Amazon’s free, ad-supported streaming service IMDb TV is getting its own mobile app. The company announced the news today at its first-ever NewFronts presentation to advertisers, where it also shared that its over-the-top streaming businesses combined — meaning, IMDb TV, Twitch, live sports like Thursday Night Football, Amazon’s News app, and others — have now grown to over 120 million monthly viewers.
This over-the-top business, or Amazon OTT as it’s called, includes anywhere ads show up alongside content on the IMDb TV app, Twitch’s game streaming site, during live sports Amazon streams through Prime Video, its 3P network and broadcaster apps, and its Amazon’s News app for Fire TV.
IMDb TV viewership, in particular, jumped 138% year-over-year, Amazon noted.
The ad-supported service, which likely benefited from the same pandemic bump that drove streaming service viewership higher across the board last year, is something of a rival to other free, ad-supported streamers, like Fox’s Tubi, ViacomCBS’s Pluto TV, or Roku’s The Roku Channel. However, more like Roku’s hub, Amazon leverages IMDb TV to help it sell its own media devices by promising users easy access to free, streaming content.
Today, that’s resulted in the IMDb TV app seeing the majority of its usage on Fire TV. But over the past several months, the app has become more broadly available, with launches on Roku, Chromecast with Google TV, PlayStation 4 consoles, Xbox One and Series X devices, LG Smart TVs, Nvidia, Sony Android TV, and TiVo Android TV devices, Amazon says.
Now it will get its own dedicated mobile app, as well, instead of only a small section inside the IMDb app where the service’s content can be found today on smartphones. The new standalone app will arrive this summer on both iOS and Android, says Amazon.
Amazon also told advertisers about IMDb TV’s current user base, noting that 62% were in between ages 18 and 49. And they spend 5.5 hours per week on the app, on average.
The forthcoming mobile launch was one of several announcements Amazon made today at its Newfronts presentation today.
The company also detailed its upcoming IMDb TV slate, including unscripted series “Luke Bryan: My Dirt Road Diary,” “Bug Out” and “Untitled Jeff Lewis Project” as well as scripted releases “Blessed and Highly Favored,” “Greek Candy,” “Primo,” “The Fed, and “The Pradeeps of Pittsburgh, PA.” Music duo Tegan and Sara’s memoir “High School” will be adapted as an original series for IMDb TV. IMDb TV also announced a new crime drama “Leverage: Redemption” and police drama “On Call.”
IMDb TV parent company, Amazon, meanwhile, expanded its deal with the NFL for Thursday Night Football, which now run 11 seasons, starting with the 2022 season instead of the following year.
Sony and Discord have announced a partnership that will integrate the latter’s popular gaming-focused chat app with PlayStation’s own built-in social tools. It’s a big move and a fairly surprising one given how recently acquisition talks were in the air — Sony appears to have offered a better deal than Microsoft, taking an undisclosed minority stake in the company ahead of a rumored IPO.
The exact nature of the partnership is not expressed in the brief announcement post. The closest we come to hearing what will actually happen is that the two companies plan to “bring the Discord and PlayStation experiences closer together on console and mobile starting early next year,” which at least is easy enough to imagine.
Discord has partnered with console platforms before, though its deal with Microsoft was not a particularly deep integration. This is almost certainly more than a “friends can see what you’re playing on PS5” and more of a “this is an alternative chat infrastructure for anyone on a Sony system.” Chances are it’ll be a deep, system-wide but clearly Discord-branded option — such as “Start a voice chat with Discord” option when you invite a friend to your game or join theirs.
The timeline of early 2022 also suggests that this is a major product change, probably coinciding with a big platform update on Sony’s long-term PS5 roadmap.
While the new PlayStation is better than the old one when it comes to voice chat, the old one wasn’t great to begin with, and Discord is not just easier to use but something millions of gamers already do use daily. And these days, if a game isn’t an exclusive, being robustly cross-platform is the next best option — so PS5 players being able to seamlessly join and chat with PC players will reduce a pain point there.
Of course Microsoft has its own advantages, running both the Xbox and Windows ecosystems, but it has repeatedly fumbled this opportunity and the acquisition of Discord might have been the missing piece that tied it all together. That bird has flown, of course, and while Microsoft’s acquisition talks reportedly valued Discord at some $10 billion, it seems the growing chat app decided it would rather fly free with an IPO and attempt to become the dominant voice platform everywhere rather than become a prized pet.
Sony has done its part, financially speaking, by taking part in Discord’s recent $100 million H round. The amount they contributed is unknown, but perforce it can’t be more than a small minority stake, given how much the company has taken on and its total valuation.
Even as signs of hope for life after the pandemic have begun to emerge here in the U.S., increases in video game spending continue. There’s no doubt that much of last year’s big numbers were driven by stay-at-home requirements in much of the country and the world. All said, U.S. spending on the industry increased 27% for 2020.
There remains a broader question, however, around whether this momentum can maintain, as people start to, you know, leave the house more. For now, at least, things are continuing to look rosy for the industry. NPD noted this morning that U.S. spending on the category jumped 30% y-o-y for Q1 2021 to $14.92 billion.
When we break the number down a bit, however, it becomes clear that the driver goes beyond mere pandemic entertainment. Content was up 25% for the quarter, accessories jumped 42% and hardware went up 82%.
The motivator behind that last figure should be immediately obvious to anyone who follows the industry with any among of interest. Where Nintendo’s Switch dominated the conversation for most of 2020, Sony and Microsoft both launched their next gen consoles late-last year.
“While we are still seeing elevated rates of both engagement and spending resulting from changes in consumer behavior driven by the pandemic, we are also seeing cyclical gains from the November launches of both the PlayStation 5 and Xbox Series consoles,” analyst Mat Piscatella said in a release The growth driven by these new platforms, combined with gains experienced in mobile, PC and VR content spending, as well as the continued strength of Nintendo Switch, have pushed the market to new highs.”
Erase All Kittens (EAK) is an EdTech startup that created a ‘Mario-style’ web-based game designed for kids aged 8-12. However, the game has a twist: it places an emphasis on inspiring girls to code (since let’s face it, most coding tools are created by men). After reaching 160,000 players in over 100 countries, it’s now raised a $1M Seed funding led by Twinkl Educational Publishing, with participation from first investor Christian Reyntjens of the A Black Square family office, alongside angel investors, including one of the founders of Shazam.
While the existing EAK game is free, a new game launched in July will be paid for, further boosting the product’s business model.
EAK says its research shows that some 55% of its players are girls, and 95% want to learn more about coding after playing its game. EAK is currently being used in over 3,000 schools, mostly in the UK and US, and its traction increased by 500% during the lockdowns associated with the pandemic.
It’s Erase All Kittens’ contention that coding education tools for children have been largely built by men and so naturally appeal more to boys. With most teaching repetitive coding, in a very rigid, instructional way, it tends to appeal more to boys than girls, says EAK.
“Players edit the code that governs the game environment, building and fixing levels as they play in order to save kittens in a fantasy internet universe,” said cofounder Dee Saigal, co-founder, CEO and creative director. Saigal is joined by co-founder Leonie Van Der Linde; CTO Rex Van Der Spuy; Senior Games Developer Jeremy Keen; and 2D Games Artist Mikhail Malkin.
Said Saigal: “We’re designing a coding game that girls genuinely love – one that places a huge emphasis on creativity. Girls can see instant results as they code, there are different ways to progress through the game, and learning is seamlessly blended with storytelling.”
Saigal said: “When I was younger I wanted to be a games designer. I loved coming up with ideas for games but coding had always seemed like an impossible task. We weren’t taught coding at school, and I couldn’t see anyone who looked like me making games, so I didn’t think it was something I could do.”
“Whilst researching our target audience, we found that one of the biggest obstacles for girls still begins with gender stereotypes from an early age. By the time girls reach school, this snowballs into a lack of confidence in STEM skills and lower expectations from teachers, which in turn can lead to lower performance—a gap that only widens as girls get older.”
EAK’s competitors include Code Kingdoms, Swift Playgrounds and CodeCombat. But Saigal says these games tend to appeal far more to boys than to girls.
The new game (see below) will be sold to schools and parents, globally. EAK will also be carrying out a one-for-one scheme, where for every school account purchased, one will be donated to underserved schools via partnerships with tech companies, educational organizations, and NGOs.
Jonathan Seaton, Co-founder and CEO at Twinkl and Director of TwinklHive, said: “We’re really excited to partner with Erase All Kittens, as a digital company Twinkl recognizes the importance of preparing children to succeed in the digital age and we believe through this partnership we can really make a difference.”
“The team is particularly excited about helping further Erase All Kitten’s mission to empower girls and give them the same opportunities to learn to code and build their own digital creations. Ensuring that all children have equal access to opportunities to learn is at the heart of Twinkl’s vision and a key motivation in the development of this partnership for both organizations.”
Erase All Kittens
Erase All Kittens says it is addressing the global skills gap, where the gender gap is increasingly widening. According to PWC, just 24% of the tech workforce is female and women make up just 12% of all engineers, while only 3% of female students in the UK list tech as their first career choice.
Research by Childwise found that 90% of girls give up on coding after first trying it, and if they lose interest in STEM subject by the age of 11, they never recover from that. This is a huge and growing problem for the tech industry and for investors.
Returnal, released today for the PlayStation 5, is an action adventure that has you exploring an alien world that reconfigures itself whenever you die, bringing you back for another shot at escaping. It’s exciting, frustrating, and beautiful, though it isn’t particularly original. But while it is arguably the first game to be released that was designed and built for next generation consoles, it’s not the mainstream hit many gamers are waiting for.
First I should probably justify my “arguably.” The PS5 debuted with the impressive remake of Demon’s Souls, and while I enjoyed that greatly, it was only next-gen in its presentation; many dated aspects faithfully carried over from the original mean it can’t really be considered a fully next generation title. The pack-in Astro’s Playroom is a delight but doesn’t compare with full-scale games. Destruction All-Stars was something of a damp squib. And excellent games like Spider-Man: Miles Morales and Assassin’s Creed: Valhalla span the generations, playing best but by no means exclusively on PS5.
So Returnal really is, in a non-trivial way, the first really “next-gen” PS5 game — and it carries the “next-gen” PS5 price tag of $70, more in many regions. Can it justify this premium? In some ways yes, but like Demon’s Souls this is a difficult game that involves a potentially off-putting amount of repetition and failure for mainstream audiences.
The game starts with your character, a sci-fi space explorer working for a mysterious company called Astra (there are clear nods to Weyland-Yutani from Alien), crashing on a forbidden planet and finding herself — literally — stuck in a sort of time loop. (You’ll see what I mean by literally.)
Without getting into the specifics of the plot, which is slowly revealed through found recordings, exploration of ancient ruins, and decoding alien symbols, Selene is seemingly trapped on the planet until she can figure out what’s going on, and whenever she dies the world shifts around to provide new challenges and opportunities.
Each loop or “cycle” involves the player starting from the crash site and progressing through the world, different but familiar every time. You encounter enemies, collect power-ups like new weapons or artifacts that affect your abilities, and occasionally an item that will permanently augment your suit or open new paths to take.
To call any individual aspect of the game original would be inaccurate — it takes with a free hand from its august predecessors in both gameplay and presentation. Without spoiling too much I’d say its progression and design share the most with indie breakout hit Dead Cells, with a dose of Risk of Rain 2, and a setting
lifted wholesale from elaborating on Alien and Prometheus. That said, the story and backstory owe more to Solaris. It wears its influences on its sleeve to be sure, but they come together as something cohesive, not a sloppy pastiche.
Returnal starts out almost frustratingly simple, but this is soon remedied as new abilities and layers of complexity are added to the mix; expect the “tutorial” to be meted out over a few hours as things are discovered organically.
You make your way through what amounts to arena after arena, sometimes large and multi-layered, sometimes confined, and fight whatever appears. Combat is frantic and high risk — monsters don’t telegraph ponderous swipes at you but rather spew dozens or hundreds of bullets in your direction, making you rely on smart anticipatory movement and the cluttered landscape to stay alive. As you defeat them you accrue increasingly powerful boons that only last until you get hit, at which point they all disappear, adding a layer of urgency to every encounter: you could gain a crucial edge for the next miniboss — or lose what you’ve built up over minutes of careful play. You can’t take any enemy lightly — those that don’t kill you will make you weaker.
The player moves forward by exploring and eventually defeating an area boss, encounters that are more than a little taxing and generally take a few tries. Then it’s on to a new, different “biome” to do it all again with a different color scheme (and new enemies, hazards and so on).
The look and feel of Returnal is what you might call “early next-gen.” It’s detailed, interesting looking and realistic in a sci-fi way, and it uses lighting and color well to create both a sense of place and gameplay objectives. It’s better in some ways than what you’d expect from a PS4 or Xbox One game but ultimately the advances here seem to be more on the side of “fewer limitations” rather than “new capabilities.” Load times are practically non-existent — a second or two at most — and in places where sightlines are farther than a room or two, the scale of what’s being drawn is impressive. The framerate is a steady 60, making combat fluid no matter how crowded and chaotic it gets.
As for the claim of a “living world” that’s truly different every time, you can pretty much ignore that. You’ll encounter the same rooms and structures repeatedly, maybe with different enemies or items, but don’t expect a wildly different experience every loop. Just enough that the repetition isn’t too repetitious.
Sound is solid and I’d definitely recommend headphones. Your number one issue is going to be getting blasted in the back and positional audio will help a lot with that, as each enemy has characteristic noises for its actions.
The PS5 controller’s advanced haptics are put to good use with two-stage virtual triggers and a lot of contextual vibrations. I do wish there was a way to control these with a bit more granularity, as the constant patter of rain in the first area was numbing my hands, but the other haptic cues were useful and quickly became second nature.
Games in the “roguelite” (i.e. you start from scratch every life like a roguelike, but occasionally gain permanent upgrades) genre can fall flat if your progression, either within a loop or over many of them, involves little more than “+4% pistol damage” or a few more hit points. Fortunately Returnal is well aware of this and its weapons, artifacts, perks and so on often confer interesting bonuses or risk/reward mechanics. And you only have one weapon at a time, meaning the choice between, say, an assault rifle with special ability A and a shotgun with special ability B is a complex and risky one.
Eventually you’ll be able to skip past certain areas, but you may not want to, preferring to scour side paths for resources so you’re not going into the next boss room naked and afraid. In general the game manages to keep a lot of interesting tensions going on with the player that make every decision consequential, not to say agonizing.
Is Returnal worth its premium $70 asking price? For some people, yes. But this isn’t the kind of mainstream blockbuster that would ordinarily justify the increased cost.
So far I’ve played about 20 hours, done 30-odd runs, and based on what I know I’m about halfway through the game. Most of my progress was made on what I think of “prestige” runs, the handful where everything goes right and I get much further than before, making them tense and exciting. (Many ended within five minutes due to poor momentum or rage quits.) The game promises replay value past the credits, though, so a guess of 40 hours of content is more of a floor than a ceiling.
The difficulty may present a barrier to many players. A dialogue at the start of the game warns you that the game is meant to be challenging and that death is part of the journey. Great, but that doesn’t make it any less frustrating when you get ambushed by a dozen enemies, wiping out half an hour of of progress in an instant. While generally the game falls into the “tough but fair” category, there are spikes here and there that feel gratuitous, and loops where you feel unlucky or underpowered and have to fight the urge to reset.
I don’t mind personally — compared to the Dark Souls series it’s a cakewalk. I almost beat the first boss on my first encounter; good luck doing that with Ornstein and Smough or Father Gascoigne! But like those games it takes a certain type of player to want to power through the early hours and access the huge amount of value essentially locked behind repeated failure. Similar to how many Demon’s Souls players never progress past that game’s punishing first area, players not ready for the acrobatics and perseverance necessary to traverse the unforgiving bullet hell of Returnal may never escape its gloomy, restrictive first biome for the bright, open second one or glimpse its intriguing backstory. (I’ve included some tips below to help people get through the first hours.)
Compared with the steady progression and traditional storytelling of something like AC: Valhalla or Miles Morales this may put off less masochistic gamers or prompt more than a few controller-throwing, refund-requesting moments. After all, paying $70 for a game that slaps you in the face while you try to access the latter $50 worth of it can be justifiably frustrating.
With all that said, it is nice to see a AAA next-generation game that isn’t a sequel or franchise, and seeing the “roguelite” formula embraced seriously beyond the indie world. Returnal may not be for everyone, but for the subset of gamers who have embraced this genre for years, it’s an easy one to recommend.
Tips for playing:
If you do decide to dive in, here are a handful of non-spoilery “wish I’d known that” tips to get you on the right track.
Roku is alerting its customers that they may lose access to the YouTube TV channel on its platform after negotiations with Google went south. The company alleges that Google is attempting to use its monopoly power to insist on unfair, anticompetitive terms with regard to how Roku handles search results for YouTube content, customer data and more. The email also urges Roku customers to reach out to Google to voice their concerns.
Details of the spat were first reported by Axios.
Roku says Google continues to ask for special treatment on Roku’s streaming media player platform, which today includes a dedicated search results row for YouTube that appear after a customer performs a universal voice search. Roku claims YouTube over a year ago threatened to remove the YouTube app if Roku didn’t comply with this particular demand. It now wants to ask Google to not preference its own service in the search results, as it believes this row doesn’t serve its customer base well. The row returns YouTube results at the top of the search results page, even when this isn’t relevant to what the customer was searching for in the first place, Roku explains.
In addition, Google is adding on to its earlier demands with a new series of requests to only show only YouTube or YouTube Music search results when the YouTube app is open — even overriding Roku user preferences to do so. Today, Roku allows its customers to set their own preferred music service provider for their music requests. Google’s ask that if a user presses the Roku voice search button while YouTube is open, that query returns only YouTube results. That means YouTube Music would play any music request, and YouTube search results would appear for any other request.
Roku says this also disadvantages the customer because it doesn’t honor the user’s preferences — like if their preferred music service is Roku, for example. Also, Roku couldn’t even use the search results to tell the customer if they’ve already paid for the content being requested — like showing them a movie they’ve already bought on another service or one of their paid subscriptions that carries the title.
There are other concerning demands as well, including asks for customer data that goes outside the realm of industry standard practices, Roku told TechCrunch. Roku says this data isn’t available to any other partners and it doesn’t want to share it with Google, either.
Finally, Google wants to reserve the right to ask for new certification requirements, as needed, for carrying YouTube — changes that could impact the cost of Roku’s hardware. By increasing the specs — say, asking for a faster processor speed or more memory — Google could close the gap between Roku’s low-end $29 device with Google’s new $50 Chromecast with Google TV. Roku admits Google has asked for those sorts of hardware changes before, but it now wants that in the YouTube TV agreement, too.
More broadly, Roku is concerned how Google is leveraging YouTube as it asks for these changes, even though the agreement being negotiated is YouTube TV. It says its deal with YouTube is not up for renewal at this time. We understand Google may have also issued similar requests to some TV platforms, but not larger companies like Apple (for Apple TV).
“Google is attempting to use its YouTube monopoly position to force Roku into accepting predatory, anti-competitive and discriminatory terms that will directly harm Roku and our users,” a Roku spokesperson told TechCrunch. “Given antitrust suits against Google, investigations by competition authorities of anti-competitive behavior and Congressional hearings into Google’s practices, it should come as no surprise that Google is now demanding unfair and anti-competitive terms that harm Roku’s users,” they said.
Roku declined to say whether or not it would bring its complaints before antitrust investigators, noting that, for now, its focus on closing the deal for YouTube TV.
While it’s common to see carriage disputes when contracts come up for renewal, those tend to involve requests for more money to allow a platform — like a pay TV provider, for example — to continue to carry a channel or group of channels. In this case, Roku says its not asking for any change in economic terms.
In the email sent to customers this morning at 6 AM, Roku says it won’t accept Google’s terms and its “anticompetitive requirements to manipulate your search results, impact the usage of your data, and ultimately cost you more.”
The full letter is below:
Dear Roku Customer,
We are sending this email to update you on the possibility that Google may take away your access to the YouTube TV channel on Roku. Recent negotiations with Google to carry YouTube TV have broken down because Roku cannot accept Google’s unfair terms as we believe they could harm our users.
Ensuring a great streaming experience at an exceptional value is the core of our business. We will always stand up for our users, which is why we cannot accept Google’s unfair and anticompetitive requirements to manipulate your search results, impact the usage of your data and ultimately cost you more.
While we are deeply disappointed in Google’s decision to use their monopoly power to try and force terms that will directly harm streamers, we remain committed to reaching an agreement with Google that preserves your access to YouTube TV, protects your data and ensures a level playing field for companies to compete. We encourage you to contact Google and urge them to reach an agreement to continue offering YouTube TV on Roku and to follow standard industry practices pledging not to require access to sensitive search data or to manipulate your search results.
Google has provided a comment, which claims Roku is making inaccurate allegations.
“We have been working with Roku in good faith to reach an agreement that benefits our viewers and their customers. Unfortunately, Roku often engages in these types of tactics in their negotiations. We’re disappointed that they chose to make baseless claims while we continue our ongoing negotiations. All of our work with them has been focused on ensuring a high quality and consistent experience for our viewers. We have made no requests to access user data or interfere with search results. We hope we can resolve this for the sake of our mutual users.”
When the third minute of Apple’s first product event of 2021 ticked over and they had already made 3 announcements we knew it was going to be a packed one. In a tight single hour this week, Apple launched a ton of new product including AirTags, new Apple Card family sharing, a new Apple TV, a new set of colorful iMacs, and a purple iPhone 12 shade.
Of the new devices announced, though, Apple’s new 12.9” iPad Pro is the most interesting from a market positioning perspective.
This week I got a chance to speak to Apple Senior Vice President of Worldwide Marketing Greg Joswiak and Senior Vice President of Hardware Engineering John Ternus about this latest version of the iPad Pro and its place in the working universe of computing professionals.
In many ways, this new iPad Pro is the equivalent of a sprinter being 3 lengths ahead going into the last lap and just turning on the afterburners to put a undebatable distance between themselves and the rest of the pack. Last year’s model is still one of the best computers you can buy, with a densely packed offering of powerful computing tools, battery performance and portability. And this year gets upgrades in the M1 processor, RAM, storage speed, Thunderbolt connection, 5G radio, new ultra wide front camera and its Liquid Retina XDR display.
This is a major bump even while the 2020 iPad Pro still dominates the field. And at the center of that is the display.
Apple has essentially ported its enormously good $5,000 Pro Display XDR down to a 12.9” touch version, with some slight improvements. But the specs are flat out incredible. 1,000 nit brightness peaking at 1,600 nits in HDR with 2,500 full array local dimming zones — compared to the Pro Display XDR’s 576 in a much larger scale.
Given that this year’s first product launch from Apple was virtual, the media again got no immediate hands on with the new devices introduced, including iPad Pro. This means that I have not yet seen the XDR display in action. Unfortunately, these specs are so good that estimating them without having seen the screen yet is akin to trying to visualize “a trillion” in your head. It’s intellectually possible but not really practical.
It’s brighter than any Mac or iOS device not the market and could be a big game changing device for professionals working in HDR video and photography. But even still, this is a major investment to ship a micro-LED display in the millions or tens of millions of units with more density and brightness than any other display on the market.
I ask both of them why there’s a need to do this doubling down on what is already one of the best portable displays ever made — if not one of the best displays period.
“We’ve always tried to have the best display,” says Ternus. “We’re going from the best display on any device like this and making it even better, because that’s what we do and that’s why we, we love coming to work every day is to take that next big step.
“[With the] Pro Display XDR if you remember one thing we talked about was being able to have this display and this capability in more places in the work stream. Because traditionally there was just this one super expensive reference monitor at the end of the line. This is like the next extreme of that now you don’t even have to be in the studio anymore you can take it with you on the go and you can have that capability so from a, from a creative pro standpoint we think this is going to be huge.”
In my use of the Pro Display and my conversations with professionals about it one of the the common themes that I’ve heard is the reduction in overall workload due to the multiple points in the flow where color and image can be managed accurately to spec now. The general system in place puts a reference monitor very late in the production stage which can often lead to expensive and time consuming re-rendering or new color passes. Adding the Liquid Retina XDR display into the mix at an extremely low price point means that a lot more plot points on the production line suddenly get a lot closer to the right curve.
One of the stronger answers on the ‘why the aggressive spec bump’ question comes later in our discussion but is worth mentioning in this context. The point, Joswiak says, is to offer headroom. Headroom for users and headroom for developers.
“One of the things that iPad Pro has done as John [Ternus] has talked about is push the envelope. And by pushing the envelope that has created this space for developers to come in and fill it. When we created the very first iPad Pro, there was no Photoshop,” Joswiak notes. “There was no creative apps that could immediately use it. But now there’s so many you can’t count. Because we created that capability, we created that performance — and, by the way sold a fairly massive number of them — which is a pretty good combination for developers to then come in and say, I can take advantage of that. There’s enough customers here and there’s enough performance. I know how to use that. And that’s the same thing we do with each generation. We create more headroom to performance that developers will figure out how to use.
“The customer is in a great spot because they know they’re buying something that’s got some headroom and developers love it.”
The iPad Pro is now powered by the M1 chip — a move away from the A-series naming. And that processor part is identical (given similar memory configurations) to the one found in the iMac announced this week and MacBooks launched earlier this year.
“It’s the same part, it’s M1,” says Ternus. “iPad Pro has always had the best Apple silicon we make.”
“How crazy is it that you can take a chip that’s in a desktop, and drop it into an iPad,” says Joswiak. “I mean it’s just incredible to have that kind of performance at such amazing power efficiency. And then have all the technologies that come with it. To have the neural engine and ISP and Thunderbolt and all these amazing things that come with it, it’s just miles beyond what anybody else is doing.”
As the M1 was rolling out and I began running my testing, the power per watt aspects really became the story. That really is the big differentiator for M1. For decades, laptop users have been accustomed to saving any heavy or intense workloads for the times when their machines were plugged in due to power consumption. M1 is in the process of resetting those expectations for desktop class processors. In fact, Apple is offering not only the most powerful CPUs but also the most power-efficient CPUs on the market. And it’s doing it in a $700 Mac Mini, a $1,700 iMac and a $1,100 iPad Pro at the same time. It’s a pretty ridiculous display of stunting, but it’s also the product of more than a decade of work building its own architecture and silicon.
“Your battery life is defined by the capacity of your battery and the efficiency of your system right? So we’re always pushing really really hard on the system efficiency and obviously with M1, the team’s done a tremendous job with that. But the display as well. We designed a new mini LED for this display, focusing on efficiency and on package size, obviously, to really to be able to make sure that it could fit into the iPad experience with the iPad experience’s good battery life.
We weren’t going to compromise on that,” says Ternus.
One of the marquee features of the new iPad Pro is its 12MP ultra-wide camera with Center Stage. An auto-centering and cropping video feature designed to make FaceTime calling more human-centric, literally. It finds humans in the frame and centers their faces, keeping them in the frame even if they move, standing and stretching or leaning to the side. It also includes additional people in the frame automatically if they enter the range of the new ultra-wide 12MP front-facing camera. And yes, it also works with other apps like Zoom and Webex and there will be an API for it.
I’ve gotten to see it in action a bit more and I can say with surety that this will become an industry standard implementation of this kind of subject focusing. The crop mechanic is handled with taste, taking on the characteristics of a smooth zoom pulled by a steady hand rather than an abrupt cut to a smaller, closer framing. It really is like watching a TV show directed by an invisible machine learning engine.
“This is one of the examples of some of our favorite stuff to do because of the way it marries the hardware and software right,” Ternus says. “So, sure it’s the camera but it’s also the SOC and and the algorithms associated with detecting the person and panning and zooming. There’s the kind of the taste aspect right which is how do we make something that feels good it doesn’t move too fast and doesn’t move too slow. That’s a lot of talented, creative people coming together and trying to find the thing that makes it Apple like.”
It also goes a long way to making the awkward horizontal camera placement when using the iPad Pro with Magic Keyboard. This has been a big drawback for using the iPad Pro as a portable video conferencing tool, something we’ve all been doing a lot of lately. I ask Ternus whether Center Stage was designed to mitigate this placement.
“Well, you can use iPad in any orientation right? So you’re going to have different experiences based on how you’re using it. But what’s amazing about this is that we can keep correcting the frame. What’s been really cool is that we’ve all been sitting around in these meetings all day long on video conferencing and it’s just nice to get up. This experience of just being able to stand up and kind of stretch and move around the room without walking away from the camera has been just absolutely game changing, it’s really cool.”
It’s worth noting that several other video sharing devices like the Portal and some video software like Teams already offer cropping-type follow features, but the user experience is everything when you’re shipping software like this to millions of people at once. It will be interesting to see how Center Stage stacks up agains the competition when we see it live.
With the ongoing chatter about how the iPad Pro and Mac are converging from a feature-set perspective, I ask how they would you characterize an iPad Pro vs. a MacBook buyer? Joswiak is quick to respond to this one.
“This is my favorite question because you know, you have one camp of people who believe that the iPad and the Mac are at war with one another right it’s one or the other to the death. And then you have others who are like, no, they’re bringing them together — they’re forcing them into one single platform and there’s a grand conspiracy here,” he says.
“They are at opposite ends of a thought spectrum and reality is neither is correct, right? We pride ourselves in the fact that we work really, really, really hard to have the best products in the respective categories. The Mac is the best personal computer, it just is. Customer satisfaction would indicate that is the case, by a longshot.”
Joswiak points out that the whole PC category is growing, which he says is nice to see. But he points out that Macs are way outgrowing PCs and doing ‘quite well’. He also notes that the iPad business is still outgrowing the tablets category (while still refusing to label the iPad a tablet).
“And it’s also the case that it’s not an ‘either or’. The majority of our Mac customers have an iPad. That’s an awesome thing. They don’t have it because they’re replacing their Mac, it’s because they use the right tool at the right time.
What’s very cool about what [Ternus] and his team have done with iPad Pro is that they’ve created something where that’s still the case for creative professionals too — the hardest to please audience. They’ve given them a tool where they can be equally at home using the Mac for their professional making money with it kind of work, and now they can pick up an iPad Pro — and they have been for multiple generations now and do things that, again, are part of how they make money, part of their creative workflow flow,” says Joswiak. “And that test is exciting. it isn’t one or the other, both of them have a role for these people.”
Since converting over to an iPad Pro as my only portable computer, I’ve been thinking a lot about the multimodal aspects of professional work. And, clearly, Apple has as well given its launch of a Pro Workflows team back in 2018. Workflows have changed massively over the last decade, and obviously the iPhone and an iPad, with their popularization of the direct manipulation paradigm, have had everything to do with that. In the current world we’re in, we’re way past ‘what is this new thing’, and we’re even way past ‘oh cool, this feels normal’ and we’re well into ‘this feels vital, it feels necessary.’
Contrary to some people’s beliefs, we’re never thinking about what we should not do on an iPad because we don’t want to encroach on Mac or vice versa,” says Ternus. “Our focus is, what is the best way? What is the best iPad we can make what are the best Macs we can make. Some people are going to work across both of them, some people will kind of lean towards one because it better suits their needs and that’s, that’s all good.
If you follow along, you’ll know that Apple studiously refuses to enter into the iPad vs. Mac debate — and in fact likes to place the iPad in a special place in the market that exists unchallenged. Joswiak often says that he doesn’t even like to say the word tablet.
“There’s iPads and tablets, and tablets aren’t very good. iPads are great,” Joswiak says. “We’re always pushing the boundaries with iPad Pro, and that’s what you want leaders to do. Leaders are the ones that push the boundaries leaders are the ones that take this further than has ever been taken before and the XDR display is a great example of that. Who else would you expect to do that other than us. And then once you see it, and once you use it, you won’t wonder, you’ll be glad we did.”
Image Credits: Apple
The race to decarbonize aviation got a boost this Earth Day with the announcement of a $20.5 million Series A round by Universal Hydrogen, a San Francisco-based startup aiming to develop hydrogen storage solutions and conversion kits for commercial aircraft.
“Hydrogen is the only viable path for aviation to reach Paris Agreement targets and help limit global warming,” said founder and CEO Paul Eremenko in an interview with TechCrunch. “We are going to build an end-to-end hydrogen value chain for aviation by 2025.”
The round was led by Playground Global, with an investor syndicate including Fortescue Future Industries, Coatue, Global Founders Capital, Plug Power, Airbus Ventures, Toyota AI Ventures, Sojitz Corporation and Future Shape.
The company’s first product will be lightweight modular capsules to transport “green hydrogen,” produced using renewable power to aircraft equipped with hydrogen fuel cells. The capsules will ultimately be available in different sizes for aircraft ranging from VTOL air taxis to long-distance, single-aisle planes.
“We want them to be interchangeable within each class of aircraft, a bit like consumer batteries today,” says Eremenko.
To help kickstart the market for its capsules, Universal Hydrogen is developing one such plane itself, a modified 19-seat turboprop capable of regional flights of up to 700 miles. The effort is a collaboration with Plug Power, which will supply the hydrogen and fuel cells, and seed investor magniX, which develops motors for electric aircraft.
Eremenko hopes to have the plane flying paying passengers by 2025, and ultimately to produce kits for regional airlines to retrofit their own aircraft.
“We want to have a couple of years of service to de-risk hydrogen certification and passenger acceptance before Boeing and Airbus decide on the airplanes they are going to build in the early 2030s,” says Eremenko. “It’s imperative that at least one of them build a hydrogen airplane or aviation is not going to hit its climate goals.”
Universal Hydrogen is not alone in betting on hydrogen. ZeroAvia in the U.K. is developing its own regional fuel cell aircraft on an even more ambitious timeline, and Airbus in particular has been working on hydrogen aircraft concepts.
Eremenko hopes that producing a simple and safe hydrogen logistics network will soon attract new entrants.
“It’s like the Nespresso system. We have to make the first coffee maker or nobody cares about our capsule technology, but we don’t want to be in the coffee maker business. We want other people to build coffee with our capsules.”
Universal Hydrogen will use the Series A funds to grow its current 12-person team to around 40 and accelerate its technology development.
30kW sub-scale demonstration of Universal Hydrogen’s aviation powertrain, with Plug Power’s hydrogen fuel cell and a magniX motor.
Subscription pricing is landing on Facebook’s Oculus Store, giving VR developers another way to monetize content on Facebook’s Oculus Quest headset.
Developers will be allowed to add premium subscriptions to paid or free apps, with Facebook assumedly dragging in their standard percentage fee at the same time. Oculus and the developers on its platform have been riding the success of the company’s recent Quest 2 headset, which Facebook hasn’t detailed sales numbers on but has noted that the months-old $299 headset has already outsold every other Oculus headset sold to date.
Subscription pricing is an unsurprising development but signals that some developers believe they have a loyal enough group of subscribers to bring in sizable bits of recurring revenue. Facebook shipped the first Oculus Rift just over five years ago, and it’s been a zig-zagging path to finding early consumer success during that time. A big challenge for them has been building a dynamic developer ecosystem that offer something engaging to users while ensuring that VR devs can operate sustainably.
At launch, there are already a few developers debuting subscriptions for a number of different app types, spanning exercise, meditation, social, productivity and DJing. In addition to subscriptions, the new monetization path also allows developers to let users try out paid apps on a free trial basis.
The central question is how many Quest users there are that utilize their devices enough to justify a number of monthly subscriptions, but for developers looking to monetize their hardcore users, this is another utility that they likely felt was missing from the Oculus Store.
E-commerce is booming, but among the biggest challenges for entrepreneurs of online businesses are finding a place to store the items they are selling and dealing with the logistics of operating.
Tyler Scriven, Maxwell Bonnie and Paul D’Arrigo co-founded Saltbox in an effort to solve that problem.
The trio came up with a unique “co-warehousing” model that provides space for small businesses and e-commerce merchants to operate as well as store and ship goods, all under one roof. Beyond the physical offering, Saltbox offers integrated logistics services as well as amenities such as the rental of equipment and packing stations and access to items such as forklifts. There are no leases and tenants have the flexibility to scale up or down based on their needs.
“We’re in that sweet spot between co-working and raw warehouse space,” said CEO Scriven, a former Palantir executive and Techstars managing director.
Saltbox opened its first facility — a 27,000-square-foot location — in its home base of Atlanta in late 2019, filling it within two months. It recently opened its second facility, a 66,000-square-foot location, in the Dallas-Fort Worth area that is currently about 40% occupied. The company plans to end 2021 with eight locations, in particular eyeing the Denver, Seattle and Los Angeles markets. Saltbox has locations slated to come online as large as 110,000 square feet, according to Scriven.
The startup was founded on the premise that the need for “co-warehousing and SMB-centric logistics enablement solutions” has become a major problem for many new businesses that rely on online retail platforms to sell their goods, noted Scriven. Many of those companies are limited to self-storage and mini-warehouse facilities for storing their inventory, which can be expensive and inconvenient.
Scriven personally met with challenges when starting his own e-commerce business, True Glory Brands, a retailer of multicultural hair and beauty products.
“We became aware of the lack of physical workspace for SMBs engaged in commerce,” Scriven told TechCrunch. “If you are in the market looking for 10,000 square feet of industrial warehouse space, you are effectively pushed to the fringes of the real estate ecosystem and then the entrepreneurial ecosystem at large. This is costing companies in significant but untold ways.”
Now, Saltbox has completed a $10.6 million Series A round of financing led by Palo Alto-based Playground Global that included participation from XYZ Venture Capital and proptech-focused Wilshire Lane Partners in addition to existing backers Village Capital and MetaProp. The company plans to use its new capital primarily to expand into new markets.
The company’s customers are typically SMB e-commerce merchants “generating anywhere from $50,000 to $10 million a year in revenue,” according to Scriven.
He emphasizes that the company’s value prop is “quite different” from a traditional flex office/co-working space.
“Our members are reliant upon us to support critical workflows,” Scriven said.
Besides e-commerce occupants, many service-based businesses are users of Saltbox’s offering, he said, such as those providing janitorial services or that need space for physical equipment. The company offers all-inclusive pricing models that include access to loading docks and a photography studio, for example, in addition to utilities and Wi-Fi.
Image Credits: Saltbox
Image Credits: Saltbox
The company secures its properties with a mix of buying and leasing by partnering with institutional real estate investors.
“These partners are acquiring assets and in most cases, are funding the entirety of capital improvements by entering into management or revenue share agreements to operate those properties,” Scriven said. He said the model is intentionally different from that of “notable flex space operators.”
“We have obviously followed those stories very closely and done our best to learn from their experiences,” he added.
Investor Adam Demuyakor, co-founder and managing partner of Wilshire Lane Partners, said his firm was impressed with the company’s ability to “structure excellent real estate deals” to help them continue to expand nationally.
He also believes Saltbox is “extremely well-positioned to help power and enable the next generation of great direct to consumer brands.”
Playground Global General Partner Laurie Yoler said the startup provides a “purpose-built alternative” for small businesses that have been fulfilling orders out of garages and self-storage units.
Saltbox recently hired Zubin Canteenwalla to serve as its chief operating offer. He joined Saltbox from Industrious, an operator co-working spaces, where he was SVP of Real Estate. Prior to Industrious, he was EVP of Operations at Common, a flexible residential living brand, where he led the property management and community engagement teams.
ConsenSys, a key player in crypto and a major proponent of the Ethereum blockchain, has raised a $65 million funding round from J.P. Morgan, Mastercard, and UBS AG, as well as major blockchain companies Protocol Labs, the Maker Foundation, Fenbushi, The LAO and Alameda Research. Additional investors include CMT Digital and the Greater Bay Area Homeland Development Fund. As well as fiat, several funds invested with Ethereum-based stablecoins, DAI and USDC, as consideration.
Sources told TechCrunch that this is an unpriced round because of the valuation risk, and the funding instrument is “full”, so the round is being closed now.
The fundraise looks like a highly strategic one, based around the idea that traditional institutions will need visibility into the increasingly influential world of ‘decentralized finance’ (DeFi) and the Web3 applications being developed on the Ethereum blockchain.
In a statement on the fundraise, ConsenSys said it has been through a “period of strategic evolution and growth”, but most outside observers would agree that this is that’s something of an understatement.
After a period of quite a lot of ‘creative disruption’ to put it mildly (at one point a couple of years ago, ConsenSys seemed to have everything from a VC fund, to an accelerator, to multiple startups under its wing), the company has restructured to form two main arms: ConsenSys, the core software business; and ConsenSys Mesh, the investment arm, incubator, and portfolio. It also acquired the Quorum product from J.P. Morgan which has given it a deeper bench into the enterprise blockchain ecosystem. This means it now has a very key product suite for the Etherum platform, including products such as Codefi, Diligence, Infura, MetaMask, Truffle, and Quorum.
This suite allows it to serve both public and private permissioned blockchain networks. It can also support Layer 2 Ethereum networks, as well as facilitate access to adjacent protocols like IPFS, Filecoin, and others. ConsenSys is also a major contributor to the Ethereum 2.0 project, for obvious reasons.
Commenting on the fundraise, Joseph Lubin, founder of ConsenSys and co-founder, Ethreum said in a statement: “When we set out to raise a round, it was important to us to patiently construct a diverse cap table, consistent with our belief that similar to how the web developed, the whole economy would join the revolutionaries on a next-generation protocol. ConsenSys’ software stack represents access to a new automated objective trust foundation enabled by decentralized protocols like Ethereum. We are proud to partner with preeminent financial firms alongside leading crypto companies to further converge the centralized and decentralized financial domains at this particularly exciting time of growth for ConsenSys and the entire industry.”
With financial institutions able to see, ‘in public’ DeFi happening on Ethereuem, because of the public chain, they can see how much of the financial system is gradually starting to merge with the blockchain world. So it’s becoming clearer what attracts these major institutions.
Mike Dargan, Head of Group Technology at UBS said: “Our investment in ConsenSys adds proven expertise in distributed ledger technology to our UBS Next portfolio.”
For MasterCard this appears to be not just a pure investment – Consensys has been working with it on a private permissioned network.
Raj Dhamodharan, executive vice president of digital asset and blockchain products and partnerships at Mastercard said: “Enterprise Ethereum is a key infrastructure on which we and our partners are building payment and non-payment applications to power the future of commerce… Our investment and partnership with ConsenSys helps us bring secure and performant Enterprise Ethereum capabilities to our customers.”
Colleen Sullivan, Co-Founder and CEO of CMT Digital said: “ConsenSys is the pioneer in bridging the gaps across traditional finance, centralized crypto, and DeFi, and more broadly, between Web 2.0 and Web 3.0. We are proud to participate in this funding round as the ConsenSys team continues to pave the way for global users — retail and institutional — to easily access the crypto ecosystem.”
TechCrunch understands that the fundraise was started around the time of the Quorum acquisition, last June. The $65 million round is in majority fiat currency as opposed to cryptocurrency and is an adjunct to the round done with JP Morgan last summer.
The presence of significant crypto players such as Maker Protocol Labs shows the significance of the fund-raise, beyond the simple transaction. The announcement also comes just ahead of the Coinbase IPO, which makes for interesting timing.
ConsenSys’ products have become highly significant in the world where developers, enterprises, and consumers meet blockchain and crypto. In its statement, the company claims MetaMask now has over three million monthly active users across mobile and desktop, a 3x increase in the last five or six months, it says. This is roughly the same amount of monthly active customers as Coinbase.
The ConsenSys announcement comes just ahead of the Coinbase IPO. While Coinbase is acting as an exchange to turn fiat into crypto and vice versa, it has also been getting into DeFi of late. Where there are also resemblances with ConsenSys, is that Coinbase, with 3 million users, is used as a wallet, and MetMask, which also has 3 million users, can also be used as a wallet. The comparison ends there, but it’s certainly interesting, given Coinbase’s $100 billion valuation.
As Jeremy Millar, Chief Development Officer, told me: “Coinbase has pioneered an exchange, in one of the world’s was regulated financial markets, the US. And it has helped drive significant interest in the space. We enjoy a very positive relationship with Coinbase, trying to further enable the ecosystem and adoption of the technology.”
The background to this raise is that a lot of early-stage blockchain and crypto companies have been raising a lot of money recently, but much of this has been through crypto investment firms. Only a handful of Silicon Valley VCs are backing blockchain, such as Andreessen Horowitz.
What’s interesting about this announcement is that these incumbent financial giants are not only taking an interest, but working alongside ConsenSys to both invest and build products on Ethereum.
It’s ConsenSys’ view that every payment service provider, banks will need this financial infrastructure in the future, especially for DeFI.
Given there is roughly $43 billion collateralized in DeFi, it’s increasingly the case that major investors are involved, and there are increasingly higher returns than traditional yield and bond or bond yields.
The moves by Central Banks into digital currencies is also forcing companies and governments to realize digital currency, and the ‘blockchain rails’ on which it runs, is here to stay. This is what is suggested by the Greater Bay Area Homeland Development Fund’s (a Shenzhen / Hong Kong joint partnership) decision to get involved.
Another aspect of this story is that ConsenSys is sitting on some extremely powerful products. Consensys has six products that serve three different types of people.
Service developers who are building on Ethereum are using Truffle to develop smart contracts. Users joining the NFT hype are using MetaMask underneath it all.
The MetaMask wallet allows users to swap one token for another. This has proved quite lucrative for ConsenSys, which says it has resulted in $1.8 billion in volume in decentralized exchange use. ConsenSys takes a 0.875 percent cut on every swap that it serves.
And institutions are using Consensys’ products. The company says more than 150,000 developers use Infura’s APIs, and 4.5 million developers create and deploy smart contracts using Truffle, while its Protocols group — developer of Hyperledger Besu and ConsenSys Quorum — are building Central Bank Digital Currencies (CBDCs) for six central banks, says Consensys.
Consensys is also making hay with the NFT boom. Developers are using Consensys products for the nodes and infrastructure on Ethereum which stores the NFT files.
Consensys is also riding two waves. One is the developer eave and the other is the financial system wave.
As a spokesperson said: “Where the interest in money and invention started happening was on public networks like Ethereum. So we really believe that these are converging and they will continue to, and every one of our products offers public main net compatibility because we think this is the future.”
Millar added: “If we want to help the world adopt the technology we need to meet it at its adoption point, which for many large enterprises means inside the firewall first. But similarly, we think, just like the public Internet, the real value – the disruptive value – changes the ability to do this on a broader permissionless basis, especially when you have sufficient privacy and authentication available.”
Apple is reportedly working on a couple of new options for a renewed entry into the smart home, including a mash-up of the Apple TV with a HomePod speaker, and an integrated camera for video chat, according to Bloomberg. It’s also said to be working on a smart speaker that basically combines a HomePod with an iPad, providing something similar to Amazon’s Echo Show or Google’s Nest Hub in functionality.
The Apple TV/HomePod hybrid would still connect to a television for outputting video, and would offer similar access to all the video and gaming services that the current Apple TV does, while the speaker component would provide sound output, music playback and Siri integration. It would also include a built-in camera for using video conferencing apps on the TV itself, the report says.
That second device would be much more like existing smart assistant display devices on the market today, with an iPad-like screen providing integrated visuals. The project could involve attaching the iPad via a “robotic arm,” according to Bloomberg, that would allow it to move to accommodate a user moving around, with the ability to keep them in frame during video chat sessions.
Bloomberg doesn’t provide any specific timelines for release of any of these potential products, and it sounds like they’re still very much in the development phase, which means Apple could easily abandon these plans depending on its evaluation of their potential. Apple just recently discontinued its original HomePod, the $300 smart speaker it debuted in 2018.
Rumors abound about a refreshed Apple TV arriving sometime this year, which should boast a faster processor and also an updated remote control. It could bring other hardware improvements, like support for a faster 120Hz refresh rate available on more modern TVs.
Security researchers say APKPure, a widely popular app for installing older or discontinued Android apps from outside of Google’s app store, contained malicious adware that flooded the victim’s device with unwanted ads.
Kaspersky Lab said that it alerted APKPure on Thursday that its most recent app version, 3.17.18, contained malicious code that siphoned off data from a victim’s device without their knowledge, and pushed ads to the device’s lock screen and in the background to generate fraudulent revenue for the adware operators.
But the researchers said that the malicious code had the capacity to download other malware, potentially putting affected victims at further risk.
The researchers said the APKPure developers likely introduced the malicious code, known as a software development kit or SDK, from an unverified source. APKPure removed the malicious code and pushed out a new version, 3.17.19, and the developers no longer list the malicious version on its site.
APKPure was set up in 2014 to allow Android users access to a vast bank of Android apps and games, including old versions, as well as app versions from other regions that are no longer on Android’s official app store Google Play. It later launched an Android app, which also has to be installed outside Google Play, serving as its own app store to allow users to download older apps directly to their Android devices.
APKPure is ranked as one of the most popular sites on the internet.
But security experts have long warned against installing apps outside of the official app stores as quality and security vary wildly as much of the Android malware requires victims to install malicious apps from outside the app store. Google scans all Android apps that make it into Google Play, but some have slipped through the cracks before.
TechCrunch contacted APKPure for comment but did not hear back.
Last month, hours before news of Beeple’s $69 million NFT sale grabbed the front pages of newspapers across the country, a pair of 24 x 24 pixel portraits of aliens wearing little hats sold separately for around $7.5 million each.
The sales, which occurred within 20 hours of each other, didn’t garner the same headlines that the Beeple auction received, but there was a bit of coverage in the tech press, mostly because one of the aliens was sold by Dylan Field, the CEO of design software startup Figma. In a Clubhouse conversation following the sale, Field said he hoped that a century from now the blocky image he had sold would be seen as the “Mona Lisa of digital art.”
Punk #7804, which recently sold for 4,200 Ether (about $7.5M at the time of sale)
The pixelated alien portraits belonged to an NFT platform called CryptoPunks. In the world of NFTs, the platform is as close to ancient history as it gets, meaning it’s almost four years old. There are 10,000 punks, all of which were procedurally generated and claimed for free when the project launched in 2017.
Since then, the economy built around trading these images has sauntered on with a small but passionate community, at least until a few months ago. That’s when it suddenly exploded, dragging into the fray Silicon Valley CEOs, prominent venture capitalists, famous YouTubers, poker stars and major business personalities. The platform has seen nearly $200 million worth of transaction volume in official deals since launch, according to NFT tracking site CryptoSlam, with 98% of that volume flowing through the platform in the past few months.
The sudden rise in punk prices is owed to an explosion of interest in NFTs largely brought about by climbing cryptocurrency prices, the rise in popularity of Dapper Labs’ NBA Top Shot and the resurgence of the physical collectibles markets, all of which have made some investors more comfortable with the idea of betting on digital goods.
Today, the cheapest punk you can buy will run you about $30,000 in Ethereum cryptocurrency, while the rarest may be worth just shy of $10 million.
CryptoPunks have captured plenty of attention, but even with all eyeballs on the project, people still aren’t sure exactly what they’re looking at.
“In NFT world, people are talking about selling Jack Dorsey tweets, Top Shots and Beeple in the same sentence right now,” Sotheby’s CEO Charles Stewart told TechCrunch in an interview. “The lines can get a little blurry. When you look at CryptoPunks, are they art? Are they collectibles? Are they… you know, well… what are they exactly?”
Image Credits: Lucas Matney
Back in early 2017, John Watkinson and Matt Hall were playing with a pixelated character generator they built, and they were pretty enthusiastic about the fun little pop art portraits they had been cooking up. By June, they had created 10,000 characters with different hairstyles, hats and glasses for a project called CryptoPunks that would be hosted on the nascent Ethereum blockchain. Some punks had a handful of attributes, some had none, some were apes, some were aliens. While the creators had a hand in curating some elements, they let their generator take control of the creativity.
They launched to modest interest from a small community of blockchain enthusiasts who only had to pay a few pennies in Ethereum “gas” transaction fees to own their own punk. It was a novel idea, pre-dating the NFT platform CryptoKitties by months and NBA Top Shot by years, but it arrived at the cusp of crypto’s 2017 wave during the early throes of initial coin offerings, where scams were plentiful and attention was hard to come by. Hall said that about 20-30 punks were claimed in the days following launch.
Then a week later Mashable wrote a story about the fledgling crypto art project, and within hours every punk was gone.
Some users went all-in immediately. One user that went by the username hemba has become something of a cautionary figure in the CryptoPunks community, claiming more than 1,000 punks at launch and selling every one of them before the market took off this year, missing out on tens of millions of dollars in profits at current prices. Another user who goes by mr703 claimed some 703 punks in total at launch, hundreds of which they are still holding onto years later in a collection similarly worth tens of millions.
In a Discord chat with the pseudonymous mr703, we asked whether they felt they had enough or if there were any punks they still intended to buy. “I own all the punks I ever really want,” they typed back. Their public wallet shows they paid more than $37,000 for a punk in the minutes in between our question and their answer. They spent $35,000 on another one several hours later.
Some investors who have already gone all-in backing risky cryptocurrencies see NFTs as a way to diversify their crypto holdings. Others see CryptoPunks as more of a game.
CryptoPunks creators Matt Hall and John Watkinson
“I think that with each year that passes the definition of what is gambling and what is investing move closer and closer together,” says Mike McDonald, a 31-year-old professional poker player who recently bought his first punk.
Why are some punks worth tens of thousands of dollars while others are worth millions? Users in the thriving CryptoPunks Discord community have had to decide that on their own, combining objective analysis of the rarity of certain design attributes with the more subjective impressions of punk “aesthetics.”
Things aren’t always predictable. Earrings are the most common attribute for punks, commanding much lower price floors than those with beanie hats, which are the rarest attribute. But hundreds of punks are wearing 3D glasses, yet they tend to earn a hefty premium over those with green clown hair even though fewer of those punks exist. Some attributes gain market momentum randomly; for instance, the market for punks wearing hoodies has been particularly hot in recent weeks.
“Obviously this is a very speculative market… but it’s almost more honest than the stock market,” user Max Orgeldinger tells TechCrunch. “Kudos to Elon Musk — and I’m a big Tesla fan — but there are no fundamentals that support that stock price. It’s the same when you look at GameStop. With the whole NFT community, it’s almost more honest because nobody’s getting tricked into thinking there’s some very complicated math that no one can figure out. This is just people making up prices and if you want to pay it, that’s the price and if you don’t want to pay it, that’s not the price.”
As prices have surged, owning a piece of the CryptoPunks’ finite supply has become a “digital flex” in its own right, especially when used as an avatar on social media sites, several punk owners told us. That has drawn plenty of wealthy buyers outside the blockchain world, including influencers like YouTuber Logan Paul who uploaded a video last month detailing his $170,000 purchase of several punks.
“When you don’t have a punk, the ecosystem seems like this gentlemen’s club of the 10,000 people that can afford these kinds of avatars,” says McDonald.
There is some concern among the community whether all of this outside attention is a sign of an impending crash in prices, though many investors feel reassured by the historical value of CryptoPunks among NFTs. Nevertheless, some of the investors have a hard time convincing those in their lives that what they’re doing is anything but reckless.
After a recent six-figure punk purchase, user Chris Mintern says his girlfriend was exasperated that he had just dropped more money on a punk than her house was worth. “She says it’s all just a bunch of internet nerds who don’t appreciate the value of money. That to them, it’s just a game and numbers on a screen,” he told TechCrunch.
The community surrounding CryptoPunks has largely bloomed on the chat app Discord in a dedicated group where users that are verified as punk owners tend to drive conversations and can gather attention for up-and-coming NFT projects they’re betting on.
“It’s a bit of a cult,” said user thebeautyandthepunk in an interview.
Like many early users, thebeautyandthepunk has stayed pseudonymous since claiming a couple dozen punks at launch, telling us that no one in her life has any idea she’s sitting on an NFT collection likely worth millions — except her accountant. She did recently decide to make it known that she was one of the few female traders who have been present in the overwhelmingly male CryptoPunks community since the beginning.
“I really try to keep my real life and my crypto life completely separate,” she says. “But people need to know that women have been [in this space] for a while and we’re not going anywhere.”
Today, all 10,000 punks are scattered across some 1,889 wallets, according to crypto tracker Etherscan. Some of those accounts are inactive and feared dead, with the punks inside them lost on the blockchain forever. The largest single wallet of punks today belongs to the platform’s creators, holding some 488 punks. It’s their only ownership in a blockchain-based marketplace where most mechanics are already set in stone.
“We’re just users now, too. Nothing about our website is specific to us having created the project,” Watkinson tells TechCrunch. “Our only equity is through the punks we own. We don’t take a cut of the market or anything.”
Image Credits: Lucas Matney
Today, CryptoPunks’ creators are working on NFTs full time. While they can’t make any underlying changes to the CryptoPunks contract, they have aimed to improve the website’s marketplace while hopping into the Discord group to keep an eye on the ever-growing community of users.
“It was never our intention for this to sort of be our careers,” Watkinson says.
In 2019, the duo debuted a follow-up project called Autoglyphs, which brought generative art to the blockchain. It didn’t boast the pop aesthetic of CryptoPunks, but it added a new layer to their exploration of blockchain art. Hall and Watkinson have built up a company around their various projects called Larva Labs, and they are in the process of building up a new NFT project that they hope will have a lower barrier of entry than CryptoPunks and Autoglyphs.
“As the CryptoPunks get more and more expensive, they’re just hard to get into,” Hall says.
At around $200 million in official marketplace sales, CryptoPunks’ total lifetime sales volume is about 40% of what Dapper Labs’ NBA Top Shot has achieved in its past several months. Though CryptoPunks has done so with 0.35% of Top Shot’s total transaction volume, which is fewer than 12,000 trades compared to more than 3.3 million, according to CryptoSlam. Those high transaction numbers spread across millions of NFTs mean much less value per transaction on Top Shot, but a much, much bigger pool of active users.
Last month, Dapper Labs announced they had raised $305 million at a $2.6 billion valuation as they look to expand their private Flow blockchain to other blockchain “games” through more high-profile partnerships. Hall and Watkinson have been watching Dapper Labs’ success, but don’t think Larva Labs will need venture funding to continue exploring what’s next for NFTs.
“Rather than looking at becoming a large company and doing a deal with the NBA or something like that, we’re more just looking forward to kind of just continuing to explore the tech possibilities,” Watkinson said. “What we love about CryptoPunks is the action, and so we’d like to find a way back to sort of that level of action, and our next project is going to try to find ways to sort of keep the deal flow going.”
They have few details to share on the new project, which they said will debut “relatively soon” this year.
Image Credits: Lucas Matney
CryptoPunks lore is largely steeped in the assertion that they are the oldest NFT project on the Ethereum blockchain. It’s a line that was floated by almost all of the punk owners I spoke with as the main reason they had dumped hundreds of thousands of dollars into the platform. In Paul’s recent YouTube video, he justified prices to his skeptical friends by noting, “[CryptoPunks] is the first and that makes it special.”
But over the past few weeks, holes in that narrative have begun to emerge, as “crypto archaeologists” have begun to unearth abandoned NFT projects that were created in Ethereum’s earliest days, with at least one arriving before CryptoPunks. We recently spoke with Cyrus Adkisson, the creator of a project called Etheria, which he debuted back in 2015, just three months after Ethereum’s mainnet went live. The project allowed users to buy up, sell and build on hexagonal swaths of digital land on a large map. It didn’t develop much of a following at launch and sat abandoned for years on the Ethereum blockchain until Adkisson saw the “fever pitch” developing around NFTs and started searching for the passcode to his old account.
“I remember calling my parents toward the end of February, telling them I may be sitting on a goldmine here,” Adkisson told TechCrunch.
After ultimately gaining access to his Etheria account, he then fired off a few tweets from Etheria’s long-dormant Twitter account, detailing that the bulk of the 914 tiles across two externally tradeable versions were still available and could be claimed for 1 Ether each. Adkisson says by the end of that weekend, his previously empty wallet was filled with $1.4 million worth of Ethereum.
1/ I hear that NFTs have become a thing. Here is some essential about Etheria, the first NFT project ever deployed to the Ethereum blockchain all the way back in October 2015 and presented at DEVCON1. pic.twitter.com/aBZghPdFbS
— Etheria (the OG NFTs) (@etheria_feed) March 13, 2021
Age alone won’t make Etheria a hit; the major challenge from here is building up a community around the project that brings in more users and pushes the prices of land tiles higher. A tile recently sold for nearly $25,000 worth of Ether, but early adopters are struggling to balance waiting out the market’s development with liquidating enough tiles so that new users can get involved and the project can build hype.
“With these projects, it’s like, yeah, you have the historical context, but now you need to build a solid foundation with your communities because your real measure is not now, but it’s going to be what your community, size and engagement look like in a year,” says Allen Hena, an NFT enthusiast who helped attract attention to the Etheria community last month with a series of blog posts.
In the days following the project’s resurrection, the young community has already seen plenty of disagreement and infighting as Adkisson aims to maintain some level of control over the platform on which plenty have already pinned their retirement plans. Owners are mainly frustrated by Adkisson’s attempts to make an older version of Etheria externally tradeable, something that would likely make land tiles on the existing contracts considerably less valuable. Since our interview, Adkisson has left Etheria’s Discord server and admins in the group have vowed to continue on without him as he decides which direction he wants to take Etheria 1.0.
While punk owners we talked with are keeping an eye on these newly reemerged projects, they’re also skeptical that Etheria’s older status will do much to impact CryptoPunks’ value to NFT history.
“On paper it looks cool but it didn’t actually do anything for the community,” says user Daniel Maegaard. “CryptoPunks did all the hard work.”
Punk #6487, which Daniel Maegaard recently sold for 550 Ether (about $1.05M at the time of sale)
Maegaard, a 30-year-old crypto investor based in Brisbane, Australia, is more tied up in the value of CryptoPunks than most. He recently sold a particularly rare female “zero-trait” punk for more than $1 million. He’s also the owner of one of the rarest — some argue the rarest — punks, the only one with seven unique attributes, a qualifier that has earned it the nickname “7-atty” and a sacred place in punk lore. When he bought the punk for about $18,000 in Ethereum last year, it was the most anyone had ever paid. He isn’t keen to let it go anytime soon, saying he recently turned down a private offer for $4.2 million from a group of investors that hoped to tokenize the NFT and sell fractional shares of it to other users. Part of holding onto it is the potential for further gains, but the real reason, he says, is that he’s beginning to feel an emotional bond with his collection of digital files.
“These little pixelated faces, it should be easy to give them up. I’ve sold a few punks and I’ve regretted every sale, I experienced that when I sold my zero-trait punk,” Maegaard says. “Like, yeah, a million dollars is nice, but I really liked her.”
With the pandemic sending the planet indoors to workout, the at-home fitness market has boomed. It was only in October last year that three-year-old Future closed $24 million in Series B and Playbook (streaming for personal trainers) raised $9.3 million in a Series A. Into this market launched Moxie, a platform that allowed fitness instructors to broadcast live and recorded classes, access licensed music playlists and deploy a CRM and payment tools. Classes range from $5-$25 and various subscriptions and packages are offered.
Moxie has now raised a $6.3M ‘Seed+’ funding round led by Resolute Ventures with participation from Bessemer Ventures, Greycroft Ventures, Gokul Rajaram, and additional investors. With the $2.1M Seed round from last October, that means Moxie has now raised a total of $8.4M.
With the funding, Moxie now plans to better optimize the user experience with a curated selection of top Moxie classes; new tools that help connect users to instructors; and the ability to preview classes before attending.
The company claims to have experienced “exponential growth” because of its convenience in the pandemic era, with 8,000 classes and 1 million class-minutes completed in March. Moxie’s independent instructors set their own schedules and prices, and get to keep 85% of what they earn on the platform.
The company will also now launch ‘Moxie Benefits’ in partnership with Stride Health, provide instructors with access to health insurance, dental and vision plans, life insurance, and other benefits.
Also planned is ‘Moxie Teams’, enabling groups of instructors to join together to form small businesses on the platform, not unlike the way some Uber drivers form teams.
Jason Goldberg, CEO and founder said in a statement: “Moxie was born during the pandemic alongside thousands of independent fitness instructors who were forced out of gyms and studios and suddenly had to become entrepreneurs and navigate the new frontier of virtual fitness. Now we are seeing widespread adoption of online fitness into people’s lives, and Moxie’s growth proves that these shifts in consumer behavior have staying power. We know that 89% of Moxie users plan to continue virtual workouts post COVID — they love the convenience.”
Resolute Ventures Partner & Co-Founder Raanan Bar-Cohen said: “Our investment theory has always been to identify entrepreneurial founders solving for today’s problems. With Moxie, we saw an experienced operator in Jason, with a product that solved for the issues that instructors and consumers had experienced in the shift to online fitness, as well as a clear roadmap for continued success.”
So why has Moxie managed to cleave to the new virtual workout culture? Goldburg tells me it’s down to a range of factors.
For starters, it’s a two-sided fitness marketplace that has live interactive group fitness classes, unlike VOD apps, and, crucially, unlike Peloton. Additionally, any instructor can teach on Moxie, rather than wait to be picked as a ‘star’ by Peloton. Since 90% of classes are live group fitness classes, they are effectively replacing yoga studios and HIIT classes, rather than personal training. He says many top instructors are now earning $6-figures on the platform.
Certainly, Moxie has managed to capitalize on the fact that while gyms are closed, it’s easy to do virtual classes. Will they still stick around when the pandemic is over? Presumably many will find it more convenient than schlepping to the gym and less intimidating than joining classes in person. Additionally, users can switch classes as easily as switching TV channels.
As Goldberg told me via email: “Covid forced everyone to try virtual fitness for the first time. Guess what? People found it more convenient and more connected than going to offline gyms. And guess what? Peloton is not for everyone.”
Hiro Capital has gradually been making a name for itself as an investor in the area know as ‘Digital Sports’ or DSports for shorts. It’s now led a $2.3m funding round in PlayerData. While the round might sound small, the area it’s going into is large and growing. Also investing in the round is Sir Terry Leahy, previously the CEO of Tesco, the largest British retailer.
Edinburgh, UK-based PlayerData uses wearable technology and software tracking to give grass-roots and professional sports teams feedback on their training. It can, for instance, allow coaches to replay key moments from a game, even modeling different outcomes based on player positioning.
This is Hiro Capital’s 4th DSports and ‘connected fitness’ investment, and it joins Zwift, FitXR and NURVV. Hiro has also invested in eight games startups in the UK, USA and Europe, as befits the heritage of cofounder and partner Ian Livingstone, OBE,CBE, who is the former chairman of Tomb Raider publisher Eidos plc and all-round gaming pioneer.
PlayerData says it has captured more than 10,000 team sessions across UK soccer and rugby, and logged over 50 million meters of play. It also has strong network effects, it says. Every time a new team encounters one using Playerdata’s platform, it generates 5 more clubs as users.
Roy Hotrabhvanon is cofounder and CEO of PlayerData, and is a former international-level archer. He’s joined by Hayden Ball, cofounder and CTO, a firmware and cloud infrastructure expert.
In a statement Hotrabhvanon said: “Our mission is to bring fine-grained data and insight to clubs across team sports, helping them supercharge their game-making, improve player performance, and avoid injury… Our ultimate goal is to implement cutting-edge insights from pioneering wearables that are applicable to any team in any discipline at any level.”
Cherry Freeman, co-founding Partner at Hiro says: “PlayerData ticks all of our key boxes: a huge TAM with over 3m grass-roots clubs; a deep moat built on shared player data, machine learning and highly actionable predictive algorithms; compelling customer network effects; and a really impressive yet humble founding team.”
The PlayerData news forms part of a wider growth in digital sports, which includes such breakout names as Peloton, Tonal, Mirror, as well as Hiro’s portfolio investment, Zwift. With the pandemic putting an emphasison both home workouts and general health, the fascination with digital measurement of performance now has a growing grip on the sector.
Speaking to TechCrunch, Freeman added: “We think there are something like 3 million teams that are potential customers for PlayerData. Obviously the number of runners is enormous, and they only need to get a small slice of that market to have a very, very large business. At the end of the day everyone, everyone works out, even if you just go for a walk, so the target market’s huge and they started with running but their technology is applicable to a whole raft of other sports.”
Sonos has a new speaker that starts shipping later this month, and it’s a significant departure from the company’s usual offerings in a number of ways. The all-new Sonos Roam is a compact, portable speaker with a built-in battery and Bluetooth connectivity — but still very much a Sonos system team player, with wifi streaming, multi-room feature, voice assistant support and surprisingly great sound quality.
Priced at $179, the Sonos Roam is truly diminutive, at just over 6 inches, by roughly 2.5 inches for both height and depth. It weighs under a pound, and is available in either a matte white or black finish, which is par for the course for Sonos in terms of colorways. Roam is also IP67-rated, meaning it’s effectively waterproof, with a resistance rating of up to 30 minutes at depths of up to 1 meter (3.3 feet).
Sonos has placed the speaker’s control surface at one end of the device, including a microphone button, volume controls and a play/pause button. These are actual, tactile buttons, rather than touch-sensitive surfaces like you’d find on other Sonos speakers, which makes sense for a speaker designed to be used on the go, and in conditions where touch controls might get flummoxed by things like rain and water.
The Roam also has a power button on the back, next to a USB-C port for charging. It also offers wireless charging, via a receiver found in the base of the speaker, which can be used with Sonos’ own forthcoming magnetic charging adapter (sold separately), or with any standard Qi-powered wireless charger you want.
In addition to wifi streaming, Sonos Roam can also connect to any device via Bluetooth 5.0. It also features AirPlay 2 for connecting to Apple devices when on wifi, and it works out of the box with Spotify Connect. The built-in battery is rated for up to 10 hours of playback on a full charge, according to Sonos, and can also provide up to 10 days of its sleep-like standby mode.
This is the smallest speaker yet released by Sonos, and that’s definitely a big plus when it comes to this category of device. The dimensions make it feel like a slightly taller can of Red Bull, which should give you some sense of just how portable it is. Unlike Sonos’ first portable speaker with a built-in battery, the Sonos Move, the Roam truly feels like something designed to be thrown in a bag and brought with you wherever you happen to need it.
Despite its small size, the Sonos Roam offers impressive sound — likely the best I’ve yet encountered for a portable speaker in this size class. Inside, it manages to pack in dual amplifiers, one tweeter and a separate custom racetrack mid-woofer, which Sonos developed to help deliver both lows and mids with a faithfulness that normally escapes smaller speakers. The Roam also gets a lot louder than you’d probably expect it could, while keeping audio quality clear and free of distortion at the same time.
One of the keys to the Roam’s great sound quality is Sonos’ Automatic Trueplay tech, which tunes the audio to best suit its surroundings actively and continually. This feature requires that the mic be enabled to work, but it’s well worth having on in most settings, and makes a big difference while streaming in both Bluetooth and wifi modes. This also helps the speaker adjust when it’s switched from horizontal to vertical orientation, and it’s one of the main reasons that the Roam punches above its weight relative to other speakers in this size and price category.
The Roam would be a winner based on audio quality alone for the price, but the extra Sonos system-specific features it boasts really elevate it to a true category leader. These include a standby mode that preserves battery while keeping the Roam available to your system for wifi streaming via the Sonos app (handy, and also optional since you can hold the power button down for five seconds to truly power off and preserve your charge for even longer, which is great for travel).
One of Roam’s truly amazing abilities is a hand-off feature that passes playback of whatever you’re using it to listen to on to the nearest Sonos speaker in your system when you long press the play/pause button. This works almost like magic, and is a great speaker superpower for if you’re wandering around the house and the yard doing chores with the Roam in your pocket.
Sonos waited a long time to release their first travel-friendly portable speaker, but they obviously used that time wisely. The Sonos Roam is the most thoughtfully-designed, feature-rich and best-sounding portable speaker you can get for under $200 (and better than many more expensive options, at that). Even if you don’t already have a Sonos system to use it with, it’s an easy choice if you’re in the market for a portable, rugged Bluetooth speaker — and if you’re already a Sonos convert, the decision gets that much easier.
The pandemic’s remarkable impact on the app industry has not slowed down in 2021. In fact, consumer spending in apps has hit a new record in the first quarter of this year, a new report from App Annie indicates. The firm says consumers in Q1 2021 spent $32 billion on apps across both iOS and Google Play, up 40% year-over-year from Q1 2020. It’s the largest-ever quarter on record, App Annie also notes.
Last year saw both app downloads and consumer spend increase, as people rapidly adopted apps under coronavirus lockdowns — including apps for work, school, shopping, fitness, entertainment, gaming and more. App Annie previously reported a record 218 billion in global downloads and record consumer spend of $143 billion for the year.
Image Credits: App Annie
These trends have continued into 2021, it seems, with mobile consumers spending roughly $9 billion more in Q1 2021 compared with Q1 2020. Although iOS saw larger consumer spend than Android in the quarter — $21 billion vs. $11 billion, respectively — both stores grew by the same percentage, 40%.
But the types of apps driving spending were slightly different from store to store.
On Google Play, Games, Social and Entertainment apps saw the strongest quarter-over-quarter growth in terms of consumer spending, while Games, Photo & Video, and Entertainment apps accounted for the strongest growth on iOS.
By downloads, the categories were different between the stores, as well.
On Google Play, Social, Tools, and Fiance saw the biggest download growth in Q1, while Games, Finance and Social Networking drove download growth for iOS. Also on Google Play, other top categories included Weather (40%) and Dating (35%), while iOS saw Health and Fitness app downloads grow by a notable 25% — likely a perfect storm as New Year’s Resolutions combined with continued stay-at-measures that encouraged users to find new ways to stay fit without going to a gym.
Image Credits: App Annie
The top apps in the quarter remained fairly consistent, however. TikTok beat Facebook, in terms of downloads, and was followed by Instagram, Telegram, WhatsApp and Zoom. But the short-form video app only made it to No. 2 in terms of consumer spend, with YouTube snagging the top spot. Tinder, Disney+, Tencent Video, and others followed. (Netflix has dropped off this chart as it now directs new users to sign up directly, rather than through in-app purchases).
Image Credits: App Annie
Though Facebook’s apps have fallen behind TikTok by downloads, its apps — including Facebook, WhatsApp, Messenger and Instagram — still led the market in terms monthly active users (MAUs) in the quarter. TikTok, meanwhile, ranked No. 8 by this metric.
Up-and-comers in the quarter included privacy-focused messaging app Signal, which saw the strongest growth in the quarter by both downloads and MAUs — a calculation that App Annie calls “breakout apps.” Telegram closely followed, as users bailed from mainstream social after the Capitol riot. Another “breakout” app was MX TakaTak, which is filling the hole in the market for short-form video that resulted from India’s ban of TikTok.
Image Credits: App Annie
Gaming, meanwhile, drove a majority of the quarter’s spending, as usual, accounting for $22 billion of the spend — $13 billion on iOS (up 30% year-over-year) and $9 billion on Android (up 35%). Gamers downloaded about a billion titles per week, up 15% year-over-year from 2020.
Among Us! dropped to No. 2 in the quarter by downloads, replaced by Join Clash 3D, while DOP 2: Delete One Part jumped 308 places to reach No. 3.
Image Credits: App Annie
Roblox led by consumer spend, followed by Genshin Impact, Coin Master, Pokemon Go and others. And although Among Us! dropped on the charts by downloads, it remained No. 1 by monthly active users in the quarter, followed by PUBG Mobile, Candy Crush Saga, Roblox and others.
App Annie notes that the pandemic also accelerated the mobile gaming market, with game downloads outpacing overall downloads by 2.5x in 2020. It predicts that mobile gaming will reach $120 billion in consumer spending this year, or 1.5x all other gaming formats combined.