By the end of the 1970s, two world centers of the gaming industry were formed-Japan and the USA, which are associated with Nintendo and Atari names, respectively. But Europe has a great lagging behind the United States in the field of entertainment, and with the adoption of the Marshall plan to restore Europe in 1947, he was in a subordinate position in the field of both politics and economics and culture, remaining for the most part consumers, and not by manufacturers.
The Europeans met Magnovox Odyssey and Pong back in 1973. Then the first consoles began to come out – English Videogame Home T.V., It was followed by Italian Ping-O-Tronic. Very limited involvement in the industry gradually grew up and in 1978 in Germany was the Interton VC-4000 (analogue of Atari VCS 2600). But these fakes could not oppose anything to American consoles.
In the PC market of a sane alternative to the American Apple II, Commodore Pet or TRS-80 was not even visible. At the same time, the games were not taken seriously and advertised exclusively as one of their capabilities of the PC. Only in 1979 Bruce Everiss, The owner of the store Microdigital, In California I saw packages with games for Apple II. And in 1980, the store of the store founded the first independent Bug-Byte studio, which was developing games for the most popular and cheap PC SINCLAIR ZX80 (1980) and ZX81. One of the first and successful games was a text game – Football Manager (1981) based on the board game SoccERAMA (1968).
“When I started, there was no one in Britain who would sell games. The most affordable way to sell the game to those who wanted was the postal newsletter. ".
– Kevin Toms, creator Football Manager
Three versions of Football Manager were released, and the total circulation reached 2 million. copies, giving rise to a separate genre that retains popularity today.
Interesting fact: For storage and downloading programs in ZX80, audio cassettes were used. If in the United States, manufacturers began to move away from the cassettes in the early 1980s, then in the UK computers remained rare until the mid-1980s-mainly due to the high price.
In 1982, the famous ZX Spectrum, even Comodore 64, bypassed the sales, and became the best -selling PC in the world. Due to the price of 125-175 pounds (depending on the built-in memory), it became a folk computer. Margaret Thatcher even showed him to the Japanese colleague, as a British technological superiority. For 1982 alone, 226 games made in the UK were released for Spectrum. In 1983, this number increased to 1188, and the number of companies producing from 95 to 458. When, in 1981, Everissa sold his Microdigital Lasky’s retail network, he thought people would use PC for stamp cataloging, and 90% played on them. On Spectrum Bug-Byte released its next hit-Manic miner.
The game was unfolded in the world of muddy telephones and deadly toilets-it was an copyright rome by an American platformer Miner 2049. Such surrealism was very characteristic of the British industry. The intensity of the absurd was such that the press seriously discussed drug addiction among developers by analogy with the spread of drugs among British musicians. But they agreed that surrealism is just a national feature. "They did not distort reality – they just pierced". With these words Bob Kraucher You can characterize the entire British industry of the 1980s. There were even whole universes like Attack of the Mutant Camels. At the other pole of common sense, other games like Elite (1984), created by two Cambridge students about space battles under the impression of Star Wars, but the concept went much further, making the first cosmic simulator from Elite. Knight Lore, Deus Ex Machina and Jet Set Willy also became symbols of creative freedom.
The energy of the British market has become a powerful growth factor for video game industries in Spain and Australia. For Spain, it all started with zx spectrum. In Madrid, the main developer was Dinamic, but with an eye on the English market. For her and competitors like Opera Soft and Indescomp, the main subject of export was military games such as Army Moves, inspired by Rambo, and GOODY Games, like GOODY. But the game was the starry industry Paco Menendeza La Abadia del Crimen (1988), created under the impression of Knight Love and Roman Umberto Eco "Name of Rose".
Australia, as one of the members of the British Commonwealth, maintains close economic relations with Great Britain and could not avoid its influence through the game industry. On the wake of the popularity of ZX80 in the country of Kangaroo, in 1980 it opened Beam Software and cooperated with Melbourne House, to publish in the UK … computer books, and only then did they switch to games. Soon, Beam Software became the center of the Australian Game Industry, replenishing its staff, mainly by graduates of the University of Melbourne, and rose at the expense of cunning text quests based on "Hobbit" J. P.P. Tolkien and sold by millions of copies and the complete absence of competitors.
An interesting fact: The Hobbit introduced several new concepts into the genre of text adventures. For example, characters who could make decisions and perform certain actions regardless of the player, which became a noticeable innovation of a usually static world of such games.
Beam Software employees grew so fast that you had to change the office every 2 years. If in England in the 1980s the game was more like a hobby, then in Australia it was a serious business and, due to the lack of an domestic market, the product went straight to the UK. The concentration of the best labor resources of the country within the walls of Beam Software made it the largest developer of the 1980s and the absolute leader of the Australian gaming industry.
The French game industry began in 1983 with a text quest – Le vampire fou From a single developer Jean Louis Le Breton published Ciel Bleu. For such a late start of the industry there were objective reasons – the lack of an affordable home PC. In 1983, with the advent of the English ORIC-1 and the French Thomson to7, the situation began to straighten out. In the same year, the first publishers specialized in games began to appear: Loriciels Ere Informatique And Infogrames.
Le Breton did not earn anything in his creation, and the publisher of Ciel Bleu soon went bankrupt. But the author did not despair and, having cooled with his friend, founded the company Froggy Software, in whose games his whole life philosophy reflected: "Adventures, humor, discrepancy and complete nonsense". All their games were text quests, but with their humorous and political topics. With their acute political and social satire, they favorably differed from most competitors, in whose games the action took place in a science fiction surroundings.
The then popular Tilt magazine in 1984 wrote that the French games tried to create something close to French reality and carrying an imprint of personalities of their creators.
For example, Le Crime du Parking touched the topics of violence, drug addiction and homosexuality. The efforts of Le Breton were not only converted into profit, but also to the title of Alfred Hitchcock from the video game, which was awarded by the Tilt game magazine. Of course, he was not the only developer in France. In the genre of text quests worked Muriel Tram, Patrick Shamuazo and others. For example, c Freedom: Rebels in the Darkness (1987) From this couple we tried on the role of a slave on a plantation that needed to organize an uprising. It was mixed with elements of strategy, RPG and action. And Trammi herself called her "military game".
French games possessed a rather bad gameplay compared to English, but were much more elegant works in artistic terms. The main market for sales was still UK. It was called "French line", Whose visual and narrative style was inspired by French comics. This feature can be seen in a strip-poker Teenage Queen, Captain Blood and others.
The French game industry https://gamblingdata.net/casinos/gala-spins-casino/ was different from British, first of all, attempts to speak on serious topics, Displaying interactive entertainment on the degree of emotional impact on one level with films and books. But in general, the France industry developed extremely slowly.
In West Germany, the situation developed somewhat different. The Nazi past was burdened over the entire culture of the country, and for “Hale Hitler” and anti -Semitic jokes could be sitting down for a couple of years. Therefore, German developers, unlike the developers of Great Britain, avoided plots related to violence and destruction. And if citizens do not show sufficient consciousness, then for them back in 1954 was created "Federal censorship". The main functions of the institution were the search for obvious and hidden propaganda of Nazism, excessive violence and the ban on the spread of such materials. At the beginning of FCU, various media and comics were engaged, but soon the time came for games and cinema. And already in 1984 the first games were included in the Black List: River RAID from Activision, Battlezone from Atari and the racing game in which it was necessary to crush pedestrians – Speed Race For Commodore 64. And in general, 90% of games were prohibited due to excessive violence. The threat of getting into the sight of the FTs was a serious obstacle to German developers who tried to create traditional action games, which were the most popular genre among young people.
In addition, gaming developers of Germany were largely influenced by national love for board games. Germany to this day is the world’s largest consumer of this kind of entertainment. Economic and strategic games like The Settlers of Catan. This prompted developers to release similar video games. The Hanse was a real hit, based on the history of the Ganseatic Union, which dominated trade in the Baltic from the XIII to the XVII century. Only Kaiser was more popular, where it was necessary to manage its kingdom.
And while most countries have developed their approach to the industry, Italy Back in the 1970s, it became the largest supplier of games on the continent. It had as many as 3 companies producing slot machines, although they did not produce their own games. But in the 1980s Zaccaria I started releasing my games. The first and failed experience was the Quasar shooter, who could not stand competition from the USA and Japan. In 1984, the company turned the game direction. And until the beginning of the 1990s, more than one major gaming company did not appear in Italy.
And here Netherlands opened on the other side. This small country has become the heart of European piracy. This trend started in 1982, when various companies were given to programmers instead of an interview, technical marriage on the hack of various games. In general, it was a popular option to improve your skills. And then hacked games were laid out on various sites, and every PC owner and modem could download them. The most popular group of hackers was 1001 crew. This is what one of its members said Yoost hing: “We competed with other crackers around the world, trying to hack the game quickly, good and imperceptibly. I enjoyed the fact that if you “defeat”, breaking better than others, then the whole world will copy and play your version of the game and see your name on the screen ”. “As a rule, we left a“ label ”in the game to show exactly who did it”. At the beginning of the game, an inscription surfaced like: "Hample in 1985 1001 Crew – click a gap". It was also important to squeeze the size of the game as much as possible so that it could be downloaded. In the world of Commodore 64 everyone knew names 1001 crew And The Judges, who challenged the Hing team. Of the Netherlands, this tradition has spread around Europe and the rest of the world.
Later, many crackers moved to game studios. An indicative example is the Finnish Future Crew, which began with a hacking of games for Commodore 64, but in 1994 blossomed and joined the slender ranks of the Remedy Entertainment – creators of Max Payne. Or here is an Englishman Alex "Statix" Evans I got a job in Bullfrog To Peter Mulinya. Needless to say, the developers considered crackers their enemies and simply thieves. Moreover, the law did not regulate the distribution of games and pirates no one had the right to even fine. While you could copy games in artisanal conditions on any PC.
Everything is simple. If no one pays for the goods, then no one will produce it.
This simple logic killed the studio Imagine From Liverpool, which on the 1982 Christmas holidays became one of the largest developers thanks to the Arcadia shooter and also quickly went bankrupt after 2 years. This is despite the fact that Imagina became the first studio with its staff of marketers and localizers. Programmers worked in the office with artists and soundtracks. But this did not save her from the explosive growth of piracy, which occurred at a time when the development cycle increased sharply with the budgets, and sales also dropped sharply. And so, the BBC has already gathered to withdraw the history of the success of the company, but managed to record only her death. Imagine Software was only the first in the list of burnt studios, albeit the largest. And, of course, this went far beyond the borders of the UK, but only in it in 1984 474 studios closed, and 281 remained. And by 1988 their number fell to 101. Among the survivors was Bullfrog Production, in the bowels of which Peter Mulinius created his first hit – Populous (1989).
First of all, their positions lost their middle hands that released original games at the full price. Budget publishers of the type felt good Codemasters, selling games at 1.99 pounds, and large business empires like Ocean Software, who were engaged in the release of games in the license – "Knight of roads", "Miami Police", "Robocop" For 8.99 pounds. In France, Infrogames absorbed Cobra Soft and Ere Informatique. The Ubisoft appeared in 1986 quickly seized the European market, and turned into a multinational corporation. And all the signs of the early gaming industry quickly flashed. Creator of surreal games Mel Crushter sold his company for 10 pence, and Jean Louis Le Breton – a pioneer in the French industry became a journalist.
The general situation in the market in the second half of the 1980s took shape in such a way that the corporations only had to sow the field plowed by hundreds and thousands of independent developers. And the best conditions for the surveillance were formed in the UK and France, which determined their advanced role in the European gaming industry. They were personified by giants such as Ubisoft, Gremlin Interactive, Vivendi and numerous representative offices EA, Activision, Atari, and T.D.
Then, in 1989, arose ENTERTainment and LEisure SOffware PUblisher’s ASsociation Ltd, who was setting up games for games in the UK, as British Board of Film Classification refused to play games. Due to the lack of analogues on the continent, she became known as European LEisure SOffware PUblishers Association, and rating all the games in Europe until 2002 when it appeared Pan European Game INFORMATION – Official Rating Commission in the EU. And in Britain, LSPA still flourished, until in 2010 it turned into an UK Interactive Entertainment. And if PEGI only puts a rating, then LSPA (UKIE) also reports on the sales of games in the UK and supports various initiatives to combat piracy.
Year after year, the possibilities of corporations grew, drawing independent studios into their orbit. And the “year after year” is only 5-10 years, for which they crushed under themselves everything they could, and where the Aborigines did not have time-it was done by American and Japanese corporations. By 2000, such a concept as the English or French industry was at least blurred, or even completely disappeared behind signs of giants as EA, Take-Two, Vivendi, Eidos, Square Enix and many others whose names have long reserved a place in any thematic news feed.
In 1995, the volume of the game industry of Great Britain, Germany and France $ 1.5 billion., $ 1.3 billion. and $ 500 million, respectively (excluding inflation).
There were no private investors in many countries, and the state was also in no hurry to invest. Graduates of universities who indirectly prepared personnel for the gaming industry, not seeing the prospects in their homeland, moved to the USA and Great Britain. Those few large studios in Germany were initially guided by the USA and the UK. Famous Gothic (2001) from Piranha bytes published ThQ.
The Settlers II (1996) on its own developed and published German Blue Byte Software, which besides The Settlers III (1998) released 6 more games and was bought by Ubisoft in 2001. Where she continued to release a series of settlers and much more. Crytec was founded by Yerli brothers in 1999 and worked in artisanal conditions, sculpting her engine – Cryengine. She could bend if Nvidia had not paid attention to her. Only in 2002 did they finish developing the engine and set to develop Far Cry (2004) with Ubisoft money, which became the publisher. These are only the most famous examples, but there are much more of them. Hitman: Codename 47 (2000) was developed by the Danes from Io Interactive, and published by the British Eidos Interactive. Well, moving further to the north, to Scandinavia, we will find in Sweden Dice – authors Battlefield 1942 (2002) and numerous continuations of this series. Funcom is sitting in Norway, released The Longest Journey (1999) and MMORPG Anarchy Online (2001). In Iceland, the country’s economy has been supported by CCP since its Eve Online.
Back in 1978, in Ireland, Atari opened its representative office together with the development studio and the cartridge production plant, for which everything was started. It was easier to establish production on the spot than organize delivery from the ocean. Following Europe, Nintendo, Sega and Sony have already been seriously entered. Corporations that have not comparable resources with independent studios quickly internationalized the local industry. This began back in 1978 and every year their influence only gained strength. Especially if they were the only opportunity for most developers. Bullfrog released its shooter Fusion (1988) with the support of EA. She was the first game published by the new unit of EA, opened in the city of Slava near London. Talking about the expansion of the company in Europe Trip Hawkins noted: “Europe was still in the“ cottage industry ”phase or dependence on imports: there was nothing like Atari or Nintendo, which influenced American and Japanese consumers and merchants. The promotion of retail games losed great in sophistication and needed more powerful support for major publishers. ". For example, in Germany, stores shared competing distributors among themselves and the game could only get into one of them. And in order to get acquainted with the whole assortment, it was necessary to pretty run around the shops. Corporations, which have not comparable resources with independent studios, not only brought American and Japanese corporate culture, but also quickly internationalized the local industry.
An interesting fact: In 2002, only 2 hubs remained in France in the person of Ubisoft and Vivendi, with centers in Paris and Lyon, which then held 20% of the European market then.
And while the above process was gaining momentum, tectonic shifts in the field of economics, politics and culture occurred in the east.
Since the late 1940s, members of this Commonwealth were part of the sphere of influence of the USSR and politically focused on it. The economy was planned and was completely controlled by the state, and citizens did not have the opportunity to freely travel outside the social camp, just as the inhabitants of the capitalist countries had no particular opportunities to visit the eastern neighbors. Which sharply limited the possibilities for cultural exchange, and even more so, for the implementation of their ideas, not receiving support from state structures. But from 1989 to 1991 the previous system collapsed, the borders opened up, and market relations had an increasingly influence on the economy. Such countries were, first of all, Poland, Hungary and Czechoslovakia. Well, in 1993, the European Union formed and over the next 15 years, it included all the countries of the former socialist camp, as well as Austria, Finland and Sweden. Distances ceased to matter, and the idea of a geophysical border became increasingly difficult to support.
It suddenly became clear that the separation lines that existed on the continents and the globe as a whole were only a function of distances to which the primitive means of transport and travel difficulties once gave the character of an indisputable reality. And a huge number of people rushed to Western Europe and the USA. They were attracted by high salaries and career prospects, which were not in their homeland. This was primarily the technical intelligentsia and participants in high -tech production. In the 1990s they were programmers. The leak of the brain then gripped not only the CIS, but the whole of Eastern Europe. But still we are talking about thousands of specialists, and not about the mass outcome of the population. Especially today, life connects us less and less with the differences between the concepts of “here” and “there”, “inside” and “outside”, “close” and “far”.
The most famous emigrant is Bulgarian Viktor Antonov, who left back in 1987 to Paris, and then in the USA, where he worked on Redneck Rampage (1997), Quake 2 Mission Pack: The Reckoning (1998) and Kingpin: Life of Crime (1999) And, of course, Half-Life 2 (2004). He owns the conceptual and artistic ideas of the architecture and technology of the alliance, City 17, for which I received awards from Visual Effects Society and Bafta.
And how were things with games in these young Europeans? The 1980s did not appear for her game industry and in the 1990s she had nowhere to get. The state was self -packed by the resolution of this issue, and local capitalists, and the transnational corporations and banks came more occupied by the division of industry and were completely in no hurry to create creation. At first there were not even local publishers, and the games were sold in spontaneous markets, which, as it was in Warsaw, occupied football stadiums and other cultural buildings. The fact that such copyright was not even known, and there was no alternative to the pirate games (this also concerned music with films).
Only in 1999 Markin Ivinsky And Mikhal Chishinski took a chance to buy the rights to localization and publication Baldur’s Gate in Poland. Famous Polish actors were invited to the voice acting, the D&D rules and the Soundtrak disk were put in the game box with the game. No one believed in the success of the enterprise, not to mention serious profits. But the game was waiting for success and thousands of copies sold. Founded in 2002 CD Projekt Red began precisely as a publisher, But in the same year she set about her first game – "Witcher" Based on the novel of the novels of the novel. And starting with 17 people, by 2007 100 specialists were already working in the studio.
In the Czech Republic, Illusion SoftWorks, founded in 1997, already in 1999, with the support of Take-Two, issued a military shooter to the PC- Hidden and Dangerous. In 2002, the release took place Mafia: The City of Lost Heaven – Games that brought the most fame of the company and received many prestigious awards from various gaming media, as well as almost 1.000.000 sold copies on a PC (it reached PS2 and Xbox only in 2004). Then they, in the Commonwealth with the Czech Pterodon (founded in 1999), released one of the best shooters of 2003 – VietCong. In 2004, the staff reached 190 people. And in 2008 it was bought by Take-Two, I was 2K CZECH. Quite a logical ending.
The second most famous Czech studio is Bohemia Interactive Studio (founded in 1999), famous for Operation Flashpoint (2001), who received a pack of prestigious awards and commercial success around the world. But the publisher – Codemasters remained the right to play, so now fans enjoy the Arma series. BI was engaged in the development of a special military simulator, VBS1, which was started in December 2001. After exhaustive testing and use in the field (together with the US Marine Corps), the VBS1 simulator became available in the fall of 2002 for competent government customers and military organizations. And since 2011, she produces a simulator of a peaceful helicopter – Take on Helicopters.
Croteam turned out to be a curious phenomenon (the name came from combining the words "Croatia" (English. Croatia) and "team" (English. Team), is pronounced as “Krim”), which was founded by six enthusiasts of the local Croatian Democence in 1993 and at first was a small “garage” studio that was developing games for personal computers of the Amiga family. In 2001, the first game from the series appeared Serious sam, with which the studio is now firmly associated.
Poland, in addition to the CD Project Red, also became famous for PEOPLE CAN Fly, founded in 2002 and in 2004 released Painkiller. And in 2007, almost all shares were purchased by Epic Games, which planted a command to make BulletStorm (2011) for EA. And even before the purchase, the employees founded The Farm 51 and in 2009 released Necrovision. Polish Techland, although it was founded in the distant 1991, but took up games only in 2000, after how long it traded in. Actually and she is known only for the dialogue Call of Juarez (2006-2009) and Dead Island (2011).
I stopped in such detail at these studios for one simple reason – these were the happy exceptions of initiatives from below, who found wide support from the masses and large publishers. At the turn of the centuries in Eastern Europe there were more than 100 studios, whose games we never even heard and they did not get out of the homeland. And only a few companies had a staff over 100 people. I listed almost all of them above.
“In these bold times, it is not surprising that the support of central and eastern European developers grows large publishers of the USA and Europe and I expect that the share of this region in the industry will grow rapidly in the next 5 years”.
– Nick Gibson, UK Games Investor Consulting
The main platform for games from Eastern Europe for many years remained a PC. Here the situation is identical to the Russian – console, in legal form, were not known. And in order to develop for the West, it was necessary to pay tens of thousands of platform-holders for license and tools. For many, the most reliable way to success was the development of budget continuations for existing franchises.
For example, Romanian FunLab, which took a participation in the development Cabela ‘4×4 Off-Road Adventure For Activision, while other small studios were simply tied to drawing textures and t.D. In the same way in the early 2000s, the Chinese worked for a bowl of rice. Well, even in Europe they threw off the development of third -rate movie license games, type Terminator 3: Rise of the Machines From the Hungarian Clever’s Games for Atari.
Even now, despite the serious qualitative and quantitative growth of the gaming industry, she never received state support. But even in such conditions, we received a whole genre – the Polish shooter, which introduced into the consciousness of City Interactive, founded in 2002 and has already released 25. games, most of which were to put it mildly lousy (the most popular and objectively high -quality of them – Sniper: Ghost Warrior).
Of course, On the AAA field of blockbusters, the game with the West went into the same gate. GTA, Overlord, Grid, Clive Barker’s Jericho, series Fable, Dirt, Driver, Littlebigplanet, Heavenly Sword, DMC: Devil May Cry and many others were made in the UK. The good half of all the games that we are now in our hearing from a foggy Albion. True, it is necessary to take into account the “special relations” between Great Britain and the United States, formed during the Second World War in the field of politics and economics, what can we say about the closest cultural relations thanks to one language. So most studios are equipped with specialists, including leadership, from various countries, especially those that belong to the American transnational corporations.
Today, France has prestigious school training schools in the video game sector, received recognition abroad for the high quality of training, for example, the National School of Video Graduation and Interactive Media of the Angolem Media or the Gelen Visual Art School of Visual Arts. The Ministry of Foreign Affairs in cooperation with the National Center for Cinematography and Animation, as well as the Professional Association "Le Game" They will conduct a study that will study the situation on the export of French video games, and develop a general strategy to popularize video games abroad. The ministry also collaborates with the initiative "French Tech", which is designed to assist in creating a startup company, the development of high technologies and encouraging innovative projects and investments in France. "All French video games are developed with the expectation of a foreign audience, 80 % are originally designed for export", – says the representative of the national syndicate of computer games Julien Vilde. As an example, you can give two games: Just Dance And Rayman Origins, For several months dispersed of several tens of millions of copies. As for the game Dishonored, created by the Lyon Studio Arkane Studios and published in October 2012., then she broke the records of sales of the publisher games for the new IP. Critics spoke favorably about the new product, and more than 1.5 million copies were sold in two months. The same people in 2006 released Dark Messiah of Might and Magic.
France, although lagging behind the UK, is not very. Video games production companies are located throughout France with large centers in regions such as Il de Franca, Rona-Alpa, Nor-Pa-de-Kale, Aquitania, Languedoc and British.
But the first place in terms of the scope of the gaming market is held by Germany. Unlike neighbors, these $ 3.65 billion. Provide dozens of different simulators, of which Farming Simulator is only the top of the iceberg. The main profit is collected by studio like Goodgame Studios – "Berlin answer Zynga", with a client base of 270 million., which specializes in online games in the Free-to-Play genre. Another giant – Berlin company Wooga. She makes free smartphones games. The game Diamond Dash about 200 million users. The top three PLINGA leaders are a Berlin developer of social games for a wide audience. Since 2009, the company has released many games, including Family Barn (27 million players) and Dragons of Atlantis (13 million players). This is the whole modern German game industry. Or rather that part of it, which forms statistics. At the expense of them, she escaped in the first place. In 2011, she was 3 place with $ 2.8 billion. Despite the fact that the consoles and PCs share the players among themselves in half and another 68% of them also play on smartphones and tablets.
Italy with her $ 1.5 billion. froze in this position in 2011 and Its industry is still formed due to many small studios. Many games are devoted to football, but “thanks” to the most high level of piracy, this is the most part of free-to-play. And if mobile and online games in 2011 occupied 1/5, then in 2016 it is already 1/2, and the trend remains. Only the Netherlands only have 80% of the market, MMOG and other F-T-P. And they produced over the past 5 years 4000 similar games in 19 languages.
Summing up, we can say that today such a phenomenon as the game industry of France or England does not exist. And with Eastern Europe the same. Czechs from Vatra Games worked on the Japanese series Silent Hill, More precisely, the 6th part of the series was released-Sh: Downpour (2012). This, already not the very European game, was created with the participation of experts from the USA, and, a little, Japan, and textures could generally draw nameless Chinese Test Drive: Unlimited (2006). The deepest meaning of the idea of globalization is an uncertain, uncontrollable and independent nature of everything that happens in the world: lack of a center, control panel, board of directors or head office.
Even the stronghold of the Polish gaming industry – CD Projekt Red It is equipped with dozens of foreigners, including leading posts. The executive producer The Witcher 3 and the head of the CD Projekt Red Kraków – John Mamais. He was born in the United States, raised in the USA, graduated from the University of Georgia and worked on Battlestar Galactica (2003), The Incredible Hulk (2003), The Thing (2002) and, therefore, as a specialist formed in the United States. Only in 2007 he left for Poland. And now CD Projekt RED for development Cyberpunk 2077 staff of employees must be increased by 200+ people. In the era of total globalization, to tie something to the national borders of the state is a simplification that goes into the category of errors, since the state, as an institution, has long lost a monopoly on its territory by disposal of resources, including human. Today a water division arises between the state and the economy. In the late 1980s, the situation began to rapidly change in this direction, although progressive movements in the string of the global market were made much earlier and the game industry in Europe is a visual demonstration of this process, and CD Projekt Red is the same inevitable element as Ubisoft with Vivendi in the 1990s.