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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.

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.

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.

SYNDICAT NATIONAL DU JEUVIDEO DIGIWORLD X Une vidéo Pictanovo! a production, types d'aide : dedieau jeu ide paprojet, dgdi poes ades ! a egion Hauts-de 20.00€ rprojet. A4 frane lanait te f onds regional COUV Comit de lecture 16/02/18 2E DE May fone.con 1 503/18 Comnite de lecture21/09/18 B A R O M È T R E A N N U E L D U J E U V I D É O E N F R A N C E 08<sup>LE </...

Framsida (collage) & fristående illustrationer: Anna Nilsson Text & analys: Johanna Nylander Dataspelsbranschen är en samarbetsorganisation för ANGI och Spelplan-ASGD. ANGI representerar förlag samt distributörer och Spelplan-ASGD representerar utvecklare Dataspelsbranschen | Swedish Games Industry Klara norra kyrkogata 31, Box 22307 SE-104 22 Stockholm Kontakt: [email protected] NYCKELTAL Förändring 2012-2017 Oms.

• Ahlmannin koulun säätiö /Oriveden • Opisto • • Joutsenon Opisto • • Kauhajoen evankelinen opisto • • Laajasalon opisto • • Prakticum • • AEL Ammattienedistämislaitossäätiö • • Amiedu • • HEO Media • • Kouvolan seudun ammattiopisto • • Lybeckerin opisto ...

The 2018 Annual Barometer of the Video Game Industry in France provides a comprehensive analysis of the French gaming sector’s economic health, employment trends, and production landscape. Produced through a collaboration between the Syndicat National du Jeu Vidéo (SNJV) and IDATE DigiWorld, the study aims to capture the industry's current activity levels and future outlook. The methodology involved an online survey conducted between June and August 2018, targeting both SNJV members and non-member companies, including development studios, publishers, and service providers.

Key findings reveal a dynamic and predominantly independent industry, with 93% of studios identifying as independent. The sector is characterized by a strong entrepreneurial spirit, as 56% of development studios are less than five years old. Production remains robust, with 1,200 games in development during 2018, two-thirds of which represent new intellectual properties. Studios show a clear preference for PC development, followed by mobile and console platforms. Financially, the industry relies heavily on self-financing, though there is a growing reliance on public support mechanisms, with 62% of studios utilizing regional, national, or European aid.

Employment in the sector is marked by high qualification levels and steady growth. In 2018, the industry supported an average of 9.5 full-time equivalent employees per studio, with 86% of these roles held under permanent contracts. Projections indicate the creation of 650 to 850 new jobs annually, reflecting a positive outlook. Industry leaders express significant confidence in both their individual companies and the broader French gaming ecosystem, with 76% of respondents viewing France as an attractive territory for video game production. The report concludes that the industry is increasingly export-oriented, with 40% of studio revenue generated internationally.

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.

Spain’s video‑game industry is presented as a dynamic component of the national ICT services sector, whose economic relevance extends far beyond direct production. Using 2016 input‑output tables updated with INE data, the analysis quantifies the sector’s contribution to GDP, employment and value‑added, and evaluates how fiscal incentives and inter‑industry linkages shape its growth trajectory.

In 2016 the industry generated €1.177 billion in direct output, representing roughly 0.11 % of national GDP, and created 8 790 high‑skill jobs. When indirect and induced effects are incorporated, total activity rises to €3.577 billion, value‑added reaches €1.452 billion and employment expands to 22 828 positions, implying that each euro invested yields three euros of economic activity and that a game‑industry job supports 2.6 additional jobs elsewhere. The sector supplies 14.3 % of publishing output, 9.6 % of audiovisual production and 3.8 % of related services, yet its forward absorption and diffusion coefficients are low, indicating limited downstream impact compared with professional services.

Productivity analysis shows a 6.4 % annual decline in value‑added per employee within the broader editing segment, while revenue per worker remains modest at €144 k. Between 2014 and 2024, software publishing and cable‑free telecommunications emerge as the fastest‑growing Spanish activities, with annual expansions of 4.7 % and 4.2 % respectively, underscoring the sector’s alignment with broader digital trends.

Four fiscal‑policy scenarios are compared, and the tax‑credit option (E2) delivers the strongest stimulus, adding €627 million of production, €254 million of value‑added and 4 000 full‑time jobs, albeit at the cost of a modest deterioration in public‑finance balance. Methodologically, the study follows Frascati and Oslo standards, aggregates data at the two‑digit CNAE level, and employs a Leontief inverse to trace demand‑driven effects, ensuring international comparability of R&D, innovation and ICT metrics.

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...

AEVI was founded in 2014 to unify Spain’s video‑game ecosystem and to position the sector as a leading technological and cultural industry. Its institutional goals focus on fostering local development, attracting investment, collaborating with public authorities, defending intellectual‑property rights, and promoting responsible consumption through the PEGI rating system.

In 2014 the Spanish video‑game market generated €996 million, a 6.8 % increase over the previous year, with physical sales accounting for €755 million and online sales €241 million. Software contributed €364 million, hardware €301 million and accessories €90 million. The sector served 13 million users—36 % of the population—making Spain one of the four largest European markets after France, Germany and the United Kingdom. Players aged 11‑64 spent an average of 5.9 hours per week gaming; 40 % of adults played, 26.2 % regularly, and gender participation reached 45.3 % for men and 32.8 % for women. Physical copies remained the preferred format (7.9 million users), followed by online (5 million) and mobile applications (4.9 million).

AEVI highlighted the persistent challenge of piracy, reporting 240 million illegal downloads and 2 million physical infringements in 2014, which translated into a €226 million loss of revenue. Legislative reforms in intellectual‑property law and the criminal code were cited as recent advances in combating these practices. The association also noted a 21 % rise in development studios, reaching nearly 400 companies, and projected that employment in the sector could double to over 7 000 highly qualified jobs by 2019.

Through advocacy, data collection from sources such as GfK, ISFE, Gametrack and its own surveys, and partnerships with institutions like the Federation for the Protection of Intellectual Property, AEVI seeks to sustain growth, enhance the cultural perception of video games, and ensure a responsible, innovative market environment in Spain.

17 | The Founding Years of Studios 29| Financial Outlook ob 40 | Finnish game developer studios assn. Fingersoft • Hill Climb Racing Rovio Entertainment • Angry Birds, Supercell • Clash of Clans, Hay Day Two Men and a Dog • Zombie Catchers THE OLDEST Finnish game companies still in existence are turning 20 this year (2015).

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.

Canada’s Video Game Industry in 2013 – Final Report (Summary)

1. Industry Perception of Tax Credits

Overall valuation: Canadian video‑game tax credits received an average rating of 4.4 / 5, indicating that firms consider them a highly valuable policy tool. Key benefits identified: Project opportunities: Highest impact score (4.0 / 5). Employee retention, revenue growth, and industry visibility also scored strongly, reflecting that tax incentives help companies keep talent, expand sales, and raise the sector’s profile. Cost‑effectiveness: Respondents reported that the administrative burden is low relative to the financial value they obtain from the credits. Growth outlook: The survey revealed a very optimistic near‑term outlook: 40 % of firms expect revenue growth of more than 25 % in the coming year, underscoring confidence that the tax environment is a catalyst for expansion.

2. Economic‑Impact Analysis

| Component | Methodology | Key Findings | |---------------|----------------|------------------| | Direct impacts | • Calculated from reported industry revenues and wages.<br>• Applied an operating‑surplus‑to‑labour‑income ratio of 15.17 % (derived from the broader software‑publishing sector) to estimate profits and value‑added. | • Direct employment, labour income, and GDP contributions were quantified based on actual firm‑level data. | | Indirect impacts | • Integrated the survey data with Statistics Canada Input‑Output (I‑O) tables.<br>• Modeled supply‑chain spillovers, capturing purchases from other Canadian industries and adjusting for import leakages (goods/services sourced abroad). | • Showed how video‑game firms stimulate activity in supporting sectors (e.g., hardware, professional services, marketing). | | Induced impacts | • Used a custom multiplier built on Canada’s marginal propensity to consume (MPC) and marginal propensity to import (MPI).<br>• Estimated household re‑spending of earnings generated in the direct and indirect stages. | • Quantified the additional employment, income, and GDP generated when workers and suppliers spend their wages locally. |

Overall economic contribution (direct + indirect + induced): The combined effect demonstrates that the video‑game sector’s footprint extends well beyond the firms themselves, creating significant ancillary jobs and income throughout the Canadian economy. The methodology ensures that import leakages are subtracted, providing a realistic picture of net domestic impact.

3. Implications

1. Policy Validation – The high satisfaction scores and strong growth expectations confirm that the tax‑credit regime is achieving its intended objectives: fostering project development, retaining talent, and boosting sector visibility. 2. Economic Multiplier Effect – The I‑O‑based analysis shows that every dollar of direct video‑game revenue generates additional economic activity across multiple industries, reinforcing the argument for continued or expanded fiscal support. 3. Strategic Recommendations (derived from the findings): Maintain or enhance tax‑credit levels to sustain the momentum in project creation and revenue growth. Streamline administrative processes further to keep the cost‑benefit ratio favorable.

In 2013 the media group embedded sustainability within its core strategy, aligning business growth with responsible practices and earning inclusion in the Dow Jones Sustainability Europe Index and FTSE 4Good. Financially, the company generated €14.1 billion in net sales and €1.9 billion in operating profit while employing 3,361 staff and expanding into new European markets through the launch of its digital platform MTGx. Its corporate‑responsibility framework is built on four pillars—media responsibility, employees and workplace, environment and community, and business ethics—each supported by concrete actions and measurable targets.

Compliance and societal impact were central to operations. A dedicated “C‑Team” ensured that broadcast and on‑demand content met EU, UK (Ofcom, ASA) and local regulations, with 85 % of programming already adapted for regional standards. The group leveraged its TV, radio and digital assets for charitable campaigns, delivering more than €4.3 million in media‑time value for Typhoon Haiyan relief, €438 k for the “Angels over Latvia” tour, €115 k for a Lithuanian zoo‑elephant project, and additional support for health, education and wildlife initiatives across Ghana, Estonia, Sweden, Bulgaria and other markets.

Environmental performance improved markedly. The new London headquarters attained a BREEAM “Excellent” rating and installed roof‑mounted solar panels that now supply the majority of its electricity, producing a quantifiable reduction in CO₂ emissions. The company’s CDP climate‑change score rose to 88, reflecting stronger governance and disclosure. A materiality analysis highlighted data integrity, privacy and child‑online‑safety as top concerns, prompting new internal policies, anti‑corruption training completed by all staff, and an updated Code of Conduct with 78 % e‑learning uptake.

Gender equity showed progress

The Canadian video game industry experienced significant growth and economic impact as of 2013, positioning Canada as the third-largest developer globally and the first on a per-capita basis. According to data from Nordicity and the NPD Group, the sector contributes $2.3 billion to the Canadian economy annually. The industry comprises 329 studios employing over 16,500 full-time workers, representing a 5% increase in employment from the previous year. While 88% of these firms are small or micro-enterprises, 68% of the total workforce is employed by the 12% of companies classified as large studios.

Geographically, the industry is concentrated in Quebec, British Columbia, and Ontario. Quebec leads with 97 companies and 8,750 employees, supported by long-standing provincial tax credits. British Columbia follows with 5,150 employees, while Ontario’s sector is characterized by a high density of micro-studios and a rapid shift toward mobile and casual gaming. Nationally, the average industry professional is 31 years old with an average annual salary of $72,500.

The industry is undergoing a platform shift, with 84% of studios developing for mobile devices, although console development continues to command the largest budgets and team sizes. Consumer data indicates that 58% of Canadians are gamers, with a nearly even split between men (54%) and women (46%). While younger males favor consoles and action genres, older demographics and women show a preference for computer-based card games, puzzles, and mobile platforms. The study also highlights the effectiveness of the ESRB rating system, noting that 93% of adult gamers find it useful for making informed purchasing decisions for children.

The 2012 Essential Facts report provides a comprehensive profile of the Canadian video game industry, highlighting its significant economic impact and the evolving habits of its diverse player base. Data was synthesized from a 2012 study of over 4,000 Canadians conducted by the Entertainment Software Association of Canada (ESAC) and market research from the NPD Group and Secor Consulting Group. The findings reveal that 58% of Canadians identify as gamers, with an average age of 31. While 90% of children and adolescents play, the demographic is nearly balanced by gender, with women making up 46% of the player population.

The industry represents a vital pillar of the Canadian economy, contributing approximately $1.7 billion in direct impact. Canada ranks third globally in video game employment, supporting 348 companies and roughly 16,000 direct jobs. The sector is characterized by high-value labor, with an average annual salary of $62,000—more than double the national average for the general economy. Growth remains robust, with an 11% increase recorded between 2009 and 2010 and a projected 17% increase for the 2011-2012 period.

Geographically, the industry is concentrated in Quebec, Ontario, and British Columbia. Quebec holds a dominant position, accounting for 86 companies and 8,236 jobs, while Ontario hosts the highest number of micro and small enterprises. Methodologically, the report notes a shift in platform preference; while 68% of employees still focus on traditional consoles, there is rapid diversification into mobile and social gaming. Furthermore, the report emphasizes the importance of the ESRB rating system, noting that 93% of parents find these classifications useful for managing their children's media consumption.

The 2011 overview of Canada’s entertainment software sector presents a comprehensive portrait of an industry that employs roughly 16,000 people across nearly 350 firms and generates an estimated $1.7 billion in direct economic impact. Growth has accelerated, with an 11 % increase in size over the previous two years and a projected 17 % expansion in the next two‑year horizon, underscoring the sector’s rising significance within the national economy.

Industry composition is diverse: 59 % of employment resides in large firms (over 150 staff), while small and medium enterprises account for the remainder, averaging 16 employees each. Traditional console development remains dominant, absorbing 68 % of the workforce, though resources for social (2 %), casual (2 %) and mobile (7 %) gaming are expanding rapidly. Development costs vary by platform, with traditional console projects averaging C$10.1 million and mobile titles around C$0.17 million, reflecting differing risk and time‑to‑market profiles.

Provincial analysis highlights Quebec as the primary hub, hosting 86 companies, 8,236 employees and $733 million in spending, and achieving a 13 % annual growth rate. Ontario follows with 96 firms, 2,600 staff and $238 million in revenue, posting 20 % historical growth and 21 % expected expansion. British Columbia, with 83 companies and 3,882 employees, records flat recent growth but anticipates a 10 % rebound, while Saskatchewan is excluded due to lack of survey responses.

Consumer insights from a 2,579‑adult, 398‑teen and 547‑child NPD sample reveal that