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Balance Sheet Also Improves the Company’S Already Strong Position When Negotiating Publishing Contracts
Remedy Entertainment Extensive report 4/2021 Atte Riikola +358 44 593 4500 [email protected] Inderes Corporate customer This report is a summary translation of the report “Kasvupelissä on vielä monta tasoa pelattavana” published on 04/08/2021 at 07:42 Remedy Extensive report 04/08/2021 at 07:40 Recommendation Several playable levels in the growth game R isk Accumulate Buy We reiterate our Accumulate recommendation and EUR 50.0 target price for Remedy. In 2019-2020, Remedy’s (previous Accumulate) strategy moved to a growth stage thanks to a successful ramp-up of a multi-project model and the Control game Accumulate launch, and in the new 2021-2025 strategy period the company plans to accelerate. Thanks to a multi-project model EUR 50.00 Reduce that has been built with controlled risks and is well-managed, as well as a strong financial position, Remedy’s (previous EUR 50.00) Sell preconditions for developing successful games are good. In addition, favorable market trends help the company grow Share price: Recommendation into a clearly larger game studio than currently over this decade. Due to the strongly progressing growth story we play 43.75 the long game when it comes to share valuation. High Low Video game company for a long-term portfolio Today, Remedy is a purebred profitable growth company. In 2017-2018, the company built the basis for its strategy and the successful ramp-up of the multi-project model has been visible in numbers since 2019 as strong earnings growth. In Key indicators 2020, Remedy’s revenue grew by 30% to EUR 41.1 million and the EBIT margin was 32%. -
Evaluating Dynamic Difficulty Adaptivity in Shoot'em up Games
SBC - Proceedings of SBGames 2013 Computing Track – Full Papers Evaluating dynamic difficulty adaptivity in shoot’em up games Bruno Baere` Pederassi Lomba de Araujo and Bruno Feijo´ VisionLab/ICAD Dept. of Informatics, PUC-Rio Rio de Janeiro, RJ, Brazil [email protected], [email protected] Abstract—In shoot’em up games, the player engages in a up game called Zanac [12], [13]2. More recent games that solitary assault against a large number of enemies, which calls implement some kind of difficulty adaptivity are Mario Kart for a very fast adaptation of the player to a continuous evolution 64 [40], Max Payne [20], the Left 4 Dead series [53], [54], of the enemies attack patterns. This genre of video game is and the GundeadliGne series [2]. quite appropriate for studying and evaluating dynamic difficulty adaptivity in games that can adapt themselves to the player’s skill Charles et al. [9], [10] proposed a framework for creating level while keeping him/her constantly motivated. In this paper, dynamic adaptive systems for video games including the use of we evaluate the use of dynamic adaptivity for casual and hardcore player modeling for the assessment of the system’s response. players, from the perspectives of the flow theory and the model Hunicke et al. [27], [28] proposed and tested an adaptive of core elements of the game experience. Also we present an system for FPS games where the deployment of resources, adaptive model for shoot’em up games based on player modeling and online learning, which is both simple and effective. -
View Portfolio Document
games assets portfolio FULL GAME CREDITS ACTIVISION InXILE Starbreeze Call of Duty: Ghosts Heist The walking dead Call of Duty: Advanced Warfare Call of Duty: Black Ops 3 IO INTERACTIVE SQUARE ENIX Call of Duty: Infinity Warfare Hitman: Absolution Bravely Default BIOWARE KABAM THQ Dragon Age: Inquisition Spirit Lords Darksiders Saints Row 2 CRYSTAL DYNAMICS KONAMI Tomb Raider 2013 Silent Hill: Shattered Memories TORUS Rise of the Tomb Raider Barbie: Life in the Dreamhouse MIDWAY Falling Skies: Planetary Warfare ELECTRONIC ARTS NFL Blitz 2 How to Train Your Dragon 2 DarkSpore Penguins of Madagascar FIFA 09/10/11/12/13/14/15/16/17/18/19 PANDEMIC STUDIOS Fight Night 4 The Sabateur VICIOUS CYCLE Harry Potter – Deathly Hallows Part 1 & 2 Ben 10: Alien Force NBA Live 09/10/12/13 ROCKSTAR GAMES Dead Head Fred NCAA Football 09/10/11/12/13/14 LA Noire NFL Madden 11/12/13/14/15 / 18 Max Payne 2 2K NHL 09/10/11/12/13/16/17/18 Max Payne 3 NBA 2K14/15 Rory Mcilroy PGA Tour Red Dead Redemption Tiger Woods 11/12/13 Grand Theft Auto V 505 GAMES Warhammer Online: Age of Reckoning Takedown (Trailer) UFC 1/ 2 /3 SONY COMPUTER ENTERTAINMENT NFS – Payback God of War 2 EPIC GAMES Battlefield 1 In the name of Tsar Sorcery Gears of War 2 Killzone: Shadow Fall UBISOFT Assassin’s Creed GAMELOFT Starlink Asphalt 9 Steep Rainbow 6 KEYFRAME ANIMATION ASSET CREATION MOCAP CLEANUP LIGHTING FX UBISOFT Assassin Creed Odyssey UBISOFT UBISOFT Assassin Creed Odyssey UBISOFT Assassin Creed Odyssey UBISOFT Assassin Creed Odyssey UBISOFT Assassin Creed Odyssey Electronic Arts -
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. -
Lighting the Way
Remedy Entertainment Lighting the way. www.remedygames.com Autodesk® 3ds Max® Remedy Entertainment uses Autodesk® Autodesk® MotionBuilder® Autodesk® Mudbox™ software and workflow to help guide Alan Wake from darkness to light. We needed a faster way to process all our animations, so we built a one-click solution using MAXScript. It’s just so easy to write our own utilities in 3ds Max with MAXScript. You can more easily do things you simply cannot do in other software packages. —Henrik Enqvist Animation Programmer Remedy Entertainment Alan Wake. Image courtesy of Remedy Entertainment Ltd. Summary We made our lead character an everyday writer, and The poet John Milton once wrote that “long is the way, we tried to tap into basic human psychology about and hard, that out of darkness leads up to light.” Centuries darkness and light.” later, that sentiment seems equally appropriate when referring to Alan Wake, the latest video-game offering Overcoming Challenges from Finland-based Remedy Entertainment and “The biggest challenge we faced was creating a published by Microsoft Game Studios. Building on its compelling and believable story,” says Kai Auvinen, successful creation of both Max Payne and Max Payne 2: art team manager at Remedy. “Creating a fully realistic, The Fall of Max Payne, the Remedy team upped their dynamic environment was crucial to establishing the Autodesk ante on Alan Wake, using a combination of right mood, tone, and overall feel. While a typical Autodesk® 3ds Max®, Autodesk® MotionBuilder®, feature film might have a single story arc running and Autodesk® Mudbox™ software. through its couple of hours, a video game like Alan Wake needs to establish multiple storylines and Billed as a “psychological action thriller,” Alan Wake dramatic outcomes over what amounts to about 20 is definitely not your typical video game. -
TESIS: Grand Theft Auto IV. Impacto Y Contexto En Los Videojuegos Como
UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO FACULTAD DE ESTUDIOS SUPERIORES ACATLÁN Grand Theft Auto IV. Impacto y contexto en los videojuegos como parte de la cultura de masas Tesis para obtener el título de: Licenciado en Comunicación PRESENTA David Mendieta Velázquez ASESOR DE TESIS Mtro. José C. Botello Hernández UNAM – Dirección General de Bibliotecas Tesis Digitales Restricciones de uso DERECHOS RESERVADOS © PROHIBIDA SU REPRODUCCIÓN TOTAL O PARCIAL Todo el material contenido en esta tesis esta protegido por la Ley Federal del Derecho de Autor (LFDA) de los Estados Unidos Mexicanos (México). El uso de imágenes, fragmentos de videos, y demás material que sea objeto de protección de los derechos de autor, será exclusivamente para fines educativos e informativos y deberá citar la fuente donde la obtuvo mencionando el autor o autores. Cualquier uso distinto como el lucro, reproducción, edición o modificación, será perseguido y sancionado por el respectivo titular de los Derechos de Autor. Grand Theft Auto IV Impacto y contexto en los videojuegos como parte de la cultura de masas Agradecimientos A mis padres. Gracias, papá, por enseñarme valores y por tratar de enseñarme todo lo que sabías para que llegara a ser alguien importante. Sé que desde el cielo estás orgulloso de tu familia. Mamá, gracias por todo el apoyo en todos estos años; sé que tu esfuerzo es enorme y en este trabajo se refleja solo un poco de tus desvelos y preocupaciones. Gracias por todo tu apoyo para la terminación de este trabajo. A Ariadna Pruneda Alcántara. Gracias, mi amor, por toda tu ayuda y comprensión. Tu orientación, opiniones e interés que me has dado para la realización de cualquier proyecto que me he propuesto, así como por ser la motivación para seguir adelante siempre. -
Rockstar Games Announces Max Payne 3 Release Date
Rockstar Games Announces Max Payne 3 Release Date January 17, 2012 8:30 AM ET NEW YORK--(BUSINESS WIRE)--Jan. 17, 2012-- Rockstar Games, a publishing label of Take-Two Interactive Software, Inc. (NASDAQ: TTWO), is proud to announce that Max Payne 3 is expected to launch on the Xbox 360® video game and entertainment system from Microsoft and PlayStation®3 computer entertainment system on May 15, 2012 in North America and May 18, 2012 internationally; and for the PC on May 29, 2012 in North America and June 1, 2012 internationally. “Max Payne 3 brings powerful storytelling back to the action-shooter genre,” said Sam Houser, Founder of Rockstar Games. “Rockstar Studios are delivering a game that’s both incredibly cinematic and very, very intense to play.” Based on incredibly precise and fluid gunplay and maintaining the series’ famed dark and cinematic approach, Max Payne 3 follows the famed former New York detective onto the streets of São Paulo, Brazil. Max Payne now works in executive protection for the wealthy Rodrigo Branco in the hopes of escaping the memories of his troubled past. When a street gang kidnaps Rodrigo’s wife, Max is pulled into a conspiracy of shadowy, warring factions threading every aspect of São Paulo society in a deadly web that threatens to engulf everyone and everything around him. In another first for the series, Max Payne 3’s multiplayer offering brings the game’s cinematic feel, fluid gunplay and kinetic sense of movement into the realm of online multiplayer. Building on the fiction and signature gameplay elements of the Max Payne universe, Max Payne 3 features a wide range of new and traditional multiplayer modes that play on the themes of paranoia, betrayal and heroism, all delivered with the same epic visual style of the single-player game. -
Policing the Sandbox in Grand Theft Auto Online
Policing the Sandbox in Grand Theft Auto Online Matthew Thomas Payne and Michael Fleisch I. Lines in the Sandbox Rockstar Games’ Grand Theft Auto V (2013) broke a number of records following its September 17, 2013, release: it was the best-selling video game in a 24-hour period; its trailer was viewed more times than any other action- adventure game; and – perhaps most impressively – it eclipsed the $1 billion mark in three days, making it the fastest selling entertainment product ever.1 Yet a good deal of the excitement for this latest installment in Rockstar’s long-running and critically acclaimed parodic crime franchise was for an element that was absent during its initial launch. The debut of its greatly anticipated multiplayer mode, GTA Online (GTAO), on October 1st was marred by a series of glitches that required a few weeks and a few patches to remedy, a situation Rockstar tried to ameliorate by gifting all of its users $500k in virtual cash (aka GTA$). Once the mode was functional, it allowed users to play together in and around the vast, fictional city of Los Santos, San Andreas (think Los Angeles and southern California). Estimated at roughly Media Fields Journal no. 8 (2014) 2 Policing the Sandbox 100 square miles, GTA V is the largest sandbox-style world Rockstar has ever developed.2 In GTAO’s virtual playground, players compete in structured multiplayer contests and have the option to rob convenience stores, get in shootouts with cops, harass one another, or explore the urban and rural terrain, waterways, and skies. -
3.2 Bullet Time and the Mediation of Post-Cinematic Temporality
3.2 Bullet Time and the Mediation of Post-Cinematic Temporality BY ANDREAS SUDMANN I’ve watched you, Neo. You do not use a computer like a tool. You use it like it was part of yourself. —Morpheus in The Matrix Digital computers, these universal machines, are everywhere; virtually ubiquitous, they surround us, and they do so all the time. They are even inside our bodies. They have become so familiar and so deeply connected to us that we no longer seem to be aware of their presence (apart from moments of interruption, dysfunction—or, in short, events). Without a doubt, computers have become crucial actants in determining our situation. But even when we pay conscious attention to them, we necessarily overlook the procedural (and temporal) operations most central to computation, as these take place at speeds we cannot cognitively capture. How, then, can we describe the affective and temporal experience of digital media, whose algorithmic processes elude conscious thought and yet form the (im)material conditions of much of our life today? In order to address this question, this chapter examines several examples of digital media works (films, games) that can serve as central mediators of the shift to a properly post-cinematic regime, focusing particularly on the aesthetic dimensions of the popular and transmedial “bullet time” effect. Looking primarily at the first Matrix film | 1 3.2 Bullet Time and the Mediation of Post-Cinematic Temporality (1999), as well as digital games like the Max Payne series (2001; 2003; 2012), I seek to explore how the use of bullet time serves to highlight the medial transformation of temporality and affect that takes place with the advent of the digital—how it establishes an alternative configuration of perception and agency, perhaps unprecedented in the cinematic age that was dominated by what Deleuze has called the “movement-image.”[1] 1. -
Take-Two Interactive Software, Inc. Reports First Quarter Fiscal 2009 Financial Results
Take-Two Interactive Software, Inc. Reports First Quarter Fiscal 2009 Financial Results March 10, 2009 4:01 PM ET NEW YORK NEW YORK--(BUSINESS WIRE)--Mar. 10, 2009-- Take-Two Interactive Software, Inc. (NASDAQ: TTWO) today announced financial results for its first fiscal quarter ended January 31, 2009. Net revenue for the first quarter was $256.8 million, compared to $240.4 million for the same quarter of fiscal 2008. First quarter sales were led by Grand Theft Auto IV, Carnival Games, NBA 2K9 and Midnight Club: Los Angeles. Net loss for the first quarter was $50.4 million or $0.66 per share, compared to a net loss of $38.0 million or $0.52 per share in the first quarter of fiscal 2008. The Company’s increased loss for the first quarter compared to the prior year was primarily due to higher marketing, legal, and research and development expenses. The first quarter results include $6.2 million in stock-based compensation expense ($0.08 per share) and $4.9 million in expenses related to unusual legal matters ($0.06 per share). Results for the first quarter of 2008 included $6.1 million in stock-based compensation expense ($0.08 per share) and $1.7 million in expenses related to unusual legal matters and business reorganization costs ($0.02 per share). Non-GAAP net loss was $39.3 million or $0.52 per share in the first quarter, compared to a net loss of $30.3 million or $0.41 per share in the first quarter of 2008. (Please refer to Non-GAAP Financial Measures and reconciliation tables included later in this release for additional information and details on non-GAAP items.) Business Highlights Among the significant recent business developments, Take-Two noted the following: Over 13 million units of Rockstar Games’ Grand Theft Auto IV have been shipped as of January 31, 2009. -
Red Dead Redemption 2 Achieves Entertainment’S Biggest Opening Weekend of All Time
Red Dead Redemption 2 Achieves Entertainment’s Biggest Opening Weekend of All Time October 30, 2018 8:00 AM ET NEW YORK--(BUSINESS WIRE)--Oct. 30, 2018-- Rockstar Games® is proud to announce that the critically acclaimed Red Dead Redemption 2 has achieved the single-biggest opening weekend in the history of entertainment*. With over $725 million in worldwide retail sell-through during its first three days, Red Dead Redemption 2 is the second-highest grossing entertainment launch of all time next to Rockstar Games’ previously released title, Grand Theft Auto V, which achieved over $1 billion in retail sell-through in three days.* This press release features multimedia. View the full release here: https://www.businesswire.com/news/home /20181030005459/en/ Sony Interactive Entertainment (SIE) also confirmed that Red Dead Redemption 2 set new records on the PlayStation Network Rockstar Games® is proud to announce that the critically for highest ever pre-orders, highest day one sales and highest sales acclaimed Red Dead Redemption 2 has achieved the single- biggest opening weekend in the history of entertainment*. for the first three days in market. With over $725 million in worldwide retail sell-through during its first three days, Red Dead Redemption 2 is the Rockstar Games has partnered with SIE to bring PlayStation®4 second-highest grossing entertainment launch of all time next to Rockstar Games' previously released title, Grand Theft Auto players first access to earn select online content in Red Dead V, which achieved over $1 billion in retail sell-through in three Online that is planned to release this November. -
Dynamic Difficulty Adjustment Via Ranking of Avail- Able Actions
olana missura DYNAMICDIFFICULTYADJUSTMENT DYNAMICDIFFICULTYADJUSTMENT Dissertation zur Erlangung des Doktorgrades (Dr. rer. nat.) der Mathematisch-Naturwissenschaftlichen Fakultät der Rheinischen Friedrich-Wilhelms-Universität Bonn vorgelegt von Olana Missura aus Donetsk, USSR Bonn, Januar 2015 Angefertigt mit Genehmigung der Mathematisch-Naturwissenschaftlichen Fakultät der Rheinischen Friedrich-Wilhelms-Universität Bonn 1. gutachter: Prof. Dr. Thomas Gärtner 2. gutachter: Prof. Dr. Stefan Wrobel tag der promotion: 02.10.2015 erscheinungsjahr: 2015 One day I will find the right words, and they will be simple. — Jack Kerouac[ 47] ABSTRACT One of the challenges that a computer game developer faces when cre- ating a new game is getting the difficulty “right”. Providing a game with an ability to automatically scale the difficulty depending on the current player would make the games more engaging over longer time. In this work we aim at a dynamic difficulty adjustment algo- rithm that can be used as a black box: universal, nonintrusive, and with guarantees on its performance. While there are a few commer- cial games that boast about having such a system, as well as a few published results on this topic, to the best of our knowledge none of them satisfy all three of these properties. On the way to our destination we first consider a game as an inter- action between a player and her opponent. In this context, assuming their goals are mutually exclusive, difficulty adjustment consists of tuning the skill of the opponent to match the skill of the player. We propose a way to estimate the latter and adjust the former based on ranking the moves available to each player.