Submission 123

5 April 2017

Mr Luke Howarth MP Chair Standing Committee on Communications and the Arts Parliament House Canberra ACT 2600

By email: [email protected]

Dear Mr Howarth

RE: Inquiry into the Australian and television industry

Thank you for the opportunity to provide input to the committee’s inquiry into issues impacting ’s film and television industry – this is a timely investigation and one that should highlight the conditions necessary to ensure its ongoing success.

As a leading educator in the area of games development and film (VFX), Academy of Interactive Entertainment (AIE) has a perspective to offer the Committee grounded in many years’ involvement in industry education/skills. AIE is highly engaged with the industries in which its graduates seek employment opportunities, and is highly regarded by employers in the game development and VFX fields.

I enclose for your consideration a submission to the Committee on Communications and the Arts. I would welcome the opportunity for myself or a representative from AIE to appear before the Committee and provide further evidence. Should you have any questions or concerns please don’t hesitate to contact me.

Yours sincerely

John De Margheriti Executive Chairman & CEO Academy of Interactive Entertainment Submission 123

Inquiry into the Australian film and television industry

House of Representatives Standing Committee on Communications and the Arts

5 April 2017

Academy of Interactive Entertainment Submission

Submission 123

Table of Contents 1. Terms of Reference ...... 3 2. About AIE ...... 3 3. The Australian VFX Industry ...... 5 4. About the Australian Video Games Industry ...... 5 5. The case for expanding the Producer Offset to Australian electronic games ...... 7 6. AIE Incubator Program – A case study in investment ...... 8 7. The Canadian Experience ...... 9 Attachment 1: AIE Graduates: Projects and Studios ...... 11 Attachment 2: Games in Development through AIE Incubators ...... 12

1. Terms of Reference

The Academy of Interactive Entertainment (AIE) notes the Terms of Reference for the Inquiry into the Australian film and television industry.

“The House Standing Committee on Communications and the Arts will conduct an inquiry into: Factors contributing to the growth and sustainability of the Australian film and television industry.”

As a leading provider of visual effects (VFX) education, AIE strongly supports the committee’s focus on the important Australian film and television industries. We will provide an overview of our involvement in the VFX sector and our commitment to educating the next generation of VFX artists, compositors and animators. The outstanding success of Australia’s studios working in VFX demonstrates the opportunities created by production incentives.

However, we believe that this inquiry is also an opportunity to analyse how the lessons learned from the success of the Australian film and television industry can be applied to Australia’s video games sector. The gaming industry has long argued that the generous incentives which have enabled the Australian film and television industry to thrive could spur a renaissance in Australian electronic game development and enable local studios to compete and gain pre-eminence in the global market. 2. About AIE

The Academy of Interactive Entertainment (AIE) is Australia's most awarded 3D , game design and visual effects (VFX) educator. In 1996, local industry recognised that there were not enough qualified graduates for growing Australian companies such as Micro Forte, Strategic Studies Group and Beam. As such, AIE was established by industry as a non-profit organisation to provide formal training for artists and programmers in games. AIE pioneered the development of specialist game development and VFX qualifications

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and continues to innovate through industry partnerships and fostering a vibrant start-up culture among its graduates.

AIE’s graduates have literally taken on the world in the games, film and associated industries, working on high profile and games in Australia and around the globe. AIE has campuses across Australia in Canberra, , Melbourne and Adelaide. Recently AIE has instituted partnerships in Seattle and Lafayette, USA and established an online educational platform. Attachment 1 outlines some of the major projects and studios that AIE graduates have worked on.

AIE has been recognised twice over the past two decades as one of Australia’s leading VET providers. As recently as November 2016, AIE was named 2016 Small Training Provider of the Year at the Australian Training Awards. As a not-for-profit, AIE invests surplus funds back into our students.

AIE Courses

AIE courses are practical, career-focused and delivered by industry experienced teachers in a creatively-demanding studio environment. AIE serves around 1,000 students at any one time from campuses in Sydney, Melbourne, Adelaide, Canberra and Online.

AIE has high completion rates and a strong record of student satisfaction across our courses. Over the past three years, 81 per cent of AIE students have completed their courses. Similarly, between 2013 and 2015, AIE students reported high satisfaction rates, with 90 per cent of students stating they were ‘satisfied with the training’ they had received and 93 per cent stating they would be willing to recommend AIE to another person.

A key indicator of AIE’s success is what happens to our students after they complete their courses. A survey of the 2014-2015 AIE cohort found that 80 per cent of students were either employed in the industry, were undertaking further study or had started their own business through the student incubator.

AIE has a unique course progression pathway which is focused on career development. AIE students vary from children as young as seven participating in AIE’s STEM-related holiday courses through to the senior cohort of our Graduate Diploma of Management (Learning) course. All of our courses are designed by industry for the industry and we have alumni working around the world in video game studios and VFX companies.

The primary qualification AIE offers for potential VFX artists, compositors and animators, is the Advanced Diploma of Screen and Media. This is a 2 year, highly specialised course. In the first year students develop the skills they need to work in VFX and animation including modelling, texturing, rigging, lighting, rendering and compositing. In the second year, students work in a team based on an industry work place, to produce a major screen project. AIE also provides Certificate II and Certificate III courses focusing on visual effects, game design and programming, as well as more rudimentary introductory courses for a number of age and skill levels.

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3. The Australian VFX Industry

While it is difficult to measure the value of visual effects as a single component of a larger industry, Deloitte has estimated that the film and television industry contributed $5.8 billion to Australia’s gross domestic product in 2012-13 and employed approximately 46,600 people on a full time basis.1 Australia is a key contributor to the global VFX industry with leading companies including Animal Logic, Rising Sun, (previously Southern Star) and Iloura. Two Australians have won the Academy Award for Best Visual Effect, John Cox who won the Academy Award in 1995 for his work on Babe and Steve Courtley who won the Academy Award in 1999 for his work on . A number of Australians have been nominated, including Don Oliver who in 2016 was nominated for Mad Max: Fury Road and Jason Pillington who in 2016 was nominated for his work on Deepwater Horizon.

Australia’s disproportionate success in the field of VFX is a testament to the artists, compositors and animators who have risen to the top of their field. However, there is no doubt the tax incentives offered by the Australian Federal Government and other incentives from state governments have been critical in creating the impetus for Australian films to keep their VFX production in Australia and overseas productions, including large budget Hollywood films, to send their production work to Australia.

That is why AIE has proposed that equivalent incentives be established for the electronic games sector to promote a renaissance in Australia game development. 4. About the Australian Video Games Industry

Australia has a rich history of video game development, stretching back to the formation of Beam Software (now Krome Studios Melbourne) in 1977. In 1982, Beam Studios produced a highly successful illustrated text adventure game The Hobbit based on the novel of the same name by JRR Tolkien, which was a groundbreaking development in the Interactive Fiction genre.

The statistics on the preponderance of electronic games in Australia are impressive:  98% of Australian homes with children under 8 have a device which can play interactive games;  68% of Australians play interactive games;  The average game player is 33 years old and 78% of players are 18 or older;  The average number of years gamers have been playing is 12; and  47% of gamers are female.2

In 2016 the Australian interactive entertainment industry saw sales worth $2.96 billion, with a 4 per cent increase in sales over twelve months.3 This compares to the global industry which in 2016 was estimated to be worth US$99.6 billion and is expected to reach US$118.6 billion by 2019.4 By comparison, in 2015 Australian films earned $88.1 million,

1 ‘Contribution of the film and television industry in Australia’, Deloitte Access Economics, December 2015, link. 2 Jeffrey Brand & Stewart Todhunter, Digital Australia Report, Interactive Games & Entertainment Association, 2016, p. 5, link. 3 ‘Taking it up a level: Australian video game industry generates $2.958B in 2016’, Interactive Games and Entertainment Association, 28 February 2017, link. 4 newzoo Games, 2016 Global Games Market Report, p. 13, link. Page 5 of 15

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out of total box office takings of $1.26 billion.5 Furthermore, the Asia-Pacific region is a key driver of growth in the global games market. In 2016 the Asia-Pacific market, which includes all of the Asian continent, Australia and New Zealand, was valued at $46.6 billion and comprised 47 per cent of the global market. In 2016 the Asia-Pacific market also continued to experience phenomenal growth, accounting for more than half of the growth in the sector.6 This demonstrates there is a massive opportunity for an export-focused games market which capitalises on Australia’s unique geographic and cultural position as a multicultural nation within the Asian market.

However, even though the market for video games continues to expand, the production of video games in Australia has contracted in recent years. The Australian Bureau of Statistics observed a decline in digital game developer jobs in Australia from 1,431 in 2006-07 to 581 in 2011-12. The same period saw a significant reduction in overall income for Australian developers from $136.9 million to $89.4 million.7 A number of theories have been proposed to account for this decline which coincided with the Global Financial Crisis of 2007 – 2008 and the high Australian dollar between 2008 and 2011. AIE submits that tax Incentives for the games development sector, along the lines currently enjoyed by the film sector, would have substantially ameliorated this negative impact on employment as well as economic and creative value-added.

In recognition of the gaming industry’s unique value, in November 2012 the former Federal Government announced the Australian Interactive Games Fund.8 The fund was to award $20 million over a three year period, with the first recipients announced in March 2013. The fund helped start-up and established Australian studios to develop, promote and market their games to overseas markets. However, the Australian Interactive Games Fund was cancelled as part of the May 2014 budget, and the remaining $10 million in funds were withdrawn.9

In Australia, the video game development industry is dominated by Victoria, which accounts for approximately 48 per cent of the industry. Smaller industry clusters are located in NSW (19%), Queensland (18%), South Australia (8%) and Western Australia (7%).10 The Australian video game industry is now led by independent development studios. In spite of the relative size of the local industry, Australian game developers can and do punch above their weight. For example the studio Halfbrick in Brisbane has developed a game called Fruit Ninja which, by 2015, had 1 billion downloads, making it one of the most successful games of all time.11

The recent growth of ‘serious games’ will continue the industry’s ongoing expansion in Australia and overseas. Serious games refer to games that are designed for purposes other than pure entertainment. In a submission to the Senate Inquiry into the future of Australia's video game development industry, Professor Stuart Smith described a number of hypothetical scenarios in which ‘serious games’ might be used:

5 ‘Box Office in Australia for Australian Feature Films’, Screen Australia, 2017, link. 6 newzoo Games, 2016 Global Games Market Report, p. 10, link. 7 Australian Bureau of Statistics, Film Television and Games, 18 June 2013, p. 6, link. 8 James Domingeuz, ‘$20 million boost for Aussie game makers’, 20 November 2012, link. 9 ‘Video game funding axed in federal budget’, Sydney Morning Herald, 14 May 2014, link. 10 Game Developers Association of Australia, “Submission 55”, Future of Australia’s video game development industry, Parliament of Australia, link. 11 Andrew Masterson, “Fruit Ninja hits a billion downloads and is still climbing as Australia punches above its weight”, Sydney Morning Herald, 5 September 2015, link. Page 6 of 15

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‘Application areas are as diverse as engaging a person recovering from stroke in repetitive rehabilitation arm movements, to delivering critical incident response training to emergency personnel through to educating a child living with cancer about the impact of chemotherapy on their health or another about the impact of genocide in Darfur.’12

These applied games are used in a diverse range of industries including Defence, health/medical, transport/aeronautical and emergency services. Serious games can also be used in an education context such as the line of products developed by the Australian company Typequick13 which help students and adults learn how to touch type or in work safety training such as the series of games developed by Safework SA.14 One important use of ‘serious games’ is training children and adults with disabilities. For example Sound Scouts is a game designed to test the hearing of toddlers. Other examples of health- oriented serious games include:

 BrainyApp for health education15;  Songs for Elstryn: death of the Gryphon for rehabilitation16; and  Project: Evo for mental health diagnosis17.

The application of ‘serious games’ is only likely to grow as improvements in virtual reality will continue to facilitate skill training and development even for techniques as complex as surgery. 5. The case for expanding the Producer Offset to Australian electronic games

As previously noted, 48 per cent of Australian game development occurs in Victoria. This concentration of gaming development activity has supported related industries including support services, publishing and public relations and animation. This local success has been aided by the support provided by the Victorian Government to the sector. Between 2010 and 2017, the Victorian Government (through Film Victoria) has invested over $4 million in electronic games development.18 Film Victoria provides funding for games skills development and games production and marketing.19 Victoria’s unique success in the video games field in comparison to NSW and other states demonstrates the positive effect of government support in maximising the sector’s competitiveness and shows that there is a case for expanding the Producer Offset to include electronic games.

Under the existing Producer Offset administered by Screen Australia, eligible projects receive a rebate of up to 20 per cent for television series and up to 40 per cent for feature films of the tax paid over the life of the project. The offset is paid at the completion of the project and only applies to qualifying Australian production expenditure (QAPE) which comprises expenditure which occurs in Australia and may include goods and services or

12 Stuart Smith, “Submission 80”, Future of Australia’s video game development industry, Parliament of Australia, link. 13 See Typequick. 14 See Safework SA. 15 See BrainyApp. 16 See Grendel Games. 17 See Alkili Interactive. 18 ‘Information and Communication Technology’, Invest Victoria, 2016, link. 19 See Film Victoria. Page 7 of 15

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the use of land.20 The Producer Offset is one of only a number of rebates available for films produced in Australia which also include the Location Offset and the Post Digital and Visual effects Offset.

One of the key issues facing the Australian games development industry is a lack of capital, with little interest in investing in electronic games from domestic sources and a preference by international investors for markets which have existing tax incentives in place. An expansion of the Producer Offset would undoubtedly assist in attracting the capital that Australian games development requires to successfully compete in an international market. In particular, it would provide an incentive to Chinese investors to support Australian projects which cater to the growing Chinese gaming market.

The Game Developers Association of Australia (GDAA) has advocated for tax offsets for games since 2003. In 2011, Screen Australia endorsed this view arguing in the report Playing for Keeps that an Interactive (Games) Offset on eligible expenditure should be introduced to provide a 30 per cent rebate for projects with minimum expenditure of $500,000 and 20 per cent with minimum expenditure of $200,000. Screen Australia argued that this two tiered system would help to support both large and smaller firms to compete on an international scale. They contended not only would it help local Australian companies to publish their content overseas it would also encourage publishers to either establish new, or expand existing, Australian subsidiaries. The key difference, Screen Australia propose, from the Producer Offset would be less of a focus on Australian content, with a preference instead for Australian creative control.21

Modelling undertaken by PricewaterhouseCoopers (PwC) for Screen Australia found that over a five year period a further $146 million would be invested in the Australian gaming, of this the vast majority ($100 million) would come from foreign investors. PwC found that the fund would generate 383 new jobs and add $76 million to Australia’s GDP.22 As this modelling is from 2011, AIE encourages the Committee to recommend up-to-date modelling be undertaken in order to better understand the advantages of this proposal. 6. AIE Incubator Program – A case study in investment

In the absence of tax incentives to spur new capital, AIE has chosen to invest strategically into the Australian gaming industry. The AIE Incubator Program was established in 2011 to assist emerging developers to access the tools and resources they needed to break into the industry. Through the Incubator, AIE has invested $5.4 million in its former students. In 2015 alone, AIE provided $600,000 in business and travel grants to game development teams. The incubator facilities are located in Sydney, Melbourne and Canberra. The Incubator provides AIE graduates with office space, related office facilities including meeting rooms and computers and relevant software. Participants in the incubator program can benefit from ongoing mentoring from industry insiders and experienced professionals. There are also project development grants and showcase opportunities to help AIE students take their projects from concept to completion. More than 73 start ups have been established through the Incubator Program, of those 56 are presently operational. This is

20 ‘Guidelines Qualifying Expenditure’, Screen Australia, 2016, link. 21 Playing for Keeps Enhancing sustainability in Australia’s interactive entertainment industry, Screen Australia, 2011, p. 27, link. 22 Playing for Keeps Enhancing sustainability in Australia’s interactive entertainment industry, Screen Australia, 2011, p. 29, link. Page 8 of 15

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a business success rate of 76 per cent, far higher than ICT industry averages which some groups estimate can be as low as 5 per cent.23 The output of incubator participants is similarly impressive with 34 games published and another 56 games presently in production. Attachment 2 sets out the studios and games that have been established and developed through the Incubator Program.

The Incubator Program and AIE’s focus on employment outcomes have resulted in 216 new jobs being created both for graduates and their employees. One such success story is Robert Christian:

‘I graduated from the Academy of Interactive Entertainment in 2013 with a Vocational Graduate Diploma in Management. The course taught me the necessary skills to create my first product with a small business (5 people) who also studied the course alongside me. In 2014 we were approached by an Australian game publisher, who we were able to secure a publishing deal on all major game consoles with. Our product titled ‘Rumble Academy’ will be releasing soon on PC, Playstation 4 and Xbox One.’ – Robert Christian, AIE Graduate and Start-Up Company, Big Paw Games24

Recently the AIE launched its not-for-profit Gameplus.com.au co-working space in Canberra, and over the last 12 months, has gained 22 video games companies working on the premises employing 82 people full-time or part-time. Many of these companies have come out of the AIE Incubator program. The AIE plans to launch similar gameplus.com.au sites across Australia in co-operation with the local developer community. This will provide attractive and high quality premises at below market rates to lower and absorb some of the capital costs independent game developers incur as SME’s so they can be more competitive.

AIE contend that the Incubator Program demonstrates that investment in the electronic games industry can produce employment and economic outcomes that are highly beneficial to the Australian economy. AIE’s investment is relatively small in comparison to the potential support (and impact) which may result from the introduction of an Interactive (Games) Offset. 7. The Canadian Experience

Canada is one of a significant number of comparable jurisdictions in which support through loans, tax offsets etc. has strongly stimulated the games development sector – other nations include the United Kingdom, France and a number of individual states within the United States (for instance, Florida, Texas and Louisiana).

The Canadian Government has long recognised the value of the digital game sector. While the Canadian economy shares a number of similarities with Australia’s, including a similar reliance on their abundant natural resources, Canada’s gaming industry far outperforms Australia’s. Canada has the third largest electronic gaming industry in the world, behind only the United States and Japan. The Entertainment Software Association of Canada reported in 2015 the Canadian electronic gaming industry comprised 472 studios which

23 Source: Evan Schwarten, ‘The grim reality of start ups’, SMH, 20 March 2015, link. 24 For more information please see Big Paw Games Page 9 of 15

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employed 20,400 people and generated US$2.25 billion in economic activity.25 In 2017, the Canadian video games sector was valued at US$3 billion.26 Unlike the Australian sector, the Canadian industry is dominated by larger firms, with 24 studios with more than 100 employees who together employ 91 per cent of the industry.27

The Canada Media Fund provides a loan to game developers, offering funds which can be used to finance, develop and promote projects. The Canadian Government also provides tax credits to game developers that base themselves in Canada, which KPMG has estimated can save game developers up to 30.6 per cent compared to operating in the US. Tax credits vary in value from 17.5 per cent up to 50 per cent. Since 2010, the Canada Media Fund has provided funding for both television and electronic games projects. In August 2016, the Canada Media Fund reported it had provided C$371.7 million in funding to 541 television and 108 digital media projects, which had generated C$1.4 billion in economic activity.28

In addition to support from the Canadian Government through the Canadian Media Fund, individual Canadian provinces, including Quebec, Atlantic Canada and , provide additional tax incentives to support the games sector.29 In Quebec, the provincial government offers games developers an additional 30 percent refundable tax credit on labour expenditure and a 26.26 per cent refundable tax credit for projects developed under fee-for-service arrangements. The Government of Quebec also offers a 7.5 per cent deduction for projects which include a French language option. In British Columbia, the Provincial Government offers a 17.5 per cent refundable tax credit for labour expenditure. While the Government of Ontario provides a 40 per cent refundable tax credit on labour expenditure which can also apply to limited marketing and distribution expenses. The Ontario Government also provides a 5 per cent credit on projects produced under fee-for- service arrangements.30

25 Christian Nutt, ‘Canada’s game dev industry grows: 472 studios, 20,400 people’, Gamasutra, 16 November 2015, link. 26 Josh McConnell, ‘Canada takes its $3 billion video game industry seriously as it pushes sector to new levels’, 13 March 2017, link. 27 Christian Nutt, ‘Canada’s game dev industry grows: 472 studios, 20,400 people’, Gamasutra, 16 November 2015, link. 28 ‘CMF triggers $1.4 billion in production activity, says annual report’, Canada Media Fund, 30 August 2016, link. 29 Josh McConnell, ‘Canada takes its $3 billion video game industry seriously as it pushes sector to new levels’, 13 March 2017, link. 30 Playing for Keeps Enhancing sustainability in Australia’s interactive entertainment industry, Screen Australia, 2011, p. 21, link. Page 10 of 15

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Attachment 1: AIE Graduates: Projects and Studios

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Attachment 2: Games in Development through AIE Incubators

Canberra Incubated Indie Start Ups Current Name of Status Current Published Titles & Year est. Company (Operational Project/s Platforms or Closed) Never Sea Studios 2015 Operational RPG - Untitled -- Triple Skulls Roguelike - 2015 Operational -- Studios Untitled Accepted for Pine Fire Studios 2015 Operational Kieru Distribution on Steam -

Kieru Pirate life - Free Vortexel 2015 Operational -- to Play Wrecky Road: Released on Android Hazard Fax 2015 Operational Canyon Carnage and iOS BOLD 2015 Operational Prototyping -- Dismantle: Accepted for Great Helm 2015 Operational Construct Distribution on Steam Carnage Accepted for Siege Sloth

2014 Operational Evergreen distribution - Steam, Games Mobile Accepted for

Studio Stormworm 2014 Operational Stormworm distribution - Steam, Mobile Humble Bundle Arc Gambit 2014 Unknown Bulletsqual -- Windows Mobile - Skimpy Pixels 2014 Operational Little Red Hen

Cloud Popper Released on Steam, Brain Box

2014 Operational Dragon's Wake over 16,000 copies Software sold Rumble Publishing Contract Big Paw Games 2014 Operational Academy with Nnooo Early Access - Steam,

Wildgrass games 2013 Operational Bearzerkers Accepted for distribution PSN, XBLA Warden; Melody Released Steam, Cardboard Keep 2013 Operational of the Accepted for

Undergrowth distribution PSN, XBLA Accepted for

Evil Aliens 2013 Operational Orbitor distribution - Steam, XBLA 3fault 2012 Operational Our universe Intended for Mobile

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Accepted for Evil Aliens 2012 Operational distribution - Steam, XBLA Moebus Games 2012 Closed Steam Pumpkins 2012 Closed Grey wolf 2012 closed Sydney Incubated Indie Start Ups Current Name of Status Current Published Titles & Year est. Company (Operational Project/s Platforms or Closed) Plain Box Games 2016 Operational Ready to Roll Rapscallion 2016 Operational Out Line Collective Futuretechure 2016 Operational Futuretechture The Desperate Nineslice 2016 Operational Mile Iron Guardian Textbook 2016 Operational Games Adventure Sanity Check The Orc and the 2016 Closed Games Elf Punk Duck 2016 Operational SECT AA Battery Games 2016 Operational GuildMaster

Void 2015 Dissolved Released Android and Gold Plate Games 2015 Operational Say Again? iOS Sunny Day Games 2015 Operational Team leader Eric Fear Hand Drawn 2015 Dissolved was offered work at Heroes AIE. Riley Hsiang 2015 Operational Tyandae 2015 Operational Death of Magic Aaron Bautista 2015 Operational Banarang (short Robert Dunstan 2015 Operational horror film series)

Mind Fray Games 2014 Dissolved Moonburn 2014 Dissolved Daybreak 2014 Dissolved Kittical Mass Interactive Neuron Spark 2014 Operational Neon Rain

Interactive Peter Yu 2013 Operational Documentary

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Intrensiq 2013 Dissolved Confused Origami 2013 Dissolved Skytank Publishing deal with Rumble Nnooo! Approved for Big Paw 2013 Operational Academy PlayStation and Ninteno Google Play -

Playground heros 2013 Closed voxel nova Released on Android Greenlit on Steam - Red Knight Games 2012 Operational Grapple Knight Successful Kickstarter Floating Man 2012 Disolved Games Pear & Melons 2012 Disolved Quantum Shade 2012 Operational Protocol E Interactive Melbourne Incubated indie start-ups Current Name of Status Current Published Titles & Year est. Company (Operational Project/s Platforms or Closed) Red Scarf 2016 Operational Toy Box Productions Firstborn 2016 Operational Firstborn Salty Monster 2016 Operational Dimensions Vs Studio Dev or Die Studio 2016 Operational Chroma Shift Dark Shadow 2016 Operational Drone Legion Studios Minecart Mayhem Ludatik 2016 Operational Android and iOS Mascot Rugby League Earlyworm Studios 2015 Operational Skedaddle (Tablet, Phone) Ruffhaus 2015 Operational BZerk -- Broken Spear 2015 Operational Kingdom Raiders Cricket MCG (Tablet), Fancy Sword Get Flipped and 2015 Operational Tile Descent (Android Games Tile Descent and iOS) Jumpy Legs (Android), Astrobear Games 2015 Operational Legends of Time Beer Pong Extreme Munch Elites (Tablet, Brain Sugar 2015 Operational Phone) Studio 4 Eyes 2015 Closed -- Footy Kicker and Hungry Yeti 2015 Operational Mean Greens Chomp (Tablet, Phone) Reactive 2014 Closed Entertainment Arcane Rumble Board Oddmount Studios 2014 Operational Arcane Rumble Game

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Green Corner 2014 Closed Games Relative Relative Creations 2014 Operational Madness Release date on iOs Pixel Giant 2014 Operational Rabbit Rescue and Android of 25th Dec 2016 Scann3d 2014 Operational Scann3d Fractured Studios 2014 Closed

Atomizer Games 2013 Operational Heist Little Reaper 2013 Operational Grim Balance Games Dancing Dinosaur Steam, Desura (Early

2012 Operational Collateral Games Access)

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