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Reality Inspired Games: Expanding the Lens of Games’ Claims to Authenticity
Reality Inspired Games: Expanding the Lens of Games’ Claims to Authenticity Robyn McMillan, Darshana Jayemanne, Iain Donald School of Design and Informatics, Division of Games and Arts University of Abertay Bell Street, Dundee DD1 1HG +44 1382 308000 [email protected] [email protected] [email protected] ABSTRACT This paper considers the potentials of contemporary games staking claims to realism through documentary and journalistic techniques as part of a wide-ranging cultural and technological phenomenon– ‘Reality Inspired Games’ or RIGs (Maurin, 2018). We argue that RIGs employ design techniques and strategies of legitimation that are valuable to the reactive development cycles in the indie sector, whilst also being beneficial for academic research and development. Through examining traditional documentary and the concept of Bruzzi’s performative documentary (2006) we highlight how this concept may allow developers to negotiate performativity and authenticity in their videogames. We discuss examples of such games in the realm of indie productions, such as That Dragon, Cancer (2016), This War of Mine (2014), and My Child Lebensborn (2018) and Bury Me, My Love (2017). All of which represent new ground for game design, documentary and journalistic techniques that have influenced our work on the MacMillan project. Keywords Reality Inspired Games, Documentary, Performativity, Indie “Much like photographs, paintings, literature and music are capable of transmitting the full range of the human experience from one human to another, so too can games. Due to their interactivity, games are capable of a higher form of communication, one which actively engages the participant and makes them a part of the experience rather than a passive observer” (Brathwaite & Sharp, 2010, p315). -
Activision Case Study
RIVERSTAR.COM ACTIVISION CASE STUDY Entertainment Publisher uses RiverStar to Streamline Returns CHALLENGE Activision inherited the Guitar Hero brand through their acquisition of ABOUT ACTIVISION RedOctane. Activision was unfamiliar with warranty replacements required Headquartered in Santa Monica, California, from hardware games and for that reason, relied on legacy processes Activision Blizzard, Inc. is the world’s developed by RedOctane. Because RedOctane’s processes were mostly largest pure-play interactive entertainment manual, with no troubleshooting, Activision customers would be referred to software publisher with leading market RedOctane’s website for warranty support. For some games, the customer had positions across all categories of the growing to email a copy of the receipt, further delaying the time to process the claim. interactive entertainment software industry. The customer could call RedOctane for warranty support, but due to limited Activision is the video game publisher that resources, call handle times were very high. The resulting outcome was a large is best known for game franchises such as number of dissatisfied customers with the RedOctane warranty process. World of Warcraft, Guitar Hero, Tony Hawk With the growing popularity of gaming products with hardware components Ride and Call of Duty. With global operations and a pipeline of new hardware games on the horizon, Activision was tasked in 13 countries, Activision has grown into a with creating a new process that would be automated throughout the $5 billion video game powerhouse. company to provide a better customer experience. The Guitar Hero franchise continues to In addition to working with new warranty support processes, the Guitar Hero redefine gaming by delivering innovative World Tour game was released just before the busy 2008 holiday season. -
Operation Dark Divide’
Call of Duty: Black Ops 4 Kicks off New Content Season With ‘Operation Dark Divide’ September 23, 2019 Free Heroic-Themed Content Across Multiplayer and Blackout with a new Limited Time Mode, “Heavy Metal Heroes” New Personalization Items, Map Updates and Gear Available for Fans Starting Today New Zombies Experience, ‘Tag Der Toten ,’ Concludes Decade-Long Fan-Favorite Aether Story Black Ops Pass Owners Gain Access to Two Additional Multiplayer Maps, Including One New Villain “Lair” and a Reimagined Black Ops Classic, “Launch” SANTA MONICA, Calif.--(BUSINESS WIRE)--Sep. 23, 2019-- The new content season for Call of Duty®: Black Ops 4 – Operation Dark Divide – is available now on Playstation®4, with other platforms to follow. Operation Dark Divide delivers a unique experience with content inspired by heroes and villains, while embracing the epic world of the Black Ops universe. The new content package contains two Multiplayer maps, a new Blackout mode and a variety of hero-themed personalization items and gear. Additionally, Treyarch will conclude the Aether storyline – one that has been more than ten years in the making and the most epic Zombies adventure in Black Ops’ history – with ‘ Tag Der Toten.’ “For our final operation of the Black Ops Season, the team at Treyarch had a blast creating the ultimate battle between good and evil, imagined through alternate universe versions of our Specialist characters as heroes and villains,” said Dan Bunting, Co-Studio Head, Treyarch. “In addition to the heroic experiences of the operation, we can’t wait to share the epic final chapter of the Zombies Aether story – the end of an adventure more than ten years in the making.” Mark Gordon, Co-Studio Head, Treyarch, continued, “Having introduced Zombies as an easter egg in Call of Duty®: World at War, this final chapter for the Aether storyline marks an emotional moment for us as developers. -
Guitar Hero® Live Puts Fans in the Game with Crowd-Sourced Music Video for Ed Sheeran's "Sing"
Guitar Hero® Live Puts Fans in the Game with Crowd-Sourced Music Video for Ed Sheeran's "Sing" "Guitar Hero TV Star" Gives Fans the Chance to Star in the First User-Generated Music Video for Guitar Hero Live with the World Premiere Video Playable in the Game Fans to Submit Lip-Synching Clips through the Popular musical.ly Mobile App SANTA MONICA, Calif.--(BUSINESS WIRE)-- In celebration of the highly anticipated return of Guitar Hero, Activision Publishing, Inc., a wholly owned subsidiary of Activision Blizzard, Inc. (NASDAQ: ATVI), is partnering with crowd-sourced music video creation app musical.ly to kick off Guitar Hero TV Star, which will ask fans to submit clips of themselves singing and dancing along to Ed Sheeran's hit song "Sing." The end result will be a world premiere, user-generated music video in GHTV, Guitar Hero Live's playable music video network. "Guitar Hero Live gives you the thrill of being a rock star by playing in front of real crowds or awesome music videos, so we wanted to give fans the opportunity to become stars of their own music video that will be featured and playable in the game. This is something that has never been done before, and we believe it is the perfect way to celebrate the launch of the game," said Tim Ellis, CMO of Activision Publishing, Inc. "With GHTV, the game's online playable music video network, we can deliver all kinds of gameplay experiences that just weren't possible in the past. To put real fans into a video that people can play along to in the game is an expression of the innovation that we have built into Guitar Hero Live, and we're excited for fans to play along - and sing along - to the music." "Guitar Hero and musical.ly share a similar vision to make music more participatory and interactive," said Jun Zhu, co-founder and co-CEO of musical.ly. -
Second Quarter 2021 Results August 2021
SECOND QUARTER 2021 RESULTS AUGUST 2021 1 Safe Harbor Disclosure Please review our SEC filings on Form 10-K and Form 10-Q The statements contained herein that are not historical facts are central banks around the world, including the impact on interest online gaming service; potential data breaches and other forward-looking statements including, but not limited to rates; increased demand for our games due to stay-at-home orders cybersecurity risks; significant disruption during our live events; statements about: (1) projections of revenues, expenses, income and curtailment of other forms of entertainment, which may not risks related to the impacts of catastrophic events, including the or loss, earnings or loss per share, cash flow, or other financial be sustained; and volatility in foreign exchange rates); our ability to susceptibility of the location of our headquarters to earthquakes; items; (2) statements of our plans and objectives, including those consistently deliver popular, high-quality titles in a timely manner, provisions in our corporate documents that may make it more related to releases of products or services and restructuring which has been made more difficult as a result of the COVID-19 difficult for any person to acquire control of our company; risks and activities; (3) statements of future financial or operating pandemic; competition; concentration of revenue among a small costs associated with legal proceedings, including the impact of the performance, including the impact of tax items thereon; and (4) number of franchises; our ability to satisfy the expectations of complaint filed by the California Department of Fair Employment statements of assumptions underlying such statements. -
Console Games in the Age of Convergence
Console Games in the Age of Convergence Mark Finn Swinburne University of Technology John Street, Melbourne, Victoria, 3122 Australia +61 3 9214 5254 mfi [email protected] Abstract In this paper, I discuss the development of the games console as a converged form, focusing on the industrial and technical dimensions of convergence. Starting with the decline of hybrid devices like the Commodore 64, the paper traces the way in which notions of convergence and divergence have infl uenced the console gaming market. Special attention is given to the convergence strategies employed by key players such as Sega, Nintendo, Sony and Microsoft, and the success or failure of these strategies is evaluated. Keywords Convergence, Games histories, Nintendo, Sega, Sony, Microsoft INTRODUCTION Although largely ignored by the academic community for most of their existence, recent years have seen video games attain at least some degree of legitimacy as an object of scholarly inquiry. Much of this work has focused on what could be called the textual dimension of the game form, with works such as Finn [17], Ryan [42], and Juul [23] investigating aspects such as narrative and character construction in game texts. Another large body of work focuses on the cultural dimension of games, with issues such as gender representation and the always-controversial theme of violence being of central importance here. Examples of this approach include Jenkins [22], Cassell and Jenkins [10] and Schleiner [43]. 45 Proceedings of Computer Games and Digital Cultures Conference, ed. Frans Mäyrä. Tampere: Tampere University Press, 2002. Copyright: authors and Tampere University Press. Little attention, however, has been given to the industrial dimension of the games phenomenon. -
The Dreamcast, Console of the Avant-Garde
Loading… The Journal of the Canadian Game Studies Association Vol 6(9): 82-99 http://loading.gamestudies.ca The Dreamcast, Console of the Avant-Garde Nick Montfort Mia Consalvo Massachusetts Institute of Technology Concordia University [email protected] [email protected] Abstract We argue that the Dreamcast hosted a remarkable amount of videogame development that went beyond the odd and unusual and is interesting when considered as avant-garde. After characterizing the avant-garde, we investigate reasons that Sega's position within the industry and their policies may have facilitated development that expressed itself in this way and was received by gamers using terms that are associated with avant-garde work. We describe five Dreamcast games (Jet Grind Radio, Space Channel 5, Rez, Seaman, and SGGG) and explain how the advances made by these industrially productions are related to the 20th century avant- garde's lesser advances in the arts. We conclude by considering the contributions to gaming that were made on the Dreamcast and the areas of inquiry that remain to be explored by console videogame developers today. Author Keywords Aesthetics; art; avant-garde; commerce; console games; Dreamcast; game studios; platforms; politics; Sega; Tetsuya Mizuguchi Introduction A platform can facilitate new types of videogame development and can expand the concept of videogaming. The Dreamcast, however brief its commercial life, was a platform that allowed for such work to happen and that accomplished this. It is not just that there were a large number of weird or unusual games developed during the short commercial life of this platform. We argue, rather, that avant-garde videogame development happened on the Dreamcast, even though this development occurred in industrial rather than "indie" or art contexts. -
Inside the Video Game Industry
Inside the Video Game Industry GameDevelopersTalkAbout theBusinessofPlay Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman Downloaded by [Pennsylvania State University] at 11:09 14 September 2017 First published by Routledge Th ird Avenue, New York, NY and by Routledge Park Square, Milton Park, Abingdon, Oxon OX RN Routledge is an imprint of the Taylor & Francis Group, an Informa business © Taylor & Francis Th e right of Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman to be identifi ed as authors of this work has been asserted by them in accordance with sections and of the Copyright, Designs and Patents Act . All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Names: Ruggill, Judd Ethan, editor. | McAllister, Ken S., – editor. | Nichols, Randall K., editor. | Kaufman, Ryan, editor. Title: Inside the video game industry : game developers talk about the business of play / edited by Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman. Description: New York : Routledge is an imprint of the Taylor & Francis Group, an Informa Business, [] | Includes index. Identifi ers: LCCN | ISBN (hardback) | ISBN (pbk.) | ISBN (ebk) Subjects: LCSH: Video games industry. -
Activision Announces Partnership with Metallica for First Ever
Activision Announces Partnership with Metallica for First Ever Simultaneous Release of New Record "Death Magnetic" in Stores and for Download in Guitar Hero® Video Game Company Confirms Upcoming Game Lineup and Announces Five New Titles Santa Monica, CA – July 15, 2007 – Activision Publishing (Nasdaq: ATVI) today revealed that Metallica's highly-anticipated full studio album, "Death Magnetic," will be available simultaneously in record stores and as downloadable content for the world's best-selling rhythm-based video game series, Guitar Hero®. Metallica fans will be able to rock out to new anthems from the band in Guitar Hero® III: Legends of Rock this September and will be able to unite on drums, guitar and vocals as the album will also be released as downloadable content for Guitar Hero® World Tour when it ships this Fall. The company also confirmed its upcoming game slate and announced five new titles in development. Activision's fall 2008 game lineup includes Call of Duty®: World at War, Guitar Hero® World Tour, Quantum of Solace™ and Spider-Man™: Web of Shadows. In addition, the company announced that it is currently in development on Wolfenstein™, the highly anticipated title from id Software and Raven Software; Marvel™ Ultimate Alliance 2: Fusion by Vicarious Visions, the sequel to one of the best- selling action RPGs; Singularity (Working Title), a first person action game, based on an all-new wholly owned intellectual property, from Raven Software; ; a Luxoflux game based on "Transformers: Revenge of the Fallen" from DreamWorks Pictures and Paramount Pictures, in association with Hasbro, the follow-up to one of 2007's biggest blockbuster movies and games; and a title based on Twentieth Century Fox/Marvel's X-Men Origins: Wolverine in development at Raven Software. -
Janette Cohen Scalie Redoctane +46 (0)8 44 18 615 [email protected]
FOR IMMEDIATE RELEASE For media inquiries, please contact: Janette Cohen Scalie RedOctane +46 (0)8 44 18 615 [email protected] GUITAR HERO® CATALOG EXPANDS WITH NEW MUSIC FROM ROCK ‘N’ ROLL ICONS QUEEN AND JIMI HENDRIX THIS MONTH Six Additional Tracks from Countries throughout Europe and the James Bond Theme Song Further Add to Guitar Hero World Tour’s Downloadable Content Set List SANTA MONICA, CA – March 3, 2009 – This month, gamers will again be able to expand their virtual set lists with over a dozen new downloadable tracks for Activision Publishing, Inc.’s (Nasdaq: ATVI) Guitar Hero® World Tour. With over 37 million songs downloaded for the franchise to date, Guitar Hero® fans will soon be able to experience more awesome music – from the likes of English rock ‘n’ roll icons Queen, guitar legend Jimi Hendrix, a host of European superstars and more – which will join the more than 550 songs rocking the Guitar Hero catalog already. On March 5th, Guitar Hero World Tour’s global music library will continue to grow with three additional tracks from some of Europe’s greatest bands. The third European Track Pack, which includes the hit song “Break It Out” by Italian pop punk band Vanilla Sky and “In the Shadows” by one of Finland’s most successful bands, The Rasmus, will also contain “Cʹest Comme Ça” the top single from French pop rock duo Les Rita Mitsouko’s 1986 album The No Comprendo. As a follow‐up to the third European Track Pack, rockers from the Netherlands, Germany and Spain will also be contributing to Guitar Hero World Tour’s increasing catalog of downloadable content. -
Guitar Hero(R) III: Legends of Rock and Call of Duty(R) 4: Modern Warfare Top Video Game Searches on the Web
Guitar Hero(R) III: Legends of Rock and Call of Duty(R) 4: Modern Warfare Top Video Game Searches on the Web SANTA MONICA, Calif., Nov 16, 2007 (BUSINESS WIRE) -- Activision, Inc.'s (Nasdaq:ATVI) Guitar Hero(R) III: Legends of Rock and Call of Duty(R) 4: Modern Warfare have been the most searched for video games on the Web, leading all U.S. Internet searches since Oct. 28, 2007 according to Hitwise, a leading online intelligence service. During the same period, Guitar Hero (R) III: Legends of Rock was the only video game listed among the top 500 search terms across all categories of web sites. "Consumer interest in Guitar Hero(R) III: Legends of Rock and Call of Duty(R) 4: Modern Warfare has been incredible and places Activision in a strong position heading into the holiday season," said Robin Kaminsky, executive vice president of Activision Publishing. "Guitar Hero III: Legends of Rock sold through more than $115 million within the first seven days of its launch and we fully expect Call of Duty 4: Modern Warfare will be one of the top-selling games of the year." Developed by Neversoft, Guitar Hero III: Legends of Rock is on store shelves now for the Xbox 360 and PS3 (SRP $99.99) and the Wii and PS2 (SRP $89.99) and is rated T for Teen by the ESRB. Developed by Infinity Ward, Call of Duty 4: Modern Warfare is rated "M" (Mature) by the ESRB for Intense Violence, Strong Language, Blood and Gore and is available now on Xbox 360(TM) and PLAYSTATION(R)3 computer entertainment system for a suggested retail price of $59.99; the Windows(R) PC version for $49.99. -
Found in Translation: Evolving Approaches for the Localization of Japanese Video Games
arts Article Found in Translation: Evolving Approaches for the Localization of Japanese Video Games Carme Mangiron Department of Translation, Interpreting and East Asian Studies, Universitat Autònoma de Barcelona, 08193 Bellaterra, Barcelona, Spain; [email protected] Abstract: Japanese video games have entertained players around the world and played an important role in the video game industry since its origins. In order to export Japanese games overseas, they need to be localized, i.e., they need to be technically, linguistically, and culturally adapted for the territories where they will be sold. This article hopes to shed light onto the current localization practices for Japanese games, their reception in North America, and how users’ feedback can con- tribute to fine-tuning localization strategies. After briefly defining what game localization entails, an overview of the localization practices followed by Japanese developers and publishers is provided. Next, the paper presents three brief case studies of the strategies applied to the localization into English of three renowned Japanese video game sagas set in Japan: Persona (1996–present), Phoenix Wright: Ace Attorney (2005–present), and Yakuza (2005–present). The objective of the paper is to analyze how localization practices for these series have evolved over time by looking at industry perspectives on localization, as well as the target market expectations, in order to examine how the dialogue between industry and consumers occurs. Special attention is given to how players’ feedback impacted on localization practices. A descriptive, participant-oriented, and documentary approach was used to collect information from specialized websites, blogs, and forums regarding localization strategies and the reception of the localized English versions.