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Workforce & Careers

Workforce & Careers

Jobs, salaries, layoffs and diversity in the people who make games.

219 documents

Cover of Rapport Annuel 2020 de l’ALD

ESAC – Entertainment Software Association of Canada · 2020

Rapport Annuel 2020 de l’ALD

Canada’s video‑game sector continued to function as a high‑growth engine in 2020, supporting roughly 48 000 full‑time‑equivalent positions, of which 27 700 are direct industry jobs, and generating about C$4.5 billion in GDP. The number of development studios expanded by 16 percent to approximately 700, and sales increased despite the disruptions of the COVID‑19 pandemic. A remote‑work guide and a targeted outreach campaign helped maintain employment levels, while an economic‑impact study of 185 respondents confirmed a favourable policy and investment climate for the industry. Leadership within the sector is exemplified by senior figures such as Tania, a veteran with more than 15 years of experience and a champion of diversity through the EA Women’s Employee Resource Group, and Éric Martel, director of AI and machine‑learning at Eidos‑Montréal, who oversees research for flagship franchises. Their profiles underscore the growing technical sophistication and inclusive culture emerging across Canadian studios. Strategic initiatives in 2020 focused on talent development and cultural recognition. Partnerships with the Conseil des technologies de l’information et des communications launched the Integrated Work‑Based Learning program to place students in industry roles, while the inaugural Canadian Game Awards moved to a digital format. Support for the Canadian Screen Awards introduced three new video‑game categories, signalling the medium’s expanding cultural relevance despite modest submission volumes. Financially, the association reported a solid position, reinforcing its capacity to sustain growth‑oriented programs and diversity‑focused pipelines throughout the Canadian gaming ecosystem.

Cover of Good Conduct Guidelines for the Danish Games Industry

Danish Games Industry · 2019

Good Conduct Guidelines for the Danish Games Industry

The Good Conduct Guidelines for the Danish Games Industry, published in November 2019, establish a standardized framework for fostering a safe, inclusive, and professional work environment across the Danish game development sector. The primary objective is to protect the personal integrity of industry professionals by promoting a culture of mutual respect, diversity, and accountability. These guidelines serve as a foundational reference for businesses to integrate into employee handbooks or internal policy discussions, ensuring that workplace practices align with both ethical standards and Danish labor legislation. The guidelines mandate that all industry participants uphold principles of dignity and fairness, with a specific emphasis on eliminating systemic crunch, excessive overtime, and all forms of harassment or discrimination. The policy adopts a zero-tolerance stance toward abusive behavior, noting that harassment is defined by its impact rather than the intent of the perpetrator. Furthermore, the framework places a heightened responsibility on management to act as ethical role models, proactively prevent unsafe conditions, and ensure that employees can report grievances without fear of retaliation. To support enforcement, the guidelines outline clear procedures for addressing workplace misconduct. Employees are encouraged to engage with internal representatives, such as HR or management, while also being reminded of their rights to seek external support through labor unions, occupational health providers, or the Danish Working Environment Authority. By formalizing these expectations, the industry aims to standardize professional conduct and ensure that all developers and staff operate within a healthy, sustainable, and welcoming environment.

Cover of State of the Game Industry 2019

Game Developers Conference · 2019

State of the Game Industry 2019

The global game development landscape in 2019 reflects a period of significant structural and cultural transition. While PC remains the primary platform for development, the Nintendo Switch has emerged as a major point of interest, signaling a shift in hardware priorities. Despite these technical advancements, the industry faces persistent labor challenges, including widespread overtime and a workforce demographic that remains heavily skewed toward male professionals with less than ten years of experience. Growing support for unionization among developers highlights a collective desire to address these systemic working conditions and professional sustainability. Economic strategies are also evolving as developers move away from traditional monetization models. Interest in loot boxes and crowdfunding has cooled, with a majority of creators favoring self-funding and self-publishing. This financial independence is coupled with growing friction regarding digital storefronts, specifically the 30 percent revenue share model on Steam, which many developers now view as unjustifiable. Meanwhile, the industry remains divided on the future of immersive technology, though a notable minority anticipates that augmented reality will achieve dominance within a five-year window. Marketing and accessibility represent critical areas for improvement in the current development cycle. Developers increasingly rely on social media and word-of-mouth for game discovery, while live events are frequently cited as ineffective promotional channels. Furthermore, while the adoption of accessibility features remains low, with only about a quarter of projects incorporating such elements, there is a clear trend toward prioritizing inclusive design. Features such as customizable controls and colorblind support are becoming central to the development conversation, marking a gradual shift toward more equitable and accessible gaming experiences.

Cover of Swedish Game Developer Index 2019

Swedish Games Industry · 2019

Swedish Game Developer Index 2019

Published by the Swedish Games Industry Illustration, cover: Pontus Ullbors Text & analysis: Johanna Nylander The Swedish Games Industry is a collaboration between trade organizations ANGI and Spelplan-ASGD. ANGI represents publishers and distributors and Spelplan-ASGD represents Dataspelsbranschen Swedish Games Industry Magnus Ladulåsgatan 3, SE-116 35 Stockholm Contact: [email protected] KEY FIGURES 2018 2017 2016 2015 ...

Cover of Game Industry Policy Recommendations for 2019‑2024: Finland

Neogames Finland · 2019

Game Industry Policy Recommendations for 2019‑2024: Finland

Three ways to bring Finland to the forefront of the digital shift............. 3 More than half of Finns and nearly a third of the global population 4 play games actively............................................................................... The Finnish game industry 5 is the success story of the 21st century.....

Cover of Finnish Game Industry Report 2018

Neogames Finland ry · 2019

Finnish Game Industry Report 2018

Fingersoft • Ηill Climb Racing 2 Futureplay • Battlelands Royale Next Games • Τhe Walking Dead: Our World Rovio Εntertainment • Angry Birds 2 Small Giant Games • Εmpires & Puzzles Supercell • Brawl Stars, Clash Royale, Clash of Clans and Ηay Day Remedy Εntertainment • Control Rival Games • Τhief of Τhieves: Season One Superplus Games • Ηills of Steel Nitro Games • Ηeroes of Warland Κukouri Mobile Εntertainment • Pixel Worlds Publisher Neogames Finland ry (2019) 2.

Cover of Slovak Game Industry 2019

Slovak Game Developers Association · 2019

Slovak Game Industry 2019

It’s said to be a small world, and the digital games world is smaller still. Yet nevertheless, without the right partner and guidance it’s easy to get disorientated. When we started the annual monitoring of Slovakia’s game development industry, we had a clearly defined vision and goal. And the results of the first Game Developer Census comprehensive report confirmed that we were on the right track.

Cover of Jahresbericht der deutschen Games-Branche 2019

game – Verband der deutschen Games-Branche e. V. · 2019

Jahresbericht der deutschen Games-Branche 2019

01 Gamer in Deutschland 6 02 Markt für Computer- und 12 03 Games-Branche in Deutschland 22 .1 Beschäftigtenzahlen und Unternehmen .4 Die 10 Forderungen der Games-Branche 04 eSports 36 05 gamescom 40 06 Deutscher Computerspielpreis 42 07 Unterhaltungssoftware 44 08 Stiftung Digitale Spielekultur 46 09 Über den game – Verband 48 Herausgeber ...

Cover of Arbeiten in der Games-Branche: Kreativität trifft Technologie

game.de · 2019

Arbeiten in der Games-Branche: Kreativität trifft Technologie

14 und kreative Köpfe, 14 folgende Frage höre und lese ich immer wieder: „Wie werde ich Spiele-Entwickler/in und was muss ich dafür mitbringen?“ Das ist auf die Schnelle gar nicht so leicht zu beantworten. Das Arbeiten in der Games-Branche ist unglaublich vielfältig und genauso zahl- reich sind auch die Wege, die dahinführen.

Cover of Corporate Responsibility Report 2019

Modern Times Group · 2019

Corporate Responsibility Report 2019

The 2019 corporate‑responsibility effort positions Modern Times Group (MTG) as a dedicated gaming and esports holding that integrates environmental, social and governance (ESG) considerations into its core strategy. By framing responsible practice as a source of competitive advantage for millennial and Gen Z audiences, the company seeks to mitigate material risks—discrimination, event security, exploitation of minors, corruption, occupational and mental‑health concerns, irresponsible marketing and gaming addiction—while driving profitability. A comprehensive materiality analysis informed a three‑tier priority pyramid that places health‑and‑well‑being and gender equality at its apex. Nine new group policies, including a Code of Conduct, whistle‑blower, anti‑bribery and data‑protection frameworks, achieved a 94 % employee

Cover of Serbian Gaming Industry Report 2018

SGA · 2019

Serbian Gaming Industry Report 2018

The inaugural Serbian Games Association report maps a rapidly expanding national gaming ecosystem that now comprises more than 60 members across indie development, esports, visual‑effects houses and internationally linked studios, employing over 1,500 skilled professionals. Funding is diversified, with roughly 40 % of capital sourced from angel investors, 30 % from crowdfunding and 20 % from venture capital, and the largest single infusion recorded at €650 k. Flagship entities such as 3Lateral (recently integrated into Epic Games), Nordeus with its 200 million‑user “Top Eleven” platform, and Ubisoft Belgrade’s 107‑person team working on major AAA titles illustrate the sector’s growing global relevance. A vibrant indie segment is driven by small, highly creative teams—often one to three developers—producing titles ranging from cyber‑punk point‑and‑click adventures to hyper‑casual mobile games. Studios like Munzesky Games, Oraharo Entertainment, PWN.RS, Stargazer, Superverse Industries, Tummy Games and Zero Gravity showcase cross‑border collaborations and distinctive artistic approaches, while highlighting the need for stronger B2B networking, regular industry events and formalized game‑art education to sustain momentum. Technical education underpins this growth, with approximately 30 000 university students enrolled in IT‑related programs and programming introduced at the primary‑school level. Government incentives, EU grants and private investment have bolstered studio formation, yet most companies still rely on organic installs and limited ad‑network usage for user acquisition. Community initiatives—including frequent association meet‑ups, two industry‑backed GameJams, the annual GameUp expo attracting over 2 500 participants, and the Nordeus Hub co‑working space offering a six‑month mentorship—are actively closing knowledge gaps and fostering collaboration. Media outlets such as Svet kompjutera, JVC Gamer and the online PLAY! Zine maintain visibility for Serbian developers both domestically and abroad. Surveyed stakeholders anticipate a rise in paid user‑acquisition capabilities and an increase in successful Serbian titles, positioning the country to become a more prominent player in the regional and global gaming market.

Cover of Serbian Gaming Industry Report 2019

SGA · 2019

Serbian Gaming Industry Report 2019

The Serbian games sector is emerging as a rapidly expanding, diversified ecosystem that now supports more than 80 companies and roughly 2,000 employees, reflecting a 3.4 % year‑on‑year increase in staff. Studios range from micro‑teams of five to large developers of up to 180 personnel, many of which are actively recruiting, indicating robust talent demand. Revenue generation has risen to approximately €100 million, with 2019 mobile‑first, free‑to‑play titles produced on modest budgets of €0‑100 k and average team sizes of six to ten, while flagship projects such as Nordeus’s Top Eleven and Playrix RS’s titles have amassed over 100 million monthly active users, underscoring Serbia’s capacity for both high‑volume mobile and higher‑budget productions. The market is highly fragmented, comprising dozens of small‑to‑mid‑size studios that specialize in mobile, hyper‑casual, AR/VR, backend services, and outsourcing. Notable commercial successes include Sozap’s Armed Heist with more than 14 million installs and PixQuake’s server‑side analytics suite. Institutional support has intensified through the Serbian Gaming Association, the Nordeus Hub, and university initiatives, including a multi‑university “Master 4.0” curriculum that integrates IT, business, and creative disciplines and has spawned dozens of new gaming degree programmes. Mentorship and structured education that blend soft‑skill and technical training are identified as critical for talent development, with studios such as Digital Arrow, Two Desperados, and Ubisoft Belgrade highlighting the need for custom tech‑art pipelines, AI integration, and data‑driven design. The coordinated push toward professionalisation, exemplified by accelerator programs and community events, positions Serbia to sustain its growth trajectory and increase its contribution to both regional and global game markets.

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