https://ukiepedia.ukie.org.uk/api.php?action=feedcontributions&user=UkieGrace&feedformat=atomUkie - User contributions [en]2024-03-29T11:25:01ZUser contributionsMediaWiki 1.31.0https://ukiepedia.ukie.org.uk/index.php?title=Global_Games_Development_Incentives&diff=2056Global Games Development Incentives2021-04-01T13:51:04Z<p>UkieGrace: /* Canada */</p>
<hr />
<div>There is a range of incentives for games development across the world, from subsidies to tax breaks. <br />
<br />
== UK ==<br />
<br />
There are several incentives for games businesses in the UK, an outline of which is provided below. For more information, see the main [https://ukie.org.uk/ Ukie website], or dedicated pages on Ukiepedia where listed.<br />
<br />
{| class="wikitable sortable"<br />
!Type<br />
!Name<br />
!Description<br />
|-<br />
|Tax incentive<br />
|[https://ukiepedia.ukie.org.uk/index.php/Video_Games_Tax_Relief_(VGTR) Video Games Tax Relief]<br />
|Provides a cash repayment or tax relief for production expenditure on video game development. Studios can claim up to 20% of qualifying expenditure, that took place in UK or European Economic Area (EEA). For a more detailed overview of qualification, eligibility and economic impact, please see the dedicated Ukiepdeia [https://ukiepedia.ukie.org.uk/index.php/Video_Games_Tax_Relief_(VGTR) '''Video Games Tax Relief'''] page. <br />
|-<br />
|Tax incentive<br />
|[http://www.hmrc.gov.uk/gds/cird/attachments/rdsimpleguide.pdf R&D Tax Relief]<br />
|Incentivising innovation and spending on R&D in many sectors, including games. It either allows qualifying expenditure to be deducted from taxable income or, in the case of loss making companies, a cash rebate to be claimed from HMRC. Cannot be claimed alongside Video Games Tax Relief.<br />
|-<br />
|Tax incentive<br />
|[https://www.gov.uk/guidance/venture-capital-schemes-apply-to-use-the-seed-enterprise-investment-scheme Seed Enterprise Investment Scheme (SEIS)]<br />
|Generally for early-stage businesses. Government approved scheme providing significant tax reliefs to UK tax paying individuals who invest in early stage UK companies by subscribing for shares in such companies.<br />
|-<br />
|Tax incentive<br />
|[https://www.gov.uk/guidance/venture-capital-schemes-apply-for-the-enterprise-investment-scheme Enterprise Investment Scheme (EIS)]<br />
|Generally for more established, growing businesses. Government approved schemes providing significant tax reliefs to UK tax paying individuals who invest in early stage UK companies by subscribing for shares in such companies.<br />
|-<br />
||Funding<br />
|[http://ukgamesfund.com/ UK Games Fund]<br />
|The UK Games Fund provides Government grants to studios to be applied towards the development of a specific game project. Provide grants of up to £25,000 to early stage studios, or up to £15,000 for solo developers.<br />
|-<br />
|Funding<br />
|[https://www.creativeengland.co.uk/ Creative England]<br />
|Creative England is a not-for-profit organisation that provides support for and investment in the UK’s creative industries.<br />
|-<br />
|Funding<br />
|[https://www.gov.uk/government/organisations/innovate-uk Innovate UK]<br />
|UK Government funded innovation agency, providing grants to companies for “technology innovation”. Offers an ever-evolving roster of funding opportunities, covers many sectors, including games. A full list of current funding opportunities [https://apply-for-innovation-funding.service.gov.uk/competition/search can be found here]. <br />
|-<br />
|Funding<br />
|[https://www.northernirelandscreen.co.uk/funding/games-development/ Northern Ireland Screen Fund]<br />
|Northern Ireland Screen is the national screen agency for Northern Ireland, providing between 50-90% of funding for games productions with budgets up to £100,000.<br />
|-<br />
|Funding<br />
|[https://www.northernirelandscreen.co.uk/funding/games-development/ Scottish Enterprise]<br />
|Scottish Enterprise runs a variety of programmes for companies that want to set up in Scotland, with many applicable for games companies.<br />
|-<br />
|}<br />
<br />
If you have any questions about UK-based incentives for games companies, please contact any member of the Ukie team, or email us via [mailto:hello@ukie.org.uk hello@ukie.org.uk].<br />
<br />
== Europe ==<br />
<br />
{| class="wikitable sortable"<br />
!Country<br />
!Type<br />
!Name<br />
!Description<br />
|-<br />
|'''EU Wide'''<br />
|Funding<br />
|[https://www.eacea.ec.europa.eu/select-language?destination=/node/8 Video Game Development Scheme]<br />
|The European Commission provides direct funding of up to 50% of eligible video game development costs throughout Europe.<br />
|-<br />
|'''Belgium'''<br />
|Tax incentive<br />
|[https://www.belgiumfilm.be/film-financing/tax-shelter Film & TV Belgian Tax Shelter]<br />
|Tax Shelter provides additional funding of up to 25-30% of total qualifying expenses in the EEA. Allows finance of up to 40-45% of Belgian-eligible expenses. Spend must be specifically within Belgium. Currently awaiting approval from European Commission. <br />
|-<br />
|'''Denmark'''<br />
|Funding<br />
|[https://www.dfi.dk/en/english/funding/games-and-cross-media Games Scheme]<br />
|Delivered through the Danish Film Institute. The DFI can subsidise concept and project development, as well as the production of Danish games.<br />
|-<br />
|'''Finland'''<br />
|Funding<br />
|[https://www.businessfinland.fi/en/games Business Finland Game Business Funding]<br />
|The Finnish Government provides funding to video game developers. Companies registered in Finland can apply for funding at any time, and they receive support through a grant or a loan.<br />
|-<br />
|'''France'''<br />
|Tax incentive<br />
|[https://www.cnc.fr/web/en/french-videogame-industry_143900 Video Game Tax Credit (CIJV: Crédit d'Impôt Jeux Vidéo)]<br />
|Provides a tax offset of 30% for all eligible expenses incurred. The limit of the receivable tax credit has been increased to 6million. A game deemed 'excessively violent' however, will not benefit. There is also a cultural test involved.<br />
|-<br />
|'''France'''<br />
|Funding<br />
|[https://www.cnc.fr/professionnels/aides-et-financements/jeu-video/fonds-daide-au-jeu-video-fajv_191468 Video Games Support Fund (FAJV: Fonds d'Aide au Jeu Vidéo)]<br />
|The French Government also provides various direct funding programs for video games developers under the Video Games Support Fund (FAJV: Fonds d'Aide au Jeu Vidéo).<br />
|-<br />
|'''Germany'''<br />
|Funding<br />
|[https://www.game.de/en/german-games-funding/ German Games Fund (DGF: Deutscher Games-Fonds)]<br />
|Consists of 50 million EUR available for both prototypes and fully developed games, via the German Government. It is an expenditure-based incentive, with funding of 25% to 50% of total development expenses with 50% provided for prototypes and small productions, and 25% provided to projects valued at over 8 million EUR. <br />
|-<br />
|'''Italy'''<br />
|Funding<br />
|[http://en.iideassociation.com/news/news/italian-government-introduce-the-first-playable-fund.kl First Playable Fund]<br />
|As a response to Covid-19 and in a move to relaunch the Italian economy post-pandemic, the Italian Government have recently introduced the fund, aimed at supporting concept development and pre-production of video games, and will cover 50% of eligible expenditures.<br />
|-<br />
|'''Spain'''<br />
|Funding<br />
|[https://creasgr.com/sector-audiovisual-y-cultural Loans to Creative Businesses] <br />
|The Spanish Government provides loans to creative businesses, including video games developers. <br />
|-<br />
|'''Slovakia'''<br />
|Funding<br />
|[https://www.fpu.sk/sk/podpora/1-6-1-tvorba-vydavanie-uvedenie-medziodboroveho-diela/ Arts Support Fund]<br />
|Provides funding for interdisciplinary works, including video games.<br />
|-<br />
|'''Switzerland'''<br />
|Funding<br />
|Interactive Media Fund<br />
|Pro Helvetia, the Swiss Government's arts and cultural body, provides an Interactive Media Fund for game developers.<br />
|-<br />
|}<br />
<br />
== USA ==<br />
<br />
In the USA, most incentives for the games sector are provided at a state-level in an attempt to draw more US businesses away from traditional major development hubs such as California.<br />
<br />
{| class="wikitable sortable"<br />
!Country<br />
!Type<br />
!Name<br />
!Description<br />
|-<br />
|'''US Wide'''<br />
|Funding<br />
|National Endowment for the Arts<br />
|Federal funding programmes are provided by the National Endowment for the Arts.<br />
|-<br />
|'''Alabama'''<br />
|Tax incentive<br />
|[http://www.alabamafilm.org/incentives_faqs.html Alabama Film Incentive]<br />
|Expanded to include games. This is a rebate on qualifying expenditures equal to 25% of state-certified production expenditures (excluding payroll). Total production expenditures must equal or exceed $500,000 but must not exceed $20,000,000. <br />
|-<br />
|'''Arkansas'''<br />
|Tax incentive<br />
|[https://www.arkleg.state.ar.us/Acts/Document?type=pdf&act=816&ddBienniumSession=2009%2FR Arkansas Film Incentive]<br />
|Expanded to include games. 20% rebates, with no cap per production, on all qualifying production and post-production costs associated with a state-certified production. Companies must spend at least $200,000 in a 6-month period in connection with an eligible project. <br />
|-<br />
|'''Connecticut'''<br />
|Tax incentive<br />
|[https://portal.ct.gov/DECD/Content/Film-TV-Digital-Media/02_Learn_About_Tax_Incentives/02-Digital-Media-Motion-Picture-Tax-Credit Digital Media and Motion Picture Tax Credit]<br />
|Provides 10 to 30% tax credit on Connecticut expenditure. The tax credit is expenditure-based: expenses between $100k to $500k results in 10% credit; expenses between $500k and $1million results in 15% credit; and expenses over $1million results in 30% credit. <br />
|-<br />
|'''Georgia'''<br />
|Tax incentive<br />
|[https://www.georgia.org/film-television-and-digital-entertainment Film, TV and Digital Entertainment Tax Credit]<br />
|Provides a 20% tax credit for companies that spend $500,000 or more on production/post-production in Georgia, and an additional 10% tax credit on their base investment if the qualified production includes a qualified Georgia promotion, for a total of up to 30%. <br />
|-<br />
|'''Hawaii'''<br />
|Tax incentive<br />
|[https://filmoffice.hawaii.gov/incentives-tax-credits/ Motion Picture Digital Media & Film Production Tax Credit]<br />
|Provides tax credits of 20% of qualified production costs in counties with a population greater than 700,000, and 25% of qualified production costs in counties with a population of 700,000 or less. Qualified production costs must total at least $200,000.<br />
|-<br />
|'''Louisiana'''<br />
|Tax incentive<br />
|[https://www.louisianaentertainment.gov/interactive/digital-interactive-media-and-software-program Digital Interactive Media and Software Development Incentive]<br />
|Provides a 35% tax credit on qualified payroll for in-state labor and 25% for qualified production expenses. The tax credit is available for a refund of 100% of its value claimed on Louisiana state tax return OR certified applicants can receive 85% of the value earned as a rebate any time during the year.<br />
|-<br />
|'''Nevada'''<br />
|Tax incentive<br />
|[https://nevadafilm.com/tax-incentives/ Transferable Tax Credit For Film And Other Productions]<br />
|Range of incentives available is 12% to 25%. The amount of the tax credit on eligible production costs and on resident wages, salaries, and fringe benefits is 15%. The amount of the tax credit on wages, salaries, and fringe benefits to non-resident above-the-line personnel is 12% . There is also a 5% bonus on the tax credit if more than 50% of the below-the-line personnel are Nevada residents and another 5% if more than 50% of the development was in a rural location.<br />
|-<br />
|'''New Mexico'''<br />
|Tax incentive<br />
|[https://nmpartnership.com/wp-content/uploads/2019/03/New-Mexico-Partnership-Video-Game-Brochure_Final_Web_03_25_2019.pdf Film and Media Tax Credit]<br />
|Provides 25% of all video game production costs <br />
|-<br />
|'''Oregon'''<br />
|Tax incentive<br />
|[https://olis.leg.state.or.us/liz/2016R1/Downloads/MeasureDocument/SB1507/Enrolled Cash Rebate]<br />
|20% cash rebate on production-related goods and services paid to Oregon vendors. A production must directly spend at least US $1million in Oregon to qualify.<br />
|-<br />
|'''Pennsylvania'''<br />
|Tax incentive<br />
|[https://dced.pa.gov/download/video-game-production-tax-credit-vgptc-guidelines/?wpdmdl=83215&refresh=5ec5283715de01589979191 Video Game Production Tax Credit]<br />
|Pennsylvania production expenses must comprise of at least 60% of video games total production expenses. Recipients must place Pennsylvania logo on all packaging material, and include logo & acknowledgement of support in end credits<br />
|-<br />
|'''Puerto Rico'''<br />
|Tax incentive<br />
|[http://puertoricotaxincentives.com/act-27-film-industry-economic-incentives/ Film Industry Economic Incentives]<br />
|Qualifying media projects, including video games, are eligible for a 40% tax credit on all payments to Puerto Rico resident companies and individuals, and a 20% tax credit on payments on all non-resident spending. Projects must spend a minimum of $100,000. <br />
|-<br />
|'''Tennessee'''<br />
|Tax incentive<br />
|[https://www.createtn.com/ent/film/incentives/ Film and TV Incentive Program]<br />
|The program was enhanced in May 2018 to include computer-generated imagery and interactive digital media, as well as stand-alone, post-production musical scoring and editing. Spend a minimum of $200,000 on qualified Tennessee spend, either per episode or per project, you are eligible for a cash rebate in the form of a 25% grant. <br />
|-<br />
|'''Texas'''<br />
|Tax incentive<br />
|[https://gov.texas.gov/film/page/miiip_game Texas Moving Image Industry Incentive Program]<br />
|Qualifying video game projects are eligible to receive a cash grant up to 22.5% of eligible Texas spending. It requires a minimum in-state expenditure of $100,000, 60% of production days completed in Texas, amd 70% of employees and contractors working in Texas must be Texas residents.<br />
|-<br />
|'''Utah'''<br />
|Tax incentive<br />
|[https://film.utah.gov/incentives/ Utah Motion Picture Incentive Program]<br />
|Expanded to include interactive entertainment. Up to 20% tax credit on payroll and in-state spending; this only applies to new state revenue generated by "digital media" companies. Requires to have spent a minimum of $500,000 in Utah.<br />
|-<br />
|'''Virginia'''<br />
|Tax incentive<br />
|[https://www.film.virginia.org/incentives/tax-credit-guidelines/ Virginia Motion Picture Tax Credit Fund]<br />
|Tax credits equal to 15-20% of the production company's qualifying expenses. Must spend a minimum of $250,000 in state, and must also include a reference to Virginia in credits.<br />
|-<br />
|'''Washington'''<br />
|Tax incentive<br />
|[https://app.leg.wa.gov/RCW/default.aspx?cite=43.365.010 Tax Credit]<br />
|Interactive media productions with qualifying costs of at least $500,000 are eligible for tax credits equal to 30% of the company's qualifying expenses. Note: in 2017, this tax incentive was extended for 10 years.<br />
|-<br />
|}<br />
<br />
== Canada ==<br />
<br />
In Canada, screen tax incentives are primarily implemented at the provincial rather than the federal level.<br />
<br />
{| class="wikitable sortable"<br />
!Province<br />
!Type<br />
!Name<br />
!Description<br />
|-<br />
|'''British Columbia'''<br />
|Tax credit<br />
|[https://www2.gov.bc.ca/gov/content/taxes/income-taxes/corporate/credits/interactive-digital-media Interactive Digital Media Tax Credit]<br />
|Provides tax offset of 17.5% of eligible salary costs for video games developers. Applicants must havepermanent establishment in British Columbia. There is an application fee of $1000 to $5000 depending on number of employees.<br />
|-<br />
|'''Manitoba'''<br />
|Tax credit<br />
|[https://www.gov.mb.ca/jec/busdev/financial/midmtc/index.html Interactive Digital Media Tax Credit]<br />
|Tax offset of up to 40% of Manitoba labour costs with a max tax credit of CA$500,000. CA$100,000 in eligible marketing and distribution. For 40%: company must pay 25% of its company salaries to Manitoba residents. For 35%: if a company pays less than 25% of its salaries to Manitoba resident & incurs at least $1m in qualifying Manitoba labour expenses annually. <br />
|-<br />
|'''Newfoundland & Labrador'''<br />
|Tax credit<br />
|[https://www.gov.nl.ca/fin/tax-programs-incentives/business/idmtc/ Interactive Digital Media Tax Credit.]<br />
|Tax offset of 40% for labour directly attributable to interactive digital media products, a max of $2m/year (or $0k per employee per year).<br />
|-<br />
|'''Nova Scotia'''<br />
|Tax credit<br />
|[https://www.novascotia.ca/finance/en/home/taxation/tax101/businesstax/corporateincometax/digitalmediataxcredit.aspx.html Digital Media Tax Credit.]<br />
|Whatever is the lesser of: a tax offset of 50% for labour (plus 10% of expenditure for productions outside metro Halifax zone); OR 25% of expenditure (plus 5% of expenditure outside metro Halifax zone). Up to $100,000 is also provided of marketing and distribution spend.<br />
|-<br />
|'''Ontario'''<br />
|Tax credit<br />
|[https://ontariocreates.ca/tax-incentives/oidmtc Interactive Digital Media Tax Credit.]<br />
|A tax offset of 40% of production costs for game developers (except for 'fee-for-service' developers where a 35% rate applies)<br />
|-<br />
|'''Prince Edward Island'''<br />
|Tax offset<br />
|[http://gameplan.ca/ Video Game Labour Rebate] <br />
|Video Game Labour Rebate. Provides a tax offset for video game developers (rate not specified).<br />
|-<br />
|'''Quebec'''<br />
|Tax credit<br />
|[https://www.investquebec.com/quebec/en/financial-products/smbs-and-large-corporations/tax-credits/production-of-multimedia-titles.html Quebec Production of Multimedia Titles Tax Credit]<br />
|Provides a tax credit of 30% of labour, plus an extra 7.5% if French language.<br />
then based on production expenses up to $3,556 per title.<br />
|-<br />
|}<br />
<br />
== Rest of World ==<br />
<br />
{| class="wikitable sortable"<br />
!Country<br />
!Type<br />
!Name<br />
!Description<br />
|-<br />
|'''New Zealand'''<br />
|Funding<br />
|[https://www.dunedinnz.com/CODE/code-funding New Zealand Centre of Digital Excellence (CODE)]<br />
|Dunedin-based hub, providing various game development funds ranging between NZD $10,000 and $250,000 per project.<br />
|-<br />
|'''New Zealand'''<br />
|Funding<br />
|[https://www.nzfilm.co.nz/funds/whakawhanake-te-ao-niko-interactive-development-fund Whakawhanake Te Ao Niko-Interactive Development Fund]<br />
|Video game development through grants of between NZD $25,000 and $50,000, administered by the New Zealand Film Commission.<br />
|-<br />
|'''Singapore'''<br />
|Funding<br />
|[https://www.imda.gov.sg/-/media/imda/files/industry-development/grants-and-schemes/guidelines-for-production-assistance_games.pdf?la=en Production Assistance (Games) Fund]<br />
|Covers 40% of project expenses, administered by the [https://www.imda.gov.sg/ Infocomm Media Development Authority].<br />
|-<br />
|'''Singapore'''<br />
|Funding<br />
|Development Assistance (Games) Fund<br />
|Covers 70% of expenses, administered by the [https://www.imda.gov.sg/ Infocomm Media Development Authority].<br />
|-<br />
|}</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Global_Games_Development_Incentives&diff=2055Global Games Development Incentives2021-04-01T13:50:27Z<p>UkieGrace: /* Canada */</p>
<hr />
<div>There is a range of incentives for games development across the world, from subsidies to tax breaks. <br />
<br />
== UK ==<br />
<br />
There are several incentives for games businesses in the UK, an outline of which is provided below. For more information, see the main [https://ukie.org.uk/ Ukie website], or dedicated pages on Ukiepedia where listed.<br />
<br />
{| class="wikitable sortable"<br />
!Type<br />
!Name<br />
!Description<br />
|-<br />
|Tax incentive<br />
|[https://ukiepedia.ukie.org.uk/index.php/Video_Games_Tax_Relief_(VGTR) Video Games Tax Relief]<br />
|Provides a cash repayment or tax relief for production expenditure on video game development. Studios can claim up to 20% of qualifying expenditure, that took place in UK or European Economic Area (EEA). For a more detailed overview of qualification, eligibility and economic impact, please see the dedicated Ukiepdeia [https://ukiepedia.ukie.org.uk/index.php/Video_Games_Tax_Relief_(VGTR) '''Video Games Tax Relief'''] page. <br />
|-<br />
|Tax incentive<br />
|[http://www.hmrc.gov.uk/gds/cird/attachments/rdsimpleguide.pdf R&D Tax Relief]<br />
|Incentivising innovation and spending on R&D in many sectors, including games. It either allows qualifying expenditure to be deducted from taxable income or, in the case of loss making companies, a cash rebate to be claimed from HMRC. Cannot be claimed alongside Video Games Tax Relief.<br />
|-<br />
|Tax incentive<br />
|[https://www.gov.uk/guidance/venture-capital-schemes-apply-to-use-the-seed-enterprise-investment-scheme Seed Enterprise Investment Scheme (SEIS)]<br />
|Generally for early-stage businesses. Government approved scheme providing significant tax reliefs to UK tax paying individuals who invest in early stage UK companies by subscribing for shares in such companies.<br />
|-<br />
|Tax incentive<br />
|[https://www.gov.uk/guidance/venture-capital-schemes-apply-for-the-enterprise-investment-scheme Enterprise Investment Scheme (EIS)]<br />
|Generally for more established, growing businesses. Government approved schemes providing significant tax reliefs to UK tax paying individuals who invest in early stage UK companies by subscribing for shares in such companies.<br />
|-<br />
||Funding<br />
|[http://ukgamesfund.com/ UK Games Fund]<br />
|The UK Games Fund provides Government grants to studios to be applied towards the development of a specific game project. Provide grants of up to £25,000 to early stage studios, or up to £15,000 for solo developers.<br />
|-<br />
|Funding<br />
|[https://www.creativeengland.co.uk/ Creative England]<br />
|Creative England is a not-for-profit organisation that provides support for and investment in the UK’s creative industries.<br />
|-<br />
|Funding<br />
|[https://www.gov.uk/government/organisations/innovate-uk Innovate UK]<br />
|UK Government funded innovation agency, providing grants to companies for “technology innovation”. Offers an ever-evolving roster of funding opportunities, covers many sectors, including games. A full list of current funding opportunities [https://apply-for-innovation-funding.service.gov.uk/competition/search can be found here]. <br />
|-<br />
|Funding<br />
|[https://www.northernirelandscreen.co.uk/funding/games-development/ Northern Ireland Screen Fund]<br />
|Northern Ireland Screen is the national screen agency for Northern Ireland, providing between 50-90% of funding for games productions with budgets up to £100,000.<br />
|-<br />
|Funding<br />
|[https://www.northernirelandscreen.co.uk/funding/games-development/ Scottish Enterprise]<br />
|Scottish Enterprise runs a variety of programmes for companies that want to set up in Scotland, with many applicable for games companies.<br />
|-<br />
|}<br />
<br />
If you have any questions about UK-based incentives for games companies, please contact any member of the Ukie team, or email us via [mailto:hello@ukie.org.uk hello@ukie.org.uk].<br />
<br />
== Europe ==<br />
<br />
{| class="wikitable sortable"<br />
!Country<br />
!Type<br />
!Name<br />
!Description<br />
|-<br />
|'''EU Wide'''<br />
|Funding<br />
|[https://www.eacea.ec.europa.eu/select-language?destination=/node/8 Video Game Development Scheme]<br />
|The European Commission provides direct funding of up to 50% of eligible video game development costs throughout Europe.<br />
|-<br />
|'''Belgium'''<br />
|Tax incentive<br />
|[https://www.belgiumfilm.be/film-financing/tax-shelter Film & TV Belgian Tax Shelter]<br />
|Tax Shelter provides additional funding of up to 25-30% of total qualifying expenses in the EEA. Allows finance of up to 40-45% of Belgian-eligible expenses. Spend must be specifically within Belgium. Currently awaiting approval from European Commission. <br />
|-<br />
|'''Denmark'''<br />
|Funding<br />
|[https://www.dfi.dk/en/english/funding/games-and-cross-media Games Scheme]<br />
|Delivered through the Danish Film Institute. The DFI can subsidise concept and project development, as well as the production of Danish games.<br />
|-<br />
|'''Finland'''<br />
|Funding<br />
|[https://www.businessfinland.fi/en/games Business Finland Game Business Funding]<br />
|The Finnish Government provides funding to video game developers. Companies registered in Finland can apply for funding at any time, and they receive support through a grant or a loan.<br />
|-<br />
|'''France'''<br />
|Tax incentive<br />
|[https://www.cnc.fr/web/en/french-videogame-industry_143900 Video Game Tax Credit (CIJV: Crédit d'Impôt Jeux Vidéo)]<br />
|Provides a tax offset of 30% for all eligible expenses incurred. The limit of the receivable tax credit has been increased to 6million. A game deemed 'excessively violent' however, will not benefit. There is also a cultural test involved.<br />
|-<br />
|'''France'''<br />
|Funding<br />
|[https://www.cnc.fr/professionnels/aides-et-financements/jeu-video/fonds-daide-au-jeu-video-fajv_191468 Video Games Support Fund (FAJV: Fonds d'Aide au Jeu Vidéo)]<br />
|The French Government also provides various direct funding programs for video games developers under the Video Games Support Fund (FAJV: Fonds d'Aide au Jeu Vidéo).<br />
|-<br />
|'''Germany'''<br />
|Funding<br />
|[https://www.game.de/en/german-games-funding/ German Games Fund (DGF: Deutscher Games-Fonds)]<br />
|Consists of 50 million EUR available for both prototypes and fully developed games, via the German Government. It is an expenditure-based incentive, with funding of 25% to 50% of total development expenses with 50% provided for prototypes and small productions, and 25% provided to projects valued at over 8 million EUR. <br />
|-<br />
|'''Italy'''<br />
|Funding<br />
|[http://en.iideassociation.com/news/news/italian-government-introduce-the-first-playable-fund.kl First Playable Fund]<br />
|As a response to Covid-19 and in a move to relaunch the Italian economy post-pandemic, the Italian Government have recently introduced the fund, aimed at supporting concept development and pre-production of video games, and will cover 50% of eligible expenditures.<br />
|-<br />
|'''Spain'''<br />
|Funding<br />
|[https://creasgr.com/sector-audiovisual-y-cultural Loans to Creative Businesses] <br />
|The Spanish Government provides loans to creative businesses, including video games developers. <br />
|-<br />
|'''Slovakia'''<br />
|Funding<br />
|[https://www.fpu.sk/sk/podpora/1-6-1-tvorba-vydavanie-uvedenie-medziodboroveho-diela/ Arts Support Fund]<br />
|Provides funding for interdisciplinary works, including video games.<br />
|-<br />
|'''Switzerland'''<br />
|Funding<br />
|Interactive Media Fund<br />
|Pro Helvetia, the Swiss Government's arts and cultural body, provides an Interactive Media Fund for game developers.<br />
|-<br />
|}<br />
<br />
== USA ==<br />
<br />
In the USA, most incentives for the games sector are provided at a state-level in an attempt to draw more US businesses away from traditional major development hubs such as California.<br />
<br />
{| class="wikitable sortable"<br />
!Country<br />
!Type<br />
!Name<br />
!Description<br />
|-<br />
|'''US Wide'''<br />
|Funding<br />
|National Endowment for the Arts<br />
|Federal funding programmes are provided by the National Endowment for the Arts.<br />
|-<br />
|'''Alabama'''<br />
|Tax incentive<br />
|[http://www.alabamafilm.org/incentives_faqs.html Alabama Film Incentive]<br />
|Expanded to include games. This is a rebate on qualifying expenditures equal to 25% of state-certified production expenditures (excluding payroll). Total production expenditures must equal or exceed $500,000 but must not exceed $20,000,000. <br />
|-<br />
|'''Arkansas'''<br />
|Tax incentive<br />
|[https://www.arkleg.state.ar.us/Acts/Document?type=pdf&act=816&ddBienniumSession=2009%2FR Arkansas Film Incentive]<br />
|Expanded to include games. 20% rebates, with no cap per production, on all qualifying production and post-production costs associated with a state-certified production. Companies must spend at least $200,000 in a 6-month period in connection with an eligible project. <br />
|-<br />
|'''Connecticut'''<br />
|Tax incentive<br />
|[https://portal.ct.gov/DECD/Content/Film-TV-Digital-Media/02_Learn_About_Tax_Incentives/02-Digital-Media-Motion-Picture-Tax-Credit Digital Media and Motion Picture Tax Credit]<br />
|Provides 10 to 30% tax credit on Connecticut expenditure. The tax credit is expenditure-based: expenses between $100k to $500k results in 10% credit; expenses between $500k and $1million results in 15% credit; and expenses over $1million results in 30% credit. <br />
|-<br />
|'''Georgia'''<br />
|Tax incentive<br />
|[https://www.georgia.org/film-television-and-digital-entertainment Film, TV and Digital Entertainment Tax Credit]<br />
|Provides a 20% tax credit for companies that spend $500,000 or more on production/post-production in Georgia, and an additional 10% tax credit on their base investment if the qualified production includes a qualified Georgia promotion, for a total of up to 30%. <br />
|-<br />
|'''Hawaii'''<br />
|Tax incentive<br />
|[https://filmoffice.hawaii.gov/incentives-tax-credits/ Motion Picture Digital Media & Film Production Tax Credit]<br />
|Provides tax credits of 20% of qualified production costs in counties with a population greater than 700,000, and 25% of qualified production costs in counties with a population of 700,000 or less. Qualified production costs must total at least $200,000.<br />
|-<br />
|'''Louisiana'''<br />
|Tax incentive<br />
|[https://www.louisianaentertainment.gov/interactive/digital-interactive-media-and-software-program Digital Interactive Media and Software Development Incentive]<br />
|Provides a 35% tax credit on qualified payroll for in-state labor and 25% for qualified production expenses. The tax credit is available for a refund of 100% of its value claimed on Louisiana state tax return OR certified applicants can receive 85% of the value earned as a rebate any time during the year.<br />
|-<br />
|'''Nevada'''<br />
|Tax incentive<br />
|[https://nevadafilm.com/tax-incentives/ Transferable Tax Credit For Film And Other Productions]<br />
|Range of incentives available is 12% to 25%. The amount of the tax credit on eligible production costs and on resident wages, salaries, and fringe benefits is 15%. The amount of the tax credit on wages, salaries, and fringe benefits to non-resident above-the-line personnel is 12% . There is also a 5% bonus on the tax credit if more than 50% of the below-the-line personnel are Nevada residents and another 5% if more than 50% of the development was in a rural location.<br />
|-<br />
|'''New Mexico'''<br />
|Tax incentive<br />
|[https://nmpartnership.com/wp-content/uploads/2019/03/New-Mexico-Partnership-Video-Game-Brochure_Final_Web_03_25_2019.pdf Film and Media Tax Credit]<br />
|Provides 25% of all video game production costs <br />
|-<br />
|'''Oregon'''<br />
|Tax incentive<br />
|[https://olis.leg.state.or.us/liz/2016R1/Downloads/MeasureDocument/SB1507/Enrolled Cash Rebate]<br />
|20% cash rebate on production-related goods and services paid to Oregon vendors. A production must directly spend at least US $1million in Oregon to qualify.<br />
|-<br />
|'''Pennsylvania'''<br />
|Tax incentive<br />
|[https://dced.pa.gov/download/video-game-production-tax-credit-vgptc-guidelines/?wpdmdl=83215&refresh=5ec5283715de01589979191 Video Game Production Tax Credit]<br />
|Pennsylvania production expenses must comprise of at least 60% of video games total production expenses. Recipients must place Pennsylvania logo on all packaging material, and include logo & acknowledgement of support in end credits<br />
|-<br />
|'''Puerto Rico'''<br />
|Tax incentive<br />
|[http://puertoricotaxincentives.com/act-27-film-industry-economic-incentives/ Film Industry Economic Incentives]<br />
|Qualifying media projects, including video games, are eligible for a 40% tax credit on all payments to Puerto Rico resident companies and individuals, and a 20% tax credit on payments on all non-resident spending. Projects must spend a minimum of $100,000. <br />
|-<br />
|'''Tennessee'''<br />
|Tax incentive<br />
|[https://www.createtn.com/ent/film/incentives/ Film and TV Incentive Program]<br />
|The program was enhanced in May 2018 to include computer-generated imagery and interactive digital media, as well as stand-alone, post-production musical scoring and editing. Spend a minimum of $200,000 on qualified Tennessee spend, either per episode or per project, you are eligible for a cash rebate in the form of a 25% grant. <br />
|-<br />
|'''Texas'''<br />
|Tax incentive<br />
|[https://gov.texas.gov/film/page/miiip_game Texas Moving Image Industry Incentive Program]<br />
|Qualifying video game projects are eligible to receive a cash grant up to 22.5% of eligible Texas spending. It requires a minimum in-state expenditure of $100,000, 60% of production days completed in Texas, amd 70% of employees and contractors working in Texas must be Texas residents.<br />
|-<br />
|'''Utah'''<br />
|Tax incentive<br />
|[https://film.utah.gov/incentives/ Utah Motion Picture Incentive Program]<br />
|Expanded to include interactive entertainment. Up to 20% tax credit on payroll and in-state spending; this only applies to new state revenue generated by "digital media" companies. Requires to have spent a minimum of $500,000 in Utah.<br />
|-<br />
|'''Virginia'''<br />
|Tax incentive<br />
|[https://www.film.virginia.org/incentives/tax-credit-guidelines/ Virginia Motion Picture Tax Credit Fund]<br />
|Tax credits equal to 15-20% of the production company's qualifying expenses. Must spend a minimum of $250,000 in state, and must also include a reference to Virginia in credits.<br />
|-<br />
|'''Washington'''<br />
|Tax incentive<br />
|[https://app.leg.wa.gov/RCW/default.aspx?cite=43.365.010 Tax Credit]<br />
|Interactive media productions with qualifying costs of at least $500,000 are eligible for tax credits equal to 30% of the company's qualifying expenses. Note: in 2017, this tax incentive was extended for 10 years.<br />
|-<br />
|}<br />
<br />
== Canada ==<br />
<br />
In Canada, screen tax incentives are primarily implemented at the provincial rather than the federal level.<br />
<br />
{| class="wikitable sortable"<br />
!Type<br />
!Name<br />
!Description<br />
|-<br />
|'''British Columbia'''<br />
|Tax credit<br />
|[https://www2.gov.bc.ca/gov/content/taxes/income-taxes/corporate/credits/interactive-digital-media Interactive Digital Media Tax Credit]<br />
|Provides tax offset of 17.5% of eligible salary costs for video games developers. Applicants must havepermanent establishment in British Columbia. There is an application fee of $1000 to $5000 depending on number of employees.<br />
|-<br />
|'''Manitoba'''<br />
|Tax credit<br />
|[https://www.gov.mb.ca/jec/busdev/financial/midmtc/index.html Interactive Digital Media Tax Credit]<br />
|Tax offset of up to 40% of Manitoba labour costs with a max tax credit of CA$500,000. CA$100,000 in eligible marketing and distribution. For 40%: company must pay 25% of its company salaries to Manitoba residents. For 35%: if a company pays less than 25% of its salaries to Manitoba resident & incurs at least $1m in qualifying Manitoba labour expenses annually. <br />
|-<br />
|'''Newfoundland & Labrador'''<br />
|Tax credit<br />
|[https://www.gov.nl.ca/fin/tax-programs-incentives/business/idmtc/ Interactive Digital Media Tax Credit.]<br />
|Tax offset of 40% for labour directly attributable to interactive digital media products, a max of $2m/year (or $0k per employee per year).<br />
|-<br />
|'''Nova Scotia'''<br />
|Tax credit<br />
|[https://www.novascotia.ca/finance/en/home/taxation/tax101/businesstax/corporateincometax/digitalmediataxcredit.aspx.html Digital Media Tax Credit.]<br />
|Whatever is the lesser of: a tax offset of 50% for labour (plus 10% of expenditure for productions outside metro Halifax zone); OR 25% of expenditure (plus 5% of expenditure outside metro Halifax zone). Up to $100,000 is also provided of marketing and distribution spend.<br />
|-<br />
|'''Ontario'''<br />
|Tax credit<br />
|[https://ontariocreates.ca/tax-incentives/oidmtc Interactive Digital Media Tax Credit.]<br />
|A tax offset of 40% of production costs for game developers (except for 'fee-for-service' developers where a 35% rate applies)<br />
|-<br />
|'''Prince Edward Island'''<br />
|Tax offset<br />
|[http://gameplan.ca/ Video Game Labour Rebate] <br />
|Video Game Labour Rebate. Provides a tax offset for video game developers (rate not specified).<br />
|-<br />
|'''Quebec'''<br />
|Tax credit<br />
|[https://www.investquebec.com/quebec/en/financial-products/smbs-and-large-corporations/tax-credits/production-of-multimedia-titles.html Quebec Production of Multimedia Titles Tax Credit]<br />
|Provides a tax credit of 30% of labour, plus an extra 7.5% if French language.<br />
then based on production expenses up to $3,556 per title.<br />
|-<br />
|}<br />
<br />
== Rest of World ==<br />
<br />
{| class="wikitable sortable"<br />
!Country<br />
!Type<br />
!Name<br />
!Description<br />
|-<br />
|'''New Zealand'''<br />
|Funding<br />
|[https://www.dunedinnz.com/CODE/code-funding New Zealand Centre of Digital Excellence (CODE)]<br />
|Dunedin-based hub, providing various game development funds ranging between NZD $10,000 and $250,000 per project.<br />
|-<br />
|'''New Zealand'''<br />
|Funding<br />
|[https://www.nzfilm.co.nz/funds/whakawhanake-te-ao-niko-interactive-development-fund Whakawhanake Te Ao Niko-Interactive Development Fund]<br />
|Video game development through grants of between NZD $25,000 and $50,000, administered by the New Zealand Film Commission.<br />
|-<br />
|'''Singapore'''<br />
|Funding<br />
|[https://www.imda.gov.sg/-/media/imda/files/industry-development/grants-and-schemes/guidelines-for-production-assistance_games.pdf?la=en Production Assistance (Games) Fund]<br />
|Covers 40% of project expenses, administered by the [https://www.imda.gov.sg/ Infocomm Media Development Authority].<br />
|-<br />
|'''Singapore'''<br />
|Funding<br />
|Development Assistance (Games) Fund<br />
|Covers 70% of expenses, administered by the [https://www.imda.gov.sg/ Infocomm Media Development Authority].<br />
|-<br />
|}</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Global_Games_Development_Incentives&diff=2042Global Games Development Incentives2021-03-31T16:30:03Z<p>UkieGrace: </p>
<hr />
<div>There is a range of incentives for games development across the world, from subsidies to tax breaks. <br />
<br />
== Europe ==<br />
<br />
'''EU-Wide'''<br />
The European Commission provides direct funding of up to 50% of eligible video game development costs throughout Europe via the [https://www.eacea.ec.europa.eu/select-language?destination=/node/8 Video Game Development Scheme].<br />
<br />
'''Belgium'''<br />
* The [https://www.belgiumfilm.be/film-financing/tax-shelter Film & TV Belgian Tax Shelter]. Tax Shelter provides additional funding of up to 25-30% of total qualifying expenses in the EEA. Allows finance of up to 40-45% of Belgian-eligible expenses. Spend must be specifically within Belgium. Currently awaiting approval from European Commission. <br />
<br />
'''Denmark'''<br />
*The[https://www.dfi.dk/en/english/funding/games-and-cross-media Games Scheme], delivered through the Danish Film Institute. The DFI can subsidise concept and project development, as well as the production of Danish games.<br />
<br />
'''Finland'''<br />
*The Finnish Government provides funding to video game developers through the [https://www.businessfinland.fi/en/games Business Finland Game Business Funding]. Companies registered in Finland can apply for funding at any time, and they receive support through a grant or a loan.<br />
<br />
'''France'''<br />
*France has a [https://www.cnc.fr/web/en/french-videogame-industry_143900 Video Game Tax Credit (CIJV: Crédit d'Impôt Jeux Vidéo)] which provides a tax offset of 30% for all eligible expenses incurred. The limit of the receivable tax credit has been increased to 6million. A game deemed 'excessively violent' however, will not benefit. There is also a cultural test involved.<br />
*The French Government also provides various direct funding programs for video games developers under the Video Games Support Fund (FAJV: Fonds d'Aide au Jeu<br />
Vidéo).<br />
<br />
<br />
'''Germany'''<br />
<br />
*The German Government provides the [https://www.game.de/en/german-games-funding/ German Games Fund (DGF: Deutscher Games-Fonds)]. Consists of 50 million EUR available for both prototypes and fully developed games. It is an expenditure-based incentive, with funding of 25% to 50% of total development expenses with 50% provided for prototypes and small productions, and 25% provided to projects valued at over 8 million EUR. <br />
<br />
<br />
'''Italy'''<br />
*As a response to Covid-19 and in a move to relaunch the Italian economy post-pandemic, the Italian Government have recently introduced the [http://en.iideassociation.com/news/news/italian-government-introduce-the-first-playable-fund.kl First Playable Fund]. The fund is aimed at supporting concept development and pre-production of video games, and will cover 50% of eligible expenditures.<br />
<br />
'''Spain'''<br />
*The Spanish Government provides [https://creasgr.com/sector-audiovisual-y-cultural loans to creative businesses] including video games developers. <br />
<br />
'''Slovakia'''<br />
*The [https://www.fpu.sk/sk/podpora/1-6-1-tvorba-vydavanie-uvedenie-medziodboroveho-diela/ Arts Support Fund] provides funding for interdisciplinary works, including video games.<br />
<br />
'''Switzerland'''<br />
* Pro Helvetia, the Swiss Government's arts and cultural body, provides an Interactive Media Fund for game developers.<br />
<br />
== USA ==<br />
<br />
<br />
'''U.S. Wide'''<br />
*Federal funding programmes are provided by the National Endowment for the Arts. Most support however is one state-level in an attempt to draw more US businesses away from traditional major development hubs such as California.<br />
<br />
'''Alabama'''<br />
*[http://www.alabamafilm.org/incentives_faqs.html Alabama Film Incentive] (expanded to include games). This is a rebate on qualifying expenditures equal to 25% of state-certified production expenditures (excluding payroll). Total production expenditures must equal or exceed $500,000 but must not exceed $20,000,000. <br />
<br />
'''Arkansas'''<br />
*[https://www.arkleg.state.ar.us/Acts/Document?type=pdf&act=816&ddBienniumSession=2009%2FR Arkansas Film Incentive (expanded to include games)]<br />
20% rebates, with no cap per production, on all qualifying production and post-production costs associated with a state-certified production. Companies must spend at least $200,000 in a 6-month period in connection with an eligible project. <br />
<br />
'''Connecticut'''<br />
*[https://portal.ct.gov/DECD/Content/Film-TV-Digital-Media/02_Learn_About_Tax_Incentives/02-Digital-Media-Motion-Picture-Tax-Credit Digital Media and Motion Picture Tax Credit] provides <br />
10 to 30% tax credit on Connecticut expenditure. The tax credit is expenditure-based: expenses between $100k to $500k results in 10% credit; expenses between $500k and $1million results in 15% credit; and expenses over $1million results in 30% credit. <br />
<br />
<br />
'''Georgia'''<br />
*[https://www.georgia.org/film-television-and-digital-entertainment Film, TV and Digital Entertainment Tax Credit] provides a <br />
20% tax credit for companies that spend $500,000 or more on production/post-production in Georgia, and an additional 10% tax credit on their base investment if the qualified production includes a qualified Georgia promotion, for a total of up to 30%. <br />
<br />
<br />
'''Hawaii'''<br />
*The [https://filmoffice.hawaii.gov/incentives-tax-credits/ Motion Picture Digital Media & Film Production Tax Credit] provides tax credits of 20% of qualified production costs in counties with a population greater than 700,000, and 25% of qualified production costs in counties with a population of 700,000 or less. Qualified production costs must total at least $200,000.<br />
<br />
'''Louisiana'''<br />
*[https://www.louisianaentertainment.gov/interactive/digital-interactive-media-and-software-program Digital Interactive Media and Software Development Incentiv]e provides a 35% tax credit on qualified payroll for in-state labor and 25% for qualified production expenses. The tax credit is available for a refund of 100% of its value claimed on Louisiana state tax return OR certified applicants can receive 85% of the value earned as a rebate any time during the year.<br />
<br />
<br />
<br />
'''Nevada''' <br />
*[https://nevadafilm.com/tax-incentives/ Range of incentive]s available is 12% to 25%. The amount of the tax credit on eligible production costs and on resident wages, salaries, and fringe benefits is 15%. The amount of the tax credit on wages, salaries, and fringe benefits to non-resident above-the-line personnel is 12% . There is also a 5% bonus on the tax credit if more than 50% of the below-the-line personnel are Nevada residents and another 5% if more than 50% of the development was in a rural location.<br />
<br />
<br />
'''<br />
New Mexico'''<br />
*[https://nmpartnership.com/wp-content/uploads/2019/03/New-Mexico-Partnership-Video-Game-Brochure_Final_Web_03_25_2019.pdf Film and Media Tax Credit] provides 25% of all video game production costs <br />
<br />
<br />
'''Oregon'''<br />
*20% [https://olis.leg.state.or.us/liz/2016R1/Downloads/MeasureDocument/SB1507/Enrolled cash rebate] on production-related goods and services paid to Oregon vendors. A production must directly spend at least US $1million in Oregon to qualify.<br />
<br />
<br />
'''Pennsylvania'''<br />
*"[https://dced.pa.gov/download/video-game-production-tax-credit-vgptc-guidelines/?wpdmdl=83215&refresh=5ec5283715de01589979191 Pennsylvania] production expenses must comprise of at least 60% of video games total production expenses. Recipients must place Pennsylvania logo on all packaging material, and include logo & acknowledgement of support in end credits<br />
<br />
'''Puerto Rico'''<br />
*Qualifying media projects, including video games, are eligible for a [http://puertoricotaxincentives.com/act-27-film-industry-economic-incentives/ 40% tax credit] on all payments to Puerto Rico resident companies and individuals, and a 20% tax credit on payments on all non-resident spending. Projects must spend a minimum of $100,000. <br />
<br />
'''Tennessee'''<br />
*[https://www.createtn.com/ent/film/incentives/ The film and TV incentive program] was enhanced in May 2018 to include computer-generated imagery and interactive digital media, as well as stand-alone, post-production musical scoring and editing. Spend a minimum of $200,000 on qualified Tennessee spend, either per episode or per project, you are eligible for a cash rebate in the form of a 25% grant. <br />
<br />
<br />
'''Texas'''<br />
*[https://gov.texas.gov/film/page/miiip_game Texas Moving Image Industry Incentive Programe]. Qualifying video game projects are eligible to receive a cash grant up to 22.5% of eligible Texas spending. It requires a minimum in-state expenditure of $100,000, 60% of production days completed in Texas, amd 70% of employees and contractors working in Texas must be Texas residents.<br />
<br />
<br />
'''Utah'''<br />
*[https://film.utah.gov/incentives/ Utah Motion Picture Incentive Program] (expanded to include interactive entertainment). Up to 20% tax credit on payroll and in-state spending; this only applies to new state revenue generated by "digital media" companies. Requires to have spent a minimum of $500,000 in Utah.<br />
<br />
<br />
'''Virginia'''<br />
*[https://www.film.virginia.org/incentives/tax-credit-guidelines/ Virginia Motion Picture Tax Credit Fund.] Tax credits equal to 15-20% of the production company's qualifying expenses. Must spend a minimum of $250,000 in state, and must also include a reference to Virginia in credits.<br />
<br />
<br />
'''Washington'''<br />
*[https://app.leg.wa.gov/RCW/default.aspx?cite=43.365.010 Interactive media productions] with qualifying costs of at least $500,000 are eligible for tax credits equal to 30% of the company's qualifying expenses. Note: in 2017, this tax incentive was extended for 10 years. <br />
<br />
<br />
<br />
== Canada ==<br />
<br />
In Canada, screen tax incentives are primarily implemented at the provincial rather than the federal level.<br />
<br />
{| class="wikitable"<br />
|'''Country'''<br />
|'''Type'''<br />
|'''Benefits'''<br />
|'''Criteria'''<br />
|'''Notes / Limitations'''<br />
|-<br />
|'''[https://www2.gov.bc.ca/gov/content/taxes/income-taxes/corporate/credits/interactive-digital-media British Columbia]'''<br />
|Tax credit<br />
|Interactive Digital Media Tax Credit. 17.5% of eligible salary and wages incurred in the tax year.<br />
|Taxable Canadian corporation with permanent establishment in British Columbia.<br />
|Application fee of $1000 to $5000 depending on number of employees.<br />
|-<br />
|'''[https://www.gov.mb.ca/jec/busdev/financial/midmtc/index.html Manitoba]'''<br />
|Tax credit<br />
|Interactive Digital Media Tax Credit. 40% of Manitoba labour costs with a max tax credit of CA$500,000. CA$100,000 in eligible marketing and distribution.<br />
|For 40%: company must pay 25% of its company salaries to Manitoba residents. For 35%: if a company pays less than 25% of its salaries to Manitoba resident & incurs at least $1m in qualifying Manitoba labour expenses annually. <br />
|<br />
|-<br />
|'''[https://www.gov.nl.ca/fin/tax-programs-incentives/business/idmtc/ Newfoundland & Labrador]'''<br />
|Tax credit<br />
|Interactive Digital Media Tax Credit. 40% of labour directly attributable to interactive digital media products, a max of $2m/year (or $0k per employee per year).<br />
| <br />
|<br />
|-<br />
|'''[https://www.novascotia.ca/finance/en/home/taxation/tax101/businesstax/corporateincometax/digitalmediataxcredit.aspx.html Nova Scotia]'''<br />
|Tax credit<br />
|Digital Media Tax Credit. Whatever is the lesser of 50% of labour (plus 10% of expenditure for productions outside metro Halifax zone); OR 25% of expenditure (plus 5% of expenditure outside metro Halifax zone). Up to $100,000 of marketing and distribution spend<br />
|Permanent establishment in Nova Scotia.<br />
|<br />
|-<br />
|'''[https://ontariocreates.ca/tax-incentives/oidmtc Ontario]'''<br />
|Tax credit<br />
|Interactive Digital Media Tax Credit. 40% of labour, no cap. Up to $100,000 for marketing and distribution OR for Larger gama+C12e companies: 35% of labour, no cap, no need to meet 80/25 criteria.<br />
|80/25 rule - 25% of 25% of the total development labour to create the product must be attributable to eligible wages of employees of the qualifying corporation. Also 80% of the total development labour to create the product must be attributable to eligible wages and eligible remuneration paid to individuals, personal corporations, or sole proprietorships that do not have employees.<br />
|<br />
|-<br />
|'''[http://gameplan.ca/ Prince Edward Island]'''<br />
|Tax offset<br />
|Video Game Labour Rebate. Provides a tax offset for video game developers (rate not specified).<br />
|<br />
|<br />
|-<br />
|'''[https://www.investquebec.com/quebec/en/financial-products/smbs-and-large-corporations/tax-credits/production-of-multimedia-titles.html Quebec]'''<br />
|Tax credit<br />
|Quebec Production of Multimedia Titles Tax Credit. 30% of labour, plus 7.5% if French language.<br />
|<br />
|Application fees: Initial Qualification Certificate is $118. Annual application then based on production expenses up to $3,556 per title.<br />
|-<br />
|}</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Global_Games_Development_Incentives&diff=2041Global Games Development Incentives2021-03-31T16:27:58Z<p>UkieGrace: </p>
<hr />
<div>There is a range of incentives for games development across the world, from subsidies to tax breaks. <br />
<br />
== Europe ==<br />
<br />
'''EU-Wide'''<br />
The European Commission provides direct funding of up to 50% of eligible video game development costs throughout Europe via the [https://www.eacea.ec.europa.eu/select-language?destination=/node/8 Video Game Development Scheme].<br />
<br />
'''Belgium'''<br />
* The [https://www.belgiumfilm.be/film-financing/tax-shelter Film & TV Belgian Tax Shelter]. Tax Shelter provides additional funding of up to 25-30% of total qualifying expenses in the EEA. Allows finance of up to 40-45% of Belgian-eligible expenses. Spend must be specifically within Belgium. Currently awaiting approval from European Commission. <br />
<br />
'''Denmark'''<br />
*The[https://www.dfi.dk/en/english/funding/games-and-cross-media Games Scheme], delivered through the Danish Film Institute. The DFI can subsidise concept and project development, as well as the production of Danish games.<br />
<br />
'''Finland'''<br />
*The Finnish Government provides funding to video game developers through the [https://www.businessfinland.fi/en/games Business Finland Game Business Funding]. Companies registered in Finland can apply for funding at any time, and they receive support through a grant or a loan.<br />
<br />
'''France'''<br />
*France has a [https://www.cnc.fr/web/en/french-videogame-industry_143900 Video Game Tax Credit (CIJV: Crédit<br />
d'Impôt Jeux Vidéo)] which provides a tax offset of 30% for all eligible expenses incurred. The limit of the receivable tax credit has been increased to 6million. A game deemed 'excessively violent' however, will not benefit. There is also a cultural test involved.<br />
*The French Government also provides various direct funding programs for video games developers under the Video Games Support Fund (FAJV: Fonds d'Aide au Jeu<br />
Vidéo).<br />
<br />
<br />
'''Germany'''<br />
<br />
*The German Government provides the [https://www.game.de/en/german-games-funding/ German Games Fund (DGF: Deutscher Games-Fonds)]. Consists of 50 million EUR available for both prototypes and fully developed games. It is an expenditure-based incentive, with funding of 25% to 50% of total development expenses with 50% provided for prototypes and small productions, and 25% provided to projects valued at over 8 million EUR. <br />
<br />
<br />
'''Italy'''<br />
*As a response to Covid-19 and in a move to relaunch the Italian economy post-pandemic, the Italian Government have recently introduced the [http://en.iideassociation.com/news/news/italian-government-introduce-the-first-playable-fund.kl First Playable Fund]. The fund is aimed at supporting concept development and pre-production of video games, and will cover 50% of eligible expenditures.<br />
<br />
'''Spain'''<br />
*The Spanish Government provides [https://creasgr.com/sector-audiovisual-y-cultural loans to creative businesses] including video games developers. <br />
<br />
'''Slovakia'''<br />
*The [https://www.fpu.sk/sk/podpora/1-6-1-tvorba-vydavanie-uvedenie-medziodboroveho-diela/ Arts Support Fund] provides funding for interdisciplinary works, including video games.<br />
<br />
'''Switzerland'''<br />
* Pro Helvetia, the Swiss Government's arts and cultural body, provides an Interactive Media Fund for game developers.<br />
<br />
== USA ==<br />
<br />
<br />
'''U.S. Wide'''<br />
*Federal funding programmes are provided by the National Endowment for the Arts. Most support however is one state-level in an attempt to draw more US businesses away from traditional major development hubs such as California.<br />
<br />
'''Alabama'''<br />
*[http://www.alabamafilm.org/incentives_faqs.html Alabama Film Incentive] (expanded to include games). This is a rebate on qualifying expenditures equal to 25% of state-certified production expenditures (excluding payroll). Total production expenditures must equal or exceed $500,000 but must not exceed $20,000,000. <br />
<br />
'''Arkansas'''<br />
*[https://www.arkleg.state.ar.us/Acts/Document?type=pdf&act=816&ddBienniumSession=2009%2FR Arkansas Film Incentive (expanded to include games)]<br />
20% rebates, with no cap per production, on all qualifying production and post-production costs associated with a state-certified production. Companies must spend at least $200,000 in a 6-month period in connection with an eligible project. <br />
<br />
'''Connecticut'''<br />
*[https://portal.ct.gov/DECD/Content/Film-TV-Digital-Media/02_Learn_About_Tax_Incentives/02-Digital-Media-Motion-Picture-Tax-Credit Digital Media and Motion Picture Tax Credit] provides <br />
10 to 30% tax credit on Connecticut expenditure. The tax credit is expenditure-based: expenses between $100k to $500k results in 10% credit; expenses between $500k and $1million results in 15% credit; and expenses over $1million results in 30% credit. <br />
<br />
<br />
'''Georgia'''<br />
*[https://www.georgia.org/film-television-and-digital-entertainment Film, TV and Digital Entertainment Tax Credit] provides a <br />
20% tax credit for companies that spend $500,000 or more on production/post-production in Georgia, and an additional 10% tax credit on their base investment if the qualified production includes a qualified Georgia promotion, for a total of up to 30%. <br />
<br />
<br />
'''Hawaii'''<br />
*The [https://filmoffice.hawaii.gov/incentives-tax-credits/ Motion Picture Digital Media & Film Production Tax Credit] provides tax credits of 20% of qualified production costs in counties with a population greater than 700,000, and 25% of qualified production costs in counties with a population of 700,000 or less. Qualified production costs must total at least $200,000.<br />
<br />
'''Louisiana'''<br />
*[https://www.louisianaentertainment.gov/interactive/digital-interactive-media-and-software-program Digital Interactive Media and Software Development Incentiv]e provides a 35% tax credit on qualified payroll for in-state labor and 25% for qualified production expenses. The tax credit is available for a refund of 100% of its value claimed on Louisiana state tax return OR certified applicants can receive 85% of the value earned as a rebate any time during the year.<br />
<br />
<br />
<br />
'''Nevada''' <br />
*[https://nevadafilm.com/tax-incentives/ Range of incentive]s available is 12% to 25%. The amount of the tax credit on eligible production costs and on resident wages, salaries, and fringe benefits is 15%. The amount of the tax credit on wages, salaries, and fringe benefits to non-resident above-the-line personnel is 12% . There is also a 5% bonus on the tax credit if more than 50% of the below-the-line personnel are Nevada residents and another 5% if more than 50% of the development was in a rural location.<br />
<br />
<br />
'''<br />
New Mexico'''<br />
*[https://nmpartnership.com/wp-content/uploads/2019/03/New-Mexico-Partnership-Video-Game-Brochure_Final_Web_03_25_2019.pdf Film and Media Tax Credit] provides 25% of all video game production costs <br />
<br />
<br />
'''Oregon'''<br />
*20% [https://olis.leg.state.or.us/liz/2016R1/Downloads/MeasureDocument/SB1507/Enrolled cash rebate] on production-related goods and services paid to Oregon vendors. A production must directly spend at least US $1million in Oregon to qualify.<br />
<br />
<br />
'''Pennsylvania'''<br />
*"[https://dced.pa.gov/download/video-game-production-tax-credit-vgptc-guidelines/?wpdmdl=83215&refresh=5ec5283715de01589979191 Pennsylvania] production expenses must comprise of at least 60% of video games total production expenses. Recipients must place Pennsylvania logo on all packaging material, and include logo & acknowledgement of support in end credits<br />
<br />
'''Puerto Rico'''<br />
*Qualifying media projects, including video games, are eligible for a [http://puertoricotaxincentives.com/act-27-film-industry-economic-incentives/ 40% tax credit] on all payments to Puerto Rico resident companies and individuals, and a 20% tax credit on payments on all non-resident spending. Projects must spend a minimum of $100,000. <br />
<br />
'''Tennessee'''<br />
*[https://www.createtn.com/ent/film/incentives/ The film and TV incentive program] was enhanced in May 2018 to include computer-generated imagery and interactive digital media, as well as stand-alone, post-production musical scoring and editing. Spend a minimum of $200,000 on qualified Tennessee spend, either per episode or per project, you are eligible for a cash rebate in the form of a 25% grant. <br />
<br />
<br />
'''Texas'''<br />
*[https://gov.texas.gov/film/page/miiip_game Texas Moving Image Industry Incentive Programe]. Qualifying video game projects are eligible to receive a cash grant up to 22.5% of eligible Texas spending. It requires a minimum in-state expenditure of $100,000, 60% of production days completed in Texas, amd 70% of employees and contractors working in Texas must be Texas residents.<br />
<br />
<br />
'''Utah'''<br />
*[https://film.utah.gov/incentives/ Utah Motion Picture Incentive Program] (expanded to include interactive entertainment). Up to 20% tax credit on payroll and in-state spending; this only applies to new state revenue generated by "digital media" companies. Requires to have spent a minimum of $500,000 in Utah.<br />
<br />
<br />
'''Virginia'''<br />
*[https://www.film.virginia.org/incentives/tax-credit-guidelines/ Virginia Motion Picture Tax Credit Fund.] Tax credits equal to 15-20% of the production company's qualifying expenses. Must spend a minimum of $250,000 in state, and must also include a reference to Virginia in credits.<br />
<br />
<br />
'''Washington'''<br />
*[https://app.leg.wa.gov/RCW/default.aspx?cite=43.365.010 Interactive media productions] with qualifying costs of at least $500,000 are eligible for tax credits equal to 30% of the company's qualifying expenses. Note: in 2017, this tax incentive was extended for 10 years. <br />
<br />
<br />
<br />
== Canada ==<br />
<br />
In Canada, screen tax incentives are primarily implemented at the provincial rather than the federal level.<br />
<br />
{| class="wikitable"<br />
|'''Country'''<br />
|'''Type'''<br />
|'''Benefits'''<br />
|'''Criteria'''<br />
|'''Notes / Limitations'''<br />
|-<br />
|'''[https://www2.gov.bc.ca/gov/content/taxes/income-taxes/corporate/credits/interactive-digital-media British Columbia]'''<br />
|Tax credit<br />
|Interactive Digital Media Tax Credit. 17.5% of eligible salary and wages incurred in the tax year.<br />
|Taxable Canadian corporation with permanent establishment in British Columbia.<br />
|Application fee of $1000 to $5000 depending on number of employees.<br />
|-<br />
|'''[https://www.gov.mb.ca/jec/busdev/financial/midmtc/index.html Manitoba]'''<br />
|Tax credit<br />
|Interactive Digital Media Tax Credit. 40% of Manitoba labour costs with a max tax credit of CA$500,000. CA$100,000 in eligible marketing and distribution.<br />
|For 40%: company must pay 25% of its company salaries to Manitoba residents. For 35%: if a company pays less than 25% of its salaries to Manitoba resident & incurs at least $1m in qualifying Manitoba labour expenses annually. <br />
|<br />
|-<br />
|'''[https://www.gov.nl.ca/fin/tax-programs-incentives/business/idmtc/ Newfoundland & Labrador]'''<br />
|Tax credit<br />
|Interactive Digital Media Tax Credit. 40% of labour directly attributable to interactive digital media products, a max of $2m/year (or $0k per employee per year).<br />
| <br />
|<br />
|-<br />
|'''[https://www.novascotia.ca/finance/en/home/taxation/tax101/businesstax/corporateincometax/digitalmediataxcredit.aspx.html Nova Scotia]'''<br />
|Tax credit<br />
|Digital Media Tax Credit. Whatever is the lesser of 50% of labour (plus 10% of expenditure for productions outside metro Halifax zone); OR 25% of expenditure (plus 5% of expenditure outside metro Halifax zone). Up to $100,000 of marketing and distribution spend<br />
|Permanent establishment in Nova Scotia.<br />
|<br />
|-<br />
|'''[https://ontariocreates.ca/tax-incentives/oidmtc Ontario]'''<br />
|Tax credit<br />
|Interactive Digital Media Tax Credit. 40% of labour, no cap. Up to $100,000 for marketing and distribution OR for Larger gama+C12e companies: 35% of labour, no cap, no need to meet 80/25 criteria.<br />
|80/25 rule - 25% of 25% of the total development labour to create the product must be attributable to eligible wages of employees of the qualifying corporation. Also 80% of the total development labour to create the product must be attributable to eligible wages and eligible remuneration paid to individuals, personal corporations, or sole proprietorships that do not have employees.<br />
|<br />
|-<br />
|'''[http://gameplan.ca/ Prince Edward Island]'''<br />
|Tax offset<br />
|Video Game Labour Rebate. Provides a tax offset for video game developers (rate not specified).<br />
|<br />
|<br />
|-<br />
|'''[https://www.investquebec.com/quebec/en/financial-products/smbs-and-large-corporations/tax-credits/production-of-multimedia-titles.html Quebec]'''<br />
|Tax credit<br />
|Quebec Production of Multimedia Titles Tax Credit. 30% of labour, plus 7.5% if French language.<br />
|<br />
|Application fees: Initial Qualification Certificate is $118. Annual application then based on production expenses up to $3,556 per title.<br />
|-<br />
|}</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1295List of Ukie Board Members Over Time2019-07-16T13:43:03Z<p>UkieGrace: /* 2013 */</p>
<hr />
<div>== 2018 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katharine Bidwell<br />
|<br />
|Co-Founder<br />
|State Of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Sean Brennan<br />
|<br />
|European Managing Director<br />
|ZeniMax Bethesda<br />
|-<br />
|Helen Burnill<br />
|<br />
|Commercial Director<br />
|Mediatonic<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|EVP <br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|MD <br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive<br />
|-<br />
|Andy Davis<br />
|<br />
|Commercial Director<br />
|CE Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Director<br />
|Microsoft<br />
|-<br />
|Veronique Lallier<br />
|<br />
|MD<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|VP<br />
|Sony Interactive Entertainment<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director <br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|VP<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|-<br />
|Miles Jacobson<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|}<br />
<br />
== 2017 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President, Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Xbox UK Marketing Director<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|-<br />
|Veronique Lallier<br />
|<br />
|European Managing Director<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director<br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|}<br />
<br />
== 2016 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Andy Payne OBE<br />
|Treasurer<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Dave Gould<br />
|<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer and Corporate Secretary <br />
|King<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helena Santos<br />
|<br />
|Lead Programmer<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2015 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chair<br />
|MD<br />
|Mastertronic<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Vice Chair<br />
|Playmob<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer & Corporate Secretary <br />
|King<br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helana Santos<br />
|<br />
|Co-Founder<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK & Ireland, Benelux<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|<br />
|Vice Chairman<br />
|Playmob<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1294List of Ukie Board Members Over Time2019-07-16T13:42:37Z<p>UkieGrace: /* 2014 */</p>
<hr />
<div>== 2018 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katharine Bidwell<br />
|<br />
|Co-Founder<br />
|State Of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Sean Brennan<br />
|<br />
|European Managing Director<br />
|ZeniMax Bethesda<br />
|-<br />
|Helen Burnill<br />
|<br />
|Commercial Director<br />
|Mediatonic<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|EVP <br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|MD <br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive<br />
|-<br />
|Andy Davis<br />
|<br />
|Commercial Director<br />
|CE Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Director<br />
|Microsoft<br />
|-<br />
|Veronique Lallier<br />
|<br />
|MD<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|VP<br />
|Sony Interactive Entertainment<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director <br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|VP<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|-<br />
|Miles Jacobson<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|}<br />
<br />
== 2017 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President, Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Xbox UK Marketing Director<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|-<br />
|Veronique Lallier<br />
|<br />
|European Managing Director<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director<br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|}<br />
<br />
== 2016 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Andy Payne OBE<br />
|Treasurer<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Dave Gould<br />
|<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer and Corporate Secretary <br />
|King<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helena Santos<br />
|<br />
|Lead Programmer<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2015 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chair<br />
|MD<br />
|Mastertronic<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Vice Chair<br />
|Playmob<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer & Corporate Secretary <br />
|King<br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helana Santos<br />
|<br />
|Co-Founder<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK & Ireland, Benelux<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|<br />
|Vice Chairman<br />
|Playmob<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1293List of Ukie Board Members Over Time2019-07-16T13:41:09Z<p>UkieGrace: /* 2015 */</p>
<hr />
<div>== 2018 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katharine Bidwell<br />
|<br />
|Co-Founder<br />
|State Of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Sean Brennan<br />
|<br />
|European Managing Director<br />
|ZeniMax Bethesda<br />
|-<br />
|Helen Burnill<br />
|<br />
|Commercial Director<br />
|Mediatonic<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|EVP <br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|MD <br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive<br />
|-<br />
|Andy Davis<br />
|<br />
|Commercial Director<br />
|CE Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Director<br />
|Microsoft<br />
|-<br />
|Veronique Lallier<br />
|<br />
|MD<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|VP<br />
|Sony Interactive Entertainment<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director <br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|VP<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|-<br />
|Miles Jacobson<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|}<br />
<br />
== 2017 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President, Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Xbox UK Marketing Director<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|-<br />
|Veronique Lallier<br />
|<br />
|European Managing Director<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director<br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|}<br />
<br />
== 2016 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Andy Payne OBE<br />
|Treasurer<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Dave Gould<br />
|<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer and Corporate Secretary <br />
|King<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helena Santos<br />
|<br />
|Lead Programmer<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2015 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chair<br />
|MD<br />
|Mastertronic<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Vice Chair<br />
|Playmob<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer & Corporate Secretary <br />
|King<br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helana Santos<br />
|<br />
|Co-Founder<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK & Ireland, Benelux<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1292List of Ukie Board Members Over Time2019-07-16T13:38:05Z<p>UkieGrace: /* 2016 */</p>
<hr />
<div>== 2018 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katharine Bidwell<br />
|<br />
|Co-Founder<br />
|State Of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Sean Brennan<br />
|<br />
|European Managing Director<br />
|ZeniMax Bethesda<br />
|-<br />
|Helen Burnill<br />
|<br />
|Commercial Director<br />
|Mediatonic<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|EVP <br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|MD <br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive<br />
|-<br />
|Andy Davis<br />
|<br />
|Commercial Director<br />
|CE Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Director<br />
|Microsoft<br />
|-<br />
|Veronique Lallier<br />
|<br />
|MD<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|VP<br />
|Sony Interactive Entertainment<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director <br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|VP<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|-<br />
|Miles Jacobson<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|}<br />
<br />
== 2017 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President, Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Xbox UK Marketing Director<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|-<br />
|Veronique Lallier<br />
|<br />
|European Managing Director<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director<br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|}<br />
<br />
== 2016 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Andy Payne OBE<br />
|Treasurer<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Dave Gould<br />
|<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer and Corporate Secretary <br />
|King<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helena Santos<br />
|<br />
|Lead Programmer<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2015 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer & Corporate Secretary <br />
|King<br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helana Santos<br />
|<br />
|Co-Founder<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK & Ireland, Benelux<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1291List of Ukie Board Members Over Time2019-07-16T13:36:21Z<p>UkieGrace: /* 2017 */</p>
<hr />
<div>== 2018 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katharine Bidwell<br />
|<br />
|Co-Founder<br />
|State Of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Sean Brennan<br />
|<br />
|European Managing Director<br />
|ZeniMax Bethesda<br />
|-<br />
|Helen Burnill<br />
|<br />
|Commercial Director<br />
|Mediatonic<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|EVP <br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|MD <br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive<br />
|-<br />
|Andy Davis<br />
|<br />
|Commercial Director<br />
|CE Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Director<br />
|Microsoft<br />
|-<br />
|Veronique Lallier<br />
|<br />
|MD<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|VP<br />
|Sony Interactive Entertainment<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director <br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|VP<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|-<br />
|Miles Jacobson<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|}<br />
<br />
== 2017 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President, Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Xbox UK Marketing Director<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|-<br />
|Veronique Lallier<br />
|<br />
|European Managing Director<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director<br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|}<br />
<br />
== 2016 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Andy Payne OBE<br />
|Treasurer<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Dave Gould<br />
|<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer and Corporate Secretary <br />
|King<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helena Santos<br />
|<br />
|Lead Programmer<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2015 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer & Corporate Secretary <br />
|King<br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helana Santos<br />
|<br />
|Co-Founder<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK & Ireland, Benelux<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1290List of Ukie Board Members Over Time2019-07-16T13:33:30Z<p>UkieGrace: /* 2018 */</p>
<hr />
<div>== 2018 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Chairman<br />
|Playmob<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katharine Bidwell<br />
|<br />
|Co-Founder<br />
|State Of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Sean Brennan<br />
|<br />
|European Managing Director<br />
|ZeniMax Bethesda<br />
|-<br />
|Helen Burnill<br />
|<br />
|Commercial Director<br />
|Mediatonic<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|EVP <br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|MD <br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive<br />
|-<br />
|Andy Davis<br />
|<br />
|Commercial Director<br />
|CE Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Director<br />
|Microsoft<br />
|-<br />
|Veronique Lallier<br />
|<br />
|MD<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|VP<br />
|Sony Interactive Entertainment<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director <br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|VP<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|-<br />
|Miles Jacobson<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|}<br />
<br />
== 2017 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President, Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Xbox UK Marketing Director<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|-<br />
|Veronique Lallier<br />
|<br />
|European Managing Director<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director<br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|}<br />
<br />
== 2016 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Andy Payne OBE<br />
|Treasurer<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Dave Gould<br />
|<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer and Corporate Secretary <br />
|King<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helena Santos<br />
|<br />
|Lead Programmer<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2015 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer & Corporate Secretary <br />
|King<br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helana Santos<br />
|<br />
|Co-Founder<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK & Ireland, Benelux<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1288List of Ukie Board Members Over Time2019-07-16T12:20:51Z<p>UkieGrace: /* 2018 */</p>
<hr />
<div>== 2018 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katharine Bidwell<br />
|<br />
|Co-Founder<br />
|State Of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Sean Brennan<br />
|<br />
|European Managing Director<br />
|ZeniMax Bethesda<br />
|-<br />
|Helen Burnill<br />
|<br />
|Commercial Director<br />
|Mediatonic<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|EVP <br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|MD <br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive<br />
|-<br />
|Andy Davis<br />
|<br />
|Commercial Director<br />
|CE Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Director<br />
|Microsoft<br />
|-<br />
|Veronique Lallier<br />
|<br />
|MD<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|VP<br />
|Sony Interactive Entertainment<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director <br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|VP<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|-<br />
|Miles Jacobson<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|}<br />
<br />
== 2017 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President, Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Xbox UK Marketing Director<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|-<br />
|Veronique Lallier<br />
|<br />
|European Managing Director<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director<br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|}<br />
<br />
== 2016 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Andy Payne OBE<br />
|Treasurer<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Dave Gould<br />
|<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer and Corporate Secretary <br />
|King<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helena Santos<br />
|<br />
|Lead Programmer<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2015 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer & Corporate Secretary <br />
|King<br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helana Santos<br />
|<br />
|Co-Founder<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK & Ireland, Benelux<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Sutdio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1287List of Ukie Board Members Over Time2019-07-16T12:20:33Z<p>UkieGrace: /* 2018 */</p>
<hr />
<div>== 2018 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katharine Bidwell<br />
|<br />
|Co-Founder<br />
|State Of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Sean Brennan<br />
|<br />
|European Managing Director<br />
|ZeniMax Bethesda<br />
|-<br />
|Helen Burnill<br />
|<br />
|Commercial Director<br />
|Mediatonic<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|EVP <br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|MD <br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive<br />
|-<br />
|Andy Davis<br />
|<br />
|Commercial Director<br />
|CE Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Director<br />
|Microsoft<br />
|-<br />
|Veronique Lallier<br />
|<br />
|MD<br />
|Hi-Rez Sutdios<br />
|-<br />
|Warwick Light<br />
|<br />
|VP<br />
|Sony Interactive Entertainment<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director <br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|VP<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|-<br />
|Miles Jacobson<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|}<br />
<br />
== 2017 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President, Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Xbox UK Marketing Director<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|-<br />
|Veronique Lallier<br />
|<br />
|European Managing Director<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director<br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|}<br />
<br />
== 2016 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Andy Payne OBE<br />
|Treasurer<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Dave Gould<br />
|<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer and Corporate Secretary <br />
|King<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helena Santos<br />
|<br />
|Lead Programmer<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2015 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer & Corporate Secretary <br />
|King<br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helana Santos<br />
|<br />
|Co-Founder<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK & Ireland, Benelux<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Sutdio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1286List of Ukie Board Members Over Time2019-07-16T12:13:29Z<p>UkieGrace: /* 2017 */</p>
<hr />
<div>== 2018 ==<br />
<br />
== 2017 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Dave Gould<br />
|Treasurer<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President, Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Harvey Eagle<br />
|<br />
|Xbox UK Marketing Director<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive<br />
|-<br />
|Veronique Lallier<br />
|<br />
|European Managing Director<br />
|Hi-Rez Studios<br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Phil Mansell<br />
|<br />
|CEO<br />
|Jagex<br />
|-<br />
|Andy Payne OBE<br />
|<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Director<br />
|Rocket Lolly Games<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Tim Woodley<br />
|<br />
|SVP Global Brand & Marketing<br />
|505 Games<br />
|}<br />
<br />
== 2016 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Andy Payne OBE<br />
|Treasurer<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Dave Gould<br />
|<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer and Corporate Secretary <br />
|King<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helena Santos<br />
|<br />
|Lead Programmer<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2015 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer & Corporate Secretary <br />
|King<br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helana Santos<br />
|<br />
|Co-Founder<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK & Ireland, Benelux<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Sutdio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1285List of Ukie Board Members Over Time2019-07-16T12:03:03Z<p>UkieGrace: /* 2016 */</p>
<hr />
<div>== 2018 ==<br />
<br />
== 2017 ==<br />
<br />
== 2016 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Noirin Carmody<br />
|Chair<br />
|Co-Founder and COO<br />
|Revolution Software<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chair<br />
|Life President<br />
|Eidos<br />
|-<br />
|Andy Payne OBE<br />
|Treasurer<br />
|CEO<br />
|AppyNation<br />
|-<br />
|Simon Barratt<br />
|<br />
|Director<br />
|Barog Game Labs<br />
|-<br />
|Katherine Bidwell<br />
|<br />
|Co-Founder<br />
|State of Play Games<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|Dave Gould<br />
|<br />
|Senior Director of Sales UK & Export<br />
|Take 2 Interactive<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Warwick Light<br />
|<br />
|UK Managing Director and Vice President<br />
|Sony Interactive Entertainment Europe<br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer and Corporate Secretary <br />
|King<br />
|-<br />
|Kirsty Rigden<br />
|<br />
|Operations Director<br />
|FuturLab<br />
|-<br />
|Ella Romanos<br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helena Santos<br />
|<br />
|Lead Programmer<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK, Ireland & Benelux<br />
|Activision Blizzard<br />
|-<br />
|Dr Jo Twist OBE<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2015 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer & Corporate Secretary <br />
|King<br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helana Santos<br />
|<br />
|Co-Founder<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK & Ireland, Benelux<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Sutdio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1284List of Ukie Board Members Over Time2019-07-16T11:55:11Z<p>UkieGrace: /* 2015 */</p>
<hr />
<div>== 2018 ==<br />
<br />
== 2017 ==<br />
<br />
== 2016 ==<br />
<br />
== 2015 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Shaun Campbell<br />
|<br />
|UK Country Manager<br />
|Electronic Arts<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Stuart Disney<br />
|<br />
|Chairman<br />
|Curve Digital<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Rob Miller<br />
|<br />
|Chief Legal Officer & Corporate Secretary <br />
|King<br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Helana Santos<br />
|<br />
|Co-Founder<br />
|Modern Dream<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|Vice President - UK & Ireland, Benelux<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|}<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Sutdio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1283List of Ukie Board Members Over Time2019-07-16T11:48:13Z<p>UkieGrace: /* 2014 */</p>
<hr />
<div>== 2018 ==<br />
<br />
== 2017 ==<br />
<br />
== 2016 ==<br />
<br />
== 2015 ==<br />
<br />
== 2014 ==<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Simon Barratt<br />
|<br />
|Managing Director & Owner<br />
|Four Door Lemon<br />
|-<br />
|Neil Boyd<br />
|<br />
|European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|James Brooksby<br />
|<br />
|CEO<br />
|Born Ready Games<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Senior Vice President Commercial Publishing<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Studio Director<br />
|Sports Interactive <br />
|-<br />
|Ella Romanos <br />
|<br />
|Commercial Director<br />
|Strike Gamelabs<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President EU Major Markets<br />
|Electronic Arts<br />
|-<br />
|Roy Stackhouse<br />
|<br />
|General Manager UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Tom Stone<br />
|<br />
|Managing Director<br />
|TT Games Publishing<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO & Founder<br />
|MakieLab<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Sutdio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1282List of Ukie Board Members Over Time2019-07-16T11:41:56Z<p>UkieGrace: /* 2013 */</p>
<hr />
<div>== 2018 ==<br />
<br />
== 2017 ==<br />
<br />
== 2016 ==<br />
<br />
== 2015 ==<br />
<br />
== 2014 ==<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Sutdio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|}<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1281List of Ukie Board Members Over Time2019-07-16T11:41:00Z<p>UkieGrace: /* 2013 */</p>
<hr />
<div>== 2018 ==<br />
<br />
== 2017 ==<br />
<br />
== 2016 ==<br />
<br />
== 2015 ==<br />
<br />
== 2014 ==<br />
<br />
== 2013 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Neil Boyd<br />
|<br />
|Senior European Anti-Piracy Counsel<br />
|Nintendo Europe<br />
|-<br />
|Noirin Carmody<br />
|<br />
|Owner and COO<br />
|Revolution Software<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director Northern Europe and Export Territories<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|UK Sales & Marketing Director<br />
|Warner Bros. Interactive Entertainment<br />
|-<br />
|Fergal Gara<br />
|<br />
|VP and MD UK & Ireland<br />
|Sony Computer Entertainment <br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|<br />
|Mediatonic<br />
|-<br />
|Miles Jacobson OBE<br />
|<br />
|Sutdio Director<br />
|Sports Interactive <br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Alice Taylor<br />
|<br />
|CEO and Founder<br />
|MakeLab<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-<br />
|Jo Twist<br />
|<br />
|CEO<br />
|Ukie<br />
|-<br />
|Paul Wedgwood<br />
|<br />
|CEO<br />
|Splash Damage<br />
|-<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=List_of_Ukie_Board_Members_Over_Time&diff=1280List of Ukie Board Members Over Time2019-07-16T11:36:00Z<p>UkieGrace: /* 2012 */</p>
<hr />
<div>== 2018 ==<br />
<br />
== 2017 ==<br />
<br />
== 2016 ==<br />
<br />
== 2015 ==<br />
<br />
== 2014 ==<br />
<br />
== 2013 ==<br />
<br />
== 2012 ==<br />
<br />
{| class="wikitable"<br />
!Name<br />
!Position on Board<br />
!Job title<br />
!Company<br />
|-<br />
|Andy Payne OBE<br />
|Chairman<br />
|MD<br />
|Mastertronic, AppyNation, Gambitious<br />
|-<br />
|Ian Livingstone OBE<br />
|Vice Chairman<br />
|Life President<br />
|Eidos<br />
|-<br />
|Matt Caroll<br />
|Treasurer<br />
|Commercial Director, Games<br />
|The Walt Disney Company EMEA <br />
|-<br />
|Andy Barker<br />
|<br />
|Director of Consumer Services<br />
|SCEE<br />
|-<br />
|John Clark<br />
|<br />
|Vice President, Digital Distribution (PC)<br />
|SEGA Europe<br />
|-<br />
|Rob Cooper<br />
|<br />
|Managing Director<br />
|Ubisoft<br />
|-<br />
|Spencer Crossley<br />
|<br />
|Sales & Marketing Director - Computer Video & Digital Games, UK & Eire<br />
|Warner Brothers Interactive Entertainment<br />
|-<br />
|Martin Defries<br />
|<br />
|Managing Director & COO<br />
|Rising Star Games<br />
|-<br />
|Jonathan Grimes<br />
|<br />
|Regional Director - Retail Sales and Marketing<br />
|Microsoft<br />
|-<br />
|Geoff Heath OBE<br />
|<br />
|CEO<br />
|4mm Games<br />
|-<br />
|Peter Hepworth<br />
|<br />
|Managing Director, UK & Ireland<br />
|Activision Blizzard<br />
|-<br />
|Keith Ramsdale<br />
|<br />
|Vice President & General Manager, Northern Europe<br />
|Electronic Arts<br />
|-<br />
|Sarah Rogers<br />
|<br />
|European Sales and Marketing Director<br />
|NC Soft<br />
|-<br />
|Matt Spencer<br />
|<br />
|Vice President EMEA & ANZ Sales<br />
|Take 2 Interactive Software<br />
|-</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=File:NewzooEsportsRevenueStreamsGlobalFeb2019.png&diff=755File:NewzooEsportsRevenueStreamsGlobalFeb2019.png2019-02-14T15:20:53Z<p>UkieGrace: </p>
<hr />
<div></div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Esports&diff=754Esports2019-02-14T15:12:50Z<p>UkieGrace: </p>
<hr />
<div><br />
[[File:NewzooEsportsAudienceGlobalFeb2019.png|thumb|750px|Esports global audience, 2019.[https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019/ Newzoo]]]<br />
== 2019 Stats ==<br />
<br />
*In 2019, it is expected that the global esports market will surpass the billion-dollar mrk for revenue for the first time - reaching an impressive $1.1billion. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*With such fantastic growth, it is estimated that the esports market will reach $1.8billion by 2022 - or even $3.2billion. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*Around 82% of the expected 2019 market ($897.2million) will come from brand investments (media rights, advertising and sponsorship). ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*The global esports audience will grow to 453.8million worldwide in 2019, a year-on-year growth of +15%. This will comprise of 201.2million 'esports enthusiasts', and 252.6 million 'occasional viewers;. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*North America will be the largest esports market, boasting revenues of $409.1million. China will generate revenues of $210.3million in 2019, overtaking Western Europe as the second-largest region in terms of revenues. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
== 2018 Stats ==<br />
<br />
*The global esports market is set to grow 20.6% year-on-year, from $620m in 2017 to US$1.6bn by 2022. ([https://www.pwc.com/gx/en/industries/tmt/media/outlook/segment-findings.html PwC], Jun 2018)<br />
<br />
*The UK’s second fastest growing entertainment and media sector is esports, growing 21% year on year to reach £48m in revenue by 2022. ([http://www.cityam.com/287043/uks-entertainment-and-media-sector-forecast-grow-gbp76bn PwC / City AM] / [https://www.digitaltveurope.com/2018/06/07/pwc-vr-the-fastest-growing-segment-of-uk-media-sector/ digitsaltveurope.com], Jun 2018)<br />
<br />
*Esports generated $756m in revenue and attracted 258M unique viewers in 2017, with the sector set to worth £1,138bn in 2018. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*According to Superdata, the $756m esport market in 2017 was split 70% sponsorship and ads, 11% prize pools, 10% amateur tournaments and 9% merchandise and ticket sales. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*The most popular esport games by viewership in 2017 were League of Legends (157m), PlayerUknknown’s Battlegrounds(102m) and Hearthstone (83m). ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*The largest prize pool event held in the UK to date was ESL One Birmingham, with a prize pool of $1 million, held at Arena Birmingham in May 2018. ([https://www.eslgaming.com/press/esl-one-dota-2-major-comes-birmingham ESL], May 2018)<br />
<br />
== 2017 Stats ==<br />
<br />
*191m people will watch esports at least once a month in 2017, with a further 194m watching less regularly (total: 385m). ([https://newzoo.com/insights/articles/esports-franchises-70-watch-only-one-game-and-42-dont-play/ Newzoo], May 2017) <br />
<br />
*In 2017, Europe will reach an esports audience size of 77m people and will account for 32% of global esports economy revenues. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_EsportsBAR_An_Overview_of_Esports_in_Europe_v1.pdf Newzoo], Dec 2017)<br />
<br />
*The largest esports event in Europe in 2017 was ESL’s ‘Intel Extreme Masters Season XI’, in Katowice, Poland with an attendance of 173,000. The largest event by hours of streamed via Twitch was PGL’s 2017 Kiev Major, with 23.3m hours watched. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_EsportsBAR_An_Overview_of_Esports_in_Europe_v1.pdf Newzoo], Dec 2017)<br />
<br />
*By September 2017, there have been 90 disclosed eSports funding deals globally worth $1.2B, already ahead of full-year figures in 2015 (which saw 84 deals totaling $942M). At the current run rate, deals are projected to hit a new record of 136 deals totaling $1.9B — representing a 64% uptick in deals and a 23% increase in funding from 2016. ([https://www.cbinsights.com/research/esports-funding-trends/ CBInsights], Sept 2017)<br />
<br />
*At a quarterly level, Q2’17 saw 35 deals, beating the previous quarterly record of 31 deals in Q3’16 and Q1’17. Q3’16 holds the quarterly record for funding, with $934M invested — meaning the quarter singlehandedly accounted for 62% of the full year’s funding. ([https://www.cbinsights.com/research/esports-funding-trends/ CBInsights], Sept 2017)<br />
<br />
*Esports content reaches consumers that don’t necessarily play the games. 23% of the fanbase of the top 3 esports franchises in North American and Western Europe don’t play the game they watch. ([https://newzoo.com/insights/articles/esports-franchises-70-watch-only-one-game-and-42-dont-play/ Newzoo], May 2017)<br />
<br />
*The UK esports market will see a 27.6% CAGR, reaching £8m in consumer ticket sales by 2021. Digital advertising in esports will increase by 46.2% CAGR to £12m by 2021. ([https://www.pwc.co.uk/industries/entertainment-media/insights/entertainment-media-outlook.html PWC], June 2017)<br />
<br />
== 2016 Stats ==<br />
<br />
*The global esports market was worth $0.9bn in 2016 and will grow to $1.4bn by 2019. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ SuperData], Dec 2016)<br />
<br />
*US male millennials are just as likely to watch esports (22%) as baseball or hockey. ([https://newzoo.com/insights/articles/why-brands-and-esports-are-entering-esports/ Newzoo], Oct 2016)<br />
<br />
*US Esports Enthusiasts will watch esports in preference of traditional sports, with 76% stating that esports viewing is taking away hours they used to spend watching sports. ([https://newzoo.com/insights/articles/why-brands-and-esports-are-entering-esports/ Newzoo], Oct 2016)<br />
<br />
*Total global esport revenue will reach $892.8m in 2016, up to $1.1bn in 2018. ([https://www.superdataresearch.com/blog/spring-2016-esports-report/ Superdata], May 2016)<br />
<br />
*Although Asia still leads at $328m (37%), North America and Europe are up to $275 (31%) and $269m (30%) respectively. ([https://www.superdataresearch.com/blog/spring-2016-esports-report/ Superdata], May 2016)<br />
<br />
*The largest prize pool held in the UK to date was the $765,000 ECS Season One final, held at Wembley SSE Arena in June 2016 and organised by UK-based FaceIT and Twitch. ([https://www.csgoleague.com/esports-championship-series-finals-to-take-place-at-the-sse-arena-wembley-in-london-june-25-26-tickets-available-now-for-purchase/ ECS], May 2016)<br />
<br />
*The UK esports audience will reach 6.5 million in 2016, with 3.1 million people watching more than once a month. ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*The UK esports audience skews 69% male, 31% female. The 21-35 age group represents 63% of the market. Women most likely to watch esports when aged between 21-35 (making up 21% of the overall market, compared to the 42% share for men of the same age). ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*UK esports fans are far more likely to participate in physical team sports (65%) than the general online population (21%) and are more likely to subscribe to Spotify (48% vs 14%). ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*35% (18.3m) of UK adults are aware of eSports, split as 48% of males and 23% of females aware. Esports has greater awareness among younger demogrpahics, with 64% of 18-24y/o and 59% of 25-34y/o aware. ([https://d25d2506sfb94s.cloudfront.net/r/53/UK eSports report - Just a game.pdf YouGov], Sept 2017)<br />
<br />
*Of the 7% (3.6m) of the UK population has watched esports, the gender split is more evenly split at 55% male and 45% female. 22% of viewers watch more than once a month and 7% more than once a week. ([https://d25d2506sfb94s.cloudfront.net/r/53/UK eSports report - Just a game.pdf YouGov], Sept 2017)<br />
<br />
*UK football clubs including Manchester City and West Ham have signed professional esports players. (BBC [http://www.bbc.co.uk/news/technology-36734518 #1] and [http://www.bbc.co.uk/sport/football/36231379 #2])<br />
<br />
*Viewership for esports has grown to 188m in 2015, with more than a third of American esports fans choosing tournaments to watch based on their favorite teams and players. ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*The $748m of global revenues were broken down into 77% ($578.6m) from indirect sources like sponsorship and advertising and 23% ($168.9m) from direct sources, such as esports betting and fantasy sites (7%, $55.8m), prize pools (7%, $53.8m), amateur and micro tournaments (4%, $27.7m), merchandise (2%, $17m) and ticket sales (2%, $15.9m). ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*2015 also saw the expansion of esports into the mobile platform. For instance Hearthstone’s revenues and monthly active users have really grown since its launch on smartphones in April 2015: the monthly active users grew by +140% then. Another example is the mobile-only MOBA Vainglory, which was specifically created to be an esport. ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*According to Newzoo’s quarterly Global esports Market Awareness report, eSports awareness will reach 1bn consumers in 2016, up 36% compared to 2015. From the 16 countries studied, the average awareness of esports among gamers increased from 53.7% in 2015 to 65.7% in 2016. ([https://newzoo.com/insights/articles/global-esports-awareness-exceeds-1-billion-as-new-initiatives-launched/ Newzoo], May 2016)<br />
<br />
*The global esports audience will grow to 292 million people in 2016, 148m of which are “enthusiasts”, playing or viewing more than once a month. In 2015, esports “enthusiasts” were split 69% male and 54% aged 21-35yo. ([https://newzoo.com/insights/articles/global-esports-awareness-exceeds-1-billion-as-new-initiatives-launched/ Newzoo], May 2016)<br />
<br />
*Esports revenues (from media rights, merchandise & tickets, online advertising, brand partnerships and additional game publisher investment) are set to grow to $463m in 2016, a 43% increase from 2015, and eclipse $1bn by 2019, a 40.7% CAGR from 2014’s $194m. ([https://newzoo.com/insights/trend-reports/free-esports-report-the-esports-audience/ Newzoo], Mar 2016)<br />
<br />
*Esports fans are an attractive audience for marketers, with an average income of $69k and over half comprised of Millennials (51%). ([http://www.nielsen.com/us/en/insights/news/2016/mobile-esports-and-vr-expand-and-increase-gaming-engagement.html Nielsen], Apr 2016) <br />
<br />
*21.3% of all hours watched on Twitch from July to December 2015 was esports content, totalling 475.5 million hours of esports watched across all esports franchises. MOBAs account for 58% of the esports viewing and a further 27% for shooters. ([https://newzoo.com/insights/articles/esports-drives-21-3-of-twitch-viewership/ Newzoo], Apr 2016)<br />
<br />
== 2015 Stats ==<br />
<br />
*The prize pools for 2015 should be worth $42m, and it appears that the growing prize pools attract more viewers. ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*Looking at esports audience gender: 87% is male, 13% female (could be linked to the fact only 2 of the Top 200 esports players are female). ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*The average size of a transaction on esports merchandise (apparel, headphones, mice and mousepads) is $42.30 in key western markets. ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*US viewers buy 3 full games per month, and have an average $200 monthly budget for games (44% spent on full game, 24% on in-game purchases and 32% on peripheral devices). ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Esports&diff=753Esports2019-02-14T15:12:27Z<p>UkieGrace: </p>
<hr />
<div><br />
[[File:NewzooEsportsAudienceGlobalFeb2019.png|thumb|750px|Esports global audience, 2019.[https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019/ Newzoo]]]<br />
== 2018 Stats ==<br />
<br />
*In 2019, it is expected that the global esports market will surpass the billion-dollar mrk for revenue for the first time - reaching an impressive $1.1billion. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*With such fantastic growth, it is estimated that the esports market will reach $1.8billion by 2022 - or even $3.2billion. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*Around 82% of the expected 2019 market ($897.2million) will come from brand investments (media rights, advertising and sponsorship). ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*The global esports audience will grow to 453.8million worldwide in 2019, a year-on-year growth of +15%. This will comprise of 201.2million 'esports enthusiasts', and 252.6 million 'occasional viewers;. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*North America will be the largest esports market, boasting revenues of $409.1million. China will generate revenues of $210.3million in 2019, overtaking Western Europe as the second-largest region in terms of revenues. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
== 2018 Stats ==<br />
<br />
*The global esports market is set to grow 20.6% year-on-year, from $620m in 2017 to US$1.6bn by 2022. ([https://www.pwc.com/gx/en/industries/tmt/media/outlook/segment-findings.html PwC], Jun 2018)<br />
<br />
*The UK’s second fastest growing entertainment and media sector is esports, growing 21% year on year to reach £48m in revenue by 2022. ([http://www.cityam.com/287043/uks-entertainment-and-media-sector-forecast-grow-gbp76bn PwC / City AM] / [https://www.digitaltveurope.com/2018/06/07/pwc-vr-the-fastest-growing-segment-of-uk-media-sector/ digitsaltveurope.com], Jun 2018)<br />
<br />
*Esports generated $756m in revenue and attracted 258M unique viewers in 2017, with the sector set to worth £1,138bn in 2018. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*According to Superdata, the $756m esport market in 2017 was split 70% sponsorship and ads, 11% prize pools, 10% amateur tournaments and 9% merchandise and ticket sales. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*The most popular esport games by viewership in 2017 were League of Legends (157m), PlayerUknknown’s Battlegrounds(102m) and Hearthstone (83m). ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*The largest prize pool event held in the UK to date was ESL One Birmingham, with a prize pool of $1 million, held at Arena Birmingham in May 2018. ([https://www.eslgaming.com/press/esl-one-dota-2-major-comes-birmingham ESL], May 2018)<br />
<br />
== 2017 Stats ==<br />
<br />
*191m people will watch esports at least once a month in 2017, with a further 194m watching less regularly (total: 385m). ([https://newzoo.com/insights/articles/esports-franchises-70-watch-only-one-game-and-42-dont-play/ Newzoo], May 2017) <br />
<br />
*In 2017, Europe will reach an esports audience size of 77m people and will account for 32% of global esports economy revenues. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_EsportsBAR_An_Overview_of_Esports_in_Europe_v1.pdf Newzoo], Dec 2017)<br />
<br />
*The largest esports event in Europe in 2017 was ESL’s ‘Intel Extreme Masters Season XI’, in Katowice, Poland with an attendance of 173,000. The largest event by hours of streamed via Twitch was PGL’s 2017 Kiev Major, with 23.3m hours watched. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_EsportsBAR_An_Overview_of_Esports_in_Europe_v1.pdf Newzoo], Dec 2017)<br />
<br />
*By September 2017, there have been 90 disclosed eSports funding deals globally worth $1.2B, already ahead of full-year figures in 2015 (which saw 84 deals totaling $942M). At the current run rate, deals are projected to hit a new record of 136 deals totaling $1.9B — representing a 64% uptick in deals and a 23% increase in funding from 2016. ([https://www.cbinsights.com/research/esports-funding-trends/ CBInsights], Sept 2017)<br />
<br />
*At a quarterly level, Q2’17 saw 35 deals, beating the previous quarterly record of 31 deals in Q3’16 and Q1’17. Q3’16 holds the quarterly record for funding, with $934M invested — meaning the quarter singlehandedly accounted for 62% of the full year’s funding. ([https://www.cbinsights.com/research/esports-funding-trends/ CBInsights], Sept 2017)<br />
<br />
*Esports content reaches consumers that don’t necessarily play the games. 23% of the fanbase of the top 3 esports franchises in North American and Western Europe don’t play the game they watch. ([https://newzoo.com/insights/articles/esports-franchises-70-watch-only-one-game-and-42-dont-play/ Newzoo], May 2017)<br />
<br />
*The UK esports market will see a 27.6% CAGR, reaching £8m in consumer ticket sales by 2021. Digital advertising in esports will increase by 46.2% CAGR to £12m by 2021. ([https://www.pwc.co.uk/industries/entertainment-media/insights/entertainment-media-outlook.html PWC], June 2017)<br />
<br />
== 2016 Stats ==<br />
<br />
*The global esports market was worth $0.9bn in 2016 and will grow to $1.4bn by 2019. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ SuperData], Dec 2016)<br />
<br />
*US male millennials are just as likely to watch esports (22%) as baseball or hockey. ([https://newzoo.com/insights/articles/why-brands-and-esports-are-entering-esports/ Newzoo], Oct 2016)<br />
<br />
*US Esports Enthusiasts will watch esports in preference of traditional sports, with 76% stating that esports viewing is taking away hours they used to spend watching sports. ([https://newzoo.com/insights/articles/why-brands-and-esports-are-entering-esports/ Newzoo], Oct 2016)<br />
<br />
*Total global esport revenue will reach $892.8m in 2016, up to $1.1bn in 2018. ([https://www.superdataresearch.com/blog/spring-2016-esports-report/ Superdata], May 2016)<br />
<br />
*Although Asia still leads at $328m (37%), North America and Europe are up to $275 (31%) and $269m (30%) respectively. ([https://www.superdataresearch.com/blog/spring-2016-esports-report/ Superdata], May 2016)<br />
<br />
*The largest prize pool held in the UK to date was the $765,000 ECS Season One final, held at Wembley SSE Arena in June 2016 and organised by UK-based FaceIT and Twitch. ([https://www.csgoleague.com/esports-championship-series-finals-to-take-place-at-the-sse-arena-wembley-in-london-june-25-26-tickets-available-now-for-purchase/ ECS], May 2016)<br />
<br />
*The UK esports audience will reach 6.5 million in 2016, with 3.1 million people watching more than once a month. ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*The UK esports audience skews 69% male, 31% female. The 21-35 age group represents 63% of the market. Women most likely to watch esports when aged between 21-35 (making up 21% of the overall market, compared to the 42% share for men of the same age). ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*UK esports fans are far more likely to participate in physical team sports (65%) than the general online population (21%) and are more likely to subscribe to Spotify (48% vs 14%). ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*35% (18.3m) of UK adults are aware of eSports, split as 48% of males and 23% of females aware. Esports has greater awareness among younger demogrpahics, with 64% of 18-24y/o and 59% of 25-34y/o aware. ([https://d25d2506sfb94s.cloudfront.net/r/53/UK eSports report - Just a game.pdf YouGov], Sept 2017)<br />
<br />
*Of the 7% (3.6m) of the UK population has watched esports, the gender split is more evenly split at 55% male and 45% female. 22% of viewers watch more than once a month and 7% more than once a week. ([https://d25d2506sfb94s.cloudfront.net/r/53/UK eSports report - Just a game.pdf YouGov], Sept 2017)<br />
<br />
*UK football clubs including Manchester City and West Ham have signed professional esports players. (BBC [http://www.bbc.co.uk/news/technology-36734518 #1] and [http://www.bbc.co.uk/sport/football/36231379 #2])<br />
<br />
*Viewership for esports has grown to 188m in 2015, with more than a third of American esports fans choosing tournaments to watch based on their favorite teams and players. ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*The $748m of global revenues were broken down into 77% ($578.6m) from indirect sources like sponsorship and advertising and 23% ($168.9m) from direct sources, such as esports betting and fantasy sites (7%, $55.8m), prize pools (7%, $53.8m), amateur and micro tournaments (4%, $27.7m), merchandise (2%, $17m) and ticket sales (2%, $15.9m). ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*2015 also saw the expansion of esports into the mobile platform. For instance Hearthstone’s revenues and monthly active users have really grown since its launch on smartphones in April 2015: the monthly active users grew by +140% then. Another example is the mobile-only MOBA Vainglory, which was specifically created to be an esport. ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*According to Newzoo’s quarterly Global esports Market Awareness report, eSports awareness will reach 1bn consumers in 2016, up 36% compared to 2015. From the 16 countries studied, the average awareness of esports among gamers increased from 53.7% in 2015 to 65.7% in 2016. ([https://newzoo.com/insights/articles/global-esports-awareness-exceeds-1-billion-as-new-initiatives-launched/ Newzoo], May 2016)<br />
<br />
*The global esports audience will grow to 292 million people in 2016, 148m of which are “enthusiasts”, playing or viewing more than once a month. In 2015, esports “enthusiasts” were split 69% male and 54% aged 21-35yo. ([https://newzoo.com/insights/articles/global-esports-awareness-exceeds-1-billion-as-new-initiatives-launched/ Newzoo], May 2016)<br />
<br />
*Esports revenues (from media rights, merchandise & tickets, online advertising, brand partnerships and additional game publisher investment) are set to grow to $463m in 2016, a 43% increase from 2015, and eclipse $1bn by 2019, a 40.7% CAGR from 2014’s $194m. ([https://newzoo.com/insights/trend-reports/free-esports-report-the-esports-audience/ Newzoo], Mar 2016)<br />
<br />
*Esports fans are an attractive audience for marketers, with an average income of $69k and over half comprised of Millennials (51%). ([http://www.nielsen.com/us/en/insights/news/2016/mobile-esports-and-vr-expand-and-increase-gaming-engagement.html Nielsen], Apr 2016) <br />
<br />
*21.3% of all hours watched on Twitch from July to December 2015 was esports content, totalling 475.5 million hours of esports watched across all esports franchises. MOBAs account for 58% of the esports viewing and a further 27% for shooters. ([https://newzoo.com/insights/articles/esports-drives-21-3-of-twitch-viewership/ Newzoo], Apr 2016)<br />
<br />
== 2015 Stats ==<br />
<br />
*The prize pools for 2015 should be worth $42m, and it appears that the growing prize pools attract more viewers. ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*Looking at esports audience gender: 87% is male, 13% female (could be linked to the fact only 2 of the Top 200 esports players are female). ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*The average size of a transaction on esports merchandise (apparel, headphones, mice and mousepads) is $42.30 in key western markets. ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*US viewers buy 3 full games per month, and have an average $200 monthly budget for games (44% spent on full game, 24% on in-game purchases and 32% on peripheral devices). ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Main_Page&diff=752Main Page2019-02-14T15:12:24Z<p>UkieGrace: </p>
<hr />
<div>[[File:Ukiepedia-logo.png|thumb|300px|Ukiepedia, powered by [http://ukie.org.uk/ Ukie]]]<br />
<br />
Welcome to '''Ukiepedia''', a shared industry resource collating facts, stats and other useful information about the UK and global games industry.<br />
<br />
A one-page guide to the UK Games Industry is available here: '''[[UK Industry Headlines]]'''<br />
__FORCETOC__<br />
<br />
== UK Industry ==<br />
<br />
A one-page guide to the UK Games Industry is available here:<br />
<br />
*'''[[UK Industry Headlines]]'''<br />
<br />
More detail on the UK market can be found in the following categories:<br />
<br />
*'''[[UK Video Games Market]]'''<br />
**[[Ukie UK Consumer Games Market Valuation|Ukie UK Consumer Market Valuations]]<br />
**[[UK Games Charts]]<br />
*'''UK Industry'''<br />
**[[Job market and economic contribution]]<br />
***[[BFI_Screen_Business|BFI Screen Business Report (2018)]]<br />
**[[Geography of the UK industry]]<br />
**[[UK Investment]]<br />
**[[UK Crowdfunding]]<br />
**[[Exports and Imports]]<br />
**[[Qualified workforce]]<br />
<br />
*[[PEGI Age Ratings]]<br />
*[[Notable Dates in UK Games Industry History]]<br />
<br />
== Global Industry ==<br />
<br />
*'''[[Global Video Games Market]]'''<br />
**[[Digital market]]<br />
**[[Mobile market]]<br />
**[[Acquisition and Investment]]<br />
**[[Esports]]<br />
**[[Gaming video content]]<br />
**[[Virtual reality]]<br />
<br />
== Diversity ==<br />
<br />
*[[Industry Diversity]]<br />
*[[Player Diversity & Demographics]]<br />
**[[GameTrack Quarterly Digests]]<br />
*[[Diversity & Inclusion Initiatives in the UK]]<br />
<br />
== Education & Skills ==<br />
<br />
*[[Digital Schoolhouse]]<br />
<br />
== International Markets ==<br />
<br />
*[[North America]]<br />
**[[North_America#USA|USA]]<br />
**[[North_America#Canda|Canada]]<br />
*[[Latin America]]<br />
*[[Europe]]<br />
**[[Europe#France|France]]<br />
**[[Europe#Germany|Germany]]<br />
**[[Europe#Italy|Italy]]<br />
**[[Europe#Sweden|Sweden]]<br />
**[[Europe#Turkey|Turkey]]<br />
**[[Europe#Eastern Europe|Eastern Europe]]<br />
*[[Asia]]<br />
**[[Asia#China|China]]<br />
**[[Asia#India|India]]<br />
**[[Asia#Japan|Japan]]<br />
**[[Asia#South Korea|South Korea]]<br />
**[[Asia#Southeast Asia|Southeast Asia]]<br />
*[[Australia]]<br />
<br />
== Industry Data Providers and External Resources==<br />
<br />
*'''General'''<br />
**[[List of Industry Data Providers]]<br />
<br />
*'''Media & News'''<br />
**[[List of Industry Media & News Outlets]]<br />
<br />
*'''Trade Associations & Industry Bodies'''<br />
**[[List of UK and International Trade Associations]]<br />
<br />
== About This Wiki & How To Get Involved==<br />
<br />
Ukiepedia is maintained and moderated by the Ukie team and a small group of trusted industry volunteer contributors.<br />
<br />
If you're interested in contributing to Ukiepedia, you can either submit ideas and suggestions, or submit a request to join as a wiki contributor, to [[user:UkieLuke|Luke Hebblethwaite]] at [mailto:luke@ukie.org.uk luke@ukie.org.uk] or [https://twitter.com/ukieluke @ukieluke].</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Main_Page&diff=751Main Page2019-02-14T15:11:58Z<p>UkieGrace: </p>
<hr />
<div>[[File:NewzooEsportsAudienceGlobalFeb2019.png|thumb|750px|Esports global audience, 2019.[https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019/ Newzoo]]]<br />
<br />
Welcome to '''Ukiepedia''', a shared industry resource collating facts, stats and other useful information about the UK and global games industry.<br />
<br />
A one-page guide to the UK Games Industry is available here: '''[[UK Industry Headlines]]'''<br />
__FORCETOC__<br />
<br />
== UK Industry ==<br />
<br />
A one-page guide to the UK Games Industry is available here:<br />
<br />
*'''[[UK Industry Headlines]]'''<br />
<br />
More detail on the UK market can be found in the following categories:<br />
<br />
*'''[[UK Video Games Market]]'''<br />
**[[Ukie UK Consumer Games Market Valuation|Ukie UK Consumer Market Valuations]]<br />
**[[UK Games Charts]]<br />
*'''UK Industry'''<br />
**[[Job market and economic contribution]]<br />
***[[BFI_Screen_Business|BFI Screen Business Report (2018)]]<br />
**[[Geography of the UK industry]]<br />
**[[UK Investment]]<br />
**[[UK Crowdfunding]]<br />
**[[Exports and Imports]]<br />
**[[Qualified workforce]]<br />
<br />
*[[PEGI Age Ratings]]<br />
*[[Notable Dates in UK Games Industry History]]<br />
<br />
== Global Industry ==<br />
<br />
*'''[[Global Video Games Market]]'''<br />
**[[Digital market]]<br />
**[[Mobile market]]<br />
**[[Acquisition and Investment]]<br />
**[[Esports]]<br />
**[[Gaming video content]]<br />
**[[Virtual reality]]<br />
<br />
== Diversity ==<br />
<br />
*[[Industry Diversity]]<br />
*[[Player Diversity & Demographics]]<br />
**[[GameTrack Quarterly Digests]]<br />
*[[Diversity & Inclusion Initiatives in the UK]]<br />
<br />
== Education & Skills ==<br />
<br />
*[[Digital Schoolhouse]]<br />
<br />
== International Markets ==<br />
<br />
*[[North America]]<br />
**[[North_America#USA|USA]]<br />
**[[North_America#Canda|Canada]]<br />
*[[Latin America]]<br />
*[[Europe]]<br />
**[[Europe#France|France]]<br />
**[[Europe#Germany|Germany]]<br />
**[[Europe#Italy|Italy]]<br />
**[[Europe#Sweden|Sweden]]<br />
**[[Europe#Turkey|Turkey]]<br />
**[[Europe#Eastern Europe|Eastern Europe]]<br />
*[[Asia]]<br />
**[[Asia#China|China]]<br />
**[[Asia#India|India]]<br />
**[[Asia#Japan|Japan]]<br />
**[[Asia#South Korea|South Korea]]<br />
**[[Asia#Southeast Asia|Southeast Asia]]<br />
*[[Australia]]<br />
<br />
== Industry Data Providers and External Resources==<br />
<br />
*'''General'''<br />
**[[List of Industry Data Providers]]<br />
<br />
*'''Media & News'''<br />
**[[List of Industry Media & News Outlets]]<br />
<br />
*'''Trade Associations & Industry Bodies'''<br />
**[[List of UK and International Trade Associations]]<br />
<br />
== About This Wiki & How To Get Involved==<br />
<br />
Ukiepedia is maintained and moderated by the Ukie team and a small group of trusted industry volunteer contributors.<br />
<br />
If you're interested in contributing to Ukiepedia, you can either submit ideas and suggestions, or submit a request to join as a wiki contributor, to [[user:UkieLuke|Luke Hebblethwaite]] at [mailto:luke@ukie.org.uk luke@ukie.org.uk] or [https://twitter.com/ukieluke @ukieluke].</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Main_Page&diff=750Main Page2019-02-14T15:11:06Z<p>UkieGrace: </p>
<hr />
<div>[[File:NewzooEsportsAudienceGlobalFeb2019.png|thumb|700px|Ukiepedia]]<br />
<br />
Welcome to '''Ukiepedia''', a shared industry resource collating facts, stats and other useful information about the UK and global games industry.<br />
<br />
A one-page guide to the UK Games Industry is available here: '''[[UK Industry Headlines]]'''<br />
__FORCETOC__<br />
<br />
== UK Industry ==<br />
<br />
A one-page guide to the UK Games Industry is available here:<br />
<br />
*'''[[UK Industry Headlines]]'''<br />
<br />
More detail on the UK market can be found in the following categories:<br />
<br />
*'''[[UK Video Games Market]]'''<br />
**[[Ukie UK Consumer Games Market Valuation|Ukie UK Consumer Market Valuations]]<br />
**[[UK Games Charts]]<br />
*'''UK Industry'''<br />
**[[Job market and economic contribution]]<br />
***[[BFI_Screen_Business|BFI Screen Business Report (2018)]]<br />
**[[Geography of the UK industry]]<br />
**[[UK Investment]]<br />
**[[UK Crowdfunding]]<br />
**[[Exports and Imports]]<br />
**[[Qualified workforce]]<br />
<br />
*[[PEGI Age Ratings]]<br />
*[[Notable Dates in UK Games Industry History]]<br />
<br />
== Global Industry ==<br />
<br />
*'''[[Global Video Games Market]]'''<br />
**[[Digital market]]<br />
**[[Mobile market]]<br />
**[[Acquisition and Investment]]<br />
**[[Esports]]<br />
**[[Gaming video content]]<br />
**[[Virtual reality]]<br />
<br />
== Diversity ==<br />
<br />
*[[Industry Diversity]]<br />
*[[Player Diversity & Demographics]]<br />
**[[GameTrack Quarterly Digests]]<br />
*[[Diversity & Inclusion Initiatives in the UK]]<br />
<br />
== Education & Skills ==<br />
<br />
*[[Digital Schoolhouse]]<br />
<br />
== International Markets ==<br />
<br />
*[[North America]]<br />
**[[North_America#USA|USA]]<br />
**[[North_America#Canda|Canada]]<br />
*[[Latin America]]<br />
*[[Europe]]<br />
**[[Europe#France|France]]<br />
**[[Europe#Germany|Germany]]<br />
**[[Europe#Italy|Italy]]<br />
**[[Europe#Sweden|Sweden]]<br />
**[[Europe#Turkey|Turkey]]<br />
**[[Europe#Eastern Europe|Eastern Europe]]<br />
*[[Asia]]<br />
**[[Asia#China|China]]<br />
**[[Asia#India|India]]<br />
**[[Asia#Japan|Japan]]<br />
**[[Asia#South Korea|South Korea]]<br />
**[[Asia#Southeast Asia|Southeast Asia]]<br />
*[[Australia]]<br />
<br />
== Industry Data Providers and External Resources==<br />
<br />
*'''General'''<br />
**[[List of Industry Data Providers]]<br />
<br />
*'''Media & News'''<br />
**[[List of Industry Media & News Outlets]]<br />
<br />
*'''Trade Associations & Industry Bodies'''<br />
**[[List of UK and International Trade Associations]]<br />
<br />
== About This Wiki & How To Get Involved==<br />
<br />
Ukiepedia is maintained and moderated by the Ukie team and a small group of trusted industry volunteer contributors.<br />
<br />
If you're interested in contributing to Ukiepedia, you can either submit ideas and suggestions, or submit a request to join as a wiki contributor, to [[user:UkieLuke|Luke Hebblethwaite]] at [mailto:luke@ukie.org.uk luke@ukie.org.uk] or [https://twitter.com/ukieluke @ukieluke].</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Main_Page&diff=749Main Page2019-02-14T15:10:10Z<p>UkieGrace: </p>
<hr />
<div>[[File:NewzooEsportsAudienceGlobalFeb2019.png|thumb|300px|Ukiepedia]]<br />
<br />
Welcome to '''Ukiepedia''', a shared industry resource collating facts, stats and other useful information about the UK and global games industry.<br />
<br />
A one-page guide to the UK Games Industry is available here: '''[[UK Industry Headlines]]'''<br />
__FORCETOC__<br />
<br />
== UK Industry ==<br />
<br />
A one-page guide to the UK Games Industry is available here:<br />
<br />
*'''[[UK Industry Headlines]]'''<br />
<br />
More detail on the UK market can be found in the following categories:<br />
<br />
*'''[[UK Video Games Market]]'''<br />
**[[Ukie UK Consumer Games Market Valuation|Ukie UK Consumer Market Valuations]]<br />
**[[UK Games Charts]]<br />
*'''UK Industry'''<br />
**[[Job market and economic contribution]]<br />
***[[BFI_Screen_Business|BFI Screen Business Report (2018)]]<br />
**[[Geography of the UK industry]]<br />
**[[UK Investment]]<br />
**[[UK Crowdfunding]]<br />
**[[Exports and Imports]]<br />
**[[Qualified workforce]]<br />
<br />
*[[PEGI Age Ratings]]<br />
*[[Notable Dates in UK Games Industry History]]<br />
<br />
== Global Industry ==<br />
<br />
*'''[[Global Video Games Market]]'''<br />
**[[Digital market]]<br />
**[[Mobile market]]<br />
**[[Acquisition and Investment]]<br />
**[[Esports]]<br />
**[[Gaming video content]]<br />
**[[Virtual reality]]<br />
<br />
== Diversity ==<br />
<br />
*[[Industry Diversity]]<br />
*[[Player Diversity & Demographics]]<br />
**[[GameTrack Quarterly Digests]]<br />
*[[Diversity & Inclusion Initiatives in the UK]]<br />
<br />
== Education & Skills ==<br />
<br />
*[[Digital Schoolhouse]]<br />
<br />
== International Markets ==<br />
<br />
*[[North America]]<br />
**[[North_America#USA|USA]]<br />
**[[North_America#Canda|Canada]]<br />
*[[Latin America]]<br />
*[[Europe]]<br />
**[[Europe#France|France]]<br />
**[[Europe#Germany|Germany]]<br />
**[[Europe#Italy|Italy]]<br />
**[[Europe#Sweden|Sweden]]<br />
**[[Europe#Turkey|Turkey]]<br />
**[[Europe#Eastern Europe|Eastern Europe]]<br />
*[[Asia]]<br />
**[[Asia#China|China]]<br />
**[[Asia#India|India]]<br />
**[[Asia#Japan|Japan]]<br />
**[[Asia#South Korea|South Korea]]<br />
**[[Asia#Southeast Asia|Southeast Asia]]<br />
*[[Australia]]<br />
<br />
== Industry Data Providers and External Resources==<br />
<br />
*'''General'''<br />
**[[List of Industry Data Providers]]<br />
<br />
*'''Media & News'''<br />
**[[List of Industry Media & News Outlets]]<br />
<br />
*'''Trade Associations & Industry Bodies'''<br />
**[[List of UK and International Trade Associations]]<br />
<br />
== About This Wiki & How To Get Involved==<br />
<br />
Ukiepedia is maintained and moderated by the Ukie team and a small group of trusted industry volunteer contributors.<br />
<br />
If you're interested in contributing to Ukiepedia, you can either submit ideas and suggestions, or submit a request to join as a wiki contributor, to [[user:UkieLuke|Luke Hebblethwaite]] at [mailto:luke@ukie.org.uk luke@ukie.org.uk] or [https://twitter.com/ukieluke @ukieluke].</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Main_Page&diff=748Main Page2019-02-14T15:09:58Z<p>UkieGrace: </p>
<hr />
<div>[[File:UNewzooEsportsAudienceGlobalFeb2019.png|thumb|300px|Ukiepedia]]<br />
<br />
Welcome to '''Ukiepedia''', a shared industry resource collating facts, stats and other useful information about the UK and global games industry.<br />
<br />
A one-page guide to the UK Games Industry is available here: '''[[UK Industry Headlines]]'''<br />
__FORCETOC__<br />
<br />
== UK Industry ==<br />
<br />
A one-page guide to the UK Games Industry is available here:<br />
<br />
*'''[[UK Industry Headlines]]'''<br />
<br />
More detail on the UK market can be found in the following categories:<br />
<br />
*'''[[UK Video Games Market]]'''<br />
**[[Ukie UK Consumer Games Market Valuation|Ukie UK Consumer Market Valuations]]<br />
**[[UK Games Charts]]<br />
*'''UK Industry'''<br />
**[[Job market and economic contribution]]<br />
***[[BFI_Screen_Business|BFI Screen Business Report (2018)]]<br />
**[[Geography of the UK industry]]<br />
**[[UK Investment]]<br />
**[[UK Crowdfunding]]<br />
**[[Exports and Imports]]<br />
**[[Qualified workforce]]<br />
<br />
*[[PEGI Age Ratings]]<br />
*[[Notable Dates in UK Games Industry History]]<br />
<br />
== Global Industry ==<br />
<br />
*'''[[Global Video Games Market]]'''<br />
**[[Digital market]]<br />
**[[Mobile market]]<br />
**[[Acquisition and Investment]]<br />
**[[Esports]]<br />
**[[Gaming video content]]<br />
**[[Virtual reality]]<br />
<br />
== Diversity ==<br />
<br />
*[[Industry Diversity]]<br />
*[[Player Diversity & Demographics]]<br />
**[[GameTrack Quarterly Digests]]<br />
*[[Diversity & Inclusion Initiatives in the UK]]<br />
<br />
== Education & Skills ==<br />
<br />
*[[Digital Schoolhouse]]<br />
<br />
== International Markets ==<br />
<br />
*[[North America]]<br />
**[[North_America#USA|USA]]<br />
**[[North_America#Canda|Canada]]<br />
*[[Latin America]]<br />
*[[Europe]]<br />
**[[Europe#France|France]]<br />
**[[Europe#Germany|Germany]]<br />
**[[Europe#Italy|Italy]]<br />
**[[Europe#Sweden|Sweden]]<br />
**[[Europe#Turkey|Turkey]]<br />
**[[Europe#Eastern Europe|Eastern Europe]]<br />
*[[Asia]]<br />
**[[Asia#China|China]]<br />
**[[Asia#India|India]]<br />
**[[Asia#Japan|Japan]]<br />
**[[Asia#South Korea|South Korea]]<br />
**[[Asia#Southeast Asia|Southeast Asia]]<br />
*[[Australia]]<br />
<br />
== Industry Data Providers and External Resources==<br />
<br />
*'''General'''<br />
**[[List of Industry Data Providers]]<br />
<br />
*'''Media & News'''<br />
**[[List of Industry Media & News Outlets]]<br />
<br />
*'''Trade Associations & Industry Bodies'''<br />
**[[List of UK and International Trade Associations]]<br />
<br />
== About This Wiki & How To Get Involved==<br />
<br />
Ukiepedia is maintained and moderated by the Ukie team and a small group of trusted industry volunteer contributors.<br />
<br />
If you're interested in contributing to Ukiepedia, you can either submit ideas and suggestions, or submit a request to join as a wiki contributor, to [[user:UkieLuke|Luke Hebblethwaite]] at [mailto:luke@ukie.org.uk luke@ukie.org.uk] or [https://twitter.com/ukieluke @ukieluke].</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=File:NewzooEsportsAudienceGlobalFeb2019.png&diff=747File:NewzooEsportsAudienceGlobalFeb2019.png2019-02-14T15:08:36Z<p>UkieGrace: </p>
<hr />
<div></div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Esports&diff=746Esports2019-02-13T10:09:05Z<p>UkieGrace: </p>
<hr />
<div><br />
== 2018 Stats ==<br />
<br />
*In 2019, it is expected that the global esports market will surpass the billion-dollar mrk for revenue for the first time - reaching an impressive $1.1billion. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*With such fantastic growth, it is estimated that the esports market will reach $1.8billion by 2022 - or even $3.2billion. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*Around 82% of the expected 2019 market ($897.2million) will come from brand investments (media rights, advertising and sponsorship). ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*The global esports audience will grow to 453.8million worldwide in 2019, a year-on-year growth of +15%. This will comprise of 201.2million 'esports enthusiasts', and 252.6 million 'occasional viewers;. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*North America will be the largest esports market, boasting revenues of $409.1million. China will generate revenues of $210.3million in 2019, overtaking Western Europe as the second-largest region in terms of revenues. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
== 2018 Stats ==<br />
<br />
*The global esports market is set to grow 20.6% year-on-year, from $620m in 2017 to US$1.6bn by 2022. ([https://www.pwc.com/gx/en/industries/tmt/media/outlook/segment-findings.html PwC], Jun 2018)<br />
<br />
*The UK’s second fastest growing entertainment and media sector is esports, growing 21% year on year to reach £48m in revenue by 2022. ([http://www.cityam.com/287043/uks-entertainment-and-media-sector-forecast-grow-gbp76bn PwC / City AM] / [https://www.digitaltveurope.com/2018/06/07/pwc-vr-the-fastest-growing-segment-of-uk-media-sector/ digitsaltveurope.com], Jun 2018)<br />
<br />
*Esports generated $756m in revenue and attracted 258M unique viewers in 2017, with the sector set to worth £1,138bn in 2018. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*According to Superdata, the $756m esport market in 2017 was split 70% sponsorship and ads, 11% prize pools, 10% amateur tournaments and 9% merchandise and ticket sales. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*The most popular esport games by viewership in 2017 were League of Legends (157m), PlayerUknknown’s Battlegrounds(102m) and Hearthstone (83m). ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*The largest prize pool event held in the UK to date was ESL One Birmingham, with a prize pool of $1 million, held at Arena Birmingham in May 2018. ([https://www.eslgaming.com/press/esl-one-dota-2-major-comes-birmingham ESL], May 2018)<br />
<br />
== 2017 Stats ==<br />
<br />
*191m people will watch esports at least once a month in 2017, with a further 194m watching less regularly (total: 385m). ([https://newzoo.com/insights/articles/esports-franchises-70-watch-only-one-game-and-42-dont-play/ Newzoo], May 2017) <br />
<br />
*In 2017, Europe will reach an esports audience size of 77m people and will account for 32% of global esports economy revenues. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_EsportsBAR_An_Overview_of_Esports_in_Europe_v1.pdf Newzoo], Dec 2017)<br />
<br />
*The largest esports event in Europe in 2017 was ESL’s ‘Intel Extreme Masters Season XI’, in Katowice, Poland with an attendance of 173,000. The largest event by hours of streamed via Twitch was PGL’s 2017 Kiev Major, with 23.3m hours watched. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_EsportsBAR_An_Overview_of_Esports_in_Europe_v1.pdf Newzoo], Dec 2017)<br />
<br />
*By September 2017, there have been 90 disclosed eSports funding deals globally worth $1.2B, already ahead of full-year figures in 2015 (which saw 84 deals totaling $942M). At the current run rate, deals are projected to hit a new record of 136 deals totaling $1.9B — representing a 64% uptick in deals and a 23% increase in funding from 2016. ([https://www.cbinsights.com/research/esports-funding-trends/ CBInsights], Sept 2017)<br />
<br />
*At a quarterly level, Q2’17 saw 35 deals, beating the previous quarterly record of 31 deals in Q3’16 and Q1’17. Q3’16 holds the quarterly record for funding, with $934M invested — meaning the quarter singlehandedly accounted for 62% of the full year’s funding. ([https://www.cbinsights.com/research/esports-funding-trends/ CBInsights], Sept 2017)<br />
<br />
*Esports content reaches consumers that don’t necessarily play the games. 23% of the fanbase of the top 3 esports franchises in North American and Western Europe don’t play the game they watch. ([https://newzoo.com/insights/articles/esports-franchises-70-watch-only-one-game-and-42-dont-play/ Newzoo], May 2017)<br />
<br />
*The UK esports market will see a 27.6% CAGR, reaching £8m in consumer ticket sales by 2021. Digital advertising in esports will increase by 46.2% CAGR to £12m by 2021. ([https://www.pwc.co.uk/industries/entertainment-media/insights/entertainment-media-outlook.html PWC], June 2017)<br />
<br />
== 2016 Stats ==<br />
<br />
*The global esports market was worth $0.9bn in 2016 and will grow to $1.4bn by 2019. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ SuperData], Dec 2016)<br />
<br />
*US male millennials are just as likely to watch esports (22%) as baseball or hockey. ([https://newzoo.com/insights/articles/why-brands-and-esports-are-entering-esports/ Newzoo], Oct 2016)<br />
<br />
*US Esports Enthusiasts will watch esports in preference of traditional sports, with 76% stating that esports viewing is taking away hours they used to spend watching sports. ([https://newzoo.com/insights/articles/why-brands-and-esports-are-entering-esports/ Newzoo], Oct 2016)<br />
<br />
*Total global esport revenue will reach $892.8m in 2016, up to $1.1bn in 2018. ([https://www.superdataresearch.com/blog/spring-2016-esports-report/ Superdata], May 2016)<br />
<br />
*Although Asia still leads at $328m (37%), North America and Europe are up to $275 (31%) and $269m (30%) respectively. ([https://www.superdataresearch.com/blog/spring-2016-esports-report/ Superdata], May 2016)<br />
<br />
*The largest prize pool held in the UK to date was the $765,000 ECS Season One final, held at Wembley SSE Arena in June 2016 and organised by UK-based FaceIT and Twitch. ([https://www.csgoleague.com/esports-championship-series-finals-to-take-place-at-the-sse-arena-wembley-in-london-june-25-26-tickets-available-now-for-purchase/ ECS], May 2016)<br />
<br />
*The UK esports audience will reach 6.5 million in 2016, with 3.1 million people watching more than once a month. ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*The UK esports audience skews 69% male, 31% female. The 21-35 age group represents 63% of the market. Women most likely to watch esports when aged between 21-35 (making up 21% of the overall market, compared to the 42% share for men of the same age). ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*UK esports fans are far more likely to participate in physical team sports (65%) than the general online population (21%) and are more likely to subscribe to Spotify (48% vs 14%). ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*35% (18.3m) of UK adults are aware of eSports, split as 48% of males and 23% of females aware. Esports has greater awareness among younger demogrpahics, with 64% of 18-24y/o and 59% of 25-34y/o aware. ([https://d25d2506sfb94s.cloudfront.net/r/53/UK eSports report - Just a game.pdf YouGov], Sept 2017)<br />
<br />
*Of the 7% (3.6m) of the UK population has watched esports, the gender split is more evenly split at 55% male and 45% female. 22% of viewers watch more than once a month and 7% more than once a week. ([https://d25d2506sfb94s.cloudfront.net/r/53/UK eSports report - Just a game.pdf YouGov], Sept 2017)<br />
<br />
*UK football clubs including Manchester City and West Ham have signed professional esports players. (BBC [http://www.bbc.co.uk/news/technology-36734518 #1] and [http://www.bbc.co.uk/sport/football/36231379 #2])<br />
<br />
*Viewership for esports has grown to 188m in 2015, with more than a third of American esports fans choosing tournaments to watch based on their favorite teams and players. ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*The $748m of global revenues were broken down into 77% ($578.6m) from indirect sources like sponsorship and advertising and 23% ($168.9m) from direct sources, such as esports betting and fantasy sites (7%, $55.8m), prize pools (7%, $53.8m), amateur and micro tournaments (4%, $27.7m), merchandise (2%, $17m) and ticket sales (2%, $15.9m). ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*2015 also saw the expansion of esports into the mobile platform. For instance Hearthstone’s revenues and monthly active users have really grown since its launch on smartphones in April 2015: the monthly active users grew by +140% then. Another example is the mobile-only MOBA Vainglory, which was specifically created to be an esport. ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*According to Newzoo’s quarterly Global esports Market Awareness report, eSports awareness will reach 1bn consumers in 2016, up 36% compared to 2015. From the 16 countries studied, the average awareness of esports among gamers increased from 53.7% in 2015 to 65.7% in 2016. ([https://newzoo.com/insights/articles/global-esports-awareness-exceeds-1-billion-as-new-initiatives-launched/ Newzoo], May 2016)<br />
<br />
*The global esports audience will grow to 292 million people in 2016, 148m of which are “enthusiasts”, playing or viewing more than once a month. In 2015, esports “enthusiasts” were split 69% male and 54% aged 21-35yo. ([https://newzoo.com/insights/articles/global-esports-awareness-exceeds-1-billion-as-new-initiatives-launched/ Newzoo], May 2016)<br />
<br />
*Esports revenues (from media rights, merchandise & tickets, online advertising, brand partnerships and additional game publisher investment) are set to grow to $463m in 2016, a 43% increase from 2015, and eclipse $1bn by 2019, a 40.7% CAGR from 2014’s $194m. ([https://newzoo.com/insights/trend-reports/free-esports-report-the-esports-audience/ Newzoo], Mar 2016)<br />
<br />
*Esports fans are an attractive audience for marketers, with an average income of $69k and over half comprised of Millennials (51%). ([http://www.nielsen.com/us/en/insights/news/2016/mobile-esports-and-vr-expand-and-increase-gaming-engagement.html Nielsen], Apr 2016) <br />
<br />
*21.3% of all hours watched on Twitch from July to December 2015 was esports content, totalling 475.5 million hours of esports watched across all esports franchises. MOBAs account for 58% of the esports viewing and a further 27% for shooters. ([https://newzoo.com/insights/articles/esports-drives-21-3-of-twitch-viewership/ Newzoo], Apr 2016)<br />
<br />
== 2015 Stats ==<br />
<br />
*The prize pools for 2015 should be worth $42m, and it appears that the growing prize pools attract more viewers. ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*Looking at esports audience gender: 87% is male, 13% female (could be linked to the fact only 2 of the Top 200 esports players are female). ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*The average size of a transaction on esports merchandise (apparel, headphones, mice and mousepads) is $42.30 in key western markets. ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*US viewers buy 3 full games per month, and have an average $200 monthly budget for games (44% spent on full game, 24% on in-game purchases and 32% on peripheral devices). ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Esports&diff=745Esports2019-02-13T10:08:57Z<p>UkieGrace: </p>
<hr />
<div><br />
== 2018 Stats ==<br />
<br />
*In 2019, it is expected that the global esports market will surpass the billion-dollar mrk for revenue for the first time - reaching an impressive $1.1billion. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*With such fantastic growth, it is estimated that the esports market will reach $1.8billion by 2022 - or even $3.2billion. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
<br />
*Around 82% of the expected 2019 market ($897.2million) will come from brand investments (media rights, advertising and sponsorship). ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*The global esports audience will grow to 453.8million worldwide in 2019, a year-on-year growth of +15%. This will comprise of 201.2million 'esports enthusiasts', and 252.6 million 'occasional viewers;. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
*North America will be the largest esports market, boasting revenues of $409.1million. China will generate revenues of $210.3million in 2019, overtaking Western Europe as the second-largest region in terms of revenues. ([https://newzoo.com/insights/articles/newzoo-global-esports-economy-will-top-1-billion-for-the-first-time-in-2019 Newzoo], Feb 2019)<br />
<br />
<br />
<br />
<br />
== 2018 Stats ==<br />
<br />
*The global esports market is set to grow 20.6% year-on-year, from $620m in 2017 to US$1.6bn by 2022. ([https://www.pwc.com/gx/en/industries/tmt/media/outlook/segment-findings.html PwC], Jun 2018)<br />
<br />
*The UK’s second fastest growing entertainment and media sector is esports, growing 21% year on year to reach £48m in revenue by 2022. ([http://www.cityam.com/287043/uks-entertainment-and-media-sector-forecast-grow-gbp76bn PwC / City AM] / [https://www.digitaltveurope.com/2018/06/07/pwc-vr-the-fastest-growing-segment-of-uk-media-sector/ digitsaltveurope.com], Jun 2018)<br />
<br />
*Esports generated $756m in revenue and attracted 258M unique viewers in 2017, with the sector set to worth £1,138bn in 2018. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*According to Superdata, the $756m esport market in 2017 was split 70% sponsorship and ads, 11% prize pools, 10% amateur tournaments and 9% merchandise and ticket sales. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*The most popular esport games by viewership in 2017 were League of Legends (157m), PlayerUknknown’s Battlegrounds(102m) and Hearthstone (83m). ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2018)<br />
<br />
*The largest prize pool event held in the UK to date was ESL One Birmingham, with a prize pool of $1 million, held at Arena Birmingham in May 2018. ([https://www.eslgaming.com/press/esl-one-dota-2-major-comes-birmingham ESL], May 2018)<br />
<br />
== 2017 Stats ==<br />
<br />
*191m people will watch esports at least once a month in 2017, with a further 194m watching less regularly (total: 385m). ([https://newzoo.com/insights/articles/esports-franchises-70-watch-only-one-game-and-42-dont-play/ Newzoo], May 2017) <br />
<br />
*In 2017, Europe will reach an esports audience size of 77m people and will account for 32% of global esports economy revenues. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_EsportsBAR_An_Overview_of_Esports_in_Europe_v1.pdf Newzoo], Dec 2017)<br />
<br />
*The largest esports event in Europe in 2017 was ESL’s ‘Intel Extreme Masters Season XI’, in Katowice, Poland with an attendance of 173,000. The largest event by hours of streamed via Twitch was PGL’s 2017 Kiev Major, with 23.3m hours watched. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_EsportsBAR_An_Overview_of_Esports_in_Europe_v1.pdf Newzoo], Dec 2017)<br />
<br />
*By September 2017, there have been 90 disclosed eSports funding deals globally worth $1.2B, already ahead of full-year figures in 2015 (which saw 84 deals totaling $942M). At the current run rate, deals are projected to hit a new record of 136 deals totaling $1.9B — representing a 64% uptick in deals and a 23% increase in funding from 2016. ([https://www.cbinsights.com/research/esports-funding-trends/ CBInsights], Sept 2017)<br />
<br />
*At a quarterly level, Q2’17 saw 35 deals, beating the previous quarterly record of 31 deals in Q3’16 and Q1’17. Q3’16 holds the quarterly record for funding, with $934M invested — meaning the quarter singlehandedly accounted for 62% of the full year’s funding. ([https://www.cbinsights.com/research/esports-funding-trends/ CBInsights], Sept 2017)<br />
<br />
*Esports content reaches consumers that don’t necessarily play the games. 23% of the fanbase of the top 3 esports franchises in North American and Western Europe don’t play the game they watch. ([https://newzoo.com/insights/articles/esports-franchises-70-watch-only-one-game-and-42-dont-play/ Newzoo], May 2017)<br />
<br />
*The UK esports market will see a 27.6% CAGR, reaching £8m in consumer ticket sales by 2021. Digital advertising in esports will increase by 46.2% CAGR to £12m by 2021. ([https://www.pwc.co.uk/industries/entertainment-media/insights/entertainment-media-outlook.html PWC], June 2017)<br />
<br />
== 2016 Stats ==<br />
<br />
*The global esports market was worth $0.9bn in 2016 and will grow to $1.4bn by 2019. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ SuperData], Dec 2016)<br />
<br />
*US male millennials are just as likely to watch esports (22%) as baseball or hockey. ([https://newzoo.com/insights/articles/why-brands-and-esports-are-entering-esports/ Newzoo], Oct 2016)<br />
<br />
*US Esports Enthusiasts will watch esports in preference of traditional sports, with 76% stating that esports viewing is taking away hours they used to spend watching sports. ([https://newzoo.com/insights/articles/why-brands-and-esports-are-entering-esports/ Newzoo], Oct 2016)<br />
<br />
*Total global esport revenue will reach $892.8m in 2016, up to $1.1bn in 2018. ([https://www.superdataresearch.com/blog/spring-2016-esports-report/ Superdata], May 2016)<br />
<br />
*Although Asia still leads at $328m (37%), North America and Europe are up to $275 (31%) and $269m (30%) respectively. ([https://www.superdataresearch.com/blog/spring-2016-esports-report/ Superdata], May 2016)<br />
<br />
*The largest prize pool held in the UK to date was the $765,000 ECS Season One final, held at Wembley SSE Arena in June 2016 and organised by UK-based FaceIT and Twitch. ([https://www.csgoleague.com/esports-championship-series-finals-to-take-place-at-the-sse-arena-wembley-in-london-june-25-26-tickets-available-now-for-purchase/ ECS], May 2016)<br />
<br />
*The UK esports audience will reach 6.5 million in 2016, with 3.1 million people watching more than once a month. ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*The UK esports audience skews 69% male, 31% female. The 21-35 age group represents 63% of the market. Women most likely to watch esports when aged between 21-35 (making up 21% of the overall market, compared to the 42% share for men of the same age). ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*UK esports fans are far more likely to participate in physical team sports (65%) than the general online population (21%) and are more likely to subscribe to Spotify (48% vs 14%). ([https://newzoo.com/insights/infographics/uk-esports-audience-2016/ Newzoo], Aug 2016)<br />
<br />
*35% (18.3m) of UK adults are aware of eSports, split as 48% of males and 23% of females aware. Esports has greater awareness among younger demogrpahics, with 64% of 18-24y/o and 59% of 25-34y/o aware. ([https://d25d2506sfb94s.cloudfront.net/r/53/UK eSports report - Just a game.pdf YouGov], Sept 2017)<br />
<br />
*Of the 7% (3.6m) of the UK population has watched esports, the gender split is more evenly split at 55% male and 45% female. 22% of viewers watch more than once a month and 7% more than once a week. ([https://d25d2506sfb94s.cloudfront.net/r/53/UK eSports report - Just a game.pdf YouGov], Sept 2017)<br />
<br />
*UK football clubs including Manchester City and West Ham have signed professional esports players. (BBC [http://www.bbc.co.uk/news/technology-36734518 #1] and [http://www.bbc.co.uk/sport/football/36231379 #2])<br />
<br />
*Viewership for esports has grown to 188m in 2015, with more than a third of American esports fans choosing tournaments to watch based on their favorite teams and players. ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*The $748m of global revenues were broken down into 77% ($578.6m) from indirect sources like sponsorship and advertising and 23% ($168.9m) from direct sources, such as esports betting and fantasy sites (7%, $55.8m), prize pools (7%, $53.8m), amateur and micro tournaments (4%, $27.7m), merchandise (2%, $17m) and ticket sales (2%, $15.9m). ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*2015 also saw the expansion of esports into the mobile platform. For instance Hearthstone’s revenues and monthly active users have really grown since its launch on smartphones in April 2015: the monthly active users grew by +140% then. Another example is the mobile-only MOBA Vainglory, which was specifically created to be an esport. ([http://superdata-research.myshopify.com/products/esports-market-brief-2015 Superdata], Jan 2016)<br />
<br />
*According to Newzoo’s quarterly Global esports Market Awareness report, eSports awareness will reach 1bn consumers in 2016, up 36% compared to 2015. From the 16 countries studied, the average awareness of esports among gamers increased from 53.7% in 2015 to 65.7% in 2016. ([https://newzoo.com/insights/articles/global-esports-awareness-exceeds-1-billion-as-new-initiatives-launched/ Newzoo], May 2016)<br />
<br />
*The global esports audience will grow to 292 million people in 2016, 148m of which are “enthusiasts”, playing or viewing more than once a month. In 2015, esports “enthusiasts” were split 69% male and 54% aged 21-35yo. ([https://newzoo.com/insights/articles/global-esports-awareness-exceeds-1-billion-as-new-initiatives-launched/ Newzoo], May 2016)<br />
<br />
*Esports revenues (from media rights, merchandise & tickets, online advertising, brand partnerships and additional game publisher investment) are set to grow to $463m in 2016, a 43% increase from 2015, and eclipse $1bn by 2019, a 40.7% CAGR from 2014’s $194m. ([https://newzoo.com/insights/trend-reports/free-esports-report-the-esports-audience/ Newzoo], Mar 2016)<br />
<br />
*Esports fans are an attractive audience for marketers, with an average income of $69k and over half comprised of Millennials (51%). ([http://www.nielsen.com/us/en/insights/news/2016/mobile-esports-and-vr-expand-and-increase-gaming-engagement.html Nielsen], Apr 2016) <br />
<br />
*21.3% of all hours watched on Twitch from July to December 2015 was esports content, totalling 475.5 million hours of esports watched across all esports franchises. MOBAs account for 58% of the esports viewing and a further 27% for shooters. ([https://newzoo.com/insights/articles/esports-drives-21-3-of-twitch-viewership/ Newzoo], Apr 2016)<br />
<br />
== 2015 Stats ==<br />
<br />
*The prize pools for 2015 should be worth $42m, and it appears that the growing prize pools attract more viewers. ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*Looking at esports audience gender: 87% is male, 13% female (could be linked to the fact only 2 of the Top 200 esports players are female). ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*The average size of a transaction on esports merchandise (apparel, headphones, mice and mousepads) is $42.30 in key western markets. ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)<br />
<br />
*US viewers buy 3 full games per month, and have an average $200 monthly budget for games (44% spent on full game, 24% on in-game purchases and 32% on peripheral devices). ([https://www.superdataresearch.com/blog/esports-brief/ Superdata], May 2015)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Europe&diff=742Europe2019-02-07T17:18:35Z<p>UkieGrace: </p>
<hr />
<div>== France ==<br />
*France has 32.8million players, who spent $3.1billion in 2018. ([https://newzoo.com/insights/infographics/france-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*As of 2018, France is the world's 7th largest games market. ([https://newzoo.com/insights/infographics/france-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*In 2017, the turnover of the French video game amounted to 4.3 billion euros (up 18% from 2016), making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018)<br />
<br />
*Growth in sales vs 2016: console ecosystem +23%, PC gaming ecosystem +6%, and mobile ecosystem +22%. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*77% of French people consider video gaming a leisure for the whole family ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*The most popular gaming platform is the console (61%), followed by smartphone (60%), PC (55%), tablet (38%), handheld devices (23%),online broadband (10%) ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*53% of French people play games regularly ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*64% of those aged 6-64 in France said that they played games in 2018. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf ISFE], 2018)<br />
<br />
*In 2015, the turnover of the video game amounted to 2.87 billion euros, making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/lindustrie SELL], Jan 2017, LINK)<br />
<br />
== Germany ==<br />
*The German games market grew to €3.3billion in 2017 (game, Aug 2018)<br />
<br />
*Germany has 44.3million players, the 5th largest games market. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German players spent $4.7billion in 2018. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German games market will total $4.7 billion by the end of 2018, placing it at #5 and the largest market by game revenues in Europe. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
*Games sales in Germany achieved 1.5 billion euros in the first half of 2018. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*However, market share of German developed games fell to 5.4% in 2017 from 6.4% in 2016. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*The market share achieved by German game app developers fell from 4.2% to 3.7%, in 2016 and 2017 respectively. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], 2018) <br />
<br />
*Only in PC and console games did the market share of German game developers rise: from 0.5% to nearly 1% in 2017. (game, 2018)<br />
<br />
*53% of Germans aged 6-64 play any type of game (2018) ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*The most popular platform for gaming in 2018 was PC – 36% of Germans said they played games on computers, followed by consoles (23%), smartphones (22%), tablets (9%), and handhelds (8%). ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*As of July 2018, there are 35 games companies in Germany employing over 50 people. The largest employer is Nintendo of Europe at 850 people and the largest developer is InnoGames at 420 employees. ([https://www.gameswirtschaft.de/wirtschaft/deutschlands-groesste-spielehersteller-2018/ gameswirtschaft.de], Jul 2108)<br />
<br />
*12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*As of 31 March 2015, 12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Of the 450 games companies in Germany, 276 primarily focus on development, while 67 concentrate on publishing. The remaining 107 companies are both developers and publishers. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Considering the multiplier effect of associated roles such as journalists, government agencies and retail sales people, the number of jobs created by the computer and video games industry in Germany totals 30,231. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
== Italy ==<br />
<br />
*Italy's 26.2million players spent $2billion in 2018, making it the 10th largest games market in the work. ([https://newzoo.com/insights/infographics/italy-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*The Italian trade body AESVI has revealed that the Italian games market was worth $1.8 billion in 2017. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*€1.05 billion was made from video game software, with a further €428 million from hardware and accessories. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*The accessories sector was worth €94 million (driven primarily by controller sales), while console hardware generated €333 million (portable sales made up €16 million of that number). In total, 1.115 million home consoles were sold in Italy last year, and 135,747 portable machines. Retro games devices (such as Nintendo's SNES Mini) accounted for 86,946 machines. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*Physical sales make up 1/3 of the market and generating €370 million. Mobile is the largest segment, accounting for 37% of all game revenue and generating €385 million. Digital console and PC is the smallest area, with a 28% market share, or €294 million. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*In Italy 17 million people have had a gaming experience in the last 12 months, of which 59% are men and 41% women. Gaming is a practice that is widespread across all age groups, with a particular concentration on the 25-34 years old group. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
== Spain ==<br />
<br />
*Spain has 24.6million players who spent $2billion in 2018, making it the world 9th largest games market. ([https://newzoo.com/insights/infographics/spain-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
<br />
== Sweden ==<br />
<br />
*There were 287 active games studios in Sweden in 2016, an increase of 22% on the previous year. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*These companies employed 4,267 full-time positions, increasing 15% (558 FTEs) from 2015. The Swedish games workforce is 82% male, 18% female. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Revenue (turnover) of Swedish game developers increased to €1.4 billion in 2016, representing a 1000 percent increase since 2010. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Nearly 10 percent of Swedish games companies are working on virtual reality experiences. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*1 in 10 players worldwide have played a game made in Sweden. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Swedish game development looks in good shape: in 2014 its turnover increased by +35%, to reach €930m. The compound annual growth rate for the 2006-2014 period is an impressive +39%. The majority of companies were profitable, and the combined profits were also the largest so far, with a record €353m (+35% vs 2013). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*Employment increased by +23%, an additional 583 full-time positions, of which 17% (roughly 100) were hired by newly established companies. This brings the total of employees to 3,117, of which over three quarters (78%) are located in 2 cities: Stockholm and Malmö. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*In terms of diversity the number of women has grown by +39%, compared to a +17% for men, and since 2010 the number of women working in games development has increased by nearly 5 times in 5 years. They are mainly found in mid- to large-sized companies. The largest companies are multicultural and have employees representing over 30 different nationalities. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The 5 biggest companies in number of employees represented 52% of all employment and the 5 biggest in turnover accounted for 77% of the whole turnover. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The total value of Swedish game developers was estimated to be over €2.75bn in 2014 (this includes the value of acquisitions). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
== Turkey ==<br />
<br />
Turkey has more than 30 million active gamers, spending 70% of their gaming time on PC ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
Total Turkish game generated revenue in 2017 was $810m, increasing from $755m in 2016. The 2017 figure is split $437.6m PC / console revenues, $372.4m mobile. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
There are approximately 20,000 cyber cafes in Turkey, visited by 7.5m players a month. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
== Eastern Europe ==<br />
<br />
*The Digital market is worth $2.2bn in 2014. Interestingly the 3 key countries cover a 84% share at $1.9bn. Russia is a clear leader, with a 50% share ($1.1bn). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014, LINK)<br />
<br />
*The digital market saw a +7% growth in 2014 vs 2013, with free-to-play MMOs ($794m, +6%) and social games ($451m, +16%) having the largest market share. Social games also grew strongly - localization seems to be key. Pay-to-play MMO decreased by -6%, but shows a slower decline than in other regions. Digital PC ($267m, +9%) grew thanks to full game conversion and average revenue per paying user - there’s wariness toward regular in-game payment and full game spending is preferred. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Digital Console, smallest market share in region, still grew the most in percentage terms (+23%). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Mobile, a hype segment in Asia (+30% there) and the third largest in Eastern Europe (mostly Android), still has potential for growth in Eastern Europe, which faced small mobile penetration and doubts about payment security so far. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Europe&diff=741Europe2019-02-07T17:17:09Z<p>UkieGrace: </p>
<hr />
<div>== France ==<br />
*France has 32.8million players, who spent $3.1billion in 2018. ([https://newzoo.com/insights/infographics/france-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*As of 2018, France is the world's 7th largest games market. ([https://newzoo.com/insights/infographics/france-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*In 2017, the turnover of the French video game amounted to 4.3 billion euros (up 18% from 2016), making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018)<br />
<br />
*Growth in sales vs 2016: console ecosystem +23%, PC gaming ecosystem +6%, and mobile ecosystem +22%. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*77% of French people consider video gaming a leisure for the whole family ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*The most popular gaming platform is the console (61%), followed by smartphone (60%), PC (55%), tablet (38%), handheld devices (23%),online broadband (10%) ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*53% of French people play games regularly ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*64% of those aged 6-64 in France said that they played games in 2018. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf ISFE], 2018)<br />
<br />
*In 2015, the turnover of the video game amounted to 2.87 billion euros, making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/lindustrie SELL], Jan 2017, LINK)<br />
<br />
== Germany ==<br />
*The German games market grew to €3.3billion in 2017 (game, Aug 2018)<br />
<br />
*Germany has 44.3million players, the 5th largest games market. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German players spent $4.7billion in 2018. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German games market will total $4.7 billion by the end of 2018, placing it at #5 and the largest market by game revenues in Europe. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
*Games sales in Germany achieved 1.5 billion euros in the first half of 2018. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*However, market share of German developed games fell to 5.4% in 2017 from 6.4% in 2016. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*The market share achieved by German game app developers fell from 4.2% to 3.7%, in 2016 and 2017 respectively. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], 2018) <br />
<br />
*Only in PC and console games did the market share of German game developers rise: from 0.5% to nearly 1% in 2017. (game, 2018)<br />
<br />
*53% of Germans aged 6-64 play any type of game (2018) ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*The most popular platform for gaming in 2018 was PC – 36% of Germans said they played games on computers, followed by consoles (23%), smartphones (22%), tablets (9%), and handhelds (8%). ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*As of July 2018, there are 35 games companies in Germany employing over 50 people. The largest employer is Nintendo of Europe at 850 people and the largest developer is InnoGames at 420 employees. ([https://www.gameswirtschaft.de/wirtschaft/deutschlands-groesste-spielehersteller-2018/ gameswirtschaft.de], Jul 2108)<br />
<br />
*12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*As of 31 March 2015, 12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Of the 450 games companies in Germany, 276 primarily focus on development, while 67 concentrate on publishing. The remaining 107 companies are both developers and publishers. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Considering the multiplier effect of associated roles such as journalists, government agencies and retail sales people, the number of jobs created by the computer and video games industry in Germany totals 30,231. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
== Italy ==<br />
<br />
*Italy's 26.2million players spent $2billion in 2018, making it the 10th largest games market in the work. ([https://newzoo.com/insights/infographics/italy-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*The Italian trade body AESVI has revealed that the Italian games market was worth $1.8 billion in 2017. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*€1.05 billion was made from video game software, with a further €428 million from hardware and accessories. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*The accessories sector was worth €94 million (driven primarily by controller sales), while console hardware generated €333 million (portable sales made up €16 million of that number). In total, 1.115 million home consoles were sold in Italy last year, and 135,747 portable machines. Retro games devices (such as Nintendo's SNES Mini) accounted for 86,946 machines. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*Physical sales make up 1/3 of the market and generating €370 million. Mobile is the largest segment, accounting for 37% of all game revenue and generating €385 million. Digital console and PC is the smallest area, with a 28% market share, or €294 million. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*In Italy 17 million people have had a gaming experience in the last 12 months, of which 59% are men and 41% women. Gaming is a practice that is widespread across all age groups, with a particular concentration on the 25-34 years old group. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
== The Netherlands ==<br />
* The Netherlands has 7million players who spent $567.4million in 2017, making it the 22nd largest games market in the world. ([https://newzoo.com/insights/infographics/6616-2/ Newzoo], Aug 2018)<br />
<br />
<br />
== Spain ==<br />
<br />
*Spain has 24.6million players who spent $2billion in 2018, making it the world 9th largest games market. ([https://newzoo.com/insights/infographics/spain-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
<br />
== Sweden ==<br />
<br />
*There were 287 active games studios in Sweden in 2016, an increase of 22% on the previous year. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*These companies employed 4,267 full-time positions, increasing 15% (558 FTEs) from 2015. The Swedish games workforce is 82% male, 18% female. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Revenue (turnover) of Swedish game developers increased to €1.4 billion in 2016, representing a 1000 percent increase since 2010. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Nearly 10 percent of Swedish games companies are working on virtual reality experiences. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*1 in 10 players worldwide have played a game made in Sweden. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Swedish game development looks in good shape: in 2014 its turnover increased by +35%, to reach €930m. The compound annual growth rate for the 2006-2014 period is an impressive +39%. The majority of companies were profitable, and the combined profits were also the largest so far, with a record €353m (+35% vs 2013). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*Employment increased by +23%, an additional 583 full-time positions, of which 17% (roughly 100) were hired by newly established companies. This brings the total of employees to 3,117, of which over three quarters (78%) are located in 2 cities: Stockholm and Malmö. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*In terms of diversity the number of women has grown by +39%, compared to a +17% for men, and since 2010 the number of women working in games development has increased by nearly 5 times in 5 years. They are mainly found in mid- to large-sized companies. The largest companies are multicultural and have employees representing over 30 different nationalities. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The 5 biggest companies in number of employees represented 52% of all employment and the 5 biggest in turnover accounted for 77% of the whole turnover. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The total value of Swedish game developers was estimated to be over €2.75bn in 2014 (this includes the value of acquisitions). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
== Turkey ==<br />
<br />
Turkey has more than 30 million active gamers, spending 70% of their gaming time on PC ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
Total Turkish game generated revenue in 2017 was $810m, increasing from $755m in 2016. The 2017 figure is split $437.6m PC / console revenues, $372.4m mobile. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
There are approximately 20,000 cyber cafes in Turkey, visited by 7.5m players a month. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
== Eastern Europe ==<br />
<br />
*The Digital market is worth $2.2bn in 2014. Interestingly the 3 key countries cover a 84% share at $1.9bn. Russia is a clear leader, with a 50% share ($1.1bn). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014, LINK)<br />
<br />
*The digital market saw a +7% growth in 2014 vs 2013, with free-to-play MMOs ($794m, +6%) and social games ($451m, +16%) having the largest market share. Social games also grew strongly - localization seems to be key. Pay-to-play MMO decreased by -6%, but shows a slower decline than in other regions. Digital PC ($267m, +9%) grew thanks to full game conversion and average revenue per paying user - there’s wariness toward regular in-game payment and full game spending is preferred. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Digital Console, smallest market share in region, still grew the most in percentage terms (+23%). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Mobile, a hype segment in Asia (+30% there) and the third largest in Eastern Europe (mostly Android), still has potential for growth in Eastern Europe, which faced small mobile penetration and doubts about payment security so far. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Australia&diff=740Australia2019-02-07T17:10:48Z<p>UkieGrace: </p>
<hr />
<div>* Australia's 12.4million players spent $1.3billion in 2018, making it the worlds 14th biggest games market in the world. ([https://newzoo.com/insights/infographics/australia-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*In Australia, digital games developers employed 734 people at the end of June 2016, an increase of 26.3% since 2012. 63% of those roles were made up of visual effects/animation, game designers and computer programmers. ([http://www.abs.gov.au/ausstats/abs@.nsf/Latestproducts/8679.0Main%20Features52015-16?opendocument&tabname=Summary&prodno=8679.0&issue=2015-16&num=&view= ABS], Jun 2017)<br />
<br />
*15% of the Australian digital game developer workforce is female, increasing from 8.7% in 2012. ([http://www.abs.gov.au/ausstats/abs@.nsf/Latestproducts/8679.0Main%20Features52015-16?opendocument&tabname=Summary&prodno=8679.0&issue=2015-16&num=&view= ABS], Jun 2017)<br />
<br />
*Australia’s game development industry earned $114.9 million in the 2015-16 financial year, with 81% of revenue derived from overseas markets. <br />
<br />
*78% of Australian game developers project business growth in FY2016-17, with nearly two-thirds planning to employ additional staff.<br />
<br />
*The industry employed 842 people in FY2015-16, of which programmers (33%), artists (24%) and management, administration and marketing (20%) made up the majority.<br />
<br />
*The Australian game development industry is concentrated in Melbourne, with 51% based in the Victorian capital, followed by Sydney (14%) and Brisbane (13%). 24% of respondents started their studio in 2012, and 14% in 2014. ([http://www.mcvpacific.com/news/read/combined-industry-survey-reveals-australia-s-game-development-industry-is-a-significant-export-opportunity/0177008 IGEA GDAA], Dec 2016)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Latin_America&diff=739Latin America2019-02-07T17:09:57Z<p>UkieGrace: </p>
<hr />
<div>* Mexico has 55.8million players, who spent $1.6billion on games in 2018 - making it the 12th biggest games market in the world. ([https://newzoo.com/insights/infographics/mexico-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*Brazil has 75.7 million players who spent $1.5billion in 2018, making it the 13th largest games market in the world. ([https://newzoo.com/insights/infographics/brazil-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*Latin America will reach $4.1 billion in 2016, an impressive 20.1% YoY increase. Mobile games will generate $1.4 billion, up significantly from $900 million last year. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016)<br />
<br />
*Digital games market in Latin America was worth $3.6bn in 2013 and is estimated to be worth $4.5bn in 2014 and $5.3bn in 2015. The $4.5bn in 2014 represents 10% of the worldwide digital games market and is forecasted to grow to become 16% in 2015 ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)<br />
<br />
*In 2014, Mobile gaming in the largest segment in digital, at 43%, followed by social (Facebook for example) gaming at 27%. ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)<br />
<br />
*In 2014, the digital spender in Latin America pays an average of $88 during time spent on a game, which lasts 5.5 months on average. Bank transfer payments are the most popular payment method (24%), closely followed by mobile payment (21%) whose popularity is rising, and credit cards (20%). ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)<br />
<br />
*In 2014, Brazil has a market share of 35%, followed by Mexico at 22% and Argentina at 15%. ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)<br />
<br />
*In 2014, Brazil has seen amazing growth in social (+35%) and mobile (+25%) digital gaming in 2014, and pay-to-play MMO is losing players to free-to-play titles such as Planetside 2. In this specific F2P segment, MOBAs have grown their market share the most, from 12% in 2013 to 23% in 2014. ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014).<br />
<br />
*In 2014, Brazil dominance in market share is slightly decreasing due to higher than average spending in other Latin America countries and a boom in broadband and smartphone penetration which allow them to grow their market share. ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)<br />
<br />
*In 2014, in the region high import taxes on consoles and PC games inflate prices, which are 60%-150% higher than in the US. ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Latin_America&diff=738Latin America2019-02-07T17:08:57Z<p>UkieGrace: </p>
<hr />
<div>* Mexico has 55.8million players, who spent $1.6billion on games in 2018 - making it the 12th biggest games market in the world. ([https://newzoo.com/insights/infographics/mexico-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*Latin America will reach $4.1 billion in 2016, an impressive 20.1% YoY increase. Mobile games will generate $1.4 billion, up significantly from $900 million last year. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016)<br />
<br />
*Digital games market in Latin America was worth $3.6bn in 2013 and is estimated to be worth $4.5bn in 2014 and $5.3bn in 2015. The $4.5bn in 2014 represents 10% of the worldwide digital games market and is forecasted to grow to become 16% in 2015 ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)<br />
<br />
*In 2014, Mobile gaming in the largest segment in digital, at 43%, followed by social (Facebook for example) gaming at 27%. ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)<br />
<br />
*In 2014, the digital spender in Latin America pays an average of $88 during time spent on a game, which lasts 5.5 months on average. Bank transfer payments are the most popular payment method (24%), closely followed by mobile payment (21%) whose popularity is rising, and credit cards (20%). ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)<br />
<br />
*In 2014, Brazil has a market share of 35%, followed by Mexico at 22% and Argentina at 15%. ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)<br />
<br />
*In 2014, Brazil has seen amazing growth in social (+35%) and mobile (+25%) digital gaming in 2014, and pay-to-play MMO is losing players to free-to-play titles such as Planetside 2. In this specific F2P segment, MOBAs have grown their market share the most, from 12% in 2013 to 23% in 2014. ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014).<br />
<br />
*In 2014, Brazil dominance in market share is slightly decreasing due to higher than average spending in other Latin America countries and a boom in broadband and smartphone penetration which allow them to grow their market share. ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)<br />
<br />
*In 2014, in the region high import taxes on consoles and PC games inflate prices, which are 60%-150% higher than in the US. ([http://www.superdataresearch.com/blog/latin-american-digital-games-market-hits-4-5b/ Superdata], Oct 2014)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=North_America&diff=737North America2019-02-07T17:07:04Z<p>UkieGrace: /* Canada */</p>
<hr />
<div>__FORCETOC__<br />
<br />
== North America ==<br />
*Free-to-play games generated $14.8billion in total in North America in 2018, and are expected to generate $16billion in 2019.([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2019)<br />
<br />
*North America is the second largest region with estimated revenues of $25.4 billion in 2016, a YoY growth rate of 4.1%. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016)<br />
<br />
*In 2015, Paypal (32%) and Visa (21%) dominate the popular payment brands in the US for digital games. Mastercard comes a distant third at 8.2%. ([http://superdata-research.myshopify.com/products/payment-preferences-of-digital-gamers-basic Superdata], Apr 2016)<br />
<br />
*Mobile gaming market continues to grow with 141.9m gamers (+27% from 2013) who spent an average $32.65 in 2014, for a total $4.6bn revenue. Gamers that play both on smartphone and tablet drive majority of revenues, as they have a higher average yearly spend ($48.45). The majority of revenue is indeed still generated by 6% of spenders (8m, spending an average of $293.70 per month), who generate half (51%) of mobile gaming revenue. Close to half (45.7%) of players don’t pay to play. ([https://www.eedar.com/EedarReports/ EEDAR], June 2015)<br />
<br />
*In the US audiences for iOS, Android and PC/Mac, for the period Q3 2015 there was an almost exactly evenly-split between male and female players. PC/Mac players were statistically older, with 59% aged 45+. ([http://blog.appannie.com/app-annie-idc-gaming-report-2015-review/ App Annie / IDC], Mar 2016).<br />
<br />
*In North America, more than half of mobile and tablet players are female (56%). The average age of player is 27.7 years old, a decrease from the previous data, which is attributed to more affordable smartphone devices on the market becoming available to younger consumers. ([https://www.eedar.com/EedarReports/ EEDAR], June 2015)<br />
<br />
*Casual mobile gamers tend to be younger (26 years old) and more likely to be female (70%) while core gamers tend to be older (30 years old) males (58%). These core gamers tend to be the biggest evangelists for mobile games (75% are also active sharers compared to 23% of casual mobile gamers). ([https://www.eedar.com/EedarReports/ EEDAR], June 2015)<br />
<br />
== USA ==<br />
*The US has 178.1million players who spent $30.4billion in 2018, making it the 2nd largest games market. ([https://newzoo.com/insights/infographics/us-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*The US video game industry’s value added to US GDP is more than $11.7 billion. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
<br />
*There are 2,711 video game company locations across 84 percent of the congressional districts in America. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
<br />
*There are now 65,678 workers directly employed at game software publisher and developer locations in the US. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
<br />
*Employees in the industry earned an average compensation of $97,000 per year. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
<br />
*The total consumer spend on the video game industry was $36 billion in 2017. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
**Content: $29.1bn<br />
**Hardware: $4.7bn<br />
**Accessories, including VR: $2.2bn<br />
<br />
*In 2017, 79% of video game content sales were on digital content, an increase from 74% the previous year. Physical content represents 21% of 2017 revenues. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
<br />
*64% of the US population aged 13+ play games ([http://www.nielsen.com/content/dam/corporate/us/en/reports-downloads/2017-reports/nielsen-games-360-report-2017.pdf Nielsen], Oct 2017)<br />
<br />
*There are 3,090 games companies in the USA, 935 of which are based in California. ([https://www.areweinyourstate.org/ ESA], July 2017)<br />
<br />
*The US games industry directly and indirectly employed more than 220,000 people and contributed $11.7bn in GVA to the US economy in 2015. ([https://www.areweinyourstate.org/ ESA], July 2017)<br />
<br />
*The U.S. computer and video game industry generated $30.4 billion in revenue in 2016. This is an increase in total consumer spend from reported 2015 sales, which were at $30.2 billion. ([http://www.theesa.com/article/u-s-video-game-industry-generates-30-4-billion-revenue-2016/ ESA], Jan 2017)<br />
<br />
*Video game software revenue grew 6% to $24.5 billion in 2016, up from $23.2 billion in 2015. ([http://www.theesa.com/article/u-s-video-game-industry-generates-30-4-billion-revenue-2016/ ESA], Jan 2017)<br />
<br />
*US digital console revenues grew 16% year-on-year for December 2016, compared with a 16% drop year-on-year in retail sales during the same period. Combined physical and digital sales hit a record $1bn revenue in the final quarter of the year. ([https://www.superdataresearch.com/us-digital-games-market/ SuperData], Jan 2017)<br />
<br />
== Canada ==<br />
*Canada has 21.2million players who spent $2.3billion in 2018, making it the 8th largest games market in the world. ([https://newzoo.com/insights/infographics/canada-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*In 2016, the Canadian games industry comprised 472 games companies, with 20,400 directly employees on a $71,300 (Canadian) average salary (£43k approx.) ([http://theesa.ca/resources/essential-facts/ ESA Canada], Jan 2017)<br />
<br />
*Canadian games companies added $3bn Canadian to GDP (£1.8bn approx.) ([http://theesa.ca/resources/essential-facts/ ESA Canada], Jan 2017)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=North_America&diff=736North America2019-02-07T17:06:06Z<p>UkieGrace: /* USA */</p>
<hr />
<div>__FORCETOC__<br />
<br />
== North America ==<br />
*Free-to-play games generated $14.8billion in total in North America in 2018, and are expected to generate $16billion in 2019.([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2019)<br />
<br />
*North America is the second largest region with estimated revenues of $25.4 billion in 2016, a YoY growth rate of 4.1%. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016)<br />
<br />
*In 2015, Paypal (32%) and Visa (21%) dominate the popular payment brands in the US for digital games. Mastercard comes a distant third at 8.2%. ([http://superdata-research.myshopify.com/products/payment-preferences-of-digital-gamers-basic Superdata], Apr 2016)<br />
<br />
*Mobile gaming market continues to grow with 141.9m gamers (+27% from 2013) who spent an average $32.65 in 2014, for a total $4.6bn revenue. Gamers that play both on smartphone and tablet drive majority of revenues, as they have a higher average yearly spend ($48.45). The majority of revenue is indeed still generated by 6% of spenders (8m, spending an average of $293.70 per month), who generate half (51%) of mobile gaming revenue. Close to half (45.7%) of players don’t pay to play. ([https://www.eedar.com/EedarReports/ EEDAR], June 2015)<br />
<br />
*In the US audiences for iOS, Android and PC/Mac, for the period Q3 2015 there was an almost exactly evenly-split between male and female players. PC/Mac players were statistically older, with 59% aged 45+. ([http://blog.appannie.com/app-annie-idc-gaming-report-2015-review/ App Annie / IDC], Mar 2016).<br />
<br />
*In North America, more than half of mobile and tablet players are female (56%). The average age of player is 27.7 years old, a decrease from the previous data, which is attributed to more affordable smartphone devices on the market becoming available to younger consumers. ([https://www.eedar.com/EedarReports/ EEDAR], June 2015)<br />
<br />
*Casual mobile gamers tend to be younger (26 years old) and more likely to be female (70%) while core gamers tend to be older (30 years old) males (58%). These core gamers tend to be the biggest evangelists for mobile games (75% are also active sharers compared to 23% of casual mobile gamers). ([https://www.eedar.com/EedarReports/ EEDAR], June 2015)<br />
<br />
== USA ==<br />
*The US has 178.1million players who spent $30.4billion in 2018, making it the 2nd largest games market. ([https://newzoo.com/insights/infographics/us-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*The US video game industry’s value added to US GDP is more than $11.7 billion. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
<br />
*There are 2,711 video game company locations across 84 percent of the congressional districts in America. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
<br />
*There are now 65,678 workers directly employed at game software publisher and developer locations in the US. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
<br />
*Employees in the industry earned an average compensation of $97,000 per year. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
<br />
*The total consumer spend on the video game industry was $36 billion in 2017. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
**Content: $29.1bn<br />
**Hardware: $4.7bn<br />
**Accessories, including VR: $2.2bn<br />
<br />
*In 2017, 79% of video game content sales were on digital content, an increase from 74% the previous year. Physical content represents 21% of 2017 revenues. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], July 2018)<br />
<br />
*64% of the US population aged 13+ play games ([http://www.nielsen.com/content/dam/corporate/us/en/reports-downloads/2017-reports/nielsen-games-360-report-2017.pdf Nielsen], Oct 2017)<br />
<br />
*There are 3,090 games companies in the USA, 935 of which are based in California. ([https://www.areweinyourstate.org/ ESA], July 2017)<br />
<br />
*The US games industry directly and indirectly employed more than 220,000 people and contributed $11.7bn in GVA to the US economy in 2015. ([https://www.areweinyourstate.org/ ESA], July 2017)<br />
<br />
*The U.S. computer and video game industry generated $30.4 billion in revenue in 2016. This is an increase in total consumer spend from reported 2015 sales, which were at $30.2 billion. ([http://www.theesa.com/article/u-s-video-game-industry-generates-30-4-billion-revenue-2016/ ESA], Jan 2017)<br />
<br />
*Video game software revenue grew 6% to $24.5 billion in 2016, up from $23.2 billion in 2015. ([http://www.theesa.com/article/u-s-video-game-industry-generates-30-4-billion-revenue-2016/ ESA], Jan 2017)<br />
<br />
*US digital console revenues grew 16% year-on-year for December 2016, compared with a 16% drop year-on-year in retail sales during the same period. Combined physical and digital sales hit a record $1bn revenue in the final quarter of the year. ([https://www.superdataresearch.com/us-digital-games-market/ SuperData], Jan 2017)<br />
<br />
== Canada ==<br />
<br />
*In 2016, the Canadian games industry comprised 472 games companies, with 20,400 directly employees on a $71,300 (Canadian) average salary (£43k approx.) ([http://theesa.ca/resources/essential-facts/ ESA Canada], Jan 2017)<br />
<br />
*Canadian games companies added $3bn Canadian to GDP (£1.8bn approx.) ([http://theesa.ca/resources/essential-facts/ ESA Canada], Jan 2017)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Europe&diff=735Europe2019-02-07T17:03:22Z<p>UkieGrace: </p>
<hr />
<div>== France ==<br />
*France has 32.8million players, who spent $3.1billion in 2018. ([https://newzoo.com/insights/infographics/france-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*As of 2018, France is the world's 7th largest games market. ([https://newzoo.com/insights/infographics/france-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*In 2017, the turnover of the French video game amounted to 4.3 billion euros (up 18% from 2016), making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018)<br />
<br />
*Growth in sales vs 2016: console ecosystem +23%, PC gaming ecosystem +6%, and mobile ecosystem +22%. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*77% of French people consider video gaming a leisure for the whole family ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*The most popular gaming platform is the console (61%), followed by smartphone (60%), PC (55%), tablet (38%), handheld devices (23%),online broadband (10%) ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*53% of French people play games regularly ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*64% of those aged 6-64 in France said that they played games in 2018. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf ISFE], 2018)<br />
<br />
*In 2015, the turnover of the video game amounted to 2.87 billion euros, making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/lindustrie SELL], Jan 2017, LINK)<br />
<br />
== Germany ==<br />
*The German games market grew to €3.3billion in 2017 (game, Aug 2018)<br />
<br />
*Germany has 44.3million players, the 5th largest games market. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German players spent $4.7billion in 2018. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German games market will total $4.7 billion by the end of 2018, placing it at #5 and the largest market by game revenues in Europe. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
*Games sales in Germany achieved 1.5 billion euros in the first half of 2018. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*However, market share of German developed games fell to 5.4% in 2017 from 6.4% in 2016. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*The market share achieved by German game app developers fell from 4.2% to 3.7%, in 2016 and 2017 respectively. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], 2018) <br />
<br />
*Only in PC and console games did the market share of German game developers rise: from 0.5% to nearly 1% in 2017. (game, 2018)<br />
<br />
*53% of Germans aged 6-64 play any type of game (2018) ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*The most popular platform for gaming in 2018 was PC – 36% of Germans said they played games on computers, followed by consoles (23%), smartphones (22%), tablets (9%), and handhelds (8%). ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*As of July 2018, there are 35 games companies in Germany employing over 50 people. The largest employer is Nintendo of Europe at 850 people and the largest developer is InnoGames at 420 employees. ([https://www.gameswirtschaft.de/wirtschaft/deutschlands-groesste-spielehersteller-2018/ gameswirtschaft.de], Jul 2108)<br />
<br />
*12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*As of 31 March 2015, 12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Of the 450 games companies in Germany, 276 primarily focus on development, while 67 concentrate on publishing. The remaining 107 companies are both developers and publishers. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Considering the multiplier effect of associated roles such as journalists, government agencies and retail sales people, the number of jobs created by the computer and video games industry in Germany totals 30,231. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
== Italy ==<br />
<br />
*Italy's 26.2million players spent $2billion in 2018, making it the 10th largest games market in the work. ([https://newzoo.com/insights/infographics/italy-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*The Italian trade body AESVI has revealed that the Italian games market was worth $1.8 billion in 2017. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*€1.05 billion was made from video game software, with a further €428 million from hardware and accessories. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*The accessories sector was worth €94 million (driven primarily by controller sales), while console hardware generated €333 million (portable sales made up €16 million of that number). In total, 1.115 million home consoles were sold in Italy last year, and 135,747 portable machines. Retro games devices (such as Nintendo's SNES Mini) accounted for 86,946 machines. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*Physical sales make up 1/3 of the market and generating €370 million. Mobile is the largest segment, accounting for 37% of all game revenue and generating €385 million. Digital console and PC is the smallest area, with a 28% market share, or €294 million. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*In Italy 17 million people have had a gaming experience in the last 12 months, of which 59% are men and 41% women. Gaming is a practice that is widespread across all age groups, with a particular concentration on the 25-34 years old group. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
== Spain ==<br />
<br />
*Spain has 24.6million players who spent $2billion in 2018, making it the world 9th largest games market. ([https://newzoo.com/insights/infographics/spain-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
<br />
== Sweden ==<br />
<br />
*There were 287 active games studios in Sweden in 2016, an increase of 22% on the previous year. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*These companies employed 4,267 full-time positions, increasing 15% (558 FTEs) from 2015. The Swedish games workforce is 82% male, 18% female. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Revenue (turnover) of Swedish game developers increased to €1.4 billion in 2016, representing a 1000 percent increase since 2010. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Nearly 10 percent of Swedish games companies are working on virtual reality experiences. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*1 in 10 players worldwide have played a game made in Sweden. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Swedish game development looks in good shape: in 2014 its turnover increased by +35%, to reach €930m. The compound annual growth rate for the 2006-2014 period is an impressive +39%. The majority of companies were profitable, and the combined profits were also the largest so far, with a record €353m (+35% vs 2013). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*Employment increased by +23%, an additional 583 full-time positions, of which 17% (roughly 100) were hired by newly established companies. This brings the total of employees to 3,117, of which over three quarters (78%) are located in 2 cities: Stockholm and Malmö. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*In terms of diversity the number of women has grown by +39%, compared to a +17% for men, and since 2010 the number of women working in games development has increased by nearly 5 times in 5 years. They are mainly found in mid- to large-sized companies. The largest companies are multicultural and have employees representing over 30 different nationalities. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The 5 biggest companies in number of employees represented 52% of all employment and the 5 biggest in turnover accounted for 77% of the whole turnover. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The total value of Swedish game developers was estimated to be over €2.75bn in 2014 (this includes the value of acquisitions). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
== Turkey ==<br />
<br />
Turkey has more than 30 million active gamers, spending 70% of their gaming time on PC ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
Total Turkish game generated revenue in 2017 was $810m, increasing from $755m in 2016. The 2017 figure is split $437.6m PC / console revenues, $372.4m mobile. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
There are approximately 20,000 cyber cafes in Turkey, visited by 7.5m players a month. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
== Eastern Europe ==<br />
<br />
*The Digital market is worth $2.2bn in 2014. Interestingly the 3 key countries cover a 84% share at $1.9bn. Russia is a clear leader, with a 50% share ($1.1bn). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014, LINK)<br />
<br />
*The digital market saw a +7% growth in 2014 vs 2013, with free-to-play MMOs ($794m, +6%) and social games ($451m, +16%) having the largest market share. Social games also grew strongly - localization seems to be key. Pay-to-play MMO decreased by -6%, but shows a slower decline than in other regions. Digital PC ($267m, +9%) grew thanks to full game conversion and average revenue per paying user - there’s wariness toward regular in-game payment and full game spending is preferred. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Digital Console, smallest market share in region, still grew the most in percentage terms (+23%). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Mobile, a hype segment in Asia (+30% there) and the third largest in Eastern Europe (mostly Android), still has potential for growth in Eastern Europe, which faced small mobile penetration and doubts about payment security so far. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Europe&diff=734Europe2019-02-07T17:01:07Z<p>UkieGrace: /* France */</p>
<hr />
<div>== France ==<br />
*France has 32.8million players, who spent $3.1billion in 2018. ([https://newzoo.com/insights/infographics/france-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*As of 2018, France is the world's 7th largest games market. ([https://newzoo.com/insights/infographics/france-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*In 2017, the turnover of the French video game amounted to 4.3 billion euros (up 18% from 2016), making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018)<br />
<br />
*Growth in sales vs 2016: console ecosystem +23%, PC gaming ecosystem +6%, and mobile ecosystem +22%. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*77% of French people consider video gaming a leisure for the whole family ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*The most popular gaming platform is the console (61%), followed by smartphone (60%), PC (55%), tablet (38%), handheld devices (23%),online broadband (10%) ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*53% of French people play games regularly ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*64% of those aged 6-64 in France said that they played games in 2018. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf ISFE], 2018)<br />
<br />
*In 2015, the turnover of the video game amounted to 2.87 billion euros, making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/lindustrie SELL], Jan 2017, LINK)<br />
<br />
== Germany ==<br />
*The German games market grew to €3.3billion in 2017 (game, Aug 2018)<br />
<br />
*Germany has 44.3million players, the 5th largest games market. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German players spent $4.7billion in 2018. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German games market will total $4.7 billion by the end of 2018, placing it at #5 and the largest market by game revenues in Europe. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
*Games sales in Germany achieved 1.5 billion euros in the first half of 2018. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*However, market share of German developed games fell to 5.4% in 2017 from 6.4% in 2016. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*The market share achieved by German game app developers fell from 4.2% to 3.7%, in 2016 and 2017 respectively. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], 2018) <br />
<br />
*Only in PC and console games did the market share of German game developers rise: from 0.5% to nearly 1% in 2017. (game, 2018)<br />
<br />
*53% of Germans aged 6-64 play any type of game (2018) ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*The most popular platform for gaming in 2018 was PC – 36% of Germans said they played games on computers, followed by consoles (23%), smartphones (22%), tablets (9%), and handhelds (8%). ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*As of July 2018, there are 35 games companies in Germany employing over 50 people. The largest employer is Nintendo of Europe at 850 people and the largest developer is InnoGames at 420 employees. ([https://www.gameswirtschaft.de/wirtschaft/deutschlands-groesste-spielehersteller-2018/ gameswirtschaft.de], Jul 2108)<br />
<br />
*12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*As of 31 March 2015, 12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Of the 450 games companies in Germany, 276 primarily focus on development, while 67 concentrate on publishing. The remaining 107 companies are both developers and publishers. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Considering the multiplier effect of associated roles such as journalists, government agencies and retail sales people, the number of jobs created by the computer and video games industry in Germany totals 30,231. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
== Italy ==<br />
<br />
*Italy's 26.2million players spent $2billion in 2018, making it the 10th largest games market in the work. ([https://newzoo.com/insights/infographics/italy-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*The Italian trade body AESVI has revealed that the Italian games market was worth $1.8 billion in 2017. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*€1.05 billion was made from video game software, with a further €428 million from hardware and accessories. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*The accessories sector was worth €94 million (driven primarily by controller sales), while console hardware generated €333 million (portable sales made up €16 million of that number). In total, 1.115 million home consoles were sold in Italy last year, and 135,747 portable machines. Retro games devices (such as Nintendo's SNES Mini) accounted for 86,946 machines. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*Physical sales make up 1/3 of the market and generating €370 million. Mobile is the largest segment, accounting for 37% of all game revenue and generating €385 million. Digital console and PC is the smallest area, with a 28% market share, or €294 million. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*In Italy 17 million people have had a gaming experience in the last 12 months, of which 59% are men and 41% women. Gaming is a practice that is widespread across all age groups, with a particular concentration on the 25-34 years old group. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
== Sweden ==<br />
<br />
*There were 287 active games studios in Sweden in 2016, an increase of 22% on the previous year. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*These companies employed 4,267 full-time positions, increasing 15% (558 FTEs) from 2015. The Swedish games workforce is 82% male, 18% female. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Revenue (turnover) of Swedish game developers increased to €1.4 billion in 2016, representing a 1000 percent increase since 2010. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Nearly 10 percent of Swedish games companies are working on virtual reality experiences. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*1 in 10 players worldwide have played a game made in Sweden. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Swedish game development looks in good shape: in 2014 its turnover increased by +35%, to reach €930m. The compound annual growth rate for the 2006-2014 period is an impressive +39%. The majority of companies were profitable, and the combined profits were also the largest so far, with a record €353m (+35% vs 2013). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*Employment increased by +23%, an additional 583 full-time positions, of which 17% (roughly 100) were hired by newly established companies. This brings the total of employees to 3,117, of which over three quarters (78%) are located in 2 cities: Stockholm and Malmö. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*In terms of diversity the number of women has grown by +39%, compared to a +17% for men, and since 2010 the number of women working in games development has increased by nearly 5 times in 5 years. They are mainly found in mid- to large-sized companies. The largest companies are multicultural and have employees representing over 30 different nationalities. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The 5 biggest companies in number of employees represented 52% of all employment and the 5 biggest in turnover accounted for 77% of the whole turnover. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The total value of Swedish game developers was estimated to be over €2.75bn in 2014 (this includes the value of acquisitions). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
== Turkey ==<br />
<br />
Turkey has more than 30 million active gamers, spending 70% of their gaming time on PC ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
Total Turkish game generated revenue in 2017 was $810m, increasing from $755m in 2016. The 2017 figure is split $437.6m PC / console revenues, $372.4m mobile. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
There are approximately 20,000 cyber cafes in Turkey, visited by 7.5m players a month. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
== Eastern Europe ==<br />
<br />
*The Digital market is worth $2.2bn in 2014. Interestingly the 3 key countries cover a 84% share at $1.9bn. Russia is a clear leader, with a 50% share ($1.1bn). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014, LINK)<br />
<br />
*The digital market saw a +7% growth in 2014 vs 2013, with free-to-play MMOs ($794m, +6%) and social games ($451m, +16%) having the largest market share. Social games also grew strongly - localization seems to be key. Pay-to-play MMO decreased by -6%, but shows a slower decline than in other regions. Digital PC ($267m, +9%) grew thanks to full game conversion and average revenue per paying user - there’s wariness toward regular in-game payment and full game spending is preferred. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Digital Console, smallest market share in region, still grew the most in percentage terms (+23%). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Mobile, a hype segment in Asia (+30% there) and the third largest in Eastern Europe (mostly Android), still has potential for growth in Eastern Europe, which faced small mobile penetration and doubts about payment security so far. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Europe&diff=733Europe2019-02-07T16:59:06Z<p>UkieGrace: /* Italy */</p>
<hr />
<div>== France ==<br />
<br />
*In 2017, the turnover of the French video game amounted to 4.3 billion euros (up 18% from 2016), making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018)<br />
<br />
*Growth in sales vs 2016: console ecosystem +23%, PC gaming ecosystem +6%, and mobile ecosystem +22%. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*77% of French people consider video gaming a leisure for the whole family ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*The most popular gaming platform is the console (61%), followed by smartphone (60%), PC (55%), tablet (38%), handheld devices (23%),online broadband (10%) ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*53% of French people play games regularly ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*64% of those aged 6-64 in France said that they played games in 2018. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf ISFE], 2018)<br />
<br />
*In 2015, the turnover of the video game amounted to 2.87 billion euros, making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/lindustrie SELL], Jan 2017, LINK)<br />
<br />
== Germany ==<br />
*The German games market grew to €3.3billion in 2017 (game, Aug 2018)<br />
<br />
*Germany has 44.3million players, the 5th largest games market. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German players spent $4.7billion in 2018. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German games market will total $4.7 billion by the end of 2018, placing it at #5 and the largest market by game revenues in Europe. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
*Games sales in Germany achieved 1.5 billion euros in the first half of 2018. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*However, market share of German developed games fell to 5.4% in 2017 from 6.4% in 2016. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*The market share achieved by German game app developers fell from 4.2% to 3.7%, in 2016 and 2017 respectively. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], 2018) <br />
<br />
*Only in PC and console games did the market share of German game developers rise: from 0.5% to nearly 1% in 2017. (game, 2018)<br />
<br />
*53% of Germans aged 6-64 play any type of game (2018) ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*The most popular platform for gaming in 2018 was PC – 36% of Germans said they played games on computers, followed by consoles (23%), smartphones (22%), tablets (9%), and handhelds (8%). ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*As of July 2018, there are 35 games companies in Germany employing over 50 people. The largest employer is Nintendo of Europe at 850 people and the largest developer is InnoGames at 420 employees. ([https://www.gameswirtschaft.de/wirtschaft/deutschlands-groesste-spielehersteller-2018/ gameswirtschaft.de], Jul 2108)<br />
<br />
*12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*As of 31 March 2015, 12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Of the 450 games companies in Germany, 276 primarily focus on development, while 67 concentrate on publishing. The remaining 107 companies are both developers and publishers. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Considering the multiplier effect of associated roles such as journalists, government agencies and retail sales people, the number of jobs created by the computer and video games industry in Germany totals 30,231. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
== Italy ==<br />
<br />
*Italy's 26.2million players spent $2billion in 2018, making it the 10th largest games market in the work. ([https://newzoo.com/insights/infographics/italy-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*The Italian trade body AESVI has revealed that the Italian games market was worth $1.8 billion in 2017. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*€1.05 billion was made from video game software, with a further €428 million from hardware and accessories. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*The accessories sector was worth €94 million (driven primarily by controller sales), while console hardware generated €333 million (portable sales made up €16 million of that number). In total, 1.115 million home consoles were sold in Italy last year, and 135,747 portable machines. Retro games devices (such as Nintendo's SNES Mini) accounted for 86,946 machines. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*Physical sales make up 1/3 of the market and generating €370 million. Mobile is the largest segment, accounting for 37% of all game revenue and generating €385 million. Digital console and PC is the smallest area, with a 28% market share, or €294 million. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*In Italy 17 million people have had a gaming experience in the last 12 months, of which 59% are men and 41% women. Gaming is a practice that is widespread across all age groups, with a particular concentration on the 25-34 years old group. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
== Sweden ==<br />
<br />
*There were 287 active games studios in Sweden in 2016, an increase of 22% on the previous year. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*These companies employed 4,267 full-time positions, increasing 15% (558 FTEs) from 2015. The Swedish games workforce is 82% male, 18% female. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Revenue (turnover) of Swedish game developers increased to €1.4 billion in 2016, representing a 1000 percent increase since 2010. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Nearly 10 percent of Swedish games companies are working on virtual reality experiences. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*1 in 10 players worldwide have played a game made in Sweden. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Swedish game development looks in good shape: in 2014 its turnover increased by +35%, to reach €930m. The compound annual growth rate for the 2006-2014 period is an impressive +39%. The majority of companies were profitable, and the combined profits were also the largest so far, with a record €353m (+35% vs 2013). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*Employment increased by +23%, an additional 583 full-time positions, of which 17% (roughly 100) were hired by newly established companies. This brings the total of employees to 3,117, of which over three quarters (78%) are located in 2 cities: Stockholm and Malmö. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*In terms of diversity the number of women has grown by +39%, compared to a +17% for men, and since 2010 the number of women working in games development has increased by nearly 5 times in 5 years. They are mainly found in mid- to large-sized companies. The largest companies are multicultural and have employees representing over 30 different nationalities. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The 5 biggest companies in number of employees represented 52% of all employment and the 5 biggest in turnover accounted for 77% of the whole turnover. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The total value of Swedish game developers was estimated to be over €2.75bn in 2014 (this includes the value of acquisitions). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
== Turkey ==<br />
<br />
Turkey has more than 30 million active gamers, spending 70% of their gaming time on PC ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
Total Turkish game generated revenue in 2017 was $810m, increasing from $755m in 2016. The 2017 figure is split $437.6m PC / console revenues, $372.4m mobile. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
There are approximately 20,000 cyber cafes in Turkey, visited by 7.5m players a month. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
== Eastern Europe ==<br />
<br />
*The Digital market is worth $2.2bn in 2014. Interestingly the 3 key countries cover a 84% share at $1.9bn. Russia is a clear leader, with a 50% share ($1.1bn). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014, LINK)<br />
<br />
*The digital market saw a +7% growth in 2014 vs 2013, with free-to-play MMOs ($794m, +6%) and social games ($451m, +16%) having the largest market share. Social games also grew strongly - localization seems to be key. Pay-to-play MMO decreased by -6%, but shows a slower decline than in other regions. Digital PC ($267m, +9%) grew thanks to full game conversion and average revenue per paying user - there’s wariness toward regular in-game payment and full game spending is preferred. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Digital Console, smallest market share in region, still grew the most in percentage terms (+23%). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Mobile, a hype segment in Asia (+30% there) and the third largest in Eastern Europe (mostly Android), still has potential for growth in Eastern Europe, which faced small mobile penetration and doubts about payment security so far. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Europe&diff=732Europe2019-02-07T16:58:06Z<p>UkieGrace: /* Germany */</p>
<hr />
<div>== France ==<br />
<br />
*In 2017, the turnover of the French video game amounted to 4.3 billion euros (up 18% from 2016), making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018)<br />
<br />
*Growth in sales vs 2016: console ecosystem +23%, PC gaming ecosystem +6%, and mobile ecosystem +22%. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*77% of French people consider video gaming a leisure for the whole family ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*The most popular gaming platform is the console (61%), followed by smartphone (60%), PC (55%), tablet (38%), handheld devices (23%),online broadband (10%) ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*53% of French people play games regularly ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf SELL], Feb 2018 )<br />
<br />
*64% of those aged 6-64 in France said that they played games in 2018. ([http://www.sell.fr/sites/default/files/essential_video_game_news_sell_2018-eng-hr.pdf ISFE], 2018)<br />
<br />
*In 2015, the turnover of the video game amounted to 2.87 billion euros, making France the third European market for the sector after Germany and the United Kingdom. ([http://www.sell.fr/lindustrie SELL], Jan 2017, LINK)<br />
<br />
== Germany ==<br />
*The German games market grew to €3.3billion in 2017 (game, Aug 2018)<br />
<br />
*Germany has 44.3million players, the 5th largest games market. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German players spent $4.7billion in 2018. ([https://newzoo.com/insights/infographics/germany-games-market-2018/ Newzoo], Aug 2018)<br />
<br />
*German games market will total $4.7 billion by the end of 2018, placing it at #5 and the largest market by game revenues in Europe. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
*Games sales in Germany achieved 1.5 billion euros in the first half of 2018. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*However, market share of German developed games fell to 5.4% in 2017 from 6.4% in 2016. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], Aug 2018)<br />
<br />
*The market share achieved by German game app developers fell from 4.2% to 3.7%, in 2016 and 2017 respectively. ([https://www.game.de/en/blog/2018/08/27/german-games-market-grows-by-17-per-cent-in-the-first-six-months-of-2018/ game], 2018) <br />
<br />
*Only in PC and console games did the market share of German game developers rise: from 0.5% to nearly 1% in 2017. (game, 2018)<br />
<br />
*53% of Germans aged 6-64 play any type of game (2018) ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*The most popular platform for gaming in 2018 was PC – 36% of Germans said they played games on computers, followed by consoles (23%), smartphones (22%), tablets (9%), and handhelds (8%). ([https://www.isfe.eu/sites/isfe.eu/files/gametrack_european_summary_data_2018_q1.pdf ISFE], 2018)<br />
<br />
*As of July 2018, there are 35 games companies in Germany employing over 50 people. The largest employer is Nintendo of Europe at 850 people and the largest developer is InnoGames at 420 employees. ([https://www.gameswirtschaft.de/wirtschaft/deutschlands-groesste-spielehersteller-2018/ gameswirtschaft.de], Jul 2108)<br />
<br />
*12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*As of 31 March 2015, 12,726 people were employed in the development and publishing of games at 450 companies in Germany. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Of the 450 games companies in Germany, 276 primarily focus on development, while 67 concentrate on publishing. The remaining 107 companies are both developers and publishers. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
*Considering the multiplier effect of associated roles such as journalists, government agencies and retail sales people, the number of jobs created by the computer and video games industry in Germany totals 30,231. ([https://www.biu-online.de/en/labour-market/ BIU], Jan 2017)<br />
<br />
== Italy ==<br />
<br />
*The Italian trade body AESVI has revealed that the Italian games market was worth $1.8 billion in 2017. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*€1.05 billion was made from video game software, with a further €428 million from hardware and accessories. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*The accessories sector was worth €94 million (driven primarily by controller sales), while console hardware generated €333 million (portable sales made up €16 million of that number). In total, 1.115 million home consoles were sold in Italy last year, and 135,747 portable machines. Retro games devices (such as Nintendo's SNES Mini) accounted for 86,946 machines. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*Physical sales make up 1/3 of the market and generating €370 million. Mobile is the largest segment, accounting for 37% of all game revenue and generating €385 million. Digital console and PC is the smallest area, with a 28% market share, or €294 million. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
*In Italy 17 million people have had a gaming experience in the last 12 months, of which 59% are men and 41% women. Gaming is a practice that is widespread across all age groups, with a particular concentration on the 25-34 years old group. ([http://www.aesvi.it/cms/view.php?cms_pk=2898&dir_pk=902 AESVI], [https://www.gamesindustry.biz/articles/2018-04-20-italian-games-market-hit-usd1-8-billion-in-2017 GI.biz], Apr 2018)<br />
<br />
== Sweden ==<br />
<br />
*There were 287 active games studios in Sweden in 2016, an increase of 22% on the previous year. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*These companies employed 4,267 full-time positions, increasing 15% (558 FTEs) from 2015. The Swedish games workforce is 82% male, 18% female. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Revenue (turnover) of Swedish game developers increased to €1.4 billion in 2016, representing a 1000 percent increase since 2010. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Nearly 10 percent of Swedish games companies are working on virtual reality experiences. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*1 in 10 players worldwide have played a game made in Sweden. ([http://www.swedishgamesindustry.com/news/2017/9/4/2017-swedish-game-developer-index-reveals-steady-growth-in-exports,-boom-in-new-companies-and-revenue.aspx Dataspelsbranschen], Sept 2017)<br />
<br />
*Swedish game development looks in good shape: in 2014 its turnover increased by +35%, to reach €930m. The compound annual growth rate for the 2006-2014 period is an impressive +39%. The majority of companies were profitable, and the combined profits were also the largest so far, with a record €353m (+35% vs 2013). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*Employment increased by +23%, an additional 583 full-time positions, of which 17% (roughly 100) were hired by newly established companies. This brings the total of employees to 3,117, of which over three quarters (78%) are located in 2 cities: Stockholm and Malmö. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*In terms of diversity the number of women has grown by +39%, compared to a +17% for men, and since 2010 the number of women working in games development has increased by nearly 5 times in 5 years. They are mainly found in mid- to large-sized companies. The largest companies are multicultural and have employees representing over 30 different nationalities. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The 5 biggest companies in number of employees represented 52% of all employment and the 5 biggest in turnover accounted for 77% of the whole turnover. ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
*The total value of Swedish game developers was estimated to be over €2.75bn in 2014 (this includes the value of acquisitions). ([http://www.dataspelsbranschen.se Dataspelsbranschen, Game Developer Index], Sept 2015)<br />
<br />
== Turkey ==<br />
<br />
Turkey has more than 30 million active gamers, spending 70% of their gaming time on PC ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
Total Turkish game generated revenue in 2017 was $810m, increasing from $755m in 2016. The 2017 figure is split $437.6m PC / console revenues, $372.4m mobile. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
There are approximately 20,000 cyber cafes in Turkey, visited by 7.5m players a month. ([https://www.slideshare.net/ozanamrasaydemir/turkey-game-market-report-2017-gaming-in-turkey GamingInTurkey], Jun 2018)<br />
<br />
== Eastern Europe ==<br />
<br />
*The Digital market is worth $2.2bn in 2014. Interestingly the 3 key countries cover a 84% share at $1.9bn. Russia is a clear leader, with a 50% share ($1.1bn). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014, LINK)<br />
<br />
*The digital market saw a +7% growth in 2014 vs 2013, with free-to-play MMOs ($794m, +6%) and social games ($451m, +16%) having the largest market share. Social games also grew strongly - localization seems to be key. Pay-to-play MMO decreased by -6%, but shows a slower decline than in other regions. Digital PC ($267m, +9%) grew thanks to full game conversion and average revenue per paying user - there’s wariness toward regular in-game payment and full game spending is preferred. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Digital Console, smallest market share in region, still grew the most in percentage terms (+23%). ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)<br />
<br />
*In 2014, Mobile, a hype segment in Asia (+30% there) and the third largest in Eastern Europe (mostly Android), still has potential for growth in Eastern Europe, which faced small mobile penetration and doubts about payment security so far. ([http://www.slideshare.net/StephanieLlamas/eastern-europe-digital-games-market-2014 Superdata], Dec 2014)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Asia&diff=731Asia2019-02-07T16:56:06Z<p>UkieGrace: /* South Korea */</p>
<hr />
<div>== China ==<br />
*Despite a regulatory freeze of new games launches in China, Asia’s mobile games market grew by 18% year-over-year thanks to endemic hardcore titles such as Honour of Kings. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2019)<br />
<br />
* China, the US and Japan are the top markets for mobile gaming consumer spend and accounted for 75% of spend in 2018. ([https://www.appannie.com/en/go/state-of-mobile-2019/ App Annie], Jan 2019)<br />
<br />
* China had 619.5million players in 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Aug 2018)<br />
<br />
* China ranks #1 in games revenues, generating $37.9billion in 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
* Digital revenues account for 91% of the market. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
*China will remain the largest market globally, reaching $50.7bn in revenues by 2021. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_2018_Global_Games_Market_Report_Light.pdf Newzoo], Jun 2018)<br />
<br />
*In 2017, Chinese company Tencent, the largest games company in the world in revenue terms, achieved 97.9bn RMB (approx. $15.35bn) in global online game revenues, growing 38% year-on-year. <br />
<br />
*The Chinese video game market was worth $25.6bn in 2016 and is projected to grow to $29bn for 2017. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*PC accounted for 51 per cent of the total 2016 spend. However, the mobile market grew by 55 per cent last year and is expected to overtake PC before the end of 2017. The console install base remains at under 500k units. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*Microtransactions account for 88 per cent of the total PC spend. Spending on full PC game downloads has grown from $54m in 2015 to $220m in 2016. China is the fourth biggest global market for full PC game downloads. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*The Chinese gaming giant Tencent alone claimed 59 per cent of all PC spending in China. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*Chinese revenues will account for a quarter of all global revenue, growing 9.2% YYO to reach $27.5bn in 2017. ([https://newzoo.com/insights/articles/the-global-games-market-will-reach-108-9-billion-in-2017-with-mobile-taking-42/ Newzoo], Apr 2017)<br />
<br />
*Most of China’s growth will come from mobile gaming, with Tencent and NetEase leading the way. Mobile gaming revenues from these two companies alone reached $7.7 billion in 2016. ([https://newzoo.com/insights/articles/the-global-games-market-will-reach-108-9-billion-in-2017-with-mobile-taking-42/ Newzoo], Apr 2017)<br />
<br />
*‘Fantasy Westward Journey’ is perhaps the most successful example of a role-playing game in China, having earned publisher NetEase over $800 million in China alone since its release in 2015. ([https://www.appannie.com/insights/market-data/app-annie-2016-retrospective/ App Annie], Jan 2017)<br />
<br />
*In Q3 2016, China became the largest national market for iOS App Store revenues overall, earning more than $1.7 billion in the Q3 2016, exceeding the US by around 15%. Games make up approximately 75% of that revenue, in which China has been leading since Q2 2016. ([https://www.appannie.com/insights/market-data/q3-2016-index-china-hits-ios-app-store-milestone/ App Annie], Oct 2016)<br />
<br />
*China is the no.1 national market for iOS App Store Games revenues, exceeding the US and Japan revenues in Q2 2016. ([https://www.appannie.com/insights/market-data/app-annie-index-market-q2-2016 App Annie], Oct 2016)<br />
<br />
*According to Newzoo’s estimation, China has overtaken the US as the as world’s largest gaming market at $24.4bn, vs the US’s $23.6bn. With a larger population and gaming yet to reach a mature penetration, we can expect China’s lead *to grow over time. ([https://newzoo.com/insights/trend-reports/regional-breakdown-99-6-bn-global-games-market-free-report/ Newzoo], June 2016)<br />
<br />
*The Chinese mobile eSports market is dominated by Tencent, one of the largest gaming companies in the world. They currently control 63% of the iOS market and 50% for Android. Their nearest competitor, NetEase controls 5% of iOS and 8% for Android. ([https://newzoo.com/insights/trend-reports/regional-breakdown-99-6-bn-global-games-market-free-report/ Newzoo], June 2016, LINK)<br />
<br />
*APAC territories will generate $46.6 billion in 2016, or 47% of total global game revenues. This growth represents a 10.7% YoY increase. China alone accounts for half of APAC’s revenues, reaching $24.4 billion. (Newzoo, May 2016, LINK)<br />
<br />
*The mobile segment in China is growing even faster than estimated and will reach $10.0 billion this year, up 41% from $7.1 billion in 2015. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016, LINK)<br />
<br />
*China will remain the largest games market for the foreseeable future, growing to $28.9 billion by 2019. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016)<br />
<br />
*In 2014, Microsoft reported Xbox One sales of 100k units in China in its first week and aims to sell 1m in its first year. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ MCV], Oct 2014)<br />
<br />
*In 2014, Sony is also expanding in China, aiming to sell 200k machines annually and will start selling Dec 2014. Sony has 2 joint ventures in China’s free trade zone for hardware and software. ([http://www.mcvuk.com/news/read/sony-targeting-december-launch-for-ps4-in-china-report-claims/0139653 MCV], Oct 2014)<br />
<br />
*In 2014, After 14 years of console ban in China, Xbox One launched there for about $600, without Kinect included. All games on platform need to be approved by Chinese government prior to launch. ([http://www.gamepolitics.com/2014/09/29/xbox-one-officially-released-china-today#.VDJbbfldUk1 GamePolitics.com], Sept 2014)<br />
<br />
*In 2014, China’s mobile market has exploded and is expected to grow by 93% in 2014 to reach $2.9bn. The strong expansion is forecast to continue with a 2013-2018 impressive 37.6% compound annual growth rate. ([http://venturebeat.com/2014/08/04/chinas-mobile-game-market-to-grow-a-scorching-93-to-2-9b-in-2014/ Venturebeat], Aug 2014)<br />
<br />
== India==<br />
<br />
*In 2017, mobile game downloads in India are forecast to grow by 111%, while generating less than 1% of global consumer spend. Game developers may need to consider alternative monetization models, like advertising, to thrive in this market. ([https://www.appannie.com/en/insights/market-data/app-annie-forecast-2017-mobile-app-store-revenue-exceed-139-billion-2021/ App Annie], March 2017)<br />
<br />
== Japan ==<br />
*There are 67.6 million players in Japan, the 3rd largest games market in the world. ([https://newzoo.com/insights/infographics/japan-games-market-2018/], Aug 2018)<br />
<br />
*Japan generated $19.2billion in games revenues in 2018. ([https://newzoo.com/insights/infographics/japan-games-market-2018/], Aug 2018)<br />
<br />
*The console hardware sales experienced a huge spike in 2017 compared to the previous year. In 2016, Japanese hardware sales were 117.05 billion yen (£776m), while in 2017, they jumped to 202.37 billion yen (£1.34bn). Software sales also increased: in 2016, they were 182.4 billion yen (£1.20bn) and the following year, they were 189.3 billion yen (£1.25bn). The last time the Japanese gaming market saw an uptick was in 2006, when the Nintendo DS Lite, the Nintendo Wii, the PS3 launched. ([http://www.kotaku.co.uk/2018/01/10/for-the-first-time-in-11-years-the-japanese-console-game-market-has-increased Kotaku / Famitsu], Jan 2017)<br />
<br />
*The PS Vita has met success in Japan, selling over 4m units in the country, way more than it has in North America. While Nintendo’s 3DS is the handheld leader, the Vita is not far away. This could be in part due to the success of the PS4, expected to surpass the sales of the best-selling Sony console in history, the PS2. Sony has developed a feature called “Remote Play”, which allows users to stream PS4 games on the Vita. Other reasons to explain success re the work culture of the country, where people don’t get to spend much time at home. Vita may be Sony’s last handheld console, meaning that Nintendo could have a monopoly in the future – unless the Vita sales in Japan continue to grow. ([http://insidegamesasia.biz/ps-vita-has-managed-to-sell-4-million-units-in-japan/ InsideGamesAsia.biz], Aug 2015)<br />
<br />
*In 2014 Japan’s games revenue hit its highest level, at $9.6bn. 60% is made of mobile games businesses, getting a revenue $5.8 (+18% Year-on-Year). When looking at the “online games “ component defined as smart and feature phones, tablets and PC, it was worth $6.4bn (+13% Year-on-Year). ([http://insidegamesasia.biz/japans-game-market-2014-consoles-decline-and-mobile-grows Insidegamesasia.biz and Famitsu], Jun 2015)<br />
<br />
== South Korea ==<br />
<br />
* South Korea is the fourth-largest market with games revenues of $5.6billion as of 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018) <br />
<br />
* South Korea has 28.9million players ([https://newzoo.com/insights/infographics/south-korea-games-market-2018/ Newzoo], Aug 2018) <br />
<br />
*The South Korean online gaming sector grew by 14.9 percent to reach 83 billion won ($76.2m / £56.2m) as of 2016. It was 60 billion won (£40.6m) in 2014 and 72.3 billion won (£48.9m) in 2015, according to a report jointly published by the Ministry of Culture, Sports and Tourism and the Korea Creative Content Agency. Korea takes up 14.9 percent of the global market, which is estimated to be worth around $557 billion as of 2016. ([http://www.koreaherald.com/view.php?ud=20171127000737 Korea Herald], Nov 2017)<br />
<br />
*The South Korean online gaming sector’s contribution to the local economy has increased, too, by producing economic production activities worth 163.7 billion won (£110.8m) in 2016, as well as 63.3 billion won (£42.8m) in added value. In 2015, the figures were 141 billion won (£95.5m) and 54.4 billion won (£36.8m), respectively. ([http://www.koreaherald.com/view.php?ud=20171127000737 Korea Herald], Nov 2017)<br />
<br />
*Mobile sector has grown to become core of the games market (£1.4bn in 2014). ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Trend-oriented game market: some particular genres, especially RPGs, show consistent popularity. Teens, 20s, 30s are main trend setters. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Main business model is the Free-To-Play model with in-app purchases. Main source of revenue for games is via payments made to access additional content. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*3rd biggest android game market worldwide. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Transparent market with verified marketing effect: marketing and promotion are an important factor in forming game trends. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Influence on other countries: China and South-East Asian countries. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Essential strategies to enter the Korean market: Marketing, as this is a key factor to get game known, influence trend setters and succeed. The free-to-play model with in-app purchases is king. Localisation is important, in language but also user interface for example. Transform games titles into a brand. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*In 2014, social casual gaming is really strong in South Korea, four of the country’s most influential developers (Com2uS, NCSoft, Nexon, Smilegate) are valued at more than $1bn each by investors. Mobile game distribution platforms like Kakao and Line are valued at over $9bn. ([http://www.pocketgamer.biz/asia/comment-and-opinion/60074/how-korean-mobile-game-developers-are-riding-the-financials-market-to-success/ Pocketgamer.biz], Oct 2014, LINK)<br />
<br />
== Southeast Asia ==<br />
<br />
*“Big 6” countries in region: Indonesia, Malaysia, Philippines, Singapore, Thailand and Vietnam. These 6 cover 88% of the region’s population. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*Region’s total games revenues reached $1bn in 2014, Newzoo expects it to reach $2.2b, more than double, in the 3 years leading to 2017 (an impressive 2013-2017 CAGR of +29%). ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*In terms of market share: while Thailand will remain first by still growing its market (from 21% in 2013 to 22% market share in 2017), Singapore will lose (from 19% to 12% mkt share) to faster growing countries like Indonesia (from 16% to 21% mkt share) and the Philippines (from 9% to 11% mkt share). ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*'''Malaysia:''' SEA country where playing on multiple screens is the most popular: 26.5% players do so. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
**Malaysia has 14m gamers who spent $587m in 2017; #21 worldwide in terms of games revenues (newzoo, 2017)<br />
<br />
*'''Philippines:''' between 2004 And 2014 internet access grew by more than 800%, the fastest rate in SEA, meaning that in 2014 their online population was 42 million. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*'''Singapore:''' unique in that it has more players aged 36 to 50 than 10 to 20. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
**Consumer spend on video games was $368m in 2016 ([https://www.marketing-interactive.com/sg-consumer-spend-on-video-games-higher-than-spend-on-tv/ PwC], 2017)<br />
<br />
*'''Vietnam''' has 32.8m gamers who spent $365m in 2017 ([https://newzoo.com/insights/infographics/vietnamese-gamer-2017/ Newzoo], 2017)<br />
<br />
*'''Thailand’s''' games market is expected to more than double in 3 years, from $230m in 2014 to $491m in 2017, for a +31% CAGR. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Asia&diff=730Asia2019-02-07T16:55:14Z<p>UkieGrace: /* Japan */</p>
<hr />
<div>== China ==<br />
*Despite a regulatory freeze of new games launches in China, Asia’s mobile games market grew by 18% year-over-year thanks to endemic hardcore titles such as Honour of Kings. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2019)<br />
<br />
* China, the US and Japan are the top markets for mobile gaming consumer spend and accounted for 75% of spend in 2018. ([https://www.appannie.com/en/go/state-of-mobile-2019/ App Annie], Jan 2019)<br />
<br />
* China had 619.5million players in 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Aug 2018)<br />
<br />
* China ranks #1 in games revenues, generating $37.9billion in 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
* Digital revenues account for 91% of the market. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
*China will remain the largest market globally, reaching $50.7bn in revenues by 2021. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_2018_Global_Games_Market_Report_Light.pdf Newzoo], Jun 2018)<br />
<br />
*In 2017, Chinese company Tencent, the largest games company in the world in revenue terms, achieved 97.9bn RMB (approx. $15.35bn) in global online game revenues, growing 38% year-on-year. <br />
<br />
*The Chinese video game market was worth $25.6bn in 2016 and is projected to grow to $29bn for 2017. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*PC accounted for 51 per cent of the total 2016 spend. However, the mobile market grew by 55 per cent last year and is expected to overtake PC before the end of 2017. The console install base remains at under 500k units. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*Microtransactions account for 88 per cent of the total PC spend. Spending on full PC game downloads has grown from $54m in 2015 to $220m in 2016. China is the fourth biggest global market for full PC game downloads. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*The Chinese gaming giant Tencent alone claimed 59 per cent of all PC spending in China. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*Chinese revenues will account for a quarter of all global revenue, growing 9.2% YYO to reach $27.5bn in 2017. ([https://newzoo.com/insights/articles/the-global-games-market-will-reach-108-9-billion-in-2017-with-mobile-taking-42/ Newzoo], Apr 2017)<br />
<br />
*Most of China’s growth will come from mobile gaming, with Tencent and NetEase leading the way. Mobile gaming revenues from these two companies alone reached $7.7 billion in 2016. ([https://newzoo.com/insights/articles/the-global-games-market-will-reach-108-9-billion-in-2017-with-mobile-taking-42/ Newzoo], Apr 2017)<br />
<br />
*‘Fantasy Westward Journey’ is perhaps the most successful example of a role-playing game in China, having earned publisher NetEase over $800 million in China alone since its release in 2015. ([https://www.appannie.com/insights/market-data/app-annie-2016-retrospective/ App Annie], Jan 2017)<br />
<br />
*In Q3 2016, China became the largest national market for iOS App Store revenues overall, earning more than $1.7 billion in the Q3 2016, exceeding the US by around 15%. Games make up approximately 75% of that revenue, in which China has been leading since Q2 2016. ([https://www.appannie.com/insights/market-data/q3-2016-index-china-hits-ios-app-store-milestone/ App Annie], Oct 2016)<br />
<br />
*China is the no.1 national market for iOS App Store Games revenues, exceeding the US and Japan revenues in Q2 2016. ([https://www.appannie.com/insights/market-data/app-annie-index-market-q2-2016 App Annie], Oct 2016)<br />
<br />
*According to Newzoo’s estimation, China has overtaken the US as the as world’s largest gaming market at $24.4bn, vs the US’s $23.6bn. With a larger population and gaming yet to reach a mature penetration, we can expect China’s lead *to grow over time. ([https://newzoo.com/insights/trend-reports/regional-breakdown-99-6-bn-global-games-market-free-report/ Newzoo], June 2016)<br />
<br />
*The Chinese mobile eSports market is dominated by Tencent, one of the largest gaming companies in the world. They currently control 63% of the iOS market and 50% for Android. Their nearest competitor, NetEase controls 5% of iOS and 8% for Android. ([https://newzoo.com/insights/trend-reports/regional-breakdown-99-6-bn-global-games-market-free-report/ Newzoo], June 2016, LINK)<br />
<br />
*APAC territories will generate $46.6 billion in 2016, or 47% of total global game revenues. This growth represents a 10.7% YoY increase. China alone accounts for half of APAC’s revenues, reaching $24.4 billion. (Newzoo, May 2016, LINK)<br />
<br />
*The mobile segment in China is growing even faster than estimated and will reach $10.0 billion this year, up 41% from $7.1 billion in 2015. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016, LINK)<br />
<br />
*China will remain the largest games market for the foreseeable future, growing to $28.9 billion by 2019. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016)<br />
<br />
*In 2014, Microsoft reported Xbox One sales of 100k units in China in its first week and aims to sell 1m in its first year. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ MCV], Oct 2014)<br />
<br />
*In 2014, Sony is also expanding in China, aiming to sell 200k machines annually and will start selling Dec 2014. Sony has 2 joint ventures in China’s free trade zone for hardware and software. ([http://www.mcvuk.com/news/read/sony-targeting-december-launch-for-ps4-in-china-report-claims/0139653 MCV], Oct 2014)<br />
<br />
*In 2014, After 14 years of console ban in China, Xbox One launched there for about $600, without Kinect included. All games on platform need to be approved by Chinese government prior to launch. ([http://www.gamepolitics.com/2014/09/29/xbox-one-officially-released-china-today#.VDJbbfldUk1 GamePolitics.com], Sept 2014)<br />
<br />
*In 2014, China’s mobile market has exploded and is expected to grow by 93% in 2014 to reach $2.9bn. The strong expansion is forecast to continue with a 2013-2018 impressive 37.6% compound annual growth rate. ([http://venturebeat.com/2014/08/04/chinas-mobile-game-market-to-grow-a-scorching-93-to-2-9b-in-2014/ Venturebeat], Aug 2014)<br />
<br />
== India==<br />
<br />
*In 2017, mobile game downloads in India are forecast to grow by 111%, while generating less than 1% of global consumer spend. Game developers may need to consider alternative monetization models, like advertising, to thrive in this market. ([https://www.appannie.com/en/insights/market-data/app-annie-forecast-2017-mobile-app-store-revenue-exceed-139-billion-2021/ App Annie], March 2017)<br />
<br />
== Japan ==<br />
*There are 67.6 million players in Japan, the 3rd largest games market in the world. ([https://newzoo.com/insights/infographics/japan-games-market-2018/], Aug 2018)<br />
<br />
*Japan generated $19.2billion in games revenues in 2018. ([https://newzoo.com/insights/infographics/japan-games-market-2018/], Aug 2018)<br />
<br />
*The console hardware sales experienced a huge spike in 2017 compared to the previous year. In 2016, Japanese hardware sales were 117.05 billion yen (£776m), while in 2017, they jumped to 202.37 billion yen (£1.34bn). Software sales also increased: in 2016, they were 182.4 billion yen (£1.20bn) and the following year, they were 189.3 billion yen (£1.25bn). The last time the Japanese gaming market saw an uptick was in 2006, when the Nintendo DS Lite, the Nintendo Wii, the PS3 launched. ([http://www.kotaku.co.uk/2018/01/10/for-the-first-time-in-11-years-the-japanese-console-game-market-has-increased Kotaku / Famitsu], Jan 2017)<br />
<br />
*The PS Vita has met success in Japan, selling over 4m units in the country, way more than it has in North America. While Nintendo’s 3DS is the handheld leader, the Vita is not far away. This could be in part due to the success of the PS4, expected to surpass the sales of the best-selling Sony console in history, the PS2. Sony has developed a feature called “Remote Play”, which allows users to stream PS4 games on the Vita. Other reasons to explain success re the work culture of the country, where people don’t get to spend much time at home. Vita may be Sony’s last handheld console, meaning that Nintendo could have a monopoly in the future – unless the Vita sales in Japan continue to grow. ([http://insidegamesasia.biz/ps-vita-has-managed-to-sell-4-million-units-in-japan/ InsideGamesAsia.biz], Aug 2015)<br />
<br />
*In 2014 Japan’s games revenue hit its highest level, at $9.6bn. 60% is made of mobile games businesses, getting a revenue $5.8 (+18% Year-on-Year). When looking at the “online games “ component defined as smart and feature phones, tablets and PC, it was worth $6.4bn (+13% Year-on-Year). ([http://insidegamesasia.biz/japans-game-market-2014-consoles-decline-and-mobile-grows Insidegamesasia.biz and Famitsu], Jun 2015)<br />
<br />
== South Korea ==<br />
<br />
* South Korea is the fourth-largest market with games revenues of $5.6billion as of 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018) <br />
<br />
*The South Korean online gaming sector grew by 14.9 percent to reach 83 billion won ($76.2m / £56.2m) as of 2016. It was 60 billion won (£40.6m) in 2014 and 72.3 billion won (£48.9m) in 2015, according to a report jointly published by the Ministry of Culture, Sports and Tourism and the Korea Creative Content Agency. Korea takes up 14.9 percent of the global market, which is estimated to be worth around $557 billion as of 2016. ([http://www.koreaherald.com/view.php?ud=20171127000737 Korea Herald], Nov 2017)<br />
<br />
*The South Korean online gaming sector’s contribution to the local economy has increased, too, by producing economic production activities worth 163.7 billion won (£110.8m) in 2016, as well as 63.3 billion won (£42.8m) in added value. In 2015, the figures were 141 billion won (£95.5m) and 54.4 billion won (£36.8m), respectively. ([http://www.koreaherald.com/view.php?ud=20171127000737 Korea Herald], Nov 2017)<br />
<br />
*Mobile sector has grown to become core of the games market (£1.4bn in 2014). ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Trend-oriented game market: some particular genres, especially RPGs, show consistent popularity. Teens, 20s, 30s are main trend setters. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Main business model is the Free-To-Play model with in-app purchases. Main source of revenue for games is via payments made to access additional content. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*3rd biggest android game market worldwide. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Transparent market with verified marketing effect: marketing and promotion are an important factor in forming game trends. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Influence on other countries: China and South-East Asian countries. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Essential strategies to enter the Korean market: Marketing, as this is a key factor to get game known, influence trend setters and succeed. The free-to-play model with in-app purchases is king. Localisation is important, in language but also user interface for example. Transform games titles into a brand. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*In 2014, social casual gaming is really strong in South Korea, four of the country’s most influential developers (Com2uS, NCSoft, Nexon, Smilegate) are valued at more than $1bn each by investors. Mobile game distribution platforms like Kakao and Line are valued at over $9bn. ([http://www.pocketgamer.biz/asia/comment-and-opinion/60074/how-korean-mobile-game-developers-are-riding-the-financials-market-to-success/ Pocketgamer.biz], Oct 2014, LINK)<br />
<br />
== Southeast Asia ==<br />
<br />
*“Big 6” countries in region: Indonesia, Malaysia, Philippines, Singapore, Thailand and Vietnam. These 6 cover 88% of the region’s population. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*Region’s total games revenues reached $1bn in 2014, Newzoo expects it to reach $2.2b, more than double, in the 3 years leading to 2017 (an impressive 2013-2017 CAGR of +29%). ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*In terms of market share: while Thailand will remain first by still growing its market (from 21% in 2013 to 22% market share in 2017), Singapore will lose (from 19% to 12% mkt share) to faster growing countries like Indonesia (from 16% to 21% mkt share) and the Philippines (from 9% to 11% mkt share). ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*'''Malaysia:''' SEA country where playing on multiple screens is the most popular: 26.5% players do so. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
**Malaysia has 14m gamers who spent $587m in 2017; #21 worldwide in terms of games revenues (newzoo, 2017)<br />
<br />
*'''Philippines:''' between 2004 And 2014 internet access grew by more than 800%, the fastest rate in SEA, meaning that in 2014 their online population was 42 million. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*'''Singapore:''' unique in that it has more players aged 36 to 50 than 10 to 20. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
**Consumer spend on video games was $368m in 2016 ([https://www.marketing-interactive.com/sg-consumer-spend-on-video-games-higher-than-spend-on-tv/ PwC], 2017)<br />
<br />
*'''Vietnam''' has 32.8m gamers who spent $365m in 2017 ([https://newzoo.com/insights/infographics/vietnamese-gamer-2017/ Newzoo], 2017)<br />
<br />
*'''Thailand’s''' games market is expected to more than double in 3 years, from $230m in 2014 to $491m in 2017, for a +31% CAGR. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Asia&diff=729Asia2019-02-07T16:55:06Z<p>UkieGrace: /* Japan */</p>
<hr />
<div>== China ==<br />
*Despite a regulatory freeze of new games launches in China, Asia’s mobile games market grew by 18% year-over-year thanks to endemic hardcore titles such as Honour of Kings. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2019)<br />
<br />
* China, the US and Japan are the top markets for mobile gaming consumer spend and accounted for 75% of spend in 2018. ([https://www.appannie.com/en/go/state-of-mobile-2019/ App Annie], Jan 2019)<br />
<br />
* China had 619.5million players in 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Aug 2018)<br />
<br />
* China ranks #1 in games revenues, generating $37.9billion in 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
* Digital revenues account for 91% of the market. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
*China will remain the largest market globally, reaching $50.7bn in revenues by 2021. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_2018_Global_Games_Market_Report_Light.pdf Newzoo], Jun 2018)<br />
<br />
*In 2017, Chinese company Tencent, the largest games company in the world in revenue terms, achieved 97.9bn RMB (approx. $15.35bn) in global online game revenues, growing 38% year-on-year. <br />
<br />
*The Chinese video game market was worth $25.6bn in 2016 and is projected to grow to $29bn for 2017. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*PC accounted for 51 per cent of the total 2016 spend. However, the mobile market grew by 55 per cent last year and is expected to overtake PC before the end of 2017. The console install base remains at under 500k units. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*Microtransactions account for 88 per cent of the total PC spend. Spending on full PC game downloads has grown from $54m in 2015 to $220m in 2016. China is the fourth biggest global market for full PC game downloads. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*The Chinese gaming giant Tencent alone claimed 59 per cent of all PC spending in China. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*Chinese revenues will account for a quarter of all global revenue, growing 9.2% YYO to reach $27.5bn in 2017. ([https://newzoo.com/insights/articles/the-global-games-market-will-reach-108-9-billion-in-2017-with-mobile-taking-42/ Newzoo], Apr 2017)<br />
<br />
*Most of China’s growth will come from mobile gaming, with Tencent and NetEase leading the way. Mobile gaming revenues from these two companies alone reached $7.7 billion in 2016. ([https://newzoo.com/insights/articles/the-global-games-market-will-reach-108-9-billion-in-2017-with-mobile-taking-42/ Newzoo], Apr 2017)<br />
<br />
*‘Fantasy Westward Journey’ is perhaps the most successful example of a role-playing game in China, having earned publisher NetEase over $800 million in China alone since its release in 2015. ([https://www.appannie.com/insights/market-data/app-annie-2016-retrospective/ App Annie], Jan 2017)<br />
<br />
*In Q3 2016, China became the largest national market for iOS App Store revenues overall, earning more than $1.7 billion in the Q3 2016, exceeding the US by around 15%. Games make up approximately 75% of that revenue, in which China has been leading since Q2 2016. ([https://www.appannie.com/insights/market-data/q3-2016-index-china-hits-ios-app-store-milestone/ App Annie], Oct 2016)<br />
<br />
*China is the no.1 national market for iOS App Store Games revenues, exceeding the US and Japan revenues in Q2 2016. ([https://www.appannie.com/insights/market-data/app-annie-index-market-q2-2016 App Annie], Oct 2016)<br />
<br />
*According to Newzoo’s estimation, China has overtaken the US as the as world’s largest gaming market at $24.4bn, vs the US’s $23.6bn. With a larger population and gaming yet to reach a mature penetration, we can expect China’s lead *to grow over time. ([https://newzoo.com/insights/trend-reports/regional-breakdown-99-6-bn-global-games-market-free-report/ Newzoo], June 2016)<br />
<br />
*The Chinese mobile eSports market is dominated by Tencent, one of the largest gaming companies in the world. They currently control 63% of the iOS market and 50% for Android. Their nearest competitor, NetEase controls 5% of iOS and 8% for Android. ([https://newzoo.com/insights/trend-reports/regional-breakdown-99-6-bn-global-games-market-free-report/ Newzoo], June 2016, LINK)<br />
<br />
*APAC territories will generate $46.6 billion in 2016, or 47% of total global game revenues. This growth represents a 10.7% YoY increase. China alone accounts for half of APAC’s revenues, reaching $24.4 billion. (Newzoo, May 2016, LINK)<br />
<br />
*The mobile segment in China is growing even faster than estimated and will reach $10.0 billion this year, up 41% from $7.1 billion in 2015. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016, LINK)<br />
<br />
*China will remain the largest games market for the foreseeable future, growing to $28.9 billion by 2019. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016)<br />
<br />
*In 2014, Microsoft reported Xbox One sales of 100k units in China in its first week and aims to sell 1m in its first year. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ MCV], Oct 2014)<br />
<br />
*In 2014, Sony is also expanding in China, aiming to sell 200k machines annually and will start selling Dec 2014. Sony has 2 joint ventures in China’s free trade zone for hardware and software. ([http://www.mcvuk.com/news/read/sony-targeting-december-launch-for-ps4-in-china-report-claims/0139653 MCV], Oct 2014)<br />
<br />
*In 2014, After 14 years of console ban in China, Xbox One launched there for about $600, without Kinect included. All games on platform need to be approved by Chinese government prior to launch. ([http://www.gamepolitics.com/2014/09/29/xbox-one-officially-released-china-today#.VDJbbfldUk1 GamePolitics.com], Sept 2014)<br />
<br />
*In 2014, China’s mobile market has exploded and is expected to grow by 93% in 2014 to reach $2.9bn. The strong expansion is forecast to continue with a 2013-2018 impressive 37.6% compound annual growth rate. ([http://venturebeat.com/2014/08/04/chinas-mobile-game-market-to-grow-a-scorching-93-to-2-9b-in-2014/ Venturebeat], Aug 2014)<br />
<br />
== India==<br />
<br />
*In 2017, mobile game downloads in India are forecast to grow by 111%, while generating less than 1% of global consumer spend. Game developers may need to consider alternative monetization models, like advertising, to thrive in this market. ([https://www.appannie.com/en/insights/market-data/app-annie-forecast-2017-mobile-app-store-revenue-exceed-139-billion-2021/ App Annie], March 2017)<br />
<br />
== Japan ==<br />
*There are 67.6 million players in Japan, the 3rd largest games market in the world. ([https://newzoo.com/insights/infographics/japan-games-market-2018/], Aug 2018)<br />
<br />
*Japan generated $19.2billion in games revenues in 2018. ([https://newzoo.com/insights/infographics/japan-games-market-2018/], Aug 2018)<br />
<br />
<br />
*The console hardware sales experienced a huge spike in 2017 compared to the previous year. In 2016, Japanese hardware sales were 117.05 billion yen (£776m), while in 2017, they jumped to 202.37 billion yen (£1.34bn). Software sales also increased: in 2016, they were 182.4 billion yen (£1.20bn) and the following year, they were 189.3 billion yen (£1.25bn). The last time the Japanese gaming market saw an uptick was in 2006, when the Nintendo DS Lite, the Nintendo Wii, the PS3 launched. ([http://www.kotaku.co.uk/2018/01/10/for-the-first-time-in-11-years-the-japanese-console-game-market-has-increased Kotaku / Famitsu], Jan 2017)<br />
<br />
*The PS Vita has met success in Japan, selling over 4m units in the country, way more than it has in North America. While Nintendo’s 3DS is the handheld leader, the Vita is not far away. This could be in part due to the success of the PS4, expected to surpass the sales of the best-selling Sony console in history, the PS2. Sony has developed a feature called “Remote Play”, which allows users to stream PS4 games on the Vita. Other reasons to explain success re the work culture of the country, where people don’t get to spend much time at home. Vita may be Sony’s last handheld console, meaning that Nintendo could have a monopoly in the future – unless the Vita sales in Japan continue to grow. ([http://insidegamesasia.biz/ps-vita-has-managed-to-sell-4-million-units-in-japan/ InsideGamesAsia.biz], Aug 2015)<br />
<br />
*In 2014 Japan’s games revenue hit its highest level, at $9.6bn. 60% is made of mobile games businesses, getting a revenue $5.8 (+18% Year-on-Year). When looking at the “online games “ component defined as smart and feature phones, tablets and PC, it was worth $6.4bn (+13% Year-on-Year). ([http://insidegamesasia.biz/japans-game-market-2014-consoles-decline-and-mobile-grows Insidegamesasia.biz and Famitsu], Jun 2015)<br />
<br />
== South Korea ==<br />
<br />
* South Korea is the fourth-largest market with games revenues of $5.6billion as of 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018) <br />
<br />
*The South Korean online gaming sector grew by 14.9 percent to reach 83 billion won ($76.2m / £56.2m) as of 2016. It was 60 billion won (£40.6m) in 2014 and 72.3 billion won (£48.9m) in 2015, according to a report jointly published by the Ministry of Culture, Sports and Tourism and the Korea Creative Content Agency. Korea takes up 14.9 percent of the global market, which is estimated to be worth around $557 billion as of 2016. ([http://www.koreaherald.com/view.php?ud=20171127000737 Korea Herald], Nov 2017)<br />
<br />
*The South Korean online gaming sector’s contribution to the local economy has increased, too, by producing economic production activities worth 163.7 billion won (£110.8m) in 2016, as well as 63.3 billion won (£42.8m) in added value. In 2015, the figures were 141 billion won (£95.5m) and 54.4 billion won (£36.8m), respectively. ([http://www.koreaherald.com/view.php?ud=20171127000737 Korea Herald], Nov 2017)<br />
<br />
*Mobile sector has grown to become core of the games market (£1.4bn in 2014). ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Trend-oriented game market: some particular genres, especially RPGs, show consistent popularity. Teens, 20s, 30s are main trend setters. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Main business model is the Free-To-Play model with in-app purchases. Main source of revenue for games is via payments made to access additional content. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*3rd biggest android game market worldwide. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Transparent market with verified marketing effect: marketing and promotion are an important factor in forming game trends. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Influence on other countries: China and South-East Asian countries. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Essential strategies to enter the Korean market: Marketing, as this is a key factor to get game known, influence trend setters and succeed. The free-to-play model with in-app purchases is king. Localisation is important, in language but also user interface for example. Transform games titles into a brand. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*In 2014, social casual gaming is really strong in South Korea, four of the country’s most influential developers (Com2uS, NCSoft, Nexon, Smilegate) are valued at more than $1bn each by investors. Mobile game distribution platforms like Kakao and Line are valued at over $9bn. ([http://www.pocketgamer.biz/asia/comment-and-opinion/60074/how-korean-mobile-game-developers-are-riding-the-financials-market-to-success/ Pocketgamer.biz], Oct 2014, LINK)<br />
<br />
== Southeast Asia ==<br />
<br />
*“Big 6” countries in region: Indonesia, Malaysia, Philippines, Singapore, Thailand and Vietnam. These 6 cover 88% of the region’s population. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*Region’s total games revenues reached $1bn in 2014, Newzoo expects it to reach $2.2b, more than double, in the 3 years leading to 2017 (an impressive 2013-2017 CAGR of +29%). ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*In terms of market share: while Thailand will remain first by still growing its market (from 21% in 2013 to 22% market share in 2017), Singapore will lose (from 19% to 12% mkt share) to faster growing countries like Indonesia (from 16% to 21% mkt share) and the Philippines (from 9% to 11% mkt share). ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*'''Malaysia:''' SEA country where playing on multiple screens is the most popular: 26.5% players do so. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
**Malaysia has 14m gamers who spent $587m in 2017; #21 worldwide in terms of games revenues (newzoo, 2017)<br />
<br />
*'''Philippines:''' between 2004 And 2014 internet access grew by more than 800%, the fastest rate in SEA, meaning that in 2014 their online population was 42 million. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*'''Singapore:''' unique in that it has more players aged 36 to 50 than 10 to 20. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
**Consumer spend on video games was $368m in 2016 ([https://www.marketing-interactive.com/sg-consumer-spend-on-video-games-higher-than-spend-on-tv/ PwC], 2017)<br />
<br />
*'''Vietnam''' has 32.8m gamers who spent $365m in 2017 ([https://newzoo.com/insights/infographics/vietnamese-gamer-2017/ Newzoo], 2017)<br />
<br />
*'''Thailand’s''' games market is expected to more than double in 3 years, from $230m in 2014 to $491m in 2017, for a +31% CAGR. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Asia&diff=728Asia2019-02-07T16:53:06Z<p>UkieGrace: </p>
<hr />
<div>== China ==<br />
*Despite a regulatory freeze of new games launches in China, Asia’s mobile games market grew by 18% year-over-year thanks to endemic hardcore titles such as Honour of Kings. ([https://www.superdataresearch.com/market-data/market-brief-year-in-review/ Superdata], Jan 2019)<br />
<br />
* China, the US and Japan are the top markets for mobile gaming consumer spend and accounted for 75% of spend in 2018. ([https://www.appannie.com/en/go/state-of-mobile-2019/ App Annie], Jan 2019)<br />
<br />
* China had 619.5million players in 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Aug 2018)<br />
<br />
* China ranks #1 in games revenues, generating $37.9billion in 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
* Digital revenues account for 91% of the market. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018)<br />
<br />
*China will remain the largest market globally, reaching $50.7bn in revenues by 2021. ([https://resources.newzoo.com/hubfs/Reports/Newzoo_2018_Global_Games_Market_Report_Light.pdf Newzoo], Jun 2018)<br />
<br />
*In 2017, Chinese company Tencent, the largest games company in the world in revenue terms, achieved 97.9bn RMB (approx. $15.35bn) in global online game revenues, growing 38% year-on-year. <br />
<br />
*The Chinese video game market was worth $25.6bn in 2016 and is projected to grow to $29bn for 2017. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*PC accounted for 51 per cent of the total 2016 spend. However, the mobile market grew by 55 per cent last year and is expected to overtake PC before the end of 2017. The console install base remains at under 500k units. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*Microtransactions account for 88 per cent of the total PC spend. Spending on full PC game downloads has grown from $54m in 2015 to $220m in 2016. China is the fourth biggest global market for full PC game downloads. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*The Chinese gaming giant Tencent alone claimed 59 per cent of all PC spending in China. ([http://www.mcvuk.com/news/read/china-extends-its-lead-as-world-s-largest-video-games-market/0184159 IHS Markit], June 2017)<br />
<br />
*Chinese revenues will account for a quarter of all global revenue, growing 9.2% YYO to reach $27.5bn in 2017. ([https://newzoo.com/insights/articles/the-global-games-market-will-reach-108-9-billion-in-2017-with-mobile-taking-42/ Newzoo], Apr 2017)<br />
<br />
*Most of China’s growth will come from mobile gaming, with Tencent and NetEase leading the way. Mobile gaming revenues from these two companies alone reached $7.7 billion in 2016. ([https://newzoo.com/insights/articles/the-global-games-market-will-reach-108-9-billion-in-2017-with-mobile-taking-42/ Newzoo], Apr 2017)<br />
<br />
*‘Fantasy Westward Journey’ is perhaps the most successful example of a role-playing game in China, having earned publisher NetEase over $800 million in China alone since its release in 2015. ([https://www.appannie.com/insights/market-data/app-annie-2016-retrospective/ App Annie], Jan 2017)<br />
<br />
*In Q3 2016, China became the largest national market for iOS App Store revenues overall, earning more than $1.7 billion in the Q3 2016, exceeding the US by around 15%. Games make up approximately 75% of that revenue, in which China has been leading since Q2 2016. ([https://www.appannie.com/insights/market-data/q3-2016-index-china-hits-ios-app-store-milestone/ App Annie], Oct 2016)<br />
<br />
*China is the no.1 national market for iOS App Store Games revenues, exceeding the US and Japan revenues in Q2 2016. ([https://www.appannie.com/insights/market-data/app-annie-index-market-q2-2016 App Annie], Oct 2016)<br />
<br />
*According to Newzoo’s estimation, China has overtaken the US as the as world’s largest gaming market at $24.4bn, vs the US’s $23.6bn. With a larger population and gaming yet to reach a mature penetration, we can expect China’s lead *to grow over time. ([https://newzoo.com/insights/trend-reports/regional-breakdown-99-6-bn-global-games-market-free-report/ Newzoo], June 2016)<br />
<br />
*The Chinese mobile eSports market is dominated by Tencent, one of the largest gaming companies in the world. They currently control 63% of the iOS market and 50% for Android. Their nearest competitor, NetEase controls 5% of iOS and 8% for Android. ([https://newzoo.com/insights/trend-reports/regional-breakdown-99-6-bn-global-games-market-free-report/ Newzoo], June 2016, LINK)<br />
<br />
*APAC territories will generate $46.6 billion in 2016, or 47% of total global game revenues. This growth represents a 10.7% YoY increase. China alone accounts for half of APAC’s revenues, reaching $24.4 billion. (Newzoo, May 2016, LINK)<br />
<br />
*The mobile segment in China is growing even faster than estimated and will reach $10.0 billion this year, up 41% from $7.1 billion in 2015. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016, LINK)<br />
<br />
*China will remain the largest games market for the foreseeable future, growing to $28.9 billion by 2019. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ Newzoo], May 2016)<br />
<br />
*In 2014, Microsoft reported Xbox One sales of 100k units in China in its first week and aims to sell 1m in its first year. ([https://newzoo.com/insights/articles/global-games-market-reaches-99-6-billion-2016-mobile-generating-37/ MCV], Oct 2014)<br />
<br />
*In 2014, Sony is also expanding in China, aiming to sell 200k machines annually and will start selling Dec 2014. Sony has 2 joint ventures in China’s free trade zone for hardware and software. ([http://www.mcvuk.com/news/read/sony-targeting-december-launch-for-ps4-in-china-report-claims/0139653 MCV], Oct 2014)<br />
<br />
*In 2014, After 14 years of console ban in China, Xbox One launched there for about $600, without Kinect included. All games on platform need to be approved by Chinese government prior to launch. ([http://www.gamepolitics.com/2014/09/29/xbox-one-officially-released-china-today#.VDJbbfldUk1 GamePolitics.com], Sept 2014)<br />
<br />
*In 2014, China’s mobile market has exploded and is expected to grow by 93% in 2014 to reach $2.9bn. The strong expansion is forecast to continue with a 2013-2018 impressive 37.6% compound annual growth rate. ([http://venturebeat.com/2014/08/04/chinas-mobile-game-market-to-grow-a-scorching-93-to-2-9b-in-2014/ Venturebeat], Aug 2014)<br />
<br />
== India==<br />
<br />
*In 2017, mobile game downloads in India are forecast to grow by 111%, while generating less than 1% of global consumer spend. Game developers may need to consider alternative monetization models, like advertising, to thrive in this market. ([https://www.appannie.com/en/insights/market-data/app-annie-forecast-2017-mobile-app-store-revenue-exceed-139-billion-2021/ App Annie], March 2017)<br />
<br />
== Japan ==<br />
<br />
*The console hardware sales experienced a huge spike in 2017 compared to the previous year. In 2016, Japanese hardware sales were 117.05 billion yen (£776m), while in 2017, they jumped to 202.37 billion yen (£1.34bn). Software sales also increased: in 2016, they were 182.4 billion yen (£1.20bn) and the following year, they were 189.3 billion yen (£1.25bn). The last time the Japanese gaming market saw an uptick was in 2006, when the Nintendo DS Lite, the Nintendo Wii, the PS3 launched. ([http://www.kotaku.co.uk/2018/01/10/for-the-first-time-in-11-years-the-japanese-console-game-market-has-increased Kotaku / Famitsu], Jan 2017)<br />
<br />
*The PS Vita has met success in Japan, selling over 4m units in the country, way more than it has in North America. While Nintendo’s 3DS is the handheld leader, the Vita is not far away. This could be in part due to the success of the PS4, expected to surpass the sales of the best-selling Sony console in history, the PS2. Sony has developed a feature called “Remote Play”, which allows users to stream PS4 games on the Vita. Other reasons to explain success re the work culture of the country, where people don’t get to spend much time at home. Vita may be Sony’s last handheld console, meaning that Nintendo could have a monopoly in the future – unless the Vita sales in Japan continue to grow. ([http://insidegamesasia.biz/ps-vita-has-managed-to-sell-4-million-units-in-japan/ InsideGamesAsia.biz], Aug 2015)<br />
<br />
*In 2014 Japan’s games revenue hit its highest level, at $9.6bn. 60% is made of mobile games businesses, getting a revenue $5.8 (+18% Year-on-Year). When looking at the “online games “ component defined as smart and feature phones, tablets and PC, it was worth $6.4bn (+13% Year-on-Year). ([http://insidegamesasia.biz/japans-game-market-2014-consoles-decline-and-mobile-grows Insidegamesasia.biz and Famitsu], Jun 2015)<br />
<br />
== South Korea ==<br />
<br />
* South Korea is the fourth-largest market with games revenues of $5.6billion as of 2018. ([https://newzoo.com/insights/articles/newzoos-2018-report-insights-into-the-137-9-billion-global-games-market/ Newzoo], Jun 2018) <br />
<br />
*The South Korean online gaming sector grew by 14.9 percent to reach 83 billion won ($76.2m / £56.2m) as of 2016. It was 60 billion won (£40.6m) in 2014 and 72.3 billion won (£48.9m) in 2015, according to a report jointly published by the Ministry of Culture, Sports and Tourism and the Korea Creative Content Agency. Korea takes up 14.9 percent of the global market, which is estimated to be worth around $557 billion as of 2016. ([http://www.koreaherald.com/view.php?ud=20171127000737 Korea Herald], Nov 2017)<br />
<br />
*The South Korean online gaming sector’s contribution to the local economy has increased, too, by producing economic production activities worth 163.7 billion won (£110.8m) in 2016, as well as 63.3 billion won (£42.8m) in added value. In 2015, the figures were 141 billion won (£95.5m) and 54.4 billion won (£36.8m), respectively. ([http://www.koreaherald.com/view.php?ud=20171127000737 Korea Herald], Nov 2017)<br />
<br />
*Mobile sector has grown to become core of the games market (£1.4bn in 2014). ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Trend-oriented game market: some particular genres, especially RPGs, show consistent popularity. Teens, 20s, 30s are main trend setters. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Main business model is the Free-To-Play model with in-app purchases. Main source of revenue for games is via payments made to access additional content. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*3rd biggest android game market worldwide. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Transparent market with verified marketing effect: marketing and promotion are an important factor in forming game trends. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Influence on other countries: China and South-East Asian countries. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*Essential strategies to enter the Korean market: Marketing, as this is a key factor to get game known, influence trend setters and succeed. The free-to-play model with in-app purchases is king. Localisation is important, in language but also user interface for example. Transform games titles into a brand. ([http://eng.kocca.kr/en/main.do KOCCA], July 2015)<br />
<br />
*In 2014, social casual gaming is really strong in South Korea, four of the country’s most influential developers (Com2uS, NCSoft, Nexon, Smilegate) are valued at more than $1bn each by investors. Mobile game distribution platforms like Kakao and Line are valued at over $9bn. ([http://www.pocketgamer.biz/asia/comment-and-opinion/60074/how-korean-mobile-game-developers-are-riding-the-financials-market-to-success/ Pocketgamer.biz], Oct 2014, LINK)<br />
<br />
== Southeast Asia ==<br />
<br />
*“Big 6” countries in region: Indonesia, Malaysia, Philippines, Singapore, Thailand and Vietnam. These 6 cover 88% of the region’s population. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*Region’s total games revenues reached $1bn in 2014, Newzoo expects it to reach $2.2b, more than double, in the 3 years leading to 2017 (an impressive 2013-2017 CAGR of +29%). ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*In terms of market share: while Thailand will remain first by still growing its market (from 21% in 2013 to 22% market share in 2017), Singapore will lose (from 19% to 12% mkt share) to faster growing countries like Indonesia (from 16% to 21% mkt share) and the Philippines (from 9% to 11% mkt share). ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*'''Malaysia:''' SEA country where playing on multiple screens is the most popular: 26.5% players do so. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
**Malaysia has 14m gamers who spent $587m in 2017; #21 worldwide in terms of games revenues (newzoo, 2017)<br />
<br />
*'''Philippines:''' between 2004 And 2014 internet access grew by more than 800%, the fastest rate in SEA, meaning that in 2014 their online population was 42 million. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
<br />
*'''Singapore:''' unique in that it has more players aged 36 to 50 than 10 to 20. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)<br />
**Consumer spend on video games was $368m in 2016 ([https://www.marketing-interactive.com/sg-consumer-spend-on-video-games-higher-than-spend-on-tv/ PwC], 2017)<br />
<br />
*'''Vietnam''' has 32.8m gamers who spent $365m in 2017 ([https://newzoo.com/insights/infographics/vietnamese-gamer-2017/ Newzoo], 2017)<br />
<br />
*'''Thailand’s''' games market is expected to more than double in 3 years, from $230m in 2014 to $491m in 2017, for a +31% CAGR. ([http://www.newzoo.com/product/southeast-asia-games-market/ Newzoo], Feb 2015)</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Player_Diversity_%26_Demographics&diff=711Player Diversity & Demographics2019-01-31T11:51:25Z<p>UkieGrace: </p>
<hr />
<div>== 2018 Stats ==<br />
<br />
=== UK ===<br />
<br />
*In a 2018 survey of 5,000 UK children under the age of 18, 84 percent of teen girls surveyed reported spending some of their free time playing videogames, up from 75 percent in 2017. Games as a hobby overall has overtaken shopping and is now ranked the 8th most popular hobby for young girls. ([https://www.gamesindustry.biz/articles/2018-12-05-84-percent-of-teen-girls-play-video-games-in-their-spare-time gamesindusrty.biz] / [https://www.kidsinsights.co.uk/ Kid Insights], Dec 2018)<br />
<br />
*15 percent of girls now watch esports, and more 13-15 year-old girls both participate in and watch esports live than boys in the same age group. ([https://www.gamesindustry.biz/articles/2018-12-05-84-percent-of-teen-girls-play-video-games-in-their-spare-time gamesindusrty.biz] / [https://www.kidsinsights.co.uk/ Kid Insights], Dec 2018)<br />
<br />
=== Global ===<br />
<br />
<br />
*The average US gamer is 34 years years old. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*Adult women represent a greater portion of the video game-playing population (33%) than boys under 18 (17%)([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*Gamers aged 18 or older represent more than 70% of the video game-playing population ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*Of the most frequent game purchasers, 61% are male, 39% are female. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*45% of all US gamers are women ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*The average female video game player is 36, and the average male video game player is 32 ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018) <br />
<br />
*For men who game, 17% are under 18, 16% are 18-35, 12% are 36-49, and 11% are over 50. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018) <br />
<br />
*For women who game, 11% are under 18, 13% are 18-35, 8% are 36-49, and 12% are over 50. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018) <br />
<br />
<br />
== 2017 Stats ==<br />
<br />
=== UK ===<br />
<br />
*In 2017, 32.4 million people play games in the UK. Spending $4.2 billion this year, they make the UK the 5th largest games market in the world. ([https://newzoo.com/insights/infographics/the-u-k-gamer-2017/ Newzoo], Jun 2017)<br />
<br />
*The UK mobile market is very evenly represented between the genders, with a 48% female / 52% male split between those who are playing more than once a month. ([https://newzoo.com/insights/infographics/the-u-k-gamer-2017/ Newzoo], Jun 2017)<br />
<br />
*32% of UK players play PC, mobile and console games. ([https://newzoo.com/insights/infographics/the-u-k-gamer-2017/ Newzoo], Jun 2017)<br />
<br />
*In 2016 there were 31.6m players in the UK, approximately 50% of the total population. Of those that play games, 59% of them spend money on games, annually spending an average of $206 per player. ([https://newzoo.com/insights/infographics/the-uk-games-market-2016/ Newzoo], Aug 2016)<br />
<br />
*Women are more likely to play games than men – although they play less frequently – and the average age of a player is 43 years old. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*Overall, half the population of gamers are at least in their 40s, while a quarter of all players are ages 56 years or above. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*Of the people who play games in the UK, there are no significant effects of nationality, ethnic or religious background, or sexual orientation on whether people are likely to play. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*People who play games are greater consumers of culture, such as reading, painting, attending performing arts and visiting heritage sites and libraries. Players are also more likely to actively participate in the creation of culture (writing, dancing, or creating forms of digital art) than non-games players. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*People who played games growing up obtain better educational qualifications than those that did not. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
=== Global ===<br />
<br />
*49% of mobile players are women. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*65% of women aged 10-65 in the US play mobile games. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*64% of female mobile players prefer mobile to other games platforms, compared to 38% of men. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*43% of female mobile players play mobile games 5 times a week or more, compared to 38% of men. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*Of the top 100 grossing games on Google Play, 44% more of the app icons feature male characters than female characters. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*60% of women who play mobile games think that 30% or fewer of mobile games are made for women. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*25% of men who play mobile games agree that “I would spend more time playing mobile games if I knew I was playing with or against players of my own gender” vs. only 10% of women. Among men who play mobile games the most (10+ hours/week) the number rises to 47%. For women, this desire remains fairly consistent. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*More men than women pay for mobile games (52% Men; 33% Women) and men talk more frequently about mobile games than women do (44% Men vs. 27% Women). More men than women feel good/excited/satisfied upon payment of a new game (70% Men; 58% Women) while more women than men feel guilt/regret upon payment (23% Women; 16% Men). ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*64% of the US population aged 13+ play games ([http://www.nielsen.com/content/dam/corporate/us/en/reports-downloads/2017-reports/nielsen-games-360-report-2017.pdf Nielsen], Oct 2017)<br />
<br />
*63% of U.S. households are home to at least one person who plays video games regularly (3 hours or more per week) and 48% of U.S. households own a dedicated game console. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*The average video game player is 35 years old and has been playing video games for about 13 years. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*41% of all game players are female and 59% male. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*Women age 18 or older represent a significantly greater portion of the game-playing population (31%) than boys age 18 or younger (17%). ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*54% of the most frequent gamers play with others, including: 40% Friends, 21% Family members, 17% Parent(s), 15% Spouse/partner. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*53% of the most frequent game players feel video games help them connect with friends and 42% feel video games help them spend time with family. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*75% of the most frequent gamers believe playing video games provides mental stimulation or education. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*93% of parents believe that the parental controls available in all new video game consoles are useful. 9 out of 10 require their children to ask permission or are present when their child buys or rents a video game ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*Of the online audience aged 10–65 across 13 countries, 46% of people that play games are women. ([https://newzoo.com/insights/articles/male-and-female-gamers-how-their-similarities-and-differences-shape-the-games-market/ Newzoo], May 2017)<br />
<br />
*Mobile games are almost equally popular among men and women, with 52% and 48% playing mobile games more than once a month, respectively. In contrast, 48% and 37% of men play on PC and console at least once a month, respectively, compared to 35% and 23% of women. ([https://newzoo.com/insights/articles/male-and-female-gamers-how-their-similarities-and-differences-shape-the-games-market/ Newzoo], May 2017)<br />
<br />
*For female gamers, social circles are key, with 39% of them discovering a game through friends or family, and 20% through social networks. For men, a comparatively low 27% discover games through friends or family. Instead, 26% of men discover new titles through review or game sites and 24% through online video channels. Choice of platform shapes the route by which a player finds a game, rather than gender alone. ([https://newzoo.com/insights/articles/male-and-female-gamers-how-their-similarities-and-differences-shape-the-games-market/ Newzoo], May 2017)<br />
<br />
*Local co-operative gaming is consistently the most appealing form of social gaming across age and gender, easily beating competitive play. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**Co-operative play with friend was roughly equally popular either online or in person, whereas competitive play with friends in person was preferred to online. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**Co-operative play had similar appeal across genders, but more men enjoy competitive play than women. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**Co-operative appeal drops sharply when played with strangers. Competitive appeal is also reduced, especially amongst women. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**The desire for competitive play drop with age, whereas co-operative appeal remains stable. ([http://quanticfoundry.com/2016/02/10/gamer-generation/ Quantic Foundry], Feb 2016)<br />
<br />
== 2016 Stats ==<br />
<br />
=== UK === <br />
<br />
=== Global ===<br />
<br />
*In a survey of Americans aged 50-plus, close to four in ten (38%) are play video games. ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**40% of 50-plus women are gamers (vs. 35% of men) and are more likely to play daily than male gamers (45% vs. 35%). ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**This increase in female gamers trend looks like it will continue, as women (57%) are significantly more likely than men (43%) to say they play more today than they did five years ago. ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**75% of 50-plus gamers play video games weekly, with 40% playing every day. A greater proportion of older gamers compared to younger gamers report playing video games weekly or more often (37% of 50-59 year olds compared to 43% of 60-plus say they play every day). ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**59% play games on computers/laptops compared to 57% on phones/other mobile devices. 59% play games online. ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**The most played game types are card/tile games (48%) and puzzle/logic games (47%). ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
<br />
*Sexualisation of female protagonists in games has declined significantly in the 8 years, compared to female protagonists from the 1990-2005, an analysis of 571 titles has shown. ([http://phys.org/news/2016-07-survey-years-video-games-decline.html Phys.org], July 2016)<br />
<br />
== 2015 Stats ==<br />
<br />
=== UK ===<br />
<br />
=== Global ===<br />
<br />
*Disney Infinity, the toys-to-life game, has achieved a more diverse audience than they initially expected, with roughly 50% male and 50% female players. John Vignocchi states that they had initially expected more male players than female (70% vs 30%), however the games diverse character set of Disney characters has seen a more equal split. He adds that this also extends the age of players, with as many non-parent and parent adults playing as 6-12 year olds and teens. This has led to a shift in marketing spotlighting both male and female characters. ([http://www.gamesindustry.biz/articles/2015-08-28-disney-infinity-audience-split-50-50-male-female MCV], Sept 2015)<br />
<br />
*Players diversity: while two thirds of surveyed boys identify as gamers and the opposite is true for girls, it can be a pleasant surprise to note the openness of the male demographic to female protagonists and female players. ([http://www.polygon.com/2015/3/5/8153213/the-games-industry-is-wrong-about-kids-gaming-and-gender Polygon], Mar 2015)<br />
<br />
*Looking at high school results specifically, boys are less likely to prefer to play as male characters (39%) compared to girls preferring to play as female characters (60%), they are also less likely to play a game based on the protagonist’s gender than girls (20% versus 28%). ([http://www.polygon.com/2015/3/5/8153213/the-games-industry-is-wrong-about-kids-gaming-and-gender Polygon], Mar 2015)<br />
<br />
*High school boys also want to see more girls playing (87% said they’d like that) and 61% agree or strongly agree that females are too often treated as sex objects (25% remained neutral), while 83% of girls agreed or strongly agreed that this happens too often. ([http://www.polygon.com/2015/3/5/8153213/the-games-industry-is-wrong-about-kids-gaming-and-gender Polygon], Mar 2015)<br />
<br />
== 2014 Stats ==<br />
<br />
=== UK ===<br />
<br />
*In 2014, the IAB estimated there were 33.5m video game players aged 8-74 in the UK. ([https://iabuk.net/system/tdf/research-docs/GamingRevolution-A0.pdf?file=1&type=node&id=22900 IAB], 2014)<br />
<br />
=== Global ===</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Player_Diversity_%26_Demographics&diff=710Player Diversity & Demographics2019-01-31T11:51:18Z<p>UkieGrace: </p>
<hr />
<div>== 2018 Stats ==<br />
<br />
=== UK ===<br />
<br />
*In a 2018 survey of 5,000 UK children under the age of 18, 84 percent of teen girls surveyed reported spending some of their free time playing videogames, up from 75 percent in 2017. Games as a hobby overall has overtaken shopping and is now ranked the 8th most popular hobby for young girls. ([https://www.gamesindustry.biz/articles/2018-12-05-84-percent-of-teen-girls-play-video-games-in-their-spare-time gamesindusrty.biz] / [https://www.kidsinsights.co.uk/ Kid Insights], Dec 2018)<br />
<br />
*15 percent of girls now watch esports, and more 13-15 year-old girls both participate in and watch esports live than boys in the same age group. ([https://www.gamesindustry.biz/articles/2018-12-05-84-percent-of-teen-girls-play-video-games-in-their-spare-time gamesindusrty.biz] / [https://www.kidsinsights.co.uk/ Kid Insights], Dec 2018)<br />
<br />
=== Global ===<br />
<br />
<br />
*The average US gamer is 34 years years old. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*Adult women represent a greater portion of the video game-playing population (33%) than boys under 18 (17%)([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*Gamers aged 18 or older represent more than 70% of the video game-playing population ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*Of the most frequent game purchasers, 61% are male, 39% are female. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*45% of all US gamers are women ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*The average female video game player is 36, and the average male video game player is 32 ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018) <br />
<br />
*For men who game, 17% are under 18, 16% are 18-35, 12% are 36-49, and 11% are over 50. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018) <br />
<br />
<br />
*For women who game, 11% are under 18, 13% are 18-35, 8% are 36-49, and 12% are over 50. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018) <br />
<br />
<br />
== 2017 Stats ==<br />
<br />
=== UK ===<br />
<br />
*In 2017, 32.4 million people play games in the UK. Spending $4.2 billion this year, they make the UK the 5th largest games market in the world. ([https://newzoo.com/insights/infographics/the-u-k-gamer-2017/ Newzoo], Jun 2017)<br />
<br />
*The UK mobile market is very evenly represented between the genders, with a 48% female / 52% male split between those who are playing more than once a month. ([https://newzoo.com/insights/infographics/the-u-k-gamer-2017/ Newzoo], Jun 2017)<br />
<br />
*32% of UK players play PC, mobile and console games. ([https://newzoo.com/insights/infographics/the-u-k-gamer-2017/ Newzoo], Jun 2017)<br />
<br />
*In 2016 there were 31.6m players in the UK, approximately 50% of the total population. Of those that play games, 59% of them spend money on games, annually spending an average of $206 per player. ([https://newzoo.com/insights/infographics/the-uk-games-market-2016/ Newzoo], Aug 2016)<br />
<br />
*Women are more likely to play games than men – although they play less frequently – and the average age of a player is 43 years old. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*Overall, half the population of gamers are at least in their 40s, while a quarter of all players are ages 56 years or above. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*Of the people who play games in the UK, there are no significant effects of nationality, ethnic or religious background, or sexual orientation on whether people are likely to play. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*People who play games are greater consumers of culture, such as reading, painting, attending performing arts and visiting heritage sites and libraries. Players are also more likely to actively participate in the creation of culture (writing, dancing, or creating forms of digital art) than non-games players. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*People who played games growing up obtain better educational qualifications than those that did not. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
=== Global ===<br />
<br />
*49% of mobile players are women. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*65% of women aged 10-65 in the US play mobile games. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*64% of female mobile players prefer mobile to other games platforms, compared to 38% of men. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*43% of female mobile players play mobile games 5 times a week or more, compared to 38% of men. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*Of the top 100 grossing games on Google Play, 44% more of the app icons feature male characters than female characters. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*60% of women who play mobile games think that 30% or fewer of mobile games are made for women. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*25% of men who play mobile games agree that “I would spend more time playing mobile games if I knew I was playing with or against players of my own gender” vs. only 10% of women. Among men who play mobile games the most (10+ hours/week) the number rises to 47%. For women, this desire remains fairly consistent. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*More men than women pay for mobile games (52% Men; 33% Women) and men talk more frequently about mobile games than women do (44% Men vs. 27% Women). More men than women feel good/excited/satisfied upon payment of a new game (70% Men; 58% Women) while more women than men feel guilt/regret upon payment (23% Women; 16% Men). ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*64% of the US population aged 13+ play games ([http://www.nielsen.com/content/dam/corporate/us/en/reports-downloads/2017-reports/nielsen-games-360-report-2017.pdf Nielsen], Oct 2017)<br />
<br />
*63% of U.S. households are home to at least one person who plays video games regularly (3 hours or more per week) and 48% of U.S. households own a dedicated game console. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*The average video game player is 35 years old and has been playing video games for about 13 years. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*41% of all game players are female and 59% male. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*Women age 18 or older represent a significantly greater portion of the game-playing population (31%) than boys age 18 or younger (17%). ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*54% of the most frequent gamers play with others, including: 40% Friends, 21% Family members, 17% Parent(s), 15% Spouse/partner. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*53% of the most frequent game players feel video games help them connect with friends and 42% feel video games help them spend time with family. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*75% of the most frequent gamers believe playing video games provides mental stimulation or education. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*93% of parents believe that the parental controls available in all new video game consoles are useful. 9 out of 10 require their children to ask permission or are present when their child buys or rents a video game ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*Of the online audience aged 10–65 across 13 countries, 46% of people that play games are women. ([https://newzoo.com/insights/articles/male-and-female-gamers-how-their-similarities-and-differences-shape-the-games-market/ Newzoo], May 2017)<br />
<br />
*Mobile games are almost equally popular among men and women, with 52% and 48% playing mobile games more than once a month, respectively. In contrast, 48% and 37% of men play on PC and console at least once a month, respectively, compared to 35% and 23% of women. ([https://newzoo.com/insights/articles/male-and-female-gamers-how-their-similarities-and-differences-shape-the-games-market/ Newzoo], May 2017)<br />
<br />
*For female gamers, social circles are key, with 39% of them discovering a game through friends or family, and 20% through social networks. For men, a comparatively low 27% discover games through friends or family. Instead, 26% of men discover new titles through review or game sites and 24% through online video channels. Choice of platform shapes the route by which a player finds a game, rather than gender alone. ([https://newzoo.com/insights/articles/male-and-female-gamers-how-their-similarities-and-differences-shape-the-games-market/ Newzoo], May 2017)<br />
<br />
*Local co-operative gaming is consistently the most appealing form of social gaming across age and gender, easily beating competitive play. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**Co-operative play with friend was roughly equally popular either online or in person, whereas competitive play with friends in person was preferred to online. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**Co-operative play had similar appeal across genders, but more men enjoy competitive play than women. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**Co-operative appeal drops sharply when played with strangers. Competitive appeal is also reduced, especially amongst women. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**The desire for competitive play drop with age, whereas co-operative appeal remains stable. ([http://quanticfoundry.com/2016/02/10/gamer-generation/ Quantic Foundry], Feb 2016)<br />
<br />
== 2016 Stats ==<br />
<br />
=== UK === <br />
<br />
=== Global ===<br />
<br />
*In a survey of Americans aged 50-plus, close to four in ten (38%) are play video games. ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**40% of 50-plus women are gamers (vs. 35% of men) and are more likely to play daily than male gamers (45% vs. 35%). ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**This increase in female gamers trend looks like it will continue, as women (57%) are significantly more likely than men (43%) to say they play more today than they did five years ago. ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**75% of 50-plus gamers play video games weekly, with 40% playing every day. A greater proportion of older gamers compared to younger gamers report playing video games weekly or more often (37% of 50-59 year olds compared to 43% of 60-plus say they play every day). ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**59% play games on computers/laptops compared to 57% on phones/other mobile devices. 59% play games online. ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**The most played game types are card/tile games (48%) and puzzle/logic games (47%). ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
<br />
*Sexualisation of female protagonists in games has declined significantly in the 8 years, compared to female protagonists from the 1990-2005, an analysis of 571 titles has shown. ([http://phys.org/news/2016-07-survey-years-video-games-decline.html Phys.org], July 2016)<br />
<br />
== 2015 Stats ==<br />
<br />
=== UK ===<br />
<br />
=== Global ===<br />
<br />
*Disney Infinity, the toys-to-life game, has achieved a more diverse audience than they initially expected, with roughly 50% male and 50% female players. John Vignocchi states that they had initially expected more male players than female (70% vs 30%), however the games diverse character set of Disney characters has seen a more equal split. He adds that this also extends the age of players, with as many non-parent and parent adults playing as 6-12 year olds and teens. This has led to a shift in marketing spotlighting both male and female characters. ([http://www.gamesindustry.biz/articles/2015-08-28-disney-infinity-audience-split-50-50-male-female MCV], Sept 2015)<br />
<br />
*Players diversity: while two thirds of surveyed boys identify as gamers and the opposite is true for girls, it can be a pleasant surprise to note the openness of the male demographic to female protagonists and female players. ([http://www.polygon.com/2015/3/5/8153213/the-games-industry-is-wrong-about-kids-gaming-and-gender Polygon], Mar 2015)<br />
<br />
*Looking at high school results specifically, boys are less likely to prefer to play as male characters (39%) compared to girls preferring to play as female characters (60%), they are also less likely to play a game based on the protagonist’s gender than girls (20% versus 28%). ([http://www.polygon.com/2015/3/5/8153213/the-games-industry-is-wrong-about-kids-gaming-and-gender Polygon], Mar 2015)<br />
<br />
*High school boys also want to see more girls playing (87% said they’d like that) and 61% agree or strongly agree that females are too often treated as sex objects (25% remained neutral), while 83% of girls agreed or strongly agreed that this happens too often. ([http://www.polygon.com/2015/3/5/8153213/the-games-industry-is-wrong-about-kids-gaming-and-gender Polygon], Mar 2015)<br />
<br />
== 2014 Stats ==<br />
<br />
=== UK ===<br />
<br />
*In 2014, the IAB estimated there were 33.5m video game players aged 8-74 in the UK. ([https://iabuk.net/system/tdf/research-docs/GamingRevolution-A0.pdf?file=1&type=node&id=22900 IAB], 2014)<br />
<br />
=== Global ===</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=Player_Diversity_%26_Demographics&diff=709Player Diversity & Demographics2019-01-31T11:46:29Z<p>UkieGrace: </p>
<hr />
<div>== 2018 Stats ==<br />
<br />
=== UK ===<br />
<br />
*In a 2018 survey of 5,000 UK children under the age of 18, 84 percent of teen girls surveyed reported spending some of their free time playing videogames, up from 75 percent in 2017. Games as a hobby overall has overtaken shopping and is now ranked the 8th most popular hobby for young girls. ([https://www.gamesindustry.biz/articles/2018-12-05-84-percent-of-teen-girls-play-video-games-in-their-spare-time gamesindusrty.biz] / [https://www.kidsinsights.co.uk/ Kid Insights], Dec 2018)<br />
<br />
*15 percent of girls now watch esports, and more 13-15 year-old girls both participate in and watch esports live than boys in the same age group. ([https://www.gamesindustry.biz/articles/2018-12-05-84-percent-of-teen-girls-play-video-games-in-their-spare-time gamesindusrty.biz] / [https://www.kidsinsights.co.uk/ Kid Insights], Dec 2018)<br />
<br />
=== Global ===<br />
<br />
<br />
*The average US gamer is 34 years years old. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*Adult women represent a greater portion of the video game-playing population (33%) than boys under 18 (17%)([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*Gamers aged 18 or older represent more than 70% of the video game-playing population ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*Of the most frequent game purchasers, 61% are male, 39% are female. ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*45% of all US gamers are women ([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018)<br />
<br />
*The average female video game player is 36, and the average male video game player is 32 (([http://www.theesa.com/wp-content/uploads/2018/05/EF2018_FINAL.pdf ESA], April 2018) <br />
<br />
<br />
== 2017 Stats ==<br />
<br />
=== UK ===<br />
<br />
*In 2017, 32.4 million people play games in the UK. Spending $4.2 billion this year, they make the UK the 5th largest games market in the world. ([https://newzoo.com/insights/infographics/the-u-k-gamer-2017/ Newzoo], Jun 2017)<br />
<br />
*The UK mobile market is very evenly represented between the genders, with a 48% female / 52% male split between those who are playing more than once a month. ([https://newzoo.com/insights/infographics/the-u-k-gamer-2017/ Newzoo], Jun 2017)<br />
<br />
*32% of UK players play PC, mobile and console games. ([https://newzoo.com/insights/infographics/the-u-k-gamer-2017/ Newzoo], Jun 2017)<br />
<br />
*In 2016 there were 31.6m players in the UK, approximately 50% of the total population. Of those that play games, 59% of them spend money on games, annually spending an average of $206 per player. ([https://newzoo.com/insights/infographics/the-uk-games-market-2016/ Newzoo], Aug 2016)<br />
<br />
*Women are more likely to play games than men – although they play less frequently – and the average age of a player is 43 years old. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*Overall, half the population of gamers are at least in their 40s, while a quarter of all players are ages 56 years or above. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*Of the people who play games in the UK, there are no significant effects of nationality, ethnic or religious background, or sexual orientation on whether people are likely to play. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*People who play games are greater consumers of culture, such as reading, painting, attending performing arts and visiting heritage sites and libraries. Players are also more likely to actively participate in the creation of culture (writing, dancing, or creating forms of digital art) than non-games players. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
*People who played games growing up obtain better educational qualifications than those that did not. ([https://www.nesta.org.uk/report/did-you-really-take-a-hit-understanding-how-video-games-playing-affects-individuals/ Nesta], July 2017)<br />
<br />
=== Global ===<br />
<br />
*49% of mobile players are women. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*65% of women aged 10-65 in the US play mobile games. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*64% of female mobile players prefer mobile to other games platforms, compared to 38% of men. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*43% of female mobile players play mobile games 5 times a week or more, compared to 38% of men. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*Of the top 100 grossing games on Google Play, 44% more of the app icons feature male characters than female characters. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*60% of women who play mobile games think that 30% or fewer of mobile games are made for women. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*25% of men who play mobile games agree that “I would spend more time playing mobile games if I knew I was playing with or against players of my own gender” vs. only 10% of women. Among men who play mobile games the most (10+ hours/week) the number rises to 47%. For women, this desire remains fairly consistent. ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*More men than women pay for mobile games (52% Men; 33% Women) and men talk more frequently about mobile games than women do (44% Men vs. 27% Women). More men than women feel good/excited/satisfied upon payment of a new game (70% Men; 58% Women) while more women than men feel guilt/regret upon payment (23% Women; 16% Men). ([http://services.google.com/fh/files/misc/changethegame_white_paper.pdf Newzoo / Google], Dec 2017)<br />
<br />
*64% of the US population aged 13+ play games ([http://www.nielsen.com/content/dam/corporate/us/en/reports-downloads/2017-reports/nielsen-games-360-report-2017.pdf Nielsen], Oct 2017)<br />
<br />
*63% of U.S. households are home to at least one person who plays video games regularly (3 hours or more per week) and 48% of U.S. households own a dedicated game console. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*The average video game player is 35 years old and has been playing video games for about 13 years. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*41% of all game players are female and 59% male. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*Women age 18 or older represent a significantly greater portion of the game-playing population (31%) than boys age 18 or younger (17%). ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*54% of the most frequent gamers play with others, including: 40% Friends, 21% Family members, 17% Parent(s), 15% Spouse/partner. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*53% of the most frequent game players feel video games help them connect with friends and 42% feel video games help them spend time with family. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*75% of the most frequent gamers believe playing video games provides mental stimulation or education. ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*93% of parents believe that the parental controls available in all new video game consoles are useful. 9 out of 10 require their children to ask permission or are present when their child buys or rents a video game ([http://essentialfacts.theesa.com/ ESA], April 2017)<br />
<br />
*Of the online audience aged 10–65 across 13 countries, 46% of people that play games are women. ([https://newzoo.com/insights/articles/male-and-female-gamers-how-their-similarities-and-differences-shape-the-games-market/ Newzoo], May 2017)<br />
<br />
*Mobile games are almost equally popular among men and women, with 52% and 48% playing mobile games more than once a month, respectively. In contrast, 48% and 37% of men play on PC and console at least once a month, respectively, compared to 35% and 23% of women. ([https://newzoo.com/insights/articles/male-and-female-gamers-how-their-similarities-and-differences-shape-the-games-market/ Newzoo], May 2017)<br />
<br />
*For female gamers, social circles are key, with 39% of them discovering a game through friends or family, and 20% through social networks. For men, a comparatively low 27% discover games through friends or family. Instead, 26% of men discover new titles through review or game sites and 24% through online video channels. Choice of platform shapes the route by which a player finds a game, rather than gender alone. ([https://newzoo.com/insights/articles/male-and-female-gamers-how-their-similarities-and-differences-shape-the-games-market/ Newzoo], May 2017)<br />
<br />
*Local co-operative gaming is consistently the most appealing form of social gaming across age and gender, easily beating competitive play. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**Co-operative play with friend was roughly equally popular either online or in person, whereas competitive play with friends in person was preferred to online. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**Co-operative play had similar appeal across genders, but more men enjoy competitive play than women. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**Co-operative appeal drops sharply when played with strangers. Competitive appeal is also reduced, especially amongst women. ([http://quanticfoundry.com/2016/07/21/social-gaming/ Quantic Foundry], Jul 2017)<br />
**The desire for competitive play drop with age, whereas co-operative appeal remains stable. ([http://quanticfoundry.com/2016/02/10/gamer-generation/ Quantic Foundry], Feb 2016)<br />
<br />
== 2016 Stats ==<br />
<br />
=== UK === <br />
<br />
=== Global ===<br />
<br />
*In a survey of Americans aged 50-plus, close to four in ten (38%) are play video games. ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**40% of 50-plus women are gamers (vs. 35% of men) and are more likely to play daily than male gamers (45% vs. 35%). ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**This increase in female gamers trend looks like it will continue, as women (57%) are significantly more likely than men (43%) to say they play more today than they did five years ago. ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**75% of 50-plus gamers play video games weekly, with 40% playing every day. A greater proportion of older gamers compared to younger gamers report playing video games weekly or more often (37% of 50-59 year olds compared to 43% of 60-plus say they play every day). ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**59% play games on computers/laptops compared to 57% on phones/other mobile devices. 59% play games online. ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
**The most played game types are card/tile games (48%) and puzzle/logic games (47%). ([http://www.aarp.org/research/topics/technology/info-2016/electronic-gaming-research-adults-50plus.html AARP], June 2016)<br />
<br />
*Sexualisation of female protagonists in games has declined significantly in the 8 years, compared to female protagonists from the 1990-2005, an analysis of 571 titles has shown. ([http://phys.org/news/2016-07-survey-years-video-games-decline.html Phys.org], July 2016)<br />
<br />
== 2015 Stats ==<br />
<br />
=== UK ===<br />
<br />
=== Global ===<br />
<br />
*Disney Infinity, the toys-to-life game, has achieved a more diverse audience than they initially expected, with roughly 50% male and 50% female players. John Vignocchi states that they had initially expected more male players than female (70% vs 30%), however the games diverse character set of Disney characters has seen a more equal split. He adds that this also extends the age of players, with as many non-parent and parent adults playing as 6-12 year olds and teens. This has led to a shift in marketing spotlighting both male and female characters. ([http://www.gamesindustry.biz/articles/2015-08-28-disney-infinity-audience-split-50-50-male-female MCV], Sept 2015)<br />
<br />
*Players diversity: while two thirds of surveyed boys identify as gamers and the opposite is true for girls, it can be a pleasant surprise to note the openness of the male demographic to female protagonists and female players. ([http://www.polygon.com/2015/3/5/8153213/the-games-industry-is-wrong-about-kids-gaming-and-gender Polygon], Mar 2015)<br />
<br />
*Looking at high school results specifically, boys are less likely to prefer to play as male characters (39%) compared to girls preferring to play as female characters (60%), they are also less likely to play a game based on the protagonist’s gender than girls (20% versus 28%). ([http://www.polygon.com/2015/3/5/8153213/the-games-industry-is-wrong-about-kids-gaming-and-gender Polygon], Mar 2015)<br />
<br />
*High school boys also want to see more girls playing (87% said they’d like that) and 61% agree or strongly agree that females are too often treated as sex objects (25% remained neutral), while 83% of girls agreed or strongly agreed that this happens too often. ([http://www.polygon.com/2015/3/5/8153213/the-games-industry-is-wrong-about-kids-gaming-and-gender Polygon], Mar 2015)<br />
<br />
== 2014 Stats ==<br />
<br />
=== UK ===<br />
<br />
*In 2014, the IAB estimated there were 33.5m video game players aged 8-74 in the UK. ([https://iabuk.net/system/tdf/research-docs/GamingRevolution-A0.pdf?file=1&type=node&id=22900 IAB], 2014)<br />
<br />
=== Global ===</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=PEGI_Age_Ratings&diff=689PEGI Age Ratings2019-01-30T09:35:35Z<p>UkieGrace: </p>
<hr />
<div>Showing the number of games released by PEGI age rating<br />
<br />
== UK Only ==<br />
<br />
UK Certificates for Release issued by the VSC<br />
<br />
{| class="wikitable sortable"<br />
!<br />
!colspan="4"|Certificates by Age Rating<br />
!colspan="3"|Percentage by Age Rating<br />
|-<br />
!Year<br />
!12<br />
!16<br />
!18<br />
!Total<br />
!12<br />
!16<br />
!18<br />
|-<br />
|[https://videostandards.org.uk/MzCms/ContentImage.ashx?cpath=000%5C000%5C948%5C950%5CAnnual+Report+2016+-+2017.pdf 2017]<br />
|style="text-align:right;" | 240<br />
|style="text-align:right;" | 218<br />
|style="text-align:right;" | 153<br />
|style="text-align:right;" | '''661'''<br />
|style="text-align:right;" | 36.3%<br />
|style="text-align:right;" | 33.0%<br />
|style="text-align:right;" | 23.1%<br />
|-<br />
|[https://videostandards.org.uk/RichTextAssets/VSC%20Parliamentary%20Report%202016.pdf 2016]<br />
|style="text-align:right;" | 201<br />
|style="text-align:right;" | 151<br />
|style="text-align:right;" | 146<br />
|style="text-align:right;" | '''498'''<br />
|style="text-align:right;" | 40.4%<br />
|style="text-align:right;" | 30.3%<br />
|style="text-align:right;" | 29.3%<br />
|-<br />
|[2015]<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | '''-'''<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|-<br />
|[2014]<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | '''-'''<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|-<br />
|[https://videostandards.org.uk/MzCms/ContentImage.ashx?cpath=000%5C000%5C876%5C385%5CFull+Report+final.pdf 2013]<br />
|style="text-align:right;" |134<br />
|style="text-align:right;" |137<br />
|style="text-align:right;" |115<br />
|style="text-align:right;" |'''385'''<br />
|style="text-align:right;" | 34.8%<br />
|style="text-align:right;" | 35.6%<br />
|style="text-align:right;" | 29.9%<br />
|}<br />
<br />
Note: For a video game supplied in the UK for a number of different games consoles (e.g. Xbox One, PlayStation 4 and Nintendo Switch) a separate UK certificate is issued for each version of the game.<br />
<br />
== All PEGI territories ==<br />
<br />
These figures include online ratings.<br />
<br />
{| class="wikitable sortable"<br />
!<br />
!colspan="6"|No. of PEGI Licences by Age Rating<br />
!colspan="5"|Percentage of PEGI Licences by Age Rating<br />
|-<br />
!Year<br />
!3<br />
!7<br />
!12<br />
!16<br />
!18<br />
!Total<br />
!3<br />
!7<br />
!12<br />
!16<br />
!18<br />
|-<br />
|[https://videostandards.org.uk/MzCms/ContentImage.ashx?cpath=000%5C000%5C948%5C950%5CAnnual+Report+2016+-+2017.pdf 2017]<br />
|style="text-align:right;" | 441<br />
|style="text-align:right;" | 455<br />
|style="text-align:right;" | 535<br />
|style="text-align:right;" | 362<br />
|style="text-align:right;" | 184<br />
|style="text-align:right;" | '''1,977'''<br />
|style="text-align:right;" | 22.3%<br />
|style="text-align:right;" | 23.0%<br />
|style="text-align:right;" | 27.1%<br />
|style="text-align:right;" | 18.3%<br />
|style="text-align:right;" | 9.3%<br />
|-<br />
|[https://videostandards.org.uk/RichTextAssets/VSC%20Parliamentary%20Report%202016.pdf 2016]<br />
|style="text-align:right;" | 366<br />
|style="text-align:right;" | 396<br />
|style="text-align:right;" | 476<br />
|style="text-align:right;" | 295<br />
|style="text-align:right;" | 186<br />
|style="text-align:right;" | '''1719'''<br />
|style="text-align:right;" | 21.3%<br />
|style="text-align:right;" | 23.0%<br />
|style="text-align:right;" | 27.7%<br />
|style="text-align:right;" | 18.3%<br />
|style="text-align:right;" | 10.8%<br />
|-<br />
|[https://isfe.eu/sites/isfe.eu/files/attachments/pegi_annual_report_2015.pdf 2015]<br />
|style="text-align:right;" | 427<br />
|style="text-align:right;" | 486<br />
|style="text-align:right;" | 501<br />
|style="text-align:right;" | 237<br />
|style="text-align:right;" | 204<br />
|style="text-align:right;" | '''1,855'''<br />
|style="text-align:right;" | 23.0%<br />
|style="text-align:right;" | 26.2%<br />
|style="text-align:right;" | 27.0%<br />
|style="text-align:right;" | 12.8%<br />
|style="text-align:right;" | 11.0%<br />
|-<br />
|[2014]<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | '''-'''<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|style="text-align:right;" | -<br />
|-<br />
|[https://issuu.com/pegi/docs/annual_report2013 2013]<br />
|style="text-align:right;" | 471<br />
|style="text-align:right;" | 371<br />
|style="text-align:right;" | 326<br />
|style="text-align:right;" | 225<br />
|style="text-align:right;" | 149<br />
|style="text-align:right;" | '''1,151'''<br />
|style="text-align:right;" | 40.9%<br />
|style="text-align:right;" | 32.2%<br />
|style="text-align:right;" | 28.3%<br />
|style="text-align:right;" | 19.5%<br />
|style="text-align:right;" | 12.9%<br />
|-<br />
|[https://www.isfe.eu/sites/isfe.eu/files/attachments/annual_report12_web.pdf 2012]<br />
|style="text-align:right;" | 613<br />
|style="text-align:right;" | 388<br />
|style="text-align:right;" | 418<br />
|style="text-align:right;" | 224<br />
|style="text-align:right;" | 170<br />
|style="text-align:right;" | '''1,813'''<br />
|style="text-align:right;" | 33.8%<br />
|style="text-align:right;" | 21.4%<br />
|style="text-align:right;" | 23.1%<br />
|style="text-align:right;" | 12.4%<br />
|style="text-align:right;" | 9.4%<br />
|-<br />
|[https://www.isfe.eu/sites/isfe.eu/files/attachments/annual_report2011_web.pdf 2011]<br />
|style="text-align:right;" | 828<br />
|style="text-align:right;" | 362<br />
|style="text-align:right;" | 515<br />
|style="text-align:right;" | 284<br />
|style="text-align:right;" | 218<br />
|style="text-align:right;" | '''2,214'''<br />
|style="text-align:right;" | 37.4%<br />
|style="text-align:right;" | 16.4%<br />
|style="text-align:right;" | 23.3%<br />
|style="text-align:right;" | 12.8%<br />
|style="text-align:right;" | 9.8%<br />
|-<br />
|[https://www.isfe.eu/sites/isfe.eu/files/annual_report2010.pdf 2003 - 2010 (combined)]<br />
|style="text-align:right;" | 7,849<br />
|style="text-align:right;" | 1,967<br />
|style="text-align:right;" | 3,496<br />
|style="text-align:right;" | 1,991<br />
|style="text-align:right;" | 825<br />
|style="text-align:right;" | '''16,143'''<br />
|style="text-align:right;" | 48.6%<br />
|style="text-align:right;" | 12.2%<br />
|style="text-align:right;" | 21.7%<br />
|style="text-align:right;" | 12.3%<br />
|style="text-align:right;" | 5.1%<br />
|-<br />
|}</div>UkieGracehttps://ukiepedia.ukie.org.uk/index.php?title=PEGI_Age_Ratings&diff=685PEGI Age Ratings2019-01-30T09:07:46Z<p>UkieGrace: </p>
<hr />
<div>Showing the number of games released by PEGI age rating<br />
<br />
== UK Only ==<br />
<br />
UK Certificates for Release issued by the VSC<br />
<br />
{| class="wikitable sortable"<br />
!<br />
!colspan="4"|Certificates by Age Rating<br />
|-<br />
!Year<br />
!12<br />
!16<br />
!18<br />
!Total<br />
|-<br />
|[https://videostandards.org.uk/MzCms/ContentImage.ashx?cpath=000%5C000%5C948%5C950%5CAnnual+Report+2016+-+2017.pdf 2017]<br />
|240<br />
|218<br />
|153<br />
|661<br />
|-<br />
|[https://videostandards.org.uk/RichTextAssets/VSC%20Parliamentary%20Report%202016.pdf 2016]<br />
|201<br />
|151<br />
|146<br />
|498<br />
|-<br />
|[ 2015]<br />
|0<br />
|0<br />
|0<br />
|0<br />
|-<br />
|[2014]<br />
|0<br />
|0<br />
|0<br />
|0<br />
|-<br />
|[https://videostandards.org.uk/MzCms/ContentImage.ashx?cpath=000%5C000%5C876%5C385%5CFull+Report+final.pdf 2013]<br />
|134<br />
|137<br />
|115<br />
|385<br />
|}<br />
<br />
Note: For a video game supplied in the UK for a number of different games consoles (e.g. Xbox One, PlayStation 4 and Nintendo Switch) a separate UK certificate is issued for each version of the game.<br />
<br />
== All PEGI territories ==<br />
<br />
These figures include online ratings.<br />
<br />
{| class="wikitable sortable"<br />
!<br />
!colspan="6"|PEGI Licences by Age Rating<br />
|-<br />
!Year<br />
!3<br />
!7<br />
!12<br />
!16<br />
!18<br />
!Total<br />
|-<br />
|[https://videostandards.org.uk/MzCms/ContentImage.ashx?cpath=000%5C000%5C948%5C950%5CAnnual+Report+2016+-+2017.pdf 2017]<br />
|441<br />
|455<br />
|535<br />
|362<br />
|184<br />
|1977<br />
|-<br />
|[https://videostandards.org.uk/RichTextAssets/VSC%20Parliamentary%20Report%202016.pdf 2016]<br />
|366<br />
|396<br />
|476<br />
|295<br />
|186<br />
|1719<br />
|-<br />
|[https://isfe.eu/sites/isfe.eu/files/attachments/pegi_annual_report_2015.pdf 2015]<br />
|427<br />
|4486<br />
|501<br />
|237<br />
|204<br />
|1855<br />
|-<br />
|[ 2014]<br />
|000<br />
|000<br />
|000<br />
|000<br />
|000<br />
|000<br />
|-<br />
|[ 2013]<br />
|471<br />
|371<br />
|326<br />
|225<br />
|149<br />
|1151<br />
|-<br />
|[https://www.isfe.eu/sites/isfe.eu/files/attachments/annual_report12_web.pdf 2012]<br />
|613<br />
|388<br />
|418<br />
|224<br />
|170<br />
|1813<br />
|-<br />
|[https://www.isfe.eu/sites/isfe.eu/files/attachments/annual_report2011_web.pdf 2011]<br />
|828<br />
|362<br />
|515<br />
|284<br />
|218<br />
|2214<br />
|-<br />
|[ 2010]<br />
|00<br />
|00<br />
|0<br />
|0<br />
|0<br />
|0<br />
|-<br />
|[ 2009]<br />
|0<br />
|0<br />
|0<br />
|0<br />
|0<br />
|0<br />
|-<br />
|[ 2008]<br />
|0<br />
|0<br />
|0<br />
|0<br />
|0<br />
|0<br />
|-<br />
<br />
<br />
-<br />
|}</div>UkieGrace