Sansar is the reason I started this blog a little over four years ago, and it with a very heavy heart that I write this blogpost. As many of you know, I found that I had become too emotionally attached to what was going on with Sansar, and I had to step back from my previously comprehensive coverage of the Linden Lab-founded social VR platform, to gain some much-needed perspective and to be able to write about it dispassionately.
While the rumours of Sansar’s impending demise have been circling for quite a long while now, over the past few months, I have been hearing persistent gossip, from various well-placed sources, that Wookey-led Sansar is in serious trouble. I should rush to add that I have zero official confirmation of any of this, but every time I hear a new rumour, it seems to confirm what I have already heard from others. In other words, I am hearing the same thing from many different people.
Most recently, I’ve been told that the Wookey team is missing in action, both on the official Sansar Discord and in-world. I’ve heard that Sansar has lost big-name clients like Lost Horizon and Monstercat (although Sansar is still listed on the Lost Horizon Festival website). I’ve also heard that many people who used to be actively involved in Sansar have left, leaving for platforms as various and diverse as Helios, SapphireXR, and CORE (where I see many Sansar alumni chatting on their Discord servers).
My latest source tells me:
There hasn’t been a product meetup in months…they were all working like crazy on Splendour in the Grass…after that, crickets.
The marketplace for hosting live events has become extremely competitive, with social VR platforms competing with game companies like Fortnite and Minecraft to sign deals with artists and festivals, and to host concerts and other musical events. And if Sansar is struggling to do this during a pandemic, how will it fare when things return to (relative) normalcy, with a resurgence of live, in-person events? Can Sansar compete against better-funded companies to attract the kind of A-list talent which brings in audiences—and more to the point, can they get that audience to stick around and become content creators and community members after the music ends?
I am in a better position that most external observers to play armchair quarterback and try to pinpoint exactly where it all went so wrong, but I must confess that, like so many others (including numerous employees laid off in at least two rounds of wrenching, painful layoffs), I really thought that Sansar would succeed.
But the expensive bet placed by Linden Lab (and Philip Rosedale’s company, High Fidelity, which shut down a similar service in early 2020, and pivoted to a spatial audio product), is that there would be tens and even hundreds of thousands of people using high-end VR headsets like the Oculus Rift, HTC Vive, and Valve Index to access social VR platforms boasting beautiful high-end graphics. It didn’t seem like such a risky bet at the time, but looking back, perhaps it was.
Certainly, part of the problem is that these companies spent millions of dollars and many years building platforms, only to find that the VR hardware market was evolving so quickly that they couldn’t keep up. I mean, the Oculus Rift is no longer being sold by Facebook, which decided to put all their eggs into the standalone Quest, which is selling like hotcakes—and which Sansar can only run on if you attach a cable from your Quest to your high-end gaming PC.
What does it take for a platform to catch fire, like VRChat and Rec Room? Again, I don’t really know the answer (although social media, particularly YouTube and Twitch, certainly played a pivotal role in at least VRChat’s ultimate popularity and success).
At a time when the metaverse has again become a hot buzzword tossed around by many companies, both big and small, who knows what will happen to Sansar. But I must confess that I am very worried.