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Balthazar Research Report: We’re Going Big Time

Contents

8.5/10 – Great

Pre released game score

Big Time is a noteworthy contribution to the web3 industry, particularly given their original perspective on their game economy. They have a strong social media presence and an experienced team of game creators, so we have no doubts they’ll succeed Big Time!

Section scores

Background – 8.5
NFT Game Assets – 8.5
Website – 8
Artwork – 8
Team – 9
Whitepaper – 8
Socialnomics – 9

Read More on Explaining the Scoring.

Written by Nicholas Korsgård, Chief Gaming Officer, Kim Bjerkeli, Sigurd Thomassen, and Heidi Anette Laugsand Johansen, Game Strategist, Balthazar Alpha Team

Introduction

In a cosmos where black holes are progressively devouring the last remaining stars, you find yourself in a dire position where time travel exists but is guarded against the common population by an evil overlord alien organization. 

You must enroll in the legendary Evermore Academy at Time’s End, where the greatest teachers of all time have come together to give you the prowess you need to even attempt to resolve the ever-pressing crisis.

Math, science, history, unraveling the mysteries.
It all started because of BIG TIME!

Big Time is a free-to-play multiplayer action RPG that includes fast-paced combat and adventure through time and space. Collect, sell or trade your NFTs to either customize and build your avatar or to save up for something else. In this world, there are four classes; Chronomancer, Quantum Fixer, Shadowblade, and Time Warrior. Party up with up to 6 friends, level up, and explore the Big Time universe.

Follow along in our report to find out more about the lore, items, enemies, NFT aspect, website, and whitepaper, amongst other things. We also tried out the game through early access! 

Follow us through the journey of time in our research report on Big Time.

TL;DR

  • Big Time is a free-to-play, multiplayer action role-playing game (RPG) that blends fast-paced combat with an interesting time-travel game mechanic. You’ll combat your way through history as you investigate ancient mysteries and futuristic civilizations.
  • Big Time uses the Ethereum blockchain as a foundation but has its own patented vault technology to speed up transactions and reduce fees. The $TIME token is the main currency and only cryptocurrency for the game and is only obtainable by playing the game. It’s not sold to investors, granted to employees, or offered in any pre-sales.
  • Big Time has a team of over 44 employees, although we found over 82 people involved with the game, counting some key investors, advisors, and moderators. The team is diverse, with a lot of experience covering many areas of expertise. 
  • The Big Time website is simple but effective. The user experience is excellent, even though we would have preferred fewer pop-ups.
  • Big Time’s artwork is cartoony, consistent, and beautiful. It is suitable for the game’s genre.
  • There is no Whitepaper per se for Big Time, but the Wiki is more than sufficient with its logical structure and general description of the game.
  • Big Time has an enormous community on Discord and does an excellent job of engaging its community through competitions and the like.
  • Big Time takes a unique approach to the token economy, and we’re curious to see how this develops as the game grows.

Background

Big Time is a free-to-play, multiplayer action role-playing game (RPG) that blends fast-paced combat with an interesting time-travel game mechanic.

Combat your way across history as you investigate ancient mysteries and futuristic civilizations. Collect rare NFT loot, cosmetics, and tokens which you can use to personalize your avatar and personal time machine, used for socializing with other players.

Big Time advertises action-packed gameplay, free-to-play and never pay-to-win, and a player-owned economy.

Lore

Set in the far future at the end of time, this story is about how all the stars in the universe are slowly being eaten by huge black holes.

The company that owns time is called “Paradox Corporate,” or “Big Time” on the street. “Time Collisions,” which Paradox sells, are like lifeboats for people stuck at the end of the universe and want to leave. Time Collisions let survivors live in the past, where they can come and go as easily as walking through a doorway.

The alien technology that runs the Time Collisions has gone out of control. All of the Time Collisions have started to crash into each other, speeding up the end of the universe as the walls of time and space fall down.

The best minds in history have been called to Evermore Academy at Time’s End to teach a new generation of heroes how to solve the crisis. Time’s End is a place at the end of space and time where people can go to get away from the end of the universe. When it was built, it was the best university, museum, and library, all in one. Time’s End is where all the knowledge in the universe is kept.

Help save the universe by learning from teachers like Albert Einstein and Merlin. Learn how to fight against Paradox Corporate. However, the real paradox is that doing so could also undo the making of Time’s End.

Picking A Class In Big Time

The first thing you’ll do in Big Time is to pick a starting class. Choose wisely, as you’ll be playing this class in the game’s early goings and will need to utilize it to acquire pocket watches, which are used to switch classes. 

You can obtain pocket watches by completing challenges and beating adversaries. Players can save their progress for each class and swap between them at will.

Like most action role-playing games, Big Time classes are standard, focusing on the barbarian, mage, healer/support, and ninja/trapper playstyle. These classes will progress as you level up, reflected in their appearance and access to powerful abilities, weapons, and armor.

Time Warrior – Barbarian

The way of the Time Warrior (Barbarian) is taught by the legendary Genghis Khan.

The Time Warrior is your typical barbarian class. It focuses on brute force and close-range melee attacks, using two-handed swords, shields and swords, hammers, and other combinations. This class will also be utilized for tanking and being the front-line offense.

Chronomancer – Mage

The way of the Chronomancer (Mage) is taught by the fabled Merlin the magician.

The Chronomancer is your typical mage class. It focuses on long-range magical attacks, using weapons such as staffs. The Chronomancer will focus more on projectiles and AOE (area of effect) damage attacks.

Shadowblade – Ninja/Trapper

The way of the Shadowblade (Ninja) is taught by the spymaster Mochi Chiyome.

The Shadowblade is your typical assassin class. The class focuses on melee fighting through agility and stealth with weapons such as dual-wielded daggers. The Shadowblade will also focus on trapping the enemies and making deadly attacks where the enemies least suspect it.

Quantum Fixer – Healer/Support

The way of the Quantum Fixer (Healer) is taught by the Founding Father Ben Franklin.

The Quantum Fixer is your typical healer and support class. The class focuses primarily on healing abilities and placing helpful turrets and gadgets. Helping your teammates by enhancing their abilities, creating opportunities, and keeping them alive is the primary focus for Quantum Fixer.

Time Collisions – Game Expansions

“Paradox Corporate,” commonly known as “Big Time,” sells Time Collisions, which allow survivors to inhabit the past. The alien technology that powers Time Collisions by Paradox is malfunctioning, forcing time and space walls to collapse.

Following the release of Big Time, additional Time Collisions (expansions) will be available to explore new planets and timelines.

Items and Equipment

Item Rarity

All items have an attribute called rarity, meaning that some things are rarer than others. This is a very common game mechanic in games to differentiate between more valuable or powerful items and will help the player to distinguish between these easily.

In Big Time, the rarity attribute is applied to pocket watches, gears, armor, weapons, and bags.

The following are the rarity levels, from highest rarity to lowest:

  • Unique
  • Transcendent
  • Exotic
  • Exalted
  • Mythic
  • Legendary
  • Epic
  • Rare
  • Uncommon
  • Common
  • Junk

Pocket Watches

Pocket Watches are self-contained characters and inventory. These items contain all the levels and progression of your character neatly in one item. Progression in classes is not shared between each other but instead held in the pocket watch item, meaning that you can have two pocket watches with the same class, each with different builds and specs, readily available for just the right situation. 

These items can be acquired in-game from class trainers or from drops in the world.

Gears

Gears are add-ons to your pocket watches. These enhance your pocket watch with additional stats and abilities. These can be acquired in portals or purchased from in-game vendors.

Weapons

Big Time offers several different weapon types with their own unique combo system, and that’ll be more or less effective against the various kinds of in-game defenses (currently Barrier, Shielding, Armor, Health).

Currently, these are the weapons available:

  • 2-handed axe
  • 1-handed hammer (combined with shield)
  • 2-handed hammer
  • 1-handed sword (combined with shield)
  • 2-handed greatsword
  • Dual swords
  • 2-handed staffs

Armor

Big Time offers several different armor types that give various stats and bonuses when equipped. Armor is found as loot throughout the game or purchased from in-game vendors. Better pieces of armor can even grant higher stat bonuses or unique skills.

Currently, there are five types of armor in-game:

  • Helmet
  • Shoulders
  • Chest
  • Gloves
  • Leggings

Bags

As you adventure in Big Time, you’ll find that you need more inventory space; that’s where bags come into the picture. Bags can be found as loot throughout the game or purchased from in-game vendors. How much inventory space the bag gives you depends on its tier and rarity, from three inventory slots up to 25 additional slots.

Consumables

Consumables are items found throughout the game or purchased from in-game vendors. These items are mostly one-time use items that give various enhancements or quality of life effects to your character. These items can be as simple as energy or health potions, which restore energy and health, respectively, or potions that open portals to allow party members to teleport to your location. 

Enemies:

As with every action RPG game, there must be enemies. Big Time is no exception. Currently, they have four factions of enemies; these are the Blight, the Underlings, the Guardian XL, and the Broken Clockies.

They have some fun lore added to them, which we highly recommend you check out on their respective Medium articles listed below. You’ll learn more about the universe in Big Time and the creatures that inhabit it. 

The Blight

Read more about The Blight 

The Underlings

Read more about The Underlings

The Guardian XL

Read more about The Guardian XL

Broken Clockies

Read more about the Broken Clockies

Playtesting

The Balthazar Alpha Team was given access to Big Time’s pre-alpha. Our team played the game as a solo experience and a party of five. You can watch some of our experience here (TK – add YT gameplay link).

While the game is still early in its pre-alpha state, Big Time impressed our team. It has one of the better gameplay experiences of the web3 games we have tested so far. The graphics, UI/UX, and combat mechanics are comparable to similar popular web2 titles. While the look of Big Time is more cartoonish than realistic, it fits the style and quality of comparable modern-day games such as Fortnite. 

The focus of Big Time in its current state is fighting. With little to do outside of dungeon crawling, the combat mechanics are crucial to the game. Having four classes to switch between instantly, weapons having unique animations and combos, and diverse skill trees to level up, players will have a healthy amount of combat variety to choose from. While some mechanics and attack combos felt a little slow and clunky, overall, the combat was smooth and enjoyable most of the time. Each dungeon run seemed to have a good mix of easy enemies to grind through and difficult challenges that tested our team, especially at the end of the run during the intense boss fights.

A fairly unique concept in Big Time is that your level and class are tied to your pocket watch rather than an individual character. This mechanism allows players to switch their pocket watch, mid-dungeon, to a pocketwatch of the same class but with different skill trees or even a different class entirely to adapt the playstyle to the party’s needs. 

It also gives more replayability to the game as players start with a common watch but will find higher rarity pocket watches along the way that will revert them back to level one but with higher stats and bonuses. As we played, we found a couple of rare pocket watches and even a legendary one. Some players may find starting back at level one a frustrating experience and simply stick to a lower-tier pocket watch. In contrast, others will enjoy progressing through a class again, but this time with higher stats. 

One of the most positive aspects of Big Time for our team was the ease of teaming up with friends. Other web3 games we have tested have difficulty getting people to play together seamlessly. For Big Time, this wasn’t an issue. Even though some of our team members were playing almost 5,000 miles apart from one another, we were able to play on a server in the middle of each other and still experienced relatively low ping. This is crucial for Big Time, as our solo experience of the game was not nearly as fun as teaming up together. A strong community, reliable servers, and an easy party system will be one of the biggest factors for the success of Big Time.

Overall, our Alpha team had a great time playing Big Time, but we were also left with a few big question marks for the game moving forward. One concern was the lack of lore, characters, and world-building in its current state. The combat of Big Time will take center stage. However, having immersive world-building in Big Time will allow it to move from an excellent game to a great one. 

As a positive, running, jumping, and navigating in the main world of Big Time was fluid and appealing. We simply wish there was more to see and more to do rather than running around aimlessly to find the next portal that would fit our team’s skill level. Moving forward, we would like to see the team add more than just robot merchants and characters with a pop-up box of text. Adding rich characters will bring the game to life. It’s still early on, and Big Time has lots of plans to implement for years to come. In the future, hopefully, they have added enough to the main world to the point where it’s worth exploring in and of itself. 

The other concern we have for the game’s longevity is how much variety they can add. They claim to give players a unique experience with each dungeon run using procedural methods to create dungeons. However, it started to feel repetitive even after just a few runs. The slight procedural map tweaks and quest objectives weren’t enough to give us a fresh feel of a dungeon run each time. Solutions could be as simple as changing the color themes of dungeons, adding more NPCs with storylines, or bringing in additional side quests or challenges that can be completed for bonus drops. We hope to see more variety implemented in the dungeons if Big Time wants to reach its goal of a unique experience each run.

Tokenomics

Big Time features a cosmetic-based economy. Players are empowered with crafting, allowing them to control, create, and sell cosmetics in Big Time. The developers make the 3D models and list the recipe to craft it; then, it is up to the community to make the items.

All cosmetics in Big Time are NFTs, and there is a limited supply for each particular item, making it intrinsically scarce. Owning cosmetic NFTs will grant the team access to areas in the game, for example, lounges or portals granting access to different non-power loot tables. 

For a player to craft a cosmetic NFT, they would need a SPACE and a utility NFT such as an armory, forge, or time warden. $TIME tokens would also be required as “fuel” for the crafting.

$TIME

The $TIME token is one of the game’s three currencies, but the only one that is a cryptocurrency. $TIME is generated from hourglass NFTs which are limited in supply, meaning only a small amount of players can equip them at any given time. This means that there is a slow vesting of the tokens, but every player can spend $TIME, functioning as potential sinks for the token. Mechanisms like this play well into the sustainability aspect of a token economy. The picture below illustrates the supply and demand for the $TIME token.

The $TIME token is capped at 100,000,000,000 tokens, and most of it comes from playing the game with an hourglass equipped. The sinks or utility for the token are its many uses in-game related to crafting cosmetic NFTs.

Time Crystals

Time Crystals are the premium currency in Big Time and are not a cryptocurrency. You can buy these crystals directly from Big Time or, if lucky enough-, get them as a random drop in-game. They are used to craft, upgrade and recharge Hourglass NFTs and perform bonus rolls at forges, armories, and time wardens. The crystals can also be used to access special in-game dungeons and buy additional hourglass equip slots. It is the currency that Big Time actually earns money from and is set up like in traditional web2 games, where it is not a cryptocurrency. 

Cosmetic Shards

Cosmetic Shards are the in-game resource acquirable by all players participating in the game. They can be turned into refined cosmetic shards which are used in crafting. There are three types of cosmetic shards with different functions. The forge cosmetic shards to be used in the forge, the armory cosmetic shards to be used in the armory, and the wild cosmetic shards that can be used in either place.

Because cosmetic NFTs are seasonal, the cosmetic shards will also be seasonal and can only be used to craft NFTs from their season. However, one can turn previous seasons’ shards into current season shards via an in-game vendor, although the conversion rate is not necessarily 1:1.

Alpha Team’s Thoughts On The Tokenomics

Big Time’s token economy revolves entirely around the cosmetic economy the developers have built. With a cosmetic economy, there is no pay-to-win, but there is a lot of “status” to be had by flaunting a rare cosmetic item. The system is built so players have full ownership of their NFT assets by residing on the blockchain. 

The main cryptocurrency of the system is also purely for in-game purposes, crafting NFTs, and such. There was no distribution table for the $TIME token to be found, as it is not the “investor” token in this project. Hence, the $TIME tokens are meant for the community, and there won’t be any large unlocks or investors dumping tokens on the player base.

The $TIME token will still be sought after as the cosmetic NFT economy can be summed up as a race to the top, where the purpose is being the one who crafts the ONE unique item per season. The need for $TIME will therefore be high, and the supply is relatively constant regarding vesting. In the image below, we can see how the crafting hierarchy works in practice, and to get to the rare items, would require a lot of work and $TIME.

The other two tokens, which are not blockchain-based, are just like traditional web2 games’ in-game currencies. However, the interesting route Big Time has chosen, compared to the typical web3 project, is to base their earnings on the “web2” premium token, not the cryptocurrency. This separates the high sell-pressure we’ve seen in other web3 projects for the primary token, which usually has in-game utility and works as a governance token and investor stake.

A player willing to spend some dollars on the game and participate in the “fashion wars” of cosmetic NFTs will have to buy Time Crystals (premium currency) in order to purchase and upgrade the utility NFTs like the Time Warden in order to craft Hourglasses which is the primary way to acquire $TIME. 

$TIME will then be used to craft cosmetic NFTs using utility NFTs like the armory and forge and Cosmetic Shards as the base resource. The players willing to spend now have a way to distinguish themselves visually while still playing on the same playing field stat-wise. The Big Time company has revenue from selling Time Crystals that are not tradeable and bound to the account it is purchased with, and $TIME tokens are earned through Hourglasses. The circulating supply won’t be affected by big unlocks from early-stage investors looking to cash out. All in all, a clever system to protect the players while still having income to keep developing and keeping the servers up. 

The design of the Big Time economy is a bit different than most other web3 projects, but as far as we can see, it is a clever one with inherent sustainability. 

With most web3 projects touting governance tokens and DAOs, there is no such talk with Big Time. It seems to us that they’ve dialed back the blockchain aspects focusing on what’s most important for gamers, good content and asset ownership. Yes, the $TIME token is a cryptocurrency, but it plays purely into the gameplay loop of crafting. If this approach is going to be successful over time remains to be seen, but the Balthazar Alpha Team is optimistic.

NFT Game Assets

Big Time utilizes NFTs in-game to allow players to own their assets fully. There are two types of NFTs offered, cosmetic and utility NFTs. These can be obtained by defeating enemies in-game or buying/selling in the Big Time Marketplace.

Cosmetic NFTs

Cosmetic NFTs are just what they sound like, NFT assets that allow players to customize their character how they want. There will be NFTs to change the appearance of your weapons, armor, and even flairs, such as particle effects and sound. These NFTs won’t affect any stats or give any unfair advantage in-game. 

Utility NFTs

Utility NFTs allow players to produce, upgrade, and repair in-game items such as rare weapons, armor skins, and the Hourglass, which unlocks token loot. There are several utility NFTs, such as SPACE, Time Wardens, Forges, Armories, and Hourglasses.

SPACE NFTs

Early game, all players will acquire a Time Machine, which is your personal universe inside Big Time, similar to other games that allow players to have player-owned houses or their  personal areas where they can micro-manage several aspects of the game. Players can expand their Time Machine and its production capabilities with utility NFTs.

The SPACE NFTs are in limited supply and rare to acquire, and the developers will ensure they stay rare as new SPACE NFTs won’t be issued until the game’s next expansion. 

SPACE NFTs are used to upgrade and expand your Time Machine. The production capabilities that this NFT provides depend on the rarity and size of the NFT itself. SPACE is not required to play Big Time; however, it is required to produce in-game NFTs.

SPACE NFTs can be upgraded with other utility NFTs, such as Time Wardens, Armories, or Forges. There are five different rarity tiers and three different sizes.

Rarity tiers

  • Rare
  • Epic
  • Legendary
  • Mythic
  • Exalted

Sizes

  • Small
  • Medium
  • Large

Time Wardens

Time Wardens are utility NFTs used to create or fill up Hourglass NFTs. They are summoned into SPACE and may be purchased in-game or through the Big Time Marketplace.

Forges & Armories

Forges & Armories are utility NFTs that allow the players to upgrade their NFTs to increase their rarity. 

Hourglasses

Hourglasses are utility NFTs with the purpose of collecting Big Time Tokens as loot drops. These are required as they’ll be the only way to acquire Tokens.

Big Time Website

We compared Big Time’s desktop version to its mobile site to see how it measures up and if there were any changes they could make to the site to improve it. Follow along to see our verdict. In this test, we used a Samsung Galaxy S10+.

Desktop

Big Time is a multiple-paged website where, if the user clicks on any area of the heading menu, they would be redirected to that area of the page. On the main site, however, we could find information about joining the community, events and early access, general news, and information about the different classes. We also found information about the game itself and its perks. The classes were creatively shown off with black and white image, which gains colors when you click on them. 

Upon continuing, there was also a “read more” button, which would lead to the “About the game” part of the website, which can be found under “Game” in the heading menu. In this website area, the user could read more about the story of the universe of Big Time and how it came to be. Once again, the images of the classes are shown, and underneath, there are some short videos of the base abilities. 

Keep in mind, for this site area, depending on which class the user has clicked on; the videos will vary to match the class. Overall a very smart feature that works very well and comes off as impressive. Although the videos had a smaller ratio, we appreciate the gesture showing the base abilities.

The site continues to explain more in-game features such as Pocket Watches, battling across history, creating your own metaverse within the Big Time Universe, and at last, a trailer of the in-game world. There is also an option readily available to join the community, and various social media platforms have also been added. 

By continuing to the next part of the website, “Community,” there were several options for the user, including “News,” “Forums,” “Wiki,” “Creator Kit,” and “Customer Support,” as well as opportunities to Join Discord and click into their social media. 

The “Studio” part of the website promotes “the team” as well as “careers,” where current job listings are available. The team members had also been nicely placed on the website with full names and same-size pictures of most of the team members.

The website was easy to navigate, and we could find information about much of what we expected, such as the projects’ social media, team, and information about the game and economy. In addition, the creators had been generous with in-game details, such as the videos showcased on the site. A few special effects were added, but everything worked well, and scrolling through the website was quick and easy. Perhaps the quality of the artwork could be improved, but we find no issue with them either. The Wiki site functions as a whitepaper/lite paper, we essentially find everything we need on the Big Time website.

By clicking on the “open loot” at last, the user would be sent to a second site featuring the marketplace, games, news, and early access launch.

Mobile

On mobile, a pop-up would be the first thing appearing, giving the user an option to join the community through a newspaper. The heading menu had been compressed; however, the layout was very clear and straightforward upon opening. On the computer, the main page had a video playing in the background, but this isn’t the case on the mobile. Scrolling down, the text is of a nice size, and it fits the screen well. For the classes, the site’s creators created a swiping option which worked very well. Underneath, “Learn more” was available on the mobile site just like on the computer, redirecting the user to the “about game” area.

Further down, the news was easily available, and the social media and lower menu featured the same areas as the upper menu for easy access. 

The broader areas of the website on the desktop had obtained a scrolling option on mobile to suit the mobile screen better. This function worked well and expressed a professional design to the website.  Scrolling further down, the layout had been compressed due to the nature of the mobile screen.

All in all, we found the site to look professional and well-made using our mobile device. The screen was of decent size, there were frequent additions of artwork and videos, and the overall color theme fit well on mobile and desktop. 

“The Team” aspect of the mobile site had two pictures per row, making the scrolling a little journey itself. Nevertheless, we think if there had been more members per row, each photo would have looked too small or given a feeling of an insufficient room. 

Upon clicking into the “open loot” in the heading menu, we were redirected to the marketplace, amongst others. Pop-ups would also appear on this site. 

The Verdict

As a verdict, we enjoyed the website on the computer; although it came across as simple at first, there were some elements that pleasantly surprised us. We liked how easy the site was to navigate through and the overall user experience. We really enjoyed the short videos placed every so often on the website, and we feel the site gave a very honest view of the game. 

The mobile site had swiping functions added. These gave the overall site a very professional look, and the effects were also well implemented for the more narrow screen. As a few pointers, we did not enjoy the pop-ups every now and then. We also felt like the artwork probably could have been of higher quality.

However, all in all, we enjoyed this website and were pleasantly surprised with the added functions. Overall we feel like most questions about this game would be answered by going through the website and looking through their wiki. On the other hand, we could not find the backers and supporters of this project through the website, which is usually showcased on the main site.

Artwork

Big Time keeps its artwork and graphics consistent throughout its content. The art style mostly used throughout its artwork is a cartoony style, which matches well with the game’s in-game graphics.

In general, Big Times artwork is consistent and beautiful. It’s very clean, and it feels suitable to its genre. 

Blockchain

What Chain Does The Game Run On?

Big Time uses Ethereum blockchain for its NFTs in combination with a proprietary “Vault technology” they say is to circumvent the, in their opinion, “lackluster user experience and high costs of Ethereum.”

Our Thoughts On The Chain?

Ethereum is the most used smart-contract platform out there, surpassing the average of over 1 million daily transactions (to see more statistics on Ethereum, you can visit the Etherscan website). However, being the most popular blockchain for smart contracts also makes it expensive to use, as it still has its limitations in throughput. What has been Ethereum’s biggest drawback is the high cost of doing a transaction on the chain, also known as gas fees.

With the popularity of NFTs in the past year, the transaction cost can often be higher than the actual price of the NFT. It will be interesting to see how this proprietary “Vault technology” can reduce the costs of Ethereum.

NFTs on the Ethereum layer-1, although expensive to transact, seem to be the “staple” and quality assurance when it comes to NFTs in the crypto space. Therefore, launching on Ethereum could be a strategic move on Big Time’s side, catering to the crypto OGs and broader crypto community which mostly know and trust Ethereum. However, we hope that once their token gets launched, it resides on a layer-2 scaling solution, where transaction fees won’t hinder the players from actually participating in the in-game economy.

Team

Who Is On The Team?

  • Ari Meilich – CEO
    https://www.linkedin.com/in/arimeilich/
    • Advisor (Apr 2020 – present) at Decentraland
    • Project Lead (Aug 2017 – Apr 2020) at Decentraland
    • Co-Founder (Jan 2016 – Aug 2017) at Benchrise
    • Market Research Analyst (Feb 2015 – Dec 2015) at CRV
  • Matt Tonks – CTO
    https://www.linkedin.com/in/matthew-tonks-a877521/
    • Co-Founder (Mar 2012 – present) at BitMonster
    • Director of Technology (Jan 2016 – Aug 2020) at Drifter Entertainment
    • Senior AI Programmer (Oct 2007 – Jul 2012) at Epic Games
    • Software Engineer (May 2005 – Oct 2007) at Electronic Arts (EA)
    • Lead Programmer (Jan 2004 – May 2005) at COR Project
  • Brian Chu – Head of Product Management
    https://www.linkedin.com/in/brianchu1/
    • Co-Founder (Jul 2015 – present) at Puzzle Workshop
    • Director of Product Management (Mar 2019 – Mar 2022) at Epic Games
    • Director of Product Management (Jun 2017 – Mar 2019) at Electronic Arts (EA)
    • Director of Product (Mar 2016 – Jun 2017) at Rocket Games
    • Director of Global Brand Management (Jul 2013 – Feb 2016) at Blizzard Entertainment
    • Vice President of Product (Jun 2012 – Mar 2013) at Identified
    • Lead Product Manager (Dec 2009 – Jun 2012) at Zynga
    • Senior Consultant (Sep 2008 – Dec 2009) at Deloitte Consulting
  • Michael Migliero – CMO
    https://www.linkedin.com/in/michaelmigliero/
    • Director of DSP (May 2015 – May 2018) at MZ
    • CEO, Co Founder (Dec 2012 – May 2017) at Fractional Media
    • Product Marketing Associate (2007 – 2008) at Akamai Technologies
  • Mihee Park – CFO
    https://www.linkedin.com/in/mihee-corporate/
    • Chief Financial Officer (May 2018 – Mar 2022) at Zilliqa
    • Chief Financial Officer (Apr 2014 – Dec 2017) at Sibelco Group
    • Vice President Corporate – Asia (Jan 2010 – Mar 2014) at Sibelco Group
    • Senior Corporate finance Manager (Jan 2007 – Dec 2009) at Sibelco Group
    • Interim General Manager (Jun 2009 – Nov 2009) at Sibelco Group
    • Integration Manager (Jan 2005 – Dec 2006) at Sibelco Group
  • Doug Wilson – Director of Operations
    https://www.linkedin.com/in/doug-wilson-csm-itil/
    • Owner (Sep 2010 – Nov 2021) at DEW Consulting
    • Director of Product Delivery (Aug 2016 – Jan 2021) at CTA
    • Senior QA Manager (Apr 2012 – Jul 2016) at CTA
    • Owner and Developer (Aug 2008 – Dec 2014) at Wilsibs
    • Senior QA Manager (Jan 2006 – Apr 2012) at Compassion International
    • QA Manager (Jan 2004 – Jan 2006) at Electronic Arts (EA)
    • Associate Producer (Apr 2003 – Jan 2004) at Electronic Arts (EA)
    • Senior Software Analyst and QA Test Engineer (Nov 1999 – Mar 2003) at Electronic Arts (EA)
  • Stanley Lin – Principal Product Manager
    https://www.linkedin.com/in/stanleyslin/
    • Principal Product Manager (Nov 2020 – Feb 2022) at Manticore Games
    • Director of Product (Jul 2018 – Nov 2019) at Linden Lab
    • Senior Product Manager VR (Jan 2017 – Jun 2018) at Samsung Electronics
    • Senior Product Manager (Aug 2014 – Jan 2017) at Playstudios
    • Product Manager (Jun 2012 – Mar 2014) at Zynga
    • Product Manager (Jul 2008 – Mar 2012) at CBS Interactive
    • Program Manager (Nov 2007 – Jul 2008) at CBS Interactive
    • Associate Producer (Aug 2004 – Nov 2007) at CNET Networks
  • TJ Stamm – Principal Designer
    https://www.linkedin.com/in/tjstammrenaissanceman/
    • Lead LEvel Designer and Combat Designer (Jan 2021 – present) at Big Time
    • Senior Designer (Jan 2018 – Jan 2021) at Infinity Ward, working on Call of Duty: Modern Warfare (2019)
    • Senior Designer (Jan 2015 – Jan 2018) at Infinity Ward, working on Call of Duty: Infinite Warfare
    • Senior Designer (Jul 2014 – Jan 2015) at Infinity Ward, working on Call of Duty: Ghosts
    • Senior Designer (Oct 2010 – Jul 2014) at Neversoft Entertainment
    • Senior Level Designer (Feb 2009 – Jan 2011) at Snowblind Studios
    • Producer/Designer/Artist (Oct 2003 – Oct 2008) at Electronic Arts (EA)
    • Senior Artist (Dec 2002 – Sep 2003) at Black Ops
    • Lead Artist and Designer (May 2001 – Nov 2002) at Sennari Interactive
  • Cedric Fleury – Principal Designer
    https://www.linkedin.com/in/cedricfleury/
    • Senior Level Designer (Mar 2020 – May 2022) at Electronic Arts (EA), working on titles such as Dead Space remake and Star Wars Squadron
    • Level Designer Director (Oct 2016 – Jan 2020) at Warner Bros Games
    • Senior Level Designer (Jul 2013 – Sep 2016) at Ubisoft, working on titles such as For Honor and Far Cry 4
    • Senior Level Designer (Mar 2013 – Jul 2013) at Square Enix
    • Senior Level Designer (Mar 2010 – Mar 2013) at Visceral Montreal
    • Designer (Oct 2006 – Dec 2009) at Threewave Software
  • Martin Sweitzer – Principal Engineer
    https://www.linkedin.com/in/msew/
    • Co-Founder (Mar 2012 – present) at Bitmonster
    • Senior Gameplay Programmer (Sep 2017 – Sep 2020) at Squanch Games
    • Senior Gameplay Programmer (Apr 2005 – Mar 2012) at Epic Games
    • Programmer (Jul 2004 – Apr 2005) at BrickHouse Games
    • Programmer (Jan 2002 – Jun 2004) at Sigil Games Online
    • Programmer (Nov 2000 – Oct 2001) at Sony Online Entertainment
  • Juan Pablo Bettini – Senior Game Engineer
    https://www.linkedin.com/in/juan-pablo-bettini-a5524512/
    • Senior Game Engineer (May 2019 – Apr 2020) at Decentraland
  • Franco Gneri – Senior UI Engineer
    https://www.linkedin.com/in/franco-gneri-842400a/
    • Senior UI Engineer (Aug 2019 – Sep 2021) at Slightly Mad Studios
    • Lead UI Software Engineer (Jun 2014 – Aug 2019) at NGD Studios
    • Actionscript Developer and Tech Leader (May 2008 – Jun 2014) at Globant
    • Senior UI Software Engineer (May 2008 – Jun 2014) at Electronic Arts (EA)
  • William Paré – Senior Technical Designer
    https://www.linkedin.com/in/william-p-46109921/
    • Technical Design Director (Jul 2021 – Apr 2022) at Pheonix Labs
    • Technical Design Director (Sep 2018 – Jul 2021) at Eidos
    • Senior Technical Level Designer (Jan 2017 – Sep 2018) at Eidos, working on Shadow of the Tomb Raider
    • Senior Technical Level Designer (Jul 2014 – Jan 2018) at Eidos, working on Deus Ex: Mankind Divided
    • Technical Level Designer (Jul 2012 – Jul 2014) at Eidos, working on Thief
    • Junior Technical Level Designer (Jun 2011 – Jul 2012) at Eidos, working on Thief
    • QA Tech (Oct 2009 – Jun 2011) at Eidos, working on Thief
    • QA Lead (Aug 2007 – Oct 2009) at Eidos
    • QA Lead (Jun 2006 – Aug 2007) at Keywords Studios, working on titles such as Star Wars: The Force Unleashed, Just Cause, Lego Star Wars 2: The Original Triology etc.
    • QA Tester (Dec 2005 – Jun 2006) at Keywords Studios
  • Ken Spencer – Lead Level Designer
    https://www.linkedin.com/in/ken-spencer-8722571/
    • Senior Game Designer (Oct 2005 – May 2022) at Epic Games
    • Level Designer (2002 – Sep 2005) at Electronic Arts (EA)
    • Level Designer (1997 – 2002) at New World Computing
  • Raphael Perroni – Lead Character Artist
    https://www.linkedin.com/in/raphael-perroni-97a95059/
    • Senior Character Artist (Nov 2019 – Nov 2020) at Insane
    • Senior Character Artist (Mar 2018 – Mar 2019 ) at Wildlife Studios
    • Character Artist (Sep 2017 – Mar 2018) at Ubisoft
    • Character Artist (May 2017 – Aug 2017) at Wildlife Studios
  • Annie-Claude Bergeron – Lead Environment Artist
    https://www.linkedin.com/in/annie-claude-bergeron-1528aaa2/
    • Level Artist (Jan 2019 – Feb 2022) at Ubisoft, working on titles such as Rainbow Six Extration and Xdéfiant
  • Alice Bernier – Lead Audio Designer
  • Eric Yip – Senior Concept Artist
    https://www.linkedin.com/in/ericyipdesign/
    • Freelance Concept Artist (Jul 2021 – Aug 2021) at West Studios
    • Concept Artist (Aug 2019 – Sep 2020) at Riot Games
    • Concept Artist (Oct 2016 – Jun 2017) at Section Studios
  • Pedro Ferrer – Concept Artist
  • Mauricio Dal Fabbro – Senior Technical Artist
    https://www.linkedin.com/in/mauriciodal/
    • Lead Technical Artist (Jan 2019 – Apr 2020) at Decentraland
    • Art Director (Jan 2017 – Dec 2018) at Barbacube
    • Character Rigger and 3D Animator (Oct 2017 – Oct 2017) at Saibot Studios
    • Art Director and Lead 3D Modeler/Animator (Nov 2015 – Sep 2016) at Brainhold Games
    • Art Director and Lead 3D Modeler (Jan 2015 – Oct 2015) at Totwise
  • Eduard Oliver – 3D Character Artist
  • Lauren Gonzalez – Associate Character Artist
  • André Nolandi – 3D Character Artist
    https://www.linkedin.com/in/andrenolandi/
    • 3D Character Artist (Sep 2019 – Sep 2021) at Petit Fabrik
    • 3D Character Artist (Nov 2016 – Jul 2019) at Massive Works Studio, working on the game Dolmen
  • Rafael Morais – Lead VFX Artist
    https://www.linkedin.com/in/rafaelmorais/
    • Senior VFX Artist (Apr 2018 – Mar 2021) at Wildlife Studios
    • Lead Artist (Jan 2017 – Mar 2018) at Duaik Entretenimento
    • VFX Artist (Jun 2017 – Nov 2017) at Nodding Heads Games, working on Raji: An Ancient Epic
    • VFX Artist (Apr 2016 – Apr 2018) at RatDog Games
    • VFX Artist (Mar 2016 – Nov 2016) at ReaverGames
  • Mariano De Giuli – VFX Artist
    https://www.linkedin.com/in/mariano-de-giuli-595193172/
  • Nelson Tam – Lead Technical Artist
    https://www.linkedin.com/in/ntam3d/
    • Senior Character Technical Artist (Feb 2020 – Nov 2021) at PUBG Corporation, working on The Callisto Protocol set to release in december 2022.
    • Character Technical Director (Aug 2015 – Jan 2020) at Impulse Gear, working on the VR game Farpoint
    • Character Technical Director (Aug 2014 – Jul 2015) at nWay
    • Senior- and technical animator (Oct 2012 – Jul 2014) at KIXEYE
    • Senior Animator (Jul 2009 – Nov 2012) at Paragon Studios
    • Animator (Jan 2007 – Jun 2009) at Crystal Dynamics, Eidos Interactive, working on Tomb Raider: Underworld
  • Emma De Leo – Lead Rigger
  • Nathan Glemboski – Senior Animator
    https://www.linkedin.com/in/nathanglemboski/
    • Senior Animator (Apr 2021 – Apr 2022) at Blind Squirrel Games
    • 3D Animator (Nov 2019 – Apr 2021) at Mohawk Games
  • Oscar Héctor Castro – Lead Animator
    https://www.linkedin.com/in/oscarhcastro/
    • Freelance 3D Character Animator and Illustrator (Mar 2018 – Feb 2022) for various clients and studios such as HBO Plus, Riot Games, Discovery Kids, Disney and more.
  • Tomas Barrenechea – 3D Character Animator
    https://www.linkedin.com/in/tom%C3%A1s-barrenechea-86373523/
    • Senior 3D Character Animator (Oct 2017 – Mar 2022) at NGD Studios
    • 3D Character Animator (Sep 2018 – Sep 2019) at Crema, working on TemTem
  • Matias Haldmeyer – UX Designer
  • Zeb Jackson – Marketing Art
    https://www.linkedin.com/in/zeb-jackson-349ba5b8/
    • Commercial Production Manager (Oct 2019 – Jan 2022) at Idaho News 6
    • Marketing Art Director (Jan 2017 – Oct 2019) at GameTyrant
  • Ryan Yang – Director of Growth
    https://www.linkedin.com/in/ryan-yang-2935a7145/
  • Kurtis Buckmaster – Head of Community
    https://www.linkedin.com/in/buckmaster/
    • Director of Creator Success (Oct 2019 – Apr 2022) at Manticore Games
    • Senior Director of Marketing (Jun 2014 – Mar 2017) at Plays.tv Raptr.com
    • Chief Community Officer (Mar 2012 – Sep 2012) at Meteor Entertainment
    • Vice President of Product Marketing (Apr 2007 – Sep 2009) at Live Gamer
    • Vice President of Marketing and Product Development (Aug 2007 – Mar 2008) at Curse
    • Senior Manager, Community and Customer Services (Nov 2006 – Aug 2007) at GameSpot
    • Strategic Sales and Partnerships Manager (Aug 2006 – Nov 2006) at Ubisoft
    • Senior Online Marketing Manager (Aug 2000 – Aug 2006) at Ubisoft
    • Online Marketing Manager (Nov 1997 – Aug 2000) at Sony Computer Entertainment
  • Yuecheng Ian Wang – Chinese Community Lead
    https://www.linkedin.com/in/yuecheng-wang/
  • Matthew Thwaites – Guild Lead
    https://www.linkedin.com/in/matthew-t-13878848/
  • Martin Pusiol – Talent Acquisition
    https://www.linkedin.com/in/martinpusiol/
  • Augusto Pace – Senior QA Lead
    https://www.linkedin.com/in/augusto-pace-2a47b4106/
    • QA Engineer (Jan 2020 – Jul 2021) at Cognizant Softvision
    • Senior QA Analyst (Sep 2019 – Dec 2019) at Pixowl
    • QA Coordinator (Feb 2019 – Sep 2019) at Jam City
    • Lead QA Analyst (Jul 2016 – Sep 2019) at Jam City
  • Ivan Dell – QA Tester
    https://www.linkedin.com/in/ivan-dell-46844354/
    • QA Engineer (Sep 2011 – Aug 2021) at Making Sense
  • Valentín Gallardo – QA Engineer
    https://www.linkedin.com/in/valent%C3%ADn-gallardo-3a600119b/
    • QA Engineer (May 2018 – Dec 2021) at Softtek
    • QA (Feb 2016 – May 2018) at Globant
  • Ysabelle Miguel – Customer Experience
    https://www.linkedin.com/in/ysabellemiguel/
  • Nicolás Brum Strak – Customer Experience
    https://www.linkedin.com/in/nicolas-daniel-brum-strak-44864514a/
    • Customer Care Professional (Jan 2019 – present) at American Express
  • Cyn Beramo – Customer Experience
    https://www.linkedin.com/in/cyn-beramo-aabb50198/
  • Winston Cho – Data Analyst
  • Nirvan Panjwani – Growth Operations
    https://www.linkedin.com/in/nirvanp/
  • Tom Zhao – Lead Concept Artist
    https://www.linkedin.com/in/tomzhaodesign/
    • Worldbuilding Artist (Jun 2019 – Apr 2021) at Riot Games
    • Concept Artist (Apr 2011 – Nov 2014) at Blur Studio
  • Florencia Sanchez – QA Tester
    https://www.linkedin.com/in/florencia-sanchez-d/
    • QA Analyst (Feb 2020 – Aug 2022) at Jam City
  • Logan Bryan – QA Consultant
    https://www.linkedin.com/in/logan-bryan-703366208/
  • Khaled Alroumi – Director of Monetization and Economy
    https://www.linkedin.com/in/khaled-alroumi-70b222b7/
    • Game Designer System and Economy (Oct 2021 – Sep 2022) at Illuvium.io
  • Tin Le – Lead DevOps Engineer
    https://www.linkedin.com/in/tinvle/
    • Principal Site Reliability Engineer (Nov 2020 – present) at Palo Alto Networks
    • Senior Site Reliability Engineer (Jul 2018 – Nov 2020) at Palo Alto Networks
    • Principal DevOps Engineer (May 2017 – Jul 2018) at Livongo
    • Senior Site Reliability Engineer (Oct 2013 – Apr 2017) at LinkedIn
    • Senior IT/Operations Engineer (Sep 2012 – 2013) at SoundHound
    • Senior Systems Engineer (Nov 2010 – Sep 2012) at MashLogic
    • Senior System Administrator (Apr 2010 – Nov 2010) at Netflix
  • Pablo Lalia – Risk and Payments Lead
    https://www.linkedin.com/in/pablo-lalia/
    • Fraud Prevention (Apr 2021 – Jan 2022) at dLocal
    • Head of Fraud Prevention (Jul 2020 – Apr 2021) at ank
    • Fraud Prevention (Feb 2017 – Jul 2020) at Mercado Libre
  • Xing Wu – Head of Platform Engineering
    https://www.linkedin.com/in/xingwu/
    • Senior Engineering Manager (Mar 2022 – Jul 2022) at LinkedIn
    • Engineering Manager (Dec 2019 – Mar 2022) at LinkedIn
    • Software Engineer (Jun 2015 – Dec 2019) at LinkedIn
  • Ezequiel de Francisco – Senior Product UX/UI Designer
    https://www.linkedin.com/in/ezequiel-de-francisco/
    • Senior UX Designer (Jun 2021 – Nov 2021) at FogPilot
    • Lead Creative (Jul 2020 – Jun 2021) at PSh
    • Lead UX/UI (Sep 2019 – Jul 2020) at _coderio
  • Ken Harsha – Senior Creative Director
    https://www.linkedin.com/in/ken-harsha-28b448/
    • Art Director (Nov 2019 – Mar 2021) at Deviation Games
    • Art Director (Sep 2011 – Nov 2019) at Treyarch, working on titles such as Call of Duty: Black Ops 4, Black Ops 3 and Black Ops 2.
    • Art Director (Jan 2007 – Feb 2008) at Electronic Arts (EA)
    • Production Designer (2004 – Dec 2007) at Electronic Arts (EA)
    • Story Artist (1998 – 2003) at Disney Feature Animation, working on projects such as Treasure Planet.
    • Story Artist (1995 – 1998) at Dreamworks Feature Animation, working on projects such as A Prince of Egypt and Shrek.
    • Storyboard Artist (1991 – 1995) at Warner Bros Television Animation, working on projects such as TinyToons and Animaniacs.
  • Lucas Marino – Senior Full Stack Engineer
    https://www.linkedin.com/in/lucas-marino-5b7a1523/
    • Senior Full Stack Engineer (Feb 2021 – Jul 2022) at Wildlife Studios
    • Senior Software Engineer (Feb 2020 – Feb 2021) at Wildlife Studios
    • Full Stack Senior Software Engineer (Oct 2019 – Feb 2020) at iúnigo
    • Technical Lead Full Stack (Jul 2016 – Sep 2019) at Etermax
  • Tony Colafrancesco – VP Publishing
    https://www.linkedin.com/in/tonycolafrancesco/
    • Director of Partnerships (2015 – 2017) at The Game Show Network
    • Director of Business Development (2013 – 2015) at Bandai Namco
    • Director of Online Business (2012 – 2013) at Sega
  • Lucas Markowicz – Finance Ops
    https://www.linkedin.com/in/lucas-markowicz/
  • Julián Izquierdo – Operations Manager
    https://www.linkedin.com/in/juli%C3%A1n-izquierdo-2483221ba/
    • Operations (Nov 2018 – Apr 2020) at Decentraland
  • Francisco Matteri – Team Leader
    https://www.linkedin.com/in/francisco-matteri/
  • Joshua Rubin – Interactive Narrative Consultant
    https://www.linkedin.com/in/joshuarubinwriter/
    • Interactive Narrative Consultant (Mar 2019 – present) at Rockfish Games, working on Everspace 2.
    • Interactive Narrative Consultant (Jun 2022 – Sep 2022) at Department of Wonder
    • Narrative Director/Writer (Oct 2021 – Jun 2022) at 30 Ninjas
    • Narrative Director (Nov 2021 – May 2022) at Skeleton Hand
    • Lead Writer (Apr 2017 – Apr 2022) at People Can Fly Studio
    • Interactive Narrative Consultant (Nov 2018 – Mar 2022) at Square Enix, working on Just Cause: Mobile.
    • Interactive Narrative Consultant (Oct 2021 – Feb 2022) at Bonus Level Entertainment
    • Producer/Narrative Designer (Nov 2019 – Feb 2020) at Netflix
    • Interactive Narrative Consultant (Nov 2019 – Jan 2020) at Bad Rhino Studios
    • Interactive Narrative Consultant (Nov 2017 – Nov 2019) at Interior/Night, working on As Dusk Falls
    • Narrative Director and Lead Writer (Mar 2018 – Sep 2019) at Sony Picture Entertainment, working on the VR title Groundhog Day: Like Father, Like Son.
    • Narrative Director/Co-Creator (Mar 2015 – Sep 2017) at Magnopus
    • Lead Writer (Jun 2014 – Oct 2016) at Telltale Games, working on projects such as Game of Thrones, Minecraft: Story Mode and The Walking Dead.
    • Writer (Mar 2012 – Mar 2014) at Bungie, working on Destiny
    • Other similar roles working for Capcom, Electronic Arts (EA), Ubisoft, etc.
  • Francisco Trentadue – QA Tester
    https://www.linkedin.com/in/francisco-trentadue/
  • Shirley Ramos – Outreach Manager
    https://www.linkedin.com/in/shirley-ramos-518292199/
  • Daniel Cheng – Art Director
    https://www.linkedin.com/in/daniel-cheng-a6783b1/
    • Associate Art Director (Jan 2020 – Jan 2022) at Deviation Games
    • Art Specialist (Oct 2009 – Dec 2019) at Treyarch
    • Concept Artist (2006 – Jun 2009) at Electronic Arts (EA)
    • Concept Artist (Feb 2005 – May 2006) at Pandemic Studios
    • Concept Artist (Jun 2004 – Dec 2004) at Electronic Arts (EA)
  • Christian Fernando Perucchi – Sound Designer and Composer
    https://www.linkedin.com/in/christianperucchi/
    • Music Composer (Oct 2018 – Dec 2021) at John del Vento Music
    • Lead Composer (Nov 2019 – Aug 2020) at Widetones
    • Sound Designer (Jun 2019 – Jun 2020) at Dedalord Games
    • Sound Designer (Apr 2020 – May 2020) at Kongregate
    • Sound Designer ( Dec 2015 – Feb 2019) at Sixth Vowel
    • Other similar roles working since 2007
  • Franco Nicolas Blanca Bigiotti – QA Tester
    https://www.linkedin.com/in/franco-nicolas-blanca-bigiotti-6a1b78214/
  • Nicolás Ravaso – Senior Software Developer
    https://www.linkedin.com/in/nicol%C3%A1s-ravasi-08032a44/
    • Backend Engineer (Mar 2020 – Aug 2022) at Wildlife Studios
    • Technical Leader (Feb 2019 – Mar 2020) at Mercado Libre
    • Software Engineer (Sep 2015 – Feb 2019) at Mercado Libre
  • Aaron Smith – Senior Art Director
    https://www.linkedin.com/in/aaron-smith-094a07206/
    • Co-Founder (2012 – 2017) at Bitmonster
    • Senior Artist (2003 – 2012) at Epic Games, working on projects such as Unreal Championship 2, Unreal Tournament 3, Gears of War 1, 2, & 3 and Fortnite.
    • Lead Artist (2001 – 2003) at Nerve Software
  • Micah Kaplan – QA Tester
    https://www.linkedin.com/in/micah-kaplan-1b0914248/
  • Alexis Labastilla – Marketing Art Director
    https://www.linkedin.com/in/alexis-labastilla-a5b21422b/

Team Assessment

The team working on Big Time consists of many talented and experienced individuals. They call themselves a small team. However, their website lists 44 employees, and we found 82 on their LinkedIn – including a few investors. We easily found information about most of their employees on the company’s LinkedIn profile. However, a few were missing or not available to access. Linking the team members’ socials or LinkedIn profiles to Big Time’s website would’ve been a good addition.

At the time of writing, Big Time has ten open positions. They’re hiring for two positions on their art team, five on their engineering team, one in operations, and two in product & design. All positions are found on their careers page: https://jobs.lever.co/bigtime

Going through their team, we’ve found a diverse team with a lot of experience covering many areas of expertise. The team at Big Time looks to have a solid foundation to build their game upon, and we believe they have all the prerequisites to deliver a good gaming experience.

Do They Have Relevant Experience?

Big Time self-proclaims to have recruited an all-star team of game industry veterans with experience from Epic Games, Rockstar, EA, Riot Games, Activision, Blizzard, and more. Team members have worked on some of the biggest titles, such as Fortnite, Gears of War, Grand Theft Auto, Call of Duty, Overwatch, and more. 

Their team has a lot of relevant and exciting experience from the games listed above and other projects such as Rainbow Six Extraction, Shadow of the Tomb Raider, Rocket League, movies, and TV shows such as Treasure Planet, Shrek, and Animaniacs.

Combined, the team members working on Big Time have several years in the gaming industry, most prominently in companies such as Epic Games, Eidos, Electronic Arts, Ubisoft, and Treyarch. Some members even have 15+ years in their respective companies. 

Lead Level Designer Ken Spender has 15+ years of experience at Epic Games and 3+ years at Electronic Arts (EA).

Technical Designer William Paré has 14+ years of experience working at Eidos on games such as Thief, Deus Ex, and Shadow of the Tomb Raider.

Principal Designer TJ Stamm has worked for Infinity Ward for 6+ years on several main franchise Call of Duty games.

And their Art Director Ken Harsha compliments TJ Stamm on his experience from Treyarch working on Black Ops 2, 3, and 4. In addition, he has years of experience in the movie industry working for Warner Bros, Dreamworks, and Disney.

There is no doubt that Big Time has an impressive team with many experienced team members. We’re looking forward to seeing how Big Time will be able to utilize their team on this project, and we’ll just have to say that our conviction is high in this team.

Who Are Their Backers?

https://www.crunchbase.com/funding_round/big-time-studios-series-a–da8c6dd8

We were able to find Big Time’s backers on Crunchbase. The project raised $10.3 million in total, with the lead investor being FBG Capital. Let’s look closely at some of this project’s investors, starting with FBG Capital. 

FBG Capital

FBG Capital is a digital asset management firm in blockchain capital markets focusing on early-stage ventures. The firm was established in Singapore in 2015 by founder Vincent Zhou, and in this written moment, they have participated in 67 investments, according to Crunchbase. From what we find, they have 28 employees on LinkedIn. The firm states that they have a strong leadership team with a background in digital assets, blockchain, and traditional wall street backgrounds. FBG Capital can be found in Canada, Hong Kong, the USA, and Singapore. The firm also has a Twitter profile with 15,300 followers.

Read more about FBG Capital here: https://www.fbg.capital/

OKEx

OKEx is a Hong Kong-based firm that was founded in 2017 by Star Xu. The firm is a digital asset exchange that provides advanced financial services to traders globally by using blockchain technology. They also have their own slogan: “OKX is secure. OKX is fast. OKX is powerful. OKX is trusted.”

 Their mission is to adopt blockchain to build the next-generation financial ecosystem, innovate, improve and change the world for the better. They want to make cryptocurrency trading and investing available for everyone. 

Read more about OKEx here: https://www.okx.com/.

Sound Ventures

Sound ventures is a venture capital firm that invests in the technology sector in an early to mid-stage area. It was founded in 2012 by Ashton Kutcher and Guy Oseary. The firm has a Twitter account with almost 2,600 followers. However, there has been no activity since the 6th of September 2018. On their homepage, they state having 10 team members. On LinkedIn, they stated having 12 employees, but there is reasonably little interaction going on in their LinkedIn, just like Twitter. From what we can see, their portfolio consists of 193 investments. 

Read more about Sound Ventures here: https://www.soundventures.com/ 

Big Time Participating Guilds

In a Twitter post from 11th of November 2021, Big Time announced their participating guilds, including Yield Guild, Merit Circle, and BlackPool, to name a few. The rest is shown in the picture below. 

Roadmap

Game Developer’s Roadmap

Alpha Teams’ Thoughts On The Roadmap

Big Times’ roadmap doesn’t give us a good understanding of the timeframe they’re going for. The timeline is without any dates and only uses vague terminology such as “Early Access” and “Coming Soon.” At the time of writing, Big Time is currently in the “Ruby Pass Holders” period in the timeline shown above.

Despite the lack of a proper understanding of the timeframe, the roadmap indicates their upcoming goals and features. 

The following steps in their timeline consist of three more stages; Space Holders, Invite Only Beta, and Open Beta.

In the next stage, Space Holders, Big Time will focus on early access for SPACE owners, with features like decorating and expanding their metaverse and improved “friend-finding.” They also list out new co-op multiplayer adventures.

Following is the Invite Only Beta stage. Opening for the possibility of inviting your friends to play with you. Story missions and Epoch City is also opening, and crafting will be a focus.

Lastly is the Open Beta stage, where Big Time will focus on the solo player experience, traveling to new periods, and adding guild support, and there’ll be no more account wipes at this point.

Guild Facilitation

Big Time has mentioned in its roadmap that it’ll add guild support in the last stage of its timeline, the Open Beta stage. They plan to support guilds via rentals and sharing of SPACE, in addition to adding special in-game permissions. 

Whitepaper

Link to the whitepaper: https://wiki.bigtime.gg/ 

Alpha Teams General Thoughts On The Whitepaper

Although Big Time doesn’t have a document they call a whitepaper, they do have a wiki which includes a lot of the relevant information normally found in the whitepaper. As such, we’ve considered this wiki when going through this project.

The wiki was last updated two months ago, and the information seemed updated with relevant links to medium articles and updated explanations of their systems. The getting started guides for early access players also seemed up to date.

The wiki is structured logically and organized, making it easy to find relevant information that we were looking for. We would’ve liked to see some of these pages expanded further and more in-depth in their contents. Although we appreciate the contents being straight to the point and explained in an easy-to-understand manner, we often felt something was missing.

We also enjoyed using video content in their wiki, with in-depth explanations narrated and easy to understand. These were a big plus on several occasions.

Growth Implications

We couldn’t find any information regarding how the project plans to deal with a potential high player base or unexpected influx. However, we know that the game will have future game expansions, which leads us to believe that systems will most likely be in place to accommodate a high player base – At least if there is steady growth.

Socialnomics

Social Media Followers Count

PlatformFollower count
Discord396,374
Twitter252,754
Youtube12,700
Instagram25,414
Twitch9,900

The socialnomics gives a better understanding of the community. It also shows how well the project communicates through the various platforms. Without further a-due, let’s look at Big Time’s socialnomics starting with Discord.

On Big Time’s Discord, there are several chat rooms, including “Twitter news,” “General chat,” “Game chat,” and “Game updates,” among others. They also have an “Announcement” channel where they, on the 13th and 14th of November, shed light on the Alameda/FTX news. Here they updated their community to let their community know that the project was not affected by this situation. This post got well over 500 reactions from followers, so it’s clear that the community was glad to see the project’s transparency regarding the issue. 

In the “Game update” chat, the team posts a few times a week, depending on what’s new. Artwork is also shared on this channel, which shows the community the projects’ progress and whereabouts. The chat was first created in July 2022. Because of this, we can only find information in the chat dating back to that time. The Big Time general chat is very active, as expected from the almost 400,000 community members. The moderators of the Discord server are also easily available and don’t mind chatting and helping the members out if they have any questions. Overall the community seems to be very hyped and invested in this project which we are glad to see. 

The project’s Twitter was created in February of 2021 and now has 152,754 followers and a total of 865 tweets. The most typical posts to be found on Big Time’s Twitter are Twitter space announcements and live streams, posts to connect with the community, in-game updates, competitions, and concept art, to mention a few. From what we can see, it looks like followers of Big Time’s Twitter can expect 8 to 14 posts a week which is quite impressive. Big Time also tends to retweet videos made by their community. 

Now we will have a look at the project’s engagement rate. We hope to see over 1% of their followers interact per post. Usually, from what we can see, they get between 65-858 interactions on their tweets which is approx. 0.03%-0.34% of their follower base. Back in November of 2021, the team posted regarding their participating guilds. This post got a stunning 3,267 reactions, approx 2.1% of their follower base. However, their videos tend to get between 4,000-16,500 views, equaling 1.6%-6% of their followers, which is an excellent number. Their most popular tweets seem to be announcements regarding partners, such as GAC x Big Time, the early access post, and the wiki announcement.

Lower engagement rates have been a trend we’ve seen recently, most likely due to the market being at an undesirable point in time. We do believe that this stagnation will eventually pass. 

Their YouTube channel has 12,700 subscribers and 340,000 views and was created 6th of April 2020. Since then, the project has posted 30 videos. Big Time also has created five playlists on their channel, including AMAs, tutorials, and YouTube shorts. 

If concept art is your thing, then Big Time’s Instagram is definitely worth a visit. The first post dates back to approx. May 14th of 2021 and has since then managed to post 325 posts. This is roughly about four posts a week, where they mainly share patch updates, art concepts, and landscape pictures of the in-game world. In addition to their posts, they have also added stories showcasing an introduction as well as the four classes. 

A little bit more uncommon is Big Time’s Twitch account. At this written moment, they have gathered almost 10,000 followers. On Twitch, they also have a schedule available. However, there are no scheduled streams in the near future. 

To wind up the socialnomics, Big Time has done an exceptional job posting to their community and trying to engage them through questions competitions. However, it is clear to see that their most popular Twitter posts are the posts showing off the projects’ achievements, their Wiki (whitepaper), and overall the videos they post. Although some of the Tweets have a relatively low engagement rate, we do see that each video posted gets a lot of views, so there is definitely a community following and tagging along to Big Time’s journey, even though they don’t necessarily interact with each post. The Discord community also seems to be active, and the admins keep the community company and answer any questions that might appear. Their Instagram is a cave for art lovers, and we are happy to see how they use this platform to share their creative side. We also like the idea of the game having its Twitch channel, but the future posting schedule is unclear for now. 

Speculations And Connecting The Dots

The team has experienced members from prior films and series, movie companies such as Disney and Dreamworks, and Warner Music Group. We are curious to see if the team has any creative plans in this direction.

We’re curious about what the end-game content will look like. Will it be a procedurally progressive dungeon crawl, or will we see more handcrafted dungeons or possibly some PvP down the line? From the roadmap, we see that come the beta; we’ll get a solo play experience, hopefully adding another layer of immersion and fun to the game—as for now, playing solo is rather difficult and discouraging.

Possibly the most unique aspect of Big Time is how they’ve done the economy. Big Time breaks a pattern in which the industry seems to be stuck. Will they be a trailblazer for the rest of the scene with their player-first economy, not assigning the $TIME tokens to any employees, investors or offering in pre-sales?

Conclusion

If you’ve come this far, you’ve just digested more than 11,000 words regarding everything Big Time. You should clearly understand why we are so excited about the future of Big Time and what we consider their precise touches of brilliance.

Big Time has created an economy that is worth a second look. They break the pattern which is arguably needed in the industry of GameFi. Although they don’t talk much about the tech stack or how they’re going to scale, we assume their server-based solution will allow for an increase and decrease in resources depending on demand. Therefore, we have reason to believe the team has this well covered, considering their existing plans for future expansions.

The team is also skilled and has expertise from various backgrounds, such as the music, film, and game industry, such as Blizzard, EA Games, and Riot Games. 

The team’s roadmap shows no specific date for most future events. However, it is evident that they are working on an actual project and that there has been tremendous progress. Through playtesting, we find Big Time to be one of the more enjoyable games in the GameFi space as long as you have some friends to tag alongside you. 

The artwork is true to the genre, and through the NFTs, the player can add items that will customize their characters and give additional stats and values. We are thrilled to see a game studio working on a game with actual enticing gameplay. Big Time sets the stage for future games, which we are happy to see. If GameFi is supposed to compete against traditional games in web2, then it’s safe to say that the standard need to be higher. Therefore we are glad to see Big Time stepping up for the future of GameFi.

All in all, as we have tried to communicate through our report, we are excited and delighted with Big Time and can’t wait to Spend Time On Big Time.

Alpha Team

Nicholas Korsgård

CGO

Sigurd Thomassen

Game Strategist

Kim Bjerkeli

Game Strategist

Heidi Anette Laugsand Johansen

Game Researcher

Luke Jech

Game Researcher

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