Market Analysis

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.

The study aimed to gauge the penetration of video games among Spanish adults, map the demographic profile of adult gamers, explore attitudes and usage habits, compare adults with and without children, and assess purchase intentions for the 2015 holiday season. Conducted nationwide in November 2015, it surveyed 1,000 individuals aged 18 and over via telephone CATI interviews, yielding a margin of error of ±3.09 percent.

Overall, 38.9 percent of Spanish adults reported playing video games, while 61.1 percent did not. Play rates were highest among 18‑ to 29‑year‑olds, with three‑quarters engaging in gaming, and remained substantial for the 30‑44 age group at 54.3 percent. Men were more active than women (45.3 percent versus 32.8 percent), though women with children showed a higher participation rate (36.9 percent) than those without (30.1 percent), whereas the opposite pattern held for men. About 46.9 percent of gamers were occasional (at least monthly) and 41.5 percent habitual (weekly or daily), with habitual players being 60 percent male. Among habitual parents, 83.1 percent had children under nine, and 64.9 percent believed gaming strengthened parent‑child bonds, especially younger parents.

Education correlated with gaming intensity: 63.7 percent of habitual players held secondary or university qualifications. Consoles remained the dominant platform (61.1 percent), favored by men (66.2 percent), while women preferred smartphones (57.6 percent). Approximately 36.2

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).

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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...

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 research investigates contemporary Spanish parental attitudes toward video gaming, focusing on usage patterns, perceived competence, and consumer behavior during the 2014 holiday season. It reveals that a substantial majority—84 %—of parents actively play video games and consider themselves technologically equal to or more knowledgeable than their children. This confidence translates into a notable educational dimension, with 40 % of parents employing games as learning tools for their offspring.

Family interaction emerges as a key driver, as more than half of the surveyed parents have maintained or increased their gaming time after becoming parents, citing shared play as a primary motivator. Economic analysis shows a modest decline in overall holiday spending on games compared with the previous year; however, parents who identify as gamers intend to allocate higher expenditures than non‑gamer parents. Video games rank as the most coveted Christmas gift for half of the children surveyed, with a particular preference for physical console titles.

Overall, the findings underscore a robust integration of gaming within Spanish households, highlighting parental confidence, educational utilization, and sustained consumer demand despite slight seasonal spending fluctuations. The study’s scope encompasses Spanish families during the December 2014 period, offering insight into parental influence on market dynamics across both digital and physical gaming segments.

AEVI was created in 2014 to replace aDeSe and to serve as the unified voice of Spain’s video‑game ecosystem, encompassing publishers, developers, distributors and related agents. Its core mission is to promote domestic industry growth, attract investment, defend intellectual‑property rights and foster a sustainable, responsible market that highlights the sector’s cultural and innovative value.

The association now gathers companies that control more than 90 % of the national distribution market, including major global publishers such as Activision‑Blizzard, Nintendo, Sony, Electronic Arts, Ubisoft and Microsoft Iberia, as well as the first development member, Novarama. Industry data indicate that Spain ranks among the top five European and top ten global gaming markets, with 19 million players across all platforms. In 2013 total consumer spending reached €762 million—software €401 million, hardware €275 million and accessories €86 million—despite a 7 % decline in physical sales that nevertheless halved the previous years’ downturn. Adult participation stands at 24 % while 62 % of minors play regularly.

Regulatory focus centers on the PEGI self‑rating system, introduced in 2003, and on pending legislative reforms to the Penal Code and Intellectual‑Property Law aimed at curbing piracy, which cost the sector €284 million in 2013 and, if eliminated, could generate roughly 26 600 new jobs. AEVI also promotes major events, notably the second edition of Madrid Games Week in October 2014, positioning the capital as a key venue on the international exhibition circuit and providing a forum for industry debate.

The 2014 overview of Canada’s video‑game sector presents a comprehensive picture of an industry that ranks among the world’s largest by per‑capita employment and is a cornerstone of the nation’s digital economy. Drawing on custom research commissioned by the Entertainment Software Association of Canada (ESAC)—including NPD surveys of 3,359 adults and 526 teens in 2014, a 2012 survey of 2,969 adults, 527 teens and 687 children, and quantitative data from 90 Canadian companies—the analysis covers national trends, regional breakdowns, workforce characteristics, public perception and consumer behaviour.

Employment figures reveal 16,500 individuals directly working in game development, equivalent to 27,000 full‑time jobs, with a 5 % increase in staff between 2011 and 2013 and two‑fifths of firms forecasting a 25 % expansion within two years. The sector generated $2.3 billion in GDP contribution and $1.6 billion in direct spending, a 12.5 % rise from 2011. More than half of Canadian companies identify as independent developers, and 53 % of the 329 firms operate as such. Salaries average $72,500 annually, with a median employee age of 31,

The purpose of the compilation is to present a comprehensive portrait of Canada’s video‑game industry in 2014, demonstrating its economic weight, employment dynamics, and public perception. Data were gathered from four principal sources: an NPD Group survey of 3 359 adults and 526 adolescents (margin of error ± 2.19 %); a comparable 2012 NPD study of 2 969 adults and 527 adolescents (± 1.5 %); a Nordicity questionnaire completed by 90 Canadian studios; and a NewZoo global consumer poll of 35 000 respondents aged 10‑65. The scope covers the national market and its three largest provinces—Quebec, British Columbia and Ontario—while also