Doorlichting Van Het Vlaamse Gamebeleid

Total Page:16

File Type:pdf, Size:1020Kb

Doorlichting Van Het Vlaamse Gamebeleid 30.09.2016 DOORLICHTING VAN HET VLAAMSE GAMEBELEID Studie i.o.v. het Departement Cultuur, Jeugd, Sport en Media van de Vlaamse Gemeenschap PROMOTOREN Prof. Dr. Jan Van Looy Prof. Dr. Tim Raats RESEARCHERS Lizzy Bleumers Jan Waeben Sanne Ruelens Ruben Vandenplas Lotte Vermeulen ! ! !!! ! !!!! ! ! ! 1 ! ! ! ! ! ! ! ! ! 2 INHOUDSOPGAVE ! INHOUDSOPGAVE ........................................................................................................................... 3! ADMINISTRATIE .............................................................................................................................. 5! GLOSSARIUM ................................................................................................................................. 7! INLEIDING .................................................................................................................................... 10! 1.! CONTEXTUALISERING EN SITUERING .............................................................................................. 12! 1.1! VIDEOGAMING:!EEN!MASSAMEDIUM!..........................................................................................................!12! 1.2! GAME1INDUSTRIE!ALS!GROEISECTOR!........................................................................................................!13! 1.3! EEN!BELEID!VAN!CULTURELE!NAAR!CREATIEVE!INDUSTRIEËN!..................................................!13! 1.4! GAMEBELEID!IN!VLAANDEREN!......................................................................................................................!15! 2! ANALYSE VAN WERKING EN EFFECTIVITEIT VAN HET VAF GAMEFONDS ................................................... 18! 2.1! INLEIDING!.................................................................................................................................................................!18! 2.2! EVALUATIE!VAN!HET!VAF!GAMEFONDS!....................................................................................................!20! 2.3! PERCEPTIE!VAN!HET!GAMEFONDS!..............................................................................................................!21! 2.4! ERVARING!MET!VAF!STEUN!.............................................................................................................................!21! 2.5! MIDDELEN!................................................................................................................................................................!22! 2.6! PROCEDURE!.............................................................................................................................................................!24! 2.7! WERKING!VAN!HET!GAMEFONDS!.................................................................................................................!26! 2.8! POSITIE!IN!HET!LANDSCHAP!...........................................................................................................................!27! 2.9! EFFECTIVITEITSMETING!GAMEFONDS!......................................................................................................!28! 2.9.1! Aanvragen!VAF!Gamefonds!......................................................................................................................!28! 2.9.2! Steun!toegekend!............................................................................................................................................!29! 2.9.3! De!bedrijven!die!steun!aanvragen!.........................................................................................................!30! 2.9.4! Succes!van!games!die!steun!ontvingen!................................................................................................!33! 2.9.5! Groei!van!de!sector!.......................................................................................................................................!33! 2.10! LESSONS!LEARNED!............................................................................................................................................!34! 3! BEHOEFTEN EN PRIORITEITEN VOOR DE VLAAMSE GAMESECTOR .......................................................... 37! 3.1! OVERZICHT!STEUNAANBOD!............................................................................................................................!37! 3.1.1! Overzicht!steun!in!Vlaanderen!................................................................................................................!37! 3.1.2! Overzicht!steun!in!Wallonië!.....................................................................................................................!39! 3.1.3! Overzicht!steun!in!Brussel!........................................................................................................................!39! 3.1.4! Overzicht!steun!Federaal!...........................................................................................................................!40! 3.1.5! Steun!per!groeifase!van!bedrijf!...............................................................................................................!40! 3.2! FINANCIËLE!NODEN!............................................................................................................................................!41! 3.2.1! Opstartkost!......................................................................................................................................................!41! 3.2.2! Investeringsklimaat!.....................................................................................................................................!43! 3.2.3! Loonkost!...........................................................................................................................................................!45! 3.3! PROFESSIONALISERING!.....................................................................................................................................!46! 3.4! INTELLECTUELE!EIGENDOM!...........................................................................................................................!47! 3.5! NETWERKEN!EN!KENNISDELING!..................................................................................................................!47! 3.6! SECTORVISIE!...........................................................................................................................................................!48! 3.7! MENTALITEIT!.........................................................................................................................................................!49! ! 3 3.8! MARKETING!.............................................................................................................................................................!50! 3.9! LEERPLICHT!............................................................................................................................................................!51! 3.10! LESSONS!LEARNED!............................................................................................................................................!51! 4! ANALYSE VAN INTERNATIONAAL BELEID EN ONDERSTEUNINGSMECHANISMEN VOOR DE GAMESECTOR .......... 54! 4.1! CATEGORISERING!VAN!STEUNMAATREGELEN!......................................................................................!55! 4.2! HORIZONTALE!VERGELIJKING!VAN!INTERNATIONALE!CASES!......................................................!56! 4.2.1! Canada!...............................................................................................................................................................!57! 4.2.2! Duitsland!..........................................................................................................................................................!59! 4.2.3! Denemarken!....................................................................................................................................................!63! 4.2.4! Europese!Unie!................................................................................................................................................!67! 4.2.5! Finland!...............................................................................................................................................................!70! 4.2.6! Frankrijk!...........................................................................................................................................................!75! 4.2.7! Nederland!.........................................................................................................................................................!78! 4.2.8! Noorwegen!......................................................................................................................................................!84! 4.2.9! Verenigd!Koninkrijk!....................................................................................................................................!87! 4.2.10! Zweden!...........................................................................................................................................................!92! 4.3! VERTICALE!VERGELIJKING!VAN!INTERNATIONALE!CASES!..............................................................!95! 4.3.1! Video!Game!tax!relief!(Verenigd!Koninkrijk)!...................................................................................!95! 4.3.2! TEKES!(Finland)!............................................................................................................................................!98!
Recommended publications
  • By Vince Shuley Born in a Burnaby Basement Three Decades Ago, British Columbia's Joystick Grip on the Global Video-Game Indust
    BORN IN A BURNABY BASEMENT THREE DECADES AGO, BRITISH COLUMBIA’S JOYSTICK GRIP ON THE GLOBAL VIDEO-GAME INDUSTRY SEEMED UNTOUCHABLE. BUT FIERCE COMPETITION, BRAIN DRAINS AND THE FREEMIUM-FUELLED REALITIES OF THE NEW NETSCAPE HAVE BUMPED BC INTO THE BACKSEAT. FROM EA TO INDIE, WE CHRONICLE THE PROVINCE’S REMARKABLE ROLE IN THIS MAMMOTH DIGITAL BUSINESS AND FIND THAT THE GAME IS IN FACT, NOT OVER. Sember and Mattrick BY VINCE SHULEY when the subject of Canada’s greatest cultural but the foundations were laid by ambitious young Vancouverites. exports arises, video games are probably not the first thought that Two Burnaby schoolboys had the smarts and business sense comes to mind. However, more than music, television or film, to hatch Vancouver’s vibrant game industry 30 years ago. Don Canadian video games are bought and played by more people, in Mattrick and Jeff Sember began designing and selling digital com- more places, all over the world. Since the beginning of this medium, puter games out of their living rooms in the early 80s, and their Vancouver has sat at the center of video-game development and first published title, Evolution, was the first commercially successful innovation in the electronic world. From lone-ranger independents game ever made in Canada. After selling 400,000 copies, which paid (indies) to army-sized studios, video-game development companies for both their university tuitions, as well as a couple of shiny sports in Vancouver employ some of the most talented folks in the digital- cars, the teenagers formed Distinctive Software Incorporated (DSI) media industry.
    [Show full text]
  • ELECTRONIC ARTS INC. (Exact Name of Registrant As Speciñed in Its Charter)
    UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K ≤ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15 (d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the Ñscal year ended March 31, 2003 OR n TRANSITION REPORT PURSUANT TO SECTION 13 OR 15 (d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File No. 0-17948 ELECTRONIC ARTS INC. (Exact name of Registrant as speciÑed in its charter) Delaware 94-2838567 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) IdentiÑcation No.) 209 Redwood Shores Parkway Redwood City, California 94065 (Address of principal executive oÇces) (Zip Code) Registrant's telephone number, including area code: (650) 628-1500 Securities registered pursuant to Section 12(b) of the Act: None Securities registered pursuant to Section 12(g) of the Act: Class A Common Stock, $.01 par value (Title of class) Indicate by check mark whether the Registrant (1) has Ñled all reports required to be Ñled by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the Registrant was required to Ñle such reports), and (2) has been subject to such Ñling requirements for the past 90 days. YES ≤ NO n Indicate by check mark if disclosure of delinquent Ñlers pursuant to Item 405 of Regulation S-K is not contained herein, and will not be contained, to the best of registrant's knowledge, in deÑnitive proxy or information statements incorporated by reference in Part III of this Form 10-K or any amendment to this Form 10-K.
    [Show full text]
  • Electronic Arts Inc
    ELECTRONIC ARTS INC FORM 10-K (Annual Report) Filed 5/30/2007 For Period Ending 3/31/2007 Address 209 REDWOOD SHORES PARKWAY REDWOOD CITY, California 94065 Telephone 650-628-1500 CIK 0000712515 Industry Software & Programming Sector Technology Fiscal Year 03/31 Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 31, 2007 OR TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File No. 0-17948 ELECTRONIC ARTS INC. (Exact name of registrant as specified in its charter) Delaware 94-2838567 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification No.) 209 Redwood Shores Parkway 94065 Redwood City, California (Zip Code) (Address of principal executive offices) Registrant’s telephone number, including area code: (650) 628-1500 Securities registered pursuant to Section 12(b) of the Act: Title of Each Class Name of Each Exchange on Which Registered Common Stock, $0.01 par value The NASDAQ Stock Market LLC Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.
    [Show full text]
  • Cluster Or Whirlwind?: the New Media Industry in Vancouver
    9 CLUSTER OR WHIRLWIND? THE NEW MEDIA INDUSTRY IN VANCOUVER Richard Smith, Jane McCarthy and Michelle Petrusevich INTRODUCTION Few forms of economic organization have caused as much controversy as clus- ters. One might expect firms to distance themselves from competitors, but anyone who has walked through a garment or diamond district or driven through the industrial valleys of Europe knows that this is often not the case. This pattern of agglomeration is pronounced, even setting aside firms that cluster around access to raw materials or power sources. Silicon Valley, located south of San Francisco on the west coast of the United States, is the common example of a successful cluster of firms, but others abound, ranging from the “Route 128” computer and biotechnology clus- ters near Boston (Saxenian 1994; Braczyk, Fuchs and Wolf 1999; Lievrouw and Livingstone 2002) to the light manufacturing and textile firms clustered in Italy’s Emilia-Romagna region. These and similar cases attract regional gov- ernments that would like to replicate the success in their own areas. Regional governments also appreciate the fact that they control many of the policy mecha- nisms that promote cluster development. Canada’s federal government has been significantly influenced by the cluster model since it commissioned a study of the country’s economy in the early 1990s. The concept was further entrenched by the more recent work of the Cluster Mapping Project at Harvard (Porter 1991; 1998a). The 1991 study replicated for Canada earlier work by Michael Porter on national competitiveness in a variety of developed countries. It 196 CLUSTERS IN A COLD CLIMATE identified local or regional cooperation as a factor in the subsequent interna- tional competitiveness of nations.
    [Show full text]
  • Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik
    HEC MONTRÉAL Disruptive Innovation and Internationalization Strategies: The Case of the Videogame Industry par Shoma Patnaik Sciences de la gestion (Option International Business) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Décembre 2017 © Shoma Patnaik, 2017 Résumé Ce mémoire a pour objectif une analyse des deux tendances très pertinentes dans le milieu du commerce d'aujourd'hui – l'innovation de rupture et l'internationalisation. L'innovation de rupture (en anglais, « disruptive innovation ») est particulièrement devenue un mot à la mode. Cependant, cela n'est pas assez étudié dans la recherche académique, surtout dans le contexte des affaires internationales. De plus, la théorie de l'innovation de rupture est fréquemment incomprise et mal-appliquée. Ce mémoire vise donc à combler ces lacunes, non seulement en examinant en détail la théorie de l'innovation de rupture, ses antécédents théoriques et ses liens avec l'internationalisation, mais en outre, en situant l'étude dans l'industrie des jeux vidéo, il découvre de nouvelles tendances industrielles et pratiques en examinant le mouvement ascendant des jeux mobiles et jeux en lignes. Le mémoire commence par un dessein des liens entre l'innovation de rupture et l'internationalisation, sur le fondement que la recherche de nouveaux débouchés est un élément critique dans la théorie de l'innovation de rupture. En formulant des propositions tirées de la littérature académique, je postule que les entreprises « disruptives » auront une vitesse d'internationalisation plus élevée que celle des entreprises traditionnelles. De plus, elles auront plus de facilité à franchir l'obstacle de la distance entre des marchés et pénétreront dans des domaines inconnus et inexploités.
    [Show full text]
  • 2011 Economic Impact Report
    CANADA’S ENTERTAINMENT SOFTWARE INDUSTRY IN 2011 A REPORT PREPARED FOR THE ENTERTAINMENT SOFTWARE ASSOCIATION OF CANADA Published on May 30, 2011 SECOR Consulting Inc. 390 Bay Street Suite 2400 Toronto, Ontario M5H 2Y2 www.secorgroup.com MONTREAL :: NEW YORK :: PARIS :: QUEBEC :: TORONTO :: VANCOUVER TABLE OF CONTENTS EXECUTIVE SUMMARY ..................................................................................................................... 3 THE INDUSTRY IN CANADA .............................................................................................................. 6 Industry size and growth .................................................................................................................... 6 Industry impact.................................................................................................................................... 6 Industry structure ................................................................................................................................. 8 Canada in a global industry ...........................................................................................................12 HISTORIC DRIVERS OF CANADA’S SUCCESS ................................................................................... 14 CHANGES SINCE ESAC’S 2009 REPORT ON THE INDUSTRY ............................................................. 16 INDUSTRY VIEWS ON BUSINESS CONDITIONS AND GOVERNMENT SUPPORT......................................... 19 Business conditions............................................................................................................................19
    [Show full text]
  • [Cloud-PDF] Game Manual Nhl 14 Review
    Game Manual Nhl 14 Review Download Game Manual Nhl 14 Review At the moment, that game seems to be NHL 14, and if you're not a hockey diehard, you certainly won't need this year's game. But if you want a hockey video game, you can't go wrong here. NOTE: All shooting controls are based on players moving toward the top of the game screen. To change your shooting controls, select SETTINGS in the Customize. NHL 15 isn't a bad game, but at $60 (or $70 if you're Canadian), it's a bad value, considering how little the core mechanics and suite of modes have improved from NHL 14, or even since NHL 13. Unless last year's broken Be A GM progression system and goofy dump-in puck physics were game-killers for you, NHL 15's few minor fixes won't justify the.NHL 14 looks amazing. Its like your watching a real NHL game in HD! Its a really realistic game in other aspects too, like puck control, player skating, and goalie saves. GM mode and season mode are my favorite modes to play but the training mode and practice drills are also fun to play and learn. 4.5 out of 5 stars from 7014 reviews 7,014. NHL®14 Facebook Like Button Game Rating: E10 (Everyone 10. Download the manual for this game by going to 2J Electronic Arts Vancouver, Electronic Arts, Inc, NuFX, Inc. , Park Place Productions, Hitmen Productions and Distinctive Software, Inc.. This does not imply employment by these companies.
    [Show full text]
  • Modelos De Negocios En La Industria Del Videojuego : Análisis De Caso De
    Universidad de San Andrés Escuela de Negocios Maestría en Gestión de Servicios Tecnológicos y Telecomunicaciones Modelos de negocios en la industria del videojuego : análisis de caso de Electronics Arts Autor: Weller, Alejandro Legajo : 26116804 Director/Mentor de Tesis: Neumann, Javier Junio 2017 Maestría en Servicios Tecnológicos y Telecomunicaciones Trabajo de Graduación Modelos de negocios en la industria del videojuego Análisis de caso de Electronics Arts Alumno: Alejandro Weller Mentor: Javier Neumann Firma del mentor: Victoria, Provincia de Buenos Aires, 30 de Junio de 2017 Modelos de negocios en la Industria del videojuego Abstracto Con perfil bajo, tímida y sin apariencia de llegar a destacarse algún día, la industria del videojuego ha revolucionado a muchos de los grandes participantes del mercado de medios instalados cómodamente y sin preocupaciones durante muchos años. Los mismos nunca se imaginaron que en tan poco tiempo iban a tener que complementarse, acompañar y hasta temer en muchísimos aspectos a este nuevo actor. Este nuevo partícipe ha generado en solamente unas décadas de vida, una profunda revolución con implicancias sociales, culturales y económicas, creando nuevos e interesantes modelos de negocio los cuales van cambiando en períodos cada vez más cortos. A diferencia del crecimiento lento y progresivo de la radio, el cine y luego la televisión, el videojuego ha alcanzado en apenas medio siglo de vida ser objeto de gran interés e inversión de diferentes rubros, y semejante logro ha ido creciendo a través de transformaciones, aceptación general y evoluciones constantes del concepto mismo de videojuego. Los videojuegos, como indica Provenzo, E. (1991), son algo más que un producto informático, son además un negocio para quienes los manufacturan y los venden, y una empresa comercial sujeta, como todas, a las fluctuaciones del mercado.
    [Show full text]
  • Games of Empire Electronic Mediations Katherine Hayles, Mark Poster, and Samuel Weber, Series Editors
    Games of Empire Electronic Mediations Katherine Hayles, Mark Poster, and Samuel Weber, Series Editors 29 Games of Empire: Global Capitalism and Video Games Nick Dyer- Witheford and Greig de Peuter 28 Tactical Media Rita Raley 27 Reticulations: Jean-Luc Nancy and the Networks of the Political Philip Armstrong 26 Digital Baroque: New Media Art and Cinematic Folds Timothy Murray 25 Ex- foliations: Reading Machines and the Upgrade Path Terry Harpold 24 Digitize This Book! The Politics of New Media, or Why We Need Open Access Now Gary Hall 23 Digitizing Race: Visual Cultures of the Internet Lisa Nakamura 22 Small Tech: The Culture of Digital Tools Byron Hawk, David M. Rieder, and Ollie Oviedo, Editors 21 The Exploit: A Theory of Networks Alexander R. Galloway and Eugene Thacker 20 Database Aesthetics: Art in the Age of Information Overfl ow Victoria Vesna, Editor 19 Cyberspaces of Everyday Life Mark Nunes 18 Gaming: Essays on Algorithmic Culture Alexander R. Galloway 17 Avatars of Story Marie-Laure Ryan 16 Wireless Writing in the Age of Marconi Timothy C. Campbell 15 Electronic Monuments Gregory L. Ulmer 14 Lara Croft: Cyber Heroine Astrid Deuber- Mankowsky 13 The Souls of Cyberfolk: Posthumanism as Vernacular Theory Thomas Foster 12 Déjà Vu: Aberrations of Cultural Memory Peter Krapp 11 Biomedia Eugene Thacker 10 Avatar Bodies: A Tantra for Posthumanism Ann Weinstone 9 Connected, or What It Means to Live in the Network Society Steven Shaviro 8 Cognitive Fictions Joseph Tabbi 7 Cybering Democracy: Public Space and the Internet Diana Saco 6 Writings Vilém Flusser 5 Bodies in Technology Don Ihde 4 Cyberculture Pierre Lévy 3 What’s the Matter with the Internet? Mark Poster 2 High Techne¯: Art and Technology from the Machine Aesthetic to the Posthuman R.
    [Show full text]
  • Tony Lee UI/GRAPHIC DESIGNER
    Tony Lee UI/GRAPHIC DESIGNER Vancouver, Canada [email protected] 604-872-7335 home I am a designer who is always keen to bring function, style, 778-871-9287 mobile humour and spirit to my projects. My credits include over thirty video games over several decades. I recently designed a luxury print magazine from cover to cover. Off the clock, I design fun projects in music. Despite this, I am incredibly humble. I hope to be a key contributor to a successful, high performing, creative team. I am handy with: Photoshop, Illustrator, InDesign, After Effects, XD, some Unity, FontLab, pencil. Experience UI Artist Vancouver Sep 2018 - Sep 2019 Truly Social Games UI Design on published mobile titles Gold Mania!, Draw A Stickman AR, and Planet Gold Rush. Duties included logo and icon design, screen design from wireframes, palette creation, type design, mobile prototypes, motion demos, and screen construction in Unity. Staff Interface Designer (contract) Burnaby, BC Jan 2018 - Present Electronic Arts Canada Worked on NHL 16/17/19, Hockey Ultimate Team and UFC2 interface design teams. Various contracts over recent years. Creative Director Vancouver Jan 2017 - Sep 2017 HLM magazine/Mann Media Inc. Created editorial design for a bi-monthly luxury lifestyle magazine publishing in four markets in Western Canada. Designed in-house ads and prepared magazine for the printer. Senior UI Artist Vancouver, BC Oct 2014 - Apr 2015 Fathom Interactive Created, modified, and designed UI art for Fathom/Rovio Stars mobile game Sky Punks. Leading a powerhouse two person UI team! Interface Designer (contract) Apr 2014 - Aug 2014 Big Park/Microsoft Worked on the production and design of the NFL Xbox One tv app for the 2014-15 football season.
    [Show full text]
  • Stephen M. Cabrinety Collection in the History of Microcomputing, Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt529018f2 No online items Guide to the Stephen M. Cabrinety Collection in the History of Microcomputing, ca. 1975-1995 Processed by Stephan Potchatek; machine-readable finding aid created by Steven Mandeville-Gamble Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc © 2001 The Board of Trustees of Stanford University. All rights reserved. Special Collections M0997 1 Guide to the Stephen M. Cabrinety Collection in the History of Microcomputing, ca. 1975-1995 Collection number: M0997 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Contact Information Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc Processed by: Stephan Potchatek Date Completed: 2000 Encoded by: Steven Mandeville-Gamble © 2001 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Stephen M. Cabrinety Collection in the History of Microcomputing, Date (inclusive): ca. 1975-1995 Collection number: Special Collections M0997 Creator: Cabrinety, Stephen M. Extent: 815.5 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Language: English. Access Access restricted; this collection is stored off-site in commercial storage from which material is not routinely paged. Access to the collection will remain restricted until such time as the collection can be moved to Stanford-owned facilities. Any exemption from this rule requires the written permission of the Head of Special Collections.
    [Show full text]
  • The End Game How Top Developers Sold Their Studios
    The End Game How Top Developers Sold Their Studios In November 2002 Angel Studios was purchased by Take Two for $28 million dollars in cash and 235,000 shares of stock. A month earlier Activision purchased Luxoflux for $9 million dollars and 110,000 shares of stock. That same year Infogrames (now Atari) purchased Shiny for a surprising $47 million dollars, and who can forget Microsoft’s purchase of Rare for a whopping $375 million? And the list goes on: Massive Entertainement, Rainbow Studios, Barking Dog, Black Box, Shaba Games, Gray Matter, Treyarch, Outrage, Volition, Digital Anvil, Westwood Studios, and more. All have been purchased by a major publisher and experienced the thrill of the end game. For many developers, selling their studio is the final prize for a race well run. But what do you really know about how a deal goes down and whether or not you are a good prospect? What is it that will make your studio attractive? How will your company be valued? And perhaps most importantly, what can you do to prepare? The information presented in this lecture is based on interviews with key executives from both sides of an acquisition transaction: independent game studios who have been purchased and the publishers who purchased them. Interviews were also conducted with attorneys and investment firms that deal in mergers and acquisitions within the video game and software industries. And finally, research was conducted to quantify specific transactions and acquisition details. DISCLAIMER Mergers and acquisitions are complex business relationships that require the help of legal and accounting professionals.
    [Show full text]