1010Computers | Computer Repair & IT Support

Netflix is releasing a new mobile game based on its popular bake-off show ‘Nailed It!’

Netflix announced today that it’s adding a new title to its gaming roster that is based on its popular show “Nailed It!” The game, which is called Nailed It! Baking Bash, will launch on October 4, a day before Season 7 of the bake-off competition show debuts on October 5.

The game was developed by Netherlands-based Paladin Studios and sees players go through sequences of rapid-fire mini-games to bake, paint and garnish themed cakes. There’s also a multiplayer mode that lets players compete with friends to recreate desserts in a certain amount of time. The game also features a single-player backstage baking mode that lets you perfect your baking skills at your own pace. Later this year, Netflix will update the game to allow players to use distractions to make their competitors’ bakes even more challenging.

This isn’t the first time that Netflix has released a new game to promote an upcoming series or season, as the company also launched a game version of the popular card game Exploding Kittens ahead of its TV show of the same name that’s launching on its service next year. In addition, the streaming service announced in May that it will debut a handful of upcoming games that are tied to some of its popular shows, including “The Queen’s Gambit,” “Shadow and Bone,” “La Casa De Papel” and “Too Hot To Handle.”

The company says it will have more than 50 games on its platform by the end of the year. Netflix launched its gaming service in November 2021 and has been adding new games to its catalog every month. The titles are currently free to play and don’t include any in-app purchases.

Today’s announcement comes as Netflix is developing features that allow members to play its mobile games with one another and competitively rank themselves on gaming leaderboards. The company, starting last month, quietly launched the ability for users to create unique “game handles” in a subset of its mobile games. References uncovered in the Netflix app also point to expanded gaming ambitions, including the ability to invite other users to play games with you and a feature that would let you see where you rank on leaderboards, among other things.

It’s not surprising that Netflix is looking to beef up its games offerings, especially given that a recent report revealed that less than 1% of Netflix’s subscribers want to play its mobile games.

Netflix is releasing a new mobile game based on its popular bake-off show ‘Nailed It!’ by Aisha Malik originally published on TechCrunch

blank

Powered by WPeMatico

Twitch plans to cut subscription revenue for some top streamers in push toward ads

Twitch plans to standardize its revenue sharing agreement with streamers, reshaping the earnings landscape for top creators who have historically been able to pocket a bigger portion of the money they generate through paid subscriptions on the platform.

In a blog post on Wednesday, Twitch president Dan Clancy explained that while the “vast majority” of streamers have a revenue split of 50/50 for paid subscriptions, in the past a subset of creators were offered premium subscription terms that cut them a better 70/30 deal. Twitch subscriptions start at $4.99 per month, offering viewers a way to support their favorite streamers while receiving special access and perks in return.

“This isn’t something we’ve talked about publicly, but such deals are common knowledge within the streamer community,” Clancy said. Apparently Twitch didn’t really have hard and fast criteria outlining who got the better revenue split. The company stopped bringing new streamers into the sweetheart deal more than a year ago, according to Clancy, but anyone with better terms got to keep them for the time being.

In April, Bloomberg reported that Twitch was exploring ways to boost profits by making changes to the revenue sharing agreements with its top-tier streamers. Twitch noted that more than 22,000 streamers on its feedback forum have asked the platform to move all creators to the 70/30 subscription split, but instead the opposite will happen.

“As we reflected on how we handled these premium deals, we realized a few problems,” Clancy wrote. “First, we had not been transparent about the existence of such deals. Second, we were not consistent in qualification criteria, and they generally went to larger streamers. Finally, we don’t believe it’s right for those on standard contracts to have varied revenue shares based on the size of the streamer.”

Clancy says that ideally “all streamers would be on the same set of terms regardless of size,” but switching the terms outright would disproportionately hit some core Twitch streamers who helped build the platform into what it is now.

The solution Twitch has landed on for now is to let streamers with the premium deal keep 70% of their first $100,000. After that, they’ll be defaulted back to the non-premium 50/50 revenue split. The changes will be implemented after June 2023, but only when a given streamer’s contract comes up for renewal.

“For those who are affected, we wanted to make sure the impact was minimal — not just by giving them ample time before the deal goes into effect — but also by offering an alternative way to earn revenue,” Clancy said.

That alternative is Twitch’s ad revenue program. In June, the company announced that it would shift from a fixed payment model per 1,000 ad impressions to a “percentage-based revenue share model” that gives streamers 55% of revenue for every ad they run. Twitch argued that the change to ad payouts would ultimately pay most streamers 50% to 150% more for the advertising they feature on stream. The company announced at the time that the change doesn’t just affect Twitch Partners — streamers in Twitch’s lower tier Affiliate program will also be offered the 55%.

In August, Twitch dropped its exclusivity requirements for Twitch Partners — the creator tier that unlocks the full suite of monetization tools on the platform. The change allows top creators to also make money on rival services like YouTube, though it still prevents them from simulcasting full streams to most social apps. The change could help Twitch keep its top talent on the platform, particularly with changes to its revenue system on the way, though YouTube’s own 70/30 subscription revenue split is about to look more attractive given the changes.

If that all sounds aboveboard, it might not be quite so simple. In spite of the push for uniformity and transparency, Twitch still carved out some wiggle room to negotiate with top streamers who aren’t likely to be pleased with eventually seeing their subscription revenue dip by 20%, even with the changes to ad revenue.

“It’s a reality of our business that we will, in rare cases, continue to negotiate custom agreements on a case by case basis,” Clancy wrote. “However, we have been reducing how often we offer these deals and the total value of these deals.”

Twitch plans to cut subscription revenue for some top streamers in push toward ads by Taylor Hatmaker originally published on TechCrunch

blank

Powered by WPeMatico

Spotify Island on Roblox launches a new virtual destination for hip-hop listeners

It’s been four months since Spotify debuted its virtual Spotify Island on Roblox, which made it the first music streaming service to have an official presence within the gaming platform. Today, Spotify launched a new space-themed digital destination on Roblox called Planet Hip-Hop, which will soon feature up-and-coming female rapper Doechii.

Spotify Island’s new Planet Hip-Hop is live now in Roblox, and the virtual experience aims to give a younger generation of hip-hop fans new ways to connect with their favorite music artists.

When Roblox players explore Planet Hip-Hop, they can collect exclusive virtual merch, customize vehicles in the “Speed Shop,” dance on a floating dance floor, create hip-hop beats powered by Soundtrap and more.

The new futuristic-looking destination features a lit-up cityscape sitting on an upside-down silver pyramid, surrounded by red planet rings that resemble a record, as well as floating meteors and other planetary matter.

Image Credits: Spotify

“We wanted to create a space inspired by the newest era of hip hop, exploring how the current generation of artists and fans are redefining what the genre looks like and sounds like,” Steven Conaway, senior art director at Spotify, said to press during a demo.

The look of Spotify’s new destination is inspired by the younger generation of hip-hop artists, many of whom are known to have an “internet tech sound,” Conaway added. He referred to young artists like Doechii, Yeat and Trippie Redd, who are all in their early 20s.

Image Credits: Spotify

Spotify chose the hip-hop genre as the second Spotify Island destination based on listener demand, the company wrote in its release. The music streaming platform boasted that hip-hop music generates 44 billion average monthly streams on Spotify globally.

Compared to Spotify Island’s K-pop-themed world, K-Park, there are a lot of new elements and Easter eggs in Planet Hip-Hop that players can discover. This includes being able to walk on buildings and float around — an added touch to the experience that makes it seem like Roblox avatars have been transported to a low-gravity environment.

Players can also drive a customized car around the planet’s rings, which act as drivable pathways, Edward Yeung, associate creative director at Spotify, explained during the demo.

In the near future, Spotify is turning the pathways on the planetary rings into an obstacle course, Yeung revealed.

New merch that’s exclusive to Planet Hip-Hop includes clothing items, emotes and parkour effects. In a couple of weeks, players will be able to purchase a patchwork bubble jacket and moon shoes for their avatar. Roblox players can collect hearts to purchase the merch.

Similar to K-Park, players must enter an underground portal to visit a music artist’s fan experience. This Thursday, September 22, Spotify will introduce the first artist on Planet Hip-Hop — Doechii.

When Roblox players enter Doechii’s underground portal in Planet Hip-Hop, they’ll see a swamp kingdom commemorating the rapper’s hometown, Tampa, Florida, and her nickname, “Swamp Princess.”

Image Credits: Spotify

At launch, players can swim with alligators, dive underwater and hop on lily pads. While fans can’t interact and ride on the alligators/crocodiles yet, this is a feature Spotify is adding later.

However, there are a lot of features that will be unavailable when Doechii’s swamp launches tomorrow.

In the following days, Spotify will launch more features for Doechii fans, such as a quiz where players must “persuade” Doechii to let them enter her “Swamp Coven.” This is a nod to her song “Persuasive,” which recently got a new music video and remix with famous R&B singer SZA. Once players answer the questions correctly, they will be invited into the coven and even grow an alligator tail, the company explains in today’s announcement.

Spotify will roll out exclusive Doechii gear over the next few days as well. Players will soon be able to purchase alligator pants and shoes, an alligator necklace, a Cyan blue-colored mullet inspired by her original “Persuasive” music video, a star crown and more. There will soon be a feature where Doechii will virtually sign your merch.

Also, in a few weeks, fans will participate in quests, like a scavenger hunt where players collect alligator tokens and trade them for prizes. When Roblox players finish all Doechii’s quests within the first 72 hours, they’ll unlock exclusive space glasses.

Image Credits: Spotify

Spotify will continue adding to Planet Hip-Hop, including collaborations with different hip-hop artists that have yet to be announced.

Down the road, the company will also launch more vehicle customization options in the “Speed Shop,” plus new themed vehicles representing the future music artists joining the virtual world. For instance, Doechii fans will soon be able to ride in an alligator car.

Spotify Island on Roblox launches a new virtual destination for hip-hop listeners by Lauren Forristal originally published on TechCrunch

blank

Powered by WPeMatico

Nintendo is ending support for account logins via Facebook and Twitter

Nintendo is ending support for account logins through Facebook and Twitter on October 25, the company announced on Tuesday. After that date, players won’t be able to sign in or create a new Nintendo Account using a Facebook or Twitter account. Nintendo says players will still be able to log on or create a new Nintendo Account with their Google or Apple account.

If you’re asked to sign in again after October 25, you will need to enter the email address or username associated with your Nintendo account. If you haven’t set your Nintendo account or forgot your password, you will have to select “Forgot your password?” on the Nintendo Account sign-in page and follow the instructions. If you don’t have access to your registered email address, you won’t be able to change the email address yourself and will have to contact Nintendo customer support.

“We apologize for the inconvenience this may cause to those who have been using a Facebook or Twitter account to sign in to their Nintendo Account,” the company said in a statement on a support page.

Nintendo also announced that it’s getting rid of image sharing on the Wii U and Nintendo 3DS on October 25 as well. After this date, players will no longer be able to post images to Twitter or Facebook through the Wii U and Nintendo 3DS. Nintendo notes that images and comments that have already been posted on Facebook and Twitter will remain available even after October 25.

Nintendo did not disclose the reasons behind these two changes, but the company’s decision to no longer let players post images to Twitter or Facebook through the Wii U and Nintendo 3DS isn’t exactly surprising, considering that the company has been gradually getting rid of features for these two devices.

Nintendo is ending support for account logins via Facebook and Twitter by Aisha Malik originally published on TechCrunch

blank

Powered by WPeMatico

Splatoon is the video game version of those ASMR-like ‘oddly satisfying’ videos

Splatoon is a simple game: You’re a squid- or octopus-like humanoid in a post-apocalyptic world, and all you wanna do is shoot people with colorful ink and buy cute outfits. I had never played a Splatoon game before Splatoon 3 was released last week, but my friends were all hyping it up, so I jumped in. There’s not a ton of backstory to catch up on in this third installment — just accept that you’re a squid now.

It’s been about a week. Reader, I am hooked. I simply cannot stop splatting. I don’t even like shooter games — I don’t need more gun violence in my life, even if it’s fictional and contained to a Nintendo Switch screen — but Splatoon is different.

In the main mode of play, called Turf War, you’re split into two teams of four with other online players. Each team has its own color ink, like a bright Nickelodeon orange, a greenish-yellow that looks like toxic waste, or a purple color that matches The Verge’s redesign. Over the course of three minutes, it’s your team’s goal to cover as much territory as you can with your color ink.

There are different types of weapons — some guns that shoot out small amounts of paint but can easily kill splat your enemy, sending them back to their home base. There are bombs that you charge up by saying “Booyah!” — which, by the way, is one of only two phrases your character can say in-game, with the other being the less delightful “This way!” There’s also a crab tank, and … I don’t know what to tell you. It’s a crab tank.

Personally, I’m a fan of the roller-style weapons, where you simply push a paint roller around and run over your enemies. The rollers are great for someone like me who is not dexterous enough to aim a paint gun. But the real reason why I am so committed to the roller is that they’re so satisfying. You’re just a squid and/or octopus, running around making a clean, colorful streak of ink. The roller can ink the edges of the map, crisply sliding along and covering every last pixel. If your team is losing badly, just charge ahead into a sea of enemy-colored ink, zig-zaging your pink paint in a sea of neon green until you inevitably get splatted by a “Sploosh-o-matic” or a “Bamboozler.” When you run out of ink, you recharge your weapon by swimming, an experience that somehow manages to release the stress from your real-world flesh sac. It’s like yoga, but squids.

Somehow, even journalism is enjoyable in Splatoon. The game starts with a news cast called “Anarchy Splatcast” hosted by Deep Cut, who are both a rock band and broadcasters? It’s confusing, especially for a Splat-noob like me, but Shiver and Fyre are just that talented, I guess. In Splatoon 3, the duo are also joined by Big Man, a talking manta ray who starts all of his sentences with “Ay!”

But my favorite NPC has got to be the guy who runs the clothing shop. He is a species of Jellyfish called the Man-o-War. And he sells clothes. So his shop is called … the Man-o-Wardrobe.

Games writers have pointed out the other great attributes of Splatoon, even calling it “the ideal social platform.” They are correct. Others have noticed that if you grind all the way to level 98, you can make your character dab, which is just brilliant. But Splatoon is all about the ink, and boy do I love the ink.

If you’re someone who frequents Reddit’s r/oddlysatisfying or watches those soap cutting and paint mixing videos, Splatoon is the game for you.

There’s one problem for me, though. I am not very good at Splatoon.

Splatoon is the video game version of those ASMR-like ‘oddly satisfying’ videos by Amanda Silberling originally published on TechCrunch

blank

Powered by WPeMatico

Europe wants to shape the future of virtual worlds with rules and taxes

EU lawmakers are moving in on the metaverse and making it plain that, whatever newfangled virtual world/s and/or immersive social connectivity that tech industry hype involving the term may refer to, these next-gen virtual spaces won’t escape one hard reality: Regulation.

There may be a second metaverse certainty too, if the Commission gets its way: Network infrastructure taxes.

The EU’s internal market commissioner, Thierry Breton, said today it believes some of the profits made in an increasingly immersive software realm should flow to providers of the network backbone required to host these virtual spaces — a suggestion that’s sure to trigger a fresh round of net neutrality pearl-clutching.

The Commission has been signalling for some months that it wants to find a way to support mobile operators to expand rollouts of next-gen cellular technologies — via imposing some kind of a levy on U.S. tech giants to help fund European network infrastructure — following heavy lobbying by local telcos.

Last week, Breton revealed it plans to consult on network infrastructure cost contribution ideas in Q1 next year — as part of a wider metaverse-focused initiative, with the latter proposal coming later in the year.

More details of the bloc’s thinking on fostering development of virtual spaces and the network pipes needed to connect them has emerged today.

EU initiative on virtual worlds

In a Letter of Intent published today, setting out the bloc’s policy priorities for 2023 — and accompanying her annual State of the European Union speech — the EU’s president, Ursula von der Leyen, confirmed the Commission will put forward an “Initiative on virtual worlds, such as metaverse” next year.

The letter offers scant details on what exactly will be inside the EU’s virtual worlds package. But Breton — via a blog post on LinkedIn of all places — has picked up the baton to flesh out his views on how to deal, in broad-brush policy terms, with (the) metaverse(s) — something he couches as “one of the pressing digital challenges ahead of us.”

Breton presents his remarks as “Europe’s plan to thrive in the metaverse.” Though it remains to be (officially) confirmed whether he’s flying a little solo here — or playing advanced messenger on the direction of next year’s initiative. (We asked the Commission for more on the forthcoming virtual worlds initiative but with so much EU action today our contact warned there could be a delayed response — before pointing back to Breton’s blog, suggesting he is indeed signposting where the bloc is headed on virtual worlds.)

First up, both Breton (at length) and von der Leyen (in passing) are clear in planting a regulatory stake in virtual ground — by pointing out that would-be metaverse monopolists will have to contend with existing EU rules, such as the recent major EU digital rule reboot.

Rebooted digital rules

In her letter penned in difficult geopolitical and economic times, von der Leyen urges the bloc to stay the course on the green and digital transitions — which formed a key plank of her policy plan when she took up her mandate at the end of 2019. “This is about building a better future for the next generation and making ourselves more resilient and more prepared for challenges to come,” she writes, encouraging EU institutions to stick with the transformative push for sustainability and digitalization and implement key pieces of the plan already agreed on.

“This includes implementing the landmark agreements on the Digital Markets Act (DMA) and the Digital Services Act (DSA) which saw the EU take global leadership in regulating the digital space to make it safer and more open,” she goes on, name checking two big components of the digital reboot agreed by the EU’s institutions earlier this year — before adding a further nod to what else may be coming: “We will continue looking at new digital opportunities and trends, such as the metaverse.”

In his blog post, Breton makes it even more plain that metaverse builders are already subject to EU rules. “With the DSA and DMA, Europe has now strong and future-proof regulatory tools for the digital space,” he writes, pointedly adding: “We have also learned a lesson from this work: We will not witness a new Wild West or new private monopolies.

“We intend to shape from the outset the development of truly safe and thriving metaverses.”

This conviction was doubtless cemented by Facebook’s corporate pivot last year to Meta — a self-declared “metaverse company” — as the tech giant sought to escape years of operational scandals and reputational toxicity stuck like a barnacle to its social media brand by deploying a crisis PR rebranding tactic that implies a pivot, without it having to make meaningful reform to its business or business model.

While no one can say for sure whether the metaverse will ever exist (or merely remain an amorphous marketing label), should anything of substance actually materialize it’s pretty clear it won’t be located that far away from the kind of social connectivity Meta already monetizes through mass surveillance-based profiling and behavioural ads. So it seems a safe bet Zuckerberg is hoping to bankroll Facebook’s ‘metaverse’ future via plenty of user-profiling and behavioral ads too, at least in large part.

But if the Facebook founder was betting on a little corporate rebranding exercise to get Meta ahead of pesky regulators — such as privacy watchdogs in Europe that are finally starting to land some sizeable lumps on the company — he may be disappointed to find virtual worlds aren’t an escapist paradise after all.

A Commission spokesperson told TechCrunch: “The Commission is closely monitoring potential specific legal issues, such as defining the applicable law in various ongoing interactions and transactions by metaverse participants (including anonymous participants or those coming from third countries), liability questions or issues around digital assets.”

“The European regulatory framework (with the DSA, DMA and future AI and Data Acts) is also being revamped to address the challenges of the digital space and will ensure that users are protected and that SMEs can benefit from market developments and are not driven out of the market by abusive behaviours by gatekeepers, regardless of the technology used,” the spokesperson further noted.

Out with the old growth playbook

Taken as a whole, Breton’s remarks suggest the EU will be coming with a blended ‘sow and scythe’ package for virtual worlds — offering support initiatives (to encourage development and infrastructure) but also warnings that it will step in actively to steer and shape development, to ensure any new wave of ever-more-immersive socio-digital spaces don’t just repeat the same toxic growth playbook as Facebook.

Key EU preoccupations here appear to be enforcing user-centric safety issues (such as in areas like content moderation); and ensuring platforms remain open and contestable to the whole market (via mandating interoperability standards).

“Our European way to foster the virtual worlds is threefold: People, technologies and infrastructure,” Breton writes, summarizing the planned approach. “This new virtual environment must embed European values from the outset. People should feel as safe in the virtual worlds as they do in the real one.

“Private metaverses should develop based on interoperable standards and no single private player should hold the key to the public square or set its terms and conditions. Innovators and technologies should be allowed to thrive unhindered.”

There is also a reference to launching a “creative and interdisciplinary movement” — with the goal of developing “standards, increas[ing] interoperability, maximising impact” — a movement Breton says he wants to involve IT experts, regulatory experts citizens’ organisations and youth, in a similar fashion to the new European Bauhaus initiative the EU has applied to encourage engagement with sustainability-focused ‘green deal’ goals.

This piece of the EU plan contrasts to the more single-minded focus of Meta president (and former EU lawmaker), Nick Clegg, who — in his role evangelizing metaverse for Meta — has spent a lot of words talking up the volume of developer jobs that will be needed to build the immersive future Meta is betting its corporate continuity on.

Breton’s point appears to be that the EU wants a far more diverse mix of expertise to be involved in any ‘metaverse’ development. (Or, tl;dr: ‘We all know what happens when tech worlds are built, owned and operated by too many techbros — and we sure don’t want a repeat of that!’)

Ecosystem support — and infrastructure taxes?

A second big chunk of Breton’s blog post focuses on the technologies and tech skills the Commission sees as necessary for the bloc to have the power to bend virtual world makers to “European values.”

Breton notes these span many areas — of “software, platforms, middleware, 5G, HPC, clouds, etc.” — but with “immersive technologies and virtual reality” identified as being “at the heart” of the metaverse “phenomenon.” So immersive tech looks to be where the EU will direct the meatiest ecosystem support in the forthcoming virtual worlds package.

But for starters Breton has announced the launch of a VR and AR industry coalition.

“The Commission has been laying the groundwork to structure this ecosystem,” he writes. “Today, I am happy to launch the Virtual and Augmented Reality Industrial Coalition, bringing together stakeholders from key metaverse technologies. We have developed a roadmap endorsed by over 40 EU organisations active in this space, from large organisations to SMEs, and universities.”

On this a Commission spokesperson pointed us to a strategic paper it commissioned ahead of launching the VR/AR industrial coalition — also telling us: “The objective is to support the uptake of XR [extended reality] technologies for industrial applications and use cases in key sectors such as construction, manufacturing, health, media and education. European projects have fostered a European XR community including user industries, researchers, solution providers, content creators, as well as national and regional hubs. In the cycle 2023-2024, the Commission will inter alia further support specifically the development and integration of advanced XR hardware components as well as the development of new solutions for creating virtual worlds and 3D models, realistic avatars and intelligent agents.”

Breton’s post goes on to give a nod to the European Chips Act — which aims to mobilize public and private investment to drive on-shore semiconductor manufacture in a supply chain resilience and digital sovereignty drive — with the commissioner recognizing that hardware development and production is a core component for virtual worlds, underpinning its development (and, ultimately, most likely, determining whether immersive technologies like VR and AR remain a niche (sometimes) nausea-inducing pastime for the geeky few or actually make the leap into a transformative mainstream medium).

“The next step will be a quantum leap from current virtual reality and other enabling technologies to a world that truly blends the real with the virtual,” pens Breton, a former telco exec, in full tech evangelist mode.

The EU commissioner saves the most controversial piece of the upcoming metaverse plan for last: A plan for infrastructure taxes to come down the policy pipe. And he confines himself to trying to tamp down any objections by laying out a case for some form of levy to fund the necessary connectivity — aka the high-capacity, high-bandwidth, high-speed, low-latency networks we’re told will be needed to sustain these hyper immersive virtual spaces we’re also told we’ll want to pause our off-line existence to spend time in.

There are no firm details on what the EU is proposing on virtual world taxes as yet — just an affirmation that a consultation is coming down the pipe.

“The current situation, exacerbated during the COVID pandemic, shows a paradox of increasing volumes of data being carried on the infrastructures but decreasing revenues and appetite to invest to strengthen them and make them resilient,” writes Breton, drawing on long-standing telco gripes about scale of network investment demanded to roll out techs like 5G vs dwindling returns.

“The current economic climate sees stagnating rewards for investment and increasing deployment costs for pure connectivity infrastructure,” he goes on. “In Europe, all market players benefiting from the digital transformation should make a fair and proportionate contribution to public goods, services and infrastructures, for the benefit of all Europeans.”

Case made, Breton ends by trailing what he couches as a “comprehensive reflection and consultation on the vision and business model of the infrastructure that we need to carry the volumes of data and the instant and continuous interactions which will happen in the metaverses” — thereby landing a second blow of his case-hammer backing metaverse infrastructure taxes.

Still, you have to admire the EU’s repurposing of the tech industry’s latest shiny new hype vehicle to truck back the other way and deliver an age-old demand for a revenue share.

This report was updated with responses from the Commission re: the upcoming virtual worlds initiative

Europe wants to shape the future of virtual worlds with rules and taxes by Natasha Lomas originally published on TechCrunch

blank

Powered by WPeMatico

Snowman launches its latest game Lucky Luna exclusively with Netflix

Snowman, the studio behind Alto’s Adventure and others, has launched its latest game exclusively with Netflix. The Toronto-based studio’s new vertical scrolling platformer Lucky Luna is now available on iOS and Android via Netflix Games.

In the game, you play as a silent, masked heroine named Luna. The game takes place in ancient and magical ruins where Luna must navigate deadly traps while unlocking the mysteries of her past. The core design tenet revolves around a novel swipe mechanic and the lack of a jump button. Lucky Luna is a coming of age story inspired by a Japanese folktale called “The Tale of the Bamboo Cutter.”

Netflix says the game’s story mode guides players through hand-designed levels that introduce new environments with thematic-based challenges. The game also features daily, monthly and all-time leaderboards to offer a competitive space for players.

At launch, the game is available in more than 30 languages, including Arabic, Chinese (Simplified), Chinese (Traditional), Croatian, Czech, Danish, Dutch, English, Finnish, French, German, Greek, Hebrew, Hindi, Hungarian, Indonesia, Italian, Japanese, Korean, Malay, Norwegian, Polish, Portuguese (Brazil), Portuguese (Portugal), Romanian, Russian, Spanish (Casitilian), Spanish (Latam), Swedish, Thai, Turkish, Ukrainian and Vietnamese.

The addition of Lucky Luna brings Netflix’s total games count to 28. The streaming service plans to have more than 50 games on its platform by the end of the year. Netflix launched its gaming service in November 2021 and has been adding new games to its catalog every month. The titles are currently free to play and don’t include any in-app purchases.

Netflix is scheduled to add three more titles to its gaming service this month, including an interactive game called Immortality from developer Half Mermaid. The game is based on the fictional model turned actress Marissa Marcel. In the game, you investigate the lost works of Marcel in order to unlock the secrets behind her disappearance.

The streaming service is also adding Wild Things: Animal Adventures from developer Jam City. The match-three adventure game sees players explore an immersive world and build their dream habitat after a terrible storm. The third game Netflix plans to add this month is multiplayer battle royale Rival Pirates from Rogue Games and Amuzo Limited. In this game, you set sail, fire cannon balls and aim to be the last standing among your enemies.

Snowman launches its latest game Lucky Luna exclusively with Netflix by Aisha Malik originally published on TechCrunch

blank

Powered by WPeMatico

Daily Crunch: Former employee says Patreon has laid off its entire security team

To get a roundup of TechCrunch’s biggest and most important stories delivered to your inbox every day at 3 p.m. PDT, subscribe here.

Fridaaaaaay. It was a short week, but it still dragged on a little.

We’ve got some exciting Twitter Live action coming up on September 13, so mark your calendars! At 8:00 a.m. PDT / 11:00 a.m. EDT we are talking with Andrew Chan about why Gen Z VCs are trash, and at 12:00 p.m. PDT / 3:00 p.m. EDT, we’re talking with M13 partner Anna Barber about what today’s founders can learn from the dot-com bubble bursting.

Enjoy your weekend!  — Christine and Haje

The TechCrunch Top 3

  • More layoffs: Patreon, a company that enables content creators to offer monthly payment subscriptions to customers, confirmed that it let go of five people from its security team. Zack reports there are not a lot of details about the layoffs, but did have some information about how Patreon will manage its security going forward. 
  • Thank you, Mr. Roboto: Amazon announced it is acquiring Cloostermans, a mechatronics company based in Belgium. The e-commerce giant’s focus on robotics has Ingrid writing that Amazon “is taking an interesting turn in that strategy as it expands its industrial warehouse capabilities.”
  • We like a startup with a fun name: Cryptocurrency is a hot market in Africa, and Tage writes about one blockchain payments startup, called Bitmama, that raised $2 million in pre-seed funding to show what it can do in new markets.

Startups and VC

For our episode of Chain Reaction this week, our trusty crypto desk discussed the latest drama surrounding crypto mega-exchange Binance, which is shaking up the stablecoin ecosystem as it looks to muscle its way to supremacy. It’s a fantastic episode and well worth a listen.

Over the past decade, startups migrated north from Silicon Valley to make San Francisco the country’s hottest tech hub. The streets of the city were bustling with throngs of workers, writes Mary Ann. Then the COVID-19 pandemic hit, and things slid to a halt. Now, more than two years and several vaccines later, San Francisco’s office scene has still not rebounded and the city’s streets remain eerily quiet.

Let’s do a few more, shall we:

Use DORA metrics to support the next generation of remote-work models

Liwa, UAE - Laptop glows outside a tent pitched on the dunes of the Empty Quarter desert

Image Credits: Edwin Remsberg (opens in a new window) / Getty Images

Nontechnical CEOs often rely on someone else’s assessment to find out how good their developers are. Without data, that’s a pretty subjective process.

Startups that don’t use DORA (DevOps research and assessment) metrics have a harder time measuring a software delivery team’s performance. For example, a group that has a high failure rate may cover their deficiencies (for a time) by deploying quickly.

Remote work is the new normal, especially for engineers, says Alex Circei, CEO and co-founder of development analytics tool Waydev. By using DORA metrics, CTOs, CEOs and HR managers can “get back on the same page to support their tech teams and business outcomes.”

(TechCrunch+ is our membership program, which helps founders and startup teams get ahead. You can sign up here.)

Big Tech Inc.

India is taking more control over which lending apps are permitted in app stores. Manish and Jagmeet keep us updated on the country’s efforts to bring more disclosures and transparency to the world of digital lending, which they write is full of “sketchy and unethical lenders.”

Daily Crunch: Former employee says Patreon has laid off its entire security team by Christine Hall originally published on TechCrunch

blank

Powered by WPeMatico

A video game industry veteran on making the art behind popular NFTs

Welcome back to Chain Reaction, where we unpack and explain the latest in crypto news, drama and trends, breaking things down block by block for the crypto curious.

For our Tuesday episode this week, we talked to James Zhang, a 24-year veteran of the video game industry — first as an artist, then as a founder and investor. Zhang, founder and CEO of NFT art consultancy Concept Art House, started his career as a concept artist at LucasArts, the studio behind the Star Wars video games.

Concept Art House launched 14 years ago with a mandate to provide art to video game companies, and in that time the company has helped ship over 1,000 games, Zhang said. But in 2021, the company honed its focus to exclusively serve customers building web3 video games as Zhang kept identifying opportunities at that very intersection.

“Over the last two years, we have had a total pivot into web3, and there’s kind of no looking back,” Zhang said.

Concept Art House has worked with both creative brands looking to build a presence through web3 video gaming and crypto-native companies that lack experience in gaming and art creation, according to Zhang. The company has worked on projects with NFT giant Dapper Labs, the company behind NBA Top Shot, and comic book creator Frank Miller, best known for writing and illustrating “The Dark Knight Returns.” Last October, it raised $25 million from investors, including Animoca Brands, and from angels such as Axie Infinity creator Jeff ‘Jiho’ Zirlin.

But despite Concept’s initial wins in web3, the crypto bear market has hit NFTs particularly hard in the past few months, making its work much more difficult. Zhang said crypto winter has had three main effects on his business — first, that low token prices have caused people to be more careful about what NFTs they buy; second, that venture funding has to last longer; and third, that new token launches are no longer a major catalyst for growth in the NFT space.

One of Zhang’s main areas of focus these days is on helping artists monetize their skills within web3.

“We want to create a really powerful artists’ network that can credential and identify who an artist is and what they’ve worked on in web2 and web3. So instead of creating one [piece of] IP, we want to create a platform that’s really friendly for artists in web3,” Zhang said.

Compensation for the artists behind NFTs has been a controversial topic, with artists such as Seneca, who illustrated the images in the Bored Ape Yacht Club project, speaking up about not being compensated in a lucrative way.

Zhang sees both sides of the issue, saying artists in general are both “underpaid, and they’re paid what they’re currently worth” based on market value. He thinks artists have some agency to improve how they’re compensated and sees web3 as a tool that can help them in that process.

“The artists who are more financially savvy, who understand community, have more power. They need less agents, less middlemen. That’s kind of the promise of blockchain,” Zhang said.

“I think in the future, you will see this fork for most professional artists — do you want to try to understand finances more, your role in it, your role in the community, your role in technology and contribute as a highly skilled artist? Or do you want to just paint and draw really well?”

You can listen to the full episode to hear more of Zhang’s thoughts on how artists can position their skill sets in web3, as well as how he thinks about intellectual property and ownership issues in the NFT world.

Chain Reaction comes out every Tuesday and Thursday at 12:00 p.m. PT, so be sure to subscribe to us on Apple Podcasts, Spotify or your favorite pod platform to keep up with the action.

A video game industry veteran on making the art behind popular NFTs by Anita Ramaswamy originally published on TechCrunch

blank

Powered by WPeMatico

Metaverse Magna raises $3.2M at a $30M valuation to build Africa’s largest gaming DAO

This February, Africa and emerging market-focused Nestcoin raised a pre-seed round to build, operate and invest in its web3 applications, including crypto content platform Breach Club and gaming guild Metaverse Magna (MVM). Nine months after its launch last December, the latter has completed a seed sale token round of $3.2 million at a $30 million fully diluted valuation.

MVM, incubated in partnership with a multistrategy blockchain investment fund, Old Fashion Research (OFR), welcomed participation from investors including South Korean video game developer Wemade, Japan-based blockchain-focused venture capital firm Gumi Cryptos Capital (gCC), HashKey, Tess Ventures, LD Capital, Taureon, AFF, Polygon Studios, Casper Johansen (Spartan) and IndiGG. In a statement, MVM said the funding will expand its efforts to build “Africa’s largest gaming DAO and provide gamers with access to world-class opportunities.”

There are over 3 billion gamers who spend $200 billion+ yearly on consoles and in-app purchases such as NFTs. Emerging markets, including Africa, account for 30% of this number; platforms like MVM see games as one way to introduce these millions of users to web3.

The gaming DAO publishes mobile games in frontier markets and creates developer tools for game creators to utilize emerging business models in web3 gaming. It operates as an independent organization as part of the broader Nestcoin ecosystem, said Nestcoin CEO Yele Bademosi in an email interview when quizzed on why MVM had to raise money after the African web3 upstart closed a $6.45 million round this year.

“Africa has the highest youth population globally, but over 60% of the continent’s youth are unemployed,” said Bademosi in a statement. “Gaming presents a unique opportunity to help young Africans earn and lift themselves and their families out of poverty. MVM’s seed sale token ensures opportunities for millions of gamers in these emerging markets.”

What started as a gaming guild offering play-to-earn scholarships to over 1,000 gamers to earn (up to $1,000 monthly, according to the platform’s pitch to users) from free-to-play Web 2.0 games and crypto games like Axie Infinity and Pegaxy has grown to a 100,000-member-strong community across an ecosystem including 2,000+ gamers, 10,000 Telegram and 20,000 Discord members.

Meanwhile, MVM said it is building a soon-to-launch social gaming app, Hyper. At the same time, in the interview, Bademosi stated that the gaming DAO platform was working on launching 10 Web 2.0 games (mostly hypercasual games across different genres), including Candy Blast — its version of Candy Crush — Wordler, Kong Clumb and Electron Dash.

While MVM doesn’t have a set date to launch its token to the public, Bademosi gives a tentative “12 months” response when asked. In addition, MVM tokens would remain locked for 12 months upon the Token Distribution Event and unlocked in quarterly installments for 30 months. The chief executive also noted that more details around the utility of the governance token for MVM would be released to the platform’s member community in due course as part of its “build in public” ethos.

“Gaming guilds will be one of the mainstream DAOs and play a pivotal role in game tokenomics. Partnership with MVM is an opportunity to expand the ecosystem of WEMIX [a global blockchain gaming platform developed by Wemade] in Africa, the continent with a rapidly growing market and a young population,” said Henry Chang, CEO of Wemade, in a statement.

Metaverse Magna raises $3.2M at a $30M valuation to build Africa’s largest gaming DAO by Tage Kene-Okafor originally published on TechCrunch

blank

Powered by WPeMatico