The Evolving European Video Game Software Ecosystem - The Video Game Industry: Formation, Present State, and Future - page 220

on software simply means that we analyse the software/content part of the
industry rather than the complementary hardware or equipment (consoles,
handhelds, PCs, mobile phones, etc.) they are usually played on.
4. For a more comprehensive view, see De Prato et al. (2010) and Simon (2011,
2012b).
5. It is to be noted that, although more and more studies are trying to calculate
the dimensions of the game industry, the lack of oi cial data clearly constitutes
a constraint to the appraisal of its potentials and to the understanding of its
dynamics. It is, for instance, highly problematic to break down the revenues
along the value chain; nonetheless it would be highly meaningful to compare
the revenues, the shares and the growth perspective of each of the segments.
6. See www.develop100.com (ac cessed May 5, 2010). Develop 100 ranks the world's
most successful games development studios based on Metacritic data, charting
success based on critical reception of console, PC and smartphone games released
around the world. This listing might be biased towards UK companies though.
7. Elaborated from data available at http://gamedevmap.com/ (a ccessed April
2011).
8. The ranking, following the Wikipedia note, is established on the basis of
overall score in six factors: annual turnover, number of releases, average
review score, quality of producers, reliability of milestone payments and the
quality of staf pay and perks. Note that this is not a ranking by revenue.
9. This section draws on De Prato et al. (2010) and De Prato (2012a) unless
otherwise stated.
10 Available online at http://www.gamemiddleware.org/middleware (a ccessed
December 12, 2009). Wikipedia also provides quite a complete list of game
engines, available online at http://en.wikipedia.org/wiki/List_of_game_
engines (accessed December 12, 2009).
11. OECD (2005) referring to a study by the Danish Ministry of Culture. Similar
fi gures are given by more recent sources, e.g. Kerr (2006), Wi (2009) and
Genvo and Solinski (2010).
12. See, e.g. http://www.obs.coe.int/ (a ccessed December, 2011)
13. See http://www.deloitte.com/view/de_DE/de/branchen/article/5bcc6816ec5
74210VgnVCM100000ba42f00aRCRD.htm (last accessed: October 2010).
14. In France, under “the auspices of the National Centre of Cinematography
(CNC), a videogame tax credit, modelled on the tax credit for research,
was started in 2008 to support production, followed two years later by sup-
port funds (FAJV) and a video game monitoring body” (Genvo and Solinski
2010). See also the CNC website: http://www.cnc.fr/Site/Template/T3.asp
x?SELECTID=3005&ID=2055&t=2 (last accessed: October 2010) and the
European Commission website: http://europa.eu/rapid/pressReleasesAction.
do?reference=IP/07/1908 (last accessed: October 2010).
15. The report is quoted in a WIK study for DG EAC and in the Impact Assess-
ment for the new Creative Europe support program; see http://ec.europa.eu/
culture/creative-europe/index_en.htm (last accessed: October 2010).
16. See further http://is.jrc.ec.europa.eu/pages/EAP/eInclusion/games.html (la st
accessed: December 2011).
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