Game Publishing

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.

I N T E G R AT E D R E P O R T 2 0 2 0 The BANDAI NAMCO Group develops entertainment-related products and services in a wide range of fields, including toys, network content, home video games, amusement machines, amusement facilities, and visual and music content. “Dreams, Fun and Inspiration” are the Engine of Happiness.

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 /...

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 ...

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...

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...

The text serves as an educational and promotional overview of the Pan‑European Game Information (PEGI) rating system, using a comic‑style narrative to capture the attention of younger gamers while delivering core information about age‑based content classification. Its central thesis is that PEGI provides the most comprehensive mechanism for informing consumers about video‑game suitability, thereby ensuring safe and informed purchasing decisions across Europe.

Key points emphasize that PEGI operates in more than thirty countries and employs a traffic‑light colour scheme to convey age recommendations: green icons for games suitable for all audiences (ages 3 and 7), amber for intermediate levels, and red for titles restricted to adults (18+). The system also includes content descriptors that clarify specific elements that may affect suitability, reinforcing transparency for parents and players. The narrative illustrates the progression through various “worlds” representing age brackets—3, 7, 12, 16, and 18—highlighting that each tier is tailored to increasingly experienced gamers.

The scope is continental, covering the European video‑game market and all major platforms, with references to the official website and downloadable applications for iPhone, Android, and Windows 7 Phone. No empirical methodology is presented; the piece relies on descriptive exposition and visual storytelling rather than survey data. Overall, the material positions PEGI as a reliable, universally adopted standard that guarantees 100 % informed choice for consumers.

Nexon reported record-breaking financial results for the fiscal year ended December 31, 2025, driven by a strategic IP growth initiative that balanced the expansion of legacy franchises with successful new global launches. Full-year revenue reached ¥475.1 billion, a 6% increase year-over-year, while operating income remained stable at ¥124.0 billion. The fourth quarter saw a significant revenue surge of 55% to ¥123.6 billion, although net income declined 66% to ¥10.9 billion, primarily due to fluctuations in foreign exchange gains compared to the previous year and higher-than-anticipated costs related to performance bonuses and platform fees.

The growth was spearheaded by the launch of ARC Raiders, which sold over 14 million units within 15 weeks and achieved a peak of 960,000 concurrent users. Simultaneously, the 22-year-old MapleStory franchise delivered its highest annual revenue in history, growing 43% year-over-year. This performance offset a 21% decline in the Dungeon&Fighter franchise, despite a strong recovery in its PC segment in China and Korea. The period was also marked by a significant player trust initiative regarding MapleStory: Idle RPG; a coding error led Nexon to offer full refunds, resulting in a ¥9 billion reduction in Q4 revenue.

Geographically, the results reflect Nexon’s successful diversification beyond its traditional Asian strongholds into Western markets via console and PC platforms. Looking ahead to the first quarter of 2026, the company expects revenue growth between 32% and 44%, supported by sustained momentum from new titles and major updates to core IPs. Nexon remains committed to aggressive shareholder returns, doubling its dividend and completing a ¥100 billion share buyback program during the fiscal year.

Vietnam’s mobile game sector has evolved from a consumer‑centric market into a burgeoning production hub, driven by a skilled talent pool forged through outsourcing, stringent regulatory frameworks that forced local publishing entities to emerge, and the explosive rise of mobile gaming. The country now hosts over 35 000 game programmers—comparable to China’s workforce—and more than 300 active mobile publishers headquartered in Vietnam. In 2024, five Vietnamese studios ranked among the world’s top 25 publishers by downloads, contributing nearly 2.4 billion downloads and $133 million in revenue—a 67 % increase in downloads and an 82 % rise in earnings since 2020. Key titles such as Car Race, Wood Nuts & Bolts Puzzle, and Hair Salon: Beauty Salon Game illustrate the domestic IP pipeline, while globally recognized titles like Sky Garden: Farming Paradise, Magic Tiles 3, and Axie Infinity showcase the country’s capacity for high‑impact releases.

The transformation accelerated after 2013 when Vietnamese solo developer Nguyen Ha Dong’s Flappy Bird achieved worldwide chart dominance, proving that local talent could produce globally successful mobile games with limited resources. This success spurred a wave of small studios and startups, many of which transitioned from outsourcing or publishing roles to independent IP creation. Vietnam’s high smartphone penetration (84 %) and a youthful, digitally native demographic further underpin market growth.

Regulatory challenges remain: stricter limits on gaming time for minors, mandatory Ministry of Information and Communications approvals, and content censorship can constrain creative expression and international appeal. Future success will hinge on navigating the shift from hypercasual to more complex casual and social mobile games while adapting to evolving regulatory constraints. Despite these hurdles, Vietnam’s established talent base, rapid growth trajectory, and increasing foreign investment position it as a rising contender for global mobile game leadership over the next decade.

Sega Sammy’s performance through the third quarter of the fiscal year ending March 2026 is characterized by a significant divergence between robust domestic gaming machine operations and substantial financial setbacks in the global consumer and mobile segments. While the Pachislot and Pachinko division exceeded expectations—driven by high-volume unit sales of titles like Smart Pachislot Tokyo Revengers—the broader group faces a projected net loss of 13.0 billion yen for the fiscal year. This downturn is primarily the result of 46.3 billion yen in extraordinary impairment losses related to the acquisitions of Rovio and Stakelogic, the latter of which was impacted by regulatory shifts in the Netherlands.

The Entertainment Contents Business struggled with underperforming new full game launches and a deteriorating user acquisition environment for mobile titles, most notably Sonic Rumble. Consequently, management has pivoted from aggressive expansion to a period of consolidation, suspending large-scale M&A activities in favor of a 20.0 billion yen share buyback program. To restore profitability within the mobile sector, the strategy now emphasizes a "regrowth phase" for Rovio, leveraging AI-driven marketing efficiencies and a transmedia approach that includes major theatrical releases for the Angry Birds and Sonic franchises scheduled through 2027.

Despite current headwinds, the medium-term outlook relies on a robust multi-platform pipeline and the expansion of the Gaming Business, which includes record-high performance at Paradise SegaSammy fueled by Japanese VIP demand. Upcoming releases for the Nintendo Switch 2 and the continued rollout of high-profile intellectual properties like Yakuza and Persona are intended to stabilize the consumer area. Geographically, the company remains focused on global markets while maintaining strict compliance with international gaming regulations in jurisdictions such as Nevada, which govern both corporate operations and shareholder requirements.

Marvelous Inc. reports a significant increase in financial performance for the first nine months of the fiscal year ending March 2026. Net sales reached 29,121 million yen, a 40.5% year-on-year increase, while ordinary profit grew 28.6% to 2,129 million yen. This growth was primarily driven by the Digital Contents and Amusement segments, alongside foreign exchange gains that bolstered the bottom line.

The Digital Contents business saw revenue jump 69.2% following the successful launches of core titles including Rune Factory: Guardians of Azuma, STORY OF SEASONS: Grand Bazaar, and DAEMON X MACHINA TITANIC SCION. While high development costs for these new titles initially pressured margins, strong sales contributed to earnings ahead of schedule, significantly reducing cumulative operating losses in the segment. In the online space, the company launched Browser Sangokushi Ten, though it noted a slow initial start.

The Amusement business remained a consistent profit driver, with revenue increasing 25.1% due to the continued popularity of Pokémon kids’ amusement machines, such as Pokémon FRIENDA and the overseas expansion of Pokémon MEZASTAR. Conversely, the Audio & Visual business experienced a revenue decline of 11.3% following the liquidation of unprofitable businesses, though segment profit rose sharply by 306.1% due to high-performing stage productions and secondary usage revenue from anime titles.

Geographically, the company is focused on the Japanese, North American, European, and Asian markets across Nintendo Switch, PlayStation 5, and PC platforms. Despite exceeding year-to-date targets for certain profit metrics, the full-year forecast remains unchanged at 35,000 million yen in net sales and 2,000 million yen in operating profit, citing potential future uncertainties in the macroeconomic and industry environment.

The mobile gaming industry is undergoing a structural shift as regulatory changes and legal precedents in the United States, Europe, Asia, and Latin America dismantle long-standing app store monopolies. This transition allows publishers to bypass traditional platform commissions of 15% to 30% by steering users toward direct, out-of-app payment channels. The primary thesis is that recovered margins should not be viewed merely as profit, but as a strategic reinvestment budget to enhance player value, improve live operations, and drive long-term audience growth.

Successful implementation requires a disciplined approach to user segmentation, value proposition, and interface design. Rather than inviting all players to use external payment methods, publishers should target high-propensity users—such as frequent spenders or those at higher game levels—to minimize friction for casual players. Because out-of-app flows inherently introduce more steps than native in-app purchases, publishers must provide a tangible incentive, such as bonus currency, exclusive items, or lower effective pricing, to ensure the external path remains attractive.

Operationalizing this strategy requires robust infrastructure to manage global payment routing, tax compliance, fraud protection, and reconciliation. Attempting to build these capabilities in-house often results in excessive overhead that negates the margin benefits. Data from large-scale deployments indicates that well-executed linkout programs can drive significant incremental growth, with some publishers seeing a 17% increase in webstore revenue and a 78% rise in first-time purchase rates. Ultimately, the transition to out-of-app monetization represents a move toward a more sustainable, publisher-controlled economic model that prioritizes lifetime value over single-transaction margins.