2024 Africa Games Industry Report
Download PDFDec, 2023 © Credit Leti Arts 2
Table Of Contents
1. Welcome Note
2. Introduction
3. Understanding the Video Games Industry
4. Games As a Business
5. Prepping the Scene for an African Games Industry
6. The State of Play
7. The African Game Developer Survey
8. Final Word
9. Report Credits
3
© Africa Games Week 2022 Moegammad T. Abrahams Photography
WELCOME NOTE
4
Foreword
When I was invited to attend the Brazil Indie Games Festival earlier this year, I realized I needed
to learn more about the games industry in Brazil. Upon research, I came across the Brazil Games
Industry Report put together by Abra Games, I read through it on the long flight from Lagos, via
Paris to Sâo Paulo and gained valuable insights that informed my discussions during the trip.
Similarly, I had the opportunity to visit Helsinki, Finland. Although I was aware of the ecosystem
built there, I knew very little about the games industry in Finland overall however, very much
like Brazil, I found a report by Neo Games that outlined the state of the industry, its key players,
challenges, and opportunities.
It was at this time I realized how a lack of a comprehensive report on the African Games Industry
could hinder its growth and progress. As many African studios move to the global stage to
engage with publishers, investors, and policymakers, few of them understand the makeup of the
market, it’s geographic spread, key players, risk areas, challenges, growth opportunities, thereby
hampering their decision-making process.
I didn’t just want to dream of a time when such a comprehensive report will be accessible to key
decision-makers who can influence the growth trajectory of our industry, I was determined to
create it so that when any of my colleagues finds themselves on the world stage, they can use
this report as a reference for anyone looking to explore opportunities in the market.
I feel incredibly proud of the work my team and partners have done to get this report published.
We are keen to explore ways we can improve this report and we welcome opportunities to engage
in meaningful dialogue with governments, educational institutions, policymakers, investors, etc.
We see this report as a starting point and invite your feedback as you read through, on ways we
can improve. We hope you enjoy reading this report, as much as we enjoyed putting it together.
Hugo Obi
Founder & CEO, Maliyo Games
© Attrybute 5
INTRODUCTION
© Maliyo Games 6
This Report Provides…
An overview of the global games industry, because in order to better and analyse our
market, we must look to similar or more mature markets in the industry, understand
their economic activities, the various players in the ecosystem, recent developments in
technology, consumers, culture exportation and culture participation.
An overview of some regional and emerging markets to understand their similarity
with the African industry and how key stakeholders can identify and replicate factors
contributing to their growth.
Key African demographic and market insights on the African continent. Readers will
understand the mobile ecosystem and internet penetration trends, particularly as it
relates to the effect of foreign culture on consumers and games being developed.
An understanding of Africa through its culture, questions around what games are
people playing and who is paying? Who’s making games in Africa? The challenges and
opportunities available within the industry, such as policies and enabling business
environments.
A challenge to the bias and public opinion against games and how these can influence
the development of the industry as sought.
A challenge to the bias against Africa, the continent and underlying assumptions as
we present verifiable facts and encourage readers to embark on their research to
understand the region.
© Studio Bolland 7
Who This Report Is For
General PublicGames IndustryInvestorsPolicy Makers
This report is aimed at clarifying
any bias towards the industry,
by helping the public realize the
potential career opportunities
in games (both as players and
developers). While there isn’t
yet an official demography of
Africa’s game players, the genre
of games they consume and the
devices they prefer, this report is
relevant to this consumer group
in particular. African gamers
have the potential to influence
numerous industry stakeholders
and have a vested interested in
the success of the industry. Indie & Game development
studios
sit at the heart of the
ecosystem and are strategically
positioned to take advantage of
the cultural export inherent in
their games. These individuals
or organizations set the pace for
growth in the industry and define
the creative and cultural trends
that define African games.
There have been myriad
difficulties in building up talent
as well as retaining them in
the long-run within the African
games industry. We also highlight
the role of policymakers and
investors in supporting the talent
development pipeline through
relevant and well-designed
training initiatives and regulatory
instruments. Investment in the games industry
is quite different from traditional
investment options. Oftentimes,
game investors are either
successful entrepreneurs within
the games industry or are game
makers or enthusiasts. In this
report, we’ll provide information
on the investment terrain unique
to the games industry, in Africa
and around the world. We’ll
look at how
investors (domestic
and foreign) can examine the
major trends and appreciate
the investment potential within
these new and developing games
markets. Policymakers (including
Government, NGOs, Civil Society
& Developmental Agencies) are
key levers for change in any
business environment. This
report highlights regulatory
gaps that need attention, such
as the development of the talent
pipeline, which begins with a
strong tertiary and vocational
educational system. Additionally,
building a conducive investment
environment with targeted
policy development should help
foster public participation in the
industry.
8
How To Read This Report
This comprehensive report addresses both general and technical
aspects of the video games industry.
A colour code has been developed to help the reader focus on material
most relevant to them. As such, if you’re an investor for example, you
can easily navigate this report and zero in on pages that include a
green label on the right side.
With this structure, you will be able to quickly access useful information
and understand the many ways you can support the industry or get
involved. If you want to expand your knowledge of the industry, you
can also explore other aspects of the industry by reading materials
designed for other groups.
General PublicIndustry
Investors
Policy Makers
© Maliyo Games 9
UNDERSTANDING THE
VIDEO GAMES INDUSTRYUNDERSTANDING THE
VIDEO GAMES INDUSTRY
© Unknown 10
Terminology: Games
Vs Gaming
For the purposes of this report, we will refer to ‘games’ as opposed to ‘gaming’ in all aspects
describing the output and the activities of the industry. While, historically, games have been
played across the continent, we note that there are negative and nuanced connotations
related to this terminology.
This Report will reference ‘games’ as the primary term in reference to the output, products or
activities related to the African game development industry. This is done to avoid a confusion
of terms, and negative cultural connotations, resulting from the terminology currently in use
in relation to legalized gambling and the virtual sports betting sector, which is often referred
to as ‘gaming’ in some African jurisdictions.
While gaming may have come to encompass a broad categorisation of a wide variety of
activities, the authors of this Report emphasise that the sole focus of this study is on games
that are skill-based and whose outcomes are not determined by the wagering of money or
other items of value in a chance-based scenario developed by highly-skilled professionals
including developers, artist, designers, animators, data analysts, and many more.
Given the recent proliferation of gaming across the continent, it is not surprising that cultural
perceptions in many African societies relate ‘gaming’ activities as those also produced for
entertainment on mobile phones or consoles. However, this cannot be further from the truth.
A thriving ‘games’ industry can be a wholesome contributor to economic growth and
development through the creation of global IPs and well-paying jobs.
As this report will show, targeted interventions and investments can ensure that games studios
and ecosystems have a net-positive gain on their host countries and society at large.
© Kiro’o Games 11
Games Value Chain
In a world where the games industry is evolving quickly, Africa’s game development ecosystem has emerged as a vibrant and promising sector
with immense potential. Understanding the general makeup, challenges, and opportunities of this growing industry is crucial for its continued
success. The African games industry Value Chain, included below, is subject to the key institutional players. They own the brand or intellectual property (IP) rights for which
a game is being developed and, in general, receive a licensing fee
as a share of the revenue. One of the most popular advantages
of this is the exploitation of copyright. While copyright grants
protection to stories, artworks, drawings and the like, creators
or owners can aways license the use of same on other platforms
such as mobile games
Game studios often comprise of a team of developers and
designers responsible for designing, developing and testing
a game. They also undertake operations to ensure smooth
running of the game by releasing regular updates and fixes to
the game. A publisher essentially takes the game to market by utilising
an established channel of distributors and marketing
activities planned around the game.
A Distributor makes games available through their
platforms. A majority of games by the African game
developers are distributed through the major App stores.
Considering the structure available for this value chain, we
can explore:
1. Exclusive distribution rights of foreign IP within a region,
2. Distributor of exclusively African, or Nordic IPs/games,
and 3. Distributor of both foreign and regional IPs/Games
Game Developers and Studios
Games Publishers
Games Distributors
Intellectual Property and Brand Owners
12
The global social online gaming market is an industry with net-
worth of more than USD$ 300 billion. (1) Given the magnitude
of the opportunity, many companies are positioned to grab
a piece of the action. The key to success in this sector is
creating opportunities for gamers to pay with the options
and alternatives, locally
The games industry in Africa has recently evolved to include
Esports and the streaming of live gameplay. Currently, we
have teams that compete in Esports tournaments at a global
level and it’s worthwhile to note that there is participation
across the genders in most competitions. This is one of the crucial conditions for talent development
within the industry. Across the world, policymakers and
educational institutions have designed interventions to
ensure that there are training and educational institutions
or programs that instill the training and necessary skills
required to equip the next generation of game developers
and designers.
The Entertainment sector is quite pivotal to the industry
as a potential revenue driver. As in other markets, game
developers can partner with movie studios to adapt popular
releases (such as “Transformers”, “Pacific Rim” “Gangs
of Lagos” or “Mami Wata”) into a complementary game
franchise. In essence, the proliferation of African movies
on the global scale can further drive the adoption of these
games and movies.
Merchandising is the presentation and promotion of goods
that are available for purchase for both wholesale and retail
sales. It is a lucrative tool for companies looking to cultivate
their brand, improve the experience of customers, compete
with others in the sector, and ultimately, drive sales.
The industry is a payload for advertisement agencies.
This enables the placement of advertisements through
proprietary industry networks. In fact, games, depending on
their popularity, provide an avenue for ad revenue and have
unique levels of reach for different audience segments.
Advertisement Networks
The Payments Sector
The Streaming Sector The Educational Sector
Media, Music & the
Entertainment Sector
Merchandising
1. Mordor Intelligence, 2022 Gaming Industry Size & Share Analysis Growth Trends Accessed: October 2023
13
The Video Games Value-Chain in Africa
© Maliyo Games 14
Revenue Models
To understand how money is made through games, one must understand their revenue models. Overall, there are two principal models: free-
to-play games and paid (premium) games. It should also be noted that some of these revenue models can be combined in the context of a
given game (e.g., a premium game with in-app purchases)Free-to-Play:
These games are typically sold with no upfront payments – but are
subsequently monetized by other means (see below). To succeed,
they need large audiences and correspondingly large marketing
budgets. These games are typically of most interest to private
investors, as they can experience exponential revenue growth.
In-App purchases (IAPs):
Developers can offer users in-game rewards and services in
exchange for real money payments. These purchases include:
coins, extra moves, extra health, power-ups, skins, and bonus
levels. This revenue source has become an important tool, as game
developers can leverage disposable income amongst players and
consumers.
In-game advertising:
Given often only a few, dedicated users tend to make in-app
purchases, developers can also include in-game advertising. There
are several ad formats including user-initiated ads (e.g., rewarded
videos and offerwall ads), where users are rewarded for completing
specific tasks), as well as system-initiated ads (e.g., banner ads and
interstitials ads designed to be placed between content). Other Options:
There are a few other ways developers can monetise their
games such as subscription services, where users pay weekly
or monthly fees for access, game licensing,
where game IP
owners can sell rights to their games to aggregators, work-for-
hire, where developers offer their time as a service to develop
games and many more.
Paid Games (Premium):
Developers can sell their game on digital storefronts for a
one-time payment. Typically, the most successful premium
paid games are those with a strong value proposition (e.g., a
widely known brand or intellectual property) and/or limited
competition providing the same characteristics and quality
within the genre.
This model can limit the market potential of a game, as there are
only so many ? – and the payment can be a significant barrier
to player engagement. At the same time, some consumers
(especially in mature markets) prefer predictable investments
in their games – rather than paying piecemeal over time.
15
Games Revenue Model
FREE TO PLAY
Ad-Based
In-game advertisingIn-App Purchases (IAPs)
Subscription Fee
Native Advertising
In-App Purchases (IAPs)
Currencies Durables
Loot Boxes
Subscription
PAID GAMES (PREMIUM)
16
Talent Requirements For Game
Production
There is a wide range of skills required to make video games. From
the people who write the code (developers & programmers), to
those who create the music (sound designers). There are also
the artists who create the beautiful visuals (2D & 3D artists) and
designers who articulate the interactive gameplay mechanics
within a game (game designers). Working alongside are the
professionals responsible for the vision for the game (producers)
and those who make sure everyone knows what they’re meant to
do (project managers). There is a group of people who ensure that the game actually works as
expected (Quality Assurance engineers), then you have the people who
define the characters, world, and story of the game (narrative designers).
There’s an army of analysts who study what’s happening in your game
(data engineers). Finally, there is a group of people who ensure that
your players know about your game (marketing team). These are only a
few of the people required to make a game come to life, all of whom are
highly-skilled and well-paid specialists.
17
GAMES AS A BUSINESS
© Fak’ugesi Festival 18
The Global Industry
2022 Global Games Market
Per Segment with Year-on-Year Growth Market
The market for games is a global market.
Games made anywhere can be sold
everywhere, thanks to digital storefronts.
The global games industry is currently worth
US$250 billion
(2).
The number of mobile players reached 2.7
billion in 2022
(3), while user penetration (the
percentage of the total population playing
games) is expected to reach 54.5% by 2027
(4).
The pandemic caused a boost in the number
of people playing video games but also
created its own challenges for the industry.
2. Statista.com, Market Insight Video Games Worldwide
Accessed: November 2023
3. Sophie McEvoy, 2023 Newzoo: Global games market
expected to increase 2.6% in 2023 Acessed August 2023
global%20games%20market%20is,0.8%25%20increase%20
compared%20to%202022.>
4. Newzoo, 2022 Games Market Decline 2022 Accessed:
October 2023
Graph Credit (Newzoo, 2022 Global Games Market Report p.23
2022 Total
-4.3% YOY
$184.4 Bn
1%
Browser PC Games
$2.3 Bn-16.7% YOY
Downloaded/Boxed PC Games
$38.2 Bn-16.7% YOY
Mobile Games
$92.2 Bn-6.4% YOY
Console Games
$51.8 Bn-4.2% YOY
21%
50%
28%
19
New Markets For Games
Although the games industry in Africa is comparatively small at
present, experience from other regions suggests that it is possible to
grow a cluster of video game businesses and activity.
This section briefly explores successful models in four regions that
have recently emerged as strong players on the global video games
stage:
These examples illustrate the potential and dynamism of secondary
video games markets (i.e., beyond Europe, North America and Japan)
and establish inspiring pathways towards strong and sustainable
video games industries.
BrazilIndia
Israel Turkey
20
Brazil
Brazil has a fast-growing game industry with
over 1,000 active studios across the country
including in São Paulo, Brasilia, Rio de Janeiro,
and elsewhere. Collectively they account
for 57% of international revenue within
the industry, employing more than 12,000
workers.
(5) According to Tiago Bianchi, (6)as
of 2022, the number of game development
studios in Brazil has reached a record high of
1,009 companies. This represents a growth
of 152 percent in comparison to 2018, when
only 375 studios were registered in the
country, and 133 registered in 2014. Brazil
remains the leading games market in Latin
America, with a revenue of around US$1.3
billion in 2022.
(7)
5. Brazil Games Export Program, Abra Games and Apex Brasil,
2022 Brazil Games Industry Report: 2022 Accessed August 2023
6. Tiago Bianchi, 2023, Latin America: leading gaming markets
2022, by revenue Accessed September 2023
latin-america>
7. Brazil Games Export Program, Abra Games and Apex Brasil,
2022 Brazil Games Industry Report: 2022 Accessed August
2023
Major Studios
Population 216,503,350
Average age 33.6
GDP per capita $8,917.7
Official language Portuguese
Revenue (USD) $1.3 Billion (2022)
Estimated
workforce of
the video games
industry
12,000 employees
Key Facts & Figures
21
9. Mordor Intelligence, Gaming Industry In India: Size & Share
Analysis Growth Trends ccessed: August 2023
market>
10. Medhansh Bairaria, 2023 Navigating the Tax Maze:
Assessing the Impact of 28% GST on Indian Gaming Companies
Accessed: August 2023
bairaria>
11. Mordor Intelligence, Gaming Industry In India: Size &
Share Analysis Growth Trends ccessed: August 2023
Key Facts & Figures
India
The India Games Market size is expected to
grow from USD 3,020.24 million in 2023 to
USD 6,256.52 million by 2028, at a CAGR of
15.68% during the forecast period (2023-28).
(9) The country is predicted to rank among the
top market locations for the games industry
due to having one of the most significant
youth populations in the world.
(10) Indian
games raised $2.8 Bn from domestic and
global investors between 2018 and 2023.
Funding increased by 380% from 2019 and
23% from 2020
(11) . More interestingly, India
has produced three games unicorns: Dream
24×7, Dream 11 and Mobile Premier League. Population
1,429,484,609
Average age 28.7
GDP per capita $2,388.6
Official language Hindi, English
Revenue (USD) N/A
Estimated
workforce of the
video games
industry
N/A
Major Studios
22
Israel
The Israeli industry is a relative newcomer to
the global video games scene but has reached
significant accomplishments within a short
period of time. It has grown from a nascent
industry in the early 2000’s to one that has
produced success stories on a global scale
such as Playtika, Plarium, CrazyLabs, Ilyon
and more recently, MoonActive. The Israeli
game industry currently boasts of an average
of 200 companies involved in the ecosystem
with an estimated number of 14,000
employees.
(12) In this market, mobile is the
most popular platform for game publishing.
Israel is home to many game development
companies operating in different segments,
accessing different audiences around the
globe. The revenue of the Israeli market was
estimated to be ~USD 9B in 2021
(13) . From
2016, the total revenues have increased by
~800%, which represents a CAGR of +55%.
(14)
Population 9,183,097
Average age 29.1
GDP per capita $55,540
Official language Hebrew, Arabic
Revenue (USD) $9 Billion (2021)
Estimated
workforce of the
video games
industry
14,000 employees
Major Studios
Key Facts & Figures
12. AL-MONITOR, 2022 Israel’s Gaming Industry Continues
Expansion. Accessed: August 2023
expansion>
13. CTech, 2022, Israel gaming industry reached $8.6 billion
in revenue in 2021 Accesssed August 2023
14. CTech, 2022, Israel gaming industry reached $8.6 billion
in revenue in 2021 Accesssed August 2023
23
Major Studios
Key Facts & Figures
Turkey
The digital games industry in Turkey began
to grow in the late 2000s, but really took off
in the 2010s with the increase in popularity
of games that can be played on mobile
phones and tablets. Turkey has a pretty
high smartphone and regular phone usage
rate. 81% of the adults play a mobile game,
and of the mobile players in Turkey. More
specifically, with respect to android games
in Turkey, there are over 2,943 Turkish
publishers among 192,025 game publishers
on Google Play. Turkish publishers offer over
10,893 games among 531,946 games on
Google Play. The industry has experienced
an influx of investment at various stages.
Dream Games received an investment of $
255 million in January 2022, increasing its
valuation to $2.75 billion.
(15) In March 2022,
Metaverse Game Studios raised $10 million
from an investment round led by Pantera
Capital.
(16)
Population 85,845,333
Average age 38.1
GDP per capita $11,930
Official language Turkish, Kurdish
and Arabic
Revenue (USD) N/A
N/A
Estimated
workforce of the
video games
industry
15. AllCorrect Game Content Studio, 2022 The Gaming Market
in Turkey.Accessed: August 2023
16. Danielle Partis, 2022, Dream Games raises funds $255m
ar $2.75bn valuation, Games Industry Biz: Accessed: August
2023
24
The global games Industry is a complex, global ecosystem and
relies on an intricate value chain of institutional players.
While there are other currencies at play, the global games
industry relies on the US Dollar (US$) for a majority of revenue
payments.
There are various different revenue models that entrepreneurs,
developers and studios can use to monetise their game.
There is strong opportunity for growth in new and emerging
markets, particularly those in Africa and Latin America.
Asia and North America are leaders, globally, in terms of revenue
generation and market size.
The African games industry can glean from proofs of success in
other emerging markets, using insights from these jurisdictions
as a standard for growth.
Even as snapshots, these markets provide inspiring paths of
success for all games industry stakeholders on the African
continent.
These markets, individually and collectively, offer opportunities
to learn and avoid the pitfalls of their experience in building
vibrant (and profitable) games ecosystems.
It’s important to note that Asian games industry is vast,
encompassing both mature and emerging markets. For example,
China, South Korea and Japan have very advanced gaming
markets, comparable to those in North America and Europe. On
the other hand, those in Thailand, Indonesia and Malaysia are
still growing, similar to the trajectory observed in parts of Africa.
Key Takeaways
© Adala Studios 25
© Africacomicade
PREPPING THE SCENE FOR AN
AFRICAN GAMES INDUSTRY
26
Cultural Context
Entertainment and culture are closely knit factors that influence social
behavior and norms. It is also important to note that entertainment
is almost always impacted by culture. There has been debate around
concerns with respect to the influx of western culture into the African
entertainment sphere. Nevertheless, it has been proved, time and
again, that culture is integral to entertainment and vice versa.
This true for the African games industry, in particular. Over a relatively
short period of time, new avenues for collaboration between markets
and sectors has emerged. With growing access to the digital world,
games have allowed people from all over the world to connect and
interact with each other, while providing a powerful platform for new
communities to build. Online games have allowed players to meet and
play with people from different backgrounds, cultures, and countries,
breaking down barriers and promoting interaction between people
who might never have met otherwise.
Micro-cultures also emerge. For example, every game developed by
a studio is influenced by cultural perspectives and sensibilities of
the developers and their organization’s imperative. This shapes and
forms, in many instances, the theme of the games published.
Once these games are exported to different jurisdictions and
purchased by players, there is not only an endorsement but a receptive
exchange of culture influencing, in tandem, new language and even
creative expression. In this way, the games industry is a potent tool
within the entertainment sector that drives effects on music, fashion,
slang, language, and every other relevant cultural experience.
©“Motherhood and African Art” exhibition at the Baltimore Museum of Art 27
Music
Music is an integral part of African culture and has been the soundtrack to the
continent’s rich history. From the rhythms of West African Afrobeats that incorporate
drumming to the soulful melodies of South African Amapiano, one of the country’s
most popular musical exports, thanks to its unique blend of House, Jazz and Kwaito
rhythms. African music is as diverse as its people. The continent has produced some
of the world’s most renowned musicians, including Fela Kuti, Miriam Makeba, and
Youssou N’Dour.
According to Spotify, the online music streaming service, the track Calm down by
Nigerian pop star, Rema featuring American songstress Selena Gomez, is the most
streamed Afrobeats song on Spotify in 2023. Veteran Nigerian sensation, Davido, was
included as a headline act during the opening ceremony of the FIFA World Cup 2022
in Doha, Qatar.
(17)
Similarly, there has been a collaboration between Burna Boy, a popular Nigerian
recording artist, and Rockstars Games to provide a soundtrack to the popular Grand
Theft Auto (GTA) game. Other notable new generation African musicians include
Diamond Platnumz from Tanzania, Nasty C from South Africa, and Sauti Sol from Kenya.
Diamond Platnumz is known for his unique blend of Bongo Flava, a style of Tanzanian
music that fuses traditional Tanzanian melodies with modern Afrobeats, pop and hip
hop. Nasty C has been making waves in the South African music scene and was even
appointed as an ambassador for the South African-based game publisher, Carry1st.
A similar phenomenon is also emerging in the global games industry where African
artists like Fireboy DML have their music as soundtracks for FIFA21, a popular franchise
from international game giant, Electronic Arts.
©Fak’ugezi Festival
17. Sunny Green Itodo, 2023 Rema’s “Calm down” tops Spotify’s Afrobeats songs of all time Daily Post, Accessed: August
2023
28
Film
In recent years, the Nigerian film industry, popularly known as
Nollywood, has experienced explosive growth, becoming the second
largest film industry in the world in terms of output, second only to
India’s Bollywood.
According to the Pan African Federation of Filmmakers (FEPACI), the
industry generates US$5 billion in annual revenue out of a potential
US$20 billion.
(18) Nollywood films are known for their high-energy
plots, colourful costumes, and larger-than-life characters. Despite
challenges such as piracy and lack of funding, Nollywood continues
to thrive, producing thousands of films each year that are enjoyed by
millions of viewers across the continent and beyond via distribution
platforms such as online streaming services like Netflix, Showmax
and Amazon Prime.
©Anakle Films
18. Linda Klaassen and Mila Ibrahimova, African Film: a Booming Industry Accessed: August
2023
29
Internet and Smartphone
Penetration
The introduction of mobile phones in Africa in the early 2000s
revolutionised communication and connectivity on the continent.
Today, mobile phones are everywhere in Africa, with many people
relying on them for a range of activities, from connecting to the
internet and using social media to making payments and accessing
government services. As a result, the growth of Africa’s mobile and internet markets has been significant in recent years, with the
number of internet users on the continent increasing rapidly.
According to a report by GSMA, in 2021, there were 515 million
unique mobile subscribers in Sub-Saharan Africa, and this
number is expected to reach 613 million by 2025.
(19)
19. GSMA, 2023, The Mobile Economy Sub Saharan Africa. .Accessed: August 2023
30
Population Age And Growth
2023 Polulation Pyramid The African market is made up of a young
population, with a median age of 19.7 years,
which is much younger than the global
median age of 30.4 years
(20) (21) .
Africa is expected to be the only region in the
world where its population will continue to
grow significantly in the coming decades, with
projections suggesting that it could double by
2050.
As a consequence of these trends the African
market is growing in buying power for many
consumer products and services, including
games.
The continent’s population is diverse, with
over 3,000 distinct ethnic groups and more
than 2,000 languages spoken.
Image source: CIA World Book
20. Worldometer, Africa Population, Accessed July 2023
among,117%20 people%20 per%20mi2).>
21. Anna Richie and Max Roser, 2019, Age Structure: The
Global Population Pyramid Accessed July 2023
median%20age%20has,bracket%20between%2025%20
and%2065.>
31
Language
Language is an important aspect of culture as it transmits not only
words but also values, laws, and cultural norms, including taboos.
It’s a way to express and reinforce cultural identity.
The African population is largely English and French speaking with
a few other languages spoken in different regions of the continent.
Swahili is the most spoken indigenous language with approximately
200 million speakers in South and East Africa. Africa mostly in
Tanzania and Kenya.
(22, 23, 24)
In West Africa, Hausa has the largest number of speakers with
approximately 115 million speakers mostly in the Sahel region, as
well as Yoruba which is spoken by approximately 50 million people
across Nigeria, Togo and Benin.
(25)
Arabic dialects, including Egyptian Arabic, follow with approximately
100 million speakers found in North Africa. French is one of the major
colonial languages spoken in Africa, with a majority of speakers
concentrated in West and Central Africa. Finally, Zulu is the most
popular language in South Africa with approximately 27.3 million
speakers and Xhosa following closely behind.
(26)
22. Dana Hooshmand, 2020, The Nine Most spoken languages in Africa. Accessed July 2023
23. Dorcas Famoriyo, 2022, 5+ swahili-speaking countries in Africa: Your #1 easy guide
Accessed: June 2023
24. Africa Renewal, The Sahel: Land of Opportunities Accessed June 2023
is%20of%20challenges.>
25. Edeh Samuel Chukwuemeka ACMC, 2022, Most spoken languages in Africa 2023:
Top 14 Popular Accessed: June 2023
and%20Benin.>
26. Logic Publishers, 2023, 11 most spoken languages in South Africa 2024 .Accessed: June
2023
32
Key Takeaways
The African Games Industry is uniquely placed to not only
inspire but instigate new cultural movements and exports,
from the continent to the world. With the recent rise and
popularity of African cultural and creative products, across
the genres, it may be a new lucrative avenue for economic
development and wider societal prosperity.
Games developed with African themes and other cultural
elements offer new opportunities for creative expression
while providing new avenues for employment for both
artists and game-makers from around the continent.
Africa’s rich diversity is also an opportunity for game-makers,
with a myriad of communities, cultural and language groups
to appeal to across geographies.
© Attrybute 33
© Fak’ugesi Festival Zivanai Matangi
THE STATE OF PLAY
34
Overall Consumer Spending
According to Newzoo’s 2023 PC & Console Gaming Report, Africa
and the Middle East contributed US$2.5 billion in the Global PC and
Console spending in 2022 with a 2.9%
year-on-year growth rate.
On average, Africans spend around US$6/year on games with the
majority of spending taking place through in-app purchases. South
Africa has an average revenue per gamer of ~US$12/year, similar
to Brazil’s ~US$11-12/year. While Nigerian, Ghanaian, Kenyan, and
Ethiopian gamers range between ~US$2-5/year.
(27)
The growth of mobile games globally presents big opportunities for
Africa as a mobile-first continent. Digital Virgo projects that mobile
game revenues in the continent will grow by a compound annual
growth rate of 13.11% by 2025.
(28)
2022 African Video Games Revenue
(Millions)
$300.0$289.5
$184.6
$41.7$38.1 $35.2
$200.0
$100.0
$0.0 South
Africa Nigeria
GhanaKenya
Ethiopia
27. Newzoo, 2023, PC & Console Gaming Report 2023 Accessed: September 2023
PC%26Console%20report&utm_medium=email&_hsmi=249310249&_hsenc=p2ANqtz–AJjQft
KPrO6AzQ0pbU1nZrSVBeWAMLtkmmgAE0nCT32SqVrSK-2A9PYvfuwCqCdVYQG7cGOVBh45v
9oTmfBQrCDhkqQ&utm_content=249310249&utm_source=hs_automation>
28. Digital Virgo, 2022, Mobile Gaming in Africa: a real growth lever for Telecom Operators
Accessed: September 2023
2020%20and%202025.>
35
African Gamers
The African games market has grown considerably in recent years.
According to projections from a report by Newzoo and Carry1st,
Sub-Saharan Africa’s gamers are poised to spend US$ 1 billion on
games for the first time in 2024.
(29)
The report also shows there has been a rise in gamers in Sub-
Saharan Africa from 77 million in 2015 to 186 million in 2021. With
24 million gamers, South Africa tops the continent having 40% of its
population playing followed by Ghana’s 27%, and Nigeria’s 23% in
second and third places. Kenya and Ethiopia finish fourth and fifth
in the continent with 22% and 13% of their population identifying as
gamers, respectively.Top 5 African Countries with Large Player Population46.5
23.9
15.0
11.8
8.3
0.0 10.020.030.040.050.0
South
Africa
Nigeria
GhanaKenya
Ethiopia
2022 Player Population Across
Africa
29. Vbassey, 2021, Gaming in Sub Saharan Africa more than doubles, Games Industry Biz
Accessed: September 2023
36
Mobile Games
Mobile games are the most popular games in Africa. According to
the report commissioned by Newzoo, of the approximately 186
million total gamers in Sub-Saharan African countries, 177 million,
or 95% of these players use mobile devices.
(30)
Moreover?, of the 186 million players mentioned, 34% of them,
approximately 63 million, pay for games. Popular game genres
include action, adventure, and sports games. In 2022, Africa’s total
gross in-app purchase revenue was approximately US$ 285 million.
(31) (32)
With more affordable smartphones and high speed internet
being increasingly accessible to the large young population of the
continent, it’s no surprise that in 2022, $778.6 million of the total
games revenue in Sub-Saharan Africa was from mobile games. This
accounts for almost 90% of all games revenue in the region.
(33)
Consumer Behaviour 1
0 50 100 150 200
Mobile
gamers Total
gamers
Gamers
that pay
for game
30. Aaron Orr, 2021, 95 Percent of gamers in Africa choose mobile, says Newzoo Accessed
September 2023
31. Newzoo, 2023, PC & Console Gaming Report 2023 Accessed: September 2023
PC%26Console%20report&utm_medium=email&_hsmi=249310249&_hsenc=p2ANqtz–AJjQft
KPrO6AzQ0pbU1nZrSVBeWAMLtkmmgAE0nCT32SqVrSK-2A9PYvfuwCqCdVYQG7cGOVBh45v
9oTmfBQrCDhkqQ&utm_content=249310249&utm_source=hs_automation>
32. Digital Virgo, 2022, Mobile Gaming in Africa: a real growth lever for Telecom Operators
Accessed: September 2023
2020%20and%202025.
33. Abhimanyu Kumar, 2023, Africa’s Mobile Gaming Market and Carry1st Accessed:
September 2023
37
A History of
the African
Video Games
Industry
The African games industry has witnessed
significant growth and development over
the years, with notable contributions from
pioneering companies such as Leti Arts,
Maliyo Games, Celestial Games, Qene
Games and Kiro’o Games, to name a few.
These companies have played a crucial role
in shaping the landscape of African game
development and introducing unique game
experiences tailored to the African and global
markets.
More recently, there is a broader distribution
of emerging studios and hobbyist game
developers, but major game development
studios that have been active for many years
tend to be found in major technology hubs
in Africa. We will briefly look at North, East,
Central, West, and Southern Africa based on
the United Nations geoscheme for Africa.
© Deluxe Games 38
39
Key Players by Region
More information in Appendix .
In North Africa , not only have locally owned studios shaped the
game development scene but the region was once home to an office
of a massive game development giant with Ubisoft Casablanca in
Morocco . There is a wealth of experience in this region that hosts
developers who have worked on all platforms and various projects
from hyper casual mobile hits to blockbuster games. Some studios
of note include DigitalMania and Nuked Cockroach from Tunisia, Jana
Games from Algeria, as well as Instinct Games, AN Games Studio and
Gimzat Inc. from Egypt.
West Africa has a history of successful pioneers in the mobile game
development space with some of the most successful mobile game
developers on the continent such as Leti Arts from Ghana and Maliyo
Games from Nigeria that were founded in 2009 and 2012, respectively.
Other major studios from the region that are still active include Kayfo
Games from Senegal. As one of the fastest-growing regions both
demographically and economically, this region is also the home to
many indie game developers and emerging games companies.
An often overlooked region, Central Africa has some shining
examples of video game talent and great original intellectual property
being developed. Kiro’o Games from Cameroon are well known for
this with their 2016 release, Aurion: Legacy of the Kori-Odan. The
much-acclaimed PC game has spawned the AurionVerse (an offshoot
franchise) which includes a mobile game called Kajuta Gem Fighters.
East Africa has long been known to house key movers in technology
and business on the continent. Early works include the 2007 game
“Adventures of Nyangi” by Wesley Kirinya, and “Nairobi X” created by
Black Division Games in 2015. Wesley Kirinya, from Kenya, would later
collaborate with Eyram Tawiah, from Ghana, to found Leti Arts. Kenya
is also home to the Nairobi Game Development Center, a co-working
space that supports the needs of developers in the area.
The Southern African game development scene is dominated by eclectic game development studios that have succeeded on many
platforms. The history here begins with games as far back as Toxic
Bunny released in 1995 by Celestial Games. The recent landscape
includes indie studios like Free Lives, Carry1st, and versatile studios
like Sea Monster. South Africa also houses educational institutions
with dedicated games and digital media programs.
40
Investments & Acquisitions
Carry1st
The South African startup closed $27 million in pre- Series B
round this year, to develop, publish new games and expand its
product “Pay1st”. This investment was led by Bitkraft Ventures
with participation from other VC first such as: a16z, Konvoy, TTV
Capital, Alumni Ventures, Lateral Capital and Kepple Ventures.
It may interest you to know that Carry1st was also involved in
another acquisition in the course of the year as it acquired “Gabeta”
a product of Qene Games (a notable African Games Studio). The
activities of Carry1st is a testament to the Vertical acquisition
possible within the games ecosystem in Africa. Konvoy Capital
The VC Firm has been actively involved in funding within the
African games ecosystem. In 2021, the firm led a $6 million series
A round in Carry1st, with participation from other VC firms. The
firm is known for its investment in the video gaming industry’s
infrastructure, technology, tools and platforms. It extended its
investment into Carry1st in 2023 for its pre-series B round.
24-Bits
The indie studio acclaimed for the joint development of Memoir
Blue, Neon White etc. has been acquired by its long lasting Co
Production Partner Annapurna Interactives Studio. The acquisition,
formalized after a longstanding partnership, solidifies Annapurna’s
commitment to fostering game development and innovation and
the resolve of 24 Bit Games to maintain top notch engineering
and development. This recent acquisition was recorded at an
undisclosed fee and it also a pointer to the fact that collaborative
work with African studios is as lucrative as it can get, and players
within the ecosystem can leverage the available market to what ? Sony Ventures
The Tokyo conglomerate is investing $10 million to support early-
stage startups in gaming, music, film and content distribution in
Africa. In addition to its effort, the company has entered into a
collaboration with the International Finance Corporation (IFC) to
provide financial support and leverage to foster growth within the
African entertainment industry
GBarena and Galactech
In January 2023, the Egypt-based esports platform GBarena
acquired Tunisia’s Galactech for $15 million, in the form of a share
swap. The deal helps GBarena expand into promising North Africa
market.
Game Art Academy
Maliyo Games received funding support from the French
Embassy in Nigeria to deliver training to artists looking to explore
opportunities in the games industry. The Art Academy is a talent
development pipeline aimed at training the next crop of games art
designers alongside an avenue for placement and growth.
GameHub Senegal
The government doesn’t intend to be a hub for video games
production and this what has been implemented ? in partnership
with the French Embassy in Senegal alongside other studios.
More interestingly, 300 thousand euros has been invested for
the creation of this hub and The Senegalese government intends
for senegal to become was a result of partnership between the French Embassy in Senegal and the games studio Masseka. This
investment sum will be tailored towards making the hub both an
incubator and a development studio.
41
Talent Development
& Acceleration
Google GameUp Africa (2021 – Present)
This is an annual online training program for entry-level game
developers. The program is designed to take participants from
zero skills, to building games such as endless runners, match 3 and
platformers, through a progressive game development learning
curve. Participants learn to develop, refine and package games for
Android and the Google Play Store. Since its inception, Google has
been a flagship partner with Maliyo Games.
Spiel Fabrique Co-Production Marketplace (2021 – 2022)
SpielFabrique is a Franco-German accelerator focusing on young
game studios. In order to facilitate networking between African
and European studios, and collaborative project development,
SpielFabrique will offer mentorship in game design and business
with a focus on monetization, marketing, financing and publishing.
This is to ensure African studios are co-production ready.
Xbox GameCamp (2023 – Present)
Xbox Game Studios Game Camp was founded in 2020 on the
belief that extraordinary talent resides everywhere. The goal of
the program is to enable people from traditionally marginalized
communities and non-traditional backgrounds to realize their
potential in the games industry and grow thriving games
communities and industries in places all over the world.
Digital Labs Africa (2017 – Present)
Created in 2016, Digital Lab Africa is an initiative of the French
Institute and the French Embassy in South Africa. DLA is the first
platform dedicated to creative content (immersive realities, video
game, animation, music, digital art) linked with innovation in Africa.
CrazyHub Cape Town (2021)
CrazyHubs are hyper & hybrid-casual game accelerators where
developers around the world get the opportunity to learn
everything they need to know to build a hit game. Black Game Developer Fund (2021 – Present)
The Black Game Developer Fund is an annual fund designed to help
empower Black game developers to take that next step and move
their compelling game vision forward. Initiated by Humble Games,
the BGDF (Black Game Developer Fund) is targeted specifically at
independent black game developers to enable them to take their
project to the next level, or even just get it off the ground.
42
Ecosystem Development
Africa Games Week (2019 – Present)
This is a premium business event in Africa for the video game
industry. Developers, content creators, and industry leaders come
from across Africa and the globe to connect, engage and grow the
African game Industry.
Others (2023)
The Nigerian government recently launched a national technical
training initiative and for the first time, game development is part
of the government’s national talent strategy. Ashesi University in
Accra, Ghana, introduced a game design course, working with a
local studio, Leti Arts, to train software engineers in game design.
In Senegal, Kayfo & Masseka Games recently opened Game Hub
Senegal to train and help young creative teams produce games
with the support of the French Embassy in Dakar.
Africomicade (2020 – Present)
Africacomicade is a platform that brings together enthusiasts and
digital creatives across the games, animation, comic, and movie
industry in Africa via insightful events such as conventions, game
jams and much more.
Tshimologong (2021 – Present)
Tshimologong is wholly owned by Wits University, and catalyses
the transformation of Braamfontein into a premier technology
destination to raise the profile of African digital innovation by
inspiring new talent and addressing rising youth. In 2017, it
launched its flagship incubation and acceleration programme with
the support of JP Morgan Chase bank and have since incubated
105 startups and 172 entrepreneurs.
© Attrybute 43
Key Takeaways
There is flourishing regional activity lead by independent
game studios and game-makers, each with its own flair and
idiosyncrasies.
There is a thriving games ecosystem already in place with
a number of talent development initiatives and industry
gatherings supported by major local and global names.
There is a major opportunity for African gamers, evidenced
by the sheer number of the player population. This coupled
with ongoing industry initiatives can transition this group in
to more active contributors to the game industry (e.g., from
players to developers).
Monetization remains a crucial lever for growth. The data
suggests that players are spending on games, however, these
figures are lower than in more mature games markets.
© Leti Arts 44
© FEJA, Paradise Game
THE AFRICAN GAME
DEVELOPER SURVEY
45
Methodology
In a world where the games industry is evolving at lightning speed, Africa’s game
development ecosystem has emerged as a vibrant and promising sector with immense
potential. Understanding the general makeup, challenges, and opportunities of this
growing industry is crucial to unlock its complexities. To ensure the report presents an
accurate picture of the African games industry, we designed a comprehensive survey to
gather information that will shape decision-making and strategies within the African games
ecosystem. The study also delves deeper into the challenges faced by game developers
and studios, including access to funding, infrastructure limitations, distribution hurdles,
and cultural nuances.
The survey was meticulously crafted as a web-based questionnaire, with the primary
objective of conducting an exhaustive analysis of the African games market. Its purpose
is to contribute to the evolution of this vibrant industry. To facilitate data collection, we
employed an online questionnaire format. This accessible format allowed participants,
including developers, studios, and games enthusiasts from across Africa, to seamlessly
engage with the survey. The survey was extensively distributed via various social media
platforms to reach a diverse audience.
The Africa Games Developer Survey was conducted online from April to May 2023. Full
analysis was completed in Q3 2023. Findings from the survey can be found in this report.
© Maliyo Games 46
Profile
41 (34.7%) of the respondents are game
studios and 41 solo developers, having the
highest percentage of all respondents.
This reflects the growth and demand for
skilled professionals in various roles, such as
programmers, artists, designers, and sound
engineers, to bring games to life.
Overall, the survey results paint a vibrant
picture of the industry, showcasing a diverse
community of developers, artists, freelancers,
and enthusiasts who are collectively shaping
the world of African game development.
47
In the vast and culturally rich continent
of Africa, game development and games
enthusiasts are thriving in various regions.
Respondents (individual developers and
video games studios) came from all regions of
Africa. West Africa had the most contributors
with 48 (41%) of respondents. The came
South Africa at 32 (27%) , then East Africa
with 27 (23%), Central Africa recorded 7 (6%)
and, finally, North Africa with 4 (3%).
Participants by Regions
48
Southern Africa 13 (32%) is the most
dominant region in terms of the number of
game studios, followed by West Africa 10
(24%) and East Africa 10 (24%), which share an
equal percentage. Central Africa 5 (12%) and
North Africa 3 (7%) have a relatively smaller
representation in the surveyed population.
The distribution of game studios across
regions can be influenced by various factors,
including the availability of resources, talent
pool, access to technology and infrastructure,
government policies, and the growth of the
games industry in each region.
The African studios are mainly small to
medium-sized enterprises, with a notable
24 (59%) of respondent companies counting
more than five employees.
Studios by Regions
49
Development Engines
The survey shows the dominance of Unity
as the primary engine of choice (64%) for a
significant majority of game developers. Its
versatility, ease of use, and broad support
have solidified its position as a preferred
engine across the game development
community.
On the other hand, Unreal (14%) and Godot
(8%) also stand out as prominent choices
among the surveyed developers, the diversity
of engine choices highlights the dynamic and
innovative nature of the game development
industry, where developers have a wide
range of tools to choose from each tailored
to different styles of games and individual
development preferences.
50
Games Categories
A significant majority of game developers
create multiple categories of games. However,
99 (84%) create entertainment games. These
are games designed primarily for enjoyment,
fun, and leisure purposes. They encompass
a wide range of genres, including action,
adventure, puzzle, simulation, and more.
46 (39%) of the respondent also create
serious/educational games, 18 (15%) create
kids games, 18 (15%) create corporate/
training games, and 11 (9%) create
adversarial games.
This diversity reflects the varied interests,
target audiences, and objectives of game
developers, contributing to the richness and
innovation in the games industry.
84%
39%
15%
15%
9%
1%
1%1%
1%
1% 1%
1%1%
1%
1% 1%
Entertainment games
Serious/educational
games
Kids games
Fiction games
Hypercasual games
Corporate/training
games
Fantasy games
Horror games
TPS battle royale
shooter
Tycoon
Adver games
Narrative driven games
Spot games
Role playing games
Sandbox
Racing games
51
Games Platforms
The Mobile and PC games platform have a
high significance in the game industry as
majority 92 (78%) of the game developers
build games for Mobile while 83 (70%) build
games for PC.
Mobile and PC game popularity can
be attributed to the widespread use of
smartphones and the accessibility of mobile
games to a broad audience, and robust
games ecosystem for a wide range of game
genres and experiences.
Developers also have a substantial focus on
building games for game consoles, with 20
(17%) targeting this platform, while 6 (5%)
build virtual reality (VR) games.
The overall data reflects the versatility of
the game industry, where developers target
multiple platforms to reach diverse audiences
and offer a wide variety of experiences across
different devices.
78%
70%
17%
5%
3%
2%
1% 1%
1%
1%1%
Mobile
PC
Console
Board game
Steam Deck
VR
Switch
AR/VR
Web
WebGL
XR
52
Experience
There is a diverse range of operating
durations among the surveyed individuals,
indicating that there is a mix of new and
well-established businesses within the game
development industry. Some businesses
have been operating for a relatively short
time, while others have a more extended
history. 26 (63%) of respondents indicated
having five years of experience or less.
Duration of operations can provide insights
into the maturity and stability of game
development studios. Established studios
with a longer operating duration may have
accumulated valuable experience, while
newer studios may be focused on growth,
innovation, and establishing themselves in
the competitive global games market.
From our analysis, we must note that, as it
relates to the African Games Industry, there
is no ideal age for a game studio. This is
because some studios are successful almost
immediately, while others take years to find
their footing. It can be assumed that relatively
older game studios understand the market
better than newer ones. However, this is just
one of many factors to consider while rating
the success of a game studio on the African
continent.
53
3%
3%
3%
57%
35%
0 1-5 5-1010-20 50+
The majority of respondents,
44 (57%),
indicates that a considerable portion of the
surveyed individuals have published at least
1-5 games while a lesser percentage have
published more. 27 (35%) of the respondents
have not yet released a game for public
consumption.
Respondents are at different stages of
their game-development journey, and their
publishing experience may vary based on
factors such as project scope, resources, and
personal or professional goals.
Published Games
54
Investment
As the games industry often requires
significant investment to produce projects,
it is important that games companies have
access to investors.
The survey revealed that only 70 (59%) of
respondents have ever secured external
investment in any of their past projects.
This finding suggests that there is a lack
of informed investors with a focus on the
African Games market – or that there are few
investable companies – or both.
Of those companies that have been successful
in raising external investment, 57% raised
less than US$100,000.
55
Income
Only 28 (36%) of respondents indicated
earning income from their game development
activities. This figure suggests that the
industry still consists of mainly hobbyists who
are dependent on other sources of income.
Participants that generate revenue through
their game development activities also have
game development as their main source of
income while other respondents who do not
currently earn income from making games
may derive income from other professional
endeavors.
The majority of the respondents, 40 (52%),
indicated that the entirety of their income
originated from inside their country of
residence. This means that they have not
yet generated any export income. In rare
cases, respondents have indicated that a
considerable share of their income is coming
from international sources.
56
36%
Access To Support
At times, games companies also access forms
of government programmes or other types
support to overcome particular challenges.
In the African context, it is very rare
for companies to receive funding from
government sources, with only 3% of
respondents indicating that they had ever
done so. At the same time, only 43 (36%) of
respondents had applied or participated in
any accelerator or other support programme.
Taken together, these finding suggest that
there are few support options for African
games companies – and even fewer that are
specifically designed for the games sector.
It may also be true that what programmes
that do exist are not being effectively
communicated to the African games
companies that could make use of thm. HAD EVER APPLIED TO A SUPPORT
PROGRAMME
57
Infrastructure
Survey responses confirm that reliable
infrastructure is a critical first step towards
the development of a video games industry.
More than three quarters of respondents
identified stable power supply and
affordable, high-speed internet as critical or
very important to their video games activity.
However, respondents also shared concerns
about the current state of infrastructure in
their region. 71 (60%) estimate that power
supply is poor or really poor and 67 (57%)
indicated that access to the internet is not
affordable from where they connect and
work. These figures suggest important
avenues for improvement when it comes to
connectivity and electric grid at national and
regional levels.
75% 100%
82%
76%
75%
41%
53%
45%
48%
40% 60%
57%
50%
25%
0%
Power supply
Affordable internet
High speed internet Alternative
payment methods
Mobile network operators
% Considering this component as critical or very important
% Rating the current state of component as poor or really poor
58
Industry connection and collaboration
The survey also shines a light on other barriers
to growth, notably collaboration within the
industry and the support ecosystem.
Training opportunities are key to developing
specific skills required by games development
as confirmed by 88 (71%) of respondents.
However, 38 (58%) estimate that there is a
crucial lack of opportunities to hone their
skills.
Community events open the door to
collaboration, innovation and creativity, yet
77 (65%) of respondents find the current
offer poor or really poor.
There are also gaps in the support ecosystem.
94 (80%) identified important shortfall when
it comes to industry associations, which
play a key role in advocacy and creating a
strong collaborative fabric, and almost all
respondents flagged the lack of support from
their government.
75% 100%
71%
70%
55% 80%
48% 97%
34% 55%58%
65%
50%
25%
0%
Power supply
Affordable internet
High speed internet
Alternative payment
methods
Mobile network operators
% Considering this component as critical or very important
% Rating the current state of component as poor or really poor
59
Stable power supply is crucial for maintaining productivity,
reducing downtime, and ensuring continuous development and
delivery of games to the market. The presence of a substantial
percentage of respondents who perceive power supply as critical or
very important suggests that addressing power supply challenges
is a priority for fostering a thriving games industry in the country.
High-speed internet enables game developers to access and share
resources, conduct research, participate in online communities,
and stay up-to-date with the latest industry trends. It also affects
the ability to efficiently download and test games, collaborate with
team members, and engage with players in real-time.
Affordable internet enables game developers to reduce
operational costs, reach a broader audience, and stay competitive
in the global market. It also affects the ability of players to access
and enjoy games, participate in online communities, and engage
with games content.
Mobile operators play a crucial role in providing the infrastructure
for mobile games, including data connectivity, internet services,
and access to app stores. They enable players to download and
play games, engage in multiplayer games, and access game content
on the go. Respondents who consider mobile network operators
as important or very important suggests that these operators are
important partners in the games industry’s growth and expansion.
Alternative payment methods, such as mobile money, digital
wallets, and localized payment gateways, are essential for
expanding the reach of games to a broader audience. They cater to
players who may not have access to traditional banking methods
or credit cards, making it easier for them to purchase in-game
items and access premium content. Respondents suggested that
these methods are considered valuable tools for improving the
monetization and accessibility of games.
Key Takeaways
© Leti Arts 60
© Africa Games Week 2022 Moegammad T. Abrahams Photography
FINAL WORD
61
Why support the
African Games
Industry?
This report highlights the potential impact of interventions at
various levels to support the continued growth of the African games
industry. These can be led by each of the stakeholder groups:
investors, game-makers/studios, policymakers and the general
public (including game consumers). As observed in both advanced
and emerging markets outside the continent, collaboration and
cooperation between each of these groups is a crucial lever for
continued innovation and progress for the industry.
For example, game-makers and studios can make market information
readily available to inform both investors and policymakers in
decision-making. The outcome of these decisions directly impacts
the general public and games consumers, adding value to the
industry’s products as well as creating viable and sustainable
career pathways for talent. The overall outcome of this could be
flourishing games industry which can have a net-positive impact on
any economy; creating high-value jobs and a ready export market
through the digital realm.
Interventions, when well-constructed and efficiently designed,
generate meaningful economic, social, and cultural impacts. A
sustainable and vibrant video games industry can create direct
and indirect impact on education and employment, boost the local
economy, support investment attraction, help share local stories to
the world, and unlock creativity and innovation.
© Kiro’o Games 62
Impacts Of A Successful Video Games
Ecosystem
In fact, once the five factors are in place, all stakeholders can benefit from a successful ecosystem:
General Public
Video Games StudiosInvestors
Policy Makers
•
Viable and exciting careers
• Attractive job opportunities
• Africa-made cultural products
• Easier access to junior and senior talent
• Vibrant creative community
• Numerous collaboration opportunities
• Facilitated access to investors and markets •
More investment-ready African projects
• Streamlined matchmaking with investment targets
• Reinforced knowledge on the economics of video
• Games resulting in more informed investments
• Increased employment of high-skilled workers
• Significant economic impact (revenue, taxes)
• Cultural exports and influence
• Increased foreign direct investment
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Factors Of A Successful Video Games
Ecosystem
Five ingredients (one prerequisite,
infrastructure, and four growth catalysts)
mutually reinforce each other to create a
successful and sustainable video games
ecosystem for all parties
Reliable Infrastructure
Pathways to SuccessTalent Pipeline
Informed Investors
Connected Collaborative
Industry
Pathways
to Success
Reinforces
Pathways
to Success
Inspiring stories attracting new talent Evidence of
maturity, and robust track record Positive
momentum, creates
mentors
More chances for
success stories emerge
Increases chances
of success
Facilitates the
dissemination of
success stories Stimulates
collaboration, informed training
institutions Facilitates
matchmaking and
centralizes education
Provides capital
to hire top talent Facilitates
partnerships, sponsored events
Teams that will be
successfully
deliver projects Rich, diverse
and
comprehensive sector
Talent
Pipeline
Talent
Pipeline Informed
Investors
Informed Investors Connected
Industry
Connected Industry
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Seizing Opportunities
Pathways
to Success Learning from other emerging jurisdictions while avoiding some of their challenges
Vibrant, innovative and successful other creative industries
Increasing number of game studios and developers 1
1
1
1
2
2
2
2
3
3
3
4
Growing interest in – and passion about – the African games industry
Presence of core competencies in game development, including game design, development, and art
A relatively young demographic with a strong interest in games (as user or talent)
Educational institutions looking more seriously into game development courses and specialized programs
Promising regional video games revenue forecasts
Large mobile market (and alternative payment methods), facilitating the access to games and creating
opportunities for high-potential investment targets
Encouraging signs of interest from investors
Public and public/private initiatives to support African game developers
More instances of studios merging and partnering, of regional industry celebrations (awards and festivals), and
collaborative advocacy
Talent
Pipeline
Informed Investors
Connected Industry
The five success factors can help unlock Africa’s bright future in video games development. While there are many opportunities waiting to
be seized and partnerships to be created to strengthen the creativity and entrepreneurship of a young and promising market, a few are
presented below.
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REPORT CREDITS
© Africa Games Week 66
Hugo Obi, Maliyo Games.
Hugo is the CEO of Maliyo Games, a leading pan-
African games developer headquartered in Lagos,
Nigeria. He is responsible for a team of diverse
and talented designers, developers, artists, and
programmers building immersive games with original
narratives, character design, and sound inspired by
the African continent.Sithe Ncube, Africa Games Industry Advocate.
Sithe has been an advocate for the growth of the
African Games Industry since 2013. Her efforts have
extended to volunteering as a Sub-Saharan Africa
regional organiser for Global Game Jam and now she
is an advisor for the Black Game Developer Fund.
She also works as a full-time associate producer for
Nyamakop.
Marie Shabaya, Maliyo Games.
Marie is an internationally accomplished advisor
and is the Founder & Managing Director of Publika
Strategic Communications Advisors, a bespoke
communications consultancy in Nairobi, Kenya. She
is currently a Fellow at the Centre of Excellence for
Human-Centered Global Economy at The Digital
Economist, based in Washington, D.C.
Kristian Roberts, Nordicity
Kristian is the Managing Partner at Nordicity, a
leading international consulting firm and leads
Nordicity’s global practice in video games, digital
media, and emerging technologies. His expertise lies
in the economics and structure of these industries
leading him to develop, improve, and evaluate public
interventions around the world. Samuel Abu, , Maliyo Games.
Samuel is the Head of Research, Legal and
Partnerships at Maliyo Games. He oversees the
compliance and legal advisory, drafting and
reviewing agreements, and developing systems
facilitating regulatory compliance structure. He is
a legal professional with a deep-rooted passion for
the intersection of technology, law, and innovation.
Contributors
Special thank to our
Jason
Della-Rocca Vic
Bassey Cassia
Curran Koopee
Hiltunen Pieter
Koornhof Kim
Nordstrom
Peer Reviewers
67
Who Sponsored
This Report?
The Africa Games Industry report is brought to you by Maliyo
Games, a pan-African games development studio headquartered
in Lagos, Nigeria.
Since its founding in 2012, Maliyo Games has been dedicated to
crafting games that capture the unique diversity, vibrancy, and
rich storytelling traditions of the African continent.
With a diverse team of talented developers, artists, designers,
storytellers and producers across Africa, the studio has grown
into a leading force in the African game development landscape,
creating games that are enjoyed by players of all backgrounds.
Maliyo has invested in building a framework for the development
of a thriving games ecosystem in Africa through initiatives such
as the GameUp Africa developer training, and the Game Art
Academy programme.
With a deep-rooted commitment to innovation, creativity, and
inclusivity, Maliyo Games is committed to delivering high-quality
games that captivate players in Africa, and around the world.
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To effectively harness the opportunities presented by the game
development industry across Africa, participation will be required
from many interested parties. With the combined efforts of policy
makers, investors, industry and the general public, we can unlock the
far-reaching benefits of this global industry.
While it might make sense for some to take leadership roles in given
areas, there are potential actions that could be taken to involve each
type of stakeholder for each success factor.
Our goal is to build a stronger, sustainable and vibrant games
industry in Africa that creates jobs and drives economic growth
for the continent
If you would like us to present the findings from our report to
audiences at global events, to collaborate with us in a future
report, engage with us to produce a similar report for your
country or region, or you just want to tell us what you think
about our report, please reach out to Samuel or Marie.
Samuel Abu or Marie Shabaya
samuel.abu@maliyo.com or
marie.shabaya@maliyo.com
www.africagamesreport.com
LinkedIn Facebook Instagram Twitter
Be Part of the Development of an
Emerging Industry
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© Studio Bolland 70
© Credit Kiro Games 71
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