Bob Crimmins with his daughters on the day they met their Kickstarter goal for the ‘Wise Walker.’ There are plenty of stories of entrepreneurs who got their start in dorm rooms and garages, but how many can trace their startup hustle back to the playground? At 12-years-old, Bob Crimmins began his education in entrepreneurship by upselling lollipops from 7-Eleven to his classmates, learning a valuable lesson in demand-based pricing. As a kid, Crimmins also worked for his family’s businesses and went door-to-door selling custom glasswork he made. Entrepreneurship and innovation often go hand-and-hand, and Crimmins was no exception. “I wrote my first program on punch cards in 1978, a time when it was neither cool nor lucrative to be a 15-year-old programmer,” he said. Crimmins founded his first tech startup in 1999 and went on to launch four more after that. Along the way, he started a poker game for friends in the startup community. That was back in 2006. Fast-forward to 2019 and what began as a casual gathering has grown into Startup Haven, a community for entrepreneurs with chapters in six cities and 2,300 members. Up until now, Crimmins estimates he dedicated about 15 percent of his time to Startup Haven. This year he decided to make it his full-time gig so he can continue to scale the organization. He plans to expand Startup Haven to three additional cities in 2019 and 10 in 2020. Members must qualify as “venture-scale” founders before they are accepted into Startup Haven. In addition to regular poker games, the group hosts founder dinners and other events each month. Crimmins still makes time for the occasional side hustle, like , a startup he founded with his daughters. Together they designed a clip-on carrying case for dog owners to stash smelly poop bags on walks. Related: “The most rewarding experience I’ve ever had as an entrepreneur and as a father was teaching my twin daughters about entrepreneurship by actually co-founding a company with them,” he said. We caught up with Crimmins for this Geek of the Week. Learn more about his journey and Startup Haven below. What do you do, and why do you do it? In 2006, I started asking folks I knew if they wanted to learn how to play poker. Since virtually everyone I knew at the time was a startup founder, exec or investor, that’s who joined in. Learning the game was fun but what fascinated me was the relationships that were formed by the folks around the table. Seeing the impact of those relationships was amazing and it inspired me to keep the game going and growing. Fast forward a dozen years and that humble monthly card game took on a life of its own and became what is now Startup Haven, a founder support community with more than 2,300 founder, exec and investor members in six cities. We still host that fun, invite-only, low-stakes poker event every month in all six of our chapter cities (we have hosted more 300 Startup Poker 2.0 events so far)! But if you’re not a Startup Haven member then the reasons we play poker are probably not what you think. I have written extensively about . If you’re a full time, venture-scale founder or an active startup investor, you might find it interesting. Over the years, Startup Haven has become much more than just a poker event. We have hosted hundreds of Founders Dinner events, dozens of special educational events. Beginning in 2019, scaling Startup Haven’s impact has became my full-time focus and over the past few months, we have launched a members-only recruiting program, an accelerator program and an investor matching program. Startup Haven started a personal passion project and it will always remain that. But scaling requires a different mindset and that makes it feel like a startup. It’s an exciting time. What’s the single most important thing people should know about your field? My “field” these days is helping founders succeed more by failing less. Startups fail so often that it’s a wonder why everyone hasn’t just stopped trying. A “Top 10” list of the reasons why startups fail would include a hundred reasons. This stuff is hard and there is no silver bullet, but I have come to believe that relationships and cogency are the two best hedges against failure. I’ll buy dinner for the first person to convince me otherwise. These principles are precisely what motivated me to keep Startup Haven going for all these years and it’s why I’m genuinely excited about the new . Where do you find your inspiration? My daughters. Humble founders. The magnitude of human experience. What’s the one piece of technology you couldn’t live without, and why? CNC lasers. I reckon I use mine three to four days a week — there’s always something to make, to fix, to experiment with. Growing Startup Haven has made that more difficult lately but it’s always on my mind and if it’s been more than a week since I’ve had the opportunity then I really miss it. What’s your workspace like, and why does it work for you? I’m a nomad. I work out of a backpack. As a community organizer and a mentor, I spend time at a variety of co-working spaces around town. I’m currently working primarily out of Thinkspace, which I love. Crimmins at the Columbia Tower Club, where he often works. Your best tip or trick for managing everyday work and life. Everyone in the startup world is perpetually overcommitted. So protecting your calendar can be a superpower. Largely, this amounts to figuring out how to say “no” respectfully, helpfully, and more often. Mac, Windows or Linux? Windows. Kirk, Picard, or Janeway? Picard. But, go Janeway! Transporter, time machine or cloak of invisibility? Philosopher’s Stone is missing from the list, so I’ll go with time machine. However, I will travel back in time to the moment the cloak of invisibility was discovered and find it myself the day before. Then I would travel forward in time to whenever the Philosophers Stone becomes and option. If someone gave me $1 million to launch a startup, I would Put the money in the bank and use the interest to fund experiments with the aim of developing a cogent startup thesis that warrants putting $1 million to work at day zero. I once waited in line for: I waited in line to see Star Wars when it first hit the theaters. Your role models: I often find myself channeling great entrepreneurs and investors I’ve known. What would Andy do? What would Dan do? What would TA do? What would Chris do? What would Dave do? Without fail, I immediately see the issue/questions/challenge/decision in a new light. It’s palpable. I don’t always take the action I think they would but I’m always informed by what I think their perspective would be. Of course, I could be terribly wrong about what they would actually do if I were to ask them, but the exercise is so effective and immediate that I wouldn’t want to break it by actually asking them. Besides, none of them have time to take speed dial calls from Bob. Greatest game in history: D&D. Viva la imagination. Best gadget ever: Staedtler 2.0mm mechanical pencil … and paper. First computer: I learned to program on VAX-11 in high school, then got excited about computers with my best friend’s TRS-80. I really wanted the Osborne 1 to be my first computer but they were so expensive that I had to eventually settle for building an IBM XT Clone. Current phone: Samsung S8+. Every time someone switches from an iPhone to an Android, an angel gets its wings. Favorite app: I love, love, love Audible. Audiobooks are a secret weapon for sure. I even read the Mueller report in less than two weeks while driving to and from meetings. Favorite cause: My “favorite” is youth entrepreneurship, which I think is an important and valuable cause and it’s something I think I am especially equipped to help with. But I don’t think it’s nearly as important as so much other work that needs to be done in the world. Most important technology of 2019: Boring old social media has proven its ability to fundamentally subvert democracy. That needs to be fixed. I can’t think of much that’s more important than that. Most important technology of 2021: AI … for as far out as our headlights go. Final words of advice for your fellow geeks: My advice is for early entrepreneurs. Having good ideas is easy. The hard part is determining whether and how some good idea or other could also be a successful business — before you sacrifice your savings account, your relationships and your emotional health. Mostly, good ideas turn out not to be good businesses. And to be clear, I’m not just talking about the ideas that only half the room thinks are good. I’m also talking about the ideas where everyone in the room thinks the idea is good, i.e., that the problem should be solved, that the product should exist and that the world would be a better place with your startup in it. If it were only the marginally good ideas that failed then the startup failure rate would not be in the neighborhood of 95 percent. Aye, the allure of an idea that everyone tells you is “such a good idea” is irresistible. Coupled with your passion, confidence and ambition, keeping an open mind about whether your good idea can also be a good business is super hard. So hard that you barely paused before jumping off the cliff. Reid Hoffman famously described entrepreneurship as the act of jumping off that cliff and building a plane on the way down. He is right. But he didn’t say you had to design the plane on the way down. You can do a lot to figure out which planes might possibly be built in the distance from the top of the cliff to the bottom. Of course, certainty is impossible; but there are ways to reduce your chances of disintegrating on impact at the bottom of the cliff. Passion is helpful, even necessary; but it’s not sufficient. You also need a lot of customer development, some math and a little critical thinking. Constantly be on the lookout for assumptions you are making, i.e., what would have to be true in order for your startup to be a good business? Notice that this is a different question than “what would have to be true in order for your startup to be a good idea.” Ideas don’t come with labels that identify them as a good business or not. You have to figure that out yourself. To do that, talk to lots of customers and then identify and quantify as many of your assumptions as possible and model them in a spreadsheet. If you can’t tell a cogent and quantifiable story about how you could get from here to there (wherever you think “there” should be) then you are operating at a ridiculously high level of uncertainly and risk. Founder, meet cliff.
The Zigantic team, from left to right: Vignav Ramesh, Rishab Mohan, Arav Manchanda and Sahil Kancherla. Not pictured: New York-based Vihaan Dheer. (Zigantic Photo) The co-founders of the startup looked at the U.S. labor pool and saw an opportunity in high school students — and specifically those who play video games. They’ve launched a business that harnesses teens’ passion for gaming with video game developers who need to test and validate their games. It’s a niche that the Zigantic crew is uniquely suited to plug into, given they’re all teens themselves. “The high school market is an untapped market that most developers can’t tap,” said Vignav Ramesh, the company’s 14-year-old CEO. Zigantic’s other four founders range from 13-to-15 years old and include Rishab Mohan, Vihaan Dheer, Sahil Kancharla and Arav Manchanda. The business and most of the team are based in the Bellevue, Wash. area, while Dheer is from New York. The company got its start in August 2017, and officially incorporated a little more than a year ago. Image of games for testing. (Zigantic Image) They estimate that game validation is a $33 billion sector. For now, they’re offering their product for free in order to build credibility (their first customer was so pleased with the service that he paid them $100 anyhow). The team is cold-calling developers and going to meetups to find customers, and would like to connect with game makers at universities. Once they gain traction, they plan to offer testing packages from $9.99 up to $21.99, depending on the range of services and level of feedback provided. “We’re trying to make it a lot easier for [developers] and cut down the cost,” said Mohan, chief product officer. The Zigantic founders have been recruiting students at their own schools to do the testing, and spreading the word that they’re hiring to other schools and districts through friends. Zigantic is in its second round of incubation with Young Entrepreneur program. Last year, they won the regional competition. The program provides mentorship and guidance, helping the startup develop and prove its business model and launch the company. The teens said they each work about 4-to-5 hours a week on the business. They’ve already done their first pitch to investors, raising $18,000 through friends and family. “The funds have been raised to accelerate the release of our next-gen play-testing application, to aid with go-to-market activities and to broaden our reach to mobile and PC game-developers, said Ramesh. The team is working with its second and third customers, and set a goal of reaching 30 customers this year. We caught up with Ramesh and Mohan for this Startup Spotlight, a regular GeekWire feature. Continue reading for their answers to our questionnaire. Members of team Zigantic working on their product. (Zigantic Photo) Explain what you do so our parents can understand it: Zigantic’s platform is designed to create a new generation mobile validation platform to help mobile and PC game developers solve the burden of game validation. Inspiration hit us when: We were working on a coding project as friends when we came up with the idea to create a company. Our mentor was excited to hear of it and encouraged us to further deliberate and even “sleep over it.” Having recently won the “Best Product Design” award at Washington State Middle School Computer Science Competition Computing for All, we were buoyed by the possibilities that lay ahead. We began brainstorming ideas (teaching investment to teens, developing a game-changing algorithm to predict losers and winners of American football games, cricket, drone championships, etc.). Ultimately, we picked the idea of game validation for mobile and PCs. Each of us were passionate about it and furthermore the idea was one that every student in middle and high school — regardless of gender, race and ethnicity — would relate to. And everyone gets to play. VC, Angel or Bootstrap: We incorporated in Delaware in March 2018, and bootstrapped for the first year until we built the first version of our product and acquired our initial customers. We have recently raised a small round of pre-seed investment from friends and family and plan to use it toward expansion. Our ‘secret sauce’ is: We have access to an untapped audience of high school students. These generation-Zs have used the internet from a young age and are comfortable with mobile and PC technology. We know gaming. Our users are excited to try new games, provide their first opinions in addition to describing the experience of a moderate to advanced user. We involve students of all gender identities and backgrounds and reward them for providing their perspective on a wide range of features with respect to game. The smartest move we’ve made so far: We bonded with believers and ignored the naysayers. So many people told us that they don’t believe high school students could build a startup and predicted our demise; they also felt that game developers would not trust companies that are run by young adults. Game developers were skeptical about the quality of feedback they would receive and sometimes stated their preference for certified testers. We believed in the idea and in our ability to execute, and we evolved and started to receive vigorous nods from developers as they reviewed our work (they generally don’t like to test, so the value we bring to them is significant). I’d recommend to all founders that you do your research, be willing to change and don’t be afraid to follow your instincts. The biggest mistake we’ve made so far: So many to pick from. First, we have realized that creating a strong culture is incredibly important. We made mistakes early on by not focusing on creating the right work environment, mission and values. “Culture eats strategy for breakfast” rings true. Today we spend just as much time on creating the right culture as much as strategizing our next expansion goal or tactic. Second, we underestimated the value of a strong execution of our go-to-market strategy and roadmap. The initial customer traction we received was encouraging but somewhat misleading; we had to tap into our networks for early success. Since then we have worked hard to develop a consistent, continuous and responsive outbound marketing engagement model with our prospects. A sample of reviewer feedback. (Zigantic Image) Which entrepreneur or executive would you want working in your corner? , executive vice president of gaming at Microsoft. He’s leading Microsoft’s gaming business across all devices and services, and is himself a passionate gamer. It would be cool to meet with Phil and share our ideas. We’ve been following the future plans for Xbox and the ability to play games with mobile devices and feel that is a game changing idea. Our favorite team-building activity is: As you may expect, we bond over playing mobile and PC games, and it’s a special experience to be playing with friends after we’ve completed our school and Zigantic work. But it’s not online games at all times. We also enjoy playing physical and team-based sports like cricket, baseball and American football, and believe in the power of teamwork. The adrenaline rush experienced when we win together is truly special. The biggest thing we look for when hiring is: Passion for playing games, to understand the inner workings of how games are developed, and the desire to make them better. We don’t look for experience in game-testing as much as we do for someone who has a fresh, unique and authentic point-of-view and is unafraid to express her or his opinions. We look for gaming mavericks and strong communicators. In addition, in order to evolve our application into game-changing software, we look for top talent in software development among high school students. What’s the one piece of advice you’d give to other entrepreneurs just starting out: It’s never too early to start. The journey of building a company is both challenging and rewarding, but don’t let the barriers block you from moving forward. When we started, we pivoted on the idea several times, and have had growth challenges in people management and customer acquisition. We’re determined to win and, more importantly, we’re obsessed with delivering value to our customers. We are overwhelmed and grateful for the trust game developers have shown in Zigantic.
Last night’s episode of “Game of Thrones” was a wild ride and inarguably one of an epic show’s more epic moments — if you could see it through the dark and the blotchy video. It turns out even one of the most expensive and meticulously produced shows in history can fall prey to the scourge of low quality streaming and bad TV settings. The good news is this episode is going to look amazing on Blu-ray or potentially in future, better streams and downloads. The bad news is that millions of people already had to see it in a way its creators surely lament. You deserve to know why this was the case. I’ll be simplifying a bit here because this topic is immensely complex, but here’s what you should know. (By the way, I can’t entirely avoid spoilers, but I’ll try to stay away from anything significant in words or images.) It was clear from the opening shots in last night’s episode, “The Longest Night,” that this was going to be a dark one. The army of the dead faces off against the allied living forces in the darkness, made darker by a bespoke storm brought in by, shall we say, a Mr. N.K., to further demoralize the good guys. If you squint you can just make out the largest army ever assembled Thematically and cinematographically, setting this chaotic, sprawling battle at night is a powerful creative choice and a valid one, and I don’t question the showrunners, director, and so on for it. But technically speaking, setting this battle at night, and in fog, is just about the absolute worst case scenario for the medium this show is native to: streaming home video. Here’s why. Compression factor Video has to be compressed in order to be sent efficiently over the internet, and although we’ve made enormous strides in video compression and the bandwidth available to most homes, there are still fundamental limits. The master video that HBO put together from the actual footage, FX, and color work that goes into making a piece of modern media would be huge: hundreds of gigabytes if not terabytes. That’s because the master has to include all the information on every pixel in every frame, no exceptions. Imagine if you tried to “stream” a terabyte-sized TV episode. You’d have to be able to download upwards of 200 megabytes per second for the full 80 minutes of this one. Few people in the world have that kind of connection — it would basically never stop buffering. Even 20 megabytes per second is asking too much by a long shot. 2 is doable — slightly under the 25 megabit speed (that’s bits… divide by 8 to get bytes) we use to define broadband download speeds. So how do you turn a large file into a small one? Compression — we’ve been doing it for a long time, and video, though different from other types of data in some ways, is still just a bunch of zeroes and ones. In fact it’s especially susceptible to strong compression because of how one video frame is usually very similar to the last and the next one. There are all kinds of shortcuts you can take that reduce the file size immensely without noticeably impacting the quality of the video. These compression and decompression techniques fit into a system called a “codec.” But there are exceptions to that, and one of them has to do with how compression handles color and brightness. Basically, when the image is very dark, it can’t display color very well. The color of winter Think about it like this: There are only so many ways to describe colors in a few words. If you have one word you can say red, or maybe ochre or vermilion depending on your interlocutor’s vocabulary. But if you have two words you can say dark red, darker red, reddish black, and so on. The codec has a limited vocabulary as well, though its “words” are the numbers of bits it can use to describe a pixel. This lets it succinctly describe a huge array of colors with very little data by saying, this pixel has this bit value of color, this much brightness, and so on. (I didn’t originally want to get into this, but this is what people are talking about when they say bit depth, or even “highest quality pixels.) But this also means that there are only so many gradations of color and brightness it can show. Going from a very dark grey to a slightly lighter grey, it might be able to pick 5 intermediate shades. That’s perfectly fine if it’s just on the hem of a dress in the corner of the image. But what if the whole image is limited to that small selection of shades? Then you get what we see last night. See how Jon (I think) is made up almost entirely of only a handful of different colors (brightnesses of a similar color, really) in with big obvious borders between them? This issue is called “banding,” and it’s hard not to notice once you see how it works. Images on video can be incredibly detailed, but places where there are subtle changes in color — often a clear sky or some other large but mild gradient — will exhibit large stripes as the codec goes from “darkest dark blue” to “darker dark blue” to “dark blue,” with no “darker darker dark blue” in between. Check out this image. Above is a smooth gradient encoded with high color depth. Below that is the same gradient encoded with lossy JPEG encoding — different from what HBO used, obviously, but you get the idea. Banding has plagued streaming video forever, and it’s hard to avoid even in major productions — it’s just a side effect of representing color digitally. It’s especially distracting because obviously our eyes don’t have that limitation. A high-definition screen may actually show more detail than your eyes can discern from couch distance, but color issues? Our visual systems flag them like crazy. You can minimize it, but it’s always going to be there, until the point when we have as many shades of grey as we have pixels on the screen. So back to last night’s episode. Practically the entire show took place at night, which removes about 3/4 of the codec’s brightness-color combos right there. It also wasn’t a particularly colorful episode, a directorial or photographic choice that highlighted things like flames and blood, but further limited the ability to digitally represent what was on screen. It wouldn’t be too bad if the background was black and people were lit well so they popped out, though. The last straw was the introduction of the cloud, fog, or blizzard, whatever you want to call it. This kept the brightness of the background just high enough that the codec had to represent it with one of its handful of dark greys, and the subtle movements of fog and smoke came out as blotchy messes (often called “compression artifacts” as well) as the compression desperately tried to pick what shade was best for a group of pixels. Just brightening it doesn’t fix things, either — because the detail is already crushed into a narrow range of values, you just get a bandy image that never gets completely black, making it look washed out, as you see here: (Anyway, the darkness is a stylistic choice. You may not agree with it, but that’s how it’s supposed to look and messing with it beyond making the darkest details visible could be counterproductive.) Now, it should be said that compression doesn’t have to be this bad. For one thing, the more data it is allowed to use, the more gradations it can describe, and the less severe the banding. It’s also possible (though I’m not sure where it’s actually done) to repurpose the rest of the codec’s “vocabulary” to describe a scene where its other color options are limited. That way the full bandwidth can be used to describe a nearly monochromatic scene even though strictly speaking it should be only using a fraction of it. But neither of these are likely an option for HBO: Increasing the bandwidth of the stream is costly, since this is being sent out to tens of millions of people — a bitrate increase big enough to change the quality would also massively swell their data costs. When you’re distributing to that many people, that also introduces the risk of hated buffering or errors in playback, which are obviously a big no-no. It’s even possible that HBO lowered the bitrate because of network limitations — “Game of Thrones” really is on the frontier of digital distribution. And using an exotic codec might not be possible because only commonly used commercial ones are really capable of being applied at scale. Kind of like how we try to use standard parts for cars and computers. This episode almost certainly looked fantastic in the mastering room and FX studios, where they not only had carefully calibrated monitors with which to view it but also were working with brighter footage (it would be darkened to taste by the colorist) and less or no compression. They might not even have seen the “final” version that fans “enjoyed.” We’ll see the better copy eventually, but in the meantime the choice of darkness, fog, and furious action meant the episode was going to be a muddy, glitchy mess on home TVs. And while we’re on the topic… You mean it’s not my TV? Well… to be honest, it might be that too. What I can tell you is that simply having a “better” TV by specs, such as 4K or a higher refresh rate or whatever, would make almost no difference in this case. Even built-in de-noising and de-banding algorithms would be hard pressed to make sense of “The Long Night.” And one of the best new display technologies, OLED, might even make it look worse! Its “true blacks” are much darker than an LCD’s backlit blacks, so the jump to the darkest grey could be way more jarring. That said, it’s certainly possible that your TV is also set up poorly. Those of us sensitive to this kind of thing spend forever fiddling with settings and getting everything just right for exactly this kind of situation. There are dozens of us! Now who’s “wasting his time” calibrating his TV? — John Siracusa (@siracusa) Usually “calibration” is actually a pretty simple process of making sure your TV isn’t on the absolute worst settings, which unfortunately many are out of the box. Here’s a very basic three-point guide to “calibrating” your TV: Go through the “picture” or “video” menu and turn off anything with a special name, like “TrueMotion,” “Dynamic motion,” “Cinema mode,” or anything like that. Most of these make things look worse, especially anything that “smooths” motion. Turn those off first and never ever turn them on again. Don’t mess with brightness, gamma, color space, anything you have to turn up or down from 50 or whatever. Figure out lighting by putting on a good, well-shot movie in the situation you usually watch stuff — at night maybe, with the hall light on or whatever. While the movie is playing, click through any color presets your TV has. These are often things like “natural,” “game,” “cinema,” “calibrated,” and so on and take effect right away. Some may make the image look too green, or too dark, or whatever. Play around with it and whichever makes it look best, use that one. You can always switch later – I myself switch between a lighter and darker scheme depending on time of day and content. Don’t worry about HDR, dynamic lighting, and all that stuff for now. There’s a lot of hype about these technologies and they are still in their infancy. Few will work out of the box and the gains may or may not be worth it. The truth is a well shot movie from the ’60s or ’70s can look just as good today as a “high dynamic range” show shot on the latest 8K digital cinema rig. Just focus on making sure the image isn’t being actively interfered with by your TV and you’ll be fine. Unfortunately none of these things will make “The Long Night” look any better until HBO releases a new version of it. Those ugly bands and artifacts are baked right in. But if you have to blame anyone, blame the streaming infrastructure that wasn’t prepared for a show taking risks in its presentation, risks I would characterize as bold and well executed, unlike the writing in the show lately. Oops, sorry, couldn’t help myself. If you really want to experience this show the way it was intended, the fanciest TV in the world wouldn’t have helped last night, though when the Blu-ray comes out you’ll be in for a treat. But here’s hoping the next big battle takes place in broad daylight.
The new Esports Arena & Gaming Lounge at the University of Washington in Seattle. (UW Photo) Game on at the University of Washington. A state-of-the-art at the UW’s Husky Union Building is up and running after an official ribbon cutting on Thursday and a week of events that helped usher in a new era of competition and learning at the university in Seattle. The 1,000-square-foot gaming center makes the UW the largest public, higher education institution in the nation to have such a dedicated facility and the first university in the state of Washington to have such a space. Aimed at casual and competitive gamers, and funded in part by the Student Technology Fee, the arena provides access to 40 high-end gaming computers, two VR systems, a casting station for live streaming to Twitch and popular, unlocked PC games. The lounge will also serve as a space for sponsored tournaments. The ribbon is cut on Thursday at the grand opening of the UW’s Esports Arena. (UW video screen grab) “With the Esports Arena we have this actual physical location to match and represent our culture, our community here,” said Will Nguyen, UW student epsorts director. “People can really come together and it brings it to this next level, where it’s not just some people talking over the internet.” The intention is for the physical space, and the opportunity to play, to go beyond just gaming for students and provide the learning potential necessary to connect with companies in the Seattle area. (UW Photo) Justin Camputaro, director of the Husky Union Building, said in Seattle alone there are more than 23,000 jobs in interactive media. “What I have learned is that these games are very different from the days of Atari and Pong, or even Nintendo days. It is a lot about teamwork, it is about strategy, it is about mathematical computations, and understanding how the teams and the players works together,” Camputaro said. “There is a true educational element behind this gaming, when you dig in and start to understand that it is really really powerful. This is more than just playing a game.” A growing number of institutions are now as the industry is growing at a phenomenal rate. last year on the growth in esports scholarships among colleges and universities and how it could get as big as traditional sports on campus. The Esports Arena is located on the basement level of the HUB at 4001 E Stevens Way N.E. Check this for rates and hours of operation.
Almost exactly 10 years ago, participating in a demo of a service I didn’t think could exist: OnLive. The company had promised high-definition, low-latency streaming of games at a time when real broadband was uncommon, mobile gaming was still defined by Bejeweled (though Angry Birds was about to change that), and Netflix was still mainly in the DVD-shipping business. Although the demo went well, the failure of OnLive and its immediate successors to gain any kind of traction or launch beyond a few select markets indicated that while it may be in the future of gaming, streaming wasn’t in its present. Well, now it’s the future. Bandwidth is plentiful, speeds are rising, games are shifting from things you buy to services you subscribe to, and millions prefer to pay a flat fee per month rather than worry about buying individual movies, shows, tracks, or even cheeses. Consequently, as of this week — specifically as of — we see practically every major tech and gaming company attempting to do the same thing. Like the beginning of a chess game, the board is set or nearly so, and each company brings a different set of competencies and potential moves to the approaching fight. Each faces different challenges as well, though they share a few as a set. Google and Amazon bring cloud-native infrastructure and familiarity online, but is that enough to compete with the gaming know-how of Microsoft, with its own cloud clout, or Sony, which made strategic streaming acquisitions and has a service up and running already? What of the third parties like Nvidia and Valve, publishers and storefronts that may leverage consumer trust and existing games libraries to jump start a rival? It’s a wide-open field, all right. Before we examine them, however, it is perhaps worthwhile to entertain a brief introduction to the gaming space as it stands today and the trends that have brought it to this point.
Rainway CEO Andrew Sampson at TechStars Seattle Demo Day in 2018. (GeekWire Photo / Taylor Soper) Google today jumpstarted the ninth generation of gaming hardware with at the Game Developer’s Conference in San Francisco. Big on hype and , Stadia promises to use to let players jump straight into high-end, fast-paced games from existing devices without any need for additional hardware; if you can run a YouTube video at 4K, you’re already set up for Stadia. In Seattle, however, there’s already a startup doing what Google pitched on Tuesday. allows users to stream video games from personal devices to any other machine in their possession, as long as it has a browser and can comfortably run video at 60 frames per second. for its beta last year, the 2-year-old company that graduated from Techstars Seattle in 2018 made its official launch on the Windows platform at the end of January. “We did get there first,” Sampson told GeekWire over the phone from GDC. “It’s always good to beat the big guys to the punch.” Sampson fired off a set of tweets after Tuesday’s announcement, noting how Google “misrepresented” the performance of its beta tests for the new streaming service and said the search giant “goes on to pretend as if they are the first to get high-quality games playing in the browser.” Google then goes on to pretend as if they are the first to get high-quality games playing in the browser. They aren't. We launched two years ago with low-latency game steaming in Chrome, Firefox, and even Safari. — Andrew Sampson @ GDC (@Andrewmd5) If you want to maintain your freedom and begin playing your game library anywhere today, check out — we're building an extension to your games, not a replacement. — Andrew Sampson @ GDC (@Andrewmd5) Sampson told GeekWire that “Google doesn’t understand that openness is a big reason why people love playing video games.” “Some of the games that we love, like [Defense of the Ancients], are the result of people having access and control over the games that they’re playing,” he said. “By taking away the box, and taking away the ability to actually modify the game, what market are you serving, other than the publishers directly? People want to be able to configure and tinker. Being able to upgrade your console and PC is part of that experience. Getting rid of it is almost baffling.” Rainway has an announcement coming later this week regarding its availability on the Xbox. Since its launch, the company has racked up more than one million regular users. And remember, Rainway is coming to Xbox
just unveiled at a conference in San Francisco, its cloud gaming platform. While most of the conference showcased well-known games you can play on your PC, Xbox One or Playstation 4, the company also announced that it is launching its own first-party game studio, Stadia Games and Entertainment. Jade Raymond is going to head the studio and was here to announce the first details. The company is going to work on exclusive games for Stadia. But the studio will have a bigger role than that. "I'm excited to announce that, as the head of Stadia Games and Entertainment, I will not only be bringing first party game studios to reimagine the next generation of games,” Raymond said. “Our team will also be working with external developers to bring all of the bleeding edge Google technology you have seen today available to partner studios big and small." Raymond has been working in the video game industry for more than 15 years. In particular, she was a producer for Ubisoft in Montreal during the early days of the Assassin’s Creed franchise. She also worked on Watch Dogs before leaving Ubisoft for Electronic Arts. She formed Motive Studios for Electronic Arts and worked with Visceral Games, another Electronic Arts game studio. She was working on an untitled single player Star Wars video game, but Visceral Games closed in 2017 and the project has been since then. According to Google, 100 studios around the world have already received development hardware for Stadia. There are over 1,000 engineers and creatives working on Stadia games or ports right now. Stadia uses and a Linux operating system. Games that are already compatible with Linux should be easy to port to Stadia. But there might be more work for studios focused on Windows games. According to , the cloud instance runs on Debian and features Vulkan. The machine runs an x86 CPU with a “custom AMD GPU with HBM2 memory and 56 compute units capable of 10.7 teraflops”. That sounds a lot like the AMD Radeon RX Vega 56, a relatively powerful GPU but something not as powerful as what you can find in high-end gaming PCs today. Google will be running a program called Stadia Partners to help third-party developers understand this new platform.
, the Seattle-area indie game developer and publisher of titles such as Hello Neighbor and Rapture Rejects, has raised a $15 million investment to fuel growth. Founded eight years ago, tinyBuild partners with third-party studios to turn small game prototypes into full products. It started with games such as No Time to Explain, Party Hard, and Clustertruck. Its most recent title, Hello Neighbor, was tinyBuild’s first franchise that spawned multiplayer spin-offs, prequels, and a book series that just crossed 1 million in sales. The 27-person company will use the fresh cash to hire in Seattle and Amsterdam. , co-founder and CEO, told GeekWire that tinyBuild plans to grow with what he described as a “dynamic structure.” “We don’t necessarily hire for specific roles, rather build roles around people’s skills — and when the industry changes, morph those roles into whatever is relevant at the time,” he said in an email. “I strongly believe it’s dangerous to build companies in the games industry that rely on a strict structure with specific roles — the industry is dynamic, and so is tinyBuild. The flip side of this is that it can often feel like everything is on fire. Organized chaos is what I call it!” Nichiporchik declined to provide details about investors in the round. The company previously from Makers Fund. According to the Washington Interactive Network, is home to roughly 400 video game developers, representing around 23,000 jobs and over $28 billion in annual revenue. Related: