Casual Games Leader's Quest for Golden Eggs
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Redeye-Gaming-Guide-2020.Pdf
REDEYE GAMING GUIDE 2020 GAMING GUIDE 2020 Senior REDEYE Redeye is the next generation equity research and investment banking company, specialized in life science and technology. We are the leading providers of corporate broking and corporate finance in these sectors. Our clients are innovative growth companies in the nordics and we use a unique rating model built on a value based investment philosophy. Redeye was founded 1999 in Stockholm and is regulated by the swedish financial authority (finansinspektionen). THE GAMING TEAM Johan Ekström Tomas Otterbeck Kristoffer Lindström Jonas Amnesten Head of Digital Senior Analyst Senior Analyst Analyst Entertainment Johan has a MSc in finance Tomas Otterbeck gained a Kristoffer Lindström has both Jonas Amnesten is an equity from Stockholm School of Master’s degree in Business a BSc and an MSc in Finance. analyst within Redeye’s tech- Economic and has studied and Economics at Stockholm He has previously worked as a nology team, with focus on e-commerce and marketing University. He also studied financial advisor, stockbroker the online gambling industry. at MBA Haas School of Busi- Computing and Systems and equity analyst at Swed- He holds a Master’s degree ness, University of California, Science at the KTH Royal bank. Kristoffer started to in Finance from Stockholm Berkeley. Johan has worked Institute of Technology. work for Redeye in early 2014, University, School of Business. as analyst and portfolio Tomas was previously respon- and today works as an equity He has more than 6 years’ manager at Swedbank Robur, sible for Redeye’s website for analyst covering companies experience from the online equity PM at Alfa Bank and six years, during which time in the tech sector with a focus gambling industry, working Gazprombank in Moscow he developed its blog and on the Gaming and Gambling in both Sweden and Malta as and as hedge fund PM at community and was editor industry. -
Annual Report 2018 1002 Year 2018 Ceo’S Review Operating Environment Rovio As an Investment Strategy Business Model Responsibility Governance Financial Statements
2018ANNUAL REPORT YEAR 2018 CEO’S REVIEW OPERATING ENVIRONMENT ROVIO AS AN INVESTMENT STRATEGY BUSINESS MODEL RESPONSIBILITY GOVERNANCE FINANCIAL STATEMENTS CONTENT Rovio in brief .................................................. 1 Highlights of the year ..................................... 2 CEO’s review ................................................... 3 Operating enviroment ..................................... 6 Rovio as an investment ................................. 10 Rovio’s strategy ............................................ 12 Business model ............................................ 15 Games business unit ..................................... 19 Brand Licensing business unit ...................... 30 Rovians ......................................................... 34 Responsibility ............................................... 36 Board of Directors ........................................ 39 Leadership team ........................................... 42 Corporate Governance statement ................. 46 Remuneration report .................................... 55 Financial statements .................................... 60 Report of the Board of Directors ................... 61 For shareholders ........................................ 150 ANNUAL REPORT 2018 1002 YEAR 2018 CEO’S REVIEW OPERATING ENVIRONMENT ROVIO AS AN INVESTMENT STRATEGY BUSINESS MODEL RESPONSIBILITY GOVERNANCE FINANCIAL STATEMENTS RevenueRevenue, , RevenueRevenue, , Revenue per segment, AdjustedAdjusted EBITDA EBITDA, , AdjustedAdjusted EBIT EBIT,, -
Casual Resistance: a Longitudinal Case Study of Video Gaming's Gendered
Running Head: CASUAL RESISTANCE Casual resistance: A longitudinal case study of video gaming’s gendered construction and related audience perceptions Amanda C. Cote This is an Accepted Manuscript of an article published by Oxford Academic in Journal of Communication on August 4, 2020, available online: https://doi.org/10.1093/joc/jqaa028 . Abstract: Many media are associated with masculinity or femininity and male or female audiences, which links them to broader power structures around gender. Media scholars thus must understand how gendered constructions develop and change, and what they mean for audiences. This article addresses these questions through longitudinal, in-depth interviews with female video gamers (2012-2018), conducted as the rise of casual video games potentially started redefining gaming’s historical masculinization. Analysis shows that participants have negotiated relationships with casualness. While many celebrate casual games’ potential for welcoming new audiences, others resist casual’s influence to safeguard their self-identification as gamers. These results highlight how a medium’s gendered construction may not be salient to consumers, who carefully navigate divides between their own and industrially-designed identities, but can simultaneously reaffirm existing power structures. Further, how participants’ views change over time emphasizes communication’s ongoing need for longitudinal audience studies that address questions of media, identity, and inclusion. Keywords: Video games, gender, game studies, feminist media studies, hegemony, casual games, in-depth interviews, longitudinal audience studies CASUAL RESISTANCE 2 Casual resistance: A longitudinal case study of video gaming’s gendered construction and related audience perceptions From comic books to soap operas, many media are gendered, associated with masculinity or femininity and with male or female audiences. -
A Casual Game Benjamin Peake Worcester Polytechnic Institute
Worcester Polytechnic Institute Digital WPI Major Qualifying Projects (All Years) Major Qualifying Projects April 2016 Storybook - A Casual Game Benjamin Peake Worcester Polytechnic Institute Connor Geoffrey Porell Worcester Polytechnic Institute Nathaniel Michael Bryant Worcester Polytechnic Institute William Emory Blackstone Worcester Polytechnic Institute Follow this and additional works at: https://digitalcommons.wpi.edu/mqp-all Repository Citation Peake, B., Porell, C. G., Bryant, N. M., & Blackstone, W. E. (2016). Storybook - A Casual Game. Retrieved from https://digitalcommons.wpi.edu/mqp-all/2848 This Unrestricted is brought to you for free and open access by the Major Qualifying Projects at Digital WPI. It has been accepted for inclusion in Major Qualifying Projects (All Years) by an authorized administrator of Digital WPI. For more information, please contact [email protected]. Storybook - A Casual Game Emory Blackstone, Nathan Bryant, Benny Peake, Connor Porell April 27, 2016 A Major Qualifying Project Report: submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Emory Blackstone Nathan Bryant Benny Peake Connor Porell Date: April 2016 Approved: Professor David Finkel, Advisor Professor Britton Snyder, Co-Advisor This report represents the work of one or more WPI undergraduate students. Submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its web site without editorial -
What Is Casual Gaming?
CHAPTER ONE What Is Casual Gaming? Over the past several years, the term “ casual game ” has been bandied about quite a bit. It gets used to describe so many different types of games that the definition has become rather blurred. But if we look at all of the ways that “ casual ” gets used, we can begin to tease out common elements that inform the design of these games: ● Rules and goals must be clear. ● Players need to be able to quickly reach proficiency. ● Casual game play adapts to a player’s life and schedule. ● Game concepts borrow familiar content and themes from life. While all game design should take these issues into account, these elements are of particular importance if you want to reach a broad audience beyond traditional gamers. This book will look at elements that a wide array of casual games share and draw out common lessons for approaching game design. Hopefully it will be of use not just to casual game designers, but to all game designers and even general experience designers as well. Everywhere you look these days, you see impact of casual games. More than 200 million people play casual games on the Internet, according to the Casual Games Association. This audience generated revenues in excess of $2.25 billion in 2007. 1 This may seem meager compared to the $41 billion posted by the entire game indus- try worldwide,2 but casual games currently rank as one of the fastest growing sec- tors of the game industry. As growth in the rest of the industry stagnated, the casual downloadable market barreled ahead. -
Fighting Games, Performativity, and Social Game Play a Dissertation
The Art of War: Fighting Games, Performativity, and Social Game Play A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Todd L. Harper November 2010 © 2010 Todd L. Harper. All Rights Reserved. This dissertation titled The Art of War: Fighting Games, Performativity, and Social Game Play by TODD L. HARPER has been approved for the School of Media Arts and Studies and the Scripps College of Communication by Mia L. Consalvo Associate Professor of Media Arts and Studies Gregory J. Shepherd Dean, Scripps College of Communication ii ABSTRACT HARPER, TODD L., Ph.D., November 2010, Mass Communications The Art of War: Fighting Games, Performativity, and Social Game Play (244 pp.) Director of Dissertation: Mia L. Consalvo This dissertation draws on feminist theory – specifically, performance and performativity – to explore how digital game players construct the game experience and social play. Scholarship in game studies has established the formal aspects of a game as being a combination of its rules and the fiction or narrative that contextualizes those rules. The question remains, how do the ways people play games influence what makes up a game, and how those players understand themselves as players and as social actors through the gaming experience? Taking a qualitative approach, this study explored players of fighting games: competitive games of one-on-one combat. Specifically, it combined observations at the Evolution fighting game tournament in July, 2009 and in-depth interviews with fighting game enthusiasts. In addition, three groups of college students with varying histories and experiences with games were observed playing both competitive and cooperative games together. -
Docuware Generated
DIPLOMARBEIT Titel der Diplomarbeit „Von ,Tennis for Two’ zu ,Angry Birds’. Ein medienhistorischer Überblick des Social Gaming.“ verfasst von Astrid Löffler angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2015 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Diplomstudium Theater-, Film- und Medienwissenschaft Betreut von: Mag. Dr. habil. Ramón Reichert INHALTSVERZEICHNIS: I. Einleitung und Begriffsklärung 1 II. Definition(-en) des Spiels im Allgemeinen 2 1) Understanding Media – The extensions of man 2 2) Homo ludens 4 3) Maske und Rausch, die Spiele und die Menschen 10 a) Agôn 11 b) Alea 12 c) Mimicry 13 d) Illinx 14 III. Eine kurze Geschichte der ersten Computer 17 IV. Genrekategorisierung des Computerspiels 20 1) Action 20 2) Adventure 23 3) Strategie 27 V. Begriffsklärung Social Gaming 29 VI. Das gemeinsame Spiel am gleichen Ort 31 1) Die ersten spielerischen Begegnungen zwischen Mensch und Maschine 31 2) Die Arcades erobern das Wohnzimmer – Spielkonsolen 35 a) Der Famicom und Super Mario 38 b) Weitere Konsolen 39 c) Erschließung neuer Konsumentengruppen –Guitar Hero, Buzz!, Wii Balance-Board 42 i) Guitar Hero 45 ii) Buzz! 47 iii) Wii Balance-Board 49 3) Portable Geräte – Handhelds 51 a) Pokémon 54 b) Weitere Entwicklung des Handhelds 57 4) LAN-Partys und e-Sports 59 a) Ein kurzer Überblick über die Geschichte des Heimcomputers 59 b) LAN-Partys 67 c) e-Sports 68 VII. Das gemeinsame Spiel an verschiedenen Orten 72 1) Social Network Games – von AOL bis Facebook 72 a) Q-Link und AOL 73 i) Habitat 74 ii) ICQ und Warsheep 77 b) Facebook 78 i) Zynga 79 ii) King.com 87 2) Spielespezifische Social Networks 90 a) Von MUD1 zu WoW 91 i) MUDs am Beispiel von MUD1 92 ii) MMORPGs am Beispiel von WoW 93 b) Second Life 98 3) Smartphone-Games 99 VIII. -
Hardware & Esports at the Core Of
Hardware & Esports at the Core of 1. The mobile gaming 4 opportunity 2. Immersion and competition are key 9 trends 3. Hardware facilitates 20 and drives mobile trends Fast-rising hardware capabilities facilitate new game formats COMPETITIVE FREE-TO-PLAY Competitive mobile games and mobile esports MULTIPLAYER GAMES AS A SERVICE continue to rise in popularity, taking an increasing share of gamers’ time and money. With new cross- IMPROVED platform innovations, mobile gamers now have the HARDWARE possibility to play and compete directly with PC and IMMERSIVE console gamers. At the same time, mobile games SINGLE PLAYER SPECIFICATIONS have become more immersive, offering realistic and engrossing game environments and experiences. The convergence of these two trends, made possible by fast-rising hardware capabilities, has paved the way MAXIMUM for new game genres such as battle royale to emerge GAMING and thrive. EXPERIENCE In this report, we explore the mobile gaming opportunity and how the desire for increasingly core, competitive, and sophisticated experiences on mobile has led hardware brands such as Razer and Asus to release dedicated mobile gaming devices. PAY-TO-PLAY © 2018 NEWZOO GAMES AS A PRODUCT MAXIMUM VIEWING JELLE KOOISTRA EXPERIENCE Head of Market Analysts © Newzoo 2018 3 1. THE MOBILE GAMING OPPORTUNITY Global games market revenue forecast | Per device and segment MOBILE PC $70.3Bn $32.9Bn +25.5% YoY +1.6% YoY 3% 24% TABLET GAMES 10% BROWSER PC GAMES $13.9Bn 21% $4.3Bn Mobile games will account for +13.1% YoY -13.9% YoY 2018 TOTAL BOXED/ (SMART)PHONE 51% $137.9Bn DOWNLOADED GAMES PC GAMES +13.3% of the global $56.4Bn 41% YoY $28.6Bn games market this year. -
“Hardcore” Video Game Culture Joseph A
Proceedings of the New York State Communication Association Volume 2013 Proceedings of the 71st New York State Article 7 Communication Association 2014 The aH rdcore Scorecard: Defining, Quantifying and Understanding “Hardcore” Video Game Culture Joseph A. Loporcaro St. John Fisher College, [email protected] Christopher R. Ortega [email protected] Michael J. Egnoto [email protected] Follow this and additional works at: http://docs.rwu.edu/nyscaproceedings Part of the Mass Communication Commons Recommended Citation Loporcaro, Joseph A.; Ortega, Christopher R.; and Egnoto, Michael J. (2014) "The aH rdcore Scorecard: Defining, Quantifying and Understanding “Hardcore” Video Game Culture," Proceedings of the New York State Communication Association: Vol. 2013, Article 7. Available at: http://docs.rwu.edu/nyscaproceedings/vol2013/iss2013/7 This Conference Paper is brought to you for free and open access by the Journals at DOCS@RWU. It has been accepted for inclusion in Proceedings of the New York State Communication Association by an authorized administrator of DOCS@RWU. For more information, please contact [email protected]. Loporcaro et al.: The Hardcore Scorecard The Hardcore Scorecard: Defining, Quantifying and Understanding “Hardcore” Video Game Culture Joseph A. Loporcaro, Christopher R. Ortega, Michael J. Egnoto St. John Fisher College __________________________________________________________________ The goal of the current study is to further conceptualize and define the term “hardcore” as it relates to video game culture. Past research indicates that members of cultural subdivisions favor their own group versus others due to perceived commonalities (Durkheim, 1915; Tajfel, 1970). In gaming culture, the subdivisions of “hardcore” and “casual” games/gamers have become especially salient in recent years. -
The User Engagement Top 100 Report in Mobile Gaming
The 2017 User Engagement Top 100 Report Mobile Gaming Table of Contents Introduction ··································································· 3 Key Takeaways ································································ 4 Methodology ·································································· 5 Push Strategy Adoption of the Top 100 Mobile Games How They Were Sent: Permission Requests ······················· 6 Who Sent Them: Game Genre Breakdown ························· 7 When They Were Sent: Push Timing ································· 8 What Was Sent: Message Content ·································· 10 Missed Opportunities ····················································· 16 Summary ······································································ 17 About Iterable ······························································· 18 Appendix ······································································ 19 2 Introduction Whenever new market research discusses mobile applications, gaming dominates the conversation. Here are just a few mind-boggling stats about the impact of this industry. \ 62 percent of smartphone owners install How are game publishers able to keep customers games within a week of getting their phones, a so engaged? In this report, we analyzed the push higher percentage than any other type of app. messaging strategies adopted by the top 100 freemium mobile games in the United States to study \ Consumers spent $41 billion on mobile games how they communicate with their customers. -
Digital Distribution and Games As a Service
Science and Technology Law Review Volume 16 Number 1 Article 14 2013 Digital Distribution and Games as a Service Marco Mereu Patrick Hudson Steve Nix J. J. Richards Follow this and additional works at: https://scholar.smu.edu/scitech Recommended Citation Marco Mereu et al., Digital Distribution and Games as a Service, 16 SMU SCI. & TECH. L. REV. 25 (2013) https://scholar.smu.edu/scitech/vol16/iss1/14 This Article is brought to you for free and open access by the Law Journals at SMU Scholar. It has been accepted for inclusion in Science and Technology Law Review by an authorized administrator of SMU Scholar. For more information, please visit http://digitalrepository.smu.edu. Digital Distribution and Games as a Service SYMPOSIUM PANEL I Panelists Mr. Marco Mereu, uCool Mr. Patrick Hudson, Robot Entertainment Mr. Steve Nix, GameStop Mr. JJ Richards, MOGA Dean John Attanasio: Good morning. My name is John Attanasio, and I am Dean of the SMU Dedman School of Law.' It is my pleasure to welcome you here this morn- ing. The law school has a very rich intellectual life, not only in the class- room, but also outside the classroom. On January 28-29, 2013, Justice Antonin Scalia visited SMU as a Dis- tinguished Jurist in Residence.2 Our own Professor Bryan Garner joined him on January 28 in presenting their book3 to a sold-out audience.4 This is our fifth time doing this event. It is one of my favorite events of the year, in part because it is always a very rich conference, but mostly because I am an avid gamer myself. -
\\ Investment Highlights Business Description Market Cap. $11.41B P
Consumer Discretionary Sector, Toy and Game Industry NASDAQ Stock Exchange \\ Hasbro Inc. Date: 04/16/2018 Current Price: $88.26 (04/16/2018) Recommendation: BUY Ticker - NASDAQ: HAS Headquarters: Pawtucket, RI Target Price: $112.69 (27.7% Upside) Investment Highlights Figure 1 – Share Price We recommend a BUY rating for Hasbro Inc. based on a 1-year target price of $112.69 per share. Our target price offers a 27.7% margin of safety based on its closing price of $88.26 on April 16, 2018. The following factors are the main drivers of our investment recommendation: Strong Industry Outlook & Positioning The global Toy and Game industry is poised for consistent growth in both developed and emerging markets, and the Digital Gaming and Entertainment space is expanding rapidly. Hasbro’s brand portfolio and strategy effectively places it at the center of this growth. Brand Storytelling Source: Bloomberg Hasbro’s strongest asset is their ability to tell stories that drive engagement and grow their brands. Its ability to leverage its ecosystem of products, content, and media to create emotional connections and drive engagement make it a standout. Figure 2 – Valuation Weighting Industry Leading Brand Portfolio Base Case Valuation Hasbro possesses an industry leading entertainment and play brand portfolio especially suited to a DCF 50% $ 102.43 broad range of users. Other industry players have struggled with, or have just began creating such Comps 50% $ 122.94 a portfolio. Price Per Share $ 112.69 Margin of Safety @ 88.26 27.7% Effective Multi-Platform Brand Strategy Source: Company Data + Team Analysis Hasbro’s Brand Blueprint and “Share of Life” strategy has allowed it to expand the profitability and earning potential of its brand portfolio by leveraging film, television and digital gaming media in addition to traditional toys and games.