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Lumari is a new social sandbox game with cute creatures, building capabilities and more

Gaming startup Proxima emerged from stealth earlier this week, announcing its funding round as well as its inaugural game, Lumari, a social sandbox adventure game that appears to be a cross between Animal Crossing, Pokémon and Minecraft.

The game studio raised $1.6 million in pre-seed funding led by London Venture Partners, with participation from Konvoy Ventures, Progression Fund, Valhalla Ventures, Maveron LLC and Artichoke Capital.

The majority of the funding will go toward developing the game, which is still in the early stages.

Proxima founder Ran Mo is a former lead product manager at Electronic Arts (EA), and previously worked on The Sims, one of EA’s major video game franchises. The Proxima team is comprised of five veterans of the game industry from Riot, Storm8, Wildlife Studios and Unity.

Image Credits: Proxima

Although specific details about Lumari are being kept under wraps, Mo told TechCrunch that, similar to other sandbox games, players will be able to visit each other, chat and build things together. The game will also allow players to collect creatures (basically pet companions for players), build a home and habitat, grow a garden and explore an expansive world. Lumari means “creatures of light,” according to Mo.

Customization will be a major part of the game, noted Mo, including the ability to customize characters and even the creatures.

“Ultimately, we want to build this for people to find their place,” he said. “We think about it as a canvas for people to express themselves and hang out.”

As seen in the trailer below, players will also have to fight what looks like purple-colored beings. “Beware, danger lurks across the reaches of this fractured world,” the Lumari website writes.

The game isn’t expected to launch for another two years or longer, Mo revealed.

On June 15, Lumari is having its first community playtest, which will end on July 15. Players can sign up at playlumari.com. At this time, the playtest will be single-player and users must have a Windows PC to participate. When Lumari officially launches, it’ll be available on more devices.

Lumari is a new social sandbox game with cute creatures, building capabilities and more by Lauren Forristal originally published on TechCrunch

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‘Stranger Things’ game developer BonusXP is shutting down

BonusXP, the game studio that worked with Netflix to kick off its gaming initiative and introduced “Stranger Things” titles on mobile devices, as well as on desktop and consoles, is shutting down.

The Texas-based studio announced the closure through its social media channels on Wednesday evening.

“We have begun the difficult process of ceasing operations at BonusXP. We have enjoyed making games for you over the last 11 years,” the studio said in a message posted on Twitter.

Founded in 2012, BonusXP began its journey as an indie studio. It, however, started adding licensed games to its portfolio based on Netflix shows in 2017.

The first game created by BonusXP based on the Netflix horror show “Stranger Things” was called Stranger Things: The Game. In 2021, Netflix introduced the game title on mobile devices as Stranger Things: 1984. The game studio also developed Stranger Things 3: The Game, which the streaming giant bought as part of its initial mobile games.

In addition to its Stranger Things titles, BonusXP developed The Dark Crystal: Age of Resistance Tactics based on Netflix’s fantasy-adventure series. It was launched in 2020 across platforms, including Nintendo Switch, PlayStation 4, Xbox One, Microsoft Windows and macOS.

It’s currently unclear what caused BonusXP to suddenly close up shop, but TechCrunch understands the studio laid off its entire team. The studio’s website was also not working at the time of filing this story.

“Our focus is on helping our team find their next opportunities,” the studio said in its public message.

BonusXP co-founder and CEO Dave Pottinger was not immediately available to respond to a request for comment.

Alongside BonusXP, Netflix has worked with a number of game developers, including Ubisoft, to offer its users a total of 55 games. The company acquired three game studios and established its own studios to rapidly expand its gaming business. Moreover, it is set to introduce 40 new games this year and has 70 in development with its partners as well as 16 by its native studios.

TechCrunch reached out to Netflix on the shutting down of BonusXP and will update this story if the company responds.

‘Stranger Things’ game developer BonusXP is shutting down by Jagmeet Singh originally published on TechCrunch

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Meta announces over 20 new games for Quest headsets

In addition to news of a $499 Quest 3 headset arriving this fall, Meta today announced over 15 new titles for Quest VR headsets at the Meta Quest Gaming Showcase today. The games include Stranger Things VR, a new version of NFL Pro Era, Assassin’s Creed: Nexus VR, and Ghostbusters: Rise of the Ghost Lord.

The company is partnering with multiple game studios to bring different kinds of games to the Quest platform. A VR take on SEGA’s classic 1999 arcade game Samba de Amigo is releasing soon. Vampire: The Masquerade — Justice lets you become a vampire in Venice. Players also have to be evil and play Vecna in the Stranger Things VR game. Racket Club mixes tennis and pickleball to create a new racket sport.

Here is the full list of games announced at the show today:

  • Samba de Amigo
  • I Expect You to Die 3: Cog in the Machine
  • Silent Slayer: Vault of the Vampire
  • Ghostbusters: Rise of the Ghost Lord

Image Credits: Meta

  • UNDERDOGS
  • The Next Evolution of NFL PRO ERA
  • Racket Club

Image Credits: Meta

  • Vampire: The Masquerade — Justice
  • Dungeons of Eternity
  • The 7th Guest
  • Stranger Things VR
  • Attack on Titan VR: Unbreakable
  • Bulletstorm
  • Assassin’s Creed: Nexus VR
  • No More Rainbows

Image Credits: Meta

  • Little Cities
  • Death Game Hotel
  • Ghost Signal: A Stellaris Game
  • Onward

Image Credits: Meta

  • Walkabout Mini Golf
  • Demeo Battles
  • We Are One
  • Powerwash Simulator
  • Arizona Sunshine 2

Image Credits: Meta

Meta’s announcement comes days before Apple is expected to present its much-awaited headset at the Worldwide Developer Conference (WWDC) next week.

The Mark Zuckerberg–owned company is persisting on having great metaverse ambitions despite setbacks. Last year, it unveiled the expensive $1,500 Quest Pro VR headset, and now it is working on bringing more gaming titles to the platform. Earlier this year, reports suggested that Roblox was planning to launch its game on Quest sometime in 2023.

Meta is also trying to expand the content library on these headsets. The company announced a deal with the NBA in January to offer 52 live games on the platform. In April, Meta announced that it’s partnering with Peacock for content streaming on Quest devices.

Meta announces over 20 new games for Quest headsets by Ivan Mehta originally published on TechCrunch

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Amazon is developing a Lord of the Rings MMO

Amazon has reached a deal with Embracer Group, the company that holds the IP rights for “The Lord of the Rings” and “The Hobbit,” to release a massively multiplayer online (MMO) game based on the works of J.R.R. Tolkien. The upcoming game will be an open-world MMO adventure set in Middle-earth, featuring the stories of “The Hobbit” and “The Lord of the Rings” literary trilogy.

The game is in early stages of production with the Amazon Games Orange County studio, which is the same studio behind the MMO New World. Amazon Games will publish the game globally for PC and consoles. Amazon says it will reveal additional details, including launch timing, at a later date.

Although Amazon Studios produces “The Lord of the Rings: The Rings of Power” for Prime Video, Amazon says the show is unrelated to this upcoming MMO game in development with Amazon Games.

“We’re committed to bringing players high-quality games, whether through original IPs or long-beloved ones like The Lord of the Rings,” said Christoph Hartmann, the vice president of Amazon Games, in a press release. “Bringing players a fresh take on The Lord of the Rings has long been an aspiration for our team, and we’re honored and grateful that Middle-earth Enterprises is entrusting us with this iconic world. We’re also pleased to be expanding our relationship with Embracer Group following our Tomb Raider deal last year, as they’ve proven to be excellent collaborators.”

It’s worth noting that the upcoming game will be Amazon’s second go at a Lord of the Rings MMO. The company’s first attempt was announced in 2019 and then canceled in 2021. The game was being co-developed by Amazon, Athlon Games and Leyou. The project was shelved after a disagreement between Amazon and Tencent, which acquired Leyou in 2020.

The news of the upcoming game comes as Amazon is furthering its push into video games and reworking its strategy. Earlier this year, the company laid off around 100 employees across its video games division. The layoffs included employees in the Game Growth group, Amazon’s San Diego gaming studio and Prime Gaming.

Amazon Games’ lineup includes the internally developed MMO New World and action role-playing game Lost Ark. The company is also developing a new multiplatform “Tomb Raider” title. Launched in 2013, Amazon Games has yet to produce a major hit despite several published projects. The company is now looking to cook up a success with a major fantasy franchise title that will likely garner attention.

Amazon is developing a Lord of the Rings MMO by Aisha Malik originally published on TechCrunch

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Nexon takes 20-year-old MapleStory into web3 with Haechi’s help

Nexon, one of the biggest gaming companies in the world, is wading into web3 like some of its peers in Asia. The developer of MapleStory is creating a blockchain-powered ecosystem based on the 20-year-old massively multiplayer online game, where players can trade in-game assets like outfits, equipment and virtual pets in the form of non-fungible tokens.

Around 160,000 people in South Korea are still playing MapleStory today, the company wrote recently in a blog citing data from Korea MapleStory.

Blockchain games have been cropping up everywhere in the past two years, but few have entered the mainstream and even the popular ones, like the play-to-earn game Axie Infinity, have been short-lived.

Nexon pledges to create more sustainable crypto games. “There was a time when the perception of ‘blockchain = P2E’ was widely accepted, and there was a lot of talk about using blockchain to make games that make money,” a spokesperson from Nexon told TechCrunch in a text message.

“But since, the market has changed, and there are more creators who want to use blockchain to seriously develop games.”

It’s still too early to say if MapleStory N, Nexon’s first blockchain game, and MapleStory Universe, the NFT ecosystem based on the classic game’s IP, will ever reach the heights of their Web 2.0 version. Nexon has a rosy outlook, of course.

“MapleStory has more than 180 million accumulative global users, and there are even more people who love the MapleStory IP. We anticipate that MapleStory N and MapleStory Universe will be enjoyed by many players,” said Nexon’s spokesperson.

The main criticism of play-to-earn games is their flawed economies, where gamers purchase NFTs only to create and sell these digital goods to those who buy-in after them. Nexon isn’t going down the pyramid scheme-like path.

In MapleStory N, there is no cash shop and players acquire items through gameplay like completing quests and defeating monsters. If people don’t get what they want, they can acquire items from others through the ecosystem’s secondary NFT marketplace. Eventually, players can also trade their in-game assets on external marketplaces, according to Nexon.

Onboarding the masses

Nexon is working with a handful of partners to enable its transition into web3. The firm already announced that the digital goods of MapleStory Universe will trade on Polygon, an Ethereum scaling solution that’s popular amongst game developers. Today, the South Korean gaming firm said it’s teaming up with another web3 company, Haechi Labs, a crypto auditing and wallet solution provider used by more than 500 companies.

“A host of gaming companies started knocking on our door after seeing Axie Infinity’s success since Haechi Labs has been offering smart contract security auditing and wallet solutions in the past 5 years,” the company’s CEO Geon-gi Moon told TechCrunch in a written response.

“Nowhere else do you see such a high number of executives at AAA game companies so bullish on integrating their games with blockchain, but South Korea.”

Most existing decentralized applications require users to log in via their crypto wallets. But what if people have no prior web3 experience? Haechi is touting Face Wallet, which allows users to log into crypto games like MapleStory N through their existing accounts with Google, Facebook, Apple, Discord and Kakao.

Once logged in, users will gain access to their Face Wallet accounts. Anyone who’s used a self-custodial wallet like MetaMask knows the stress of trying to keep their 16-word seed phrase safe. Losing one’s seed phrase means losing access to the wallet permanently. Custodial solutions are easy to use, but on the other hand, asset owners are exposed to the risk the platform could get hacked or go bust.

Face Wallet is trying to solve the custodian dilemma by offering a self-custodial wallet that allows users to log in with a six-digit password and gives them the option to recover passcodes.

This is how it works: When a user creates a wallet via Face Wallet, its key is split into two encrypted “shares,” explained Moon. Share 1 is stored in a secure infrastructure environment and, usually, also in the user’s device. Share 2 is kept in the Face Wallet team’s repository. The decrypted keys are never shared with Haechi; nor can Haechi decrypt either of the encrypted keys, added Moon.

Haechi isn’t the only one trying to make self-hosted wallets more user-friendly. The Ethereum community itself is tackling this issue through a major technical upgrade called “account abstraction” and developers, such as venture-backed Soul Wallet, are racing to introduce wallets powered by smart contract capabilities.

Nexon takes 20-year-old MapleStory into web3 with Haechi’s help by Rita Liao originally published on TechCrunch

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Epic’s Fall Guys adds a creative mode so players can design their own levels

Epic Games is expanding Fall Guys — its bubbly battle royale populated by little jellybean dudes — to make room for player-crafted creativity.

With its fourth season, live today, Fall Guys adds a new creative mode that invites players to sculpt their own levels with beginner-friendly game design tools. In the new mode, anyone can create new obstacle course gauntlets filled with big boxing gloves, bouncy floors and giant, candy-colored hammers, all designed to squash the player character’s bean-like avatars.

For Epic, Fall Guys slots in next to Fortnite, offering a different flavor of chaotic battle royale play that’s increasingly modeled on the company’s core multiplayer hit. Unlike Fortnite, a wacky but mechanically more traditional shooter, Fall Guys offers players a fight to the death across a series of colorful, cartoon courses strewn with hazards.

The upshot of Epic shaping its other titles into differently-flavored Fortnites is that the company knows it’s got a winning formula. The free-to-play seasonal battle pass model, in-game cosmetic purchases and an expansive set of creative tools for player-crafted levels are all ingredients in a recipe that Epic continues to hone.

Epic is betting big on player-crafted original content, sometimes known as “UGC” (user-generated content). Fortnite players spend a ton of time in that game’s realm of player-created game modes and levels. In March, Epic announced that it would bring its Unreal Editor to Fortnite, promising improvements to graphics and gameplay that surpass anything else that’s out there for amateur game developers right now.

Along with that news, Epic announced that it would share 40 percent of Fortnite revenue with anyone making UGC for Fortnite — a big departure from the game’s scant existing monetization options. Across the board, Epic is setting the stage for a seamless, multiplayer universe of games stocked with endless player-made content and shoppable virtual items. The closest obvious competitor to that vision is Roblox, which skews younger but is similarly building the near-future of online multiplayer gaming and digital goods (are we still calling this the metaverse?).

Last year, Fall Guys switched to a free-to-play model and launched on the Nintendo Switch and Xbox, making it available basically anywhere you can play games. It’s not available for mobile yet, but then again neither is Fortnite these days after Epic clashed with Apple over that company’s sizable cut of in-app payments. (There’s a cloud gaming workaround if you’re really committed to getting Fortnite running on iOS.)

Epic bought Fall Guys creator Mediatonic in early 2021. The purchase came around six months after the game took off on Twitch, racking up 100 million streaming hours that August alone. That acquisition followed Epic’s 2019 purchase of indie developer Psyonix, when the company brought the popular soccer/racing title Rocket League into its stable of online multiplayer games.

Epic’s Fall Guys adds a creative mode so players can design their own levels by Taylor Hatmaker originally published on TechCrunch

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Triumph raises $14M for an SDK to add real-money tournaments into games

The surge of interest in e-sports, online fantasy leagues and more extensive online financial infrastructure have made the concept of real-money gaming more popular among consumers and games developers. Today a startup called Triumph — which has built an engine, and accompanying SDK, to power real-money tournaments — is announcing $14.1 million in funding to continue developing its platform to work in a wider set of markets (it’s currently available in 37 U.S. states plus Washington, D.C.), and to bring on more customers.

Triumph has been in a quiet beta phase up to now, building some of its own games to test out the tech and working with early customers. So far the stats look promising, the startup said: When it’s plugged in, Triumph’s real-money engine increases playtime on average 3.6x per month, and it has led to $54 in average monthly revenues per player per game. Currently its focus is mobile games but the bigger aim is to expand to platforms like VR and more.

On the strength of those early numbers plus the enthusiasm and work thus-far from the founders, Triumph has managed to talk some impressive investors into backing it.

The funding is being announced for the first time today, but it actually covers both a $3.9 million seed round and a Series A of around $10.2 million. The latter is being led by General Catalyst, with Box Group, Heroic Ventures, Nostalgic Modern, Raven One Ventures, Steel Perlot, Strike and Valhalla Ventures also participating. Flux led the earlier round, with Great Oaks, Heroic Ventures, Raven One, Magic Fund, Kevin Hartz and others participating. 

Image Credits: Triumph

Triumph got its start a couple of years ago when its two co-founders (and co-CEOs) Jacob Brooks and Jared Geller (right and left, above) were students at Stanford in the throes of COVID-19. The pair rented a house with several other friends and created an isolation pod, spending lots of healthy time indoors gaming and coding.

Some of that gaming eventually gravitated to real-money tournaments, where friends would essentially use Venmo to arrange cash wagers and pay them out. Brooks and Geller, computer science students at the university, decided to work on a game with the wagering built in.

As with so many startups that end up focusing on developer tools, the pair found that building the money feature was significantly harder than developing the game itself.

No surprise there: Financial services like payments have turned into API-integrated “fintech” precisely because of how complex it is to knit together the different parts of the payments ecosystem.

That task is even more complex with real-money, skills-based gaming. While it’s not the same as online gambling, and it’s allowed in most states, real-money gaming has additional layers of complexity due to the fact that each state has its own set of laws with which to comply around know-your-customer provisions and how to triage younger users, as well as the complexities of building pay-in and pay-out systems.

Brooks — who ended up dropping out of Stanford to build this (Geller had the credits to graduate, and did) — is very enthusiastic about what he calls the “brass tacks” of these payment systems but he is also a games enthusiast and seems to think like a player when thinking about the business potential of the product they’ve built.

“There are a lot of exciting use cases where real-money tournaments could work,” he said. “Anything with a dedicated user base could be a good fit. Right now when you play a game you are watching advertisements or being bombarded with nudges to make your player better.” This, he believes, is about making a smoother experience that could open the door to letting developers do away with all that.

The product comes in the form of an SDK that is currently free to integrate. Triumph makes its money by taking a 20% cut of tournament fees (players contribute money to the pot to play, the publisher charges a tournament fee to play).

Triumph customers, in theory, will be games publishers using this in multiple games, and they can track usage using a dashboard:

Image Credits: Triumph

Games publishers are perpetually looking to grow their user base, turning to the likes of app-install ads and other marketing to do so, and once they do have players on board, they are forever looking for ways to keep them engaged. Triumph believes that an engine to incorporate real-money tournaments has an opportunity to carve out a place in that market, which hasn’t seen much in the way of innovation.

Niko Bonatsos, managing director of General Catalyst, believes that another one of the reasons Triumph may catch on with the market is that it’s a relatively uncontested space, so far at least. Papaya Gaming, Avia Games, MPL and Skillz are among the others developing real-money services for skills-based games, but of those only Skillz offer tools for third-party developers, and those are harder to implement and are more costly to use.

It also helps that the founders are bright and full of ideas for how to make games more interesting to the average player, he said.

“More than anything, this is an investment in the two of them, and in what is a very interesting space and pretty compelling idea.” He added that they also have ideas about user acquisition and related areas that might also enter the frame at some point.

Triumph raises $14M for an SDK to add real-money tournaments into games by Ingrid Lunden originally published on TechCrunch

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Fandom launches new creator initiative and invests in more original video content

Fandom, the entertainment site and wiki hosting service, is introducing a new creator-focused initiative with the debut of Creator Class, new quarterly workshops for creators. It’s also launching a new portfolio of original video content featuring its acquired brands GameSpot, Metacritic and Screen Junkies.

Targeting its top creators, the company on Wednesday introduced a new program for its website contributors or admins, aimed at helping them learn how to enhance their wiki sites. Creators can now access videos showing the behind-the-scenes of how the platform works, and Fandom staff will provide tips on content development and marketing. Creators also gain access to resource guides that include a series of challenges and prompts.

Senior Social Media Coordinator Miranda Phaal will lead the first quarterly workshop and it will center around teaching creators how to boost their social media presence. The workshop will occur later this year.

Fandom says its next workshop will potentially discuss streaming and video creation.

Plus, the Creator Class sessions will feature the best wiki sites made by top contributors and admins in order to inspire others on how to enhance their own campaigns.

An example of this would be “Memory Alpha,” a reference database that contributors built to provide “Star Trek” fans with all the information they need about the sci-fi franchise, including articles about all its shows, characters and timelines.

Michael Chiang, Fandom’s chief business officer, told TechCrunch that Memory Alpha would likely be a helpful example for other creators to learn how to do.

“It’s one of those things where in this new age of structured and relational data, it’s [something] we want to do more of. I think someday there may be a Creator Class about [Memory Alpha]. If this is something you want to do on your wiki… [how] they did it and the way that we’re supporting them on the back end,” Chiang said.

Creator Class is a part of Fandom’s Stars program, which launched last year to recognize the hard work of its most dedicated contributors and provide them with workshops, awards and exclusive experiences like screenings and conventions, among other entertainment and gaming events.

There are currently 230 contributors who are considered Stars, the company told us. Fandom predicts it will have more than 400 Stars by the end of 2023.

Earlier this week, Fandom also announced the launch of seven new shows catered to gamers and fans of entertainment. Gaming is Fandom’s largest audience, with 150 million monthly visitors.

The first two shows to premiere were “Honest Trailers Presents,” a new spin on Screen Junkies‘ popular “Honest” series, and “The Kurt Locker,” where GameSpot senior producer Kurt Indovina explores current gaming trends,

Screen Junkies is a YouTube channel with 6.8 million subscribers. It was acquired by Fandom in 2018. Known for its “Honest” web series that parodies movie and TV trailers, Screen Junkies is revamping the series to include TV theme songs, celebrities and commercials. The web series has approximately one million views each week, per Fandom.

“Honest Trailers Presents” can be found on Screen Junkies’ YouTube channel and on Fandom in the Video tab.

The first episode of “The Kurt Locker” was released on May 2 and titled “Are There Too Many Remakes?” Indovina talks about how many of the video games released in 2023 — such as Resident Evil 4 and Dead Space — are either remakes or remastered games. Episodes air every Tuesday.

In addition to “The Kurt Locker,” GameSpot is launching six other shows.

  • No Hud (premiered May 3): Fans learn new ways to play video games. Episodes air every Wednesday.
  • Experts React (May 4): Experts comment on popular video games. Airs on Thursdays.
  • Spot On (May 5): Weekly news show hosted by managing editor Tamoor Hussain and senior producer Lucy James.
  • How It Saved (May 7): Senior producer Dave Klein talks about the video games that saved failing franchises.
  • GameSpot Insider (premiere date TBD): A quarterly limited series that goes behind the scenes into highly anticipated video games.
  • Challenge Accepted (TBD): Content creators and GameSpot employees team up to compete in various gaming challenges like beating Mario while using a Guitar Hero controller.

The new GameSpot shows will simultaneously air on its website, YouTube channel and the Fandom platform.

Meanwhile, Metacritic is launching “Metacritic Review Lab” on Fandom Entertainment’s YouTube channel, where Fandom critics and data experts analyze new movie releases, such as “Across the Spiderverse,” “Fast X,” “Indiana Jones 5” and “Little Mermaid.” Metacritic will release two or three episodes each month.

Fandom launches new creator initiative and invests in more original video content by Lauren Forristal originally published on TechCrunch

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Wreak havoc on your favorite streamer’s game with Crowd Control

You’re streaming the Sims to your loyal Twitch followers when suddenly, a fire ignites in the middle of your virtual home. As you scramble to put out the fire before the Sim firefighters arrive, another flame appears out of nowhere. In the Twitch chat, your fans are giggling — they have caused quite the ruckus in your Sim neighborhood, but as a creator, you get the last laugh. You just got paid.

With support for more than 100 popular games, Crowd Control changes the way that streamers engage their fans, while also unlocking fun new ways to make money. By reverse engineering these games, Crowd Control has created user-friendly apps and plug-ins that let fans pay to trigger an event on a creator’s livestream. So, as a fan, you can summon enemies in Minecraft, spawn a rare, shiny Pokémon in Pokémon Emerald, or make the creator’s avatar tiny in Resident Evil 4. You could use your micropayment to make a creator’s gameplay more difficult, or if you’re nice, you can give them a boost to help them out of a sticky situation.

Over 70,000 creators have already used Crowd Control, which started out as a Twitch-only app. Now, with the release of its 2.0 beta, the app is available on YouTube, TikTok, Discord and Facebook Gaming.

“It’s been a long road of technical hurdles and experiments,” CEO Matthew “Jaku” Jakubowski told TechCrunch. “We have a really cool solution that just will work on just about any platform.”

Jaku founded Warp World, the parent to Crowd Control, after leaving his job as director of cybersecurity at Uptake. Warp World has developed other wide-reaching video game projects like Turnip.Exchange, which was all the rage when Animal Crossing: New Horizons was at its peak popularity, but Crowd Control is by far its largest technical undertaking. So far, Warp World has raised a round of pre-seed funding.

An obvious risk for any startup that iterates on other platforms is getting rendered obsolete by those platforms themselves. Linktree, for example, was valued at $1.3 billion last year, but now the company might be sweating: Instagram rolled out support for up to five links-in-bio. Even though Crowd Control doesn’t have any of its technology patented, Jaku doesn’t think other companies could catch up.

“For someone to build a similar sort of service at the speed that we have, and the library that we have…It will take some time,” he said. “I think we’re in a good spot where we’ve established ourselves in the field for over four years.”

If a game is not part of Crowd Control’s library, developers can now implement fan-controlled interactions in their games with Crowd Control’s developer plug-in, which is compatible with any game built on Unity, Unreal Engine, GameMaker Studio and other engines.

“With the developers building out this sort of stuff, it means reaching thousands of creators pretty much instantly,” Jaku said. “Increasing replayability is always huge for gamers or developers — they want that screen time.” He said that a typical Unity developer could probably make their game compatible with Crowd Control within a few weeks, but he’s also seen developers pull it off in a weekend.

As of now, Crowd Control keeps 20% of fans’ payments to creators, which is the standard split for Twitch plug-ins. But now, as a multiplatform app, Crowd Control seems to be getting around Twitch’s cut through a coin system. Other creator platforms like Fanhouse have taken similar steps to circumvent App Store fees and maximize creators’ profits.

“So, $100 is $100 of coins,” Jaku explained. “Instead of those coins only being available on one channel, that viewer will now have $100 worth of coins that they could spend on any channel.”

Crowd Control only has a team of ten, but most of them have been creators themselves at some point. Jaku himself started streaming Super Mario Maker on Twitch in 2015 and climbed the ranks to become a Twitch Partner. Then he built the software that inspired Crowd Control to spice up his Borderlands 2 streams in 2018.

“We’re a passionate team,” Jaku said. “Everything we do is for the creators.”

Wreak havoc on your favorite streamer’s game with Crowd Control by Amanda Silberling originally published on TechCrunch

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Spotify is shutting down Heardle, the Wordle-like music guessing game it bought last year

Spotify is closing down Heardle, the Wordle-inspired music guessing game it acquired last July for an undisclosed sum. Similar to Wordle, Heardle offers players six tries to guess a popular song — but instead of typing in different letters to form words, players listen to a song’s intro to guess the artist and title. At the time of its acquisition, Spotify said Heardle would remain free to play for everyone. Now the company says it will sunset Heardle on May 5, as it aims to focus on its other objectives around music discovery.

The changes are being announced through an in-app message on the Heardle website.

Image Credits: Heardle

The decision to close Heardle, we understand, came about because Spotify wants to devote more of its energy toward music discovery through its recent app changes, not through Wordle-inspired gameplay off-platform.

Last month, Spotify rolled out a significant redesign of its mobile app experience that introduced new TikTok-style discovery feeds for music and podcasts along with other features, like Smart Shuffle for playlist recommendations and a new podcast autoplay option, among other things. It also rolled out an “AI DJ” that figures out what sort of music users like, then plays those tracks for you. The feature also gets smarter over time the more you engage with it.

In light of these updates, Heardle was no longer a major part of Spotify’s overall music discovery efforts. In addition, like many tech companies that have undergone belt-tightening measures like layoffs in recent months, there’s less of a financial incentive to dabble with side projects — including the likes of a fun music game, for instance.

Heardle, however, had still been fairly popular at the time of its acquisition. According to data from web analytics firm Similarweb, the game peaked at 69 million monthly desktop and mobile web visits in March 2022. Just ahead of the Spotify deal, those visits had dropped to 41 million. It’s possible they had continued to decline, making Heardle’s ongoing maintenance no longer a solid bet.

Plus, with much of the Wordle craze also trending down after The New York Times bought the flagship word game in January of last year, Heardle’s own future prospects may have been dimming, too. We understand Heardle had maintained some of its loyal users after the deal closed, but Spotify wouldn’t comment on overall usage or repeat engagement with any specific metrics. However, it was only after Spotify learned how Heardle players were engaging with the game that the decision was made to focus the company’s investments elsewhere.

In the game, after users guessed the song, they could click a button to listen to the full track on Spotify. It’s possible that not enough users did so, instead just exiting the game to play again later.

In other words, Heardle didn’t ultimately help Spotify achieve its goals around improved music discovery. And with the redesign, much of what Heardle had to offer was now duplicating the company’s other music discovery features — and doing so outside of the Spotify app.

Still, for those who loved playing Heardle, today’s announcement regarding the game’s imminent closure will not likely be welcome news. Except, perhaps, by those Forbes contributors who had to write up the daily answers and clues and by the numerous sites running Heardle clones.

Spotify confirmed the game’s closure with a statement.

“After careful consideration, we have made the difficult decision to say goodbye to Heardle as we focus our efforts on other features for music discovery,” a company spokesperson told TechCrunch.

The website will display a banner to users alerting them to the shutdown coming May 5.

We understand there was no team dedicated to working on Heardle so there’s no impact in terms of either employee cuts or reorganization.

While Spotify is moving away from Heardle, it’s not necessarily giving up on other sorts of interactive experiences, we’re told. The company today offers its interactive AI DJ feature and other things like polls and Q&As, which lets podcast listeners engage with their favorite creators. It also will continue to invest in other gaming projects, like its Spotify island on Roblox, its in-app Gaming hub and other integrations with Xbox and PlayStation.

Earlier this month, Spotify also shut down another side project with the closure of Spotify Live, its livestreaming app and Clubhouse rival.

Spotify is shutting down Heardle, the Wordle-like music guessing game it bought last year by Sarah Perez originally published on TechCrunch

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