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The guideline provides hands-on support regarding the whole process of set-up and maintenance of a mentor system (search for mentors, get in contact, motivate them to get engaged, integrate them in the programme, monitor their work and give feedback, promote their engagement, keep them on board, support further Metropolia University of Applied Sciences Swedish Games Industry (Association of Swedish Game Developers) – Dataspelsbranschen Ventspils High Technology Park für internationale Zusammenar...

The manual summarises all the findings, lessons learnt and conclusions from the work on internationalisation, ideas for cooperation and recommendations to the different actors in game business. für internationale Zusammenarbeit mbH Hamburg Institute of International Economics für internationale Zusammenarbeit mbH Title page: © iStock.com-bedya, EXECUTIVE SUMMARY .4 1.

A Report from Olsberg SPI with A Report from Olsberg•SPI with Economic Analysis of the Audiovisual Sector in the Republic of Ireland Glossary 1 1. Executive Summary 4 1.1. Economic Contribution 5 1.2. Key Strategic Issues and Recommendations 6 2. Introduction 10 2.1.

This update provides an analysis of the Dutch video game industry’s performance during 2020, specifically examining the operational and economic impacts of the COVID-19 pandemic. The findings are based on a survey of over 100 industry professionals conducted in late 2020, supplemented by desk research and database updates. The report tracks industry growth, employment trends, and the shift in business dynamics necessitated by global lockdowns.

The Dutch games sector demonstrated resilience, growing from 575 companies in 2018 to 615 by the end of 2020, with total employment reaching approximately 4,000 jobs. While the industry largely transitioned to remote work with minimal impact on output quality, the pandemic created a divide between business-to-consumer (B2C) and business-to-business (B2B) entities. B2C entertainment companies generally benefited from increased consumer demand for home-based entertainment. Conversely, B2B and applied game developers faced significant challenges in the spring of 2020 as client projects were paused or canceled, though some firms in the healthcare sector identified new opportunities.

Operational challenges were primarily centered on human resources and networking. While productivity remained stable for most, employee engagement declined due to the loss of informal office culture, and nearly half of respondents reported increased stress levels. The absence of physical industry events hindered the establishment of new business relationships, with one-third of respondents unable to pursue new business opportunities effectively. Despite these hurdles, the industry maintained its growth trajectory, supported by government labor cost subsidies that assisted approximately 85 companies during the initial lockdown phases. Overall, the sector proved adaptable, leveraging digital infrastructure to sustain operations while navigating a volatile market environment.

The study maps the structure and dynamics of the Czech video‑game industry as of 2020, highlighting its rapid export‑driven expansion and the strategic challenges it faces in talent development and public support. The sector comprises roughly 110 domestic development studios, of which only a small fraction are foreign branches, employing about 1,750 specialists. Turnover rose from CZK 2.26 billion in 2017 to over CZK 5 billion in 2020, equivalent to more than €190 million, reflecting an average annual growth rate of 29 % over the previous five years and an export share near 95 % to markets such as the United States, Germany and the United Kingdom. Revenue in 2019 already surpassed €169 million, outpacing the national film industry by a factor of three, and the market is projected to exceed €190 million in 2020.

The analysis of the publishing and distribution landscape shows a shift away from traditional full‑development financing toward a model where publishers act mainly as marketing and launch partners, while online platforms now dominate the transaction chain, reducing costs and marginalising physical distributors, of which only ten remain active in the country. Consumer data reveal an average gamer age of 33, a gender split of one‑third women, and annual spending of roughly CZK 4 billion, with a strong preference for story‑driven titles.

Human‑capital constraints emerge as a critical bottleneck: the industry confronts intense competition for skilled staff, a fragmented education pipeline, and limited visibility of creative industries within public policy. Unlike neighboring Poland and Germany, which allocate substantial public funds to game‑industry support, the Czech Republic offers virtually no dedicated subsidies for research, development or innovation, despite the sector’s outsized contribution to national exports. The findings suggest that sustained growth will depend on coordinated investment in education, clearer industry‑government linkages, and targeted public financing to bolster the sector’s competitive edge.

The European video games industry experienced steady growth in 2019, reaching a total market turnover of €21.6 billion. This represents a 3% year-on-year increase and a 55% rise since 2014 across key markets. Revenue is increasingly driven by digital ecosystems, with online and app-based income accounting for 76% of the market, while physical sales represent 24%. Within the online segment, 66% of revenue is generated through in-game extras and downloadable content. Console gaming remains the leading hardware category by revenue at 43%, closely followed by mobile and tablets at 40%.

Demographic data indicates that 51% of the European population aged 6 to 64 plays video games, with an average player age of 31. While engagement is highest among younger cohorts, 31% of those aged 45 to 64 are active players. Gender representation is nearly balanced, as women make up 45% of the player base and over half of all mobile gamers. On average, European players spend 8.6 hours per week gaming, significantly less than the time spent on social media or television.

The industry maintains a strong focus on responsible gameplay through the PEGI age rating system, which is active in over 35 countries. Approximately 67% of parents are aware of these labels, and 85% have established agreements with their children regarding in-game spending. Beyond consumer protection, the sector is expanding its educational footprint. Initiatives like the Games in Schools project, conducted with European Schoolnet, have trained over 4,000 teachers across 73 countries to integrate commercial games into pedagogical frameworks.

Data for these findings was primarily extrapolated from the 2019 GameTrack and Newzoo reports, utilizing surveys and sales tracking across major European territories including France, Germany, Italy, Spain, and the United Kingdom. The scope covers the 2019 calendar year while acknowledging the emerging impact of the COVID-19 pandemic on 2020 industry trends.

DESARROLLO ESPAÑOL_DE PROMOVIDO POR: CON EL APOYO DE: CON LA COLABORACIÓN DE: FONDO EUROPEO DE DESARROLLO REGIONAL eGoGames mCR codice software GGCoM UNA MANERA DE HACER EUROPA INTRODUCCIÓN .......................................................................................................................................

PC, CONSOLE AND MOBILE GAME DEVELOPERS IN CZECH REPUBLIC 2019 DEVELOPERS IN CZECH REPUBLIC 2019 This Study was prepared by the Institute for Digital Economy (www.digitalniekonomika.cz) in cooperation with the Czech Game Developers Association (www.gda.cz) with the support of Creative Europe – MEDIA (www.kreativnievropa.cz).

Die wirtschaftliche Bedeutung der österreichischen Spieleentwicklungsbranche Unternehmensberatung Buchhaltung·IT Die wirtschaftliche Bedeutung der österreichischen Spieleentwicklungsbranche Erstellt in Kooperation mit: Gefördert von: Die wirtschaftliche Bedeutung der österreichischen Spieleentwicklungsbranche Die Studie wurde im Auftrag des Fachverbandes Unternehmensbe- ratung, Buchhaltung und Informationstechnologie (UBIT) verfasst.

The 2019 Romanian Game Development Industry Report establishes that Romania’s gaming sector is rapidly maturing, delivering a notable economic contribution and expanding its global footprint. In 2018 the industry generated $188.5 million, marking a 19.2 % increase over the previous year, and employed more than 6,000 professionals across roughly 103 active entities, the majority of which are concentrated in Bucharest, Cluj‑Napoca and Timișoara. Seventy‑seven percent of these firms focus exclusively on game development, while a substantial share provides ancillary services such as quality assurance, publishing and testing for international publishers.

The ecosystem is highly diversified, ranging from small indie teams producing niche titles to multinational subsidiaries that co‑develop major franchises. Mobile and hyper‑casual games dominate commercial success, exemplified by Deep Byte’s titles surpassing ten million downloads and KillHouse’s “Door Kickers” achieving half‑a‑million sales. Romanian studios also contribute to console and PC projects, with Ubisoft Romania and EA’s testing division supporting flagship series. Emerging specializations in virtual reality and narrative‑driven experiences further broaden the sector’s capabilities.

Education remains in an early stage; only a few university programs address game design, limiting the pipeline of formally trained talent. Nonetheless, the industry benefits from a strong pool of creative and cross‑disciplinary professionals, fostering a growing record of internationally recognised releases. The analysis draws on data from SuperData, Newzoo, Goldstein Research and Dealroom, underscoring Romania’s position as an increasingly influential player in the global game development landscape.

LIBRO CENTRO UNIVERSITARIO Fando Eurapeo de DE TECNOLOGIA Y ARTE DIGITAL Ung manere de hacer Eurapa Asociación Española de Empresas Productoras y Desarrolladoras de Videojuegos y Software de Entretenimiento 1 . INTRODUCCIÓN 05 2. CADENA DE VALOR DE LA INDUSTRIA DEL VIDEOJUEGO 07 2.1. Cadena de valor tradicional de la industria de videojuegos 08 2.2.

We are honored to present The Games Monitor 2018 edition with the latest facts, figures, trends and developments in the Dutch games industry. The Games Monitor was first published in 2012 and was followed by new research in 2015. Both reports generated a lot of interest into the Dutch games industry’s facts and figures, which is why we are pleased to be able to provide you with an update for 2018.

The Games Monitor 2018 provides a comprehensive analysis of the Dutch video games industry, tracking its evolution and maturation between 2015 and 2018. The industry is defined by companies whose core activities involve the development, production, publication, or distribution of electronic games, categorized into entertainment and applied (serious) games. The research methodology combined desk research with a survey of 165 companies, supplemented by industry roundtable discussions to validate findings.

The Dutch games sector experienced accelerated growth during the 2015–2018 period, characterized by an average annual job increase of 10 percent. By the end of 2018, the industry comprised 575 companies and 3,850 jobs, generating an estimated annual turnover of €225–300 million. While the average company size remains small at approximately seven employees, there is a clear trend toward scaling up, evidenced by a significant increase in mid-sized firms employing between 11 and 100 people. Geographically, the industry is concentrated in major urban centers, with Amsterdam, Utrecht, and Eindhoven accounting for over 60 percent of net job growth.

Market dynamics show a strong expansion in entertainment game development, which grew by 33 percent, while the applied games sector—primarily serving healthcare, education, and government—has stabilized. Business models in the entertainment sector rely heavily on premium monetization and in-app advertising, whereas applied studios frequently utilize work-for-hire models. The educational landscape remains robust, with 44 game-related study programs producing over 900 graduates annually. Overall, the industry is transitioning toward a more mature, competitive state, marked by increased productivity, strategic acquisitions, and international expansion.

This report was made possible thanks to funding provided by the Ministry of Culture and National Heritage, the Ministry of Development, Creative Europe Desk Poland and the Agency The research part of the project was coordinated by the Kraków Technology Park. The partners of the report include the Polish Games Association, Indie Games Poland Foundation, Grupa Onet S.A. and Gry-Online S.A.

HOW TO Game developer studios in Europe 4 What EGDF does 5 ENABLE Number of people working in game development 7 Turnover of the national game development ecosystems 9 DIGITAL The shorter the value chain, the more growth in Europe 10 Games are the driving force of the digital revolution 11 Content drives innovation 12 GROWTH Creative E...

Źródło fotografii: Materiały royality free z portalu Depositphotos.com oraz materiały prasowe z konferencji Digital Dragons Jeszcze kilkanaście lat temu gry wideo wydawały się obszarem zarezerwowanym jedynie dla największych entuzjastów technologii oraz młodszej części społeczeństwa. Dziś obraz gracza przedstawia się zgoła inaczej – w różnej formie ten rodzaj rozrywki wybiera coraz więcej osób, bez względu na wiek, za- wód czy wykształcenie.

In 2012 the first edition of the Dutch Games Monitor was presented. Whilst maybe not the first research focusing on the Dutch games industry, it was the first where an extensive survey and a series of interviews provided a broad insight into the state of the industry. In the past few years interest in games and data about the games industry has increased. Many people were interested in an updated version of the Games Monitor .

The Dutch games industry experienced significant expansion between 2011 and 2015, characterized by a 42% increase in the number of companies, which grew from 320 to 455. This growth was primarily driven by a surge in new, small-scale game development studios. Despite this rise in firm count, the industry remains dominated by micro-enterprises with an average of seven employees. While the total workforce expanded from 2,730 to 3,030 professionals, the rate of job creation was slower than the rate of company formation, reflecting the challenges start-ups face in scaling operations and achieving long-term sustainability.

The industry is bifurcated into entertainment and applied games, with the latter maintaining a particularly strong foothold in the Netherlands compared to other European nations. Applied game studios, which focus on training, education, and health, faced significant market volatility between 2013 and 2014, though demand for these services rebounded sharply by 2015. To mitigate risks associated with the hit-driven nature of the entertainment market and the project-based cycles of applied games, many studios are shifting toward product-based models and forming strategic alliances for marketing and funding.

Data for this analysis was gathered through a questionnaire sent to over 400 companies, with 130 responses, supplemented by industry roundtable discussions and existing databases. Financial performance remains modest, with most companies reporting annual profits under €100,000. While the number of game-related educational programs has increased by 25%, a persistent skills gap remains, as studios struggle to find employees with the necessary entrepreneurial and business acumen. Ultimately, while the Dutch ecosystem shows robust growth, the industry continues to grapple with the difficulty of transitioning from small start-ups to larger, commercially stable entities.

The European Online Game Survey 2012 provides a comprehensive analysis of the European game development landscape, focusing on industry trends, technical infrastructure, and gamer behavior. Conducted by the European Games Developer Federation and i2 Media Research, the study utilizes quantitative data from 93 industry members and qualitative insights from 1,154 gamers across Germany, Spain, France, Finland, Denmark, and Norway. The primary objective is to evaluate the operational realities of European studios and identify opportunities for enhancing community-driven gaming experiences.

Key findings indicate that the industry is heavily invested in Massive Multiplayer Online Games (MMOGs), with 58% of surveyed studios having worked on an MMOG in their three most recent projects. Developers prioritize community interaction and user-generated content, viewing these as essential components of modern game design. To support these goals, the research highlights the development of peer-to-peer architectures and in-game graphical insertion technology, which allow for enhanced social features without requiring costly modifications to existing game code or central server infrastructure.

The survey also details the technical profiles of European studios, noting that the sector is dominated by small-to-medium enterprises, with nearly half of all studios employing fewer than 10 people. Production environments are characterized by a strong preference for high-performance hardware, with a clear trend toward prioritizing processing speed over cost. Furthermore, the research segments the gaming audience into distinct categories—ranging from casual players to community-minded fanatics—to help developers optimize product development and monetization strategies. Ultimately, the findings underscore a shift toward integrated, high-performance social gaming experiences that minimize technical friction for the end user.

Sinds entertainment games ook de smartphones en tablets hebben ver - overd dankzij hits als Wordfeud en Angry Birds, staat de gamesindustrie volop in de schijnwerpers. Met deze casual games is het spelen van com - puterspelletjes doorgedrongen tot het grote publiek en tot elk moment van de dag. Een laagdrempelig, onderhoudend tijdverdrijf, waarmee mensen zich op een speelse manier kunnen meten met tegenstrevers.