Over the next several months, OfcomWatch will be publishing a series of interviews with some of the key policy players in the U.K. and European media and communications sectors. Our initial interview is with Roger Bennett, the Director General of ELSPA, the Entertainment & Leisure Software Publishers Association, the U.K. ‘computer and video game industry’.

In this interview, Bennett candidly states that U.K. policy-makers are ‘out of touch’ with respect to the computer and video game industry, especially compared to the attention lavished on the film industry.

Read on…

1. Can you briefly describe the state of the computer and video game industry that ELSPA covers?

The UK computer and video games market is the third largest in the world after the USA and Japan and has shown a growth rate of over 100% since 1996. In 2002, the UK market topped the 2 billion pound mark for the first time and it continues to grow to mass market proportions.

2. Speaking broadly, do you think that the UK policymakers �get it� when it comes to computer and video games � or are they out of touch?

The UK is a valuable font of original and successful content in a global market worth $20 billion. Its balance of payment record is far better than film or TV but it is now seriously threatened by lack of interest from Government. There are no tax incentives for investors in innovation and a real lack of support towards maintaining UK�s position as the European location destination for global publishers. The film industry gets all the incentives, the games industry gets nothing. Yet it is equally creative and culturally important and contributes more to the UK economy. Yes, they are out of touch.

3. Tell us about the content rating system, PEGI. Can other media sectors learn something about self-regulation and European coordination by using PEGI as an example?

As you know, UK/Eire have mandatory ratings for film/video as outlined by the Video Recordings Act 1984 but most, though not all, games are exempt. In 1994 ELSPA introduced a voluntary system which sat side by side with the mandatory system and it was hugely successful. The rest of the EU except for Germany has no legal rating requirement on games ratings and when seeking to institute pan European ratings, the UK system provided the perfect template. Thus PEGI was introduced in 2004.

4. When I checked the PEGI ratings for �age category� for Grand Theft Auto: San Andreas the system said that it had been �referred to advisory board� � what does this mean? Similarly, when I checked the same game on a popular online shop, the game is specified as having a BBFC rating, not a PEGI rating. Can you also clarify the interaction between the BBFC system and the PEGI system?

Grand Theft Auto: San Andreas lost its exemption in UK from voluntary rating under the definitions of the Video Recordings Act 1984. In UK we have a two-tier system, the voluntary PEGI ratings and the mandatory BBFC ratings for non-exempt games. It is worth pointing out that the vast majority of games are exempt from BBFC ratings. As for BBFC rated games, in the rest of Europe they would carry a PEGI equivalent rating.

5. Every so often a tragedy occurs and the media often link that tragedy to violent video games. What do we know about the links, if any, between violent video games and human behaviour?

The links made by the media to tragedies, most recently that of Stefan Pakeerah�s murder, have been inevitably sparked by individual opinions without any evidence to support them. There have been many research projects undertaken by very eminent specialist academics throughout the world to research the links between screen violence and aggressive/violent conduct but none have been found. Dr Guy Cumberbatch, a psychology Professor from Aston University who specialises in these matters, has put together a study of all the most recent research into this issue and concluded that there was no evidence to support a link between onscreen violence (including computer and video games) and human behaviour.

6. Tell us what you think the social and policy impact will be of new, so-called Alternative Reality Games (eg, www.perplexcity.com) that immerse participants in a game or challenge over a variety of technical platforms, such as the Internet, telephony and newspapers. Are we witnessing something new � or is this just clever marketing?

The levels of media convergence with gaming are constantly evolving as the activity becomes more popular. There is already a strong convergence with film; TV offers good prospects for the development of cross media innovation and exploitation, which is already incorporating a wider range of media. However, at this time, it is not possible to predict either the social or the policy impact.

7. With millions of hours of online game play every day, convergence and increased interactivity seemed to hit the video games industry first. However, some observers suggest that the UK is slipping in its efforts to increase the key driver of convergence and interactivity - broadband penetration. Will this adversely affect your industry? What�s your view on the progress (or lack of progress) toward Broadband Britain?

Certainly Europe, UK included, is well behind SE Asia in offering sufficient bandwidth within which it is possible to deliver complex gaming, such as the Massively Multiplayer Online Role Playing Games (MMORPG) that dominate in countries like Korea. Those who can will upgrade to the level required and pay for it. However, the games industry is more likely to be driven into more online gaming through the proprietary systems, (Sony/Microsoft) given the clearer business models and security for IP.

8. ELSPA�s members include more than just software publishers � your members include carriers such as BT and some major wireless providers. Surely, these members� interests must diverge on issues like Ofcom�s review of competitive access to BT�s network. Can ELSPA be effective with such a diverse and sometimes conflicting membership?

ELSPA produces the Java downloads games charts for and in co-operation with the mobile operators. Issues concerning interactive content using mobile devices, the IP for which is owned by our members for consumer delivery by whatever method, are matters that are relevant to ELSPA, as are the public issues that may arise as a result. We have no remit in respect to wireless technical or mechanical issues.

9. What does ELSPA want from Ofcom, if anything?

To be included in any review processes relevant to or that may impact on the electronic entertainment industry. Equally, to have access to discussion in respect to some of the issues that appears comparatively anomalous to our industry when related to the broadcast delivery and promotion of other forms of consumer entertainment, such as film and TV.

Comments / questions - email us at blog@ofcomwatch.co.uk

And stay tuned for additional interviews…