Guide 2020 Games from Spain

Total Page:16

File Type:pdf, Size:1020Kb

Guide 2020 Games from Spain GUIDE GAMES 2020 FROM SPAIN Message from the CEO of ICEX Spain Trade and Investment Dear reader, We are proud to present the new edition of our “Guide to Games from Spain”, a publication which provides a complete picture of Spain’s videogame industry and highlights its values and its talent. This publication is your ultimate guide to the industry, with companies of various sizes and profiles, including developers, publishers and services providers with active projects in 2020. GAMES Games from Spain is the umbrella brand created and supported by ICEX Spain Trade and Investment to promote the Spanish videogame industry around the globe. You are cordially invited to visit us at our stands at leading global events, such us Game Con- nection America or Gamescom, to see how Spanish videogames are playing in the best global production league. Looking forward to seeing you soon, ICEX María Peña SPAIN TRADE AND INVESTMENT ICT AND DIGITAL CONTENT DEPARTMENT +34 913 491 871 [email protected] www.icex.es GOBIERNO MINISTERIO DE ESPAÑA DE INDUSTRIA, COMERCIO Y TURISMO EUROPEAN REGIONAL DEVELOPMENT FUND A WAY TO MAKE EUROPE GENERAL INDEX ICEX | DISCOVER GAMES FROM SPAIN 6 SPANISH VIDEOGAME INDUSTRY IN FIGURES 8 INDEX 10 DEVELOPERS 18 PUBLISHERS 262 SERVICES 288 DISCOVER www.gamesfromspain.com GAMES FROM SPAIN Silvia Barraclough Head of Videogames Animation and VR/AR ICEX, Spain Trade and Investment in collaboration with [email protected] DEV, the Spanish association for the development and +34 913 491 871 publication of games and entertainment software, is proud to present its Guide to Games from Spain 2020, the perfect way to discover Spanish games and com- panies at a glance. This publication introduces you to companies of va- rious sizes: reliable partners, studios with experience of working with some of the biggest names in global pu- blishing, independent developers and publishers and also cutting-edge videogame technology and services providers. You will find more companies and updated information in the online catalogue at www.gamesfromspain.com ICEX, Spain Trade and Investment is the Spanish go- vernment agency for the internationalization of trade. We look forward to working with you. GOBIERNO MINISTERIO DE ESPAÑA DE INDUSTRIA, COMERCIO Y TURISMO 6 7 SPANISH VIDEOGAME INCENTIVES FOR R&D R&D TAX DEDUCTION INDUSTRY IN FIGURES SPAIN 25% AND TECHNOLOGICAL CANARY ISLANDS 25% INNOVATION ACTIVITIES NAVARRE NUMBER OF GAME DEVELOPMENT COMPANIES COMPANIES 520 40% EMPLOYMENT (DIRECT) PERSONS 6.900 INNOVATION TAX DEDUCTION SPAIN TURNOVER / YEAR 813 M€ TAX DEDUCTION FOR R&D 12% CANARY ISLANDS NEW PRODUCTIONS PER YEAR NEW GAMES RELEASED PER YEAR 1.000 45% 25% on: the expenditure on research and development NAVARRE % COMPANIES DEVELOPING OWN IP 86% 15% and investment in fixed assets, excluding land & buil- % COMPANIES OUTSOURCING 46% dings; depreciation; collaboration (including work out- % OF PRODUCTION EXPORTED 100% sourced to other EU states); expenses incurred in Spain TOTAL EXPORT TURNOVER 528 M€ 65% in relation to the activity. MAIN EXPORT REGIONS (% EXPORT TURNOVER) NORTH AMERICA 26% - 42% if the sum exceeds the average for the previous REST EUROPE 22% year, plus 17% personnel expenses + 17% average ASIA - PACIFIC 10% surplus expenses + 8% equipment purchases. - 40% in Navarre 2 STATE-FUNDED AID PROGRAMMES TAX DEDUCTION FOR TECH FOR GAME DEVELOPMENT COMPANIES INNOVATION ACTIVITIES 12% on: expenses incurred in the tax period directly re- BODY AID TYPE PROGRAMME BUDGET MAX FUNDING PER COMPANY lated to said activities (tech analysis, industrial design, etc.); expenses incurred in execution; other expenses RED.ES GRANT 5 M€ (2019) 150 K € MINISTRY OF ECONOMY incurred in Spain and/or the EU; expenses itemized by AND BUSINESS specific projects. MINISTRY OF CULTURE GRANT 1,94 M€ (2019) 100 K€ - 45% in Canary Islands 3 AND SPORT FOR ALL CULTURAL 4 AND CREATIVE INDUSTRIES - 15% in Navarre ICEC LOAN + GRANT 280.000 € (1st call 2020) 75% OF ACCEPTED BUDGET In both cases, tax relief shall not exceed 25% of the (REPAYABLE CONTRIBUTIONS) 280.000 € (2nd call 2020 TBC) MAX. 500.000 € total tax liability, after deducting allowances. ICEC GRANT 100.000 € 3.500 € 1 The limit shall be 50% if expenses are less than 10% Article 35 of Law 27/2014, of 27 November, on Cor- (TO BE SPENT IN CONSULTANCY poration Tax (BOE 11/28/2014, updated 04/07/2018) SERVICES) of the total tax liability after deducting the allowances. 2 Statutory Law 26/2016 of 30 December, on Corpo- ICEC PARTICIPATIVE LOANS (FOR START-UP 4.8M*€ 40.000 – 200.000€ ration Tax COMPANIES FROM DIGITAL CULTURAL INDUSTRIES) 3 Royal Decree-Law 15/2014 of 19 December ICEC INTERNATIONALIZATION 20.000 € 50% OF ACCEPTED EXPENSES 4 Statutory Law 26/2016 of 30 December, on Corpo- MAX. 5.000 € ration Tax MADRID REGION GRANT 250 k€ (2020) 25 K€ 8 9 INDEX COMPANIES GAMES FROM SPAIN DEVELOPERS INDEX DEVELOPERS COMPANIES ACTIVITIES CONSULTANCY DEALERS DEVELOPERS FINANCING GAME PORTING MARKETING & PR OTHERS OUTSOURCING PUBLISHERS QA SOUND AND MUSIC AND LOCALIZATION TRANSLATION USER ACQUISITION UX PAGES 3D2 ENTERTAINMENT 20 AHEARTFULOFGAMES 22 ALPIXEL GAMES 24 ALTERED MATTER 26 ANARKADE 28 ANDROMEDA PROJECT 30 ANOTHER COFFEE 32 ARTIFICIALBYTES GAME STUDIO 34 AWEKTEAM-TOWER PRINCESS 36 AXESINMOTION 38 BARSPIN STUDIOS 40 BEAUTIFUN GAMES 42 BERLIN BY TEN 44 BLACKCHILIGOAT STUDIO 46 BOOMBOX 48 BRYTENWALDA STUDIOS 50 CAETRA STUDIOS 52 CATNESS GAME STUDIOS 54 CHLOROPLAST GAMES 56 CKOLMOS 58 gamesfromspain.com CODIGAMES 60 CONCANO GAMES 62 CORSEGAMES 64 CREMA 66 CUICUI STUDIOS 68 CUT-OUT STUDIO 70 DAYDREAM SOFTWARE 72 DEVILISHGAMES 74 DIDACTOONS 76 DIGITAL LEGENDS ENTERTAINMENT 78 DIGITAL SUN GAMES 80 DR. KUCHO! GAMES 82 DRAKHAR STUDIO 84 DREAMLIGHT GAMES 86 DROP OF PIXEL 88 ECLIPSE GAMES 90 ESTUDIO ABREGO 92 ESTUDIOFUTURE 94 ETHEREAL PSYCHE GAMES 96 ETHEREAL’S FLOW 98 EVEHO 100 EVIL ZEPPELIN 102 12 13 DEVELOPERS DEVELOPERS COMPANIES ACTIVITIES CONSULTANCY DEALERS DEVELOPERS FINANCING GAME PORTING MARKETING & PR OTHERS OUTSOURCING PUBLISHERS QA SOUND AND MUSIC AND LOCALIZATION TRANSLATION USER ACQUISITION UX PAGES COMPANIES ACTIVITIES CONSULTANCY DEALERS DEVELOPERS FINANCING GAME PORTING MARKETING & PR OTHERS OUTSOURCING PUBLISHERS QA SOUND AND MUSIC AND LOCALIZATION TRANSLATION USER ACQUISITION UX PAGES FICTIORAMA STUDIOS 104 POLYGONE STUDIOS 188 FIVEXGAMES 106 RAINY NIGHT CREATIONS 190 FLUXART STUDIOS 108 RALIGHT SOFTWARE 192 FLYING BEAST LABS 110 RAWR LAB 194 FLYNN’S ARCADE 112 RECOTECHNOLOGY 196 FRAXEL GAMES 114 RGAMES 198 FROM THE BENCH 116 RISIN’ GOAT 200 FROST MONKEY 118 RISING PIXEL 202 GAMMERA NEST 120 SANDBLOOM STUDIO 204 GATO STUDIO 122 SILENT ROAD GAMES 206 GROGSHOT GAMES 124 SINGULAR GAMES 208 HEROBEAT STUDIOS 126 SONS OF A BIT 210 HERRERO GAMES 128 STAGE CLEAR STUDIOS 212 ICTION GAMES 130 STARCRUISER STUDIO 214 INFINITEGAMES 132 STARLOOP STUDIOS 216 KAIJU GAMES 134 SVC GAMES 218 KENDAIGAMES 136 TALE STUDIOS 220 KORON STUDIOS 138 TANGIBLEFUN 222 KRAKEN EMPIRE 140 TAP TAP TALES 224 LIFE ZERO 142 TEKU STUDIOS 226 LINCE WORKS 144 TEQUILA WORKS 228 LIQUID GAMES 146 TESSERA STUDIOS 230 LUNATIC PIXELS 148 THE BREACH STUDIOS 232 MAD GEAR GAMES 150 THE GAME KITCHEN 234 MAD TRIANGLES 152 THE GREYSKULL COMPANY 236 MAJORARIATTO 154 THERION GAMES 238 MANGO PROTOCOL 156 TIMELESS GAMES INCORPORATED 240 MECHANICAL BOSS 158 TITAN DEEP SPACE COMPANY 242 MELBOT 160 TROGLOBYTES GAMES 244 MERCURYSTEAM 162 UNFINISHED PIXEL 246 METEORBYTE STUDIOS 164 UNMEMORY GAME 248 MIGHTY POLYGON 166 UPLAY ONLINE 250 NADA STUDIO 168 UPRISING STUDIOS 252 NANKU GAMES 170 UPWARE STUDIOS 254 NOXFALL STUDIOS 172 WINDLANDERS STUDIO 256 OMNIUM LAB 174 XTASY GAMES 258 ORENJI GAMES 176 ZEROUNO GAMES 260 PIRITA STUDIO 178 PLATONIC GAMES 180 PLAY&GO 182 PLAYMEDUSA 184 PLAYSTARK 186 14 15 PUBLISHERS SERVICES INDEX INDEX PUBLISHERS SERVICES COMPANIES ACTIVITIES CONSULTANCY DEALERS DEVELOPERS FINANCING GAME PORTING MARKETING & PR OTHERS OUTSOURCING PUBLISHERS QA SOUND AND MUSIC AND LOCALIZATION TRANSLATION USER ACQUISITION UX PAGES COMPANIES ACTIVITIES CONSULTANCY DEALERS DEVELOPERS FINANCING GAME PORTING MARKETING & PR OTHERS OUTSOURCING PUBLISHERS QA SOUND AND MUSIC AND LOCALIZATION TRANSLATION USER ACQUISITION UX PAGES A1000CASTLES 264 : TAPPX 290 ABYLIGHT STUDIOS 266 ANTIDOTE 291 BADLAND PUBLISHING 268 BLADE 292 BLITWORKS 270 BLITWORKS 293 GAME TROOPERS 272 BRINTIA 294 GENERA GAMES 274 DATALAWYERS 295 JANDUSOFT 276 ELITE3D 296 RAISER GAMES 278 ELZEROUNO 297 TANGELO GAMES | WWW.MUNDIJUEGOS.COM 280 GAMEBCN 298 TEXYON GAMES 282 GEOMOTION GAMES 299 ZEROUNO GAMES 284 INUSUAL INTERACTIVE 300 ZIG ZAG GAMES 286 JALEO 301 KRILL AUDIO 302 LAB CAVE 303 LBK - IMMERSIVE AUDIO PRODUCTION 304 LOCALSOFT 305 LOLLIPOP ROBOT 306 MEDIASMART 307 MODULATION MUSIC 308 PINK NOISE 309 PLASTIC SCM 310 SHU DIGITAL 311 SOGITECK 312 SUPER SQUAD 313 SUPERINDIE.GAMES 314 TEA - TOP ENTERTAINMENT AGENCY 315 VEHICLE PHYSICS PRO 316 WORDLAB 317 ZEEWAVE SOUND 318 16 17 GAMES FROM SPAIN DEVELOPERS DEVELOPERS 3D2 ENTERTAINMENT ARIMA 3D2 Entertainment was created by a group of young artists with a common idea: creating games focused on playability as a main goal, which led to forming an independent videogame studio in Barcelona in Novem- ber 2011. CONTACT http://3d2entertainment.com Xavi Amezqueta [email protected] Dani Gálvez [email protected] Nou, 116 08620 Sant Vicenç dels Horts Barcelona. SPAIN +34 646 975 548 [email protected] PLATFORMS GENRE Arima is a Musical-ActionRPG which narrative and objectives are visually and _________ PC Windows Action sound marked. It is an Adventure set in a fantastic world that combines ele- PS4 Musical ments from different genres such as platforms, JRPG and puzzles. The player ACTIVITIES Switch RPG will live an auditory experience, where all the mechanics revolve around music, DEVELOPERS highlighting an agile combat system that combines skill, rhythm and strategy. STATUS Production __________ PUBLICATION 2019 LOOKING FOR PUBLISHERS FINANCING MARKETING & PR 20 21 DEVELOPERS AHEARTFULOFGAMES HEART&SLASH Aheartfulofgames is a small indie studio that was born with the objective of making innovative, offbeat games using a collaborative partnership approach to produc- tion.
Recommended publications
  • Procedural Content Generation for Games
    Procedural Content Generation for Games Inauguraldissertation zur Erlangung des akademischen Grades eines Doktors der Naturwissenschaften der Universit¨atMannheim vorgelegt von M.Sc. Jonas Freiknecht aus Hannover Mannheim, 2020 Dekan: Dr. Bernd L¨ubcke, Universit¨atMannheim Referent: Prof. Dr. Wolfgang Effelsberg, Universit¨atMannheim Korreferent: Prof. Dr. Colin Atkinson, Universit¨atMannheim Tag der m¨undlichen Pr¨ufung: 12. Februar 2021 Danksagungen Nach einer solchen Arbeit ist es nicht leicht, alle Menschen aufzuz¨ahlen,die mich direkt oder indirekt unterst¨utzthaben. Ich versuche es dennoch. Allen voran m¨ochte ich meinem Doktorvater Prof. Wolfgang Effelsberg danken, der mir - ohne mich vorher als Master-Studenten gekannt zu haben - die Promotion an seinem Lehrstuhl erm¨oglichte und mit Geduld, Empathie und nicht zuletzt einem mir unbegreiflichen Verst¨andnisf¨ur meine verschiedenen Ausfl¨ugein die Weiten der Informatik unterst¨utzthat. Sie werden mir nicht glauben, wie dankbar ich Ihnen bin. Weiterhin m¨ochte ich meinem damaligen Studiengangsleiter Herrn Prof. Heinz J¨urgen M¨ullerdanken, der vor acht Jahren den Kontakt zur Universit¨atMannheim herstellte und mich ¨uberhaupt erst in die richtige Richtung wies, um mein Promotionsvorhaben anzugehen. Auch Herr Prof. Peter Henning soll nicht ungenannt bleiben, der mich - auch wenn es ihm vielleicht gar nicht bewusst ist - davon ¨uberzeugt hat, dass die Erzeugung virtueller Welten ein lohnenswertes Promotionsthema ist. Ganz besonderer Dank gilt meiner Frau Sarah und meinen beiden Kindern Justus und Elisa, die viele Abende und Wochenenden zugunsten dieser Arbeit auf meine Gesellschaft verzichten mussten. Jetzt ist es geschafft, das n¨achste Projekt ist dann wohl der Garten! Ebenfalls geb¨uhrt meinen Eltern und meinen Geschwistern Dank.
    [Show full text]
  • Digital Games As a Context for Children's Cognitive Development
    Volume 32, Number 1 | 2019 Social Policy Report Digital Games as a Context for Children’s Cognitive Development: Research Recommendations and Policy Considerations Fran C. Blumberg, Fordham University Kirby Deater-Deckard, University of Massachusetts-Amherst Sandra L. Calvert, Georgetown University Rachel M. Flynn, Northwestern University C. Shawn Green, University of Wisconsin-Madison David Arnold, University of Massachusetts-Amherst Patricia J. Brooks, College of Staten Island & The Graduate Center, CUNY ABSTRACT We document the need to examine digital game play and app use as a context for cognitive development, particularly during middle childhood. We highlight this developmental period as 6- through 12- year olds comprise a large swath of the preadult population that plays and uses these media forms. Surprisingly, this age range remains understudied with regard to the impact of their interactive media use as compared to young children and adolescents. This gap in knowledge about middle childhood may refect strong and widely held concerns about the effects of digital games and apps before and after this period. These concerns include concurrent and subsequent infuences of game use on very young children’s and adolescents’ cognitive and socioemotional functioning. We highlight here what is currently known about the impact of media on young children and adolescents and what is not known about this impact in middle childhood. We then offer recommendations for the types of research that developmental scientists can undertake to examine the effcacy of digital games within the rapidly changing media ecology in which children live. We conclude with a discussion of media policies that we believe can help children beneft from their media use.
    [Show full text]
  • The Craft of the Adventure
    The Craft of the Adventure Five articles on the design of adventure games Second edition 1 Intro duction :: ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: :::: ::2 2 In The Beginning ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: ::: 3 3 Bill of Player's Rights : ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: :7 4 A Narrative... ::: ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: :: 12 5 ...AtWar With a Crossword : : :::: ::: :::: :::: ::: :::: ::: :::: :::: :: 21 6 Varnish and Veneer : ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: :::: ::32 1 1 Intro duction 1 Intro duction Skill without imagination is craftsmanship and gives us many useful ob jects such as wickerwork picnic baskets. Imagination without skill gives us mo dern art. {Tom Stoppard, Artist Descending A Staircase Making b o oks is a skilled trade, like making clo cks. { Jean de la Bruy ere 1645-1696 If you're going to have a complicated story you must work to a map; otherwise you'll never make a map of it afterwards. {J.R.R.Tolkien 1892-1973 Designing an adventure game is b oth an art and a craft. Whereas art cannot be taught, only commented up on, craft at least can be handed down: but the tricks of the trade do not make an elegant narrative, only a catalogue. This small collection of essays is just such a string of grits of wisdom and half-baked critical opinions, whichmaywell leave the reader feeling unsatis ed. One can only say to such a reader that any book claiming to reveal the secret of how to paint, or to write novels, should be recycled at once into something more genuinely artistic, say a papier-mach e sculpture. If there is any theme here, it is that standards count: not just of comp etent co ding, but of writing.
    [Show full text]
  • Understanding the Current State of Toxicity in Battlefield V
    “ROFL F*ck You”: Understanding the Current State of Toxicity in Battlefield V By Justin Juvrud Supervisor: Dr Susann Baez Ullberg 2020 Nr 99 2 Abstract: With the birth of “virtual worlds,” created a new space for social norms to evolve and change within a subset community. This thesis focuses on toxicity within the virtual world of EA DICE’s Battlefield V title. The goal of this research is to understand toxicity on a micro scale inside the world of Battlefield V from a gaming anthropological perspective. Along with understanding what toxicity looked like within the virtual world ofBattlefield V, the thesis obtained data for how the community and EA DICE employees perceived toxicity. This research has components of interviews with these members of the communities/staff as well as a netnography of the virtual world of Battlefield V gameplay. Findings and analysis were categorized under the themes of toxic language, power/freedom, virtual world creation, and gender toxicity. Battlefield V toxicity is ever evolving and shaped by player techne (player actions). Player chat consumes the majority of toxicity and therefore diving into toxic language was vital. Understanding the player perspective of power and freedom while gaming was just the first step as the thesis also dove into the developer’s perspective and analyzed the interviews with the backbone of Malaby’s (2009) contingency concepts to see how the developers have a large role to play when it comes to toxicity in games, even if they may not realize it. Just as in the “real world” the virtual world of Battlefield V also had a major theme of gender discrimination winessed and discussed via both community members and staff members of EA DICE.
    [Show full text]
  • 009NAG – September 2012
    SOUTH AFRICA’S LEADING GAMING, COMPUTER & TECHNOLOGY MAGAZINE VOL 15 ISSUE 6 BORDERLANDS 2 COMPETITION Stuff you can’t buy anywhere! PC / PLAYSTATION / XBOX / NINTENDO PREVIEWS Sleeping Dogs Beyond: Two Souls Pikmin 3 Injustice: Gods among Us ENEMY UNKNOWN Is that a plasma rifl e in your pocket, or are you just happy to see me? ULTIMATE GAMING LOUNGE What your lounge should look like Contents Editor Michael “RedTide“ James Regulars [email protected] 10 Ed’s Note Assistant editor 12 Inbox Geoff “GeometriX“ Burrows 16 Bytes Staff writer Dane “Barkskin “ Remendes Opinion 16 I, Gamer Contributing editor Lauren “Guardi3n “ Das Neves 18 The Game Stalkerer 20 The Indie Investigatorgator Technical writer 22 Miktar’s Meanderingsrings Neo “ShockG“ Sibeko 83 Hardwired 98 Game Over Features International correspondent Miktar “Miktar” Dracon 30 TOPTOP 8 HOLYHOLY SH*TSH*T MOMENTS IN GAMING Contributors Previews Throughout gaming’s relatively short history, we’ve Rodain “Nandrew” Joubert 44 Sleeping Dogs been treated to a number of moments that very nearly Walt “Ramjet” Pretorius 46 Injustice: Gods Among Us made our minds explode out the back of our heads. Miklós “Mikit0707 “ Szecsei Find out what those are. Pippa “UnexpectedGirl” Tshabalala 48 Beyond: Two Souls Tarryn “Azimuth “ Van Der Byl 50 Pikmin 3 Adam “Madman” Liebman 52 The Cave 32 THE ULTIMATE GAMING LOUNGE Tired of your boring, traditional lounge fi lled with Art director boring, traditional lounge stuff ? Then read this! Chris “SAVAGE“ Savides Reviews Photography 60 Reviews: Introduction 36 READER U Chris “SAVAGE“ Savides The results of our recent reader survey have been 61 Short Reviews: Dreamstime.com tallied and weighed by humans better at mathematics Fotolia.com Death Rally / Deadlight and number-y stuff than we pretend to be! We’d like 62 The Secret World to share some of the less top-secret results with you.
    [Show full text]
  • An In-Depth Exploration of the Effect of 2D/3D Views and Controller Types on First Person Shooter Games in Virtual Reality
    An In-Depth Exploration of the Effect of 2D/3D Views and Controller Types on First Person Shooter Games in Virtual Reality Diego Monteiro Hai-Ning Liang¹ Jialin Wang Hao Chen Nilufar Baghaei Xi'an Jiaotong- Xi'an Jiaotong- Xi'an Jiaotong- Xi'an Jiaotong- Massey University Liverpool University Liverpool University Liverpool University Liverpool University they affect immersion [5]. Similarly, the effects of viewing types ABSTRACT on Simulator Sickness (SS) during fast-paced applications, such as The amount of interest in Virtual Reality (VR) research has First-Person Shooter (FPS) games [6]–[9], are also underexplored. significantly increased over the past few years, both in academia Players pay attention to several factors during gameplay [10], and industry. The release of commercial VR Head-Mounted [11]. In VR, the level of playability and immersion are important Displays (HMDs) has been a major contributing factor. However, considerations because they affect enjoyment and performance, especially while players are (or are not) feeling SS symptoms. there is still much to be learned, especially how views and input Playability and immersion can be affected by how the VR techniques, as well as their interaction, affect the VR experience. environment is controlled [12]–[14]. Nevertheless, we must note There is little work done on First-Person Shooter (FPS) games in that research shows that immersive technologies can hinder VR, and those few studies have focused on a single aspect of VR performance when compared to a traditional setup (i.e., monitor, FPS. They either focused on the view, e.g., comparing VR to a keyboard, and mouse) [15], [16].
    [Show full text]
  • Links to the Past User Research Rage 2
    ALL FORMATS LIFTING THE LID ON VIDEO GAMES User Research Links to Game design’s the past best-kept secret? The art of making great Zelda-likes Issue 9 £3 wfmag.cc 09 Rage 2 72000 Playtesting the 16 neon apocalypse 7263 97 Sea Change Rhianna Pratchett rewrites the adventure game in Lost Words Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order UK Price. 6 issue introductory offer The future of games: subscription-based? ow many subscription services are you upfront, would be devastating for video games. Triple-A shelling out for each month? Spotify and titles still dominate the market in terms of raw sales and Apple Music provide the tunes while we player numbers, so while the largest publishers may H work; perhaps a bit of TV drama on the prosper in a Spotify world, all your favourite indie and lunch break via Now TV or ITV Player; then back home mid-tier developers would no doubt ounder. to watch a movie in the evening, courtesy of etix, MIKE ROSE Put it this way: if Spotify is currently paying artists 1 Amazon Video, Hulu… per 20,000 listens, what sort of terrible deal are game Mike Rose is the The way we consume entertainment has shifted developers working from their bedroom going to get? founder of No More dramatically in the last several years, and it’s becoming Robots, the publishing And before you think to yourself, “This would never increasingly the case that the average person doesn’t label behind titles happen – it already is.
    [Show full text]
  • Drivers and Barriers to Adopting Gamification: Teachers' Perspectives
    Drivers and Barriers to Adopting Gamification: Teachers’ Perspectives Antonio Sánchez-Mena1 and José Martí-Parreño*2 1HR Manager- Universidad Europea de Valencia, Valencia, Spain and Universidad Europea de Canarias, Tenerife, Spain 2Associate Professor - Universidad Europea de Valencia, Valencia, Spain [email protected] [email protected] Abstract: Gamification is the use of game design elements in non-game contexts and it is gaining momentum in a wide range of areas including education. Despite increasing academic research exploring the use of gamification in education little is known about teachers’ main drivers and barriers to using gamification in their courses. Using a phenomenology approach, 16 online structured interviews were conducted in order to explore the main drivers that encourage teachers serving in Higher Education institutions to using gamification in their courses. The main barriers that prevent teachers from using gamification were also analysed. Four main drivers (attention-motivation, entertainment, interactivity, and easiness to learn) and four main barriers (lack of resources, students’ apathy, subject fit, and classroom dynamics) were identified. Results suggest that teachers perceive the use of gamification both as beneficial but also as a potential risk for classroom atmosphere. Managerial recommendations for managers of Higher Education institutions, limitations of the study, and future research lines are also addressed. Keywords: gamification, games and learning, drivers, barriers, teachers, Higher Education. 1. Introduction Technological developments and teaching methodologies associated with them represent new opportunities in education but also a challenge for teachers of Higher Education institutions. Teachers must face questions regarding whether to implement new teaching methodologies in their courses based on their beliefs on expected outcomes, performance, costs, and benefits.
    [Show full text]
  • Esports High Impact and Investable
    Needham Insights: Thought Leader Series Laura A. Martin, CFA & CMT – [email protected] / (917) 373-3066 September 5, 2019 Dan Medina – [email protected] / (626) 893-2925 eSports High Impact and Investable For the past decade, eSports has been growing on the main stage in Asia and in stealth mode in the US. This report addresses questions we get most often from investors about eSports: ➢ What is eSports? Definitions differ. Our definition of eSports is “players competing at a video game in front of a live audience while being live-streamed.” By implication, viewing, attendance, and playing time are linked, and each creates revenue streams for eSports. ➢ How big is eSports? Globally, one out of every three (ie, 33%) 18-25 year olds spent more than an hour a day playing video games, 395mm people watched eSports, and 250mm people played Fortnite in 2018. eSports revenue will be $1.1B in 2019, up 26% y/y. ➢ Should investors care about eSports? We would argue “yes”, owing to: a) global scale; b) time spent playing and viewing; c) compelling demographics; d) eSports vs traditional sports trends; e) revenue growth; and, f) sports betting should supercharge US eSports. ➢ Is eSports a fad? We would argue “no”, owing to: a) many US Universities now offer Varsity eSports scholarships; b) new special purpose eSports stadiums are proliferating; c) billionaires are investing to make eSports successful; d) audience growth; and, e) Olympics potential. ➢ Why have you never heard of eSports? Because zero of the top 30 earning players in the world were from the US in 2018.
    [Show full text]
  • Feeding Frenzy 2004 Free Download Ful Version Feeding Frenzy 1 & 2 Free Download
    feeding frenzy 2004 free download ful version Feeding Frenzy 1 & 2 Free Download. How to Download & Install Feeding Frenzy 1 & 2. Click the Download button below and you should be redirected to UploadHaven. Wait 5 seconds and click on the blue ‘download now’ button. Now let the download begin and wait for it to finish. Once Feeding Frenzy 1 & 2 is done downloading, right click the .zip file and click on “Extract to Feeding.Frenzy.1.and.2.zip” (To do this you must have 7-Zip, which you can get here). Double click inside the Feeding Frenzy 1 & 2 folder and run the exe application. Have fun and play! Make sure to run the game as administrator and if you get any missing dll errors, look for a Redist or _CommonRedist folder and install all the programs in the folder. Feeding Frenzy 1 & 2 Free Download. Click the download button below to start Feeding Frenzy 1 & 2 Free Download with direct link. It is the full version of the game. Don’t forget to run the game as administrator. NOTICE : This game is already pre-installed for you, meaning you don’t have to install it. If you get any missing dll errors, make sure to look for a _Redist or _CommonRedist folder and install directx, vcredist and all other programs in that folder. You need these programs for the game to run. Look for a ‘HOW TO RUN GAME. txt’ file for more help. Also, be sure to right click the exe and always select “Run as administrator” if you’re having problems saving the game.
    [Show full text]
  • Microsoft Xbox One
    Microsoft Xbox One Last Updated on September 26, 2021 Title Publisher Qty Box Man Comments #IDARB Other Ocean 8 To Glory: Official Game of the PBR THQ Nordic 8-Bit Armies Soedesco Abzû 505 Games Ace Combat 7: Skies Unknown Bandai Namco Entertainment Aces of the Luftwaffe: Squadron - Extended Edition THQ Nordic Adventure Time: Finn & Jake Investigations Little Orbit Aer: Memories of Old Daedalic Entertainment GmbH Agatha Christie: The ABC Murders Kalypso Age of Wonders: Planetfall Koch Media / Deep Silver Agony Ravenscourt Alekhine's Gun Maximum Games Alien: Isolation: Nostromo Edition Sega Among the Sleep: Enhanced Edition Soedesco Angry Birds: Star Wars Activision Anthem EA Anthem: Legion of Dawn Edition EA AO Tennis 2 BigBen Interactive Arslan: The Warriors of Legend Tecmo Koei Assassin's Creed Chronicles Ubisoft Assassin's Creed III: Remastered Ubisoft Assassin's Creed IV: Black Flag Ubisoft Assassin's Creed IV: Black Flag: Walmart Edition Ubisoft Assassin's Creed IV: Black Flag: Target Edition Ubisoft Assassin's Creed IV: Black Flag: GameStop Edition Ubisoft Assassin's Creed Syndicate Ubisoft Assassin's Creed Syndicate: Gold Edition Ubisoft Assassin's Creed Syndicate: Limited Edition Ubisoft Assassin's Creed: Odyssey: Gold Edition Ubisoft Assassin's Creed: Odyssey: Deluxe Edition Ubisoft Assassin's Creed: Odyssey Ubisoft Assassin's Creed: Origins: Steelbook Gold Edition Ubisoft Assassin's Creed: The Ezio Collection Ubisoft Assassin's Creed: Unity Ubisoft Assassin's Creed: Unity: Collector's Edition Ubisoft Assassin's Creed: Unity: Walmart Edition Ubisoft Assassin's Creed: Unity: Limited Edition Ubisoft Assetto Corsa 505 Games Atari Flashback Classics Vol. 3 AtGames Digital Media Inc.
    [Show full text]
  • 14. Riddle Machines: the History and Nature of Interactive Fiction
    Nick Montfort Riddle Machines: The History and Nature of Interactive Fiction 14. Riddle Machines: The History and Nature of Interactive Fiction Nick Montfort Introduction The genre that has also been labeled "text adventure" and "text game" is stereotypically thought to offer dungeons, dragons, and the ability for readers to choose their own adventure. While there may be dragons here, interactive fiction (abbreviated "IF") also offers utopias, revenge plays, horrors, parables, intrigues, and codework, and pieces in this form resound with and rework Gilgamesh, Shakespeare, and Eliot as well as Tolkien. The reader types in phrases to participate in a dialogue with the system, commanding a character with writing. Beneath this surface conversation, and determining what the computer narrates, there is the machinery of a simulated world, capable of drawing the reader into imagining new perspectives and understanding strange systems. Interactive fiction works can be challenging for literary readers, even those interested in other sorts of electronic literature, because of the text-based interface and because of the way in which these works require detailed exploration, mapping, and solution. Works in this form are often less visually rewarding, and the rewards they do offer are only attained with time and effort. But text-based interactive fiction has provided some of the most the intricate and compelling literary simulations yet developed. Understanding how interactive fiction works, and how it has developed over the past three decades, is an essential part of the puzzle of literary computing. Characteristics of interactive fiction Formally, a work of interactive fiction (often called a "game," even if it does not exhibit the typical qualities of a game) is an interactive computer program.
    [Show full text]