Archive for 2025:

Twitch’s 2024 gaming data shows us why ‘Grand Theft Auto VI’ will be such a big deal

2024 was an innovative year in the video game industry. Marvel Rivals put a twist on the hero shooter genre, top streamers discovered soulslike games such as Elden Ring, and cult favorites like Balatro gave indie titles a seat at the table.

Despite all that variety, Twitch streamers are spending more time with old favorites than new releases. According to a raft of data released by the Amazon-owned hub, the most popular game on Twitch in 2024 was Grand Theft Auto V, the 11-year-old open-world sandbox that continues to thrill gamers with multitudinous modes of play

Thanks to companies like StreamElements and Streams Charts, statistics about the relative popularity of specific games among streamers are commonplace. The latest data dump, however, is a rare first-party look at Twitch’s numbers. The platform’s 2024 figures are staggering, if not surprising. The Twitch community delivered 15.6 billion hours of global watch time in its gaming categories in 2024. In comparison, Kick recently set a new high water mark with 317 million hours of monthly watch time. (Twitch’s 2024 sum averages out to about 1.3 billion hours of watch time per month.)

New types of streaming contributed to that growth. Twitch noted that VTubers collected 1.1 billion hours of yearly watch time in 2024; virtual creators in the U.K. saw their traffic increase three times over.

But all of the top five titles on Twitch in 2024 were time-honored classics. GTAV led the way with 1.4 billion hours of annual watch time, League of Legends contributed nearly 1.2 billion hours, Valorant topped out at 804 million hours, Fortnite came in at 539 million, and Call of Duty rounded out the top five at 451 million.

The gap between GTA V and Fortnite is a telltale sign regarding the future of sandbox games. Fortnite and Roblox are currently top choices for creators who want to launch games-within-a-game, but GTA developer Rockstar is primed to shift the balance of power when it releases the next chapter in its flagship franchise later this year. GTA VI will cater to the creative crowd that populates the worlds of Fortnite and Roblox. The series’ massive Twitch audience will help Rockstar pull off its plan once GTA VI (finally) hits the shelves.

Owl to e4: Duolingo is teaching chess

Did you know that the word “checkmate” derives from a Persian phrase that translates to “the king is helpless”? That’s a fact you can learn from Duolingo — and soon, you’ll be able to use the app to learn how to find a checkmate, too.

The company known for its language-learning courses and its memetic owl mascot is expanding with a series of lessons that will introduce newcomers to the world of chess. The 550-year-old game has been enjoying a glow-up of late, and Duolingo wants to be part of the movement.

Revived interest in chess has been sparked by creators on YouTube and Twitch, who have introduced the game to a new generation of players. Chess’ recent introduction at the Esports World Cup came with a $1.5 million prize pool, and chess masters are striking gold by streaming the game themselves.

The increasing size of the internet’s chess community presents both opportunities and challenges for an upstart like Duolingo. The game’s tendency for deep analysis is a good fit for Duolingo’s step-by-step learning model, since students will be able to explore positions in search of powerful lines, combinations, and tactics.

At the same time, the chess community is already quite saturated, with players of all levels claiming millions of views on their videos. That’s where Duolingo’s cultural import comes in handy. The brand’s owl mascot isn’t exactly a grandmaster, but he’s a beloved figure on the internet, and that counts for a lot in the world of chess. The list of the most-followed chess personalities includes super GMs like Magnus Carlsen and Hikaru Nakamura, but slightly lower-rated players like Levy Rozman, Anna Cramling, and the Botez sisters have arguably had a bigger impact among the internet’s chess aficionados. Duolingo’s lessons can slot into that niche.

Duolingo Senior Product Manager Edwin Bodge told Fast Company that the app’s chess product will indeed be marketed to new players. “For the most part, a lot of chess products out there are usually built by an advanced user for more advanced-use cases—someone who already is familiar with chess and is kind of trying to elevate their abilities even further,” Bodge said. “So we are more targeting beginners and think that we’re addressing a part of the market that hasn’t previously been addressed.”

Beyond its signature language courses, Duolingo has also expanded into subjects like math and music. Its foray into the chess world is beginning with a trial group, which will try out the courses before they are pushed to all U.S. users in the coming weeks. From there, Duolingo could go in many different directions. Like in a game of chess, the possibilities are nearly endless.

The #SkinnyTok trend is drawing scrutiny from E.U. regulators

On TikTok, there are thousands of videos that offer advice for viewers who want to slim down. That archive raises some complex moral questions, and regulators in the European Union are looking for answers.

The video archive in question is collected under the hashtag #SkinnyTok, which applies to videos that discuss calorie counting, intermittent fasting, and other controversial weight loss strategies. #SkinnyTok took off on its namesake platform earlier in April, leading to widespread qualms about the hashtag’s potential links to anorexia and other forms of disordered eating.

Clara Chappaz, the Minister of State for Digital Affairs of France, raised the alarm about #SkinnyTok in a video on her personal TikTok account. Chappaz referred the “unacceptable” trend to regional authorities, who passed on her concerns to the European Commission.

@clara.chappaz Et si on parlait plutôt de #StrongTok ? S’aimer, commence par se respecter. Ces modèles d’extrême maigreur peuvent faire beaucoup de mal. #skinnytok #fyp ♬ son original – clara.chappaz

Thomas Regnier, a spokesperson for the European Commission told Politico that his organization is “aware of the issue raised” in France and is “ready to cooperate” on an investigation. The E.U. has already studied the TikTok algorithm’s effect on body image, and that ongoing research could be linked to the #SkinnyTok probe.

For years, prominent creators have voiced concerns about negative correlations between digital media and body positivity. The rise of TikTok has arguably made that connection more pronounced. The app has placed restrictions on some types of dieting content, and a disclaimer on the #SkinnyTok landing page reminds visitors that “you are more than your weight.”

Even with those measures in place, toxic ideas about body image are still prevalent on TikTok. Steroid-like drugs, for example, are touted in many videos as an easy solution for building muscle mass. YouTube has already expressed concerns about the “imitable behaviors” that could result from idealized body standards — now it’s TikTok’s turn to take action.

The ByteDance-owned app isn’t the only social media giant to face E.U. scrutiny. The continental body recently announced that Apple and Meta would be the first two companies to receive fines as a result of the Digital Markets Act, which passed in 2022.

PBS pulled a documentary about a trans speedrunner. So the director put it on Twitch instead.

Speedrunning is one of gaming’s most beloved institutions, and The Legend of Zelda is one of the world’s most beloved games. So, a film about a legendary (pun fully intended) Zelda speedrunner should’ve been a shoo-in for pickup by a major television network.

And it was. PBS snagged Break the Game, a film about record speedrunner Narcissa Wright, to air as part of its series POV. The series premiered in 1988, and each year airs between 14 and 16 documentaries that “put a human face on contemporary social issues by relating a compelling story in an intimate fashion.” Break the Game was supposed to be the next installment, and was slated to run this month.

But PBS pulled the film because Wright is transgender, director Jane Wagner told Polygon. The network was apparently concerned about backlash, thanks to the Trump government’s notoriously anti-trans stance and its threats against public media organizations.

Wagner says PBS later reneged on its decision and re-slated the film to air in June, but she wasn’t about to let this hiccup stop Break the Game from making its intended April debut.

She just broadcast it on Twitch instead.

Famed Nintendo speedrunner and streamer Trihex hosted an April 21 premiere of Break the Game, airing the documentary in full, along with an after-show Q&A with Wagner and a roundtable with fellow Twitch streamers about representation, mental health, and cyberbullying. (Wright was the subject of regular online bullying, to the extent that she shuttered her own Twitch channel in 2016 to escape it. She later relaunched the channel, but was permabanned by the platform in 2022 after opening graphic content from a viewer on stream, and then tweeting that she wanted to “kill myself and shoot people at the twitch HQ.” She now streams on YouTube.)

Trihex, who has 415,000 followers on Twitch and is known for setting speedrun records in Super Mario and Yoshi games, called Break the Game “the most unapologetic depiction of Twitch culture I’ve ever seen.”

Wagner told Polygon that she always wanted to involve Twitch in Break the Game‘s debut–fittingly, since the documentary contains lots of footage from Wright’s Twitch streams–but PBS said that would violate its licensing agreement. When it pulled Break the Game from the original run date, PBS “changed [its] mind about the Twitch streams,” she said.

PBS may have gone back on its decision and decided to air Break the Game after all, but Wagner is still glad she went ahead with a Twitch premiere.

“Streaming the film on Twitch allows us the opportunity to bypass traditional gatekeepers and directly engage our audience of gaming enthusiasts all around the world without censorship,” she said.

That being said, she worries PBS’s pull was indicative of a “chilling effect” on legacy media caused by the Trump administration.

“My hope is that speaking out about what happened will empower others who have experienced similar situations of censorship to speak up and fight for our collective ability to tell stories that matter,” she said.

Edits, Instagram’s answer to CapCut, surges up App Store charts after receiving wide rollout

Instagram‘s take on CapCut has finally arrived. Edits, the Meta-owned app that carries on a long tradition of copycat features on Instagram, is surging up the download charts on both the Apple App Store and the Google Play store.

Edits looks to offer a similar experience to CapCut, which millions of TikTokers use to touch up their videos before uploading them. With its second-to-second controls, green screen tools, and video capture capabilities, the Edits interface resembles CapCut. The most noticeable difference between the two apps is a cosmetic one: Videos created through Edits will have no watermark, which could help Instagram promote original content for its Reels format.

When Instagram announced Edits earlier this year, platform head Adam Mosseri noted that the CapCut competitor is more professionally oriented than its TikTok-affiliated rival. Edits, he said, is “more for creators than casual video makers. Not just video editing, but an inspiration tab, idea tracking, and insights built in.”

Now that Edits is finally available (after a months-long pushback from its initial February launch date), we’re seeing that casual creators are also interested in the new tool. At the time of this post, Edits is ranked #1 among photo and video editing hubs on the App Store. On Google Play, Instagram’s new app has already been download more than one million times.

Those are serious numbers, but Edits may not reach its full potential unless TikTok is banned in the United States. The new app’s announcement came days after CapCut briefly went offline in the U.S. amid regulatory pressure. TikTok’s operating status is looking a little more stable these days, and if the ByteDance-owned app stays available on U.S. app stores, Instagram would lose out of an influx of Edits users it may have been counting on.

Of course, even if TikTok and CapCut stick around for the long haul, there’s a lot to like in Instagram’s new editing suite. Reels are a hot format for Meta, and since they might be getting their own app soon, videomakers would be wise to learn about the creative tools Edits has to offer.

Content localization can give creators whole new audiences. Linguana wants to make it easy and affordable.

With the growing availability of tools that let English-speaking creators dub their videos into other languages, more and more YouTubers are embracing international audiences. They can choose to augment their existing videos with multi-language subtitles or multi-language dub tracks, where humans or AI voice over their original content in different languages.

But what about creators who want to do more than that?

They can give localization a shot.

We’ve written about multi-language subtitles versus localization before–and now, with YouTube debuting things like AI-generated dub tracks for hundreds of thousands of channels in the Partner Program, it’s becoming increasingly important for creators to consider whether they want to flip the switch and just add auto-dubbing, or if they want to do full localization, which involves starting an entirely separate channel for each language and targeting those channels to reach international audiences.

That’s what Linguana does. Founded in 2023 by CEO Yuval Tal and CTO Oded Shafran, Linguana partners with creators and launches brand-new YouTube channels based on their biggest international audiences. An English-language creator who sees significant potential growth from Germany, Mexico, France, and Brazil, for example, might choose to launch four localized channels targeted at those regions.

Once they’ve made that choice, Linguana steps in.

“We have a unique value proposition for creators–we partner with you to build your localized channels–with zero effort required from your side,” Shuki Merlis, Linguana’s Head of Partnerships, tells Tubefilter. “The reason our model is so compelling is that creators don’t have any upfront costs, and they don’t have to do anything. We manage everything for them.”

Linguana sets up the new channel and mirrors all the content (including bio, outgoing links, and other metadata) from the creator’s original channel, then uses AI models, together with human supervision, to take the original channel’s library of videos and dub them into the new language.

All of the new voiceover is done by fusing multiple AI models, something Merlis says is for creators’ financial benefit and a “great” viewing experience for creators. “Only the top of the top are able to afford human dubbing for their content,” he says. “The economics model doesn’t work. Human dubbing is so expensive and we believe that our approach produces an extremely high quality with the authenticity of the creator’s voice.”

Shafran adds, “Linguana is redefining the game. Unlike conventional AI tools that struggle to capture a creator’s energy and style, our process ensures the nuance of the original content is preserved. Our technology produces a quality of dubbing that captures the spirit, energy and charisma of the creator, as well as handling the complexity of multiple voices and background noise.”

Linguana also uses AI to redo video thumbnails to be more targeted at the new channel’s specific international audience.

“Having a localized thumbnail is crucial,” Merlis says. It leads to improved clickthrough rates and view duration, he says. And “even tiny little gains on either of those metrics makes a massive impact on the amount of views you’re going to get. So when you have a truly localized channel with Spanish thumbnails and Spanish titles and Spanish tags, you’re going to get more clicks and views.”

Another potential issue to consider is audiovisual timing. With auto-generated dub tracks (like what YouTube’s newest tool offers, for example) the dubbing isn’t always properly timed to the original video. So, a creator might be explaining the next segment of their video, and that could take 15 seconds in English, but 25 seconds in Spanish. So, by the time the Spanish dub track has finished the explanation, the video has already moved on. This disjoint between audio and video could put viewers off.

Linguana makes sure its localized videos are “perfectly set to the new language,” Merlis says. Sometimes that involves lengthening the videos so they’re still paced accurately with the voiceover.

“So, for example, one video in English might be 12 minutes and 45 seconds long, and when we put it to Spanish, it might be 12 minutes and 54 seconds, or 13-something, because the speed of the language does not always fit perfectly with the actual video,” he says. “It’s better output quality.”

Merlis feels Linguana’s localization solution excels thanks to the attention the company pays to these sorts of details. He also thinks this level of localization makes it much easier for creators to develop relationships with international sponsors.

As for what happens once the channel is up and running, well: Linguana continues to manage it, and splits ad revenue with the creator. (It doesn’t disclose what the revenue split is.).

The Infographics Show, which has 15 million subscribers, recently worked with Linguana to create channels in seven additional languages. It says Linguana’s help “has been incredibly valuable in helping us to grow our audience outside of the English speaking world,” and has “allowed us to broaden our audience and grow our business even further, without losing sight of our core content strategy.”

Ultimately, this is an option for creators who want to grow their international audiences with localization and dubbing, without having to do everything solo or finance it up front. You can check out Linguana here.

 

Linguana is a Tubefilter partner.

20 Years of YouTube: In 2005, a trip to the zoo started it all

In February 2025, YouTube turned 20. The video site has gone through a lot over the past two decades, including an acquisition, an earnings glow-up, and multiple generations of star creators. In our 20 Years of YouTube series, we’ll examine the uploads, trends, and influencers that have defined the world’s favorite video site — one year at a time. Click here for a full archive of the series.


Over a history that spans more than 100 years, the San Diego Zoo has made numerous media appearances. It served as a filming location for Orson Welles’ Citizen Kane, provided the cover art for the Beach Boys’ album Pet Sounds, and showed up at the climax of the comedy classic Anchorman.

But for all of the San Diego Zoo’s memorable moments, its most significant contribution to pop culture may have been a 19-second video recorded in 2005. The facility’s elephant enclosure served as the filming location for “me at the zoo,” the first video ever uploaded to YouTube.

When it first hit YouTube on April 23, 2005, “me at the zoo” was little more than a test of the new platform’s technology. The star of the video, YouTube co-founder Jawed Karim, seemed to choose a banal setting to avoid distracting from the video’s experimental purpose.

After two decades of twists and turns, Karim’s commentary outside the elephant enclosure has become the stuff of gospel. Some longtime YouTube viewers can recite the clip’s entire script, and it has become one of the most-watched non-music videos in YouTube history, with more than 354 million lifetime views.

Karim may not have predicted it at the time, but “me at the zoo” has come to epitomize several of YouTube’s core characteristics. It is often described as the platform’s first vlog, and it emphasized YouTube’s initial focus on short, user-generated videos.

“‘Me at the zoo’ was not a cinematic masterpiece,” Alex Pham wrote in the Los Angeles Times in 2010. “But as the first video uploaded to YouTube, it played a pivotal role in fundamentally altering how people consumed media and helped usher in a golden era of the 60-second video.”

These days, Karim’s magnum opus also reflects another aspect of YouTube’s homegrown culture: Its penchant for stirring up drama. The man who founded YouTube alongside Steve Chen and Chad Hurley occasionally updates “me at the zoo” to use the video as his soapbox for commenting on the latest platform-wide changes.

In 2013, Karim used his channel (which features no other videos) to criticize mandated Google+ integrations on YouTube. Nearly a decade later, he used the description box for “me at the zoo” to protest the removal of dislikes. At the time of this post, the “me at the zoo” description offers information about how “microplastics are accumulating in human brains at an alarming rate.”

20 years after “me at the zoo,” it doesn’t exactly resemble the typical YouTube video — at least not in the way it once did. Karim’s updates, however, still embody the spirit of the platform he launched. YouTube is a content platform, a cultural touchstone, and an entertainment phenomenon, but above all, it’s a hub filled with fierce discussion and debate. Maybe Karim will one day make good on his pledge to upload more videos alongside “me at the zoo.” Even if he doesn’t, the first contribution to the platform’s library will continue to speak loudly without saying many words at all.

On YouTube’s 20th birthday, it has 20 billion videos

Exactly 20 years ago, YouTube co-founder Jawed Karim uploaded the platform’s first ever video. Called Me at the zoo, it’s just 19 seconds long, but it marked the birth of the internet’s largest video site, a meeting place for creators and viewers all around the world to talk about any and every topic.

We here at Tubefilter are kicking off our own celebration of YouTube’s 20th anniversary: Over the next few months, we’ll tell the stories of 20 iconic videos that made YouTube what it is today–and, of course, we’re starting with Me at the zoo.

But for now, YouTube itself is doing the celebrating. It’s introducing some nostalgic easter eggs (not the White House Egg Roll kind, though it had a hand in that too) on the site and sharing some statistics to show just how many people (and how much content) pass through its digital gates each day, plus giving users a glimpse of what to expect in the coming months.

Let’s start with stats. As of this month, there are 20 billion total videos uploaded to YouTube, the Google-owned company said in a blog post. And, “Fittingly for our 20th birthday, we found that on average, there are over 20 million videos uploaded daily to YouTube,” it added.

All those trillions of videos attract a lot of comments. On average, there are over 100 million new comments left on videos every single day, YouTube said.

And the creator-viewer conversation doesn’t end there: YouTube creators now “heart” comments from an average of 10 million viewers every day, giving those replies a tiny stamp of approval.

As for a stamp of approval from audience members, YouTube videos currently get over 3.5 billion likes from viewers each day. (A few years ago, we may have been able given you data about dislikes, too, but YouTube chose to hide public dislikes in 2021…a decision Karim disagreed with so strongly that he updated the video description of Me at the zoo in protest.)

YouTube didn’t talk about daily number of views or watch time generated, but it did give a nod to the video genre that consistently churns out the biggest numbers. That’s music videos, and there are over 300 of them that have hit at least one billion views on the platform.

The fastest vids to reach this massive milestone? Adele‘s “Hello,” which hit it in just 88 days; Ed Sheeran‘s “Shape of You” and Luis Fonsi and Daddy Yankee‘s “Despacito” (both 97 days); J Balvin and Willy William‘s “Mi Gente” (103 days); and ROSÉ and Bruno Mars‘ “APT.” (105 days).

Just because YouTube’s come a long way–to 2.5 billion monthly active users and $36+ million in annual ad revenue, to be exact–doesn’t mean it’s done evolving. Here’s the rundown of future features creators and viewers can expect:

  • People still subscribed to YouTube TV despite the price hikes will be able to build their own multiview displays with onn-sports content, “starting with a small group of popular channels”
  • More creators will soon get the ability to leave voice replies to user comments
  • On the YouTube Music side (it turns 10 this year along with YouTube Kids, btw), English-language users in a handful of regions can now tell YouTube what sort of music they’re in the mood for, and it’ll create a personalized radio station
  • 4x playback speed is coming to YouTube Premium for all you jackrabbits out there
  • and finally (and maybe most significantly?), YouTube is overhauling its living room TV viewing, introducing “easier navigation, playback, quality tweaks, plus streamlined access to comments, channel info, and subscribing.” Considering people in the U.S. now watch more YouTube content on TVs than any other device, we can see why YouTube is keen to make upgrades.

Most of these are future additions. If you head to YouTube today, though, you’ll see a full birthday dress-up. It’s got a new logo, a little piece of cake for a scrubber, a special animation when you like videos, a special birthday welcome screen for YouTube’s mobile game players, and if you type “bday” anywhere on the watch page, you’ll get “a quick blast from the past.” Plus, for this week only, livestream viewers can gift creators party hats and slices of cake.

There’s also a Yoodle (made by Portal A) that features dozens of creators and pays loving homage to one of YouTube’s greatest contributions to pop culture: the rickroll, which was around on 4chan but was mainstream popularized by YouTube on April Fools’ in 2008.

OK, that’s it. We wouldn’t be here without YouTube, and we’re glad you’re here. Thanks for being one of our readers. It’s been a long but fulfilling 20 years, and Tubefilter is excited to be around for the next 20.

 

Correction: YouTube originally said over 20 trillion videos had been uploaded to its platform as of April 2025. It later issued a correction, saying the actual number is 20 billion. Our story has been updated to reflect the accurate figure.

Cannes Lions’ creator programming is back–and bigger. Here’s what you can expect from LIONS Creators 2025.

Last year, Cannes Lions introduced its first-ever creator program. Filled with sessions for digital content creators from companies like Google, Amazon, TikTok, and Viral Nation and creators like Jay Shetty and Steven He, LIONS Creators gave our industry a dedicated space at one of the world’s biggest annual advertising events.

And this year, LIONS Creators is going to be even bigger.

Running June 16-20 in Cannes, France, the 2025 LIONS Creators program is “a week of access to the world’s best creativity with unrivaled networking opportunities at Cannes Lions,” the festival says.

LIONS Creators will feature sessions from Rare Beauty, Mattel, Heineken, McDonald’s, Sephora, Benefit Cosmetics, and Duolingo, along with top creator speakers including Kai Cenat, Amelia Dimoldenberg, Keith Lee, Colin & Samir, Logan Moffitt, and Grace Beverley, all talking about various aspects of our industry, from navigating the current platform landscape to improving storytelling in videos to negotiating brand deals and building long-term businesses.

Beverley, who has over 3 million followers across platforms and has launched four companies, will focus especially on that last point. She got her start making fitness content on YouTube and Instagram, but when student loans didn’t clear for her second year of music school, she had to get creative.

Now she owns and operates activewear brand TALA, fitness tech brand Shreddy, personal organization brand The Productivity Method, and is co-founder of AI company Retrograde, which she says aims to create an artificial intelligence talent agent for creators. To date, she’s raised $14 million in funding for TALA and Retrograde, was named a Forbes 30 under 30 in retail and ecommerce, and hosts weekly podcast Working Hard, Hardly Working.

She’s shifted away from making personal content on YouTube and Instagram, but believes the time she spent in content creation gave her the foundations she needed to launch her companies. At Cannes Lions, she’ll share her story–and her advice–with creators.

“I think there’s so many transferable skills between content creation and brand creation,” she tells Tubefilter. “So many of the best businesses on socials grow because they have an inherent understanding of what kind of content makes people tick, and how organic you have to be to really create advocates rather than customers. You only have to look at how many brands are now exploding on TikTok thanks to employee-generated content to see that people want to engage with people, not brands.”

This means companies can learn from creators, she says–but also, individual creators can take these lessons and apply them to things like making content for brand deals, and eventually to creating social content for their own brands. She adds that creators’ growing ability to niche down also provides them a platform to grow companies relevant to their digital content, and thus their established audiences’ interests.

“We’ve really gone from a one-size-fits-all industry where everyone sees an ‘influencer’ as one thing, to a sporadic, niche filled economy which encompasses everyone from Kim Kardashian to a gardening creator in the UK countryside with 5000 followers,” she says. “I think the role of moments like LIONS Creators is to have nuanced conversations about the multi-faceted industry we find ourselves in, and how brands can best exist and foster it, rather than deal in big sweeping statements.”

With her content background and executive day to day, Beverley exists at “the intersection between being an entrepreneur and a creator,” she says, and “I would love to help any creators looking to start their own ventures to take that leap.”

Catch her onstage at the Creators Rooftop during this year’s edition of Cannes Lions. Passes for LIONS Creators are available here.

Roblox introduces regional pricing to unlock creator revenue around the world

Roblox is a worldwide phenomenon, and its newest feature encourages more interconnectedness among that global community. By utilizing a Regional Pricing tool, Roblox creators can prorate the price of in-game items, making them less expensive in nations that possess less spending power.

A blog post from the Roblox team explains that the Regional Pricing tool will apply to items that are bought and sold within custom Roblox experiences. The sandbox title’s economy has become so robust that creators took home nearly $1 billion in earnings in 2024.

That’s already a massive number, but Roblox has even bigger ambitions. Last September, Roblox CEO David Baszucki set a big goal for the future: He wants 10% of all gaming content revenue to flow through the Roblox ecosystem.

That ambitious target requires deep saturation across the globe — and that’s where Regional Pricing comes in. Roblox is a hit around the world: Brazilian creators are opening experience development studios, Filipinos are using the game to put a modern spin on Catholicism, and YouTube channels like Rainbow Friends Fans are getting billions of views by appealing to Roblox fans in South, Southeast, and East Asia.

Many Roblox-happy nations are enduring currency fluctuations, giving their citizens less spending power than consumers in regions like the U.S. Regional Pricing aims to level the playing field by adjusting prices to meet local expectations.

“With Regional Pricing enabled, prices are automatically optimized for each user’s local economy and updated periodically as Roblox’s virtual economy—and the global economy in the physical world—shifts,” reads the recent blog post. “Creators set the base price of their in-game items and retain complete control over which are priced regionally. From there, Roblox automatically applies the optimal region-specific prices for those in-game items as economic factors fluctuate.”

The Regional Pricing tool is an extension of the Price Optimization feature Roblox introduced last year. By advising creators on pricing adjustments they can make, Roblox has sent earnings soaring. The creator of the Slap Battles experience, for example, saw his earnings go up “over 15%” thanks to Price Optimization.

Early returns from Regional Pricing have been similarly optimistic. Roblox reported that the creators who tested the new tool scored purchases from a higher percentage of players. That figure was up 17% in Mexico, 26% in Brazil, and 52% in the Philippines. Optimization is the name of the game for Roblox moving forward, and creators who want a piece of the billion-dollar pie can be part of the movement.

xQc is making a $250,000 bet on the hot new esport

Marvel Rivals has been off to a hot start since its release last December, and its success is attracting attention from big names in the esports industry. xQc, the Canadian streamer who made a name for himself by playing other games in Marvel Rivals‘ genre, is putting a $250,000 on the line at a tournament called the Marvel Rivals xQc Invitational.

xQc, whose real name is Felix Lengyel, announced the May 9th event on his stream. He explained that the prize pool includes contributions from both his personal coffers and Marvel. The production, however, is in xQc’s hands. “I’m running the show this time, so I hope I can make a good, fun, balanced, and cool event,” he said. “I might play it and cast it, I might do a dual production type of thing.”

Before he became one of the most-watched streamers in the world, xQc was an esports star himself. He earned trophies playing Overwatch, a hero shooter that’s similar to Marvel Rivals.

When publisher NetEase introduced Marvel Rivals last year, it looked to use recognizable Marvel characters to upend the hero shooter genre. The early results have been strong: Within four months of its launch, Marvel Rivals has become the most-played hero shooter, according to SteamDB.

That momentum bodes well for Marvel Rivals‘ future, but the game’s prognosis isn’t all sunshine and rainbows. The game’s “second season” — a raft of updates and new heroes — received a lukewarm response from fans. A jolt of excitement courtesy of xQc could be exactly what NetEase needs to keep its hot title at the front of gamers’ minds.

Then again, creator-led esports events have encountered roadblocks of their own. Ludwig Ahgren, for example, made a splash by working with streamers like xQc to produce events through a venture called Offbrand. Those productions proved difficult to monetize, leading Ludwig to shutter Offbrand’s events arm around the time of Marvel Rivals‘ launch.

There will be a lot riding on the Marvel Rivals xQc Invitational. It’s a chance to validate the popularity of a new game while putting a new spin on streamer-hosted broadcasts. And then there’s the $250,000 prize. For the competitors, that sum is far from chump change.

 

YouTube videos with “negative interactions” are impacting kids’ mental health, study finds

For years, parents have wondered whether YouTube videos have negatively impacted the mental health of their children. Now, a study performed in South Korea is validating those concerns.

A team led by researchers at Ewha Womans University in Seoul and University of California at Davis studied the potential correlation between YouTube videos featuring “negative interactions” and deleterious mental health effects. Results were mixed, but the research team uncovered a link between those negative videos and underdeveloped social skills.

The researchers collected data with help from 341 South Korean parents whose children are between the ages of four and six. The parents reported on how often their children watch YouTube and what types of videos they enjoy. Those videos were then codified to detail positive interactions (i.e. sharing, smiling, helping others) and negative ones (physical attacks, threats, interruptions, etc.)

The results didn’t validate all of the researchers’ hypotheses — there was no significant connection between negative interactions and a child’s ability to self-regulate, for example — but the study uncovered a correlation between negative interactions and higher levels of anxiety. Children exposed to more negative interactions also rated lower on measures of social skills.

The study builds on years-long concerns about the quality of the content children watch on YouTube. The researchers referenced the 2017 incident known as ElsaGate, in which pop culture characters appeared in age-inappropriate situations, as part of their overview of the YouTube Kids ecosystem.

Researchers in Korea have seen how wide-reaching children’s YouTube content can be. Local kid-friendly channels like KIMPRO have become international phenomena thanks to a loud, brash style that can easily translate across cultures.

“YouTube offers a wide range of genres of children’s content that is able to cross national boundaries,” reads the report. “In particular, content featuring simple, easily imitated non-verbal elements and characters offers the advantages of cultural inclusion and accessibility without language barriers.”

The study’s findings ask readers to approach the rapid proliferation of kids’ content with a healthy dose of skepticism. Is the boom inherently unhealthy? How much can be extrapolated from these results? Did Dream’s questionable behavior, for example, breed a community full of bad attitudes? Are current efforts to stymie “negative interactions” sufficient, or should YouTube and its brethren be compelled to do more?

More research will be needed if we’re going to answer some of those deeper questions. The data coming out of Korea shows that the relationship between children’s content and children’s behavior is worthy of further study.