Rockstar Games
As the world waits for the release of Grand Theft Auto VI, one of the most anticipated <a href="https://comicvibe.com/disneyland-holiday-entertainment-2026-christmas-fantasy-parade-fireworks-santa-and-more/” title=”Disneyland Holiday Entertainment 2026: Christmas Fantasy Parade, Fireworks, Santa and More”>entertainment launches in history, its origins can still be traced back to a group of young developers working in Dundee almost 30 years ago.
The original GTA was built by Scottish studio DMA Design, laying the foundations for what would become one of the most successful video games franchises ever made.
“It was entirely the work of a Scottish team, all novices, we had no games design degrees at that point,” says Brian Baglow, who worked as a writer on the game.
“The only people who believed in it were DMA Design. The publisher wanted to kill it,” he says.
Over the last three decades, the game has sold hundreds of millions of copies while DMA Design became Rockstar North, moving to Edinburgh, and employing more than 1,000 people.
But while Rockstar is the superstar of Scotland’s gaming industry, the story extends far beyond GTA.
From Dundee to the world
Chris van der Kuyl, who co-founded VIS Entertainment in the early 1990s, says Scotland’s games industry is almost unrecognisable from the one he entered 30-odd years ago.
“When we started out, people didn’t think about Scotland at all,” he says.
“There were a few people dotted around, but the main people were DMA in Dundee.”
As the sector grew, more structured routes into games development began to emerge.
Abertay University in Dundee launched the world’s first computer games degree in 1997, helping establish a formal pathway into the industry which Van der Kuyl says created a flow of new talent which was crucial to the industry’s growth.
“Without a talent pipeline and new people coming into the industry, there would be no industry.” van der Kuyl says.
In 2005, van der Kuyl co-founded Dundee-based 4J Studios, which went on to have huge success adapting Minecraft for consoles such as Xbox and Playstation.
He estimates that those console editions have sold about 70 million copies.
“There’s no way you’d ever be able to predict that level of success for anything,” he says.
“To be part of it was amazing.”
Microsoft
His company now employs 57 people, a fraction of the size of Rockstar North but still one of the biggest games firms in Scotland.
Many of the other developers are small but still making a vital contribution to Scotland’s reputation, van der Kuyl says.
“You’ve got companies that are only two or three people doing quite interesting stuff as indie developers.” he says.
Scottish government figures show the number of games companies operating in Scotland was about 130 in 2024, up from just 15 in 2010.
Over the same period, industry turnover grew from £38.1m to £339.7m.
Van der Kuyl believes Scotland is now recognised internationally as one of the leading places to make games, comparing its reputation to established development hubs such as Sweden and the west coast of the United States.
Beyond GTA
Glasgow-based Screen Burn is another of Scotland’s most successful independent game studios, employing 27 staff.
Formerly known as No Code, the studio earned a Bafta for Best British Game in 2020 with Observation, a sci-fi mystery that puts players in control of a space station’s artificial intelligence.
The studio has recently attracted attention for its latest release, Silent Hill: Townfall, a new instalment in one of the world’s most popular horror game franchises.
Rather than being handed an existing concept, the team pitched its own story, setting the game in a fictional Scottish town.
Konami/Annapurna Interactive/Screen Burn
Screen Burn co-founder Jon McKellan says the project gave the studio a rare opportunity to put its own mark on an established franchise.
“This is our pitch, this was our story, we really put our stamp on it,” he says.
For McKellan, Screen Burn’s success demonstrates the growing diversity of Scotland’s games industry, which now includes both global giants and independent studios.
But he says the dominance of Rockstar North can make it difficult for smaller companies to attract the same attention.
McKellan describes Rockstar as “a massive, immovable object” within Scotland’s games sector.
“It’s kind of like if you spend all your water on the one plant, you’ll have one great tree and the rest of it will die out,” he says.
Konami/Annapurna Interactive/Screen Burn
His own career reflects some of those challenges.
After the Dundee studio where he landed his first job collapsed, McKellan says he had little choice but to leave Scotland to continue working in games.
“There were no other opportunities in Scotland at the time, it was either Rockstar or move down south,” he says.
He spent five years in England before returning to Scotland to create his own studio.
While Scotland’s games industry has expanded significantly, McKellan says sustaining a studio remains a challenge.
Unlike film and television, where work is often organised around individual productions, games companies often need to maintain teams through development cycles that can last several years, he says.
“We have people on salary that work year in, year out, whereas film tends to be short bursts of work,” McKellan says.
McKellan says the biggest challenge is creating enough opportunities to sustain and grow studios in Scotland, with many graduates struggling to find work in the sector.
He says Scotland already has the creative talent to compete internationally, but needs more opportunities to keep developers in the country.
“We’re maybe hiring one or two people a year, we can’t absorb every graduate that’s coming out.” he says.
For McKellan, Screen Burn’s work on Silent Hill: Townfall shows what smaller Scottish studios can achieve when given that chance.
“There’s some really great talent in Scotland. If they’re given the right opportunities, they can create a bit of a wave of cool content that people aren’t expecting,” he says.
The challenges behind success
For Baglow, who worked on the original GTA and is now a leading voice in Scotland’s games industry, the continued success of the franchise shows the strength of the sector.
“The fact that not only has it achieved the success it has, but it’s still being made here in Scotland, should be seen and championed as our biggest cultural export ever,” he says.
Baglow says the biggest challenge facing developers today is not making games, but finding players.
With development tools becoming more widely available, more people and studios can create games than ever before, he says.
While this has made development easier, it has also made competition for audiences increasingly intense.
“The challenges facing developers is not making video games, it’s now user acquisition, as in finding players,” he says.
Baglow says studios can find themselves needing a major commercial hit to survive.
“That need for a breakout consumer hit, and if you don’t get it, it kills your studio,” he says.
However, Baglow says that the expertise built within game studios – including user engagement, digital design and 3D visualisation – could be applied in other industries, ranging from healthcare and education to financial services.
“Any sector that is struggling either to build engagement with a user, a consumer, a player, or needs to teach its staff and train its staff up, there’s a role for video games in all of that,” he says.
For Baglow, Scotland’s challenge is no longer proving it can create successful games, it is ensuring the industry has the investment and support needed to build on that success.
Dundee
Edinburgh
Scotland
Gaming
