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Cloud Companies Microsoft, Amazon, and Google Are Competing to Support Video Game Streaming

Satya Nadella has grown used to the naysayers. For years, Wall Street analysts questioned why Microsoft, the company famous for its Windows operating system and Office business suite, would waste money on something so seemingly trivial as video games. The calls grew louder when Nadella took the company’s helm in July 2014. Still smarting from his predecessor’s missteps in mobile devices, Nadella promised to steer Microsoft away from consumer distractions and toward its highly lucrative business services. Some even urged Microsoft to exit the gaming business altogether. “Four to five years ago, we and others were calling for them to divest that piece of the business,” says Daniel Ives, managing director of Wedbush Securities and a longtime Microsoft observer. That tune has changed: Last year, Microsoft’s gaming revenue—which includes Xbox, Windows games, and a cut of third-party gaming sales—topped $10 billion for the first time.

When I ask Nadella why the company didn’t drop gaming, he chuckles. “There were a lot of things that a lot of people said Microsoft should be doing,” he says. “If I listened to everything that everybody else on the outside asks me to do, there would be very little innovation in this company.”

To be fair, in years past, Nadella had been hesitant to call gaming business core to Microsoft’s overall strategy. Despite its success, gaming represents about a tenth of Microsoft’s annual revenue. Cloud-computing growth is a big reason that the company’s market capitalization topped $1 trillion this year; its “intelligent cloud” unit, which includes its Azure cloud-computing service, generates as much revenue in a quarter as the gaming group generates in a year. (Hasta la vista, Halo!)

But what if you could hitch gaming’s fortunes to Microsoft’s potent cloud engine? Well, now you’re talking. Nadella’s blockbuster $2.5 billion acquisition of the enormously popular world-building game Minecraft in 2014 was a “bit of a head-scratcher” when it was first announced, says analyst Ives, but it’s now clear that the CEO was “planting the seed of how he viewed gaming as part of the broader business.” Microsoft wouldn’t just retain video games. Much as the company managed with Windows and Office, it would use the flywheel of its cloud-computing infrastructure to dramatically boost the scale of its gaming business—and the fortunes of every video game publisher it works with—far beyond what was previously possible.

Today, gaming is unquestionably “core”; in late 2017, Nadella elevated gaming lead Phil Spencer to the company’s executive leadership team to underscore the point. And executives are bullish on the prospects of cloud-driven gameplay. Julia White, who leads product management for Microsoft’s cloud platform, estimates that the business of selling Azure services to video game publishers is worth $70 billion—about as much as publicly traded transportation darling Uber. Most of today’s Internet-connected video games are developed in, and operated from, private data centers run by game publishers, she says. Technology trends in other industries suggest that won’t last. “Even though game developers are in a very different business,” she says, “they face the same trials and tribulations of a commercial bank or a retail company going to the cloud.”

To the cloudmaster go the spoils: In January, the Xbox maker shocked the gaming world by landing longtime console adversary Sony (of PlayStation fame) as an Azure customer with a promise to collaborate on future unspecified gaming projects. It was as if General Motors and Ford had announced a partnership to take on Tesla—an unmistakable sign that the competitive landscape would rapidly and dramatically change.

It was also an indication that Nadella’s mission for Microsoft would be more expansive than it originally appeared. When I ask him why Microsoft is working so hard to build a consumer entertainment service when it has positioned itself as an enterprise software company, he replies, “It’s a bigger business, right? It’s bigger than any other segment. Why would I not do gaming? It fits with what we do. It has connective tissue to the common platform. We have a point of view that what we can do is unique.”

The problem: so does every other player in this game.

For 39,000 viewers tuned into Twitch, Elvis might as well have entered the building. Richard Tyler Blevins, the 28-year-old celebrity “streamer” known to fans by his moniker Ninja, has logged on to the service to play a few public rounds of the popular “battle royale” game Fortnite with his buddy. As his avatar runs and leaps through the game’s virtual environment, weapon in hand, Blevins barks commands like an NFL quarterback at the snap—and his Twitch viewers hang on every mundanity. Their comments rush by in the chat window accompanying Ninja’s feed. Some viewers respond to every move Blevins’s character makes (“get that delay ninja”); others practically ignore the show to talk among themselves. (One thread of conversation among many: Why Finding Nemo was a “pretty good” Pixar movie.)

In other words, just another day on Twitch. Viewers—overwhelmingly male and mostly 34 or younger—watched a breathtaking 9.36 billion hours of gameplay on the platform last year, according to estimates by production company StreamElements. Twitch launched in 2011 as a spinoff of streaming video site ­Justin.tv, a pioneer in user-­generated content. In 2014, Amazon reportedly spent $970 million to acquire the site, besting YouTube-owner Google in a bidding war. Wedbush analyst Michael Pachter estimates that Twitch brought in $400 million in revenue last year.

Twitch, which is housed in Amazon Web Services, the online retailer’s cloud-computing unit, has rapidly become a cornerstone of the company’s broader video gaming strategy. AWS, as Amazon Web Services is known, is already selling computing resources and developer tools to video game publishers. It’s also rumored to be working on a service that would allow it to stream video games themselves rather than merely video of people playing them. (The company declined to comment, though recent job listings for technical roles for “an unannounced AAA games business” suggest its intentions. Like minor league baseball, “AAA” denotes the highest level of play in terms of budget and production.)

Bonnie Ross, head of Microsoft-owned game studio 343 Industries, mugs with a statue of Master Chief, the protagonist of its Halo series, at the studio’s headquarters in Redmond, Wash. Photo by Chona Kasinger

Two major milestones in the gaming industry set the stage for a cloudy future. The first: The massive success of Epic Games’ Fortnite, which brought in an estimated $2.4 billion in sales last year and now claims 250 million registered players. Fortnite demonstrated that “cross-platform” games, playable across competing devices from Microsoft, Sony, Apple, and others, could amass audiences far larger than those of the previous era, when titles were limited to specific ecosystems. “Fortnite was critical in getting the message across to all platforms that they have to lower the barrier of entry to their respective walled gardens,” says Joost van Dreunen, head of games for market researcher SuperData.

The second? Twitch. The service demonstrated that people were just as happy to watch and cheer people playing games—call it the kid-sibling phenomenon—as they were to play the games themselves. That kind of interactivity proved that engagement and gameplay were not one and the same. The dynamic expands the addressable viewership for a given title. “Viewing is eclipsing gaming, and a lot of youth of today would say they played the game when they really viewed the game,” says Bonnie Ross, head of 343 Industries, the Microsoft studio that develops Halo.

For Microsoft’s part, the company never saw the spectatorship aspect coming. “Amazon has Microsoft on a treadmill,” a former executive says. Two years after Amazon bought Twitch, Microsoft acquired competing service Beam for an undisclosed amount. Rechristened Mixer, it has become the means by which Xbox customers can watch one another play games, logging 39.6 million hours of viewing in 2018, per StreamElements—a whopping 179% more than the previous year but still a distant third to Amazon’s Twitch and Google’s YouTube Live.

The summer sun blazes above the thousands of coders assembled for Google’s ­annual I/O developer conference in Mountain View, Calif., but the anxiety on display in the long line has little to do with the weather. The event’s attendees, who base their livelihoods on building software for as many users as possible, are keen to hear Google’s sales pitch for why they should create games for Stadia, an experimental cloud-gaming service that the search giant promises to debut in November.

Like most Silicon Valley presentations, the executives onstage overwhelm with ambitious assurances of technical prowess. Stadia’s complex cloud architecture will prevent the nasty networking hiccups that cause online gamers to throw down their controllers in frustration, Google’s representatives say. All gamers will need to do is open a tab in the Chrome web browser; with just a few clicks, they can play a high-speed, high-resolution title such as ­Assassin’s Creed Odyssey.

Like their counterparts at Microsoft and Amazon, Google brass believe their vast data center empire gives them an edge on the technical demands of streaming high-end video game titles without interruption. Like its peers, Google has encouraged its consumer gaming and enterprise cloud groups to work together to ensure Stadia launches without the problems that have traditionally plagued online games.

Thomas Kurian, a longtime Oracle executive who is now chief executive of Google’s cloud business, says the company’s enterprise engineers built the networking technology that powers Stadia. Cloud gaming is a way for Google to penetrate a ­multibillion-dollar industry, Kurian says. “Our hope is that it’s expanding the market, not just being a replacement market,” he says. “For every person in the world that games on a professional desktop, there are probably three who can’t afford one.”

In other words: Why fight over a quarter of the market when the rest is greenfield? John Justice, a Microsoft veteran who now leads product development for Google Stadia, agrees. Gamers no longer want to “buy an expensive box every few years,” he says. Stadia, and services like it, are more accessible destinations to engage with games without the high barriers of entry found in the traditional console market.

Even the pricing plays a part: Though Stadia’s $129 bundle plus $9.99 monthly subscription has already been announced, Google says it is also evaluating a free version, with lower-quality graphics, that would debut later. Though the technological trajectory is clear, it’s still “early days” for the business model behind cloud gaming, Justice says. “Some people really do want transaction models, and some people want subscription models,” he says. “I don’t think we will say we will only go with one.”

It could take years to iron out the details. Though consumers would love a gaming model akin to Netflix or Spotify—pay a monthly fee, play titles to your heart’s content—it’s not yet clear that cloud providers have the leverage over game publishers to make that happen. Publishers have seen how platform pressures have changed the business of movies, music, magazines, and more. They don’t want to give up a share of their sales unless they’re certain that there are many more to be had in the long run.

Ubisoft, the French publisher best known for the Assassin’s Creed series, isn’t terribly concerned. “That’s less interesting to us,” says Chris Early, an Ubisoft executive who manages partnerships and revenue. The company in June revealed its own subscription service, called Uplay+, that is playable on personal computers and spans more than 100 titles in its own catalog, including Far Cry and Prince of Persia. It costs $14.99 a month and will also be available on Stadia next year. At this moment, “it makes less sense for a publisher to be part of an aggregated subscription model,” says Early. There are many proposals for how to sustainably monetize cloud gaming, he adds, but it remains unclear “who is going to pay whom.”

For now, publishers are focused on figuring out whether today’s successful titles make sense in the cloud—or whether all-new titles, native to the format, will replace familiar franchises. The interactivity of Twitch and the novelty of so-called freemium mobile games, like Candy Crush, showed that technological leaps could open new paths to gaming engagement. The possibilities that could emerge from running games on the same infrastructure that supports today’s artificial intelligence are something that technologists can only fathom.

“There will probably be evolutions of game design that we can’t even imagine yet,” says Early, “and they’re going to take advantage of the increase of cloud compute.”

Back in Redmond, I stop by Microsoft’s 343 Industries game studio, where employees welcome me to a visitor center—a shrine, really—celebrating the company’s Halo franchise, which has racked up $6 billion in sales since its debut. Statues depicting its heroes and villains tower over my head—a gallery of Greek gods, so to speak, for the gaming set. There are glass museum cases everywhere packed with memorabilia. On one wall is a rack of replicas of the virtual weaponry from the game, as intimidating in person as they appear on the screen. Bright orange tags with the word “prop” hang from their triggers in case someone takes the “incineration cannon” a little too seriously.

Founded in 2007 and named after a Halo character, 343 Industries is one of the older members of the Microsoft game portfolio. Last year alone, Microsoft acquired six game studios; at this year’s E3 industry confab, the company announced that it had picked up one more. Today, its Xbox Game Studios division is a federation of 15 semiautonomous studios that the company believes will be a key asset in the cloud-gaming wars—particularly against Amazon and Google, which lack strong titles of their own.

Not everyone sees it that way. Though Microsoft has won plaudits for successive editions of Halo and the Forza car-racing series, analysts have pointed to the titles’ relative age—Halo debuted in 2001; Forza first appeared four years later—as evidence that Microsoft’s homegrown studios have run out of ideas. “We have work to do there,” acknowledged Spencer, the Microsoft gaming chief. “We haven’t done our best work over the last few years with our first-party output.”

Frames from Halo Infinite, the forthcoming edition of the sci-fi game series, and Forza Horizon 4, a popular car-racing series. Both are published by Microsoft. Courtesy of Xbox Game Studios

That must change if Microsoft, the only video game veteran among the Big Three consumer cloud companies, hopes to maintain its natural advantage against Amazon and Google. After all, in video games, as in other parts of the media industry, content is king—which is why Microsoft’s rivals have moved to hire gaming veterans from top shops such as Electronic Arts (Madden NFL, Need for Speed) and 2K Games (Civilization, NBA 2K20) in an effort to build their own franchises. It is an uncanny echo of the moves by Amazon and Google to build their own premium programming, for Prime and YouTube, respectively, to compete with Netflix.

But Rome wasn’t built in a day. Seven years after establishing a gaming group in 2012, Amazon laid off dozens of game developers as it reorganized itself for a cloud-based future. (Amazon downplayed the news. “Amazon is deeply committed to games and continues to invest heavily in Amazon Game Studios, Twitch, Twitch Prime, AWS, our retail businesses, and other areas within Amazon,” a spokesperson tells Fortune.)

Van Dreunen, the SuperData analyst, believes it will take up to five years before cloud-driven efforts by the Big Three will significantly affect the traditional gaming industry. Until then, look for cloud computing’s leaders to continue investing in their data center infrastructure to support the “gradual rollout” of cloud-gaming services, he says.

Why would Amazon, Google, and Microsoft make so much noise about a future that’s so far away? It’s all a part of the “land and expand” business model familiar to the technology industry, says analyst Pachter: Give a speech, plant a flag, hope that early momentum snowballs into an insurmountable competitive advantage. After all, “Facebook wasn’t a billion-dollar idea until it was,” he says. “Uber wasn’t a billion-dollar idea until it was.”

Microsoft, in particular, has no intention of missing out. The company still regrets losing the mobile war to Google and its Android operating system. (Microsoft “missed being the dominant mobile operating system by a very tiny amount,” cofounder Bill Gates lamented earlier this year.) To underperform in an area where it has a head start of almost two decades would be, in a word, unconscionable.

Time to suit up, then. “We’re in gaming for gaming’s sake,” Nadella says. “It’s not a means to some other end.”

A version of this article appears in the August 2019 issue of Fortune with the headline “Big Tech’s New Street Fight.”

More must-read stories from Fortune:

—Netflix isn’t in trouble without Friends. It just needs to work harder

—Could A24’s The Farewell be this summer’s biggest indie success story?

—Classic rock is reanimating Summer 2019’s movies

—How Marvel pictures the future post Spider-Man and Endgame

—Listen to our new audio briefing, Fortune 500 Daily

Follow Fortune on Flipboard to stay up-to-date on the latest news and analysis.

Credit: Source link

The post Cloud Companies Microsoft, Amazon, and Google Are Competing to Support Video Game Streaming appeared first on WeeklyReviewer.

from WeeklyReviewer https://weeklyreviewer.com/cloud-companies-microsoft-amazon-and-google-are-competing-to-support-video-game-streaming/?utm_source=rss&utm_medium=rss&utm_campaign=cloud-companies-microsoft-amazon-and-google-are-competing-to-support-video-game-streaming from WeeklyReviewer https://weeklyreviewer.tumblr.com/post/186397035327

Cloud Companies Microsoft, Amazon, and Google Are Competing to Support Video Game Streaming

Satya Nadella has grown used to the naysayers. For years, Wall Street analysts questioned why Microsoft, the company famous for its Windows operating system and Office business suite, would waste money on something so seemingly trivial as video games. The calls grew louder when Nadella took the company’s helm in July 2014. Still smarting from his predecessor’s missteps in mobile devices, Nadella promised to steer Microsoft away from consumer distractions and toward its highly lucrative business services. Some even urged Microsoft to exit the gaming business altogether. “Four to five years ago, we and others were calling for them to divest that piece of the business,” says Daniel Ives, managing director of Wedbush Securities and a longtime Microsoft observer. That tune has changed: Last year, Microsoft’s gaming revenue—which includes Xbox, Windows games, and a cut of third-party gaming sales—topped $10 billion for the first time.

When I ask Nadella why the company didn’t drop gaming, he chuckles. “There were a lot of things that a lot of people said Microsoft should be doing,” he says. “If I listened to everything that everybody else on the outside asks me to do, there would be very little innovation in this company.”

To be fair, in years past, Nadella had been hesitant to call gaming business core to Microsoft’s overall strategy. Despite its success, gaming represents about a tenth of Microsoft’s annual revenue. Cloud-computing growth is a big reason that the company’s market capitalization topped $1 trillion this year; its “intelligent cloud” unit, which includes its Azure cloud-computing service, generates as much revenue in a quarter as the gaming group generates in a year. (Hasta la vista, Halo!)

But what if you could hitch gaming’s fortunes to Microsoft’s potent cloud engine? Well, now you’re talking. Nadella’s blockbuster $2.5 billion acquisition of the enormously popular world-building game Minecraft in 2014 was a “bit of a head-scratcher” when it was first announced, says analyst Ives, but it’s now clear that the CEO was “planting the seed of how he viewed gaming as part of the broader business.” Microsoft wouldn’t just retain video games. Much as the company managed with Windows and Office, it would use the flywheel of its cloud-computing infrastructure to dramatically boost the scale of its gaming business—and the fortunes of every video game publisher it works with—far beyond what was previously possible.

Today, gaming is unquestionably “core”; in late 2017, Nadella elevated gaming lead Phil Spencer to the company’s executive leadership team to underscore the point. And executives are bullish on the prospects of cloud-driven gameplay. Julia White, who leads product management for Microsoft’s cloud platform, estimates that the business of selling Azure services to video game publishers is worth $70 billion—about as much as publicly traded transportation darling Uber. Most of today’s Internet-connected video games are developed in, and operated from, private data centers run by game publishers, she says. Technology trends in other industries suggest that won’t last. “Even though game developers are in a very different business,” she says, “they face the same trials and tribulations of a commercial bank or a retail company going to the cloud.”

To the cloudmaster go the spoils: In January, the Xbox maker shocked the gaming world by landing longtime console adversary Sony (of PlayStation fame) as an Azure customer with a promise to collaborate on future unspecified gaming projects. It was as if General Motors and Ford had announced a partnership to take on Tesla—an unmistakable sign that the competitive landscape would rapidly and dramatically change.

It was also an indication that Nadella’s mission for Microsoft would be more expansive than it originally appeared. When I ask him why Microsoft is working so hard to build a consumer entertainment service when it has positioned itself as an enterprise software company, he replies, “It’s a bigger business, right? It’s bigger than any other segment. Why would I not do gaming? It fits with what we do. It has connective tissue to the common platform. We have a point of view that what we can do is unique.”

The problem: so does every other player in this game.

For 39,000 viewers tuned into Twitch, Elvis might as well have entered the building. Richard Tyler Blevins, the 28-year-old celebrity “streamer” known to fans by his moniker Ninja, has logged on to the service to play a few public rounds of the popular “battle royale” game Fortnite with his buddy. As his avatar runs and leaps through the game’s virtual environment, weapon in hand, Blevins barks commands like an NFL quarterback at the snap—and his Twitch viewers hang on every mundanity. Their comments rush by in the chat window accompanying Ninja’s feed. Some viewers respond to every move Blevins’s character makes (“get that delay ninja”); others practically ignore the show to talk among themselves. (One thread of conversation among many: Why Finding Nemo was a “pretty good” Pixar movie.)

In other words, just another day on Twitch. Viewers—overwhelmingly male and mostly 34 or younger—watched a breathtaking 9.36 billion hours of gameplay on the platform last year, according to estimates by production company StreamElements. Twitch launched in 2011 as a spinoff of streaming video site ­Justin.tv, a pioneer in user-­generated content. In 2014, Amazon reportedly spent $970 million to acquire the site, besting YouTube-owner Google in a bidding war. Wedbush analyst Michael Pachter estimates that Twitch brought in $400 million in revenue last year.

Twitch, which is housed in Amazon Web Services, the online retailer’s cloud-computing unit, has rapidly become a cornerstone of the company’s broader video gaming strategy. AWS, as Amazon Web Services is known, is already selling computing resources and developer tools to video game publishers. It’s also rumored to be working on a service that would allow it to stream video games themselves rather than merely video of people playing them. (The company declined to comment, though recent job listings for technical roles for “an unannounced AAA games business” suggest its intentions. Like minor league baseball, “AAA” denotes the highest level of play in terms of budget and production.)

Bonnie Ross, head of Microsoft-owned game studio 343 Industries, mugs with a statue of Master Chief, the protagonist of its Halo series, at the studio’s headquarters in Redmond, Wash. Photo by Chona Kasinger

Two major milestones in the gaming industry set the stage for a cloudy future. The first: The massive success of Epic Games’ Fortnite, which brought in an estimated $2.4 billion in sales last year and now claims 250 million registered players. Fortnite demonstrated that “cross-platform” games, playable across competing devices from Microsoft, Sony, Apple, and others, could amass audiences far larger than those of the previous era, when titles were limited to specific ecosystems. “Fortnite was critical in getting the message across to all platforms that they have to lower the barrier of entry to their respective walled gardens,” says Joost van Dreunen, head of games for market researcher SuperData.

The second? Twitch. The service demonstrated that people were just as happy to watch and cheer people playing games—call it the kid-sibling phenomenon—as they were to play the games themselves. That kind of interactivity proved that engagement and gameplay were not one and the same. The dynamic expands the addressable viewership for a given title. “Viewing is eclipsing gaming, and a lot of youth of today would say they played the game when they really viewed the game,” says Bonnie Ross, head of 343 Industries, the Microsoft studio that develops Halo.

For Microsoft’s part, the company never saw the spectatorship aspect coming. “Amazon has Microsoft on a treadmill,” a former executive says. Two years after Amazon bought Twitch, Microsoft acquired competing service Beam for an undisclosed amount. Rechristened Mixer, it has become the means by which Xbox customers can watch one another play games, logging 39.6 million hours of viewing in 2018, per StreamElements—a whopping 179% more than the previous year but still a distant third to Amazon’s Twitch and Google’s YouTube Live.

The summer sun blazes above the thousands of coders assembled for Google’s ­annual I/O developer conference in Mountain View, Calif., but the anxiety on display in the long line has little to do with the weather. The event’s attendees, who base their livelihoods on building software for as many users as possible, are keen to hear Google’s sales pitch for why they should create games for Stadia, an experimental cloud-gaming service that the search giant promises to debut in November.

Like most Silicon Valley presentations, the executives onstage overwhelm with ambitious assurances of technical prowess. Stadia’s complex cloud architecture will prevent the nasty networking hiccups that cause online gamers to throw down their controllers in frustration, Google’s representatives say. All gamers will need to do is open a tab in the Chrome web browser; with just a few clicks, they can play a high-speed, high-resolution title such as ­Assassin’s Creed Odyssey.

Like their counterparts at Microsoft and Amazon, Google brass believe their vast data center empire gives them an edge on the technical demands of streaming high-end video game titles without interruption. Like its peers, Google has encouraged its consumer gaming and enterprise cloud groups to work together to ensure Stadia launches without the problems that have traditionally plagued online games.

Thomas Kurian, a longtime Oracle executive who is now chief executive of Google’s cloud business, says the company’s enterprise engineers built the networking technology that powers Stadia. Cloud gaming is a way for Google to penetrate a ­multibillion-dollar industry, Kurian says. “Our hope is that it’s expanding the market, not just being a replacement market,” he says. “For every person in the world that games on a professional desktop, there are probably three who can’t afford one.”

In other words: Why fight over a quarter of the market when the rest is greenfield? John Justice, a Microsoft veteran who now leads product development for Google Stadia, agrees. Gamers no longer want to “buy an expensive box every few years,” he says. Stadia, and services like it, are more accessible destinations to engage with games without the high barriers of entry found in the traditional console market.

Even the pricing plays a part: Though Stadia’s $129 bundle plus $9.99 monthly subscription has already been announced, Google says it is also evaluating a free version, with lower-quality graphics, that would debut later. Though the technological trajectory is clear, it’s still “early days” for the business model behind cloud gaming, Justice says. “Some people really do want transaction models, and some people want subscription models,” he says. “I don’t think we will say we will only go with one.”

It could take years to iron out the details. Though consumers would love a gaming model akin to Netflix or Spotify—pay a monthly fee, play titles to your heart’s content—it’s not yet clear that cloud providers have the leverage over game publishers to make that happen. Publishers have seen how platform pressures have changed the business of movies, music, magazines, and more. They don’t want to give up a share of their sales unless they’re certain that there are many more to be had in the long run.

Ubisoft, the French publisher best known for the Assassin’s Creed series, isn’t terribly concerned. “That’s less interesting to us,” says Chris Early, an Ubisoft executive who manages partnerships and revenue. The company in June revealed its own subscription service, called Uplay+, that is playable on personal computers and spans more than 100 titles in its own catalog, including Far Cry and Prince of Persia. It costs $14.99 a month and will also be available on Stadia next year. At this moment, “it makes less sense for a publisher to be part of an aggregated subscription model,” says Early. There are many proposals for how to sustainably monetize cloud gaming, he adds, but it remains unclear “who is going to pay whom.”

For now, publishers are focused on figuring out whether today’s successful titles make sense in the cloud—or whether all-new titles, native to the format, will replace familiar franchises. The interactivity of Twitch and the novelty of so-called freemium mobile games, like Candy Crush, showed that technological leaps could open new paths to gaming engagement. The possibilities that could emerge from running games on the same infrastructure that supports today’s artificial intelligence are something that technologists can only fathom.

“There will probably be evolutions of game design that we can’t even imagine yet,” says Early, “and they’re going to take advantage of the increase of cloud compute.”

Back in Redmond, I stop by Microsoft’s 343 Industries game studio, where employees welcome me to a visitor center—a shrine, really—celebrating the company’s Halo franchise, which has racked up $6 billion in sales since its debut. Statues depicting its heroes and villains tower over my head—a gallery of Greek gods, so to speak, for the gaming set. There are glass museum cases everywhere packed with memorabilia. On one wall is a rack of replicas of the virtual weaponry from the game, as intimidating in person as they appear on the screen. Bright orange tags with the word “prop” hang from their triggers in case someone takes the “incineration cannon” a little too seriously.

Founded in 2007 and named after a Halo character, 343 Industries is one of the older members of the Microsoft game portfolio. Last year alone, Microsoft acquired six game studios; at this year’s E3 industry confab, the company announced that it had picked up one more. Today, its Xbox Game Studios division is a federation of 15 semiautonomous studios that the company believes will be a key asset in the cloud-gaming wars—particularly against Amazon and Google, which lack strong titles of their own.

Not everyone sees it that way. Though Microsoft has won plaudits for successive editions of Halo and the Forza car-racing series, analysts have pointed to the titles’ relative age—Halo debuted in 2001; Forza first appeared four years later—as evidence that Microsoft’s homegrown studios have run out of ideas. “We have work to do there,” acknowledged Spencer, the Microsoft gaming chief. “We haven’t done our best work over the last few years with our first-party output.”

Frames from Halo Infinite, the forthcoming edition of the sci-fi game series, and Forza Horizon 4, a popular car-racing series. Both are published by Microsoft. Courtesy of Xbox Game Studios

That must change if Microsoft, the only video game veteran among the Big Three consumer cloud companies, hopes to maintain its natural advantage against Amazon and Google. After all, in video games, as in other parts of the media industry, content is king—which is why Microsoft’s rivals have moved to hire gaming veterans from top shops such as Electronic Arts (Madden NFL, Need for Speed) and 2K Games (Civilization, NBA 2K20) in an effort to build their own franchises. It is an uncanny echo of the moves by Amazon and Google to build their own premium programming, for Prime and YouTube, respectively, to compete with Netflix.

But Rome wasn’t built in a day. Seven years after establishing a gaming group in 2012, Amazon laid off dozens of game developers as it reorganized itself for a cloud-based future. (Amazon downplayed the news. “Amazon is deeply committed to games and continues to invest heavily in Amazon Game Studios, Twitch, Twitch Prime, AWS, our retail businesses, and other areas within Amazon,” a spokesperson tells Fortune.)

Van Dreunen, the SuperData analyst, believes it will take up to five years before cloud-driven efforts by the Big Three will significantly affect the traditional gaming industry. Until then, look for cloud computing’s leaders to continue investing in their data center infrastructure to support the “gradual rollout” of cloud-gaming services, he says.

Why would Amazon, Google, and Microsoft make so much noise about a future that’s so far away? It’s all a part of the “land and expand” business model familiar to the technology industry, says analyst Pachter: Give a speech, plant a flag, hope that early momentum snowballs into an insurmountable competitive advantage. After all, “Facebook wasn’t a billion-dollar idea until it was,” he says. “Uber wasn’t a billion-dollar idea until it was.”

Microsoft, in particular, has no intention of missing out. The company still regrets losing the mobile war to Google and its Android operating system. (Microsoft “missed being the dominant mobile operating system by a very tiny amount,” cofounder Bill Gates lamented earlier this year.) To underperform in an area where it has a head start of almost two decades would be, in a word, unconscionable.

Time to suit up, then. “We’re in gaming for gaming’s sake,” Nadella says. “It’s not a means to some other end.”

A version of this article appears in the August 2019 issue of Fortune with the headline “Big Tech’s New Street Fight.”

More must-read stories from Fortune:

—Netflix isn’t in trouble without Friends. It just needs to work harder

—Could A24’s The Farewell be this summer’s biggest indie success story?

—Classic rock is reanimating Summer 2019’s movies

—How Marvel pictures the future post Spider-Man and Endgame

—Listen to our new audio briefing, Fortune 500 Daily

Follow Fortune on Flipboard to stay up-to-date on the latest news and analysis.

Credit: Source link

The post Cloud Companies Microsoft, Amazon, and Google Are Competing to Support Video Game Streaming appeared first on WeeklyReviewer.

from WeeklyReviewer https://weeklyreviewer.com/cloud-companies-microsoft-amazon-and-google-are-competing-to-support-video-game-streaming/?utm_source=rss&utm_medium=rss&utm_campaign=cloud-companies-microsoft-amazon-and-google-are-competing-to-support-video-game-streaming from WeeklyReviewer https://weeklyreviewer.tumblr.com/post/186397035327

Cloud Companies Microsoft, Amazon, and Google Are Competing to Support Video Game Streaming

Satya Nadella has grown used to the naysayers. For years, Wall Street analysts questioned why Microsoft, the company famous for its Windows operating system and Office business suite, would waste money on something so seemingly trivial as video games. The calls grew louder when Nadella took the company’s helm in July 2014. Still smarting from his predecessor’s missteps in mobile devices, Nadella promised to steer Microsoft away from consumer distractions and toward its highly lucrative business services. Some even urged Microsoft to exit the gaming business altogether. “Four to five years ago, we and others were calling for them to divest that piece of the business,” says Daniel Ives, managing director of Wedbush Securities and a longtime Microsoft observer. That tune has changed: Last year, Microsoft’s gaming revenue—which includes Xbox, Windows games, and a cut of third-party gaming sales—topped $10 billion for the first time.

When I ask Nadella why the company didn’t drop gaming, he chuckles. “There were a lot of things that a lot of people said Microsoft should be doing,” he says. “If I listened to everything that everybody else on the outside asks me to do, there would be very little innovation in this company.”

To be fair, in years past, Nadella had been hesitant to call gaming business core to Microsoft’s overall strategy. Despite its success, gaming represents about a tenth of Microsoft’s annual revenue. Cloud-computing growth is a big reason that the company’s market capitalization topped $1 trillion this year; its “intelligent cloud” unit, which includes its Azure cloud-computing service, generates as much revenue in a quarter as the gaming group generates in a year. (Hasta la vista, Halo!)

But what if you could hitch gaming’s fortunes to Microsoft’s potent cloud engine? Well, now you’re talking. Nadella’s blockbuster $2.5 billion acquisition of the enormously popular world-building game Minecraft in 2014 was a “bit of a head-scratcher” when it was first announced, says analyst Ives, but it’s now clear that the CEO was “planting the seed of how he viewed gaming as part of the broader business.” Microsoft wouldn’t just retain video games. Much as the company managed with Windows and Office, it would use the flywheel of its cloud-computing infrastructure to dramatically boost the scale of its gaming business—and the fortunes of every video game publisher it works with—far beyond what was previously possible.

Today, gaming is unquestionably “core”; in late 2017, Nadella elevated gaming lead Phil Spencer to the company’s executive leadership team to underscore the point. And executives are bullish on the prospects of cloud-driven gameplay. Julia White, who leads product management for Microsoft’s cloud platform, estimates that the business of selling Azure services to video game publishers is worth $70 billion—about as much as publicly traded transportation darling Uber. Most of today’s Internet-connected video games are developed in, and operated from, private data centers run by game publishers, she says. Technology trends in other industries suggest that won’t last. “Even though game developers are in a very different business,” she says, “they face the same trials and tribulations of a commercial bank or a retail company going to the cloud.”

To the cloudmaster go the spoils: In January, the Xbox maker shocked the gaming world by landing longtime console adversary Sony (of PlayStation fame) as an Azure customer with a promise to collaborate on future unspecified gaming projects. It was as if General Motors and Ford had announced a partnership to take on Tesla—an unmistakable sign that the competitive landscape would rapidly and dramatically change.

It was also an indication that Nadella’s mission for Microsoft would be more expansive than it originally appeared. When I ask him why Microsoft is working so hard to build a consumer entertainment service when it has positioned itself as an enterprise software company, he replies, “It’s a bigger business, right? It’s bigger than any other segment. Why would I not do gaming? It fits with what we do. It has connective tissue to the common platform. We have a point of view that what we can do is unique.”

The problem: so does every other player in this game.

For 39,000 viewers tuned into Twitch, Elvis might as well have entered the building. Richard Tyler Blevins, the 28-year-old celebrity “streamer” known to fans by his moniker Ninja, has logged on to the service to play a few public rounds of the popular “battle royale” game Fortnite with his buddy. As his avatar runs and leaps through the game’s virtual environment, weapon in hand, Blevins barks commands like an NFL quarterback at the snap—and his Twitch viewers hang on every mundanity. Their comments rush by in the chat window accompanying Ninja’s feed. Some viewers respond to every move Blevins’s character makes (“get that delay ninja”); others practically ignore the show to talk among themselves. (One thread of conversation among many: Why Finding Nemo was a “pretty good” Pixar movie.)

In other words, just another day on Twitch. Viewers—overwhelmingly male and mostly 34 or younger—watched a breathtaking 9.36 billion hours of gameplay on the platform last year, according to estimates by production company StreamElements. Twitch launched in 2011 as a spinoff of streaming video site ­Justin.tv, a pioneer in user-­generated content. In 2014, Amazon reportedly spent $970 million to acquire the site, besting YouTube-owner Google in a bidding war. Wedbush analyst Michael Pachter estimates that Twitch brought in $400 million in revenue last year.

Twitch, which is housed in Amazon Web Services, the online retailer’s cloud-computing unit, has rapidly become a cornerstone of the company’s broader video gaming strategy. AWS, as Amazon Web Services is known, is already selling computing resources and developer tools to video game publishers. It’s also rumored to be working on a service that would allow it to stream video games themselves rather than merely video of people playing them. (The company declined to comment, though recent job listings for technical roles for “an unannounced AAA games business” suggest its intentions. Like minor league baseball, “AAA” denotes the highest level of play in terms of budget and production.)

Bonnie Ross, head of Microsoft-owned game studio 343 Industries, mugs with a statue of Master Chief, the protagonist of its Halo series, at the studio’s headquarters in Redmond, Wash. Photo by Chona Kasinger

Two major milestones in the gaming industry set the stage for a cloudy future. The first: The massive success of Epic Games’ Fortnite, which brought in an estimated $2.4 billion in sales last year and now claims 250 million registered players. Fortnite demonstrated that “cross-platform” games, playable across competing devices from Microsoft, Sony, Apple, and others, could amass audiences far larger than those of the previous era, when titles were limited to specific ecosystems. “Fortnite was critical in getting the message across to all platforms that they have to lower the barrier of entry to their respective walled gardens,” says Joost van Dreunen, head of games for market researcher SuperData.

The second? Twitch. The service demonstrated that people were just as happy to watch and cheer people playing games—call it the kid-sibling phenomenon—as they were to play the games themselves. That kind of interactivity proved that engagement and gameplay were not one and the same. The dynamic expands the addressable viewership for a given title. “Viewing is eclipsing gaming, and a lot of youth of today would say they played the game when they really viewed the game,” says Bonnie Ross, head of 343 Industries, the Microsoft studio that develops Halo.

For Microsoft’s part, the company never saw the spectatorship aspect coming. “Amazon has Microsoft on a treadmill,” a former executive says. Two years after Amazon bought Twitch, Microsoft acquired competing service Beam for an undisclosed amount. Rechristened Mixer, it has become the means by which Xbox customers can watch one another play games, logging 39.6 million hours of viewing in 2018, per StreamElements—a whopping 179% more than the previous year but still a distant third to Amazon’s Twitch and Google’s YouTube Live.

The summer sun blazes above the thousands of coders assembled for Google’s ­annual I/O developer conference in Mountain View, Calif., but the anxiety on display in the long line has little to do with the weather. The event’s attendees, who base their livelihoods on building software for as many users as possible, are keen to hear Google’s sales pitch for why they should create games for Stadia, an experimental cloud-gaming service that the search giant promises to debut in November.

Like most Silicon Valley presentations, the executives onstage overwhelm with ambitious assurances of technical prowess. Stadia’s complex cloud architecture will prevent the nasty networking hiccups that cause online gamers to throw down their controllers in frustration, Google’s representatives say. All gamers will need to do is open a tab in the Chrome web browser; with just a few clicks, they can play a high-speed, high-resolution title such as ­Assassin’s Creed Odyssey.

Like their counterparts at Microsoft and Amazon, Google brass believe their vast data center empire gives them an edge on the technical demands of streaming high-end video game titles without interruption. Like its peers, Google has encouraged its consumer gaming and enterprise cloud groups to work together to ensure Stadia launches without the problems that have traditionally plagued online games.

Thomas Kurian, a longtime Oracle executive who is now chief executive of Google’s cloud business, says the company’s enterprise engineers built the networking technology that powers Stadia. Cloud gaming is a way for Google to penetrate a ­multibillion-dollar industry, Kurian says. “Our hope is that it’s expanding the market, not just being a replacement market,” he says. “For every person in the world that games on a professional desktop, there are probably three who can’t afford one.”

In other words: Why fight over a quarter of the market when the rest is greenfield? John Justice, a Microsoft veteran who now leads product development for Google Stadia, agrees. Gamers no longer want to “buy an expensive box every few years,” he says. Stadia, and services like it, are more accessible destinations to engage with games without the high barriers of entry found in the traditional console market.

Even the pricing plays a part: Though Stadia’s $129 bundle plus $9.99 monthly subscription has already been announced, Google says it is also evaluating a free version, with lower-quality graphics, that would debut later. Though the technological trajectory is clear, it’s still “early days” for the business model behind cloud gaming, Justice says. “Some people really do want transaction models, and some people want subscription models,” he says. “I don’t think we will say we will only go with one.”

It could take years to iron out the details. Though consumers would love a gaming model akin to Netflix or Spotify—pay a monthly fee, play titles to your heart’s content—it’s not yet clear that cloud providers have the leverage over game publishers to make that happen. Publishers have seen how platform pressures have changed the business of movies, music, magazines, and more. They don’t want to give up a share of their sales unless they’re certain that there are many more to be had in the long run.

Ubisoft, the French publisher best known for the Assassin’s Creed series, isn’t terribly concerned. “That’s less interesting to us,” says Chris Early, an Ubisoft executive who manages partnerships and revenue. The company in June revealed its own subscription service, called Uplay+, that is playable on personal computers and spans more than 100 titles in its own catalog, including Far Cry and Prince of Persia. It costs $14.99 a month and will also be available on Stadia next year. At this moment, “it makes less sense for a publisher to be part of an aggregated subscription model,” says Early. There are many proposals for how to sustainably monetize cloud gaming, he adds, but it remains unclear “who is going to pay whom.”

For now, publishers are focused on figuring out whether today’s successful titles make sense in the cloud—or whether all-new titles, native to the format, will replace familiar franchises. The interactivity of Twitch and the novelty of so-called freemium mobile games, like Candy Crush, showed that technological leaps could open new paths to gaming engagement. The possibilities that could emerge from running games on the same infrastructure that supports today’s artificial intelligence are something that technologists can only fathom.

“There will probably be evolutions of game design that we can’t even imagine yet,” says Early, “and they’re going to take advantage of the increase of cloud compute.”

Back in Redmond, I stop by Microsoft’s 343 Industries game studio, where employees welcome me to a visitor center—a shrine, really—celebrating the company’s Halo franchise, which has racked up $6 billion in sales since its debut. Statues depicting its heroes and villains tower over my head—a gallery of Greek gods, so to speak, for the gaming set. There are glass museum cases everywhere packed with memorabilia. On one wall is a rack of replicas of the virtual weaponry from the game, as intimidating in person as they appear on the screen. Bright orange tags with the word “prop” hang from their triggers in case someone takes the “incineration cannon” a little too seriously.

Founded in 2007 and named after a Halo character, 343 Industries is one of the older members of the Microsoft game portfolio. Last year alone, Microsoft acquired six game studios; at this year’s E3 industry confab, the company announced that it had picked up one more. Today, its Xbox Game Studios division is a federation of 15 semiautonomous studios that the company believes will be a key asset in the cloud-gaming wars—particularly against Amazon and Google, which lack strong titles of their own.

Not everyone sees it that way. Though Microsoft has won plaudits for successive editions of Halo and the Forza car-racing series, analysts have pointed to the titles’ relative age—Halo debuted in 2001; Forza first appeared four years later—as evidence that Microsoft’s homegrown studios have run out of ideas. “We have work to do there,” acknowledged Spencer, the Microsoft gaming chief. “We haven’t done our best work over the last few years with our first-party output.”

Frames from Halo Infinite, the forthcoming edition of the sci-fi game series, and Forza Horizon 4, a popular car-racing series. Both are published by Microsoft. Courtesy of Xbox Game Studios

That must change if Microsoft, the only video game veteran among the Big Three consumer cloud companies, hopes to maintain its natural advantage against Amazon and Google. After all, in video games, as in other parts of the media industry, content is king—which is why Microsoft’s rivals have moved to hire gaming veterans from top shops such as Electronic Arts (Madden NFL, Need for Speed) and 2K Games (Civilization, NBA 2K20) in an effort to build their own franchises. It is an uncanny echo of the moves by Amazon and Google to build their own premium programming, for Prime and YouTube, respectively, to compete with Netflix.

But Rome wasn’t built in a day. Seven years after establishing a gaming group in 2012, Amazon laid off dozens of game developers as it reorganized itself for a cloud-based future. (Amazon downplayed the news. “Amazon is deeply committed to games and continues to invest heavily in Amazon Game Studios, Twitch, Twitch Prime, AWS, our retail businesses, and other areas within Amazon,” a spokesperson tells Fortune.)

Van Dreunen, the SuperData analyst, believes it will take up to five years before cloud-driven efforts by the Big Three will significantly affect the traditional gaming industry. Until then, look for cloud computing’s leaders to continue investing in their data center infrastructure to support the “gradual rollout” of cloud-gaming services, he says.

Why would Amazon, Google, and Microsoft make so much noise about a future that’s so far away? It’s all a part of the “land and expand” business model familiar to the technology industry, says analyst Pachter: Give a speech, plant a flag, hope that early momentum snowballs into an insurmountable competitive advantage. After all, “Facebook wasn’t a billion-dollar idea until it was,” he says. “Uber wasn’t a billion-dollar idea until it was.”

Microsoft, in particular, has no intention of missing out. The company still regrets losing the mobile war to Google and its Android operating system. (Microsoft “missed being the dominant mobile operating system by a very tiny amount,” cofounder Bill Gates lamented earlier this year.) To underperform in an area where it has a head start of almost two decades would be, in a word, unconscionable.

Time to suit up, then. “We’re in gaming for gaming’s sake,” Nadella says. “It’s not a means to some other end.”

A version of this article appears in the August 2019 issue of Fortune with the headline “Big Tech’s New Street Fight.”

More must-read stories from Fortune:

—Netflix isn’t in trouble without Friends. It just needs to work harder

—Could A24’s The Farewell be this summer’s biggest indie success story?

—Classic rock is reanimating Summer 2019’s movies

—How Marvel pictures the future post Spider-Man and Endgame

—Listen to our new audio briefing, Fortune 500 Daily

Follow Fortune on Flipboard to stay up-to-date on the latest news and analysis.

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How to Add Chat into OBS Studio?

Open Broadcaster Software or OBS is free and open-source software used for live streaming and video recording. It is managed by the OBS project that is built with Qt. There are numerous OBS Studio present for macOS, Windows Desktop, and Linux distributions.

It’s one of the most popular applications used to stream various videos and live streaming and the main attraction of this app that is completely free for the users. It provides various features to its users having several plugin developers that will help you to enhance your personal experience of live streaming and attractive recording.

Users are thinking of having a particular feature for adding Chats to OBS Studio. It is very straightforward once you get to know how to do this.

Here is how to add Stream Chat to OBS in a very straightforward manner.

Adding Chat into OBS Studio

The offered procedures will work for any of the available streaming services having prompt out chatting feature. If you move towards YouTube and Twitch, then you will find that they already have this feature just like other mini platforms such as DLive and Trovo.

In case you wish to add your Chats to OBS Studio window, then pursue these instructions below. We have used the “Twitch” to make you understand better.

§  In the beginning, navigate to the desired streaming channel as a compatible platform.

§  Go to the Chat window on the particular channel and then choose the option “popout chat.” It is also known as “popup chat” in some streaming platforms or device functionality.

§  Once the window launches with pops outs, then you need to make a copy of the respective URL by navigating the address section.

§  Launch the OBS Studio there.

§  After that, navigate to the menu “View.”

§  Then, Choose the option “Docks.”

§  Tap on the “Custom Browser Docks” option.

§  Go to the first-most empty bar located under the option “Dock Name” and then provide an interesting name to your chat.

§  After that, navigate to the next box situated under the option “URL.” Then, paste the copied URL via the popout chat screen.

Then, hit the Apply button there.

Now, you will witness a particular dockable screen for your stream chatting into OBS Studio that you may move around. Once you drag the same across your window, you can add it anywhere as per your choice and space. Then, it will get highlighted in blue colour. Once you have transported the particular Stream Chat to OBS, you may also customize it as per your choice.

Finally, you will get the real-time stream chat box right into the OBS command centre without the requirement of the browser window or additional displays.

How to Access Facebook Gaming Chat into OBS Studio?

Facebook gaming seems very odd, but if you don’t have any popout chatting feature on the particular site, there is a straightforward method to access Facebook Gaming Chat feature inside your OBS Studio.

The solution for Facebook Gaming Chat is the “StreamElements OBS.Live” plugin. In case you wish to use StreamElements for all your alerts and overlays, it won’t disappoint you. It’s a free app that lets you have a Facebook gaming chat feature in the OBS Studio. It also supports YouTube and Twitch.

To get the Facebook gaming chat feature on your OBS Studio, follow these instructions:

First of all, download the particular plugin and then verify your Facebook account.

When you are all set, OBS.Live offers various interesting features consisting of activity feed and music controlling bars.

Note: In case you want to have Facebook gaming chat in OBS, then StreamElements OBS.Live is a great option.

Source URL - How to Add Chat into OBS Studio?

Live Streaming Tips - All the gear you need to start live streaming from your PC - DIY in 5 Ep 101

Live streaming for gaming, creative, informational or just hanging out is a ton of fun and can be a great way to connect with others in real time. But how do you set up a PC for streaming? It’s much easier and more affordable than one might think. Streaming PC You can stream straight from a consoles but you are limited in terms of features and customization. For a truly professional look to your stream, you’ll need a PC. A fairly mid-range PC can stream at decent quality. If you are hoping to stream a hardware intensive pc game and broadcast from the same computer, that’s where you’ll have to invest more in your hardware. Check out this previous video on a streaming PC build: https://www.youtube.com/watch?v=eg_K8cLdy6w Capture cards A capture card allows you to capture content from another device and stream it on your current device. If you want to stream console gameplay or from another PC this is how you feed your video and audio to your streaming PC without affecting your PC’s performance. There are a wide variety of cards out there with various quality, input and customer support options across various price points. Some are external some are internal. For most people, an external capture card with HDMI input output that records HD quality will do just fine, like the Razer Ripsaw HD which I personally use in my home setup. For the pros out there looking at fancier cards like the Elgato 4K60 Pro, keep in mind you’ll need a beefy computer to handle what cards like that are throwing down. If you invest in one, you’ll need to do the same with the other. Displays If you are operating off one monitor, you’ll just need to arrange your windows so that you have your broadcasting software, notification window, chat and game or program you are streaming all on one monitor. Totally doable just a little crowded. With two monitors, most streamers prefer to put their primary broadcast program or game on one monitor and all the technical aspects of their stream on another. Cameras If you want to have a facecam in your stream, there are many options out there including some with built in lighting specifically for streamers like the Razer Kiyo or you can invest in lights and a webcam separately. Basic 720 or 1080p webcams will do the trick for most streamers. You’ll want to make sure you frame your shot so that you are close to the camera to easily be seen. Lighting A basic ring light, LED panel or softbox lighting kit can give you the flexibility to stream anytime of day or night. You can improvise with home lighting or setup right in front of a sunny window. If you want that ‘green screen’ background keyed out look, none are as successful as setting up an actual green screen behind you. Mics, Headsets and Audio Your microphone is just as, if not more important, than your camera since some viewers spend more time listening to streams than watching them and while poor video quality can be forgiven, poor audio is the worst! Depending on the content of your stream, you may want to use a headset microphone, desktop microphone or even off camera microphone. Most streamers use a USB microphone that connects directly to their computer and there are a variety of options built specifically for live streamers, like the HyperX Quadcast Mic with a tap to mute button right on the top of the mic. As always with sound you’ll want to think about the echo in your room. Generally carpets and curtains are better than bare walls and hard floors. Think about throwing a run down, hanging some curtains or hanging up some sound absorption panels if it sounds like you are streaming from your bathroom. Keyboards, Mice, and Stream Decks Other hardware considerations include keyboard/mice setup. If you do a lot of typing on stream, you may want to consider a quiet keyboard with dampening rings or key switches built for silence. Another very popular hardware option is a Stream Deck, a panel of buttons you can use to switch settings, scenes or load sound effects on the fly. Streaming Software OBS Studio, XSplit & SLObs are some of the more popular broadcasting software options and they all have a free version to get you started. I’ve done an in depth XSplit tutorial on my personal youtube channel you can check out but most of them have a similar setup of ‘scenes’ and ‘sources’ that you can setup and live switch between on the fly. Sites like Streamlabs and Streamelements allow you to even further personalize your streams by providing notifications, chatbots, loyalty point & donation systems and more and these are free as well. If you are streaming to a site like Twitch, there are Twitch extensions again, free of charge, that can add more pizazz like viewer driven music playlists, face filters or mini-games. Chairs Livestreams can go on for hours so finding an ergonomic chair, gaming chair or otherwise comfy supportive place to put your butt will help reduce both stream breaks and naptime. https://ift.tt/2XW1AZX Kingston Technologyhttp://ifttt.com/images/no_image_card.pngJuly 12, 2019 at 12:35PM https://ift.tt/eA8V8J https://ift.tt/2G8fTAk https://ift.tt/eA8V8J Marken

Bottly Primer

Socks (Our Channel Currency)

You earn 10 socks every 10 minutes that I'm live and you're in chat, 20 socks if you're a subscriber.

You'll receive a 30 sock bonus when you follow my stream on Twitch.

If you raid or host the stream, even if it's by auto-host, and even if you have 0 viewers, you'll receive a 15 sock bonus.

If you send me a tip via StreamElements, you'll receive 15 socks for every dollar donated!

If you send me bits via cheering, you'll receive 10 socks for every 100 bits.

When you subscribe you'll receive a 60 sock bonus on the initial and every subsequent subscription renewal. Subscribers also earn double the amount of socks, a total of 20 socks per 10 minutes.

General Commands

!back -- announces your return from lurking

!lotto -- if there is a lotto running, use this to enter. costs 50 socks

!lurk -- announces your intention to lurk

!mods -- provides a link to my Skyrim (Oldrim) mods list

!nameit -- if you want to name something in my game, use this to add yourself to the queue that I'll pick from randomly when I need a name. This command costs 5 socks per use.

!social -- links to my Twitter and Youtube pages

!socks -- lists the total amount of socks you have

!triggered -- costs 10 socks; Russian Roullette game

Song Requests (When Active)

!sr (url) -- adds the song at URL (Youtube or Spotify link) to the song queue

!skip -- vote to skip the current song (5 socks); requires 5 votes to succeed

!veto -- skips the current song without voting (25 socks)

!wrongsong -- removes the last song you requested from the song queue

Quotes

!quote add "(the quote)" -- records a quote

!quote -- displays a random quote

!quote (#) -- displays the quote assigned to that number

Give Aways (When Active)

!giveaway -- get info about the giveaway

!tickets (#) -- purchase # of tickets (each ticket costs 100 socks), max 10 tickets

Sound Commands

Each of the following sound commands will cost you 2 socks per use and has a cool down of 2 minutes.

!boo - a crowd booing

!fail - the clip that plays on the Price is Right when someone loses

!gg - applause

!nope - Lana from Archer saying "Noooope, nope, nope, nope..."

!oil - Cicero from Skyrim talking about the Night Mother

!phrasing - Archer laughing and saying "Phrasing?"

!sad - a sad violin

!shesaid - That's what she said!

!snacks - Pam from Archer saying "Holy shit-snacks!"

!what - Cicero from Skyrim saying "Wha... what??"

!wow - Woman saying "wow" sarcastically

Each of the following sound commands will cost you 5 socks per use and has a cool down of 5 minutes.

!excited - clip from The Pointer Sister's song "I'm So Excited"

!higher - clip from Tina Turner's song "Take You Higher"

!loveme - clip from Jennifer Holiday's song "And I Am Telling You"

Crimsoneve.Gay

I have finally made my own site!

With socials, links to clips, and my blog with tutorials!

First of all I made a tutorial on how to display chat on obs!

Then I have made a nice banner that is a transition between the trans and the lesbian pride flag. Here I tell you how you can do that too!

Don't know how to do things in html/css to begin with? Got ya covered once more!

Let me know what you think!

(And yes I payed 36 euros to get dot gay domain!)