Employment

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.

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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 .