that these are times of acceleration … it’s great to see how we’re leapfrogging one or two or three years of the games industry in this crisis and it makes it more exciting to invest in these times.”
The Unity public offering, and its emphasis on markets outside of gaming, seems to prove Hilgers point and show just how much opportunity remains around the notion of synthetic reality in business and entertainment.
“Their thesis around democratizing access to gaming tools by letting hobbyists use the tools for free is smart, if you want to win the market,” said Alice Lloyd George, founder of Rogue Ventures, a new investment firm focused on frontier technologies and gaming investments.
Lloyd George compared Unity’s business to its biggest competitor, Epic Games, and noted that both have broad aspirations. “Both of them want to use their game engines beyond pure gaming,” Lloyd George said of the two big new gaming platform developers. “Unity is really well-positioned because they’re so strong on mobile. That positions them well for AR and VR. And you need onramps for the developers for AR and VR.”
Engagement and the future of entertainment
When Scopely’s co-chief executive Walter Driver talks about the attraction of gaming properties for players — and the reason investors have been willing to value his Los Angeles-based company in the billions of dollars — he talks about the connections between players. “People have found — and investors looking at the space have found also — that people value the connection they’re getting from interactive experiences. It’s not just our relationship with the players, but their relationships with each other,” Driver said. “Inside of most passively consumed media experiences, you don’t have an identity. You don’t have friends.“
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Tencent leads $100M Series B funding round into China-based esport provider VSPN
Further confirmation that the esports market is booming amid the pandemic comes today with the news that esports “total solutions provider” VSPN (Versus Programming Network) has raised what it describes as “close to” $100 million in a Series B funding round, led by Tencent Holdings . Other investors that participated in the round include Tiantu Capital, SIG (Susquehanna International Group), and Kuaishou. The funding round will go toward improving esports products and its ecosystem in China and across Asia.
Founded in 2016 and headquartered in Shanghai, VSPN was one of the early pioneers in esports tournament organization and content creation out of Asia. It has since expanded into other businesses, including offline venue operation.
In a statement, Dino Ying, CEO of VSPN (see also our exclusive interview) said: “We are delighted to announce this latest round of funding. Thanks to policies supporting Shanghai as the global center for esports, and with Beijing, Chengdu, and Xi’an expressing confidence in the development of esports, VSPN has grown rapidly in recent years. After this funding round, we look forward to building an esports research institute, an esports culture park, and further expanding globally. VSPN has a long-term vision and is dedicated to the sustainable development of the global esports ecosystem.”
Dino Ying, VSPN CEO. Image via VSPN
Mars Hou, general manager of Tencent Esports, commented: “VSPN’s long-term company vision and leading position in esports production are vital for Tencent to optimize the layout of the esports industry’s development.”
We had a hint that Tencent might invest in VSPN when, in March this year, Mark Ren, COO of Tencent Holdings, made a public statement that Tencent would provide more high-quality esports competitions in conjunction with tournament organizers like VSPN.
As we observed in August, Tencent, already the world’s biggest games publisher, said that it would consolidate Douyu and Huya, the previously competing live-streaming sites focused on video games.
In other words, Tencent’s investment into VSPN shows it is once again doubling-down on the esports market.
This Series B funding round comes four years after VSPN’s 2016 Series A funding round, which was led by Focus Media Network, joined by China Jianteng Sports Industry Fund, Guangdian Capital and Averest Capital.
Now, VSPN has become the principal tournament organizer and broadcaster for PUBG MOBILE international competitions, and China’s top competitions for Honor of Kings, PUBG, Peacekeeper Elite, CrossFire, FIFA, QQ Speed and Clash Royale. This will tally-up 12,000 hours of original content. The company has partnered with more than 70% of China’s esports tournaments.
In March, another huge esports player, ESL, joined forces with Tencent to become a part of the PUBG Mobile esports circuit for 2020.
In addition to its core esports tournament and content production business, VSPN has branded esports venues in Chengdu, Xi’an and Shanghai. In May, VSPN launched its first overseas venue, V. SPACE in Seoul, South Korea.
And even offline events are coming back. VSPN hosted the first large-scale esport event with offline audiences in August this year. And the LOL S10 event will open 6,000 tickets. However, all tournaments will operate under strict COVID-19 prevention measures and approval processes by the Chinese government, and not all esports events are allowing offline audiences.
VSPN said it will continue to focus on building an esports short-form video ecosystem, improving the quality of esports content creation, and reaching more users via different channels. VSPN currently houses more than 1,000 employees in five business divisions.
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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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The Oculus Quest is getting its own Fortnite ripoff
Fortnite may not be available in VR (or on iOS), but Oculus Quest users will soon be getting their own Fortnite clone for virtual reality.
Nearly two years after its funding and initial launch announcement, BigBox VR is finally ready to roll out its battle royale game, “POPULATION: ONE” to players on the Quest (and the sunsetting Rift hardware).
Co-founders Chia Chin Lee and Gabe Brown started their game development for virtual reality with a shooter called Smashbox Arena, but “POPULATION: ONE” is the big gambit for the game studio.
The COVID-19 pandemic has managed to boost the sales of the Quest, turning it into more of a genuine consumer device instead of just something for the technorati and digital power users. If this new audience for virtual reality can take to the battle royale game in the same way that they’ve taken to Epic Games’ Fortnite title, it could go a long way toward giving Facebook’s platform a wedge to gain market share in what’s become the newest social network.
A lot has been written about how Fortnite has become the social forum for Gen Z and the cohort that’s coming up after them. As these users gravitate to TikTok and Fortnite, Facebook is becoming an afterthought for a new consumer demographic that the social network needs.
And as we wrote earlier, BigBox VR’s title shares more than a passing similarity to Fortnite.
To say the game shares some similarities with Fortnite is an understatement. Not only is it a battle royale title with a shrinking environment, but certain mechanics like gliding in at the beginning to scrounge for weapons and even Fortnite’s building feature are central to the gameplay. That being said, battle royale titles have exploded in the wake of PUBG and they seem to all share a lot among each other. For BigBox, VR is the distinguishing feature, with motion controls and the general feeling that everything is life-sized and in your control.
If the game can replicate Fortnite’s popularity in virtual reality, that could be a coup for Facebook and BigBox VR in a space where the social networking giant has traditionally been pwned.
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Unity’s IPO numbers look pretty … unreal?
Unity, the company founded in a Copenhagen apartment in 2004, is poised for an initial public offering with numbers that look pretty strong.
Even as its main competitor, Epic Games, is in the throes of a very public fight with Apple over the fees the computer giant charges developers who sell applications (including games) on its platform (which has seen Epic’s games get the boot from the App Store), Unity has plowed ahead, narrowing its losses and maintaining its hold on over half of the game development market.
For the first six months of 2020, the company lost $54.2 million on $351.3 million in revenue. The company narrowed its losses compared to 2019, when the company lost $163.2 million on $541.8 million in revenue, and 2018 when the company lost $131.6 million on $380.8 million in revenue. As of June 30, 2020 the company had total assets of $1.29 billion and $453.2 million in cash.
Increasing revenue and narrowing losses are things that investors like to see in companies that they’re potentially going to invest in, as they point to a path to profitability. Another sign of the company’s success is the number of customers that contribute more than $100,000 in annual revenue. In the first six month of the year, Unity had 716 such customers, pointing to the health of its platform.
The company will trade on the NYSE under the single-letter ticker “U”. The NYSE only has a few single letters left to offer, although Pandora gave up the letter P when it was bought by Liberty Media back in 2018.
Unlike Epic Games, Unity has long worked with the major platforms and gaming companies to get their engine in front of as many developers and gamers as possible. In fact, the company estimates that 53% of the top 1,000 mobile games on the Apple App Store and Google Play Store and over 50% of mobile, personal computer and console games were made with Unity.
Some of the top titles that the platform claims include Nintendo’s Mario Kart: Tour, Super Mario Run and Animal Crossing: Pocket Camp; Niantic’s Pokémon GO and Activision’s recent Call of Duty: Mobile are also Unity games.
The knock against Unity is that it’s not as powerful as Epic’s Unreal rendering engine, but that hasn’t stopped the company from making forays into industries beyond gaming — something that it will need to continue doing if it’s to be successful.
Unity already has a toehold in Hollywood, where it was used to recreate the jungle environment used in Disney’s “Lion King” remake (meanwhile, much of “The Mandalorian” was created using Epic’s Unreal engine).
Of course, Unity’s numbers also reveal that the size of its business is currently a bit smaller than its biggest rival. In 2019, Epic said it had earnings of $730 million on revenue of $4.2 billion, according to VentureBeat . And the North Carolina-based game developer is now worth $17.3 billion.
Still, the games market is likely big enough for both companies to thrive. “Historically there has been substantial industry convergence in the games developer tools business, but over the past decade the number of developers has increased so much, I believe the market can support two major players,” Piers Harding-Rolls, games analyst at Ampere Analysis, told the Financial Times.
Venture investors in the Unity platform have waited a long time for this moment, and they’re certainly confident in the company’s prospects.
The last investment round valued the company at $6 billion, with the secondary sale of $525 million worth of the company’s shares.
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In-game app-development platform Overwolf acquires CurseForge assets from Twitch to get into mods
Overwolf, the in-game app-development toolkit and marketplace, has acquired Twitch’s CurseForge assets to provide a marketplace for modifications to complement its app development business.
Since its launch in 2009, developers have used Overwolf to build in-game applications for things like highlight clips, game-performance monitoring and metrics, and strategic analysis. Some of these developers have managed to earn anywhere between $100,000 and $1 million per year off revenue from app sales.
“CurseForge is the embodiment of how fostering a community of creators around games generates value for both players and game developers,” said Uri Marchand, Overwolf’s chief executive officer, in a statement. “As we move to onboard mods onto our platform, we’re positioning Overwolf as the industry standard for building in-game creations.”
It wouldn’t be a stretch to think of the company as the Roblox for applications for gamers, and now it’s moving deeper into the gaming world with the acquisition of CurseForge. As the company makes its pitch to current CurseForge users — hoping that the mod developers will stick with the marketplace, they’re offering to increase by 50% the revenue those developers will make.
Overwolf said it has around 30,000 developers who have built 90,000 mods and apps, on its platform already.
As a result of the acquisition, the CurseForge mod manager will move from being a Twitch client and become a standalone desktop app included in Overwolf’s suite of app offerings, and the acquisition won’t have any effect on existing tools and services.
“We’ve been deeply impressed by the level of passion and collaboration in the CurseForge modding community,” said Tim Aldridge, director of Engineering, Gaming Communities at Twitch. “CurseForge is an incredible asset for both creators and gamers. We are confident that the CurseForge community will thrive under Overwolf’s leadership, thanks to their commitment to empowering developers.”
The acquisition comes two years after Overwolf raised $16 million in a round of financing from Intel Capital, which had also partnered with the company on a $7 million fund to invest in app and mod developers for popular games.
“Overwolf’s position as a platform that serves millions of gamers, coupled with its partnership with top developers, means that Intel’s investment will convert into more value for PC gamers worldwide,” said John Bonini, VP and GM of VR, Esports and Gaming at Intel, in a statement at the time. “Intel has always prioritized gamers with high performance, industry-leading hardware. This round of investment in Overwolf advances Intel’s vision to deliver a holistic PC experience that will enhance the ways people interact with their favorite games on the software side as well.”
Other investors in the company include Liberty Technology Venture Capital, the investment arm of the media and telecommunications company, Liberty Media.
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Why the Olympics should add esports
I recently sat on a panel for gaming website Pocket Gamer that was focused on esports and the Olympics. We were debating whether esports were filling the gap in sporting events, including the Olympic games, which have been paused due to the COVID-19 pandemic.
It was an interesting conversation that started out like most esports panels. The only difference here is that instead of the typical question, “When will esports catch up to traditional sports?” it was, “Will esports become mainstream enough to make it into the Olympics?” A slightly different question, but the same sentiment: The international games are one of televised sports’ marquee events, and esports companies hope to earn a seat at the grown-up’s table.
In truth, the Olympics have been dropping in ratings relatively steadily in the U.S. for a long time. The only Olympic games that scored in the top five ratings going back to 1992 were the Salt Lake City Winter Olympics, presumably because they were held in the United States. Overall, viewership has been declining in recent years and the games don’t hold the prestige they once did.
Additionally, audiences are slowly becoming worth less and less to advertisers because the age of the average viewer is rising rapidly, a trend we are seeing in almost all traditional sports.
I doubt it would surprise anyone to learn that the average age of almost all traditional sports viewership skews older than esports’ audience. Even then, I think the actual data will be quite surprising. Only one professional sport (women’s tennis) actually saw its average viewers age come down in the last decade or so. Even in that context, the average age of a Women’s Tennis Association home spectator is 55 years old.
The average age of esports viewership looks to be around 26 years old. Think about that from a marketer’s perspective. Traditional sports are just missing young people, by a wide margin.
Where are the kids?
But there are more factors at play than just a lack of interest from millennials and Gen Z driving this trend: There’s also a question of access.
The IOC made the decision in recent years to stream the Olympics (the way most younger people consume content), but it capped the ability to watch online to 30 minutes if viewers didn’t sign in with their cable company (a relationship many millennials don’t have) to continue watching.
Additionally, the IOC made the laughable decision to “ban” GIFs with the press covering the event, which qualifies as one of the more stupid things a governing body has ever tried to do. First, it won’t work. Secondly, and more to the point, it demonstrates how out of touch the IOC is with the ways in which media has evolved in the last 20 years.
However, unlike the Olympics, where no corporation owns the rights to volleyball or the pole vault, all esports companies own the IP associated with the game itself. That means, by default, the IOC would not have carte blanche when making decisions about how to represent the games, programming, licensing rights and other factors it has enjoyed for a long time.
Finally, it’s worth noting that the IOC doesn’t like the idea of “violent” games being added to the Olympic roster. It would prefer to see current sports transformed into virtual competitions. But anyone who knows anything about esports understands that this isn’t how esports works. Before a game ascends to esports royalty, it needs to be a good game. If nobody plays it, it’s unlikely anyone will want to watch it.
Secondly, it has be digestible as a viewing experience. World of Warcraft Arena is a game that draws a lot of players, but it’s almost impossible to know what is going on unless you’re an expert at the game or you have a godly shoutcaster who can translate the on-screen action. You can’t make track and field an esport and hope audiences will want to watch.
The IOC Solution
The IOC has taken steps to try and stave off declining youth viewership trends by adopting sports considered “young” in the past few years. Five sports recently added to the Olympic games include:
- Sport climbing
- Surfing
- Skateboarding
- Karate
- Baseball/softball
The baseball/softball addition notwithstanding, I think you would have to live under a rock if you thought that competitive sport climbing held a candle to Fortnite or League of Legends in terms of generating youth interest. Frankly, this seems like an idea that came from an old person trying to find a way to “get the kids back.”
To the IOC’s credit, it has begun to hold panels and conferences with esports experts and game publishers, but the deals that will come from these will look REALLY different than what they are used to. It seems to me that we have a long way to go here.
For my part of the panel, I argued that the Olympics need esports much more than esports need the Olympics. Media companies are only going to overpay for broadcasting rights for traditional sports for so long. At some point, someone is going to notice that the “inside the demo” group isn’t there and move on.
The thing that esports CAN get from the Olympics is understanding a better way to monetize its audience, something that the Olympics do well and esports doesn’t do well right now. A report from Goldman Sachs shows the audience size and monetization based on that audience, showing that esports dramatically underindex on monetization relative to their more established sports league equivalents. It is clear that esports is immature from a monetization perspective and, while the Olympics aren’t on this chart, I would assume that it punches WAY above its weight, much like MLB does, trading on its reputation more than on actual results these days.
The IOC should act fast, though. It won’t be long until esports figures this whole thing out and once they do, the Olympic games won’t have anything to offer this emerging media powerhouse.
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