专访505Games亚洲副总裁，专门培养游戏人才的大学是什么样的？

014年建立了DBGA，其使命是为电子该游戏零售业发现和养成新的英才，为我们的校内准备各个领域基本知识积累，以及医疗保健涉及的习得储存量，以便他们必须成功的开始他们在该游戏零售业的摔跤手一生。借此借此必须缩小各个领域专业培训和医疗保健市场竞争之间非常大的差距。一之外，作为一家全世界曾为的该游戏面世日本公司，我们视为505 Games有责任拥护电子该游戏零售业的演进和演化出，而我们零售业的基础是英才。无法优秀的英才，我们就无法揭示不止有行销且令人兴奋的该游戏，无论是网络游戏或单机该游戏。另一之外我们其实有许多潜在的英才在探寻各个领域的专业培训课程内容，以便为将来在这个零售业当中的求职或演进做准备，我们的实习是发现这些潜在的英才，并与他们紧密共同开发，令他们必须发挥作用自己的潜能。

我们的生态管理系统当中曾四个并不相同的专业培训领域，其当中三个是各个领域专业培训新项目。- DBGA Campus：为期2年的在实践当中专业培训新项目，以除此以外该游戏的设计、该游戏面向对象、概念艺术、该游戏美术（3D路径)

- DBGA Online Blended：自学和课程内容/诊疗，着重于该游戏的设计和该游戏面向对象的播送讲授- DBGA Plug-N-Learn：透彻专业培训课程内容，利用线上讲授核心技术，表现形式以除此以外系列产品和新项目经营管理、电子该游戏紧致建立、电子该游戏UI/UX的设计、虚幻引擎的世界体系结构、格除此以外大幅度作用于、协作物件等等。- DBGA Kids：这是我们为8-16岁的青少年获取的以前课程内容，西西里岛是很缺失针对这个观众群的涉及课程内容的，我们借此从小就让男孩对电子该游戏零售业感兴趣。我们坚信以前的启蒙和开发新是很最重要性的。求学开发新电子该游戏不仅有有趣，而且可以养成孩子一些最重要性的品性，如批判性思维、决策、有效性交流和倾听、构想和时间经营管理。这些都是我们在整个摔跤手一生和自已生活当中所能够的习得，无论我们否成该游戏开发新者，这些都是获事与愿违的必备素养。

自从我们在2015年推不止第一批课程内容，我们并未专业培训了800多名校内，他们当中的许多人现在并未事与愿违地在该游戏零售业实习。

Q：这所该游戏所学院主要养成的校内都来自于哪些渠道？除了自家日本公司的员工专业培训之除此以外，还时会招生哪些校内？

Geoff Davis：我们的校内以除此以外完全并不相同的身份着重和各个领域领域，他们当中的大多数人是该游戏零售业的刚出道，从未接纳过任何仍要式的专业培训，校内的平均年龄是26岁，至少需有高当中学历（这是登记课程内容的下限决定）。我们也有很多30-40岁观众群的校内，他们以除此以外计算机科学、物理学、哲学、国际关系等之外的学士学位或博士学位，一定时会专门涉足电子该游戏开发新，他们当中的一些人也陷入着普通家庭、故事情节等病痛，但他们当中的很多人决定放弃稳定的实习，追求自己的惊心动魄和立志，成该游戏零售业的从业人士。

Q：所学院主要招生哪之外的校内？有地域上限或者居留权上限吗？一定时会加入所学院透过求学的前提条件是什么样的？

Geoff Davis：现今我们的课程内容仅有在西西里岛开放，但我们仍要构想在明年初推不止International课程内容。DBGA Campus涉及课程内容常用西西里岛语，而DBGA Online Blended课程内容则常用中文，我们的在线课程内容对所有居留权的人开放。

我们仍要在开发新愈来愈多的中文内容，也慢慢体认到不仅有要在该游戏开发新的核心技术之外专业培训我们的英才，而且要希望他们毅力中文习得。我们处在一个全世界化的生存环境当中，处在一个以中文为基础的零售业当中。如果你不是中文为母语的人，或者只在校内一生当中学过中文，你有可能能够毅力你的各个领域中文，我们借此希望我们的校内无论如何这一点，以便他们必须有效性地交流和实习。我们有一个预选格除此以外大幅度，以希望我们抽样涉及的英才。这以除此以外一份调查问卷，其当中以除此以外调查他们的受普及教育情况、实习各个领域基本知识、语言等之外的各种原因，录取自荐信，自已试音，如果有可能的话，还有一份他们的自已作品展览，我们的择优委员时会保密每个候选人，并共同讨论并决定谁时会参加考试。

Q：该所学院现今的师资规模如何？都有哪些前辈在所学院常驻讲授？

Geoff Davis：我们有三种类标准型的副教授，核心副教授是校内们主联结人并执教大大多课程内容，科学家副教授都由在各个领域课程内容的教授，而客座副教授则就各种表现形式透过演讲，并举办定期研讨时会。我们所有的副教授都来自业界，并长期涉足该游戏开发新。我们找来了许多副教授，如很多特邀副教授，目的之一是希望我们的校内在求学长期协作他们的各个领域政治体制。

我们通过我们生态管理系统当中的副教授为我们的校内揭示多重求学体时会，在专业培训新项目当中与超过100位零售业内各个领域人士共同开发。作为一家全世界该游戏日本公司的一大多，我们与505 Games、Hook以及属于Digital Bros合资日本公司的并不相同开发新实习室的许多同事透过共同开发，当然我们还与合资日本公司除此以外的许多零售业各个领域人士共同开发。（大多副教授信息可发送给英文原版）

Q：所学院整体的英才养成政治体制是怎样的？主要养成校内哪些之外的能力？

Geoff Davis：我们采用教学内容、在实践当中和共同开发的求学方法。我们无论如何求学该游戏开发新的最有效性方式将，无论是该游戏的设计、面向对象还是该游戏美术，都是一系列的揭示、分析、渐进和切割。事实上，我们模拟了一个真实的应用软件新生存环境和新项目流程生存环境，校内们在自已和小组新项目当中应用他们所学的基本知识，并且该管理系统他们涉足研制不止实习时有可能时会陷入的多种新项目原因。

此除此以外，我们的专业培训是结构“T ”标准型的，在直角上，他们求学硬性摔跤手习得（例如，该游戏面向对象、原标准型的设计、编写C#或C++编码、常用Unity或Unreal 引擎、Maya教学内容建模、装配、常用Zbrush等），在横轴上他们要充分利用小组当中实习的基本人际关系习得、有效性交流、身体语言、展览自我、解决矛盾、拒绝接受和接纳该管理系统等。我们借此校内们必须较快的所处两轴西北角，真仍要的英才能够在这两者之间揭示一种平衡。当然，这是一个终生求学的格除此以外大幅度，但我们借此从一开始就协助他们走上仍要确的轨道。

另除此以外，随行间互相解释无可避免是十分必要的，我们建立了一个 “伙伴管理系统”，校内们在课程内容当中三人实习，相互个人兴趣。我们所有课程内容的核心理念是，能够获取一自已在该游戏零售业当中获实习和开始摔跤手一生所需的所有物件。

Q：所学院对学员的择优主要是从哪些之外透过？能够完成哪些决定才能从所学院中学毕业？

Geoff Davis：我们有一个严格的评量管理系统，在整个课程内容当中，我们通过入学考试来有效性性他们的基本知识完整性，这些入学考试有可能是书面入学考试或自已新项目测试。否脆弱掌握了涉及基本知识，对校内和所学院来说都很最重要性，这样我们就可以在仍要确的路径上个人兴趣和诊疗他们。我们还对校内们做的每个新项目透过评量，就像一个该游戏研制不止实习室一样，从核心技术和落地的角度透过评量，这也是对新项目当中每个最重要大多和似乎的透彻分析。在每个小组新项目刊发后，校内和核心副教授一齐做一次完整的新项目总结。

我们每年时会对所有的校内举行两次1对1的访谈，这是一个让我们的校内收到关于他们求学实质性、简化路径以及各个领域和自已演进详实该管理系统的机时会，以及有可能的摔跤手道路。作为所学院，我们也可以由此格除此以外多的解释校内的想法，对课程内容政治体制的思绪，同时也可以该管理系统对所学院简化和演进的意见。最后如果涉及课程内容中学毕业涉及，校内能够事与愿违完成入学考试和新项目，他们还能够保有85%的不止勤率。

Q：西西里岛的中幼稚园有开设专门的该游戏的设计各个领域吗？当地中幼稚园的该游戏英才养成上，都是是怎样一个政治体制？Geoff Davis：在西西里岛，无法专门的所中幼稚园有该游戏的设计课程内容。一些所中幼稚园，在计算机各个领域当中时会有该游戏开发新、面向对象涉及的课程内容。另除此以外在小吸取高当中先决条件，西西里岛也无法专注于该游戏的设计、面向对象或该游戏艺术涉及的课程内容。

Q：对该游戏英才的养成上，您觉得现今东西方的关联点在哪？哪些之外是国内初中生能够补充的点。Geoff Davis：当养成电子该游戏零售业的各个领域英才时，我们视为最重要是要校内与大众传媒在一齐，并让自己沉浸在一个获取真仍要习得专业培训和体时会（硬性习得和软性习得）的生存环境当中，当你在这个零售业当中看到实习时，你将能够这些习得。我们的零售业仍要变得愈来愈有竞争力，并慢慢探寻合格且各个领域的英才。任何各个领域零售业专业培训所学院的目标之一，都应该是为校内揭示 "有竞争力的英才占有优势"。

当然，这意味着在求学理论的同时，也要注意在实践当中落地。然而，最根本的还在于专业培训新项目给你充分的机时会来应用你吸取的习得。这一切都能希望校内组建一个演进路径套组，获取零售业内的长效交流，个人兴趣释放潜能，并便是校内走上仍要确的轨道。根据Newzoo的数据，基于客户支不止排序，西西里岛在该游戏盈利之外排名第9。在电子该游戏开发新和涉及盈利之外，西西里岛仍在期望无论如何与其他主要International市场竞争竞争。在西西里岛无论是该机构还是平民百姓，举例来说时会对该游戏有所偏见，这导致对该零售业的误解和误传，并且从历史上看抑制了零售业上涨。

而实际上，也有很多人看轻以该游戏为摔跤手的想法，这并不罕见。然而西西里岛的电子该游戏零售业并未取得了喜人的实质性，并且也从一个小众零售业，日趋改变为国家文化零售业演进路径的一大多。每年都有新的研制不止实习室组建，并与西西里岛面世商高达成面世贸易协定。随着大标准型该游戏日本公司售予西西里岛实习室或为其演进投资，并购等行为也在有所增加。据估计，2022年西西里岛国家盈利高达19.5亿美元，电子该游戏零售业在数字大媒体盈利当中占了绝大大多份额。与英国、法国、奥地利或波兰等成熟的欧洲市场竞争来得，我们依然所处孵化期，但中央政府对电子该游戏研制不止的拥护力度很大，有许多坚持不懈措施。这主要是由于普罗大众对该游戏看法的改变和西西里岛中央政府的积极响应，例如中央政府近来为电子该游戏研制不止者加进了税收减免国策。

我们的借此是，像其他International市场竞争一样，电子该游戏成西西里岛经济体制的一个最重要性组成大多，为市场竞争减低真仍要的价值并揭示大量的医疗保健机时会。

Q：西西里岛整体的该游戏生存环境（以除此以外研制不止、面世、市场竞争）与当欧美来得，有哪些上有相对来说关联的以前？

Thomas Rosenthal ：虽然我们的日本公司的业务范围是全世界面世，并一身为全世界化日本公司，但我们发源在西西里岛也是不争的事实。在我自已看来，西西里岛和当欧美之间最最重要的区分是零售业规模。在该游戏零售业当欧美可以以除此以外一个庞大的绝对市场竞争，而西西里岛在该游戏人群和涉足该零售业的大型企业数量之外都是极少的，西西里岛的人口减少只比当欧美的东莞市的一半多一点。虽然该游戏和该游戏涉及零售业在当欧美日趋成主流，但我们不能说西西里岛也是如此冷漠。尽管西西里岛在其他文化行销零售业表现很不止色，而且义大利人在任何零售业以除此以外制造业当中， 都充满了行销色彩。

当欧美也展览了非常发高达的资产市场竞争并用投资当地的新项目和实习室，零售业投资者对该游戏的解释比西西里岛投资者透彻的多。因此当欧美的优质新项目都能短时间的看到投资，事与愿违的该游戏可以高达到非常大的结构复杂，而不能够不甘心International市场竞争。西西里岛的小开发新商则有可能设法自筹资金，或不甘心传统的面世零售业，现今西西里岛只有少量投资者或面世商关注该零售业。虽然市场竞争规模非常大，但当欧美格除此以外严格的法规法规和监管无可避免许多实习室把眼中眼见当欧美市场竞争以除此以外的以前，这实际上可以让当欧美的研制不止小组求学如何研制不止和创作格除此以外必须吸引全世界观众的该游戏，而非让行销受限，为了将以格除此以外永续的方式将孕育。鉴于国内市场竞争规模较小，西西里岛的该游戏研制不止者从一开始就设法将眼中眼见海除此以外，这让他们在全世界市场竞争上占得先机，但当然大多数本地研制不止小组似乎对当欧美和广大亚洲市场竞争的解释极少。

当然，西西里岛在开发新之外与当欧美来得所处苦战的一个原因与普及教育有关。计算机科学，即所谓的STEM课程内容缺失普及，此除此以外以电子该游戏为重点的摔跤手研究获取极少，这上限了西西里岛的电子该游戏内容原材料。但西西里岛直至是一个主要的电子该游戏消费市场竞争，DBGA也是以私立所学院形式采取行动，解决当地机具市场竞争需求的一个较好的例子。

英文出处谈话如下：

Q：Thank you for accepting the interview with Games Daily. First of all, please make an introduction, including 505 Games APAC business and personal experience ( Especially the experience of being a visiting professor in Italian universities).

Thomas Rosenthal ：Thanks for having me. My name is Thomas Rosenthal and I am the VP in Asia at 505 Games. 505 Games is in China since 2015 with our first office set up in Shenzhen in 2015, we then set up our regional headquarters in Hong Kong in 2018, in 2020 we further expanded in Asia by opening our Tokyo office. Asia, and China in particular, are key markets and growth drivers for our Group to acquire quality content for global publishing and to bring our IPs and game to the domestic market, directly or via licensed partners.

As an adjunct and now - since residing in China - visiting professor of Chinese economy in an Italian University I always believed that the understanding of the specific legal, social, political and economic traits unique to China are critical for any company and any executive doing business in China.

At the same time, sharing my business experience is always something students love to hear and complements theory with action in the real world. So, my academic work and my job at 505 Games are a good match. I am particularly proud that our company is dedicated, through the Digital Bros Game Academy, to nurturing the Italian game ecosystem, growing a skilled professional pool of resources that are essential to our industry. To discuss about the DBGA, the Genera Manager of our academy, Geoff Davis, will respond to the next few questions.

Q：Far from I understanding that 505 Games has founded a game academy, what is the reason for founding such an academy? What is the current size of the academy?Geoff Davis：We created the Academy in 2014 with the mission to identify and train new talent for the video games industry, preparing our students professionally and helping them to become job ready so they can get start a career in the industry. Our objective is close the gap between professional training and the jobs market.

On one side, as a leading global gaming company we feel we have a responsibility to support the growth and evolution of the video games industry and at the base of our industry is Talent. Without great talent, we wouldn’t have the video games we love, i.e. the ones we play on our smartphones or on our consoles. On the other side, we know there are many hidden gems out there searching for a professional training course geared to prepare for a future in the industry. Our job is to discover these hidden gems and work closely with them in developing and expressing their potential.

We have four different areas of training in our ecosystem, 3 of which are professional training programs:• DBGA Campus: a 2-year on-site training program for Game Design, Game Programming, Concept Art, Game Art 3D)• DBGA Online Blended: hybrid self-directed learning and lessons/mentoring in live streaming for Game Design and Game Programming)

• DBGA Plug-N-Learn: vertical training courses, using the online blended methodology, on topics like Product Max Project Management, creation of video game spaces, UI/UX for video games, World Building in Unreal Engine, Procedural Generation, Tools Building and many more

• DBGA Kids: this is our early stage program for ages 8 – 16. Italy is lacking programs for this age group and we want to get them excited and interested in the video games industry. We strongly believe it’s important to start and motivate early. Learning to develop video games is not only fun, but can stimulate important skills like critical thinking, decision making, effective communication and listening, planning and time management. These are all skills that we need throughout our professional and personal lives to be successful regardless of whether we become game devs.

Since our the launch of our first courses in 2015, we have trained over 800 students. Many of them are now successfully working in the industry.

Q：Where do the students trained by this game academy come from ? Besides the training of 505 games staff, what other students will be enrolled in?

Geoff Davis：Our students come from very diverse backgrounds and fields of study. Most of them are new to game development and have never had any formal training. To give you an idea of their profile, the average age of our students is 26 years old with at least a high school degree (this is the minimum requirement to apply for one of our courses). However, we also have students in the 30 – 40 age bracket with a university degree or a doctorate in computer science, physics, philosophy, political science, etc. who want to specialize in video games development. Some of them have families and decide to leave a stable job to pursue their passion and dream to become a professional in the industry.

What is incredibly special is the students’ drive and motivation. It’s tangible and you see it grow and flourish during the program. They all have a strong conviction to transform their passion into something concrete, something that is a real life-changer.

Q：What kind of students are mainly enrolled in the academy? Are there any limits such as territories or nationality? What are the requirements to join the academy?

Geoff Davis：Currently, we are running our programs in Italy but we are planning our international launch early next year.The DBGA Campus courses are in Italian, while the DBGA Online Blended programs are in English. Our online programs are open to all nationalities.

We are developing more and more content in English. W believe it’s important to train our students not only in the technical aspects of game development, but also help them hone their English skills. We are in a global environment and in an industry that runs in the English language. If you’re not a native English speaker or have only taken English at a scholastic level, you probably need to sharpen your professional English and we want to help our students do that so they can communicate and work effectively.

We have a selection process to help us identify budding talent. This is composed of a questionnaire with various questions about their education; work experience; languages; etc., motivational letters, a personal interview and, if possible, a portfolio of their work. Our selection committee reviews each candidate and we collectively discuss and decide who gets accepted.

Q：What is the current size of the faculty? Could you give us some examples of instructors in the academy?

Geoff Davis：We have three types of training faculty. Core Trainers are the main contact point for students and hold the majority of the lessons, Specialist Trainers lead vertical modules within each course and Guest Trainers give lectures on a wide variety of topics and hold workshops.All of our trainers are from the industry and are active in developing games.One of our goals in engaging many trainers, like the Guest Trainers, is to help our students build their professional network while they’re still studying.

We create multiple touch points for our students through the trainers in our ecosystem and we work with over 100 industry professionals in our training programs. Being part of a global gaming company is definitely an advantage for us, as we collaborate with many of our colleagues in 505 Games, Hook and in the different development studios which are part of the Digital Bros Group. We also collaborate with many industry professionals outside of the Group.Here are a few examples:

Lisa Gobbi – Avalanche Studios Group – Experienced Generalist ArtistDaniele Pergola – AvantGarden Games – Lead 3D AnimatorRachele Doimo – Square Enix – Art Director – Work with all external studios of Square Enix WestMauro Gentile – Ubisoft Milan – Lead Gameplay Programmer – Worked on Mario+Rabbids, GhostreconSimone Magni – Miniclip – Product ManagerMing Tregonning – Splash Damage – Lead Gameplay Programmer – Worked on Dirty BombMarco Ponte – Nacon Studio Milan – CEO Max Creative Director – Worked on RiMS Racing, TerminatorMarco Minoli – Slitherine – Marketing DirectorGero Miccichè – Electronic Arts [Criterion] – Development Director – Worked on GRID Legends, Need for SpeedClaudia Manenti – Rockstar Games – Worked on Grand Theft Auto SeriesMauro Notarberardino – Supernova Game Studios – Studio ManagerFederico Mattioli – Milestone – Art Director – Worked on Hotwheels Unleashed, MotoGPChiara Pasquini – 505 Games – Global Release Director – Worked on Control, Death StrandingPierfrancesco Andresini – Reply Game Studios – UX/UI Designer – Worked on SoulsticeRiccardo Landi – Xplored – Head of Design – Worked on Teburu, Rabbids series, Rayman seriesAlberto Barbati – Nacon Studio Milan – Game Programmer –– Worked on Theseus, Joe Dever’s Lone Wolf, Splinter Cell: Double Agent, Beyond Good Max EvilEnric Alvarez – Mercury Steam – Owner Max Game Director – Worked on Metroid Dread, Castelvania Series

Q：What is the talent training system of the academy? What are the main abilities students needs learn?

Geoff Davis：We use a hands-on, practical and collaborative approach to learning. We believe the most effective way to learn to game development, whether it’s game design, programming or game art, is to create, analyze, iterate and polish. In fact, we simulate a real software house environment where the students apply what they have learned in individual and team projects. We apply the same dynamics and production pipelines they will face when they start working in a development studio.

Moreover, we train to a “T” in which on the vertical axis they learn the hard skills (e.g. writing game design documents, prototyping, coding in C# or C++, using Unity or Unreal Engine, working in Maya to model, rigging, using Zbrush, etc.) and on the horizontal axis they delve into the interpersonal skills that are fundamental for working in a team, effective communication, body language, presenting oneself, resolving conflict, giving and receiving feedback, etc. We strive to get them to sit comfortably at the juncture between the two axis’s. We firmly believe that true talent is able to create a balance between the two. Of course, this is a life long process, but we want to assist them in getting on the right track from the beginning.

We also believe in peer-to-peer learning. We created a “buddy system” where students work side-by-side and mentor each other during the courses.At the core of all our programs is the idea that we need to provide all the tools a person will need to get a job and start a career in the industry.

Q：How does the academy appraise students and what are the graduation requirements ?

Geoff Davis：We have a rigorous appraisal system. Throughout the courses we verify their knowledge through exams. These can be written exams or individual project tests. Awareness if you have consolidated your knowledge is important for the students and for us so we can mentor and coach them in the right direction.We also appraise each project, much like a development studio would, from a technical standpoint. This is an in-depth analysis of each component of each area of the project.After the release of each team project the students, together with the Core Trainers, do a post-mortem.

We hold two 1-to-1 interviews each year with all the students. This is an excellent opportunity for our students to receive detailed feedback on their progress, areas of improvement and suggestions for professional and personal growth, for example, possible career paths. It’s also a time when, as the Academy, we can learn more about the individual students, how they feel about their progress, receive ideas and feedback on where we can improve and evolve.

To graduate, the students need to have successfully completed the exams and projects. They also need to maintain an 85% attendance rate.

Q：Does the university in Italy have a game design program? What is the system of game talent training in local schools?

Geoff Davis：There are no specific university game design programs in Italy. Some of the universities, within computer science, teach modules on game development.Unfortunately, at the elementary through high school levels there are no programs focused on game design, programming or game art.

Q：What's the differences between China and overseas in the development of game talents? What program do you think should pay attention to？

Geoff Davis：When training to become a professional for the video game industry, we believe it’s crucial to surround oneself with industry professionals and immerse yourself in an environment that provides the real skills (hard and soft skills) you’ll need when landing a job in the industry. Our industry is becoming more and more competitive and there is constant search for qualified talent. One of the objectives of any professional industry training academy should be creating “competitive talent advantage” for the students.

Of course, this means paying attention to the practical and hands-on elements of learning, together with the theory. However, it’s also fundamental the training program gives you ample opportunities to apply your learning, that they help you build a portfolio, provide you with contacts in the industry and coach you towards unlocking your potential and getting you on the right track.

According to Newzoo, Italy ranks number 9 in terms of game revenues, based on consumer spending. In terms of video games development and related revenues, Italy is still trying to get it’s foot in the door to compete with other major international markets. There has typically been a backlash in the country against video games, both by institutions. This has caused misunderstandings and misinterpretations regarding the sector and, historically, has thwarted growth. In fact, it is not uncommon for people to view the idea of pursuing a career in video games as puerile and frivolous.

However, Italy’s video game industry has taken positive strides forward and is moving from being considered a niche sector, into an integral part of the country’s creative landscape. Each year, new development studios are being founded and more publishing deals are being made with Italian studios. There is also an uptick of MMaxA activity with big video game companies acquiring Italian studios or investing in their growth. There is an estimated US$1.95 billion in revenue in 2022 in Italy and the video game industry accounts for the lion‘s share of digital media revenue.

We’re still the very small elephant in the room respect to markets like the UK, France, Germany or Poland where there are many incentives and where government support is strong for video game development studies, but we are making important progress. This is mainly due to a shift in the pubic perception of video games and new support from the Italian government. For example, the government recently introduced tax credits for video game developers.

Our hope is that, like in other international markets, video games will become an integral part of the economy, adding real value to the market and creating numerous job opportunities.

Q：What are the obvious differences between the overall game industry(including RMaxD, publishing and marketing) in Italy and China?

Thomas Rosenthal ：Although our company is global in reach and defines itself as global, our roots are in Italy. In my personal view, the most critical difference between Italy and China is size. China, in the game industry can boast a huge market in absolute terms, while Italy is smaller in terms of both gamer population and number of enterprises engaged in the industry. Italy’s population is a little more than half of Guangdong’s. While games and gamification went mainstream in China, we can’t say the same of Italy, despite the excellence of other creative industries and the touch of creativity that Italians add to any industry, including manufacturing.

China also displays very well-developed capital market to fund local projects and studios and the understanding of the games industry by qualified investors is much higher than Italy. As such, good projects in China always find money for their ventures and successful games can reach a huge scale without resorting to international markets, while small developers in Italy may have to self-fund or resort to traditional development and publishing agreements with only few publishers currently active in the country.

While market size is huge, stricter regulations in China have pushed many content providers to look beyond the Chinese market now and this could actually allow Chinese developers to grow in a more sustainable manner by learning how to produce games that can appeal to a global audience instead of limiting . Italian content providers have had to look overseas from the very beginning given the small size of the domestic market, this has given them a head start in global markets but of course most local developers have limited knowledge of China and Asian markets.

Certainly, a reason for Italy’s disadvantage versus China on the development side has to do with education. The lack of popularity of computer sciences, so-called STEM courses, in addition to limited offering of vocational studies with a focus on videogaming have limited the supply of videogaming content from Italy, but Italy has always been a major consumption market. The DBGA is a good example of the private sector taking action to address local market needs.

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