Trading Card Game Industry White Paper

From the T to the C to the G

Contributors:

Brian David-Marshall, To Be Continued LLC.

Joost van Dreunen, SuperData Research, Inc.
Matthew Wang, To Be Continued LLC

New York, July 2009

Table of Contents
1.0 Introduction 1

1.1 Motivation 1

1.2 What is a Trading Card Game? 2

1.3 Playing a Trading Card Game 3

2.0 A Brief History of Trading Card Games 5

2.1 The Age of Licensing 5

2.2 Mass Market Trading Card Games 6

3.0 Market Analysis 6

3.1 Who Plays TCGs? 6

3.2 Secondary Market 8

3.3 Core Brands (alphabetically) 11

4.0 Industry Analysis 13

4.1 Aggregate Market Overview 13

4.2 Distribution Channels 14

4.3 Issues & Opportunities 16

4.4 Key Companies 17

5.0 Conclusion & Outlook 20

6.0 Contributor Biographies and Disclosure 20

 1.0 Introduction
This white paper describes the history, present and future of trading card games, and consists of the
following sections. Section 1 explores the main components of trading card games and define basic
concepts. Following, section 2 presents a concise history on the overall industry and its larger trends.
Section 3 looks at the current customer base, its core demographics, secondary market and key
brands. In section 4 the overall industry's revenues, distribution model, current issues and opportuni-
ties, and key companies.

1.1 Motivation
Ever since Pokémon emerged from the obscure hobby market to become a big box retail phenomenon,
Trading Card Games (TCGs) became a popular mainstream form of entertainment. Especially among a
younger demographic TCGs have grown into a pervasive form of contemporary game play. Just in
North America alone sales are estimated to be in the neighborhood of $800 million for 2008; sales that
are fueled by four different animated television shows based on TCG brands.

An example of a Pokémon card

Outside of traditional media, the emergence of massive multi-player games has coincided with an in-
creased interest in TCG. The immensely popular World of Warcraft (Blizzard/Activision) with its 11 mil-
lion subscribers world-wide, has had substantial success with its TCG spin-off. In the free-to-play
game space, titles such as Club Penguin (Disney) and MapleStory (Nexon) also enjoy the success of
their offline TCGs. Sony's recently released Free Realms also features a TCG, based on the virtual uni-
verse. With such large companies backing the development of TCGs, we figured that 2009 was a good
moment to shine some light on the TCG industry. It offers both an opportunity to expand on existing
intellectual property and a possibility for (young) audiences to play with their friends even while offline
(e.g. on the playground, during recess at school).

This report is the handiwork of a group of avid trading card gamers and professionals, who dedicate a
lot of their time to developing and playing TCGs. All of us subscribe to game play that is as much so-
cial as it is exciting. We hope our efforts are of use to the reader and invite anyone who feels we've
missed anything, or has relevant information, to contact us. This white paper serves as an introduction
on the topic and we look forward to a productive conversation with industry affiliates and fans alike.

1.2 What is a Trading Card Game?

A trading card game is also commonly referred to as a collectible card game, customizable card game,
or CCG. For our purposes here, we will use trading card game (TCG) to refer to all three varieties. In a
nutshell, a TCG combines the collectibility of trading cards with strategic game play.

1
Typically a player purchases a starter set, containing a manual and a playable deck of cards that
showcases the rules and mechanics of the game in an introductory fashion. One of the biggest obsta-
cles that faces any new TCG is the need for an opponent to truly engage in the game play as it is ex-
tremely unusual for any TCG to feature a solitaire mode. Players generally begin playing through a
friend, at a particular location like a hobby game store that has a time and date for an organized gam-
ing opportunity that includes a tutorial component, or via an online portal (which may feature online
game play, but not necessarily).

In general, TCGs are comprised of three basic components. First there are the rules of the game, a
set of instructions governing every aspect of game play, from which player will go first, to how to de-
termine which player wins, and everything in between. These are usually broken down into:

A basic rule book contains the most basic set of rules. This is generally a booklet that
comes with the starter materials and is aimed at beginning players. In many instances,
like Chaotic, a play mat often accompanies the rule book, and serves to map out the
placement of the game’s components during game play. Often the design of the play mat
includes a quick breakdown or cheat sheet that lists the game’s main rules.

Comprehensive rules serve as the backbone of every aspect of the game and are usually
stored on the main website for the game. These rules require a degree of experience for a
player to fully understand them.

A document listing floor-rules. This is essentially a code of conduct for players, judges, and
tournament officials once a game has developed an organized play program.

Secondly, there are of course the cards themselves. These serve as the actual playing pieces, and
contain text describing their unique characteristics. Without exception, TCGs feature an inventory of
cards far greater in number than a player can play with in any one deck. Once a player graduates from
the initial stage of learning a game using pre-built decks, s/he will build their own unique decks, con-
sisting of a small subset of cards. Cards will usually fall into one of five categories:

Creatures or characters are a staple of virtually every trading card game. Almost all TCGs
feature some form of combat between characters either based on an existing licensed
property (e.g. Buffy the Vampire Slayer) or drawing from popular genres such as fantasy.
The cards are, in a sense, playing pieces with their rules inscribed on them.

Creature enhancements are usually represented as weapons, vehicles, items, or armor,

which the player can use to enhance a creature card.

Events are cards that impact the flow of the game. These cards can range from simple
effects, like drawing additional cards, to affecting a creature card on the
board, to more sweeping and powerful effects. The easiest way to think of these cards is
to think of the "Skip," "Draw Two," and "Reverse" cards in Uno.

With resource cards a player generally buys the ability to put other cards into play. They
are a form of in-game currency that forces a fixed budget on the player. Not all trading
card games features such a resource system, but it is fairly common. Resource cards tend
to be specific in what they afford the player. Colors generally indicate the range of abilities
it buys.

Location cards are not featured in all games but some games use them to represent a field
of battle. Some games will further break down card types based on specific components of
the brand's story line.

Third, the intellectual property("IP") serves as the basic narrative universe on which the game
builds. The story components generally influences the design, rule set and the cards themselves. Early
games like Magic: The Gathering draws on its own, original IP, using fantasy tropes. But as more com-

2
panies tried to claim a place for themselves in the TGC business, they began to rely increasingly on
licensing existing IP.

Fourth and last, in addition to the cards themselves, TCGs feature a variety of ancillary products that
are sometimes included with games or are sold as additional product lines through licensees.

Beads/Tokens. These will often fill the same role as dice and are often interchangeable.
Some games will feature cards that generate additional game elements that are not repre-
sented on a card and require a token to represent them. This can be as simple as a bead
or coin but some games actually feature cards created for this purpose.

Boxes/Binders/Cases. Players only use a small fraction of the cards in their collection
when playing a TCG but having their cards organized and accessible for deck building and
trading with other players is paramount. A variety of corrugated cardboard boxes, binders,
and hard plastic cases serve this function. Originally these items were simply adapted from
the sports card collectible market but manufacturers now create specific products for trad-
ing card games, including licensing artwork from popular game brands.

Dice. Players will use dice for a variety of reasons when playing a TCG; to randomly de-
termine outcomes such as who will play first, to track the status of cards in play, and to
track the game state such as resources available or the score of the game. Dice are rarely
provided with TCGs and are even more rarely essential but they are a common piece of
equipment for almost any player of TCGs.

Life counters. Players use a variety of methods to track the score of their games from
simple pen and paper, calculators, iPhone apps, dice, coins, and even sculpted figural de-
vices.

Play mats. There are two different types of play mats. The first is an instructional version,
printed on glossy paper and included in most starter product for TCGs. These will feature a
map of how to set up the game, keep track of the score, and a reminder of the step by
step game play. There are also more durable fabric and rubber play mats -- similar to
large mouse pads -- that feature artwork. These are often produced for sale, as tourna-
ment prizes, or as commemorative keepsakes from large events.

Sleeves. Trading card games are often collectible with values tied to the condition of the
cards, which get handled excessively during each game. Players protect their cards with
flexible sleeves. These sleeves can be clear or opaque and will often feature artwork from
the game IP licensed from the game manufacturers. There are two different sizes of cards
-- a traditional playing card size such as Magic: The Gathering and a slightly smaller size
designed with younger kids in mind and sleeves are made for both sizes.

Strategy guides/Price guides-- There were at one point a half dozen or more print maga-
zines dedicated to strategy and secondary market card pricing but they have been largely re-
placed by online sources able to deliver the same information in a much more timely fashion.
Almost every successful trading card game will have a thriving user generated online commu-
nity ranging from blogs, to online stores, to message boards.

1.3 Playing a Trading Card Game

Obviously, in order to play a trading card game, players require a deck of cards. Novice players can
use a (Pre-constructed) starter deck, but the true appeal of TCGs lies in the ability to create your own
unique blend of cards, typically referred to as Constructed play. To allow for many individual, unique
varieties of card interaction, the total inventory of available cards for a single game greatly exceeds
the number of cards required to build a deck. Similar to an online multi-player game like City of
Heroes/City of Villains, which offers so many variables in constructing an avatar that no two are the
same, every single player's deck can be different. Beyond appealing to a single player's need to hold a
unique deck, a large variety of cards also offers varying, and subsequently more challenging, game

3
play. Consequently, players will purchase a much larger set of cards than he actually deploys during
game play, which is commercially attractive and often gives birth to a thriving secondary market. Rule
books and comprehensive documents generally detail the guidelines for deck construction, ensuring
that whenever two or more players face off, they will almost always hold unique deck configurations.

In addition to deck construction, the components of game play focus on applying skill and random-
ness. At the start of a game, players generally shuffle their decks. This disables them from knowing
what card they will draw each turn. Certain games require particular types of cards to be played first
(e.g. resource cards), or require multiple decks which may be shuffled during game play.

Next, players agree on a method of which of them will go first -- usually flipping a coin or rolling a die
-- and begin to play. Once the starting player has been determined, players draw a hand of cards and
make their first action. Players alternate turns, with each player making actions and responding to
them. Despite being turn-based, TCGs usually features special cards that allow a player to interrupt an
opponents' turn and interact with their opponent's strategy. Finally, the game ends when one of the
players has fulfilled a win condition (e.g. scored a certain number of points).

In general, if you were to break down a single game into common and identifiable zones you would
find several predominant components. First, there's the deck zone. The contents of a player's deck is
randomized and introduces an element of chance into the game. Whenever a game is played, each
card drawn can represent victory or defeat. This is a constant source of dramatic tension on the Yu-Gi-
Oh! television episodes in which its main character plays the actual card game in an epic battle be-
tween good and evil. The "rush" of drawing just the right card at just the right moment is one of the
most compelling hooks to retaining TCG players.

Second, there is the hand zone. In almost every game players draw a hand of cards from the top of
their shuffled deck. This is all the information they are given at the start of the game. Players use
these cards to implement a strategy over the course of the match. As they take cards from the deck,
players also replenish their hand by adding cards (usually one per turn). Not knowing each other's
hand creates a cat and mouse game, climaxing in playing just the right card at the right moment. This
element of chance is a key aspect to a TCG's excitement.

Third is the play zone. Cards are generally played face-up onto the table top (sometimes represented
in detail by a play mat) from players' hands. The play zone contains most of the known information in
a game between players. Some cards are played face-down and revealed at specific points in the
game (these can be considered an extension of the hand zone since it is unknown information). Cards
may be required to be arranged according to specific game rules, but almost universally each player's
cards remain on their half of the play zone. The deck is usually placed near the play zone as is the dis-
card zone.

Fourth is a common area we can call the battle zone. It is here that the combat between creatures
takes place, in a sub-section of the play zone, and it is often on either side of a dividing line between
the two players' play zones.

Fifth and finally, the discard zone is where expired playing cards go. Cards from this zone are often
replayed, used as a resource, or have some impact on the game. In some instances, games feature an
additional "removal area", where cards no longer have any impact and cannot be returned to play.

Obviously, the above merely describes TCGs in very general terms and concepts. For the rules on spe-
cific games, one is best served by visiting the relevant documentation. Nonetheless, the difficulty in
describing TCGs in broad terms underlines the complexity and richness of their game play.

4
 2.0 A Brief History of Trading Card Games
The very first game to fit the established definition of a TCG was The Base Ball Card Game published
by The Allegheny Card Co. in 1904. The game itself consisted of 104 unique cards, featuring National
League players. More than a hundred years later, of course, The Base Ball Card Game remains rare
and predominantly a collector's item: the estimated price for a mint-condition deck is about $500.

The TCG concept as we know it today was born in 1993. Dr. Richard Garfield, a math professor, had
been working on a game design since he was a graduate student, and only completed his vision once
he met Peter Adkinson in 1985. Adkinson, then CEO of Wizards of the Coast ("Wizards"), initially re-
jected Garfield's first submission and requested a portable game that could be played during the fre-
quent downtime at gaming conventions.

With an initial print run code-named Alpha, Wizards "I remember at the last minute talk-
first premiered Magic: the Gathering at the Origins ing with Peter Adkison on the phone,
’93 gaming convention. The response from the hobby
gaming community was above and beyond Wizard’s
with him telling me he would go with
predictions. Alpha’s 2.6 million-card print run rapidly whatever I wanted. I decided to
sold out, as did the follow up Beta (7.3 million cards) leave the card backs the same--and
and Unlimited (~35 million cards) editions. These the future of Magic was set."
three editions were essentially the same set of cards
with little more than cosmetic changes and print run --Richard Garfield, 2002
corrections differentiating them. The next completely
original set was Arabian Nights, released in December 1993. Decisions made during the design of this
second set would prove to be nearly as important to the TCG genre as Garfield’s original design for the
game.

Each Magic: the Gathering card from the Alpha,Beta and Unlimited editions shared a common card
back. Players could mix cards from any of the editions when creating decks because it was impossible
to differentiate one edition from another by looking at the card back alone. (To be fair, some cards in-
cluded in the Alpha edition were die-cut slightly differently, making identification possible. All Magic
cards after Alpha edition were cut identically.)

With Arabian Nights, Garfield proposed changing the card back. Players strenuously protested, and at
the last minute Wizards decided to print Arabian Nights (and all subsequent expansion sets) with the
same card back. This decision, which all other major TCG companies immediately copied, has contrib-
uted heavily to the long term success by engendering product line continuity. As a consequence, a
TCG became more than just a string of similarly branded products released sequentially, and grew into
its own hobby, supported and upgrading through expansions.

Magic’s explosive sales growth changed the hobby market. In fact, sales of role-playing and minia-
tures combat games slumped as consumers shifted their purchases to Magic. Other hobby publishers
rapidly joined Wizards in the TCG business: TSR (publisher of Dungeons and Dragons) released Spell-
fire, Atlas Games released On the Edge, and Steve Jackson Games released Illuminati: New World Or-
der, all in 1994. However Decipher's 1994 TCG release -Star Trek- heralded a new TCG age.

2.1 The Age of Licensing

The earliest entrants into the TCG genre were based on original or existing hobby market brands, but
this changed in 1995. That year more TCGs were released than any other, and many of them were
licensed properties. James Bond,Lord of the Rings,Sim City and other entertainment brands and com-
puter games were shoehorned into TCG booster packs, often unsuccessfully. Initial sales on most new
trading card games were high during the early years of the genre, as retailers and consumers scram-
bled to fulfill their newly awakened desire for TCGs.

However, only a few new TCGs survived. Often poorly conceived, poorly designed and poorly mar-
keted, most of the entrants in the glut years of 1995-1999 failed. Even well-regarded games got lost
in the barrage of new products, and died before being able to establish a sustainable consumer base.

5
2.2 Mass Market Trading Card Games
Despite their dominance in the relatively small hobby market, TCGs had yet to find widespread com-
mercial success in the U.S. The introduction of the Pokémon TCG changed all this in 1999. Also a li-
censed property, Pokémon was based on Nintendo’s successful series of Gameboy games.

Unlike other entrants, Pokémon targeted a younger audience instead of the adults or teens found in
the hobby market. Crucially, this meant that Pokémon’s main fan-base watched cartoons every Satur-
day morning, allowing the Pokémon cartoon to reinforce both its overall game play and brand. Televi-
sion exposure proved key to the game's national craze, and the Pokémon TCG became a breakout
mass market hit.

Following that success, other mass market brands were designed around this combination of televi-
sion, video game and TCG. Konami’s Yu-gi-oh! (1999), Bandai’s Digimon (2000, plus related yet non-
compatible game relaunches in 2002 and 2004), and 4Kids’ Chaotic(2007) each achieved mass retail
success, outselling Magic,which remained the best-selling TCG in the hobby market through 2008.

3.0 Market Analysis

This section offers an abbreviated analysis of the current TCG market. It provides an overview of the
demographics, the secondary market and core brands.

3.1 Who Plays TCGs?

Because TCGs feature game play that almost exclusively requires a minimum of two players, lively
online communities exist where players exchange strategies, trade cards, find local opponents and
discuss games. For purposes of this white paper, we analyzed the major online message boards to get
an idea of the volume of online players, dominant TCG titles and the overall nature of TCG-related on-
line discussion.

The following is based on a collection of posts across fourteen English-based online message boards in
May 2009, where 1,138,510 players collectively contributed 29,396,134 posts.

Demographics
To get an idea of the demographic characteristics of the TCG audience, we collected (where available
and non-intrusive) profile information from message board members. We assumed that, since mes-
sage boards are publicly accessible online, profile information was too. Nonetheless, we have removed
any identifiers from the data presented here.

Focusing on the 25 most prolific members on each message boards (but excluding administrators,
moderators, etc.), we collected age, gender and geographic information. In addition, we also looked at
a few existing studies. The rationale behind focusing on the top 25 members is our assumption that
the investments made by community members, like most other online communities, are organized
according to a power curve. This means that those people who write posts most frequently also invest
most of their time and money. These heavily invested individuals are a TCG's financial backbone. In
total, we collected demographic information on 175 players. (The observant reader will note that tak-
ing the profile information from 25 members of 14 message boards would obviously generate a total
sample of 350. Unfortunately only half of them allowed access.)

• Based on our sample, the average TCG player is 22 years old.

• In those cases where players identify their gender, 84.1% are male vs. 15.9% female.
• Breaking out the average age by title, produces the following:
• Based on this non-scientific sample, we speculate that the audiences for older franchises like
Pokémon and Magic: The Gathering have aged since their initial launch, compared to the
newer titles, World of Warcraft and Naruto. A study by Jon Prywes (1999) found the average
age of a Magic player between 16 and 23 years old.

• Obviously this initial survey leaves a lot to be desired. The authors recommend a more thor-
ough, statistically relevant study to identify the exact age ranges per title.

6
Relative Market Share by Title
We assumed that the amount of online discussion related to a particular title is equivalent to its rela-
tive market share: more players means more people online chatter. Based on message board volume,
the popularity per TCG title breaks down as follows. Among the top-tier titles, Yu-Gi-Oh! takes the
cake with over 51%, and is followed only by Pokémon's 35%. The number three title, Magic: the
Gathering, stays at a distance (7.7%). Finally, Naruto (2%), VS System (0.9%) and Duel Masters
(0.7%) come in as four, five and six.

Graph 1: TCG Message Board Volume by Title

60.0%

50.0%

40.0%

30.0%

20.0%

10.0%

0.0%
Yu-Gi-Yo! Pokémon Magic: the Naruto VS System Duel Masters
Gathering

A second group of TCG titles enjoys a much smaller following. Based on message board volume,
DragonBall Z/GT takes the lead in this group with 0.34%.

7
 Graph 2: TCG Second Tier Message Board Volume by Title

0.40%

0.35%

0.30%

0.25%

0.20%

0.15%

0.10%

0.05%

0.00%

e
of On o

ad Blu a k
uy ft
W Ri ak r

S
W rs
Bl T

rib em

ar er

Ca ra d
M n2 g

of in hro ll
ar e

a P ha

ar rts

Pi sal me atc ory

do he s

y s

e b
m Her ch

th Yu Sla x

st ca ik
e an

G n
H st

eS 0

ak ils
ph an ic

H n
H ye

am
h

W re
ng lc te

th g S ne
e
/G

W lin
li

D r
ia Kin

Ai tom

rd go
AR

pl 35
In cra

a
O m aot

La He nt
a
m mi

St nd

in e lo
o
or ng us

te ig of T B
C
a

as

Th be

ug
St ea
Ki l A ira

T
Ca st
t

Sp
e
lZ

pi o

r
h
a h

rb
Sh C
l
Ba

ld s

B
r

a
Z
id
n

e
s ht
go

g
et
of u
Va

e
Y
ra

a
ra F

e
ve G
D

Th
ll
th

Tr
Fu

ni A

:
r
rd
fy

ic
ar

Ep
f

Lo
Bu

at
Av
U

3.2 Secondary Market

Due to the collectible nature of trading card games, there is a robust and active secondary market. A
substantial part of the trading card game genre's success originates in the search for and trade of rare

Average Age for Select TCG Titles

Title Average Age

World of Wacraft TCG 17
Naruto 18
VS 18
Chaotic 19
Pokémon 22
Yu-Gi-Oh! 23
Magic: the Gathering 25
Source: TCG-related Message Boards, SuperData Research

cards.
Individual TCGs may use differing terms, but across the board each will feature a large number of
"common" cards. Unsurprisingly, rare cards are fewer and therefore more valuable. Players can find
"rares" in two ways. First, they may purchase blister or booster packs. Generally, a starter set costs
approximately $15 and booster packs cost about $3.99. Players buy the latter in the hope of strength-
ening their existing deck. However, because each pack will only contain a few rares and many com-
mons, players will have to buy many packs to make their deck better.

8
Alternatively, in the secondary market players may directly purchase the one card they seek. As a re-
sult, there exist a lively online exchange in TCGs. On eBay, for example, there are currently over
600,000 individual TCG sales listed (Recorded May 2009). The highest asking price for a single card
stands at $49,000 for a "Beta Black Lotus" for Magic: The Gathering. Collections obviously yield more
money, running up to $5,000 for the entire Pokémon set. Misprints tend to be even less common,
racking up an asking price of $100,000 for a Yu-Gi-Oh! misprint of the "Clock Tower Prison."

TCG Secondary Market, Volume Share by Title

60.0%

50.0%

40.0%

30.0%

20.0%

10.0%

0.0%
on ek
R t

e Na e

rr orm
on
Br -Oh

Ne inz
ke s

of Sy Z
er lla rs

tru a

an
Ch gs

r
dg em

th ple al
ar s
of arc r

Dr tar ic
ve to

W ent
Yu ring

aw S
Ha St s

rib ry
f

tte
rd W e
Po ler

St ing

e t
l S Sar
th ra

F
gg

of Ma De
Et Be Wa

th e
e VS all

Ca Sto
Lo of Oth

Fi ru

ag Tr
n
ao
m

be
U
k
op
Ju st
em
aw

Ri

Po
i

eb
e
ttl -G

b
th

y
Ga

R
e

na

of
e

e
th

ld

th
Ba

a
or

ag
ic

of
W

Ey
an
ag

he

:S

s
nd
g

te
M

,T
ku

rd
ge

ra
lo
Ba

re

Pi
Le

ar
pi

W
m
Va

If we look at the total number on offer for each title, and multiply it by the average asking price, we
see that the total eBay secondary market on a specific day can amount to just south of one million
dollars. The volume of available cards for Magic: The Gathering overwhelms that of other titles. Yet
the total value gives it only 46.8% of the total market, compared to the 57.2% it holds when meas-
ured by volume. In dollars, the second-runners up gain in market share: Yu-Gi-Oh! claims 23.6%
(13.2%), Pokémon 9.8% (5.7%) and World of Warcraft 5.1% (2.9%).

TCG Secondary Market, Dollar Sales by Title

Avg. Price Appr. Value (incl.

Title Units for a 'Rare' common cards) Market Share
Magic the Gathering 345,986 $4.32 $438,979.20 46.8%
Yu-Gi-Oh 79,682 $7.51 $221,170.34 23.6%
Pokemon 34,474 $7.56 $92,103.60 9.8%
World of Warcraft 17,467 $9.38 $47,551.20 5.1%
Vampire, The Eternal Struggle 16,210 $3.14 $16,989.28 1.8%
Legend of the Five Rings 12,553 $6.98 $16,837.60 1.8%
Lord of the Rings 7,317 $4.76 $13,515.89 1.4%
Bakugan Battle Brawlers 7,656 $13.57 $13,362.78 1.4%

9
 Naruto 4,540 $9.40 $13,115.12 1.4%
Bella Sara 4,027 $5.25 $12,198.31 1.3%
Dragonball Z 5,290 $4.97 $8,026.25 0.9%
Star Wars 12,890 $1.31 $7,918.60 0.8%
Star Trek 5,246 $5.31 $6,671.56 0.7%
Chaotic 1,486 $2.11 $4,939.64 0.5%
Neopets 1,300 $9.48 $3,277.00 0.3%
Raw Deal 3,468 $0.50 $2,289.64 0.2%
Harry Potter 679 $3.82 $1,327.60 0.1%
VS System 1,029 $1.99 $1,097.31 0.1%
Warlord: Saga of the Storm 511 $3.08 $728.53 0.1%
UFS 465 $4.61 $555.15 0.1%
Eye of Judgement 525 $1.45 $540.12 0.1%
Webkinz 255 $1.50 $257.00 0.0%

Other 42,314 $5.09 $14,933.90 1.6%

Total 605,370 $938,385.61

Source: eBay Stores

The average price for a "rare" is $5.09. If we exclude Bakugan Battle Brawlers, which are arguably
figurines more so than cards, the average comes to $4.69. The highest average price for a rare card is
$9.48 (Neopets) and the lowest $0.50 (Raw Deal).

Collectively, these numbers indicate that although Yu-Gi-Oh! is more common among online discussion
(51%) than Magic: The Gathering (7.7%), their eBay secondary market value may tell a different
story. Perhaps by including a greater number of message boards would provide a different observa-
tion, but our purposes here, our findings suggest that while Yu-Gi-Oh! is more popular, Magic: the
Gathering has contributed twice as much on eBay. This, in spite of the fact that Yu-Gi-Oh! cards sell
for $7.56 compared to Magic's $4.32.

Besides the sales of pre-owned cards, there exist several websites where TCG players can purchase
additions to their collection. We've identified the following as online retailers which offer a diverse and
wide inventory (alphabetically):
1. www.oshkoshmagic.com
2. www.StrikeZoneOnline.com
3. www.StarCityGames.com
4. www.TrollAndToad.com

10
3.3 Core Brands (alphabetically)

Brand Name Description

Bakugan Battle Brawlers Bakugan Battle Brawlers is a popular Japanese anime that was
Publisher: Sega Toys, Spinmaster brought over to the United States in February 2008. Sega Toys
Initial Release: 2006 and Spin Masters released the Bakugan Battle Brawlers card
game simultaneously with the show’s debut. Bakugan is not a
traditional TCG; it plays much more like marbles than a card
game. Players collect magnetic spring-loaded miniatures, which
represent the Bakugan from the show. Players then roll these
miniatures over a field constructed of playing cards that are
loaded with metal. When a Bakugan rolls over one of these
cards, its magnetic parts stick to the metal in the cards, caus-
ing the miniature to pop open.

The game, supported by the TV show and other advertising,

ended up being one of the hottest 2008 holiday products. Ba-
kugan also won the 2009 Toy of the Year award by the Toy In-
dustry Association. In 2009, Digital Blue is planning to release
a series of Bakugan-branded electronics, and Activision is de-
veloping a video game to be released on the Wii, Nintendo DS,
Xbox 360, and PlayStation platforms.

Bella Sara Bella Sara is a trading card game and virtual world built around
Publisher: Hidden City Games collecting and caring for horses. Bella Sara was released to lim-
Initial Release: 2006 (Seattle, San ited markets in November 2006, and nationally in March 2007.
Diego), March 2007 (rest of U.S.)
To play Bella Sara, players must first purchase Bella Sara trad-
ing cards, which can be used to play simple card games and
uploaded to the Bella Sara website, where players can play
mini-games and care for their digital horses. Cards are up-
loaded to the website using a unique activation code. Uploading
cards also rewards players with horseshoes, which can be used
to buy objects from Bella Sara’s item Bazaar.

Chaotic The Chaotic Trading Card Game is a relatively new addition to

Publisher: 4Kids Entertainment/TC the market, launched in Fall 2007 by 4Kids Entertainment and
Digital its subsidiary TCDigital Games. Based upon the TV show of the
Initial Release: October 18, 2007 same name, Chaotic focuses on dueling armies of Creatures.

The game is unique in that all individual cards have a code

which can be uploaded to the Chaotic TCG website. Players can
play an online version of the TCG for free using cards that they
have uploaded from their online collection or other digital ver-
sions of cards that they have traded.

Chaotic's game play is roughly like a miniatures games in that

most of a player’s deck begins in play. Its game play is most
easily understood as a war of attrition, with each player’s goal
simply to outlast their opponent through thoughtful and cun-
ning play.

11
Legends of Norrath Legends of Norrath is an online-only TCG developed by Sony
Publisher: Sony Online Entertain- Online Entertainment (SOE). It is playable both through SOE’s
ment EverQuest and EverQuest II MMORPGs, as well as a separate
Initial Release: September 5, 2007 client specifically designed for Legends of Norrath. The game
launched in September 2007 and to date, Legends of Norrath
has had six releases.

Unlike most other TCGs, Legends of Norrath is tightly inter-

twined with Sony’s EverQuest MMORPGs. Like World of War-
craft, there are loot cards which may be redeemed for in-game
items. In addition, EverQuest and EverQuest II subscribers re-
ceive free Legends of Norrath products each month that they
remain a subscriber. Legends of Norrath relies heavily on these
players, who can play within the MMO client, to drive sales and
increase consumer awareness of this game.

Magic: the Gathering Magic: The Gathering was the first “modern” collectible card
Publisher: Wizards of the Coast game, and has consistently been one of the best selling hobby
Initial Release: 1993 games on the market. Magic is now sold in over seventy coun-
tries, with an estimated 6 million player world wide. In 1996,
Wizards launched the Magic: the Gathering Pro Tour circuit; a
series of highly competitive weekend-long tournaments with
large cash prizes.

In addition to the paper game, Wizards launched a digital ver-

sion in June 2002, Magic Online. The game has undergone mul-
tiple iterations, with the most recent, Magic Online version 3
being released in April 2008. Wizards of the Coast estimates
that Magic Online is responsible for somewhere between 30%
and 50% of the total Magic business. Originally, players had the
ability to exchange complete sets of digital cards for physical
product. However, with the release of version 3, the option for
redemption has been disabled, although Wizards has an-
nounced that it will reinstate the policy in the future.

Pokémon Pokémon is a global entertainment franchise based on a series

Publisher: Nintendo of games released on the Nintendo Gameboy and DS systems.
Initial Release: October 1996 Created around 1995, Pokémon remains a successful global
brand, although its best days were in the past. The trading card
game was developed by Wizards of the Coast, and is still highly
successful. The game is still among the largest trading card
games on the market, and was ICv2’s top overall CCG for Fall
2008.

Pokémon has an extensive organized play system composed of

leagues, traditional tournaments, and high level events includ-
ing Nationals and Worlds tournaments. Releases are tied the-
matically to the Pokémon digital game releases.

12
World of Warcraft The World of Warcraft TCG ("WoW") is a card game based on
Publisher: Upper Deck Company the popular massively multi-player online role playing game
Initial Release: October 25, 2006 ("MMORPG") World of Warcraft. The WoW TCG is produced by
Upper Deck Entertainment, a division of the Upper Deck Com-
pany. The first set of cards, Heroes of Azeroth, was released in
October 2006. In addition to traditional TCG play, the WoW TCG
has released four Raid Decks. Raid Decks challenge players to
test their skills against the most difficult encounters in the
World of Warcraft MMORPG. Instead of competing against each
other, players get together to play against the powerful “boss”
creatures that are included in each Raid deck.

The WoW TCG also features Loot cards. Loot cards are cards
that contain a scratch-off code that can be uploaded in the
WoW MMORPG and exchanged for special digital objects that
could not normally be obtained in the game. Some Loot cards
are randomly inserted into booster packs, while others can be
found as guaranteed inserts in WoW-related products (such as
the Raid decks, or WoW MMORPG expansions).

The WoW TCG sells well in the hobby markets, but has not
grown to the level of other, more popular TCGs. Like other UDE
games, the WoW TCG is supported by a wide-reaching organ-
ized play network that hands out large cash prizes to the top
players of the game.

Yu-Gi-Oh! The Yu-Gi-Oh! Trading Card Game is a TCG based on the Duel
Publisher: Konami Monsters game that is portrayed in the popular Yu-Gi-Oh!
Intial Release: 2002 manga and TV show. When the game first launched in 2002,
Upper Deck handled the production and distribution of the Yu-
Gi-Oh! TCG in North America, Europe and Australia, while
Konami handled Asia. At the beginning of 2009, Konami took
control of all of Upper Deck’s responsibilities for the game,
claiming that Upper Deck produced counterfeit cards. The Yu-
Gi-Oh! TCG is one of the top-selling TCGs in the U.S.

In addition to being one of the best selling TCGs in North Amer-

ica, the Yu-Gi-Oh! brand has released many video game titles
(produced by Konami) for the Game Boy Advance, Nintendo
DS, PC, and Playstation platforms. Many of these games come
packaged with promotion cards from the Yu-Gi-Oh! TCG.

4.0 Industry Analysis

The following shifts to the companies involved in the production of TCGs. After offering a breakdown of
the aggregate market, it discusses the underlying business model, key players and summarizes recent
current events.

4.1 Aggregate Market Overview

In the period 2002-2004, the trading card game market hit a peak of $850 million with Yu-Gi-Oh!
sales at spectacular levels and Pokémon continuing to do well at retail, despite a slight decline. An in-
teresting feat considering the general economic outlook at the time. In the following period 2005-
2007, sales bottomed at $475 million, but eventually stabilized at around $550-600 million. The rise in
sales in 2008 is directly attributable to the success of Bakugan, which dominated the mass market
channel last holiday season.

13
The following table shows the estimated size of the US trading card game market.

Year 2002 2003 2004 2005 2006 2007 2008

TCG Sales at Retail (mil $) $750 $850 $700 $475 $550 $600 $800

Source: ICv2

Taken as a whole, local event organizers and retailers estimate that the European retail market similar
in size as the United States: ~$600 - $800 million. Historically the top 5 European Union markets are
(alphabetically): Germany, France, Italy, Spain and the United Kingdom. This overlaps neatly with the
market distribution of its electronic cousins.

TCGs enjoy the most prevalence in Japan. There both adults and kids wholly embrace TCGs, playing a
wide range of trading card games. The industry agrees with an estimated $350 to $500 million at
Japanese retail.

Combined, the worldwide market for TCG currently stands north of $2.1 billion, making it equal to the
market for secondary market for MMOs ($2.1 billion) and larger than the casual game market ($1.8
billion). In terms of revenue the slow and steady low-tech approach of TCGs, combined with much
bigger focus on loyalty, the phenomenon exists at the same level as game industries at the bleeding
edge of technology.

4.2 Distribution Channels

There are two primary retail distribution channels for trading card games: Mass Market and Hobby
Market.

Mass market retail distribution includes stores like Walmart and Target. These channels cover a large
geographic footprint and have an enormous amount of customer traffic. Walmart, for one, counts over
4,100 outlets and 200 million customers each year in the United States. Typically, a mass market re-
tail chain requires a large commitment (in terms of volume) and adherence to a strict delivery sched-
ule. Chain stores may demand that a company commits its product even as far as one year in ad-
vance. Succinctly, this does not allow for a TCG manufacturer or marketer to adjust the volume or
make-up of its product. However, the size of the mass market retail stores allows for better pricing
and a greater selection, because space is virtually unlimited compared to specialty retailers.

Secondly, there are approximately 5,000 Hobby Market retailers in the United States. Despite having
much lower traffic numbers, the hobby market staff is generally much more knowledgeable about the
products and can provide advice and recommendations to customers. Most trading card game brand
advocates come from the hobby market. Hobby game To reach these stores generally means going
through the store distributors, who buy inventory from a variety of vendors with the intention of re-
selling them to hobby stores. For a TCG manufacturer this is a cost efficient method to reach its cus-
tomers, because distributors already have established relationships with the stores and are better able
to advertise new product.

Card Production (From Start to Finish)

The process of creating a trading card game from start to finish can easily be divided into three
phases:

1. Design and Development - Create the trading card game design and develop the game.
2. Production - Generate the art and non-game content. Design card template and packaging.
Prepare files for printer.
3. Sales and Marketing - Organize marketing and sales programs, materials and schedule rollout.

14
4.3 Current State of the Industry

According to our industry sources and reports, as of mid-2009, Yu-Gi-Oh! and Pokémon are still the
top two TCG brands in the US market with Bakugan making a tremendous entry last holiday season
dominating the buzz and toy aisle. The Konami takeover (detailed below) has only had a minor hiccup
in Yu-Gi-Oh!'s sales. But through the change of hands a new challenger, with much deeper pockets
and plenty of experience with electronic games, appears. Between Konami, Nintendo and WotC, previ-
ous industry leader Upper Deck is quickly losing its former glory.

In the mass market, Magic is seeing a rise in sales as its marketing efforts on grooming casual players
over the last couple of years begins to bear fruit. Topps' Club Penguin TCG was released during the
holiday season as a Toys "R" Us exclusive and sold out its initial run before the end of the year. Mean-
while, Chaotic' saw its sales declining dramatically during the holiday season, as an inordinate amount
of retailers returned product.

In the hobby market, a major shift occurred as many of the big players toward formulated marketing
plans focused on a more casual friendly approach. Previously, the traditional method to acquire new
customers had been prize-driven competitive tournaments. WotcC led this change and, despite initital
resistance, proved very successful in broadening its player base and, consequently, improving sales.
Its Magic continues to show strong sales along with Yu-Gi-Oh! and Pokémon.

Konami & Upper Deck Entertainment Litigation (April 2009)

On December 11, 2008, Konami Digital Entertainment, the American division of Konami Corporation,
announced that it was taking control of “all operational and business aspects” of the Yu-Gi-Oh! Trading
Card Game, effective immediately. After both Upper Deck and Konami separately claimed to be in con-
trol of the card game, Dutch and U.S courts found in favor of Upper Deck, allowing Upper Deck to con-
tinue marketing and distributing the game in Europe and the United States.

On January 13, 2009, Upper Deck announced that Konami had not supplied Champion Packs to Upper
Deck, preventing Upper Deck from awarding them as prizes in tournaments for the foreseeable
future. Less than a week later, the same reason forced Upper Decl to cancel the Yu-Gi-Oh! Crimson
Crisis expansion. Not long after Konami announced that it would release the Crimson Crisis expansion
only weeks later, as well as three new releases for Spring 2009. This included new Tins, Constructed
Decks, and the Raging Battle expansion. In addition, Konami clarified its reasoning for taking over Yu-
Gi-Oh!’s distribution when it amended an earlier complaint to directly implicate Upper Deck in produc-
ing counterfeit Yu-Gi-Oh! cards.

On February 16, 2009, Upper Deck announced that it had cancelled all future Yu-Gi-Oh! Trading Card
Game Organized Play events, due to a lack of product. Ten days later, Konami was awarded a prelimi-
nary injunction against Upper Deck’s involvement in the Yu-Gi-Oh! brand. In granting the injunction,
the judge ruled that Konami had “shown both a likelihood of success on the merits as well as a likeli-
hood of irreparable injury.”

Since then, Konami has released a number of statements detailing its plans for Yu-Gi-Oh! Organized
Play, sneak peeks, new products, and more. On February 27, 2009, Konami announced that it would
be releasing Champion Pack 8, and a week later, it announced plans for the first Sneak Peek
program. On April 12, it announced that it was bringing back the highly-successful Shonen Jump
Championships, and only a day later it unveiled a Barcode Scanner, which allows them to easily enter
players into Organized Play events and compile their rankings. On April 14, the Amsterdam Court of
Appeals ruled in favor of Konami’s appeal proceeding against Upper Deck, removing the latter as the
authorized distributor of the Yu-Gi-Oh! Trading Card Game in Europe, Latin America, and Oceania. Two
days later Konami finally announced four new summer releases, in addition to the previously an-
nounced Raging Battle expansion.

Konami has been aggressively promoting its new Organized Play program to retail stores, and has re-
leased a list of sanctioned tournament stores.

15
4.3 Issues & Opportunities

Two characteristics typify the TCG business: network effects and digital integration.

Network Effects and Marketing

The trading card game market is highly concentrated, because there are only a few games that domi-
nate the entire market. The up-side of this concentration is that new card players will quickly find op-
ponents; the down-side is that it is currently difficult for new game companies to enter the market
unless they have a clear method of differentiation.

One of the more effective methods for new TCGs to break into the industry is to focus on the commu-
nity aspects of TCGs. By hosting or sponsoring tournaments and events on a local level, TCG compa-
nies are able to expand their existing market and sell more product to people already playing. In addi-
tion, it is possible to create a new market by building off pre-existing communities, instead of invent-
ing one from scratch.

Digital Integration of Trading Card Games

One rapidly emerging trend is the popularity and growth of online trading card games, either as a di-
rect translation of an offline trading card game (i.e. Chaotic) or as just an online trading card game
(i.e. Star Wars' Galaxies).
TCGs debuted around the same time as the internet came of age. Unsurprisingly, there have been
numerous attempts to integrate TCGs with the web, using both existing and original TCG games. Sev-
eral online TCGs are direct translations of their cardboard originals – Magic: the Gathering Online and
Yu-Gi-Oh! ONLINE games mimic their offline editions. Other games exist solely online, including
Chron-X (Genetic Anomalies, 1997).

A new trend is hybrid physical/online TCGs. A new generation of games such as Chaotic and Bella
Sara feature physical game cards which can be "uploaded" to an online version of the game by input-
ting a unique code printed on each card. These games attempt to circumvent a major weakness facing
new TCGs – creating a critical mass of players who can meet to play and sustain the game – by using
online play as a matchmaking system outside the physical limitations of geography.

The rise in the number of online trading card games is attributable to a number of reasons:

1) Increasingly Crowded Trading Card Game Market. As noted in Network Effects

and in the Market Analysis, there are several dominant trading card game industry
players, which creates a large barrier to entry for anyone trying to bring a new trading
card game to the market. New TCG entries have used online play and digital tie-ins to
distinguish themselves from their competitors.

2) Lower Production Costs. The printing, packaging and distribution costs of trading
card games can often be prohibitive for companies who are looking to enter the mar-
ket. There has been an increasing rise in the number of online-only trading card
games that simulate the feel of an offline trading card game. Many new entrants in the
market have used an online-only TCG strategy to test market and refine their TCG for
a hypothetical retail offline launch.

3) Cost Effective Marketing / Innovation. An online trading card game offers many
cost effective opportunities for marketing and innovation including the ability to offer
premium content via the online platform and track customer purchases.

4) Add-On to Virtual World / MMO. In the last two years, a number of virtual
worlds and MMOs have added both online and offline trading card games to their offer-
ings to moderate and great success. The TCG adds another interactive touch point for
their audience and increases the engagement time of their user base. On the business
front, the TCG allows their user base to spend additional money on the brand without
increasing their monthly subscription fee.

16
4.4 Key Companies (alphabetical order)

4Kids Entertainment, Inc.

1414 Avenue of the Americas
New York, NY 10019
(212) 758-7666
www.4kidsentertainmentinc.com

4Kids Entertainment, Inc. (NYSE:KDE) ("4Kids") is an integrated full-service brand management com-
pany focused on the children's entertainment sector. Best known for the English dubbing of Pokémon
and Yu-Gi-Oh!, the company currently operates a five hour Saturday morning block of programming
on the CW network, and produces shows including Teenage Mutant Ninja Turtles—Back to the Sewer,
Chaotic, Yu-Gi-Oh! 5Ds, Dinosaur King, and Sonic X.

TC Digital is a majority-owned subsidiary (55%) of 4Kids and is responsible for the production of the
Chaotic TCG. Its affiliated company, TC Websites LLC, produces and operates websites on which TCGs
can be played. TC Digital’s sole currently-announced product is the Chaotic TCG, a description of which
can be found in the TCG section of this document.

4Kids operates through a group of wholly owned subsidiaries. Approximately 24% of 4Kids' total reve-
nue in 2008 was from trading card games.

Bandai USA
5551 Katella Ave.
Cypress, CA 90630
(714) 816-9500
www.bandai.com

Bandai USA is the North American subsidiary of Namco Bandai Holdings, a Japanese toy and game
manufacturer and the world’s third largest toy company. Bandai manufactures physical toys and pro-
duces video games under the Namco brand. Bandai USA is the master license holder and manufac-
turer of Power Rangers, Ben 10, Tamagotchi, Girlz Connect, Dragonball Z, Digimon and Blue Dragon.
The company also has ongoing licenses with Cartoon Network, Disney, Toei Animation and WiZ Enter-
tainment.

Bandai's subsidiary unit, Cardass, has been responsible for incorporating several of Bandai's properties
into TCGs, most notably Naruto, Gundam War, and Gash Bell (Zatch Bell). In an attempt to expand its
North-American market share, Bandai announced in early 2009 that it would double its workforce to
120 in that region.

Fantasy Flight Games

1975 W County Rd B2
Roseville, MN 55113
(651) 639-1905
www.fantasyflightgames.com

Fantasy Flight Games is a game developer and producer in the board and card gaming spaces. Best
known for its board games such as the World of Warcraft board games, Tanheuser, Descent, and Tide
of Iron, Fantasy Flight also produces the Kingdom Hearts TCG and Universal Fighting System trading
card game ("UFS") in the collectible gaming space. In addition, they offer the non-collectible Living
Card Game ("LCG") format with two other games: A Game of Thrones and Call of Cthulhu. In the LCG
format, players purchase entire play sets of expansions as they are released, instead of purchasing
booster packs and collecting the cards instead.

Hidden City Games, Inc.

120 Lakeside Avenue, Suite 230
Seattle, WA 98122

17
(206) 315-5645
www.hiddencitygames.com

Hidden City Games is a Seattle-based company responsible for the development and production of the
Bella Sara CCG. Founder and CEO Peter D. Adkinson has a wealth of experience in the TCG space,
having previously founded Wizards of the Coast Inc., which he sold to Hasbro in 1999. Hidden City
Games is backed by venture capital firms Rustic Canyon and Trinity Ventures.

Konami Digital Entertainment, Inc.

2381 Rosecrans Ave, Suite 200
El Segundo, CA 90245
(310) 220-8100
http://www.konami-digital-entertainment.com/

Konami Digital Entertainment has only been a player in the TCG space since it took over the produc-
tion of Yu-Gi-Oh! from Upper Deck in early 2009. The company also produces the Blue Dragon TCG.
However, Konami Digital Entertainment is best known for its video game franchises, the most promi-
nent of which is the Metal Gear Solid-series.

Konami Digital Entertainment is a subsidiary of Konami Corporation, which is headquartered in Tokyo,

Japan, and a publisher of computer and video games. In October 2003, Konami Corporation expand-
ed its operations and renamed Konami of America into Konami Digital Entertainment Inc.

Nintendo, Inc.
4820 150th Ave. Northeast
Redmond, WA 98052
(425) 882-2040
www.nintendo.com

Nintendo is a worldwide gaming company that produces both video games and video game platforms.
The company has a long line of entertainment systems in both the console and handheld markets.
Currently, its two main platforms are the Wii, a home entertainment console, and the DS/DSi, a port-
able gaming platform. Nintendo has also generated a number of gaming franchises, most notably
Mario, Legend of Zelda and Pokémon.

In the trading card space, Nintendo’s Pokémon franchise has been wildly successful. Although it was
initially designed by Wizards of the Coast, Nintendo took control of the card game in June 2003, and
has handed off design and development of the TCG to Pokémon, USA, one of its subsidiaries.

Sony Online Entertainment LLC

8928 Terman Court
San Diego, CA. 92121
(858) 577-3100
www.station.sony.com

Sony Online Entertainment ("SOE") is a subsidiary of Sony Computer Entertainment Inc. SOE was
founded in 1995 as an online collaboration between Sony Pictures Entertainment and Sony Corpora-
tion of America. SOE has developed a number of online games, and focuses on the MMO market.
SOE’s electronic game portfolio includes EverQuest, EverQuest II, Star Wars Galaxies, PlanetSide, The
Matrix Online, EverQuest Online Adventures, Champions of Norrath, Untold Legends, Field Com-
mander, and most recently Free Realms. SOE also has an announced project in the pipeline titled The
Agency. Although SOE focuses primarily on traditional electronic games, it also develops the online-
only Legends of Norrath TCG Everquest.

Spin Master, Ltd

450 Front Street West
Toronto, ON
M5V 1B6 Canada

18
(800) 622-8339
www.spinmaster.com

A Toronto-based entertainment company that specializes in children’s brands. Founded in 1994, the
company originally incorporated under the name Sieger Marketing. As it grew and added brands, it
evolved into Spin Master Toys. It then decided to shed the Toy moniker from its name to avoid brand-
ing itself as just a “toy” company.

Spin Master has interest in several major brands. Its first big hit came in 1996 when it released Air
Hogs, a series of air-pressure powered toys. More recently, Spin Master launched the Bakugan Battle
Brawlers game, in conjunction with Sega Toys. Spin Master has recently acquired the license from
4Kids Entertainment to design, develop and manufacture toys for the Chaotic brand. The first wave of
Spin Master Chaotic products is expected to be released in late 2009 or early 2010.

Takara Tomy
3 Imperial Promenade, Ste 950
Santa Ana, CA 92707
(949) 955-1030
www.tomy.com

With more than 90% of total revenue derived from Asian markets, Takara Tomy holds a modest pres-
ence in Europe and North-America. The company was formed when rival toymakers Takara and Tomy
merged in March, 2006. Over 2008, the company generated $2.0 billion in sales.

Takara Tomy has a diverse product line: in addition to the popular international brands Transformers
and Micronauts, the company also offers baby-products, toddler-age toys, capsule toy vending ma-
chines and electronic toys, especially robots and RC-cars. The company has a presence in the TCG
with two titles: Kingdom Hearts (translated and marketed in the U.S. by Fantasy Flight Games) and
Uzumajin (Japan only).

Topps Co, Inc.

One Whitehall Street
New York, NY 10004
(212) 376-0300
www.topps.com

An international entertainment company that markets collectible trading cards, candy, stickers, and
collectible strategy games. Topps began in 1938 as a chewing gum company. In 1950 they began pro-
ducing trading cards, launching their first baseball card series shortly thereafter in 1951. Topps en-
tered the collectible games market in July, 2003, when they acquired WizKids LLC, a collectible strat-
egy games company. In November 2007 by Michael Eisner’s Tornante Group and Madison Dear-
born purchased Topps and took it private.

WizKids was shut down in November 2008, and the sale of the division is still being negotiated as of
this writing. While the company was still operating, they produced games for Topps such as the Hero-
Clix collectible miniatures game, the Pirates of the Spanish Main constructible strategy game, and the
Star Wars Pocket Model Game. Post-WizKids, Topps recently released the Club Penguin TCG, based on
the popular virtual world owned by Disney, and has also partnered with Sony Online Entertainment to
produce the Free Realms TCG. Both games feature codes that can be uploaded to their respective vir-
tual worlds to be exchanged for digital objects.

The Upper Deck Company, LLC

5909 Sea Otter Place
Carlsbad, CA 92010-6621
(760) 929-6500
www.upperdeck.com

19
A privately-held trading card and collectibles company that produces an array of memorabilia, trading
cards, and games. Upper Deck began in 1988 when it was granted a license by Major League Baseball
to produce baseball cards. As the company grew it was granted similar licenses from the NFL, NBA and
NHL. Upper Deck was the first trading card company to implant game-used material, such as pieces of
player jerseys, into its trading cards.

Upper Deck Entertainment ("UDE") is the division of Upper Deck that produces TCGs. UDE’s most suc-
cessful TCG is Yu-Gi-Oh!, which it produced until recently when parent company Konami took over the
game. UDE also produced the VS System, its proprietary TCG system that used licenses from both
Marvel and DC comics, until it shut down the game in early 2009. UDE currently produces the World of
Warcraft TCG, and has recently released the Huntik TCG and Dinosaur King TCG. In April 2009 the
Amsterdam Court of Appeal ruled in favor of Konami Digital Entertainment, which means that Upper
Deck is no longer the authorized distributor of Yu-Gi-Oh! for all of Europe, Oceania and Latin America.

The Upper Deck Company consists of Upper Deck Authenticated, Upper Deck Digital, Upper Deck En-
tertainment, and Upper Deck International.

Wizards of the Coast LLC

1600 Lind Ave. SW, Ste. 400
Renton, WA 98055
(425) 226-6500
www.wizards.com

Wizards of the Coast is a game company that was founded by Peter Adkinson in 1990. Wizards be-
came a part of Hasbro, Inc. in 1999 when it was purchased for $325 million. Wizards of the Coast is
known primarily for pioneering the concept of collectible card game. Wizards has been publishing
Magic: the Gathering since its release in 1993. It also published the highly successful Pokemon Trad-
ing Card Game from 1999 to 2003 until Pokemon USA took over the license. Wizards has also pub-
lished the Eye of Judgment, MapleStory, Netrunner, Neopets, MLB/NBA Showdown TCGs. Wizards con-
trols a comprehensive TCG patent, which it was granted in 1997.

In addition to card games, Wizards has produced a number of board, miniature and role-playing
games. Wizards produced RoboRally, Vegas Showdown, Axis & Allies, Risk 2210, as well as other
board games under the name Avalon Hall (another Hasbro division). Wizards also publishes the popu-
lar Dungeons & Dragons role-playing game, which it acquired in 1997 when it purchased TSR.

Others...
The above, of course, only concerns the major companies in the TCG space. Other names are: Don-
russ (est. sales $4.4 million, owned by Panini America), Rittenhouse Archives (sci-fi TCGs), SAGE,
Team Best, and In The Game. Many of these companies, however, specialize on collectible sports
games (and thus rely on having a license to use baseball, football and hockey properties).

5.0 Conclusion & Outlook

Despite being a relatively young category, trading card games have quickly become an integral piece
in the game business. Their low price point, collectability, competitive aspect, ease of transport and
rich game play provides a unique user experience. Combined these characteristics have allowed trad-
ing card games to carve a strong niche in the game business and quickly gain a loyal following. Even
though a few large players seem to dominate the industry at present, we believe there exists substan-
tial room for growth and innovation. As older brands run their course, the industry readies itself for
both a new generation of trading card games and its inevitable synergy with the online world. We hope
that this report provides some insight on this relatively unheralded and hidden industry and encourage
the reader to view these little cardboard cards in a wholly different light.

6.0 Contributor Biographies and Disclosure

Brian David-Marshall is a Principal and Co-Founder of To Be Continued LLC, a New York-based game
design consulting company. At To Be Continued, Brian consulted on and was a member of the game

20
design team for Chaotic, 4Kids’ successful online and offline trading card game brand. Brian also con-
sults with clients on various areas of the games industry including virtual worlds and children's
games.Brian has been involved in the collectible card game market since its inception more than ten
years ago. Brian is the founder of Gray Matter Conventions and Neutral Ground, the largest gaming
location in New York City. Brian is currently a featured columnist for www.magicthegathering.com, a
commentator on the Magic: the Gathering Pro Tour webcasts, and is the Magic Pro Tour Historian for
Wizards of the Coast. Brian David-Marshall was one of the founding partners of Malibu Entertainment,
one of the largest independent comic book publishers in the 1990’s. They created a number of proper-
ties that were licensed into a number of consumer and entertainment products including The Ex-
Mutants which was developed into a Sega video game. Numerous properties that passed through
Malibu’s doors have made their way to the big screen, most notably the Men In Black franchise, fea-
turing Will Smith. Brian has worked in all areas of the comic book medium for more than 20 years
from retail, to editorial, to creating an original title for Marvel Comics.

Joost van Dreunen is a PhD researcher at Columbia University and studies video games as an en-
tryway into media culture. His dissertation, titled Games as Communication: the Practice of Discursive
game play, explores contemporary game play at the intersection of online communities, user-created
game modifications, and media space. Joost is an affiliate researcher at the Columbia Institute for
Tele-Information, a member of the Center for Organizational Innovation, and the founder of the New
York chapter for the Digital Games Research Association. Outside academia Joost is a managing direc-
tor at SuperData, a boutique game research consultancy that serves clients such as DFC Intelligence
(San Diego) and Nielsen Online (New York). He lives in the East Village with his wife Janelle, and
maintains a blog at www.waffler.org

Matthew Wang is a Principal and Co-Founder of To Be Continued LLC, a New York-based game design
consulting company. At To Be Continued, Matthew consulted on and was a member of the game de-
sign team for Chaotic, 4Kids’ successful online and offline trading card game brand. Matthew also con-
sults with clients on various areas of the games industry including virtual worlds and children's games.
Before founding the company in 2005, Matthew was a senior associate in the advisory group at Ever-
core Partners, a New York-based boutique investment bank. Previously, Matthew was in the invest-
ment banking division of UBS. He has worked on numerous mergers and acquisition and capital raising
transactions ranging in size from $100 million to $5 billion in a variety of industries. Matthew has also
worked on projects for Sesame Workshop, Warner Brothers and Wizards of the Coast. Matthew has an
MBA from Columbia Business School and a BA in Economics - Political Science from Columbia College.

Additional Contributors are Jonathan Keefer, Donald Lim, Drew Nolosco, Steven Sadin and Wilson
Price. Thank you for your hard work!

21