Diversity Inclusion

By European Game Developers Federation (EGDF) Supported by Video Games Europe European Video Games Industry Data 5 Number of game developer studios 7 Number of game publishers 8 Number of people working in the video games industry 9 Percentage of women working in the industry ...

In 2021 Serbia’s gaming ecosystem emerged as a rapidly expanding, export‑oriented sector that combined a sizable studio base with a vibrant indie community. Roughly 130 development studios employed 1,548 people, of whom 30 % were women, and produced about 2,200 titles that generated an estimated US$125 million in revenue. The majority of earnings—between 75 % and 100 %—derived from markets outside the country, and 64 % of games relied on a free‑to‑play model supplemented by advertising.

Mid‑sized studios such as Nordeus and Playrix RS demonstrated strong user bases, while larger contributors including Ubisoft Belgrade and the VFX house Bunker underscored Serbia’s capacity to support AAA‑level production and international client work. The esports landscape, led by Fortuna’s Balkan League, attracted roughly half a million viewers and distributed €220 k in prize money, highlighting the sector’s growing competitive dimension. Indie developers, ranging from solo creators to teams of forty, pursued diverse platforms—PC, mobile, VR/AR—and increasingly leveraged tools like Epic’s MetaHuman Creator, signalling a shift toward high‑fidelity, narrative‑driven experiences.

Policy initiatives reinforced this momentum. The “Serbia Innovates” super‑cluster, backed by U.S. assistance, positioned gaming, VR, and Web3 technologies as a multidisciplinary hub, while tax‑incentive reforms such as the IP‑Box and double R&D deductions attracted capital and talent. Educational collaborations, exemplified by new university programs and industry‑led training platforms, created a pipeline that bridges skill gaps and sustains growth.

Sustainable development is viewed as dependent on three pillars: compelling IP, robust publishing partnerships, and cross‑sector cooperation, suggesting that continued alignment of studio capabilities, policy support, and talent development will cement Serbia’s role as a notable exporter in the global games market.

This analysis examines the state of representation and accessibility within the United States gaming market, challenging the misconception that the gaming audience is primarily composed of young, white males. Based on a 2020 study of 1,824 gamers aged 10–65, the research argues that the industry’s future growth depends on its ability to cater to a diverse global population of 2.7 billion players. The thesis posits that strengthening diversity and inclusion (D&I) requires a dual approach: improving the representation of marginalized groups in software and increasing the affordability of hardware.

Key findings indicate that 47% of U.S. gamers avoid titles they feel are not made for them, while over half believe it is important for games to feature diverse characters. This sentiment is particularly strong among LGBTQIA+ players and people with disabilities. Data shows that players of color are often more "serious" gamers than their white counterparts; for instance, Black and Asian PC players skew younger and more female. Furthermore, the popularity of the fighting game genre among Black players is linked to historical arcade accessibility, suggesting that low barriers to entry foster long-term community engagement.

The research highlights a significant correlation between socioeconomic status and gaming habits. Black and Hispanic/Latinx players are more likely to use standard laptops or consoles rather than expensive high-end desktops and are more inclined to use subscription services like Xbox Game Pass to manage costs. Ultimately, the analysis concludes that brands taking active stances on social issues and prioritizing inclusive character design can drive higher engagement and revenue, as gamers increasingly prefer companies that reflect their values and identities.

The Finnish game industry has transitioned from a hobbyist niche into the nation’s largest cultural export, maintaining an annual turnover exceeding €2 billion for six consecutive years. By 2020, the sector reached a turnover of €2.4 billion, driven by a maturing "middle class" of 46 studios generating over €1 million in annual revenue. While the total number of active studios decreased to approximately 200 due to global competition and regional funding shifts, employment reached a record 3,600 professionals. The industry demonstrates increased stability through a decreasing reliance on its largest player, Supercell, whose share of total turnover fell to 54% as other studios scaled.

Geographically, the industry remains highly concentrated in the Capital Region, which accounts for 96% of turnover and nearly 80% of the workforce. However, vital regional hubs in Tampere, Oulu, and Turku provide specialized support through incubators and university programs. While mobile gaming remains the dominant sector—anchored by global giants like Rovio and Fingersoft—there is a notable shift toward a "post-mobile" era. This evolution is defined by growth in multiplatform console and PC development, led by studios such as Remedy Entertainment and Housemarque, as well as emerging interests in cloud gaming, the metaverse, and AI integration.

The ecosystem is supported by a robust infrastructure, including over €150 million in R&D funding from Business Finland and a proactive private investment climate that attracted over €100 million between 2019 and 2020. Despite this strength, the industry faces challenges such as a global shortage of senior talent, increased protectionism in foreign markets, and platform volatility. Future growth is expected to stem from strong intellectual property, significant M&A activity, and a commitment to workforce diversity and social responsibility. The industry remains a resilient economic driver, characterized by high professional organization and a collaborative culture that sustains its status as a premier global hub for game development.

The French video game industry demonstrates robust entrepreneurial momentum and a strong focus on production, characterized by a diverse ecosystem of over 1,130 establishments. The sector is primarily composed of development studios, which account for 50% of industry entities, followed by service and technology providers at 42%, publishers at 6%, and distributors at 2%. This landscape is marked by a youthful demographic, with 19% of development studios having been established within the last five years, while another 19% have operated for over a decade.

Production output remains stable, with 530 titles marketed in 2019 and a significant pipeline of projects in development. Notably, 63% of these titles are based on new intellectual properties, reflecting a strong commitment to original content. Employment trends are equally positive, with 75% of employees working under permanent contracts. The industry is actively expanding, with projections indicating the creation of 800 to 1,200 new jobs by the end of 2019. Despite this growth, gender diversity remains a challenge, as women and non-binary individuals comprise only 16% of the workforce, with women holding just 11% of management roles.

The findings are based on a comprehensive survey conducted between June and September 2019, targeting 1,131 industry entities, including both members and non-members of the French Video Game Trade Association. The data highlights a strong educational pipeline, with a 26% growth in student enrollment and a high placement rate, as one in two graduates secures employment within the video game sector within a year. These metrics underscore the industry's role as a vital economic engine, supported by a specialized talent pool and a clear focus on sustainable, long-term production.

The Swedish game development industry demonstrates robust economic expansion and sustained profitability, functioning as a highly globalized export sector. By analyzing annual accounts from Swedish-registered companies, the industry reports a significant revenue increase to EUR 2.29 billion in 2019, representing a 23 percent growth over the previous year. This marks the eleventh consecutive year of total sector profitability, supported by a 15 percent increase in the number of active companies, which reached 442 by the end of 2019.

Employment trends reflect this upward trajectory, with the workforce growing by 8 percent to a total of 8,578 full-time positions. Of these, 5,599 employees are based within Sweden. While the industry continues to scale, gender diversity remains a focal point, with women comprising 22 percent of the total workforce. The sector’s economic impact extends to significant tax contributions, as the 15 largest companies alone provided EUR 550 million in corporate profit taxes and over EUR 100 million in additional social security fees.

Investment activity highlights the industry's maturity and attractiveness to capital. During 2019, the market saw 39 transactions involving investments and acquisitions totaling over EUR 400 million, with Swedish firms acting as the primary buyer in the majority of cases. This momentum accelerated into 2020, with 21 transactions recorded between January and October valued at EUR 1 billion. Despite these successes, the industry identifies ongoing challenges, particularly regarding the access to specialized talent and the navigation of complex digital market regulations. Future growth is expected to rely on regional clusters, incubators, and a continued commitment to increasing workforce diversity to maintain global competitiveness.

The analysis highlights how women have become a decisive force in the European video‑game market in 2020, both as players and as consumers. By the end of the year 118 million people aged 6‑64 were active gamers across Spain, France, Germany, Italy and the United Kingdom, with women accounting for 47 % of that base—up from 45 % in 2019. During the second‑quarter lockdown a record 60 million women played, and their average weekly playtime rose to 8.8 hours, with console sessions increasing by roughly one hour compared with the previous year. Mobile gaming proved especially important, as smartphone and tablet usage among women grew 3 % between Q1 2019 and Q4 2020.

Financially, women generated 38 % of total video‑game spending in the five markets, translating into approximately €6.8 billion of the €17.8 billion industry revenue—a 31 % year‑on‑year increase. Their purchases were split evenly between console titles and mobile apps, each contributing about €3 billion. The sector’s overall revenue rose by €3.2 billion in 2020, underscoring the economic impact of the expanding female audience.

Work

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.

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.

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 ...

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.

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