DOCSLIB.ORG

Registration Document 2016 and Annual Report Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Registration Document 2016 and Annual Report Contents Registration Document 2016 and Annual Report Contents Message from the Chairman 3 4 Corporate social responsibility 77 4.1 Methodology note on employee-related, Statement by the person responsible environmental and social reporting 78 for the Registration Document 4 4.2 Employee-related indicators 80 4.3 Environmental indicators 89 4.4 Societal indicators 96 1 Key fi gures 5 4.5 Independent third party’s report 100 1.1 Quarterly and annual consolidated sales 6 5 Financial statements 103 1.2 Sales by platform 7 5.1 Consolidated fi nancial statements 1.3 Sales by geographic region 8 as at March 31, 2016 104 5.2 Statutory Auditors’ report 2 Group presentation 9 on the consolidated fi nancial statements 152 2.1 Group profi le and strategy 10 5.3 Separate fi nancial statements 2.2 History 10 of Ubisoft Entertainment SA for the year ended March 31, 2016 154 2.3 Subsidiaries and equity investments 11 5.4 Statutory Auditors’ report 2.4 Research and development, on the annual fi nancial statements 180 investment and fi nancing policy 13 5.5 Statutory Auditors’ special 2.5 2015/2016 fi nancial year 15 report on regulated agreements 2.6 Outlook 18 and commitments 182 5.6 Ubisoft (parent company) results for the past fi ve fi nancial years 183 3 Governance, risks, risk management and internal control 19 6 Information on the Company 3.1 Report of the Chairman of the Board of Directors on corporate and its capital 185 governance, internal control 6.1 Legal information 186 and risk management 20 6.2 Share capital and stock ownership 188 3.2 Compensation of corporate offi cers 51 6.3 Securities market 199 3.3 Statutory auditors’ report on the report of the Chairman 6.4 Securities other than equity of the Board of Directors securities 202 of Ubisoft Entertainment SA 75 6.5 Financial communication 203 3.4 Auditors 76 7 Cross-reference tables 205 Registration Document cross-reference table 206 Management report cross-reference table 208 CSR cross-reference table 209 Annual report cross-reference table 211 Registration Document 2016 and Annual Report The French version of this Registration Document was fi led on July 22, 2016 in accordance with Article 212-13 of the French Financial Markets Authority (Autorité des Marchés Financiers – AMF). It may be used in connection with a fi nancial transaction if accompanied by a memorandum approved by the Autorité des Marchés Financiers. This document has been prepared by the issuer and is binding upon its signatories. Pursuant to Article 28 of Commission Regulation (EC) No. 809/2004, the following information is incorporated by reference in this Registration Document: ♦ the consolidated and separate fi nancial statements and the relevant Statutory Auditors’ reports for the fi nancial year ended March 31, 2015, presented in the Registration Document fi led on 07/02/2015 under No. D.15-0692, pages 93 to 171; ♦ the consolidated and separate fi nancial statements and the relevant Statutory Auditors’ reports for the fi nancial year ended March 31, 2014, presented in the Registration Document fi led on 06/26/2014 under No. D.14-0691, pages 98 to 188. Ubisoft considers “Non-IFRS operating income” and “Non-IFRS net income”, measures not prepared strictly in accordance with IFRS, to be relevant indicators of the Group’s operating and fi nancial performance. Management uses these measures to run the Group’s business as they are the best refl ection of its recurring performance and exclude the majority of non-operating and non-recurring items. A reconciliation between the IFRS and non-IFRS measures is provided in the appendices to the annual earnings release published on May 12, 2016. - Registration Document 2016 1 2 - Registration Document 2016 Message from the Chairman Dear Shareholders and Partners, Ubisoft is celebrating its 30-year anniversary. Thirty years in one of generation. The Group’s digital transformation will continue over the most exciting and demanding industries in the world. the fi nancial year, our franchise portfolio will expand further and its Ever since the Group’s creation, we have been tireless in our efforts reach will extend beyond video games. This fi scal year will be marked to transform it into a world leader in the entertainment industry. by the release of the Assassin’s Creed movie over which we have been This expansion was accompanied by signifi cant value creation with very careful to retain creative control via the choice of scenarios, a 17-fold increase (1) in the share price since we were listed in 1996. actors and director, leaving the responsibility for producing and marketing the movie to Fox and New Regency. This innovative The new and remarkable achievements which marked the 2015/2016 approach guarantees that the brand’s DNA remains intact, while fi nancial year were very much along the same lines: limiting the fi nancial risk. In the fi rst instance, we confi rmed our unique capacity for creation After the success of the Rabbids Invasion® television series: Invasion and further expanded our fl agship brand portfolio with the success on Nickelodeon and France Télévision, and the Rabbids Invasion of Tom Clancy’s Rainbow Six® Siege and, above all, Tom Clancy’s attraction at Futuroscope, we are proving, year after year, that we The Division™, the most successful launch by a new brand in the are a world leader in the entertainment industry. history of the video game. Assassin’s Creed®, The Crew®, Tom Clancy’s The Division , Far Cry®, Just Dance®, Tom Clancy’s I am particularly proud of the Group that we have created over the Rainbow Six and Watch Dogs® were also some of the most successful years. We have learned to navigate our way through an unbelievably franchises in the industry, providing us with a broad base combined competitive and demanding industry, unique within the media with great visibility. and entertainment business due to its blend of artistic creations, We also made a great comeback in the multi-player segment. Tom technological revolutions and consoles cycles. Against this backdrop, Clancy’s Rainbow Six Siege is considered to be one of the best multi- independence is a key factor of success in that it ensures agility, player games of this generation and Tom Clancy’s The Division, rapidity and adaptability. We have succeeded in combining in coop mode, has garnered the enthusiasm of players since its innovation, creativity and an extremely strong corporate culture launch. These titles offer our fans long-term experiences with the while delivering high value for our shareholders, employees and fans. regular launch of new online content and daily coordination of The future looks bright for the industry as a whole and for Ubisoft. PC online communities. These successes were refl ected in a signifi cant and console growth, expansion into new continents, including Asia, increase in gamer engagement and, consequently, in record digital billions of new players on mobile phones, the formidable potential of sales, allowing for further improvement in our profi tability and Virtual Reality and eSport and the expansion of our brands beyond greater recurrence of our revenue model. video games are all growth drivers and will enable us to continue These outstanding achievements demonstrate Ubisoft’s ability to our steady pace of value creation over the next thirty years. effectively execute and implement its strategic plan. As announced I would like to wholeheartedly thank and congratulate all Ubisoft on our investor day on February 18, 2016, we are entering a new teams for the outstanding progress that they have made, once again, phase of expansion and high value creation for our shareholders, this year. Lastly, I would like to thank our shareholders for their with a target operating margin of 20% and free cash fl ow of around continued loyalty, support and trust. €300 million for 2018/2019. On a more short-term basis, our ambition is to deliver record performance in 2016/2017, with sales of around €1,700 million, a Yves Guillemot non-IFRS operating profi t of around €230 million and strong cash Chairman and Chief Executive Offi cer (1) At June 1, 2016 - Registration Document 2016 3 Statement by the person responsible for the Registration Document This is a free translation of the statement by the person responsible for the registration document issued in the French lanquage and it is provided solely for the convenience of English speaking readers. I confi rm, after having taken all reasonable measures to this effect, The Statutory Auditors’ report on the consolidated fi nancial that the information contained in this Registration Document is, statements for the fi nancial year ended March 31, 2015 appears on to my knowledge, accurate and free from any omission likely to pages 142 and 143 of the 2015 Registration Document. It contains affect its import. no comment. I confi rm that, to my knowledge, the fi nancial statements have been The Statutory Auditors’ report on the consolidated fi nancial prepared in accordance with the applicable accounting standards statements for the fi nancial year ended March 31, 2016 appears and provide a true and fair view of the assets and liabilities, fi nancial on pages 152 and 153 of this Registration Document. It includes an position and results of the Group and all companies consolidated observation drawing the attention of the reader to the “comparability therein, and that the management report information listed on of fi nancial statements” note in the “Accounting principles and page 208 of Chapter 7 is a true presentation of the evolution of the measurement methods” section of the notes to the consolidated business activity, revenue and fi nancial position of the Group and fi nancial statements which sets out the impacts of IFRIC 21 on levies.
Load more

Recommended publications
  • Ubisoft Kündigt Vr-Spiele Zu Assassin's Creed® Und Tom
    UBISOFT KÜNDIGT VR-SPIELE ZU ASSASSIN’S CREED® UND TOM CLANCY’S SPLINTER CELL® IN PARTNERSCHAFT MIT OCULUS AN Basierend auf den Blockbuster-Marken von Ubisoft werden die neuen Spiele exklusiv für die Oculus-Plattform entwickelt Düsseldorf, 17. September 2020 – Ubisoft verkündete im Rahmen der Facebook Connect, dass zwei neue Spiele exklusiv für die Oculus-Plattform in Entwicklung sind. Die Spiele basieren auf den erfolgreichen Spielemarken Assassin’s Creed und Tom Clancy’s Splinter Cell und bieten mittels des einzigartigen, immersiven VR-Erlebnisses ein Abenteuer, das den beiden Spiele-Reihen gerecht bleibt. Die Assassin’s Creed- und Tom Clancy’s Splinter Cell-VR-Spiele werden von dem Ubisoft Studio Red Storm Entertainment in Zusammenarbeit mit Ubisoft Düsseldorf, Ubisoft Reflections und Ubisoft Mumbai entwickelt. Beide Spiele werden von Grund auf speziell für die Oculus-Plattform zugeschnitten und enthalten Elemente, die Fans der Spielreihen kennen und lieben. Indem Assassin’s Creed und Tom Clancy’s Splinter Cell für VR umgesetzt werden, verstärkt Ubisoft seine Innovationen in diesem wachsenden Sektor. Als Pionier bei neuen Technologien hat Ubisoft seit 2016 an zahlreichen VR-Erlebnissen gearbeitet, darunter Eagle Flight, Werewolves Within und Star Trek Bridge Crew, die alle für Oculus verfügbar sind. „Wir entdecken immer wieder neue Wege, wie wir Technologie nutzen können, um unvergessliche Spielerfahrungen zu erschaffen“, sagt Elizabeth Loverso, Vice President of Product Development bei Ubisoft Red Storm Entertainment. „Die State of the Art-Hardware von Oculus ermöglicht es uns, die Welten von Assassin’s Creed und Tom Clancy’s Splinter Cell für die Fans auf eine neue Art und Weise zum Leben zu erwecken.
    [Show full text]
  • Ubisoft® Reports Third Quarter 2014-15 Sales
    Ubisoft® reports third quarter 2014-15 sales . Record third-quarter sales, coming in above target at €810 million . Targets for full-year 2014-15 updated Paris, February 12, 2015 – Today, Ubisoft released its sales figures for the fiscal quarter ended December 31, 2014. Sales Sales for the third quarter of 2014-15 came to €809.7 million, up 55.8% (or 49.5% at constant exchange rates) compared with the €519.7 million recorded for third-quarter 2013- 14. For the first nine months of fiscal 2014-15, sales totaled €1,293.9 million versus €813.0 million in the corresponding prior-year period, representing an increase of 59.2% (or 58.3% at constant exchange rates). The third-quarter sales figure was higher than the target of approximately €730 million announced when Ubisoft released its first-half 2014-15 results. This performance reflects: . A sharp increase in market share to 12.8%1 for 2014 (from 9.6% in 2013). A very good performance delivered by the two Assassin’s Creed® opuses, Far Cry® 4 and The Crew®, with respective sales of 10 million, 7 million and 2 million units (sell- in): Far Cry 4 was voted “Best Shooter” at "The Games Awards 2014". Assassin’s Creed Unity won the prize for best “Character Animation in a Video Game” at the Annie Awards. To date, The Crew has recorded the best sales1 for the racing games released in late 2014. A solid showing from Just Dance® with 4 million units sold (sell-in). The continued success of Watch Dogs®, with 10 million units sold (sell-in) since its release.
    [Show full text]
  • Analisi Della Crescita Di Società Di Gaming Attraverso La Lettura Dei Bilanci
    ANALISIANALISI DELLADELLA CRESCITACRESCITA DIDI SOCIETÀSOCIETÀ DI GAMINGGAMING ATTRAVERSOATTRAVERSO LALA LETTURALETTURA DEIDEI BILANCI TESI DI LAUREA DI GUGLIELMO CALAMIA PACINI TESI DI LAUREA DI GUGLIELMO CALAMIA PACINI MATRICOLAMATRICOLA 212111 212111 INTRODUZIONE L’oggetto della tesi di questo saggio è analizzare alcune delle più note aziende dell’industria dell’intrattenimento videoludico. Si partirà con delle breve esposizioni della loro storia, i pe- riodi di crescita più significativi e l’analisi dei titoli chiave del loro successo degli ultimi dieci anni dal 2011 al 2019; le so- cietà prese sono la EA Sports o Electronic Arts Inc., la Ubisoft Entertainment SA e la Nintendo Co. Ltd. Su ognuna di esse verrà analizzata, tramite la lettura dei loro documenti di bilancio, la loro evoluzione anche collegando a questi dati numerici le informazioni relativi all’immissione dei prodotti chiave nel mercato e le loro conseguenze nei pe- riodi successivi. Una volta esposte tutte le imprese, ci prodigheremo alla for- mulazione di ipotesi sul loro futuro. 3 DESCRIZIONE DEL MERCATO L’incredibile successo di questo mercato dell’intrattenimento è frutto di un continuo sviluppo tecnologico iniziato in America a partire dalla fine degli anni ’40 ma arrivando alla prima di- stribuzione globale di prodotti videoludici solo nel 1961. Fu tuttavia a metà degli anni ’60 (1966) che fu introdotto uno degli strumenti principali del successo videoludico nonché elemento chiave per molte imprese neo-entranti, l’introduzio- ne della prima console. Dall’introduzione di quel primo modello, molte altre imprese hanno tentato di ottenere il controllo del mercato delle console e a oggi solo tre imprese detengono il controllo: la Sony, con la PlayStation; la Microsoft con l’XboX e infine la Nintendo con i suoi GameBoy, Wii e più recentemente Nintendo Switch (tra l’altro la EA e Ubisoft distribuiscono i loro prodotti console pro- prio su PlayStation e XboX e Switch).
    [Show full text]
  • FY12 Earnings Presentation
    FY12 Earnings Presentation May 15, 2012 Yves Guillemot, President and Chief Executive Officer Alain Martinez, Chief Financial Officer Jean-Benoît Roquette, Head of Investor Relations Disclaimer This statement may contain estimated financial data, information on future projects and transactions and future business results/performance. Such forward-looking data are provided for estimation purposes only. They are subject to market risks and uncertainties and may vary significantly compared with the actual results that will be published. The estimated financial data have been presented to the Board of Directors and have not been audited by the Statutory Auditors. (Additional information is specified in the most recent Ubisoft Registration Document filed on June 28, 2011 with the French Financial Markets Authority (l’Autorité des marchés financiers)). 2 Summary FY12 : Performance driven by strong performance from Just Dance, Assassin’s Creed and online/digital FY12 : Operating income up 90%, at the top end of initial guidance FY12 : Solid financial situation of 85 M€ with positive operating cash flows FY12 : Continued investments in online opportunities and next generation of consoles FY13 : A turning point FY13 : Significantly stronger offer for core gamers + re-enters the shooter genre + continued online/digital momentum FY13 : Strong topline and profitability growth expected from core games and online/digital FY13 : > 40% operating income growth based on midpoint of guidance Longer term : Significant opportunities with next generation of
    [Show full text]
  • Ubisoft Studios
    CREATIVITY AT THE CORE UBISOFT STUDIOS With the second largest in-house development staff in the world, Ubisoft employs around 8 000 team members dedicated to video games development in 29 studios around the world. Ubisoft attracts the best and brightest from all continents because talent, creativity & innovation are at its core. UBISOFT WORLDWIDE STUDIOS OPENING/ACQUISITION TIMELINE Ubisoft Paris, France – Opened in 1992 Ubisoft Bucharest, Romania – Opened in 1992 Ubisoft Montpellier, France – Opened in 1994 Ubisoft Annecy, France – Opened in 1996 Ubisoft Shanghai, China – Opened in 1996 Ubisoft Montreal, Canada – Opened in 1997 Ubisoft Barcelona, Spain – Opened in 1998 Ubisoft Milan, Italy – Opened in 1998 Red Storm Entertainment, NC, USA – Acquired in 2000 Blue Byte, Germany – Acquired in 2001 Ubisoft Quebec, Canada – Opened in 2005 Ubisoft Sofia, Bulgaria – Opened in 2006 Reflections, United Kingdom – Acquired in 2006 Ubisoft Osaka, Japan – Acquired in 2008 Ubisoft Chengdu, China – Opened in 2008 Ubisoft Singapore – Opened in 2008 Ubisoft Pune, India – Acquired in 2008 Ubisoft Kiev, Ukraine – Opened in 2008 Massive, Sweden – Acquired in 2008 Ubisoft Toronto, Canada – Opened in 2009 Nadeo, France – Acquired in 2009 Ubisoft San Francisco, USA – Opened in 2009 Owlient, France – Acquired in 2011 RedLynx, Finland – Acquired in 2011 Ubisoft Abu Dhabi, U.A.E – Opened in 2011 Future Games of London, UK – Acquired in 2013 Ubisoft Halifax, Canada – Acquired in 2015 Ivory Tower, France – Acquired in 2015 Ubisoft Philippines – Opened in 2016 UBISOFT PaRIS Established in 1992, Ubisoft’s pioneer in-house studio is responsible for the creation of some of the most iconic Ubisoft brands such as the blockbuster franchise Rayman® as well as the worldwide Just Dance® phenomenon that has sold over 55 million copies.
    [Show full text]
  • French Horror : Penser L'image Vidéoludique Par L'horreur. Images
    7 Alternative francophone (2021) Volume 2 Numéro 8 French Horror : penser l’image vidéoludique par l’horreur. Images monstrueuses et monstration de l’image, de Zombi à 2Dark. https://doi.org/10.1215/08992363-10.29173/af29417 Guillaume Baychelier [email protected] E.A. CLARE, Université Bordeaux Montaigne Résumé. Cette étude examine, à travers un corpus de jeux vidéo horrifiques développés en France sur une période de près de 25 ans, comment le renouvellement des iconographies et la relecture des codes narratifs, tout comme celui des mécaniques de jeu qui y sont habituellement employées, constituent rarement le cœur de des propositions vidéoludiques françaises. Néanmoins, nous montrons comment ces créations ont bien souvent pour point commun de mettre en perspective les procédés de mise en image qu’ils déploient, de la mise en scène au mode de modélisation adopté en passant par la question du flux des images et du regard. Il s’agit donc de voir comment l’horreur, devenue terrain de jeu avec l’image, semble être un prétexte idéal pour travailler, explorer, manipuler le médium et, ainsi, faire évoluer le média. Mots clés : Horreur; jeu vidéo; image; France Abstract. This study examines, through a corpus of horrific video games developed in France over a period of nearly 25 years, how the renewal of iconographies and the re-reading of narrative codes, as well as the game mechanics usually employed in them, rarely constitute the core of French videogame proposals. Nevertheless, we show how these creations very often have in common to put into perspective the imaging processes they deploy, from the staging to the modeling mode adopted, as well as the Alternative francophone https://journals.library.ualberta.ca/af/index.php/af 8 Guillaume Baychelier question of the flow of images and the gaze.
    [Show full text]
  • “Trials Fusion Track Jam 2” Official Rules (English) French Version Page 7 / Version Francaise Page 7
    “TRIALS FUSION TRACK JAM 2” OFFICIAL RULES (ENGLISH) FRENCH VERSION PAGE 7 / VERSION FRANCAISE PAGE 7 NO PURCHASE OR PAYMENT NECESSARY TO ENTER OR WIN. A PURCHASE WILL NOT INCREASE YOUR CHANCES OF WINNING. VOID WHERE PROHIBITED BY LAW OR REGULATION. PARTICIPANTS MUST BE 18 OR OLDER AT THE TIME OF ENTRY. This Competition is in no way sponsored, endorsed or administered by, or associated with Facebook, Twitter YouTube or any other social media platform. You are providing your information to Ubisoft EMEA. The information you provide will only be used in accordance with the Ubisoft privacy policy which may be viewed at http://www.ubi.com 1. ELIGIBILITY: Trials Fusion Track Jam 2 (the “Competition”) is open only to legal residents of United States (excluding residents of Rhode Island and residents of Puerto Rico, U.S. Virgin Islands, Guam and other United States territories), United Kingdom, Canada (excluding Quebec), France, Germany, Poland, Spain, Australia, Ukraine, the Netherlands, Turkey, Czech Republic, Belgium, Romania, Sweden, Austria, Hungary, Denmark, Switzerland, Portugal, Greece, Norway, Finland, Ireland, Slovakia, Luxembourg, Bulgaria, Slovenia, Cyprus, Lettonia, Lithuania, Estonia and Malta, who are at least eighteen (18) years old at the time of entry. Employees, officers, and directors of Sponsor and its affiliated companies, subsidiaries, licensees, franchisees, distributors, dealers, sales representatives, advertising and promotion agencies, and any and all other companies associated with the Competition (collectively, the “Competition Entities”), and each of their immediate families (i.e., parents, spouse, siblings, children, grandparents, step parents, stepchildren and step siblings, and their respective spouses, and those living in the same household, whether or not related) are not eligible to participate.
    [Show full text]
  • 10Th IAA FINALISTS ANNOUNCED
    10th Annual Interactive Achievement Awards Finalists GAME TITLE PUBLISHER DEVELOPER CREDITS Outstanding Achievement in Animation ANIMATION DIRECTOR LEAD ANIMATOR Gears of War Microsoft Game Studios Epic Games Aaron Herzog & Jay Hosfelt Jerry O'Flaherty Daxter Sony Computer Entertainment ReadyatDawn Art Director: Ru Weerasuriya Jerome de Menou Lego Star Wars II: The Original Trilogy LucasArts Traveller's Tales Jeremy Pardon Jeremy Pardon Rayman Raving Rabbids Ubisoft Ubisoft Montpellier Patrick Bodard Patrick Bodard Fight Night Round 3 Electronic Arts EA Sports Alan Cruz Andy Konieczny Outstanding Achievement in Art Direction VISUAL ART DIRECTOR TECHNICAL ART DIRECTOR Gears of War Microsoft Game Studios Epic Games Jerry O'Flaherty Chris Perna Final Fantasy XII Square Enix Square Enix Akihiko Yoshida Hideo Minaba Call of Duty 3 Activison Treyarch Treyarch Treyarch Tom Clancy's Rainbow Six: Vegas Ubisoft Ubisoft Montreal Olivier Leonardi Jeffrey Giles Viva Piñata Microsoft Game Studios Rare Outstanding Achievement in Soundtrack MUSIC SUPERVISOR Guitar Hero 2 Activision/Red Octane Harmonix Eric Brosius SingStar Rocks! Sony Computer Entertainment SCE London Studio Alex Hackford & Sergio Pimentel FIFA 07 Electronic Arts Electronic Arts Canada Joe Nickolls Marc Ecko's Getting Up Atari The Collective Marc Ecko, Sean "Diddy" Combs Scarface Sierra Entertainment Radical Entertainment Sound Director: Rob Bridgett Outstanding Achievement in Original Music Composition COMPOSER Call of Duty 3 Activison Treyarch Joel Goldsmith LocoRoco Sony Computer
    [Show full text]
  • DOCUMENT DE RÉFÉRENCE Incluant Le Rapport fi Nancier Annuel Sommaire
    2018 DOCUMENT DE RÉFÉRENCE Incluant le rapport fi nancier annuel Sommaire Le mot du président 3 5 Responsabilité sociétale de l’entreprise 109 5.1 Note méthodologique du reporting Attestation du responsable social, environnemental et sociétal 110 du document de référence 4 5.2 Stratégie de responsabilité sociétale 113 5.3 Indicateurs sociaux 113 1 5.4 Indicateurs environnementaux 125 Chiffres clés 5 5.5 Indicateurs sociétaux 132 1.1 Chiffre d’affaires consolidé 5.6 Devoir de vigilance 137 trimestriel et annuel 6 5.7 Rapport de l’organisme tiers 1.2 Chiffre d’affaires par type de support 7 indépendant 138 1.3 Chiffre d’affaires par destination géographique 8 6 États fi nanciers 141 2 Présentation du Groupe 9 6.1 Comptes consolidés au 31 mars 2018 142 6.2 Rapport des Commissaires aux 2.1 Profi l et stratégie du Groupe 10 comptes sur les comptes consolidés 204 2.2 Historique 10 6.3 Comptes sociaux d’Ubisoft 2.3 Faits marquants de l’exercice 11 Entertainment SA au 31 mars 2018 209 2.4 Filiales et participations 12 6.4 Rapport des Commissaires aux comptes sur les comptes annuels 240 2.5 Politique de recherche et développement, d’investissement 6.5 Rapport spécial des Commissaires et de fi nancement 15 aux comptes sur les conventions et engagements réglementés 244 2.6 Commentaires sur la performance 2017/2018 en données non-IFRS 17 6.6 Résultats d’Ubisoft (société mère) au cours des cinq derniers exercices 246 2.7 Perspectives 20 7 3 Information sur la Société Risques et contrôle interne 21 et le capital 247 3.1 Facteurs de risques 22 7.
    [Show full text]
  • Éditeur PEGI J CD Dans La Boîte PS4 Trials Fusion : the Awesome Max
    éditeur PEGI J CD dans la boîte PS4 Trials Fusion : the awesome max edition n Horizon zero Dawn n Until Dawn n Bloodborne n Uncharted 4 : A thief's End n Killzone Shadow Fall n ARSLAN : The warriors of Legend n A.O.T. 2 n NBA 2K16 n Fifa 19 Edition Champions n Red Dead Redemption 2 1 installation Spider-man Assassin's creed Odyssey n Watch Dogs n Fallout 76 n Pro Evolution Soccer 2018 neuf n ASTRO BOT Rescue Mission n Dead Island n Dragon Ball Fighterz n. Marvel VS Capsom : Infinite n Fifa 16 n Naruto Shippuden : Ultimate ninja STORM 4 n Playstation VR Worlds n BeatSaber d Playstation 3 ICO & Shadow of the Colossus Classics HD x Metal Gear Solid HD Collection x Fifa 18 Edition Essentielle x The Sly Trilogy x Split/second Velocity x Ratchet & Cla,k : All 4 One x Killzone 3 x Uncharted 2 : Among Thieves x. Uncharted 3 : L'illusion de Drake x God of War : Ascension x Rayman Originis x Gran Turismo 5 x Motorstorm Pacific Rift x DJ Hero x DJ Hero 2 x Dark Souls II pas de boîtier Nintendo Switch Super Mario Odyssey 7 2 n Mario Kart 8 Deluxe 3 4 n This War of Mine : Complete Edition Deep silver 18 1 n Kirby Star Allies 7 4 n Overcooked! 2 team 17 3 4 n Wonder Boy : The Dragon's Trap headup 3 1 n Starlink Battle For Atlas Ubisoft 7 2 n Super Smash Bros. Ultimate 12 8 n Nintendo Labo Toy-Con 03 Vehicule Kit 0 x n DeadCells d Octodad d Limbo d Wii U New Super Mario Bros.
    [Show full text]
  • Playing to Death • Ken S
    Playing to Death • Ken S. McAllister and Judd Ethan Ruggill The authors discuss the relationship of death and play as illuminated by computer games. Although these games, they argue, do illustrate the value of being—and staying—alive, they are not so much about life per se as they are about providing gamers with a playground at the edge of mortality. Using a range of visual, auditory, and rule-based distractions, computer games both push thoughts of death away from consciousness and cultivate a percep- tion that death—real death—is predictable, controllable, reasonable, and ultimately benign. Thus, computer games provide opportunities for death play that is both mundane and remarkable, humbling and empowering. The authors label this fundamental characteristic of game play thanatoludism. Key words: computer games; death and play; thanatoludism Mors aurem vellens: Vivite ait venio. —Appendix Vergiliana, “Copa” Consider here a meditation on death. Or, more specifically, a meditation on play and death, which are mutual and at times even complementary pres- ences in the human condition. To be clear, by meditation we mean just that: a pause for contemplation, reflection, and introspection. We do not promise an empirical, textual, or theoretical analysis, though there are echos of each in what follows. Rather, we intend an interlude in which to ponder the interconnected phenomena of play and death and to introduce a critical tool—terror manage- ment theory—that we find helpful for thinking about how play and death interact in computer games. Johan Huizinga (1955) famously asserted that “the great archetypal activi- ties of human society are all permeated with play from the start” (4).
    [Show full text]
  • Ubisoft's Assassin's Creed Valhalla Delivers Massive Day One Player
    UBISOFT’S ASSASSIN’S CREED VALHALLA DELIVERS MASSIVE DAY ONE PLAYER ENGAGEMENT Critically Acclaimed as “Ubisoft’s Best Assassin's Creed to Date" 1, Assassin’s Creed Valhalla Doubles Assassin’s Creed Odyssey’s Players on Launch Day Paris, France — November 12, 2020 — Today, Ubisoft® announced exceptional player activity for Assassin’s Creed® Valhalla, the latest iteration of the Assassin’s Creed franchise, released on November 10. The number of active players on launch day for Assassin’s Creed Valhalla doubled that of Assassin’s Creed Odyssey, a trend that is expected to continue as sales of the new generation of consoles increase. A testament to Assassin’s Creed Valhalla delivering on players’ expectations for its fascinating world and immersive narrative, the game has reached high levels of viewership and engagement on Twitch and YouTube that surpass any Ubisoft game launch to date. “We are humbled by the reception from the players and extremely proud of what our teams have accomplished with Assassin’s Creed Valhalla, which builds on the amazing success of its predecessors,” said Yves Guillemot, Ubisoft co-founder and CEO. “In the context of COVID-19, shipping Assassin’s Creed Valhalla on no less than seven platforms is an incredible achievement for all of the teams involved around the world. We are excited to greet players on Xbox Series X|S and PlayStation 5 with a game that unleashes the power of the new hardware. This paves the way for an exciting holiday, with Assassin’s Creed Valhalla set to be one of this season’s biggest hits.” The successful launch of Assassin’s Creed Valhalla once again demonstrates Ubisoft’s achievement in continuing to drive the franchise forward.
    [Show full text]