PART-FINANCED BY THE EUROPEAN UNION (EUROPEAN REGIONAL
DEVELOPMENT FUND AND EUROPEAN NEIGHBOURHOOD AND PARTNERSHIP INSTRUMENT)
RESEARCH
„DEVELOPMENT POTENTIAL FOR FILMS, CROSSMEDIA AND
INTERACTIVE GAMES IN LATVIA”
Research Report
Research commissioning agency:
State Authority of Direct Administration
Research performed by:
Association
„Zināšanu un inovāciju sabiedrība”
“National Film Centre”
Unified registration No. 90000022100
Peitavas iela 10/12, Riga, LV-1050
tel.: 67358878, fax: 67358877
(Knowledge and Innovation Association)
Unified registration No. 40008142094
Vasaras iela 6, Jūrmala, LV-2008
tel.: 22073143
e-mail: [email protected]
e-mail: [email protected]
Riga, 2012
Table of Contents
INTRODUCTION ............................................................................................................................... 3
1. DESCRIPTION AND ANALYSIS OF THE EXISTING SITUATION .......................................... 5
1.1. The existing situation in the film industry........................................................................ .. 5
1.1.1. General survey of the industry.................................................................................5
1.1.2. Analysis of the chosen examples .............................................................................6
1.2. The existing situation in the crossmedia and interactive game industry ........................... 10
1.2.1. General survey on the industry .............................................................................. 11
1.2.2. The exiting support instruments: results of their acquirement and drawbacks ..12
1.2.3. Availability of human resources and know-how in the industry ...........................13
1.2.4. Analysis of the chosen examples ...........................................................................15
1.2.5. Analysis of the experience of Denmark and Finland .............................................17
2. PROPOSALS AND RECOMMENDATIONS ............................................................................ 19
2.1. Proposals and recommendations for the developers of education policy and educational
establishments: ......................................................................................................................... 19
2.2. Proposals and recommendations for improvement of institutional and financial support 19
2.3. Proposals and recommendations for encouragement of cooperation within the industry and
in the cross-sectoral level ......................................................................................................... 20
APPENDICES ................................................................................................................................... 21
Summary of interviews with the film industry producers ....................................................... 21
Interview with CEO of SIA „Screen Vision” Laima Freimane .......................................21
Interview with Māris Putniņš, CEO of SIA „Animācijas brigāde” .................................23
Interview with Jānis Kalējs, co-founder of SIA „Film Angels Studio” and SIA „Film Angels
Productions” ....................................................................................................................25
Interview with Roberts Vinovskis, CEO of SIA „Studija Lokomotīve” and SIA „Kinoklubs" 26
Summaries of interviews with developers of crossmedia products and interactive games .... 29
Interview with Andrejs Kļaviņš, the co-founder of SIA „Next Level” ..........................29
Interview with Edmunds Jansons and Sabīne Andersone, representatives of SIA „Atom Art”
(the crossmedia project “Shammies”) .............................................................................30
Interview with Inga Prauliņa, CEO of SIA „JetMedia” (The computer game „Magic Bird”)32
Interview with Kaspars Komarovs, the representative of SIA „Vizla” (computer game
„CinemaCity”) .................................................................................................................34
Interview with Raimonds Ūdris, co-owner of SIA „Next Level” (the computer game
„Oceania”) .......................................................................................................................36
Summary of the discussion of the film industry focus group .................................................. 38
Summary of the discussion of the focus group of developers of crossmedia products and
interactive games ...................................................................................................................... 43
List of designers of interactive games and their contacts ......................................................... 47
INTRODUCTION
The research “Development Potential for Films, Crossmedia and Interactive Games in Latvia” was
performed within the framework of the Baltic Sea Region Programme First Motion.
The research commissioning agency is the National Film Centre, (henceforward NFC), the research
was implemented by the association „Zināšanu un inovāciju sabiedrība” (Knowledge and
Innovation Association). Issues, goals, tasks, directions and requirements to be examined as set out
in the technical specifications of the procurement, were the basis for the research.
In the framework of the research answers were found to the following questions:
1. What are preconditions (of resources, technologies, knowledge) for development of
crossmedia projects and interactive games and their successful promotion in the market,
especially in the global digital environment?
2. To what extent the identified preconditions are already existing in Latvia; which of them are
insufficient and which should be enhanced?
3. How successfully the already existing state support mechanisms meet the requirements of
the industry and what new directions should be taken in future?
4. Who are the players in this industry in Latvia?
According to the technical specifications the goal of the research is to ascertain the development
potential of films, crossmedia and interactive games in Latvia, to summarize information about the
existing situation as well as develop and provide to the commissioning agency’s recommendations
about the necessary measures of state support for further activities to ensure that new audiovisual,
interactive game and cross-sectoral projects and products would be developed in Latvia, crosssectoral cooperation promoted and new forms and frameworks of cooperation developed.
In line with the tasks defined at the technical specifications, the research was made in the following
areas:
1. investigation of the existing situation;
2. availability of human resources and know-how;
3. availability of technological aids and equipment;
4. existing financial support mechanisms in the stage of development of the project and the
product of interactive games – results of their acquirement, drawbacks;
5. existing mechanisms of financial support in the area distribution and marketing of
interactive games – results of their acquirement, drawbacks;
6. possible developments and mechanisms of commercialization of audiovisual and interactive
games;
7. recommendations to the commissioning agency for further activities.
The following research methods were used: aggregation and analysis of statistic data and other
information, interviews and discussions of focus groups. Credibility, accuracy and quality of the
available data, lack of it as well as unwillingness to provide it (for example, the commercial
information of film production companies) exerted influence on application of the research
methods.
The research was performed within the period of time from March 1 to April 30, 2012.
The research was performed by the research coordinator, Dr.man.cand. Kaspars Šteinbergs, and the
researcher in culture, creative industries and economics, Dr.com.cand. Renāte Cāne.
1. DESCRIPTION AND ANALYSIS OF THE EXISTING SITUATION
1.1. The existing situation in the film industry
1.1.1. General survey of the industry
Cabinet of Ministers Regulation No.586 prescribes the procedures for registration in the Register of
Film Producers to all the merchants who intend to produce films in Latvia. On March 6, 2012 the
number of registered film producers is 87 legal persons who have mostly registered their activities
at the division 59.11 ”Motion picture, video and television programme production activities” of the
Statistical Classification of Economic Activities NACE (Rev.2). Another widespread division is
59.12 “Motion picture, video and television programme post-production activities”.
Analysing the profit and loss statements of film producers for the corresponding period of time
(available on Lursoft) as well as the data of NFC about allocation of state subsidy to film projects
and other sources of funding (e.g., „Eurimages”, etc.), it can be seen that in the period of time from
2008 to 2011 around two thirds from all of the registered producers have produced films more or
less actively while the rest have either not performed economical activities or done it in
insignificant volume. In the analysis of the net turnover of the producers (indicator characterizing
the economic activity and cash flow of a producer per year) several tendencies are marked out
clearly. The first: “the principle of projects” dominates in the industry. If a film production company
implements a larger film project it reflects in its cash flow as a significant growth in a particular
year or two but right after the film is finished the turnover rapidly decreases again (characteristic
examples: SIA „FA filma”, SIA „Filmu studija Deviņi”). It demonstrates the comparatively unstable
financial situation of film production companies and their inability to plan processes in a long-term
run. For this reason a part of film production companies are looking for options to increase their
income with other kinds of economic activities, which are not always connected with their basic
activity (for example, SIA „Screen Vision” is involved in training of new actors or SIA „Kinolats”
is providing services of computer design). Other companies, though, cut down their activity to the
minimum (SIA „Kompānija Hargla”, SIA „Subjektivfilma”, SIA „Studija Centrums”,etc.).
The second tendency proves that it is possible to find also commercially successful areas ensuring
the film production companies rather considerable profit. Advertisement and rendering of the film
production service (rent of equipment, location scouting, casting and other services). Among the
film production companies which have succeeded in this area are SIA „Film Angels Studio” and
SIA „Film Angels Production” whose turnover in 2012 exceeded even 2 million Lats; also the
company SIA „Baltic Pine Films” has showed rapid and stable growth of turnover since the
establishment of the company in 2008. The basic activities of both the companies (as defined by
their representatives) are closely connected with both of the mentioned areas. It is possible that it
has encouraged also the chief executives of other film production companies to try and develop
these activities. The producers Laima Freimane and Roberts Vinovskis have recognized it in the
interviews.
The third positive tendency shows that animated films indeed make the most exportable part of the
Latvian film products. Both the big players - SIA „Filmu studija Rija” and SIA „Animācijas
brigāde” are stable market participants, whose success is based on hard work, including cooperation
with international partners.
On the whole it can be concluded that in spite of the fact that funding for film industry since 2008
has been reduced for more than three times, which affects negatively also the number of the
supported films and respectively also the activities of many film production companies, the greatest
part of producers are still actively looking for solutions for existence and development of their film
production companies. Moreover, they see a development potential for mastering new spheres,
including activities in multimedia environment.
1.1.2. Analysis of the chosen examples
Five producers representing seven film production companies: SIA „Screen Vision”, SIA
„Animācijas brigāde”, SIA „Film Angels Studio”, SIA „Film Angels Productions”, SIA „Studija
Lokomotīve”, SIA „Kinoklubs” and SIA „Filmu studija Deviņi” were chosen for in-depth analysis
of the film production companies.
These producers were chosen as relatively typical representatives of the most characteristic sectors
of the film industry and the analysis of the activities of their companies will help to give general
overview about the tendencies in the activities of the Latvian film producers regarding the following
issues:
 basic and additional economical activities of the film production companies, structure
of their income and interrelation to the general activities of the company;
 readiness to develop products of the creative industry at the film production
companies, which could help to develop the activities of the companies.
A significant aim of the interviews is also to find out the producers' opinion about the development
options for the film industry in cooperation with producers of crossmedia projects and interactive
contents.
Laima Freimane, CEO of the film production company „Screen Vision”, admitted that
regardless the fact that the registered basic activity of the company is film production and films of
different genres are produced comparatively regularly, the studio has also sufficiently enough of
other kinds of activities, which are, though, mainly connected with the film industry. “For six years
already we have been organizing drama courses so that it has become one of our basic activities.
(...) Training of actors does not give profit but provides turnover and some activity.” As especially
potential and effective activity Laima distinguishes rendering of film production services, therefore
“during the previous years I have been working to get also in rendering the services. I am doing my
best to break into this area.” Yet Laima does not want to get engaged in advertisement even if it
could provide positive financial support to the company. “It is an absolutely different mode of
thinking and causes exhaustion. I see a bigger potential in cinema.”
The income structure of her company Laima evaluates as follows: in 2011 “services” have given
around 80%, training courses – around zero but the scanty remaining percentage is made of the
public funding.
The latest concept of Freimane, producing the footage from the former productions of the studio,
can be evaluated as very exciting. “These are small fragments of the film footage, which are edited
and put on servers (ready platforms) and sold to anyone interested (mostly, film producers from
different countries of the world who find it useful not to go anywhere and shoot anything but to buy
ready footage). I wanted to do it already some time ago but could not afford it. Now I have started
using trainees for making such footage and it starts advancing, although, with quite a difficulty. It
can be a good way to earn some more money.”
While focusing at other creative industry products does not seem an option for Laima, interactive
environment, in her opinion, is one of solutions in search of new commercial activities. “Nowadays
it seems that every film needs to have different games and merchandise if you want to advertise it
well. But the problem is that there are not enough investments and funds to produce it since it all
requires money. We have had a couple of interesting interactive ideas but we haven't managed to get
ahead since there are no funds to apply for with this. And we don't have our own funds to invest in
something like that.”
Māris Putniņš, CEO of SIA „Animācijas brigāde”, distinguished three basic activities of his
company: production of puppet animation films, puppet animation commercials and puppet
animation educational films. Recognition at international festivals and impressive distribution
results worldwide show that the company has succeeded in this area.
The company is involved in no additional economic activities, unless “publishing and sales of
DVDs of our own films can be labelled as additional economic activity,” which could at the same
time be regarded as development of creative industry products.
„Animācijas brigāde” has a model of funding, typical to European film production companies “international commissions give us about 15% from turnover, self-funding makes on average 10%
(as mostly everywhere in Europe), the rest comes from grants. We are very fortunate that we have
entered the international market and have noteworthy international commissions.”
Putniņš regards interactive environment as an important direction for development of the company.
“We have been offered to work in this area by developing characters, movements, etc., but these
projects have not been carried out. The reason for that is lack of money since computer games is a
very expensive product. And I don't see a purpose for it in Latvia – the market is so small that no
computer game created for it will pay back. International projects, however, could be very
prospective and, to tell the truth, now we are one step away from developing and selling characters
for computer games. Russia has an interest in us.” The experience of SIA „Animācijas brigāde”
only proves that animation is one of the areas of filmmaking, which could have the closest relation
to development of interactive products.
An interesting model how to start business activities within the film industry can be seen in the
analysis of SIA „Film Angels Studio” and SIA „Film Angels Productions”. Jānis Kalējs, the cofounder of both the film production companies, regards two activities as the basic directions of
the companies – commercials and films. Each of them respectively is divided into two subdivisions.
“In the field of commercials we both produce our own commercials (all the biggest Latvian
advertising agencies are among our clients), besides we perform the whole cycle of production,
including the development of ideas, shooting, editing, everything), and render the production
service for film production companies from the whole world engaged in commercials (we offer
location scouting, casting and everything related to the production of commercials – full service for
international production companies). Similar is the situation with the production of our own films –
we are both producing our own films (for example, our biggest project „Vogelfrei”) and rendering
service to international film producers in Latvia. We have had several important cooperation
projects with Russia, Sweden, Finland, Korea, Japan, India and Denmark.”
Spheres are separated between both the production companies - „Film Angels Productions”
produces local commercials and renders services to international productions of commercials and
music videos while „Film Angels Studio” specializes on production of feature and documentary
films and rendering production service to domestic and international film producers. The fact that
the chosen kinds of activities are successful is proven by the data showing that both the film
production companies are the most successful commercially in Latvia and have the best financial
indicators. Self-evident, as for a company operating in the field of commercials and film production
service, the structure is its income consists for 100% from the earnings and state grants are applied
for and received only to some occasional own film projects.
It is interesting that Jānis Kalējs stresses that neither of the film production companies have thought
about focusing on additional creative products or possibilities of using the options offered by the
interactive environment. Admittedly, it is not typical if to compare with other of the enquired film
production companies since there was no one among the focus group participants who had not at
least started to consider these new options.
Legal separation of the production companies is seen also in the case of SIA „Studija
Lokomotīve” and SIA „Kinoklubs”. Roberts Vinovskis, CEO of both the companies, explains
that it has been done for different reasons than in the above described case. “We have defined for
ourselves that the basic activity of „Studija Lokomotīve” is film production whereas SIA
„Kinoklubs” provides services for film and other audiovisual productions. This division depends
also on the fact the film projects are often connected with state funding (subsidies), therefore the
cash flow is smaller but greater stability is needed. Service, conversely, requires greater financial
capacity, consequently loans are taken and risk of business activity increases. Therefore we have
separated both the areas.” The structure of income is also different in both the companies. For
„Studija Lokomotīve” it has a proportion of 2:1 where 2 is own capital and 1 – state subsidies. The
company has also attracted sponsor investments but very few – during all the years of existence of
the company they make around 3-5% from the total financial turnover. Just the opposite, all the
earnings of SIA „Kinoklubs” are gained from the commercial activities.
Vinovskis regards that such specialization has especially positive impact on „Studija Lokomotīve”,
thus letting save funds in the post-production stage of the films since this way the company can
finish their films with their own funds, which is much cheaper. Thus a company can produce more
films.
Vinovskis evaluates very positively the options ensured by the multimedia and interactive
environment. “I believe that interactive games, applications, etc., can be especially useful as a tool
for promotion of films. We have also planned to create by this autumn an interactive game for one
of our films; by now we have a conceptual solution and I believe we'll be able to find a software
developer but for now we lack funds to pay for his or her work. But we are eager to take up
something like that.”
SIA „Filmu studija Deviņi” is one of the oldest film production companies in Latvia. Its CEO
Jānis Juhņēvičs pointed out that the company regards four divisions as their principal activities –
the first and the most significant is production and distribution of films. The second is rent of
equipment, and then follows film production service and production of commercials. “In a word –
everything related to video and filmmaking. But we don't have any additional kinds of activity.”
Uncommon to Latvian film production companies, the greatest part of the company funding comes
from investors and sponsors – around 35-40%. Then there is income from subsidies and selfearnings – half and half, each respectively bringing in around 30%, Juhņēvičs says. It may be
connected with the fact that the feature “Mona” has been finished after being in production for 7
years and additional funds for finishing the film have been attracted this way in the post-production
stage.
At the end of the interview CEO of the film production company admitted that the company has not
yet started assessing the options of interactive area for developing the studio activities. “We have
not thought about it. It would be easier for animation to join this interactive environment but we are
not engaged in animation. But we'd probably have to think about it since things gradually change...”
With this statement by Jānis Juhņēvičs the first part of this research can be concluded to focus
logically on the study of the existing situation in the crossmedia and interactive game industry as
well as identifying the most significant points of intersection for both the industries.
1.2. The existing situation in the crossmedia and interactive game industry
1.2.1. General survey on the industry
Identification of crossmedia products and producers of interactive games was done by aggregating
the publicly accessible information about the developers of such products. Unfortunately
identification of such companies is impossible according to the Statistical Classification of
Economic Activities NACE (Rev.2) where the only corresponding activity is „58.21 Publishing of
computer games” and only one company has indicated such an activity1. A significant part from the
market of crossmedia products and interactive games consists of merchants who create games and
application for the portal draugiem.lv2. This way around twenty3 merchants (including selfemployed persons) were identified, involved in development of such products with various level of
activity. By summarizing the information about these merchants found at Lursoft data bases several
characteristic features were distinguished. First, the greatest part of these merchants have started
their activities in the period of time from 2009 till 2011 and can thus be regarded as new companies,
having started their activities during the economic recession (the so-called crisis). Second, the
greatest part of these merchants has indicated computer programming and other information service
activities (both belonging to division 62 of NACE (Rev.2) Classification). Thus the greatest part of
producers of interactive games (in the Internet and mobile environment) is comparatively new
companies of information technology (IT) sector. Analysis of other characteristics of these
companies, for example, the number of employees, turnover and developed products, showed many
differences among them. A part of these companies can be regarded as micro-enterprises since the
number of their employees does not exceed 1-10, some companies employ several tens of people,
moreover, in several countries of the world, for example, SIA „Amber Games”, SIA „Innowate”.
Analysis of the created products show that some companies have developed only one game for
social networks, which is operated at the portal draugiem.lv whereas other companies develop
games for different platforms and environments (CD, internet, social networks, mobile applications,
etc.), and they are distributed in the whole world, for example, USA, Brazil, Russia, European
Union, etc. Also the variety of the created products is great: games in social networks, strategic
1
SIA „Spelless”
2
see: http://www.draugiem.lv/applications/list/games
3
see Appendix: List of developers of interactive games and their contacts
games, online card and sport games, etc. The number of the created products continually grows, for
example, during the last three years more than 100 different games and applications of other kind
have been developed for the portal draugiem.lv, although a part of them have stopped operation4.
Apart from producers of commercial games in the internet (social networks) and mobile
environments, producers of children, educational, cultural, etc., games and crossmedia products also
operate in Latvia. However, it is impossible to establish neither the precise total number of the
producers of commercial nor non-commercial crossmedia products and interactive games.
Interviews made with the industry representatives showed the most essential common problems of
the industry:
 lack of contacts and communication among the industry members, solution of
common problems by individual means;
 lack and insufficiency of cross-sectoral cooperation (for example, cinema, art);
 the ambiguous public opinion about the computer games industry, highlighting only
the negative effects of computer games, or their futility, not the sector's added value
to economy;
 lack of awareness about activities of the creators of such products and their options,
lack of common industry marketing;
 lack of sufficiently educated professionals, lack and deficiency of educational
programs.
1.2.2. The exiting support instruments: results of their acquirement and drawbacks
Analysis of the existing support instruments was made according to the publicly available
information, especially the monthly publications, of the Investment and Development Agency of
Latvia (LIAA) “Support Instruments Available for Entrepreneurs”5 and the aggregated information
about the support instruments. Upon summarizing this information it can be concluded that the only
especially distinguished financial support instrument for development of crossmedia products
and interactive games is the international funding from the tenders of the Baltic Sea Region
4
see: http://www.draugiem.lv/applications/list/games
5
see: http://www.liaa.gov.lv/lv/sakumlapa/jaunumi/atbalsta_instrumenti/
Programme First Motion. A project from Latvia, „15 Young by Young” by the production
company “Avantis Promo”, a series of documentary short films with elements of animation and
interactive stories in the Internet environment, received funding at the first call for projects of this
programme (the total subsidy of LVL 19,9656). At the second call two Latvian projects received
funding: “Magic Bird” by the production company„Jetmedia” and “Shammies” by the production
company„Atom Art”. Both the projects were developed as computer games for children to be
distributed in different platforms, for example, mobile telephones, Internet, etc., and both the
projects were supported with the funding of LVL 20,0007 (the project „Magic Bird” is closer
examined in the sub-paragraph 1.2.4).
Among the rest of the support instruments the ones targeted at the support of creative industry and
IT sector companies should be distinguished, for example, business incubators, events for
development of ideas and start-up for companies. In the creative industries incubator „Creative
Andrejsala” established in Riga, Andrejsala, SIA „Vizla” created and developed the computer game
“KinoPilsēta” (CinemaCity)8, the company SIA „Bool Games”, which will develop mobile game
applications, has started its activities at Kuldīga branch of Kurzeme business incubator, at the
incubator “TechHub” the producers of games and platforms like SIA „MightyFingers” and SIA
„Innowate” are operating. Several ideas for intermedia products and interactive games have found
recognition at events targeted at development of start-up ideas, among them the following ideas
and products were supported at the events „Garage 48”: „Garage Tanks”, „Mustache Ninja”9,
whereas the above mentioned idea for a game platform developed by SIA „MightyFingers” was
supported at the event, „Startup Sauna”.
Unfortunately, low activity is observed with usage of other support instruments, for example, LIAA
programme “Acquisition of external markets”, which could support participation of developers of
such products in international exhibitions and conferences.
6
see: http://www.nfc.lv/news/view.php?id=425
7
see: http://www.nfc.lv/news/view.php?id=535
8
see: http://www.draugiem.lv/applications/15003093/
9
see: http://www.mustacheninja.com/
1.2.3. Availability of human resources and know-how in the industry
Availability of human resources was evaluated, taking into consideration the opinion expressed
during the comprehensive interviews and focus group discussions. The following professionals are
necessary for development of crossmedia products and interactive games: a programmer, a
developer of characters/artist, a developer of the idea/content, a promoter of the product in the
market and a project manager. A designer of the game and a person who tests the game are also
necessary for the development of a computer game. In specific situations several duties can be
united and one person can be in charge, for example, for development of the content of the game
and its design or promotion of the game in the market and the project management. It is essential to
note that, on the one hand, no occupations related to the development of computer games are
distinguished at the Latvian Classification of Occupations10, and, on the other hand, Latvia has no
programmes of secondary or higher education to train specialists with specific knowledge and skills
necessary for development of computer games, for example, development of the design for games,
testing of games, etc. Interviews and discussions of focus groups allowed getting a notion about the
most essential problems of availability of human resources and know-how in the industry:
 education of all kinds of specialists (programmers, artists, content developers, etc.)
does not correspond to the requirements of the industry, education being too academic;
 lack of specialists who would manage the specific knowledge and skills of the
industry (for example, marketing specialists with the knowledge about promotion of such
products in the market, using the social networks);
 non-availability of specialists, for example, programmers (work load at their
principal working place, which is not connected with development of games, expectations
of excessive reimbursement);
 lack of information about the availability of specialists involved in creation and
development of crossmedia products and interactive games (authors of the idea have no
information about the programmers who could be attracted and, other way round, game
programmers have no information about possible content developers);
 indisposition of experts to collaborate due to the factors of “experimental character”,
“impermanence”, “triviality”, etc.;
 lack of knowledge about the latest technologies, platforms and programmes.
10
see: http://www.lm.gov.lv/text/80
1.2.4. Analysis of the chosen examples
During the research several crossmedia products and interactive games were identified but two of
them were chosen for wider analysis: the project “Magic Bird” by SIA „Jetmedia” and the project
“Oceania” by SIA „Next Level”. The comparison of these two projects was chosen for their
distinctive features: the project target audience, funding, the period and process of the development,
etc.
THE PROJECT “MAGIC BIRD” BY SIA „JETMEDIA”
Picture.The game “Magic Bird” (the project “First Motion” publicity materials) The project „Magic Bird”
is developed at the film production company “JetMedia” and is it is planned that it will comprise a
computer game in an Internet home page and its follow-up – a mobile application for iPAD usage.
The game is based on Latvian fairy-tales about animals and magic fairy-tales. The target audience
of the game are preschool children from 5 to 8 and their parents. The game has been developed,
keeping in mind that children more and more often use digital environment, including computer
games, to get acquainted with the world, gather information and play. Therefore the game is
developed with intent to create a computer game for children, based on the Latvian cultural values –
a fairy-tale and its images, thus enduring high artistic and aesthetic solution of the game. Production
of the game was started in 2007 and it was developed in separate stages within several years; it is
planned to complete the game in the end of 2012. Funding allotted by the programme “Traditional
Culture” of the State Cultural Capital Foundation (VKKF) was used for the development of the
idea, animation, story and basics of programming, for example, LVL 2,000 in the year of 2007, LVL
2,780 in the year of 2008. In 2011 funding of LVL 20,000 from the calls for proposals of the
programme ”First Motion” has been received for development, programming and improvement of
the game. Currently around LVL 2,000-3,000 is necessary to complete the project and release the
game. Invaluable self-investment is put in the development and production of the game – the work
of the project developers. At the final stage of the project it is planned to develop a computer game
with one character and three levels of the game, which will be available for free; and the follow-up
of the game (with the next levels) in iPAD environment will be for sale at „Apple App Store”.
Payment will be required for the purchase of the application but playing of the next levels of the
game will be for free. The initial marketing activities of the game will consist of press publications
for parents and at the Internet as well as general publicity release. On the following stages of the
project development of e-books, colouring books and other merchandise is possible. The main
problems of the development of the project are as follows: the prolonged production period, lack of
funding, its fragmentation and inaccessibility of professionals (a programmer)11.
THE PROJECT “OCEANIA” BY SIA „NEXT LEVEL”
Picture: The game “Oceania” (the publicity materials of the game at draugiem.lv) The project by SIA „Next
Level” is a computer game at the social portal draugiem.lv: www.draugiem.lv/okeanija/. The idea of
the game is based on the adventures of Robinson Crusoe - players try to survive on a lonely island,
inhabit the island and establish their own country of islands. The game was developed within four
months from November 2010 till February 2011 when it was launched in the test mode. The
production costs of the game were LVL 2,000-3,000, spent for remuneration of the developers of
the game (a team of four people) and purchase of software. The game is devised for everyone
interested but its main target audience are women from 40 to 60. Currently around 70,000-80,000
players play the game, from which 60-70% pay nothing (although they ensure the popularity of the
game) but the greatest part of players who pay for playing the game, spend from 5 to 10 LVL per
month for it and usually get involved in playing a couple of times per day. On average the play
brings an income of 14,000 to 16,000 and has a growing tendency. In March, 2012 the play was
launched in the Lithuanian dating site draugas.lt and in May it is planned to launch it at the social
portals of Russia and Poland. Capture of external markets is accomplished by using the services of
the local providers of game publishing service. Marketing activities of the game are performed by
using the forum of the game (involvement of players and establishment of feedback), the web site
draugiem.lv, the company Twitter account (nextlevellv, the number of followers – 57) and the
„Facebook” site of the Lithuanian version of the game (account: okeanija, the number of followers
– 1605). Cross-marketing is also used for promotion of the game, i.e., other games and forums of
their users developed by SIA „Next Level” or foreign publishers12.
11
Source: interview with Inga Prauliņa, the project manager of the game
12
Source: interview with Raimonds Ūdris, the co-owner of SIA „Next Level”
The examples surveyed - the game “Magic Bird” by SIA „Jetmedia” and the game : Oceania” by
SIA „Next Level”, show that development of non-commercial but artistically and conceptually
high-quality products faces several problems (inability to attract professionals, a project lasts for
several years, the right technological solutions are not found, etc.) arising from insufficient funding,
whereas it is often enough for development of commercial products with insignificant start-up
capital to create in short time a commercially successful and original product, which operates
successfully, including in external markets.
1.2.5. Analysis of the experience of Denmark and Finland
In Denmark several instruments of financial support have existed during the previous five years,
promoting development of crossmedia products and especially creation and development of
interactive computer games. Within the period of time from 2007 till 2010 development of projects
of computer games for children and teenagers was supported from the Danish Film Institute (Det
Danske Filminstitut) in the frames of Film Agreement with the funding of DKK 12 million (Danish
crones) or EUR 1.6 million. In the framework of Film Agreement from 2011 till 2014 DKK 20
million (EUR 2.6 million) are already envisaged for development of such games (development of
the concept, prototyping, development of demo versions). It is possible to receive funding even up
to DKK 750,000 for the development of the concept of the game and up to 1.5 million DKK for the
development of the game (the requested funding cannot exceed 60% from the project’s total budget)
and assessment of the applications takes place twice a year13.
Funding of DKK 24.8 million for games and other experimental creative products is provided at the
support programme of the Danish Centre for Culture and Experience Economy for 2009-2012. One
project can apply for the total support of DKK 750,000 – 1,400,000 and every year on average 4 to
7 such projects are supported, among them also particular crossmedia projects, for example, Mixed
Reality Art Schools, etc.14 As a result of availability of such funding 80 companies of development
of computer games operated in Denmark in 2010 employing the staff of 552 in total and the overall
13
see: http://www.dfi.dk/Branche_og_stoette/Spilordningen.aspx
14
see: http://www.cko.dk/pulje
turnover of the industry was 51 million EUR15.
In Finland the industry of computer games has been supported systematically during the last ten
years, including the financial support of TEKES (Finnish Funding Agency for Technology and
Innovation) for different programmes, among them VERSO (Vertical Software Solutions 20062010), FENIX (Interactive Computing 2003-2007) and other older programmes (USIX, SPIN). The
total budget for the support of the computer games industry amounts to several millions EUR per
year (for example, in 2009 it amounted to around ~6.5 million EUR)16. As a result, the number of
producers of computer games has increased from twenty in 2000 to 70 in 2011, the total turnover of
the industry from 40 million EUR in 2004 to 165 million in 2011 and the number of employees
from 400 in 2002 to 1,264 in 201117.
Producers in both the countries have a chance of using the funding available in the framework of
the Nordic Game Program. For instance, in 2012 funding of 5 million DKK was available for
computer game projects where the smallest total amount for one project could be DKK 100,000 but
the biggest DKK 600,000 (in total do not exceeding 75% from the project total budget). By the end
of application 159 projects were submitted, which only 10% from will be able to receive funding.
From the received applications 50 were from Danish but 37 – from the Finnish game producers.
15
see: http://nordicgameprogram.org/docs/TheNordicGameFacts.pdf
16
see:
http://www.tekes.fi/en/community/Success_stories/416/Success_story/667?name=Successful+gaming+industry+one+of
+Finlands+strong+points
17
The Finnish Games Industry 2010 – 2011 - http://www.hermia.fi/neogames/
2. PROPOSALS AND RECOMMENDATIONS
2.1. Proposals and recommendations for the developers of education policy and educational
establishments:
1) To open new educational (study) programmes to train professionals in the area of
computer games, moreover, in several of the following specialities: game programmers,
game producers, etc. Training is to be accomplished in several levels: in secondary
schools, professional schools, on bachelor and master study levels at higher educational
establishments.
2) Such programmes should be professionally oriented – they should anticipate
practical training at the companies involved in game development and related areas, and
during the studies actual computer game projects should be developed.
3) Study programmes at the higher educational establishments should be internationally
oriented; a part of studies should proceed at the higher educational establishments abroad,
joint applied and practical research should be done.
4) Study courses connected with the development of computer games should be
included in the study programmes with the following orientation: information
technologies, art, creative industries.
5) Cooperation of every kind with the companies of the computer game industry should
be encouraged: not only in cooperation with the specific study programmes but also by
developing interdisciplinary cooperation.
6) The Ministry of Education and Science should favour usage of computer games as a
study aid for training at preschools, comprehensive and professional schools.
2.2. Proposals and recommendations for improvement of institutional and financial support
1) It is necessary to establish an instrument of financial support for development and
promotion of crossmedia products and computer games, anticipating accessibility of
funding for such products in the areas of education and culture. Administration of such
instrument of financial support can be delegated to:
a. the National Film Centre – in this case changing the regulations of NFC and
providing for a separate tender for development of such products;
b. the State Culture Capital Foundation – in this case establishing a new project
competition programme.
Introduction of such instrument of financial support is impossible in the framework of the
existing funding for the support of film industry and cultural products.
2) It is necessary to favour application of developers of crossmedia products and
computer games for the existing support instruments, for example, acquisition of external
markets, participation at the business incubators, start-up events for companies, usage of
venture capital, etc.
2.3. Proposals and recommendations for encouragement of cooperation within the industry
and in the cross-sectoral level
1) It is necessary to favour the cooperation among the members of the industry of the
crossmedia products and interactive games by creating an association (for representation
of common interests, problematic issues, lobbying, etc.).
2) To organize informative and educational seminars, conferences, competitions, etc.,
events in cooperation of the association with other governmental, non-governmental and
educational organizations, involving also representatives of the related industries (film,
IT, design). A part of the events should promote and ensure development of international
cooperation.
3) In cooperation of the association with the professionals of the industry and related
industries it is necessary to create a data base of the professionals and companies in order
to list the accessible competences.
4) The association should carry out activities to raise the industry reputation,
identification among the local and foreign companies, investors, (individual and
business) clients and in the view of other involved parties.
APPENDICES
Summary of interviews with the film industry producers
Interview with CEO of SIA „Screen Vision” Laima Freimane
Questions and answers of the interview :
What are the principal activities of „Screen Vision” (not only according to NACE Classification but
also as you define them)? And what are your additional activities?
Our principal activities according to NACE Classification are motion picture, video and TV
programme production or, in short, film production. However, we are also involved in many other
activities, which are mainly related to the film industry.
For six years already we have been holding drama courses so that it has become one of our basic
activities. This wear we have launched a Russian course. Drama courses do not give profit but
provide turnover and some activity. During the previous years I have been working hard to get
involved also in providing “the services”. Last year I was the executive producer of one project; my
studio produced another project. Both the projects were from Russia. I am doing my best to break
into this area.
Then we are slowly taking up a new business with our own footage. These are small fragments of
film footage, which are edited and put on servers (already existing platforms) and sold to anyone
interested (mostly, film producers from different countries of the world who find it useful not to go
anywhere and shoot anything but to buy ready footage). I have been thinking about doing it already
some time ago but I could not afford it. Now I have started using trainees for making such footage
and it starts advancing, although, with quite a difficulty. It can be a good way to earn some more
money.
And then we are also trying to hold small training courses, something like workshops. Mostly in
summer.
But I do not want to get involved in commercials since it is an absolutely different mode of thinking
and causes exhaustion. I see a bigger potential in cinema.
A lot of activities. Which one of them would be more perspective?
I believe that for me the basic principal activities should be film production services and services of
the executive producer. I am working my way along it. And I have some projects that I like and
want to carry out. Since no funding works the way I could develop my activities. I have made a
statistic research that no film production company has ever received (in state subsidies) more than
9% from the total turnover of the company. Even in the best years. It is a huge fragmentation. It
does allow development of a company with projects only. Therefore additional kinds of activities
should be found. But it is not easy.
Please, shortly characterize the income structure of the company (public financing, sponsor
investments, earnings from commercial activities).
As to the previous year, film production services have brought in around 80% and courses – near
zero but we did not have losses, which mean that the small remaining percentage was something
else. Grants, for example. But I am not sure if grants bring in so much.
Please, characterize the impact of additional commercial activities upon the activity of the company.
There is an impact of two kinds. I did not start the activity of drama courses because I like teaching
young people. I need young talents.
But the thing about the services is that I want financial stability. So that I knew how many working
days per year I would have, how much profit I would have, so that I could plan things. And I cannot
plan anything with grants; nothing can be planned in case of them. I see grants only as an addition
but in Europe everything is based on grants.
Please, name the creative industry products developed by the company during the last 3 years.
I have organized twice the exhibition „Pekshot”, in which people involved in the film and
advertising industry show their works in other creative areas.
We also have plans relating music if I find a way to get money – we want to publish a CD of Latvian
folk-songs sung by Russians.
Thus in general almost all of my projects are from different creative areas.
Please, tell your opinion about the options for development of the film industry in cooperation with
the producers of crossmedia projects and interactive contents (for example, interactive games,
applications, etc.) Which would be the most significant points of intersection between both the
areas?
I have altered my thinking a long time ago so that I should be a realist and focus attentively on
everything, which is new. Nowadays things happen so that any film requires proper publicity
involving different games and merchandise. But the problem is that there are no investments and
funding available for it since it all requires money.
We have also had a couple of interesting interactive ideas but we have not been able to get on with
them since there are no foundations to apply to with them. And none of us has funds to invest in
such activities.
Besides, there is one more problem – we lack people; all the good professionals have already been
hired, they are all abroad. And if it goes on like that this will, actually, be the biggest problem.
There are, certainly, the new types of communication and nowadays you can operate from the
distance not sitting here, on the spot. This is what we are trying to make use of.
To conclude, I have been curious for a long time being how a film can earn from different sides,
using its inner potential. Interactive environment is one of solutions.
Interview with Māris Putniņš, CEO of SIA „Animācijas brigāde”
Questions and answers of the interview:
What are the principal activities of your company (not only according to NACE Classification but
also as you define them)?
Though we are dealing with quite a lot of kinds of activities according to NACE Classification
(motion picture, video and television programme production activities, motion picture, video and
television programme post-production activities, motion picture, video and television programme
distribution activities) we regard production of puppet animation films, puppet animation
commercials and puppet animation educational films as our principal activities.
Is your company involved in any additional commercial activities?
On the whole, we are not, unless publishing and sales of DVDs of our own films can be regarded as
additional commercial activity just as animation workshops for children, which is rather charity
than a commercial activity. Though it takes away our free time it gives satisfaction and it may be
that we can sow “a seed of animation” in some child.
Please, shortly characterize the income structure of your company (public financing, sponsor
investments, earnings from commercial activities).
I can tell you rather concretely that international commissions give us about 15% from turnover,
self-funding makes on average 10% (as mostly everywhere in Europe), the rest comes from grants.
We are very fortunate that we have captured the international market and have noteworthy
international commissions.”
Please, name any creative industry products developed by the company during the last 3 years
(other than works of film industry).
Though it may look from aside that we are actively dealing with distribution of different
merchandise products with the images of our puppets it is not really like that. We simply let other
producers do that; we sell them licences for our images: for ice-cream, candies; the latest offer is
for children beds. We are responsive but we are not looking for it ourselves.
We don't have any products of creative industry except of the already mentioned (DVD and
animation workshops).
Please, tell your opinion about the development options of the film industry in cooperation with the
producers of crossmedia projects and interactive contents (for example, interactive games,
applications, etc.) Which would be the most significant points of intersection between both the
areas?
We have had offers for activities in this area, i.e., to develop characters, movements, etc., but these
projects have never been completed. The reason – lack of money since computer games are a very
expensive product. Besides, I don't see a purpose for it – the Latvian market is so small that no
computer game created for it will pay back.
However, international projects might be perspective and, to tell the truth, right now we are one
step behind starting to develop and sell characters for computer games. Russia has already shown
interest in us.
Interview with Jānis Kalējs, co-founder of SIA „Film Angels Studio” and SIA „Film Angels
Productions”
Questions and answers of the interview:
What are the principal activities of your company (not only according to NACE Classification but
also as you define them)?
We have two principal activities – commercials and films. And each of them again can be divided
into two subdivisions.
In the field of commercials we both produce our own commercials (all of the biggest Latvian
advertising agencies are among our clients, besides we perform the whole cycle of production,
including the development of ideas, shooting, editing, everything) and rendering production service
for film production companies from the whole world dealing with commercials (we offer location
scouting, casting and everything related to production of commercials – full service for
international production companies).
Similar is the situation with production of our own films – we are both making our own films (for
example, our biggest project „Vogelfrei”) and render service to inter nation film producers in
Latvia. We have had several important cooperation projects with Russia, Sweden, Finland, Korea,
Japan, India and Denmark.”
We have separated the spheres between both our production companies - „Film Angels
Productions” produces local commercials and renders service to international productions of
commercials and music videos while „Film Angels Studio” specializes in production of feature and
documentary films and renders production service to domestic and international film producers.
Is your company involved in any additional commercial activities (apart from projects of films and
commercials)?
No.
Please, shortly characterize the income structure of your company (public financing, sponsor
investments, earnings from commercial activities).
Certainly, the greatest deal is own earnings, 100% in case of „Film Angels Productions”. We
haven't had any investment from sponsors and the state subsidy for our own film productions has
been very small (therefore the number of films is also small). And the lack of it prevents from
producing films. Although, the creative potential is there.
Please, characterize the impact of such a model (two production companies, one involved in
commercials, the other in the film industry) to the activity of both the companies.
Both the areas are mutually enriching. Both creatively and technically.
Please, name the creative industry products developed by the company during the last 3 years (other
than works of film industry).
Commercials, certainly, which are among our “basic products”. Audiovisual commercials in all
theirs manifestations – TV commercials, industrial films, technical treatment of commercials –
everything connected with it.
However, there is nothing else.
Please, tell your opinion about the options for development of the film industry in cooperation with
the producers of crossmedia projects and interactive contents (for example, interactive games,
applications, etc.) Which would be the most significant points of intersection between both the
areas?
We have no ideas. We have not thought about it.
Interview with Roberts Vinovskis, CEO of SIA „Studija Lokomotīve” and SIA „Kinoklubs"
Questions and answers of the interview:
What are the principal activities of your company (not only according to NACE Classification but
also as you define them)?
We have defined for ourselves that the principal activity of „Studija Lokomotīve” is production of
films whereas the principal activity of SIA „Kinoklubs” is film and audiovisual production service.
What is the reason for such a division?
It can be explained that film production projects are often connected with the state subsidies
(grants), therefore the cash flow is less but greater financial stability is necessary. Conversely, the
so-called service requires greater financial capacity, and, consequently, credits are taken and the
risk of business activity increase. Therefore we have separated both the areas.
What are the additional commercial activities of the company (apart of projects of films and
commercials)?
We don't have any.
Please, shortly characterize the income structure of your company (public financing, sponsor
investments, earnings from commercial activities).
As to „Studija Lokomotīve”, it might be a proportion of 2:1 where 2 is own capital and 1 – state
subsidies. We have also attracted funds from sponsors but very few – during all the years of
activities of the company they make around 3-5% from the total financial turnover.
All the earnings of SIA „Kinoklubs”, certainly, are gained from the commercial activities.
Please, characterize the impact of such a model (two production companies, both operating in the
film industry but both having its own direction) to the activities of both the companies.
The mutual impact is positive, especially for „Studija Lokomotīve”. It lets us save funds in the postproduction stage since this way the company can finish the production for our own funds, which is
much cheaper. Thus we can produce more films.
Please, name the creative industry products developed by the company during the last 3 years (other
than the works of film industry).
We don't have any. If only, as far as it is related to promotion of the upcoming productions
(assuming that advertising belongs to creative industries).
Please, tell your opinion about the options for development of the film industry in cooperation with
the producers of crossmedia projects and interactive contents (for example, interactive games,
applications, etc.) Which would be the most significant points of intersection between both the
areas?
On the whole, I value these new options very positively. And I believe that interactive games,
applications, etc., can be especially useful as a tool for promotion of films.
We have also planned to create by this autumn an interactive game for one film; by now we have a
conceptual solution and I believe we'll be able to find a software engineer but for now we lack funds
to pay for his or her work. But we are eager to get involved in activities like this.
Interview with Jānis Juhņēvičs, CEO of SIA „Filmu studija Deviņi”
Questions and answers of the interview:
What are the principal activities of your company (not only according to NACE Classification but
also as you define them)?
We regard production and distribution of films, rent of equipment, production service and
production of commercials as our principal activities. In a word – everything related to video and
filmmaking.
Does your company have any additional commercial activities (apart from projects of films and
commercials)?
We have no additional commercial activities.
Please, shortly characterize the income structure of your company (public financing, sponsor
investments, earnings from commercial activities).
The greatest part of our funding comes from investors and sponsors – around 35-40%. Then there is
income from subsidies and self-earnings, about fifty to fifty, that is, around 30% each.
Please, name the creative industry products developed by the company during the last 3 years (other
than works of film industry).
We don't have any important products, just some “small things”. For example, a couple of times a
year we take part at some photo exhibitions (we do not organize them but participate with our
works). Though our cooperation with writers and Writers' Union, organizing common course of
lectures, exhibitions, etc., can be regarded as a more important long-term creative activity. This
friendship has developed as a result of the cycle of films about writers.
Please, tell your opinion about the options for development of the film industry in cooperation with
the producers of crossmedia projects and interactive contents (for example, interactive games,
applications, etc.) Which would be the most significant points of intersection between both the
areas?
It is hard to answer. We have not thought about it. It would be easier to join this interactive
environment with animation but we are not dealing with animation. However, we should probably
start thinking about it – things gradually change...
Summaries of interviews with developers of crossmedia products and interactive
games
Interview with Andrejs Kļaviņš, the co-founder of SIA „Next Level”
Questions and answers of the interview:
What are the main problems of the industry?
We lack knowledge about the industry on the whole, about its players, about who does what and
about competences. Hence, first, there is no cooperation within the industry; second, there is no
cross-sectoral co-operation, for example, with the film industry. We have a lot in common;
developers of computer games can make use of specific features of the film industry, for example,
view of the director of photography.
I believe that the society lacks information about the computer game industry as such, for example,
common marketing for the industry should be necessary so that companies would understand that
computer games are created also in Latvia. There was a case with Statoil when a computer game
for the needs of advertisement was commissioned in Estonia although it could be developed also in
Latvia. There was no information.
Information about the game industry as an important area with its contribution to economics is
necessary. There is a delusion that we are making “some games” and are not occupied with
anything important. This opinion is held by the possible collaborators who are choosing to work
rather with classical data bases and programming instead of games.
Problematic is education where students have knowledge neither about creating of computer games,
nor programmers, artists and writers of stories. Are writers taught here who are able to write a
story or a script?
Interview with Edmunds Jansons and Sabīne Andersone, representatives of SIA „Atom Art” (the
crossmedia project “Shammies”)
Questions and answers of the interview:
When and how the concept of this project was developed?
The beginning of this idea dates back already from 2007 but actual work started in 2010 when the
first episode of the series “Shammies” was developed. In the beginning the idea was to develop the
project merchandise - trinkets like cups, etc., but then the idea came up to develop it otherwise, in
different media. A DVD and a picture-book have been published; now a mobile application is
produced.
Working at the development of the series the fact was acknowledged that a corresponding iPAD
application is necessary to increase and attract the audience as well as for the needs of marketing.
It must be recognized that the product target-audience might be global since the story is
comprehensible to anyone everywhere in the world.
What is the project budget?
It is planned that the series will consist of 12 episodes; we know that EUR 1,200,000 is necessary
for financing 26 episodes. Currently we are working to attract funding – from TV, distributors,
partners from Finland, Estonia, Spain and France. Development of the mobile application would
cost around LVL 5,000 but we could produce it for a smaller sum since our Finnish partner will
develop it.
What are options like to come up with other products?
There are different options, like game-tables with touch-screen in kindergartens, usual table games,
e-books. We are thinking also about our own clothing line; there are two possibilities – in
cooperation with LINDEX or, in a smaller scale, in cooperation with local artists.
What were the biggest problems at this stage of the project?
We could not find a programmer for the mobile application. IT industry and our industry are so
segregated that we don't have information and we cannot evaluate the actual abilities of people. If
there are good professionals they are overloaded with work and “bought up”. In other cases people
are ready “to try” but want inadequate remuneration for it and we do not have confidence in the
quality of their performance. A Finnish professional will develop this application for us.
I know the Estonian experience where professionals like this have their Facebook profiles and one
can obtain information; a data base of such specialists would be necessary.
There exists also a problem of communication; it is often hard for us to understand a programmer's
way of thinking. Programmers are not ready to lose a stable principal work because of getting
engaged in, as a matter of fact, experimental art project.
How long has been the period of development and implementation of the project?
The total period, certainly, is much longer but 3 months are needed for development of the mobile
application: a month for development of the idea and design, a month for programming and one
more month to test the application.
What are the planned marketing activities like?
Currently our marketing budget equals to zero, therefore we use only our home page and the social
networks: Facebook and Twitter; we should think also about draugiem.lv. Certainly, information
about the project appears also in mass media. When the application is ready it will be necessary
that bloggers and the industry reviewers write about it. To pay them we'll have to plan expenses for
marketing. With expansion of the project marketing expenses will not exceed 10 per cent from the
total budget.
What sources of funding were used?
First of all, “First Motion”, and if in the beginning we thought that we'd use this funding for
production of the mobile application then finally it was used more for the development of the idea,
concept and for testing. We have used the programme of LIAA for the capture of external markets
but we have used it for the development of the series since the mobile application is just a byproduct. Yet, it feels like LIAA rather understands the projects of industrial production and waste
water treatment than projects like this. It feels like that it has rather been something like a “support
of confusion”- it is the first time when a project like this has been launched, it is something new and
unprecedented – which is why it was possible to receive such funding.
It would be important that projects like this were supported by TV; TV needs national animated
series for children, consequently it will involve also the development of such an application.
Would there be a necessity for a separate fund for support of such projects and computer games?
Probably it would but it is also necessary to understand what kind of games will be supported. It is
doubtful if commercial games need such a support. If games are developed as a cultural
productions, as something meant for children and education, then such a fund would be necessary.
For the sake of comparison: books are a cultural production, creation of which should be supported
whereas newspapers are a commercial project. Films supported with subsidies in Latvia are like
books whereas computer games are something between a magazine and a newspaper. Criteria and
conditions for allocation of such funding would be very significant.
Interview with Inga Prauliņa, CEO of SIA „JetMedia” (The computer game „Magic Bird”)
Questions and answers of the interview:
How did the concept of the computer game appear; what was it based on?
“Magic Bird” is a game for children; the game is based on the local culture and aesthetics. It
should be understood that children will play computer games anyway, therefore a local product
must me created, based on the local cultural values.
The game is based on the Latvian fairy-tales about animals and magic fairy-tales. It is important
that these vivid characters and stories can be understood somewhere else, for example, in Finland,
Poland, Germany and elsewhere in Europe.
What is the project budget?
We received LVL 20,000 from”First Motion” and about the same from the State Cultural Capital
Foundation (VKKF) in course of several years. We received funding from VKKF in 2007 and 2008
when we developed the story, made the greatest part of the animation and the basics of
programming. The funding was allotted from the programme “Traditional Culture”. In 2009 and
2010 nothing was done basically and then in 2011 we received the funding from „First Motion” for
the development of the game and programming.
What environment is the game envisaged for?
The game will be published at a home page where five levels are scheduled for free followed by the
next levels available on iPAD application, which will have to be purchased but playing of the next
levels of the game will also be for free.
For what target audience is the game made for, children of what age?
The game is targeted at children from 5 to 8 – children of preschool age. The game is created the
way that it could be interesting for global audience; it has no language, there are rather sounds and
signs.
When do you plan to launch the game?
The project is “stuck” at the moment since we are short of some small sum to finish the game. At
present it is about the first three levels and one character only. Then we proceed with developing an
iPAD application.
What are the main problems in the course of development of the game?
Certainly, the lack of experience and lack of programmers. We have not managed to find a
programmer since programmers either do not want to collaborate at such projects or are busy at
their own work. There is also a lack of experience in development of games. At present a company
employee deals with the programming of the game and learns everything from the scratch, which
takes a lot of time. If programming of a game for a home page is simpler then development of iPAD
application requires very specific knowledge.
If you developed the game now would you do anything differently?
First of all, it has been a long time since we have been working at this project, technologies have
developed and changed; iPAD did not exist in 2007. If we knew that the project would require so
much time and resources we would have made it smaller and simpler. During these years user's
necessities have changed regarding the quality of the game – both technical and graphical –
animation should be drawn anew.
What are the planned marketing activities of the game?
In order to address parents press publications targeted at parents and on the Internet are planned.
Parents have to be convinced that the game is good and designated for their children. This is,
indeed, a crossmedia project, for example, it is possible to produce a book to be read on iPAD,
materials one can print out and images for children to colour.
What budget is necessary to complete the project?
I believe some LVL 2,000-3,000 would be necessary to finish in the minimum level – one character
and three levels of game. Testing of the game would also be necessary; we have an agreement about
test groups in Latvia and Germany.
Interview with Kaspars Komarovs, the representative of SIA „Vizla” (computer game
„CinemaCity”)
Questions and answers of the interview:
Can you, please, characterize the developed game?
The computer game „CinemaCity” is a game on draugiem.lv. Basically everyone can assume
himself or herself as a film producer, get acquainted with the process of film production, expand his
or her cinema city.
What was needed to develop the game?
Basically there were three of us who worked at the game: the programmer, the artist and the game
developer. It was the first experience of development of such a game for all of us, therefore the
development proceeded longer than it was expected.
Big resources are not necessary; it is enough with a powerful computer and specialized
programmes, Flash in case of games for social networks and Java in case of games for mobile
telephones.
What were the main problems like?
The hardest thing was to understand what course should the game take; we were more or less sure
about the artistic solutions and programming but direction of the game is important. The game
should be developed the way that it would be exciting to play it and pay money for it. One has to
know how to promote the game at social networks. The idea and the story have to be exciting so
that the player always would want to return and play it. But this is the most complicated thing.
There is no problem to find an artist and a programmer but we do not have the game designers and
experts aware of promotion and marketing of the games.
The game designer should have at least some knowledge about both programming and design, so
that he or she could tell about the idea and the programmer and the artist could realize it. They
have a different thinking and perception. Education is separated; more of interdisciplinary
cooperation would be necessary. Such professionals should be trained since the industry rapidly
develops in the world and also in Latvia; they will be in demand and will have a chance to earn.
What was the use of participation at the creative industries incubator?
We visited them virtually, made use of the available services and resources. It was necessary for us
so that we could develop a new concept in an area we were not engaged in before. They provided us
a support with the issues necessary for us. But the options do not mean the specific issues.
Interview with Raimonds Ūdris, co-owner of SIA „Next Level” (the computer game „Oceania”)
Questions and answers of the interview:
When did you find the idea about “Oceania” and when did you start implementing it?
Work at “Oceania” started in November, 2010. In February, 2011 a test version at draugiem.lv was
launched.
What the idea is based on, why did you choose such content?
When we developed the game we were all carried away with the theme of water and adventures of
Robinson Crusoe, therefore it was decided to create a game about islands, ocean and the world of
them.
How much time was needed for the development of the game, what were the costs and how many
people were collaborating?
The game was developed by four of us who had all worked with games before in different forms and
different companies. When we began to develop the game we were working for three months from
morning till ten at night, sometimes also on Saturdays. At first we thought about attracting investors
but then we decided to develop the game with our own effort and funding. The only costs in the
beginning were software and out work – in total LVL 2,000-3,000.
What is the income from the game?
The income from the game grew gradually, it made less than LVL 5,000 per month, then it grew
suddenly and at present it is still growing but slower. On average we earn LVL 14,000-16,000 per
month.
What is the target audience of the game?
The target audience of the game is basically women from 40 to 60 but we have recently discovered
that the oldest player is 75. Developing the game we took into consideration that we are creating a
game for people like that not “hard” players. On average around 70,000-80,000 players play the
game per month, the greatest part of them spends around 5-10 Lats per month, which makes around
LVL 60-100 LVL per year. These players play the game once or twice a day. Then there is a part,
around 10-15%, who play continuously during the whole day. Some spend for the game even up to
LVL 500 per month. However, 60-70% from the players pay nothing but they are important to us
since they ensure the popularity of the game.
Have you planned distribution of the game in external markets? If yes, then what are the results
like?
In March we started to offer the game in Lithuania, on draugas.lt, in May we plan to start working
in Poland, on nk.pl and also in Russia, on vkontakte.ru and odnoklassniki.ru, after testing the game
in a smaller, specifically players' portal. Everywhere we use the service of local publishers who
provide the adaptation of the game in the local language, know the local market, traditions, social
portals and ensure users' support in the local language. Otherwise it is impossible. In Russia we
will cooperate with SIA „Brain Solutions” having already experience in the territory and games
published.
How do you attract the users?
At forums where users report on errors, problems and their wishes about what should be included in
the game. That is how we are communicating with them. We take into consideration a part of the
suggestions if we know that we would sooner or later do the same and we don't if we know that we
will never do it. There are things that the users recommend and we introduce, for example, fishing
which was required for some time already.
What are your marketing activities and the budget like?
Our marketing budget equals to zero; activities take place in the forum. We don't have our own
homepage, we have a page at draugiem.lv; we have created a twitter account and a Facebook
account which are used for communication with, for example, Lithuanian players. Cross-marketing
is important, making use of other games, for example, our “Fikss”; the income from which was
insignificant but its numerous audience is used for popularization of “Oceania”. The same
approach will be used in Russia, making use of already existing games by “Brain Solution”. Nonexistence of marketing budget is a reason why we are not developing mobile applications and do
not enter Facebook; without advertisement our game will disappear there.
How many people are currently working at the development of the game?
The same four, which is a separate team just for “Oceania” since programming is not needed for it
any more, just to develop new options. We employ a client support manager who is working with
“Oceania”, a generator of new content, international client manager and an artist. All girls.
What would you do differently if you developed the game now?
We would, certainly, use other technologies since they have changed meanwhile, however other
technologies could have been used in the very beginning. The rest is just details.
Summary of the discussion of the film industry focus group
Subjects for the focus group:
1) the existing situation and experience in the film industry companies related to the
development of interactive content products;
2) options of the film industry in cooperation with the developers of interactive products and
multimedia environment.
Participants of the focus group:
1. Ilze Gailīte Holmberg – Managing Director, National Film Centre
2. Vilnis Kalnaellis – producer, Latvian Film Producers Associaton, film production company
“Rija”
3. Anna Rozenvalde – Head of Department of Acquisitions and Adaptations, Latvian
Television
4. Rojs Dauburs – Development Manager of the new portal, Latvian Television
5. Madara Melberga – producer, film production company „FA Filma”
6. Ilona Bičevska – producer, association „Avantis”, film production company „Avantis
Promo”
7. Antra Cilinska – producer, film production company „Jura Podnieka studija ”
8. Reinis Traidās – cinematographer
9. Bruno Aščuks – producer, film production company „Centrums”
The focus group was moderated by: Renāte Cāne, Kaspars Šteinbergs.
Meeting of the focus group: April 16, 2012.
During the meeting the following was discussed:
 on the potential of interactive games and other products of interactive environment at film
production companies;
 on the experience of production of interactive games and other products at film
production companies;
 on non-existence of state funding for developers of the interactive environment products;
 about the options of television and other technical platforms on delivery of contemporary
audiovisual products to the audience.
Though also the representatives of film industry participated at the focus group it was recognized
unequivocally that games and other products of interactive environment have a great development
potential and this area is interesting on the whole both from the creative and commercial point of
view. During the discussion three opinions were distinguished, which producers of the film industry
might find interesting:
 Interactive games as independent product with particular (for example, educational)
social functions in the society. Games are a contemporary way of addressing and educating
not only youth but also children, who are hard to reach with the means of other media.
“These guys are computer experts already from the age of 7 and professionals at the age of
13-14” (Rojs Dauburs). Classic audiovisual productions (films, TV programmes) are not
exciting for such audience if they are beyond the Internet environment. The participants of
the discussion emphasized the options of interactive games in the educational sphere : “We
are talking about the functions of the state – if we are educating our citizens or not.
Interactive games are one of the options of education in the contemporary multimedia
environment” (Vilnis Kalnaellis). But Bruno Aščuks distinguished that “...if we do not
support our own games Hollywood games will enter, just like it is with cinema”. That is why
a special support programme, probably in charge of the Ministry of Education, should be
provided for the development of educational games. The film production company
“Centrums” has had an experience in development of such games with their interactive
project “Build the Caste of Light!” which, in a way perceivable for children and with the
help of images from the Latvian literature, explained and made understandable the project of
the Latvian National Library. However, the company did not succeed to obtain funding for
further educational interactive projects (for example, “Bermontiada”) either from the
Ministry of Education or other sources.
 Interactive games (or some parts of them, for example, the content conception, images,
etc.) as commercial products of film production companies alongside with other
audiovisual productions ( for example, films). It does not imply that the companies have
to deal with the whole production of an interactive game, including programming. Studios
can develop only the contents of a game (i.e., the creative solution, system of characters,
design, etc.) and sell it to commissioners who would respectively organize the part of
programming. Though unfortunately Latvia does not have a very positive experience with
this since, for example, commissioners of interactive content did not agree to pay even a
comparatively small sum (LVL 1,000) for the concept of an interactive marketing product to
the production company “Rija”. Nevertheless, this course was evaluated as possibly
perspective by the greatest part of the participants of the discussion.
 Interactive games as a support element of marketing in promotion of films. This is also
a very perspective direction of intersection of cinema and multimedia environment, which is
getting more and more popular in the world. „International markets are not interested any
more as much in the product itself (a film) as everything around it since they can earn
money with it!” (Anna Rozenvalde). At „Cartoon Forum” where all the latest European
animation series are presented, a movie (the story itself) makes only one tenth of the
presentation. And then it all begins: mobile telephones (applications), games, internet,
magazines where it all can be used. Nobody is interested in the project itself! But we are
living like in the Stone Age...” (Anna Rozenvalde). The participants of the discussion
assessed that it could, indeed, be an effective method for promotion of films but
unfortunately Latvia in most cases has no money for production of such merchandise
products since it is hardly enough to finish the film rather than to create expensive support
products. Although a game with the logo of the special “Kolka Cool” vodka might become
popular and attract wider audience also to the film” (Rojs Dauburs).
Latvia has already had similar attempts. The film production company “Rija” started this
course as the first when in 2000 it produced a CD with the animated film „Velniņi” (“The
Little Devils”) and three interactive games featuring the protagonists of the film. This
project was successful enough commercially. There have also been other attempts to create
interactive products to support films (for example, the game “Lotte's Puzzle”, which is
available on itunes.apple.com/lv) but it cannot be regarded as a frequent occurrence in the
Latvia filmmaking since such products are expensive enough and the film production
companies, especially the smaller ones, as a rule, lack funding.
Though in the beginning of the focus group discussion Bruno Aščuks said that “speaking about
the lack of money for the industry has already become tasteless”, the discussion largely focused
on the issues of money (funding). The current experience of the film production companies with
looking for funding for different interactive products has mostly been unsuccessful.
Understanding that the Latvian market is small the participants of the discussion recognized that
it is hard, even impossible to commercialize it and make it profitable. “Films in Latvia are not
commodities as elsewhere where the film industry is developed. They are rather art or
education” (Bruno Aščuks). The same can be said about the interactive content products
(games, applications, etc.). For example, “costs of production of the interactive animated series
can reach even up to one million Euros like it was in case of “Shammies”. Be this project as
educational and socially valuable as it is, the state cannot afford it but private [partners] are
afraid to risk (Ilze Gailīte-Holmberga). Therefore an important part of the discussion was
devoted to establishing a support model for the development of interactive games. “In many
countries in the world interactive content is funded by different innovation foundations”(Ilze
Gailīte-Holmberga). Also Latvia has to look for solutions for optimum establishment of them.
A special part of the discussion was devoted to the placement of interactive products in the
Internet. In this issue opinions differed. If a part of the focus group (representatives of the
Latvian Television) emphasized that it is important to create a new common platform in Latvia
where everyone interested could publish interactive products, as an example mentioning the
new portal of the Latvian Television, which is currently in development, then others disagreed
with this opinion. “It should be understood that in the Internet environment no one has
exclusive rights. Everyone publishes what he or she wants” (Vilnis Kalnaellis). Development
and popularization of a new platform is a time-consuming and long process; and establishing of
several new platforms will simply fragmentate the audience of users. Consequently, making use
of existing popular platforms, for example, itunes.apple.com/lv, draugiem.lv, etc., could provide
greater recognisability to interactive products and also films.
Admitting that development of a common interactive environment and audiovisual market is
very important at the moment Vilnis Kalnaellis still suggests creating an independent interactive
area (industry), maintaining the film industry separately.
In conclusion the focus group participants agreed that:
1) development of interactive products nowadays is one of possible courses of development
within the activities of film production companies, which deserves serious attention. These
products can be interesting for film production companies both from the point of view of
marketing as instruments for promotion of films and as independent commercial products.
“You cannot do without them” (Antra Cilinska). „The world exists in interaction” (Vilnis
Kalnaellis);
2) it is necessary to create data bases, which would accumulate information about the
representatives of both the areas – cinema and interactive products – so that cooperation
partners from both the areas could be operatively found in case of a necessity;
3) meetings of representatives of both the areas (seminars, training, events, etc.) would give a
change to get acquainted closer with each other and get into mutually useful contacts;
4) while bringing both the areas closer (during seminars and meetings), to involve, apart from
the Ministry of Culture, also of the Ministry of Education and the Ministry of Finance while
bringing both the areas closer. „So that they at least heard that the first seed has been sown”
(Vilnis Kalnaellis).
Summary of the discussion of the focus group of developers of crossmedia products and
interactive games
It is a fact that the potential for the development of interactive games just like the potential for the
development of new technologies, is high worldwide but to find out what divisions exactly could
develop in Latvia in relation to interactive games a focus group was established. Representatives of
the market of interactive games together with representatives of education sector and the National
Film Centre were included in the focus group:
1. Ilze Gailīte Holmberga – National Film Centre
2. Elviss Strazdiņš – „Bool Games”
3. Aleksandrs Papiševs – lecturer of the Latvian University
4. Bruno Aščuks – film production company „Centrums”
5. Līga Besere – „Creative Mobile”
6. Jānis Holšteins – Riga International School of Economics and Business Administration
7. Andrejs Kļaviņš – „Next Level”
The focus group was moderated by: Renāte Cāne, Kaspars Šteinbergs.
Meeting of the focus group: April 16, 2012.
During the meeting the following was discussed:
 development of the interactive games industry in Latvia and the world tendencies;
 cooperation between the interactive games industry and branches of creative industries
 state support instruments for promotion of development
It can be expected that during the next years this industry will experience a rapid growth; it was
recognized by all of the participants of the discussion, whereas the representatives connected with
development of the games mentioned several aspects which do not function or are not solved at the
moment so that the development was even better:
1. Lack of investments – everybody agrees that development of the creative industries,
including interactive games, is a new and rapidly growing market with a potentially high
profitability but investors in Latvia are not ready yet to invest in it. The state of Latvia offers
different support instruments, for example, business incubators and covers 80% from the
investments but it is still very difficult to find the rest 20%, therefore new projects often are
not carried out.
2. Lack of IT specialists, designers specializing in game design as well as sound operators
for the games. Companies dealing mainly with interactive games, like „Creative Mobile”,
according to its representative Līga Besere, do not face this problem since the company
employs both good full-time artists and programmers whereas the young entrepreneurs
Elviss Strazdiņš („Bool Games”) and Andrejs Kļaviņš („Next Level”) attract specialists as
free-lancers to particular projects, which is problematic. Professionals are engaged in fulltime employment and development of games for them is more like a hobby at their leisure
time. New game development companies cannot offer a full-time occupation; work is
offered to specialists only in the form of projects and therefore, probably, it does not succeed
so well. This aspect, certainly, is connected with the above mentioned lack of investments.
3.
Jānis Holšteins, the lecturer of Riga International School of Economics and Business
Administration admitted that the school follows the requirements of market and a new
programme for the production and development of computer games has been established
since such education is not available at any other Latvian higher educational establishment.
Several schools train IT specialists, programmers and computer designers but none
specializes in interactive games. The greatest part of specialists involved in development of
games obtain knowledge by self-education, watching training videos on youtube.com and
reading literature available from different international resources in the Internet.
Sound is also important for games and such professionals are trained only at the Latvian
Academy of Culture, specializing at film direction; participants of the focus group admitted
that it would be enough with such specialists; it would just require establishing cooperation
with these people. Ilze Gailīte Holmberg, the managing director of the National Film Centre
as an example mentioned the fact that Latvian choirs record sound for games from other
countries.
4. Neither the culture not environment of games is developed in Latvia, which would
make possible identifying the participants of the market. This issue was mentioned as a
problem by Elviss Strazdiņš and Andrejs Kļaviņš since it turns out that there are very many
and different game developers who know nothing about each other. In January, 2012 a
branch of the British technologies incubator „TechHub” was opened in Riga organizing
regularly different events during which it is possible to exchange with contacts, listen to new
business ideas regarding development of the new technologies at 3-5 minutes long
presentations, but on the whole it is the only place where supporters of development of the
new technologies can gather. „TechHub” offers space for works and meetings to young
entrepreneurs, lectures of different international experts as well as meeting the potential
investors.
Latvians are lazy people and they don't want to share their experience, success, and failures
and therefore, probably, we are now where we are. Everyone operates separately and hopes
he or she would succeed like the game “Angry Birds” did. True, at present the most famous
games developed by Latvians, “Hungry Rabbit” and „Gustav in Baltic sea” have much
more stories, just as it shouldn't be, but every experience benefits the following projects.
The focus group participants approved establishing a common data base, which would
facilitate attracting people to carry out different projects – computer artists, programmers,
sound directors, etc.
5. „It is too much of initial ambitions when one gets involved in the development of
games, which leads to the fact that the game does not actually get launched in the
market” - Aleksandrs Papiševs, the lecturer of computer science of the Latvian University
mentioned this as an important problem. Young students, learning the basics in development
of graphics and programming, wants to create at once something big, which would win
worldwide recognition but the greatest part of these ambitious projects are not even started
since the process is too complicated and it is impossible to obtain the necessary server
provision. From his experience Aleksandrs recommends to develop in the beginning games
of simple design, bringing forward quality and design as main priorities and not forgetting,
certainly, that a good idea is the basis to everything. Andrejs Kļaviņš added that quality
should be very high in order to get into some of the international platforms, for example,
facebook.com; therefore much time should be devoted for testing of the game and correction
of mistakes. One of the first success stories about two years ago was the game “Ferma” at
the platform draugiem.lv and Andrejs encourages the developers of Latvian games before
trying his or her luck abroad to create a game for the local market since draugiem.lv is still
the biggest Latvian portal by the number of its registered users. The only reason why the
young game developers do not want to get involved in this cooperation is that the profit has
to be divided in half, ignoring the fact what popularity and experience they can receive in
return.
6. The part of project managers is often disregarded since a principle domineers – the less
people are involved in the project, the less to share the profit with. Though pretty often
software designers do not have a corresponding experience and skills in promotion of the
game. Marketing and advertising of the game matters. Andrejs recognized that, be a game
as brilliant as it is, if it has no marketing nobody will find it. For example, when you
develop a game and publish it in Apple or Android environments it is like a drop of water in
the ocean and it disappears at once. Elviss Strazdiņš mentioned some examples of
promotion of a game, for example, how promo video youtube.com in America commissions
reviews by paying people for downloading the game, playing it and writing a description as
well as possibilities to buy tweets from representatives of popular game industries with
several thousands of followers, which gives at once huge resonance. Evaluating the game
„Hungry Rabbit” both recognized that it is rather a successful PR activity than a success
story of Latvia in development of games.
Returning to the development potential of interactive games Jānis Holšteins said that he believes
that in a couple of years our children and grandchildren won't go to school with heavy bags full of
books but with just one tablet PC, which would help to master the necessary material in an
interesting and interactive form. Already now interactive boards are used to learn chemistry and
biology; therefore interactive games are the next level but, certainly, the state support and funding is
also necessary for that. This issue was expanded by Elviss since he has an international experience
of developing an interactive game for Norwegians, commissioned for children with special needs.
The game is designed for playing on computers with a mouse and on tablet PCs for more disabled
children where they can move objects with a finger, hand or a tongue. Such cooperation could
promote the export of development of games. If forests and oil are not-renewable resources then
intellect is what one can develop and sell in long-term. In order not to turn Latvia to a cheap labour
country, alongside with creating interactive games for Scandinavia and other countries developing
of own products is important; experience of this kind would unequivocally rise the level and
promote Latvia in the world.
List of designers of interactive games and their contacts
Name
Projects carried out
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
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





Vārdu meklētājs
Atmini Zīmējumu
Labirints
Mana Dzīve
Pilsēta
Detektīvkomiksu spēle
Āfrika
Shards of the Dreams
Rančo
1100AD
1pirat (First Pirate)
Dark Swords
WarCity
SIA "Aurum
Social"



Zole
Kuģi
Bura
SIA "Berjoza"











Kviz
Spilvenu cīņas
Draugu Fabrika
Liekulis
Deputāts
Sudoku cīņas
Kāršu Cīņas
Ferma
Brain
Lielpilsēta
Zvaigžņu pirāti
IK "Smartsoft"
SIA "Amber
Games"
SIA "Armniko"
SIA "Binde"
SIA "BRAIN
SOLUTIONS"
Address
Contact information
Phone
E-mail
(+371)
www
Augusta Deglava 108/2-36, Rīga
26357191
[email protected]
www.smartsoft.lv
Brīvības gatve 214M—2, Rīga, LV-1039
26110660
[email protected]
www.ambergames.com
Eržepoles iela 69, Viļaka, Viļakas nov., LV4583
Kr. Valdemāra iela 100, Rīga, LV-1013
26129538
[email protected]
www.armniko.lv
29243386
[email protected]
Atpūtas iela 2-60, Rīga, LV-1002
29535746
Skolas iela 4-29, Ķegums, Ķeguma nov.,
LV-5020
29152703
[email protected]
www.binde.lv
Liepāja, Pasta iela 4, LV-3401
63421803
[email protected]
http://brainclub.com
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

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

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


Saspēle
Zelta ferma
Lidojošās olas
Skola
Gāzi grīdā
Bārmenis
Lidojošie saldējumi
Erudīts
Svētku egle
Trakais ezis
Kauja par nākotni
Puzles piramīdas
Draugturis
Yams
Krustvārdu mīklas
Ūdens pasaule
Eksotiskā ferma
Dārgumu mednieks
Hotelis
SIA "Cinis"

Jūras Kaujas
SIA
"ENEstudios"
SIA "Eware"
SIA "Farcore"

Nakts un Asinis

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


Metropole
Hokejs
Kapteinis
Bagātnieks
Laimes liešana
Dārznieks
Vārdu spēle
Veiksmes spēle
Uzmini nu
Zvejnieks
Tuksneša Pērles
Burtiņspēles
SIA "CDI"
SIA "Fubla"
Lāčplēša iela 75-4, Rīga, LV-1011
63487034
[email protected]
http://www.cdi.lv/
Raunas iela 14, Cēsis, Cēsu novads, LV4101
Baznīcas iela 7-2, Rīga LV-1010
64121583
[email protected]
http://www.cinis.lv/
Nometņu iela 13-3, Rīga, LV-1048
Gulbenes novads, Druvienes pag., "Dārziņi"
26334302
20008899
[email protected]
http://farcore.com
Rīgas-Siguldas šosejas 11 km, Berģi,
29166755
SIA "innoWate"
SIA "Jūrmalas
Īpašumi"
SIA
"Komunikāciju
Aģentūra"
SIA "Lasvegasa"
SIA "Liberta"
SIA "MS-IDI"
SIA
"Muzikantiem
LV"
SIA "Next
Level"
SIA "NG
technology"
SIA "Pirmā
Formula"
SIA "RATE
Business
Solutions"
SIA "Tehnio"
SIA "VIZLA"
SIA
"Wonderland
Media"
SIA „World
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Tauriņu Mednieks
Vārdu Kaujas
Mana Valsts
Burbuļkauja
Suši Pasaule
Mafia Rules
Garkalnes novads, LV-1024
Dzintaru prospekts 13/15, Jūrmala, LV-2015
67285282
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Akvārijs
Puķkopis
Elizabetes 33-4, Rīga, LV-1010,
67201460
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Enģeļi un Dēmoni
Ideālā pasaule
Vegasa
Burtu Draugi
Outlaws
Global Conflict
Burtu Juceklis
Ciemupes iela 1/4, Rīga, LV-1024
29188333
Zaķu muiža, Ikšķile, Ikšķiles nov., LV-5052
Piemiņas iela 4, Audriņu ciems, Rēzeknes
novads, LV-4611
Kr. Valdemāra iela 123-35, Rīga
65067708
29100236
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Fikss
Okeānija
Lidosta
Dainu iela 8, Ikšķile, Ikšķiles nov., LV-5052
Jūrmalas gatve 101-92, Rīga, LV-1029
26726957
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Dambrete
Baložu iela 28-16, Rīga, LV-1048
29808505
[email protected]
http://www.1formula.lv/
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Rollix
Akvāriju pasaule
Wormix
BINGO!
Skaitļu spēle
Zīmē un Mini
Burtnieks
Kinopilsēta
Novadu kari
Skolas iela 4-12, Ķegums
26616111
[email protected]
http://www.rate.lv/lv
Grīvas prospekts 4-15, Ogre, Ogres nov.,
LV-5001
Brīvības iela 72 k-1, Rīga, LV-1011
Aptiekas iela 8-48, Rīga, LV-1005
29653332
[email protected]
http://tehnio.lv/
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Krītiņš
Gaujas iela 5, Rīga, LV-1026
26457260
[email protected]
http://www.wtf.lv/
Ūnijas iela 12a, LV-1084, Rīga
[email protected]
http://www.ka.lv/
[email protected]
http://www.sula.lv
http://www.ms-idi.lv/
[email protected]
27097879
26322774
Technology
Frontier"
SIA „ZVM"
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Zini vai mini
Burgerland
Onewar.lv
66.rajons
Prūšu iela 8, Mārupe, Mārupes novads, LV2167