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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 -
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. -
Class Action Chamber)
CANADA PROVINCE OF QUEBEC SUPERIOR COURT DISTRICT OF MONTREAL (CLASS ACTION CHAMBER) No: 500-06-001132-212 GABRIEL BOURGEOIS Petitioner -vs.- ELECTRONIC ARTS INC., legal person duly constituted, having its address of service at 1209 Orange Street, Wilmington, DE 19801 USA and ELECTRONIC ARTS (Canada), INC., legal person duly constituted, having its address for service at 1800 510 West Georgia St., Vancouver, BC, V6B 0M3, Canada and ACTIVISION BLIZZARD INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, New Castle, Delaware, 19808 and ACTIVISION PUBLISHING INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, New Castle, Delaware, 19808 and BLIZZARD ENTERTAINMENT INC., legal person duly constituted, having its address for service at 251 Little 1 Falls Drive, Wilmington, New Castle, Delaware, 19808 and TAKE TWO INTERACTIVE SOFTWARE INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and TAKE TWO INTERACTIVE CANADA HOLDINGS INC., legal person duly constituted, having its address for service at 5770 Hutontario St, Mississauga, Ontario, L5R 3G5 and 2K GAMES INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and ROCKSTAR GAMES INC, legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and WARNER BROS. ENTERTAINMENT INC., legal person duly constituted, having its address for service at 1209 Orange St., Wilmington, DE 19801 and WARNER BROS ENTERTAINMENT CANADA INC., legal person duly constituted, having its address for service at Suite 1600, 5000 Yonge Street, Toronto, Ontario, M2N 6P1 and 2 WARNER BROS. -
Reading the Assassin's Creed Universe
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 6-2016 The story of a video game: reading the Assassin's Creed universe Karina Diaz DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Diaz, Karina, "The story of a video game: reading the Assassin's Creed universe" (2016). College of Liberal Arts & Social Sciences Theses and Dissertations. 210. https://via.library.depaul.edu/etd/210 This Thesis is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. The Story of a Video Game: Reading the Assassin’s Creed Universe A Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts June, 2016 By Karina Diaz Department of English College of Liberal Arts and Social Sciences DePaul University Chicago, Illinois 1 2 Introduction I have lived my life as best I could, not knowing its purpose, but drawn forward like a moth to a distant moon. And here, at last I discover a strange truth. That I am only a conduit for a message that eludes my understanding. Who are we, who have been so blessed to share our stories like this? To speak across centuries? --Ezio at the end of Assassin’s Creed Revelations Recently, video games have come under the eye of scholars from many fields. -
La Esfera De Los Libros, 2015 9788490605097 Assassin's Creed
La Esfera de los Libros, 2015 9788490605097 Assassin's Creed. Unity 432 pages 2015 Oliver Bowden SL MERISTATION MAGAZINE video games, Assassin's Creed Unity, Ubisoft Montreal, Assassins Creed, Creeds, Unity3D, Unitys, Unity, ASSASSIN, Assassins, Assassin's Creed, Ubisoft Entertainment, Ubisoft, Assassins Creed Unity, Creed SL MERISTATION MAGAZINE. Do the locomotion: obstinate avatars, dehiscent performances, and the rise of the comedic video game pdf, on-screen are almost invariably more impressive than those players perform on their controllers, complete with animation flourishes that do not map onto any player input.14 When Arno Dorian leaps over gaps between Paris rooftops in Assassin's Creed Unity (Ubisoft Montreal. Reflections of history: representations of the Second World War in Valkyria Chronicles, 2014 Kotzer, Zac. 2014. Meet the Historian behind 'Assassin's Creed Unity'. Motherboard. Accessed May 31. http://motherboard.vice.com/read/meet-the- historian- behind-assassins-creed-unity [Google Scholar]). 1 1. How much. Cultural heritage in role-playing video games: a map of approaches, 143- 156. Whitaker, B. and Andress, D. 2015. January 19. History Respawned: Assassin's Creed Unity. Available online at: https://www.youtube.com/watch?v=r47yZIYBUzc Whitaker, B. and Glass, B. 2013. November 19. History Respawned: Assassin's Creed. The Tyranny of Realism: Historical accuracy and politics of representation in Assassin's Creed III, it's unclear why this is necessary to note, as the next game in the series, AC4: Black Flag, demonstrates there were assassins. As Nicholas Guerin, level design director of Assassin's Creed: Unity, describes of the team's approach to Paris: It's a better Paris than the actual. -
Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik
HEC MONTRÉAL Disruptive Innovation and Internationalization Strategies: The Case of the Videogame Industry par Shoma Patnaik Sciences de la gestion (Option International Business) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Décembre 2017 © Shoma Patnaik, 2017 Résumé Ce mémoire a pour objectif une analyse des deux tendances très pertinentes dans le milieu du commerce d'aujourd'hui – l'innovation de rupture et l'internationalisation. L'innovation de rupture (en anglais, « disruptive innovation ») est particulièrement devenue un mot à la mode. Cependant, cela n'est pas assez étudié dans la recherche académique, surtout dans le contexte des affaires internationales. De plus, la théorie de l'innovation de rupture est fréquemment incomprise et mal-appliquée. Ce mémoire vise donc à combler ces lacunes, non seulement en examinant en détail la théorie de l'innovation de rupture, ses antécédents théoriques et ses liens avec l'internationalisation, mais en outre, en situant l'étude dans l'industrie des jeux vidéo, il découvre de nouvelles tendances industrielles et pratiques en examinant le mouvement ascendant des jeux mobiles et jeux en lignes. Le mémoire commence par un dessein des liens entre l'innovation de rupture et l'internationalisation, sur le fondement que la recherche de nouveaux débouchés est un élément critique dans la théorie de l'innovation de rupture. En formulant des propositions tirées de la littérature académique, je postule que les entreprises « disruptives » auront une vitesse d'internationalisation plus élevée que celle des entreprises traditionnelles. De plus, elles auront plus de facilité à franchir l'obstacle de la distance entre des marchés et pénétreront dans des domaines inconnus et inexploités. -
História E Memória Em Assassin's Creed (2007-2015)
e - ISSN 2175 - 1803 História e Memória em Assassin’s Creed (2007-2015) Resumo Este artigo pretende apresentar e problematizar as Robson Scarassati Bello representações sobre História e Memória na série de jogos Doutorando História Social pela eletrônicos Assassin’s Creed entre 2007 e 2015. Esses games Universidade de São Paulo (USP). pretenderam reconstituir diferentes e múltiplos tempos São Paulo, SP - BRASIL históricos a partir da imersão de um personagem do presente [email protected] nas experiências de um antepassado por meio da tecnologia. orcid.org/00000-0002-9025-0681 Os jogos eletrônicos, setor cada vez mais importante da indústria cultural, representam o passado por meio de mecanismos particulares: narrativa contada através de eventos, ambientes que permitem a exploração espacial e, sobretudo, as possibilidades de interatividade com esses elementos. Através da dimensão popular da circulação de mercadorias culturais audiovisuais, condicionam e impactam o imaginário de certos momentos históricos ao reinterpretá-los à luz de discussões contemporâneas e de seu próprio formato. No caso de Assassin’s Creed, essa releitura constitui uma visão supostamente multicultural do passado lido em uma conspiração dicotômica entre a luta entre dos Assassinos, defensores da liberdade, contra os Templários, que utilizam mecanismos sociais para a ordem, o controle e a tirania. Fundamentam estas perspectivas, interpretações próprias sobre a “verdade histórica”, a memória coletiva e o objetivo de criar um produto de entretenimento. Palavras-chave: História. Memória. Videogame. Para citar este artigo: BELLO, Robson Scarassati. História e Memória em Assassin’s Creed (2007-2015). Tempo e Argumento, Florianópolis, v. 11, n. 27, p. 304 - 339, maio/ago. -
PDF Lecture Notes
AN INTRODUCTION TO Stylized Rendering in Games Morgan McGuire NVIDIA and Williams College July 26, 2010 SIGGRAPH 2010 Los Angeles, CA Edited July 25, 2010 1 Course Overview Games like Prince of Persia and Battlefield Heroes deliver artistic visions beyond standard photo-realistic 3D. In this course, game developers teach the challenges of creating distinctive visual styles for interactive environments and some of their own solutions. Topics include the art pipeline, rendering algorithms, and integrating visuals with gameplay. Why stylized rendering? As they matured, the visual arts (painting, sculpture, photography, and architecture) all developed new visual-abstraction mechanisms to go beyond "realism". Recent advances in visual effects have put film and games into this transitional state. In a sense, we're like artists at the end of the Renaissance: we've nearly mastered photorealism, but are only at the beginning of our discoveries about expression and perception. Some effects are subtle, like the color shifts and post-processing in Mirror's Edge. Others, such as the graphic-novel look of Prince of Persia, dominate the entire rendering style. In games, real-time and interactive constraints require more efficient and robust solutions than are employed elsewhere in computer graphics. And to be successful, a stylized renderer must integrate with appropriately stylized models, animation, and audio to form a coherent virtual world and ultimately enhance game play. These notes are Copyright 2010 Morgan McGuire All Rights Reserved The credited game screen shots included are copyrighted by their respective publishers, and the game titles are trademarks of their respective publishers and/or developers. -
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. -
Marvel Avengers Battle for Earth on Kinect for Xbox
From: Sarah Irvin <[email protected]> Subject: MARVEL AVENGERS BATTLE FOR EARTH ON KINECT FOR XBOX 360 NOW AVAILABLE AT RETAILERS ACROSS NORTH AMERICA Date: October 31, 2012 2:17:06 PM EDT To: [email protected] ***MEDIA ALERT*** MARVEL AVENGERS BATTLE FOR EARTH ON KINECT FOR XBOX 360 NOW AVAILABLE AT RETAILERS ACROSS NORTH AMERICA What: Marvel Avengers™ Battle for Earth Now Available At Retail Platform: Kinect for Xbox 360, Nintendo Wii U When: October 30th for Kinect, December 2012 for Wii U Rating: ESRB T (Teen) Assets: Download Assets for Immediate Posting: ftp://UbisoftPress:[email protected]/MarvelLaunchAssets.zip Download Video for Immediate Posting: ftp://UbisoftPress:[email protected]/MarvelLaunchTV.zip Check out Stan Leeʼs latest Rant on Stan Leeʼs World of Heroes about Marvel Avengers Battle for Earth: http://youtu.be/kF0tWbYoYEw Details: Today, Ubisoft announced that Marvel Avengers Battle for Earth is now available to purchase at retailers in North America. Marvel Avengers Battle for Earth is the ultimate super hero brawler set in authentic comic book-style art environments and based on the iconic Secret Invasion storyline. Players will travel back in time to the iconic tropical prehistoric preserve, the Savage Land, or hop on board the signature ship of the fictional intelligence/defense agency S.H.I.E.L.D. to save the Marvel universe from the skrull invasion. Battle for Earth provides endless amounts of fun entertainment for the family through a variety of gameplay modes such as campaign, arcade, challenges, versus and tournament. Whether young or old, fans will enjoy embodying their favorite character in the popular co-op mode and go online to battle their friends. -
A Study for the Artist Through Theories of Art & Visual Perception
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Building 'Game worlds' : a study for the artist through theories of art & visual perception Lee, Jolly Yu See 2017 Lee, J. Y. S. (2017). Building 'Game worlds' : a study for the artist through theories of art & visual perception. Master's thesis, Nanyang Technological University, Singapore. http://hdl.handle.net/10356/70522 https://doi.org/10.32657/10356/70522 Downloaded on 27 Sep 2021 20:17:27 SGT Building ‘Game Worlds’: A Study For the Artist Through Theories of Art & Visual Perception by Lee Yu See Jolly Supervised by Kenneth Feinstein A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts Research programme in the School of Arts, Design and Media Nanyang Technological University May 2016 2 Acknowledgement The process of research is never an easy road and there are many people to be grateful to. This will be done in my acknowledgements and unfortunately, it may not be enough to express the amount of gratitude I have for all the encouragement, guidance and help received. Firstly, Rudolf Arnheim’s literature inspired the inclusion of the topic of visual perception within this research on visual game world. He was an exceptional psychologist, theorist and writer, who created Art and Visual Perception and The Power of the Center. It is an honour to study and apply his perceptual theories into the medium of video games. Secondly, I would like to thank the Professor and Chair, Vibeke Sorenson, for this wonderful opportunity to conduct a research within the School of Art, Design, and Media. -
PDF Guide Copy
1 The True History of Assassin’s Creed Written by Harry Guinness Published December 2014. Read the original article here: http://www.makeuseof.com/tag/history-assassins-creed/ This manual is the intellectual property of MakeUseOf. It must only be published in its original form. Using parts or republishing altered parts of this guide is prohibited without permission from MakeUseOf.com. Read more stories like this at MakeUseOf.com 2 Table of contents From Great Things 5 Promise and Problems 6 The Birth of a Hero 6 Building On Solid Foundations 8 Run, Stab, Hide, Repeat 9 Breaking the Mold 10 Enter the Academics 12 Iterate and Improve 13 Ouroboros 14 3 The True History of Assassin’s Creed By Harry Guinness Read the original article here: http://www.makeuseof.com/tag/history-assassins-creed/ When the gameplay for the original Assassin’s Creed was demoed live on stage at E3 2006 I was in awe. I watched the short video five or six times in a row. This was an impressive feat; I had truly awful Internet back then. YouTube had been around for a little over a year. For the first time it was easy to see all the footage coming out of the biggest conference in gaming. I watched the video again for this article. I hadn’t seen it in eight years. Amazingly, it holds up well. The game’s producer, Jade Raymond, narrates as someone off stage controls Altaïr. Back then, the gameplay was stunning. NPCs weren’t cardboard cutouts; they were a living, breathing part of the world.