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Superscape ranked among the top five mobile game publishers in the United States during Q4 2007, according to the mobile games report from Nielsen Mobile. Their portfolio includes both tried and true brands like AMF Bowling and Alien versus Predator as well as strong offering of original IP. Their position with Verizon is a white label supplier of casual games and their role with Alltel as the provider of a rich community service based around casual games, strongly complement our own efforts with these carriers in North America. And as our press release announcing our offers for Superscape stated, the initial 21 day offer period for our tender offer expires on Friday February 15. When and if we received 90% acceptances, we intend to declare the offer unconditional in all respects. Until that time and in accordance with the UK Takeover Code, we will necessarily limit our remarks about the transaction. So if I could say we continue to be excited and look forward to sharing more details in due time. With fewer companies chasing this growing market, there will be even greater opportunities to invest and making the market even bigger. While this growth is certainly attributable in part to our expand network of carriers and the elevation of our brands. It also very much results of the overall industry expansion. It was after all only four or five years ago, that the industry was in its embassy and you have the mobile games as business is already nearly as big in unit sales as it close to his cousin the handheld gaming market. And we truly expect this market has new forces unfolding to drive future growth and adoption, the rapid increase in smart phones for example is one driver of the market's growth. We need to close and integrate the transactions we have begun, execute on our plans for both original and branded titles and continue to acquire licenses of best properties available. We are confident that we have built the best team and the best infrastructure to continue to consolidate our position as a leader in this business. Reviewing some of the specific revenue metric, our top 10 titles represented 52% of revenue, slightly down from 59% in the third quarter of this year and compared to 53% in the fourth quarter a year ago. As a side note, the slight decrease from Q3 to Q4 does not reflect any broad trend, it is simply a matter of title timing where in the third quarter we had a full quarter of TRANSFORMERS title released but in the fourth quarter two of our strongest titles were only in the market for a small portion of the quarter. The increase in average revenue per top ten title was a direct result of our broader global distribution and the growth in the overall mobile games market. As further evidence of our title diversity, no title represented 10% of revenue for the fourth quarter or for the full year 2007. For the full year revenue from Glu original titles was 12%.

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But yeah, it doesn’t mean that Dany will linger in Mereen after that. Then we can being season 7 with her about to land (or land) in Westeros. Meaning We should have 10 seasons considering Storm was 20 episodes long for some characters. They unfortunately are cutting the main storyline, Aegon and the second dance of the dragons, to hurry and finish the show in 23 episodes rather than 50. I was very very angry, hearing D and D talk about future projects they want to do when they were barely 3 seasons into the show, and here they are cutting GOT down to the bare minimum just to end the show so they can work on those other projects. Rather than give GOT its just do and give it 10 seasons like the CEO of HBO and GRRM want them to do. They can end the show ASAP to work on other projects making themselves look good, or they can see they are tired and want to move on, and give the show to another person taking a slight hit in their careers since the show wont be entirely theirs. In ideal world, I would also prefer a regular network tv schedule with 22-23 episodes per season but that’s just not possible. Nearing the end of the story, I only expect more battles that will require a whole lot more special effects. I’d rather have quality than quantity and I selfishly want this show to go out with a bang not a whimper. Besides, HBO is in the business of making money not satisfying a relatively small group of diehard fans. I sincerely doubt they would allow the show to take a two-year break to give them time to film those 13 episodes. Regular viewers won’t wait that long, they’ll move on. They’ve given us an amazing and high quality adaptation of the books. Which would have to work for all the other characters too. Maybe 50-75% of book 6, at the most, which S6 is covering. You want 40 episodes for material that’s not even published. Do you really not think the actors and crew are also tired at this point. Whilst WoW and ADoS (if it ever gets published) might approach the brilliance of SoS again, they also feature a lot of extended world narratives that have been left out of the show.

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The term “interactive storytelling” is often used to characterize existing digital applications, whether these incorporate narrative structures or not. In this work, we report on our experience and lessons learnt during our efforts to apply the genre of interactive storytelling in the heritage sector with the aim to more effectively support both authors and users of mobile interactive storytelling apps. In the case of virtual, off-site experiences, there have been efforts to introduce the genre in interactive television productions (Meadows et al. 2009). In this work we aim to explore the speci? challenges arising from applying the interactive storytelling concept in cultural heritage. We focus on mobile experiences, addressed to visitors that are present at a cultural site, rather than those accessing a reconstruction of an archaeological site or a virtual museum from a remote location. We report on our experience and lessons learnt during our efforts to apply the interactive storytelling genre in the heritage sector with the aim to more effectively support both the authors and users of mobile interactive storytelling apps. Section 2 briefly presents the background of these efforts; Sect. 3 the speci? s of the authoring workflow; Sect. 4 reports on the identi? d challenges and lessons learnt; and Sect. 5 presents our conclusions. 2 Background To design augmented guidebooks (Poole 2017), museums often employ specialized staff and external creative experts. Yet the design and production of appropriate content for meaningful mobile interactive storytelling experiences remains a challenge. The ? ld lacks robust and established practices as well as standard authoring workflows. This lack of standard methodologies, guidelines, and appropriate authoring tools speci?

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