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Russian Games Market Report.Pdf
Foreword Following Newzoo’s free 42-page report on China and its games market, this report focuses on Russia. This report aims to provide understanding of the Russian market by putting it in a broader perspective. Russia is a dynamic and rapidly growing games We hope this helps to familiarize our clients and friends market, currently number 12 in the world in terms of around the globe with the intricacies of the Russian revenues generated. It is quickly becoming one of market. the most important players in the industry and its complexity warrants further attention and This report begins with some basic information on examination. The Russian market differs from its demographics, politics and cultural context, as well as European counterparts in many ways and this can be brief descriptions of the media, entertainment, telecoms traced to cultural and economic traditions, which in and internet sectors. It also contains short profiles of the some cases are comparable to their Asian key local players in these sectors, including the leading neighbours. local app stores, Search Engines and Social Networks. Russia has been a part of the Newzoo portfolio since In the second part of the report we move onto describe 2011, allowing us to witness first-hand the the games market in more detail, incorporating data unprecedented growth and potential within this from our own primary consumer research findings as market. We have accumulated a vast array of insights well as data from third party sources. on both the Russian consumers and the companies that are feeding this growth, allowing us to assist our clients with access to, and interpretation of, data on We also provide brief profiles of the top games in Russia, the Russia games market. -
Checklist for Submission to Gamescom Award 2020
DEADLINE Friday, August 7th 2020 gamescom award honors outstanding games and products presented within the frame of gamescom 2020. Organizer of the award is the Digital Gaming Culture Foundation. To evaluate and rate the award submissions, the organizer composes an independent and internationally-staffed jury. By submitting a game or product to gamescom award, a company agrees to the regulations of gamescom award 2020. They can be found here (German) or here (English), near the bottom of the page, under the respective subheader. Checklist for submission to gamescom award 2020 For a successful submission to the gamescom award it is necessary to comply with the following regulations. Need help? Call +49 30 29 04 92 92 Please make sure that your game / product is not in Any questions? [email protected] conflict with any of the following criteria. Otherwise, its submission cannot be accepted. The submitted game / product has never been submitted for gamescom award in previous years.* The submitted game / product will be released in Germany or in my company‘s domestic market between the beginning of gamescom 2020 and the beginning of gamescom 2021 Benjamin Rostalski Tobias Lo Coco I’ve specifiedat least one contact person (see page 3) responsible for the game / product during the submission process, who is eligible to be called during a live streamed award ceremony. I am submitting this submission form prior to the Gameplay footage will be submitted alongside deadline on Friday, August 7th 2020 as a writable this form via link on page 3. PDF containing verified and copyable links, Footage must feature: contact details etc. -
Inside the E-Sports Ecosystem: a Business Overview
Inside the e-Sports Ecosystem: A Business Overview David Hiltscher VP Gaming Communities Turtle Entertainment About the presenter • Saw the beginning of Quake 2 & 3 and Counter- Strike, and many more games over the years • Joined Turtle in 2006 • He and his team figure out the first rule book of a sport on a regular basis • They ran 1,500 tournaments this year with 1.5 million participants eSports – The name ● Why not sport? ● Retired terms: Cyberathleticism, professional video gaming ● Sports professionals are split over accepting eSports ● Definition more an issue for sports professional than us A different sport ● Can be experienced by everyone ● Global player liquidity helps develop a sport ● No physicality ● Digitally exact ● Inclusive What is eSports? • Synchronous Multiplayer games that are played competitively (team games mainly) • From ranked matchmaking to the Staples Center • For us there is only eSports, but we treat each game individually as a sport THE GAMES OFFICIAL LEAGUES WCS 2012 EU FINALS LOL S2 WORLD CHAMPIONSHIP THE INTERNATIONAL 2 Why enter this business? What the public thinks: • Reach • Trend • Direct profit Actual good reasons to consider eSports • Engagement • Viral acquisition • Brand loyalty • Across genres, once learned becomes part of your marketing • Competitive advantage • Gain control • A sound business choice overall Options • Organic / anorganic Is there an eSports industry? “Your best bet finding an eSports position is to look at every company that sponsors eSports.” This view is common and wrong. eSports -
Annual Review
annual review 2017 our board Ukie Annual Review 2016/17 contents 02 foreword 04 Noirin Carmody - Chair Harvey Eagle chair’s report Owner and COO Xbox UK Marketing Director Our initiatives Revolution Software Microsoft 06 ceo’s report Ian Livingstone CBE - Vice Chair Miles Jacobson OBE Chairman Studio Director Playmob Sports Interactive 08 a year in westminster and brussels askaboutgames Dave Gould - Treasurer Veronique Lallier askaboutgames.com Snr Director of Sales UK & Export European Managing Director 12 Take 2 Interactive Hi-Rez Studios research and analysis Without house background Simon Barratt Warwick Light 16 Director UK Managing Director and Vice President ukie’s year in numbers Sony Interactive Entertainment Barog Game Labs INSPIRATIONAL COMPUTING 18 Katherine Bidwell Phil Mansell Digital Schoolhouse acting locally thinking globally Co-Founder CEO digitalschoolhouse.org.ukWith house background State of Play Games Jagex 20 ukie’s global trade programme Neil Boyd Andy Payne OBE INSPIRATIONAL COMPUTING European Anti-Piracy Counsel CEO Nintendo Europe AppyNation 22 the digital schoolhouse Shaun Campbell Kirsty Rigden Games London UK Country Manager Operations Director games.london 24 Electronic Arts FuturLab inspiring talent John Clark Ella Romanos 26 Senior Vice President, Commercial Director promoting a positive image Publishing Rocket Lolly Games SEGA Europe Students 27 Rob Cooper Roy Stackhouse making the most of your IP Managing Director Northern Europe and Vice President - UK, Ireland & Benelux Ukie Students Export Territories -
GME - Q2 2014 Gamestop Corp Earnings Call
THOMSON REUTERS STREETEVENTS EDITED TRANSCRIPT GME - Q2 2014 GameStop Corp Earnings Call EVENT DATE/TIME: AUGUST 21, 2014 / 9:00PM GMT OVERVIEW: GME reported 2Q14 consolidated global sales of $1.73b, consolidated global net earnings of $24.6m and diluted EPS of $0.22. Expects 2014 diluted EPS to be $3.40-3.70 and 3Q14 diluted EPS to be $0.58-0.64. THOMSON REUTERS STREETEVENTS | www.streetevents.com | Contact Us ©2015 Thomson Reuters. All rights reserved. Republication or redistribution of Thomson Reuters content, including by framing or similar means, is prohibited without the prior written consent of Thomson Reuters. 'Thomson Reuters' and the Thomson Reuters logo are registered trademarks of Thomson Reuters and its affiliated companies. AUGUST 21, 2014 / 9:00PM, GME - Q2 2014 GameStop Corp Earnings Call CORPORATE PARTICIPANTS Tony Bartel GameStop Corporation - President Rob Lloyd GameStop Corporation - CFO Mike Mauler GameStop Corporation - EVP of International Mike Hogan GameStop Corporation - EVP - Strategic Business CONFERENCE CALL PARTICIPANTS Tony Wible Janney Capital Markets - Analyst David Magee SunTrust Robinson Humphrey - Analyst Curtis Nagle BofA Merrill Lynch - Analyst Brian Nagel Oppenheimer & Co. - Analyst Arvind Bhatia Sterne, Agee & Leach, Inc. - Analyst Edward Williams BMO Capital Markets - Analyst Sean McGowan Needham & Company - Analyst PRESENTATION Operator Good day, and welcome to GameStop's second-quarter 2014 earnings conference call. (Operator Instructions) I would like to remind you that this call is covered by the Safe Harbor disclosure containing GameStop's public documents, and is the property of GameStop. It is not for rebroadcast or use by any other party, without the prior written consent of GameStop. -
Digital Gaming Industry in Global-Local Crossings: Comparative Study of UK, China and Brazil
Digital Gaming Industry in Global-Local Crossings: Comparative Study of UK, China and Brazil Abstract Clustering is a common phenomenon in digital gaming industry where businesses can benefit from local concentration of talents, spill-over events, resources recycling activities, formal or informal networks formed (Pilon and Tremblay 2013; Ruggill et al. 2016). In addition, digital gaming industry also possess a born-global nature (Gomez and Gonzalez-Perez 2015). Reflecting on the global-local structure, a conceptual framework on digital gaming industry ecosystem is proposed in this paper. A comparative analysis is performed against the digital gaming industry in UK, China and Brazil. As the initial stage of the project, the analysis focuses on the similarities and differences of the digital gaming industry from perspectives such as policy, culture, funding, talents, market, infrastructure and other supports. Keywords: Entrepreneurial Ecosystem, Digital Gaming, Business Growth, UK, Brazil, China 1. Introduction When video game Grand Theft Auto V came out in September 2013, it quickly broke six Guinness world records including the highest revenue generated within 24 hours ($815.7 million) and the fastest entertainment property to reach $1 billion in sales (within three days of releasing) which were previously held by blockbuster movies like The Avengers and Avatar (Lynch 2013). This achievement is a manifestation of the growth in the digital gaming industry: since mid-1980s, the industry has grown annually by between 10% and 15% (Zackariasson and Wilson 2010; Marchand and Hennig-Thurau 2013; Newzoo 2018). In comparison, the estimated compound annual growth rate (CAGR) between 2018 and 2023 for global entertainment and media industry, which the digital gaming industry is part of, is at 4.3% (PwC 2019). -
Producing Original Content
Gamescom is arguably the world’s largest gaming event that normally attracts over 250,000 visitors to Germany. But due to the global pandemic this year Gamescom was all virtual. I spent countless hours watching new game demos and then downloading PressKits of those new Triple-A and indie games. I will be dropping my top 25 list of Gamescom games soon after this article is posted. And when I am reviewing or promoting newly released games featured at Gamescom, Devcom, E3, IndieCade or USC Game Expo, I always make sure to look out for new Black game designers and any games with Black or POC game characters. I will write up my top 10 of POC games being released in 2020 and 2021 as well. But before I digress, I just happened to follow up with Gregor Ebert who is the PR Manager at Dueren, Germany’s Headup Games about their Gamescom 2020 new games White Shadows and Bridge Constructor: The Walking Dead. GAMESCOM 2020 – NEIL JONES INTERVIEW: 9-25-2020 - Written By: David L. $Money Train$ Watts – Journalist/Web Host/Editor – FuTurXTV/Metacafe.com, Rattle Radio & HHBMedia.com – David Velo Stewart – Journalist/Editor – HHBMedia.com Aerial Knight’s Never Yield Reveal Trailer Link: https://www.metacafe.com/watch/12118965/aerial-knight-s-never-yield-trailer- developer-neil-jones-publisher-headup-games-gamescom-2020-devcom-2020-e3- gdc-tokyo-game-show-brazil-game-show/ or https://tinyurl.com/y6s5225o Gamescom 2020 • Neil Jones Interview • David L. $Money Train$ Watts • @MoneyTrain • FuTurXTV • Metacafe.com • www.hhbmeedia.com Survive a Tokyo style Detroit in this 3D runner that tells the story of Wally who has uncovered the evidence that can change his city forever. -
Annual Report2011 Web (Pdf)
ANNUAL REPORT 2 011 INTRODUCTION 3 CHAPTER 1 The PEGI system and how it functions 4 TWO LEVELS OF INFORMATION 5 GEOGRAPHY AND SCOPE 6 HOW A GAME GETS A RATINg 7 PEGI ONLINE 8 PEGI EXPRESS 9 PARENTAL CONTROL SYSTEMS 10 CHAPTER 2 Statistics 12 CHAPTER 3 The PEGI Organisation 18 THE PEGI STRUCTURE 19 PEGI s.a. 19 Boards and Committees 19 PEGI Council 20 PEGI Experts Group 21 THE FOUNDER: ISFE 22 THE PEGI ADMINISTRATORS 23 NICAM 23 VSC 23 PEGI CODERS 23 CHAPTER 4 PEGI communication tools and activities 25 INTRODUCTION 25 SOME EXAMPLES OF 2011 ACTIVITIES 25 PAN-EUROPEAN ACTIVITIES 33 PEGI iPhone/Android app 33 Website 33 ANNEXES 34 ANNEX 1 - PEGI CODE OF CONDUCT 35 ANNEX 2 - PEGI SIGNATORIES 45 ANNEX 3 - PEGI ASSESSMENT FORM 53 ANNEX 4 - PEGI COMPLAINTS 62 INTRODUCTION © Rayman Origins -Ubisoft 3 INTRODUCTION Dear reader, PEGI can look back on another successful year. The good vibes and learning points from the PEGI Congress in November 2010 were taken along into the new year and put to good use. PEGI is well established as the standard system for the “traditional” boxed game market as a trusted source of information for parents and other consumers. We have almost reached the point where PEGI is only unknown to parents if they deliberately choose to ignore video games entirely. A mistake, since practically every child or teenager in Europe enjoys video games. Promoting an active parental involvement in the gaming experiences of their children is a primary objective for PEGI, which situates itself at the heart of that. -
Reexploring the Esports Approach of America's Three Major Leagues
\\jciprod01\productn\H\HLS\11-2\HLS201.txt unknown Seq: 1 4-JUN-20 14:22 Exploring the Esports Approach of America’s Three Major Leagues Peter A. Carfagna* I. Introduction ....................................... 116 R II. Comparative Esports Systems of America’s Three Major Leagues ...................................... 118 R A. Major League Baseball .............................. 118 R B. NFL and EA Sports’ Madden Championship Series ...... 121 R C. NBA 2K League ................................... 125 R 1. League Structure .............................. 125 R 2. Gameplay .................................... 127 R 3. Competition and Playoff Structure .............. 128 R 4. Joining the League ............................ 129 R 5. Compensation ................................ 130 R III. Legal Evolution of the NBA 2K League ............. 134 R * Visiting Professor, Harvard Law School teaching three Sports Law courses since 2006, each of which has been published as a regularly updated casebook; Faculty Advisor to the Harvard Law School’s Committee on Sports and Entertainment Law, Journal on Sports and Entertainment Law, and Sports Law Clinical Program; CEO at Magis LLC, a sports marketing, consulting and investment firm; previously Chief Legal Officer & General Counsel of International Management Group (IMG), and Senior Partner at Jones Day LLP. This Article is written as an addendum to my casebook entitled Sports and the Law: Examining the Legal Evolution of America’s Three “Major Leagues” (West, 3d ed. 2017), and will be used in teaching the Fall Term 2020 Sports Law course of the same name. I would like to express my personal thanks to the editors of the Journal on Sports and Entertainment Law for helping me finalize this Article for publication. I would also like to thank Aaron Caputo (member of the LL.M. -
Nintendo Corporation
Liljaskolan Vännäs gymnasium Nintendo Corporation By Anton Jonsson Essay English February 2008 Tutor: André Odeblom 1 Table of Contents Table of Contents.......................................................................................................................... 2 1. Introduction.......................................................................................................................... 3 1.1 Purpose............................................................................................................................. 3 1.2 Methods and Material ........................................................................................................ 3 2. The beginning........................................................................................................................ 4 2.1 From cards to toys ............................................................................................................. 4 2.2 A living legend arrives......................................................................................................... 4 2.3 Behold the NES!................................................................................................................. 5 2.4 Mario is born..................................................................................................................... 5 2.5 Snes and Game boy............................................................................................................ 5 2.6 Nintendo enters the 3D age............................................................................................... -
Videogames As Remediated Memories: Commodified Nostalgia and Hyperreality in Far Cry 3: Blood Dragon and Gone Home
Videogames as remediated memories: commodified nostalgia and hyperreality in Far Cry 3: Blood Dragon and Gone Home Robin Sloan This is the author's version of a work that was accepted for publication in Games and Culture, deposited in Abertay Research Collections: https://repository.abertay.ac.uk/jspui/ The published version of this article is available from DOI: http://dx.doi.org/10.1177/1555412014565641 Running head: VIDEOGAMES AS REMEDIATED MEMORIES 1 Abstract In the last decade, the maturation of the first generation of gamers has underpinned growing discussion of nostalgia for and in videogames. This paper considers how the search for a connection to our past can be satisfied through consumption of the richly remediated memories represented in nostalgic videogames. Far Cry 3: Blood Dragon and Gone Home are analysed framed by Baudrillard’s theories of consumer objects and simulation. These videogames make extensive use of 1980s and 1990s cultural referents. In particular, they embed references to media (such as music, film, and television) that epitomise memories of these periods. The aim of the paper is to discuss the ways in which the videogames commodify nostalgia in order to fulfil a consumer need for retrospection, and to examine the extent to which they provide a simulation of cultural memory that blurs historical reality with period modes of representation. Keywords: hyperreality, memory, nostalgia, remediation, videogames VIDEOGAMES AS REMEDIATED MEMORIES 2 Introduction Over the course of the 7 th generation of videogames (approximately 2005-2013 and including the Xbox 360, Playstation 3, and Wii) there has been a growing fascination with collective memories of both videogames and gaming culture. -
NG14 Attendees
ATTENDEES Nordic Game 2014 10tons Ltd Camilla Bengtsson AB 2nd Studio Camouflaj 4Bit Games Canadian Embassy Stockholm Aalborg University Cape Copenhagen Aalto University Carbine Studios / NCSOFT Aalto University School of Business / IDBM Carlsen Games APS Acerta IT & Media Solutions Cashplay.co Adjust GmbH Casualkit.com Agency Catalyzer aps Agens Centria University of Applied Sciences Agnitio Capital Limited Centroid UK Ltd ALL CAPS Games Chroma Studios Aps Alpakka Media Ltd Cinekid Foundation Amazing Games CinnoMan Games Amazon Claystation Amiqus Climax Studios Amplitude Studios Coatsink AngryAnt Codeglue AnimGram Coffee Stain Studios Antagonist AS Coldwood Interactive AB App2Top.ru CommuniSport AB APPLIFT Contractor Apportable Copenhagen Creators Associated ApS AriTunes Copenhagen Game Collective ARM Corncrow Games AB Artefacts Studio Creative Europe Desk Atom Studio Creative Mobile Audiokinetic Cursor Oy Autodesk Media & Entertainment D‐Pad Studio AS Avalanche Studios DADIU BadMonkee GmbH Daedalic Entertainment GmbH Baker Tilly Daily Rush Bandello Dania Games Basho Technologies Limited Danish Film Institute Bedtime Digital Games Dapper Games Bifrost Entertainment Dark Stork Studios Binari Sonori Dead Shark Triplepunch AB BitCake Studio Defrost Games BIU DELASOCIAL Black Rhino Games Delicode Ltd BlackBerry Ltd. Deuce Limited Blackland Games/KyUas Develop Blekinge Institute of Technology Developlay Boomlagoon Dhruva Interactive Bossa Studios Ltd DigiPilot AS British Embassy Stockholm Digital Development Management Bumblebee Studios HB Digon Games BusinessOulu Dimensional Imaging Distimo Gameplay DK Producers Association/NGI Gameport DOS Studios Gamer.no Double Fine Productions Gamereactor DUDA Gamesoft Games Capital E‐Studio Games Workshop Eficode Games‐Career.com Eirik Suhrke Gamesauce ElHuervo Gamesauce.org Epic Games, Inc. Gamevaults ‐ Spelarkivet (Repository Lane HB) Erebus & Sidley GAMEVIL USA, Inc.