DOCSLIB.ORG

Letter from the Management Board

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Letter from the Management Board LETTER FROM THE MANAGEMENT BOARD Warsaw, March 26th 2018 Dear Shareholders and Investors Please be invited to read the consolidated full-year report of 11 bit studios S.A. for 2017. Please note that besides the results of 11 bit studios S.A. it also includes the results of its subsidiary, Games Republic Limited. On April 11th 2017, 11 bit studios S.A. closed the sale of this company to Lousva Trading Limited. As of that date, the 11 bit studios Group ceased to exist. In 2017, Games Republic Limited did not carry out operating activities. For 11 bit studios S.A., 2017 was a time of hard work on Frostpunk, a game that is anticipated to drive the Company's financial performance in the coming quarters and years. That is why we are absolutely determined to make sure that Frostpunk is of top quality, which, combined with its unique theme and great interest from gamers around the world, warrants expectations of solid sales. We will see whether these expectations come true on April 24th, when the game is planned to be launched on the market. In 2017, we also continued development of This War of Mine, which led to the release (November 14th) of Father’s Promise, the first of three expansion packs in the TWoM: Stories series. The product was very favourably received by the players community. The release of the other two expansion packs is scheduled for 2018. The Company also initiated work on a game with a working title Project 8, planned to go on sale after Frostpunk. Its production, already supported by a nearly 20-person team, proceeds as scheduled. In 2017, the 11 bit publishing division released two games created by third-party development studios: Beat Cop and Tower 57. Both projects yielded profits for 11 bit studios S.A., and revenues from the publishing business in 2017 had a sizeable, over 10% share in the Company’s total revenues. For the whole of 2017, 11 bit studios S.A. generated PLN 19.15m in revenue, PLN 7.62m in operating profit, and almost PLN 3.42m in net profit. The figures were worse than in 2016 owing to two factors. In September 2017, the Company decided to postpone the premiere of Frostpunk until 2018 so revenue from this source will be reported this year. The gap could not be filled despite very good, better than expected, sales of This War of Mine. The second factor that had an adverse impact on the Company's profitability was changes in international foreign exchange markets, quite unfavourable from our point of view. Due to a large share of cash assets denominated in currencies other than the Polish zloty 11 bit studios S.A. is exposed to exchange rate fluctuations. Thus, the Company's results for 2017 were affected by significant finance costs on asset remeasurement, exceeding PLN 3.4m. They were largely non-monetary items and did not reduce the Company’s available cash balances. As at the end of December 2017, 11 bit studios S.A. reported almost PLN 28.2m in cash and cash equivalents, and in addition over PLN 3m invested in units of a conservative investment fund. This means that total cash available to the Company, thanks to strict cost control, rose by over 7% compared with the end of 2016, despite growing expenditures on game production and development of the publishing business. 2018 will be a breakthrough year for 11 bit studios S.A., the planned April premiere of Frostpunk being one of the reasons. In the following months, Moonlighter and Children of Morta, two games released by our publishing division, will reach the market. We highly rate their commercial potential. We strongly believe that these titles will appeal to players, which will positively contribute to their sales and, consequently, our financial results. Therefore, we expect the current year to be a record one in the Company’s history and to confirm our position as a major player in the global computer games industry. Yours faithfully Grzegorz Miechowski Bartosz Brzostek Przemysław Marszał Michał Drozdowski President of the Member of the Member of the Member of the Management Board Management Board Management Board Management Board 2 TABLE OF CONTENTS LETTER FROM THE MANAGEMENT BOARD ........................................................................................................................................... 2 TABLE OF CONTENTS ............................................................................................................................................................................... 3 CONSOLIDATED FINANCIAL HINGHLIGHTS ............................................................................................................................................ 5 Statement of financial position .......................................................................................................... 5 Statement of profit or loss ................................................................................................................ 5 Statement of cash flows................................................................................................................... 5 CONSOLIDATED FINANCIAL STATEMENTS OF 11 BIT STUDIOS S.A. FOR 2017 .................................................................................. 6 1. OVERVIEW ................................................................................................................................................................................... 7 1.1. General information about the Parent.......................................................................................... 7 1.2. Covered periods .................................................................................................................... 7 1.3. Composition of the Parent’s governing bodies as at December 31st 2017 ................................................. 7 1.4. Auditors ............................................................................................................................. 8 1.5. Parent’s shareholding structure as at December 31st 2017.................................................................. 8 1.6. Parent shares held by members of its management and supervisory staff ................................................ 9 1.7. Reference to published estimates ............................................................................................... 9 1.8. Headcount .......................................................................................................................... 9 1.9. Functional and presentation currency .......................................................................................... 9 1.10. Representation by the Management Board of the Parent .................................................................... 9 2. CONSOLIDATED FINANCIAL STATEMENTS OF 11 BIT STUDIOS S.A. ..................................................................................... 10 2.1. Consolidated statement of profit or loss and other comprehensive income (PLN) ..................................... 10 2.2. Consolidated statement of financial position (PLN) ........................................................................ 11 2.3. Consolidated statement of changes in equity ............................................................................... 12 2.4. Consolidated statement of cash flows (PLN) ................................................................................. 13 3. NOTES TO THE CONSOLIDATED FINANCIAL STATEMENTS .................................................................................................... 14 3.1. International Financial Reporting Standards applied by the Company ................................................... 14 3.2. Statement of accounting policies ............................................................................................. 15 3.3. Significant judgements and estimates ........................................................................................ 22 3.4. Revenue (PLN).................................................................................................................... 23 3.5. Operating segments (PLN) ...................................................................................................... 23 3.6. Finance income (PLN) ........................................................................................................... 26 3.7. Finance costs (PLN) .............................................................................................................. 26 3.8. Other income and expenses (PLN) ............................................................................................. 27 3.9. Income tax relating to continuing operations (PLN) ........................................................................ 27 3.10. Depreciation and amortisation ................................................................................................. 29 3.11. Earnings per share (PLN) ........................................................................................................ 29 3.12. Property, plant and equipment (PLN) ........................................................................................ 30 3.13. Intangible assets ................................................................................................................. 31 3.14. Trade and other receivables (PLN) ............................................................................................ 32 3.15. Disposal of the subsidiary (PLN) ..............................................................................................
Load more

Recommended publications
  • 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).
    [Show full text]
  • The Development and Validation of the Game User Experience Satisfaction Scale (Guess)
    THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) A Dissertation by Mikki Hoang Phan Master of Arts, Wichita State University, 2012 Bachelor of Arts, Wichita State University, 2008 Submitted to the Department of Psychology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 © Copyright 2015 by Mikki Phan All Rights Reserved THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) The following faculty members have examined the final copy of this dissertation for form and content, and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a major in Psychology. _____________________________________ Barbara S. Chaparro, Committee Chair _____________________________________ Joseph Keebler, Committee Member _____________________________________ Jibo He, Committee Member _____________________________________ Darwin Dorr, Committee Member _____________________________________ Jodie Hertzog, Committee Member Accepted for the College of Liberal Arts and Sciences _____________________________________ Ronald Matson, Dean Accepted for the Graduate School _____________________________________ Abu S. Masud, Interim Dean iii DEDICATION To my parents for their love and support, and all that they have sacrificed so that my siblings and I can have a better future iv Video games open worlds. — Jon-Paul Dyson v ACKNOWLEDGEMENTS Althea Gibson once said, “No matter what accomplishments you make, somebody helped you.” Thus, completing this long and winding Ph.D. journey would not have been possible without a village of support and help. While words could not adequately sum up how thankful I am, I would like to start off by thanking my dissertation chair and advisor, Dr.
    [Show full text]
  • 11 Bit Studios Spółka Akcyjna
    11 BIT STUDIOS SPÓŁKA AKCYJNA DOKUMENT INFORMACYJNY Sporządzony na potrzeby wprowadzenia akcji serii E spółki 11 bit studios S.A. do obrotu na rynku NewConnect prowadzonym jako alternatywny system obrotu przez Giełdę Papierów Wartościowych w Warszawie S.A. Niniejszy Dokument Informacyjny Uproszczony został sporządzony w związku z ubieganiem się o wprowadzenie instrumentów finansowych objętych tym dokumentem do obrotu w alternatywnym systemie obrotu prowadzonym przez Giełdę Papierów Wartościowych w Warszawie S.A. Wprowadzenie instrumentów finansowych do obrotu w alternatywnym systemie obrotu nie stanowi dopuszczenia ani wprowadzenia tych instrumentów do obrotu na rynku regulowanym prowadzonym przez Giełdę Papierów Wartościowych w Warszawie S.A. (rynku podstawowym lub równoległym). Inwestorzy powinni być świadomi ryzyka, jakie niesie za sobą inwestowanie w instrumenty finansowe notowane w alternatywnym systemie obrotu, a ich decyzje inwestycyjne powinny być poprzedzone właściwą analizą, a także, jeżeli wymaga tego sytuacja, konsultacją z doradcą inwestycyjnym. Treść niniejszego Dokumentu Informacyjnego nie była zatwierdzana przez Giełdę Papierów Wartościowych w Warszawie S.A. pod względem zgodności informacji w nim zawartych ze stanem faktycznym lub przepisami prawa. Warszawa, dnia 30 października 2012 roku Autoryzowany Doradca Capital One Advisers Sp. z o.o. Al. Ujazdowskie 41, 00-540 Warszawa, www.capitalone.pl Doradca prawny Kurek, Kościółek, Wójcik Kancelaria Radców Prawnych Sp.p. ul. Dekerta 24, 30-703 Kraków, www.kkw.pl Dokument Informacyjny Uproszczony Spółki 11 bit studios S.A. 11bit studios S.A. W imieniu Autoryzowanego Doradcy działa: Marcin Duszyński – Prezes Zarządu OŚWIADCZENIE AUTORYZOWANEGO DORADCY Oświadczam, że niniejszy Dokument Informacyjny Uproszczony został sporządzony zgodnie z wymogami określonymi w Załączniku Nr 1 do Regulaminu Alternatywnego Systemu Obrotu uchwalonego Uchwałą Nr 147/2007 Zarządu Giełdy Papierów Wartościowych w Warszawie S.A.
    [Show full text]
  • 11 Bit Studios – Quaterly Report for Q1-Q3 2018
    2 LETTER FROM THE MANAGEMENT BOARD ........................................................................................ 3 1. SELECTED FINANCIAL DATA ................................................................................................ 4 1.1. Statement of financial position .............................................................................................. 4 1.2. Statement of profit or loss ................................................................................................... 4 1.3. Statement of cash flows ...................................................................................................... 4 2. OVERVIEW ..................................................................................................................... 5 2.1. Company overview ............................................................................................................ 5 2.2. Covered periods ................................................................................................................ 5 2.3. Governing bodies as at September 30th 2018 ............................................................................. 5 2.4. Large holdings of Company shares as at the issue date of the report .................................................. 6 2.5. Holdings of Company shares by members of the management and supervisory staff as at September 30th 2018 ................................................................................................................................... 7 2.6. Headcount
    [Show full text]
  • Im Geschichtsunterricht & in Der Politischen Bildung
    DIGITALE SPIELE IM GESCHICHTSUNTERRICHT & IN DER POLITISCHEN BILDUNG Florian Aumayr Alexander Preisinger Stefan Ancuta 1 INHALT TEIL 1: EINLEITUNGSTEXTE von Florian Aumayr und Alexander Preisinger 4 Digitale Spiele als Unterrichtsmittel 6 Digitale Spiele in den Unterricht integrieren – Ideen für die Umsetzung 8 Allgemeine und historische Spieleanalyse In der Reihe „Digitales Lernen und Politische Bildung“ bereits erschienen: Politische Bildung und Klimawandel im digitalen digitales Lernen – Institu­ Spiel tionen, Tools und Spiele Andreas Endl, Alexander Alexander Preisinger, Christine Preisinger. Wien: Edition polis, Ottner. Wien: Edition polis, 2018. 12 Seiten. 2019. 28 Seiten. ISBN 978-3-902659-15-6. ISBN 978-3-902659-17-0. Das Heft für Lehrkräfte stellt Die Broschüre liefert Lehr- sechs Spiele zum Klimawan- kräften Ideen für den Einsatz del vor und prüft sie auf ihre digitaler Angebote und Basis- Einsetzbarkeit im Unterricht. informationen zu entsprechenden Einrichtungen. Der Dazu haben SchülerInnen der Schumpeter BHAK/ Aufbau des Hefts gliedert sich in Institutionen, exemp- BHAS (1130 Wien) mit Experten der Universität larische Tools und digitale Spiele. Bei der Auswahl Wien (Geschichtsdidaktik) und der Wirtschafts- wurde auf die rasche Einsetzbarkeit im Unterricht, die universität Wien (Nachhaltigkeitsmanagement) ein leichte Anwendbarkeit und den nach Möglichkeit kos- Analysesetting entwickelt und an Spielen in der Praxis tenlosen Zugang geachtet. Das elektronische Angebot erprobt. Die Texte der SchülerInnen dokumentieren soll dazu anregen, nicht einfach Altbewährtes zu ihre Spielerfahrung. Möglichst einfach wird so auch digitalisieren, sondern in neuen Bearbeitungsformen NichtspielerInnen vermittelt, dass es digitalen Spielen zu denken und handlungsorientiertes Unterrichten zu gelingen kann, ein anspruchsvolles Thema wie den Kli- gewährleisten. mawandel „erfahrbar“ zu machen. Zu jedem Spiel wird www.politik-lernen.at/pbunddigitaleslernen auch eine didaktische Umsetzung vorgeschlagen.
    [Show full text]
  • 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.
    [Show full text]
  • Management Board Report on Cd Projekt Capital Group and Cd Projekt S.A
    MANAGEMENT BOARD REPORT ON CD PROJEKT CAPITAL GROUP AND CD PROJEKT S.A. ACTIVITIES IN 2018 2 Disclaimer This English language translation has been prepared solely for the convenience of English speaking readers. Despite all the efforts devoted to this translation, certain discrepancies, omissions or approximations may exist. In case of any differences between the Polish and the English versions, the Polish version shall prevail. CD PROJEKT, its representatives and employ- ees decline all responsibility in this regard. This report on the activities of the CD PROJEKT Capital Group and CD PROJEKT S.A. contains important supplementary information related to the separate financial statement of CD PROJEKT S.A. Due to the fact that the activities and separate financial statement of CD PROJEKT S.A. have a dominant influence upon the activities and consolidated financial statement of the CD PROJEKT Capital Group, information contained in further parts of this report shall apply to the consolidated financial statement of the Group insofar as it describes the activities and results of CD PROJEKT S.A. Management Board report on CD PROJEKT Capital Group and CD PROJEKT S.A. activities for the period between 1 January and 31 December 2018 (all figures quoted in PLN thousands unless stated otherwise) 3 Esteemed Shareholders, In the past year we busied ourselves with laying further foundations for the Group’s future. The year also represented the first major test for Cyberpunk 2077. The most important test was the launch of the game’s promotional campaign. The global release of a Cyberpunk trailer marked the culmination of the Xbox platform conference which immediately preceded the opening of the E3 fair.
    [Show full text]
  • Playing with People's Lives 1 Playing with People's Lives How City-Builder Games Portray the Public and Their Role in the D
    Playing With People’s Lives 1 Playing With People’s Lives How city-builder games portray the public and their role in the decision-making process Senior Honors Thesis, City & Regional Planning Presented in Partial Fulfillment of the Requirements for graduation with honors research distinction in City and Regional Planning in the Knowlton School of Architecture at the Ohio State University By William Plumley The Ohio State University May 2018 Faculty Research Mentor: Professor Tijs van Maasakkers, City and Regional Planning Playing With People’s Lives 2 Abstract – City-builder computer games are an integral part of the city planning profession. Educators structure lessons around playtime to introduce planning concepts, professionals use the games as tools of visualization and public outreach, and the software of planners and decision-makers often takes inspiration from the genre. For the public, city-builders are a source of insight into what planners do, and the digital city’s residents show players what role they play in the urban decision-making process. However, criticisms persist through decades of literature from professionals and educators alike but are rarely explored in depth. Published research also ignores the genre’s diverse offerings in favor of focusing on the bestseller of the moment. This project explores how the public is presented in city-builder games, as individuals and as groups, the role the city plays in their lives, and their ability to express their opinions and participate in the process of planning and governance. To more-broadly evaluate the genre as it exists today, two industry-leading titles receiving the greatest attention by planners, SimCity and Cities: Skylines, were matched up with two less-conventional games with their own unique takes on the genre, Tropico 5 and Urban Empire.
    [Show full text]
  • NG18 Program (Screen)
    PROGRAM 2018 PROGRAM#nordicgame 2017 #nordicgame Welcome to Nordic Game 2018 It’s a great pleasure to welcome you to this fifteenth edition of Nordic Game, the only conference in the world with a dedicated focus on the entire Nordic games industry. Over the years we’ve evolved from a humble regional conference into a truly global industry event, as our vision of a strong, united games community and the values so many of us share - openness, innovation and diversity - have resonated with games industry professionals around the world, and they have been welcomed into our extended family. Of course, we continue to proudly celebrate the sheer quality and variety of games developed in the Nordic countries, and this year’s Nordic Game Awards (Thursday, 24 May from 18:00 in the Unreal Theatre) once again reflects the imagination and vitality of developers from the region we call home. However, our rapidly changing, interconnected industry doesn’t allow us to rest on our laurels, and our opening keynote (Wednesday, 23 May at 11:00 in the Unreal Theatre) brings together a panel of leaders from some of our most prominent Nordic studios to explore key challenges and opportunities for game developers moving forward. True to the many values we share with our extended global family, we’re also introducing a string of talks - the Impact sessions - that delve beyond the albeit important business and technical aspects of game development, to encourage all of us to think more deeply about the real impact of the games we create - and how we create them - on our world.
    [Show full text]
  • 11 Bit Studios
    11 Bit Studios Game developer turned publisher 11 Bit Studios is a polish game developer and publisher founded by former CD-Projekt and Metropolis Software employees. The company has grown very fast and game publishing is becoming a larger and larger part of total revenues. They started out with just publishing their own developed games. They have now published five externally developed games since 2014. Introduction High growth and high-quality 11 Bit Studios was founded in 2010 by former CD Projekt and Metropolis Software employees. They released their first game in 2011 and their revenues have grown at a fast rate. Their real breakthrough was in 2018, when they released their biggest title to date, Frostpunk. The success of said title have enabled the company to grow its revenue with an average annual growth rate of 52% between 2013-2019. 1. Source: Värdeinvesteraren The company is a maker of high-quality games. Most of their games have a very high user score on Steam and on Metacritic. Their games are liked by critics and players alike. High growth and high- quality. One significant event is also that 41% of the company’s revenue was derived from publishing in 2019. That means that the income streams are more diversified and hence lowers the risk. The company is acting on a fast-growing market with tailwinds. Newzoo expects the gaming market to grow by an average annual growth-rate of 8% (“CAGR”) between 2020-2023. 2.Source: Statista Investment case Benefiting from digitalization and platform “war” – The move to digitalization helps drive higher margins.
    [Show full text]
  • A Teoria De Aki J¨Arvinen: O Estudo Do Jogo This War Is Mine
    SBC { Proceedings of SBGames 2018 | ISSN: 2179-2259 Culture Track { Full Papers Inclusao˜ do Elemento Cr´ıtica a` Teoria de Aki Jarvinen:¨ o estudo do jogo This War is Mine Lucas Mamede Barbalho∗ Georgia´ da Cruz Pereira† Glaudiney Moreira Mendonc¸a Junior‡ Universidade Federal do Ceara,´ Instituto UFC Virtual, Brasil Figura 1: Logo (esquerda) do Jogo This War of Mine. Fonte: Steam. RESUMO papel do jogo na formac¸ao˜ de seus usuarios,´ alguns alegando que Os jogos eletronicos,ˆ como m´ıdia interativa, temˆ se tornado um sao˜ alienantes e que geram comportamentos violentos em seus jo- meio utilizado por artistas e cr´ıticos para argumentos e reflexoes,˜ gadores, enquanto outros examinam sua capacidade social e cogni- com um historico´ de experimentac¸ao˜ na crescente industria.´ Estu- tiva [5]. Com esses estudos, percebe-se que os jogos deixaram de dos temˆ sido feitos para compreender como o jogo pode ser utili- ser considerados apenas como um passatempo ou entretenimento zado para outros propositos´ alem´ da simples diversao,˜ e como clas- e, atualmente, pesquisas temˆ sido feitas sobre como e o queˆ os jo- sifica-los.´ Para o proposito´ deste trabalho, serao˜ estudados os jogos gadores adquirem para seu acervo cultural com a pratica´ do jogar: cr´ıticos (aqueles que procuram incitar discussoes˜ a respeito de de- [4, 11, 13]. Os jogos digitais vemˆ proporcionando cr´ıticas e reflexoes˜ [4]. terminado assunto) a fim de descobrir como passam argumentos ou 1 reflexoes˜ atraves´ de seus elementos de design. Como objeto de es- Plataformas como o Games for Change temˆ como objetivo reu- tudo e analise,´ foi escolhido o premiado jogo This War of Mine (por nir e divulgar os chamados Critical Games (Jogos Cr´ıticos) que, seu sucesso de cr´ıtica e venda) para ilustrar os objetivos deste tra- como a propria´ plataforma afirma, engajam problemas sociais con- balho.
    [Show full text]
  • Vgarchive : My Video Game Collection 2021
    VGArchive : My Video Game Collection 2021 Nintendo Entertainment System 8 Eyes USA | L Thinking Rabbit 1988 Adventures in the Magic Kingdom SCN | L Capcom 1990 Astérix FRA | L New Frontier / Bit Managers 1993 Astyanax USA | L Jaleco 1989 Batman – The Video Game EEC | L Sunsoft 1989 The Battle of Olympus NOE | CiB Infinity 1988 Bionic Commando EEC | L Capcom 1988 Blades of Steel SCN | L Konami 1988 Blue Shadow UKV | L Natsume 1990 Bubble Bobble UKV | CiB Taito 1987 Castlevania USA | L Konami 1986 Castlevania II: Simon's Quest EEC | L Konami 1987 Castlevania III: Dracula's Curse FRA | L Konami 1989 Chip 'n Dale – Rescue Rangers NOE | L Capcom 1990 Darkwing Duck NOE | L Capcom 1992 Donkey Kong Classics FRA | L Nintendo 1988 • Donkey Kong (1981) • Donkey Kong Jr. (1982) Double Dragon USA | L Technōs Japan 1988 Double Dragon II: The Revenge USA | L Technōs Japan 1989 Double Dribble EEC | L Konami 1987 Dragon Warrior USA | L Chunsoft 1986 Faxanadu FRA | L Nihon Falcom / Hudson Soft 1987 Final Fantasy III (UNLICENSED REPRODUCTION) USA | CiB Square 1990 The Flintstones: The Rescue of Dino & Hoppy SCN | B Taito 1991 Ghost'n Goblins EEC | L Capcom / Micronics 1986 The Goonies II NOE | L Konami 1987 Gremlins 2: The New Batch – The Video Game ITA | L Sunsoft 1990 High Speed ESP | L Rare 1991 IronSword – Wizards & Warriors II USA | L Zippo Games 1989 Ivan ”Ironman” Stewart's Super Off Road EEC | L Leland / Rare 1990 Journey to Silius EEC | L Sunsoft / Tokai Engineering 1990 Kings of the Beach USA | L EA / Konami 1990 Kirby's Adventure USA | L HAL Laboratory 1993 The Legend of Zelda FRA | L Nintendo 1986 Little Nemo – The Dream Master SCN | L Capcom 1990 Mike Tyson's Punch-Out!! EEC | L Nintendo 1987 Mission: Impossible USA | L Konami 1990 Monster in My Pocket NOE | L Team Murata Keikaku 1992 Ninja Gaiden II: The Dark Sword of Chaos USA | L Tecmo 1990 Rescue: The Embassy Mission EEC | L Infogrames Europe / Kemco 1989 Rygar EEC | L Tecmo 1987 Shadow Warriors FRA | L Tecmo 1988 The Simpsons: Bart vs.
    [Show full text]