
Maker of Pokémon Go Agrees to Sell Unit to Saudi Fund
Niantic, the company behind the runaway hit Pokémon Go, said Wednesday that it has agreed to sell its video game business for $3.5 billion to Scopely, a company owned by the Saudi sovereign wealth fund.
Pokémon Go, an augmented reality mobile game, became a cultural sensation when it was released in 2016. Tens of millions of people around the world headed to streets, parks, beaches and even to the middle of the ocean to capture monsters from the Japanese cartoon franchise.
The deal is the latest acquisition by Saudi Arabia's Public Investment Fund in a multibillion-dollar push into the video game industry. Pokémon Go still rakes in millions of dollars and has legions of devoted fans.
Scopely, which is based in Culver City, Calif. and which owns games including the popular Monopoly Go, said Wednesday in a separate statement that it will absorb all the staff of Niantic's gaming teams. Pokémon Go has more than 20 million active weekly players, Scopely said.
Scopely was acquired for $4.9 billion in 2023 by the Savvy Games Group, which was launched a year earlier by the Saudi sovereign wealth fund to lead its push into video games, including e-sports. The Saudi government has said it will invest $38 billion in video games by 2030 through the Public Investment Fund.
The fund manages almost a trillion dollars in assets, and invests in a wide range of industries, from real estate and artificial intelligence to sports and entertainment, with a declared mission to diversify Saudi Arabia's economy beyond fossil fuels.
Some critics have described Saudi Arabia's investments in sports and video games as an attempt to polish the country's reputation, especially on human rights.
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Yahoo
2 hours ago
- Yahoo
Japanese Lunar Lander Crashes In Second Failed Mission
A private Japanese lunar lander crashed during an attempted touchdown on the moon Friday. This marks the second failed mission for the Tokyo-based global lunar exploration company, ispace. The lander, named Resilience, lost communication less than two minutes before its scheduled landing in Mare Frigoris, a flat, crater-filled region on the moon's northern near side. A preliminary analysis indicated the laser system for measuring altitude malfunctioned, causing the lander to descend too fast. 'Based on these circumstances, it is currently assumed that the lander likely performed a hard landing on the lunar surface,' ispace said in a statement. 'This is the second time that we were not able to land. So we really have to take it very seriously,' CEO and founder Takeshi Hakamada told reporters, per Associated Press. He apologized to contributors and added that the mission was 'merely a stepping stone' to a larger lander planned for 2027 with NASA involvement. 'Engineers did everything they possibly could' to ensure success, he said minutes before the attempted landing. The 7.5-foot Resilience, launched in January from Florida on a SpaceX rocket, carried an 11-pound, four-wheeled rover named Tenacious, built by ispace's Luxembourg subsidiary. The rover, equipped with a high-definition camera and a shovel for NASA to collect lunar soil, was designed to operate for two weeks during the moon's daylight period. It also carried a toy-size Swedish-style red cottage, dubbed Moonhouse by artist Mikael Genberg, for placement on the lunar surface. The mission's $16 million payload included scientific instruments from Japanese firms and a Taiwanese university. The failure follows ispace's first lunar crash in 2023, caused by inaccurate altitude readings. 'Truly diverse scenarios were possible, including issues with the propulsion system, software or hardware, especially with sensors,' Chief Technology Officer Ryo Ujiie said at a press conference. Jeremy Fix, chief engineer for ispace's U.S. subsidiary, noted last month that the company, with a mission cost less than the first's $100 million, lacks 'infinite funds' and cannot afford repeated failures. 'We're not facing any immediate financial deterioration or distress because of the event,' CFO Jumpei Nozaki said, citing investor support. However, space shares faced heavy sell orders and were poised for a 29% drop. As of Thursday, their market capitalization was over 110 billion yen ($766 million). The crash marks another setback in the commercial lunar race, which began in 2019. U.S. firms Firefly Aerospace and Intuitive Machines achieved successful landings in March, though Intuitive's lander toppled in a crater. Japan's space agency, JAXA, landed its SLIM probe last year, joining Russia, the U.S., China, and India as the only nations with successful robotic lunar landings. 'Expectations for ispace have not faded,' Japanese Prime Minister Shigeru Ishiba posted on X, reported Reuters. Ispace remains committed to NASA's Artemis program, with plans for a third mission in 2027. 'NASA increasingly needs private companies to improve cost efficiency for key missions with limited budgets,' Hakamada said, referencing proposed U.S. budget cuts. Two U.S. companies, Blue Origin and Astrobotic Technology, aim for moon landings by year's end following Astrobotic's 2024 failure.


San Francisco Chronicle
5 hours ago
- San Francisco Chronicle
Kunié Sugiura's groundbreaking art gets long-overdue spotlight at SFMOMA
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'I think that's likely why her work took some time to get attention, because people didn't quite know what to make of it.' O'Toole went on to explain that there was a perceived divide in the art world well into the 1970s between painting, deemed expressive, and photography, regarded as more formal and purely representational — 'Kunié insisted on blurring that boundary.' Unlike the young black-haired artist who exudes tough-girl cool in the 1972 photo, with her arms crossed and her thumbs looped in her bell-bottoms, Sugiura today is calm and cheerful. She said it was gratifying to see more than 60 works from her six decades of artistic experimentationon view together. Touring the newly installed show prompted her to recall positive memories and fruitful, collaborative friendships – like with 94-year-old artist Ushio Shinohara, who's depicted splattering paint with boxing gloves in one of her bold photograms from 1999. 'People might not know this about me, but my life has been the best of the best,' Sugiura said. 'I'm happy I've found a way of life and of working that's stayed interesting for so long.' The SFMOMA exhibition dedicates a room to each chronologically distinct phase in Sugiura's career, spanning from the 1960s to 2021, featuring photocanvases, photopaintings, photograms and x-rays. 'I couldn't believe that her work had never been the subject of a major exhibition in the U.S.,' said O'Toole, who started planning the SFMOMA show after visiting Sugiura in her New York studio three years ago. 'I could already envision how dynamic an exhibition of the full arc of her career could be.' Sugiura was born in Nagoya, Japan, at the height of World War II. Before she turned 2, her father was killed in a U.S. military bombing of the munitions factory where he worked. She showed artistic ability as well as scientific promise from a young age, and enrolled in a women's university in Tokyo to study physics before making the radical decision to apply to art school in the United States. In 1967, just a few days after graduating from the School of the Art Institute of Chicago, where she had been influenced by conceptual photographer Ken Josephson, Sugiura moved to New York and began her ongoing exploration into new ways to approach photography. Her early experimentations involved coating large sheets of canvas with liquid photo emulsion, also called 'liquid light,' which created unique and surprising results. Working at home and at a large scale, she had to use her bathroom as a darkroom and would wash the massive canvases in her tub, wearing a swimsuit to avoid ruining her clothes. She recalled feeling 'very happy' with the results, and it allowed her to marry her science background with creative darkroom improvisation. 'I think like an Impressionist painter,' said Sugiura, 'but I was glad that I didn't have to just do painting because I was very frustrated by it. I also didn't want to just create simple black and whites (with a camera). I saw possibilities in making large images on canvas, a material people assume is for painting.' Her best photopaintings, like 'Deadend Street' (1978), marry Sugiura's eye for natural or architectural detail with an urban sophistication. Unlike Andy Warhol and Robert Rauschenberg, both of whom she cites as influences, she used her own photos, rather than screenprinting mass-media images. Stuck at home during the COVID pandemic, Sugiura revisited her anatomical x-ray series, which she had begun 30 years earlier. During a 1990 hospitalization for a collapsed lung, she became fascinated with the mysterious, anonymous beauty of x-rays which were then printed on thick film stock. 'When I was in the hospital, every four hours they were taking x-rays,' she recalled. 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20 hours ago
Ilhee Lee takes 1-shot lead over 4 players into the final round of the ShopRite LPGA Classic
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