I’m currently swamped with work for my full-time paying job as a university librarian, but I wanted to take a quick moment to post that Linden Lab is hiring! Here’s the post:
We are seeking clothing creators, riggers and avatar makers (skin, hair, makeup, accessories)!
Are you a talented clothing or avatar creator looking for work? Can you put your hand into creating standard and “way out there” outfits? Are you a master of rigging? Do you have a great PC and internet connection that you can run on at a high draw distance, decent FPS and will handle all that various content creation tools?
Clothing Creators adept at using Substance 3D Painter, and experience with Marvelous Designer and Adobe Photoshop
Riggers and Avatar makers adept at using Blender/Maya/ZBrush/Cinema 4D and rigging for Dev Kits and the Second Life Starter Avatars
Skills in making textures and materials.
Mesh optimization and creating strong LOD.
Own a laptop, desktop or Mac, capable of running Second Life at High and Ultra settings with a minimum draw distance of 256.
Good internet connection with good FPS.
All of your work must be your own and original.
Be reliable, dedicated and work well as part of a team with lots of different personalities.
Avastar, Avatar/Animesh rigging. Experience making decor and accessories.
Experience working with quadruped Avatars/Animesh.
If you think you fit the bill and want to join the LDPW, with a dynamic team of wonderful creators, working on exciting projects, then please email email@example.com and provide us with a portfolio and examples of your work.
Is this a volunteer position? The moles are paid an hourly rate.
How do I apply? Send a resume to Derrick Linden at firstname.lastname@example.org – please include your areas of expertise and any links, screenshots or other information you would like to have considered so we can see recent examples of your work.
Do the contractors keep the rights to their content? In order to maintain the rights to reproduce the content and to make some of it available via the Library, Linden Lab is purchasing full rights to content created by the mole builders.
What’s all this about moles? The contractors use accounts with the last name Mole, which references a bit of graffiti that appeared in the original city Regions long ago … “Beware the Mole People!” Of course, those moles who wish to make their primary account names known are certainly free to do so.
It sounds very much that one of the tasks which those hired will be working on is a new set of Second Life starter avatars, which are refreshed every so often. But of course there might be other projects, too. If you meet the qualifications (and I know that many of you do), then please consider applying to be a Mole in the Linden Department of Public Works!
Today, Linden Lab (more formally known as Linden Research, Inc., the makers of Second Life) dropped a press release:
High Fidelity announced today that it acquired an interest in Linden Research, Inc. (“Linden Lab”), the pioneering developer of the virtual world Second Life. The deal includes a cash investment and distributed computing patents. Members of High Fidelity’s metaverse team are joining the company, and Philip Rosedale, who is a founder of both companies, is also rejoining Second Life as a strategic advisor.
The transaction will help Second Life further scale its operations and strengthen its commitment to growing an innovative, inclusive, and diverse metaverse where its inhabitants’ ingenuity drives real-world value for themselves and others.
“No one has come close to building a virtual world like Second Life,” says Second Life founder and High Fidelity co-founder, Philip Rosedale. “Big Tech giving away VR headsets and building a metaverse on their ad-driven, behavior-modification platforms isn’t going to create a magical, single digital utopia for everyone. Second Life has managed to create both a positive, enriching experience for its residents — with room for millions more to join — and built a thriving subscription-based business at the same time. Virtual worlds don’t need to be dystopias.”
High Fidelity is the company Philip Rosedale founded after leaving Linden Lab. Its first product, an ambitious social VR platform called High Fidelity, failed to catch on and was shut down in early 2020. Its successor product (also called High Fidelity) is a 3D spatialized audio system for use in other metaverse platforms. So, when I’m talking about High Fidelity (HiFi for short), I always make sure to indicate whether I am talking about the company itself, its former social VR product (the old High Fidelity) or the new 3D audio product (the new High Fidelity)!
Wagner James Au, writer of the long-time virtual worlds blog New World Notes (from whom I first learned about this breaking news), has this to say:
Just got this message from Philip Rosedale, about the future of Second Life:
“I’m not back full-time, but it feels great to get to be talking to Lindens about design! I think the vital thing to focus on is demonstrating that a virtual world can scale to greater capacity while being inclusive and fair and safe for humanity.”
Exciting and welcome news, indeed! I will update this blogpost with more details as I acquire them. Stay tuned!
Philip Rosedale in 2003 launched the online game where players using avatars can hang out, socialize with other players and make purchases. Second Life is a forerunner of the virtual worlds that big tech companies are now trying to create and that are often referred to as the metaverse. Mr. Rosedale is returning to the company he left in 2010 to serve as a strategic adviser and shepherd its expansion as the metaverse gains wider traction, he said in an interview…
Mr. Rosedale said that the business models underpinning some of the current tech giants, such as tracking user behavior to target ads, would be potentially harmful in the metaverse, which is more immersive than current digital platforms. “I think that there is a real genuine, existential risk associated with how that gets done,” he said.
Second Life may have had a head start on some of the metaverse companies it aims to compete with, but to some extent is the underdog. Second Life rolled out before Facebook was founded, but has hovered at around one million users since 2008, according to a company spokesperson. Meta’s Facebook, Instagram and other services sported more than 3.5 billion monthly users combined, according to its most recent earnings. Epic Games Inc.’s Fortnite videogame and game company Roblox Corp. , which are also making moves in the metaverse, have many times the number of users that Second Life has.
Brad Oberwager, chairman of Second Life parent company Linden Research Inc., said he is working with Mr. Rosedale to inject momentum into the business. Second Life already offers the ability for people to withdraw money from in-game sales into the real world, a feature lacking in some other emerging metaverses, which should attract users, he said. Coming upgrades focused on further improving the social and economic components of the game, such as the avatars and digital marketplace, promise to drive user growth, he added.
The Wall Street Journal article goes on to state that “Mr. Rosedale is bringing with him to Second Life a small cadre of developers, a number of patents and an unspecified financial investment from the company he founded in 2013, High Fidelity Inc.”
Rosedale is going to be a “strategic adviser” for Second Life, while his company High Fidelity looks to infuse Second Life with some new ideas, simultaneously working on other ideas for future tech, including – at some point – VR again. “We’re announcing that we’ve shifted a group of seven people, some patents, some money. We’re investing in Second Life, to keep working on Second Life,” Rosedale told me. “Two of those patents are moderation in a decentralized environment patents, which is really cool.”
The reason for the shift is that Second Life still makes money and still has a considerably larger community than most VR platforms: It’s had over 73 million accounts created since it launched, and estimates of active users hover around 900,000. Rosedale sees the shift as solving problems while VR hardware still gets thought out.
Despite the seeming success of the Oculus Quest 2, he still doesn’t think it’s enough. “The headset is so broken that it’s going to actually take, I think, five years to get to something that’s good,” he says, “and we as a startup would neither survive, nor would it make sense for us to sit around for five years.” He sees building up Second Life as a better platform that will be VR-optional until that magically perfect hardware arrives.
If you really want your platform to become the seed for “The Metaverse”, then you need to give it away.
Lars Doucet is an independent game developer and consultant for various multi-million dollar game projects (through his company, Level Up Labs), as well as a games industry analyst, commentator, and blogger at Fortress of Doors.
On July 1st, 2021, Lars wrote a Fortress of Doors blogpost titled So You Want to Compete with Roblox, which is primarily directed at those companies who desire to become the next billion-dollar-valued metaverse platform (Roblox, as many of you already know, obtained a market valuation of UA$41.9 billion when the company went public this past March). However, much of Lars’ wisdom also applies to any social VR platform or virtual world that wants to break into the big leagues, especially if they are competing against an entrenched front-runner in a particular market segment, so I decided to write up this blogpost as an introduction to Lars’ ideas for my regular readers (if you’re not interested in my thoughts, just click over to read Lars Doucet’s blogpost in full; I have links to other content of his at the tail end of this post).
Lars starts off by dashing any dreams of would-be Roblox competitors, saying that they are too late to try and overtake something which has been building for years:
I used to get so many pitches from startups eager to knock PC gaming powerhouse Steam off its block, that in 2018 I wrote one big standard response called So You Want to Compete with Steam, with a follow-up a year later. The dust has now settled and the result is clear: all of the new contenders failed but Epic, and even they have a long upward climb ahead of them.
Flash forward to today, and my inbox is stuffed with pitches from start-ups wanting to compete with Roblox, that plucky Lego-ish multiplayer game-creation platform currently valued at 41 billion dollars.
So I guess we’re gonna do this again. Here’s how you can build a successful business that competes directly with Roblox: DON’T.
I say this out of love: the vast majority of you are going to fail. I admire you and your hard work and dedication; I’m pessimistic simply because your task is incredibly hard.
First of all, you are late to this party. Roblox first launched in 2006, a full fifteen years ago – that’s five years before Minecraft, if you can believe it. They have a massive head start and are playing by an entirely different set of rules. Your only chance is to flip the entire problem on its head.
Lars outlines three components which absolutely must be in any product that tries to make a dent in the ever-evolving metaverse, they are:
High quality multiplayer support for user creations out of the box
High performance servers with excellent reliability
Powerful, user friendly, and joyful creation tools
Note a couple of the words he uses very carefully. “Multiplayer” support for user creations out of the box means the ability to support collaborative creation of user content (an example of this are the user creation toolset in NeosVR, although I would argue that they are not particularly “user friendly”, as they are powerful, but also have a rather steep learning curve). Many social VR platforms still lack collaborative building tools, or any sort of in-world building tools, forcing content creators and world builders to use external tools like Blender and then import 3D models.
Note also Lars’ reference to “joyful” creation tools—in other words, make it FUN to create something. From what I understand, one of Horizon Worlds’ strengths is its content creation tools, which are apparently easy and fun to use. Do this part especially well, and you will empower your userbase to create wonderful worlds, which attracts new users, who then also become content creators—it becomes a virtuous circle.
He then talks about how Roblox spends a lot of money on hosting and network infrastructure, and how cloud provider costs (e.g. AWS) can eat up a significant chunk of cash as your platform grows. He then discusses what he sees as the three big problems you’ll face as a metaverse platform creator:
• You need players • Players won’t show up without content, so you need creators • Creators won’t show up until you have players
Joel points out that you can’t expect this deadlock to solve itself – instead you need to just go out there and deliver a truckload of chickens or a truckload of eggs. Typically this means spending a lot of money. Anyone able to rely on organic growth alone started ages ago and that door is now closed to you.
Note particularly that last sentence, which I am going to repeat in bold for those of you who still don’t get it: ANYBODY ABLE TO RELY ON ORGANIC GROWTH ALONE STARTED AGES AGO AND THAT DOOR IS NOW CLOSED TO YOU. I have repeated versions of this statement on my blog until I was blue in the face, and few of the newer social VR platforms have been paying any attention.
Linden Lab’s fatal mistake with Sansar (one of many) is that they 100% expected that they would be able to build a high-end social VR platform with a in-world currency and an integrated marketplace for user-generated content, just put it out there, and expect it to sell itself! What worked for Second Life in 2003 most assuredly did NOT work for Sansar in 2017. A last-minute, hail-Mary pass. pivoting from social VR to a live events platform, essentially failed, and Linden Lab landed up selling Sansar to Wookey. At present, Wookey has suspended all development and furloughed all its staff. Millions and millions of dollars† were sunk into a platform which is currently on life-support, hanging on by a thread, and could be unplugged at any moment. Say a prayer for Sansar; it could use one.
Lars Doucet advises:
Seed your platform with awesome material by paying your own employees to build beautiful creations. Hire contractors and independent content creators and then pay your staff to train them in your tools. Pay these people to make tutorials and guides and videos and post them all over the internet and don’t stop. Set up an affiliate system with creator and influencer rewards. And that’s just the obvious stuff – you need to be thinking about new and innovative solutions to this problem 24/7. Pay any and every price to get high quality content onto your platform.
Second Problem: Platform Dynamics
Here Lars differentiates between different kinds of platforms, from open to closed:
On one end you have open platforms like the World Wide Web where each of the five aspects is owned by no one but the commons.
Towards the middle you have different kinds of closed platforms like Windows and Steam where certain components of the stack are proprietary, but others are unowned; the owner either refrains from (or is simply unable) to capture most of the value that creators produce on the platform.
On the far end are digital company towns, proprietary platform stacks privately owned from top to bottom. In the physical world company towns are communities where a single corporation is not only the sole or principal employer, but also owns all the housing and stores – the company is your boss, your landlord, and even your grocer. Total ownership grants the company power over not only every aspect of their workers’ lives, but also their families and the entire local economy. Digital company towns likewise squeeze as much value out of creators as possible.
And he makes the point that Roblox is a company town, controlling the creation tools (Roblox Studio), the playback engine (the Roblox app), the discovery methods (the Roblox discovery portal), and the marketplace (items can only be bought and sold using Robux through the Roblox Marketplace, with all financial information managed by Roblox). While it might look tempting to set up wannabe Roblox competitors using the same model, Lars makes it very clear in his article that this is a tactical error:
Look, I know some of you as customers actually like company towns from giant companies like Apple precisely because they’re locked down and you trust the platform holder. Good for you, sincerely! You are more than welcome to continue liking them as a customer. But this article isn’t addressed to you; it’s addressed to startups who think they can deploy this kind of vertically integrated stack without already starting from a position of strength.
Simply put, if you’re trying to build a Roblox competitor in 2021 under the company town model, you’re delusional. You should not build a company town for two very good reasons:
1. Company towns are bad, and you shouldn’t do bad things* 2. It’s way, way, way too late to succeed with this strategy
So, if you can’t rigidly control everything in order to compete against the entrenched front-runner(s), what can you do? Lars suggests giving something away:
Give people a reason to build on your platform. Make them owners, not tenants.
What should you give away? Well, that depends on your specific situation, but I recommend “as much as you possibly can.” Recall the five components of a platform:
• Creation tools • Playback engine • Discovery methods • Marketplace / transaction engine • Relationship with the customer
Platforms tend to follow a certain kind of life cycle, and there’s no better primer than Dan Cook’s Game of Platform Power. In it he outlines how platforms transition through “Growth” and “Engage” phases where they are friendly and generous to the creators who produce value on their ecosystems, before maturing into the “Extract” phase where they leverage their size and power to lock-in users and capture as much creator-produced value for themselves as possible.
A classic example of this is Second Life, which is now merrily coasting along, collecting fees for the sale of in-world land and currency, still going strong at the ripe old age of 18 with a locked-in, relatively small but highly passionate userbase who resist leaving their friends and communities behind to join other virtual worlds. For example, it’s hardly a surprise that Linden Lab, now owned by the deep-pocketed Waterfield Network investment group, has recently raised its fees for buying Linden dollars. Second Life is a cash cow, and they are rightfully milking it!
And Lars makes what I think is a somewhat counterintuitive, very nervy, and potentially game-changing suggestion on how to build that trust with content creators: make it easy for them to pack up and leave!
No matter how generous your platform is today, content creators aren’t dumb, they know how this works, and they’re being exploited right now by company towns like Roblox. Words are cheap. What they want is assurance. Trustless assurance. And no, I’m not talking about blockchain.
You really want to shake things up? Give content creators a loaded gun pointed at your platform’s head.
Another word for this is “exit rights.” If you want creators to come over in the first place, give them the power to leave anytime they want.
Mind. BLOWN. I can see how Lars Doucet is a highly-paid and in-demand consultant, just for these few paragraphs of advice alone! However, I would also add that we need to see some metaverse interoperability and standards before we can really put this into action. However, Lars makes a rather compelling case for doing at first what sounds like corporate suicide, using companies such as Substack as an example of how and why such an approach works.
Lars wraps up by dispelling some common myths about what is the “metaverse” (for example, that the metaverse cannot and should not be owned by any one person or company). And he wraps up by saying that anybody who wants to become the next Roblox is embarking on a wild, crazy, risky venture—but that “simply the riskiest thing to do is to play it safe.”
As I said in my blogpost title, this is some harsh advice that many commercial social VR platforms probably don’t want to hear, but should definitely read through at least once.
*As an aside, Lars wraps up his Fortress of Doors blogpost with the following highly-accurate-but-snarky observation:
That’s not to say someone fundamentally can’t craft a “Dark Metaverse” under the company town model. It’s just that their name is Facebook, it will be a dystopian hellhole, and you don’t have a chance of competing on those terms.
This is the first time I have shared this figure on my blog. Mark and his V.P. are currently the only two Wookey employees left on the payroll; as I have said above, all the rest of the Wookey staff have been furloughed.
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.