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Page 1
Report11 pages

Aktualizacja Strategii: Nowe Otwarcie

The updated strategy for People Can Fly (PCF Group) marks a transition toward a self-publishing model while maintaining its core expertise in developing high-end shooter games. Having successfully completed its post-IPO objectives, including the expansion of production capacity and the establishment of multiple creative studios across Europe and North America, the company now aims to scale its operations to support the simultaneous development of several ambitious projects. The primary thesis centers on leveraging internal intellectual property and proprietary technology, specifically the PCF Framework and Unreal Engine 5, to deliver high-quality gaming experiences while capturing a larger share of revenue through self-publishing.

Key operational findings highlight a shift from a single-project focus to a multi-project production model supported by over 600 employees. The company has implemented agile methodologies and Centers of Excellence to improve efficiency and risk management. Financial targets are aggressive, with a goal of reaching 3.0 billion PLN in total revenue between 2023 and 2027. To achieve this, PCF plans to release six games over the next four years, focusing on the Games-as-a-Service (GaaS) model to ensure long-term player engagement and recurring revenue. Projects currently in development include Gemini, Dagger, Bifrost, Victoria, and Thunder, with a mix of work-for-hire and self-published titles.

The scope of this strategy covers global operations across seven studios, including locations in Warsaw, Rzeszów, Kraków, Katowice, Newcastle, Montreal, and New York. To fund this expansion, the company intends to raise between 205 million and 295 million PLN through a new share issuance. This capital will be directed toward scaling development teams and supporting the production of its self-published portfolio, with no dividend payments expected before 2025.

  • PCF Group aims to generate 3.0 billion PLN in total revenue between 2023 and 2027 by transitioning to a self-publishing model.
  • The company plans to release six games over the next four years, prioritizing the Games-as-a-Service (GaaS) model to secure recurring revenue.
  • To fund the expansion of its development teams and self-published portfolio, PCF intends to raise between 205 million and 295 million PLN through a new share issuance.
  • Operations have scaled to over 600 employees across seven global studios in Europe and North America, supporting a new multi-project production model.
  • Current development projects include Gemini, Dagger, Bifrost, Victoria, and Thunder, which utilize proprietary technology and Unreal Engine 5.
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PCF Group
Page 1
Report70 pages

Annual Report 2012

The BANDAI NAMCO Group develops entertainment-related products and services in a wide range of fields, including toys, arcade game machines, home video game software, visual software, network content, and amusement facilities. In April 2012, we started a Mid-term Plan that includes the vision of “Empower, Gain Momentum, Accelerate Evolution.” Aiming to be No. 1 with strong conviction, we are committed to being the “Leading Innovator in Global Entertainment” and recording strong growth.

  • BANDAI NAMCO Group launched a new Mid-term Plan in April 2012, aiming to be the "Leading Innovator in Global Entertainment" with a vision of "Empower, Gain Momentum, Accelerate Evolution" for sustained growth.
  • The Group's net sales increased by 12.4% to ¥177,994 million in the fiscal year ended March 31, 2012, with segment income rising 16.7% to ¥16,113 million.
  • The Content SBU showed the strongest growth, with net sales increasing by ¥45,587 million and segment income by ¥13,911 million in 2012 compared to 2011.
  • The Toys and Hobby SBU saw strong domestic performance from the Kamen Rider and Super Sentai series, and overseas success with POWER RANGERS SAMURAI toys in North America and character products in Asia.
  • Key character sales for the Group in 2012 included Mobile Suit Gundam series (¥44.7 billion), Kamen Rider series (¥31.9 billion), and ONE PIECE (¥28.8 billion).
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Bandai Namco
Page 1
Report80 pages

Annual Report 2015

FUN AND OUR MISSION “Dreams, Fun and Inspiration” are the Engine of Happiness. Through our entertainment products and services, BANDAI NAMCO will continue to provide “Dreams, Fun and Inspiration” to people around the world, based on our boundless creativity and enthusiasm. As an entertainment leader across the ages, exploring new areas and heights in entertainment.

  • Bandai Namco's vision is to be the "Leading Innovator in Global Entertainment" by exploring new areas and heights in entertainment, aiming to expand its business in Asia and achieve growth for the next 10-20 years.
  • The company achieved solid results in both operational and quantitative areas under its previous Mid-term Plan, driven by the IP axis strategy, and plans to continue this strategy.
  • Bandai Namco is entering a period where digital networks will be integrated into real life, leading to the creation of the Network Entertainment SBU to develop content and businesses for both digital and real networks.
  • The Visual and Music Production SBU focuses on entertaining people globally through IP production, with successful examples like "Love Live! School Idol project" and "Mobile Suit Gundam UC (Unicorn) episode 7: Over the Rainbow" contributing to performance.
  • The company aims for ¥60.0 billion in sales in Asia (including exports) by FY2018.3, expanding popular IPs like "Yo-kai Watch DX" into established brands in the region.
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Bandai Namco
Page 1
Report92 pages

Integrated Report 2017

“Dreams, Fun and Inspiration” are the Engine of Happiness. Through our entertainment products and services, BANDAI NAMCO will continue to provide to people around the world, based on our boundless creativity and enthusiasm. The BANDAI NAMCO Group develops entertainment-related products and services in a wide range of fields, including toys, network content, home video games, arcade games, amusement facilities, and visual and music content.

  • BANDAI NAMCO's core strategy is the "IP Axis Strategy," which aims to maximize intellectual property value by delivering products and services at optimal times and in optimal business fields. This strategy is considered the primary driver of the Group's growth.
  • The company is in the final year of its Mid-term Plan (launched April 2015), with a vision of "NEXT STAGE—Empower, Gain Momentum, Accelerate Evolution," and plans to launch a new Mid-term Plan in April 2018.
  • DRAGON BALL is a key IP, generating ¥61.1 billion in net sales for the Group in FY2017.3, representing 9.9% of consolidated net sales. Initiatives for DRAGON BALL are accelerating globally, particularly in Europe and the Americas.
  • BANDAI NAMCO is actively investing in VR entertainment, having opened VR ZONE SHINJUKU in July 2017 to commercialize VR experiences and plans to open multiple VR facilities in Japan and overseas.
  • The Group's net cash from operating activities increased to ¥60,861 million in FY2017.3 (from ¥48,489 million in the previous fiscal year), driven by profit before income taxes and depreciation/amortization.
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Bandai Namco
Page 1
Report100 pages

Integrated Report 2018

I N T E G R AT E D R E P O R T 2 0 1 8 develops entertainment-related toys, network content, home video games, amusement machines, amusement facilities, and visual and music content. Under the Mid-term Plan, which was launched in April 2018, the Group aims to achieve “CHANGE” to progress to the next stage, with a Mid-term Vision of CHANGE for the NEXT: Empower, Gain Momentum, and Accelerate Evolution. “Dreams, Fun and Inspiration”are the Engine of Happiness.

  • BANDAI NAMCO Group aims for ¥750 billion in net sales and ¥75 billion in operating profit by March 31, 2021, with an operating profit margin and ROE of 10% or more.
  • The Group's business is segmented into Toys and Hobby, Network Entertainment, and Visual and Music Production, with Network Entertainment encompassing network content, home video games, arcade machines, and amusement facilities.
  • In FY2018.3, amusement facilities generated ¥64.2 billion in sales from 1,870 facilities (293 directly managed, 1,563 revenue-sharing), while amusement machines generated ¥28.2 billion.
  • BANDAI NAMCO Group was ranked among the top global app market publishers in 2017 based on revenue for iOS and Google Play, with Tencent being the top publisher.
  • The Group emphasizes work-life balance through systems like extended childcare leave, flextime, shorter working hours, and support for family caregiving, exceeding legal requirements.
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Bandai Namco
Page 1
Report32 pages

Bandai Namco Group Fact Book 2020

01 Consolidated Business Performance / 03 Sales by IPs / Toys and Hobby Unit 05 Network Entertainment Unit 06 Real Entertainment Unit / Visual and Music Production Unit / IP Creation Unit 08 Plastic Model Market / Figure Market / Capsule Toy Market / Card Product Market 09 Candy Toy Market / Children’s Lifestyle (Sundries) Market / Babies’ / Children’s Clothing Market Top Publishers in the Global App Market BANDAI NAMCO Group 10 Home Video Game Market 10 Amusement Machine Market /...

  • Bandai Namco Group's Toys and Hobby Unit has achieved significant cumulative shipment volumes for key product lines as of March 2020: Gundam plastic models (696.73 million units), Ultraman soft figures (98.77 million units), Super Sentai series robots (30.45 million units), and Digital Monsters (14.15 million units).
  • The Network Entertainment Unit's sales for network content decreased from ¥211.1 billion in FY2019.3 to ¥200.9 billion in FY2020.3, while home video game sales also slightly declined from ¥102.1 billion to ¥99.0 billion in the same period.
  • As of March 2020, Bandai Namco Rights Marketing Inc. reported a cumulative total of 492,924,783 fee-based viewings for on-demand animation delivery since October 2002, with 4,508 productions (71,739 episodes) available.
  • Bandai Namco Group was formed in September 2005 through the management integration of BANDAI and NAMCO, establishing NAMCO BANDAI Holdings Inc.
  • The Japanese figure market reached ¥30.5 billion in FY2019, while the digital card market, where Bandai holds a significant share (60.8% in FY2019), was ¥24.7 billion in FY2019.
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Bandai Namco
Page 1
Report16 pages

Bandai Namco Group Fact Book 2021

1 BANDAI NAMCO Group Outline 01 Consolidated Business Performance / 03 Sales by IPs / Facts & Figures Entertainment Unit (Digital Business) / Entertainment Unit (Toys and Hobby Business) 06 IP Production Unit (Visual and Music Business / Creation Business) / IP Production Unit (Visual and Music Business) / IP Production Unit (Creation Business) / Amusement Unit Entertainment Unit (Digital Business) 07 Game App Market / Top Publishers in the Global App Market / Home Video Game Market ...

  • Bandai Namco Group's top-performing IP by sales (worldwide) in FY2021.3 was DRAGON BALL series at ¥127.4 billion, followed by Mobile Suit Gundam series at ¥95.0 billion and ONE PIECE at ¥38.0 billion.
  • Network content sales (digital business) grew from ¥200.9 billion in FY2020.3 to ¥207.7 billion in FY2021.3, while home video game sales increased from ¥99.0 billion to ¥118.1 billion in the same period.
  • Amusement unit sales declined significantly from FY2020.3 to FY2021.3, with amusement machines dropping from ¥27.1 billion to ¥16.7 billion and amusement facilities from ¥64.7 billion to ¥47.1 billion.
  • Bandai Namco Group was ranked 6th globally among app market publishers in 2020, behind Nintendo, Playrix Ireland, Koei Tecmo, Activision Blizzard, and Zynga.
  • The company has a strong history of product longevity, with cumulative shipments including 2.65 billion candy toys (since 1995), 101.87 million Ultraman soft figures (since 1983), and 30.89 million Super Sentai series robots (since 1979).
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Bandai Namco
Page 1
Report16 pages

Bandai Namco Group Fact Book 2022

www.bandainamco.co.jp TABLE OF CONTENTS 1 Bandai Namco Group Outline 01 Consolidated Business Performance / Entertainment Unit (Digital Business) 04 Entertainment Unit (Toys and Hobby Business) 06 IP Production Unit (Visual and Music Business / Entertainment Unit (Digital Business) Entertainment Unit (Toys and Hobby Business) 09 Plastic Model Market / Figure Market / Capsule Toy Market / Card Product Market Children’s Lifestyle (Sundries) M...

  • Bandai Namco Group's top-performing IPs by sales in FY2022.3 were DRAGON BALL series (¥127.6 billion), Mobile Suit Gundam series (¥101.7 billion), and ONE PIECE (¥44.1 billion).
  • The Digital Business segment saw a decrease in network content sales from ¥207.7 billion in FY2021.3 to ¥185.5 billion in FY2022.3, but home video game sales increased significantly from ¥118.1 billion to ¥174.4 billion in the same period.
  • As of March 2022, Bandai Namco Entertainment Inc. had 34 game app titles each on Google Play and the App Store, and 5 social media titles in Japan.
  • The Toys and Hobby Business unit has achieved substantial cumulative shipment volumes for key products, including 2,699.59 million candy toys (since 1995) and 104.93 million Ultraman soft figures (since 1983).
  • The Amusement Unit's sales increased from ¥63.8 billion in FY2021.3 to ¥82.3 billion in FY2022.3, with amusement facilities contributing the majority of sales (¥61.5 billion in FY2022.3).
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Bandai Namco
Page 1
Report16 pages

Bandai Namco Group Fact Book 2023

www.bandainamco.co.jp TABLE OF CONTENTS 01 Consolidated Business Performance / 03 Sales by IPs / Entertainment Unit (Digital Business) 04 Entertainment Unit (Toys and Hobby Business) 06 IP Production Unit / Amusement Unit Entertainment Unit (Digital Business) 07 Game App Market / Home Video Game Market Entertainment Unit (Toys and Hobby Business) 09 Plastic Model Market / Figure Market / Capsule Toy Market / 10 Candy Toy Market / Children’s Lifestyle (Sundries) Mar...

  • Bandai Namco Group's history includes the independent founding of Bandaiya in 1950 (later BANDAI) and Nakamura Manufacturing Ltd. in 1955 (later NAMCO), with significant milestones like PAC-MAN's introduction in 1980 and Tamagotchi's launch in 1996.
  • The Gundam series is a major IP for Bandai Namco, with cumulative plastic model shipments reaching 761.11 million units by March 2023, including 577.05 million Real series and 1.27 million SD series units.
  • Bandai Namco's Toys and Hobby Business saw significant sales from the Gundam series (¥60.5 billion in FY2023.3, up from ¥44.2 billion in FY2022.3) and KAMEN RIDER series (¥23.0 billion in FY2023.3, up from ¥22.8 billion in FY2022.3).
  • The company's home video game titles have achieved substantial cumulative shipments, including the TEKKEN series (55.00 million units by March 2023) and the Super Robot Wars series (20.24 million units by March 2023).
  • Bandai Namco is actively engaged in ESG initiatives, including sustainability activities utilizing IP to reduce environmental burdens (e.g., clothing donations for upcycling, plastic recycling PR with the Ministry of the Environment) and regional contribution activities like the Gundam Educational Program.
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Bandai Namco
Page 1
Report94 pages

The PC & Console Gaming Report 2025

The global PC and console gaming market is projected to reach $92.7 billion by 2027, driven by a significant recovery in the console sector. While PC growth remains modest at a 2.6% CAGR, the console segment is expected to expand by 7.0%, fueled by the anticipated launch of the Nintendo Switch 2 and blockbuster releases such as Grand Theft Auto VI. Despite a revenue dip in 2024 due to a lighter premium release schedule, total playtime grew by 6%, signaling robust engagement even as market dynamics shift toward a "near zero-sum" competition for player attention.

Player behavior is increasingly characterized by "calcification," where engagement is concentrated into a shrinking pool of established "forever games." Titles aged six years or older now command over 60% of playtime on PC and nearly half on consoles. This consolidation is most visible on PC, where just five legacy titles account for 30% of annual hours. While PlayStation has emerged as a growth leader with a 21% increase in playtime since 2021, the broader trend across all platforms shows players becoming more "unreachable," with a rising share of the audience engaging with only one to three games per year.

To combat stagnation, publishers are increasingly leveraging "recursive nostalgia" by reintroducing classic maps and mechanics. While this strategy yielded massive engagement spikes for Fortnite, its effectiveness varies, often serving as a short-term boost rather than a long-term retention tool unless structured as a permanent gameplay mode. Furthermore, the discoverability crisis has intensified as annual releases on Steam approached 19,000 in 2024. With the impact of traditional seasonal sales declining fourfold since 2019, success now requires a shift toward targeted global events, external traffic generation, and product differentiation to break through a market dominated by AAA franchises and entrenched free-to-play titles.

  • The global PC and console market is projected to reach $92.7 billion by 2027, with the console segment expected to grow at a 7.0% CAGR driven by the Nintendo Switch 2 launch and Grand Theft Auto VI.
  • Player engagement is increasingly 'calcified,' as titles aged six years or older now account for over 60% of PC playtime and nearly 50% of console playtime.
  • Market competition for player attention has become a near zero-sum game, with a rising percentage of the audience now limiting their engagement to only one to three games per year.
  • On PC, market consolidation is extreme, with just five legacy titles responsible for 30% of total annual hours played.
  • Despite a 2024 revenue dip caused by a light release schedule, total player engagement grew by 6%, indicating that playtime remains robust even as monetization becomes more difficult.
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NewzooFeb 2026
Page 1
Report13 pages

Aream & Co. Gaming CEO Survey 2025

The survey, conducted by Aream & Co., gauges executive optimism regarding consumer spending on gaming in 2025 across multiple channels and functional areas. Overall, 49 % of respondents view spending as “more optimistic,” another 49 % see it as unchanged, and only 2 % are less optimistic. When broken down by platform, mobile spending is perceived as more optimistic (49 %) while PC and console views are split between “more” (15–33 %) and “about the same.” In‑app purchases are viewed as more optimistic (80 %) versus in‑app advertising (41 %).

Key challenges identified include content saturation and over‑supply, with 33 % citing these as concerns; marketing environment issues affect 49 %, and macro conditions are a worry for 17 %. Despite these, 54 % anticipate more new games in 2025, and 37 % expect higher average budgets. Marketing spend is expected to rise for 48 %, while engineering and game development are seen as more optimistic (71 % and 42 %).

The survey also highlights a strong appetite for mergers and acquisitions, with 71 % expecting more M&A activity. Advanced integration across multiple functions is viewed as more optimistic (49 %) but limited implementation remains a concern.

The data derive from a global sample of gaming CEOs, reflecting perspectives across mobile, PC, console, and various functional departments. The findings suggest a cautiously optimistic outlook for 2025, tempered by supply‑side pressures and marketing challenges.

  • Industry sentiment for 2025 is largely stable or positive, with 98% of CEOs reporting that consumer spending will be either unchanged (49%) or more optimistic (49%).
  • M&A activity is expected to accelerate, with 71% of executives anticipating an increase in deal-making throughout 2025.
  • In-app purchases are the primary revenue driver, with 80% of respondents optimistic about growth compared to only 41% for in-app advertising.
  • Investment in development remains a priority, as 71% of CEOs are optimistic about engineering budgets and 42% about game development, with 37% expecting higher average project budgets.
  • Marketing remains a critical pain point, with 49% of executives citing the current marketing environment as a major challenge despite 48% planning to increase their marketing spend.
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Aream & CoFeb 2026
Page 1
Report231 pages

The State of Video Gaming: 2025

The global video game industry is currently undergoing a structural correction following a decade of rapid expansion that concluded in 2021. The primary thesis of this transition is that the industry’s previous growth engines—mobile expansion, live-service models, and pandemic-era engagement—have plateaued, leading to a 12% decline in real-term content spending. This downturn is characterized by widespread commercial underperformance, record-high layoffs, and a significant contraction in venture capital funding. As production budgets for AAA titles balloon toward $500 million, the market has become increasingly polarized, with player engagement and revenue heavily concentrated within a small cohort of long-standing, established franchises that effectively crowd out new releases.

Geographically and sectorally, the landscape is shifting as Chinese developers gain significant global market share, rising from 0.5% to 12.5% of non-domestic content spending over the last 13 years. While the mobile sector faces a 23% revenue drop due to privacy-related user acquisition costs and competition from social media, the industry is pivoting toward cross-platform accessibility and hardware-agnostic distribution. Platforms like Roblox and Steam continue to dominate engagement, though developers face increasing pressure from high platform commission fees and the necessity of navigating a saturated market where discovery is increasingly difficult.

Looking forward, the industry is attempting to mitigate these challenges through technological and business model innovation. Strategies include the integration of generative AI to enhance NPC behavior, the adoption of cloud-native simulations, and a strategic pivot toward programmatic advertising to supplement stagnant game pricing. Furthermore, regulatory pressures on app stores are expected to improve developer margins, while a resurgence in handheld hardware and cross-platform connectivity aims to unify fragmented ecosystems. Ultimately, the industry is moving toward a risk-averse, multiplatform approach, prioritizing long-term engagement and operational efficiency to survive an increasingly competitive and capital-intensive environment.

  • The video game industry is undergoing a structural correction characterized by a 12% decline in real-term content spending following the post-2021 plateau of previous growth engines.
  • Market polarization has intensified as AAA production budgets reach $500 million, causing revenue and engagement to concentrate within established franchises while crowding out new releases.
  • Chinese developers have significantly expanded their global footprint, increasing their share of non-domestic content spending from 0.5% to 12.5% over the last 13 years.
  • The mobile gaming sector has experienced a 23% revenue drop, driven by rising user acquisition costs linked to privacy regulations and increased competition from social media platforms.
  • Industry players are shifting toward risk-averse, multiplatform strategies that leverage generative AI, cloud-native simulations, and programmatic advertising to counter stagnant game pricing and high production costs.
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EpyllionJan 2026

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