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Twitch announces group streaming and a karaoke game for its 1M concurrent viewers – TechCrunch

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The teens were out in force today in San Jose for the annual TwitchCon game-streaming conference. There, Twitch announced that at any given time, 1 million people are watching it (up from 746,000 last year), and it seemed like many game lovers were at TwitchCon in person to meet some of the nearly half-million web celebs that broadcast each day on the service. Considering Twitch said just 2 million were broadcasting per month in December, the service’s growth is still explosive under Amazon’s ownership.

Amongst the major reveals at TwitchCon were a new Squad Streaming feature that lets up to four people broadcast at once in split-screen that will test with select streamers later this year.

There’s also a new Twitch Sings game built-in partnership with Rock Band-creator Harmonix. Broadcasters can play to perform karaoke (though only with fake versions of songs as Twitch lacks major label music licenses). Viewers can use the chat to request the next song and control the lights on the virtual karaoke stage; broadcasters can sign up here for the Twitch Sings closed beta that starts later in 2018.

Twitch Squad Streaming

And Twitch broadcasters can now use Snapchat’s augmented reality lenses thanks to the new Snap Camera desktop app and accompanying Twitch extension launching today. Streamers can use hotkeys to trigger different Snapchat Lenses, let viewers try those masks by scanning an onscreen Snapchat QR code and reward subscribers with a bonus thank you effect. Read our full story on Snap Camera here.

There were plenty of other minor announcements during the conference’s keynote:

  • More than 235,00 streamers now have Affiliate status and are earning money on their channels, while 6,800 have joined its Partnership program so they can earn even more through channel subscriptions and ads.
  • Twitch is revamping Gear on Amazon, where streamers can show off products and earn affiliate fees, renaming it Amazon Blacksmith.
  • Twitch’s Highlight editor can now stitch together multiple clips from across a broadcasting session.
  • New homepage sections will feature up-and-coming streamers, new Partners and Affiliates or streamers local to viewers.
  • VIP Badges will let creators recognize their favorite subscribers and moderators.
  • Moderators can now see how long someone has been on Twitch, view chat messages that person has sent in the channel and see how many time-outs or bans that account has received in that channel to better understand who to boot.
  • 18 billion messages have been sent in Twitch chat and its Whispers feature in 2018, and fans have given creators 85 million Cheers and Subscriptions.
  • 150 million Twitch Clips have been created in 2018 to bring the best game stream and other weird content to the rest of the web.
  • Twitch users have gifted $9 million worth of subscriptions to fellow users in just 9 weeks.
  • Twitch will open its Bounty Board of sponsorship opportunities to 30 more brands, and more Partners and Affiliates in the U.S. and Canada in November.
  • The Twitch Rivals in-person gaming tournaments will double to 128 events in 2019. Some will have million-dollar prizes, and it already gave out $5 million in winners’ jackpots last year.


As CEO Emmett Shear made the announcements, audience members hooted and hollered with delight. They out-yelled even Apple’s keynote attendees. Shear shouted out early users who’ve been with it since Twitch was a Y Combinator live-vlogging startup called Justin.tv. “When people have your back and support you for a long time, we think they should be recognized for it,” he said, revealing the new VIP badges and a counter that shows how many months a fan has been a channel’s paying subscriber.

“You spoke and we listened,” Shear said. That truly seemed to be the message of this conference. Facebook’s F8 conferences held in the same San Jose Convention Center often seem to produce updates that are designed to help the company as much as the users. But Twitch has realized it can’t just be useful. It must remain beloved if people are going keep spending 760 million hours per month watching others game, joke and express themselves. Shear concluded, “I think we’re just scratching the surface when it comes to everyone playing together.”

Twitch Sings

Update: An Interview With Emmett Shear

I spoke with Shear after his keynote to get a sense of Twitch’s priorities and how it’s avoided much of the backlash hitting Facebook, Google, and Twitter. “I don’t think we’re exempt from the problem. We have to work every day on winning the community’s trust. I don’t think you ever get to let your guard down or stop working on that. It’s just through hard work and consistently pushing to build the things that [the streamers] need and that they want.”

Balancing free speech with safety has been a struggle for all the tech platforms, Twitch included. “I think this is the issue of our time. This is the thing that every tech, media, and communications company in the world has to grapple with. We’re not shy about asking people who don’t abide by our community standards to leave” Shear tells me.

I asked whether he’d kick Alex Jones off the platform if he joined, even before violating Twitch’s own rules due to his behavior elsewhere. “We don’t talk about individual cases, generally speaking. Trying to police anyone’s behavior across the internet is hard because of…the internet not being able to tell you’re a dog” he says, referring to the old adage about anonymity on the web. “But we believe for example that harassment on another platform, it’s still you. We have to be able to know it verifiably is you. You can’t jump to conclusions. But if it is verifiably you and you’ve gone off Twitch to harass people, we have no problem banning you for that behavior.”

As for the competitive landscape, Shear beamed “I think it’s awesome to see such vigorous invest in livestreaming globally. I’ve been working on livestreaming since 2006. It’s nice to get the validation that everyone realizes it’s a good idea too…a decade later.” Shear is believed to be under a five-year vesting schedule at Amazon that’s set to complete next year. “I’ve felt incredibly autonomous and supported by Amazon” he tells me. But is he going to leave? “You never know what the future holds. I’m loving my job. I’m loving to getting to work on Twitch, and the people that I work with. Being part of Amazon is pretty good. Compared to friends I’ve talked to raising money from VCs, I think I prefer the current setup.”

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It’s the battle of the alien symbiotes in Venom: Let There Be Carnage trailer

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Tom Hardy returns to the big screen as the lethal protector Venom, taking on Woody Harrelson’s villainous Cletus Kasady/Carnage, in Sony’s forthcoming film Venom: Let There Be Carnage.

Tom Hardy (Mad Max: Fury Road) returns as intrepid reporter Eddie Brock, infected with a parasitic alien symbiote that gives him super powers, in Venom: There Will be Carnage. Directed by motion-capture icon Andy Serkis, it’s the sequel to 2018’s box-office smash, Venom. After being delayed for nearly a year due to the ongoing pandemic, Sony just dropped the official trailer, in which Brock/Venom must battle serial killer Cletus Kasady (Woody Harrelson, Zombieland), infected with another alien symbiote dubbed Carnage.

(Some spoilers for first film below.)

A Venom film was in development at New Line Cinema back in 1997, although the project didn’t really get off the ground until Sony acquired the rights to the character, as well as Spider-Man. Sony initially planned for Venom and Spider-Man to inhabit a shared universe, given their history in the comics. (Spider-Man was Venom’s first host, before moving on to Brock, and the character gradually evolved from villain to more of an antihero.) The disappointing box office performance of 2014’s The Amazing Spider-Man 2 changed those plans, and Venom was re-conceived as a standalone film, with Tom Hardy signing on as the star and Zombieland director Ruben Fleischer agreeing to direct.

That first film served as an origin story for our antihero. A bioengineering firm called the Life Foundation discovered a comet covered with symbiotic lifeforms and brought four samples back to Earth. Brock’s then-fiancée, Anne Weying (Michelle Williams, Fosse/Verdon), shows him classified documents revealing that the foundation is conducting human/symbiote experiments. The symbiotes need oxygen-breathing hosts to survive, but they invariably end up killing those hosts.

Hot on the story, Brock breaks into the research lab and ends up infected with one of the symbiotes, named Venom. Venom reveals that the symbiotes are intent on taking over Earth by possessing/devouring all humans, but Brock ultimately strikes up a bargain with Venom, and they decide to protect Earth instead. Together, they take on Life Foundation CEO Carlton Drake (Riz Ahmed, Sound of Metal), infected with a symbiote called Riot.

Venom was released in October 2018 and was roundly panned by critics, several of whom specifically bemoaned the lack of a Spider-Man connection. Audiences, however, begged to differ. Venom racked up $856 million globally and was the seventh-highest grossing film of the year. Hardy had already committed to two sequels, and a midcredits sequence featured Harrelson’s Cletus Kasady taunting Brock (who is interviewing Kasady for a story) from his cell. Kasady vows to escape and bring “carnage,” leaving little doubt as to the villain’s identity in a sequel.

Audiences particularly responded to the burgeoning relationship between Brock and Venom, who remained secretly bonded at the film’s end as a kind of hybrid vigilante. One scene in particular—Venom giving Brock a lingering French kiss while transferring from Anne’s body back to Brock’s—launched a thousand ships for “Symbrock.” Sony embraced the fan response by marketing the home release with ads playing up romantic-comedy overtones.

The trailer for Venom: Let There Be Carnage plays up more of a bromance/odd-couple angle, opening with Brock and Venom preparing breakfast—with mixed results—as Venom raspily sings along to “Let’s Call the Whole Thing Off.” Brock’s friendly neighborhood convenience store owner, Mrs. Chen (Peggy Lu, Always Be My Maybe), is back to provide comic relief, Williams reprises her role as Anne Weying, and Naomie Harris (Skyfall, Moonlight) plays a secondary villain named Shriek—because even serial killers like Kasady need a love interest, and this one can manipulate sound.

Other than Kasady’s escape and emergence as Carnage, the trailer gives little away as to the actual plot, although there do seem to be elements from the Maximum Carnage storyline. Chances are, if you enjoyed the first Venom film, you’ll like the sequel, too.

Venom: Let There Be Carnage opens exclusively in theaters on September 24, 2021.

Listing image by YouTube/Sony

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Sony says PS5 could be difficult to find into 2022

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Enlarge / This Sony engineer can get a PS5, but millions of others can’t, thanks to short supplies that are likely to continue.

Sony thinks demand could continue to outstrip supply of the PlayStation 5 into 2022. That’s according to a Bloomberg report citing a number of unnamed analysts who listened in on an explanatory call following Sony’s recent earnings report.

“I don’t think demand is calming down this year, and even if we secure a lot more devices and produce many more units of the PlayStation 5 next year, our supply wouldn’t be able to catch up with demand,” Sony CFO Hiroki Totoki reportedly said.

Sony has been warning for months that worldwide shortages of semiconductors and other components have made it hard to increase production for the PS5. But this is the most direct sign that those shortages will extend past this year and into the next.

Sony President and CEO Jim Ryan said in February that he expected PS5 supplies would “get better every month throughout 2021,” leading to “really decent numbers indeed” by the second half of this year. But Totoki amended that statement in April to say that it’s “not likely” Sony could “drastically increase the supply” before the company’s fiscal year ends in March 2022.

Supply problems aside, demand for the PS5 seems to be matching that of the early days of the PS4, which has sold over 115 million units to date. The PS5’s 7.8 million sales through March and 14.8 million additional projected sales in the current fiscal year are broadly in line with sales of the PlayStation 4 at the same point in its life cycle.

But while the PS4 was in short supply in the early months of 2014, by August of that year, Wired was citing the lack of retail PS4 shortages as one reason behind the system’s unexpected success at the time. In other words, the difference between shelves full of PS4s and shelves empty of PS5s is due to the supply, not demand, levels between the two systems.

Totoki reportedly told analysts that he “can’t imagine demand dropping easily” for the PS5, and that situation would continue to put pressure on Sony to increase supplies in any way it can. But with the company already taking a loss on every system sold, spending more money to secure scarce chips over competitors could be difficult (if it’s possible at all).

Put it all together, and you have a situation that could mirror that of the Nintendo Wii, which remained hard to find on store shelves for well over a year after its late-2006 release. That situation got so bad that former Nintendo of America President Reggie Fils-Aime had to actively deny that there was a conspiracy to keep Wii supplies artificially low.

Today, of course, Nintendo is facing the same semiconductor shortages as Sony in trying to keep up with demand for the Switch, as are many carmakers. All told, it looks like the “big scramble” for silicon chips is set to continue for a while.

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New book Press Reset investigates the high human cost of game development

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Enlarge / Jason Schreier’s latest deep dive on the game industry is out on May 11 at all major booksellers.

Grand Central Publishing

Games industry journalist Jason Schreier has left his mark over the years by digging up behind-the-scenes dirt at sites like Kotaku and Bloomberg, but he may be best known for Blood, Sweat, and Pixels. This 2017 book broke down like a Schreier’s “greatest hits” collection: Every chapter followed a particular game and its lead studio through a wild “triple-A” period in the late ’00s and early ’10s.

If you’ve read BSP or any of Schreier’s other investigative stories, you’ll likely notice common threads at modern game studios, no matter which genre or specific company is involved. The first brilliant stroke of his newest book, Press Reset: Ruin and Recovery in the Game Industry, is to take that concept a step further. Individual games and studios get an occasional spotlight, but this time, Schreier often follows individual developer résumés to answer a few huge industry questions.

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