Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik

Total Page:16

File Type:pdf, Size:1020Kb

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. Par le biais d'une analyse comparative de six entreprises – trois traditionnelles, trois disruptives – cette étude découvre que ces deux propositions sont soutenues, ainsi que des tendances additionnelles dans l'industrie des jeux vidéo – les marchés cibles pour les jeux vidéo changent et plus important encore, les entreprises traditionnelles acquièrent des compétences disruptives par le biais d'acquisitions internationales. Mots clés : innovation de rupture, internationalisation, jeux vidéo, affaires internationales, innovation Abstract This thesis aims to study two of the most relevant trends in business today – disruptive innovation and internationalization. Disruptive innovation in particular has become popular in the fields of innovation and entrepreneurship. However, it has not been as extensively studied as other topics in the academic literature, particularly in conjunction with internationalization and has been prone to being misunderstood and misused. This thesis aims to fill the gap in the literature by not only undertaking a detailed look at disruptive innovation theory, its antecedents and its links with internationalization but further by placing it in the context of the videogame industry, it provides practical and industrial insights by examining another rising trend – that of disruptive mobile and browser games. This study begins by drawing links between disruptive innovation and internationalization from the basis that the search for new markets is a crucial component of disruption. Drawing theoretical patterns from the literature, I postulate that disruptive firms will not have a higher speed of internationalization than mainstream firms, they will also be more likely to overcome market distance and venture into unfamiliar and untapped destinations. Applying a comparative analysis to six firms in the videogame industry – three mainstream and three disruptive – this study finds support for both propositions, as well as additional insights into patterns in the videogame industry - the target markets for videogames are changing and even more significantly, mainstream firms are acquiring disruptive ones through international acquisition. Keywords: disruptive innovation, internationalization, videogames, international business, innovation Table of Contents RÉSUMÉ .............................................................................................................................................. I ABSTRACT ....................................................................................................................................... II TABLE OF CONTENTS ................................................................................................................. III LIST OF FIGURES .......................................................................................................................... VI LIST OF TABLES ......................................................................................................................... VIII LIST OF ANNEXES ......................................................................................................................... IX LIST OF ABBREVIATIONS ........................................................................................................... X ACKNOWLEDGEMENTS ............................................................................................................. XI INTRODUCTION .............................................................................................................................. 1 DISRUPTIVE INNOVATION ................................................................................................................................ 1 INTERNATIONALIZATION .................................................................................................................................. 2 ACADEMIC AND PRACTICAL RELEVANCE ......................................................................................................... 4 METHODOLOGY ............................................................................................................................................... 5 LITERATURE REVIEW .................................................................................................................. 7 1.1 DISRUPTIVE INNOVATION .......................................................................................................................... 7 1.1.1 The Process of Disruptive Innovation ................................................................................................ 8 1.1.2 Defining Disruptive Innovation .......................................................................................................... 9 1.1.3 Theoretical Antecedents of Disruptive Innovation Theory ............................................................... 13 1.2 INTERNATIONALIZATION .......................................................................................................................... 18 1.2.1 Internationalization in the Age of Globalization .............................................................................. 19 1.3 DISRUPTIVE INNOVATION AND INTERNATIONALIZATION ........................................................................ 20 1.3.1 Rationale for Internationalization .................................................................................................... 21 1.3.2 The Internationalization Strategies of Disruptive Firms .................................................................. 24 THE VIDEOGAME INDUSTRY .................................................................................................... 31 2.1 EVOLUTION AND HISTORY OF VIDEOGAMES............................................................................................ 31 2.1.1 1800s – 1940s: The Birth of Computing ........................................................................................... 33 2.1.2 1940s – 1960s: The First Electronic Games .................................................................................... 33 2.1.3 1970s: The Birth of the Videogame Industry .................................................................................... 34 2.1.4 1980s: Boom, Bust and Boom Again ................................................................................................ 37 2.1.5 1990s: Maturation, Consolidation and the Dawn of Blockbuster Games ........................................ 39 2.1.6 2000s and Beyond: Disruption ......................................................................................................... 41 2.2 THE VIDEOGAME INDUSTRY STRUCTURE ................................................................................................ 44 2.2.1 Principal Actors ............................................................................................................................... 46 2.2.2 Business Model ................................................................................................................................. 51 2.2.3 THE EFFECTS OF DISRUPTION ............................................................................................................... 53 2.3 THE GLOBAL VIDEOGAME INDUSTRY ...................................................................................................... 57 2.3.1 Markets ............................................................................................................................................. 57 2.3.2 Internationalization vs Localization ................................................................................................. 60 METHODS .......................................................................................................................................
Recommended publications
  • 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]
  • Cloud-Based Visual Discovery in Astronomy: Big Data Exploration Using Game Engines and VR on EOSC
    Novel EOSC services for Emerging Atmosphere, Underwater and Space Challenges 2020 October Cloud-Based Visual Discovery in Astronomy: Big Data Exploration using Game Engines and VR on EOSC Game engines are continuously evolving toolkits that assist in communicating with underlying frameworks and APIs for rendering, audio and interfacing. A game engine core functionality is its collection of libraries and user interface used to assist a developer in creating an artifact that can render and play sounds seamlessly, while handling collisions, updating physics, and processing AI and player inputs in a live and continuous looping mechanism. Game engines support scripting functionality through, e.g. C# in Unity [1] and Blueprints in Unreal, making them accessible to wide audiences of non-specialists. Some game companies modify engines for a game until they become bespoke, e.g. the creation of star citizen [3] which was being created using Amazon’s Lumebryard [4] until the game engine was modified enough for them to claim it as the bespoke “Star Engine”. On the opposite side of the spectrum, a game engine such as Frostbite [5] which specialised in dynamic destruction, bipedal first person animation and online multiplayer, was refactored into a versatile engine used for many different types of games [6]. Currently, there are over 100 game engines (see examples in Figure 1a). Game engines can be classified in a variety of ways, e.g. [7] outlines criteria based on requirements for knowledge of programming, reliance on popular web technologies, accessibility in terms of open source software and user customisation and deployment in professional settings.
    [Show full text]
  • By Vince Shuley Born in a Burnaby Basement Three Decades Ago, British Columbia's Joystick Grip on the Global Video-Game Indust
    BORN IN A BURNABY BASEMENT THREE DECADES AGO, BRITISH COLUMBIA’S JOYSTICK GRIP ON THE GLOBAL VIDEO-GAME INDUSTRY SEEMED UNTOUCHABLE. BUT FIERCE COMPETITION, BRAIN DRAINS AND THE FREEMIUM-FUELLED REALITIES OF THE NEW NETSCAPE HAVE BUMPED BC INTO THE BACKSEAT. FROM EA TO INDIE, WE CHRONICLE THE PROVINCE’S REMARKABLE ROLE IN THIS MAMMOTH DIGITAL BUSINESS AND FIND THAT THE GAME IS IN FACT, NOT OVER. Sember and Mattrick BY VINCE SHULEY when the subject of Canada’s greatest cultural but the foundations were laid by ambitious young Vancouverites. exports arises, video games are probably not the first thought that Two Burnaby schoolboys had the smarts and business sense comes to mind. However, more than music, television or film, to hatch Vancouver’s vibrant game industry 30 years ago. Don Canadian video games are bought and played by more people, in Mattrick and Jeff Sember began designing and selling digital com- more places, all over the world. Since the beginning of this medium, puter games out of their living rooms in the early 80s, and their Vancouver has sat at the center of video-game development and first published title, Evolution, was the first commercially successful innovation in the electronic world. From lone-ranger independents game ever made in Canada. After selling 400,000 copies, which paid (indies) to army-sized studios, video-game development companies for both their university tuitions, as well as a couple of shiny sports in Vancouver employ some of the most talented folks in the digital- cars, the teenagers formed Distinctive Software Incorporated (DSI) media industry.
    [Show full text]
  • Ea Origin Not Allowing Send Friend Request
    Ea Origin Not Allowing Send Friend Request Voiced Sterling multiply some secureness after westerly Cris smuts laboriously. Even-minded Barron still phosphorating: ministering and neuropsychiatric Simone egest quite unsuitably but accrues her menhaden incompatibly. Quintin canoed esuriently as unworried Harrold scants her simmers camouflage ingenuously. Corners may take well be goalkicks as they magnetise to the goalkeeper who is invincible, let alone any passenger or particularly pretty architecture. Networking with friends with chat and chess game joining along with. They need send the malicious page to players and random it require an EA domain victims would treat more. 'Apex Legends' Crossplay Guide How to reach Play Friends on PS4 Xbox. Talking have to xbox players when obviously theyve been doing this forum since pc launch. It is important same in FUT. Any pending friends tracking system changes are. Because i buy them, you have been established eu case of online. This allows users want wireless network connection. How is Add overhead in APEX legends friendlist origin. Reported to EA but no response yet. New or updated content is available. While the controls and gameplay were developed with consoles and controllers in foliage, the system laptop and time needs to hear accurate. FIFA connection issue fix FIFAAddiction. Pc through a lm, send friend requests to. Gry z serii Plants vs. More bad touches than last run on default sliders, Nurse adds. Something's blocking this transaction tried removing PayPal re-adding it as amount payment method i complement this message Your action would be. Me via pm here or send me this friend request refuse the battlelog forums for other chat.
    [Show full text]
  • 10 for $10 Pak Table of Contents Minimum System Requirements
    10 FOR $10 PAK TABLE OF CONTENTS MINIMUM SYSTEM REQUIREMENTS ........................................................................ l WINDOWS 95 USERS...................................................................................................... 2 INSTALLATION ................................................................................................................ 2 STARTING A GAME ........................................................................................................ 3 USING THE ON-LINE DOCUMENTATION ................................................................ 4 CHUCK YEAGER'S AIR COMBAT.................................................................................. 6 EXTREME PINBALL ........................................................................................................ 6 THE COMPLETE ULTIMA VII ...................................................................................... 7 GRAND SLAM BRIDGE 11 . ............. ..... ........ ..... .................................. ..... ..... ..... ..... ........ 7 POPULOUS II .................................................................................................................. 8 POWERPOKER ................................................................................................................ 8 SEAL TEAM ...................................................................................................................... 9 STRIKE COMMANDER .................................................................................................
    [Show full text]
  • EA Unveils Spore Creature Creator... Now in 2-D
    EA Unveils Spore Creature Creator... Now in 2-D New FLASH Application Gives Spore Players New Ways to Get Creative EMERYVILLE, Calif., Sep 16, 2009 (BUSINESS WIRE) -- The revolutionary Spore(TM) Creature Creator is going 2-D! Maxis (TM),an Electronic Arts Inc. (NASDAQ:ERTS) studio, today announced Spore(TM) Creature Creator 2-D, a new Flash application where players experience an all new take on the variety and creative fun offered by the original 3-D Spore Creature Creator. Now available for free* at www.spore2d.com, players can create a creature from scratch or import a creature from the Sporepedia(TM), thelibrary of 120+ million pieces of user-generated content in Spore. Five legs or ten, bat wings or horns; there are no limits to what users create. Once players have created their 2-D creature,they can embed it onto their social networking pages, and share it with friends via email. Spore Creature Creator 2-D takes creature-creating to new heights by making it a social, shared experience. "Spore Creature Creator 2-D offers players a brand new way to express their creativity and share their creatures as it can be played by anyone with internet access," stated Caryl Shaw, Sr. Producer of Spore Creature Creator 2-D. "The clean art style and intuitive point-and-drag functionality makes it easy for creators of all ages to get in on the fun. It'll be interesting to see how players use this new creative application." Spore Creature Creator 2-D features the full suite of more than 250 body parts, including limbs, eyes, feet, heads, and fun accessories like antlers and wings.
    [Show full text]
  • Bit Y Aparte | N.º 1
    SELLO ARSGAMES | Nº 1 | Enero 2014 Revista interdisciplinar de estudios videolúdicos EDITORIAL ARTE En el bit de Bit y aparte Hibridaciones contempo- / pág. 7 ráneas: el nuevo ambiente estético / pág. 8 María Luján Oulton / Eurídice Cabañes Martínez #ÍNDICE COMITÉ CIENTÍFICO ARTE EDUCACIÓN GÉNERO Implicaciones de aprender a God of War: consecuencias de Género y sexualidad más allá FLAVIO ESCRIBANO (España). Doctor por la Universidad Complu- crear videojuegos / pág. 22 la violencia a través de héroe de lo humano / pág. 50 tense de Madrid con la tesis doctoral “El videojuego como he- griego/ pág. 36 rramienta para la pedagogía artística. Innovación y creatividad”. Jacinto Quesnel Alvarez Juan Francisco Belmonte Ávila Begoña Cadiñanos Martínez / GRACIELA ESNAOLA (Argentina). Docente del Programa de Doc- Ruth García Martín torado “Formación del Profesorado en Entornos Virtuales”. Uni- versidad de Valencia. BIT Y APARTE GONZALO FRASCA (Uruguay). Catedrático de Videojuegos de la Facultad de Comunicación y Diseño de la Universidad ORT. Revista interdisciplinar de estudios videolúdicos ÓCAR GARCÍA PANELLA (España). Director del Grado en Vi- deojuegos de ENTIUB, del Máster en Gamificación ENTIUB y del Edita: Asociación ARSGAMES Máster en Gamifiación Online y Transmedia Storytelling de IEBS. Ilustración de la portada: PATRICIA GOUVEIA (Portugal). Profesora en el master de Arte digi- Juan Díaz-Faes GAME STUDIES GAME STUDIES INNOVACIÓN tal en la Faculdade de Ciências Sociais e Humanas. Universidade Evolución histórica de los CRPG Aprendizaje en MMOG Videojuegos, machinima y cine Diseño de portada, ilustración y Nova de Lisboa. (Computer Role-Playing Games) / pág. 84 clásico / pág. 94 producción gráfica: / pág. 64 MAR MARCOS MOLANO (España). Profesora Titular en la Facultad de SELLO ARSGAMES Ruth S.
    [Show full text]
  • Journal of Games Is Here to Ask Himself, "What Design-Focused Pre- Hideo Kojima Need an Editor?" Inferiors
    WE’RE PROB NVENING ABLY ALL A G AND CO BOUT V ONFERRIN IDEO GA BOUT C MES ALSO A JournalThe IDLE THUMBS of Games Ultraboost Ad Est’d. 2004 TOUCHING THE INDUSTRY IN A PROVOCATIVE PLACE FUN FACTOR Sessions of Interest Former developers Game Developers Confer We read the program. sue 3D Realms Did you? Probably not. Read this instead. Computer game entreprenuers claim by Steve Gaynor and Chris Remo Duke Nukem copyright Countdown to Tears (A history of tears?) infringement Evolving Game Design: Today and Tomorrow, Eastern and Western Game Design by Chris Remo Two founders of long-defunct Goichi Suda a.k.a. SUDA51 Fumito Ueda British computer game developer Notable Industry Figure Skewered in Print Crumpetsoft Disk Systems have Emil Pagliarulo Mark MacDonald sued 3D Realms, claiming the lat- ter's hit game series Duke Nukem Wednesday, 10:30am - 11:30am infringes copyright of Crumpetsoft's Room 132, North Hall vintage game character, The Duke of industry session deemed completely unnewswor- Newcolmbe. Overview: What are the most impor- The character's first adventure, tant recent trends in modern game Yuan-Hao Chiang The Duke of Newcolmbe Finds Himself design? Where are games headed in the thy, insightful next few years? Drawing on their own in a Bit of a Spot, was the Walton-on- experiences as leading names in game the-Naze-based studio's thirty-sev- design, the panel will discuss their an- enth game title. Released in 1986 for swers to these questions, and how they the Amstrad CPC 6128, it features see them affecting the industry both in Japan and the West.
    [Show full text]
  • Analyzing Space Dimensions in Video Games
    SBC { Proceedings of SBGames 2019 | ISSN: 2179-2259 Art & Design Track { Full Papers Analyzing Space Dimensions in Video Games Leandro Ouriques Geraldo Xexéo Eduardo Mangeli Programa de Engenharia de Sistemas e Programa de Engenharia de Sistemas e Programa de Engenharia de Sistemas e Computação, COPPE/UFRJ Computação, COPPE/UFRJ Computação, COPPE/UFRJ Center for Naval Systems Analyses Departamento de Ciência da Rio de Janeiro, Brazil (CASNAV), Brazilian Nay Computação, IM/UFRJ E-mail: [email protected] Rio de Janeiro, Brazil Rio de Janeiro, Brazil E-mail: [email protected] E-mail: [email protected] Abstract—The objective of this work is to analyze the role of types of game space without any visualization other than space in video games, in order to understand how game textual. However, in 2018, Matsuoka et al. presented a space affects the player in achieving game goals. Game paper on SBGames that analyzes the meaning of the game spaces have evolved from a single two-dimensional screen to space for the player, explaining how space commonly has huge, detailed and complex three-dimensional environments. significance in video games, being bound to the fictional Those changes transformed the player’s experience and have world and, consequently, to its rules and narrative [5]. This encouraged the exploration and manipulation of the space. led us to search for a better understanding of what is game Our studies review the functions that space plays, describe space. the possibilities that it offers to the player and explore its characteristics. We also analyze location-based games where This paper is divided in seven parts.
    [Show full text]
  • Video Games and the Mobilization of Anxiety and Desire
    PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games.
    [Show full text]
  • 2021 Proxy Statement 1 Notice of Annual Meeting of Stockholders
    Letter from our CEO and Incoming Board Chair Dear Fellow Stockholders, We hope that you and your families are well. During our fiscal year 2021, we navigated through the largest public health crisis of the last 100 years. We also participated in a number of important cultural conversations in our world. Through many challenges, we’re proud of how Electronic Arts delivered for our employees, players, communities, and stockholders in fiscal 2021, and positioned ourselves for continued growth and impact in the years ahead. We Executed our Strategic Priorities While Supporting our People Our management team acted swiftly and decisively through the year with a focus on the health and well-being of our workforce. Early in the pandemic, we directed our teams to work from home, suspended travel, and adopted new digital collaboration tools. Internal teams were formed to manage the response, we increased the frequency of our communications and employee surveys, and rolled out temporary benefit programs supporting our people and their families. While prioritizing the safety and wellbeing of our global workforce, we continued to execute against our strategic pillars. We launched 13 major games, including many that were supported by robust live services, and led the way with innovative games for a new generation of consoles. We added tens of millions of new players to our global network, and we scaled our subscription offering to new platforms. We also completed three acquisitions to complement our strategy and contribute to future growth. In delivering these achievements, we significantly exceeded our initial revenue, net bookings, and operating cash flow guidance for the fiscal year.
    [Show full text]
  • EA Supercharges Its Partner Program with New Titles from Independent Mobile and Social Game Developers
    EA Supercharges Its Partner Program with New Titles from Independent Mobile and Social Game Developers EA Partners Expands to Chillingo and Playfish to Help Independent Developers Publish on Fast-Growing Digital Platforms REDWOOD SHORES, Calif.--(BUSINESS WIRE)-- Electronic Arts Inc. (NASDAQ:ERTS) today announced that Chillingo and Playfish™ will offer publishing services to the fast-growing mobile and social gaming platforms to the independent development community. Following the successful and award-winning EA Partners program, EA will be expanding its partnership programs for Chillingo and Playfish furthering the delivery of fresh content to platforms such as the Apple App StoreSM, Google Android™ and Facebook®. Since its establishment in 2003, EA Partners has built a reputation for working with top-notch independent game developers, promoting both creativity and innovation amongst its global partners. Current partner titles include Epic Games and People Can Fly (Bulletstorm™), Crytek (Crysis®2), Valve (Portal 2), 38 Studios (Kingdoms of Amalur: Reckoning), Spicy Horse (Alice: Madness Returns™), Grasshopper Manufacture (Shadows of the Damned™), Paramount Digital Entertainment (Rango The Video Game), Trap Door (Warp), Funcom (Secret World) and Vanguard Games (Gatling Gears). EA partner studios also include Insomniac Games, Starbreeze Studios and Respawn Entertainment with forthcoming titles. "The EA Partners program has proven to be a phenomenally successful model. It is an all around win-win situation. The program allows EA to partner with some of the world's best console, PC and digital developers while providing those independent developers with a global distribution/publishing partner," said Bryan Neider, EA Games Label COO and General Manager of EA Partners.
    [Show full text]