THE BAFTA GAMES AWARDS
In gaming our worlds are infinite. In reality we only have one.
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BAFTA albert is grateful to all industry supporters and partners.
As President of BAFTA, I am delighted to welcome you to the BAFTA Games Awards with Google Play. Tonight, we come together to honour an extraordinary year – one defined by a remarkable range of storytelling and an inspiring depth of talent across our industry.
Moments like this allow us to pause and properly celebrate the creative brilliance that powers the games industry in Britain and around the world.
I am immensely proud of BAFTA’s continuing dedication to the next generation of screen talent. The UK is home to some of the most exciting games talent anywhere, and BAFTA plays an essential role in supporting creatives and practitioners at every level to grow, take risks and build lasting careers. From bursaries that provide immediate financial assistance for emerging creatives, to peerto-peer networking and mentorships, as an arts charity BAFTA is focussed on opening doors for people from every background, and at every stage of their journey.
I know that many of you here tonight play a part in making that possible. BAFTA is deeply grateful for that support.
My warmest congratulations to all of this evening’s nominees. Tonight is a well-deserved celebration.
HRH
The Prince of Wales, K� , K � President of BAFTA
A very warm welcome to London and the 2026 BAFTA Games Awards with Google Play – our 22nd year celebrating outstanding achievement in games.
Tonight, we celebrate 42 nominated games: an exhilarating mix of genres, voices and visions from the UK and around the world. Whether independent releases or big studio productions, this year’s roster shows us how powerful interactive storytelling can be, and reminds us that the games community remains fearless, inventive and at the top of its craft.
BAFTA exists to champion screen culture, inspire new talent and open doors for the next generation – a mission that is in large part achieved thanks to our community of members. This year, we reached a significant milestone: more than 14,000 members now call BAFTA home. Our community of exceptional professionals continues to grow, and we remain committed to ensuring BAFTA represents the diversity of talent working in the screen arts today. That commitment is tangible. In 2025, 86 emerging creatives shared £277,000 in BAFTA scholarships and bursaries, helping to facilitate and accelerate their careers.
This evening, as we champion excellence across the industry, we congratulate everyone who contributed to this year’s nominated games. Have a wonderful evening.
Jane Millichip, BAFTA CEO Sara Putt, BAFTA Chair
Proud sponsor of the BAFTA Games Awards
Ready to Play
At Google Play, we believe that great games belong everywhere players are. Tonight, we are not just celebrating the boundaries pushed in storytelling and technical achievement – we are celebrating the creators who build worlds that travel with us wherever we go.
As cross-platform play becomes the norm, Google Play is evolving to be able to support and nurture the next generation of creative ambitions in games. We are dedicated to building a more expansive stage for developers, enabling seamless play across a range of devices: from mobiles and tablets to laptops, PC s, � V s and even the automotive space. By introducing over 2 billion gamers each month to new experiences across free-to-play and paid titles, we ensure that every creative vision finds its ideal audience. This global reach is further strengthened by Play Points – now one of the world’s largest games loyalty programmes – which fosters a deeper, more rewarding connection between players and the games they love.
This year’s nominees challenge traditional boundaries through reactive mechanics and deep narrative integration. The selection emphasises technical craft alongside innovative features that explore complex human experiences, emotional resonance and socially impactful storytelling. As a proud sponsor of the 2026 BAFTA Games Awards, Google Play is committed to empowering the industry’s most innovative developers to bring their visions to life across mobile, PC and beyond. Whether it’s a quick session on the go, or an immersive evening at home, it is an honour to help game developers reach massive new, global audiences.
Ben McOwen Wilson Managing Director Europe, Middle East
and Africa for Google Play
THE HOST
Elz Takes the Controller
@elzthewitch – Eleanor – got her online name back in high school, when her “to the point” attitude earned her a reputation for being quite blunt. Her friends would teasingly call out her “witchy” moods, and the nickname stuck.
Before her life caught up to her magical name, just eight years ago you would have usually found Elz working her day job as a project manager at IBM . Now, she wears many hats as a radio show host, � V presenter, content creator and streamer. One thing that’s stayed consistent throughout her ever-changing career: her deep love for video games. From rhythm games to JRP � s, Elz’s love for gaming is what pushed her to create a YouTube channel in the first place and pursue a career from her passion.
In 2018, after months of obsessively pouring all her energy into her channel, Eleanor was able to connect with other creators in the same UK games niche, like KSI and Behzinga, and even rapper
AJ Tracey. At the time, there weren’t many other women in the YouTube gaming world, which only motivated her more. In fact, as a computer science graduate and an avid UFC and WWE fan, Elz has often found herself to be the only woman in the room.
For Elz, gaming and music are deeply intertwined. She’s a nervous flyer, so she has the Final Fantasy vii soundtrack – her favourite game of all time – downloaded on her phone, ready to whip out at the sign of any turbulence. She also credits Guitar Hero and other rhythm-based games for curating her deep love for music, which she now showcases on her Kerrang! Radio show on Saturdays and Sundays.
From playing games in her teenage bedroom (instead of revising, as she’ll readily admit), to presenting one of the world’s biggest celebrations of the industry this evening, Elz has come a long way. Catching up ahead of tonight’s Awards, we talked about her journey, biggest inspirations and more.
“No matter what I do, I get people questioning [my credentials]. I could do a backflip, and someone would say ‘Why didn’t you do a front flip?’”
Elz
In the 22-year history of the BAFTA Games Awards, you’re the second-ever female host. What does that mean to you?
I didn’t know that! When I was asked to do this, I just couldn’t believe it. Where I’ve come from – starting my YouTube channel over seven years ago – I wouldn’t have pictured myself here in a million years. It’s such an honour, which is one of the reasons why I’m incredibly nervous to do it. But that’s mainly because it’s going to be filled with people that I respect so much. Above anything else, it’s that I want to prove to other content creators and women that we can transition into traditional media, because I’ve come from just talking to a camera on YouTube to doing something like this.
One of the reasons I even started playing video games on YouTube in the first place is because when I was younger, there was no blueprint for women, and it was very much frowned upon to even be a gamer because there was no career in it. It’s such a full-circle moment for me.
How do you deal with people constantly questioning your credentials as a gamer because you don’t match the stereotype?
No matter what I do, I get people questioning [my credentials]. I could do a backflip, and someone would say “Why didn’t you do a front flip?”. I try to remember that I deserve to be here. I am a gamer, I love video games, and I am good at my job. Hopefully, by doing this, it will inspire other people to do the same, and that’s the most important thing.
You can’t please everyone; you can’t be perfect to everyone. As they should, everyone can have their own opinion, and if I’m not the right presenter for them, maybe next year they can have someone they do like. The world keeps spinning!
“I don’t think game developers get enough credit for, particularly, the licensed music they put into games. The curation for some of these games is incredible” Elz
You have a series on your Instagram where you run to rock albums. What video game soundtrack could you run a marathon to?
Every week on my Kerrang! Radio show, I have a feature where I talk about different video game soundtracks; so the typical ones are Tony Hawk’s Pro Skater, which is a blend between hip-hop and rock – my ideal genre! Guitar Hero as well. But for a marathon, I’d do the entire GTA San Andreas radio discography. You’ve got such a range in that game, you’ve got old 90s hip-hop, rock music, country music as well – there’s so much.
Have video games impacted your taste in music?
I have discovered so many genres, particularly that classic rock sound, through video games. I was a 90s kid who liked hip-hop and nu metal, but classic rock – your AC/DC, Ozzy Osbourne, Black Sabbath – I had never heard until I played Guitar Hero. So I’m going to put Guitar Hero down for educating my taste in music. I don’t think game developers get enough credit for, particularly, the licensed music they put into games. The curation for some of these games is incredible.
What’s a remake you’re dying to see?
Without question, I need The Simpsons: Hit & Run to be remade. We’re waiting for it, when is it coming? Also: Zelda: Ocarina of Time.
E L z’S L if E in vid EO Ga MES
As a kid:
Final Fantasy VII
I can even hear some of the songs now. Particularly there’s one that plays in Midgar, which is in the slums, when you’re exploring them for the first time. It just makes me feel warm inside.
As a teen:
Guitar Hero III: Legends of Rock Stay in school, but… I spent my study leave in Year 11 playing Guitar Hero, because I wanted to get 100% on Expert on some of those songs.
As an adult:
Grand Theft Auto V
It’s been out for so long at this point, but they’ve continued to update the radio stations and soundtracks in that game. They curate their soundtracks so well. When I land in America, and I hear some of the songs, I feel like I’m in GTA in real life.
Why do you think people enjoy watching video game streamers so much?
I think it’s because it’s not perfect. I’m not very good at half the games I play. But from being a content creator and being a fan of others, you get invested in someone’s personality and how they play a game. It also makes games more accessible. Games are very expensive; we don’t have the residual income to spend £70 on a game, and if you go on to Twitch, you can watch a creator play a game and get some of the experience.
What do you think about the progress in inclusivity for women in games since you’ve entered the industry?
There are two sides to it. It makes me smile thinking about how there are so many girls and women who are able to work in this space, create content, build communities around them, connect with other gamers and inspire each other. The games industry is definitely helping with more inclusive marketing. But there’s so much work that still needs to be done for women in gaming in terms of the abuse that we receive online just for existing. I think that there are definitely so many positives to be taken from the past seven years that I’ve been in the industry, but a lot more can be done.
What was a “pinch me” moment in your career so far?
About four months after I started my YouTube, I remember EA invited me to the launch party for the “Island Living” expansion pack for The Sims 4. I never want to forget the feeling of that event because I just couldn’t believe EA had noticed me and invited me to experience a game before anybody else. When I was younger, my dream job was to be a games tester. I wish everything could feel like that!
THE FELLOW Supercell’s Ilkka Paananen Puts
Creatives
First
Like many kids who grow up in small towns outside their country’s capital, Finnish CEo Ilkka Paananen grew up with a love of video games, immersing himself in the endless platform worlds of Nintendo classics from home. But he would have had little idea then of the possibilities that would arise in the kinds of games you can carry in your hand – and how you would be able to connect with the rest of the world through it. With Supercell, the company he co-founded in 2010, Paananen – who was by then experienced in the space through his roles at Sumea, which he co-founded in the millennium, and later Digital Chocolate – has led the way in mobile gaming. The studio is behind global, ultra-fun hits like Clash of Clans and Brawl Stars, influential games that have stemmed from the company’s unusual, creative developer-led structure. And if that wasn’t enough, Paananen is passionate about helping other entrepreneurs as both an investor and as a mentor. His foundation, Illusian, has backed initiatives ensuring equal opportunities for a fulfilling life for all, as well as an AI-powered youth mental health helpline and games teaching the next generation valuable social skills. Ahead of receiving BAFTA’s prestigious Fellowship tonight, we caught up with Paananen to find out how that feels – and about the inspirations that drew him to this ever-growing space in games.
What does this moment mean to you?
I feel really honoured. It feels incredible. Especially when I was reading the list of names of the previous recipients, which has so many of my childhood heroes in there. I could never have imagined that someday I’d be part of the same club. That feels unreal to me. The other feeling that I have is just being super grateful. Only my name is listed there, but I could have added so many people I’ve worked with who deserve to get the same recognition.
That’s what the speech is for, right? Tell us about some of those heroes that previously received Games Fellowships.
Founding Supercell, one of our biggest inspirations was Nintendo. So Shigeru Miyamoto is an obvious one, of course. It’s inspiring how they’ve been able to create these games that are loved by so many people around the world and lasted decades and decades. Zelda, Mario… Miyamoto is the person behind the biggest, biggest hits.
What first excited you about this world of games?
I grew up playing video games, and obviously, it was about being entertained. But back then, it wasn’t that easy to play with other people, you know, like, the internet obviously didn’t exist yet then. We would organise LAN parties, but it took a lot of work – like literally carrying your PC into somebody else’s apartment. But we would read all the gaming magazines and share in this huge sense of anticipation: like, when would this next game come out? Or trying to figure out the cheat codes for a game [laughs].
When you were first thinking about this as a career, were there particular moments that led you specifically into the mobile space?
The funny thing is, I don’t think I ever thought about it as a career. In university, most of my class had two dream jobs: investment banking or management
Artwork from Clash Royale, which has over 662 million lifetime downloads and tens of millions of monthly active users
“I could never have imagined that someday I’d be part of this Fellowship club… That feels unreal to me”
Ilkka Paananen
consulting. But I somehow had stumbled into a couple of courses about entrepreneurship, and I got super excited about it. That’s when I got super lucky. By absolute accident, I happened to bump into these guys who wanted to found a company, and that company happened to be a games company. These guys were pure game developers, and needed somebody else to do the boring stuff, like, you know, sales and finance and admin or whatever. We went from there. I was 22 years of age.
What has felt different about Supercell compared to your other places of work before?
We wanted to found a different type of games company. We had seen from our experience that, especially when games companies got successful, power always shifted away from the creative people and game creators. We thought: what if we took a completely different approach? What if the game teams are front and centre of the company? We thought of them as their own independent entities within the greater company. That’s actually where the name of the company comes from, because we decided to call them “cells”.
And why do you think other companies don’t take this approach, when it seems to have worked very well for you?
I think it’s an easier thing to say than to practise. A lot of people say, “We empower our teams” and all that, but that means letting go of control. There has to be 100% trust.
Early concept sketches for Brawl Stars
Supercell has had huge, longstanding mobile hits. What is so appealing about games like Clash of Clans and Brawl Stars?
First of all, they are all designed for the broadest possible audience, and again, this is something inspired by companies like Nintendo. They’re family-friendly; maybe another comparison in approach is Pixar. These are games that can bring together generations: from kids to grandparents and everything in between.
Then the other thing is that they possess a simple core gameplay. So it’s pretty easy to get into it. But while it’s simple at that first phase, somehow our designers have been able to create this depth inside it.
The third thing is that they’re all inherently social. Even when we founded Supercell, we had this internal catchphrase that we wanted our games to be “better with friends.”
Early concept sketches for Clash Mini
“What this industry needs most is diversity in all its aspects”
Ilkka Paananen
Can you tell me a little bit about your own work in social impact projects – as well as, beyond that, what kind of positive impact the games industry as a whole can have in your view?
It is hugely important to me. When we founded the Illusian foundation, the logic was actually quite simple. We couldn’t help but think, “We’ve been so incredibly lucky in our lives; how can we then help other people who’ve been a little bit less lucky?” I think if you’re lucky and you become successful, it almost becomes a responsibility to help others.
I think gaming can play a massive role, in so many different aspects, in terms of creating positive impact. First of all, gaming is one of those things that brings people together from all around the world – in a world that’s getting more and more divided. Especially through social gameplay. Gaming also creates jobs, and not just in game development, but through all the communities that are built around games. Think about competitive play, or eSports, or the content creator community: all these things create an industry that in turn creates new jobs that didn’t even exist a couple of decades ago.
What would be your advice to someone who’s starting out in this industry? Do you have thoughts on how they can stay confident in what can continue to be challenging times for games workers?
My number one advice would be: just follow your passion. That’s really the most important thing. It means the more difficult and challenging moments will be easier because you have a clear North Star.
The second thing isn’t really advice, but just to say I really would love these people to join despite all the challenges, because this industry needs them. What this industry needs most is diversity in all its aspects. So I would just, you know, encourage these people to get on board. Come and make it better.
THE YOUNG GAME DESIGNER
Tyler Rotheram Levelled Up
If game designer Tyler Rotheram were to give one piece of advice to those looking to get their start in the games industry, it would be this: don’t wait. “You don’t even have to start at 17!” he says. “The BAFTA competition is 10 to 18.” It was back in 2019 when the Liverpudlian then-sixth former got to the finals of the BAFTA Young Game Designers competition, and he’s hardly looked back since. Quickly landing industry experience at the likes of PlayStation and Sumo Digital, he has since worked as a technical game designer for titles including Tales of Kenzera: ZAU – which you may remember for winning the Game Beyond Entertainment award this time last year in this very room.
From YGD finalist to BAFTA-winning game contributor in just six years is quite the running start. Back in January, Rotheram sat with creative careers app ERIC co-founder Mae Yip to discuss his route into the industry to date – and share how showcasing his talent through BAFTA’s long-running competition gave him the self-confidence to pursue his dream career.
Can you tell us more about your experience of the BAFTA Young Game Designers competition?
Yes! When I was about 17, I applied for the Young Game Designers BAFTA competition and ended up getting nominated for it. It’s an incredible competition for young people, where you can design or develop a game and then showcase it to the games industry. There are two main awards: the Game Concept award and the Game Making award. With the Concept award, you design out a game, come up with the idea, do paper designs and maybe artwork. I included a video with a quick prototype on how mine would work instead. The Game Making one is where you build a larger prototype or a full game that judges can play. If you get nominated, you go down to BAFTA in London and showcase your game to industry professionals.
That’s so cool. Were you always into games? How were you creating games at such a young age?
Yeah, I’ve always been into games. I never used to think it was a career I could go into. I used to look at games and think, “How do you take an idea and make it into something?” From about 14, I started using RP � Maker, making little concepts. Then I took games design and programming in sixth form. The YGD opportunity came up while I was there: I saw it on Instagram and thought it looked like a fun challenge. When I recognised the BAFTA logo, I realised it was a big thing.
Competitions can sometimes feel like they’re not worth it. How did this one actually help you open doors into the games industry?
I think it’s good to look at everything as an opportunity. It was a chance to learn, develop and improve. It didn’t matter if I won or lost, I was getting my name out there. People are going to see you and know you enjoy games. That’s what matters most – that people know you’re hungry. You could be the best person in the world, but if you’re not interested in what you’re
Selections from the 2025 YGD competition…
doing, who wants to work in a team with that guy? It helped kickstart my career because I had to go through the process of creating a games design document, and thinking how to convey a concept to complete strangers. It became about execution rather than the idea itself. When I went down there, it was also about networking and making sure people know who I am. I ended up getting two of my five games industry jobs through BAFTA-related opportunities.
Tell us a bit about your career journey. You entered the competition at 17 – did you go to university? How did you actually end up working for PlayStation?
I did games design in sixth form, and one day I saw an opening for PlayStation doing QA testing. I didn’t even know PlayStation was here in Liverpool. I applied and ended up getting the job. I had just turned 18, and it was full time, so I had to go to my head teacher and ask if I could do it alongside finishing my coursework. Luckily she said yes. That’s how I started in games at PlayStation. I later left to go to uni, but joined Sumo Digital doing QA part time, then moved into level design, and then into game design. Now I’m a technical designer at Double Eleven.
Would you say that the PlayStation job was helped by BAFTA – having something on your Cv so young?
I actually got the PlayStation job before the BAFTA competition. But BAFTA helped in that I’d gone through the games design process of presenting ideas and conveying them to people. It made me realise industry people aren’t scary, they’re just people. That helped in interviews. There was one job where BAFTA sent me to Yorkshire Games Fest, and I met someone who led to my first proper design job. Another came from someone seeing my BAFTA nomination and reaching out. Even just the name has helped so much.
For someone at the beginning – maybe that 17-yearold – what advice do you have on where to start?
… from 52 total finalists!
“People don’t realise how strong the UK industry is. Grand Theft Auto was made in the UK ! There’s plenty of opportunity outside London”
Tyler Rotheram
I’d say in your free time, go and do a game jam or make a small prototype. Definitely do the YGD BAFTA competition, because it’s a great way to build a portfolio and meet people. People need to know you exist and that you’re interested and willing to put the time in. It’s a very competitive industry. Be cheeky – I applied for the PlayStation job without much experience and got it. I’ve asked people directly if they know anyone hiring and got roles that way. Just talk to people, show that you’re hungry.
Would you say that being based outside London makes it harder, or is the games industry very UK-wide?
It’s very UK-wide. Liverpool is quite big, we’ve got PlayStation and other studios. In the North East there’s loads as well. People don’t realise how strong the UK industry is, Grand Theft Auto was made in the UK ! There’s plenty of opportunity outside London.
What’s a common misconception about the games industry, now that you’re in it?
One of the biggest is that everyone knows what they’re doing. But everyone is figuring it out as they go. There’s no one way to make a game, and you’re always learning. Another misconception is that game design is just coming up with ideas. It’s not. It’s about execution and problem solving. It’s about systems, how things feel, how they work, how they connect with UI and art.
What are some entry-level roles in games?
Quality assurance is a big one. My first job was testing PlayStation software, checking things like sleep mode, crashes and edge cases. Then I moved into full game testing, trying to break games. There are also internships in design and programming, often during or after university. Or if you have a strong portfolio or know the right people, you can go straight into a junior role and learn on the job.
What do employers like to see in a game design portfolio?
It’s about showcasing game mechanics and documentation. Use engines like Unreal, Unity or GameMaker to demonstrate your skills. Tailor it to the role: if they want Unreal, use Unreal. You can also get creative – some people make their CV s as games. But I’d recommend small projects, videos and playable builds so people can try your work.
What would be your one piece of advice to your younger self?
I wish I had done more game jams and smaller projects. It’s easy to go for big ideas, but it’s better to build small prototypes with one strong mechanic. I think I’d have a stronger portfolio and a broader understanding if I’d done that.
What is a game jam?
A game jam is where you have 48 or 72 hours to make a game, on your own or in a team, usually around a theme. They teach you a lot because things don’t go to plan, and you have to adapt. Creativity comes from constraints.
“Game jams teach you a lot because things don’t go to plan, and you have to adapt. Creativity comes from constraints”
Tyler Rotheram
ERIC is a free careers platform designed to help the next generation break into creative & digital careers. The ERIC app is where young people can explore internships, apprenticeships and opportunities all in one place. The ERIC Library offers a Netflix-style library of career talks. www.meet-eric.com
THE GAMES C HAIR
Tara Saunders’s passion for her industry is infectious, and the joy she takes in the craft of games goes all the way back to her childhood. Today, we’ve come a long way from her grandad’s ZX Spectrum, and as chair of BAFTA’s Games Committee, Saunders has seen first-hand how video games have evolved through the years.
As current studio head at Larian Studios, and formerly at PlayStation London, Saunders has always worked at the point where creative ambition meets one of the fastest-moving sectors in the screen industries. For Saunders, who started out as an artist/animator, games are fundamentally collaborative: the result of designers, writers, artists and developers all working together to build experiences that resonate across borders and generations. As the industry continues to grow, so too does the importance of widening access – ensuring that emerging talent from different backgrounds can see a place for themselves within it.
Ahead of this year’s Awards, Saunders reflected on her dynamic career, the importance of supporting new voices and why the future of games depends as much on people as on technology.
“Technology doesn’t
just change how you make something, it changes what you can make. Games are unique in that sense”
Tara Saunders
Can you talk me through your relationship with BAFTA and how it began?
There was a membership working group that was put together to try and grow games membership, because before that there was just film and � V, and the concept of having games members wasn’t really there. So, I started before there was a BAFTA Games Committee, actually. It was very informal.
This must have been about 14 or 15 years ago. I would basically recommend people [to join]. I was looking at it from an art perspective, because that was my background. At the time I was working at PlayStation’s London studio, looking after the art department, and I was recommending people that should be reached out to [in order] to build that membership. There were other people representing different disciplines as well. Then my old manager at PlayStation said, “Oh, you should think about joining the committee,” so I put myself up for election onto the committee.
How does that committee structure work?
It’s quite a democratic process. You’ve got elected members, so the membership votes for who goes onto the committee, and then you also have co-opted members. The co-opted positions are more about balance: looking at what you have from the elected members and asking where the gaps are. Because sometimes you might get a lot of people with similar skill sets, so the co-opted roles allow BAFTA to bring in different voices or experience that’s needed. The idea is that as a group, you bring a really well-rounded voice to BAFTA and support all of its games work.
And how did you become chair?
From there, I was elected as chair. And if you’re the chair of one of the sector committees, you also sit on the Board of Trustees. I do admit, when I first went into it, someone said, “Oh, it’s just attending a couple of meetings every six or eight weeks,” but actually, if
“Mobile and VR completely shifted the landscape… And now we’re at another point where we don’t really know what things will look like in five or 10 years”
Tara Saunders
you want to be a good chair and be an active part of the board, it’s much more than that! You do have to take the time and really get involved.
What does that role involve in practice?
It’s about making sure games are represented across everything BAFTA does. There’s crossover between film, � V and games as creative sectors, but there’s also a lot that’s different. For example, in film you bring together a team for a project, and then they move on. In games, it’s much more of a permanent workforce: teams stay together and make game after game. So even the way the industry operates is different, and you have to make sure that’s understood and considered in decisions.
How have you seen the games industry change over time?
I’ve been in the industry for 25 years now, and the thing with games is that it’s constantly shifting because it’s driven by technology. If I think back, there have been huge changes in technology, business models, distribution, development practices and audience scale. And I think games are quite unique in that sense – technology doesn’t just change how you make something, it changes what you can make. Things like mobile completely shifted the landscape. VR did as well. And now we’re at another point where we don’t really know what things will look like in five or 10 years.
The first game Tara ever played (and finished)
Does it feel like a turning point now?
Yeah, I think we’re at a bit of a pivot point. I always think of it as a kind of shedding skin moment. The last few years have been quite messy, but that’s often what happens when there’s a big shift. And I think games are really good at evolving. It’s kind of built into the industry.
So I think it will come through it. There’s a lot of innovation in the DNA of games, and I think that gives me confidence.
How do you navigate that kind of change as a leader?
It’s about navigating people through it, really. You can’t stick your head in the sand and ignore what’s happening, but at the same time you don’t have all the answers. So it’s about being honest with teams, and taking things step by step. Different companies will approach it differently as well; it depends on your culture and what feels right for you.
What drew you to games in the first place?
I could have gone into film, � V or games. I actually got offered a job at the BBC and at PlayStation on the same day! I remember walking into the BBC and everyone was sat at their desks, headphones on, working quietly. And then I walked into PlayStation, and people were up, moving around, talking to each other, pointing at screens, going back to their desks. There was just something about that energy and collaboration that made me think, “I want to work here.”
What has stayed constant for you across your career?
The people. It’s always been about collaboration: bringing together people from different disciplines – like art, tech, design, production, all with different personalities and ways of thinking – and making something together. Even now, a lot of my role is about people – supporting them, connecting them, helping them do their best work.
What draws you to a project now?
It’s more about the creative process than the specific game. I’m really interested in how teams come together, how problems get solved, how ideas develop. What we’re making is important, but how we make it – and how people experience that process – matters just as much. And if you have a team that genuinely loves the kind of game they’re making, that shows in the final product.
What are your earliest memories of playing games?
The first game I ever played and finished was Manic Miner on a ZX Spectrum. My grandad had the console, which was quite unusual, and I used to go round and play it with him. I still remember finishing that game, and I think that’s why I still love platform games now. I keep going back to them.
Are there more recent games that have stayed with you?
Games like The Last of Us – just the storytelling and how you experience things through a character. But I also still love more playful games. I still go back to things like Astro Bot. I think I’ve got quite childlike gaming tastes. I just enjoy things that are fun.
What makes the BAFTA Games Awards special?
It’s the sense of community. You’re in a room with people you’ve worked with, people you’ve known over the years, and it’s a chance to celebrate the work and the craft behind games. It’s also about recognising people behind the scenes who don’t always get that moment. Also, the integrity of the process. I know how much work goes into judging, and how much scrutiny there is. It’s not just about visibility or marketing. When something wins, it really means something.
“What we’re making is important, but how we make it – and how people experience that process – matters just as much”
Tara Saunders
THE NOMINATIONS BAFTA GAMES AWARDS
WITH Google Play
THE NOMINATIONS
Animation
BATTLEFIELD 6
Development Team
DEATH STRANDING 2: ON THE BEACH
Hideo Kojima, Masaaki Kawata, Neil Johnson DISPATCH Development Team
GHOST OF YŌTEI Development Team HADES II
Craig Harris, Nikita Taranduke, Jen Zee
HOLLOW KNIGHT: SILKSONG Development Team
THE NOMINATIONS
Artistic Achievement
CLAIR OBSCUR: EXPEDITION 33 Development Team
DEATH STRANDING 2: ON THE BEACH
Hideo Kojima, Yoji Shinkawa, Megan Tuckwell DISPATCH Derek Stratton
GHOST OF YŌTEI Development Team HOLLOW KNIGHT: SILKSONG Development Team
SOUTH OF MIDNIGHT Development Team
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THE NOMINATIONS
Audio Achievement
ARC RAIDERS
Bence Pajor, Olof Strömqvist, Simon Svanbäck
CLAIR OBSCUR: EXPEDITION 33 Development Team
DEATH STRANDING 2: ON THE BEACH
Hideo Kojima, Hiroyuki Nakayama, Noburo Masuda
DISPATCH
Development Team
GHOST OF YŌTEI
Development Team
INDIANA JONES AND THE GREAT CIRCLE
Development Team
Best Game
ARC RAIDERS
Aleksander Grøndal,
Stefan Strandberg, Virgil Watkins
BLUE PRINCE Development Team
CLAIR OBSCUR: EXPEDITION 33 Development Team
DISPATCH Development Team
GHOST OF YŌTEI Development Team INDIANA JONES AND THE GREAT CIRCLE Development Team
THE NOMINATIONS
British Game
ATOMFALL
Development Team
CITIZEN SLEEPER 2: STARWARD VECTOR
Gareth Damian Martin, Guillaume Singelin, Amos Roddy MAFIA: THE OLD COUNTRY Development Team
MONUMENT VALLEY 3 Development Team POWERWASH SIMULATOR 2 Development Team
TWO POINT MUSEUM Development Team
Debut Game
BLUE PRINCE
Development Team
CLAIR OBSCUR:
EXPEDITION 33
Development Team
CONSUME ME
Jenny Jiao Hsia, AP Thomson
DESPELOTE
Development Team DISPATCH
Development Team
THE MIDNIGHT WALK
Development Team
THE NOMINATIONS
Evolving Game
FALLOUT 76
Development Team
HELLDIVERS 2
Development Team
HITMAN WORLD OF ASSASSINATION Development Team
NO MAN’S SKY Development Team
VAMPIRE SURVIVORS Development Team
WARHAMMER 40,000: SPACE MARINE 2
Dmitry Grigorenko, Oliver Hollis-Leick, Anatolii Koruka
THE NOMINATIONS
Family
DONKEY KONG BANANZA Development Team
IS THIS SEAT TAKEN?
Ausiàs Dalmau, Sergi Pérez LEGO PARTY! Development Team
MARIO KART WORLD Development Team POWERWASH SIMULATOR 2 Development Team
TWO POINT MUSEUM Development Team
THE NOMINATIONS
Game Beyond Entertainment
THE ALTERS Development Team
AND ROGER
yona, Yasuhiro Nakashima
CITIZEN SLEEPER 2: STARWARD VECTOR
Gareth Damian Martin,
Guillaume Singelin, Amos Roddy
CONSUME ME
Jenny Jiao Hsia, AP Thomson DESPELOTE
Julián Cordero, Sebastian Valbuena, Gabe Cuzzillo
S.T.A.L.K.E.R. 2: HEART OF CHORNOBYL Development Team
Game Design
BALL X PIT
Kenny Sun
BLUE PRINCE
Tonda Ros
CLAIR OBSCUR: EXPEDITION 33 Development Team
GHOST OF YŌTEI Development Team HADES II
Amir Rao, Gavin Simon, Greg Kasavin
SPLIT FICTION Development Team
THE NOMINATIONS Multiplayer
ARC RAIDERS
Aleksander Grøndal,
Virgil Watkins
DUNE: AWAKENING Development Team
ELDEN RING NIGHTREIGN Development Team
LEGO PARTY! Development Team
PEAK Development Team
SPLIT FICTION Development Team
THE NOMINATIONS
CLAIR OBSCUR: EXPEDITION 33
Lorien Testard, Alice Duport-Percier
Music
DEATH STRANDING 2: ON THE BEACH
Hideo Kojima, Woodkid, Ludvig Forssell DISPATCH
Andrew Arcadi, Skyler Barto
GHOST OF YŌTEI
Toma Otowa, Peter Scaturro, Keith Leary HOLLOW KNIGHT: SILKSONG Christopher Larkin
INDIANA JONES AND THE GREAT CIRCLE
Gordy Haab, Pete Ward, Christoffer Larsson
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THE NOMINATIONS
Narrative
THE ALTERS
Tomasz Kisilewicz,
Katarzyna Tybinka
BLUE PRINCE
Tonda Ros CLAIR OBSCUR: EXPEDITION 33
Guillaume Broche, Jennifer Svedberg-Yen
DEATH STRANDING 2: ON THE BEACH
Hideo Kojima, Kenji Yano, Ray Khalastchi
INDIANA JONES AND THE GREAT CIRCLE
Development Team
KINGDOM COME: DELIVERANCE II
Development Team
THE NOMINATIONS
New Intellectual Property
THE ALTERS
Development Team
ARC RAIDERS
Aleksander Grøndal, Stefan Strandberg, Robert Sammelin
CLAIR OBSCUR: EXPEDITION 33
Development Team
DISPATCH
Pierre Shorette, Dennis Lenart, Nick Herman SOUTH OF MIDNIGHT Development Team
SPLIT FICTION Development Team
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THE NOMINATIONS
Performer in a Leading Role
AARON PAUL
Dispatch
BEN STARR
Clair Obscur: Expedition 33
ERIKA ISHII Ghost of Yōtei
JENNIFER ENGLISH
Clair Obscur: Expedition 33
TOM MCKAY
Kingdom Come: Deliverance II
TROY BAKER
Indiana Jones and the Great Circle
THE NOMINATIONS
Performer in a Supporting Role
ALIX WILTON REGAN
Lies of P: Overture
CHARLIE COX
Clair Obscur: Expedition 33
JANE PERRY
Dead Take
JEFFREY WRIGHT Dispatch
KIRSTY RIDER
Clair Obscur: Expedition 33
TROY BAKER
Death Stranding 2: On the Beach
THE NOMINATIONS
Technical Achievement
ARC RAIDERS
Robert Träffe, Martin Singh-Blom
DEATH STRANDING 2: ON THE BEACH
Hideo Kojima, Akio Sakamoto, Neil Johnson
DOOM: THE DARK AGES Development Team
GHOST OF YŌTEI Development Team
INDIANA JONES AND THE GREAT CIRCLE Development Team
SPLIT FICTION Development Team
SUPPORT
BAFTA’S WORK
We are an industry of storytellers. Stories change lives – they influence how we think and how we behave, and they inspire us. It is crucial that the stories that are being told, and the storytellers, truly reflect the society we live in.
To ensure this the screen industries must be open to talented people from all backgrounds. At BAFTA we work year-round to identify and
tackle barriers to opportunity, ensuring that the next generation of screen arts creatives are supported to fulfil their creative potential.
BAFTA is an independent arts charity and we need to raise all our own income. To support our work we rely on income from individual donations, trusts, foundations, corporate partnerships and membership subscriptions.
Find out more: fundraising@bafta.org
ani M aT i O n
JURIES & CHAPTERS
Katherine Bidwell Chair
Chloé Bonnet
Daniel Lim
Franck Laurin
Guy Midgley
Ruthie Nielsen
Rachel Senior
Lidia Sanchez Romero
Lindsay Thompson
Adam Turnbull
ar T i ST i C aC hi E v EME n T
Tara Saunders Chair
James Brace
Sebastian Brueckner
Manuel Capitani
Rachele Doimo
David Fernández Huerta
Russell Harding
Helen Kaur
Jason Latino
Caroline Marchal
John McCormack
Eugenia Peruzzo
Cari Watterton
aU di O aC hi E v EME n T
Sitara Shefta Chair
Malin Arvidsson
María Fernanda Castro Vergara
Dominique Devoucoux
Marisa Ewing-Moody
Jake Gaule
Anthony James Grand-Scrutton
David Housden
Sam Hughes
Bella Mascheroni
Agatha Molska
Dan Pugsley
Bridie Roman
d EBUT Ga ME
Charu Desodt Chair
Ben Board
Sagar Beroshi
Nick Button-Brown
Mark Choi
Kiana Firouz
Charmie Kim
Sara Machado
Dee Patel
Suzanne Tee
E vOLvin G Ga ME
Aaron Ludlow Chair
Richard Bartle
Alexey Biryukov
Laura Cheng
Luke Hardwick
Joanna Haslam
Xu He
Jasmine Kanuga
Albert Marshall
Michael Othen-Reeves
fa M i Ly
Des Gayle Chair
Adeel Amini
James Batchelor
John Drake
Luke Evans
Will Freeman
Mila Pavlin
Stefano Petrullo
Andrew Robertson
Nick Zuclich
Ga ME BE yO nd
E n TE r Tain ME n T
Imre Jele Chair
Kahlief Adams
Sam Barlow
Seth Cooper
Destina Connor
Federico Fasce
Shahid Kamal Ahmad
Louie Keight
Marina Mello
Chella Ramanan
Husban Siddiqi
Ziba Scott
Ga ME d ES i G n
Alejandro Arque
Gallardo Chair
Neil Alphonso
Bill Beacham
Suzanne Christine Brownell
Noel Chamberlain
Cordelia Chui
Tatiana Delgado
Yunquera
Annie Grudeva
Erin Louise Harrison
Jade Jacson
Anna Marsh
Max Pears
May Wong
MULT i PL ay E r
Veronique Lallier Chair
Cameron Akitt
Gemma Cooper
Nicholas Dean Scurr
Nellie Hughes
Stephen Hutchins
Cinzia Musio
Alexander Rehm
Abby Sherlock
MUS i C
Anna Mansi Chair
Lydia Andrew
Stuart Burnside
Lori Cromwell-Charron
Colin Andrew Grant
Jade Leamcharaskul
Kristen Aubrey Quinn
Scott Selfon
Elle Osili Wood
Kenneth C M Young
narraT iv E
Marilena Papacosta
Chair
Corey Brotherson
Charles Cecil
Epameinondas
Chalkidis
Nazih Fares
Nicolas Guérin
Molly Maloney
Jedidjah Julia Noomen
Raymond Vermeulen
Baudelaire Welch
Haley Uyrus
Mengyue Lily Zhu
n EW in TELLECTUa L
P r OPE r T y
Tony Clark Chair
Jennifer Allen
Sam D’Elia
Wayne Emanuel
Alison Fraser
Maciej Gołębiewski
Gregory Haynes
Anna Hollinrake
Matthew Horsfall
Rich Keen
Siobhan Reddy
Brenda Romero
Jennifer Schneidereit
Sarah Thomson
PE rf O r ME r in a LE adin G r OLE
Alyx Jones Chair
Karen Bryson
Natalie Chisholm
Anthony Howell
Shogo Miyakita
Shaun Mendum
Paul-William
Mawhinney
Charles Pateman
Meg Pelliccio
Andrew Pritchard
Sara Secora
PE rf O r ME r in a SUPPO r T in G r OLE
Adele Cutting Chair
Marta da Silva Violante
Amy Forrest
Tom Keegan
David Monteith
Tom Pallai
Holly Reddaway
James Stant
John Paul Sutherland
Inel Tomlinson
Kate Louise Watson
TEC hni Ca L
aC hi E v EME n T
Andrea Sancio Chair
Taylor Adams-Harriott
Danielle Cheah
John Guy Davidson
Kevin Mann
Rob McLachlan
Giuseppe Navarria
Lorenzo Rizza
Sam Roach
Nicholas Slaven
Tara Voelker
Scott Warner
C raf T C ha PTE r S
Artistic Achievement
Audio Achievement
Game Design
Performance
Technical Achievement
Craft chapters consist of academy members with specialist experience in the relative field.
For details of the voting process, including any key changes made for 2026, please visit: awards.bafta.org/entry
OFFICERS OF THE ACADEMY
Offi CE r S
HRH The Prince of Wales, K� , K � President
Dame Pippa Harris DBE
Vice-President for Television
B Oard O f Tr USTEES
Sara Putt Chair
Hilary Rosen
Deputy Chair of BAFTA & Chair, Television Committee
Emily Stillman Chair, Film Committee
Tara Saunders Chair, Games Committee
Ade Rawcliffe
Chair, Learning, Inclusion & Talent Committee
Bal Samra
Co-optee and Chair, Finance & Commercial Committee
Suzi Brennan Chair, Audit & Risk Committee
Co-optees
Sally Habbershaw
Patrick Keegan
Ralph Lee
Rosemary Leith
Andrew Miller MBE
Joyce Pierpoline
Siobhan Reddy
Board Advisors
Medwyn Jones
Marc Samuelson
Shrina Shah Chair of the Governance & Appointments Committee
Ex ECUT iv E
Jane Millichip Chief Executive Officer
M EMBE r S O f T h E Ga MES
C OMM i TTEE
Tara Saunders Chair
Des Gayle Deputy Chair
Katherine Bidwell
Tony Clark
Adele Cutting
Charu Desodt
Alejandro Arque Gallardo
Imre Jele
Alyx Jones
Veronique Lallier
Aaron Ludlow
Anna Mansi
Marilena Papacosta
Andrea Sancio
Sitara Shefta
GAMES AWARDS PARTNERS
With enduring thanks to our headline sponsor and official partners to the BAFTA Games Awards with Google Play in 2026
ACKNOWLEDGEMENTS
C E r EMO ny
BAFTA wishes to thank
Google Play
Our headline sponsor
Games developers and publishers for their invaluable assistance
Elz, Our host
Jane Douglas and Lucy James, Red carpet hosts, BAFTA online content
Alex Ingram, Portrait photography
Getty Images, Media partner
All staff at BAFTA
Multitude Media
The Story Mob Gravity Media
Additional thanks
BAFTA Breakthrough UK , supported by Netflix
PUBL i CaT i O n
Editor: Claire Marie Healy
Design: (studio) Boris Meister
Cover Art: Alice Tye
Sub-Editor: Alec Holt
Photography Director: Claire Rees
Advertising: Ellie Mason
Junior Photography Producer: Rebecca Gray
Printer: Gavin Martin Colournet Ltd
Best Game nominee imagery used with kind permission from the distributors.
Portrait of Ilkka Paananen: Joonas Brandt
Portrait of Tyler Rotheram: BAFTA/Alecsandra Dragoi
Young Game Designer artworks by: Ethan Dale (Dodo A Gogo), Tanisi Rawat (The Undead), Luke Rayfield (Furniture Fu), Marcella Godoy (Whispers of the Realms)
Although every effort has been made to ensure the accuracy of the information contained in this publication, the Publishers cannot accept liability for errors or omissions. No part of this publication may be reproduced without the written permission of BAFTA.
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