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What the outlook actually argued
The outlook is available to most readers only through secondary coverage. This article relies on Jordan Fragen’s GamesBeat summary, published June 5, 2024 and updated June 18, 2025, which describes Deloitte’s 2024 Gaming Outlook and its Digital Media Trends survey. The original Deloitte report, its survey methods, and the Newzoo material cited for one revenue statistic were not examined directly. Sample sizes, field dates, and question wording are therefore not available here, and the figures should be read as GamesBeat reported them.
Transmedia: stories that travel across media
The outlook treats story-driven experiences and game-to-film adaptations as an opportunity. In the reported survey, a majority of players preferred single-player, story-driven games, which suggests that narrative depth still matters to a large share of the audience.
A discovery signal, not a sales formula
The most directly relevant figure is that 52% of surveyed Gen Z and millennial gamers decided to play a specific game after watching a specific TV show or movie (Deloitte, 2024, as reported by GamesBeat). That is a reported discovery pathway: a familiar story on screen led some players to a game. It does not show that every adaptation succeeds, and it does not measure how much revenue a film or series adds to a game’s sales. Those are separate questions the summary does not answer.
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An established audience with newer entrants
The same summary reports that 60% of gamers had played for more than ten years. About 20% of surveyed players, and 25% of women players, began within the previous four years (Deloitte, 2024, as reported by GamesBeat). The contrast matters for transmedia. A franchise with a film or series behind it may reach newer players who have no history with the game, while long-tenured players may already know the brand. Each group responds to a different kind of recognition, and the summary does not break down which approach works for which group.
Who is playing: regular-play rates by generation
The outlook’s audience figures set the context for both avenues. The summary reports that 61% of U.S. consumers played games regularly, averaging nine hours of play per week (Deloitte, 2024, as reported by GamesBeat). The generational breakdown of regular play is shown below. The summary does not state whether these generational rates cover only U.S. respondents.
| Generation | Regular play rate |
|---|---|
| Gen Z | 85% |
| Millennials | 78% |
| Gen X | 60% |
| Boomers | 35% |
Source for all rows: Deloitte, 2024, as reported by GamesBeat.
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Revenue concentration: a few titles, most of the money
The GamesBeat summary attributes a market-structure statistic to Newzoo, not Deloitte: 90% of 2023 game revenue came from 43 titles (Newzoo, 2023, as cited by GamesBeat). A statistic of this kind explains why transmedia matters to publishers. If most revenue concentrates in a small number of games, a recognizable story that stands out from the rest of the catalogue can carry disproportionate weight. This is an interpretation, not a claim the summary makes, and the statistic describes the distribution of revenue, not the reasons for it.
Generative AI: a production and player-facing tool still being defined
The outlook presents generative AI as a possible response to rising development costs and as a way to support innovation. It lists these early uses in game development:
- Concept-art iteration
- Coding assistance
- Conversational non-player characters
- Translation
- Responsive game levels and digital goods
The first four mostly affect how studios build games. The last two change what players encounter. The summary expects studios to experiment more, but presents that as an expectation rather than a measured outcome. It also says studios may struggle to settle on a coherent strategy while the technology keeps changing.
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The summary does not provide evidence of proven cost savings, production quality, adoption rates, or workforce effects. It also names no vendor and offers no product comparison, so readers should not treat the list above as a verified inventory of what studios are using at scale.
Comparing the two avenues
The outlook presents transmedia and generative AI as distinct strategic avenues rather than competing products. The table compares them on how each may affect games, what kind of claim the outlook makes, and what support it gives.
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|---|---|---|---|
| Transmedia stories and adaptations | Familiar stories from TV or film may lead players to a specific game; story-driven single-player play is preferred by a majority of surveyed players | Reported survey result (52% of surveyed Gen Z and millennial gamers) | No measured link to revenue; not every adaptation succeeds; survey methods not available in this summary |
| Generative AI in production and player-facing content | Possible faster experimentation with art, code, and translation; possible conversational characters and responsive levels and digital goods | Forecast and use-case expectation, not a measured result | No data on savings, quality, or adoption; no quantified return-on-investment comparison available |
What the figures can and cannot support
The figures can support a few narrow conclusions. Recognizable stories appear to be one route by which some players find games. Regular play is high among younger generations and drops with age in the reported data. Revenue in 2023 was concentrated in a small number of titles, according to Newzoo.
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The figures cannot support broader claims. They do not establish that transmedia adaptations reliably increase sales, that generative AI lowers costs or improves games, or that either avenue is growing at a specific rate. They also cannot describe the 2026 market, since the survey and the Newzoo figures predate that year by a wide margin. Readers who want current conditions should look for newer Deloitte or Newzoo editions and check their methodology directly.
Taken as reported, the outlook identifies transmedia as a credible route to discovery among specific audiences, and generative AI as a promising but unsettled tool. Its evidence is strongest on the audience side and weakest on the economics of either approach.
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