Acclaim Entertainment

Total Page:16

File Type:pdf, Size:1020Kb

Acclaim Entertainment SECURITIES AND EXCHANGE COMMISSION FORM 10-Q Quarterly report pursuant to sections 13 or 15(d) Filing Date: 1996-01-16 | Period of Report: 1995-11-30 SEC Accession No. 0000889812-96-000029 (HTML Version on secdatabase.com) FILER ACCLAIM ENTERTAINMENT INC Mailing Address Business Address 71 AUDREY AVE 71 AUDREY AVE CIK:804888| IRS No.: 382698904 | State of Incorp.:DE | Fiscal Year End: 0831 OYSTER BAY NY 11771 OYSTER BAY NY 11771 Type: 10-Q | Act: 34 | File No.: 000-16986 | Film No.: 96504006 5169222400 SIC: 7372 Prepackaged software Copyright © 2012 www.secdatabase.com. All Rights Reserved. Please Consider the Environment Before Printing This Document ------------------------------------------------------------------------------ ------------------------------------------------------------------------------ SECURITIES AND EXCHANGE COMMISSION WASHINGTON, D.C. 20549 FORM 10-Q (MARK ONE) [X] QUARTERLY REPORT PURSUANT TO SECTION 13 OR 15(D) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE QUARTERLY PERIOD ENDED NOVEMBER 30, 1995 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 NUMBER 0-16986 ACCLAIM ENTERTAINMENT, INC. (EXACT NAME OF THE REGISTRANT AS SPECIFIED IN ITS CHARTER) DELAWARE 38-2698904 (STATE OR OTHER JURISDICTION (I.R.S. EMPLOYER OF INCORPORATION OR ORGANIZATION) IDENTIFICATION NO.) ONE ACCLAIM PLAZA GLEN COVE, NEW YORK 11542 (ADDRESS OF PRINCIPAL EXECUTIVE OFFICES) (516) 656-5000 (REGISTRANT'S TELEPHONE NUMBER) 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. Yes [X] No [ ] As at January 12, 1996, approximately 49,950,000 shares of the common stock, par value $0.02 per share, of the registrant were outstanding. ------------------------------------------------------------------------------ ------------------------------------------------------------------------------ PART I FINANCIAL INFORMATION ITEM 1. FINANCIAL STATEMENTS. ACCLAIM ENTERTAINMENT, INC. AND SUBSIDIARIES CONSOLIDATED BALANCE SHEETS (IN 000S, EXCEPT PER SHARE DATA) <TABLE> <CAPTION> NOVEMBER 30, AUGUST 31, 1995 1995 ------------ ---------- <S> <C> <C> ASSETS Current assets: Cash............................................ $ 29,534 $ 44,749 Marketable securities........................... 26,869 26,503 Accounts receivable--net........................ 161,924 179,311 Inventories..................................... 34,086 16,015 Copyright © 2012 www.secdatabase.com. All Rights Reserved. Please Consider the Environment Before Printing This Document Prepaid expenses................................ 42,523 41,083 Other current assets............................ 18,887 18,825 ------------ ---------- Total current assets.............................. 313,823 326,486 ------------ ---------- Other Assets: Fixed assets--net............................... 38,551 33,970 Excess of cost over net assets acquired--net of accumulated amortization of $10,006 and $9,091, respectively................................. 58,922 59,837 Other assets.................................... 24,878 33,186 ------------ ---------- Total assets...................................... $436,174 $ 453,479 ------------ ---------- LIABILITIES AND STOCKHOLDERS' EQUITY Current liabilities: Trade accounts payable.......................... $ 36,440 $ 49,072 Short-term borrowings........................... 2,559 4,233 Accrued expenses................................ 43,245 47,017 Income taxes payable............................ 864 180 Current portion of long-term debt............... 23,696 25,196 Obligation under capital leases--current........ 283 333 ------------ ---------- Total current liabilities......................... 107,087 126,031 ------------ ---------- Long-term liabilities: Obligation under capital leases--noncurrent..... 555 408 Other long-term liabilities..................... 12 53 ------------ ---------- Total liabilities................................. 107,654 126,492 ------------ ---------- Minority interest................................. 1,560 1,628 Commitments and Contingencies..................... -- -- Stockholders' Equity: Preferred stock, $0.01 par value; 1,000 shares authorized; None issued...................... -- -- Common stock, $0.02 par value; 100,000 and 50,000 shares authorized, respectively; 49,850 and 46,281 shares issued and outstanding, respectively.................... 997 926 Additional paid in capital........................ 172,426 168,785 Retained earnings................................. 151,321 153,141 Treasury stock.................................... (807) (807) Unrealized gain on available for sale securities...................................... 2,716 2,503 Foreign currency translation adjustment........... 307 811 ------------ ---------- Total stockholders' equity........................ 326,960 325,359 ------------ ---------- Total liabilities and stockholders' equity........ $436,174 $ 453,479 ------------ ---------- ------------ ---------- </TABLE> See note to consolidated financial statements. ACCLAIM ENTERTAINMENT, INC. AND SUBSIDIARIES STATEMENTS OF CONSOLIDATED EARNINGS (IN 000S, EXCEPT PER SHARE DATA) <TABLE> <CAPTION> THREE MONTHS ENDED NOVEMBER 30, -------------------- 1995 1994 -------- -------- <S> <C> <C> Net revenues...................................... $134,447 $164,304 Cost of revenues.................................. 75,863 77,665 -------- -------- Gross profit...................................... 58,584 86,639 Copyright © 2012 www.secdatabase.com. All Rights Reserved. Please Consider the Environment Before Printing This Document -------- -------- OPERATING EXPENSES Selling, advertising, general and administrative expenses........................................ 52,583 56,719 Operating interest................................ 1,032 885 Depreciation and amortization..................... 3,497 1,599 -------- -------- Total operating expenses.......................... 57,112 59,203 -------- -------- Earnings from operations.......................... 1,472 27,436 -------- -------- OTHER INCOME (EXPENSE) Interest income................................... 831 434 Interest expense.................................. (592) (830) Other (expense) income............................ (836) 226 -------- -------- Earnings before income taxes...................... 875 27,266 Provision for income taxes........................ 350 11,308 -------- -------- Net earnings before minority Interest............. 525 15,958 -------- -------- Minority Interest................................. (70) -- -------- -------- Net Earnings...................................... $ 595 $ 15,958 -------- -------- Net earnings per common and common equivalent share........................................... $ 0.01 $ 0.34 -------- -------- Weighted average number of common and common equivalent shares outstanding................... 56,640 47,497 -------- -------- </TABLE> See note to consolidated financial statements. 2 ACCLAIM ENTERTAINMENT, INC. AND SUBSIDIARIES STATEMENTS OF CONSOLIDATED STOCKHOLDERS' EQUITY (IN 000S, EXCEPT PER SHARE DATA) <TABLE> <CAPTION> PREFERRED STOCK (1) COMMON STOCK --------------- --------------- ISSUED ISSUED ADDITIONAL --------------- --------------- PAID-IN RETAINED TREASURY SHARES AMOUNT SHARES AMOUNT CAPITAL EARNINGS STOCK ------ ------ ------ ------ ---------- -------- -------- <S> <C> <C> <C> <C> <C> <C> <C> Balance August 31, 1993........................... -- -- 37,259 $745 $ 38,377 $ 61,516 $ (807) ------ ------ ------ ------ ---------- -------- -------- Net Earnings.................................... -- -- -- -- -- 45,055 -- Issuances....................................... -- -- 971 19 14,981 -- -- Exercise of Stock Options....................... -- -- 1,118 23 7,435 -- -- Tax Benefit from Exercise of Stock Options...... -- -- -- -- 8,453 -- -- Foreign Currency Translation Gain............... -- -- -- -- -- -- -- ------ ------ ------ ------ ---------- -------- -------- Balance August 31, 1994........................... -- -- 39,348 787 69,246 106,571 (807) ------ ------ ------ ------ ---------- -------- -------- Net Earnings.................................... -- -- -- -- -- 44,770 -- Issuances....................................... -- -- 5,182 104 83,659 -- -- Exercise of Stock Options....................... -- -- 628 13 4,170 -- -- Pooling of Interests with Lazer-Tron............ -- -- 1,123 22 10,609 1,800 -- Tax Benefit from Exercise of Stock Options...... -- -- -- -- 1,101 -- -- Foreign Currency Translation Gain............... -- -- -- -- -- -- -- Unrealized Gain on Marketable Securities........ -- -- -- -- -- -- -- ------ ------ ------ ------ ---------- -------- -------- Balance August 31, 1995........................... -- -- 46,281 926 168,785 153,141 (807) ------ ------ ------ ------ ---------- -------- -------- Net Earnings.................................... -- -- -- -- -- 595 -- Exercise of Stock Options and Warrants.......... -- -- 359 7 3,196 -- -- Pooling of Interests with Sculptured and Copyright © 2012 www.secdatabase.com. All Rights Reserved. Please Consider the Environment Before Printing This Document Probe........................................ -- -- 3,210 64 (64) (2,415) -- Tax
Recommended publications
  • IGDA Online Games White Paper Full Version
    IGDA Online Games White Paper Full Version Presented at the Game Developers Conference 2002 Created by the IGDA Online Games Committee Alex Jarett, President, Broadband Entertainment Group, Chairman Jon Estanislao, Manager, Media & Entertainment Strategy, Accenture, Vice-Chairman FOREWORD With the rising use of the Internet, the commercial success of certain massively multiplayer games (e.g., Asheron’s Call, EverQuest, and Ultima Online), the ubiquitous availability of parlor and arcade games on “free” game sites, the widespread use of matching services for multiplayer games, and the constant positioning by the console makers for future online play, it is apparent that online games are here to stay and there is a long term opportunity for the industry. What is not so obvious is how the independent developer can take advantage of this opportunity. For the two years prior to starting this project, I had the opportunity to host several roundtables at the GDC discussing the opportunities and future of online games. While the excitement was there, it was hard not to notice an obvious trend. It seemed like four out of five independent developers I met were working on the next great “massively multiplayer” game that they hoped to sell to some lucky publisher. I couldn’t help but see the problem with this trend. I knew from talking with folks that these games cost a LOT of money to make, and the reality is that only a few publishers and developers will work on these projects. So where was the opportunity for the rest of the developers? As I spoke to people at the roundtables, it became apparent that there was a void of baseline information in this segment.
    [Show full text]
  • United States Court of Appeals for the Federal Circuit
    NOTE: Pursuant to Fed. Cir. R. 47.6, this disposition is not citable as precedent. It is a public record. The disposition will appear in tables published periodically. United States Court of Appeals for the Federal Circuit 02-1383, -1384, -1385 JOSEPH KWAME OKOR, Plaintiff-Appellant, v. ATARI GAMES CORP. and MIDWAY GAMES INC., and CAPCOM ENTERTAINMENT INC., and JALECO USA INC. (now known as Jaleco Entertainment, Inc.), and KONAMI OF AMERICA INC., and NAMCO OF AMERICA INC., and SEGA ENTERPRISES INC. (USA) and SEGA OF AMERICA DREAMCAST, INC., and SAMMY USA CORP., and SONY CORPORATION OF AMERICA, and NINTENDO OF AMERICA, INC., and ACCLAIM ENTERTAINMENT INC., BEST BUY CO., INC., BLOCKBUSTER, INC., ELECTRONIC ARTS INC., ELECTRONICS BOUTIQUE HOLDINGS CORP., KMART CORPORATION, TELE-COMMUNICATIONS, INC., TOYS R US, and WAL-MART STORES, INC., Defendants-Appellees, and BANDAI CO. LTD. and TAITO CORPORATION, Defendants. ___________________________ DECIDED: September 26, 2003 ___________________________ Before NEWMAN, MICHEL, and RADER, Circuit Judges. PER CURIAM. Plaintiff-Appellant Joseph Kwame Okor appeals from a decision of the United States District Court for the District of Massachusetts that (1) granted summary judgment of noninfringement to defendants in Civil Action No. 00-11503 and Civil Action No. 00-11504,1 and (2) dismissed the claims against the defendants in Civil Action No. 01-10610 on the grounds of claim preclusion and issue preclusion. Because the district court’s decision was well-founded in law and in fact, we affirm. PROCEDURAL BACKGROUND These cases are the latest in a series of attempts -- thus far unsuccessful -- by Okor to enforce two patents against companies involved in the video game industry.
    [Show full text]
  • 06 Games: Technology, Industry, Culture 01: Introduction
    Media Aesthetics 06 Games: Technology, Industry, Culture 01: Introduction - Exceeded those of the movie and music industries in US: $74 billion in 2011 - Features of game (Jesper Juul 2005) 1) rules 2) variable, quantifiable outcomes 3) valorization of outcomes 4) player effort 5) player-attached outcome: emotionally, challenging 6) negotiable consequences: with or without real-life consequences - Types of games and game platforms 1) arcade games: coin-operated games in public places 2) console games: Sony Playstation, Microsoft Xbox, Nitendo Wii, connected to another device (TV, Internet) 3) PC-based games: CD-ROM or the internet 4) handheld games: Nintendo DS 5) mobile games: smartphones, tablet computers, app stores than games distributors 6) games within social media platforms: ‘social games’, Farmville, etc. Zynga through Facebook, Google+, Tencent - Gamification: the use of game mechanics and game design techniques in non-game contexts, such as education, corporate training and financial management 1) direct spin-offs: for technological innovation and consumer demand relating to computer processing, demand for broadband services, mobile telecommunications and digital content 2) indirect spin-offs: as diverse as real estate and travel, military training, healthcare, intelligence testing, corporate training - The rise of games and gaming culture: MMOGs→ online virtual communities, participatory media culture, user-led-innovation - Tensions and contradictions in the games industry 1) the ownership and control of user-generated content
    [Show full text]
  • Advertising: Video Games
    Advertising: Video Games Recent Articles on Ads and Video games October 2008 Advertising Strategists Target Video Games April 21, 2006 10:33AM Visa isn’t the only brand getting into the virtual action. In-game advertising is expected to double to nearly $350 million by next year, and hit well over $700 million by 2010, according to a report released this week by research firm the Yankee Group. Advertisers are getting into the game — the video game. Increasingly, big-name marketers are turning to game developers to woo consumers more interested in the game controller than the remote control. “The fact is you aren’t able to reach consumers the same way you could 20 years ago, 10 years ago or maybe even five years ago,” said Jon Raj, vice president of advertising and emerging media platform for Visa USA. Visa ingrained itself into Ubisoft’s PC title “CSI 3” by making the credit card company’s identity theft protection part of the game’s plot. “We didn’t just want to throw our billboard or put our Visa logo out there,” Raj said. Visa isn’t the only brand getting into the virtual action. In-game advertising is expected to double to nearly $350 million by next year, and hit well over $700 million by 2010, according to a report released this week by research firm the Yankee Group. Bay State game creators are already reporting an uptick in interest from marketers wanting to roll real-life ads into fantasy worlds. “I’ve seen increased interest here and throughout the industry,” said Joe Brisbois, vice president of business development for Cambridge-based Harmonix Music Systems.
    [Show full text]
  • Turok – Battle of the Binosaurs (Nov 2019)
    26/11/2019 Yokoi Kids Monthly Game Nov 2019 Turok on the Game Boy: Was it Good, Nostalgia or Something Else? Introduction What is it about the memory of something that drives us to be nostalgic? Looking back with rose-tinted glasses, reminding yourself of the good times past. This was the question I was asking myself about Turok: Battle of the Bionosaurs. For some reason I want to share this title with the rest of you. The game is no masterpiece, yet I still enjoy playing it from time to time. The answer as to why I love it may lay rooted in the beginning, not of time, but of my personal gaming/social experiences. Twenty years ago, roughly at time of writing, you would have found eleven-year-old me. I had an older friend at the time whom I looked up to greatly. He had all the cool stuff and was always introducing me to something I would later love – Looking at you John Carpenters, The Thing. At this time though it was two games, Links Awakening and Turok: Battle of the Bionosaurs. We spent a great deal of time playing games together. This meant trading games with each other and since the GB carts were small, these were my first borrowed games. This meant a great deal to me, it was a turning point of trust in my social life. So, this was the reason I remember it as such a fond memory, but it is not explaining why I think Turok is so great. Turok: A world of Cyborg Dino’s and Red Meat Action What other universe blends Cyborg Dino’s, vast expansive wildernesses and on point combat.
    [Show full text]
  • NA EU Art Alive! Western Technologies •Segana/EU/JP Buck
    688 Attack Sub Electronic Arts Sega NA EU NA EU Art Alive! Western Technologies •SegaNA/EU/JP NAJP BREU Buck Rogers: Countdown to Doomsday Strategic Simulations •Electronic ArtsNA/EU NABR EU California Games •EpyxOriginal design •SegaNA/EU BR Centurion: Defender of Rome •Bits of Magic Electronic Arts NA EU Divine Sealing (Unlicensed) Studio Fazzy CYX JP Hardball! Accolade Ballistic NA EU NA EU James Pond: Underwater Agent •Millennium Interactive •Electronic ArtsNA/EU BR John Madden Football '92 Electronic Arts EASN NA EU M-1 Abrams Battle Tank Dynamix Electronic Arts/Sega NA EU NA EU Marble Madness Atari Electronic Arts JP Mario Lemieux Hockey Ringler Studios Sega NA EU NA EU Marvel Land Namco Namco JP Master of Monsters Systemsoft Renovation Products NA JP Master of Weapon Taito Taito JP NA EU Mercs Capcom Capcom JP Mickey's Ultimate Challenge Designer Software Hi Tech Expressions NA Might and Magic: Gates to Another World New World Computing Electronic Arts NA EU Mike Ditka Power Football Ballistic Accolade NA Ms. Pac-Man General Computer Corp. Tengen NA EU NA EU Mystical Fighter Taito DreamWorks JP Onslaught •RealmsOriginal Design Ballistic NA NA JP Rampart •Atari GamesOriginal design •TengenNA/JP KR Rings of Power Naughty Dog Software Electronic Arts NA EU NA EU Road Rash Electronic Arts •Electronic ArtsNA/EU JP BR Saint Sword Taito Taito NA JP NA EU Shadow of the Beast Psygnosis Electronic Arts NAJP EU Space Invaders '91 Taito Taito NAJP EU Speedball 2 The Bitmap Brothers Arena Entertainment JP NA EU Spider-Man Sega Sega JP Starflight
    [Show full text]
  • JERRY PURVIS, on Behalf of Himself and All ) CIVIL ACTION NO
    UNITED STATES DISTRICT COURT FOR THE EASTERN DISTRICT OF NEW YORK __________________________________________ ) JERRY PURVIS, On Behalf of Himself And All ) CIVIL ACTION NO. ________ Others Similarly Situated, ) ) Plaintiff, ) ) CLASS ACTION COMPLAINT vs. ) FOR VIOLATIONS OF ) FEDERAL SECURITIES LAWS ACCLAIM ENTERTAINMENT, INC., ) GREGORY FISCHBACH, EDMOND SANCTIS, ) JAMES SCOROPOSKI and GERARD AGOGLIA, ) JURY TRIAL DEMANDED ) ) Defendants. ) _________________________________________ Plaintiff has alleged the following based upon the investigation of plaintiff’s counsel, which included a review of United States Securities and Exchange Commission ("SEC") filings by Acclaim Entertainment, Inc. ("Acclaim" or the “Company”), as well as regulatory filings and reports, securities analysts' reports and advisories about the Company, press releases and other public statements issued by the Company, and media reports about the Company, and plaintiff believes that substantial additional evidentiary support will exist for the allegations set forth herein after a reasonable opportunity for discovery. NATURE OF THE ACTION 1. This is a federal class action on behalf of purchasers of the securities of Acclaim between January 11, 2002 and September 19, 2002, inclusive (the "Class Period"), seeking to pursue remedies under the Securities Exchange Act of 1934 (the "Exchange Act"). JURISDICTION AND VENUE 2. The claims asserted herein arise under and pursuant to Sections 10(b) and 20(a) of the Exchange Act [15 U.S.C. §§ 78j(b) and 78t(a)] and Rule 10b-5 promulgated thereunder by the Securities and Exchange Commission ("SEC") [17 C.F.R. § 240.10b-5]. 3. This Court has jurisdiction over the subject matter of this action pursuant to 28 U.S.C. §§ 1331 and 1367 and Section 27 of the Exchange Act [15 U.S.C.
    [Show full text]
  • Proquest Dissertations
    Licensed to shill: How video and computer games tarnished the silver screen Item Type text; Dissertation-Reproduction (electronic) Authors Ruggill, Judd E. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 07:23:18 Link to Item http://hdl.handle.net/10150/280772 LICENSED TO SHILL: HOW VIDEO AND COMPUTER GAMES TARNISHED THE SILVER SCREEN by Judd Ethan Ruggill Copyright © Judd Ethan Ruggill 2005 A Dissertation Submitted to the Faculty of the GRADUATE INTERDISCIPLINARY PROGRAM IN COMPARATIVE CULTURAL AND LITERARY STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN MEDIA ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2 00 5 UMI Number: 3158216 Copyright 2005 by Ruggill, Judd Ethan All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3158216 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved.
    [Show full text]
  • You've Seen the Movie, Now Play The
    “YOU’VE SEEN THE MOVIE, NOW PLAY THE VIDEO GAME”: RECODING THE CINEMATIC IN DIGITAL MEDIA AND VIRTUAL CULTURE Stefan Hall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Committee: Ronald Shields, Advisor Margaret M. Yacobucci Graduate Faculty Representative Donald Callen Lisa Alexander © 2011 Stefan Hall All Rights Reserved iii ABSTRACT Ronald Shields, Advisor Although seen as an emergent area of study, the history of video games shows that the medium has had a longevity that speaks to its status as a major cultural force, not only within American society but also globally. Much of video game production has been influenced by cinema, and perhaps nowhere is this seen more directly than in the topic of games based on movies. Functioning as franchise expansion, spaces for play, and story development, film-to-game translations have been a significant component of video game titles since the early days of the medium. As the technological possibilities of hardware development continued in both the film and video game industries, issues of media convergence and divergence between film and video games have grown in importance. This dissertation looks at the ways that this connection was established and has changed by looking at the relationship between film and video games in terms of economics, aesthetics, and narrative. Beginning in the 1970s, or roughly at the time of the second generation of home gaming consoles, and continuing to the release of the most recent consoles in 2005, it traces major areas of intersection between films and video games by identifying key titles and companies to consider both how and why the prevalence of video games has happened and continues to grow in power.
    [Show full text]
  • Take-Two Interactive Software, Inc. Announces Exclusive Partnership
    Take-Two Interactive Software, Inc. Announces Exclusive Partnership With Gathering of Developers, Ltd., for Edge of Reality, Inc.'s 4 X 4 Mud Monsters for the Nintendo 64. NEW YORK--(BUSINESS WIRE)--May 5, 1998--Take-Two Interactive Software, Inc. (NASDAQ:TTWO, TTWOW) announced today that it has signed an agreement with Gathering of Developers, Ltd. to co-publish and distribute 4X4 Mud Monsters. 4X4 Mud Monsters is being developed by Gathering of Developers partners Edge of Reality, Inc. and Terminal Reality Inc., exclusively for the Nintendo 64. Currently, 4X4 Mud Monsters is scheduled for release in the first quarter of 1999. 4X4 Mud Monsters is the first product to be developed and marketed by The Gathering exclusively for a console system. Additionally, Take-Two is the first corporate co-publishing and distribution partner The Gathering has chosen to work with. 4X4 Mud Monsters is a hard driving off-road truck simulation, which goes beyond real world practicalities. The product will take full advantage of the Nintendo 64's 3D graphics power and utilize a powerful new proprietary N64 engine developed by Edge of Reality's founder Rob Cohen, and based on Terminal Reality Inc.'s Photex 2 Engine for the PC. Terminal Reality is working closely with Edge of Reality to share their proprietary engine technology, most recently featured in Microsoft, Inc.'s Monster Truck Madness 2 for the PC. Mike Wilson, CEO of The Gathering, said, "Gathering of Developers, Terminal Reality and Edge of Reality are pleased to be working with Take-Two in the United States and Europe.
    [Show full text]
  • Printell 80Pp HORNET
    EXPO 2004 3 E www.gdaa.com.au WE’LL GIVE YOU A PIECE OF OUR MIND E3 EXPO 2004 WE’LL AYOU GIVE PIECE OF OUR MIND E3 LOCATION AT WEST HALL, BOOTH #2100 CONTENTS AUSTRALIA’S STRENGTHS 2 AUSTRALIAN CAPABILITIES 3 GAME DEVELOPERS 9 SERVICE COMPANIES 50 GAMES HARDWARE 66 GAME DEVELOPERS’ ASSOCIATION OF AUSTRALIA 68 AUSTRALIAN GAME DEVELOPERS’ CONFERENCE 69 SKILLS AND TRAINING 70 GOVERNMENT SUPPORT 74 USEFUL LINKS 79 NOTES 80 AUSTRALIA’S STRENGTHS The game development industry in Australia is second to none. Dynamic and sophisticated, Australian companies are already developing and marketing titles for the largest game publishers in the world. Australia offers world-class creative talent, advanced technology and exceptional management experience. Australia’s key strengths in the game industry are: OVER 40 GAME DEVELOPMENT COMPANIES DEVELOPING GAMES FOR OVER 20 YEARS MORE THAN 200 TITLES FRESH CREATIVE TALENT HUGE SKILLS BASE WORLD CLASS EDUCATION AND TRAINING COURSES ENSURE CONTINUED TALENT SUPPLY NOW AND IN THE FUTURE GREAT INFRASTRUCTURE AND ADVANCED TECHNOLOGY CRITICAL MASS OF COMPLEMENTARY CREATIVE INDUSTRIES, INCLUDING FILM AND TELEVISION, DESIGN, ADVERTISING AND NEW MEDIA GLOBAL COMPANIES IN AUSTRALIA INCLUDING ACCLAIM ENTERTAINMENT, ACTIVISION, ATARI, EIDOS INTERACTIVE, ELECTRONIC ARTS, MICROSOFT, NINTENDO, SONY, TAKE TWO INTERACTIVE, THQ, UBISOFT ENTERTAINMENT AND VIVENDI UNIVERSAL OPEN FOR BUSINESS 24/7 WORLD CLASS GAMES DOWNUNDER! 2 AUSTRALIAN CAPABILITIES Company Location Platforms Titles Contact Atari Melbourne PS2, Xbox, NGC, GBA,
    [Show full text]
  • E N Te Rta in M E N T: S O Ftw a Re
    Equity Research L O S ANGELES | S A N FRANCISCO | NEW Y O R K | B O S T O N | SEATTLE | MINNEAPOLIS | M I L W A U K E E Entertainment: Software February 11, 2014 Michael Pachter Nick McKay Nick Citrin (213) 688-4474 (213) 688-4343 (213) 688-4495 [email protected] [email protected] [email protected] Post Hoc Ergo Propter Hoc; Why the Next Generation Will Be as Big as Ever Wedbush Securities does and seeks to do business with companies covered in its research reports. Thus, investors should be aware that the firm may have a conflict of interest that could affect the objectivity of this report. Investors Entertainment: Software should consider this report as only a single factor in making their investment decision. Please see page 172 of this report for analyst certification and important disclosure information . ACKNOWLEDGEMENT We thank our good friend, Junkwaffle, for the fabulous cover art and for demonstrating that there are many misperceptions about the past and the likelihood the past will repeat itself. We also thank the many viewers of Pach-Attack! at GameTrailers.com and our many Twitter followers for giving us many of the ideas discussed in this report. It is important to acknowledge the contribution from media sites Edge-Online, The Verge, Kotaku.com, Giant Bomb, VentureBeat.com, gamesindustry.biz, eurogamer.net and gamasutra.com for keeping us on our toes and always asking us to think about the industry in real time. Finally, we feel we must give a shout out to NeoGAF.com and its members, for challenging virtually everything we say as being wrong, and for making us re-think many positions over the years.
    [Show full text]