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State of the Polish Video Game Industry 2017
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.
- The Polish video game industry is growing, with 13 companies listed on the Warsaw Stock Exchange (WSE) having a combined worth of nearly PLN 9.5 billion and generating PLN 270 million in earnings last year. These WSE-listed developers contributed over PLN 67 million in taxes to the Polish treasury in 2016.
- Poland is a significant test market for game soft launches, particularly for mobile games, due to its comparable market significance to the US, UK, or Germany, and lower user acquisition costs compared to Western or Asian markets. While the percentage of paying players and amounts spent are lower than in Western Europe or North America, the gap is narrowing.
- The PlayStation brand, especially the PS4, dominates the console market in Poland, significantly outselling Xbox One. This trend is partly attributed to the high system requirements of cross-platform titles like The Witcher 3: Wild Hunt, which encouraged many PC players to switch to consoles for a smaller hardware investment.
- The age distribution of Polish gamers shifted in 2016, with a significant decrease in the 15-24 age group (from 43% in 2015 to 31% in 2016), largely due to their migration from social network and PC gaming to mobile games (a 5% increase in mobile gaming for this age group).
- Asian companies are increasingly acquiring Western game developers and publishers, a trend observed over the past 1.5 years, with examples including Youzu buying Bigpoint, Netmarble acquiring Kabam, and Tencent purchasing Supercell. This indicates a growing interest from Asian giants and media conglomerates in the global video game market.
Le Marché Illicite de la Distribution Digitale de Jeux Vidéo sur PC: France
SYNDICAT NATIONAL DU JEU VIDÉO jeux pc et parasitisme 6 1.1 canaux d’exploitation officiels provoqué par le marché des jeux vidéo pc illicite par téléchargement 11 1.2 émergence et consolidation 23 1.3 agissements illégaux à la base développement du marché illicite efficacement contre le 30 2.1 tarir les sources marché illicite d’approvisionnement 33 2.2 permettre une meilleure distribution officiels et de leur Ce document est destiné à des plate...
- The digital PC game market in France is significantly impacted by an illicit market, where game keys are resold at prices up to 60% lower than official retail prices, often before a game's release, leading consumers to perceive official prices as too high.
- This illicit market is fueled by geographical price differences (e.g., keys sold for €19 in Poland vs. €49 in France) and physical wholesalers reselling keys from boxed games to unofficial sites, with German wholesaler Gross Electronic GmbH identified as a major supplier to MMOGA.com from 2013-2015.
- Major illicit platforms like MMOGA (sold for €306M in 2015 with over €100M revenue) and G2A operate from offshore locations (e.g., Hong Kong, Eastern Europe) to avoid European VAT and consumer protection laws, despite often having significant European customer bases (e.g., over 60% French audience for some sites).
- These illicit sites exploit loopholes in VAT collection by registering offshore, though EU rules since 2015 require VAT to be paid based on the buyer's location; they also benefit from search engines like Google and specialized price comparison sites (e.g., Allkeyshop, DLcompare) promoting their discounted offers.
- The illicit market is characterized by widespread VAT fraud and non-compliance with consumer protection laws, with authorities largely inactive in pursuing these offshore entities despite clear evidence of local ties (e.g., French-speaking support, local payment systems like Hipay, significant local social media presence).