DOCSLIB.ORG

Playing for Keeps Enhancing Sustainability in Australia’S Interactive Entertainment Industry © Screen Australia 2011 ISBN: 978-1-920998-17-2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Playing for Keeps Enhancing Sustainability in Australia’S Interactive Entertainment Industry © Screen Australia 2011 ISBN: 978-1-920998-17-2 Playing for Keeps Enhancing sustainability in Australia’s interactive entertainment industry © Screen Australia 2011 ISBN: 978-1-920998-17-2 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s report Playing for Keeps: Enhancing Sustainability in Australia's Interactive Entertainment Industry, November 2011. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/licenses/by-nc-nd/3.0/. You are not licensed to reproduce, transmit or distribute any still photographs contained in this report. This report draws from a number of resources. While Screen Australia has undertaken all reasonable measures to ensure its accuracy we cannot accept responsibility for inaccuracies and omissions. www.screenaustralia.gov.au/research Cover picture: Gesundheit! Developed by Revolutionary Concepts and published by Konami Report design: Alison White Designs Pty Limited Contents EXECUTIVE SUMMARY 2 BUILDING A KNOWLEDGE BASE 4 ECOLOGY OF THE SECTOR 6 High-end console games 7 Games for digital distribution 8 Publishing and distribution 9 Creative digital services 10 Middleware and related services 11 FACTORS IMPACTING SUSTAINABILITY 13 Shifting demographics 14 Growth factors 18 Industry pressure points 20 OPTIONS TO SUPPORT SUSTAINABILITY 23 Current government support 23 Future support 24 Alternator character Courtesy: Alternator Pty Ltd 1 Executive summary The challenges facing the interactive INTERACTIVE INDUSTRY entertainment industry are intrinsically ENTERTAINMENT IS A PRESSURE POINTS linked to those of the broader screen MAINSTREAM ACTIVITY Despite growing participation, the sector. With this in mind, the fi lm, IN AUSTRALIA sustainability of our local interactive television and interactive industries entertainment industry is under threat. must work together to ensure that In 2011, 92 per cent of households These threats fall broadly into two the right supporting frameworks are have a device for playing computer areas: in place to address the threats and games. With greater accessibility opportunities that come from greater through mobile and tablet devices • Falling foreign investment: convergence around fast broadband. and the rise of family-friendly casual Due to the current hardware cycle gaming options, the average age and a diffi cult economic climate, Screen Australia believes that of people who play games is now many international publishers have targeted support will stimulate 32 years and women are increasingly focused their development strategies production activity to achieve future represented. on blockbuster franchises, trimming growth, both economic and cultural, medium-budget games and licensed maximising the industry’s strong Ninety per cent of people who play titles from their portfolios. Coupled export potential as well as the games believe that games contribute with tax incentives in other territories distinctive creative expression that can to culture. Importantly, this sentiment and an unfavourable exchange only be achieved through interactivity. is echoed by people who don’t play games, with 80 per cent agreeing. rate, this has limited growth among This discussion paper draws together Australian companies. In terms of consumer spending, the insights to assist the evidence-based Like other forms of screen content, global interactive entertainment development of public policy and games produced for the Australian industry is forecast to be the fastest- provides additional context to the market tend to be riskier investments growing entertainment and media options for government contained in for publishers given the population sector, expanding from $64.8 billion Screen Australia’s submissions to the size. Because of this, most local in revenues in 2010 to $90.1 billion Australian Government’s Convergence developers are primarily export- in 2015. In Australia the market is Review and National Cultural Policy in focused and the contraction in foreign expected to grow during this time at a October 2011. investment means there are now compound annual rate of 9.5 per cent even less opportunities to raise funds. to reach $2.5 billion. Melbourne-based start-up The Voxel Agents have found success with their self-published Train Conductor titles for iOS devices. The Train Conductor series has achieved over four million free downloads and over half a million paid downloads. 2 • Talent being driven offshore: The infl ux of • An Interactive Entertainment (Games) foreign investment into the local industry in Offset may assist in meeting the challenges the 2000s resulted in the industry acquiring a of sustainability in the screen sector. The talent pool of highly skilled and experienced proposal has two components: workers. However, the local talent pool has — Introduction of a new tax offset to assist been severely diminished as a consequence of with the production of stand-alone interactive recent studio closures, which resulted in the entertainment titles. loss of hundreds of jobs. — Expansion of the existing Producer Offset to allow for expenditure on interactive OPTIONS TO entertainment components of drama and SUPPORT SUSTAINABILITY documentary screen content. Achieving a healthy balance of fee-for-service Economic modelling of this proposed offset work and the creation of original content indicates that over a fi ve-year period there is critical to a more sustainable industry. would be an additional investment of $146 Australian interactive entertainment developers million, of which $100 million would come have the talent, skills and desire to create from foreign sources. In the medium- to high- original content, including for the local market, budget section of the industry analysed for but there has been some reluctance to invest this research, this would result in an additional in such content because of the relatively high contribution of $76 million to Australia’s Gross fi nancial risk involved. Enhanced government Domestic Product and a 50 per cent increase support would mitigate this risk and assist in the number of jobs. developers to retain intellectual property at • An additional option for government would be the same time as attracting private investment. direct funding through an Online Production Screen Australia believes the continuation Fund as a complementary initiative to the of current support measures as well as the Interactive Entertainment (Games) Offset. introduction of new targeted incentives would This Fund would support the production provide the foundation for growth. Two new of premium original content, including incentives are proposed: interactive entertainment projects, for online delivery. Sydney-based studio Nnooo’s highly acclaimed arcade game escapeVektor was released via digital distribution for Wii consoles. 3 PLAYING FOR KEEPS: 2011 | SSCREENC R E E N AAUSTRALIAU S T R A L I A Building a knowledge base Commission – the Broadband Screen Australia is the national funding agency for screen Production Initiative and Broadband Cross-media Production Initiative – production, charged with the development, support and a decade ago. Screen Australia has promotion of a highly creative, innovative and commercially funded interactive storytelling from sustainable Australian screen sector. its inception through the Innovation Program and its successor the All As part of its leadership objectives, Screen Australia plays Media Program, as well as other initiatives such as Serious Games. an important role in providing authoritative research and Beyond this, Screen Australia has also strategic analysis. This includes examining factors that advocated on behalf of the industry for greater recognition of its economic and infl uence the production and consumption of Australian cultural contribution. screen content and the role of the screen production sector As part of the Review of the in delivering the government’s cultural objectives. Independent Screen Production Sector in early 2010, Screen Australia raised two challenges facing local The challenges facing the interactive entertainment industry are intrinsically developers. First, was a need to sustain linked to those of the broader screen sector. Most notable among these are the Australia’s position as a preferred off- evolving ways that Australians are engaging with audiovisual content and how shore provider of production services this is being affected by the convergence of media and communications devices in light of incentives in competing around fast broadband. territories, and the second, was a lack A whole-of-sector approach is needed to ensure that the right supporting of retention of intellectual property in frameworks are in place to address the threats and opportunities that come from original ideas. greater convergence. With this in mind, this discussion paper draws together These challenges were further themes raised in several Screen Australia reports from the last two years and explored within the context of audience provides new insights to help inform the ongoing discussion. participation as part of Screen The linkages between interactive entertainment and fi lm and television Australia’s
Load more

Recommended publications
  • Expo Hall Expo Hall
    EXPO HALL EXPO HALL 1985 Games . 8118 Cloudapult . 25006 . Fitchburg State University . .14079 . Mercury Learning and Info . 30031 Pure Arts . .28076 . Super Spin Digital . 32032 1UpOnCancer . .32120 . Cloudfire Studios . 32080. Flaming Toast . 24076 Merge Games . .32036 . Q-Workshop . 25002 Sweet Bandits Studios . 28043. 32122 32120 32116 32112 32110 32108 32106 32104 32102 32098 32096 32094 32088 32086 32084 32082 32080 32078 32072 32052 32050 32048 32046 32042 32036 32032 32028 32024 32022 32018 32014 32010 32006 3BlackDot . 18047 Coatsink Software . .16075 . Foam Brain . 22003 . Meta Threads . .27017 . Qing Feng Tech . 31079 . Table Titans . 8120 . 3D Generation . Codename Entertainment . 29071. Focus Home Interactive . 29017 . Metallic Dice Games . 24003 . Quantum Astrophysicists Guild . Tabletop Tycoon . 26003 31081 31080 30081 30080 29080 28081 27080 26080 25080 24081 19068 18069 18068 17069 PLATINUM 15080 14081 13080 12081 12080 11081 11080 32104 27077 29081 26081 23081 13081 3XR . 32078. Command D . 32048. For Fans By Fans . .8082 . Metro VR Studios . .12004 . Rainway . 12003 Tahoe Games . 22034. 24078 BLUE GAMES 31079 30077 30078 28079 28076 27077 25077 23076 22077 19066 18067 18066 17067 16081 SEAGATE 15078 14079 13078 12079 12078 11079 Computer Lunch . Forked Lightning . MiHoYo Limited . Team D-13 . MAMMOTH 562 Interactive . 12002. 30047 31077 25035 Rapt Interactive . 30080 . 14081 31076 29076 27076 26076 25076 24077 TECHNOLOGY 31077 29077 26077 23077 GAMES 9th Level Games . 31006. Contigo Games . .24038 . Frostbox Studios . 32086. Mixer . 12039 . Rebellion . .29037 . Team17 . 14003. 30077 30076 28077 24076 HYPETRAIN COATSINK 15075 ARENANET 11074 19075 EKWB DIGITAL SOFTWARE 15074 14075 13074 12075 12074 11075 Academy of Art University . 27063 . Controller Chaos . .8040 . Furious Tree Games .
    [Show full text]
  • View Portfolio Document
    games assets portfolio FULL GAME CREDITS ACTIVISION InXILE Starbreeze Call of Duty: Ghosts Heist The walking dead Call of Duty: Advanced Warfare Call of Duty: Black Ops 3 IO INTERACTIVE SQUARE ENIX Call of Duty: Infinity Warfare Hitman: Absolution Bravely Default BIOWARE KABAM THQ Dragon Age: Inquisition Spirit Lords Darksiders Saints Row 2 CRYSTAL DYNAMICS KONAMI Tomb Raider 2013 Silent Hill: Shattered Memories TORUS Rise of the Tomb Raider Barbie: Life in the Dreamhouse MIDWAY Falling Skies: Planetary Warfare ELECTRONIC ARTS NFL Blitz 2 How to Train Your Dragon 2 DarkSpore Penguins of Madagascar FIFA 09/10/11/12/13/14/15/16/17/18/19 PANDEMIC STUDIOS Fight Night 4 The Sabateur VICIOUS CYCLE Harry Potter – Deathly Hallows Part 1 & 2 Ben 10: Alien Force NBA Live 09/10/12/13 ROCKSTAR GAMES Dead Head Fred NCAA Football 09/10/11/12/13/14 LA Noire NFL Madden 11/12/13/14/15 / 18 Max Payne 2 2K NHL 09/10/11/12/13/16/17/18 Max Payne 3 NBA 2K14/15 Rory Mcilroy PGA Tour Red Dead Redemption Tiger Woods 11/12/13 Grand Theft Auto V 505 GAMES Warhammer Online: Age of Reckoning Takedown (Trailer) UFC 1/ 2 /3 SONY COMPUTER ENTERTAINMENT NFS – Payback God of War 2 EPIC GAMES Battlefield 1 In the name of Tsar Sorcery Gears of War 2 Killzone: Shadow Fall UBISOFT Assassin’s Creed GAMELOFT Starlink Asphalt 9 Steep Rainbow 6 KEYFRAME ANIMATION ASSET CREATION MOCAP CLEANUP LIGHTING FX UBISOFT Assassin Creed Odyssey UBISOFT UBISOFT Assassin Creed Odyssey UBISOFT Assassin Creed Odyssey UBISOFT Assassin Creed Odyssey UBISOFT Assassin Creed Odyssey Electronic Arts
    [Show full text]
  • Animal Logic Entertainment Launch Australian Based Screenplay Competition
    ANIMAL LOGIC ENTERTAINMENT LAUNCH AUSTRALIAN BASED SCREENPLAY COMPETITION Sydney, Australia, 26 August 2020 – Animal Logic Entertainment (ALE), the producing team behind ‘Peter Rabbit’, are excited to launch a new competition to recognise Australian writers in the family entertainment space. The Animal Logic Entertainment Screenplay Competition is open to Australian writers with a feature script in the family animated and family hybrid (live action/animation) space. The Competition offers a prize package of $5,000AUD for the winning entry as well as professional guidance and feedback from Producer Zareh Nalbandian, EVP Development and Production, Jonathan Hludzinski and VP Development & Production, Felicity Staunton. “We have always been committed to leveraging our profile to support and promote Australian talent,” says Nalbandian. “Over the past several years we have had the privilege of working with some of the best writers in the industry to develop entertaining and engaging stories for audiences around the world, and through this program we look forward to opening our doors to Australian writers with a compelling story to tell.” “We are experiencing an incredible time for animation and it has never been more important to uncover new voices in family entertainment”, added Hludzinski and Staunton. “We are looking for talented writers who understand tone and audience, have an original or unexpected perspective, and a lot of heart. We want to hear from Australian writers from all backgrounds and are excited to be able to support projects that we believe can succeed in both the Australian and international markets.” The competition is open to writers of all levels who are current Australian citizens or permanent residents.
    [Show full text]
  • Nintendo Switch?
    2019/2020 tél INGYENES Mi az a Nintendo Switch? A Nintendo Switch egy játékkonzol, amivel bárhol, bármikor és bárkivel játszhatsz. A Nintendo Switch termékcsaládban két konzol elérhető Nintendo Switch - minden funkcióval ellátva otthoni és menet közbeni játékhoz Három játékmód TV mód Asztali mód Hordozható mód 6-9. oldal Nintendo Switch Lite – kézi használatra kifejlesztve 10-11. oldal Bárhol, bármikor és bárkivel. Három játékmód 1 TV mód A Nintendo Switch konzol három különböző játékmódot kínál. Dokkold a Nintendo Switch konzolt, hogy a tévéden élvezhesd a HD játékélményt. Könnyen csatlakoztatható A konzol azonnal bekapcsol, a televízióhoz mikor kiveszed a dok- Hálózati adapter kolóból. A konzolt magaddal is Nintendo Switch viheted, és hordozható módban folytathatod a játékot. HDMI kábel Egyszerűen csatlakoztasd a hálózati adaptert és a HDMI kábelt a megfelelő portokhoz (a csomag mindkettőt tartalmazza). Bárhol, bármikor és bárkivel. Három játékmód 2 Hajtsd ki a támasztót, és oszd meg a képernyőt, és ezzel együtt a mókát is, Asztali mód többszemélyes játékokban. Ha a két Joy-Con kontrollert a Joy-Con markolathoz csatlakoztatod, úgy működ- Joy-Con nek, mint egy tradicionális kontroller, de a markolat nél- A Nintendo Switch konzol mind- kül, két különálló, teljesen két oldalán van egy-egy kontroller, funkcionális kontrollerként is használhatod őket. amik együtt funkcionálnak. A Nintendo Switch konzol három különböző játékmódot kínál. Három játékmód 3 Vedd a kezedbe, és játssz úgy, hogy a két Joy-Con kontroller Hordozható mód a konzolhoz van csatlakoztatva. Nintendo Switch Lite – A Nintendo Switch Lite egy kompakt, pehelykönnyű konzol, beépített vezérlőkkel. kézi használatra kifejlesztve A Nintendo Switch Lite minden Nintendo Switch szoftvert támogat, ami játszható hordozható módban.
    [Show full text]
  • Pokemon Rumble Rush Us Release Date
    Pokemon Rumble Rush Us Release Date Jesse appal his taigas buss ravingly, but unwhipped Duffie never cotton so literately. Darksome Roscoe repulsing literalistically or renormalizing indirectly when Derick is slant-eyed. Hypophosphorous Tyrone usually incise some pastoralists or undermining rabidly. New pokémon rumble rush becomes too complicated for pokemon rumble rush Once the meter is later, you can activate the story Gear. Get unlimited access and Common Sense Media Plus. This game uses tap controls as its move through linear stages to defeat a wild Pokémon in robust way. As mentioned before, you can fill your Pokémon to position by tapping the screen. He proceeded to attend Harvard Law study and received his Juris Doctor degree. Be respectful, keep it furnish and fucking on topic. Clear each stripe of info from the Download Manager app. White drops are very comfort and give players relatively low CP level Pokémon Blue drops are uncommon and award players with relatively stronger Pokémon. Please contact either App Store or Google Play for inquiries about these payment settings. This allows you accurate Power place your Pokémon even early so. To reset your comfort, please accept your email below to submit. On those pokemon rumble rush us release date, the more cp level up so without restrictions on a game: something funny and the usual, according to us an educator to. Restart the Pokémon Rumble Rush app. If counsel want to visit new places in her different islands of Pokémon Rumble Rumble Rush or should name what methods will allow mold to get move and more guides feathers.
    [Show full text]
  • Brenton Goodwin
    SUMMARY Brenton Senior Modeller, Sculptor and Character Artist with over 13 years industry Goodwin experience in just about everything, from film VFX, animated features, games, VR, game cinematics, trailers and TV commercials. Senior Modeller/ Sculptor ​ ​ EXPERIENCE / Character Artist ​ Defiant Studios/ Character Artist ​ December 2017 - April 2019, New York [email protected] Real time character and prop asset development, design sculpts, modelling high and low poly assets, ​ baking, texturing and implementation into Unreal Engine 4 for next gen titles. 917 355 0801 Real time character modeling, sculpting and texturing for external clients brenton3d.com In coordination with Technical and Animation departments to develop and implement the character ​ pipeline, ongoing RnD, scheduling and bidding. ​ LinkedIn Titles include: Lords of the Fallen 2, Warframe, Internal pitch work and unannounced projects. ​ ​ ArtStation ​ Dreamsail Games/ Character Artist ​ IMDb June 2017 - December 2017, New York ​ Real time character and environmental asset development, modelling and sculpting high and low poly assets, baking, texturing. Developing and implementing a studio asset pipeline, on going RnD, managing and mentoring junior artists. SKILLS The iOTA Project, a VR Mech combat game using Unreal Engine 4, released on Steam. ​ Animal Logic/ Senior Modeller and Creature Artist Organic and hard surface ​ ​ ​ August 2014 - May 2017, Sydney Australia modelling and sculpting, Photo real character and creature sculpting for feature animations and film VFX. Hard surface and texturing, animation, pre- organic modelling from concept art, set extensions including photogrammetry and scene layout. Working visualization, scene layout, with all department heads to develop scenes from pre-production through to final render. Features include: Peter Rabbit, The LEGO Batman Movie, The LEGO NINJAGO Movie, The Divergent art direction, asset ​ Series: Allegiant Part 1, The Monk Comes Down the Mountain, ACURA TVC’s.
    [Show full text]
  • Identity and Identification in the Historical Video Games Set in the Middle Ages
    FACTIONS AND NATIONS: IDENTITY AND IDENTIFICATION IN THE HISTORICAL VIDEO GAMES SET IN THE MIDDLE AGES JUAN FRANCISCO JIMÉNEZ ALCÁZAR UNIVERSIDAD DE MURCIA SPAIN Date of receipt: 1st of February, 2021 Date of acceptance: 9th of March, 2021 ABSTRACT Historical video games offer players the opportunity to choose different options for managing factions and nations of the past, with which they can come to identify. The interactive and immersive nature of the medium makes this possible, and the thrill of winning or losing is enhanced by this ability to assimilate. The study focuses on those set in the medieval period, where factions respond to the various historical stages that define it. In this identity process through the video game, the player assumes a virtual role in which individual or group feelings that historically define their identity are reflected. These titles, as products of cultural expression, are also manifestations of those who have designed them, and inaccuracies due to cultural clichés or factors to be more entertaining —playability— are often resolved by gamers through the mod phenomenon. KEY WORDS Historical video game, Middle Ages, Identity, Nation, Avatar. CAPITALIA VERBA Historicorum Videoludi, Medium Aevum, Identitas, Natio, Locumtenens. IMAGO TEMPORIS. MEDIUM AEVUM, XV (2021): 451-489 / ISSN 1888-3931 / DOI 10.21001/itma.2021.15.15 451 452 JUAN FRANCISCO JIMÉNEZ ALCÁZAR 1. Options1 We must not insist on the fact that video games are a reality. It is not necessary, regardless of the position one may hold in principle about this phenomenon. Video games are a medium that came to stay and their globalization is already a fact.
    [Show full text]
  • Electronic Arts Q2 Fy12 Prepared
    ELECTRONIC ARTS Q2 FY12 PREPARED COMMENTS OCTOBER 27, 2011 Rob Sison: Thank you. Welcome to EA‟s fiscal 2012 second quarter earnings call. With me on the call today is John Riccitiello, our CEO, Eric Brown, CFO, Peter Moore, COO and Studio President Frank Gibeau will join for the QA. Please note that our SEC filings and our earnings release are available at ir.ea.com. In addition, we have posted earnings slides to accompany our prepared remarks. Lastly, after the call, we will post our prepared remarks, an audio replay of this call, and a transcript. This presentation and our comments include forward-looking statements regarding future events and the future financial performance of the Company. Actual events and results may differ materially from our expectations. We refer you to our most recent Form 10-Q for a discussion of risks that could cause actual results to differ materially from those discussed today. Electronic Arts makes these statements as of October 27th, 2011 and disclaims any duty to update them. Throughout this call, we will discuss both GAAP and non-GAAP financial measures. Our earnings release and the earnings slides provide a reconciliation of our GAAP to non-GAAP measures. These non-GAAP measures are not intended to be considered in isolation from, as a substitute for, or superior to our GAAP results. We encourage investors to consider all measures before making an investment decision. All comparisons made in the course of this call are against the same period in the prior year unless otherwise stated. Now, I‟ll turn the call over to John Riccitiello.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Everyman, All at Once Formatted 4.10.18
    Ben Phelan Brigham Young University, United States Everyman, All at Once Baptism and the Liberal Subject in BioShock Infinite Even as liberalism has penetrated nearly every nation on earth, its vision of human liberty seems increasingly to be a taunt rather than a promise. —Patrick J. Deneen, Why Liberalism Failed Abstract The 2013 video game BioShock Infinite stages baptism as a way to place the player within a liminal space where he or she is ostensibly a free subject, able to choose from an array of political options, but who will inevitably choose liberalism. In order to get the player to the point where they make—or rather confirm—their choice, the game must also force the player to arrive there. This conundrum mirrors the paradox of liberalism, following theorists like Patrick J. Deneen: that we supposedly choose among a realm of infinite possibly and yet those possibilities are forced upon us. This paradox is also the mode within which BioShock Infinite operates. The game uses self-referential and metatextual techniques to call attention to its gameness, and yet, it still asks the player to accept its liberal ideology. Althusser argues that the role of “Ideological State Apparatuses” (or ISAs) is to convince us that we are subjects who freely choose the dominant ideology, as opposed to any other system. ISAs do this through confirming us as subjects through rituals of ideological recognition enacted through, among other things, theatre, film, and video games. BioShock Infinite places the player in a position where they confirm that they are, indeed, a liberal subject, and then asks that liberal subject to choose the very order from which their (mis)recognition occurs.
    [Show full text]
  • Take-Two Interactive Software, Inc. Announces Formation of 2K Marin
    Take-Two Interactive Software, Inc. Announces Formation of 2K Marin December 17, 2007 8:03 AM ET New Northern California Based Development Studio to Focus on Creating Original, Industry-Leading Intellectual Property NEW YORK--(BUSINESS WIRE)--Dec. 17, 2007--Take-Two Interactive Software, Inc. (NASDAQ: TTWO) today announced the formation of 2K Marin, a new development studio under its 2K publishing label. Located in Novato, California, 2K Marin will develop original intellectual property, as well as co-develop products with other 2K studios around the world. "We're focused on continuing to bring new brands and cutting-edge gameplay to market with the creation of the 2K Marin studio," said Christoph Hartmann, President of 2K. "2K Marin will build upon our success in creating and leveraging AAA franchises." 2K Marin is the newest studio to join 2K's outstanding group of development studios located in Asia, Europe, Australia and North America. For more information, visit the 2K Games website at www.2kgames.com. About Take-Two Interactive Software Headquartered in New York City, Take-Two Interactive Software, Inc. is a global developer, marketer, distributor and publisher of interactive entertainment software games for the PC, PLAYSTATION(R)3 and PlayStation(R)2 computer entertainment systems, PSP(R) (PlayStation(R)Portable) system, Xbox 360(R) and Xbox(R) video game and entertainment systems from Microsoft, Wii(TM), Nintendo GameCube(TM), Nintendo DS(TM) and Game Boy(R) Advance. The Company publishes and develops products through its wholly owned labels Rockstar Games, 2K Games, 2K Sports and 2K Play; and distributes software, hardware and accessories in North America through its Jack of All Games subsidiary.
    [Show full text]
  • Resume: Jake Hempson
    RESUME: JAKE HEMPSON Summary I am a senior creative, with experience in both concept art/art direction, modeling and texturing for vfx and game development. 15+ years professional modelling and texturing experience. Concept design/art direction for film /games. Team Lead experience. Outsourcing management experience. (Feedback, direction, assistance and reviews) Character Animation experience. Education and teaching experience. Specializing in character/creature concept creation through digital sculpting. Asset creation for Film, TVC and Video Games, props vehicles and environment. A thorough understanding of human anatomy and muscle construction. Rigging, blend-shapes and skinning. Photogrammetry/scan clean up re-topology for up for digital doubles/animation. Texture/Surfacing experience for Film, TVC and Games. Game development: VR CuriiousIQ -Educational platform for VR,The Avengers (THQ Australia), Megamind (THQ),The last Air bender (THQ), Hellboy (Krome Studios), Arthur (Krome), Starsky and Hutch (Mind's- Eye interactive), Alien vs Predator (Rebellion). Concept Design: ShangChi and the legend of the 10 Rings (3D Modelling and concept illustration, 2020), Monster Problems (Concept design and 3d modelling 2019), Occupation2 (Concept designer 2018), Thor Ragnarok (Concept designer 2018), Red Billabong (Principle creature designer - 2016), Peach John – Coolish bra (Concept design and modeling). Long form/ Film: Crazy Rich Asians, Skyscraper (2018 Method Studios Sydney, Modeling), Peter Rabbit (2018 Animal Logic Sydney, Modeling), Guardians of the tomb (2018 Cutting Edge, remote Senior modeller/creature design), John Wick 2 (2016, Illoura,Melbourne, Texturing and modeling).I, Frankenstein (2014 Cutting Edge, Brisbane Texturing and modeling). Age of Adeline (2015 Cutting Edge, Brisbane, Texturing and modeling). Our Brand is Crisis (2016 Cutting Edge, Brisbane, Texturing and modeling).
    [Show full text]