Epic Games, the creator of Fortnite, has come to a “comprehensive settlement” with Google, which may mark the end of a legal dispute lasting five years regarding Google’s Play Store for Android applications, as stated in joint legal filings by both parties.
Tim Sweeney, CEO of Epic, hailed the settlement as a “fantastic offer” in a post on social media.
In documents submitted on Tuesday to the federal court in San Francisco, both Google and Epic Games noted that the settlement “enables the parties to set aside their differences while fostering a more dynamic and competitive Android environment for users and developers.”
Epic secured a significant legal victory over Google earlier this summer when a federal appeals court upheld a jury’s verdict declaring the Android app store an illegal monopoly. The unanimous decision opens the door for federal judges to potentially mandate substantial restructuring to enhance consumer choices.
While the specific settlement terms remain confidential and require approval from U.S. District Judge James Donato, both companies provided an overview of the agreement in their joint filing. A public hearing is set for Thursday.
The settlement appears to align closely with the October 2024 ruling by Donato, which directed Google to dismantle barriers that protect the Android app store from competition. It also includes a provision requiring the company’s app stores to support the distribution of competing third-party app stores, allowing users to download apps freely.
Google had aimed to reverse these decisions through appeal, but the ruling from the 9th Circuit Court of Appeals in July posed a significant challenge to the tech giant, which is now facing three separate antitrust cases that could impact various aspects of its internet operations.
In 2020, Epic Games launched a lawsuit against both Google’s Play Store and Apple’s iPhone App Store, seeking to bypass proprietary payment processing systems that impose fees ranging from 15% to 30% on in-app transactions. The proposed settlement put forth on Tuesday aims to decrease those fees to a range between 9% and 20%, depending on the specific agreement.
Few websites are as essential to the internet as Wikipedia.
This digital encyclopedia was established by Jimmy Wales roughly 25 years ago while he was involved with the expert-driven initiative “Nupedia.”
Although Nupedia didn’t gain traction, its successor evolved into one of the most significant platforms online. Currently, there are over 7 million articles available in English alone.
So, where does Wikipedia stand as distinguishing fact from fiction becomes increasingly challenging and artificial intelligence (AI) transforms how we generate and access knowledge?
To explore this, BBC Science Focus held a discussion with Wales. He shared insights on the evolution of platforms over the last two decades, the challenge of sustaining trust and neutrality amidst misinformation, and how AI might shape the future.
SF: You’ve mentioned that social media contributes to a decline in trust. Can Wikipedia still thrive in such an environment?
JW: I believe we can certainly hold our own. I don’t necessarily view it as a competition, akin to business rivalries or transportation competition.
There’s a growing sentiment advocating for a shift from cultural conflicts to more thoughtful and respectful interactions, embracing differences, and promoting dialogue across divides.
Yet, division is an inherent aspect of human nature. For instance, when people discuss today’s youth, they often claim they lack attention spans and are perpetually glued to their phones. However, it’s evident that while they enjoy captivating short-form content, they can also binge-watch intricate TV series for extended hours.
Both represent facets of the human experience and can exist simultaneously—light-hearted social media and serious inquiry. Much like our dietary habits, we should ensure a balance, avoiding just junk food while incorporating nutritious options.
SF: How has Wikipedia managed to foster a relatively constructive culture while the rest of the internet seems to decline?
JW: I appreciate your use of “relatively constructive,” which recognizes that we face internal disputes and occasional anger—it’s part of being human.
It’s fundamentally about design—both in terms of software and what I term community design. It’s a blend of various factors.
When a business model relies heavily on ad revenue and user engagement, it becomes tempting to promote content that elicits longer viewing times, anger, or arguments, rather than happiness. This approach can be unhealthy in the long term.
Conversely, Wikipedia operates without ads and is funded by public donations. Thus, our model positions us as a charity, which means we aim to minimize clicks and keep users engaged without overwhelming them.
This necessitates a divergent approach to site design and community guidelines.
Civilized discussion is crucial. Without it, Wikipedia could become rampant with misinformation. I believe numerous foundational elements contribute to our success.
SF: Recently, Wikipedia has encountered increased criticism—Elon Musk even referred to it as “Walkpedia.” How do you feel about that?
JW: That’s unfortunate. When Elon labels us “Walkpedia,” he’s mistaken and misinformed. That assertion is baseless.
For instance, regarding transgender topics, there’s a common “gotcha” question: “What is a woman?” Wikipedia’s entry for “female” defines it as “an adult female human being.” This is indisputable, isn’t it?
Furthermore, the entry also addresses more nuanced discussions surrounding gender in society, which add depth.
Elon Musk recently introduced Grokipedia, an AI-powered competitor to Wikipedia – Credit: Getty
Claiming that we’ve turned into some sort of radical leftist organization is simply misguided. Of course, there are areas worthy of refinement. At times, you may examine an article and feel it’s unjust towards one party, and these instances require critical reflection and effort.
The solution lies in engaging more individuals. I would welcome more compassionate and thoughtful individuals who recognize bias in Wikipedia articles to realize that contributions stem from source material, rather than assuming it’s the work of some radical activist ready to block dissenters.
While certain perspectives may lack representation, we can incorporate them and work toward a more balanced viewpoint.
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SF: As reliance on AI for information grows, could Wikipedia face obsolescence?
JW: I hesitate to say “never,” as the future of technology is unpredictable. However, at present, we don’t foresee a significant impact in that regard.
A Pew Research study indicates that Wikipedia appears in about 3% of the top 10 results in standard Google searches, whereas Google’s AI summaries link to Wikipedia approximately 6% of the time.
This dynamic means Wikipedia is frequently referenced in Google AI summaries, although fewer users are inclined to click those links. We’re not overly concerned about clicks, but it remains a trend to monitor.
Personally, I utilize AI extensively and have discovered that its strengths lie in scenarios that wouldn’t typically generate interest on Wikipedia.
Forty years ago, I would have assumed that the first AI able to write in English would be dull and purely factual, merely regurgitating information. Surprisingly, I find that AI excels in creative brainstorming. It’s impressively effective.
Jimmy Wales was the first individual to edit Wikipedia, writing “Hello, World!” right after its launch in 2001. – Credit: Getty
SF: Are you concerned that Wikipedia’s biases could influence the AI models trained on its extensive content?
JW: Absolutely. This is a crucial focus, particularly for those developing AI models.
From what I’ve observed, the largest data sources for most advanced language models (LLMs) are Wikipedia and Reddit. While both are valuable, they have inherent limitations, particularly since both are predominantly male-dominated.
We are striving for awareness, as Wikipedia prioritizes neutrality. Yet, if we’re not vigilant, we risk unintentionally reinforcing existing biases.
At the same time, LLMs can be trained and directed, making it feasible to envision an AI continuously navigating through Wikipedia, identifying biases, and flagging articles in need of revision.
If utilized appropriately, this process could highlight instances where, for example, articles about male Nobel Prize-winning economists mention their families, while articles about female winners do not. Such insights are intriguing and may go unnoticed.
This conversation has been condensed for brevity and clarity.
Disney and Universal have filed a lawsuit against an artificial intelligence company, claiming copyright violations. The entertainment titans have described the image generator behind Midi Johnny’s popular AI as a “bottomless pit of plagiarism,” alleging it replicates the studios’ most iconic characters.
The lawsuit, lodged in federal court in Los Angeles, accuses Midi Joan of illegally accessing two Hollywood studio libraries and creating numerous unauthorized copies of key characters, including Darth Vader from Star Wars, Elsa from Frozen, and Minions from Despicable Me. Midjourney has not yet commented on the matter.
This legal action from Disney and Universal marks a new chapter in the ongoing battle over copyright issues related to artificial intelligence, following prior lawsuits focusing on text and music. So far, these two companies are among the largest industry stakeholders to address the implications for images and videos.
“We are optimistic about the potential of AI technology when used responsibly to enhance human creativity; however, it’s crucial to recognize that piracy and copyright infringement carried out by AI companies is unacceptable,” stated a company representative.
Kim Harris, vice-chair and legal counsel at NBCUniversal, emphasized the need to “entertain and inspire while protecting the hard work of all artists who invest significantly in content.”
The studios assert that the San Francisco-based company, one of the pioneers in AI-driven image generation, must either cease infringing upon copyrighted works or implement technical measures to prevent the creation of AI-generated images of copied characters.
Nonetheless, studios claim that Midjourney continues to release updates to its AI image service, promoting high-quality infringing images. The AI is capable of recreating animated visuals based on user prompts. These companies train their models using vast datasets, often sourced from millions of websites.
In a 2022 interview with Forbes, Midjourney CEO David Holz mentioned that he built the company’s database through extensive “internet scraping.”
The lawsuit, initiated by seven entities holding the copyrights to various Disney and Universal Pictures Film Units, includes examples of AI-generated animations with Disney characters like Yoda wielding lightsabers, as well as universal characters such as the Dragon from Kung Fu Panda, Toothless, and Shrek.
“By leveraging plaintiffs’ copyrighted materials and distributing images (and soon videos) that unmistakably incorporate beloved characters from Disney and Universal, Midi Joan exemplifies a typical copyright-free rider, creating a bottomless pit of flexible liability,” the studios claim.
Disney and Universal are seeking a preliminary injunction to prevent Midjourney from continuing to copy their works or providing image and video generation services without protective measures against infringement, as well as unspecified damages.
Founded in 2021 by David Holz, Midjourney operates on a subscription model, boasting a revenue of $300 million from its services last year alone.
This isn’t the first instance of Midjourney facing accusations of leveraging artists’ works to train AI systems. Approximately a year ago, a federal judge in California found that 10 artists, alongside Stability AI and others, were in litigation against Midjourney, alleging that these companies had copied and stored their works on their servers, rendering them potentially liable for unauthorized use. This ruling allowed the lawsuit to proceed based on misuse of images, and it is currently ongoing.
This case is part of a larger trend of lawsuits involving authors, media organizations, and record labels against high-tech firms over the utilization of copyrighted materials for AI training.
When asked whether the company sought consent from artists whose works are copyrighted, Holz remarked, “It’s practically impossible to gather 100 million images and trace their origins.” In a submission to the UK government last year, OpenAI stated, “Training today’s leading AI models without the use of copyrighted materials is unfeasible.”
In late 2023, the New York Times filed a lawsuit against OpenAI, the developer of ChatGPT, along with Microsoft (which holds a 49% stake in the startup), for allegedly misusing and regenerating text from its articles. That suit is still pending. Other media outlets, including The Guardian, have negotiated licensing agreements with AI companies to use their archives. Similarly, authors have sued Meta, claiming it used a vast database of pirated books to train the LLaMA AI model, although many of those claims were dismissed.
In June 2024, major record companies filed lawsuits against two AI companies for copyright infringement. Sony Music Entertainment, Universal Music Group Recordings, and Warner Records accused Suno and Udio of improperly using millions of songs to create a system capable of generating derivative music.
Since January, Spotify has disbursed over $100 million to podcast creators and publishers, as reported by the New York Times’ Dealbook.
These payments stem from a program launched in 2025, which opens up new revenue opportunities for eligible hosts. This initiative also aims to draw more creators (and their audiences) to Spotify, especially as video podcasting has gained traction on YouTube.
Video content now leads the podcasting landscape. According to Edison’s survey, more than half of Americans aged 12 and older have watched video podcasts — primarily on YouTube. Report As of January, Spotify claims to have attracted 1 billion podcast listeners each month, positioning itself as the leading platform for podcasts. Meanwhile, Media King continues to surpass Spotify and Apple Podcasts, with its original video podcasting efforts that began in 2019.
In contrast to YouTube, Spotify has become somewhat vulnerable in the podcasting space, attracting 170 million podcast listeners per month from a broader audience of 675 million. For context, YouTube invested over $70 billion into creators and media entities from 2021 to 2024.
On Tuesday, the company announced its financial results, projecting approximately 540 million euros in pre-tax revenue within a total of 4.2 billion euros, as per S&P Capital IQ.
Although Spotify is listed on the New York Stock Exchange, it is headquartered in Stockholm. The company maintains a stronghold in the sector due to its impressive roster of talent, including the distribution of advertisements for the widely popular Joe Rogan Experience podcast. It achieved its first profitable year in 2024, with Rogan’s podcast also available on YouTube.
The new partner program is designed to mitigate YouTube’s advantages. Like YouTube, Spotify historically compensated creators solely through ad revenue sharing, but it now provides further incentives for video uploads. Eligible creators can earn additional revenue depending on the engagement levels of their premium subscribers.
Spotify is actively working to attract additional viewers. In November, they unveiled their partnership program, stating that paid subscribers in specific regions would not encounter dynamic ads on video podcasts. As a result, video consumption has surged by over 40% since January, according to Spotify.
The pressing question is whether Spotify can persuade creators to shift their priorities.
David Coles, host of the horror fiction podcast “Just Creepy: Scary Stories,” mentioned that he is reevaluating his “home platform” after Spotify’s revenue recently outpaced YouTube’s. In the last quarter, Coles reported earnings of about $45,500 from Spotify. Since joining the new partner program, his Spotify revenue increased to around $81,600.
For larger shows and podcast companies like YMH Studios, which boasts 2.1 million YouTube subscribers and produces popular podcasts such as “2 Bears, 1 Cave,” the revenue boost has been even more pronounced. YMH Studios reported that its quarterly earnings from Spotify have more than tripled after enrolling in the partner program, although it chose not to disclose specific figures.
Creators have pointed out that this is still early in the program, but Alan Abin, head of advertising revenue at YMH Studios, referred to the new payment framework as a “game changer” and a “pleasant surprise.”
Ringworld by Larry Niven won both Hugo and Nebula awards in 1970, and received massive acclaim. It has been printed ever since.
It came out when humans had just landed on the moon and we seemed to be heading towards the stars. The title alone evokes a particular golden age of science fiction when (most male) writers wrestled with big physics and big ideas, imagining a distant future in which humans took on galaxy adventures.
Authors like Niven were pride in trying to get science right because they wanted to imagine what was in the universe. and Ring World Features New Scientist This month seemed like a good time to revisit Book Club and novels, and finally read it as a teenager.
How did this 55 year old work stand the test of time? After all, many books from this era are grossly dating. Because science has now made their plotline stupid. Sometimes, because sexual politics (or other cultural aspects) have begun to stink for decades.
First of all, this book is packed with ideas! You can see why it was a smash hit and eventually became part of a vast network of follow-up stories, prequels and spinoffs.
Considering how much internal lore is thrown at us, I found the novel surprisingly zippy and exposition light. Our 200-year-old hero, Louis Gridley Wu, was approached by alien Ness, known as a human-seasoned adventurer and puppeteer, and asked to come to a mysterious mission in exchange for access to new technology.
Ring World Evokes the golden age of science fiction when writers (mainly men) wrestled with big physics and big ideas
Woo and Nessus are to join their adventures with a belligerent “Kuchinti” alien like cats called Speakers and Animals (the animal in question is the other species) and a young human woman named Tierra Brown, who became apparent only later in the story. The gang travels to Ringworld of the same name and crashes after being fired by an ancient security system.
Ringworld is the star of this show. This is an ancient craft on an unthinkable scale. A world of ribbons looped around the stars, 1.6 million kilometers wide and an internal surface area of 3 million Earths. It has a diameter of 305 million kilometers and is made from a material with incredible tensile strength. In the Terra-formed innermost part of Ringworld, civilization has fallen, but life continues.
Woo and the gang have to find a way to move a vast distance across the inside of the ring and leave it. Along the way, as you can imagine, they have a lot of adventures.
There is something modern editors would probably want to cut about this 1970 novel convention, and they may want to give female characters more depth.
Meanwhile, science was thoroughly separated by readers at the time, so Niven’s follow-up, Ring World EngineerThe S, published 10 years later, was a counterargument for all people who understood the fundamental mechanism. Ring World.
This isn’t my favorite Niven. In other words An outdated world. However, revisit Ring World I starved him to return to his universe. I’m going to reaffirm some of his other classics The Mot of God’s Eyesimilarly Ring WorldThere are many interesting questions that you won’t be able to answer in the first book, so there’s a follow-up.
Strictly speaking, this section should be entitled “Larry Niven also recommended.” I recently exchanged emails with him to plan an interview and I asked him which of his books he would specifically recommend to me. He answered immediately Draco Izakaya. I didn’t have time to read it yet, but I’m very happy to be able to share this recommendation with the man himself..
Emily H. Wilson is the former editor of the new scientist and author of the Sumerian trilogy set in ancient Mesopotamia. The final novel in the series, Ninshuval, will be competing in August. You can find her at emilyhwilson.com or follow her on x @emilyhwilson and instagram @emilyhwilson1
Arts and science of writing science fiction
Explore the world of science fiction and learn how to create your own fascinating science fiction stories in this immersive weekend break.
The originator of TikTok’s “demure” catchphrase has begun to pay more attention to U.S. trademark law.
Jules Lebron, a social media influencer with over 2 million followers on the platform, skyrocketed to fame by sharing guidance on embodying “modesty,” “kindness,” and “cuteness” in both work and personal life. This trend has picked up steam, leading to collaborations with major brands like Verizon and Netflix featuring Lebron in sponsored content, as well as big-name celebrities such as Jennifer Lopez, Olivia Rodrigo, and Gillian Anderson incorporating the phrase into their own videos.
Recently, Lebron, who is transgender, expressed that the news surrounding her video had a significant impact on her life. A video showing her emotional reaction to this development was shared and then deleted on TikTok, where she disclosed that she had failed to register the trademark in time. According to TMZ, a man named Jefferson Bates from Washington submitted a trademark registration application for a slogan very similar to Lebron’s catchphrase, obviously attempting to capitalize on her success.
In response to this, Raluca Pop, the founder of Hive Social, a social media platform similar to Elon Musk’s X, stepped forward, stating that she had filed an application in California for the phrase “Very Demure Very Cutesy” as a gesture of solidarity with Lebron.
Popp further divulged that she took action after witnessing another individual’s attempt to appropriate Lebron’s words. Not wanting to see Lebron’s catchphrase exploited, Popp decided to secure the trademark and plans to later transfer it to Lebron to ensure she benefits from it.
If Bates’ trademark application receives approval, Lebron may find herself unable to use her catchphrase on any official merchandise or sponsored material in Washington without obtaining a federal trademark. However, trademark lawyers are optimistic that Lebron will be able to defend her rights against Bates’ claim of being “very modest, very considerate…”
Arie Elmanzer, an attorney and the founder of Influencer Legal, a law firm that assists content creators in resolving trademark and contract issues, remarked, “If I were her, I wouldn’t be worried. She was clearly the first to use it, and she should capitalize on it to strengthen her claim as the original creator.”
Elmanzer mentioned that Bates has lodged a $1 billion trademark application, asserting his intention to utilize the trademark. Elmanzer stated, “He claims he’ll use the trademark, but he hasn’t done so yet. This breaches the Trademark Act. When Lebron objects, she can argue that he hasn’t used it, but she has, backed by substantial evidence, providing her with an advantage.”
Additionally, U.S. trademark law grants rights to whoever first uses a mark, not necessarily the first to apply for it. “I have full confidence Revlon could mount a successful defense against this. While pathways exist to secure a trademark, it requires both time and financial investment.”
Kyona McGehee, an attorney and the founder of Trademark My Stuff law firm, emphasized that were she Lebron’s legal counsel, she would promptly issue a cease and desist letter to Bates, demanding withdrawal of his application, asserting full rights to the phrase, and outlining Lebron’s strategy for monetizing the trademark.
McGehee added, “Lebron must file for a federal trademark with the U.S. Patent and Trademark Office as that grants authority nationwide. Once Lebron secures federal registration, she won’t need anything further on the state level.”
Bates, residing in Washington, appears to have no connection either to Lebron, based in Chicago, or her catchphrase. Legal representatives for both parties speculate that if a restraining order fails to dissuade Bates, they may be embroiled in a lengthy legal dispute. In the meantime, Lebron should exploit her catchphrase however she sees fit.
“Just because she lacks a trademark presently doesn’t mean brands will think twice about incorporating her phrases to capitalize on the current momentum,” McGehee commented.
Lebron, originally from Puerto Rico, is making the most of her newfound stardom. She is engaging in sponsored content for “demure” with the hair care brand K18, teasing a potential collaboration with Netflix, and making an appearance after RuPaul guest-hosted the Jimmy Kimmel Show.
However, her copyright dilemma underscores a recurring issue for content creators whose original work becomes viral only to be leveraged by others for profit. In 2021, Black TikTok creators staged a strike in protest against the lack of credit for their work, highlighting disparities in recognition and treatment compared to white creators on the app.
“There’s a digital gap within minority communities,” McGehee noted. “It’s not a shortage of talent but rather a scarcity of information. Those with better resources and financial capabilities are better equipped to seize trend opportunities. At our firm, we advise clients: Act swiftly and file a trademark application when your work gains traction. In the legal realm, it’s more advantageous to take the offensive than play defense.”
At this year’s Game Awards, fan-favorite VTuber Ironmouse won the coveted Content Creator of the Year award. This is the first time an animated character has won this award, and it shows just how expansive the world of streaming can be.
A movement that originated in Japan, “VTuber” means “virtual YouTuber,” but the genre has spread to other streaming sites such as Twitch. iron mouse Has 1.8 million followers, most subscribed female streamer. VTubers often resemble anime characters, with creators constructing virtual personas by fleshing out their avatars using motion capture or AR facial tracking technology. VTubers have been around for about a decade, but their popularity rose during the early days of the pandemic, with VTuber agency Hololive launching an English division to cater to its growing Western audience. The streaming genre will only continue to grow as the technology to create VTubers becomes more accessible.
Although the VTuber phenomenon is already widespread and beloved,fun loving devilIronmouse’s win at the Game Awards further legitimizes the genre.
In announcing Iron Mouse’s victory, the show’s host said, “Iron Mouse couldn’t be here tonight because it’s animated. Unfortunately, we’re not in the Matrix yet.” .
Iron Mouse’s intrigue doesn’t end with her innovative persona. The identity of Ironmouse’s author is unknown, but she reveals that she is from Puerto Rico and suffers from common variable immunodeficiency (CVID) and a chronic illness that includes lung disease. Her chronic illness sometimes left her bedridden, she said. washington post, But being a VTuber gave her access to a rich online world where she could be anyone she wanted to be, and escape the hell out of even pastel pink-clad gamers. Last year, she streamed for 31 consecutive days as part of the annual “Suboxone” event, where her viewers could pledge money to keep her online. This year too, she took on the streaming challenge of an ultramarathon. Immunodeficiency Foundation.
“I have no words to describe how I feel right now,” Ironmouth wrote. X After her victory was announced. “I’m in complete shock. Thank you so much to everyone who changed my life.”
To stream as them My mysterious alter ego is a VTuber named Mai. M41H41, typically had to juggle at least four to seven different programs. However, doing everything at once was not only mentally exhausting, but also taxed the computer and could cause it to overheat in the process. If the program crashes, you have to destroy the characters to fix it. “In many cases, you don’t actually need to use all the programs,” Mai told TechCrunch during a Discord call. “So I literally told the community, ‘Sorry, you can’t like, throw videos, chat interactive videos today. Because we literally can’t do it right now.” ” VTuber A portmanteau of “virtual YouTuber,” who streams as a 2D or 3D model rather than showing his or her actual face. This burgeoning genre has produced some highly successful streamers, but the barrier to entry has been high due to the upfront costs and technical skills required to stream as an animated character. Obscur, an all-in-one broadcast application, wants to make VTubers more accessible by allowing users to create 3D models and interactive environments without any technical skills. The company premiered several new features at TwitchCon, including Character Creator, which was officially released last week. Obskur’s broadcast software essentially combines multiple different programs into his one platform, which can be easily integrated with Twitch. This is a big attraction for her VTubers like Mai. Obskur’s Character Creator and user-generated content marketplace is particularly unique in the VTuber space. Character Creator allows users to customize his 3D model by choosing free hairstyle, facial features, and body type. Users can adjust features to change their shape and size using sliders, and select feature colors from a color wheel. For further customization, users can browse an integrated marketplace where artists sell ready-made models and his 3D assets such as costumes and interactive backgrounds. “It needs to be advanced enough that people can create a character that’s so unique that they feel like, ‘This is me and this is my brand.’ But it also needs to be easy enough that they don’t need to know anything. ” Obskur co-founder Andranik Aslanyan told TechCrunch. “It’s like you don’t have to understand rigging, modeling, textures, etc. Just select a few options and it feels like a video game. If you can play The Sims, our application You should be able to use it.” Image credits: Provided by Obscur Mai says she started using Obksur regularly after testing the demo at TwitchCon. Previously, I used up to 12 applications to run streams. One is for running models, who often have flowing seafoam-colored hair, pink moth-like antennae, and ruffled black tops; It is meant to improve body tracking. Additional software was required to perform basic animation. For example, something as simple as a VTuber making a model cry or flirting with a subscriber by bouncing her chest can involve technical subtleties that viewers rarely see behind the scenes. . Mai has to use third-party programs for her chat interactions, such as being able to throw things at viewers or sprinkle flower petals, and also says that she has to use third-party programs to make those interactions a part of her Twitch earnings. It was necessary to use additional third-party software to integrate with the features. She also needed a program to upload models into her 3D backgrounds, ranging from a basic living room to an extraterrestrial planet. “And that’s before you even think about the type of content you’ll create that day,” Mai continued. “And you need to learn how each of them works as an application on its own, but also how it works as an application in conjunction with other applications you’re running. There are a variety of models. There were probably 10 to 12 applications that I downloaded for the part.” Next is cost. When Mai first became interested in her VTuber last year, she tried to create her own models by drawing with a mouse using her free software VRoid Studio. They said it was impossible and “looked all sorts of awful.” They ended up paying another artist about $100 to $120 (the industry’s “absolute rock bottom”) to model. A high quality She 2D model can cost thousands of dollars or more, depending on the quality of the original artwork, custom She mesh and textures, and various animations. Even 3D models that are less complex to animate are still expensive to commission. Additional assets such as new costumes, hairstyles, and backgrounds are expensive and difficult to source. While many artists focus on custom commissions, others sell preset assets on Etsy, Patreon, or other online marketplaces scattered across the internet. Some large marketplaces, like Booth, are “absolute monsters in and of themselves,” Mai said, as they are offered entirely in Japanese. “In that case, you have to download them and hope they’re in the right file format. If you don’t speak the language, no one will understand,” Mai said. Aslanyan pointed out that chat interactions are not only cumbersome to use, but also difficult to look at. On Twitch, users can purchase bit, prices start at $3.00 for 300 pieces and go up to $308 for 25,000 pieces. Twitch pays streamers 1 cent per Bit, so streamers typically offer special perks to viewers who spend Bits while streaming. VTubers often encourage their viewers to consume Bits by providing certain interactive features. A viewer can, for example, “throw” objects such as electronic money to her VTuber by spending 100 bits, and change her outfit by spending 1,000 bits. Streamers needed to get into character and engage with their viewers while manually triggering interactions in the third-party software they were using. Image credits: Provided by Obscur Obskur’s Twitch extensions and apps make features like viewer interaction more seamless for both streamers and viewers. The app allows streamers to determine different stages of interaction, which are automatically triggered when a viewer consumes a Bit. Obskur receives the standard 20% developer share set by Twitch. Aslanyan hopes that by making the process more seamless, monetization opportunities will become more accessible for streamers. “The idea behind it is to give viewers a reason to spend some money, because if you look at the return on bits compared to things like subscriptions and direct donations, it’s on the lower side. ” Aslanian said. “The reason is that there is no real incentive to donate to Bit.” It may be easier for streamers to monetize their work, but do artists risk losing their commissions? VTuber 2D and 3D design has grown into a digital cottage industry since 2020, with many artists looking to make full use of it. Time relies on commissions for its income. Neither Mai nor Aslanyan are worried about Obscur’s Character Creator pushing out artists. Instead, they said, the platform’s user-generated marketplace creates opportunities for artists to expand their clientele. Mai described Character Creator as a “baseline” opportunity for complete beginners to step into her VTuber career without paying a fortune or learning complex animations. “I think there’s still a lot of desire for specific art styles with specific designs that are unique only to individual artists. They’re still doing that craft in other mediums, and a lot of artists are moving into this field. “I mainly work in Obscur because the marketplace allows you to make money from the assets you’ve already created,” Mai said. Additionally, if streamers want to use more complex and highly specialized models for their streams, they can import commissioned works into Obskur. Image credits: Provided by Obscur Image credits: Courtesy of Obxul Aslanyan added that Obskur considered feedback from artists when designing Character Creator. An artist known as the art director of Obscur. art gunis known for designing the model for Ironmouse, one of North America’s most popular VTubers. According to Aslanyan, she oversaw the development of the character creator and also helped launch the marketplace. “From my point of view as a creator, the market size is expanding,” Aslanyan continued. “The basics are one-to-one. In our case, we can create a cool jacket, and then in the marketplace people have almost instantaneous access to the character, and we can sell that jacket many times over, and we’re able to sell that jacket many times over. You can potentially generate more revenue than spending months creating a jacket for a single character. It’s more of a scale business than…
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