DraftKings is charging into the NFT game, announcing a marketplace aimed at curating sports and entertainment-themed digital collectibles for its audience of enthusiasts. The platform is “debuting later this summer,” and showcases another potentially lucrative expansion for the fantasy sports betting company.
DraftKings is entering a market that is both crowded and sparse — with plenty of NFT marketplace options for today’s niche group of collectors, though offerings are still light when considering the billions that have flowed through the space in the first several months of the year. This week, investors gave NFT marketplace OpenSea a $1.5 billion valuation. Dapper Labs, which makes NBA Top Shot, recently raised at a reported $7.5 billion valuation.
Dapper’s existing sway in the space will leave DraftKings pursuing opportunities outside exclusive league partnerships. NBA Top Shot allows players to buy “Moments” from NBA history, clips of actual game and player footage to which it has access via league and players’ association partnerships. In addition to the NBA, Dapper has already partnered with other leagues.
DraftKings’ foothold in the space will come from an exclusive partnership with Autograph, a newly launched NFT startup co-founded by quarterback Tom Brady. The company has inked exclusive NFT deals with some top athletes, including Tiger Woods, Wayne Gretzky, Derek Jeter, Naomi Osaka and Tony Hawk, hoping to build out its platform as the hub for sports personality collectibles.
Aside from the partnerships, DraftKings is hoping to get a leg up in the space by further simplifying the user onboarding process, allowing users to buy NFTs without loading a wallet with cryptocurrency, instead purchasing with USD. When the platform launches, users will be able to purchase NFTs from DraftKings and resell or trade them through the platform.
For DraftKings, which has raised some $720 million in funding since launch in 2012, the NFT expansion could offer an opportunity of funneling their existing audience into the new vertical. Few existing tech startups have made noteworthy expansions into the NFT world despite plenty of hype and investor interest. DraftKings co-founder Matt Kalish tells TechCrunch that the startup’s devoted community is its biggest asset to winning in the rising space.
“DraftKings has millions of people in our community who show up to out-platform every day and every week,” Kalish says. “We think our biggest advantage is the strength and size of our community… [We] will bring a lot of eyeballs to the table.”
Apple incorporated the announcement of this year’s Apple Design Award winners into its virtual Worldwide Developer Conference (WWDC) online event, instead of waiting until the event had wrapped, like last year. Ahead of WWDC, Apple previewed the finalists, whose apps and games showcased a combination of technical achievement, design and ingenuity. This evening, Apple announced the winners across six new award categories.
In each category, Apple selected one app and one game as the winner.
In the Inclusivity category, winners supported people from a diversity of backgrounds, abilities and languages.
This year, winners included U.S.-based Aconite’s highly accessible game, HoloVista, where users can adjust various options for motion control, text sizes, text contrast, sound, and visual effect intensity. In the game, users explore using the iPhone’s camera to find hidden objects, solve puzzles and more. (Our coverage)
Image Credits: Aconite
Another winner, Voice Dream Reader, is a text-to-speech app that support more than two dozen languages and offers adaptive features and a high level of customizable settings.
Image Credits: Voice Dream LLC
In the Delight and Fun, category, winners offer memorable and engaging experiences enhanced by Apple technologies. Belgium’s Pok Pok Playroom, a kid entertainment app that spun out of Snowman (Alto’s Adventure series), won for its thoughtful design and use of subtle haptics, sound effects and interactions. (Our coverage)
Image Credits: Pok Pok
Another winner included U.K.s’ Little Orpheus, a platformer that combines storytelling, surprises, and fun and offers a console-like experience in a casual game.
Image Credits: The Chinese Room
The Interaction category winners showcase apps that offer intuitive interfaces and effortless controls, Apple says.
The U.S.-based snarky weather app CARROT Weather won for its humorous forecasts, unique visuals, and entertaining experience, which is also available as Apple Watch faces and widgets.
Image Credits: Brian Mueller, Grailr LLC
Canada’s Bird Alone game combines gestures, haptics, parallax, and dynamic sound effects in clever ways to brings its world to life.
Image Credits: George Batchelor
A Social Impact category doled out awards to Denmark’s Be My Eyes, which enables people who are blind and low vision to identify objects by pairing them with volunteers from around the world using their camera. Today, it supports over 300K users who are assisted by over 4.5M volunteers. (Our coverage)
Image Credits: S/I Be My Eyes
U.K.’s ustwo games won in this category for Alba, a game that teaches about respecting the environment as players save wildlife, repair a bridge, clean up trash and more. The game also plants a tree for every download.
Image Credits: ustwo games
The Visuals and Graphics winners feature “stunning imagery, skillfully drawn interfaces, and high-quality animations,” Apple says.
Belarus-based Loóna offers sleepscape sessions which combine relaxing activities and atmospheric sounds with storytelling to help people wind down at night. The app was recently awarded Google’s “best app” of 2020.
Innovation winners included India’s NaadSadhana, an all-in-one, studio-quality music app that helps artists perform and publish. The app uses A.I. and Core ML to listen and provide feedback on the accuracy of notes, and generates a backing track to match.
Image Credits: Sandeep Ranade
Riot Games’ League of Legends: Wild Rift (U.S.) won for taking a complex PC classic and delivering a full mobile experience that includes touchscreen controls, an auto-targeting system for newcomers, and a mobile-exclusive camera setting.
Image Credits: Riot Games
The winners this year will receive a prize package that includes hardware and the award itself.
“This year’s Apple Design Award winners have redefined what we’ve come to expect from a great app experience, and we congratulate them on a well-deserved win,” said Susan Prescott, Apple’s vice president of Worldwide Developer Relations, in a statement. “The work of these developers embodies the essential role apps and games play in our everyday lives, and serve as perfect examples of our six new award categories.”
U.S. consumers spent an average of $138 on iPhone apps last year, an increase of 38% year-over-year, largely driven by the pandemic impacts, according to new data from app store intelligence firm Sensor Tower. Throughout 2020, consumers turned to iPhone apps for work, school, entertainment, shopping, and more, driving per-user spending to a new record and the greatest annual growth since 2016, when it had then popped by 42% year-over-year.
Sensor Tower tells TechCrunch it expects the trend of increased consumer spend to continue in 2021, when it projects consumer spend per active iPhone in the U.S. to reach an average of $180. This will again be tied, at least in part, to the lift caused by the pandemic — and, particularly, the lift in pandemic-fueled spending on mobile games.
Image Credits: Sensor Tower
Last year’s increased spending on iPhone apps in the U.S. mirrored global trends, which saw consumers spend a record $111 billion on both iOS and Android apps, per Sensor Tower, and $143 billion, per App Annie, whose analysis had also included some third-party Android app stores in China.
In terms of where U.S. iPhone consumer spending was focused in 2020, the largest category was, of course, gaming.
In the U.S., per-device spending on mobile games grew 43% year-over-year from $53.80 in 2019 to $76.80 in 2020. That’s more than 20 points higher than the 22% growth seend between 2018 and 2019, when in-game spending grew from $44 to $53.80.
U.S. users spent the most money on puzzle games, like Candy Crush Saga and Gardenscapes, which may have helped to take people’s minds off the pandemic and its related stresses. That category averaged $15.50 per active iPhone, followed by casino games, which averaged $13.10, and was driven by physical casinos closures. Strategy games also saw a surge in spending in 2020, growing to an average of $12.30 per iPhone user spending.
Image Credits: Sensor Tower
Another big category for in-app spending was Entertainment. With theaters and concerts shut down, consumers turned to streaming apps in larger numbers. Disney+ had launched in late 2019, just months ahead of the pandemic lockdowns and HBO Max soon followed in May 2020.
Average per-device spending in this category was second-highest, at $10.20, up 26% from the $8.10 spent in 2019. For comparison, per-device spending had only grown by 1% between 2018 and 2019.
Other categories in the top five by per-device spending included Photo & Video (up 56% to $9.80), Social Networking (up 41% to $7.90) and Lifestyle (up 14% to $6.50).
These increases were tied to apps like TikTok, YouTube, and Twitch — the latter which saw 680% year-over-year revenue growth in 2020 on U.S. iPhones, specifically. TikTok, meanwhile, saw 140% growth. In the Lifestyle category, dating apps were driving growth as consumers looked to connect with others virtually during lockdowns, while bars and clubs were closed.
Overall, what made 2020 unique was not necessarily what apps people where using, but how often they were being used and how much was being spent.
App Annie had earlier pointed out that the pandemic accelerated mobile adoption by two to three years’ time. And Sensor Tower today tells us that the industry didn’t see the same sort of “seasonality” around spending in certain types of apps, and particularly games, last year — even though, pre-pandemic, there are typically slower parts of the year for spending. That was not the case in 2020, when any time was a good time to spend on apps.
Nearly five years after the launch of Pokémon Go, Niantic announced Monday that they are partnering with Nintendo to co-develop a new title based on the company’s Pikmin franchise. Niantic says the app is being developed in their Tokyo office and will launch later this year.
“The app will include gameplay activities to encourage walking and make walking more delightful,” a press release from Niantic reads. The company notably specifies that the title will make use of their augmented reality platform to integrate the real world in the app.
Pokémon Go has fallen out of headlines, but has continued to deliver massive sums to the San Francisco gaming company, eclipsing $1 billion in revenue in 2020. In recent years, Nintendo has sought to build out their presence on mobile gaming platforms with a number of titles playing on some of their biggest franchises, but none of them have reached Pokémon Go’s level of success.
Welcome back to This Week in Apps, the weekly TechCrunch series that recaps the latest in mobile OS news, mobile applications and the overall app economy.
The app industry is as hot as ever, with a record 218 billion downloads and $143 billion in global consumer spend in 2020.
Consumers last year also spent 3.5 trillion minutes using apps on Android devices alone. And in the U.S., app usage surged ahead of the time spent watching live TV. Currently, the average American watches 3.7 hours of live TV per day, but now spends four hours per day on their mobile devices.
Apps aren’t just a way to pass idle hours — they’re also a big business. In 2019, mobile-first companies had a combined $544 billion valuation, 6.5x higher than those without a mobile focus. In 2020, investors poured $73 billion in capital into mobile companies — a figure that’s up 27% year-over-year.
This week, we’re taking a look at some of the buzzier stories from the world of apps, including the latest around Parler’s attempted return to the App Store, a review of Walmart’s second livestream shopping event, and Instagram Lite’s global rollout. We also have new Clubhouse data on its total installs and its global footprint and info about Disney’s new service that could replace your MagicBand, among other things.
Parler tries and fails to re-enter App Store
The right-wing social app was booted from the App Store, Google Play and Amazon AWS following the U.S. Capitol riot, for violations of community guidelines. Apple had specifically asked Parler to change its moderation policies, which had been fairly hands-off prior to its removal from the App Store. Though Apple has a number of rules about what apps can and cannot do, Parler’s own policies were guided by the First Amendment’s approach to free speech — basically, users could say almost anything without consequence.
According to documents obtained by Bloomberg, Parler again tried to gain entry into the App Store after the original ban, and was again denied. Following the new review, Apple reportedly told Parler’s chief policy officer on Feb. 25, there was no place for “hateful, racist, discriminatory content” on the App Store. The review had also included several offensive images, including profile pictures with swastikas and other white nationalist imagery, as well as misogynistic, homophobic and racist usernames and posts.
Parler last month had said negotiations with Apple were underway, and it expected to get back in the App Store. But with this new rejection, Parler cut its three remaining iOS developers from its team, out of a total of seven who were let go, Bloomberg reported.
The controversy around Parler is reflective of a larger conversation underway in the U.S. over tech’s responsibility to moderate the content on its platforms, as users’ posts and comments are increasingly leading to real-world violence. The U.S. government has not yet regulated these platforms, leaving decisions like this up to tech itself. Parler, in a statement, said it had added filters and human review to address threats of violence, as well as optional tools that let users filter and block certain kinds of hate speech. But this didn’t go far enough to address Apple’s claims about hate symbols and offensive speech still present on the network.
Apple released important security patches across all platforms. The patches fix a vulnerability — a memory corruption bug in WebKit, the engine that powers Apple’s Safari browser. An attacker can exploit the vulnerability via a malicious web page.
Image Credits: Walmart
Walmart again teamed up with TikTok to host a new livestream shopping event on Thursday night. The event, co-hosted by Gabby Morrison and Nabela Noor, focused on beauty products, offering demos and tutorials where viewers could buy the products through an integrated shopping cart. The content itself was engaging, feeling very much like the makeup tutorials and “get ready with me” vlogs users already watch across social media platforms. Gabby, who demoed all the products, was adept at balancing the more casual makeup try-on portions of the live event with the QVC-like call-to-action to actually buy the item being shown.
At times, there were as many as 8,000+ concurrent viewers participating in the live event, we noticed during our viewing. (We joined about 20 mins. after its start). During the event, we saw high engagement in the stream’s comments, including a number of positive comments — like jokes from users who lamented they were buying everything, shout-outs from those who just added an item to their cart, or compliments directed at the hosts. But there were also some trolling remarks that should have violated TikTok’s guidelines over cyberbullying, which were not moderated out — an issue TikTok will need to address as these events grow larger and more common.
Image Credits: screenshot of Walmart’s account on TikTok
Walmart last year had run an apparel-focused live shopping holiday event — the first pilot of TikTok’s live shopping feature in the U.S. The retailer has not commented on sales from its first event, but says they hit Walmart’s projections. Walmart also said the event drove a 25% increase in TikTok follower growth, and 7x more views than anticipated.
Facebook is targeting emerging markets with launch of Instagram Lite, a lightweight Android version of the app that takes up just 2MB of space. The app was made available across 170 countries this week, offering the ability to view and share photos and videos, Stories, IGTV, discover content through Explore, and more. However, the app lacks the ability to film Reels — Instagram’s TikTok rival — users can only view them.
Image Credits: Facebook
The app is not Facebook’s first attempt to develop a lightweight version of Instagram. The company previously released an Progressive Web App, which was pulled in 2020. A new app was then launched in December in India in a limited test, ahead of this broader release.
Clubhouse has now reached 12 million worldwide downloads, an increase of 600K since March 1, according to new data from App Annie. The largest market for the app is still the U.S. which accounts for 3.1 million downloads. But the app has a strong global footprint, with 1.8m downloads in Japan, 710K in Germany, 600K in Brazil, 505K in Russia, 420K in Italy, 375K in the U.K., 370K in South Korea, 350K in Turkey, and 107K in France, the firm said. Clubhouse was said to have 8 million global downloads just in February, so this is notable growth.
Facebook expands creator monetization options with the addition of ads for short-form video content — including videos as short as 1 minute, instead of previous minimum of 3 minutes. Those ads will now play 30 seconds after the start of a shorter video. It also opened its in-stream ads program for Live videos out of invite-only mode. The move could encourage creators to make content for Facebook instead of rival platforms like TikTok, by wooing them with more money-making opportunities.
TikTok rolled out new commenting features aimed at preventing bullying. Creators will now be able to control which comments can be posted on their content, before those comments go live. Another new addition, aimed at users who are commenting, will pop up a box that prompts the user to reconsider posting a comment that may be inappropriate or unkind.
Image Credits: TikTok
Pakistan again bans TikTok over “immoral and objectionable” videos. The app, which has around 33 million users in the country, was blocked by the Pakistan Telecom Authority after Peshawar High Court’s Chief Justice Qaiser Rashid Khan said some TikTok videos were “unacceptable for Pakistani society,” and were “peddling vulgarity.”
A new app called Limit App is offering an Instagram-like service but only for those ages 18 to 25. Reviewed by Geekwire, the app’s creator said it’s not about ageism, but rather about giving young people a place to be themselves. The app uses a secure ID and age verification process to onboard users and, when they turn 26, they’re giving 30 days to download their content before being booted out. Begone, boomers.
Pinterest saw over 193M downloads worldwide in 2020,according to App Annie — a 50% YoY increase, driven by consumers using the platform for product discovery, design ideas, and shopping.
Facebook tests a feature in India that will share Instagram Reels on the Facebook News Feed. The move is an indication of how seriously Facebook is taking the TikTok threat — it’s now leveraging not just one, but two of the world’s largest social networks to fight back.
TikTok in the U.K. launched a new “music hub” that highlights trending artists and tracks. The company has already been driving music streams and sales through the social app, and the hub will now offer a dedicated section to keep up with what’s currently trending.
Twitter’s head of consumer product, Kayvon Beykpour, defended Apple’s App Store commission rates in recent interview. The exec said the commission isn’t a “highway tax,” but reflects the cost and effort that goes into accepting online payments, including issues with fraud and risk, and the customer service flow around refunds.
India’s government threatened to jail Facebook, WhatsApp and Twitter employees if they don’t comply with data and takedown requests related to the protests by Indian farmers over agricultural law changes.
Google will link Android phones with Chromebooks through a new Phone Hub feature, allowing Chrome OS users to respond to texts, check their battery life, enable a Wi-Fi hotspot and locate a misplaced device, among other things.
Bumble launched “Night In,” a new feature in the U.S. and Canada that lets online daters play games together from the app. At launch, users can play trivia games but the company says it plans more virtual experiences in the future. The timing of the launch is interesting — it comes a year into the pandemic which has forced people to stay home and social distance. But as “Night In” arrives, vaccinations are ramping up and, likely, so will real-world, in-person dating. That Bumble still invested in virtual dating experiences indicates the company sees the feature as something with longer-term potential, rather than a temporary stand-in for that first drink or coffee date.
Bumble also filed its first quarterly report since its Feb. 2021 IPO, topping Wall St. estimates with $165.6 million in revenue and 2.7 million paid users (up 32.5% YoY) in the fourth quarter.
Streaming & Entertainment
Amazon adds a merch store to its streaming music app. The company’s Amazon Music app is now offering in-app product sales from Billie Eilish, Selena Gomez, and other artists via a Merchbar integration. (Just wait until it actually remembers it has a whole retail website it could connect.)
YES Network debuts an app that will live stream New York Yankees, Brooklyn Nets, NYFC, and New York Liberty games via a TV Everywhere integration. This is the first live streaming app from the network. Sure, we need another one.
Apple Podcasts is replacing the “subscribe” button with a “follow” button for keeping up with favorite podcasts. The change, first reported by Podnews, came about because people increasingly think of subscribe as referring to a paid option. I’m sure they didn’t get that idea from…THE APP STORE.
Spotify this week updated its app with support for 36 new languages, as promised during last month’s “Stream On” event, including: Afrikaans, Amharic, Azerbaijani, Bengali, Bhojpuri, Bulgarian, Simplified Chinese, Croatian, Danish, Estonian, Filipino, Gujarati, Hindi, Icelandic, Kannada, Latvian, Lithuanian, Malayalam, Marathi, Nepali, Norwegian, Odia, Persian, Portuguese for Portugal, Eastern Punjabi, Western Punjabi, Romanian, Serbian, Slovak, Slovenian, Swahili, Tamil, Telugu, Ukrainian, Urdu, and Zulu. The app is now available in 62 languages in total, and is expanding to over 80 global markets.
New streaming service Paramount+ saw its app downloaded 277K+ times in the first 5 days,reports Apptopia. The app launched similarly to how HBO Max did — it took an existing app and transitioned it to a new one. In its case, the CBS All Access app transitioned to Paramount+. This impacts the number of early downloads, as many users are just upgraded. Thanks to a pre-launch sale, the app also saw $86.7K in IAP revenue on March 2, the highest single-day revenue to date.
Image Credits: Apptopia
Epic Games takes its app store legal fight to Australia with a new anti-competitive claim against Google, over the 30% commissions on in-app purchases. The company is fighting Apple and Google in many markets now, including the U.S., E.U., and U.K.
The average size of the U.S. App Store’s top games has grown 76% in the past 5 years, says Sensor Tower. The average game file size in 2016 was approximately 264 megabytes across the top 100 revenue generating games on the U.S. App Store. This has grown to 465 MB in 2020. Top games driving the file size growth include DoubleDown, Fortnite, Clash of Clans, Roblox and Homescapes.
Image Credits: Sensor Tower
Food & Drink
Data from App Annie indicates app sessions in food and drink apps grew 105% YoY in 2020, as the pandemic led to a surge of adoption for food delivery apps. Deliveroo in particular had a standout year in 2020, as the No. 2 “breakout” food & drink app in France and No. 3 in the U.K. — a metric App Annie uses to track growth in total sessions. App sessions grew from their lowest point of 1.81 billion on March 22, 2020 to 3.02 billion by the end of Dec. 2020, the firm said.
Disney is bringing the service that powers its existing MagicBands to Apple devices with the launch of Disney MagicMobile. The service, which will launch in phases starting later this year, will allow guests to create a mobile pass using the My Disney Experience app, then add it to their smart device’s digital wallet. Users can then hold up their smart device, including their Apple iPhone or Watch, to check into rides at the access points.
Image Credits: Disney
This doesn’t necessarily mean the end for MagicBands, though. The bands still make sense for kids without devices or for anyone who doesn’t want to worry about pulling out their phone for every ride (or who doesn’t own an Apple Watch). Plus, some Disney fans like collecting MagicBands in new styles. Disney said it will soon release a new set with favorite characters.
India’s Paytm will turn Android phones into POS terminals by introducing a card acceptance feature in the NFC-enabled Paytm Business app. Once activated, merchants will be able to process transactions by tapping a payment card to their smartphone.
The new Google Pay app exited beta this week, to replace the older version that will close down on April 5 in the U.S. The updated version include NFC tap-to-pay functionality and p2p payments, but an Ars Technica review slams the app as being less convenient and laden with more fees, among other things.
Chinese beauty app Meitu bought $40 million worth of cryptocurrency, including 15,000 units of Ether and 379.1214267 units of Bitcoin — worth around $22.1 million and $17.9 million, respectively. Meitu chairman Cai Wensheng has been bullish on cryptocurrency and believes in diversifying beyond holding just cash.
Security & Privacy
Apple must face a consumer lawsuit over FaceTime and iMessage privacy in court, not through private arbitration. The case, Ohanian v Apple Inc. focuses on an iOS bug coupled with T-Mobile’s approach to recycling phone numbers that gave third-parties access to users’ communications, despite Apple’s marketing of iMessage and FaceTime as secure features.
Apple is also now facing a privacy complaint in Europe from startup lobby group, France Digitale. The complaint focuses on the IDFA changes, which will required third-party apps to have to ask to track users, while Apple’s own apps are able to track user activity and run personalized ads by default without a similar opt-in pop-up, giving it an unfair advantage.
Funding and M&A
Social networking app Wefarm, aimed at independent farmers in Africa, raised $11 million in an extension of its 2019 Series A led by Octopus Ventures. The London-based company now has 2.5 million users and has hosted over 37 million conversations via SMS.
Gaming platform Roblox made its stock market debut on Wednesday under the ticker symbol RBLX. The stock closed the day at $69.50 per share, giving the business a market cap of $38.26 billion. The cross-platform gaming service works across a range of devices, including mobile.
Chatbot startup Heyday raised $5.1 million from existing investors Innovobot and Desjardins Capital for its system that lets businesses respond to customers’ messages across apps like Facebook Messenger, WhatsApp, Google Business Messages or even email.
Songclip raised $11 million in new funding to bring music to more social media apps. The company is working to popularize the short audio clip media format, and make it accessible across a range of services.
Real estate software and data firm VTS acquired Chicago-based Rise Buildings, the makers of a property tech mobile app used in over 130 million sq ft of office space.
Japan’s SoftBank Group announced this week it will invest $4.7 billion into Tokyo-based messaging app Line, owned by Naver. The investment aims to help develop Line into a “super app,” similar to China’s WeChat, by integrating online news and entertainment from Yahoo Japan (which it owns) as well as financial services from SoftBanks’s mobile payments app PayPay, and more.
Mobile payments service PayPal to acquire cryptocurrency security startup Curv in a deal valued at less than $200 million. PayPal has recently partnered with Paxos to allow U.S. users to buy, hold and sell cryptocurrencies in its app.
TikTok competitor Triller bought livestream music competition Verzuz, created by Timbaland and Swizz Beatz. To date, the competition has hosted 43 artists including RZA, Nelly, Ludacris, 2 Chainz, DMX, and Gucci Mane. The program will continue to air on IG Live in addition to now, Triller.
Detail raised $2 million in pre-seed funding led by Connect Ventures for its app that that will turn your iPhone into a software-optimized camera for live video.
Krafton, the developer of PUBG Mobile, invested $22.4 million into the Indian esports firm Nodwin Gaming, a subsidiary of gaming giant Nazara and one of the largest esports firms in India.
Eco, a startup building a personal finance app for saving and spending money, raised $26 million led by a16z Crypto. Uber co-founder Garrett Camp came up with the idea and now advises Eco as a board member. His startup studio, Expa, is also an investor, Fortune reported.
Runway gets YC backing for its service aimed at streamlining mobile app releases. The app was built by the first iOS team for Rent the Runway, and focuses on automating many common pain points that can stop an app release’s progress.
Image Credits: WildWorks
A new game, Fer.al, has entered the market to compete for Gen Z’s time and attention which is currently spent in virtual worlds like Roblox, Minecraft and Fortnite. The game was developed by WildWorks, the makers of what’s often kids’ first virtual world game, Animal Jam. It also continues the animal-as-avatar metaphor, but this time with fantasy creatures you customize yourself, and a storyline about a animal-themed reality show, dueling queens, factions, and adventures. The game is available across platforms including Mac, PC, iOS and Android.
Last week, “deep nostalgia” was going viral as people animated their long-lost relatives or even closer family members using apps like MyHeritage or TokkingHeads. But this week, everyone’s trying out Wombo — an AI-powered deepfake app that can animate any face to lip sync to songs like “Thriller” or “I Will Survive,” as well as many meme songs, like “Never Gonna Give You Up” or “Numa Numa.” The results are…ugh, cringe. But the attention sent a surge of downloads to the app, moving it up to (as of the time of writing) No. 30 Overall on the App Store. Since its Feb. 2020 launch, the app has been downloaded 2M+ times across iOS and Android.
For the last few years, ByteDance, the parent company of short video app TikTok, has been working to diversify its revenue streams beyond advertisement and find more ways to monetize its hundreds of millions of users. One area it is targeting is gaming, which has historically been a lucrative business in China’s internet economy.
China is the world’s largest gaming market, generating revenues of $40.85 billion in 2020, according to market research firm Newzoo. The United States trailed behind at $36.92 billion.
But competition is also intense. Giants Tencent and NetEase have long dominated and smaller players like Mihoyo and Lilith are making breakthroughs. According to market research firm Analysys, Tencent occupied over half of the Chinese gaming market in 2019, while NetEase and 37 Interactive respectively commanded around 16% and 10%, leaving little breathing room for smaller rivals.
Regardless, ByteDance is forging ahead, giving a brand name, Nuversegame, and a website to its gaming business for the first time last month. Its strategy consists of a genre-spanning portfolio, a hiring spree, a proven monetization scheme, and a focus on both the domestic and overseas markets. During his short-lived stint with ByteDance, Kevin Meyer was put in charge of multiple overseas businesses, including gaming.
ByteDance, the David when it comes to games, seems undeterred by the Goliaths. As one of the company’s gaming executives Yan Shou wrote in a social media post a year ago: “Gaming is a content business. A monopoly is difficult to maintain [in this industry] as long as there is patience.”
Battle for talent
In recent years, ByteDance has hired a large number of ex-employees from the BAT, the acronym for three of the most prominent tech firms in China: Baidu, Alibaba, and Tencent. Yan himself worked on strategy at Tencent for over two years before joining ByteDance in 2015. While poaching and job-hopping are common in China’s fast-changing tech industry, ByteDance is known for doling out generous paychecks and many tech workers are lured by the prospects of receiving employee options before the firm goes public someday.
Ambitious staff may also feel stagnant after a long period at Alibaba and Tencent, which are both over 20 years old and where room for career advancement is limited. ByteDance, in comparison, is merely nine years old and is still in a fast-growth phase, a Beijing-based headhunter for technology firms tells TechCrunch.
“The current stage of ByteDance and the new businesses it is incubating provide the right platform for these people to achieve their ambitions,” the headhunter says.
In gaming, too, ByteDance has gone on a recruiting spree. The company’s gaming headcount numbers nearly 3,000 today, up from only 1,000 last year, according to a person with knowledge. These employees are scattered across China’s major tech hubs, from Beijing, Shanghai, Hangzhou to Shenzhen, working in various gaming studios under ByteDance.
How big is a 3,000-person team? 37 Interactive, the third-largest gaming firm in China, had around 4,000 gaming staff as of January, according to a company executive. It took the company 10 years to reach this scale. ByteDance began exploring games only around five years ago.
ByteDance declined to comment on the story.
Factory of games
Being late to the game could bring advantages. Having seen how Tencent and other predecessors tackle the gaming market allows ByteDance to learn. For one, ByteDance is working on a diverse range of genres simultaneously, from disposable mobile games to indie titles with unorthodox design or topics. This makes ByteDance different from Tencent, says Daniel Ahmad, a gaming analyst at Niko Partners. Tencent, the world’s largest gaming firm, cut its teeth on board and card games in the 2000s before gradually expanding into other genres.
Of course, only a deep-pocketed upstart like ByteDance could strive for a diverse portfolio from day one. With a well-oiled advertising business built upon its short video app Douyin and news aggregator Toutiao, as well as over $7 billion raised from equity funding over the years, ByteDance has been able to fund its horizontal expansions in not just games but also education and SaaS.
Aside from hunting down talent from other tech giants, ByteDance also relies on swallowing smaller companies to boost its workforce. Since 2018, ByteDance has invested in at least 11 gaming companies, six of which were full acquisitions, according to public disclosures. The acquired assets and talent were subsequently incorporated into ByteDance’s gaming studios. Acqui-hiring is an old and proven formula at ByteDance. Kelly Zhang, the product manager credited for taking Douyin, the Chinese version of TikTok, off the ground, also joined after her photo-sharing startup was bought by ByteDance.
Like many gaming firms, ByteDance’s monetization scheme is two-pronged: distribution of third-party titles and original creation. Quality games don’t come overnight, so the strategy allows its gaming unit to have some revenue as it bets on one of its own works to be a cash cow. Casual games are great for ads, which are normally placed between levels. More complex games rely on user loyalty and the natural way to make money is through in-app purchases.
A number of ByteDance’s licensed casual games have so far made it into the Top 10 iOS free games in China, including car racing game Drift Race, music game Yinyue Qiuqiu, and puzzle game Brain Out. While these collaborations don’t make big bucks yet, the initial traction proves the viability of ByteDance’s traffic strategy.
ByteDance said in 2019 it had 1.5 billion monthly users across its app family (there can be user overlap between apps). One way ByteDance is marketing games is by inserting native ads into users’ content feeds. Videos, says Niko Partners’ Ahmad, are “interactive, easy to use, easy to click through and can get much higher conversion than traditional ads.”
In some cases, the ad may prompt users to download a standalone gaming app. But like WeChat and most of China’s popular apps, Douyin and Toutiao support third-party “mini apps” within their own platforms. Users can, for instance, play a lite game on Douyin just as they can on WeChat.
With hundreds of millions of monthly users, ByteDance already has a good grasp of people’s tastes and behavior, so it knows what games to recommend. In theory, the more people see and react, the more accurate its predictions become.
“Through targeted ‘recommendations’, our ‘algorithms’ will automatically show users mini games presented in various forms,” explains ByteDance’s gaming developer handbook. “All games have a fair and equal chance of getting initial exposure.”
Before kids graduate to the expansive virtual worlds in games like Roblox, Minecraft, and Fortnite, they often get their start in online social gaming with a game like Animal Jam. Here, kids learn to personalize their avatar, explore a world, chat with other players, and trade items in a safe environment with parental controls. Today, the company behind this popular title, WildWorks, is launching a new game, Fer.al, which builds on Animal Jam’s legacy while catering to a slightly older crowd of Gen Z teens.
“When we started talking about Fer.al, it was the idea of where do kids go when they age out of Animal Jam?,” explains Clark Stacey, co-founder and CEO of WildWorks. “Because there isn’t a transitional space between a completely walled garden like Animal Jam and…Instagram and the adult social networks and games that don’t have those same protections,” he continues.
“We knew we wanted to provide a place for these older kids to go where the walls are a little bit lower,” Stacey adds.
The new game is meant to cater to older kids — meaning young teens ages 13 to around 18 — who are now choosing their own games, have their own email address, and don’t need parental permission to play. The guardrails on chat also won’t be as high on Fer.al as on Animal Jam, and will focus more on preventing bullying and abuse than blocking words. Players will also be able to connect their online social accounts to their game accounts in the future.
Image Credits: WildWorks
With Fer.al, WildWorks is introducing another animal-centered title, but this time it’s moving into the fantasy realm. Players choose between bipedal humanoid creatures based on folklore and myth including a Kitsune, Senri, Dragon, Jackelope, Werewolf, Kirin, or a Shinigami, with more to come i time.
The characters’ style was inspired by Animal Jam fan art, Stacey says, where kids would create animal avatars that were sort of a mix between manga, Animal Jam’s style, and other, older animation styles.
Like its predecessor, Fer.al players will also be able to personalize their character and change their appearance, design their personal space (this time, a “sanctuary” instead of a “den,”) discover a world where they can interact with other players, collect items and trade, and venture on quests. But the storyline has also evolved to reflect teens’ interests, including their growing understanding of social media and the desire to grow an online fan base.
The larger narrative involves a reality show where two warring queens, Aradia and Delilah — each with their own Instagram account, naturally — are angling for control. The company isn’t offering a lot of details as to how this narrative plays out in the long-term, but it will involve weekly and monthly contests as the game ramps up, in addition to the everyday missions and quests which are undertaken to gain ingredients to create new clothes or a new “glamour” (a rendering effect that goes around your character.)
Image Credits: WildWorks
Much like Animal Jam — or even other virtual worlds like some Roblox games — players are meant to engage in cooperative gameplay to advance. There will be tasks you can’t complete on your own, meaning you’ll need to interact and chat. You will also be able to join factions, initially driven by the two queens, as the game advances.
Another notable aspect to Fer.al is that it’s largely designed to cater to girl gamers.
“It’s certainly not intended to be to the exclusion of boys who are in this age range,” explains Stacey. “But we recognize the fact that, among the most engaged Animal Jam players, it’s about 80% girls. We’ve leaned into that pretty heavily in Animal Jam — we’re trying to feature a lot of female scientists and working with them on causes that promote girls in STEM. So we know a lot of the built-in audience is coming from that,” he says.
“And I think the need that we recognized is that it’s not hard for adolescent boys to find online communities that jive with them. It’s pretty hard for girls to find the same thing. So, as we’re creating this this community — everything from the rules to the visuals — we are very conscious of that. And the people that we’re going to and asking for what works for you and what doesn’t, is primarily girls,” he adds.
Image Credits: WildWorks
Building off the Animal Jam fan base has been an advantage for getting Fer.al off the ground. Today, Animal Jam has anywhere between 2.5 million to 4 million monthly active users out of a total of 135 million registered accounts. The gulf between the registered and active figures is indicative of how many kids have since grew out of Animal Jam since its October 2010 launch. But Stacey admits the title has seen some decline since its peak usage, as well.
Still, there’s a lot of interest in what WildWorks does next, it seems.
Within a week of launching the Fer.al website, the game had 75,000 kids sign up to become beta testers. The testers were brought into the beta slowly, starting in April 2020, and initially on desktop only. Now, the beta version of the game sees daily actives in the low 10,000’s pre-launch. On the Apple App Store and Google Play, over 100,000 people have registered for the pre-release, as well.
Like Animal Jam, Fer.al will offer a freemium experience. But while Animal Jam generated nearly 80% of revenues through subscriptions, Fer.al will use a season pass model of monetization. Users buy the season — priced around $10 to $20 — via an in-app purchase, which will unlock unique items and experiences specific to that season. It expects to launch around 7 seasons per year.
Image Credits: WildWorks
The company didn’t offer seasons until later in the beta test, but Stacey says the conversion rate was at “the high end of our expectations so far on desktop.” If the mobile conversion rates remains as high as desktop, it will be in the range to start investing in user acquisition, he says. The company may also consider ads at a later date as well as merchandise, if all goes well.
Salt Lake City-headquartered WildWorks (formerly Smart Bomb Interactive) is majority owned by Signal Peak Ventures, which has invested $20+ million into the company over the years. The company shifted in 2008 to focus on its own IP, resulting in the launch of Animal Jam and other titles.
Over the past few years, WildWorks’ revenue — largely from Animal Jam and another game, Tag with Ryan — has ranged between $20+ million to below $30 million. If Fer.al is able to successfully capture the Animal Jam graduates who are looking to move up to “older kid” gameplay, it could grow that revenue base by a sizable amount.
Fer.al is launching publically today in all countries, and will be available initially in English. It can be played on PC, Mac, iOS and Android.
Games company Zynga has been on an acquisition tear the last several years to beef up its activity in particular in mobile and casual-puzzle games, spending over $3 billion to pick up a range of startups across Europe (specifically Turkey and Finland) in the process. Today, however, it’s taking a turn towards more immersive, highly graphic cross-platform experiences. The company has announced that it is acquiring San Francisco’s Echtra Games, the role-playing game publisher behind Torchlight III, which is available on Steam, XBox One, PS4 and Nintendo Switch.
The team will be working on releasing a new title in partnership with Zynga’s NaturalMotion studio, the company said. No other details on that were released for now.
Financial terms of the deal were not disclosed. It’s also not clear who backed Echtra, if anyone.
But Echtra is in some ways a classic example of a gaming startup built out of a burning idea, rather than cold, calculated moneymaking — perhaps the best kind of company you can have.
Max Schaefer, the co-founder and CEO, had previously been at Runic Games, the developer of the original Torchlight series, as well as Diablo and others. Runic was shuttered by its owner, Perfect World, and so in 2016, Shaefer went on to form a new company, Echtra, with some of his Runic colleagues and others in the industry because he saw more life left in the franchise.
The plan will be to bring on Echtra’s team and expertise both to continue building the franchise and to more generally help Zynga build out more of a footprint in cross-platform games, and also gaming technology, in particular around tools built on Unreal Engine, the platform of choice at the moment for RPG and other immersive applications.
“Max and his team at Echtra Games are responsible for some of the most legendary game properties ever created, and they are experts in the action RPG genre and cross-platform development.I’m excited to welcome the Echtra Games team into the Zynga family,” said Frank Gibeau, Chief Executive Officer of Zynga, in a statement. “This acquisition will be instrumental in growing our iconic licenses and brands from mobile to PCs and consoles, while helping to further expand Zynga’s total addressable market.”
“Echtra Games is delighted to be joining the Zynga family,” added Max Schaefer. “We share Zynga’s vision that cross-platform play is an essential part of the future of RPGs and interactive entertainment and are eager to apply our vast experience and talents to this effort.”
Gaming has been one of the bright spots in the last year — no surprise, since people are spending so much more time indoors and at home because of the pandemic. Zynga, as a consequence of that, has also been on a roll in recent times, with its fourth quarter earnings, released last month, beating analyst expectations. Its revenues of $616 million are the highest ever quarterly bookings posted by the company. Acquisitions are major part of its strategy these days, the company said at the time.
Going for more immersive RPG titles outside of mobile is an ambitious and potentially more expensive undertaking and is a very notable swerve away from the company’s acquisitions in recent years, which have included a majority stake in Turkey’s Rollic for $228 million, Peak for $2.1 billion, 80% of Small Giant Games for $718 million; and Gram Games for $299 million.
Over the past year, the coronavirus crisis has spurred app usage in the United States as people stay indoors to limit contact with others. Mobile games particularly have enjoyed a boom, and among them, games from Chinese studios are gaining popularity.
Games released on the U.S. App Store and Google Play Store raked in a total of $5.8 billion in revenue during the fourth quarter, jumping 34.3% from a year before and accounting for over a quarter of the world’s mobile gaming revenues, according to a new report from market research firm Sensor Tower.
In the quarter, Chinese titles contributed as much as 20% of the mobile gaming revenues in the U.S. That effectively made China the largest importer of mobile games in the U.S., thanks to a few blockbuster titles. Chinese publishers claimed 21 spots among the 100 top-grossing games in the period and collectively generated $780 million in revenues in the U.S., the world’s largest mobile gaming market, more than triple the amount from two years before.
Occupying the top rank are familiar Chinese titles such as the first-person shooter game Call of Duty, a collaboration between Tencent and Activision, as well Tencent’s PlayerUnknown’s Battlegrounds. But smaller Chinese studios are also quickly infiltrating the U.S. market.
Mihoyo, a little-known studio outside China, has been turning heads in the domestic gaming industry with its hit game Genshin Impact, a role-playing action game featuring anime-style characters. It was the sixth-most highest-grossing mobile game in the U.S. during Q4, racking up over $100 million in revenues in the period.
Most notable is that Mihoyo has been an independent studio since its inception in 2011. Unlike many gaming startups that covet fundings from industry titans like Tencent, Mihoyo has so far raised only a modest amount from its early days. It also stirred up controversy for skipping major distributors like Tencent and phone vendors Huawei and Xiaomi, releasing Genshin Impact on Bilibili, a popular video site amongst Chinese youngsters, and games downloading platform Taptap.
Magic Tavern, the developer behind the puzzle game Project Makeover, one of the most installed mobile games in the U.S. since late last year, is another lesser-known studio. Founded by a team of Tsinghua graduates with offices around the world, Magic Tavern is celebrated as one of the first studios with roots in China to have gained ground in the American casual gaming market. KKR-backed gaming company AppLovin is a strategic investor in Magic Tavern.
Other popular games in the U.S. also have links to China, if not directly owned by a Chinese company. Shortcut Run and Roof Nails are works from the French casual game maker Voodoo, which received a minority investment from Tencent last year. Tencent is also a strategic investor in Roblox, the gaming platform oriented to young gamers and slated for an IPO in the coming weeks.
For mobile games, however, Google has a slightly different idea to reach users. Area 120, Google’s in-house incubator for experimental projects, last year launched GameSnacks. It’s an HTML5 gaming platform, where titles are bite-sized and they load much faster and consume far less resources because of the way they have been designed.
And that idea appears to be working.
Google said on Tuesday that over the past year it has made inroads with GameSnacks, and is now ready to scale the platform and test monetization models to make it worthwhile for game developers.
In an exclusive interview with TechCrunch, Ani Mohan, General Manager of GameSnacks, said the platform has amassed over 100 titles and millions of users.
“HTML5 gaming has been growing, especially outside of the United States. HTML5 is a great way to get games to users who have just come online and probably haven’t played games online before. These games are cross-device, work on low-bandwidth connection, and are instantly playable as they don’t require users to install any files,” he said.
These single-player games, that work on any device with as low RAM as 1GB and 2G to 3G data connection, are available to users through GameSnacks website. They can be played on desktop as well as Chrome on an iPhone or iPad (if you wanted to give it a whirl.)
Now the company is using its scale to expand the reach and discoverability of GameSnacks. Mohan said in recent weeks GameSnacks games have been made available from the New Tab page in Chrome for users in India, Indonesia, Nigeria, and Kenya.
In India, Google’s biggest market by users, GameSnacks games are also arriving to Google Pay. The company is also experimenting with bringing GameSnacks games to Discover feed.
Mohan said the company is starting these integrations is select countries because that’s where many users face the challenges the platform is trying to address. “We view this as an early stage of experimentation. If it goes well, we will love to expand it,” he said.
Additionally, Mohan said the company is experimenting with bringing GameSnacks games to the Google Assistant.
“Now that few of these integrations are live, one of things we are hoping to do is talk to developers, and tell them that there is an easy way to get on Google,” he said.
Developers on GameSnacks currently monetize their games via a licensing or a contracting model where they sell some or all of their game rights to the company. Mohan said the team, which comprises six people (though more people from Google contribute to it), is working on helping these developers monetize their games using next-generation AdSense for Games ad formats.
“We want to help them build viable businesses over time so we’re going to start experimenting with advertising on the platform,” he said. However, this will be for a select number of GameSnacks games for now.
Emerging markets such as Africa and Asia are not new to the world of HTML games. In India, for instance, a gaming platform called Gamezop raised $4.2 million last year to expand its HTML5 games to reach more developers and embed them into over 1,000 apps.
In 2018, South African telco, MTN Group, launched the Bonus Bucks HTML5 game portal for its subscribers in the Southern African country. Facebook operated HTML5 Instant Games on Messenger for years until taking it off the messaging service. A quick search on our own archive returns scores of firms that work on HTML5 games in the past, though we have seen fewer examples in recent years.
Mohan remains bullish that there is a big opportunity for HTML games and this extends beyond Africa and Asia. “We don’t see these markets as our only option. These are just the markets we’re starting with because the need for HTML5 games… is especially compelling. We think the market size for this is much broader because HTML has users all around the world,” he said.