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Sprout Social nabs $40.5M on an $800M valuation, doubles down on social tools for businesses

Sprout Social, a social media monitoring, marketing and analytics service with 25,000 business customers that helps these organizations manage their public profiles and interact with customers across Twitter, Facebook, Instagram, LinkedIn, Pinterest and Google+ (soon to RIP), has raised $40.5 million in funding in order expand its business internationally and add more functionality to its platform.

The money — a Series D led by Future Fund with participation from Goldman Sachs and New Enterprise Associates — brings the total raised by Sprout to $103.5 million to date. We’ve confirmed directly with the CEO Justyn Howard that the valuation is now around $800 million. For some context, Sprout last raised in 2016 — $42 million also from Goldman Sachs and NEA — and at the time it had a post-money valuation of $253 million, according to PitchBook, so this is a very healthy leap.

But between then and now, there have been some interesting developments that could have shifted that price in either direction.

On one side, multiple sources have told us that social media platforms were being courted by Microsoft for acquisition at one point (Microsoft declined to comment on the rumor when we looked into it).

On the other, one of Sprout’s biggest competitors, Hootsuite (with 15 million users, paid and free), has been rumored to be shopping itself for about $750 million, or potentially going public, while smaller competitors have moved in on some consolidation to bulk up their own presence in the field.

In the meantime, Sprout itself has been growing. The company’s 25,000 customers are up from 16,000 two years ago, with current users including Microsoft, NBCUniversal, the Denver Nuggets and Grubhub and MTV.

One of the reasons for the growth is the larger shift we’ve seen in how businesses interact with the outside world.

Social media is today perhaps the most important platform for businesses to communicate with their users: not only has social media helped customers circumvent the often frustrating spaghetti that lies behind the deceptive phrase “contact us” on websites, but social media has become a spotlight, which businesses have to watch lest a sticky situation snowballs into a public relations disaster.

Platforms like Twitter and Facebook, to grow their revenues, have ramped up their efforts to work on social media campaigns and interactions directly with organizations. But there is still a place for third parties like Sprout Social to manage work that goes across a number of social sites, and to address services that the social platforms themselves do not necessarily want to invest in building directly.

“I think there are a bunch of reasons why we don’t build bot experience ourselves,” Jeff Lesser, who heads up product marketing for Twitter Business Messaging, told me when Sprout launched a “bot builder” to be used on Twitter, and I asked him why Sprout shouldn’t worry about Twitter cannibalizing its product. “There are millions of types of businesses that can use our platform, so we’re letting the ecosystem build the solutions that they need. We are focusing on building the canvas for them to do that.”

In other words, while Sprout (and competitors) should always be a little wary of platform players who may decide to simply kick them off in the name of business, there are always going to be opportunities if they have the resources double down on more tech to solve a different problem, or simply execute on fixing an existing problem better.

“Social marketing and social data have become mission-critical to virtually all aspects of business. Sprout’s relentless focus on quality and customer success have made us the top customer-rated platform in every category and segment,” said Justyn Howard, CEO of Sprout, in a statement. “In many ways, social is still in its infancy, and we’re fortunate to help so many great customers navigate this evolving set of challenges.”

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Google says mobile-first indexing is now used for over half the web pages in its search results

Google announced today it’s now using mobile-first indexing for over half the web pages shown in its search results globally — a significant milestone in Google’s move to favor mobile sites over desktop sites in its search results.

The plans for the project have been in the works for years.

The company had first detailed its efforts around mobile-first indexing back in 2016, where it explained the impacts to how its search index operates. It said it would shift over to using the mobile version of a website’s content to index its pages, as well as to understand its structured data and show snippets from the site in Google’s search results.

Its reasoning behind the change is simple: Most people today search Google from a mobile device, not a desktop computer. But Google’s ranking systems for the web were originally built for the desktop era. They still typically look at the desktop version of the page’s content to determine its relevance to the user.

This, obviously, causes problems when the desktop site and the mobile site are not in sync.

Before responsive web design became more commonplace, many site owners built a separate, simpler and sometimes less informative version of their site for their mobile web visitors. These users may have been guided to the site because of Google Search. But once there, they couldn’t find what they were looking for because it was only available on the desktop version of the web page.

In December 2017, Google said it had begun to transition a small handful of sites to mobile-first indexing.

Earlier this year, Google announced it had begun to officially roll out its “mobile-first” indexing of the web, following a year and a half of testing and experimentation. At the time, it said it would first move over the sites already following the best practices for mobile-first indexing. It also noted it would favor the site’s own mobile version of its webpage over Google’s fast-loading AMP pages.

Sites that are shifted are notified through a message in Search Console and then see increased visits from the smartphone version of Googlebot, which crawls the mobile version of their site. Site owners can also check their server logs, where they can track the increased requests from Googlebot Smartphone.

Google additionally offers a URL inspection tool, which site owners can use to check how a URL from their site — like the homepage — was last crawled and indexed.

Google today notes that sites that don’t use responsive web design are seeing two common problems when Google tries to move them over to mobile-first indexing.

Some don’t use structured data on their mobile sites, even though they use it on the desktop. This is important because it helps Google understand the website’s content and allows it to highlight pages’ content in its search results, through its “fancier” features like rich results, Knowledge Graph results, enhanced search results, carousels and more — basically any time you see more engaging search results that offer more than just a list of blue links.

The company also said that some mobile sites were missing alt-text for images, which makes it harder for Google to understand the images’ content.

At the time of the initial wave of sites being shifted over, Google had said that the mobile-friendly index wouldn’t directly impact how content is ranked, but it did say that a site’s mobile-friendly content will help it “perform better” in mobile search results. Mobile-friendliness has also long been one of many factors in determining how a site is ranked, but it’s not the only one.

Google didn’t say what it will do to sites that are never properly updated for the mobile web, but it seems that — at some point — their ranking could be impacted.

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Dataiku raises $101 million for its collaborative data science platform

Dataiku wants to turn buzzwords into an actual service. The company has been focused on data tools for many years, before everybody started talking about big data, data science and machine learning.

And the company just raised $101 million in a round led by Iconiq Capital, with Alven Capital, Battery Ventures, Dawn Capital and FirstMark Capital also participating.

If you’re generating a lot of data, Dataiku helps you find a meaning behind data sets. First, you import your data by connecting Dataiku to your storage system. The platform supports dozens of database formats and sources — Hadoop, NoSQL, images, you name it.

You can then use Dataiku to visualize your data, clean your data set, run some algorithms on your data in order to build a machine learning model, deploy it and more. Dataiku has a visual coding tool, or you can use your own code.

But Dataiku isn’t just a tool for data scientists. Even if you’re a business analyst, you can visualize and extract data from Dataiku directly. And because of its software-as-a-service approach, your entire team of data scientists and data analysts can collaborate on Dataiku.

Clients use it to track churn, detect fraud, forecast demand, optimize lifetime values and more. Customers include General Electric, Sephora, Unilever, KUKA, FOX and BNP Paribas.

With today’s funding round, the company plans to double its staff. The company currently works with 200 people in New York, Paris and London. It plans to open offices in Singapore and Sydney, as well.

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Kahoot, a ‘Netflix for education’, launches an accelerator to tap gaming and education startups

On the back of Disney increasing its shareholding in Oslo-based Kahoot to four percent last week, Kahoot today announced a new initiative that helps to position the popular startup — which already has 60 million games and has seen over 1 billion players engage on its platform over the last year — as the “Netflix for education apps.”

It’s launching Kahoot! Ignite, a new accelerator for like-minded startups that are pushing the boundaries of education through gaming and other means.

In addition to that, Kahoot today also said it would move stock exchanges in its home market of Norway, going from the smaller OTC exchange to the Merkur Market, which CEO and co-founder Åsmund Furuseth explained in an interview is also an exchange for private companies, but one that will be able to provide more transparency to the startup’s bigger investors en route to an eventual full public listing. As of last week’s Disney news, the startup is now valued at $376 million.

Participating in the Ignite accelerator, Furuseth said, will give Kahoot the option to invest in startups in each cohort, and if it makes sense for the startup in question, they will build content that will be usable on the Kahoot platform.

“We have close to $30 million in the bank and are in a financial market where we can get more capital,” he said. “We don’t need to invest, but if we want to, we can.” 

The startup today has some 60 million games on its platform, with a good portion of those created by users themselves (making it more like a YouTube than a Netflix). The idea is that bringing in outside developers (in this case, by way of the accelerator) could inject more innovation and interesting takes on the concept of “educational gaming” — not unlike how Netflix and Amazon engage outside studios to develop originals for its platform, alongside what they develop themselves or buy in through deals with rights holders.

In addition to the carrots of investment and distribution on the Kahoot platform — which is likely to hit 100 million monthly active users this month (Furuseth said he was confident of the number today) — Kahoot is offering mentorship to potential cohorts in areas like monetization and product development. Given the fact that educational aides can come in all shapes and sizes, that might not take the form of a piece of content for the Kahoot platform.

“Putting something on Kahoot could be an outcome, but we’re also interested in ‘network products,’ which have the same desire to enable learning,” Furuseth said.

The company today has a double focus, with games for K-12 students as well as for enterprise environments. “Learning is the main topic,” he added. “We like to have the mix.”

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With trust destroyed, Facebook is haunted by old data deals

As Facebook colonized the rest of the web with its functionality in hopes of fueling user growth, it built aggressive integrations with partners that are coming under newfound scrutiny through a deeply reported New York Times investigationSome of what Facebook did was sloppy or unsettling, including forgetting to shut down APIs when it cancelled its Instant Personalization feature for other sites in 2014, and how it used contact syncing to power friend recommendations.

But other moves aren’t as bad as they sound. Facebook did provide Spotify and Netflix the ability to access users messages, but only so people could send friends songs or movies via Facebook messages without leaving those apps. And Facebook did let Yahoo and Blackberry access people’s News Feeds, but to let users browse those feeds within social hub features inside those apps. These partners could only access data when users logged in and connected their Facebook accounts, and were only approved to use this data to provide Facebook-related functionality. That means Spotify at least wasn’t supposed to be rifling through everyone’s messages to find out what bands they talk about so it could build better curation algorithms, and there’s no evidence yet that it did.

Thankfully Facebook has ditched most of these integrations, as the dominance of iOS and Android have allowed it to build fewer, more standardized, and better safeguarded access points to its data. And it’s battened down the hatches in some ways, forcing users to shortcut from Spotify into the real Facebook Messenger rather than giving third-parties any special access to offer Facebook Messaging themselves.

The most glaring allegation Facebook hasn’t adequately responded to yet is that it used data from Amazon, Yahoo, and Huawei to improve friend suggestions through People You May Know — perhaps its creepiest feature. The company needs to accept the loss of growth hacking trade secrets and become much more transparent about how it makes so uncannily accurate recommendations of who to friend request — as Gizmodo’s Kashmir Hill has documented.

In some cases, Facebook has admitted to missteps, with its Director of Developer Platforms and Programs Konstantinos Papamiltiadis writing “we shouldn’t have left the APIs in place after we shut down instant personalization.”

In others, we’ll have decide where to draw the line between what was actually dangerous and what gives us the chills at first glance. You don’t ask permission from friends to read an email from them on a certain browser or device, so should you worry if they saw your Facebook status update on a Blackberry social hub feature instead of the traditional Facebook app? Well that depends on how the access is monitored and meted out.

The underlying question is whether we trust that Facebook and these other big tech companies actually abided by rules to oversee and not to overuse data. Facebook has done plenty wrong, and after repeatedly failing to be transparent or live up to its apologies, it doesn’t deserve the benefit of the doubt. For that reason, I don’t want it giving any developer — even ones I normally trust like Spotify — access to sensitive data protected merely by their promise of good behavior despite financial incentives for misuse.

Facebook’s former chief security officer Alex Stamos tweeted that “allowing for 3rd party clients is the kind of pro-competition move we want to see from dominant platforms. For ex, making Gmail only accessible to Android and the Gmail app would be horrible. For the NY Times to try to scandalize this kind of integration is wrong.” But countered that by noting that “integrations that are sneaky or send secret data to servers controlled by others really is wrong.”

Even if Spotify and Netflix didn’t abuse the access Facebook provided, there’s always eventually a Cambridge Analytica. Tech companies have proven their word can’t necessarily be trusted. The best way to protect users is to properly lock down the platforms with ample vetting, limits, and oversight so there won’t be gray areas that require us to put our faith in the kindness of businesses.

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Uber to resume autonomous vehicle testing months after fatal accident

Uber has been granted permission by the state of Pennsylvania to reinstate tests of its autonomous vehicles, as first reported by Reuters.

A spokesperson for Uber confirmed to TechCrunch that the ride-hailing giant received a letter of authorization from the Pennsylvania Department of Transportation and clarified that the company has not yet resumed self-driving operations.

Uber halted testing of its self-driving cars following a fatal accident in Tempe, Arizona this March that left a pedestrian dead. An autonomous Uber SUV accompanied by a safety driver was driving northbound when it struck a woman, who was taken to the hospital where she later died as a result of her injuries.

Investigators later determined the driver, Rafaela Vasquez, had looked down at a phone 204 times during a 43-minute test drive, according to a 318-page police report released by the Tempe Police Department.

In the aftermath of the accident, Uber paused all of its AV testing operations in Pittsburgh, Toronto, San Francisco and Phoenix.

Moving forward, Uber will test its self-driving cars more cautiously, per a recently released Uber safety report. The company will require that two employees are in the front seat of its cars at all times, that an automatic braking system is enabled and that its safety employees are more strictly monitored.

Uber, which first began developing its autonomous vehicle fleet in 2015 and initiated tests the following year, confidentially filed for an initial public offering two weeks ago. The company, currently valued at $72 billion, is expected to debut at a valuation as high as $120 billion early next year.

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How Fortnite’s dance moves sparked new lawsuits against Epic Games

A growing cluster of actors, musicians and viral internet stars have Fortnite in their crosshairs. The smash hit third-person shooter is free to play but generates mountains of revenue through in-game microtransactions. Those purchases lure avid Fortnite players to spend real-life cash on virtual cosmetic items, like special character skins (today: a winter skiing set!) and, most importantly, dance moves.

Now, Fortnite creator Epic Games faces two new lawsuits over dance moves: one from actor Alfonso Ribeiro, who played Carlton on the TV hit “Fresh Prince of Bel Air” in the 1990s and another from the family of Russell Horning, better known as “Backpack Kid,” who created a viral dance called “the Floss.” Horning’s lawsuit also names 2K Sports, maker of NBA 2K, for that game’s depiction of his dance. Earlier in December, rapper 2 Milly filed a lawsuit against Fortnite maker Epic over the game’s depiction of his dance move, the Milly Rock, which the game calls “Swipe it.”

Ribeiro’s lawyer provided TechCrunch with the following statement:

It is widely recognized that Mr. Ribeiro’s likeness and intellectual property have been misappropriated by Epic Games in the most popular video game currently in the world, Fortnite. Epic has earned record profits off of downloadable content in the game, including emotes like “Fresh.” Yet Epic has failed to compensate or even ask permission from Mr. Ribeiro for the use of his likeness and iconic intellectual property. Therefore, Mr. Ribeiro is seeking his fair and reasonable share of profits Epic has earned by use of his iconic intellectual property in Fortnite and as a result is requesting through the courts that Epic cease all use of Mr. Ribeiro’s signature dance.

Pierce Bainbridge Beck Price & Hecht LLP is also pursuing similar claims against Take-Two Interactive and Visual Concepts, developer of the NBA 2K series of video games, on behalf of Mr. Ribeiro.

Fortnite’s in-game dance moves are ubiquitous, both in-game and out — and that’s part of the problem. The game lifted its most popular dance moves from various online viral moments across the internet, TV, movies and music. In most cases the in-game dances are so well-loved because they copy their source material so precisely. While the game lifts these dances move for move, making them widely recognizable, it doesn’t refer to the source material directly and renames the dances with generic nicknames. In Fortnite, the “Tidy” dance is Snoop Dogg’s “Drop It Like It’s Hot” dance, “Jubilation” is Elaine’s dance from Seinfeld, “Pure Salt” (not really a dance, some of these are just emotes) is from the Salt Bae meme, Psy’s Gangnam Style dance and so on. In the case of the Carlton dance, Fortnite gives a small nod to the dance’s origins by naming it “Fresh.”

The game draws from a wide pool of source material, but black creators in particular have spoken out about Fortnite’s monetization moves. Black artists have a long history of seeing their work achieve broad mainstream popularity without commercial gain or credit to accompany it. When Chance the Rapper tweeted about Fortnite’s relationship to black artists in July, BlocBoy JB — creator of the dance the game calls “Hype” — endorsed the idea that artists like himself should be paid if Fortnite is making money from their moves.

Wat You Said We Need Dat Cash @FortniteGame @EAMaddenNFL https://t.co/hFRH0Db1Mx

— BlocBoy JB (@BlocBoy_JB) July 13, 2018

Fortnite’s default in-game emote is a dance that actor Donald Faison performs on the show Scrubs, and Faison has also taken notice.

Dear fortnite… I’m flattered? Though part of me thinks I should talk to a lawyer…

— Donald Faison (@donald_faison) April 1, 2018

Fortnite’s decision to animate its characters doing popular dance moves in and of itself isn’t new. Overwatch creator and Epic competitor Blizzard includes popular dance emotes in its own multiplayer shooter, and before that in multiplayer RPG World of Warcraft. In Blizzard’s case, the depiction of dance moves, some for sale via lootboxes, isn’t quite as on the nose nor does it mine current internet culture as thoroughly.

For example, the Overwatch character Junkrat does a version of the running man dance that looks a lot like a version of the dance by Will Smith’s character on “The Fresh Prince.” That dance was itself popularized by Janet Jackson in her “Rhythm Nation” music video.

Other Overwatch dance emotes are drawn from traditional Japanese dance and anime. In Blizzard’s classic game World of Warcraft, the blood elf characters feature dances culled from the movie “Napoleon Dynamite” and Britney Spears music videos. In World of Warcraft’s case, these moves weren’t for sale in-game — the microtransaction model hadn’t yet really taken off during the game’s heyday.

Epic Games was likely aware that lifting these dance moves and selling them to gamers might cause a stir among some creators, but by that time it was probably already making too much money to care. Notably, the company faced a high-profile copycat accusation from the creator of PlayerUnknown’s Battlegrounds (PUBG), a battle royale-style game widely understood to have inspired Fortnite’s gameplay. PUBG dropped the lawsuit in June of this year, likely after a substantial settlement.

Epic also appears to have quietly paid at least one creator to settle a potential legal threat. Dancer Gabby David, who created the Fortnite dance called the “Electro Shuffle,” appears to have settled with Epic Games around a year ago for the game’s depiction of her choreography, according to forum posts and her Twitter account. Epic Games declined to comment to TechCrunch about the details of the settlement.

All three individuals suing Epic Games over Fortnite dances are being represented by intellectual property lawyer David L. Hecht and we’re likely to see more artists and internet stars signing on with Hecht before this is all over. We don’t know Epic’s next move, but as some players have suggested, it would be easy enough for the gamemaker to add some kind of tie-in crediting the creators for their dances. Epic happily partners with entertainment companies and even the NFL for sure to be lucrative in-game promotional crossovers, so it’s tough to say something like this would be out of place in the game.

Given the complexity of copyright law and the fact that none of the individuals holds copyright of their respective dances, it’s not clear if any of the latest legal action against Fortnite’s creators will hold water. Still, given its deep pockets — Epic just raised a $1.25 billion round two months ago — settling a handful of small lawsuits over the game’s well-loved dance emotes is a small price to pay for Fortnite’s colossal success.

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Gift Guide: Indie games for players worn out on AAA titles

2018 has been a big year for big games, and with new titles from the Assassin’s Creed, Red Dead Redemption, Call of Duty and Battlefield franchises all competing… it’s enough to make a gamer want to just quit and play something a little more low-key. Here are some of the smaller, independent games we liked from this year and who they might appeal to.

Bonus: Many of these can be gotten for less than $30, making them super solid/easy gifts. They aren’t for any particular platform or in any particular order, except that I’ve been playing the heck out of Ashen for the last couple of days, so it’s first.

Ashen – for “Souls” lovers

Available on: Xbox One, Windows

(To be fair, this is less of an “indie” than the others on this list, some of which were made by one person, but it’s just off the beaten path enough to qualify.)

If you’ve ever heard your loved one talk about “builds,” really hard bosses or which helmet completes their outfit best, they probably play games of the Dark Souls type. Ashen is a new action-adventure-RPG in the same vein but with a few notable twists. It has a lovely art style, a streamlined (but still byzantine) progression system and an interesting multiplayer style where other players drop into your game, and you drop into theirs, with no real warning or interaction. It works better than you’d think, and I’ve already had some great experiences with it.

Yoku’s Island Express – for people who like both pinball and Metroidvanias

Available on: Switch, PS4, Xbox One, Windows

Don’t be fooled by the cuteness of Yoku’s Island Express. This game is both unique and well-crafted, a fusion of (believe it or not) pinball mechanics and gradual exploration of an enormous map. It’s definitely weird, but it immediately clicks in a way you wouldn’t expect. It’s a great break from the grim environments of… well, lots of the games on this list.

Dead Cells – for action fans who won’t mind “roguelike” repetition

Available on: PS4, Xbox One, Switch, Windows, Linux, macOS

The “roguelike” genre has you traversing procedurally generated variations on a series of levels and progressing farther by improving your own skills — and sometimes getting a couple shiny new weapons or abilities. Dead Cells takes this genre and combines it with incredibly tight side-scrolling action and platforming that never gets, old even when you’re going through the sewers for the 20th time. The developers were very responsive during Early Access; the game was great when I bought it early in the year, and now it’s even better.

Below – for atmosphere fans who won’t mind “roguelike” repetition

Available on: Xbox One, Windows

In some ways, Below is the opposite of Dead Cells, though they share a bit of DNA. This game, the long-awaited follow-up to Superbrothers: Sword and Sworcery EP by Capy, is a slow, dark, tense descent into a mysterious cave; it’s almost totally wordless and shown with a pulled-back perspective that makes things feel both twee and terrifying. The less said about the particulars of the game, the better (the gamer should discover on their own), but it may be fairly noted that this is a title that requires some patience and experimentation — and yes, you’re going to die on a spike trap.

Cultist Simulator – for the curious

Available on: Windows, macOS, Linux

It’s very hard to explain Cultist Simulator. It’s an interactive story, different every time, told through cards that you draw and play, and which interact with each other in strange and wonderful ways. One card might be a place, another an action, another a person, all of which can be used, investigated or sacrificed to other cards: ideas, drives, gods… it’s really quite amazing, even if you rarely have any idea what’s happening. But the curious and driven will derive great satisfaction from learning the way this strange, beautifully made machine works.

Return of the Obra Dinn – for the observant (and dedicated)

Available on: macOS, Windows

This game absorbed me completely for a few days earlier this year. Like the above, it’s a bit hard to explain: you’re given the task of determining the identities and fates of the entire crew of the titular ghost ship by using a magic watch to witness their last words and the moment of their death. That task, and the story it reveals as you accomplish it, grows increasingly disturbing and complex. The beautiful 1-bit art, great music and voice acting, and extremely clever construction make this game — essentially made by one person, Lucas Pope — one of my favorites of the year. But it’s only for people who don’t mind banging their head against things a bit.

Dusk – for connoisseurs of old-school shooters

Available on: Windows, Switch

If your loved one ever talks about the good-old days of Quake, Half-Life, Unreal and other classic shooters, Dusk will be right up their alley. The chunky graphics are straight out of the ’90s, but the game brings a level of self-awareness and fun, not to mention some gameplay improvements, that make it a joy to play.

CrossCode – for anyone who spent more time playing SNES Classic than AAA games this year

Available on: Windows, Linux, macOS

This crowd-funded RPG was long in the making, and it shows. It’s huge! A fusion of SNES and PSX-era pixel art, smooth but furious top-down action à la Secret of Mana, and a whole lot of skills and equipment. I’ve played nearly 20 hours so far and I’m only now starting to fill out the second branch of four skill trees; the overarching story is still just getting rolling. I told you it was huge! But it’s also fabulous.

Celeste – for the dexterous and those not inclined to anger

Available on: PS4, Xbox One, Switch, macOS, Windows, Linux

Celeste is one of those games they call “Nintendo Hard,” that elusive combination of difficulty and control that cause you to be more disappointed in yourself than the game when you die. And you will die in Celeste — over and over. Hundreds of times. It gleefully tracks the number of deaths on each set of stages, and you should expect well into three figures. The platforming is that hard — but the game is also that good. Not only is its pixel art style cute and the environments lovingly and carefully crafted, but it tells a touching story and the dialog is actually pretty fun.

Overcooked! 2 –  for friendships strong enough to survive it

Available on: PS4, Xbox One, Switch, Windows, macOS

Much like the first Overcooked, the sequel has you and your friends attempting to navigate chaotic kitchens, hazards, and each other as you try to put together simple dishes like salads and hamburgers for never-sated patrons. The simple controls belie the emergent complexity of the gameplay, and while it can be frustrating at first, it’s immensely satisfying when you get into the zone and blast through a target number of dishes. But only do it with friends you think you can tolerate screaming and bossing each other around.

Into the Breach – for the tactically minded

Available on: Switch, Windows, macOS, Linux

The follow-up to the addictive starship simulator roguelike Faster Than Light (FTL), Into the Breach is a game of tactics taking place on tiny boards loaded with monsters and mechs — but don’t let the small size fool you. The solutions to these little tableaux require serious thinking as you position, attack, and (hopefully) repel the alien invaders. Matt says it’s “perfect for Switch.”

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Rothy’s just landed $35 million from Goldman Sachs to sell more of its popular ballet flats

Rothy’s, a three-year-old, San Francisco-based company that makes a variety of colorful flats for women, has some more walking-around money today. According to Bloomberg, the company just closed on $35 million in funding from Goldman Sachs’ asset management unit.

The round brings the young company’s total funding to $42 million, including an early $5 million investment from Lightspeed Venture Partners, and $2 million in convertible notes, including from Finn Capital Partners, M13 and Grace Beauty Capital.

Goldman’s interest in the company isn’t surprising. Rothy’s doesn’t disclose how many pairs of shoes it has sold, but the company tells Bloomberg that it expects to see slightly more than $140 million in revenue this year, and, as the outlet surmises from some back-of-the-napkin math, that equates to roughly 1.4 million pairs of shoes sold.

Judging by its enthusiastic consumer base — it has 161,000 Instagram followers, for example — many of those are likely women who own multiple pairs, too.

What they love about the shoes, seemingly: their style, in large part. On this front, it helps that some fashion icons have gravitated toward the shoes, including actress-turned-Duchess of Sussex, Meghan Markle, who has been photographed in Rothy’s.

The company is also selling eco-conscious comfort by making the shoes out of recycled materials that include water bottles. Because of their constitution, they are also machine washable, yet another selling point.

Yet where Rothy’s has really shined is in marketing, including spending hugely on Facebook and to a lesser extent, Instagram and other social media platforms. Indeed, the company has been recognized repeatedly (including by us) for its shoes’ seeming ubiquity online. Though these platforms have grown more crowded in the short time since Rothy’s launched, it spent big on marketing from the outset — it flooded the zone, so to speak — and that campaign has seemingly paid off for the startup.

Today, the company, which runs its own 100,000-square-foot factory in China and employs roughly 500 people — including 50 people in the Bay Area — is selling four types of shoes, including its two best-known silhouettes — a $125 rounded flat shoe and a $145 pointed flat — along with loafers and, more newly, sneakers that are reminiscent of Van’s iconic shoes. 

Somewhat ironically, one of the biggest threats to Rothy’s ongoing rise — other than fickle shoppers — is companies that are beginning to copy Rothy’s designs, reports Bloomberg.

The company says, for instance, that it is currently suing at least one outfit, a Virginia-based company, for selling a shoe that looks to Rothy’s alarmingly like one of its own productions.

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Coinbase lets you convert one cryptocurrency into another

It’s hard to believe that you still had to convert your BTC into USD in order to buy ETH on Coinbase. The company is finally adding direct cryptocurrency-to-cryptocurrency conversions.

The feature works with Bitcoin (BTC), Ethereum (ETH), Ethereum Classic (ETC), Litecoin (LTC), 0x (ZRX) and Bitcoin Cash (BCH). It is only available to U.S. customers for now, but the company plans to roll out the feature to other countries too.

Let’s look at the fees more closely. If you live in Europe or the U.S., every time you buy or sell cryptocurrencies using USD or EUR, you pay at least 1.49 percent in fees on top of the spread (the difference between the highest selling price and the lowest purchasing price). Fees are even higher if you’re using a credit or debit card.

Coinbase says that the spread between a fiat currency and a cryptocurrency should be around 0.5 percent but may vary depending on the trading pair and the order queue.

If you buy or sell less than 200 USD or equivalent, fees get much more expensive. For instance, a $10 order will generate $0.99 in fees, or 9.9 percent. Customers pay 3 percent in fees for a $100 order.

But the good news is that it’s a completely different story with token-to-token transactions. Coinbase doesn’t charge you any markup fee — but there’s some inevitable spread. And with some obscure trading pairs (exchanging ZRX for BCH for instance), you might end up paying around 1 percent in spread. Still, it’s a much better user experience for those who just want to trade on Coinbase.

Without even mentioning other exchanges, Coinbase Pro users have been able to trade between multiple cryptocurrencies for a long time. But Coinbase is still the entry gate for many new cryptocurrency users.

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