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Consolidated Financial Statements for the Financial Year from 1 January to 31 December 2018 Page
Consolidated Financial Statements for the Financial Year from 1 January to 31 December 2018 gamigo AG Behringstrasse 16b 22765 Hamburg/Germany Content Consolidated Financial Statements for the Financial Year from 1 January to 31 December 2018 Page Consolidated management report of gamigo AG for the Financial Year from 1 January to 31 December 2018 1-39 Consolidated Statement of Financial Position as at 31 December 2018 40-41 Consolidated Statement of Profit and Loss and Comprehensive Income for the Financial Year from 1 January to 31 December 2018 42 Consolidated Statement of Changes in Equity from 1 January to 31 December 2018 43 Consolidated Statement of Cash Flows from 1 January to 31 December 2018 44 Notes to the Consolidated Financial Statements of gamigo AG for the Financial Year from 1 January to 31 December 2018 45-126 Independent Auditor’s Report gamigo group Consolidated management report 2018 Consolidated management report of the gamigo group for the year ended 31 December 2018 I. Fundamentals of the gamigo group ...................................................................................... 2 A. Business operations and corporate structure ..................................................................................... 2 B. Business activities and organisation .................................................................................................. 3 C. Objectives and strategies .................................................................................................................. 7 D. Management -
SUMMER 2010 2 Casual Connect Summer 2010 Casual Connect Summer 2010 3 4 Casual Connect Summer 2010 Contents
SUMMER 2010 2 Casual Connect Summer 2010 Casual Connect Summer 2010 3 4 Casual Connect Summer 2010 Contents Jessica Tams | Letter from the Director 7 Legal Studio Spotlight | Playrix Entertainment 8 59 Legal Issues Around Social Games | Dr. Andreas Lober and Olivier Oosterbaan Design & Production Compliance and Contracting (Part One) 62 Keeping It Real | Alisdair Faulkner and Jeff Sawitke Kenji Hisatsune | The Perfect Play 12 The Top Online Gaming Scams and How to Prevent Them Principles Driving PAC-MAN’s Success David Rohrl | Fundamentals of Social Game Design 14 Marketing Part One: Reducing Churn 64 Putting the Money Where the Mouse Is | Jeremy Shea Magnus Alm and Johan Peitz | Taking Icy Tower to 16 Leveraging Social Platforms as a Monetization Engine Facebook Lessons Learned 65 The Debate Over Hardcore Female Gamers | Shanna Tellerman Scott Griffiths | QA Cost Containment Strategies 21 Beginning to Bridge the Gender Gap Maximizing ROI from QA Activities 68 Getting the Scoop on Design | Rick Marazzani Greg Rahn | Fun in Soundville 24 Principles Dished Out in Your Grocer’s Freezer A Conversation about Audio for Social Games David Westendorf | Telepathy in Games 26 Bringing Brain-Computer Interface Technology to Consumers Monetization 70 Paying Can Be Fun | Simon Jones Acknowledging the Most Important Interaction Industry Business Between Seller and Buyer Susan Wu | Bringing Some WoW to FarmVille Fans 28 74 Optimizing Offers | Alex Rampell City of Eternals Breaks New Ground Three Tips to Dramatically Increase Revenues and Make Users Happy Three Guys, Five Questions 32 A Brief Conversation about Social Games 76 Making Retail Pay | Ries Derkman Publishing Casual Games Through Retail Blake Madden | We All Scream For Streams 34 New Directions in Game Distribution Technology 79 Make Them an Offer They Can’t Refuse | Janis Zech and Jan Beckers Klaus Schmidt | Sell Ideas, Not Games 36 Choosing the Offer-based Monetization Platform Eight Questions Worth Pondering . -
GAMING GLOBAL a Report for British Council Nick Webber and Paul Long with Assistance from Oliver Williams and Jerome Turner
GAMING GLOBAL A report for British Council Nick Webber and Paul Long with assistance from Oliver Williams and Jerome Turner I Executive Summary The Gaming Global report explores the games environment in: five EU countries, • Finland • France • Germany • Poland • UK three non-EU countries, • Brazil • Russia • Republic of Korea and one non-European region. • East Asia It takes a culturally-focused approach, offers examples of innovative work, and makes the case for British Council’s engagement with the games sector, both as an entertainment and leisure sector, and as a culturally-productive contributor to the arts. What does the international landscape for gaming look like? In economic terms, the international video games market was worth approximately $75.5 billion in 2013, and will grow to almost $103 billion by 2017. In the UK video games are the most valuable purchased entertainment market, outstripping cinema, recorded music and DVDs. UK developers make a significant contribution in many formats and spaces, as do developers across the EU. Beyond the EU, there are established industries in a number of countries (notably Japan, Korea, Australia, New Zealand) who access international markets, with new entrants such as China and Brazil moving in that direction. Video games are almost always categorised as part of the creative economy, situating them within the scope of investment and promotion by a number of governments. Many countries draw on UK models of policy, although different countries take games either more or less seriously in terms of their cultural significance. The games industry tends to receive innovation funding, with money available through focused programmes. -
July 2021 Issue #168 July CONTENTS 2021 168
The VOICE of the FAMILY in GAMING TM Dream- Works Spirit Lucky’s Big Adven- ture lets families ride along. July 2021 Issue #168 July CONTENTS 2021 168 Links: Home Page Section Page(s) Editor’s Desk 4 Female Side 5 Comics 7 Sound Off 8 - 10 Look Back 12 Quiz 13 Devotional 14 In The News 16 - 23 We Would Play That! 24 Reviews 25 - 37 Sports 38 - 41 Developing Games 42 - 67 Now Playing 68 - 83 Last Minute Tidbits 84 - 108 “Family Friendly Gaming” is trademarked. Contents of Family Friendly Gaming is the copyright of Paul Bury, and Yolanda Bury with the exception of trademarks and related indicia (example Digital Praise); which are property of their individual owners. Use of anything in Family Friendly Gaming that Paul and Yolanda Bury claims copyright to is a violation of federal copyright law. Contact the editor at the business address of: Family Friendly Gaming 7910 Autumn Creek Drive Cordova, TN 38018 [email protected] Trademark Notice Nintendo, Sony, Microsoft all have trademarks on their respective machines, and games. The current seal of approval, and boy/girl pics were drawn by Elijah Hughes thanks to a wonderful donation from Tim Emmerich. Peter and Noah are inspiration to their parents. Family Friendly Gaming Page 2 Page 3 Family Friendly Gaming Editor’s Desk FEMALE SIDE in terms of sponsorships and advertise- love taking walks in our family. We get Hope Springs Eternal ments. We have seen growth that gives Being Active to meet and talk to so many wonderful I am very open, transparent and honest about me hope. -
Political and Social Issues in French Digital Games, 1982–1993
TRANSMISSIONS: THE JOURNAL OF FILM AND MEDIA STUDIES 2017, VOL.2, NO. 2, PP. 162-176. Filip Jankowski Jagiellonian University Political and Social Issues in French Digital Games, 1982–1993 Abstract Despite numerous publications about the history of digital games in the United States and Japan, there are few studies which aim to explore the past European trends in game design. For example, the French gaming industry remains unknown to the vast majority of game researchers. However, from the mid-1980s to the early 1990s a certain tendency emerged in this industry: political and social issues became overtly discussed within digital games. To examine such a tendency, the author follows the ‘emancipatory’ paradigm in digital game research (to cite Jaakko Suominen), instead of the ‘enthusiast’ Trans-Pacific-oriented ones. The objects of the analysis are several adventure games developed in France between 1982 and 1993 whose popularity during this period made them influential for the development of the French gaming industry. The author indicates three factors that contributed to the rapid growth of adventure games. These are the advancement of the personal computer market, the modest but existing support from French national institutions, and the article published by Guy Delcourt in the August 1984 issue of Tilt gaming magazine, which gave critical insight into previous development practices and suggested drawing inspiration from current events. The author distinguishes five thematic genres: Froggy Software’s avant-garde digital games, postcolonial and feminist games, investigative games, science fiction, and horror. Each of these provided numerous references to political affairs, economic stagnation and postcolonial critique of the past, which were severe issues in France during the 1980s and 1990s. -
Essential Video Game News
OCTOBER 2019 ESSENTIAL VIDEO GAME NEWS Julie Chalmette Chairwoman Emmanuel Martin Anne Sophie Montadier Meryl Pioche General Delegate Communication Marketing Manager [email protected] and Marketing Manager [email protected] [email protected] Read all of SELL’s news on social media @SELL_JeuxVideo @SELL.JeuxVideo @SELL_JeuxVideo SELL TV www.sell.fr Essential Video Game News is produced by the Union of Video Game Publishers (SELL). It reflects the market, consumption and use of the French video gaming industry. SELL is certified QUALI’OP by AFNOR which guarantees SELL’s best practices in the services it provides its members. OCTOBER 2019 ESSENTIAL VIDEO GAME NEWS CHAPTER 1 Profiles of French gamers 4 CHAPTER 2 Key figures from the French market 22 CHAPTER 3 Paris Games Week 2019 30 CHAPTER 4 A responsible industry 38 CHAPTER 5 SELL 44 4 PROFILES OF FRENCH GAMERS About the SELL "French public and Video gaming" survey Data collected and analysed by Médiamétrie for SELL with the aim of measuring and understanding video game uses and purchases in France. Survey carried out online from 2nd to 27th September 2019 with a sample of 4,049 people aged 10 and over, representing web users living in France. All rights reserved © 2019 Médiamétrie - www.mediametrie.fr 5 PROFILES OF FRENCH GAMERS VIDEO GAMING IN FRANCE 71% of French people play video games at least occasionally representing 37.15 million people CHILDREN (AGED 10-17) ADULTS (AGED 18 AND OVER) 4.41 MILLION 32.75 MILLION 96% PEOPLE 69% PEOPLE Source: Source: online SELL/Médiamétrie study “French people and video games”, from 2nd to 27th September 2019, with a sample of 4,049 web users aged 10 and over. -
Family Friendly Magazine 159 in PDF Format
The VOICE of the FAMILY in GAMING TM Crash Bandicoot Paw Patrol 4, Ben 10 Power Mighty Pups Trip, NBA 2K21, Save Adventure and more this is- Bay is coming sue. for kids. ISSUE #159 October 2020 October CONTENTS 2020 159 Links: Home Page Section Page(s) Editor’s Desk 4 Female Side 5 Comics 7 Sound Off 8 - 10 Look Back 12 Quiz 13 Devotional 14 In The News 16 - 23 We Would Play That! 24 Reviews 25 - 37 Sports 38 - 41 Developing Games 42 - 67 Now Playing 68 - 83 Last Minute Tidbits 84 - 106 “Family Friendly Gaming” is trademarked. Contents of Family Friendly Gaming is the copyright of Paul Bury, and Yolanda Bury with the exception of trademarks and related indicia (example Digital Praise); which are prop- erty of their individual owners. Use of anything in Family Friendly Gaming that Paul and Yolanda Bury claims copyright to is a violation of federal copyright law. Contact the editor at the business address of: Family Friendly Gaming 7910 Autumn Creek Drive Cordova, TN 38018 [email protected] Trademark Notice Nintendo, Sony, Microsoft all have trademarks on their respective machines, and games. The current seal of approval, and boy/girl pics were drawn by Elijah Hughes thanks to a wonderful donation from Tim Emmerich. Peter and Noah are inspiration to their parents. Family Friendly Gaming Page 2 Page 3 Family Friendly Gaming Editor’s Desk FEMALE SIDE for doing videos as well. I keep working on social media. Using the Opportunity getting better with each video. Just like I keep Growth working on getting better with each issue of Growth also means we attract the attention There are all kinds of memes bemoaning 2020. -
Data from Sensortower
Q4 2019 Store Intelligence Data Digest © 2020 Sensor Tower Inc. - All Rights Reserved Executive Summary: Highlights Worldwide app downloads totaled 28.7 billion in The biggest story of Q4 2019 was the launch of 4Q19, a 4.7% year-over-year increase. 2019 full Disney+, which quickly became the top year downloads grew 9.1% to 114.9B, including downloaded app in the U.S. It had more than 30 30.6B on the App Store and 84.3 from Google Play. million U.S. downloads in the quarter. For the first time in more than five years, Google TikTok ended the year as the No. 2 app by global passed Facebook to become the top mobile downloads behind WhatsApp. India was publisher by worldwide downloads. It had 841M responsible for nearly 45% of TikTok’s first-time first-time downloads in 4Q19, up 27.6% Y/Y. downloads in 2019. 2 © 2020 Sensor Tower Inc. - All Rights Reserved Table of Contents: Topics Covered The Q4 2019 Store Intelligence Data Digest offers analysis on the latest mobile trends: Top Charts for the Quarter 2019 Year in Review 5. Market Overview: 36. Top Categories: 43. 2019 Year in Review: Worldwide year-over-year download A look at year-over-year growth for the Top apps, games, publishers, new apps, growth for the App Store and Google Play top categories on both app stores and new games globally in 2019 6. Top Apps: 39. Top Countries: 51. Disney+: Top non-game apps globally, in the U.S., The countries that had the most installs A look at where Disney+’s launch places it and in Europe in the quarter and a look at Y/Y growth among top SVOD apps in the U.S. -
E3) Maged Kamel Boulos, Shauna Gammon, Mavis Dixon, Sandra Macrury, Michael Fergusson, Francisco Miranda Rodrigues, Telmo Mourinho Baptista, Stephen Yang
JMIR Serious Games A multidisciplinary journal on gaming and gamification for health education/promotion, teaching and social change Volume 3 (2015), Issue 1 ISSN: 2291-9279 Contents Original Papers The Design and Relevance of a Computerized Gamified Depression Therapy Program for Indigenous M ori Adolescents (e1) Matthew Shepherd, Theresa Fleming, Mathijs Lucassen, Karolina Stasiak, Ian Lambie, Sally Merry. 2 Therapists' Perceptions of Social Media and Video Game Technologies in Upper Limb Rehabilitation (e2) Sandy Tatla, Navid Shirzad, Keith Lohse, Naznin Virji-Babul, Alison Hoens, Liisa Holsti, Linda Li, Kimberly Miller, Melanie Lam, HF Van der Loos. 15 Viewpoint Digital Games for Type 1 and Type 2 Diabetes: Underpinning Theory With Three Illustrative Examples (e3) Maged Kamel Boulos, Shauna Gammon, Mavis Dixon, Sandra MacRury, Michael Fergusson, Francisco Miranda Rodrigues, Telmo Mourinho Baptista, Stephen Yang. 29 JMIR Serious Games 2015 | vol. 3 | iss. 1 | p.1 XSL·FO RenderX JMIR SERIOUS GAMES Shepherd et al Original Paper The Design and Relevance of a Computerized Gamified Depression Therapy Program for Indigenous M ori Adolescents Matthew Shepherd1, DClinPsy; Theresa Fleming2, PhD; Mathijs Lucassen3, PhD; Karolina Stasiak3, PhD; Ian Lambie4*, PhD; Sally N Merry3*, MB ChB, MD, FRANZCP, CCAP 1School of Counselling, Human Services and Social Work, Department of Education, University of Auckland, Auckland, New Zealand 2Werry Centre for Child and Adolescent Mental Health, Department of Psychological Medicine, University of Auckland, -
The Economic Contribution of Copyright Industries in France
The Economic Contribution of Copyright Industries in France For more information contact WIPO at www.wipo.int World Intellectual Property Organization 34, chemin des Colombettes P.O. Box 18 CH-1211 Geneva 20 Switzerland Telephone: +41 22 338 91 11 Fax: +41 22 733 54 28 Credits for Cover Screenshots: at FreeDigitalPhotos.net Upper left: Image courtesy of Supertrooper Upper middle: Image courtesy of pandpstock001 at FreeDigitalPhotos.net Upper right: Image courtesy of KarlHeinrich / en.wikipedia.org/wiki/Music_of_ Ethiopia Middle: Image courtesy of cooldesign at FreeDigitalPhotos.net Lower left: Image courtesy of Naypong at FreeDigitalPhotos.net Lower middle: Image courtesy of franky242 at FreeDigitalPhotos.net at FreeDigitalPhotos.net Lower right: mage courtesy of Ventrilock February 2016 The Economic Contribution of Copyright Industries in France The Economic Contribution of Copyright Industries in France The Economic Contribution of Copyright Industries in France Economics Centre,theSorbonne University ofParisI Xavier Greffe Table of Contents Summary 8 Introduction 9 1. THE FRENCH COPYRIGHT SYSTEM 11 1.1 Copyright in France 11 1.1.1 The substance of copyright 11 1.1.2 Neighboring rights 12 1.1.3 Copyright in the digital age 12 1.2 Collective copyright management 14 1.2.1 The principle 14 1.2.2 Collective copyright management societies 14 1.3 Copyright policy 16 1.3.1 HADOPI, the Lescure Report and the bill on creation 16 1.3.2 The debate about European Union plans 19 1.3.3 A burning issue: The quality of copyright management 20 2. THE -
Newzoo the Role of Mobile in Esports
FREE REPORT THE STATE AND FUTURE OF MOBILE ESPORTS IN ASIA AND THE WEST FEBURARY 2018 1. Market Overview 5 2. PC Esports vs. Mobile Esports 11 3. Mobile Esports in the West 16 4. Mobile Esports in Asia 22 5. Future Outlook 29 AN OVERVIEW OF THE CURRENT MOBILE ESPORTS SCENE FEATURED CASE STUDIES The past two years has witnessed crucial developments in the global esports market, growing by 102% in revenues from 2015 to 2017. While mobile has quickly grown as the biggest gaming screen worldwide, its esports scene is largely lagging behind that of PC and console. DAU in DAU in the West In Asia however, mobile esports is experiencing a boom, accelerated by the mobile-first China culture of the region. The phenomenon is especially outstanding in China, leading with top Battle of Balls Clash Royale franchises such as Tencent’s Honor of Kings and Giant Network’s Battle of Balls. In Asia, in China in the West mobile esports is expected to follow a similar structure to that of PC, with the top games being played and scalable stadium events taking place with large viewership. In the West, PC is still the dominant form of gaming entertainment and is expected to remain so for the coming years. Here, mobile esports is expected to be more successful in other layers of esports, such as the amateur scene. For the mobile esports scene, 2018 will be a year to uncover its own identity within the larger esports ecosystem. PETER WARMAN NEWZOO CEO 3 © copyright Newzoo 2018 NUMBER OF EVENTS, FEATURING TWO DISTINCTIVE FRANCHISES THE WESTERN OF ASIAN VIEWERS OF -
Curator, Art Critic, Game Artist, Trainer, Lecturer ARTIST
+33 6 61 99 83 86 [email protected] www.isabellearvers.com Curator, art critic, game artist, trainer, lecturer Art & video games, Retrogaming, Machinima, Net Works ARTIST EXHIBITIONS Transhumanismes, Festival International d'Art Vidéo de Casablanca, Maroc, 2019 Mer Violette Over the real, Festival de Videoarte Luccia, Italie, 2019 Mer violette #ilovemelle, Méliès, Melle, 2019 VR Mer, Sorcières, Ce qui me manque Nuit vernie, Mucem, Marseille, 2019 Série la Mer Vidéoformes Festival, Zaoum, Clermont-Ferrand, 2019 Ce qui me manque Bateau Feu, Scène Nationale de Dunkerque, 2018 Perfromance Cross By BDP, Marseille, 2017 Performance Cross by Lumen Prize, Animation Prize Shanghai Modern Art Museum , Shangaï, 2017 Heroic Makers vs Heroic Land Lumen Prize, Animation Prize, Brighton Digital Festival 2017 Heroic Makers vs Heroic Land « Contemporary Landscape », CICA Museum, Corée du Sud, juin-juillet 2017 Mer rose Biennale WRO, Draft Systems, Wroclaw, Pologne, mai-juillet 2017 Heroic Makers vs Heroic Land « Machinima Report », par la Video Game Art Gallery à Comfort Station, Chicago, USA, 3 mai Blu blu blu « Data City, BBot – Rebelling Nature », exposition collective du réseau des villes créatives / UNESCO, Centre des arts d’Enghien-les-Bains, France, avril-juillet 2017 Mer rose et Mer violette Filmideo 2017, Index Art Center, Newark, USA, avril 2017 Heroic Makers vs Heroic Land Video Vortex XI, Shristi Outpost – Kochi-Muzeris Biennale, Inde, février 2017 Mer rose et Mer violette « Réalité altérée », festival Transient OFF, le Tétris, Le Havre,