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The Publishing Contract 195 accounting period within which to pay you. Tack on a filmed entertainment producer and that adds at least one more accounting period. Ultimately, however, the profit split for the two kinds of mer- chandise (that based on the game and that based on entertainment) will be roughly the same be- tween you and the publisher. If you will be granting the publisher the right to sublicense entertainment rights to the property, the core issues to cover include: · For which media? · What are acceptable sublicensing arrangements? See discussion in this section as well as Chapter 7, "Licensing." · What happens if the publisher does not produce any entertainment? · Is there any difference in the revenue split if you find and initiate the deal? Engine/Underlying Technology If you will be making a game with your own pre-existing underlying technology, or developing un- derlying technology for the game, or using the publisher's technology, issues arise concerning: · Ownership (if you will be creating it for the game). Publishers have been known to assert own- ership rights in technology created on their development dime. Developers have also been known to pitch a game with the claim that they can use their pre-existing Technology X , which doesn't quite exist and won't until they get the development advance to fund its creation. · Use in other games based on the property. If you will not be developing a sequel, for example, the publisher may want a royalty-free license to use the technology. While the "royalty-free" part is a concern, the bigger concern is the support that will be required for a new team to try to understand your technology.