Games

Electronic Arts leaves the Nasdaq, marking the end of an era for the video game industry

3' min read

Translated by AI
Versione italiana

3' min read

Translated by AI
Versione italiana

Electronic Arts (EA) is leaving the Nasdaq and coming under the control of a consortium led by the Saudi sovereign wealth fund PIF. The deal is worth $55 billion. Shareholders will receive $210 in cash per share. Alongside Riyadh are Silver Lake and Affinity Partners, the fund led by Jared Kushner.

The deal gives Saudi Arabia one of the most recognisable brands in digital entertainment. But it also tells us something more: about the transformation – and perhaps the crisis – of the global video games industry.

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Electronic Arts was founded in 1982 following an idea by Trip Hawkins, a former Apple employee. The name reflected a cultural vision: to regard programmers as artists and software as a form of expression. The early packaging was reminiscent of record sleeves. The developers were shown on the covers. The computer became a machine for telling stories.

EA then went on to become a US entertainment giant. It has created or acquired franchises such as The Sims, Need for Speed*, Battlefield, Mass Effect, Dragon Age and Apex Legends*. Above all, it has transformed sport into video games. Apart from NBA basketball, where 2K’s NBA 2K series is now the undisputed leader, most successful sports games are published by EA. In Italia and around the world, football is synonymous with FIFA, now known as EA Sports FC, and, at least for us, it has remained the best-selling title for decades.

FIFA is an expensive but powerful machine. Every year, squads, kits and statistics change. Under the bonnet lies an economy built on updates, subscriptions, digital packs and microtransactions. The video game is almost always the same, but it has to stay running, drive traffic and generate revenue.

The acquisition comes at a time when the market is worth around 200 billion dollars. Yet the sector, as we have explained on several occasions in *Il Sole 24 Ore*, is going through a difficult period. In recent years, thousands of developers have lost their jobs, numerous studios have closed down and dozens of projects have been cancelled.

It’s a strange crisis. The players haven’t disappeared. The problem is the costs. A major title requires five or six years of work, hundreds of people and investment on a par with that of a Hollywood film. It then has to immediately win over an audience – often young people – who are used to free-to-play games and a different way of playing video games compared to the past, where smartphones dominate and consoles are losing ground.

The scarcest resource is not money. It is time.

To minimise the risk, publishers are therefore focusing on a handful of massive brands. Fewer experiments, more sequels. Fewer games, more services. Microsoft has bought Activision Blizzard; PlayStation has responded with Bungie; and China’s Tencent has expanded its portfolio of investments. Now EA is also delisting from the stock market and seeking refuge in private ownership.

Being free from Wall Street’s quarterly scrutiny can give management more time. But an acquisition of this scale also brings with it financial pressures. Debt loves predictable cash flows. It loves football, sequels and established communities. It has less time for new ideas that take years to bear fruit.

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For the PIF, however, EA is a key part of Saudi Arabia’s strategy for sport, events and esports. Sovereign wealth funds used to buy ports, mines and telephone networks. Now they are buying digital worlds and communities of millions of people. The new oil has a controller.

The end of EA’s stock market listing thus marks the end of an era. The company, founded to put creators on the front cover, has become an asset within a financial and geopolitical strategy.

The market display hasn’t shown ‘game over’ yet. But the number of lives left is dwindling.

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  • Luca Tremolada

    Luca TremoladaGiornalista

    Luogo: Milano via Monte Rosa 91

    Lingue parlate: Inglese, Francese

    Argomenti: Tecnologia, scienza, finanza, startup, dati

    Premi: Premio Gabriele Lanfredini sull’informazione; Premio giornalistico State Street, categoria "Innovation"; DStars 2019, categoria journalism

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