Ubisoft® Enters the Chaos and Brutality of the French Revolution with Assassin’S Creed® Unity
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Analisi Della Crescita Di Società Di Gaming Attraverso La Lettura Dei Bilanci
ANALISIANALISI DELLADELLA CRESCITACRESCITA DIDI SOCIETÀSOCIETÀ DI GAMINGGAMING ATTRAVERSOATTRAVERSO LALA LETTURALETTURA DEIDEI BILANCI TESI DI LAUREA DI GUGLIELMO CALAMIA PACINI TESI DI LAUREA DI GUGLIELMO CALAMIA PACINI MATRICOLAMATRICOLA 212111 212111 INTRODUZIONE L’oggetto della tesi di questo saggio è analizzare alcune delle più note aziende dell’industria dell’intrattenimento videoludico. Si partirà con delle breve esposizioni della loro storia, i pe- riodi di crescita più significativi e l’analisi dei titoli chiave del loro successo degli ultimi dieci anni dal 2011 al 2019; le so- cietà prese sono la EA Sports o Electronic Arts Inc., la Ubisoft Entertainment SA e la Nintendo Co. Ltd. Su ognuna di esse verrà analizzata, tramite la lettura dei loro documenti di bilancio, la loro evoluzione anche collegando a questi dati numerici le informazioni relativi all’immissione dei prodotti chiave nel mercato e le loro conseguenze nei pe- riodi successivi. Una volta esposte tutte le imprese, ci prodigheremo alla for- mulazione di ipotesi sul loro futuro. 3 DESCRIZIONE DEL MERCATO L’incredibile successo di questo mercato dell’intrattenimento è frutto di un continuo sviluppo tecnologico iniziato in America a partire dalla fine degli anni ’40 ma arrivando alla prima di- stribuzione globale di prodotti videoludici solo nel 1961. Fu tuttavia a metà degli anni ’60 (1966) che fu introdotto uno degli strumenti principali del successo videoludico nonché elemento chiave per molte imprese neo-entranti, l’introduzio- ne della prima console. Dall’introduzione di quel primo modello, molte altre imprese hanno tentato di ottenere il controllo del mercato delle console e a oggi solo tre imprese detengono il controllo: la Sony, con la PlayStation; la Microsoft con l’XboX e infine la Nintendo con i suoi GameBoy, Wii e più recentemente Nintendo Switch (tra l’altro la EA e Ubisoft distribuiscono i loro prodotti console pro- prio su PlayStation e XboX e Switch). -
FY12 Earnings Presentation
FY12 Earnings Presentation May 15, 2012 Yves Guillemot, President and Chief Executive Officer Alain Martinez, Chief Financial Officer Jean-Benoît Roquette, Head of Investor Relations Disclaimer This statement may contain estimated financial data, information on future projects and transactions and future business results/performance. Such forward-looking data are provided for estimation purposes only. They are subject to market risks and uncertainties and may vary significantly compared with the actual results that will be published. The estimated financial data have been presented to the Board of Directors and have not been audited by the Statutory Auditors. (Additional information is specified in the most recent Ubisoft Registration Document filed on June 28, 2011 with the French Financial Markets Authority (l’Autorité des marchés financiers)). 2 Summary FY12 : Performance driven by strong performance from Just Dance, Assassin’s Creed and online/digital FY12 : Operating income up 90%, at the top end of initial guidance FY12 : Solid financial situation of 85 M€ with positive operating cash flows FY12 : Continued investments in online opportunities and next generation of consoles FY13 : A turning point FY13 : Significantly stronger offer for core gamers + re-enters the shooter genre + continued online/digital momentum FY13 : Strong topline and profitability growth expected from core games and online/digital FY13 : > 40% operating income growth based on midpoint of guidance Longer term : Significant opportunities with next generation of -
Ubisoft Studios
CREATIVITY AT THE CORE UBISOFT STUDIOS With the second largest in-house development staff in the world, Ubisoft employs around 8 000 team members dedicated to video games development in 29 studios around the world. Ubisoft attracts the best and brightest from all continents because talent, creativity & innovation are at its core. UBISOFT WORLDWIDE STUDIOS OPENING/ACQUISITION TIMELINE Ubisoft Paris, France – Opened in 1992 Ubisoft Bucharest, Romania – Opened in 1992 Ubisoft Montpellier, France – Opened in 1994 Ubisoft Annecy, France – Opened in 1996 Ubisoft Shanghai, China – Opened in 1996 Ubisoft Montreal, Canada – Opened in 1997 Ubisoft Barcelona, Spain – Opened in 1998 Ubisoft Milan, Italy – Opened in 1998 Red Storm Entertainment, NC, USA – Acquired in 2000 Blue Byte, Germany – Acquired in 2001 Ubisoft Quebec, Canada – Opened in 2005 Ubisoft Sofia, Bulgaria – Opened in 2006 Reflections, United Kingdom – Acquired in 2006 Ubisoft Osaka, Japan – Acquired in 2008 Ubisoft Chengdu, China – Opened in 2008 Ubisoft Singapore – Opened in 2008 Ubisoft Pune, India – Acquired in 2008 Ubisoft Kiev, Ukraine – Opened in 2008 Massive, Sweden – Acquired in 2008 Ubisoft Toronto, Canada – Opened in 2009 Nadeo, France – Acquired in 2009 Ubisoft San Francisco, USA – Opened in 2009 Owlient, France – Acquired in 2011 RedLynx, Finland – Acquired in 2011 Ubisoft Abu Dhabi, U.A.E – Opened in 2011 Future Games of London, UK – Acquired in 2013 Ubisoft Halifax, Canada – Acquired in 2015 Ivory Tower, France – Acquired in 2015 Ubisoft Philippines – Opened in 2016 UBISOFT PaRIS Established in 1992, Ubisoft’s pioneer in-house studio is responsible for the creation of some of the most iconic Ubisoft brands such as the blockbuster franchise Rayman® as well as the worldwide Just Dance® phenomenon that has sold over 55 million copies. -
Class Action Chamber)
CANADA PROVINCE OF QUEBEC SUPERIOR COURT DISTRICT OF MONTREAL (CLASS ACTION CHAMBER) No: 500-06-001132-212 GABRIEL BOURGEOIS Petitioner -vs.- ELECTRONIC ARTS INC., legal person duly constituted, having its address of service at 1209 Orange Street, Wilmington, DE 19801 USA and ELECTRONIC ARTS (Canada), INC., legal person duly constituted, having its address for service at 1800 510 West Georgia St., Vancouver, BC, V6B 0M3, Canada and ACTIVISION BLIZZARD INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, New Castle, Delaware, 19808 and ACTIVISION PUBLISHING INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, New Castle, Delaware, 19808 and BLIZZARD ENTERTAINMENT INC., legal person duly constituted, having its address for service at 251 Little 1 Falls Drive, Wilmington, New Castle, Delaware, 19808 and TAKE TWO INTERACTIVE SOFTWARE INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and TAKE TWO INTERACTIVE CANADA HOLDINGS INC., legal person duly constituted, having its address for service at 5770 Hutontario St, Mississauga, Ontario, L5R 3G5 and 2K GAMES INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and ROCKSTAR GAMES INC, legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and WARNER BROS. ENTERTAINMENT INC., legal person duly constituted, having its address for service at 1209 Orange St., Wilmington, DE 19801 and WARNER BROS ENTERTAINMENT CANADA INC., legal person duly constituted, having its address for service at Suite 1600, 5000 Yonge Street, Toronto, Ontario, M2N 6P1 and 2 WARNER BROS. -
French Horror : Penser L'image Vidéoludique Par L'horreur. Images
7 Alternative francophone (2021) Volume 2 Numéro 8 French Horror : penser l’image vidéoludique par l’horreur. Images monstrueuses et monstration de l’image, de Zombi à 2Dark. https://doi.org/10.1215/08992363-10.29173/af29417 Guillaume Baychelier [email protected] E.A. CLARE, Université Bordeaux Montaigne Résumé. Cette étude examine, à travers un corpus de jeux vidéo horrifiques développés en France sur une période de près de 25 ans, comment le renouvellement des iconographies et la relecture des codes narratifs, tout comme celui des mécaniques de jeu qui y sont habituellement employées, constituent rarement le cœur de des propositions vidéoludiques françaises. Néanmoins, nous montrons comment ces créations ont bien souvent pour point commun de mettre en perspective les procédés de mise en image qu’ils déploient, de la mise en scène au mode de modélisation adopté en passant par la question du flux des images et du regard. Il s’agit donc de voir comment l’horreur, devenue terrain de jeu avec l’image, semble être un prétexte idéal pour travailler, explorer, manipuler le médium et, ainsi, faire évoluer le média. Mots clés : Horreur; jeu vidéo; image; France Abstract. This study examines, through a corpus of horrific video games developed in France over a period of nearly 25 years, how the renewal of iconographies and the re-reading of narrative codes, as well as the game mechanics usually employed in them, rarely constitute the core of French videogame proposals. Nevertheless, we show how these creations very often have in common to put into perspective the imaging processes they deploy, from the staging to the modeling mode adopted, as well as the Alternative francophone https://journals.library.ualberta.ca/af/index.php/af 8 Guillaume Baychelier question of the flow of images and the gaze. -
Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik
HEC MONTRÉAL Disruptive Innovation and Internationalization Strategies: The Case of the Videogame Industry par Shoma Patnaik Sciences de la gestion (Option International Business) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Décembre 2017 © Shoma Patnaik, 2017 Résumé Ce mémoire a pour objectif une analyse des deux tendances très pertinentes dans le milieu du commerce d'aujourd'hui – l'innovation de rupture et l'internationalisation. L'innovation de rupture (en anglais, « disruptive innovation ») est particulièrement devenue un mot à la mode. Cependant, cela n'est pas assez étudié dans la recherche académique, surtout dans le contexte des affaires internationales. De plus, la théorie de l'innovation de rupture est fréquemment incomprise et mal-appliquée. Ce mémoire vise donc à combler ces lacunes, non seulement en examinant en détail la théorie de l'innovation de rupture, ses antécédents théoriques et ses liens avec l'internationalisation, mais en outre, en situant l'étude dans l'industrie des jeux vidéo, il découvre de nouvelles tendances industrielles et pratiques en examinant le mouvement ascendant des jeux mobiles et jeux en lignes. Le mémoire commence par un dessein des liens entre l'innovation de rupture et l'internationalisation, sur le fondement que la recherche de nouveaux débouchés est un élément critique dans la théorie de l'innovation de rupture. En formulant des propositions tirées de la littérature académique, je postule que les entreprises « disruptives » auront une vitesse d'internationalisation plus élevée que celle des entreprises traditionnelles. De plus, elles auront plus de facilité à franchir l'obstacle de la distance entre des marchés et pénétreront dans des domaines inconnus et inexploités. -
10Th IAA FINALISTS ANNOUNCED
10th Annual Interactive Achievement Awards Finalists GAME TITLE PUBLISHER DEVELOPER CREDITS Outstanding Achievement in Animation ANIMATION DIRECTOR LEAD ANIMATOR Gears of War Microsoft Game Studios Epic Games Aaron Herzog & Jay Hosfelt Jerry O'Flaherty Daxter Sony Computer Entertainment ReadyatDawn Art Director: Ru Weerasuriya Jerome de Menou Lego Star Wars II: The Original Trilogy LucasArts Traveller's Tales Jeremy Pardon Jeremy Pardon Rayman Raving Rabbids Ubisoft Ubisoft Montpellier Patrick Bodard Patrick Bodard Fight Night Round 3 Electronic Arts EA Sports Alan Cruz Andy Konieczny Outstanding Achievement in Art Direction VISUAL ART DIRECTOR TECHNICAL ART DIRECTOR Gears of War Microsoft Game Studios Epic Games Jerry O'Flaherty Chris Perna Final Fantasy XII Square Enix Square Enix Akihiko Yoshida Hideo Minaba Call of Duty 3 Activison Treyarch Treyarch Treyarch Tom Clancy's Rainbow Six: Vegas Ubisoft Ubisoft Montreal Olivier Leonardi Jeffrey Giles Viva Piñata Microsoft Game Studios Rare Outstanding Achievement in Soundtrack MUSIC SUPERVISOR Guitar Hero 2 Activision/Red Octane Harmonix Eric Brosius SingStar Rocks! Sony Computer Entertainment SCE London Studio Alex Hackford & Sergio Pimentel FIFA 07 Electronic Arts Electronic Arts Canada Joe Nickolls Marc Ecko's Getting Up Atari The Collective Marc Ecko, Sean "Diddy" Combs Scarface Sierra Entertainment Radical Entertainment Sound Director: Rob Bridgett Outstanding Achievement in Original Music Composition COMPOSER Call of Duty 3 Activison Treyarch Joel Goldsmith LocoRoco Sony Computer -
Complete Catalog
WWW.XBOXGAMES.IN Page: 2 LIFE IS STRANGE: TRUE COLORS Alex Chen hides her 'curse': the psychic power of Empathy, the ability to absorb and manipulate the strong emotions of others. When her brother dies in a so-called accident, Alex must embrace her power to find the truth —... Read More Price: ₹ 3499.00 ₹ 1200.00 LITTLE NIGHTMARES II Little Nightmares II is a suspense adventure game in which you play as Mono, a young boy trapped in a world that has been distorted by an evil transmission. Together with new friend Six, he sets out to discover the source of... Read More Price: ₹ 2000.00 ₹ 1000.00 WWW.XBOXGAMES.IN Page: 3 CALL OF DUTY®: BLACK OPS COLD WAR - CROSS- GEN BUNDLE Call of Duty: Black Ops Cold War is a 2020 first-person shooter video game developed by Treyarch and Raven Software and published by Activision. It is the sixth installment in the Black Ops series, and the seventeenth... Read More Price: ₹ 4750.00 ₹ 1000.00 IT TAKES TWO + TEKKEN 7 + AO TENNIS 2 Embark on the craziest journey of your life in It Takes Two. Invite a friend to join for free with Friend’s Pass and work together across a huge variety of gleefully disruptive gameplay challenges. Read More Price: ₹ 9999.00 ₹ 1300.00 WWW.XBOXGAMES.IN Page: 4 ASSASSIN'S CREED® ODYSSEY - ULTIMATE EDITION Write your epic odyssey to become a legendary Spartan hero. Forge your path in a world on the brink of tearing itself apart. Influence history in an ever-changing world shaped by your choices. -
DOCUMENT DE RÉFÉRENCE Incluant Le Rapport fi Nancier Annuel Sommaire
2018 DOCUMENT DE RÉFÉRENCE Incluant le rapport fi nancier annuel Sommaire Le mot du président 3 5 Responsabilité sociétale de l’entreprise 109 5.1 Note méthodologique du reporting Attestation du responsable social, environnemental et sociétal 110 du document de référence 4 5.2 Stratégie de responsabilité sociétale 113 5.3 Indicateurs sociaux 113 1 5.4 Indicateurs environnementaux 125 Chiffres clés 5 5.5 Indicateurs sociétaux 132 1.1 Chiffre d’affaires consolidé 5.6 Devoir de vigilance 137 trimestriel et annuel 6 5.7 Rapport de l’organisme tiers 1.2 Chiffre d’affaires par type de support 7 indépendant 138 1.3 Chiffre d’affaires par destination géographique 8 6 États fi nanciers 141 2 Présentation du Groupe 9 6.1 Comptes consolidés au 31 mars 2018 142 6.2 Rapport des Commissaires aux 2.1 Profi l et stratégie du Groupe 10 comptes sur les comptes consolidés 204 2.2 Historique 10 6.3 Comptes sociaux d’Ubisoft 2.3 Faits marquants de l’exercice 11 Entertainment SA au 31 mars 2018 209 2.4 Filiales et participations 12 6.4 Rapport des Commissaires aux comptes sur les comptes annuels 240 2.5 Politique de recherche et développement, d’investissement 6.5 Rapport spécial des Commissaires et de fi nancement 15 aux comptes sur les conventions et engagements réglementés 244 2.6 Commentaires sur la performance 2017/2018 en données non-IFRS 17 6.6 Résultats d’Ubisoft (société mère) au cours des cinq derniers exercices 246 2.7 Perspectives 20 7 3 Information sur la Société Risques et contrôle interne 21 et le capital 247 3.1 Facteurs de risques 22 7. -
Playing to Death • Ken S
Playing to Death • Ken S. McAllister and Judd Ethan Ruggill The authors discuss the relationship of death and play as illuminated by computer games. Although these games, they argue, do illustrate the value of being—and staying—alive, they are not so much about life per se as they are about providing gamers with a playground at the edge of mortality. Using a range of visual, auditory, and rule-based distractions, computer games both push thoughts of death away from consciousness and cultivate a percep- tion that death—real death—is predictable, controllable, reasonable, and ultimately benign. Thus, computer games provide opportunities for death play that is both mundane and remarkable, humbling and empowering. The authors label this fundamental characteristic of game play thanatoludism. Key words: computer games; death and play; thanatoludism Mors aurem vellens: Vivite ait venio. —Appendix Vergiliana, “Copa” Consider here a meditation on death. Or, more specifically, a meditation on play and death, which are mutual and at times even complementary pres- ences in the human condition. To be clear, by meditation we mean just that: a pause for contemplation, reflection, and introspection. We do not promise an empirical, textual, or theoretical analysis, though there are echos of each in what follows. Rather, we intend an interlude in which to ponder the interconnected phenomena of play and death and to introduce a critical tool—terror manage- ment theory—that we find helpful for thinking about how play and death interact in computer games. Johan Huizinga (1955) famously asserted that “the great archetypal activi- ties of human society are all permeated with play from the start” (4). -
Ubisoft's Assassin's Creed Valhalla Delivers Massive Day One Player
UBISOFT’S ASSASSIN’S CREED VALHALLA DELIVERS MASSIVE DAY ONE PLAYER ENGAGEMENT Critically Acclaimed as “Ubisoft’s Best Assassin's Creed to Date" 1, Assassin’s Creed Valhalla Doubles Assassin’s Creed Odyssey’s Players on Launch Day Paris, France — November 12, 2020 — Today, Ubisoft® announced exceptional player activity for Assassin’s Creed® Valhalla, the latest iteration of the Assassin’s Creed franchise, released on November 10. The number of active players on launch day for Assassin’s Creed Valhalla doubled that of Assassin’s Creed Odyssey, a trend that is expected to continue as sales of the new generation of consoles increase. A testament to Assassin’s Creed Valhalla delivering on players’ expectations for its fascinating world and immersive narrative, the game has reached high levels of viewership and engagement on Twitch and YouTube that surpass any Ubisoft game launch to date. “We are humbled by the reception from the players and extremely proud of what our teams have accomplished with Assassin’s Creed Valhalla, which builds on the amazing success of its predecessors,” said Yves Guillemot, Ubisoft co-founder and CEO. “In the context of COVID-19, shipping Assassin’s Creed Valhalla on no less than seven platforms is an incredible achievement for all of the teams involved around the world. We are excited to greet players on Xbox Series X|S and PlayStation 5 with a game that unleashes the power of the new hardware. This paves the way for an exciting holiday, with Assassin’s Creed Valhalla set to be one of this season’s biggest hits.” The successful launch of Assassin’s Creed Valhalla once again demonstrates Ubisoft’s achievement in continuing to drive the franchise forward. -
Ubisoft® Berlin to Open Early 2018 and Collaborate on Far Cry® Series
UBISOFT® BERLIN TO OPEN EARLY 2018 AND COLLABORATE ON FAR CRY® SERIES Istvan Tajnay assigned as Studio Manager Düsseldorf, Germany, November 16 2017 – Today Ubisoft revealed further information regarding its new development studio in Berlin; the team will be focusing on collaborating on big Ubisoft brands, starting with the award-winning Far Cry series. Istvan Tajnay has been nominated Studio Manager of the studio, reporting to Benedikt Grindel, Managing Director of Ubisoft Blue Byte. Istvan has been working at Ubisoft Blue Byte since 2012, most recently as Studio Operations Director. The Berlin studio will open its doors at the beginning of 2018. “We are thrilled to be opening the doors to Ubisoft Berlin, and working on the Far Cry series together with other Ubisoft teams”, says Istvan Tajnay, Studio Manager, Ubisoft Berlin. “In the first year, we will build a core team of around 50 developers drawing on all areas of expertise. We are currently recruiting for these positions and the reception so far is overwhelmingly positive and candidates are of a very high calibre.” The new studio is located in the centre of Berlin, only a few minutes’ walk away from the famous shopping street Kurfürstendamm, the Berlin Zoo and the Kaiser Wilhelm Memorial Church. “As part of Ubisoft’s global growth strategy, we have high hopes to continue to build up our teams in Ubisoft Berlin in the coming years. However, this growth also depends on the future development of funding video games in Germany”, says Benedikt Grindel, Managing Director, Ubisoft Blue Byte. “I am confident that we have found a strong studio head in Istvan Tajnay who is ready to take on this challenge.