MCV@gamescom Day Two by Future PLC

AUGUST 23RD DAY TWO

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EA: Player happiness, not revenue, is our number one metric of success EVP of global publishing Laura Miele tells MCV@gamescom how live services have transformed how EA does business

JUST as EA has announced Battlefield 1’s new competitive mode, Incursions, EVP of global publishing Laura Miele has told MCV@gamescom that the publisher’s continued focus on live services has “shifted the entire company.” She said: “There is an obligation that we have to players to keep content fresh and keep the services well rounded. We really feel like we DAY TWO 2017

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earn our players’ time over the period of their game playing cycles. We look at our Net Promoter Score (NPS) monthly for all our games and I would say that has changed our perspective on the success metric. The relationship [between players and EA’s games], their happiness, their NPS score, are our number one primary success metrics for the company now. It’s

no longer revenue. That has evolved how people feel about our games and, ultimately, how they feel about EA.” She continued: “I really see it as a golden era of gaming right now, where players are at the centre of our business strategies, our game design and our execution. Internally at EA, we now measure player sentiment and player engagement over dollars or 03

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unit sales. We really have taken a really significant shift. We had players at our studio helping us to create [Battlefield 1’s new competitive gaming mode] and that’s why I think it’s a golden era for players, because they have such a strong voice in what we are creating.” She further added that under Andrew Wilson’s leadership, EA has changed its “company 04

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pillars” and become “a ‘players first’ company.” “Players are at the centre of everything that we do,” Miele (pictured) said. “To have players’ sentiment and engagement, and to have our teams rewarded for that – instead of units and revenue – has radically changed the way we think about services in games for players.”

This strategy has been incredibly successful with Battlefield 1, which has now reached a community of “over 21m players,” Miele told us. “We launched the game in October and haven’t slept a day since,” she smiled. “We’re seeing the largest engagement the Battlefield franchise has ever seen and we’re not going to stop here.” EA will apply the same successful strategy to its upcoming behemoths Star Wars Battlefront 2 and FIFA 18. “We see our connection to our players as a solid consistent thread that we never want to break,” Miele said. “So from the moment we start telling them about a game to the moment the game comes to the market, and then has been out there for five or six years, we want to keep that thread as constant as possible, through our marketing, through our business strategy, to the game content itself.” She concluded: “We’re taking our engagement and services to a new place which I’m incredibly excited about. We have all that ahead of us and EA has an incredibly long runway still in live services. We’ve enjoyed great success in where we are, but we have so much more we’re going to accomplish. We’re just beginning our journey.” Marie Dealessandri DAY TWO 2017

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Shadow of War is Warner Bros’ biggest marketing campaign ever Shadow of War is shaping up to be one of the biggest titles in Warner Bros’ history, says SVP of international Olivier Wolff NO one can miss the massive Shadow of War poster outside the Koelnmesse, and that’s because the new entry in Warner Bros’ Middle-Earth franchise is the publisher’s biggest ever investment for one title, according to SVP of international Olivier Wolff (pictured). “[Our sales expectations] are massive,” he told MCV@ gamescom. “Top Five or Top Ten massive. We’ve never had such an investment in one game and in a marketing campaign, and we believe that we have the right product in order to seduce a mass audience. We have very high expectations. It’s definitely going to be our game of the year, there is no doubt about that.” He continued: “We had a great start of the year with two big sellers, Lego Worlds and Injustice 2, and both of them were really big successes. “But Shadow is War is going to be even bigger and DAY TWO 2017

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we believe it’s a true Q4 triple-A flagship title.” When asked about whether Warner Bros is worried about the competition during Q4, which, as always, will be buzzing with triple-A releases, Wolff’s answer was straight to the point: “Not at all.” He continued: “Pre-orders are pretty strong. They are above what we had for Batman: Arkham Knight and we are very happy with what we have.” Warner Bros is already planning to support the title

over the long run, too, with Wolff adding: “It’s a title that, for us, is going to last for a long time and we’re going to support it for at least 18 months after launch. “Middle-Earth is a broad franchise with lots of appeal. We think we just scratched the surface in a very nice and successful way with the first game, but we believe Shadow of War can seduce a lot of other players because there is so much innovation in the gameplay.” Marie Dealessandri

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Atlus to publish more games in Europe Senior PR manager Jacob Nahin talks to MCV@gamescom about Atlus’ new publishing strategy for Europe ATLUS is to start publishing more games in Europe, according to Atlus USA’s senior PR manager Jacob Nahin. “Previously, we worked with Koch Media – they’re publishing Yakuza Kiwami, for example – but now we’re going to start to publish more titles ourselves over here,” Nahin told MCV@gamescom. Exact titles have yet to be announced, but Nahin told us that we can expect them to be for the Nintendo 3DS platform. He also said the company’s move into European publishing will help ensure more parity between the special editions of its titles all over the world. “It’s a new experience for us, but it will also allow us to deliver a lot of the special bundles, such as our launch editions, collector and premium editions [in Europe], which in the past haven’t always been the same on this side of the ocean when they come over,” Nahin continued. “An example would be 06

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Yakuza 6. Both the US and Europe will now get those whisky glasses with the frosting on them, and the coasters, and all of that as extras. It provides us with a lot of business opportunities, and a lot of opportunities to better give fans what they’re looking for.” Nahin also said that several Atlus franchises have seen huge growth in Europe over the past year. “It’s been interesting to see the awareness of the Yakuza franchise and the IP as a

whole grow. I feel like Yakuza 0 came out of nowhere for a lot of people, but we’ve seen the fandom and [user] base grow a little bit more with each title. We also published Persona 5 [in the US], which is still selling really well, and it definitely seems people are now more aware of the Persona franchise as well. It’s always had a strong following, but each time it does better. I think it’s a really interesting time for Japanese titles coming to the west.” Katharine Byrne DAY TWO 2017

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Sword Art Online: Fatal Bullet to build on anime’s success in Europe Bandai Namco reveals its latest RPG, which launches on PS4, Xbox One and PC in early 2018 BANDAI NAMCO is returning to the world of Sword Art Online for its next RPG title, the publisher has announced. Revealed last week, Sword Art Online: Fatal Bullet will be taking fans into third-person shooter territory, blending its beloved RPG mechanics with fast-paced gunplay. Launching on PS4, Xbox One and digitally on PC in early 2018, Fatal Bullet sees players taking on the role of several characters from the anime, including series protagonist Kirito. Each character will have two weapons at their disposal, plus four abilities and four gadgets, and they’ll also be able to traverse long distances using a special grapple hook. “The reception’s been really positive, especially with our hardware platforms,” producer Yosuke Futami told MCV@ gamescom. “Sword Art Online sales have been getting better and better. It started with the Asian market, and from the third game, sales have been 08

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better in the EU, so players are now in all territories.” The game will also feature the full Japanese voice-over, with other languages in subtitles, but Futami is hoping that Fatal Bullet’s appeal will extend far beyond its anime fan base. “I’m sure we’ll reach a wider target [audience],” he said. “With this game system, we’re also looking for new players. If you have someone who likes this world setting, the world of Sword Art Online, they won’t have any problem [with this game], but we’re

hoping fans of games from other companies like Persona 5 and Nier: Automata, as well as JRPG fans, we hope they’ll enjoy this game.” Gamescom is the perfect time to announce the title, too, says Futami. “E3 was kind of too far away and the Tokyo Games Show is only for Japanese people, and we wanted to show it to the world, starting with the EU and then the Asian market, then Japanese fans, and then the rest of the world. So the timing was perfect.” Katharine Byrne

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Ubisoft enters ‘early access’ with Anno 1800 engaging community Anno 1800 will provide fans with free playable builds over a year before release, as major publisher follows the early access model WHILE early access has become a key tool for independently-developed titles, it’s rare to see the strategy from a major publisher, beyond the usual late beta tests. Anno 1800, however, the Ubisoft title from developer Blue Byte announced yesterday at gamescom, will enter early access well over a year before release in order to fully engage the community in its development. Ubisoft isn’t charging consumers to get their hands on early builds, either. Instead, it will providing free playable builds over the next 12 months that players can feed back on. The announcement of Anno 1800 comes alongside that of Anno Union, a new community-facing website that will provide a centre point for the community. By launching assets through the site and having developer discussions there as well, the developers hope to concentrate feedback in a single location so they 10

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can better relate with it. The idea for greater community engagement came from the process of releasing DLC for previous title, Anno 2205. There, the team found that community feedback on the feature set of the game was vociferous and, in many cases, divided. With Anno 1800, it wanted to gauge opinion far further out this time around. The new title is the seventh in a series spanning back over nearly 20 years of development. The latest title is based in 1800, and so has themes including the industrial

revolution, imperialism and colonialism. A tricky period to negotiate, then, as a ruler. Nils Ehlert, international product manager at Blue Byte, told MCV@gamescom that they’re aiming to “get our fans into the game early, give them the chance to play the game early, and give them the chance to actually change something. “Otherwise, the game launches a few months after announcement, and maybe some balancing stuff can change but nothing major.” Seth Barton DAY TWO 2017

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BRINGING IT ... to market After a trying Q4 2016, Katharine Byrne asks publishers about the state of todayâ&#x20AC;&#x2122;s console market and how fewer triple-A releases could actually mean better business for the wider industry

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Do you think physical console sales will grow in value in 2017? YES 60% NO 20% ROUGHLY STABLE 20%

hristmas is usually a time of great prosperity for games publishers. But last year’s ill-fated combo of an overly crowded release schedule and the biggest Black Friday event the UK’s ever seen meant a lot of triple-A titles ended up missing their sales targets. Call of Duty: Infinite Warfare may have been the UK’s second best-selling game of 2016, for instance, but its Week One physical sales were 48.4 per cent down compared to 2015’s Black Ops III. This year, however, the industry seems to have tightened its belt, with many larger publishing houses DAY TWO 2017

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choosing to double down on a few key titles rather than fill the year with new releases. That doesn’t mean the market’s any less healthy, though, as a lighter release schedule has given several small to mid-sized publishers ample opportunity to create new business. “Bigger publishers releasing fewer games means there’s a higher overall demand for games,” Soedesco’s executive manager Hans van Brakel says. “That’s good for everyone.”

Rebellion’s CEO Jason Kingsley echoes this sentiment: “Fewer, better games is better for the consumer, and better for the industry in the long run.” As a result, neither studio has changed its release date strategy this year, with Kingsley emphasising that the studio’s still very much focused on releasing games when they’re ready for the players, rather than when the company needs to hit quarterly targets.

“Fewer, better games is better for the consumer, and better for the industry in the long run.” 13

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Compared to 2016, will you be publishing more console games this year? MORE 80% LESS 0% THE SAME 20%

For other publishers, however, it’s still very much business as usual. “To be very honest, it doesn’t really make a difference,” THQ Nordic’s PR and marketing director Philipp Brock argues. “Fewer releases results in more ‘noise’ for them, so we just have to consider longer periods of buzz. When the developers and our gals and guys are happy with it, we unleash the kraken.” PQube’s product manager Matthew Pellett agrees, pointing

out that publishers with slighter release schedules now have bigger wallets for individual marketing campaigns. “When you also factor in the continued rise of post-launch services and expansions/DLC, some of which are now being treated as full, standalone games, it’s certainly not as simple a case of fewer titles equalling more opportunities,” Pellett notes. “If anything, the marketing warchests of those bigger titles means it can be

“It is all a load of bollocks. There is never a perfect time to release a game.” 14

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hard to break through with smaller campaigns, meaning we need to be nimble and more creative with our strategies to stand out.” For Wired Productions’ managing director Leo Zullo, reaching out to influencers has shown great promise in this regard. “If YouTubers and streamers are engaged, [they] can elevate your title above and beyond. Physical is not dead. Opportunities exist all round us in this industry.” Zullo does admit, though, that scheduling release dates is “getting more and more ridiculous” every year. “Depending which department you talk to, literally every month DAY TWO 2017

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Will you be publishing Switch titles in the next 12 months? YES 90% NO 0% MAYBE 10%

has an issue – you can’t launch at Christmas; can’t launch in January; can’t launch during E3; ‘Big Sequel’ Version 7 is launching – can’t launch on that day. Then you have to synchronise your launches globally and digitally, which isn’t easy. Fridays are traditionally UK retail, Wednesday is Europe, and Tuesday is America, but the game releases digitally on a Tuesday or Wednesday with the format holders. It is all a load of bollocks. There is never a perfect time to release a game.” Another publisher, who wished to remain anonymous, concurs, going as far as saying they now try to avoid releasing in Q4 altogether. “The peak DAY TWO 2017

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sales time towards the end of the year is almost off limits from a PR and marketing perspective as inventory/PR space is taken. Each year, we are moving more away from this peak sales period for this reason.” Maximum has a different story to tell, however, saying an increased appetite for quality games means Q4 can be highly fruitful. “For titles we develop and publish, ideally, we have at least one key release per quarter,” managing director Steve Powell explains. “Consumers have a lot of choice on where to spend their disposable income and we aim to deliver a portfolio of releases throughout the whole year.”

Merge Games’ managing director Luke Keighran speaks of a similar experience: “The huge returns demand by big publishers have led to fringe titles not being supported. As a direct result, we have noticed that more experienced devs are now reaching out to us with even better quality, niche titles. Merge’s digital and global retail distribution solutions means we can handle indie titles on the same sort of scale as big publishers and, as a direct result, we are picking up some great opportunities.” Indeed, the sheer variety of titles has always been one of indie publishing’s key strengths, says Sold Out’s CEO Garry 15

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Williams, and that there are still many consumers who “only exist in the boxed retail market.” What’s more, their lack of experience with games means “seasonal buying from the family is generally done in store,” according to Williams, making the gifting market still a vital part of today’s industry. ONWARDS AND UPWARDS? Despite these challenges, most of the publishers we speak to are confident about the current state of today’s console market, with our anonymous publisher stating that now “has never been a better time to release on the current generation. Even

when you don’t have triple-A titles, you can certainly capitalise on the higher install base and potential audience.” Curve Digital’s chairman Stuart Dinsey agrees: “2017 is already our biggest ever year,” he says. “But we would expect 2018 and beyond to be bigger.” That’s not to say there aren’t still some significant hurdles to overcome, however, as Zullo says digital stores are currently “jam-packed” and that there’s still “a fight to get your game covered in the traditional press,” making it a “battle to stand out.” Keighran also said he expects a slower growth rate than the past two years. “As we

“The UK has its own challenges around Brexit, the rising cost of living, and disposable incomes.” 16

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approach Christmas, the market will become even more competitive and it will be interesting to see who, if anyone, announces price reductions to try and increase their market share,” he says. “Unless one of the console manufacturers announces a sizeable price reduction, we don’t see dominance altering in specific territories.” And those price cuts can’t come soon enough for the UK, says Powell: “The UK has its own challenges around Brexit, rising cost of living and so on, which affects disposable income. Add to this a poor Q4 for many triple-As and I think the outlook for 2017 wasn’t as good as it should have been. If everything was normal in the world, then 2017, on paper, should be a good one. Time will tell.” DAY TWO 2017

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Next-gen publishing with Soedesco Executive manager Hans van Brakel talks about his firm’s upcoming titles and how the demand for 4K is driving growth across the industry

Tell us about your company for those who might not know you. We’re a publisher who focuses on Xbox One X, Playstation 4 Pro, Nintendo Switch and PC. We’re active in both the digital and retail market. What businesses are you looking to work with and what value can you bring to them? A publisher is basically a selective service provider. So the value we bring to developers depends on their needs. We offer services like porting, distribution, publishing and many others. For some, we did all, for others we only did one or two. That’s all fine as long as we think the game’s worth it and the developer thinks we are. What projects do you currently have in the works? We have finally announced Real Farm Sim. Our take on the 18

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farming simulation genre has been in the works for some time, so I’m very happy that we can finally talk about this. We built it from the ground up to meet the expectations set by the Xbox One X and Playstation 4 Pro. For us, it was also very important to make sure that it’s not only a simulation but also a game, with not just a ‘free’ mode, but also a career mode. I think we have done this very well. We also have 8-Bit Armies in the works for consoles. This is a voxel-style RTS created by the makers of the Command & Conquer series. The game commemorates the first Command & Conquer games, but it is also very accessible for new players at the same time. We also created a unique control scheme that makes it easier than ever to play an RTS game like this on a console.

What are you showing at gamescom this year and what are your expectations from the show? We are showing more of Real Farm Sim, of course. We didn’t do the announcement a few weeks before Gamescom to leave it at home. We are also showing more of 8-Bit Armies and the highly anticipated horror game Dollhouse. But we wouldn’t come to gamescom without a few surprises. What wider trends in the industry are helping your business most today? We’re seeing a growing demand for 4K content. At the same time, platform holders are giving us the tools to give gamers this content without the need to change to a whole new platform. The popularity of the Nintendo Switch is also growing the whole industry and that’s good for everyone. DAY TWO 2017

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ITALIANS THAT MAKE DIFFERENCE IN THE WORLD GAMESCOM KOELNMESSE AUGUST 22-24, 2017 HALL 4.1 - STAND A012/A013/B014

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runs, which makes them highly desirable with collectors, SteelBook cases have a weight, precision and quality that is unlike any other packaging. There is no better canvas on which to showcase artwork, and film fans are thrilled when they discover the wonderful, often specially commissioned, designs that are used on SteelBook editions. Not only are the artworks created for SteelBook cases usually the most beautiful of any product released by distributors, but they often incorporate design attributes that only

printing on metal can give. A unique aspect of SteelBook packaging that makes it such an exciting product, is the ability to achieve an almost limitless array of incredible finishes. Three particular techniques that can be used to enhance SteelBook cases are worth highlighting. Our vision is to continue to grow our partnerships in the gift, leisure and media industries. We are excited at the prospect of entering into new markets where our enthusiasm, experience and creativity can create value-added solutions that will delight consumers and increase sales.

DAY TWO 2017

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Prif has peripherals covered CEO Alain Jones discusses Prif’s new Xbox licensed range and the company’s recent foray into esports

GAMESCOM is a great opportunity to meet with buyers and peers from across the wider international games industry. The combination of consumer and trade visitors works extremely well and the show is a great platform for launching product at a time when buyers are focused on their peak and early 2018 ranging decisions. Prif will be previewing a number of products from our 2017 range. Most importantly, we’ll be providing more details on our new Xbox licensed products. These include two controllers – one with unique audio controls at the gamer’s fingertips – HDMI cables to showcase the best visual performance of the Xbox One X and two charging solutions, one of which will showcase wireless technology using the Qi standard. This will be the first wireless charging solution licensed for Xbox. 22

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In addition to this exciting range, we will make our first foray into esports. The market for watching and capturing gaming content continues to explode. As it does so, the demographic of viewers and editors starts to change. Prif will launch the Streambox Kit aimed at consumers who have the ambition to create content and their own channels but may be slightly concerned by the price of the technology and the compatibility of key components such as mics and camera. Prif takes away these concerns with

an HD capture box that is bundled with a mic / tripod combination and 1080p camera all for around €200. In addition, Prif has a number of Switch products, offering high quality solutions with excellent margins for trade combined with competitive retail prices. The range includes carry cases, Joy-Con grips, chargers and value starter packs. Prif works with a factory with a good technical understanding of the Switch to avoid some of the pitfalls of lesser products such as trickle charging.

DAY TWO 2017

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Secure digital delivery with Omnyex Business development manager Paul Collins explains how Omnyex can bring its far-reaching knowledge to new partners

Tell us about your company for those who might not know you. We’re a leading independent wholesaler supplying digital games and related products to retailers all over the world. We’re based in Dubai, but our global network of offices let us work with key publishers, online retailers and influential figures from across the industry. Fast, secure delivery is critical to our partners: you pay for a digital product, you expect to receive it with an absolute minimum of fuss. We’re dedicated to meeting this need, offering retailers the smoothest delivery process and competitive prices to keep their buyers happy. What businesses are you looking to work with and what value can you bring to them? We’re interested in retailers looking to bring a huge range of 24

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digital games to their audience with the most reliable delivery and professional service. We stock thousands of current titles, including triple-A pre-release games already in high demand, as well as more independent products. Retailers will benefit from our team’s invaluable knowledge, acquired across decades of combined experience in the field. Companies can apply to work with us via our website – just fill in the simple form, and we’ll be happy to talk! What projects do you currently have in the works? We’re continually working to offer the most streamlined delivery process possible to ensure retailers can give gamers an unparalleled range of choice. This involves working with businesses to understand what we can do to make life better and easier for everyone. We’re

also thrilled to see how far VR has come in the past year, with titles like Resident Evil VII integrating it to great effect. Demand for VR-friendly titles will only increase in the coming months and years. We plan to cater to this hunger for VR as best we can, providing retailers with the best digital games and products based around this evolving technology. What wider trends in the industry are helping your business most today? More and more consumers are discovering the financial benefits of digital media: it’s cheaper to distribute and you can simply re-download it at a later date. This ongoing conversion to digital media is a major help to us. Reduced overheads also enable any developer to bring their creations to market, which helps us deliver a more dynamic and diverse range of games. DAY TWO 2017

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Who’s where

A guide on where to find everybody at gamescom this year

Vorläufiger Hallenplan • Preliminary hall plan

entertainment area · entertainment area fanshop arena family & friends business area · business area Freigelände/Eventgelände · outdoor area/event area

COMPANY

HALL / LEVEL / BOOTH

Electronic Arts GmbH

A001

Abysse Corp

D021a

Acronis Germany GmbH

ad2games GmbH

AdColony

ADIA Entertainment Ltd.

COMPANY

HALL / LEVEL / BOOTH

Bundesagentur für Arbeit

Cardpay PSP Ltd.

D012

A012

Carl Zeiss AG - Multimedia Devices

C020

E013

CC Media House - Akalink Elektronik Tic. ve Bilisim Hiz. Ltd. Sti.

D011

A011

CCP hf

A012

A019

CDP Sp. z o. o.

E031

Adyen GmbH

D020

Click Entertainment Ltd.

B018

ak tronic Software & Services GmbH

C014

Creative Distribution Ltd / Reef Entertainment Ltd.

E014

AMS Neue Medien GmbH

A012

E-concept

A013

Aptoide SA

C033

E-home Entertainment Development Company Ltd.

A009

astragon Entertainment GmbH

A022

ESET Deutschland GmbH

A012

Avanquest Deutschland GmbH

C017

Events for Games

C028

Beta Service GmbH

D023

EZ Games / EZ Cards Distribution

B015

Bigben Interactive S.A.

A012

flaregames GmbH

A021

Bigmoon Entertainment, Ltd.

E030

Funcom Oslo AS

C024

Bigpoint GmbH

C016

Game Insight, UAB

D021a

Blade S.A.S.

A016

Gameforge AG

A012

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COMPANY

HALL / LEVEL / BOOTH

COMPANY

HALL / LEVEL / BOOTH

Gamera Interactive SRL

B017

Rubber Road Ltd, Numskull

A010

Gaming Series S.L.

D022

Splash Damage

B022

Genesis

2 1 E022

Trust International BV

A012

Gerolsteiner Brunnen GmbH & Co. KG

C026

Turtle Beach UK

A012

GL Entertainment Distributions Limited

C018

Ultrahaptics Ltd.

D025b

Guangzhou Walkera Technology Incorporated Company

D025a

Unity Technologies ApS

A020

Heaven Media

E016

UnityAds

2 1 A020

HIPAY

2 1 C022a

Virtuos Ltd.

B020a

HORI (U.K.) Ltd.

B022

Yandex.Money, NBCO LLC

C031

ImagiNation S.C. Lukasz Kubiak, Bartosz Moskala

E028

Zhejiang Zhongnan Animation Co., Ltd.

B019

I-Mobile Co., Ltd.

E033

1C Publishing EU s.r.o.

B042

ironSource

2 1 E020

4U2PLAY GmbH

B018

Kalypso Media Group GmbH

D013

Acapture

2 2 B029

Keywords International

C022a

Adcash OÜ

B017

Link Distribution (UK) Ltd.

C011

adspree media gmbh

C031

Logitech GmbH

A012

Alliance Digital Media

A035b

Marketpoint GmbH

C013

Amazon Web Services Germany GmbH

B039

MIH PAYU BV

C032

AOC International (Europe) BV

C050

Mobvista International Technology Limited

C024a

BIOWORLD Europe BV

A021

CALIBURNUS LIMITED

C031

Capcom Entertainment Germany GmbH

C031

CLD Distribution

A032

Computec Media GmbH

D034

Cooler Master Europe BV

C031

Corsair Hong Kong Limited

C050

Cosmocover SARL

C022

Cowana GmbH

C031

Creative Labs (Europe) Ltd.

C050

CyberLink Europe BV

D047

DCMN GmbH

C042a

Digamore Entertainment GmbH

C031

DXRacer Distribution Europe

C050

ECommPay

2 2 B043

MOGI GROUP HALL 2.1 BOOTH NO. E025 MoGi Group, your expert partners in localisation, player support, community management, and quality assurance with over 500 gaming clients globally. Helping your games reach the global market with passion and experience. Find out how MoGi can bring your game to its fullest potential.

Elm Europe BV

D033

My.com B.V.

E019

Enarxis Dynamic Media Ltd.

D015

NBG EDV Handels- und Verlags GmbH

A012

Epic Games International

A034

Nero AG

A012

Forever Entertainment SA

B029a

Nordic Game Supply GmbH

A12

Freaks 4U Gaming GmbH

C050

Oasis Games Limited

A018

Frontier Development PLC

C031

GAIJIN NETWORK Ltd.

B035

G-CORE Labs SA

C050

GIANTS Software Entertainment GmbH

C031

Girisim Gelisim ve Teknolojileri Dernegi

C024

Global Collect Services B.V. (dba Ingenico ePayments)

D024

Goodbye Kansas Entertainment Group

D031

International Business Media Pte., Ltd.

C050

Kingston Technology Europe Co LLP

C050

Kinguin Limited

C050

Koelnmesse, Inc.

B035

Koelnmesse, Inc.

A033

Koelnmesse, Inc.

A035

Kount Inc.

C040

Leogaming

2 2 D017

Level Up! Interactive Ltd.

OMNYEX HALL 2.1 BOOTH NO. B016 Omnyex is a leading independent wholesaler supplying digital video games and related products to retailers all over the world. Its expanding team benefits from more than 40 years of combined experience in the online, retail and distribution sector – equipping it with invaluable insight.

C050

OneSky Inc. Limited

D032

LifeXpress/ Medion AG

C028a

ORB Gaming

D034

Madcow Entertainment SARL

D035

Plantronics BV

A012

medialounge GmbH

C031

QIWI Bank JSC

E026

medialounge GmbH

C019

RAM ROM GAMES, S.L.

D030d

NVIDIA GmbH

C031

Roccat GmbH

D014

Overwolf, Ltd.

C050

Rock Pocket Games

D030d

Payguru Trend Ödeme Kurulusu A.S.

D016

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 2

DAY TWO 2017

14/08/2017 11:09

COMPANY

HALL / LEVEL / BOOTH

COMPANY

HALL / LEVEL / BOOTH

Paymentwall, Inc.

A040

Webedia Gaming GmbH

C031

Paysafe EOOD

B031

Werkmeister & Company GmbH

C031

Polyarc, Inc.

C048

Whyttest SRL (Limited)

D041

SevenOne Media

C031

Wirecard Technologies GmbH

B045

PT Unimaksima Lentera Nusantara

D051

Xsolla Inc.

A033

RAD Game Tools Inc.

C044

ZeniMax Benelux BV

C019

Razer (Europe) GmbH

C050

ZeniMax Europe Ltd.

C019

Roberts Space Industries International Ltd.

B033

ZeniMax Germany GmbH

C019

ZOTAC International (MCO) Ltd.

C050

“Kookie Entertainment (GameZip)”

B020

4-Real Intermedia GmbH

C012

Action Reaction Games

A017f

Action Squad Studios

A017f

Aerosoft GmbH

C012

Aiara Co., Ltd.

B020

AIDUS & Advergamekorea

B020

AK Interactive

B020

Altagram GmbH

C014

Anxing Information Technology (Shanghai) Co., Ltd.

D018x

App Annie Europe Limited

C014

Application Systems Heidelberg Software GmbH

C017

Aquiris Game Studio S.A.

A013

Assemble Entertainment GmbH

C012

SAFECHARGE HALL 2.2 BOOTH NO. A044 SafeCharge is a global payment service partner for the world’s most demanding businesses. We provide a broad spectrum of services right from omnichannel checkouts, card acquiring and issuing to risk management solutions. We offer the most advanced, reliable and transparent services to ensure a smooth payments journey for businesses and their customers.

Beijing Seasun Interactive & Entertainment Co., Ltd.

D018x

Secure Trading Group Limited

D049

bHaptics Inc.

B020

Serienjunkies.de GmbH & Co. KG

C031

bib International College Hannover

B017

Silicon Studio Corporation

C044a

Bind

3 2 A017f

Six Waves Inc.

C028

Sky City Y2K Limited

C048a

SOEDESCO HALL 2.2 BOOTH NO. C050 Soedesco is a worldwide publisher of both digital and boxed games on multiple platforms. Our past line-up includes third-party titles like Giana Sisters: Twisted Dreams – Director’s Cut, Among the Sleep and Reus. Soedesco also published Adam’s Venture Origins, a new title, music-themed action RPG AereA and is currently working on Real Farm Sim. 2

C031

BIU - Bundesverband Interaktive Unterhaltungssoftware e.V. 3

A010

Black Forest Games GmbH

C017

Brazilian Game Developers Abragames

A013

Canadian Digital Media

B019 B019

Canadian Media Fund

CAT Nigiri Ltda ME

A013

Chendu Future Tech Ltd.

D017

Chengdu Animation Network

D017

Chengdu Boran Tech Co., Ltd.

D017

Chengdu Yimei Digital Technology Co., Ltd.

D017

Chengdu Yumoon Tech Co., Ltd.

D017

Chengdu Cellsgame Tech Co., Ltd.

D017

Chengdu Funcell123 Tech Co., Ltd.

D017

CipSoft GmbH

B010

Complex Games Inc.

B019

Canada

3 2 B019

Creative Europe Desk NRW c/o Film- und Medienstiftung NRW 3

B014

Creative Mobile

C014

SPYR Games

Creeng

3 2 A017f

StackPath

2 2 C050

CXity of Helsinki

A017f

Stillfront Group AB

C050

Daedalic Entertainment GmbH

C012

Stimtech Ltd. NeocoreGames

B016

DECK13 Interactive GmbH

C012

Techland Sp z o.o.

D020

Devs Channel

A017f

Tilting Point Media LLC

C042

DigiBC

3 2 B019

Timecity

2 2 C040a

Digital Frog Co., Ltd.

Tobii Tech

Duaik

3 2 A013

transact Elektronische Zahlungssysteme GmbH

D030

Engage.NRW c/o Mülheim&Business GmbH

UOL BoaCompra

C026

European Games Group AG

A010

Utomik BV

C050

EuroVideo Medien GmbH

C012

Vungle, Inc.

A038

EXIT GAMES GmbH

A010

Wargaming Europe S.A.S

C020

F+F Distribution GmbH

B010

Wargaming Group Limited

D022

FDG Entertainment GmbH & Co KG

B010

We Are Nations, Inc.

C050

Film- und Medienstiftung NRW GmbH

B014

Web Media Publishing AG

C031

Firepoint Interactive

B019

D018

DAY TWO 2017

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 3

B020 B014

14/08/2017 11:09

HALL 1

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 4

DAY TWO 2017

14/08/2017 11:09

Ad Template.indd 1

11/08/2017 09:40

HALL 2.1

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 5

DAY TWO 2017

14/08/2017 11:09

COMPANY

HALL / LEVEL / BOOTH

COMPANY

HALL / LEVEL / BOOTH

Firetail Games

A017f

Ontario International Munich Trade and Investment Office

B019

Flux Game Studio Jogos Digitais Ltd.

A013

Ontario Media Development Corporation (OMDC)

B019

Fox Renderfarm

D017

Payletter Inc.

B020

Frozen Vision

A017f

PIXELPIMPS Corp.

B020

GAME Bundesverband der deutschen Games-Branche e.V 3

C012

planetlan GmbH

A010

gamearea-FRM e.V.

D012

Play Finland / Neogames Finland Association

A017

Gameloft GmbH

D012

Playa

3 2 A017f

Gameplan Consulting

A013

Playa Games GmbH

A014

GameRefinery Ltd.

A017f

PLAYPARK Co., Ltd.

B020

GAMES ACADEMY GmbH

C014

Playsnak GmbH

C014

Games for Families (c/o planetlan GmbH)

A010

Polkadot

3 2 A017f

GamesMarkt GmbH

A011

gamespipe GmbH

A014

GAMEVIL Europe GmbH

C014

Gamigo Advertising GmbH

A014

Gaming-Aid e.V.

C014

Gazzag Serviços de Internet Ltd.

A013

Gnifrix

3 2 B020

Government of Manitoba

B019

Government of Quebec

B019

Hannoverimpuls GmbH

B017

Headup Games GmbH & Co KG

C012

Heavy Weight Rex

A017f

Hinterland Studio Inc.

B019

Hoplon Infotainment

A013

Humble Bundle Deutschland GmbH

C014

PQUBE HALL 3.2 BOOTH NO. C012 PQube is a Top 20 publisher (2016 market share) and distributor of video game software, hardware and merchandise. Upcoming titles include Chaos;Child, White Day: A Labyrinth Named School and Cat Quest, and our hardware line-up includes major new consoles and accessories from Atari, Hyperkin, Innex and Retro Freak.

HWF Hamburgische Gesellschaft für Wirtschaftsförderung mbH 3 2 A014 HWF Hamburgische Gesellschaft für Wirtschaftsförderung mbH 3

A016

Quantum Shake

A017f

HWF Hamburgische Gesellschaft für Wirtschaftsförderung mbH 3

B013

Quantumfrog GmbH

B017

iFunFactory Inc.

B020

IME - Interactive Media & Entertainment GmbH

A014

Imgnation Studios

A013

InnoGames GmbH

A014

International Game Developers Association (IGDA)

C019

Iran Computer & Video Games Foundation

A015

K3 Kultur- und Kreativwirtschaftsbüro

C017

Kaamos Games

A017f

Kavio Cluster

A017f

Komogames Ltd.

D018x

Koolhaus Games Inc.

B019

Korea Pavilion

D019

Koukoi Games

A017f

kr3m. media GmbH

C017

L&K Logic Korea Co., Ltd.

B020

Ludocraft

3 2 A017f

MackMedia GmbH & Co. KG

C017

MAGIX Software GmbH

C014

Manifesto Games

A013

Rockfish Games GmbH

A014

Media Info Transfer GmbH

A014

Rockhead Games

A013

media:net berlinbrandenburg e.V.

C014

Rusto

3 2 A017f

REMOTE CONTROL PRODUCTIONS HALL 3.2 BOOTH NO. C012 Remote Control Productions (RCP) is an independent production house representing Europe’s biggest family of game developers. Since 2005, we have been supporting, financing and coaching development studios, creating games for all platforms. RCP also provides services ranging from producing and creative consulting to marketing, PR, talent management and business development to help our teams ship great games.

Mediencluster NRW GmbH

B014

Serious Games Solutions GmbH

Mediengründerzentrum NRW

B014

Shanghai Uzone Network Technology Co., Ltd.

C014 D022

MFG Medien- und Filmgesellschaft Baden-Württemberg mbH 3

B016

Shanghai Xuebao Info. Tech. Co., Ltd.

D018x

MJ Media Ltd.

C012

Sheer Tianyi Technology Co., Ltd.

D017

Mothership Marketing GmbH

C014

Shenzhen Entertainment First Co., Ltd.

D017

Muro Studios

A017f

Shenzhen iDreamSky Technology Co., Ltd.

D017

NezhaGames

3 2 D018x

Shenzhen Luckystar Technology Co.

D017

Ngelgames Co., Ltd.

B020

Shenzhen shi Genyongchang Co., Ltd.

D017

Nitro Games Ltd.

A017f

Shenzhen Smartmelon Technology Co.

D017

nordmedia Film- und Mediengesellschaft Niedersachsen/Bremen mbH 3

2 B017

Shenzhen Feiyu xingkong Technology Co., Ltd.

D017

Nova Scotia Business Inc.

Simplaex GmbH

C014

B019

DAY TWO 2017

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 6

14/08/2017 11:09

COMPANY

HALL / LEVEL / BOOTH

COMPANY

HALL / LEVEL / BOOTH

Six Foot Europe GmbH

A010

Bossa Studios

A021

SkyBox Labs Inc.

B019

Business France

D015 D013

SOFTON ENTERTAINMENT Co., Ltd.

B020

Business France

Soulgame Entertainment Co., Ltd.

D017

Business France

E017

STEA Games Co., Ltd.

B020

Capsule Studio

D013

Studio DOMA

CD Projekt S.A.

C019

B020

Studio ZYX Software, Games Aplicativos E Animacao Ltd. 3

A013

Stupid Stupid Games

A017f

Subsolar Entertainment

A017f

Super Plus Games

A017f

TalkieStudio Co., Ltd.

B020

Taylor Wessing Partnerschaftsgesellschaft mbB

A014

TeamSpeak Systems GmbH

B010

TIL GmbH Tübinger Institut für Lerntherapie

C017

Tivola Publishing GmbH

C012

Travian Games GmbH

B010

Trion Worlds, Inc.

C012

CEDEMO HALL 4.1 BOOTH NO. E017 Take the hassle and costs out of product information management for video games and licensed products. Cedemo is a video games and licensed products retail content platform adapted to the very specific needs of these two globally important industries, giving you the confidence to concentrate on growing your business.

UNIZSOFT Co., Ltd.

B020

Urban Invention GbR

B017

VikingVR Studio

D018x

Werk1.Bayern GmbH

B010

WGM Entretenimento Digital Ltd.

A013

Ceské hry z. s. / Dreadlocks

C015

wolff interactive GmbH

B017

Cinnoman Games

D014

ZENIT GmbH

B014

Clan of the Cloud

D013

Zepetto Co.

B020

ClockStonde Studio

B017

101%

4 1 B014

Cloudalize NV

A019

3DClouds.it

4 1 B014

Codemasters Software Ltd.

A021

505 Games Ltd.

A021

Coffee Box Games

A021

Activision Blizzard Deutschland GmbH

A011

Coffee Stain Studios

D017

Adventure`s Planet SRL

B014

Collense

4 1 D017

Controvert Ltd.

A021

Crazy Monkey Studios bvba

A019

Creative Dialogue Tools Ltd.

A021

Croatian Chamber of Economy

B019

Cubic Motion

A021

Cupboard Games Limited

A021

Cybernetic Walrus BVBA

A019

Czech Trade Ceska agentura na

C015 B017

AESVI HALL 4.1 BOOTH NO. B014 The Italian Trade Agency (ICE) is the Italian government organisation working to develop, facilitate and promote economic and commercial relationships abroad, and marketing Italian goods and services internationally. It further promotes the ‘Made in Italy’ image around the world and Italy itself as a destination for foreign investment. 1

F013

DaoPay GmbH

Dead Good PR

A021

DeadToast Entertainment

D017

deltaDNA Ltd

A021

Digital Tales SRL

B014

Divine Robot

D017

DL-Software Daniel Leitinger e.U.

B017

Dovetail Games

A021

Edge Case Games Ltd.

A021

Aliem Pixel Studios SRL

Amiquis

4 1 A021

Elektraglide Ltd.

A021

Amstad Digital EF

D014

Enter Yes

A21

Apocalypse Hunters SA

A019

EverdreamSoft

4 1 D014

Artefacts Studio

D013

Fabraz

4 1 D014

Atomicom Limited

A021

Falkenbrew

4 1 D014

Bad Seed SRL

B014

FGL’s Enhance

F016

Badland Games SL

B013

Firebrand Games

A021

Bastion

4 1 A021

Billy Goat Entertainment Ltd.

Fishing Cactus

A19

A021

Flanders DC VZW

A019 D015

Black Cell OG

B017

Focus Home Interactive

Black Land Studio

A019

Focus Multimedia Ltd.

A021

Blacknut

4 1 D013

Forge Reply SRL

B014

Blade Representaciones SL

B013

Fourth State Ltd Sketchbook Games

A021

Bloodirony Games GmbH

B017

Frogsong Studios

D017

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 7

DAY TWO 2017

14/08/2017 11:09

HALL 2.2

DAY TWO 2017

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 8

14/08/2017 11:09

HALL 3.2

"'"'

D-021

�

Passage 2-3 passage 2-3

D B-020/D-019

Cafe

D-022

A-017 C-019/B-018 B-019 Canada

D-017/C-016 C-017/B-016 D-018

A-015 A-016

B-017

B-014/C-015

A-014/B-015

C-014/D-015

"'"' Made in Germany area

�

Eingang Sud Entrance South

A-012/B-013

Passage 2-3 passage 2-3

B-012/C-013 D-012 C-012/D-013

A-013

B-010/C-011

A-010/B-011

A-OlOx

A-011

Passage 3-4 passaqe 3-4

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 9

DAY TWO 2017

14/08/2017 11:09

COMPANY

HALL / LEVEL / BOOTH

Frostyfroggs S.C.S.

A019

Fusion.Robot GmbH

D014

Game City Southern Sweden

D017

F016

Game Drive

GAMEDIA

4 1 E013

Gamer Network

E021

Gamera Nest SL

B013

Games London

A021

GameSessions (Tangentix Ltd)

A021

Gamious BV

E013

Genba Digital Limited

A021

Generalkonsulat der Rep. Polen

A015

Glowfish Interactive VOF

A019

Sweden Game Arena

A018

Green Man Gaming

A021

Hana Hana

D014

Happy Volcano BVBA

A019

Haute Ecole Albert Jacquard

A019

Hi-REZ STUDIOS

A021

Holo-Light GmbH

B017

Hyperbolic Magnetism - Jan Ilavsky

C015

ICE - Agenzia per la promozione all’estero e l’internazionalizzazio 4 1 A012 ICE - Agenzia per la promozione all’estero e l’internazionalizzazio 4

A013

Iceberg Interactive BV

F016

ICO Partners Limited

A021

Insert Coin

D014

Invest Liverpool

A021

iQu

4 1 E013

Italic Pig

A021

Jagex Ltd.

A021

KISS Ltd.

A021

Kiwi Studio

D014

Kodobur Game and Software Tech

A017

Krotos Ltd.

A021

LA MARQUE ROSE

E017

Le Game

D013

Little Chicken Game Company BV

E013

Local Heroes Worldwide

F016

LocalizeDirect AB

A021

Localsoft S.L.

B013

Marvelous Europe Limited

A021

Maximum Games Ltd.

A021

McMagic Productions s.r.o.

C015

Media Evolution

D017

Milestone SRL

A021

Milestone SRL

B014

Milky Tea Limited

A021

B014

MixedBag SRL

Mode4

4 1 A019

Multiplay (UK) Limited

A021

nDreams Ltd.

A21

Neurodigital Technologies SL

B013

Nifty Productions

D014

Nordic Game

D017

Northern Software Limited

A021

Not A Company

A019

Novaquark

4 1 D013

Novobox France

D013

ODTÜ Teknokent Yönetim A.S.

A017

Ojoo

4 1 A019

OLD SKULL GAMES

E017

DAY TWO 2017

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 10

COMPANY

HALL / LEVEL / BOOTH

NORTHERN IRELAND SCREEN HALL 4.1 BOOTH NO. A021 Northern Ireland Screen is developing the digital content sector in Northern Ireland through the support of indigenous talent working in gaming, e-learning, web and mobile. We provide development funding for projects, advise on skills development opportunities and help find complementary partners. We also aim to establish Northern Ireland as an attractive place for international developers and publishers to come for large scale digital content production. OPM Response Ltd.

A021

Oskar Stalberg

D017

Outright Games Ltd.

A021

Outsider Games Ltd.

A021

Pajama Llama Games VOF

A019

Paladin Studios

E013

Pasching Solutions

B017

PayByMe Corp.

A017

Perun Creative s.r.o.

C015

Pixel Shade

D017

Pixel Toys Ltd.

A021

Plastic SCM Codice Software SL

B013

Playdius Entertainment

D013

PlayFab, Inc.

A021

Playstack Ltd.

A021

Plug In Digital

D013

Pole To Win UK Limited

A021

Polish Agency for Enterprise Development

A016

Polnisches Institut Düsseldorf

A015

Quantum Soup Studios Ltd (Wales Area)

A021

Rarebyte OG

S017

Renaissance PR

A021

RGDA Romanian Game Developers Association

F013

Rheinmesse Co., Ltd.

D017

Richard Meredith

D017

Ripstone Ltd.

A021

rudy games GmbH

B017

S. C. Cridique Gaming SRL

F013

Sanuk Games SARL

D013

SC Amber Studio SRL

F013

Sekg S.L.

B013

Senzie

4 1 F016

Shiro Games

D013

Shy Robot Games

D014

SimyLife Gamification GmbH

B017

Skillsearch Limited

A021

Sold Out Sales and Marketing Limited

A021

Southern Sweden Creatives

D017

B013

Spain Pavilion - Games from Spain (ICEX Spain Trade and Investment) 4 Spelkollektivet

4 1 D017

Splendy Interactive Ltd.

A021

Stage Clear Studios, S.L.

B013

StarWell s.r.o.

C015

14/08/2017 11:09

HALL 4.1

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 11

DAY TWO 2017

14/08/2017 11:09

HALL 4.2

DAY TWO 2017

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 12

14/08/2017 11:09

COMPANY

HALL / LEVEL / BOOTH

COMPANY

HALL / LEVEL / BOOTH

Steel Media Ltd.

A021

Welsh Government (Wales Area)

A21

Storm in a Teacup SRL

B014

Whitepot Studios Limited

A021

Struckd AG

D014

Wibbu

4 1 A021

Studios Voa

E017

Wirtschaftskammer Österreich

SwapBots

4 1 A021

Xplored

4 1 B014

SwissGames

4 1 C013

Sycoforge GmbH

1 1

B017

YIG Media, S.L. - Playstats

D014

Yogscast

4 1 A021

B013

Sylphe Labs Ltd.

B014

Zurich University of the Arts Departement Design

Tag Games Limited

A21

BANDAI NAMCO Entertainment Germany GmbH

A010

Takeoff

4 1 D013

BANDAI NAMCO Entertainment Germany GmbH

B010

Talespinners Studios Ltd (Wales Area)

A040

Deep Silver a division of Koch Media GmbH

Taleworlds Entertainment Ikisoft Yazilim Bilgi Ve Iletizim Egitim Te 4 1 A017

Facebook Ireland Limited

A042

Team Panoptes

flashpoint AG

C020

Teamto

4 1 E017

Gaya Entertainment GmbH

C050

Testronic Laboratories Ltd.

A021

Google UK Ltd./London

C040

The Station

D017

Konami Digital Entertainment BV

A021

The Trailer Farm

A21

Microsoft Ireland

A021

Tiny Bull Studios SRL

B014

Microsoft Ireland

A022

To Play For Limited

A021

Nintendo of Europe GmbH

B021

TOGED (Game Developers Association of Turkey)

A017

Sony Interactive Entertainment Deutschland GmbH

A041

Toxic Games Limited (Wales Area)

A021

THQ Nordic GmbH

A043

Triangle Factory BVBA

A019

UBISOFT GmbH

C051

Troll inc

A021

Warner Bros. Entertainment Inc.

B040

UIG International GmbH

B017

UK Interactive Entertainment (UKIE)

A021

UNAmedia di Benegiamo Daniele

B014

Universally Speaking Limited

A021

Untold Games SRL

B014

VE Vision Education GmbH

B017

A021

D014

A019

Verein FH Technikum WIEN

B017

Vereniging Dutch Games Association

E013

Vereniging Dutch Games Association

E015 B017

verse publications GmbH

Vertigo Games BV

E013

Virtual Arts Ltd

A021 B013

Virtualware 2007, S.A.

Wales Interactive Limited (Wales Area)

A021

Warning Up

D013

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 2 Exhibitor Guide_V10.indd 13

UBISOFT GMBH HALL 4 BOOTH NO. C051 Located at Ubisoft’s consumer booth (hall 6.1, booth B020), gamers will find Assassin’s Creed Origins, Far Cry 5, Mario + Rabbids Kingdom Battle, South Park: The Fractured But Whole and The Crew 2 all available to play at this year’s gamescom. Discussions, demos and meet and greets are available as well.

DAY TWO 2017

14/08/2017 11:09

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11/08/2017 09:44

Milestone: Racing fans want ‘blended experiences, accessible and technologically advanced’ games As it gears up for the launch of its brand-new IP Gravel, Milestone reveals the key ingredients for a modern racing title MILESTONE’S new racing IP Gravel has been built from the ground up to meet the tastes of modern audiences, marketing manager Andrea Loiudice (pictured) has told MCV@gamescom. On show this week, Gravel is a “great new adventure” for the studio, as it’s the first four-wheels driving game it’s developed with Unreal Engine. “It’s also evolving into something new, blending a believable driving model with an arcade and fun vibe,” added Loiudice. “The greatest challenge has been adapting the physics to the brand-new arcade spirit of the production. A racing game today has to be accessible – it shouldn’t shut you out of the door in the first minutes. It should be filled with both online and offline content, providing you constant reasons to come back and have fun, even in short bursts. And it should be able to provide a full and DAY TWO 2017

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satisfying experience both for seasoned drivers and for newcomers alike. “The market of today is looking for blended experiences – accessible, believable, connected and technologically advanced. That’s exactly where we’re looking now, trying to evolve and adapt to this great shift that involves not only the racing world, but the whole video game industry.” Milestone has high hopes for Gravel, which is a standalone

IP – rather than a licensed title like much of the studio’s current portfolio of games. “Games under license are a big thing for Milestone’s catalogue,” said Loiudice, “we see differences in terms of sales when it comes to the different countries, based on the license popularity in that territory. But with both licenses and proprietary IPs, one of our key goals is to keep our offering as varied as possible.” Katharine Byrne 43

22/08/2017 17:02

Amazon’s fantasy league? MCV@gamescom talks to Amazon Games Studios’ executive producer Matt Priestley about Breakaway AMAZON GAMES STUDIOS’ upcoming fast-paced competitive title Breakaway is still in Alpha but is already being compared to wellestablished titles such as Rocket League, League of Legends and Overwatch. The sport brawler sees two teams of four players fighting to keep a Relic. It has been built with streaming in mind, with Amazon’s acquisition of Twitch in 2014 being obviously a strong incentive. “When we started thinking about Breakaway we thought we had a core game – the Relic motion, which we called Rugby mode – that was really fun, that’s really team-centric and it ended up being something people are really excited about when they play,” executive producer Matt Priestley told MCV@ gamescom. “When you watch it you can see what’s going on and it’s clear what’s happening. So it was natural for us to take 44

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Breakaway to Twitch cause we wanted to make a game that was fun to watch anyway.” Breakaway is digital and PC only for now but consoles is something Amazon is “thinking about,” Priestley said. He hopes the game will be able to come out next year but “it all comes down to players’ feedback,” he said. He continued: “I wish there was a perfect label I could put on the game. Some people have been saying it’s a

‘weaponised team sport’ and some people call it a ‘fantasy sport’. We’re hoping that the sport theme translates through people. “The main goal for Amazon is to build games that its players and customers want. We think Twitch is a really exciting platform. We discovered a lot of our favourite games on Twitch, we’re hoping the same thing will happen with Breakaway.” Marie Dealessandri DAY TWO 2017

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11/08/2017 09:41

Cuphead: A real blast from the past Cuphead is a beautiful game, a labour of love years in the making, with its roots far farther back in time CUPHEAD has been in development for a while now, some seven years in total, but it’s finally coming out on September 29th and so we took a chance to play the nearfinished game at gamescom. The side-scrolling shooter hasn’t been a big genre for many a year, and the genre staples of gun toting-robots, military stereotypes and agile spaceships still haven’t completely faded, despite the effort of many an indie title. Cuphead is lightyears away from that, stylistically, but its gameplay adheres to many of the genre standards of the golden age of ‘schmups’ in the late eighties and early nineties. It’s a tough game then, with the action coming thick and fast. Developer StudioMDHR has mixed things up so that enemies come in unpredictable patterns, so it’s not just a matter of learning by rote. There’s a selection of weapons, of which you can carry two at a 46

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time, plus a dash move and a super move to power up. It’s a satisfying little arsenal, and one that can be upgraded between levels, which are themselves spread across a world map. The game may hail from twenty years ago, but it’s the eighty-year old art style that has really turned heads. The 1930s animation doesn’t take any modern shortcuts either, with every character and element drawn and inked by hand, before being scanned into the game. You begin to understand why development has taken so long.

It’s even clearer when you play it, as we were startled by the the sheer variety of settings and enemies. Across three levels we never saw any elements reused apart from our co-op characters themselves, the eponymous Cuphead and his companion Mugman. Cuphead is distinctivelooking enough to sell beyond the usual genre aficionados. Plus with three difficulty levels it should be able to please both newcomers and hardbitten veterans of the genre. Seth Barton DAY TWO 2017

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11/08/2017 15:41:07

The Family Creed: Him-and-her detective fun in Egypt Assassin’s Creed Origins is shaping up nicely, with strong characters and a wide variety of activities to add to the usual template AFTER a much-deserved break, Ubisoft is back this year with arguably its biggest franchise – yes, Far Cry is also huge but as it’s yet to have its own movie, I reckon Creed pips it. Assassin’s Creed Origins takes the series to its earliest setting yet, and while we’re still crying out for a ninjabased outing, there are few eras as atmospheric as Egypt in the time of the pharaohs. For this playthrough we really started to get grips with the setting and the characters. Hero Bayek is working with his partner Aya. That’s partner in both senses of the word, as Aya is both Bayek’s capable equal and his wife. They are sent to investigate the poisoning of a holy bull, which then turns into a rescue mission – for a man, not a bull sadly. The detective part of the game works well, allowing you to scan the area for points of particular interest, both items and people, that 48

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you can then interact with to solve the puzzle. That led to a more standard piece of Creed gameplay, sneaking into a fortified camp for a simple snatch and run. Leaving the city we marvelled at the size and richness of the surrounding area. Directed to a nearby pyramid our colleague took on scaling the monument, while we delved into the tomb, where a series of physics puzzles stood between us and the loot within. The game looks beautiful in many respects, the attention to detail in the period is nothing

less than incredible. There are a couple of technical wrinkles to iron out before launch, such as texture pop-in and some over-aggressive depthof-file effects, but that’s to be expected. We played it on an Xbox One X development unit, and it’ll be interesting to see how the game looks across the four hardware specs that the market will soon support. The writing and characters also look to be top-notch, and so there’s plenty to draw gamers into this evocative outing in the series. Seth Barton DAY TWO 2017

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11/08/2017 09:40

Meet the team Seth Barton

Marie Dealessandri

Jem Alexander

Editor, MCV sbarton@nbmedia.com

Senior Staff Writer, MCV mdealessandri@nbmedia.com

Editor, Develop jalexander@nbmedia.com

Katharine Byrne

Sam Richwood

Jake Tucker

News Editor, MCV kbyrne@nbmedia.com

Designer, MCV srichwood@nbmedia.com

Editor, Esports Pro jtucker@nbmedia.com

James Marinos Production Executive

Caroline Hicks Events Director

Sophia Jaques Games Sales Manager

Mark Burton Managing Director

jmarinos@nbmedia.com

sjaques@nbmedia.com

Charlie Gibbon Account Manager

chicks@nbmedia.com

mburton@nbmedia.com

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