The Challenges and Opportunities in Norway’s Gaming Industry
Bendik Stang, the general manager of Snowcastle Games, reflects on the cultural landscape of gaming in Norway, lamenting that many still perceive video games as a trivial pursuit, often relegated to the domain of young boys in basements. While he acknowledges a gradual shift in perception, he believes that lingering attitudes have hindered the industry’s potential.
In stark contrast to their Nordic neighbors, Norway’s gaming sector is struggling. With an annual turnover exceeding 2,000 billion NOK globally, Denmark reported over five billion NOK in 2024, while both Sweden and Finland have consistently surpassed 30 billion in recent years. Norway, however, has only managed just over a billion NOK, as highlighted by a recent survey from the gaming site Gamer.no.
“I’ve spent years attempting to attract Norwegian investors, but to little avail. Now I find myself looking almost exclusively abroad,” Stang admits.
Untapped Potential for Growth
At Snowcastle Games’ Oslo headquarters, a team of roughly twenty is hard at work on “Lysward,” an adventure game integral to a larger gaming universe that has collectively sold over eight million copies. Unfortunately, much of their progress has been facilitated by foreign investors, highlighting a troubling trend.
“It’s a shame. We have everything in place to achieve what Finland and Sweden have done,” Stang says, echoing a sentiment felt by many in the industry. Notably, in 2019, Chinese investors took control of Funcom, Norway’s largest gaming company.
“The gaming industry in Finland and Sweden is a significant contributor to state budgets,” he notes. “If we could achieve the same, the benefits to Norway would be immense. Our games embody Norwegian values and serve as a form of cultural export.”
A Landscape of Missed Opportunities
While Sweden boasts global hits such as the “Battlefield” series and “Minecraft,” and Finland has achieved success with franchises like “Alan Wake” and mobile phenomena including “Clash of Clans” and “Angry Birds,” Norway has yet to replicate such feats. Rune Fjeld Olsen, a game critic at NRK, suggests that luck plays a significant role in these successes.
“The early 2000s successes in Sweden created a ripple effect, inspiring more investments and encouraging aspiring developers. Unfortunately, Norway hasn’t had that level of success,” he points out.
Despite significant public funding—around 80 million NOK allocated annually through the Norwegian Film Institute (NFI)—the industry struggles to find a foothold. While this support is vital for survival, it is not sufficient to foster the growth necessary for sustained success.
“Quality games are being produced in Norway. However, without a focused effort to attract investment and build the business environment, progress is exceedingly difficult,” Stang asserts.
The Role of the Market
Stang emphasizes that while NFI’s support is essential, a stronger emphasis on business development is needed. Kaja Hench Dyrlie, section leader at NFI Spill, concurs, noting, “It’s a combination of luck and misfortune.”
She reinforces the belief that while public funding is beneficial, it is merely a fraction of what is needed, adding, “The market itself must provide the primary funding.”
Glimmers of Hope
However, there are hints of optimism in the Norwegian gaming landscape. NRK has reported on the success of a mobile game by Norwegian developer Elin Festøy, which has garnered over 25 million downloads. Meanwhile, “Megabonk,” a game developed by an anonymous Norwegian, has gained international traction, achieving over a million downloads within its first two weeks after launch.
“I believe the Norwegian gaming industry is on the brink of achieving explosive growth,” Fjeld Olsen notes. “We just need that initial snowball effect, which has yet to materialize.”
As Norway stands at this crucial juncture, the industry awaits a shift in dynamics—one that could transform perceptions, attract investment, and unlock untold potential.
This article was reviewed and quality assured by NRK’s journalism team before publication.