Umbra raises $3.4 million to meet AR/VR demand

first_imgUmbra raises $3.4 million to meet AR/VR demand3D technology company anticipates huge opportunities outside of gamesMatthew HandrahanEditor-in-ChiefMonday 2nd November 2015Share this article Recommend Tweet ShareCompanies in this articleUmbra SoftwareThe Finnish 3D graphics firm Umbra has closed a $3.4 million series A round of funding, featuring contributions from Lifeline Ventures, Initial Capital and several angel investors.Umbra has built its business on a 3D rendering technology used in a host of AAA video games. The company’s partners include Bungie, Infinity Ward, Bethesda, Rocksteady, Bioware and CD Projekt, among many others.However, it now wants to push its technology even further, targeting the potential applications of 3D graphics technology in fields outside of video games. Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games “We’re expanding our technology to enable storing, streaming and rendering of massive 3D data sets,” said CEO Otso Mäkinen. “We already have a functional prototype that will be first released on top of game engines such as Unity and Unreal. Our goal is to make 3D available for everyone in the future.”Umbra listed architectural planning, construction engineering, digital maps and simulations as possible areas for growth. It also noted increasing interest in augmented reality from companies like Google, and the “staggering frame rates and performance” that will demand.This new funding will allow Umbra to start pushing in that direction, starting with a period of expansion in which it will bring new talent into its team.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Daily Update and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesEA leans on Apex Legends and live services in fourth quarterQ4 and full year revenues close to flat and profits take a tumble, but publisher’s bookings still up double-digitsBy Brendan Sinclair 7 hours agoEA Play Live set for July 22Formerly E3-adjacent event moves to take place a month and half after the ESA’s showBy Jeffrey Rousseau 9 hours agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.last_img read more

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Augs Lives Matter slogan an “unfortunate coincidence”

first_img 4 years ago It’s just people making a lot of noise, who clearly have no idea what the gaming context is and just assume that it’s a parody on the Black Lives Matter campaign. If they would have started a conversation with Eidos before shouting, they would have had more success IMO.It’s even worse than the overblown Resident Evil 5 reaction that the game would be racist because of the African setting. 0Sign inorRegisterto rate and replyRogier Voet IT Consultant 4 years ago On the one hand I do see where they are coming from; that image could indeed be seen as crassly appropriating the mantra of a movement, trivialising them in the process. But I have trouble buying that because absolutely nothing in that image suggests parody. Everything right down the juxtaposition of the actors and even the colour choices practically scream that home.But even without the image on hand there is still plenty of context: Almost two years of promotional material behind the sequel of a critically acclaimed videogame from a historically lauded series. — to say there is ‘no context’ to me sounds like the quoted assuming audiences would be disconnected from the part of pop-culture that videogames occupy (and quite why that is our cross to bear rather than the failings of that audience I am not entirely sure).And really, what excuse is there for ignorance of that context when videogames as a medium are so pervasive? If you don’t understand the context, then you have no leg to stand on when making a criticism (though, to be fair, the quoted is not actually making that criticism, only stating that it could be made). Edited 1 times. Last edit by Adam Campbell on 4th August 2016 10:32am 15Sign inorRegisterto rate and replyKevin Strange Developer Relations Account Manager, AMD4 years ago Thank goodness the AUGS community has Manveer to fight for them!!I wonder if they are also funded by Soros to help destabilise and divide nations? 2Sign inorRegisterto rate and replyBen Link Video Game Enthusiast and Graphic Artist 4Sign inorRegisterto rate and replyJessica Hyland Artist, Turbulenz Limited4 years ago Artists are perfectly free to express themselves however they like – subject to local obscenity and incitement to hatred laws, of course, which absolutely nobody is claiming this artwork contravenes.Everyone else, however, is allowed the same freedom. Manveer Heir and everyone else who has criticised Eidos on this aren’t stopping the game from being made, they’re just expressing their feelings about the insensitive way it’s being marketed. They’re doing it fairly calmly and eloquently, and there’s nothing wrong with that.Whether Eidos and its artists care about the feelings of these critics is entirely up to them. But the idea that artists shouldn’t be criticised for their decisions, ever, because Art, is ridiculous. Edited 1 times. Last edit by Jessica Hyland on 4th August 2016 5:07pm 12Sign inorRegisterto rate and replyShehzaan Abdulla Translator/QA 4 years ago Does referencing a real world social issue in a video game that depicts social conflict (however well/badly) really trivialize the real world issue?I’m unconvinced. I do agree, though, that they should have owned it, rather than dismissing the criticism as “haters”. The former could have led to a productive discussion, the latter just reaffirms everyone that their convictions are right and others are just idiots. I can understand, however, than in today’s outrage-culture, productive discussions are hard to get and you can easily get mired and it’s tiresome and makes for a complex message that’s unattractive for media reporting. 4Sign inorRegisterto rate and replyDavid Canela Game & Audio Designer 4 years agoWhether Eidos and its artists care about the feelings of these critics is entirely up to them. But the idea that artists shouldn’t be criticised for their decisions, ever, because Art, is ridiculous.It’s not ridiculous, it’s a non-issue: there’s no actual power or authority vested in artists to stop criticism. Saying that artists are free to do what they like is an observation so mundane stating it is redundant. That’s an issue of where power is vested whereas the real issue is about where it SHOULD be vested and WHY.And that’s what I’m going to talk about now:I don’t think anyone is saying that criticisms shouldn’t be made ‘because Art’, but that 99% of clickbait criticisms out there are invalid or lack any merit in face of the qualities of the artistic works in question and what those works are trying to achieve (which is never discussed — criticisms against any given art are almost always done in a vacuum ‘because Opinion’).The idea that vapid, decontextualised and utterly inane criticisms should gain traction ‘because Opinion’ (the common retort being ‘it’s my opinion, therefore you can’t criticise the legitimacy of my position’) without being challenged is what is truly ridiculous.And that’s a REAL issue because those criticisms have the entire engine of the media machine behind them giving them almost palpable compulsive force. I don’t want to hear the booming voice of that machine breathing fire down at me and telling me my criticism of them is invalid because of their imagined protection against criticism, whilst they then turn around and criticise works wantonly completely unaware of the irony.Criticism is a two-way street. Being a critic does not make you a bad ass who lives dangerously, born to break the rules. You don’t get a svelt ‘Licence to Criticise’ to complement a suave suit as you cap artists to the tinkling of smooth jazz: It just doesn’t work that way, and many ‘critics’ out there need a good hard dose of reality to drive that home.I’ve yet to see terrible critics defend their criticisms when pressed to, only their right to their criticisms; something which was never in contention to begin with and another non-issue because it’s a right that artists, once again, couldn’t affect even if they wanted to. Whether critics have the right to criticism is irrelevant: Who exactly is going to stop them from critiquing and how? The same is not true of criticism and their effects on the business model of videogames. There’s compulsive force there.I can understand that many people don’t want to confront the compulsive force that they as a collective of consumers armed with social media have. But denying that they have that power outright (and they are the only empowered party in this entire debate) is bullshit. Yes, they have the right to that power (again, not in question and there would be no way to challenge that power to begin with) but how that power should be exercised is a worthwhile topic that few want to broach 4 years ago This is ridiculous. Let the artist express themselves how they want. No one should be telling artist how to portray their art/game. Don’t buy the game, it’s that simple. I love the concept art. It’s relevant and will make the game feel realistic. 7Sign inorRegisterto rate and replyShehzaan Abdulla Translator/QA Augs Lives Matter slogan an “unfortunate coincidence”Deus Ex brand marketer defends use while Bioware’s Manveer Heir criticizes the developer’s controversial language choiceJames BrightmanWednesday 3rd August 2016Share this article Recommend Tweet ShareCompanies in this articleEidos MontréalSquare EnixDeus Ex: Mankind Divided isn’t due for release until August 23, but the game has already found itself embroiled in a couple controversial incidents. Back in June, in its trailer for the game, Eidos Montreal and publisher Square Enix used the racially-charged term “mechanical Apartheid” and art director Jonathan Jacques-Belletete brushed off criticism at the time, telling Polygon, that the whole incident was “ridiculous.” This week, Deus Ex has sparked further controversy thanks to the publisher releasing concept art that features a protester holding up a sign that reads “Augs Lives Matter.”Sounds an awful lot like Black Lives Matter, doesn’t it? If Eidos Montreal is looking to recreate real-world racial tensions in its game, that’s fine, but there are probably ways of doing it that are more sensitive. Already, some in the development community have taken issue with the Deus Ex developer for leveraging a movement like Black Lives Matter in its marketing materials. Bioware Montreal developer Manveer Heir, who’s spoken openly against social injustices and stereotypes in games at GDC and elsewhere, took Eidos and Square Enix to task on Twitter today. “I think Eidos Montreal should be ashamed of themselves for appropriating a real black struggle and movement for financial gain,” he said, adding that even if the Augs Lives Matter movement is handled well in the game, “in advertising it is devoid of context and highly problematic.””You work in marketing. If this was an coincidence someone should have been smart enough to say ‘Let’s not use that image,'” Heir said in reply to brand marketer Andre Vu, who had claimed that the story and slogan was written well before the Black Lives Matter movement started. Heir continued, “The fact that you went forward with posting the image & not realizing the optics/meaning of that image to people is incompetent… I’m trying to hold you & the rest of this industry accountable when we appropriate real life struggles to market games.”For his part, Vu said that Eidos Montreal was not using real-life events to market Mankind Divided and that people who criticize his team are just “jumping on the hate wagon.”Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games In a separate comment, heir told Polygon, “My qualm is not with a game tackling matters of segregation, civil rights issues, and apartheid; in fact I applaud games that try to tackle difficult political issues. My problem is with using marketing to push a narrative, which doesn’t provide the full context of the game, as a way to sell the game, when that narrative comes across as anti-blackness, even if it’s not intended to be.”I hope Eidos Montreal can begin to understand why this is a mistake and start a dialogue with black people in this industry to better understand some of the issues that this fiasco has brought to light.”We also reached out to Square Enix for further comment, but have not gotten a reply as of this writing.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Daily Update and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesSquare Enix denies rumours of acquisition activityThe company has shut down talks that several parties were looking to acquire itBy Danielle Partis 26 days agoBalan Wonderworld’s day one patch to remove epileptic triggersSquare Enix asked players to install the update to avoid a bug that adds flashing lights to a boss fightBy Marie Dealessandri A month agoLatest comments (17)Adam Campbell Product Manager, Azoomee4 years ago The thing I find ironic is that a lot of people find it easier to sympathise with themes of segregation in game and film fiction (i.e. X-Men) than in real life (was reminded of a discussion I had recently). 4 years ago I am of the belief that no piece of media need to bend around the unfortunate events of the world, if this was truly crafted before the black lives movement got any attention I say don’t you dare tell the concept artist who worked on it that it can’t be shown. Games, films and books are very clearly long standing creations with ideas fleshed out from a concept point from months, maybe even years ago. If you had a story with an earthquake in it and then suddenly a earthquake hit a location……release it as is, no delays or alterations.Altering products due to sudden real world problems or implications falls to this faulty idea that anyone worth respecting will assume the context is current despite the mentioned points. I mean for goodness sake, the black lives matter name is hardly a unique phrasing as well, just because they played on an easily modifiable slogan that has existed for quite a while doesn’t make them own it in all media till they die down.Most importantly? I believe we should never let any sudden real world problem hinder the creations we want to make, the world still goes on despite them, time will pass and they MIGHT be remembered but often it is unlikely. Sun still rises, I’m still getting up and the trains are still late. 0Sign inorRegisterto rate and replyConnor Martin Aspiring game designer/testercenter_img 0Sign inorRegisterto rate and replyAlfonso Sexto Lead Tester, Ubisoft Germany4 years ago @RogierMeanwhile nobody accused of “racist” all those war game in which you kill middle-east people. Sometimes I think that moral and values are all about trends now. 1Sign inorRegisterto rate and replyShow all comments (17)Klaus Preisinger Freelance Writing 4 years ago @Adam: Well, provided part of the game’s audience doesn’t just want to bypass the plot and get straight to the killing stuff. Because you KNOW there will be a segment (small, but there) of players who want to spend as much of the game taking out any enemies, perceived or otherwise for fun. Those will be the cut scene/cinema skippers who may post that parts of the game are “boring” because it may hold up a mirror to a few past to current struggles they have no interest in.We shall see, of course… 4 years agoMy problem is with using marketing to push a narrative, which doesn’t provide the full context of the game, as a way to sell the game, when that narrative comes across as anti-blackness, even if it’s not intended to be.I’m afraid I don’t understand which narrative he’s talking about exactly and how it comes across as anti-blackness. Maybe it’s because I’m not from the US and don’t have all the context. I wish he would just state bluntly and specifically what’s wrong with the reference. Similarly, the term appropriation reminds me of ‘cultural appropriation’, a concept I struggle to understand because I haven’t yet encountered examples that weren’t ridiculous (e.g. folks attacking a white guy because him having dread locks was cultural appropriation, or Megan Trainor for sounding too black) 4 years ago While I wouldn’t put it as harshly as Shezaan, I agree in many ways, im particular with regards to how many critics will withdraw to “it’s my right to criticize” when their criticism is being challenged. There’s a lot of straw-manning here: nobody said Deus Ex shouldn’t be made, yes. Equally, however, nobody is saying the critics should not be allowed to express their opinion, either. So arguing about people’s rights to express their opinions in art or criticism is completely beside the point and an unnecessary diversion.Where there’s an actual discussion to be had that could be even remotely interesting is discussing the criticism per se and its validity. Unfortunately, both Eidos and the critics have missed that opportunity, Eidos by putting it down to “haters” and the critics by failing to substantiate what’s exactly bad about Deus Ex referencing Black Lives Matter in this way.So it’s pretty much a normal day in all regards, as these things go… 😀 3Sign inorRegisterto rate and replySign in to contributeEmail addressPasswordSign in Need an account? Register now. 10Sign inorRegisterto rate and replyGreg Wilcox Creator, Destroy All Fanboys! 5Sign inorRegisterto rate and replyKeldon Alleyne Strategic Keyboard Basher, Avasopht Development4 years agoDoes referencing a real world social issue in a video game that depicts social conflict (however well/badly) really trivialize the real world issue?My thoughts exactly. It could just as easily have been a commentary on current issues.I respect the intentions of being sensitive to the issue, but don’t be so sensitive that you shut down artists who may be acknowledging what’s going on in the real world and making it real for gamers. 2Sign inorRegisterto rate and replyAdam Campbell Product Manager, Azoomee4 years ago Further to my earlier comment, even if it wan’t coincidence, it wouldn’t be the first time science fiction was based on black struggles. To take an alternative view, perhaps its a good thing that we see real-world social equality issues reflected in the likes of X-Men and Deus Ex, as it can serve as a means of educating people who don’t seem to get it otherwise 😉 2Sign inorRegisterto rate and replyJessica Hyland Artist, Turbulenz Limited4 years ago I very much doubt that this concept predates BLM but even if it was just a huge unfortunate coincidence, someone should have anticipated this outcry and pulled the concept before publication or modified it.If it wasn’t a coincidence, they could at least own their mistake and apologise instead of insisting that any objectors are just ‘haters’ – or, own the statement and make some kind of argument to support it. Which would still piss people off, but that’s the nature of writing grand social commentary narratives. You can’t have the ‘ooh so edgy, holding up a dark mirror to humanity’ cred without actually owning your political statements and upsetting somebody somewhere. Cake, eating it, et cetera.At the end of the day, it’s very important to remember that fictional universes are still created and interpreted by humans who live in this universe. Edited 5 times. Last edit by Shehzaan Abdulla on 4th August 2016 9:31pm 2Sign inorRegisterto rate and replyDavid Canela Game & Audio Designer 4 years ago Rule of thumb: as long as there are no “[_____] lives matter” memes on the Internet, it is probably too early to conscript the slogan into marketing material. Special exemptions for cleverly constructed social criticism inside a narrative, maybe. Then again, this topic has no need for allegorical delivery. It is a simple blunt truth that needs no disguise and is best delivered as blunt as it is. 5Sign inorRegisterto rate and replyDavid Canela Game & Audio Designerlast_img read more

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Tencent takes majority stake in Path of Exile dev Grinding Gear Games

first_imgTencent takes majority stake in Path of Exile dev Grinding Gear GamesStudio will “remain an independent company”, hopes to bring new content to Chinese players fasterJames BatchelorEditor-in-ChiefMonday 21st May 2018Share this article Recommend Tweet ShareCompanies in this articleGrinding Gear GamesTencentChinese gaming giant Tencent has acquired a majority stake in Grinding Gear Games, the New Zealand-based studio behind online action RPG Path of Exile.The developer announced the acquisition in a forum Q&A designer to assure its community that the move will not significantly impact their experience playing the game.”We will remain an independent company and there won’t be any big changes to how we operate,” the studio wrote. “We want to reassure the community that this will not affect the development or operations of Path of Exile.”Elaborating further, Grinding Gear insisted that it has lost none of its staff, and that no one at the studio has become a Tencent employee. Grinding Gear will of course have “financial reporting obligations” to Tencent, but the Chinese behemoth has assured its co-founders it has “never tried to interfere with game design or operations outside of China.””We retain full control of Path of Exile and will only make changes that we feel are best for the game,” the Q&A continues, adding that Path of Exile will not be adding microtransations to its international servers.Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games The only major impact Grinding Gear expects to see is that, with Tencent’s resources, it will be able to close the gap between adding new features and content from the international version to the Chinese one. But the studio stressed it is “not planning to prioritise the Chinese version of Path of Exile ahead of the international version.”This acquisition adds yet another studio to Tencent’s growing games portfolio. The firm already has ownership of Riot Games and MiniClip, as well as varying stakes in Supercell, Epic Games, Netmarble, Glu Mobile, Activision Blizzard and PUBG developer Bluehole.Earlier this year, Tencent purchased a five per cent stake in Ubisoft, thus helping to free the publisher from a hostile takeover by Vivendi.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Publishing & Retail newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesTencent in talks with US Committee to retain Epic and Riot stakesThe CFIUS is investigating whether user data handled by the two studios could constitute a “national security risk” because they are Chinese-ownedBy Marie Dealessandri 6 days agoPath of Exile developer apologises for granting streamers early access to expansionGrinding Gear Games paid streamers to play the new add-on, only to have them stalled by server issues at launchBy Danielle Partis 23 days agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.last_img read more

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Warner Bros distributing Cyberpunk 2077 in North America

first_imgWarner Bros distributing Cyberpunk 2077 in North AmericaPartnership with developer CD Projekt Red continues after publisher distributed past Witcher games in the regionRebekah ValentineSenior Staff WriterWednesday 3rd October 2018Share this article Recommend Tweet ShareCompanies in this articleCD Projekt REDWarner Bros. Interactive Entertainment has announced today that it will distribute Cyberpunk 2077 in North America across all three platforms: PS4, PC, and Xbox One.Developer CD Projekt Red has worked with WBIE before to distribute both The Witcher 2 and 3 in North America. Its European partner for The Witcher 3 was Bandai Namco, though the publisher had recently been in a spat with CD Projekt Red over publishing rights due to a mix of partners between the Xbox 360 and PC versions in different regions. It has not yet been announced who will handle distribution for Cyberpunk in other areas.Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games “We’ve worked with Warner Bros. Interactive Entertainment on The Witcher 2: Assassins of Kings and The Witcher 3: Wild Hunt and both releases turned out to be really successful, so we’re entering this new stage of our cooperation with great confidence,” said CD Projekt Red SVP of business development Michał Nowakowski.”Cyberpunk 2077 is our biggest and most ambitious project to date, and I’m really looking forward to all the amazing things we can achieve together.”Update: A previous version of this article erroneously stated that Cyberpunk 2077 is being developed by CD Projekt Red’s Wrocław studio. In actuality, it is being developed in tandem by three CD Projekt Red studios: Warsaw, Kraków, and Wrocław.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Publishing & Retail newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesCD Projekt has no plans to shelve Cyberpunk 2077CEO Adam Kicinski says abandoning the game is “not an option” By Danielle Partis 29 days agoCD Projekt staff reportedly locked out of computers after ransomware attackThe Cyberpunk 2077 developer had to push back the release of a patch following the cyber attackBy Marie Dealessandri 2 months agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.last_img read more

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Games industry contributes £2.87bn to UK economy, supports nearly 50,000 jobs

first_imgGames industry contributes £2.87bn to UK economy, supports nearly 50,000 jobs2016 screen industries report also shows every £1 invested via tax relief adds £4 to economyJames BatchelorEditor-in-ChiefTuesday 9th October 2018Share this article Recommend Tweet ShareNew statistics have shown the impact video games companies have on the UK, as well as indicating the size of the domestic industry.The findings come from the catchily-titled ‘Screen Business: How tax incentives help power economic growth across the UK’ report, produced by consultancy firms Oslberg SPI and Nordicity and commissioned by the BFI. In investigating the effect of tax reliefs across the screen industries – including film, TV, animation and video games – it also explores overall economic figures for those sectors.Screen Business uses 2016 statistics in order to ensure solid comparisons between industries, as some sectors are still calculating 2017 data.The report shows that in 2016, the video games industry contributed £2.87 billion to the UK economy, and supports the full-time equivalent jobs (FTEs) of 47,620 people – this is based on the amount of man hours spent working in the industry, where two people working part-time might count as the equivalent of one full-time job.Trade body UKIE, which helped source data for the report, tells GamesIndustry.biz these are record numbers for the UK games industry, with CEO Dr Jo Twist adding that they may help more people see development, publishing and the like as a valid career path.”Many might be surprised that the games industry contributed over 47,000 jobs, directly and indirectly, including over 16,000 in development and publishing roles, and the figures show that the creative ecosystem across our screen sectors is healthy and a critical part of the creative industries story in the UK – the fastest growing sector in the economy,” she says.Broken down further, the number of people directly employed by the industry (e.g. development, publishing, retail) was reported as 20,430 FTEs, and contributing £1.52 billion. The higher number is reached when you factor in ‘indirect’ employees (i.e. those not linked to the production or sale of the game, such as media, PR, lawyers, office managers, cleaners and so on), as well as the ‘induced’ economic impact (i.e. the effects of all these people being paid and what they spend on).UKIE shared further statistics with GamesIndustry.biz, which show that the majority of the 20,430 FTEs is in development: 13,840 FTEs, in fact. Physical retail is the next largest area with 3,980, followed by publishing at 2,300. Digital retail only accounted for 310 FTEs, although it’s worth reiterating that these are 2016 statistics, so this is likely to be much higher today.17.3 per cent of all sales revenues generated over the year were actually spent on UK-developed games, such as Grand Theft Auto V and Forza Horizon 3.When looking at the Gross Added Value (GVA, the contribution to the UK economy), development once again made the biggest impact. From the £1.52 billion contributed, £826 million was attributed to development, £526.6 million to publishing, £132 million to physical retail and £31.7 million to digital retail.Combined, the direct economic impact of development and publishing came in at 16,140 FTEs and £1.33 billion. The report was also the first time the impact of the esports sector has been reported, with 470 FTEs and £18.4 million in GVA – and, again, this is likely to have increased significantly since 2016.In 2016, £1.25 billion was spent on developing games in the UK – by comparison, £1.72 billion was spent on film production – while £1.75 billion was invested into UK companies from overseas.Of the £1.25 billion spent on development, £389.9 million was support by video games tax relief – almost a third of the UK’s total expenditure on making games. Projects that benefitted from tax relief also provided 9,240 jobs across the industry, including 4,320 FTEs specifically in development-related roles (31 per cent of the UK’s entire development workforce).£45 million was paid out in tax relief over the course of 2016, and the success of games it helped to fund contributed £294.1 million to the UK economy. This rises to £525 million when you include indirect and spillover economic impacts – and the report states that 68 per cent of these games would not have been made without the help of this government incentive.Overall, these games generated £156 million in tax revenue, meaning for every £1 invested in the industry, the tax relief added another £4 to the UK economy. That’s more than the £2.73 for each £1 generated by children’s TV, but falls a little short of animation (£4.44), high-end TV (£6.10) and film (£7.69).However, video games far outstretches the other screen industries in terms of labour productivity (the average amount an employed individual contributes to the economy) at £83,000. All screen sectors’ productivity rate came above the national average of £62,100.Video games also contributes at higher tax-supported GVA than animation and children’s TV, which come in at £78 million and £355 million respectively. But TV and film are the clear leaders in this respect, at £1.72 billion and £5.23 billion respectively.When combined, tax relief helps the screen industries contribute £7.91 billion to the UK economy, generating £2.04 billion in tax revenue and supporting 137,340 FTEs.Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games “The figures give clear evidence that VGTR has played a vital role in the continued growth of the UK games sector and in providing confidence and certainty to the market,” Twist concludes. :”In 2016, VGTR supported 31 per cent of the total UK game development workforce and this shows what a positive impact it has on employment. We would encourage anyone developing games in the UK to look at how they can qualify for the relief.”VGTR is an increasingly important incentive providing confidence to the games industry and these figures show that it is delivering value back to the economy. It is vital to be able to demonstrate the positive impact of VGTR if we want the continued backing of the government.”You can see a breakdown of how tax relief supports the various screen industries below:Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Daily Update and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesEA leans on Apex Legends and live services in fourth quarterQ4 and full year revenues close to flat and profits take a tumble, but publisher’s bookings still up double-digitsBy Brendan Sinclair 3 hours agoEA Play Live set for July 22Formerly E3-adjacent event moves to take place a month and half after the ESA’s showBy Jeffrey Rousseau 5 hours agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.last_img read more

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Sony announces PlayStation Classic game line-up

first_img 0Sign inorRegisterto rate and replyNick Ferguson Executive Producer, Stadia, Google2 years ago Fingers crossed they’re hiding the T-Rex demo as an Easter egg… Sony announces PlayStation Classic game line-up20 titles on plug-and-play console include Metal Gear Solid, Grand Theft Auto, and RaymanRebekah ValentineSenior Staff WriterMonday 29th October 2018Share this article Recommend Tweet ShareCompanies in this articleSonyRelated JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games Sony has announced the 20 game line-up for its upcoming plug-and-play console, the PlayStation Classic, which includes games such as Final Fantasy VII, Grand Theft Auto, Rayman, and Metal Gear Solid.The PS Classic, Sony’s answer to Nintendo’s successful NES Classic and SNES Classic systems, will launch on December 3 of this year (corresponding to the original PlayStation’s 1994 release date) and will come with an HDMI cable, a USB cable, and two controllers. It will cost $99.99.The following 20 games will be pre-loaded on the system:Battle Arena ToshindenCool Boarders 2Destruction DerbyFinal Fantasy VIIGrand Theft AutoIntelligent QubeJumping FlashMetal Gear SolidMr DrillerOddworld: Abe’s OddyseeRaymanResident Evil Director’s CutRevelations: PersonaRidge Racer Type 4Super Puzzle Fighter II TurboSyphon FilterTekken 3Tom Clancy’s Rainbow SixTwisted MetalWild ArmsCelebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Daily Update and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesReturnal | Critical ConsensusCritics praise Housemarque’s roguelike shooter for fast-paced combat and unforgiving, gorgeous world, but say it misses the mark on some key aspectsBy Marie Dealessandri 9 days agoSony testing PlayStation Plus film and TV offeringPlayStation Plus Video Pass will be available for a limited time in PolandBy Marie Dealessandri 19 days agoLatest comments (2)Daniel Trezub QA Analyst, Ludia2 years ago That’s a solid line-up. I only imagine the legal nighmare to get all these titles up and running again… 1Sign inorRegisterto rate and replySign in to contributeEmail addressPasswordSign in Need an account? Register now.last_img read more

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Dragalia Lost becomes second highest-grossing Nintendo mobile game

first_imgDragalia Lost becomes second highest-grossing Nintendo mobile gameGame still sits well behind Fire Emblem Heroes, but continues trend of high spend per installHaydn TaylorSenior Staff WriterThursday 25th July 2019Share this article Recommend Tweet ShareDespite being available in only 11 markets, Dragalia Lost is now Nintendo’s second highest-grossing mobile game. According to market intelligence firm Sensor Tower, it has grossed $100 million since launching in September 2018, and boasts player spending of $33 per install. When the game first launched, it had the highest spend per install of any Nintendo mobile title; it now sits behind Fire Emblem ($38 per install) and well ahead of Animal Crossing: Pocket Camp ($3.30 per install). Of the limited markets where it’s available, Dragalia Lost saw the most revenue from Japan, where players have spent more than $58 million, followed by the US which accounts for roughly $21 million. Hong Kong sees the highest spending per download at $63, followed by Japan at $47, and the US at $17. Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games Fire Emblem Heroes remains Nintendo’s mobile golden child, with over $500 million revenue since launching in February 2017Meanwhile, Animal Crossing: Pocket Camp has grossed £99 million since launching in October 2017. Arriving in March 2017, Super Mario Run was Nintendo’s first foray into mobile, and has a relatively meagre lifetime revenue of $72 million; Dr. Mario World, which was released earlier this month, grossed $790,000 so far. Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Mobile newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesEpic vs Apple – Week One Review: Epic still faces an “uphill battle”Legal experts share their thoughts on the proceedings so far, and what to expect from the coming weekBy James Batchelor 10 hours agoEpic Games claims Fortnite is at “full penetration” on consoleAsserts that mobile with the biggest growth potential as it fights for restoration to iOS App StoreBy James Batchelor 13 hours agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.last_img read more

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Marketing, Technology Top Advisers’ List of Strategic Focus Points This Year

first_img 3 Technology, Marketing Top List of Strategic Priorities in ‘21Perhaps not surprising after the importance technology played in serving clients during a pandemic, technology enhancements continue to be a strategic goal for firms in 2021. When asked to list their top three goals for next year, improving the use of current technology and leveraging new technologies were among the most cited ambitions.Marketing also remains a top strategic priority, with 34% of surveyed advisors listing “implementing a new marketing plan” as one of their top three goals for the year ahead. This content is made possible by Transamerica; it is not written by and does not necessarily reflect the views of InvestmentNews’ editorial staff.,MOST READ For reprint and licensing requests for this article, click here Newsletters Subscribe for original insights, commentary and analysis of the issues facing the financial advice community, from the InvestmentNews team. The Gates divorce: Lessons for financial advisers 5 Looking Back: What Advisers Learned from 2020As advisers worked with clients in a year like no other in their careers, lessons centered on two key areas: client service and communication.In an open-ended question, surveyed advisers were asked what the most important lesson was they learned last year. Based on an InvestmentNews Research analysis of the responses, lessons in client service and communication were the top areas where advisers revised their approach.As some of the anonymous write-in answers showed, the lessons in communication varied. For some advisers, it meant communicating to keep clients on track.“It’s extremely important that my clients stay focused on their long-term goals,” one adviser wrote.  “Don’t lose your head over the stock market’s wide swings.”For other advisers, lessons about client service focused on issues that transcended markets.“My focus was wrong – I was not being a good advisor by just focusing on performance and hedging downside,” an adviser wrote.Transamerica Resources, Inc. is an Aegon company and is affiliated with various companies which include, but are not limited to, insurance companies and broker dealers. Transamerica Resources, Inc. does not offer insurance products or securities. The information provided is for educational purposes only and should not be construed as insurance, securities, ERISA, tax, investment, legal, medical or financial advice or guidance. Please consult your personal independent professionals for answers to your specific questions. As advisers look to the year ahead, firms are largely focused on two strategic priorities: marketing and technology. And as they plot growth strategies for the year ahead, many appear focused on their existing client types, rather than expanding into new client segments.The findings are part of a months-long research project between Transamerica and InvestmentNews Research exploring how adviser business practices have changed in a world shaped by politics and the pandemic. In the final installment of the project, advisers were asked several questions about how they will navigate 2021.A positive for advisers heading into next year: Most expect growth. Fifty-five percent of advisers expect more new business in 2021 compared with the previous three years. Another 37% expect the same amount of new business.The new business won’t come from new places, however. Most advisory firms are focused on growth coming from their core client type or client base. When asked what was most important to their growth in 2021, only 8% said “expanding into new client segments.” Far more advisors placed importance on adding clients similar to their existing base or growing wallet share among current clients. InvestCloud to acquire Advicent and NaviPlan planning software House committee poised to advance SECURE 2.0 retirement savings bill 2 1 4 Why Tony Robbins, tax shelters and financial advisers don’t mix House panel unanimously passes SECURE 2.0last_img read more

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iCapital leverages KKR to lure investors into private equity

first_img Why Tony Robbins, tax shelters and financial advisers don’t mix 1 You have read 130 of 3 free articles this week. Register now for increased access.Register for free access to this article.By registering, you can read up to 3 articles per week.RegisterAlready registered? Sign in to continue reading or subscribe for unlimited access.,MOST READ Newsletters 3 The Gates divorce: Lessons for financial advisers InvestCloud to acquire Advicent and NaviPlan planning software Subscribe for original insights, commentary and analysis of the issues facing the financial advice community, from the InvestmentNews team. 5 House panel unanimously passes SECURE 2.0 4 2 House committee poised to advance SECURE 2.0 retirement savings billlast_img read more

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Finra suspension of in-person arb hearings harms investors, PIABA says

first_imgFinra’s ongoing suspension of in-person arbitration hearings protects brokers while harming investors involved in disputes, the Public Investors Advocate Bar Association asserted Monday. The Financial Industry Regulatory Authority Inc. halted in-person arbitration proceedings when the coronavirus pandemic broke out more than a year ago. It has extended the postponement through July 2.PIABA President David P. Meyer criticized the broker-dealer self-regulator for not explaining what health thresholds must be met to resume in-person hearings.“The lack of transparency is concerning, particularly since the indefinite delay in Finra in-person hearings benefits the Finra-member brokers and brokerages firms defending the arbitration claims brought by  their customers in this forum,” Meyer wrote in a letter Monday to Richard W. Berry, Finra executive vice president and director of Finra Dispute Resolution Services.Finra has restricted arbitration hearings in all 69 of its hearing locations. Meyer said PIABA analyzed the 20 largest Finra hearing locations and found that every jurisdiction is conducting in-person trials or plans to do so by July, highlighting courts in San Diego, New Mexico, Montana and Texas.“The bottom line is that if courts across the country can safely conduct civil jury trials, there is no question that Finra can facilitate in-person hearings,” Meyer wrote. Deepen relationships by leveraging ‘micro events’ for clients 5 “For these cases, the claimants are left with no access to justice,” Meyer wrote. “Of course, arbitrators and parties will be free to confer and make appropriate decisions when a high-risk individual is involved, but further blanket postponements of all in-person hearings is an overly rigid response to an evolving situation that leaves justice for aggrieved investors at a standstill.”But George Friedman, editor in chief and publisher of the Securities Arbitration Alert, said a backlog of 634 arbitration cases last August has been whittled to 88, according to his analysis of Finra arbitration statistics. In addition, the processing time for an arbitration case has fallen from 14.2 months at the end of 2019 to 13.5 months as of March.“One would think that if arbitration was stagnant, the backlog would be building not going down, as would processing time,” said Friedman, a former director of Finra arbitration.Meyer said Finra is the only nationwide arbitration forum that continues to lack a plan to restart in-person hearings. The American Arbitration Association will resume in-person proceedings on May 15. “We request that Finra publicize its health data criteria and thresholds used to decide whether to postpone hearings, weigh local circumstances and implement reasonable safety measures for restarting hearings,” he wrote.Finra should be more transparent about the suspension of in-person hearings, Friedman said.“Finra needs to respond [to PIABA] and show its work on how it concluded that none of its 69 hearing locations currently meet [Centers for Disease Control and Prevention] guidance for resumption of in-person activities,” Friedman said. The Gates divorce: Lessons for financial advisers For reprint and licensing requests for this article, click here,MOST READ As more people are vaccinated, Finra may resume in-person arbitration proceedings.“With the increasing availability of COVID vaccines, FINRA Dispute Resolution Services is actively reviewing conditions in its hearing locations and expects to resume in-person hearings in at least some locations in the near future,” Berry said in a statement.  “The safety and well-being of parties, arbitrators, witnesses and other participants remains of paramount importance to us.” 3 1 House committee poised to advance SECURE 2.0 retirement savings bill Finra, which runs the arbitration system that adjudicates claims made by customers against brokerages and registered representatives, has allowed remote hearings if all parties agree. As of the end of March, 263 arbitration cases have conducted one or more hearings via Zoom, according to Finra arbitration statistics.But if a firm objects to a remote hearing, the claimant must petition the arbitration panel, which usually consists of three arbitrators, to allow the proceedings to occur via Zoom.The firms and reps involved in arbitration cases drag their feet because “they have no incentive to proceed with the case if they can push off a determination indefinitely,” Meyer wrote. More than one-third of claimant petitions for remote arbitration hearings are denied, he said. 2 InvestCloud to acquire Advicent and NaviPlan planning software House panel unanimously passes SECURE 2.0 Why Tony Robbins, tax shelters and financial advisers don’t mix 4 Newsletters Subscribe for original insights, commentary and analysis of the issues facing the financial advice community, from the InvestmentNews team.last_img read more

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