The difference it makes on the ‘Hours watched KPI’ is less than 1%.
Source: Top 500 Titles on Twitch 20231 Grand Theft Auto V 1 324 613 311 821 339 18 308 199 151 212 522 237 2 090 3 596
Source: Top 500 Titles on Twitch 202348 MapleStory Platformer, RPG Nexon Co. Ltd. Wizet PC (Microsoft Windows) 46 124 259 18 055 836 850 5 265 102 820 96 293
Source: Top 500 Titles on Twitch 2023217 Tom Clancy's The Division 2 Tactical, Adventure, Action Ubisoft Entertainment Massive Entertainment Google Stadia 5 940 953 42 858 687 689 678 27 255 79 214
Source: Top 500 Titles on Twitch 2023The difference it makes on the ‘Hours watched KPI’ is less than 1%.
Source: Top 500 Titles on Twitch 2023The difference it makes on the ‘Hours watched KPI’ is less than 1%.
Source: Top 500 Titles on Twitch 2023The difference it makes on the ‘Hours watched KPI’ is less than 1%.
Source: Top 500 Titles on Twitch 2023port covers 500 titles — representing only 0.29% of all games that Lurkit is tracking — and nearly 15 billion hours viewed by gamers between January 1 - December 31 2023.
Source: Top 500 Titles on Twitch 2023The image displays a bar graph that shows the total live-streaming hours watched by YouTube users in Q3 2019 and Q3 2020
The image displays a chart that shows the market share of major live-streaming platforms by hours watched
The image displays a bar graph with the title "Platform Viewership Distribution"
The image displays a bar graph that shows the number of people watching football on the BBC and Sky Sports
The image displays a bar graph with the title "ESPORT'S LIVE-STREAMING VIEWERSHIP"
The image is a bar graph that shows the number of hours watched by ESPN's esports world cup in 2023
The study demonstrates that Europe’s esports audience reached 92 million viewers by the end of 2020, up 7.4 % from 2019, with 33 million classified as “Esports Enthusiasts” and the remaining 59 million as occasional viewers. Revenue projections for the global market hit €973.9 million in 2020 and are expected to rise to €1.6 billion by 2023, with European figures mirroring this upward trend. The research surveyed 10 175 participants aged 18‑45 across ten Western and Northern European countries, using invitation‑only questionnaires administered over one month (29 May–28 June 2020). Respondents were nationally representative of esports viewers in each country. Key findings reveal that engagement is highest among 21‑25‑year‑olds, with Finland showing the strongest enthusiast proportion (52 % of 18‑20‑year‑olds) versus only 21 % in the UK. COVID‑19 lockdowns increased viewership in markets with stricter restrictions, such as France and Spain, where 62 % of respondents expected continued higher viewership post‑lockdown. Women constitute 32 % of the audience, largely as occasional viewers; however, 60 % of respondents believe female participation is growing. Female spenders are slightly lower than male counterparts (46 % vs 38 %) but show a higher propensity for physical merchandise, whereas men favor digital items like skins and premium passes. The report also highlights cross‑sport fandom: 64 % of viewers own a favorite sports team, with football and tennis being the most common. Rocket League enjoys significant popularity, especially in the UK (34 % of enthusiasts). Overall, 58 % of enthusiasts spend on esports products, with Spain leading at 62 %. These insights underscore a rapidly expanding, monetizable European esports ecosystem that offers substantial opportunities for brands across both traditional and digital channels.
Modern Times Group (MTG) navigated a pivotal digital transformation in 2016 by embedding corporate responsibility into its core business strategy. The organization focused on four primary pillars: media responsibility, social impact, business ethics, and environmental stewardship. By aligning its operational evolution with these values, the company secured recognition in the Dow Jones Sustainability Indices and established a framework for long-term growth. This strategic shift prioritized the integration of ethical standards into digital entertainment services, ensuring that the company’s transition remained consistent with its commitment to regulatory compliance and stakeholder accountability. Operational performance throughout 2016 reflected a dual focus on internal culture and external resilience. The company successfully reduced its total carbon emissions by 7% and increased its reliance on renewable energy to 16.6%. Simultaneously, MTG bolstered its cybersecurity and anti-corruption frameworks, achieving an 81% completion rate for mandatory information security training and maintaining a record of zero confirmed corruption incidents. Governance was further strengthened through the Corporate Responsibility Advisory Group, which oversaw the implementation of rigorous data protection measures and preparations for upcoming regulatory shifts like GDPR. Human capital management and social engagement remained central to the company’s mission, despite a workforce reduction to 3,805 employees. MTG actively pursued gender parity in leadership through the "Women Up" initiative, aiming for a 50/50 management split by 2020. Furthermore, the company leveraged extensive consumer research and partnerships, such as "Reach for Change," to ensure content alignment with viewer preferences and broader social impact. While the company acknowledged limitations in HR data granularity, its disclosures adhered to the GRI G4 Core level guidelines, confirming a transparent and disciplined approach to corporate governance across its international operations.
3Q FY2021 Presentation Material The future information, such as earnings forecast, written in this document is based on our expectations and assumptions as of the date the forecast was made. Our actual results could differ materially from those described in this forecast because of various 1. Quarterly Results (April - June 2021) 3. Internet Advertisement Business FY2021 The growth of games and ads exceeded our expectation. The forecast is revised upward again.
3Q FY2020 Presentation Material The future information, such as earnings forecast, written in this document is based on our expectations and assumptions as of the date the forecast was made. Our actual results could differ materially from those described in this forecast because of various 1. Quarterly Results (April - June 2020) 3. Internet Advertisement Business FY2020 Results were in line with the forecast despite COVID-19 Q3 impact.
2Q FY2021 Presentation Material The future information, such as earnings forecast, written in this document is based on our expectations and assumptions as of the date the forecast was made. Our actual results could differ materially from those described in this forecast because of various 1. Quarterly Results (January - March 2021) 3. Internet Advertisement Business FY2021 Game and ads performed well.
3Q FY2022 Presentation Material The future information, such as earnings forecast, written in this document is based on our expectations and assumptions as of the date the forecast was made. Our actual results could differ materially from those described in this forecast because of various 1. Quarterly Results (April - June 2022) 3. Internet Advertisement Business 6. Medium to long-term strategy FY2022 Game sales declined from the peak made by the title released last year.
2Q FY2023 Presentation Material The future information, such as earnings forecast, written in this document is based on our expectations and assumptions as of the date the forecast was made. Our actual results could differ materially from those described in this forecast because of various 1. Financial Summary (January - March 2023) 3. Internet Advertisement Business 6. Medium to long-term strategy FY2023 Quarterly sales hit a new record high.
The presentation outlines CyberAgent’s FY2024 performance, emphasizing record sales and operating profit growth across its three core businesses—Internet Advertising, Media (ABEMA), and Game. Consolidated sales reached ¥215.1 billion in Q2, up 10.0% YoY, while operating profit rose to ¥21.0 billion, a 12.2% increase and the first time surpassing ¥20 billion in eight quarters. Internet Advertising sales climbed 7.1% YoY to ¥107.3 billion, with operating profit up 19.6%. The Media segment achieved a new high of ¥42.0 billion in sales, up 25.8% YoY, and turned profitable for the first time since Q2 2023; operating profit increased 0.7 billion yen. Game sales grew 8.1% YoY to ¥67.1 billion, driven by the launch of “Granblue Fantasy: Relink,” which sold one million units within eleven days, and by anniversary events for major titles; operating profit surged 19.8% YoY. Financially, SG&A expenses increased modestly by 2.9%, while cash deposits and fixed assets grew significantly, reflecting investment in technology and talent. Net income attributable to shareholders rose 30.8% YoY to ¥10.3 billion, offset by a temporary extraordinary loss. The company’s strategy focuses on leveraging generative AI and large‑language models (CyberAgentLM) to enhance ad creative, expand ABEMA’s sports content through partnerships with DAZN and WOWSPO, and sustain game revenue by launching new titles such as “Granblue Fantasy Versus” and “Umamusume Pretty Derby.” The overarching goal is to increase sales and profits, with FY2023 operating profit as a low point, and to position CyberAgent as a global digital media and technology leader.
Esports is rapidly evolving into a mainstream live‑entertainment sector, with viewership surpassing 100 million hours and prize pools doubling since 2018. The industry’s growth outpaces traditional sports, registering a 10 % year‑over‑year increase while leagues such as the NFL and NBA stagnate. Core titles—League of Legends, CS:GO, Mobile Legends: Bang Bang, Dota 2 and Valorant—concentrate 70 % of total viewing hours, yet an estimated $2.5 billion in untapped gamer audiences remains available, underscoring significant scalability potential. Geographically, governments across France, Denmark, China and Japan are investing in infrastructure, tax incentives and athlete support, while the International Esports Federation seeks Olympic recognition. Sponsorship penetration has reached 45 % of non‑gaming brands, and universities now offer esports scholarships, indicating a blending of traditional sports support structures with the unique dynamics of game publishers. However, media‑rights monetisation remains constrained by fragmented licensing arrangements. The absence of a unified regulatory body creates volatility for players; games and prize pools can collapse abruptly, as seen with Fortnite and Heroes of the Storm. Coordinated regulation, career pathways, post‑career support and state investment are identified as essential for legitimising esports as a sustainable profession. In sum, the sector demonstrates explosive growth and high engagement among younger, tech‑savvy audiences, but requires cohesive governance and media‑rights frameworks to unlock its full economic potential.
The analysis projects a rapid expansion of the digital economy through 2026, driven primarily by generative AI applications and vertical video formats. Generative‑AI apps are expected to generate more than $10 billion in in‑app purchase revenue by 2026, with downloads projected to reach 4 billion and user engagement exceeding 43 billion hours. The genre will climb into the top five mobile categories across downloads, revenue, and time spent, surpassing established sectors such as shopping and movies. Short‑drama vertical video is forecast to overtake traditional OTT streaming in global downloads, narrowing the revenue gap and capturing 40 % of time spent by 2026. Digital advertising spending is shifting back toward image‑based creatives, with a 35 % year‑over‑year increase in image ad spend and a projected acceleration of this trend by 2026, especially within social channels where Reels and similar formats dominate. Meanwhile, generative AI traffic to the top 1,000 U.S. websites is projected to rise by more than 130 % YoY, reaching a point where half of these sites receive higher traffic from AI than paid sources by the end of 2026. Mobile game acquisition costs remain high, and the market is trending toward smaller, ad‑native titles that can monetize efficiently. Steam releases are accelerating, with 2025 already breaking records for new titles, indicating a shift toward faster, lower‑budget development cycles. Overall, the report underscores a digital landscape increasingly shaped by AI‑driven content and streamlined monetization models across mobile, web, and gaming sectors.
The global live-streaming landscape underwent a transformative shift in the third quarter of 2025, characterized by record-breaking viewership and a significant redistribution of market power. Total viewership reached 9.6 billion hours across traditional platforms, representing a 13% year-over-year increase. However, the most profound development was the emergence of TikTok Live as a dominant force, recording 9.1 billion hours watched and nearly doubling the output of Twitch. This surge reflects a broader consumer pivot toward mobile-integrated content and has resulted in Twitch’s market share falling below 50% for the first time, a decline exacerbated by aggressive internal crackdowns on fraudulent viewbotting. Content trends during this period favored non-gaming categories and massive live events over traditional gameplay. Non-gaming content led with 1.7 billion hours watched, while Ibai’s *La Velada del Año V* set a new industry benchmark with 9.2 million peak concurrent viewers. Although esports viewership grew by 8% to 805 million hours, the sector saw a notable migration of audiences from Twitch toward YouTube and TikTok, largely driven by the Esports World Cup. In the gaming sector, *EA Sports FC 26* emerged as the quarter's premier release, generating 62.3 million hours watched within its first month. Individual creator performance and brand integration reached new heights of commercial impact. Kai Cenat dominated the landscape, leading all creators with 91.4 million hours watched and setting a record with 1.1 million subscriptions during his "Mafiathon 3" event. This level of engagement translated into significant brand visibility, as evidenced by a 26,000-mention surge for Crocs during Cenat’s broadcast. While female viewership was led by ExtraEmily and the VTuber category saw Usada Pekora reclaim the top spot, the overarching trend indicates that high-production marathons and cross-platform accessibility are now the primary drivers of growth and monetization in the streaming economy.
Live‑streaming activity in the second quarter of 2025 expanded by five percent year‑over‑year, pushing total consumption past the nine‑billion‑hour mark for the first time since late 2021. The surge was led by YouTube Gaming, which recorded a historic 2.2 billion hours watched, while Kick’s creator‑incentive scheme lifted its viewership share by 5.5 percent. In contrast, Twitch’s share slipped 4.6 percent, dropping below five billion hours for the first time in nearly five years. These dynamics illustrate a reshaping of platform dominance, with emerging services gaining traction at the expense of long‑standing incumbents. Esports consumption followed a parallel upward trajectory, rising six percent to a record 729 million hours despite a 37 percent contraction in the number of tournaments held. The sector’s growth was driven by a pivot toward mobile titles, co‑streaming formats, and creator‑led events, exemplified by the Rainbow Six Siege Invitational 2025. This shift underscores a broader trend in which audience engagement is increasingly tied to personalities and flexible production models rather than traditional tournament structures. Content analysis highlights the ascendancy of hybrid formats that blend gaming with established intellectual properties, such as “Den Ring Nightreign” and “Survival Games with Dune.” VTuber Usada Pekora emerged as the most‑subscribed creator, confirming the expanding influence of virtual personalities. Collectively, cross‑genre collaborations, VTuber‑centric audiences, and creator‑driven esports are identified as the primary engines propelling live‑streaming growth throughout 2025, signaling a continued evolution toward integrated, personality‑focused entertainment across the global market.