Dream Games, a Turkish mobile gaming company founded by former Peak Games employees who worked together on hit puzzle games Toy Blast and Toon Blast, has raised $7.5 million in seed funding.
The company — which is yet to launch a product — is co-founded by CEO Soner Aydemir, the former Product Director at Peak Games. The rest of the Dream Games team are Ikbal Namli and Hakan Saglam (former Peak Games engineering leads), Eren Sengul (former Peak Games product manger), and Serdar Yilmaz (former Peak Games 3D artist).
“Most of the [mobile games] companies believe that the market is saturated, but we believe there are still huge opportunities in the casual puzzle market,” Aydemir tells TechCrunch. “There are too many mediocre mobile games, but players deserve better. We see that there are still millions of players waiting for new, well-designed and enjoyable puzzle games, and we are committed to creating great games to meet players’ expectations”.
Aydemir says Dream Games doesn’t believe in a “hit-or-miss approach” to game development. Instead, he frames the studio’s strategy as “evolution over innovation” and “execution over ideas”. This will see it develop a first flagship title that can be iterated over the long term.
“We plan to fix the pain points for players in existing games,” he says. “Our experience makes us confident we can build something truly global by focusing on a single high-quality, long-standing game instead of multiple flash-in-the-pan titles. We’d rather people were loyally playing our one game for 10 years than losing interest every six months when something new comes along”.
With regards to audience, Aydemir says Dream Games is targeting players over the age of 25 in U.S., Canada and Europe. He pegs gender distribution at 65% female and 35% male. “Our players can be from different socioeconomic and ethnic backgrounds, but they are mainly average people who have routine lives,” he says.
Aydemir is also keen to flag up the burgeoning gaming sector in Turkey, which he claims is positioned to be one of the world’s leading ecosystems for mobile games.
In 2017, Peak Games, based in Istanbul, sold its card and board games studio to mobile gaming giant Zynga for $100 million. Zynga later opened a studio in the city and made further acquisitions, paying $250 million for Gram Games, the Turkish developers behind a number of popular puzzle titles. Other casual gaming studios with a presence in the region include Good Job Games, Ruby Games, Alictus, Rollic Games and Bigger Games.
The maker of Magic: The Gathering has confirmed that a security lapse exposed the data on hundreds of thousands of game players.
The game’s developer, the Washington-based Wizards of the Coast, left a database backup file in a public Amazon Web Services storage bucket. The database file contained user account information for the game’s online arena. But there was no password on the storage bucket, allowing who with the bucket’s name to access the files inside.
The bucket is not believed to have been exposed for long — since around early-September — but it was long enough for U.K. cybersecurity firm Fidus Information Security to find the database.
A review of the database file showed there were 452,634 players’ information, including about 470 email addresses associated with Wizards’ staff. The database included player names and usernames, email addresses, and the date and time of the account’s creation. The database also had user passwords, which were hashed and salted, making it difficult but not impossible to unscramble.
None of the data was encrypted. The accounts date back to at least 2012, according to our review of the data.
Fidus reached out to Wizards of the Coast but did not hear back. It was only after TechCrunch reached out that the game maker pulled the storage bucket offline.
Bruce Dugan, a spokesperson for the game developer, told TechCrunch in a statement: “We learned that a database file from a decommissioned website had inadvertently been made accessible outside the company.”
“We removed the database file from our server and commenced an investigation to determine the scope of the incident,” he said. “We believe that this was an isolated incident and we have no reason to believe that any malicious use has been made of the data,” but the spokesperson did not provide any evidence for this claim.
“However, in an abundance of caution, we are notifying players whose information was contained in the database and requiring them to reset their passwords on our current system,” he said.
Harriet Lester, Fidus’ director of research and development, said it was “surprising in this day and age that misconfigurations and lack of basic security hygiene still exist on this scale, especially when referring to such large companies with a userbase of over 450,000 accounts.”
“Our research team work continuously, looking for misconfigurations such as this to alert companies as soon as possible to avoid the data falling into the wrong hands. It’s our small way of helping make the internet a safer place,” she told TechCrunch.
The game maker said it informed the U.K. data protection authorities about the exposure, in line with breach notification rules under Europe’s GDPR regulations. The U.K.’s Information Commissioner’s Office did not immediately return an email to confirm the disclosure.
Companies can be fined up to 4% of their annual turnover for GDPR violations.
Microsoft has announced a vague intention to launch its xCloud game streaming service sometime in 2020, and dropped a double handful of new titles that will arrive on it and the existing Game Pass subscription. It seems that next year will indeed be the opening battle in the streaming wars to come.
The announcements came at XO19, the company’s Xbox-focused event, which is taking place in London. They seem calculated to take the wind out of Google’s sails; the opening lineup of Stadia, Google’s entry in the game streaming world, was finalized earlier this week and is rather barebones. Microsoft is hoping Google’s first-mover advantage will be nullified by the expected confusion around payments, features, titles, and other issues Stadia is still working out.
Game Pass is currently in a preview period on PC. Although Microsoft did not supply a hard release date, saying only that 2020 is the plan. That year will also bring Windows 10 support, PC game streaming, and potentially an expansion beyond Android for mobile streaming.
The price too is TBA — Google’s proposition is remarkably complicated, and it will take time for consumers to figure out what they’re willing to pay for, what the real costs are, and so on. So Microsoft is probably going to wait and see here.
But what is known about xCloud is that gamers will get access to all the games currently available on Microsoft’s Game Pass subscription — well over a hundred PC and console titles right now, with more being added regularly. That makes it easier to commit to for a lot of gamers.
New controllers will be supported soon, including Sony’s DualShock 4, which comes with the PlayStation 4; that’s a real olive branch to Microsoft’s arch-rival. And new countries will be brought into the fold soon as well: Canada, India, Japan, and “Western Europe.”
Game Pass will also be receiving dozens of titles old and new throughout 2020, including Final Fantasy 7 through 15, Darksiders 3, Flight Simulator, and a bunch of newly announced games as well, such as Obsidian’s new “Honey, I Shrunk the Survival Game” title, “Grounded.”
Several brand new properties and gameplay for known but unreleased games were also teased at XO19. Check them out below:
Everwild is a new IP from Rare that appears to involve a lot of sneaking around a lush forest and either avoiding or interacting with fantastical animals. It’s still early days, but the team wants to create “new ways to play in a natural and magical world.” I’m just here for the solar-powered dino-deer.
Tell Me Why is a new one from Dontnod, makers of Life is Strange starring a pair of twins with some kind of paranormal connection. Notably one of the twins is transgender, not common among game protagonists, and the company worked with GLAAD to make sure the representation of the character is genuine.
Age of Empires 4 got an only slightly satisfying gameplay reveal. Real-time strategy buffs will want more than this, but no doubt they’re excited to see this venerable franchise getting a modern sequel.
You can catch up on the rest over at the Xbox offi
The man who oversaw the creation of some of HBO’s most highly-praised ‘prestige TV’ could soon be making shows for Apple TV+, according to a new report from the Wall Street Journal. Richard Plepler, who was HBO’s Chairman and CEO up until he parted ways with the company last February following its acquisition by AT&T, is nearing an exclusive production deal with Apple’s new original content streaming service, the report says.
Plepler, who spent almost 30 years at HBO, including six as its CEO during which the media company aired some of its biggest hits, including ‘Game of Thrones,’ would definitely bring some big-name industry influence to Apple’s efforts. Not that Apple TV+ lacks for that in its early offing, either: The premiere slate of original shows include Jennifer Aniston and Reese Witherspoon-led ‘The Morning Show,’ and and a show centred around Oprah’s Book Club, just to name a couple of examples.
The deal, which isn’t yet final but might be signed officially “within the next few weeks,” per the report, would be between Apple and Plepler’s RLP & Co., a production company he established after leaving HBO. There’s nothing yet to indicate what kind of projects he’d be working on for Apple TV+, but it’s a logical target for Apple’s new original content enterprise to pursue, given that its focus thus far appears to be on fewer, big budget and high-profile projects, but critical reception hasn’t been up to par with the kind of TV that HBO has a track record of producing.
Welcome back to This Week in Apps, the Extra Crunch series that recaps the latest OS news, the applications they support, and the money that flows through it all. What are the developers talking about? What Do app publishers and marketers need to know? How is international politics playing out in the App Store? What apps is everyone using?
As November kicks off, we’re looking at a number of big apps launches from Microsoft and Adobe — as well as what went wrong. We’re also looking at the iOS bug-squashing release, a bunch of data about app install trends around the world, Google Play’s new loyalty program and what it means for developers, the continued scrutiny of Chinese apps by the U.S. government, and more.
eMarketer remindS us that it recently put out a big report on app installs with a ton of insights. It’s actually been live for a few months, but ICYMI, here are some of the key data points and highlights:
iOS Bug Squashing: Apple fixed the iOS bug that killed your background apps. Apple this week finally squashed a very annoying bug in iOS 13 that made the OS overly aggressive about killing background apps and tasks. Apps like Safari, YouTube, Overcast and others were impacted, leading users to lose emails or the video they were watching just when they switched away for a few seconds. What Apple can’t fix is a growing concern that Apple has “lost the plot” following a series of extremely buggy software updates across its product line, which made users hesitant to upgrade to macOS Catalina, and bricked people’s HomePods.
Google admits it can’t secure the Play Store on its own: Google this week announced partnerships with security firms ESET, Lookout, and Zimperium to form what it has branded the “App Defense Alliance.” The goal, the company says, is to unite the security industry to fight malicious apps across Android’s ecosystem of 2.5 billion devices. Basically, Google will integrate its own detection systems with each partner’s scanning engine to help it uncover potential risks and threats. However, the fact that Google is now essentially outsourcing security to a partner ecosystem is an admission of failure, to some extent, about its abilities to keep the Play Store free from bad actors on its own. (But of course, we all knew that already, right?)
Photoshop for iPad is tanking: Adobe released its most important mobile app ever with this week’s launch of Photoshop for iPad. But fans panned the app because it’s missing several key features. Like RAW support! The app now has 2 stars out of 5…yikes. So what went wrong?
To read more, subscribe to Extra Crunch.
Microsoft’s original Xbox Elite controller was a major step up for gamers, with customizable buttons, changeable physical controls and adjustable sensitivity for serious personalization. The new Xbox Elite Controller Series 2 has just landed, and it offers similar features, but with new and improved features that add even more customization options, along with key hardware improvements that take what was one of the best gaming controllers available and make it that much better.
This might seem like a weird place to start, but the fact that the new Xbox Elite 2 comes with USB-C for charging and wired connections is actually a big deal, especially given that just about every other gadget in our lives has moved on to adapting this standard. Micro USB is looking decidedly long in the tooth, and if you’re like me, one of the only reasons you still have those cables around at all is to charge your game controllers.
In the box, you get a braided USB-A to USB-C charging cable, which at nine feet is plenty long enough to reach from your console to your couch. Of course, you also can use your phone, tablet, MacBook or any other USB-C charger and cable combo to power up the Elite 2, which is why it’s such a nice upgrade.
This is big for one other key reason: Apple recently added Xbox controller compatibility to its iPad lineup, which also charges via USB-C. That’s what makes this the perfect controller for anyone looking to turn their tablets into a portable gaming powerhouse, as it reduces the amount of kit you need to pack when you want to grab the controller and have a good option for digging into some iPad gaming.
Probably the main reason to own the Elite 2 is that it offers amazing customization options. New to this generation, you can even adjust the resistance of the thumbsticks, which is immensely useful if you’re a frequent player of first-person shooter (FPS) games, for instance. This lets you tune the sensitivity of the sticks to help ensure you’re able to find the right balance of sensitivity versus resistance for accurate aiming, and it should help pros and enthusiasts make the most of their own individual play style.
The shoulder triggers also now have even shorter hair-trigger locks, which means you can fire quicker with shorter squeezes in-game. And in the case, you’ll find other thumbsticks that you can swap out for the ones that are pre-installed, as well as a D-pad you can use to replace the multi-directional pad.
On top of the hardware customization, you also can tweak everything about the controller in software on Windows 10 and Xbox One, using Microsoft’s Accessories app. You can even assign a button to act as a “Shift” key to provide even more custom options, so that you can set up key combos to run even more inputs. Once you find a configuration you like, you can save it as a profile to the controller and switch quickly between them using a physical button on the controller’s front face.
Even if you’re not a hardcore multiplayer competitive gamer, these customization options can come in handy. I often use profiles that assign thumbstick clicks to the rear paddle buttons, for instance, which makes playing a lot of single-player games much more comfortable, especially during long sessions.
The Xbox Elite 2 includes a travel case, just like the first generation, but this iteration is improved, too. It has a removable charging dock, which is a quality accessory in its own right. The dock offers pass-through charging even while the controller is inside the case, too, thanks to a USB-C cut-through that you can seal with a rubberized flap when it’s not in use.
In addition to housing the charger and controller, the case can hold the additional sticks and D-pad, as well as the paddles when those aren’t in use. It’s got a mesh pocket for holding charging cables and other small accessories, and the exterior is a molded hard plastic wrapped in fabric that feels super durable, and yet doesn’t take up much more room than the controller itself when packed in a bag.
The case is actually a huge help in justifying that $179.99 price tag, as all of this would be a significant premium as an after-market add-on accessory for a standard controller.
Microsoft took its time with a successor to the original Xbox Elite Wireless Controller, and while at first glance you might think that not much has changed, there are actually a lot of significant improvements here. The controller’s look and feel also feel better, with more satisfying button, pad and the stick response, and a better grip thanks to the new semi-textured finish on the front of the controller.
USB-C and more customization options might be good enough reason even for existing Elite Controller owners to upgrade, but anyone on the fence about getting an Elite to begin with should definitely find this a very worthwhile upgrade over a standard Xbox One controller.
Welcome back to This Week in Apps — the easiest way to keep up with everything that happened in the world of apps over the past week — from the breaking news to the trends and all the other information an industry watcher needs to know.
The app industry is as hot as ever, with 194 billion downloads in 2018 and more than $100 billion in consumer spending. People spend 90% of their mobile time in apps and more time using their mobile devices than watching TV. In other words, apps aren’t just a way to waste idle hours — they’re big business, and one that often seems to change overnight.
In this Extra Crunch series, we help you to keep up with the latest news from the world of apps.
This week, we’re looking at that one iOS 13 bug everyone is complaining about, App Store Q3 trends, plus the latest revenue numbers announced by Apple and Google during quarterly earnings. We’ve also found a new product for figuring out what may have caused spikes or changes in an app’s history, and we’re tracking new information about Microsoft’s Xbox Console to mobile streaming service as well as Google’s Motion Sense.
To get this information, subscribe to Extra Crunch.
Apple released iOS 13.2 with Deep Fusion this week. The release also included new emoji, Siri recording opt-out, bug fixes and security improvements. But it didn’t solve the background app bug.
As a result, developers are angry and users are frustrated. A number of iOS 13 users are complaining about iOS 13’s aggressiveness in killing background apps and tasks, which is attributed to poor RAM management. This particularly affects apps like Safari, YouTube, Overcast and others. Users have lost Safari tabs, emails they were composing, or the video they were watching just after switching away for a minute.
I’ve noticed this since the first 13.2 betas, and Overcast users keep reporting it as well: background apps seem to be getting killed MUCH more aggressively than before.
(Especially on the iPhone 11 if you use the camera, presumably because it needs so much RAM for processing.) https://t.co/Qscmsj1OGY
— Marco Arment (@marcoarment) October 29, 2019
This has been a problem since the betas, but people were hoping they’d be addressed by the public releases. Apple hasn’t clarified what’s at fault here, but there’s speculation about the impact of the memory-intensive camera system.
As TechCrunch editor Matthew Panzarino put it, it “feels like I’m back on iOS 3.”
On this week’s episode of @atpfm, I compared it to a toddler under a blanket. “You can’t see me! I’m invisible!” But on iOS 13.2, it’s actually true. As soon as you’re not looking at an app, it disappears from RAM.
— John Siracusa (@siracusa) October 31, 2019
Developer Nick Heer of Pixel Envy says the bug isn’t catastrophic, but “it absolutely should be the highest of priorities to fix it. It’s embarrassing that all of the hard work put into making animations and app launching feel smooth is squandered by mismanaged multitasking,” he says.
Outside of mobile games, entertainment and streaming apps are also pulling in the big money. But there’s another category benefiting from the shift to the subscription model: photo and video apps. In this category, you’ll find apps that promise to touch up photos, add filters that can make or break Instagram careers, as well as the video giants like YouTube and TikTok.
In Q3, the category grossed more than $500 million, up a whopping 75% year-over-year, says Sensor Tower. It’s also seeing an annual growth rate of 101% since 2016. Much of this is attributable to YouTube, which alone was responsible for 30% of the category’s revenue in Q3. (Just wait until TikTok takes in-app monetization seriously, though.)
But now, it’s not just the top apps that are growing. In Q3, 22 apps exceeded $3 million in gross user spend, compared to just 2 in Q3 2016. And 7 apps had more than $10 million in revenue, including TikTok, VSCO, Facetune 2, FaceApp, and PicsArt.
Chad Hurley is hunting for what comes after fantasy sports. He envisions a new way for fans to play by watching live and cheering for the athletes they love. Beyond a few scraps of info the YouTube co-founder would share and his new startup’s job listings revealed, we don’t know what Hurley’s game will feel like. But the company is called GreenPark Sports, and it’s launching in Spring 2020.
“There is an absence of compelling, inclusive ways for large masses of sports fans to compete together” Hurley tells me. “The idea of a ‘sports fan’ has evolved – it is now more a social behavior than ever before. We’re looking at a much bigger, inclusive way for all fans of sports and esports teams to play.”
Hurley already has an all-star team. One of GreenPark’s co-founders Nick Swinmurn helped start Zappos, while another Ken Martin created marketing agency BLITZ. Together they’ve raised an $8.5 million seed round led by SignalFire and joined by Sapphire Sports and Founders Fund. “With this team’s impeccable track record and vision for the future of fandom, this was an investment we had to make,” said Chris Farmer, founder and CEO of SignalFire.
It all comes down to allegiance — something Hurley, Swinmurn, and Martin truly understand. Everyone is seeking ways to belong and emblems to represent them. In an age when many of our most prized possessions from photographs to record collections have been digitized, we lack tangible objects that center our individuality. Culture increasingly centers around landmark events, with what we’ve done mattering more than what we own.
GreenPark could seize upon this moment by helping us to align our identities with a team. This instantly unlocks a likeminded community, a recurrent activity, and a unified aesthetic. And when reality gets heavy, people can lose themselves by hitching their spirits to the scoreboard.
Rather than just tabulating results after the match like in fantasy sports, GreenPark wants to be entwined with the spectacle as it happens. “We’re going to be working with a mix of ways to visualize the live game – from unique gamecast-like data to highlight clips. The social viewing experience can be much more than just the straight live video” Hurley explains.
He came up with GreenPark after selling assets of his video editing app Mixbit to BlueJeans a year ago. Hurley already had an interactive relationship with sports…though one that’s reserved for the rich: he’s part owner of the Golden State Warriors and Los Angeles Football Club. Meanwhile, Swinmurn co-founded the Burlingame Dragons Football Club affiliated with San Jose’s team, and is on the board of Denmark’s FC Helsingør.
Those experiences taught them the satisfaction that comes from a deeper sense of ownership or allegiance with a team. GreenPark will give an opportunity for anyone to turn fandom into its own sport. “We shared a love of sports and set out to look into opportunities around legalized sports betting in the US” Hurley tells me.” But quickly they found “it was obvious the regulated space wouldn’t allow us to innovate as quickly as we wanted” and they saw a more opportunity amidst a younger mainstream audience.
“We’re not ready to disclose publicly the exact detailed gameplay yet” Hurley says. But here’s what we could cobble together from around the web.
GreenPark Sports lets you “Destroy the other teams’ fans” to “climb the leaderboards”, its site says cryptically. According to job listings, it will pipe in live game data, starting with the NBA and expanding to other leagues, and offer cartoon characters with facial expressions and full-body gestures to let users live out the highs and lows of matches. Don’t expect trivia questions or player stat memorization. It almost sounds like a massively multiplayer online fan arena.
As with blockbuster games Fortnite or League Of Legends, GreenPark is free-to-play. But a mention of virtual clothing hints at monetization, where you could spruce up avatars with digital team apparel. Hurley tells me “We are in the perfect storm of the thirst for innovation at the traditional league level, the next level of maturing for esports, investment in sports betting and overall dire need to better understand today’s largest populace of sports fans – Millenial / Gen Z.” The closed beta launches in the Spring.
There’s a massive hole to fill in the wake of the Draft Kings / FanDuel marketing sure a few years ago. Most apps in the space just carry scores or analysis, rather than community. “What’s amazing about being a fan of a team or player is the common bond you have with other fans” Hurley explains, “where even if you don’t know the other fans of your team – you are all in it to win it – together.”
Publications like The Athletic have proven there are plenty of fans willing to pay to feel closer to their favorite teams. The most direct competitor for GreenPark might be Strafe, that lets you track and predict the winners of esports matches.
People already spend tons of time on building fictional worlds like Minecraft and money outfitting their Fortnite avatar with the coolest clothes. If GreenPark can create a space for sports’ fan self-expression, it could create the online destination for legions of IRL enthusiasts that see who they root for as core to who they are.
French startup MadBox is raising a $16.5 million (€15 million) Series A funding round from Alven. The company is developing mobile games and handles everything from start to finish, from game design to publishing and user acquisition.
MadBox is a young player in the mobile game space. The company is the result of the merger of two tiny Paris-based game studios in July 2018. After a couple of months, the startup released its first game, Dash Valley. And the game quickly ended up trending in the top 50 of top free game downloads in the App Store in the U.S.
The company has released a handful of games since then. At some point, MadBox had three games in the top 10 charts in the U.S. (once again, free game downloads) — StickMan Hook, Sausage Flip and Idle Ball Race. Overall, MadBox has generated 100 million game downloads.
“The core method at MadBox is that we internalize everything,” co-founder and CEO Jean-Nicolas Vernin told me. “We try to automate as many thing as possible.”
In addition to reusing assets from one game to another, MadBox also tries to apply the same method when it comes to user acquisition and marketing. “People often tell us that we have a data-driven culture that is disproportionately developed in our company,” Vernin said.
MadBox has a careful approach when it comes to growth. The company hires slowly and doesn’t release dozens of games in a year.
With 30 to 40 employees and a business model mostly based on ads, the company is currently profitable. MadBox now wants to tackle a wider range of mobile games, from hyper casual to idle games and less casual games. The startup is also opening a second office in Barcelona.
“We are a generation of friends who have worked for well-known casual game studios. And we all think that big game productions will have to become simpler so that people can play them like casual games — and vice versa,” Vernin said. And MadBox wants to be there when these two worlds collide.
What do BMW, Tencent, Pokémon Go creator Niantic, movie director Jon Favreau and construction giant Skanska have in common? They’re all using the same platform to create their products.
Founded in a small Copenhagen apartment in 2004, Unity Technologies’ makes a game engine — a software platform for building video games. But the company, which was recently valued around $6 billion and could be headed toward an IPO, is becoming much more than that.
“Unity wants to be the 3D operating system of the world,” says Sylvio Drouin, VP of the Unity Labs R&D team.
Customers can design, buy, or import digital assets like forests, sound effects, and aliens and create the logic guiding how all these elements interact with players. Nearly half of the world’s games are built with Unity, which is particularly popular among mobile game developers.
And in the fourteen years since Unity’s engine launched, the size of the global gaming market has exploded from $27 billion to $135 billion, driven by the rise of mobile gaming, which now comprises the majority of the market.
Unity is increasingly used for 3D design and simulations across other industries like film, automotive, and architecture and is now used to create 60% of all augmented and virtual reality experiences. That positions Unity — as Facebook CEO Mark Zuckerburg argued in a 2015 memo in favor of acquiring it — as a key platform for the next wave of consumer technology after mobile.
Unity’s growth is a case study of Clayton Christensen’s theory of disruptive innovation. While other game engines targeted the big AAA game makers at the top of the console and PC markets, Unity went after independent developers with a less robust product that was better suited to their needs and budget.
As it gained popularity, the company captured growth in frontier market segments and also expanded upmarket to meet the needs of higher-performance game makers. Today, it’s making a push to become the top engine for building anything in interactive 3D.
This article is part of my ongoing research into the future of interactive media experiences. This research has included interviews with dozens of developers, executives, and investors in gaming and other industries, including interviews with over 20 Unity executives.
Unity was founded in Copenhagen by Nicholas Francis, Joachim Ante, and David Helgason. Its story began on an OpenGL forum in May 2002, where Francis posted a call for collaborators on an open source shader-compiler (graphics tool) for the niche population of Mac-based game developers like himself. It was Ante, then a high school student in Berlin, who responded.
Ante complemented Francis’ focus on graphics and gameplay with an intuitive sense for back-end architecture. Because the game he was working on with another team wasn’t going anywhere, they collaborated on the shader part-time while each pursued their own game engine projects, but decided to combine forces upon meeting in-person. In a sprint to merge the codebases of their engines, they camped out in Helgason’s apartment for several days while he was out of town. The plan was to start a game studio grounded in robust tech infrastructure that could be licensed as well.
Helgason and Francis had worked together since high school, working on various web development ventures and even short-lived attempts at film production. Helgason dropped in and out of the University of Copenhagen while working as a freelance web developer. He provided help where he could and joined full-time after several months, selling his small stake in a web development firm to his partners.
According to Ante, Helgason was “good with people” and more business-oriented, so he took the CEO title after the trio failed to find a more experienced person for the role. (It would be two years before Ante and Francis extended the co-founder title and a corresponding amount of equity to Helgason.)
They recruited a rotating cast to help them for free while prototyping a wide range of ideas. The diversity of ideas they pursued resulted in an engine that could handle a broad range of use cases. Commercializing the engine became a focus, as was coming up with a hit game that would show the engine off to its best advantage; for indie developers, having to reconstruct an engine with every new game idea was a pain point that, if solved, would enable more creative output.
Supported by their savings, a €25,000 investment from Ante’s father, and Helgason’s part-time job at a café, they pressed on for three years, incorporating in the second year (2004) with the name Over The Edge Entertainment.
The game they ultimately committed to launching in spring 2005, GooBall, was “way too hard to play,” says Ante and didn’t gain much traction. Recognizing that they were better at building development tools and prototypes than commercially-viable games, they bet their company on the goal of releasing a game engine for the small Mac-based developer community. Linking the connotations of collaboration and cross-compatibility, they named the engine Unity.