專訪505Games亞太區副總裁，專門培養遊戲人才的大學是什麼樣的？

培養公司需求的人才方式有很多種，而505Games選擇了最不符合常規的一種。

505Games是意大利的一家電子遊戲發行商和開發公司，創立於2006年，隸屬於Digital Bros集團，2015年505Games正式進入中國，在深圳成立第一個辦公室，隨後將業務不斷擴展，成立香港亞太區總部，擴展業務到東京。

多年過去，505Games在全球範圍內已發行多款耳熟能詳的遊戲，包括《死亡擱淺（DEATH STRANDING）》的PC版本、《神力科莎：競速（Assetto Corsa Competizione）》、《幽靈行者（Ghostrunner）》、《狂野星球之旅（Journey to the Savage Planet）》、《兄弟：雙子傳説》等等。在業務不斷增長的同時，他們也開始注重人才的培養，與其他遊戲公司選擇內部培訓不同的是，他們選擇建立一所學校。

Digital Bros遊戲學院是由505Games母公司Digital Bros集團在意大利建立的一所專注於培養遊戲人才的學校，該學校創立8年以來，累計培養遊戲人才超過800名。作為一所專門培養遊戲人才的學校，他們在培養方式上與傳統大學有何差異，同時在面向的培養人羣上，又有何要求呢？

對此，遊戲日報聯繫到505 Games亞太區副總裁Thomas Rosenthal（羅山）與負責學院業務相關的總經理Geoff Davis，詳細交流了一番這所“特別”的大學的故事。

採訪過程中，Geoff Davis不僅詳細的對Digital Bros遊戲學院的人才培養體系，以及設立初衷進行了介紹，同時還對意大利的遊戲環境進行了概括。他告訴遊戲日報，在意大利不管是機構還是家長，同樣對遊戲存在一定程度的誤解，但隨着行業不斷髮展，這種現象得到了一定的緩解，最近當地政府還為電子遊戲研發者引入了税收減免政策。

遊戲日報【高校遊戲專業專題報道】旨在打造一本鏈接考生、高校與企業之間的“紅寶書”。歡迎更多遊戲企業與院校負責人聯繫我們，共建這一系列報道。

本期嘉賓為505 Games亞太區副總裁Thomas Rosenthal（羅山）與負責學院業務相關的總經理Geoff Davis。

具體採訪內容整理如下（附帶英文原版）：

Q：感謝接受遊戲日報採訪，首先還是麻煩您先做一個介紹，包括公司業務與個人經歷。

Thomas Rosenthal ：謝謝遊戲日報的邀請，我的名字是Thomas Rosenthal ，中文名羅山，目前擔任505 Games亞太區副總裁。505 Games自2015年進入中國，我們在亞太的第一個辦公室於2015年在深圳成立，然後我們於2018年在香港成立了區域總部，2020年我們通過開設東京辦公室進一步擴大了在亞太地區的業務。亞洲，特別是中國，是Dgital Bros集團的關鍵市場和公司未來重要的增長助力，我們旨在簽約能夠全球發行的優質遊戲，並將公司旗下的IP和遊戲直接或通過授權合作伙伴帶入中國市場。

我目前旅居中國香港，也是意大利一所大學中國經濟專業的客座教授，我一直認為，對中國社會環境所產生的特有法律、社會、政治和經濟特徵的理解，對任何公司和任何在中國做生意的高管都是至關重要的。

學生們很喜歡我分享我的商業經驗，另外商業實踐也可以用來補足理論，另外我的學術研究工作和我在505 Games的工作也很匹配。我特別自豪的是，我們公司通過Digital Bros遊戲學院，致力於培育意大利的遊戲生態系統，發展對我們行業至關重要的高級專業人才。為了更深入探討關於Digital Bros遊戲學院（簡稱DBGA）以及意大利遊戲教育相關的話題，公司負責學院業務相關的總經理Geoff Davis將回答接下來的幾個問題。

Q：據瞭解，505 Games創辦了一所遊戲學院，是出於什麼樣的考慮去創辦這樣一所學院？目前規模如何？

Geoff Davis：我們在2014年創建了DBGA，其使命是為電子遊戲行業發現和培養新的人才，為我們的學生做好專業知識積累，以及就業相關的技能儲備，以便他們能夠順利的開始他們在遊戲行業的職業生涯。希望藉此能夠縮小專業培訓和就業市場之間巨大的差距。

一方面，作為一家全球知名的遊戲發行公司，我們認為505 Games有責任支持電子遊戲行業的發展和演化，而我們行業的基礎是人才。沒有優秀的人才，我們就無法創造出有創意且令人驚喜的遊戲，無論是手遊或單機遊戲。另一方面我們知道有許多潛在的人才在尋找專業的培訓課程，以便為將來在這個行業中的求職或發展做準備，我們的工作是發現這些潛在的人才，並與他們緊密合作，令他們能夠發揮自己的潛能。

我們的生態系統中有四個不同的培訓領域，其中三個是專業培訓項目。

- DBGA Campus：為期2年的實踐培訓項目，包括遊戲設計、遊戲編程、概念藝術、遊戲美術（3D方向)

- DBGA Online Blended：自學和課程/輔導，着重於遊戲設計和遊戲編程的直播授課

- DBGA Plug-N-Learn：深入培訓課程，利用線上授課技術，主題包括產品和項目管理、電子遊戲空間創建、電子遊戲UI/UX設計、虛幻引擎的世界架構、過程生成、構建工具等等。

- DBGA Kids：這是我們為8-16歲的青少年提供的早期課程，意大利是很缺乏針對這個年齡段的相關課程的，我們希望從小就讓孩子們對電子遊戲行業感興趣。我們堅信早期的啓蒙和開發是很重要的。學習開發電子遊戲不僅有趣，而且可以培養孩子一些重要的品性，如批判性思維、決策、有效溝通和傾聽、計劃和時間管理。這些都是我們在整個職業生涯和個人生活中所需要的技能，無論我們是否成為遊戲開發者，這些都是獲得成功的必備素養。

自從我們在2015年推出第一批課程，我們已經培訓了800多名學生，他們中的許多人現在已經成功地在遊戲行業工作。

Q：這所遊戲學院主要培養的學生都來自於哪些渠道？除了自家公司的員工培訓之外，還會招收哪些學生？

Geoff Davis：我們的學生擁有完全不同的身份背景和專業領域，他們中的大多數人是遊戲行業的新人，從未接受過任何正式的培訓，學生的平均年齡是26歲，至少需有高中學歷（這是申請課程的最低要求）。我們也有很多30-40歲年齡段的學生，他們擁有計算機科學、物理學、哲學、政治學等方面的學士學位或博士學位，想要專門從事電子遊戲開發，他們中的一些人也面臨着家庭、現實生活等困擾，但他們中的很多人決定放棄穩定的工作，追求自己的激情和夢想，成為遊戲行業的從業人士。

Q：學院主要招收哪方面的學生？有地域限制或者國籍限制嗎？想要加入學院進行學習的條件是什麼樣的？

Geoff Davis：目前我們的課程僅在意大利開放，但我們正計劃在明年初推出國際課程。DBGA Campus相關課程使用意大利語，而DBGA Online Blended課程則使用英語，我們的在線課程對所有國籍的人開放。

我們正在開發越來越多的英語內容，也不斷認識到不僅要在遊戲開發的技術方面培訓我們的人才，而且要幫助他們磨練英語技能。我們處在一個全球化的環境中，處在一個以英語為基礎的行業中。如果你不是英語為母語的人，或者只在學生生涯中學過英語，你可能需要磨練你的專業英語，我們希望幫助我們的學生做到這一點，以便他們能夠有效地溝通和工作。

我們有一個選拔過程，以幫助我們篩選相關的人才。這包括一份調查問卷，其中包括調查他們的受教育情況、工作經驗、語言等方面的各種問題，入學自薦信，個人面試，如果可能的話，還有一份他們的個人作品展示，我們的遴選委員會審查每個候選人，並共同討論並決定誰會被錄取。

Q：該學院目前的師資規模如何？都有哪些導師在學院常駐授課？

Geoff Davis：我們有三種類型的講師，核心講師是學生們主對接人並執教大部分課程，專家講師負責在專業課程的教授，而客座講師則就各種主題進行演講，並舉辦定期研討會。我們所有的講師都來自業界，並長期從事遊戲開發。我們聘請了許多講師，如很多特邀講師，目的之一是幫助我們的學生在學習期間構建他們的專業體系。

我們通過我們生態系統中的講師為我們的學生創造多重學習體驗，在培訓項目中與超過100位行業內專業人士合作。作為一家全球遊戲公司的一部分，我們與505 Games、Hook以及屬於Digital Bros集團的不同開發工作室的許多同事進行合作，當然我們還與集團外的許多行業專業人士合作。（部分講師信息可查看英文原版）

Q：學院整體的人才培養體系是怎樣的？主要培養學生哪些方面的能力？

Geoff Davis：我們採用教學、實踐和合作的學習方法。我們相信學習遊戲開發的最有效方式，無論是遊戲設計、編程還是遊戲美術，都是一系列的創造、分析、迭代和打磨。事實上，我們模擬了一個真實的軟件開發環境和項目流程環境，學生們在個人和團隊項目中應用他們所學的知識，並且反饋他們從事研發工作時可能會面臨的多種項目問題。

此外，我們的培訓是結構“T ”型的，在縱軸上，他們學習硬性職業技能（例如，遊戲編程、原型設計、編寫C#或C++代碼、使用Unity或Unreal 引擎、Maya教學建模、裝配、使用Zbrush等），在橫軸上他們要適應團隊中工作的基本人際關係技能、有效溝通、身體語言、展示自我、解決衝突、給予和接受反饋等。我們希望學生們能夠平穩的處於兩軸交界處，真正的人才需要在這兩者之間創造一種平衡。當然，這是一個終生學習的過程，但我們希望從一開始就協助他們走上正確的軌道。

另外，同行間互相瞭解促進是十分必要的，我們創建了一個 “夥伴系統”，學生們在課程中並肩工作，相互指導。我們所有課程的核心理念是，需要提供一個人在遊戲行業中獲得工作和開始職業生涯所需的所有工具。

Q：學院對學員的考核主要是從哪些方面進行？需要完成哪些要求才能從學院畢業？

Geoff Davis：我們有一個嚴格的評估系統，在整個課程中，我們通過考試來驗證他們的知識完整性，這些考試可能是書面考試或個人項目測試。是否牢固掌握了相關知識，對學生和學院來説都很重要，這樣我們就可以在正確的方向上指導和輔導他們。

我們還對學生們做的每個項目進行評估，就像一個遊戲研發工作室一樣，從技術和落地的角度進行評估，這也是對項目中每個關鍵部分和細節的深入分析。在每個團隊項目發佈後，學生和核心講師一起做一次完整的項目總結。

我們每年會對所有的學生舉行兩次1對1的訪談，這是一個讓我們的學生收到關於他們學習進展、改進方向以及專業和個人發展詳細反饋的機會，以及可能的職業道路。作為學院，我們也可以由此更多的瞭解學生的想法，對課程體系的感受，同時也可以反饋對學院改進和發展的意見。最後如果涉及課程畢業相關，學生需要成功完成考試和項目，他們還需要保持85%的出勤率。

Q：意大利的學校有開設專門的遊戲設計專業嗎？當地學校的遊戲人才培養上，大概是怎樣一個體系？Geoff Davis：在意大利，沒有專門的大學有遊戲設計課程。一些大學，在計算機專業中會有遊戲開發、編程相關的課程。另外在小學到高中階段，意大利也沒有專注於遊戲設計、編程或遊戲藝術相關的課程。

Q：對遊戲人才的培養上，您覺得目前東西方的差異點在哪？哪些方面是國內高校需要補充的點。Geoff Davis：當培養電子遊戲行業的專業人才時，我們認為關鍵是要學生與從業者在一起，並讓自己沉浸在一個提供真正技能培訓和體驗（硬性技能和軟性技能）的環境中，當你在這個行業中找到工作時，你將需要這些技能。我們的行業正變得越來越有競爭力，並不斷尋找合格且專業的人才。任何專業行業培訓學院的目標之一，都應該是為學生創造 "有競爭力的人才優勢"。

當然，這意味着在學習理論的同時，也要注意實踐落地。然而，最根本的還在於培訓項目給你充分的機會來應用你學到的技能。這一切都會幫助學生建立一個發展方向套組，提供行業內的長效溝通，指導釋放潛能，並引領學生走上正確的軌道。

根據Newzoo的數據，基於消費者支出排序，意大利在遊戲收入方面排名第9。在電子遊戲開發和相關收入方面，意大利仍在努力嘗試與其他主要國際市場競爭。在意大利無論是機構還是普通百姓，通常會對遊戲有所偏見，這造成了對該行業的誤解和誤讀，並且從歷史上看抑制了行業增長。

而實際上，也有很多人看輕以遊戲為職業的想法，這並不罕見。然而意大利的電子遊戲產業已經取得了喜人的進展，並且也從一個小眾行業，逐漸轉變為國家文化產業發展方向的一部分。每年都有新的研發工作室成立，並與意大利發行商達成發行協議。隨着大型遊戲公司收購意大利工作室或為其發展投資，併購等行為也在遞增。據估計，2022年意大利國家收入達19.5億美元，電子遊戲行業在數字媒體收入中佔了絕大部分份額。

與英國、法國、德國或波蘭等成熟的歐洲市場相比，我們依然處於孵化期，但政府對電子遊戲研發的支持力度很大，有許多激勵措施。這主要是由於普羅大眾對遊戲看法的轉變和意大利政府的大力支持，例如政府最近為電子遊戲研發者引入了税收減免政策。

我們的希望是，像其他國際市場一樣，電子遊戲成為意大利經濟的一個重要組成部分，為市場增加真正的價值並創造大量的就業機會。

Q：意大利整體的遊戲環境（包括研發、發行、市場）與中國相比，有哪些有着明顯差異的地方？

Thomas Rosenthal ：雖然我們的公司的業務範圍是全球發行，並自詡為全球化公司，但我們發源在意大利也是不爭的事實。在我個人看來，意大利和中國之間最關鍵的區別是行業規模。在遊戲行業中國可以擁有一個龐大的絕對市場，而意大利在遊戲人羣和從事該行業的企業數量方面都是有限的，意大利的人口只比中國的廣東省的一半多一點。雖然遊戲和遊戲相關產業在中國逐漸成為主流，但我們不能説意大利也是如此樂觀。儘管意大利在其他文化創意產業表現很出色，而且意大利人在任何行業包括製造業中， 都充滿了創意色彩。

中國也展示了非常發達的資本市場用以投資當地的項目和工作室，行業投資者對遊戲的瞭解比意大利投資者深入的多。因此中國的優質項目總能快速的找到投資，成功的遊戲可以達到巨大的體量，而不需要求助於國際市場。意大利的小開發商則可能不得不自籌資金，或求助於傳統的發行行業，目前意大利只有少量投資者或發行商關注該行業。

雖然市場規模巨大，但中國更嚴格的法規和監管促使許多工作室把目光投向中國市場以外的地方，這實際上可以讓中國的研發團隊學習如何研發和創作更能夠吸引全球觀眾的遊戲，而非讓創意受限，以此以更可持續的方式成長。鑑於國內市場規模較小，意大利的遊戲研發者從一開始就不得不將目光投向海外，這讓他們在全球市場上佔得先機，但當然大多數本地研發團隊確實對中國和廣大亞洲市場的瞭解有限。

當然，意大利在開發方面與中國相比處於劣勢的一個原因與教育有關。計算機科學，即所謂的STEM課程缺乏普及，此外以電子遊戲為重點的職業研究提供有限，這限制了意大利的電子遊戲內容供應。但意大利一直是一個主要的電子遊戲消費市場，DBGA也是以私立學院形式採取行動，解決當地人力市場需求的一個很好的例子。

英文原文采訪如下：

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 & 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 Artist

• Daniele Pergola – AvantGarden Games – Lead 3D Animator

• Rachele Doimo – Square Enix – Art Director – Work with all external studios of Square Enix West

• Mauro Gentile – Ubisoft Milan – Lead Gameplay Programmer – Worked on Mario+Rabbids, Ghostrecon

• Simone Magni – Miniclip – Product Manager

• Ming Tregonning – Splash Damage – Lead Gameplay Programmer – Worked on Dirty Bomb

• Marco Ponte – Nacon Studio Milan – CEO & Creative Director – Worked on RiMS Racing, Terminator

• Marco Minoli – Slitherine – Marketing Director

• Gero Miccichè – Electronic Arts [Criterion] – Development Director – Worked on GRID Legends, Need for Speed

• Claudia Manenti – Rockstar Games – Worked on Grand Theft Auto Series

• Mauro Notarberardino – Supernova Game Studios – Studio Manager

• Federico Mattioli – Milestone – Art Director – Worked on Hotwheels Unleashed, MotoGP

• Chiara Pasquini – 505 Games – Global Release Director – Worked on Control, Death Stranding

• Pierfrancesco Andresini – Reply Game Studios – UX/UI Designer – Worked on Soulstice

• Riccardo Landi – Xplored – Head of Design – Worked on Teburu, Rabbids series, Rayman series

• Alberto Barbati – Nacon Studio Milan – Game Programmer –– Worked on Theseus, Joe Dever’s Lone Wolf, Splinter Cell: Double Agent, Beyond Good & Evil

• Enric Alvarez – Mercury Steam – Owner & 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 M&A 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 R&D, 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.