MCV@gamescom August 24th 2017 Day Three

AUGUST 24TH DAY THREE

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Xbox: ‘A new Age is upon us’ Head of Xbox games marketing Aaron Greenberg talks Xbox One X, the new Age of Empires and Battlegrounds’ exclusivity MICROSOFT is winding up for a huge Q4 in 2017. The platform hasn’t looked this energised in years, and seeing Aaron Greenberg in action at gamescom is the very embodiment of that new-found energy. Whether he’s taking selfies with superstars such as Steve Aoki, dressing in a toga for the Age of Empires livestream, or talking about the next few months for Xbox and Windows gaming – he’s all go.

We wonder how launching the One X is a different marketing challenge to an entirely new platform? “It’s totally different, because we’ve never done this before. We’re not sacrificing compatibility with the innovation that we’re doing, so we have to think about how do we let people know it’s one product family, one game disc on the shelves at retail, and that the game disc works across all Xbox One consoles.”

It’s the huge catalogue of titles that Greenberg feels is the key point to get across.

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“When the Xbox One X launches it will have a larger games library than any new console launch in history,” he exclaimed, adding that’s “over 1,000 games.”

Many of those titles will be enhanced for the new console as well. Many more than we originally expected, in fact: “We’re close to 120 today and by the time we get to launch who knows what that list will look like,” he said.

Greenberg tells us “all the biggest titles this holiday” will be enhanced, name-checking “FIFA 18, Star Wars Battlefront 2, Need

for Speed and Shadow of War,” alongside older titles such as Fallout 4 and Titanfall 2, as well as first-party games, too. “We’re updating Gears of War 4 in 4K with HDR, Halo 5 to 4K and Forza Horizon 3, too.”

Getting those enhanced 4K games into the hands of consumers is key, he told us, which is where gamescom comes in. “Events for this console are more important than ever, you have to see and experience what true 4K looks like, you can’t get that watching a YouTube video on your mobile phone. So we have 70 playable

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stations here at gamescom running games on Xbox One X.” That’s a lot of games in one place, but one we haven’t yet talked about is PlayerUnknown’s Battlegrounds (PUBG).

“What we’re doing is bringing tech, sales and marketing benefits to the table. That allows [developer Bluehole] to focus on the PC and Xbox versions of the game, bring the game faster to Xbox fans, and for us we’re going to publish the title, and so it just steps up our commitment,” said Greenberg of the partnership with Bluehole.

It’s a huge win for Microsoft and one that looks better every day: “When we announced our partnership at E3, they had sold 04

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2m units of the game. Today, just five months since release, it’s 8m units,” Greenberg enthused. “It’s the number one most-watched game, it’s the perfect fit for Xbox, for Xbox Live and the integration of being to stream and do stuff on Mixer is a natural fit as well.

‘We’re excited, they’re a great team and the only console you’ll be able to play PUBG on this holiday will be on Xbox One,” he said. Though we were curious as to the details of that deal.

“At this point, we’re just saying that we’re publishing it on Xbox, and the Bluehole team have been really clear they are focused on development only for PC and Xbox, and this is

going to be one version, one community, they’re not making a separate version for the console. It’s one version and for a team like them to be able to focus their development efforts is great.”

Finally, we came around to that toga, which Greenberg wore for the Age of Empires livestream. He’s obviously a huge fan of the game. “We all grew up on Age of Empires and I’ve been at Microsoft for 20 years, and I was there when the first Age launched.”

We asked why bring it back now? “So we went and looked at how many are playing Age on their PC and there are millions of people around the world still playing this franchise, it’s super active.”

So Microsoft is remastering the first three games in 4K and HDR, with some “thoughtful modernisations.” And the new title is in a great position, too: “With Age 4, we wanted to find the right developer to do it right.

And with Relic we’ve got our dream partner.

“It’s great to be able to invest and innovate both on the console and in the PC space”, Greenberg concluded, and it certainly looks like Microsoft has lined up all the right elements with Xbox One X, Battlegrounds and Age of Empires for a great year ahead.

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Bandai Namco partners with Dontnod on new IP The studio behind Life is Strange has teamed up with Bandai Namco to create a new narrative adventure game for 2018 BANDAI NAMCO has announced a new strategic partnership with Life is Strange developer Dontnod Entertainment. The new partnership will see the creation of a brand-new IP based on a new narrative adventure experience.

More details about the game, including platforms, a release date and whether it will be boxed or digital, will be announced in 2018, but Bandai Namco has told MCV@gamescom it will take place in a fictional city in the US and include “a fair dose of investigation.”

It won’t affect work on Dontnod’s upcoming game, Life is Strange 2, either, as this new title is being developed by a separate team.

“We want [new IPs] to make up 50 per cent of our business, and we’re achieving this by developing long-term partnerships with a few studios,” Hervé Hoerdt, Bandai Namco’s DAY THREE 2017

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VP of marketing and digital told MCV@gamescom.

“The first visible part of this was Little Nightmares, and we’ve been extremely happy, but this is only the start of something. We also recently released Get Even, and now we’re very happy to partner with Dontnod.

“Dontnod was a kind of rough diamond, very much a rising star, I would say, and with the success of Life is Strange, it’s the first big player in terms of quality business model, vision, and we think that’s a good

strategy that fits. It was the right moment, so we decided to partner [with them].

“Obviously, with a studio like Dontnod, you can expect triple-A quality; you can expect a very emotional experience, and this is what we were looking for, with some kind of investigation and going deep into the psychology of the characters, and giving emotion to the player. This is what we’re aiming for with this partnership.”

Katharine Byrne

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Biomutant will take THQ Nordic to the ‘next level’ THQ Nordic discusses its new IP Biomutant, which debuted this week at gamescom BIOMUTANT has been one of the big new announcements at this year’s gamescom, and THQ Nordic’s PR and marketing director Philipp Brock has said it could be the title to take the company into the publishing big leagues.

“In the immediate future, I think we definitely have titles that have the potential to kick us up a notch again,” Brock told MCV@gamescom. “Biomutant is definitely one of those. This title could be the hallmark to take us to the next level.”

The new IP, which is being developed by Swedish studio Experiment 101, is an open world RPG with a free-flowing, kung fu-style combat system, allowing players to wield guns and swords simultaneously as they fight to save the world from a deadly plague. Players needn’t be altruistic, however, as they’ll also have the option to let the world rot.

“We’re glad we grabbed that one,” Brock said. “Experiment 101 pitched the game to quite a 06

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few other publishers as well, but somehow we ended up in bed together. The whole thing was very striking. Open world games nowadays aren’t something that make you go ‘wow’ anymore, but the whole setting and combat system feels really fluid.

You can do loads of nice stuff there, and I think that’s one of its very strong points. The fact you also get to play as a racoon character makes it very unique in that way.”

Biomutant’s RPG DNA runs deep, too, as players can morph their rodent hero into any size or shape they please,

their chosen form affecting final stats and attributes. Every weapon and piece of gear has its own stats as well, and players can craft them into all sorts of different combinations to suit their play style – making gamescom a great place to show off the game’s potential, said Brock.

“It’s home turf, and what I miss about gamescom are the major announcements.

So we thought, ‘Well, why not do it?’ So we did, and you can play it right now in our entertainment booth.”

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Yu Suzuki: ‘Koch Media is a publisher we can trust’ The creator of Shenmue tells MCV@gamescom about partnering with Koch Media for worldwide release of Shenmue III next year YU SUZUKI has told MCV@ gamescom that he’s very pleased to be working with Koch Media on his upcoming title, Shenmue III. “They’re the good ones,” he said.

The deal, which was announced last week, will see Koch Media’s publishing arm Deep Silver publish the physical and digital editions of the title worldwide on PS4 and PC when it releases in the second half of 2018.

“I knew they were good when I was working at Sega, who also has business with Koch Media. We had been hunting for partners, and I’d been hearing from other people as well that Koch Media was a publisher we could trust.

They have a very good track record as well, so we decided to see the people at Koch and we came over to the region to see them. Finally, we inked the contract.”

Suzuki also said he sees this year’s gamescom as a great opportunity to update 08

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his fans about the game’s development. “The project is moving well. Having so many backers is a good thing, so I’m really pleased to have such a good Kickstarter result. Obviously, I also feel a responsibility to players and I feel the pressure, but I’m happy it was a success.”

He’s also pleased by the recent resurgence of Japanese games in the west: “It’s good news,” Suzuki said. “I’m really happy that people think that way, and I’m happy to know our game will be welcome. I hope this

trend is a reality and not just a couple of games. If the entire Japanese gaming industry is really becoming better, I’m very happy to hear about this.”

Suzuki is also hoping Shenmue III’s momentum will help to convince Sega to re-release the first two games in the series. “The Shenmue I and II IP is owned by Sega, so I’m sorry to say I’m not in a position to comment on anything about this, but let’s ask them to make it! That’s what I’d like to say. I will say this to them as well!”

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Total War: Warhammer II is the game fans have always wanted Creative Assembly speaks to MCV@gamescom about its upcoming strategy title CREATIVE ASSEMBLY’S upcoming strategy game Total War: Warhammer II will be a dream come true for fans of the British fantasy board game franchise. Speaking to MCV@gamescom, lead writer Andy Hall said: “It’s the game I always wanted.”

The game will be particularly rewarding for owners of the first Total War: Warhammer title, as Hall says players will be able to take their races from the first game into the second and vice versa once the first planned update arrives.

“The first major update will, if you own both games and the DLC, merge those two maps into one, and you’ll be able to take your Dwarves to the New World, or your Lizardmen to the Old World. So I think for players such as me, who have always loved Warhammer, that’s the game they’ve always had in their head.”

That said, Hall added Creative Assembly has made a concerted effort to make 10

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the game as welcoming to newcomers as possible.

“If you’ve never picked up Warhammer before and you buy this one, it’s all good.

In fact, we’ve improved the tutorial. The more depth we add, the more difficult it can be for new players to get in, but the races help us strike that balance. Orcs let you fight lots of battles, while the High Elves really drive home the game’s diplomacy mechanics.”

Players will also be pleased to hear the Skaven are making

their Total War: Warhammer debut. “If we’d held off the Skaven any longer, there would have been riots,” Hall laughed.

“They’re a very popular race and they’re very uniquely Warhammer. I think if we’d have done a fantasy-themed Total War, I don’t think it would have had as much of an impact as Total War: Warhammer, even though fantasy’s all the rage now. We’ve kind of hit of zeitgeist, I think, and it’s going well.”

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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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Stream of consciousness Marie Dealessandri talks to Devolver Digital, DingIt and Twitch about how streaming and VOD can be used as effective marketing tools to promote your brand

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he battle for the streaming market has been raging for years now. According to recent data from Streamlabs, Twitch is still by far the most dominant platform in terms of monthly active streamers, but the competition has never been fiercer. YouTube Live, for instance, has shown more growth than its established rival over the last six months despite having only a fraction of its active users. Likewise, after the recent merger of Hitbox and Azubu, Smashcast has a ready-made monthly active user base of 20m at its disposal. Then there’s Microsoft’s Mixer, recently rebranded from Beam, whose near real-time interaction make it one of the fastest and most responsive platforms out there.

While it’s safe to say that Twitch will likely remain No.1 for the foreseeable future, it may not stay that way much longer.

Indeed, despite Twitch’s dominance, streaming is more diverse than ever, with more platforms available to players every day, and, more importantly, to publishers and developers. This rapidly evolving landscape has led to new opportunities for the publishers in particular, as the industry at large now understands the value of streaming as a marketing tool.

And the more platforms that emerge, the more powerful that tool becomes.

Recent developments at Twitch mirror this evolution, with publishers and developers now able to sell their games

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directly on the platform.

Devolver Digital is one of them: “Devolver already sells games like Enter the Gungeon and Strafe via Twitch,” a spokesperson for Devolver Digital who goes by the name Rich Knuckles tells MCV. “It’s an incredible way for people that are enjoying a stream to pick up the game being played, and support that streamer directly.”

Partnered streamers receive five per cent of the sale if the game they’re playing is purchased from their streaming page, while developers receive 70 per cent. This shows just how powerful streaming can be in marketing a game, and Devolver knows it.

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with games outside of actually playing themselves,” Knuckles continues. “As a marketing tool, it’s an incredible way to connect directly with your community, provide ongoing updates of games in development, and a real shared experience for everyone.”

Not everyone shares this open approach to streaming, however, with publisherdeveloper Atlus threatening to take legal action against Persona 5 streamers back in April. At the time, it argued it didn’t “want the experience to be spoiled for people who haven’t played the game,” but the company soon softened its approach after it “saw numerous reactive news articles go up, opinion videos post, and received

many emails asking to change [its] Persona 5 streaming/video policy.”

With streaming now forming an integral part of a game’s life cycle postlaunch, those looking to avoid Atlus’ mistakes should start thinking about making it an integral part of a game’s marketing campaign.

“Live streaming is growing in importance as part of the overall picture of video,” Twitch’s VP sales Europe Steve Ford says. “Brands realise that this is where their audience are the most engaged, where the value

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exchange between the streamer and viewer is at its most authentic – and if brands get it right, this is where they can really find traction.”

Publishers can use streaming in various ways: direct advertising, influencerbased campaigns or by hosting their own channel, like Devolver.

According to Twitch, however, the most successful campaigns are those which use a number of different approaches: “The best use of Twitch by a publisher [is] when all of these [strategies] are coordinated with the help of

“If brands get it right, this is where they can really find traction.”

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“While there are a lot of benefits with live video, there are naturally more risks.” various Twitch teams,” Ford says.

Knuckles concurs: “We take a few approaches, including streaming on our own channel, Devolver Public Access. Our group of wonderful misfits play interesting games we publish and those we find that we think are nifty. It’s important to us that cool, weird or just plain obscure games get out there, and this is a way to share it with our tight-knit community.

We are also friends with quite a few content creators and make sure they get to play our games. If they want to play them for their audience, that’s awesome for everyone.”

But the unpredictable nature of streaming still worries some companies, says Ford: “Some brands are still hesitant. And we look at this as an opportunity to partner with them and help them with their approach to place messaging around live streaming.”

He continues: “It’s also important to note that Twitch offers best-in-class moderation tools and support, including AutoMod, a tool that employs machine learning and natural

language processing to identify and block inappropriate content from appearing in chat. As a result, campaigns that leverage assistance from Twitch are known for delivering a positive experience for both the brand and the viewers.”

BRUTAL HONESTY Brands’ hesitation to engage with live streaming because of its unpredictable nature is one of the reasons why DingIt.tv’s chose to focus on video on-demand (VOD).

“While there are a lot of benefits with live video, there are naturally more risks from technical problems and inappropriate content, but also the way live viewership can be a bit unpredictable – especially with sudden peaks,” says Adam Simmons, VP content and marketing at Level Up Media, DingIt’s parent company.

“Different approaches for live or VOD streaming advertising each have pros and cons. There have been some great content-based campaigns that have delivered

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for brands, such as the tournament series DingIt ran with Kinguin, whereas the targeting and flexibility of direct advertising can offer advantages for other publishers. The key is understanding the strengths of different formats, how they complement each other and then building a strategy.

“Live [video] has some great benefits for user engagement and audience interaction. On the flip side, it is difficult to control the quality of content, especially from a brand safety point of view. We chose to focus on premium VOD as we see a big growth area here, especially when trying to reach a broader audience who may not want to commit to watching hours of live streaming. VOD tends to have more stable viewership.”

Devolver’s Knuckles agrees that the volatile nature of streaming is both a strength and a weakness from a marketing point of view: “The live stream audience is certainly more engaged and want more than just to see video of a game in action.

They actively ask questions, talk amongst themselves, and can be brutally – but importantly – honest about what you put out there,” he says. “It’s all unpredictable.

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they react and we can’t really control that. Our hope is we get the work of our developers out there to both people that follow us, and bring in new folks that might have never considered one of our games before.”

If the gaming community can be brutally honest about the content that’s being delivered to them, it’s equally important for the brands making use of streaming platforms to be honest as well, says Ford.

“The key message here is that an advertising partner has to be authentic,” he explains.

“If the message isn’t authentic, then the audience will know immediately. Twitch offers a managed service to brands that want to explore the opportunities live streaming

has to offer, but need help in their ideation and execution.

When it’s done right, engagement, measurable brand uplift and a positive emotional connection are the rewards.”

Knuckles concurs: “It’s been our experience that you need a schedule to keep your community engaged but leave some room for impromptu fun, because games should always be something loose and spontaneous.”

THE KNIGHTS AND JESTERS Streaming and VOD aren’t just tools for publishers to promote their games, however, as these platforms have also begun to attract non-endemic brands whose target audiences fall into the gaming community bracket.

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“Every day more nonendemic brands are looking to position themselves around live gaming content,” Ford confirms. “In the UK, we reached a tipping point around halfway through 2016 when we started to generate more revenue from our non-endemic partners.”

This shift occurred as more live streaming platforms were made available to the public, which gave non-endemic brands a wealth of options.

In the end, that largely benefitted the top dogs, such as Twitch, but also VOD platforms like DingIt. “With many options available for brands within live video, it can often be overwhelming,” Simmons explains. “Non-endemic brands are already on a steep 15

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learning curve with the gaming audience and how to utilise it effectively. At DingIt, we look to complement the live content our creators make on other platforms with bite-sized VOD, which offers different opportunities for brands.”

In the end, it’s the community that drive the marketing opportunities and not the other way around, Ford adds: “At Twitch, we have continued to embrace various forms of emerging content, but these are surfaced by our community rather than advertisers. We believe that if we get this right, then we will automatically build the right audiences for a range of advertisers.”

Audiences are evolving as well, with the rise of eSports extending the gaming community beyond traditional mainstream players. This has the potential to attract more brands, both inside and outside the industry. However, it may be some time before non-endemic brands begin engaging with eSports, as Ford tells us that games publishers are still the primary

drivers for marketing campaigns using this type of content.

“Most eSports league content carries with it the same natural competitive separation that traditional sports have,” Ford says.

“That said, publishers are always looking to add to the portfolio of influencers playing their game, and current and former eSports athletes fit that mould.”

Much like Twitch embraced both emerging and eSports content, DingIt aims to appeal to the gaming community at large as well, creating a wealth of marketing opportunities.

“Our aim is provide different destinations for different communities within gaming,” Simmons explains. “With DingIt.tv as our flagship site, we are focused on gaming enthusiasts and eSports. Our soon-to-launch site, TheGamer.tv, will be focused on mainstream gaming. While there are millions of eSports fans, they still only make up a small section of overall gamers, and we see a lot of opportunity by catering to the wider gaming community.

“Non-endemic brands are already on a steep learning curve with the gaming audience.”

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“Especially when we’re talking to non-endemic brands, there’s still some misunderstanding around eSports. Competitive play offers some great opportunities for brands, but it only attracts some of the total gaming audience. There’s a case to try and cater for all gamers on a single site, but we believe the route is to cater to different communities with their own destinations and that’s what we hope to do with DingIt, TheGamer and GoGamer. That opens the option for different brands and games to align with the site that fits them best.”

Ultimately, the fact that streaming and VOD platforms are finally embracing the wider gaming community is great news for brands wishing to utilise them as marketing tools.

They don’t need to target superstar streamers, either, as focusing on everyday gamers can be an equally rewarding, says Ford: “If you are engaging to your audience, you can make a living on Twitch. The appeal of Twitch is no different than medieval times, when you had the knights and the jesters.

The knights are the skilled players and the jesters are the entertainers, with the avenues to success open to them equally on Twitch.”

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Your Localization and Player Support Partner

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Visit us at August 22 nd to 24 th • Hall 2.1, Aisle E No: 025

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Enter Eastern Europe

ComputerLand

CEO Miodrag Stakić talks about the challenges and opportunities of working in Serbia, and how it turned Skylanders into a huge success

COMPUTERLAND GROUP has recently acquired Colby and Videotop, two of the oldest distributors in the market, to complement its existing portfolio of Serbian distributors Iris-Mega and PC Centar.

It now distributes in seven countries to a network of more than 2,000 dealers and retailers, targeting nearly 35m consumers.

Founded nearly 25 years ago in Belgrade, ComputerLand has been present in former Yugoslavia since the early 90s and helped shape the video games and entertainment industry across the Balkans.

Tell us more about your company for those unfamiliar with your work.

Firstly, we are not just a video game distributor. We cover a wide portfolio of vendors and products from drones, hoverboards and gaming hardware to home security, 18

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tablets and smart home equipment. Besides some of the most renowned publishers such as Activision Blizzard, Bandai Namco, Konami, Sega and Square Enix, we also distribute Canon, dji, Fibaro, Logitech, Razer, Thrustmaster and many more.

We’re driven by passion. We are all big gamers and gadget fans eager to try out new products and that’s crucial. It assists us in considering suitable strategies, communication and advertising to bring the product to market.

What’s your greatest sales story to date?

Our achievements with Activision’s Skylanders franchise, which has since been admired and recognised on a global scale. By focusing on the toy aspect rather than the video game, and ensuring that toys were attainable through a wide

range of retail channels, we built a fan base that would later reap the rewards as new generations of the game were launched.

Considering we’re in a developing region, we are continuously aiming to break boundaries. We’re always on the lookout for new products, even at the conceptual stage, to add to our portfolio.

What projects do you currently have in the works?

Adria is currently the only region developing at pace in Europe.

That’s extremely important to us as we must be responsible while remaining dynamic to change. The acquisitions of Colby and Videotop in Slovenia and Croatia, following PC Centar last year in Serbia, helped us form the leading distributor network in the territory. The results speak for themselves and our doors are open to new strategic opportunities.

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Reach new markets with MoGi Group Director of media and communications Adam Leahy explains how MoGi Group’s localisation expertise can broaden your game’s audience

RISING from humble beginnings in 2007, MoGi Group has quickly grown to become a leading light in the games service industry, boosted by its passion and enthusiasm for gaming and its talents in localisation, player support, voice-over recording, community management, and quality assurance.

In the last year alone, MoGi Group has worked with over 500 clients in the industry throughout its offices in Ireland, Belgium, the UK, Germany, and Greece, localising over 45 million words of gaming content in over 40 languages worldwide with its amazing team of over 70 translators. MoGi’s team of dedicated player support agents also solve over 3.5 million tickets annually. For MoGi, working on games like Star Wars: Force Arena, The Walking Dead: The Telltale Series (pictured right), Forge of Empires, Valkyrie Connect, Gods & Glory, MU 20

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Legend, and Brave Frontier for clients as varied and impressive as Telltale Games, Netmarble, InnoGames, Ateam, Wargaming, gumi and Webzen is nothing short of a vocation.

MoGi Group is still taking bookings for one-on-one meetings and consultations throughout gamescom. Fast booking is advised as slots have filled up quickly in the past. A consultation could be the first step for upcoming indie developers (as part of MoGi’s trailblazing Indie Initiative) and

established, major title holders alike in reaching larger global markets and bringing their games to the entire world with a knowledgeable, flexible partner.

MoGi Group will also be hosting a special get-together for clients and friends new and old today at 4:00 pm with complimentary food and drinks – a great opportunity to network, catch up with familiar faces, and find out just how MoGi Group does what it does.

Don’t miss it! Find MoGi Group’s booth at Hall 2.1 Aisle E No.25.

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11/08/2017 09:42

Invest with Northern Ireland Screen Donal Phillips, interactive content executive at Northern Ireland Screen, talks about his vision for the industry in Northern Ireland

Tell us about your company for those who might not know you.

We are the national screen agency for Northern Ireland. Our goal is to transform the local sector in Northern Ireland to ensure we have the strongest screen industry outside of London in the UK and Ireland.

Our vision is supported by vibrant and diverse cultural voices that are recognised and celebrated equally at home and abroad. Primarily, we provide project finance through our screen fund and sectoral support for skills and talent development.

What businesses are you looking to work with and what value can you bring to them?

We are attending this year’s gamescom with a ten-strong delegation of the best Northern Irish game developers with a diverse range of content and business propositions. Our aim

is to introduce delegates to the likes of publishers with the ability to help them reach a global market; investors looking for the next hotbed of talent and established businesses seeking to expand their operations and access our finance.

What projects do you currently have in the works?

Several of the attending developers have previously participated in our lighthouse programme, Assembler, which aims to prepare development teams for the process of adapting early stage concepts into production. The programme also develops games that are player-centric, commercially viable and aligned to market opportunities. The games are also delivered in partnership with various UK indie publishers.

After successfully completing the Assembler programme, Children of Geometry, developed

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by Enter Yes, was awarded a production award of £100k in addition to a publishing deal with Green Man Gaming. Other notable projects include Mona Lisa by Italic Pig, which was unanimously announced as the winner of the Big Indie Pitch at Pocket Gamer Connects in London recently. Representatives from Italic Pig are also set to speak at this year’s DevCom. What wider trends in the games industry are helping your business most today?

The rise of digital and indie publishers has increased opportunities for our developers to find a route to market. In addition, the UK investment landscape has transformed the start-up ecosystem, providing more prospects for developers to finance their projects with support from the likes of SEIS & VGTR, which work well with our own funding options.

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PQUBE.CO.UK

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11/08/2017 09:43

Signing up with Cedemo Christophe Maridet explains how Cedemo’s Retail Content Platform can take the hassle out of digital asset management

CEDEMO is the leading provider of digital product information and digital signage content for the video game and toys industries in Europe. Based in the Principality of Monaco, the Cedemo Retail Content Platform constantly updates video games trailers, images and texts from all games publishers for retailers across Europe and North America.

Trusted by GameStop, Rakuten, Amazon, Fnac, Toys’R’Us, Thalia Bucher and other major retailers in 12 countries, Cedemo plays a pivotal role in the industry, providing consistent, quality controlled and comprehensive content that is updated daily and available through all sales channels: websites, mobiles, kiosks and digital signage.

We are a single source for retailers, easily integrated into any back office system. For publishers, we take out all the 24

24 Day 3 Advertorial Cedemo_V3.indd 1

integration hassle with retailers and give a single access point to a large network. We are proud that video games publishers and retailers have validated the return on investment and positive impact of Cedemo’s services.

Cedemo’s team will meet retailers and publishers at gamescom to discuss exciting projects using the Retail Content Platform to optimize omni-channel digital asset flow and digital signage. Digital signage is a key part of the marketing mix for retailers with physical stores and Cedemo runs a network of 3,000 screens for video games retailers across Europe. As video games stores

diversify with other product groups such as licensed products, also covered by Cedemo, clear and concise video in-store is key.

This year at gamescom, Cedemo will launch the latest modular video wall technology and showcase innovative content. Cedemo delivers content and technology as a package with the right total cost of ownership for the retailer.

Cedemo’s Retail Content Platform takes the hassle and costs out of digital asset management and we are really looking forward to meeting new faces and catch up with friends and clients on our stand number E-017G1 in hall 4.1.

DAY THREE 2017

14/08/2017 10:20

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11/08/2017 09:44

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

1

1

A001

Abysse Corp

2

1

D021a

Acronis Germany GmbH

2

1

ad2games GmbH

2

AdColony

2

ADIA Entertainment Ltd.

COMPANY

HALL / LEVEL / BOOTH

Bundesagentur für Arbeit

2

1

Cardpay PSP Ltd.

2

1

D012

A012

Carl Zeiss AG - Multimedia Devices

2

1

C020

1

E013

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

2

1

D011

1

A011

CCP hf

2

1

A012

2

1

A019

CDP Sp. z o. o.

2

1

E031

Adyen GmbH

2

1

D020

Click Entertainment Ltd.

2

1

B018

ak tronic Software & Services GmbH

2

1

C014

Creative Distribution Ltd / Reef Entertainment Ltd.

2

1

E014

AMS Neue Medien GmbH

2

1

A012

E-concept

2

1

A013

Aptoide SA

2

1

C033

E-home Entertainment Development Company Ltd.

2

1

A009

astragon Entertainment GmbH

2

1

A022

ESET Deutschland GmbH

2

1

A012

Avanquest Deutschland GmbH

2

1

C017

Events for Games

2

1

C028

Beta Service GmbH

2

1

D023

EZ Games / EZ Cards Distribution

2

1

B015

Bigben Interactive S.A.

2

1

A012

flaregames GmbH

2

1

A021

Bigmoon Entertainment, Ltd.

2

1

E030

Funcom Oslo AS

2

1

C024

Bigpoint GmbH

2

1

C016

Game Insight, UAB

2

1

D021a

Blade S.A.S.

2

1

A016

Gameforge AG

2

1

A012

DAY THREE 2017

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D027

27

14/08/2017 11:08

COMPANY

HALL / LEVEL / BOOTH

COMPANY

HALL / LEVEL / BOOTH

Gamera Interactive SRL

2

1

B017

Rubber Road Ltd, Numskull

2

1

A010

Gaming Series S.L.

2

1

D022

Splash Damage

2

1

B022

Genesis

2 1 E022

Trust International BV

2

1

A012

Gerolsteiner Brunnen GmbH & Co. KG

2

1

C026

Turtle Beach UK

2

1

A012

GL Entertainment Distributions Limited

2

1

C018

Ultrahaptics Ltd.

2

1

D025b

Guangzhou Walkera Technology Incorporated Company

2

1

D025a

Unity Technologies ApS

2

1

A020

Heaven Media

2

1

E016

UnityAds

2 1 A020

HIPAY

2 1 C022a

Virtuos Ltd.

2

1

B020a

HORI (U.K.) Ltd.

2

1

B022

Yandex.Money, NBCO LLC

2

1

C031

ImagiNation S.C. Lukasz Kubiak, Bartosz Moskala

2

1

E028

Zhejiang Zhongnan Animation Co., Ltd.

2

1

B019

I-Mobile Co., Ltd.

2

1

E033

1C Publishing EU s.r.o.

2

2

B042

ironSource

2 1 E020

4U2PLAY GmbH

2

2

B018

Kalypso Media Group GmbH

2

1

D013

Acapture

2 2 B029

Keywords International

2

1

C022a

Adcash OÜ

2

2

B017

Link Distribution (UK) Ltd.

2

1

C011

adspree media gmbh

2

2

C031

Logitech GmbH

2

1

A012

Alliance Digital Media

2

2

A035b

Marketpoint GmbH

2

1

C013

Amazon Web Services Germany GmbH

2

2

B039

MIH PAYU BV

2

1

C032

AOC International (Europe) BV

2

2

C050

Mobvista International Technology Limited

2

1

C024a

BIOWORLD Europe BV

2

2

A021

CALIBURNUS LIMITED

2

2

C031

Capcom Entertainment Germany GmbH

2

2

C031

CLD Distribution

2

2

A032

Computec Media GmbH

2

2

D034

Cooler Master Europe BV

2

2

C031

Corsair Hong Kong Limited

2

2

C050

Cosmocover SARL

2

2

C022

Cowana GmbH

2

2

C031

Creative Labs (Europe) Ltd.

2

2

C050

CyberLink Europe BV

2

2

D047

DCMN GmbH

2

2

C042a

Digamore Entertainment GmbH

2

2

C031

DXRacer Distribution Europe

2

2

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

2

2

D033

My.com B.V.

2

1

E019

Enarxis Dynamic Media Ltd.

2

2

D015

NBG EDV Handels- und Verlags GmbH

2

1

A012

Epic Games International

2

2

A034

Nero AG

2

1

A012

Forever Entertainment SA

2

2

B029a

Nordic Game Supply GmbH

2

1

A12

Freaks 4U Gaming GmbH

2

2

C050

Oasis Games Limited

2

1

A018

Frontier Development PLC

2

2

C031

GAIJIN NETWORK Ltd.

2

2

B035

G-CORE Labs SA

2

2

C050

GIANTS Software Entertainment GmbH

2

2

C031

Girisim Gelisim ve Teknolojileri Dernegi

2

2

C024

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

2

2

D024

Goodbye Kansas Entertainment Group

2

2

D031

International Business Media Pte., Ltd.

2

2

C050

Kingston Technology Europe Co LLP

2

2

C050

Kinguin Limited

2

2

C050

Koelnmesse, Inc.

2

2

B035

Koelnmesse, Inc.

2

2

A033

Koelnmesse, Inc.

2

2

A035

Kount Inc.

2

2

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.

2

2

C050

OneSky Inc. Limited

2

1

D032

LifeXpress/ Medion AG

2

2

C028a

ORB Gaming

2

1

D034

Madcow Entertainment SARL

2

2

D035

Plantronics BV

2

1

A012

medialounge GmbH

2

2

C031

QIWI Bank JSC

2

1

E026

medialounge GmbH

2

2

C019

RAM ROM GAMES, S.L.

2

1

D030d

NVIDIA GmbH

2

2

C031

Roccat GmbH

2

1

D014

Overwolf, Ltd.

2

2

C050

Rock Pocket Games

2

1

D030d

Payguru Trend Ödeme Kurulusu A.S.

2

2

D016

28

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

DAY THREE 2017

14/08/2017 11:08

COMPANY

HALL / LEVEL / BOOTH

COMPANY

HALL / LEVEL / BOOTH

Paymentwall, Inc.

2

2

A040

Webedia Gaming GmbH

2

2

C031

Paysafe EOOD

2

2

B031

Werkmeister & Company GmbH

2

2

C031

Polyarc, Inc.

2

2

C048

Whyttest SRL (Limited)

2

2

D041

SevenOne Media

2

2

C031

Wirecard Technologies GmbH

2

2

B045

PT Unimaksima Lentera Nusantara

2

2

D051

Xsolla Inc.

2

2

A033

RAD Game Tools Inc.

2

2

C044

ZeniMax Benelux BV

2

2

C019

Razer (Europe) GmbH

2

2

C050

ZeniMax Europe Ltd.

2

2

C019

Roberts Space Industries International Ltd.

2

2

B033

ZeniMax Germany GmbH

2

2

C019

ZOTAC International (MCO) Ltd.

2

2

C050

“Kookie Entertainment (GameZip)”

3

2

B020

4-Real Intermedia GmbH

3

2

C012

Action Reaction Games

3

2

A017f

Action Squad Studios

3

2

A017f

Aerosoft GmbH

3

2

C012

Aiara Co., Ltd.

3

2

B020

AIDUS & Advergamekorea

3

2

B020

AK Interactive

3

2

B020

Altagram GmbH

3

2

C014

Anxing Information Technology (Shanghai) Co., Ltd.

3

2

D018x

App Annie Europe Limited

3

2

C014

Application Systems Heidelberg Software GmbH

3

2

C017

Aquiris Game Studio S.A.

3

2

A013

Assemble Entertainment GmbH

3

2

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.

3

2

D018x

Secure Trading Group Limited

2

2

D049

bHaptics Inc.

3

2

B020

Serienjunkies.de GmbH & Co. KG

2

2

C031

bib International College Hannover

3

2

B017

Silicon Studio Corporation

2

2

C044a

Bind

3 2 A017f

Six Waves Inc.

2

2

C028

Sky City Y2K Limited

2

2

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

2

A010

Black Forest Games GmbH

3

2

C017

Brazilian Game Developers Abragames

3

2

A013

Canadian Digital Media

3

2

B019 B019

Canadian Media Fund

3

2

CAT Nigiri Ltda ME

3

2

A013

Chendu Future Tech Ltd.

3

2

D017

Chengdu Animation Network

3

2

D017

Chengdu Boran Tech Co., Ltd.

3

2

D017

Chengdu Yimei Digital Technology Co., Ltd.

3

2

D017

Chengdu Yumoon Tech Co., Ltd.

3

2

D017

Chengdu Cellsgame Tech Co., Ltd.

3

2

D017

Chengdu Funcell123 Tech Co., Ltd.

3

2

D017

CipSoft GmbH

3

2

B010

Complex Games Inc.

3

2

B019

Canada

3 2 B019

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

2

B014

Creative Mobile

3

2

C014

SPYR Games

2

Creeng

3 2 A017f

StackPath

2 2 C050

CXity of Helsinki

3

2

A017f

Stillfront Group AB

2

2

C050

Daedalic Entertainment GmbH

3

2

C012

Stimtech Ltd. NeocoreGames

2

2

B016

DECK13 Interactive GmbH

3

2

C012

Techland Sp z o.o.

2

2

D020

Devs Channel

3

2

A017f

Tilting Point Media LLC

2

2

C042

DigiBC

3 2 B019

Timecity

2 2 C040a

Digital Frog Co., Ltd.

3

Tobii Tech

2

2

Duaik

3 2 A013

transact Elektronische Zahlungssysteme GmbH

2

2

D030

Engage.NRW c/o Mülheim&Business GmbH

3

2

UOL BoaCompra

2

2

C026

European Games Group AG

3

2

A010

Utomik BV

2

2

C050

EuroVideo Medien GmbH

3

2

C012

Vungle, Inc.

2

2

A038

EXIT GAMES GmbH

3

2

A010

Wargaming Europe S.A.S

2

2

C020

F+F Distribution GmbH

3

2

B010

Wargaming Group Limited

2

2

D022

FDG Entertainment GmbH & Co KG

3

2

B010

We Are Nations, Inc.

2

2

C050

Film- und Medienstiftung NRW GmbH

3

2

B014

Web Media Publishing AG

2

2

C031

Firepoint Interactive

3

2

B019

D018

DAY THREE 2017

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

2

B020 B014

29

14/08/2017 11:08

HALL 1

30

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 3 Exhibitor Guide_V10.indd 4

DAY THREE 2017

14/08/2017 11:08

We congratulate Sony Interactive Entertainment Inc. with the coming release of Gran Turismo Sport in this unique SteelBook® edition

Visit www.steelbook.com for more exciting SteelBook® releases!

www.steelbook.com

www.scanavo.com

© 2016 SONY INTERACTIVE ENTERTAINMENT EUROPE. DEVELOPED BY POLYPHONY DIGITAL EUROPE. MANUFACTURERS, CARS, NAMES, BRANDS AND ASSOCIATED IMAGERY FEATURED IN THIS GAME IN SOME CASES INCLUDE TRADEMARKS AND/OR COPYRIGHTED MATERIALS OF THEIR RESPECTIVE OWNERS. ALL RIGHTS RESERVED. ANY DEPICTION OR RECREATION OF REAL WORLD LOCATIONS, ENTITIES, BUSINESSES, OR ORGANIZATIONS IS NOT INTENDED TO BE OR IMPLY ANY SPONSORSHIP OR ENDORSEMENT OF THIS GAME BY SUCH PARTY OR PARTIES. “GRAN TURISMO” LOGOS ARE REGISTERED TRADEMARKS OR TRADEMARKS OF SONY INTERACTIVE ENTERTAINMENT EUROPE.

HALL 2.1

32

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 3 Exhibitor Guide_V10.indd 5

DAY THREE 2017

14/08/2017 11:08

COMPANY

HALL / LEVEL / BOOTH

COMPANY

HALL / LEVEL / BOOTH

Firetail Games

3

2

A017f

Ontario International Munich Trade and Investment Office

3

2

B019

Flux Game Studio Jogos Digitais Ltd.

3

2

A013

Ontario Media Development Corporation (OMDC)

3

2

B019

Fox Renderfarm

3

2

D017

Payletter Inc.

3

2

B020

Frozen Vision

3

2

A017f

PIXELPIMPS Corp.

3

2

B020

GAME Bundesverband der deutschen Games-Branche e.V 3

2

C012

planetlan GmbH

3

2

A010

gamearea-FRM e.V.

3

2

D012

Play Finland / Neogames Finland Association

3

2

A017

Gameloft GmbH

3

2

D012

Playa

3 2 A017f

Gameplan Consulting

3

2

A013

Playa Games GmbH

3

2

A014

GameRefinery Ltd.

3

2

A017f

PLAYPARK Co., Ltd.

3

2

B020

GAMES ACADEMY GmbH

3

2

C014

Playsnak GmbH

3

2

C014

Games for Families (c/o planetlan GmbH)

3

2

A010

Polkadot

3 2 A017f

GamesMarkt GmbH

3

2

A011

gamespipe GmbH

3

2

A014

GAMEVIL Europe GmbH

3

2

C014

Gamigo Advertising GmbH

3

2

A014

Gaming-Aid e.V.

3

2

C014

Gazzag Serviços de Internet Ltd.

3

2

A013

Gnifrix

3 2 B020

Government of Manitoba

3

2

B019

Government of Quebec

3

2

B019

Hannoverimpuls GmbH

3

2

B017

Headup Games GmbH & Co KG

3

2

C012

Heavy Weight Rex

3

2

A017f

Hinterland Studio Inc.

3

2

B019

Hoplon Infotainment

3

2

A013

Humble Bundle Deutschland GmbH

3

2

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

2

A016

Quantum Shake

3

2

A017f

HWF Hamburgische Gesellschaft für Wirtschaftsförderung mbH 3

2

B013

Quantumfrog GmbH

3

2

B017

iFunFactory Inc.

3

2

B020

IME - Interactive Media & Entertainment GmbH

3

2

A014

Imgnation Studios

3

2

A013

InnoGames GmbH

3

2

A014

International Game Developers Association (IGDA)

3

2

C019

Iran Computer & Video Games Foundation

3

2

A015

K3 Kultur- und Kreativwirtschaftsbüro

3

2

C017

Kaamos Games

3

2

A017f

Kavio Cluster

3

2

A017f

Komogames Ltd.

3

2

D018x

Koolhaus Games Inc.

3

2

B019

Korea Pavilion

3

2

D019

Koukoi Games

3

2

A017f

kr3m. media GmbH

3

2

C017

L&K Logic Korea Co., Ltd.

3

2

B020

Ludocraft

3 2 A017f

MackMedia GmbH & Co. KG

3

2

C017

MAGIX Software GmbH

3

2

C014

Manifesto Games

3

2

A013

Rockfish Games GmbH

3

2

A014

Media Info Transfer GmbH

3

2

A014

Rockhead Games

3

2

A013

media:net berlinbrandenburg e.V.

3

2

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

3

2

B014

Serious Games Solutions GmbH

3

2

Mediengründerzentrum NRW

3

2

B014

Shanghai Uzone Network Technology Co., Ltd.

3

2

C014 D022

MFG Medien- und Filmgesellschaft Baden-Württemberg mbH 3

2

B016

Shanghai Xuebao Info. Tech. Co., Ltd.

3

2

D018x

MJ Media Ltd.

3

2

C012

Sheer Tianyi Technology Co., Ltd.

3

2

D017

Mothership Marketing GmbH

3

2

C014

Shenzhen Entertainment First Co., Ltd.

3

2

D017

Muro Studios

3

2

A017f

Shenzhen iDreamSky Technology Co., Ltd.

3

2

D017

NezhaGames

3 2 D018x

Shenzhen Luckystar Technology Co.

3

2

D017

Ngelgames Co., Ltd.

3

2

B020

Shenzhen shi Genyongchang Co., Ltd.

3

2

D017

Nitro Games Ltd.

3

2

A017f

Shenzhen Smartmelon Technology Co.

3

2

D017

nordmedia Film- und Mediengesellschaft Niedersachsen/Bremen mbH 3

2 B017

Shenzhen Feiyu xingkong Technology Co., Ltd.

3

2

D017

Nova Scotia Business Inc.

2

Simplaex GmbH

3

2

C014

3

B019

DAY THREE 2017

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 3 Exhibitor Guide_V10.indd 6

33

14/08/2017 11:08

COMPANY

HALL / LEVEL / BOOTH

COMPANY

HALL / LEVEL / BOOTH

Six Foot Europe GmbH

3

2

A010

Bossa Studios

4

1

A021

SkyBox Labs Inc.

3

2

B019

Business France

4

1

D015 D013

SOFTON ENTERTAINMENT Co., Ltd.

3

2

B020

Business France

4

1

Soulgame Entertainment Co., Ltd.

3

2

D017

Business France

4

1

E017

STEA Games Co., Ltd.

3

2

B020

Capsule Studio

4

1

D013

Studio DOMA

CD Projekt S.A.

4

1

C019

3

2

B020

Studio ZYX Software, Games Aplicativos E Animacao Ltd. 3

2

A013

Stupid Stupid Games

3

2

A017f

Subsolar Entertainment

3

2

A017f

Super Plus Games

3

2

A017f

TalkieStudio Co., Ltd.

3

2

B020

Taylor Wessing Partnerschaftsgesellschaft mbB

3

2

A014

TeamSpeak Systems GmbH

3

2

B010

TIL GmbH Tübinger Institut für Lerntherapie

3

2

C017

Tivola Publishing GmbH

3

2

C012

Travian Games GmbH

3

2

B010

Trion Worlds, Inc.

3

2

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.

3

2

B020

Urban Invention GbR

3

2

B017

VikingVR Studio

3

2

D018x

Werk1.Bayern GmbH

3

2

B010

WGM Entretenimento Digital Ltd.

3

2

A013

Ceské hry z. s. / Dreadlocks

4

1

C015

wolff interactive GmbH

3

2

B017

Cinnoman Games

4

1

D014

ZENIT GmbH

3

2

B014

Clan of the Cloud

4

1

D013

Zepetto Co.

3

2

B020

ClockStonde Studio

4

1

B017

101%

4 1 B014

Cloudalize NV

4

1

A019

3DClouds.it

4 1 B014

Codemasters Software Ltd.

4

1

A021

505 Games Ltd.

4

1

A021

Coffee Box Games

4

1

A021

Activision Blizzard Deutschland GmbH

4

1

A011

Coffee Stain Studios

4

1

D017

Adventure`s Planet SRL

4

1

B014

Collense

4 1 D017

Controvert Ltd.

4

1

A021

Crazy Monkey Studios bvba

4

1

A019

Creative Dialogue Tools Ltd.

4

1

A021

Croatian Chamber of Economy

4

1

B019

Cubic Motion

4

1

A021

Cupboard Games Limited

4

1

A021

Cybernetic Walrus BVBA

4

1

A019

Czech Trade Ceska agentura na

4

1

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

4

1

Dead Good PR

4

1

A021

DeadToast Entertainment

4

1

D017

deltaDNA Ltd

4

1

A021

Digital Tales SRL

4

1

B014

Divine Robot

4

1

D017

DL-Software Daniel Leitinger e.U.

4

1

B017

Dovetail Games

4

1

A021

Edge Case Games Ltd.

4

1

A021

Aliem Pixel Studios SRL

4

Amiquis

4 1 A021

Elektraglide Ltd.

4

1

A021

Amstad Digital EF

4

1

D014

Enter Yes

4

1

A21

Apocalypse Hunters SA

4

1

A019

EverdreamSoft

4 1 D014

Artefacts Studio

4

1

D013

Fabraz

4 1 D014

Atomicom Limited

4

1

A021

Falkenbrew

4 1 D014

Bad Seed SRL

4

1

B014

FGL’s Enhance

4

1

F016

Badland Games SL

4

1

B013

Firebrand Games

4

1

A021

Bastion

4 1 A021

Billy Goat Entertainment Ltd.

4

Fishing Cactus

4

1

A19

1

A021

Flanders DC VZW

4

1

A019 D015

Black Cell OG

4

1

B017

Focus Home Interactive

4

1

Black Land Studio

4

1

A019

Focus Multimedia Ltd.

4

1

A021

Blacknut

4 1 D013

Forge Reply SRL

4

1

B014

Blade Representaciones SL

4

1

B013

Fourth State Ltd Sketchbook Games

4

1

A021

Bloodirony Games GmbH

4

1

B017

Frogsong Studios

4

1

D017

34

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 3 Exhibitor Guide_V10.indd 7

DAY THREE 2017

14/08/2017 11:08

HALL 2.2

DAY THREE 2017

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 3 Exhibitor Guide_V10.indd 8

35

14/08/2017 11:08

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

B

..

Passage 3-4 passaqe 3-4

36

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 3 Exhibitor Guide_V10.indd 9

DAY THREE 2017

14/08/2017 11:08

COMPANY

HALL / LEVEL / BOOTH

Frostyfroggs S.C.S.

4

1

A019

Fusion.Robot GmbH

4

1

D014

Game City Southern Sweden

4

1

D017

1

F016

Game Drive

4

GAMEDIA

4 1 E013

Gamer Network

4

1

E021

Gamera Nest SL

4

1

B013

Games London

4

1

A021

GameSessions (Tangentix Ltd)

4

1

A021

Gamious BV

4

1

E013

Genba Digital Limited

4

1

A021

Generalkonsulat der Rep. Polen

4

1

A015

Glowfish Interactive VOF

4

1

A019

Sweden Game Arena

4

1

A018

Green Man Gaming

4

1

A021

Hana Hana

4

1

D014

Happy Volcano BVBA

4

1

A019

Haute Ecole Albert Jacquard

4

1

A019

Hi-REZ STUDIOS

4

1

A021

Holo-Light GmbH

4

1

B017

Hyperbolic Magnetism - Jan Ilavsky

4

1

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

1

A013

Iceberg Interactive BV

4

1

F016

ICO Partners Limited

4

1

A021

Insert Coin

4

1

D014

Invest Liverpool

4

1

A021

iQu

4 1 E013

Italic Pig

4

1

A021

Jagex Ltd.

4

1

A021

KISS Ltd.

4

1

A021

Kiwi Studio

4

1

D014

Kodobur Game and Software Tech

4

1

A017

Krotos Ltd.

4

1

A021

LA MARQUE ROSE

4

1

E017

Le Game

4

1

D013

Little Chicken Game Company BV

4

1

E013

Local Heroes Worldwide

4

1

F016

LocalizeDirect AB

4

1

A021

Localsoft S.L.

4

1

B013

Marvelous Europe Limited

4

1

A021

Maximum Games Ltd.

4

1

A021

McMagic Productions s.r.o.

4

1

C015

Media Evolution

4

1

D017

Milestone SRL

4

1

A021

Milestone SRL

4

1

B014

Milky Tea Limited

4

1

A021

1

B014

MixedBag SRL

4

Mode4

4 1 A019

Multiplay (UK) Limited

4

1

A021

nDreams Ltd.

4

1

A21

Neurodigital Technologies SL

4

1

B013

Nifty Productions

4

1

D014

Nordic Game

4

1

D017

Northern Software Limited

4

1

A021

Not A Company

4

1

A019

Novaquark

4 1 D013

Novobox France

4

1

D013

ODTÜ Teknokent Yönetim A.S.

4

1

A017

Ojoo

4 1 A019

OLD SKULL GAMES

4

1

E017

DAY THREE 2017

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

4

1

A021

Oskar Stalberg

4

1

D017

Outright Games Ltd.

4

1

A021

Outsider Games Ltd.

4

1

A021

Pajama Llama Games VOF

4

1

A019

Paladin Studios

4

1

E013

Pasching Solutions

4

1

B017

PayByMe Corp.

4

1

A017

Perun Creative s.r.o.

4

1

C015

Pixel Shade

4

1

D017

Pixel Toys Ltd.

4

1

A021

Plastic SCM Codice Software SL

4

1

B013

Playdius Entertainment

4

1

D013

PlayFab, Inc.

4

1

A021

Playstack Ltd.

4

1

A021

Plug In Digital

4

1

D013

Pole To Win UK Limited

4

1

A021

Polish Agency for Enterprise Development

4

1

A016

Polnisches Institut Düsseldorf

4

1

A015

Quantum Soup Studios Ltd (Wales Area)

4

1

A021

Rarebyte OG

4

1

S017

Renaissance PR

4

1

A021

RGDA Romanian Game Developers Association

4

1

F013

Rheinmesse Co., Ltd.

4

1

D017

Richard Meredith

4

1

D017

Ripstone Ltd.

4

1

A021

rudy games GmbH

4

1

B017

S. C. Cridique Gaming SRL

4

1

F013

Sanuk Games SARL

4

1

D013

SC Amber Studio SRL

4

1

F013

Sekg S.L.

4

1

B013

Senzie

4 1 F016

Shiro Games

4

1

D013

Shy Robot Games

4

1

D014

SimyLife Gamification GmbH

4

1

B017

Skillsearch Limited

4

1

A021

Sold Out Sales and Marketing Limited

4

1

A021

Southern Sweden Creatives

4

1

D017

1

B013

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

4 1 D017

Splendy Interactive Ltd.

4

1

A021

Stage Clear Studios, S.L.

4

1

B013

StarWell s.r.o.

4

1

C015

37

14/08/2017 11:08

HALL 4.1

38

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DAY THREE 2017

14/08/2017 11:08

HALL 4.2

DAY THREE 2017

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 3 Exhibitor Guide_V10.indd 12

39

14/08/2017 11:08

COMPANY

HALL / LEVEL / BOOTH

COMPANY

HALL / LEVEL / BOOTH

Steel Media Ltd.

4

1

A021

Welsh Government (Wales Area)

4

1

A21

Storm in a Teacup SRL

4

1

B014

Whitepot Studios Limited

4

1

A021

Struckd AG

4

1

D014

Wibbu

4 1 A021

Studios Voa

4

1

E017

Wirtschaftskammer Österreich

4

SwapBots

4 1 A021

Xplored

4 1 B014

SwissGames

4 1 C013

Sycoforge GmbH

4

1 1

B017

YIG Media, S.L. - Playstats

4

1

D014

Yogscast

4 1 A021

B013

Sylphe Labs Ltd.

4

1

B014

Zurich University of the Arts Departement Design

4

1

Tag Games Limited

4

1

A21

BANDAI NAMCO Entertainment Germany GmbH

4

2

A010

Takeoff

4 1 D013

BANDAI NAMCO Entertainment Germany GmbH

4

2

B010

Talespinners Studios Ltd (Wales Area)

4

A040

1

Deep Silver a division of Koch Media GmbH

4

2

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

Facebook Ireland Limited

4

2

A042

Team Panoptes

4

flashpoint AG

4

2

C020

Teamto

4 1 E017

Gaya Entertainment GmbH

4

2

C050

Testronic Laboratories Ltd.

4

1

A021

Google UK Ltd./London

4

2

C040

The Station

4

1

D017

Konami Digital Entertainment BV

4

2

A021

The Trailer Farm

4

1

A21

Microsoft Ireland

4

2

A021

Tiny Bull Studios SRL

4

1

B014

Microsoft Ireland

4

2

A022

To Play For Limited

4

1

A021

Nintendo of Europe GmbH

4

2

B021

TOGED (Game Developers Association of Turkey)

4

1

A017

Sony Interactive Entertainment Deutschland GmbH

4

2

A041

Toxic Games Limited (Wales Area)

4

1

A021

THQ Nordic GmbH

4

2

A043

Triangle Factory BVBA

4

1

A019

UBISOFT GmbH

4

2

C051

Troll inc

4

1

A021

Warner Bros. Entertainment Inc.

4

2

B040

UIG International GmbH

4

1

B017

UK Interactive Entertainment (UKIE)

4

1

A021

UNAmedia di Benegiamo Daniele

4

1

B014

Universally Speaking Limited

4

1

A021

Untold Games SRL

4

1

B014

VE Vision Education GmbH

4

1

B017

1

A021

D014

A019

Verein FH Technikum WIEN

4

1

B017

Vereniging Dutch Games Association

4

1

E013

Vereniging Dutch Games Association

4

1

E015 B017

verse publications GmbH

4

1

Vertigo Games BV

4

1

E013

Virtual Arts Ltd

4

1

A021 B013

Virtualware 2007, S.A.

4

1

Wales Interactive Limited (Wales Area)

4

1

A021

Warning Up

4

1

D013

40

27 28 29 30 32 33 34 35 36 37 38 39 40 Day 3 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 THREE 2017

14/08/2017 11:08

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11/08/2017 09:59

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Unreal, Unreal Engine, the circle-U logo and the Powered by Unreal Engine logo are trade-marks or registered trademarks of Epic Games, Inc. in the United States and elsewhere.All manufacturers, accessory suppliers, names, tracks, sponsors, brands and associated imagery featured in this game are trademarks and/or copyrighted materials of their respective owners.

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11/08/2017 15:41:07 14/08/2017 15:10

Ubisoft’s biggest Gamescom yet Senior PR Manager Tom Goldberger tells MCV@gamescom more about Ubisoft’s lineup at the show this year

THIS year, it promises to be an exciting gamescom for Ubisoft and we are pleased to be able to offer players the opportunity to get hands-on with some of our most anticipated releases, including Assassin’s Creed Origins, Far Cry 5, Mario + Rabbids Kingdom Battle, South Park: The Fractured But Whole and The Crew 2.

The Ubisoft booth is located in hall 6.1, booth B020, where we have many activities planned throughout the week, including stage performances for Just Dance 2018, exclusive presentations, news, demos, trailers and giveaways. This year our booth features more than 300 pods, the most we have ever had at gamescom.

A warm welcome also to our press and business partners who are able to find us located in media hall 4.2 C51 of the business area.

DAY THREE 2017

43 Day 3 Advertorial Ubisoft V2.indd 1

In addition to our upcoming releases, this year we will also be hosting the Tom Clancy’s Rainbow Six Pro League Season 2 Finals during the show, held at the Alpha Stage ESL Arena in Hall 9.

The semi-finals will take place on Friday, August 25th, and the Season 2 finals will take place on Saturday, August 26th. Broadcast from

9:45 AM to 8PM, CET, the show will include matches, live showcases of new content, as well as developer and community panels.

With an ever-expanding fanbase and popularity, don’t miss Tom Clancy’s Rainbow Six Pro League Season Finals at the show.

We look forward to seeing you all at Gamescom.

43

23/08/2017 16:29

Meet the team Seth Barton

Marie Dealessandri

Jem Alexander

Editor, MCV sbarton@nbmedia.com

Staff Writer, MCV mdealessandri@nbmedia.com

Editor, Develop jalexander@nbmedia.com

Katharine Byrne

Sam Richwood

Sean Cleaver

News Editor, MCV kbyrne@nbmedia.com

Designer, MCV srichwood@nbmedia.com

Deputy Editor, Develop scleaver@nbmedia.com

NEWBAY SUBSCRIPTIONS: James Marinos Production Executive jmarinos@nbmedia.com

Sophia Jaques Games Sales Manager sjaques@nbmedia.com

Caroline Hicks Events Director

chicks@nbmedia.com

The Emerson Building, 4-8 Emerson Street, London, SE1 9DU e: subs@mcv.com w: www.mcvuk.com MCV has an exclusive media partnership with Famitsu – Japan’s leading video games analyst and news source

Mark Burton Managing Director

NewBay Media Europe Ltd is a member of the Periodical Publishers Association

mburton@nbmedia.com

Charlie Gibbon Account Manager

cgibbon@nbmedia.com

ISSN: 1469-4832 Copyright 2017

MCV is published 24 times a year by NewBay Media Europe Ltd, The Emerson Building, 4th Floor, 4-8 Emerson Street, London SE1 9DU

The Emerson Building, 4th Floor, 4-8 Emerson Street. London, SE1 9DU All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying, recording or any information storage or retrieval system without the express prior written consent of the publisher. The contents of MCV are subject to reproduction in information storage and retrieval systems.

Printed by Pensord Press Ltd, NP12 2YA

DAY THREE 2017

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43

14/08/2017 10:20

How Polyarc’s Moss will raise the VR story game MCV@gamescom chats with Polyarc co-founders Chris Alderson and Danny Bulla about the beautiful VR experience Moss HAVING worked on triple-A titles such as Destiny, Halo, and Red Dead Redemption, the team at Polyarc has a pretty impressive CV. But when co-founders Tam Armstrong, Chris Alderson and Danny Bulla left Bungie in 2015 to create their new studio, they decided to make an altogether different kind of game. Enter Moss, a narrative-driven game coming to PS VR this winter, that sees players team up with a mouse named Quill for an action puzzle adventure.

“The reason Moss exists is because we asked ourselves what would be a good game for VR, and not the other way around. We’re not trying to bring a game to VR,” design director Danny Bulla told MCV@gamescom.

In Moss, players can interact with both the environment and the characters in this beautifully designed universe. Art director Chris Alderson explained: “Interacting with everything is 44

44 46 47 48 Day 3 Previews_V2.indd 1

just a new and exciting way to interact in video games. At the same time, our studio is primarily made up of character artists. So we love stories and characters, and that’s what we want to bring to life. And I think that’s something that kind of lacks in VR at the moment.”

Bulla added: “I don’t think it’s because VR can’t do stories, but the reason we set out to do it is because [a good story] is part of a good game to us. People want to be immersed in a world, they want to be immersed in a story.”

In addition, Moss has been

designed to be very accessible and should therefore appeal to a wide range of players.

“Our audience is people who are trying VR for the first time,” Bulla said, with Alderson adding: “We wanted to bring on as many people as possible.

On top the VR headset, you use three buttons and a joystick. That’s all you need.”

He concluded: “It’s really refreshing to work on a game that’s good, pure and nice.

Maybe that’s also a reflection of the industry, maybe people are ready for this now.”

Marie Dealessandri DAY THREE 2017

23/08/2017 17:12

Grab yourself a discount, enter discount code GAMESCOM10 at the checkout!

BRINGING TOGETHER THE ELITE OF THE INTERACTIVE ENTERTAINMENT INDUSTRY 31st October - 1st November 2017 Congress Centre, 28 Great Russell Street, London WC1B 3LS

INNOVATION, TRANSFORMATION & EVOLUTION Say hello to some of our 2017 speakers Agostino Simonetta, ID@Xbox regional lead, Xbox

Daniel Da Rocha, managing director, Toxic Games

Noirin Carmody, chief operating officer, Revolution

For over a decade Russell was the senior director of audio and lead composer at Blizzard Entertainment. Russell’s keynote will close day 1 of the conference on Tuesday 31st October 2017.

Previously to working at Xbox Agostino worked at Sony and SEGA. ID@Xbox is now home to some of the biggest and most ambitious independently developed titles the industry’s ever seen, including Tequila Works’ beautiful puzzleadventure game Rime and Rebellion’s Sniper Elite 4.

Dan created the award-winning indie game, Q.U.B.E., and set up a full-time game studio.

Six years on he has produced more games including multiaward winning, Hue and the upcoming, Q.U.B.E. 2.

Noirin is founder and chief operating officer at Revolution Software, where she is responsible for strategic business affairs. In 2017 she was awarded Outstanding Contribution of the Year Award at the Women in Games Awards.

Nikki Lannen, founder and chief executive, Warducks

Alex Moyet, marketing director, Curve Digital

Rob Yescombe, freelance writer & narrative director

Mitu Khandaker-Kokor, chief creative officer, Spirit AI

Nikki is a leader in the Virtual Reality space in Ireland and the founder and chief executive of WarDucks; a Virtual Reality studio focused on making high quality games and experiences for the Virtual Reality and Augmented Reality platforms.

In 2016 Alex was awarded the MCV 30 Under 30. Alex began her career in video game marketing working on the advertising account for Xbox at McCann Erickson, where she was responsible for launching the award-winning mobile app campaign for the launch of Kinect Star Wars.

Multiple award-winning writer & narrative director Rob Yescombe began his career in videogames, where he worked on blockbuster franchises including Alien and Star Wars, along with experimental indie games like Qube: Director’s Cut and RiME.

Mitu is chief creative officer at Spirit AI. At Spirit AI, they are making tools to help developers create rich autonomous characters & procedural narratives through expressive AI - but also using AI to mitigate online harassment in multiplayer and social VR games.

KEYNOTE SPEAKER Russell Brower, three-time Emmy Award winner, composer, and musical director

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DELEGATE SALES Johanna O¹Brien jobrien@nbmedia.com (0)20 3871 7383

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03/08/2017 17:06

Fangs for the memories Dontnod tells MCV@gamescom about its upcoming story-driven action RPG Vampyr

VAMPYR is the new project of Life is Strange developer Dontnod, and while it’s very much an action-adventure RPG, you can definitely feel the Dontnod touch. This isn’t your traditional RPG, after all, as who and how many people you decide to kill will directly impact the story and other characters.

“Will you try to become a humanist vampire and just have a quick bite, or do you want to play a heartless creature who just wants to create mayhem? It’s up to you,” Vampyr’s narrative director Stéphane Beauverger told MCV@gamescom. “The game won’t punish you or give you hints about the way you’re supposed to play, but there are different endings, of course.”

That includes one specific ending for players who don’t kill anyone at all, but as killing citizens is the quickest way to level up and unlock abilities, Beauverger said this is will definitely be a challenge.

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“Every citizen has secrets, friends, families, jobs...” he said. “Some are saints, some are mad, some are criminals, some are good people... You have a right to kill someone at random, but if you want to investigate and understand who he is, you will get more interesting character sheets and potential targets.”

It sounds like Dontnod has a very interesting IP with great gameplay mechanics.

When asked about why the

team decided to create this title, Beauverger first joked “because vampires are cool and there are too many zombie games,” before adding: “Vampires are one of the very few creatures that are aware of what they are and who they were. To become a vampire without deciding to be turned is what I wanted to explore, to have to deal with this new condition and understand how it works.”

Marie Dealessandri DAY THREE 2017

23/08/2017 17:12

CCP’s bright Sparc CCP is stepping away from the Eve universe with virtual sport title Sparc. MCV@gamescom talks to Adam Khan about the new title

CCP’S new VR title Sparc launches on PS VR next week and will be the first game in the company’s history to be set outside of its huge Eve Online universe.

However, CCP’s senior director of communications Adam Khan told MCV@ gamescom that the development team didn’t feel “more pressure” as a result.

“The team was given total freedom to explore the concept, there was never any kind of indication that it needed to be in the Eve universe or be dark and sci-fi.”

Sparc is a virtual sport, or ‘vsport’ as CCP labels it, and it makes use of the PlayStation Move motion controllers as players throw projectiles across the court at their opponent.

“Figuring out what to do with the controls and how to best do a game that has full body control [was a challenge],” Khan continued. “Several years ago, when the team first started DAY THREE 2017

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playing around, they had this idea of motion control even before the controllers existed.

The hard part was figuring out like ‘does this work? Are motion controls and VR a thing people can actually do now?’”

As a result, Sparc was designed to appeal to all kind of players, he added.

“Anyone with a PS VR headset will enjoy Sparc. It’s meant to be very accessible.

It’s a very simple concept and if

you want to be a little active, it’s even better.

“We don’t know if vsports is the next big thing, but we hope it’s a next big thing. Sparc is not the only game that is giving people action, but it’s a natural evolution. The controllers are like a tennis racket, and we can now make sports that didn’t exist in the real world and it can be just as competitive and just as challenging.”

Marie Dealessandri

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Souled Out Immortal: Unchained announced Sold Out’s new sci-fi RPG is a shootier take on the Dark Souls formula

UK publisher Sold Out has announced a new Souls-like action RPG at gamescom, titled Immortal: Unchained. The new IP comes from Swedish developer Toadman Interactive and will be available digitally and at retail on the PS4, Xbox One, and PC via Steam in Q2 next year.

The easiest way to describe Immortal: Unchained is as a blend of Dark Souls and Warhammer 40K. The dark, future setting is reminiscent of Games Workshop’s popular gothic sci-fi – originally a tabletop war game. Here, we get a third-person action RPG that concentrates on gunplay rather than melee weapons.

You might have guns, but the action is still designed to be up-close-and-personal.

Static shields, tight confines and enemies with weak points on their rear all conspire to get you close to your enemy.

Weapons are far less effective from range, too, so distant 48

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potshots have little effect.

Your foes have a mixture of complementary abilities, such as a unit which locks onto you, making all enemy fire home-in on your position.

The team at Toadman has huge experience, with staff who have have worked on both Battlefield 1 and The Witcher series. It’s a small team, but the quality of the work on show to date belies the team’s size.

“Immortal: Unchained is a fresh new take on the emerging Souls genre,” said Sarah Hoeksma, marketing director at Sold Out. “It is not for the faint-hearted and is a seriously challenging game.

The story and range combat really sets us apart from other games out there, and we’re really excited to finally be showing Toadman’s first IP to everyone at gamescom.”

Seth Barton DAY THREE 2017

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Photos from the event

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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

NEWBAY SUBSCRIPTIONS: The Emerson Building, 4-8 Emerson Street, London, SE1 9DU e: subs@mcv.com w: www.mcvuk.com MCV has an exclusive media partnership with Famitsu – Japan’s leading video games analyst and news source NewBay Media Europe Ltd is a member of the Periodical Publishers Association

cgibbon@nbmedia.com

ISSN: 1469-4832 Copyright 2017

MCV is published 24 times a year by NewBay Media Europe Ltd, The Emerson Building, 4th Floor, 4-8 Emerson Street, London SE1 9DU

The Emerson Building, 4th Floor, 4-8 Emerson Street. London, SE1 9DU All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying, recording or any information storage or retrieval system without the express prior written consent of the publisher. The contents of MCV are subject to reproduction in information storage and retrieval systems.

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