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Activision Blizzard, Inc
Investment Club Presentation Activision Blizzard, Inc. (ATVI) Analyst: Niko Martinovic 5-Yr Stock Performance $90 $80 $70 $60 $50 $40 $30 Decline in stock primarily driven by analyst sentiment changes, missing expectations, CFO firings, $20 and most recently, Bungie games leaving ATVI $10 $0 1/15/20144/15/20147/15/201410/15/20141/15/20154/15/20157/15/201510/15/20151/15/20164/15/20167/15/201610/15/20161/15/20174/15/20177/15/201710/15/20171/15/20184/15/20187/15/201810/15/2018 Source: AIM/Martinovic 2018, Company Filings, S&P Capital IQ, and IBIS World 2 They’re Wrong Activision Blizzard has three meaningful and diverse revenue streams that can all grow in unique ways. E-Sports and Virtual Reality are the most exciting growth opportunities in this industry and ATVI is the best positioned to take advantage of it with the power of their brands, aggressive R&D spend, and patience. Source: 3 Note: Three Year Stock Performance ATVI has outperformed the S&P consistently since early 2017 while the Peer Set1 has reverted back. 160.00% 140.00% Stock Price $46.85 Shares Outstanding $762.41mm 120.00% Market Cap $36.08bn 52 Week Range $43.71-$84.68 100.00% Avg. Volume 7,550,000 EPS (TTM) $2.13 80.00% Past Month Performance -1.60% Past 1 Year -33.63% 60.00% Past 5 Year 170.36% 40.00% 20.00% 0.00% -20.00% -40.00% 1/15/2016 4/15/2016 7/15/2016 10/15/2016 1/15/2017 4/15/2017 7/15/2017 10/15/2017 1/15/2018 4/15/2018 7/15/2018 10/15/2018 S&P ATVI Peer Set Source: AIM/Martinovic 2018, Company Filings, S&P Capital IQ, and IBIS World 4 1Electronic Arts, Ubisoft, Take Two Interactive, Square Enix, and Zynga Company Overview & Monetization Activision Blizzard, Inc. -
Class Action Chamber)
CANADA PROVINCE OF QUEBEC SUPERIOR COURT DISTRICT OF MONTREAL (CLASS ACTION CHAMBER) No: 500-06-001132-212 GABRIEL BOURGEOIS Petitioner -vs.- ELECTRONIC ARTS INC., legal person duly constituted, having its address of service at 1209 Orange Street, Wilmington, DE 19801 USA and ELECTRONIC ARTS (Canada), INC., legal person duly constituted, having its address for service at 1800 510 West Georgia St., Vancouver, BC, V6B 0M3, Canada and ACTIVISION BLIZZARD INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, New Castle, Delaware, 19808 and ACTIVISION PUBLISHING INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, New Castle, Delaware, 19808 and BLIZZARD ENTERTAINMENT INC., legal person duly constituted, having its address for service at 251 Little 1 Falls Drive, Wilmington, New Castle, Delaware, 19808 and TAKE TWO INTERACTIVE SOFTWARE INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and TAKE TWO INTERACTIVE CANADA HOLDINGS INC., legal person duly constituted, having its address for service at 5770 Hutontario St, Mississauga, Ontario, L5R 3G5 and 2K GAMES INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and ROCKSTAR GAMES INC, legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and WARNER BROS. ENTERTAINMENT INC., legal person duly constituted, having its address for service at 1209 Orange St., Wilmington, DE 19801 and WARNER BROS ENTERTAINMENT CANADA INC., legal person duly constituted, having its address for service at Suite 1600, 5000 Yonge Street, Toronto, Ontario, M2N 6P1 and 2 WARNER BROS. -
Cheating in Candy Crush Saga." Social, Casual and Mobile Games: the Changing Gaming Landscape
Carter, Marcus, and Staffan Björk. "Cheating in Candy Crush Saga." Social, Casual and Mobile Games: The changing gaming landscape. Ed. Tama Leaver and Michele Willson. New York: Bloomsbury Academic, 2015. 261–274. Bloomsbury Collections. Web. 1 Oct. 2021. <http:// dx.doi.org/10.5040/9781501310591.ch-018>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 16:24 UTC. Copyright © Tama Leaver, Michele Willson and Contributors 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 18 Cheating in Candy Crush Saga M a r c u s C a r t e r a n d S t a ff a n B j ö r k reemium’ describes an economic model for digital software that involves ‘F a free basic service, with premium content available for customers that choose to pay. Freemium games are thus ‘free-to-play’ (F2P) and have grown enormously popular in tandem with the emergence of ‘casual’ games popular on non-dedicated mobile gaming platforms (such as iOS or Android devices) and social network sites (SNSs) (such as Facebook). A December 2012 survey estimated that revenue from free mobile and computer games has surpassed revenue from paid titles in the United States (Amano 2013). Candy Crush Saga is one of the most commercially successful freemium games, being F2P while offering purchases of in-game ‘lives’ and advantages at a relatively low cost (ranging between US$0.99 and US$2.99 on the iOS version). -
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism by Sarah E. Thorne A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2018, Sarah E. Thorne Abstract The past decade has seen an increase in the availability of user-friendly game development software, the result of which has been the emergence of a genre of reflexive and experimental games. Pippin Barr, La Molleindustria’s Paolo Pedercini, and Davey Wreden are exemplary in their thoughtful engagement with an ever-expanding list of subjects, including analyses and critiques of game development, popular culture, and capitalism. These works demonstrate the power of games as a site for critical media theory. This potential, however, is hindered by the player-centric trends in the game industry that limit the creative freedom of developers whose work is their livelihood. In the era of communicative capitalism, Jodi Dean argues that the commodification of communication has suspended narrative in favour of the circulation of fragmented and digestible opinions, which not only facilitates the distribution and consumption of communication, but also safeguards communicative capitalism against critique. Ultimately, the very same impulse that drives communicative capitalism is responsible for the player-centric trends that some developers view as an obstacle to their art. Critical game studies has traditionally fallen into two categories: those that emphasize the player as the locus of critique, such as McKenzie Wark’s trifler or Mary Flanagan’s critical play, and those that emphasize design, as in Alexander Galloway’s countergaming, Ian Bogost’s procedural rhetoric, and Gonzalo Frasca’s theory of simulation. -
Loot Boxes: Are They Grooming Youth for Gambling?
Loot Boxes: Are they grooming youth for gambling? Prepared for: The NSW Responsible Gambling Fund Prepared by: Prof. Matthew Rockloff Dr. Alex M T Russell Ms. Nancy Greer Dr. Lisa Lolé Prof. Nerilee Hing Prof. Matthew Browne Central Queensland University June 2020 doi: 10.25946/5ef151ac1ce6f ISBN: 978-1-921047-87-9 This project was funded by the NSW Government’s Responsible Gambling Fund, with support from the NSW Office of Responsible Gambling. The report has undergone independent peer review, which was overseen by the Office. This publication is licensed under a Creative Commons Attribution 4.0 Australia licence. Page | 1 Executive summary This report outlines research aimed at understanding the risks posed by loot boxes to adolescents (12-17) and young adults (18-24) in NSW. Loot boxes are a growing concern due to the risk and reward properties that closely align them with traditional gambling, the potential for encouraging greater gambling involvement, and the potential for associated gambling harm. Broadly, this research revealed: • Loot boxes are common in the best-selling video games. Our exploration included a selection of 82 best selling video games and revealed 62% (51) had loot boxes. • In our survey sample, almost all of the respondents played at least one video game with loot boxes within the last 12 months (93.2%). • About a third (32.9%) of the survey respondents who played games with loot boxes within the last 12 months had also purchased a loot box, and their median monthly expenditure was $50 for adolescents and $72 for young adults. • Compared to other purchasers, young adults who more recently first purchased loot boxes were more likely to have gambling problems. -
Fanfiction and Imaginative Reading a Dissertation
"I Opened a Book and in I Strode": Fanfiction and Imaginative Reading A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Ashley J. Barner April 2016 © 2016 Ashley J. Barner. All Rights Reserved. 2 This dissertation titled "I Opened a Book and in I Strode": Fanfiction and Imaginative Reading by ASHLEY J. BARNER has been approved for the Department of English and the College of Arts and Sciences by Robert Miklitsch Professor of English Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT BARNER, ASHLEY J., Ph.D., April 2016, English "I Opened a Book and in I Strode": Fanfiction and Imaginative Reading Director of Dissertation: Robert Miklitsch This dissertation studies imaginative reading and its relationship to fanfiction. Imaginative reading is a practice that involves engaging the imagination while reading, mentally constructing a picture of the characters and settings described in the text. Readers may imaginatively watch and listen to the narrated action, using imagination to recreate the characters’ sensations and emotions. To those who frequently read this way, imagining readers, the text can become, through the work of imagination, a play or film visualized or entered. The readers find themselves inside the world of the text, as if transported to foreign lands and foreign eras, as if they have been many different people, embodied in many different fictional characters. By engaging imaginatively and emotionally with the text, the readers can enter into the fictional world: the settings seem to them like locations they can visit, the many characters like roles they can inhabit or like real people with whom they can interact as imaginary friends and lovers. -
Syllabus (Holly Newman
Master of Entertainment Industry Management Course The Business of Gaming Information Course Number: 93-857 Semester Credit Hours: 4, Class Meetings: 4 Instructor: Holly Newman Email: [email protected] Saturday, 10/24 at 10am Saturday, 11/7 at 10am Saturday, 11/14 at 10am Saturday, 11/21 at 10am *Syllabus subject to change and readings will be assigned closer to the date to ensure current issues are involved. Description This four-week class will focus on the business aspects that relate to the gaming industry. This industry has grown quickly in the last 25 years. With 2020 sales anticipated to reach $159 billion in game content, hardware and accessories, games have emerged as a leading source of commercial entertainment – in content development, distribution and the licensing of its IP. The course will focus on the ways in which its creative and business practices are both unique, and also share common characteristics with other forms of screen-based entertainment. The course will focus on the following key areas: - The publishing business model, and how Games evolved from and relate to software distribution. Covered material will include: licensing agreements, the development and ownership of Intellectual Property. - The game publishers, and an overview of the key companies and competing business strategies, including game genres, key titles/franchises, management of developer relationships, and the publishers’ relationships with licensors and licensees (primarily vis-à-vis the motion picture business). - The lexicon and how to effectively communicate with buyers and sellers of Intellectual Property. - The production process and how to reconcile with film and television production timelines and milestones. -
Incremental Digital Product Innovation in Social Mobile Games
Incremental digital product innovation in social mobile games A case study of King Digital Entertainment Mònica García Hernández Madeleine Volter Department of informatics Master’s programme in IT Management Master thesis 1-year level, 15 credits SPM 2014.13 Abstract The aim of this thesis was to increase understanding of King company success in the social mobile game industry by asking the question: How does a company manage to organize the innovation work in successful casual games within social mobile gaming industry? In order to answer it, we conducted a case study research with secondary data in which we examined the company to discover the elements that contribute to this success, despite a lack of research in how these kind of companies build their business model and strategies, highlighting the players' behaviour. Our findings conclude it is possible to success in social mobile game industry using incremental innovation in different aspects: games design, implementation of the games, and in the business model. By applying this innovation, with a good viral strategy and giving the player the decision to play by free or purchasing virtual goods, King has been able to become the largest developer game company on Facebook. Keywords: King, Candy Crush Saga, Freemium business model, innovation, social mobile games, cross platform games, viralization, Facebook. 1. Introduction Social media has become an important part of our daily lives, where the use of social media is based on communications, but also reflects the users’ personality and motivations (Whon and Lee, 2013). One social media that provides users with games is Facebook where companies have the opportunity to gather a big amount of users. -
Big Data at King
Big Data at King Fabio Scanu, Senior Data Warehouse Engineer– [email protected] A bit about King King in numbers 356 million MAU Studios in Stockholm, London, 1.5 billion game plays per day Barcelona, Malmo, Berlin, Singapore 9 game studios, and Seattle. 1700 employees Offices in San Francisco, New York, Malta, Tokyo, Seoul and Shanghai And lots and lots of data... And for fun: 32 billion rows per day • 100000s of hours played 1.5 TB per day new • Trillions of candies matched > 9 Pb stored 3 A bit about Activision Blizzard Activision Blizzard in numbers l Headquartered in Santa Monica, California l 9000 employees l Focused on games for Xbox, PS, Cmputer, etc l Call of Duty, Guitar Hero, Diablo, Warcraft, etc l Offices pretty much all over the US 4 Players are different We have more players than the entire US 356 m 320 m What is Big Data? Big data is… What's your definition of Big Data? What is Big Data? Big data is… We predict player behaviour… Actionable Effective Predictable Good stuff Our data Our data is… growing Our data Our data is… not that useful raw 20130117T060000.142+0100 23 102 1387107022 1137497977 0 0 fb notif giveGoldToUser 20130117T060000.277+0100 23 10101 1000524045 1 2 5107 20130117T060000.281+0100 23 21 1025951084 0 134 1358388857 20130117T060000.282+0100 23 69 1025951084 0 134 0 1358398800 facebook bookmark_favorites 0 fb_source=bookmark_favorites&ref=bookmarks&count=3&fb_bmpos=9_3 20130117T060000.285+0100 23 38 1025951084 ad1c792b WINDOWS_XP CHROME 24.0.1312.52 Mozilla/5.0 (Windows NT 5.1) AppleWebKit/537.17 -
©2017 Julian Tavis Dale Burton ALL RIGHTS RESERVED
©2017 Julian Tavis Dale Burton ALL RIGHTS RESERVED MAKING SPACE ON THE DIGITAL MARGIN: YOUTH FANDOM COMMUNITIES ON TUMBLR AS SPACES FOR MAKING THE SELF AND RE-MAKING SOCIETY By JULIAN TAVIS DALE BURTON A dissertation submitted to The Graduate School – Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Childhood Studies Written under the direction of Meredith Bak & Kate Cairns And approved by _________________________ _________________________ Meredith Bak Kate Cairns _________________________ _________________________ _________________________ Lauren Silver Todd Wolfson John Wall Camden, New Jersey October 2017 ABSTRACT OF THE DISSERTATION Making Space on the Digital Margin: Youth Fandom Communities on Tumblr as Spaces for Making the Self and Re-Making Society By JULIAN TAVIS DALE BURTON Dissertation directors: Meredith Bak & Kate Cairns The role of online spaces in contemporary youth cultures is an increasingly relevant and vibrant topic of research in a variety of analytical and methodological traditions. This dissertation joins a growing body of work which explores the complex relationship between youth and emerging media through deep interpretive engagement with contextualized questions of meaning and experience. This approach recognizes the diversity of young people's interactions with the digital world and their agency in shaping those interactions. I herein present an ethnographic account of young people who are part of the fandom community on social networking site tumblr, a group united by shared appreciation for books, films, television shows, and other media texts. Their connections run much deeper than these interests, however, as does the meaning their engagement in this space holds for them as individuals and as a community. -
Q2 2020 Transcript
Corrected Transcript 04-Aug-2020 Activision Blizzard, Inc. (ATVI) Q2 2020 Earnings Call Total Pages: 19 1-877-FACTSET www.callstreet.com Copyright © 2001-2020 FactSet CallStreet, LLC Activision Blizzard, Inc. (ATVI) Corrected Transcript Q2 2020 Earnings Call 04-Aug-2020 CORPORATE PARTICIPANTS Christopher Hickey Rob Kostich Senior Vice President-Investor Relations, Activision Blizzard, Inc. President, Activision, Activision Blizzard, Inc. Robert A. Kotick J. Allen Brack Chief Executive Officer & Director, Activision Blizzard, Inc. President, Blizzard Entertainment, Activision Blizzard, Inc. Daniel I. Alegre Humam Sakhnini President & Chief Operating Officer, Activision Blizzard, Inc. President, King Digital Entertainment, Activision Blizzard, Inc. Dennis M. Durkin Chief Financial Officer & President, Emerging Businesses, Activision Blizzard, Inc. ...................................................................................................................................................................................................................................................... OTHER PARTICIPANTS Eric J. Sheridan Brian Nowak Analyst, UBS Securities LLC Analyst, Morgan Stanley & Co. LLC Doug Creutz Michael Ng Analyst, Cowen & Co. LLC Analyst, Goldman Sachs & Co. LLC Alex Giaimo Gerrick L. Johnson Analyst, Jefferies LLC Analyst, BMO Capital Markets Corp. Yung Kim Kunaal Malde Analyst, Piper Sandler & Co. Analyst, Atlantic Equities LLP Mario Lu Analyst, Barclays Capital, Inc. 2 1-877-FACTSET www.callstreet.com Copyright © 2001-2020 -
Textsorten Im Internet Zwischen Wandel Und Konstanz Eine Diachrone Untersuchung Der Textsorte Personal Weblog
Textsorten im Internet zwischen Wandel und Konstanz Eine diachrone Untersuchung der Textsorte Personal Weblog Dissertation zur Erlangung des Doktorgrades der Philosophie (Dr. phil.) vorgelegt der Philosophischen Fakultät II Philologien, Kommunikations- und Musikwissenschaften der Martin-Luther-Universität Halle-Wittenberg, von Herrn Peter Schildhauer geb. am 09.04.1986 in Leipzig 1. Gutachter: Prof. Dr. Alexander Brock 2. Gutachter: Prof. Dr. Ulrich Busse Datum der Verteidigung: 05.06.2014, 18.00 Uhr Für meinen Vater Karl-Frieder Grube, ohne den ich nie den ersten Schritt zu dieser Arbeit getan hätte, und meine geliebte Frau Stine Schildhauer, die alles getan hat, um den Weg weniger steinig zu machen. „Und wenn sich alle irren…?“ (Alexander Brock, Die Musketiere) Inhaltsverzeichnis 1 Einleitung ........................................................................................................................... 1 1.1 Thesen und Erkenntnisinteresse der Arbeit im Kontext aktueller Arbeiten zu internetbasierten Textsorten .................................................................................................. 2 1.2 Ein neuer Blickwinkel auf Textsorten im Internet: diachrone Forschung ............................... 4 1.3 Diachrone Forschung am Beispiel: Personal Weblogs ............................................................ 6 1.4 Aufbau der Arbeit .................................................................................................................... 7 1.5 Danksagung ............................................................................................................................