Scopely, the massively funded mobile game publisher, has made good on its promise to start buying up more properties with the treasure chest it amassed in a whopping $200 million round last year.
The target this time is Walt Disney Company’s FoxNext Games Los Angeles and Cold Iron Studios. Disney picked up Fox’s game division in the huge $71.3 billion deal which merged the two entertainment powerhouses in 2019.
There’s no word on how much Scopely spent on the deal, but the company is quickly becoming one of LA’s biggest mobile game studios, joining the ranks of companies like Jam City as mega-players in the mobile games ecosystem emerging in Los Angeles.
The city has long been home to game development talent including Riot Games, Activision Blizzard, and others.
FoxNext is already the home of the popular “Marvel Strike Force” game and is developing “Avatar: Pandora Rising”, which is a multiplayer strategy game based on the James Cameron blockbuster, “Avatar”.
The portfolio doesn’t include the Fox IP licensed game titles, which will continue to live under Disney’s licensed game business.
“We have been hugely impressed with the incredible game the team at FoxNext Games has built with MARVEL Strike Force and can’t wait to see what more we can do together,” said Tim O’Brien, Chief Revenue Officer at Scopely, in a statement. “In addition to successfully growing our existing business, we have been bullish on further expanding our portfolio through M&A, and FoxNext Games’ player-first product approach aligns perfectly with our focus on delivering unforgettable game experiences. We are thrilled to combine forces with their world-class team and look forward to a big future together.”
As a result of the acquisition, FoxNext’s President, Aaron Loeb will join Scopely in a newly created executive role, according to the company. Meanwhile, Amir Rahimi, FoxNext’s senior vice president will become assume the mantle of President, Games at FoxNext Games Los Angeles studio, the company said.
Last year, Scopely hit $1 billion in lifetime revenue and recently bought theDIGIT Game Studios to further expand its footprint in Europe and across North America.
Hello and welcome back to TechCrunch’s China Roundup, a digest of recent events shaping the Chinese tech landscape and what they mean to people in the rest of the world.
The spotlight this week is back on Tencent, which has made some interesting moves in gaming and content publishing. There will be no roundup next week as China observes the Lunar New Year, but the battle only intensifies for the country’s internet giants, particularly short-video rivals Douyin (TikTok’s Chinese version) and Kuaishou, which will be vying for user time over the big annual holiday. We will surely cover that when we return.
‘Honor of Kings’ creator hiring for U.S. studio
Tencent’s storied gaming studio TiMi is looking to accelerate international expansion by tripling its headcount in the U.S. in 2020, the studio told TechCrunch this week, though it refused to reveal the exact size of its North American office. Eleven-year-old TiMi currently has a team working out of Los Angeles on global business and plans to grow it into a full development studio that “helps us understand Western players and gives us a stronger global perspective,” said the studio’s international business director Vincent Gao.
Gao borrowed the Chinese expression “riding the wind and breaking the wave” to characterize TiMi’s global strategy. The wind, he said, “refers to the ever-growing desire for quality by mobile gamers.” Breaking the wave, on the other hand, entails TiMi applying new development tools to building high-budget, high-quality AAA mobile games.
The studio is credited for producing one of the world’s most-played mobile games, Honor of Kings, a mobile multiplayer online battle arena (MOBA) game, and taking it overseas under the title Arena of Valor. Although Arena of Valor didn’t quite take off in Western markets, it has done well in Southeast Asia in part thanks to Tencent’s publishing partnership with the region’s internet giant Garena.
Honor of Kings and a few other Tencent games have leveraged the massive WeChat and QQ messengers to acquire users. That raises the question of whether Tencent can replicate its success in overseas markets where its social apps are largely absent. But TiMi contended that these platforms are not essential to a game’s success. “TiMi didn’t succeed in China because of WeChat and QQ. It’s not hard to find examples of games that didn’t succeed even with [support from] WeChat and QQ.”
Call of Duty: Mobile is developed by Tencent and published by Activision Blizzard (Image: Call of Duty: Mobile via Twitter)
When it comes to making money, TiMi has from the outset been a strong proponent of game-as-a-service whereby it continues to pump out fresh content after the initial download. Gao believes the model will gain further traction in 2020 as it attracts old-school game developers, which were accustomed to pay-to-play, to follow suit.
All eyes are now on TiMi’s next big move, the mobile version of Activision Blizzard’s Call of Duty. Tencent, given its experience in China’s mobile-first market, appears well-suited to make the mobile transition for the well-loved console shooter. Developed by Tencent and published by Blizzard, in which Tencent owns a minority stake, in September, Call of Duty: Mobile had a spectacular start, recording more worldwide downloads in a single quarter than any mobile game except Pokémon GO, which saw its peak in Q3 2016, according to app analytics company Sensor Tower.
The pedigreed studio has in recent times faced more internal competition from its siblings inside Tencent, particularly the Lightspeed Quantum studio, which is behind the successful mobile version of PlayerUnknown’s Battlegrounds (PUBG). While Tencent actively fosters internal rivalry between departments, Gao stressed that TiMi has received abundant support from Tencent on the likes of publishing, business development and legal matters.
WeChat erects a paywall – with Apple tax
Ever since WeChat rolled out its content publishing function — a Facebook Page equivalent named the Official Account — back in 2012, articles posted through the social networking platform have been free to read. That’s finally changing.
This week, WeChat announced that it began allowing a selected group of authors to put their articles behind a paywall in a trial period. The launch is significant not only because it can inspire creators by helping them eke out additional revenues, but it’s also a reminder of WeChat’s occasionally fraught relationship with Apple.
WeChat launched its long-awaited paywall for articles published on its platform
Let’s rewind to 2017 when WeChat, in a much-anticipated move, added a “tipping” feature to articles published on Official Account. The function was meant to boost user engagement and incentivize writers off the back of the popularity of online tipping in China. On live streaming platforms, for instance, users consume content for free but many voluntarily send hosts tips and virtual gifts worth from a few yuan to the hundreds.
WeChat said at the time that all transfers from tipping would go toward the authors, but Apple thought otherwise, claiming that such tips amounted to “in-app purchases” and thus entitled it to a 30% cut from every transaction, or what is widely known as the “Apple tax.”
WeChat disabled tipping following the clash over the terms but reintroduced the feature in 2018 after reaching consensus with Apple. The function has been up and running since then and neither WeChat nor Apple charged from the transfers, a spokesperson from WeChat confirmed with TechCrunch.
If the behemoths’ settlement over tipping was a concession on Apple’s end, Tencent has budged on paywalls this time.
Unlike tipping, the new paywall feature entitles Apple to its standard 30% cut of in-app transactions. That means transfers for paid content will go through Apple’s in-app purchase (IAP) system rather than WeChat’s own payments tool, as is the case with tipping. It also appears that only users with a Chinese Apple account are able to pay for WeChat articles. TechCrunch’s attempt to purchase a post using a U.S. Apple account was rejected by WeChat on account of the transaction “incurring risks or not paying with RMB.”
The launch is certainly a boon to creators who enjoy a substantial following, although many of them have already explored third-party platforms for alternative commercial possibilities beyond the advertising and tipping options that WeChat enables. Zhishi Xingqiu, the “Knowledge Planet”, for instance, is widely used by WeChat creators to charge for value-added services such as providing readers with exclusive industry reports. Xiaoe-tong, or “Smart Little Goose”, is a popular tool for content stars to roll out paid lessons.
Not everyone is bullish on the new paywall. One potential drawback is it will drive down traffic and discourage advertisers. Others voice concerns that the paid feature is vulnerable to exploitation by clickbait creators. On that end, WeChat has restricted the application to the function only to accounts that are over three months old, have published at least three original articles and have seen no serious violations of WeChat rules.
China is losing its global lead in games. By the end of 2019, the U.S. will replace China as the world’s largest gaming market with an estimated revenue of $36.9 billion, says a new report from research firm Newzoo.
This will mark the first time since 2015 that the U.S. will top the global gaming market, thanks to healthy domestic growth in consoles. Globally, Xbox, PlayStation, Nintendo and other console games are on track to rise 13.4% in revenue this year. Driving the growth is the continued shift toward the games-as-a-service model, Newzoo points out, on top of a solid installed base across the current console generation and spending from new model releases.
China, on the other hand, suffered from a nine-month freeze on game licenses last year that significantly shrank the stream of new titles. Though applications have resumed, industry experts warn of a slower and stricter approval process that will continue to put the squeeze on new titles. Time limits imposed on underage players will also hurt earnings in the sector.
As a result of China’s slowdown, Asia-Pacific is no longer the fastest-growing region. Taking the crown is Latin America, which is enjoying a 10.4% compound annual growth.
Despite China’s licensing blackout, Tencent remained as the largest publicly-listed gaming firm in 2018, pocketing $19.73 billion in revenue. Growth slowed to 9% compared to 51% from 2016 to 2017 at Tencent’s gaming division, but the Shenzhen-based company is back on track with new blockbuster Game for Peace (和平精英), a regulator-friendly version of PlayerUnknown’s Battleground, ready to monetize.
Trailing behind Tencent in the global ranking is Sony, Microsoft, Apple and Activision Blizzard.
Other key trends of the year:
Rise of instant games: Mini games played inside WeChat without installing another app are becoming mainstream in China. These games, which tend to have strong social elements and easy to play, have attracted followers including Douyin (TikTok’s Chinese version) to create with their own offerings.
Facebook’s Instant Games have also come a long way since opening to outside developers in 2018. The platform now sees more than 30 billion game sessions played across over 7,000 titles. WeChat doesn’t use the same metrics but for some context, the Chinese company boasted 400 million monthly players on mini games as of January.
Mobile momentum carries on: Mobile games will continue to outpace growth on PC and console in the coming years. As expected, emerging markets that are mobile-first and mobile-only will drive most of the boom in mobile gaming, which is on course to account for almost half (49%) of the entire sector by 2022. Part of the growth is driven by improved hardware and internet infrastructure, as well as a growing number of cross-platform titles.
Games in the cloud are here: It was a distant dream just a few years ago — being able to play some of the most demanding titles regardless of what hardware one owns. But the technology is closer than ever to coming true with faster internet speed and the imminent rollout of 5G networks. A few giants have already showcased their cloud gaming services over the last few months, with the likes of Google’s Stadia, Microsoft’s xCloud, and Tencent’s Start slated to test the market.
Activision Blizzard said it has lined up five franchises for a new, city-based Call of Duty esports league.
Atlanta, Dallas, New York, Paris and Toronto will all play host to franchise teams that will compete in a professional league based on what is perhaps Activision Blizzard’s most successful title, the company announced after its earnings call earlier today.
Each city is partnering with existing Overwatch League team owners to leverage the existing framework that Activision has labored over for the past few years to lay the groundwork for a global, city-based Call of Duty league, the company said.
The first teams are Atlanta Esports Ventures, the joint venture owned by Cox Enterprises and Province Inc.; the Envy Gaming esports team which has been active in Call of Duty competitive play since 2007 and with Dallas Fuel Overwatch league team; New York’s Sterling.VC, a sports media company backed by Sterling Equities (owners of the New York Mets); c0ntact Gaming, which owns the Overwatch League team Paris Eternal and the Paris-based Call of Duty team; and Toronto’s OverActive Media.
“The upcoming launch of our new Call of Duty esports league reaffirms our leadership role in the development of professional esports. We have already sold Call of Duty teams in Atlanta, Dallas, New York, Paris and Toronto to existing Overwatch League team owners, and we will announce additional owners and markets later this year,” said Bobby Kotick, chief executive of Activision Blizzard. “Our owners value our professional, global city-based model, the success we have had with broadcast partners, sponsors and licensees, and the passion with which our players have responded to our events.”
The announcement came on the heels of an earnings announcement that saw the company report earnings of $1.825 billion for the quarter, beating its outlook of $1.715 billion but down slightly from the year ago period when the company brought in almost $2 billion.
The company credited esports and its Overwatch League and the newly announced Call of Duty city-based league (including selling its first five teams to cities) for contributing to the better-than-expected numbers.
Though Apex Legends continues to be a bright spot for EA, the game publisher and the industry as a whole still have hurdles ahead. Today, EA confirmed that it laid off 350 people in marketing, publishing and other departments.
Kotaku obtained an email sent to employees by EA CEO Andrew Wilson, which said that the main focus is increasing the quality of its games. A part of that is ‘ramping down’ the company’s presence in Japan and Russia. Famitsu later confirmed that the Japan office has been closed entirely.
Of the 9,000 global employees at EA, the 350 people laid off represent 3.8 percent of EA’s workforce.
EA isn’t alone. The publisher’s biggest competitor, Activision Blizzard, let go nearly 800 employees, roughly 8 percent of its workforce, in February.
“We have a vision to be the World’s Greatest Games Company,” wrote Wilson in an email obtained and published by Kotaku. “If we’re honest with ourselves, we’re not there right now. We have work to do with our games, our player relationships, and our business. Across the company, teams are already taking action to ensure we are creating higher-quality games and live services, reaching more platforms with our content and subscriptions, improving our Frostbite tools, focusing our network and cloud gaming priorities, and closing the gap between us and our player communities.”
EA sent Kotaku the following statement:
Today we took some important steps as a company to address our challenges and prepare for the opportunities ahead. As we look across a changing world around us, it’s clear that we must change with it. We’re making deliberate moves to better deliver on our commitments, refine our organization and meet the needs of our players. As part of this, we have made changes to our marketing and publishing organization, our operations teams, and we are ramping down our current presence in Japan and Russia as we focus on different ways to serve our players in those markets. In addition to organizational changes, we are deeply focused on increasing quality in our games and services. Great games will continue to be at the core of everything we do, and we are thinking differently about how to amaze and inspire our players.
This is a difficult day. The changes we’re making today will impact about 350 roles in our 9,000-person company. These are important but very hard decisions, and we do not take them lightly. We are friends and colleagues at EA, we appreciate and value everyone’s contributions, and we are doing everything we can to ensure we are looking after our people to help them through this period to find their next opportunity. This is our top priority.
Gaming continues to grow, and record-breaking titles like Fortnite and EA’s own Apex Legends show that there is plenty of money to be made. In fact, Blizzard Activision CEO announced record earnings in 2018 but also said that the company failed to reach its full potential.
That potential has to do with a shift from a model that generates revenue once for a single title to something more akin to a content subscription service. In-app purchases and gaming subscriptions are accounting for more and more of game publishers’ revenues. The Financial Times reported in 2017 that, ten years prior, one-off sales of packaged home-console software accounted for 64 percent of the global gaming market. That number dropped to 30 percent as in-game purchases and subscriptions continue to grow in popularity, as seen with games like Fortnite and Apex Legends.
This more layered revenue structure creates something sticky with consumers, but also runs the risk of alienating them by constantly asking for more money, especially with a game that isn’t free to play.
We’ve reached out to EA and will update if/when we know more.
A turbulent 2018 for China’s gaming market hasn’t held back newcomers. Bytedance, the world’s most valuable startup behind a collection of rising new media apps including TikTok and Jinri Toutiao, is making a further push into video games after it took control of a mobile game developer through a roundabout deal.
According to a business registration filing, Shanghai Mokun has become wholly owned by Beijing Zhaoxi Guangnian, a second-tier subsidiary of Bytedance. Mokun is a mobile game developer previously owned by 37 Interactive Entertainment, a publicly listed games publisher that earmarked $791 million in revenue last year, which makes the Shanghai-based company about one-sixth the size of Activision Blizzard.
Zhang Lidong, a veteran journalist-turned senior vice president at Bytedance, has taken the helm as Mokun’s legal representative.
The price of the deal is undisclosed. A spokesperson from Bytedance declines to comment on the transaction. TechCrunch has reached out to 37 IE and will update the story if we hear back.
This isn’t the first time Bytedance has shown interest in the lucrative gaming market. Last month, TikTok’s Chinese version Douyin released its first in-app “mini-game” and Toutiao had already rolled out such lite games on its personalized news distribution platform in September.
These stripped-down forms of apps within a super app have been a sought-after way for Chinese tech giants to lock users in rather than sending them to download a stand-alone app. Bytedance’s foray into mini-games comes as a likely move to take on Tencent’s WeChat messenger, which had amassed 400 million MAUs on its own army of mini-games by January. On the other hand, Tencent is getting nervous about ByteDance’s rise and made inroads into short videos after trying its hand at several TikTok-like apps.
Though best-known for WeChat, Tencent has been generating the bulk of its income from video games for years and is the world’s largest games publisher by revenues, according to market researcher Newzoo. Tencent’s asset of more than 1 billion MAUs on WeChat and about 800 million MAUs on QQ, its legacy messenger from the PC era, allows the giant to conveniently convert social media users into gamers. Users can, for instance, easily log in and invite friends to play games via their WeChat or QQ accounts.
By comparison, 500 million users stream short-form videos on Douyin each month. Many of them may have already seen in-stream ads for games on the video app, which has become a popular marketing channel for small game developers, according to several media-buying agencies TechCrunch previously spoke to. Worldwide, TikTok has collected an estimated 1 billion downloads. This considerable global reach, which Tencent lacks, may eventually give Bytedance an edge in games distribution if the company decides to launch the effort overseas.
Founder and chief executive Jack Dorsey says Square has poached Amrita Ahuja from Blizzard Entertainment, a division of the gaming company Activision Blizzard, to lead finance at the merchant services and mobile payments company.
Ahuja will join Square later this month, about three months after long-time Square chief financial officer Sarah Friar exited the company in favor of a CEO opportunity at Nextdoor, a neighborhood social networking site. Friar, often described as Dorsey’s right-hand woman, joined Square in 2012 and led the startup through an initial public offering that valued the company at about $3 billion.
Prior to an eight-year stint at Blizzard, Ahuja clocked in a few years at Fox Networks Group, the Walt Disney Company and Morgan Stanley, where she was an analyst in the investment banking division.
“In Amrita, we have found an amazing, multidimensional business leader,” Dorsey said in a statement. “Amrita brings the ability to consider and balance opportunities across our entire business, and she will help strengthen our discipline as we invest, build, and scale.”
Shares of Square [NYSE: SQ] dropped more than 8 percent on Thursday.
The Web 1.0 and Web 2.0 eras weren’t kind to the world’s largest media conglomerates, throwing their business models into question, creating whole new categories of content consumption, and bringing online competition to subscription and ad pricing. Many of the media giants from the 1990s and early 2000s remain market leaders with multi-billion dollar valuations, however, and have become active investors in startups as a tactic to help themselves evolve.
Of the traditional media companies that have committed to corporate venturing, there are two distinct strategies: those whose investing seems to be about replacing the historic classifieds section of newspapers and diversifying into a range of consumer-facing marketplaces, and those whose investing is concentrated on capturing an early glimpse (and early equity stake) in startups reshaping media.
Replacing Classifieds, Investing in Marketplaces
Mathias Doepfner, CEO of Axel Springer. The company’s startup accelerator is one of the most active in Europe. (Photo by Michele Tantussi/Getty Images)
Given the first crisis newspaper groups faced from tech startups in the 1990s and early 2000s was the rise of online classifieds sites (like Craigslist) and transactional marketplaces (like eBay and Amazon), the disruption of their lucrative classified ads revenue stream drove their attention to e-commerce.
Aside from Hearst, the major US newspaper and magazine chains – like Gannett, News Corp, Meredith Corp / Time Inc, and Digital First Media – haven’t made many investments in startups. Perhaps the financial straits of most US newspaper companies have left little cash for VC investments that won’t pay off for years in the future.
But in Northern and Central Europe, where news readership and even print publishing remain healthy by comparison, the leading media groups have been aggressively investing in marketplace and e-commerce startups across the continent over the last decade.
Europe’s leading publisher, Axel Springer has made itself an established player in the European startup scene. Axel Springer’s Digital Ventures team has backed marketplaces from Caroobi (for cars) to Airbnb, and their Berlin-based accelerator (run in partnership with Plug & Play) has invested in over 100 young startups, like digital bank N26, boat rental marketplace Zizoo, and influencer-brand marketplace blogfoster. In a move more strategic to its business, the 15,000-employee group made a large investment in augmented reality unicorn Magic Leap this past February as well, forming a partnership to leverage its content IP in the process.
Meanwhile, Norway’s Schibsted, Sweden’s Bonnier, and Germany’s Hubert Burda Media (best know to many in tech for their annual DLD conference in Munich) and Holtzbrinck Publishing are each globally active, multi-billion dollar publishers who operate active early- or growth-stage VC portfolios comprised mainly of e-commerce brands and marketplaces.
The most iconic corporate venture investment by a newspaper conglomerate (or any company for that matter) is without question the $32M check written into 3-year-old Chinese social web startup Tencent in 2001 by the South African publishing group Naspers (founded in 1915). Tencent, now valued around $400B, is Asia’s largest and most powerful digital media company and Naspers’ 31% stake was worth roughly $175B in March 2018 when it sold $10B in shares.
As a result, Naspers has transformed into a holding company that incubates, acquires, and invests in online marketplace businesses around the globe (though it still maintains a relatively small publishing unit).
The challenge for traditional media companies investing in startups beyond the realm of media is that even if wildly successful, those investments neither give them a distinct advantage in media itself nor make their business model like that of a tech company by way of osmosis. These investments can be flashy distractions to make management and shareholders call the company innovative while it fails to actually re-envision its core operations. Investing in Airbnb or BaubleBar doesn’t address the key challenges or opportunities a traditional publishing group faces.
Therefore the best case scenario in this strategy seems to be that these companies find enough financial success that they just transition out of the content game and become holding companies for other types of consumer-facing brands the way Naspers has. But even then the path seems uncertain: despite all its other activities, Naspers’ market cap is less than the value of its Tencent shares…it’s not clear that the best case scenario necessarily transforms the core organization.
Investing in the Next Generation of Media
Thomas Rabe, CEO of German media group Bertelsmann. Bertelsmann is unique in treating startup investments as a dedicated division of the conglomerate. (TOBIAS SCHWARZ/AFP/Getty Images)
The other track for “old media” giants has been to focus on venture capital as a means to uncover the future of the media business so the old guard can learn from the new generation of media entrepreneurs and react to market changes sooner than competitors. Intriguingly, it is consistent that the conglomerates who have taken this strategy are ones whose operations in television, radio, data, and telecom outweigh any involvement in newspapers.
Bertelsmann, Hearst, and 21st Century Fox have been the most aggressive corporate venture investors in startups working to shape the future of media, whether it be through streaming video services, crowdsourced storytelling platforms, or augmented reality.
With annual revenue over €17B, Bertelsmann is one of the largest media companies in the world, spanning television production and broadcasting (RTL Group), book publishing (Penguin Random House), newspapers, magazine publishing (Grüner + Jahr), and education. Unlike of media companies though, it treats venture investments in media startups as a key division of its company rather than as a side project.
The company’s core Bertelsmann Digital Media Investments (BDMI) invests across the US and Europe in companies like Audible, Mic, The Athletic, and Wondery (and in funds like Greycroft and SV Angel) but there are also the 3 regionally-focused funds investing in China, India, and Brazil plus the education-focused University Ventures fund it anchors in NYC. Collectively, Bertelsmann teams made 40 new startup investments in 2017 and generated €141M in venture returns, according to their 2017 Annual Report.
The investment arm of Hearst, one of America’s largest publishers with $10.8B in 2017 revenue, has likewise been a major backer of BuzzFeed, Pandora, Hootesuite, and Roku not to mention Chinese language app LingoChamp, live entertainment brand Drone Racing League, VR capture startup 8i, and dozens of other media-related startups. Hearst’s ownership in these ventures makes strategic sense: they provide market insights relevant to the core businesses, offer immediate partnership opportunities, and would be strategic acquisition targets that evolve the company’s position in a changing market.
21st Century Fox and Sky Plc (in which 21st Century Fox owns a 39% stake and is trying to acquire outright) have both made a whole slate of startup investments across the media sector in the last few years. In addition to its $100M investment in live-streaming platform Caffeine (announced on September 5) and similarly massive investment in WndrCo’s NewTV venture led by Meg Whitman, Fox has invested repeatedly in sports-centric OTT service fuboTV, hit newsletter brand TheSkimm, VR studio WITHIN, and fantasy sports app Draftkings with Sky often co-investing or building meaningful stakes in international startups like iflix (a leading streaming video service in Southeast Asia and the Middle East).
Since traditional media giants own extensive intellectual property of hit shows, films, and often exclusive rights to popular live events – not to mention established distribution channels to tens or hundreds of millions of people – there are immediate partnerships that can be signed to benefit both a startup and the incumbent. The incumbents often re-invest repeatedly to build their ownership and deepen the alignment between the companies, which rarely happens when media companies invest in marketplace startups.
Tencent’s always-be-evolving model
The new crop of digital media giants that includes Netflix, Snap, VICE, and BuzzFeed aren’t doing much if any strategic investing. Instead they’re keeping focused on growth of their core product offering. The notable exception is China’s Tencent.
In addition to dominating China’s booming messaging app sector with WeChat and QQ, owning 75% market share of music streaming in China, and being the world’s leading games publisher through its own studios (Riot Games, Supercell, etc.) and its minority stakes in Activision Blizzard, Epic Games, and others, Tencent has taken a strategy of investing often and early in promising digital media startups…and it has its tentacles in everything.
Based on Crunchbase data, Tencent has done over 300 investments in startups. It is likely the most active venture investor in China, where most of its portfolio is concentrated, but also backs Western media startups like SoundHound, Wattpad, Spotify, Smule, and Wonder Workshop.
Tencent can give distribution to these upstarts through its vast portfolio of digital properties and it can keep tabs on what new content formats or business models are gaining traction. It operates from a mindset of perpetually evolving, and trying to snatch up startups whose products could be key assets in the future of content creation, distribution, or monetization. This approach is one both old media giants and the next gen of unicorn media startups should consider.
The pace of innovation is moving so fast, and so many new doors are opening up – from subscription streaming and esports to voice interfaces and augmented reality – that corporate venture as a core strategy can unlock opportunities for the organization to evolve early, before it ends up being categorized as “old media”.
If you’re sick of hearing about esports, you need to get over it. The space continues to grow, inching its way into the traditional media landscape. Today, in fact, Activision Blizzard announced that the Overwatch League playoffs will be aired on ESPN and Disney XD.
The Overwatch League in itself is a huge step for esports, as it’s the first true city-based league for a competitive video game. While most esports leagues consist of privately owned teams with little or nothing to do with geography, Overwatch League is a pro league made up of city-based teams such as the Dallas Fuel or the San Francisco Shock. Many of these teams are owned by big names in the traditional sports world, such as Robert Kraft (CEO and owner of New England Patriots, who owns the Boston Uprising) and Jeff Wilpon (COO of the New York Mets, who owns the New York Excelsior).
The agreement, which also includes a recap/highlights package from 2018 Grand Finals coverage on ABC on July 29, marks the first time that live competitive gaming has aired on ESPN in prime time, and will be the first broadcast of an esports championship on ABC. Activision Blizzard said in the announcement that this is just the start of a multi-year agreement.
Overwatch League playoffs begin tonight at 8pm ET, and will culminate in the Grand Finals, taking place in the Barclays Center in Brooklyn, on July 27 and July 28.
Here’s what Justin Connolly, EVP of Affiliate Sales and Marketing at Disney and ESPN, had to say in a prepared statement:
The Overwatch League Grand Finals is by far our most comprehensive television distribution for an esports event over a single weekend: 10 total hours over four networks and three days. This overall collaboration with Disney/ABC, ESPN and Blizzard represents our continued commitment to esports, and we look forward to providing marquee Overwatch League coverage across our television platforms for fans.
The rise of Twitch stars, like Ninja, and the growth of the competitive gaming scene have paved the way not only for a new type of sports media, but for a growing new economy. While challenges remain around monetizing the content, the pieces of the puzzle are slowing coming together to create an audience large enough to incentivize advertisers to spend big money.
In fact, sponsorship revenue and ad spending revenue are expected to hit $655 million and $224 million, respectively, by 2020, according to Newzoo. That doesn’t sound like much when you think about the NFL, which raked in $1.3 billion in revenue in 2017 alone. But, like this deal proves, the esports space is growing and working its way into the mainstream, hoping to get the attention of young men between 18 and 34 who have become increasingly difficult to reach via traditional advertising.
Alongside the live TV broadcast of the Overwatch League playoffs on ESPN and Disney XD, the playoffs will also be live-streamed via Twitch, MLG.com and on the ESPN app and DisneyNOW.
What could be more perfect than moving the inaugural championship finals for an eSports league from its Los Angeles home to Brooklyn?
For Overwatch League, the esports conference created by fiat from Activision Blizzard, the move is the first step in its plans for housing esports teams in cities around the country.
Heading from sunny Burbank, Calif. to the hipster heartland of Brooklyn conjures up echoes of the famed Dodger franchise move (in reverse) while tapping into one of the few other markets in the U.S. that might rival LA for esports popularity.
When the Overwatch regular season ends on Sunday, June 17, six teams will face off in the league’s first post-season playoffs. Those games are set to begin July 11 and will take place in Burbank at the company’s “Blizzard Arena Los Angeles”.
After the playoffs, the final teams will fly to New York to compete for the largest share of a $1.4 million prize pool and the first Overwatch League trophy. The games are slated to begin Friday, July 27 and continue on the 28th.
“The Overwatch League Grand Finals will be an epic experience for fans and viewers,” said Overwatch League commissioner Nate Nanzer in a statement. “We want this to be the pinnacle of esports, and holding it at a world-class venue like Barclays Center, in a global capital like New York, will help us celebrate not only the league’s two best teams, but the fans, partners, and players who have joined us on this incredible journey.”
Overwatch is taking a geographic approach to its franchises with teams sponsored by cities in the U.S. and major esports hubs around the world like London, Shanghai, and Seoul.
Eventually the league is looking to set up stadiums in locations outside of Burbank. With league play requiring teams to travel — like a traditional sports league.
The move to Brooklyn could be a test of how well the Overwatch experience travels and a precursor to the league starting to take its show on the road in earnest.
Tickets go on sale on Friday, May 18, at 10 a.m. EDT, and can be bought on ticketmaster.com and barclayscenter.com, while tickets to the first two rounds of the Overwatch League postseason at Blizzard Arena Los Angeles go on sale Thursday, May 10, at 9 a.m. PDT via AXS.com.
