BAFTA Games Awards 2024 Show Notes

As President of BAFTA, I am delighted to welcome you to the 2024 BAFTA Games Awards, bringing us together to celebrate the many extraordinary games made over the last year and the people who bring them to life. Occasions like tonight are wonderful showcases for the creative skill that powers the British and global screen arts, as well as providing a list of fantastic titles for players around the world to enjoy.

The screen arts are such an important part of the fabric of our nation. Our films, games and television shows are some of our best exports on the global stage, thanks to the skill, innovation and cultural dynamism of our country’s creative minds. But the industry relies on us to nurture the talent of tomorrow, so that everyone – no matter their background – has a real opportunity to tell their stories.

I know many in the room tonight have contributed to this important work in some way, whether through mentoring, offering your time to an initiative, or financial support. As a charity, BAFTA is hugely grateful to all those who support these endeavours. I am very proud to be involved with an organisation that is dedicated to breaking down barriers for the storytellers of the future. I warmly congratulate all those whose work features in this year’s longlists and nominations, and I wish you all a wonderful evening.

HRH The Prince of Wales, k . g . k . t . President of BAFTA

WELCOME

We are delighted to welcome you to the 20th BAFTA Games Awards, a special evening bringing together game developers, creatives and practitioners from around the world to celebrate the very best in games. This year, the quality and breadth has been astounding, and the nominations reflect a truly remarkable year.

Our growing community of 1,200 BAFTA Games members have voted for the nominees and winners in Best Game and British Game, with specialist juries voting in the wider craft categories. We’re grateful to them and to the BAFTA Games Committee, not only for their commitment to the Awards but also for their support of our year-round charitable work.

Games are a unique art form that allow players to become storytellers within enthralling interactive worlds. The Awards exist to champion talented creatives in all areas of development, design and production, and celebrate game making at its very best.

Tonight, we’re honoured to present the BAFTA Games Special Award to SpecialEffect for its vital work in enabling disabled young people and adults to play the games they love. Through groundbreaking use of technology, SpecialEffect brings community, agency and independence to those who would otherwise be denied the opportunity to play.

Congratulations to this year’s nominees. Have a wonderful night, and let the games begin!

Jane Millichip Sara Putt CEO, BAFTA BAFTA Chair

THE HOST

Phil Wang Takes the Controls

photography : dan fearon

Heroes are made, not born. According to Phil Wang, at least.

“ I’M ALL ABOUT IMMERSION... ABOUT FEELING LIKE I’M ACTUALLY THERE. TO THE POINT THAT I OFTEN ABANDON GAMES IF HIT POINTS COME OFF OF ENEMIES – BECAUSE THAT WOULDN’T HAPPEN IN REAL LIFE ” – Phil Wang

“Awards are a tricky gig because comedy is deprecating, but awards are celebratory,” says the stand-up comedian, writer, actor and, as of tonight, BAFTA Games Awards host. “I guess trying to do both makes me a kind of modern hero.” Known for his ultra-droll routines, the British-Malaysian comedian has released a TV comedy special (Philly Philly Wang Wang), published a book (Sidesplitter: How To Be From Two Worlds At Once), and, as a Christmas treat for us all, appeared as a charming, all-singing, all-dancing version of his persona in Wonka. Less known is the fact that Wang is a former, selfconfessed “complete games addict” who, to this day, is “still fascinated and enthralled by games.” As tonight’s host, Wang has come full circle.

what was the first ever game that really got you hooked ?

The first game I ever played was Ski Free that came with Windows 95. But I could never figure out how to escape the yeti (spoilers) so never got hooked to be honest. It’s hard to say for sure, but I think the first game I played a lot of was either Sim Theme Park on the PC or WWF War Zone on the PS1. I still know the combo for a vertical suplex ( ).

what made 2023 an exciting year for you as a player ?

This is a bit embarrassing, but it was the year I finally got a Nintendo Switch and

played my first ever Zelda (The Legend of Zelda: Breath of the Wild). I know Baldur’s Gate 3 was everyone else’s 2023 video game achievement, but for me, it was catching up with 2017. you appeared in a very fun role in one of this year ’ s bafta - nominated films , wonka . what was that like ?

It was surreal! I’d never been in a movie before, let alone a big one like that. I fractured my arm on the first day. Never fractured anything before. I’ve never tap danced with Timothée Chalamet on a table before either. So, it was a lot of firsts.

as a player and a fan , what constitutes amazing storytelling and craft in games , for you ?

I love a world that feels livedin: like it existed before you picked up the controller and will continue to exist after you put it down. I’m all about immersion. About feeling like I’m actually there. To the point that I often abandon games if hit points come off of enemies, because that wouldn’t happen in real life. And of course, a good story makes a huge difference. It’s easy to overlook good voice acting and dialogue, which is vital.

bafta young game designers is one of our biggest competitions for young people . did your own love of writing and creating –and gaming – ever tempt you to get into the industry for yourself ?

Yes! I applied for a job at Rocksteady when I graduated. By which I mean I sent them an email asking if I could work there. They were very enthusiastic about it. By which

I mean they never replied. And all because I – what? –had none of the relevant experience or skills?! Their loss! Though I have actually done some voice acting for an indie game called Eliza. Check it out!

what do you think keeps you interested and passionate about the world of games , and excited about the future of the industry ? They get more and more beautiful. And more and more immersive. And more interesting, and ambitious. When I was a kid I never thought that there’d be a time when you’d have to be a full-time professional to play all the good games available. But that time is now!

THE SPECIAL AWARD

How SpecialEffect Changed The Game

text : laura kate dale

It was just a few short months ago that the video game industry reached an incredibly meaningful milestone – thanks, in no small part, to one UK charity.

“ WE FOUND WAYS DISABLED YOUNG PEOPLE COULD USE TECHNOLOGY TO ACHIEVE ACCESS TO EDUCATION. BUT PARENTS WERE SAYING TO ME, ‘WELL, THAT’S GREAT, BUT MY CHILD CAN’T PLAY WITH THEIR FRIENDS.’ AS AN EDUCATIONALIST, I KNEW THAT PLAY WAS REALLY IMPORTANT ” – Dr Mick Donegan, founder

For the first time in our industry’s history, all three major home video game consoles on sale – that’s the PlayStation 5, Xbox Series Consoles, and Nintendo Switch – support an officially licensed, mass-produced, accessibility-focused controller. While the history of accessibility-focused controllers stretches back nearly as far as video games themselves (early attempts to create adaptive controllers include those made for systems like the 1970s Magnavox Odyssey to support veterans returning from the Vietnam war) it is impossible to tell the story of accessible gaming hardware for disabled gamers – both today and over the past 17 years – without discussing the exceptional work done by SpecialEffect. Tonight, the UK-based charity is being recognised with the BAFTA Games Special Award.

Founded by Dr Mick Donegan in 2007, SpecialEffect was born from a noticeable gap in support for disabled young people in accessing games, as well as a lack of perceived

empathy for the importance games play in young life. “In my former job, I was working to help young people of education age to be able to access school work.While we (had found all) sorts of ways in which people could use a range of technology to achieve access to education and communication, the parents were saying to me, ‘Well, that's great but my child can't play with their friends’,” Donegan explains. “As an educationalist, I knew that play was really important.”

“In the early 2000s more and more people were playing video games, and it became obvious this was something that those young people were missing out on,” he continues. “There was no specialist organisation in the UK that I could refer them on to.”

When Donegan formed SpecialEffect in 2007, the charity’s focus was on creating bespoke accessibility hardware setups, often through hacking existing hardware to fit new use cases. This often involved visiting disabled players in their

homes with an occupational therapist, before hacking hardware to allow for new input devices to be wired in. All of this work was done without charge, including necessary return visits if a player’s access needs changed –in the process ensuring that no financial burden was placed on the families to access the tools they needed.

The charity also dedicated time to attending games conventions, so it could showcase technology to the public. This outreach undoubtedly acted as an early catalyst for changing attitudes toward games accessibility here in the UK: booths demonstrating technology such as gaze tracking was applied in a way that made those advancements feel exciting for everyone.

“You see people trying out something like eye-controlled games and you just see it in their faces – they just start to get it,” adds SpecialEffect communications officer, Mark Saville. “When they finish the demonstration there’s

this moment of: ‘Yes, I can see what this means to somebody now’.”

While much of SpecialEffect’s work hasn’t changed since its founding, one area they have expanded into is direct outreach work with developers and publishers. Both the Xbox Adaptive Controller and PlayStation Access Controller were developed in consultation with SpecialEffect, and the mass production of those modular controller bases has done a huge amount to lower the barrier of entry of the cost of accessible gaming hardware and setups. While some players still require bespoke hardware, for many others these controllers have brought accessible hardware to a price point that can be accessed without that financial support. While video game accessibility is currently experiencing a huge surge of positive momentum across the industry, with dedicated job roles at game studios being created in recent years to push accessibility further forward,

it’s important to remember how things were when SpecialEffect formed. While dedicated organisations were out there trying to advocate for accessibility support, video game accessibility was still well over a decade from becoming a topic of mainstream conversation.

In the current moment, games focusing on software-based accessibility are receiving award nominations for that work, and major games websites are including coverage of such features in game reviews. However, in the background, SpecialEffect continues doing pivotal work to make sure that financial, educational and physical barriers don’t prevent disabled players from having the best chance possible of playing the kinds of video games we all love.

HOLLY REDDAWAY KITT BYRNE MICHAEL ANDERSON

THE BREAK THROUGHS

The producer, game designer and voice and performance director on the state of the industry, the Breakthrough experience, and the rollercoaster of their careers so far

text : aoife wilson photography : vivek vadoliya

In a difficult moment for the games industry, BAFTA Breakthrough UK, supported by Netflix, continues to open doors. Meet three of the games talent from the 2023 cohort: Michael Anderson – (producer, Desta: The Memories Between), Kitt Byrne (2D artist/game designer, Gibbon: Beyond the Trees), and Holly Reddaway (voice and performance director, Baldur’s Gate 3) – as they discuss where their paths have taken them.

michael anderson :

I think my degree was literally just called Computer Games: it was the first year they’d done it. I soon realised I hadn’t learned enough in one area to become a junior anything. I’d always heard that you can become a games tester, then once you’re in, you can branch out. I ended up finding a job at Sega, continued up the games testing ladder, became a QA lead, then a friend told me about this place called ustwo. That’s where I am still after 11 years.

kitt byrne : Like Mike, I desperately wanted to work in games growing up, and I always really liked art as well. So, I studied Graphic Arts because at the time, there were only two games courses in the country, and they were both too close to home! (laughs) But it was tricky to get into the industry. I’ve been through all sorts of jobs; I worked in retail, I worked in TV. And then I got onto a Channel Four production trainee scheme. For one year, they had a placement at a games

company, and I got it. I went away and worked in the children’s publishing industry for a bit, upskilled my art directing and illustration, then worked my way back into games as an artist.

holly reddaway : I got into voice directing initially because I was working in theatre; I did a drama degree, and then I trained at Lamda on their MA Directing course, which is largely theatre-based training. I made lots of friends that were acting in games at that time, and that’s how I got the idea to voice direct. It’s really a validating, liberating experience to be recognised by BAFTA. Particularly as a freelancer, I’m always thinking about the next job and what I need to be doing to build a sustainable career, and that sometimes feels all-encompassing.

kb : It’s such a huge and amazing industry, but that can be scary sometimes when you’re fighting to get into it. To be uplifted by BAFTA and be told, ‘this is good enough,

“ THE STORYTELLING IN GAMES IS COMPLETELY UNPARALLELED, IT’S SO AMBITIOUS, AND IT’S SO DIVERSE ”

– Holly Reddaway

you’ve earned a place here’, has really changed my outlook on my future completely.

ma : You’ve used up all the best words! Can I add the word ‘affirming’? Personally, I always flip-flop between being like, ‘I’m awesome. I suck. I’m awesome. I suck.’ I never know which day I’m gonna have. Knowing that people I respect think my work is good is super important to me. We’ve also connected with the global cohort as well, to see if (we can) have a meet up. Just knowledge-share. More friends is always good.

kb : Agreed! As an indie developer, it’s so important to meet people. Holly, for

example – I’ve never met a voice director, especially working on a huge game. The industry can be quite partitioned off in many ways, and it’s too easy to just get stuck in your own discipline.

hr : There’s a real generosity in the games industry, and a real, deep sense of camaraderie. I’ve really found that, having been part of previous BAFTA programmes like Crew and Connect. What feels special about Breakthrough, because it’s such a small group of us all hitting the same moment at the same time, is that it feels like the most distilled version of the way in which BAFTA fosters community.

“ IT’S BEEN COMFORTING TO SEE PEOPLE LOOKING OUT FOR EACH OTHER ”

– Kitt Byrne

ma : For me, it’s been great speaking with people like Funmi (Olutoye) who works in TV, because that’s a completely foreign world to me. And of course, from film, my close personal friend Bella Ramsey was there on the photo shoot. That was cool. (laughs)

kb : I thought the career coaching session was incredible. What it really did for me was help expand my mind to what the possibilities could be, beyond what was probably a very timid view of, ‘oh, maybe one day I’ll direct my own company.’ The career coaching was very much like: ‘Maybe one day you’ll run the whole industry!’ At the

same time, this is an industry that’s gone through quite a few ups and downs. It’s been comforting to see people looking out for each other. Whenever you hear that a company has laid off workers, everybody’s rallying around, and making space for support.

hr : Games are such an incredible tool for empathy. Lots of my family and friends were like, “Oh, why have you moved into games?”

It’s because the storytelling in games is completely unparalleled, it’s so ambitious, and it’s so diverse. As you say, it’s been so brilliant to see everyone turning up and supporting each other.

ma : People are going to know the state of the industry right now. It’s completely fine if you have a year or two doing something that seems random. No one’s going to look down on you for that. I think you can still be noodling away at stuff, keeping that blade sharp, and waiting for the right opportunity to pop up. I managed to get on a panel at BAFTA when we were working on Monument Valley 2, talking about how we got into the industry. After the panel, a young Black man came up to me, he was really interested in getting into games. I was just telling him what I did, where I worked, telling him to keep going. Then a few years pass, and BAFTA and ustwo Games are doing another event. And (this man) was like, “Hi, I spoke to one of your colleagues Mike before, and now I’m a games person –I just wanted to thank him for helping me stay on the path.” That feels better than winning awards on stage: being able to use my experience to help someone else.

hr : It’s been amazing to see how people can have an idea and they can make it, and those games can be shared all the way through into the AAA space, with developers being braver with pushing the boundaries of what storytelling can do. I’m excited to see the stories that we tell next.

THE YOUNG GAME DESIGNERS

The classes of 2010-2023 fuelling the industry today

After 14 years of BAFTA Young Game Designers – our initiative that inspires and supports young people to create, develop and present a new game idea to the world – the previous winners are beginning to strike out on their own and spread throughout the industry. Allowing 10 to 18 year olds to channel their love of games into creative expression, the journeys of our YGD alumni are testament to the power that early-career mentoring, masterclasses and networking can have on shaping young futures. We went back into the archives to see where it all began...

Aysheq Hussain: Imagibots, 2016

Hussain won Game Concept (10-14) in 2016 with a game that saw robots fly over Egyptian pyramids; later, he was a threetime finalist in Game Making in 2018, 2021 and 2022 across the different age categories. In 2023, Aysheq became a judge for the competition and also began an internship at Tencent Games in Liverpool. As he says, “I’d like to thank BAFTA for the support in putting me forward as a recommendation for the internship. I’m going to make the most of the opportunity.”

Joe Straker: Guiding Light, 2020

“The support BAFTA has given and continues to give me has been absolutely incredible in terms of my personal and career development,” says Straker, who was a game concept finalist in 2020 and 2021 and has stayed part of the BAFTA YGD community through events and judging for the competition. In 2023, Joe began with Criterion Games as Producer Intern. “I sat on the final round jury for this year’s BAFTA YGD competition and attended the finalists showcase this year – it was such a great experience!”

Sophia Shepherd: Tea and Tartlets, 2018

“YGD has changed my life in so many ways,” says former two-time finalist Sophia Shepherd, who is currently on placement at Rare Ltd as a technical art intern, contributing to the development of their new IP, Everwild, all the while pursuing her studies in Computer Science at the University of Bath. “There are just so many awesome games and creative people. It’s amazing.”

Brendan Cheung, 2015 and 2016

“Participating in BAFTA YGD has been an amazing experience,” says Brendan Cheung, finalist in Game Making in both 2015 and 2016 and now working for ed tech company The Night Zookeeper, where he has implemented his own storytelling mechanic (above). Cheung has also toured the UK with BAFTA to run games workshops as part of our primary school roadshow with Place2Be, of which he says, “the exposure to new experiences and opportunities has allowed me to develop my skills and meet other talented individuals.”

20 YEARS OF GAMEPLAY

BAFTA Games through the decades

The world of games today is almost unrecognisable from the one BAFTA entered in 2004: we trace the highlights of the eras in between.

Above and following spread:

©BAFTA/Greg Williams, 2023

Laya DeLeon Hayes

2004

Hosted by Bill Bailey, the inaugural BAFTA Games Awards were more platform-specific than they are today – think, ‘Best Xbox Game’, ‘Best PlayStation game’ – with one major winner, among nominees including Call of Duty (2004) and The Legend of Zelda: Wind Waker, being Grand Theft Auto: Vice City (all classics in their respective franchises).

2006

This is the year BAFTA aligns games alongside film and television as its third official sector: showcasing how important games as an art form is to its goals as an organisation.

2007

Legendary games designer Will Wright (left) becomes the first ever BAFTA Fellow for games: yes, that’s the mind behind SimCity, SimEarth, SimAnt and, of course, The Sims (can you hear the music in your head?). Come 2011, he also helped BAFTA Games launch in the US.

2020

2 April 2020: a date which immediately brings to mind the dawn of working from home, widespread lockdowns and travel bans. But it was also the date of the 16th BAFTA Games Awards – heroically hosted by Dara Ó Briain as a livestream from his home, instead of at the Queen Elizabeth Hall as planned. If anyone can adjust to streaming ceremonies instead of attending them in person, it’s the games community.

2021

This year, Siobhan Reddy receives the Fellowship, BAFTA’s highest accolade bestowed upon an individual. Studio director at Media Molecule, Reddy’s win is one of many that showcases the role of women in the games industry and heralds the

“ GAMES ARE IN THE PROCESS OF DIFFUSING OUT INTO CULTURE AND SPREADING ACROSS ALL THESE DIFFERENT PLATFORMS. YEAR AFTER YEAR, GAMES ARE PERMEATING OUR CULTURE AND I DON’T THINK THEY WILL BE DYING OFF ANY TIME SOON ”

– Will Wright, 2007

levelling of the playing field. Since their introduction over 10 years prior, the performer categories in the Games Awards have been gender-neutral, and more women than men have won those categories. This is one of the ways the games industry is sending a clear signal about the exceptional contribution that women make to its culture. “Representation in all forms has come a long way in film, games and television,” said BAFTAwinning performer Kimberly Brooks (below) in 2022. “We are now seeing ourselves reflected in these mediums more than ever, and it’s really exciting to be a part of it.”

2024

Tonight’s nominations bring us full circle back to where it all began: with many sequels of games that won at the first BAFTA Games Awards, such as Call of Duty: Modern Warfare III and The Legend of Zelda: Tears of the Kingdom, being nominated again tonight.

ANIMATION

marvel ’ s spider - man 2 Development Team

Insomniac Games/

Sony Interactive Entertainment

star wars jedi : survivor Development Team

Respawn Entertainment/ Electronic Arts

super mario bros . wonder Development Team

Nintendo EPD/Nintendo

alan wake 2 Development Team

Remedy Entertainment/ Epic Games

hi - fi rush Development Team

Tango Gameworks/ Bethesda Softworks

hogwarts legacy Development Team

Avalanche Software/ Warner Bros. Games

ARTISTIC ACHIEVEMENT

alan wake 2

Development Team

Remedy Entertainment/ Epic Games

baldur ’ s gate 3

Development Team

Larian Studio/Larian Studio

cocoon

Development Team

Geometric Interactive/

Annapurna Interactive

diablo iv

Development Team

Blizzard Entertainment/

Blizzard Entertainment

final fantasy xvi

Hiroshi Minagawa, Kazuya

Takahashi, Naoki Kurihara

Creative Business Unit III/ Square Enix

hi - fi rush

Development Team

Tango Gameworks/ Bethesda Softworks

AUDIO ACHIEVEMENT

the legend of zelda : tears of the kingdom

Development Team

Nintendo EPD/Nintendo

marvel ’ s spider - man 2

Development Team

Insomniac Games/

Sony Interactive Entertainment

star wars jedi : survivor Development Team

Respawn Entertainment/ Electronic Arts

alan wake 2

Development Team

call of duty : modern warfare iii Development Team

Sledgehammer Games/ Activision

Remedy Entertainment/ Epic Games hi - fi rush

Development Team

Tango Gameworks/ Bethesda Softworks

BEST GAME

alan wake 2

Development Team

Remedy Entertainment/ Epic Games

baldur ’ s gate 3

Development Team

Larian Studio/Larian Studio

the legend of zelda : tears of the kingdom Development Team

Nintendo EPD/Nintendo

dave the diver

Development Team

MINTROCKET/ MINTROCKET

marvel ’ s spider - man 2

Development Team

Insomniac Games/ Sony Interactive Entertainment

super mario bros . wonder Development Team

Nintendo EPD/Nintendo

BRITISH GAME

Development Team

Bytten Studio/Raw Fury

dead island 2

Development Team

Dambuster Studios/ PLAION cassette beasts

disney illusion island

Development Team

Dlala Studios/Disney

football manager 2024

Development Team

Sports Interactive/ SEGA Europe

viewfinder

Development Team

Sad Owl Studios/ Thunderful Publishing

warhammer age of sigmar : realms of ruin

Development Team

Frontier Developments/ Frontier Developments

DEBUT GAME

stray gods : the roleplaying musical Development Team

Summerfall Studios/ Humble Games

venba

Abhi, Sam Elkana, Shahrin Khan Visai Games/Visai Games

viewfinder Development Team

Sad Owl Studios/ Thunderful Publishing

Geometric Interactive/ Annapurna Interactive

dave the diver Development Team

MINTROCKET/ MINTROCKET cocoon Development Team

dredge Development Team

Black Salt Games/ Team17 Digital

EVOLVING GAME

forza horizon 5 Development Team

Playground Games/ Xbox Game Studios

genshin impact Development Team

HoYoverse/HoYoverse

no man ’ s sky Development Team

Hello Games/Hello Games

cyberpunk 2077 Development Team

CD PROJEKT RED/

CD PROJEKT RED

final fantasy xiv online Development Team

Creative Business Unit III/ Square Enix

fortnite Development Team

Epic Games/Epic Games

hi - fi rush

Development Team

Tango Gameworks/ Bethesda Softworks

FAMILY

hogwarts legacy Development Team

Avalanche Software/ Warner Bros. Games

super mario bros . wonder Development Team

Nintendo EPD/Nintendo

Geometric Interactive/ Annapurna Interactive

dave the diver Development Team

MINTROCKET/ MINTROCKET cocoon Development Team

disney illusion island Development Team

Dlala Studios/Disney

GAME BEYOND ENTERTAINMENT

chants of sennaar

Julien Moya, Thomas Panuel

Rundisc/Focus Entertainment

goodbye volcano high

Development Team

KO_OP/KO_OP

tchia

Phil Crifo, Marilou

Lopez-Aguilera, Thoanë Thomadra

Awaceb/Kepler Interactive

terra nil

Development Team

Free Lives/Devolver Digital

thirsty suitors

Development Team

Outerloop Games/ Annapurna Interactive

venba

Abhi, Sam Elkana, Shahrin Khan

Visai Games/Visai Games

GAME DESIGN

the legend of zelda : tears of the kingdom Development Team

Nintendo EPD/Nintendo

marvel ’ s spider - man 2 Development Team

Insomniac Games/ Sony Interactive Entertainment

viewfinder Development Team

Sad Owl Studios/ Thunderful Publishing

MINTROCKET/ MINTROCKET cocoon Development Team

Geometric Interactive/ Annapurna Interactive dredge

dave the diver Development Team

Joel Mason, Alex Ritchie, Nadia Thorn

Black Salt Games/ Team17 Digital

MULTIPLAYER

baldur ’ s gate 3 Development Team

Larian Studio/Larian Studio

forza motorsport

Development Team

Turn 10 Studios/

Xbox Game Studios

party animals

Development Team

Recreate Games/ Source Technology

super mario bros . wonder Development Team

Nintendo EPD/Nintendo

call of duty : modern warfare iii Development Team

Sledgehammer Games/ Activision

diablo iv Development Team

Blizzard Entertainment/

Blizzard Entertainment

alan wake 2

Development Team

Remedy Entertainment/ Epic Games

MUSIC

assassin ’ s creed mirage

Development Team

Ubisoft/Ubisoft

baldur ’ s gate 3

Borislav Slavov

Larian Studio/

Larian Studio

the legend of zelda : tears of the kingdom

Development Team

Nintendo EPD/Nintendo

marvel ’ s spider - man 2

John Paesano, Scott Hanau, Keith Leary

Insomniac Games/

Sony Interactive Entertainment

star wars jedi : survivor

Gordy Haab, Stephen Barton

Respawn Entertainment/ Electronic Arts

NARRATIVE

final fantasy xvi

Kazutoyo Maehiro,

Michael-Christopher Koji Fox

Creative Business Unit III/ Square Enix

the legend of zelda : tears of the kingdom

Development Team

Nintendo EPD/Nintendo

star wars jedi : survivor Development Team

Respawn Entertainment/ Electronic Arts

alan wake 2

Development Team

Remedy Entertainment/ Epic Games

baldur ’ s gate 3

Development Team

Larian Studio/ Larian Studio

dredge

Joel Mason, Alex Ritchie, Nadia Thorn

Black Salt Games/ Team17 Digital

NEW INTELLECTUAL PROPERTY

chants of sennaar

Julien Moya, Thomas Panuel

Rundisc/Focus Entertainment

dave the diver

Development Team

MINTROCKET/ MINTROCKET

dredge

Development Team

Black Salt Games/ Team17 Digital

hi - fi rush Development Team

Tango Gameworks/ Bethesda Softworks

DON’T NOD/ DON’T NOD

viewfinder Development Team

Sad Owl Studios/ Thunderful Publishing jusant Development Team

PERFORMER IN A LEADING ROLE

amelia tyler Narrator

Baldur’s Gate 3

cameron monaghan

Cal Kestis

Star Wars Jedi: Survivor

neil newbon Astarion

Baldur’s Gate 3

samantha b É art

Karlach

Baldur’s Gate 3

yuri lowenthal

Peter Parker

Marvel’s Spider-Man 2

nadji jeter

Miles Morales

Marvel’s Spider-Man 2

PERFORMER IN A SUPPORTING ROLE

andrew wincott

Raphael

Baldur’s Gate 3

debra wilson

Cere Junda

Star Wars Jedi: Survivor

ralph ineson

Cidolfus “Cid” Telamon

Final Fantasy XVI

sam lake

Alex Casey

Alan Wake 2

tony todd

Venom

Marvel’s Spider-Man 2

tracy wiles

Jaheira

Baldur’s Gate 3

TECHNICAL ACHIEVEMENT

the legend of zelda : tears of the kingdom

Development Team

Nintendo EPD/Nintendo

alan wake 2

Development Team

Remedy Entertainment/ Epic Games

final fantasy xvi

Ryota Suzuki, Yasuhiro

Yanamoto, Kei Honda

Creative Business Unit III/ Square Enix

horizon call of the mountain Development Team

Guerrilla and Firesprite/ Sony Interactive Entertainment

marvel ’ s spider - man 2 Development Team

Insomniac Games/ Sony Interactive Entertainment

starfield Development Team

Bethesda Game Studios/ Bethesda Softworks

meet the sponsor

Tales of fellowship and betrayal, do-or-die fights for survival and a perilous quest to find a missing princess. The stakes for just some of the nominees for this year’s EE Players’ Choice Award are as high as our ambition with EE to be the UK’s number one destination for gaming.

I’m proud to say the EE Players’ Choice Award is the only category voted for by the public. A huge part of the purpose of our partnership with BAFTA Games is to give the gaming community an opportunity to have their voice heard, so we’ve asked gamers to choose the title that has had the greatest impact on them over the past year, regardless of console or platform.

So, congratulations to the nominees: Baldur’s Gate 3, Cyberpunk 2077, Fortnite, Lethal Company, Marvel’s Spider-Man 2 and The Legend of Zelda: Tears of the Kingdom. Being chosen for the shortlist by our expert jury is impressive, but I can’t wait to see which one takes on the final level boss that is the gaming public, and wins.

marc allera ceo , ee

EE PLAYERS’ CHOICE AWARD

the legend of zelda : tears of the kingdom

Nintendo EPD/Nintendo

lethal company Zeekerss/Zeekerss

marvel ’ s spider - man 2

Insomniac Games/ Sony Interactive Entertainment

All nominations correct at time of press.

baldur ’ s gate 3

Larian Studio/Larian Studio

cyberpunk 2077

CD PROJEKT RED/

CD PROJEKT RED

fortnite

Epic Games/Epic Games

Cassie Hughes (@GeekyCassie)

HOW TO GET INVOLVED

We are an industry of storytellers. Stories change lives –they influence how we think, 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.

We work year-round to identify and tackle barriers to opportunity, ensuring that the next generation of filmmakers, game designers, and 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.

To find out more, and to explore ways you could support, contact: fundraising@BAFTA.org

THE JURIES

juries animation

Jim Jagger (Chair)

Bruno Velazquez

Gavin Strange

Harvey Newman

Hollie Newsham

Mike Jungbluth

Nathan Zufelt

Richard Oud

Shawn Kelly

Vanessa Spiers artistic achievement

Del Walker (Chair)

Alisa Rastorgueva

Antoine Dekerle

Eugenia Peruzzo

Jeryce Dianingana

Liam Wong

Lisette Titre-Montgomery

Sam Hogg

Tamoor Hussain

Yaser Hussain

audio achievement

Adele Cutting (Chair)

Georgia Mae Ayling

Jey Kazi

Kevin Regamey

Kristen Quinn

Lisa Devon

Lydia Andrew

Malin Arvidsson

Robert Krekel

debut game

Jonathon Wilson (Chair)

Adrian Townsend

Alexander Sliwinski

Alexis Trust

Claire Bromley

Corey Brotherson

Freddie Babord

Karla Reyes

Loukia Kyriakidou

Sophie Watson

evolving game

Sam D’Elia (Chair)

Anthony King

Erin Louise Harrison

Frankie Ward

Jamie Smith

Krys Loh

Liana Ruppert

Luca Galante

Sarah McCue

Will Lowther

family

Katherine Bidwell (Chair)

Dan Da Rocha

Jennifer Allen

John Lau

Lisy Kane

Liz Mercuri

Marie Foulston

Matthew Horsfall

Nikki Stearman

Reece Millidge game beyond entertainment

Giles Armstrong (Chair)

Anna Hollinrake

Ben Maltz-Jones

Brittney Morris

Franco Freda

James Batchelor

Leon Killin

Michael Anderson

Nareice Jade Wint

Peter Stewart

Sagar Beroshi

Samantha Béart

Yasmine Latkowski game design

James Brooksby (Chair)

Andy Santos

Annie Grudeva

David Millard

Gareth Sissons

Jess Hider

Joanna Haslam

Richard Jolly

Tara Mustapha

Tim Stobo

multiplayer

Nick Button-Brown (Chair)

Alysia Judge

Ben Board

Catherine Chew

Emily Bailey

Jennifer Schneidereit

Michael Othen-Reeves

Susan Cummings

Victoria Caña music

Li Ma (Chair)

Danai Kokogia

Helen Lynch

Janice Kwan

Julie Elven

Paul Wolinski

Richard Jacques

Xiao-Xiao Zhu narrative

Des Gayle (Chair)

Alejandro Arque Gallardo

Alice Winter

Claire Downs

Kate Watson

Kristi Anderson

Matthew Reynolds

Nic Yulo

Olivia Wood

Sam Barlow

Sarah Northway

new intellectual property

Anisa Sanusi (Chair)

Arne Meyer

Caspian Whistler

Charles Cecil

Charu Desodt

Jazeena McCallum

Jun Shen Chia

Matt Gardner

Melissa Phillips

Thomas Hegarty performer in a leading role

Anisa Sanusi (Chair)

Abubakar Salim

Adam Ritchie

Caroline Marchal

Dominique Moore

Jodie Azhar

Manon Gage

Mike Fisher performer in a supporting role

Rosemary Buahin (Chair)

Anna Rust

Benjamin Aboagye

Jessica Jefferies

Marta da Silva

Matthew Beckett

Meg Clarke

Midas Whittaker

Natalie Chisholm

Ross Griffith

Shay Thompson

Walles Hamonde

technical achievement

Lucy Boxall (Chair)

Cissy Biri

Emma Bruce

Jake Tucker

Jing Tan

Joshua Baldwin

Kish Hirani

Rocco Scandizzo

Sitara Shefta

ee players ’ choice award

Des Gayle (Chair)

Aaron Potter

Ali Plumb

Blueyed Beth

Elle Osili-Wood

Elz the Witch

Keza Macdonald

Leahviathan

Marcus Bronzy

Sam Loveridge

Vicky Jessop

Yinsu Collins

For details of the voting process, including any key changes made for 2024, please visit: awards.bafta.org/entry

Congratulations to all nominees and winners From BAFTA’s official scrutineers. Recognising talent, achievement and impact, together. deloitte.co.uk/TMT

© 2024 Deloitte LLP. All rights reserved.

OFFICERS OF THE ACADEMY

officers

hrh the prince of wales , kg kt President of BAFTA

barbara broccoli cbe Vice-President, Film

david gardner obe Vice-President, Games

dame pippa harris dbe Vice-President, Television board of trustees

sara putt Chair of BAFTA

julie la ’ bassiere

siobhan reddy Deputy Chairs of BAFTA

anna higgs Chair, Film Committee

ade rawcliffe Chair, Learning, Inclusion and Talent Committee

hilary Chair, Television Committee

tara Chair, Games Committee

bal Co-optee and Chair, Commercial Committee and Chair, Governance and Appointments Committee

paul taiano obe Co-optee and Chair, Finance, Audit and Risk Committee co - optees

Kathryn Busby

Patrick Keegan

Elliot Knight

Andrew Miller mbe honorary advisors

Medwyn Jones

Marc Samuelson

executive

jane millichip

Chief Executive Officer committees

elected members of the film committee

Anna Higgs Chair

Emily Stillman Deputy Chair

Anthony Andrews

Geraldine Atlee

Nainita Desai

Alexa Jago

Julie La’Bassiere

David Proud

Jason Solomons

Clare Stewart

elected members of the games committee

Tara Saunders Chair

Des Gayle Deputy Chair

Katherine Bidwell

Nick Button-Brown*

James Brooksby

Anisa Sanusi

Del Walker

elected members of the television committee

Hilary Rosen Chair

Christine Healy Deputy Chair

Adeel Amini

Furquan Akhtar

Emma Butt

Rajiv Nathwani

Ade Rawcliffe

Beryl Richards*

Sue Vertue

Claire Zolkwer

* Children’s Representatives

GAMES AWARDS

PARTNERS

With enduring thanks to our Audience Award sponsor and official partners to the BAFTA Games Awards in 2024.

AUDIENCE AWARD SPONSOR

ACKNOWLEDGEMENTS

bafta wishes to thank ...

the games committee

Tara Saunders Chair, Des Gayle Deputy Chair, Giles Armstrong, Katherine Bidwell, Lucy Boxall, James Brooksby, Rosemary Buahin, Nick Button-Brown, Adele Cutting, Sam D’Elia, Li Ma, Anisa Sanusi, Del Walker, Jonathon Wilson

sara putt Chair of BAFTA

julie la ’ bassiere , siobhan reddy Deputy Chairs of BAFTA

Games voting juries and members

The games companies and publishers for their invaluable assistance

phil wang Our host

lucy james , jane douglas Red carpet hosts

james farmer , glenn moore , katie storey , phil wang

Script

OB Services – EMG Multitude Media – PR

The Story Mob – PR

Bobbi Brown – Beauty Provider

Edward James – Hair Styling Provider

Champagne Taittinger reception and Post-Awards dinner soundtracked by Black Screen Records – your specialist record label, vinyl producer & distributor for video game soundtracks.

AT BAFTA

executive director of awards & content

Emma Baehr

head of awards head of games

Kelly Smith Luke Hebblethwaite

games officer games coordinator

Lewis Peet Tia Wedderburn

awards

Chloe Fraser, Daljit Billen, Deirdre Hopkins, Edward Hubbard, Katie Warren, Meghana Krishnamurthy, Natalie Gurney, Nick Boocock

executive producer executive producer

Cassandra Hybel of games awards

Rebecca Hardy producer

Harry Balmforth productions

Daniel Dalton, Ella Coveney, Georgia Maskery, Jamie Rowland, Jasmine Mounir, Joe Okell, Kristen Helmick, Lauren Prince, Victoria Walker

head of events event producer

Lucy Waller Natalie Stone events

Ewan Pollitt, Penney Chu, Phil Harrison, Phoebe Barden, Reon McLeod, Siobhan Pridgeon, Sophie Griffiths

continued ...

executive director of partnerships & fundraising head of partnerships

Louise Robertson Kathryn Thomas partnerships

Amy Elton, Elizabeth Garshasbi, Emma Tarcy, Olivia Young, Ute Müller

executive director of pr & communications

Donna Mathews

pr & communications

Augustin Wecxsteen, Benn Bennett, Caoimhe Foran, Catie Poust, Chidera Ajuzie, David Dougherty, Jennie Haines, Lisa Wehrstedt, Lorna Gibson, Luka Kenyon, Natalie Paszkowski, Nayumi

Suyama, Nick Williams, Paul MacMahon

membership

Conor O’Hart, Courteney Mclune-Calvin, Erin Howard, Jackie du Bled, Timothy Hughes finance

Aleksandra Zdziebko, Dillon Silva, Louis Lyle, Michelle Diep, Paige Jackson

In 1865, The Langham, London first opened its doors. Recognised as Europe’s first ‘Grand Hotel’, it sought to revolutionise the luxury hotel experience.

159 years later, many things have changed, but the hotel remains one of the world’s most iconic hotels — famed for its legendary hospitality. Along with an innovative spirit and playful heritage, The Langham, London continues to captivate and delight its guests with personalised, attentive service.

1c Portland Place, Regent Street, London W1B 1JA

T (44) 020 7636 1000

F (44) 020 7323 2340

langhamhotels.com/london

CREDITS

editor design & cover art

Claire Marie Healy

Abigail Bills

photography director ad sales

Claire Rees

Emma Tarcy, Ute Müller

junior producer , photography

Jordan Anderson

photography assistant

Ellie Elliot printer

FE Burman Ltd

London

feburman.co.uk

BAFTA chooses Arena Smooth by Fedrigoni Paper, supporting excellence in print. Printed on Arena Smooth Extra White 350gsm (cover) and Arena Smooth Extra White 140gsm (text). Supplied by FE Burman Ltd.

The carbon impact of this paper has been measured and balanced through the World Land Trust, an ecological charity.

Certificate no.: CBP024035.

The papers used for this year’s tickets and programme are Forest Stewardship Council® certified, and are 100% recyclable. Published by

Best Game nominee imagery used with kind permission from the distributors. Executive portraits: BAFTA/Scott Garfitt (HRH The Prince of Wales); BAFTA/ Sophia Spring (Jane Millichip), BAFTA/ Ellie Smith (Sara Putt); pg.10 ©SpecialEffect

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.

bafta

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London W1J 9LN

Tel: +44 (0)20 7734 0022

reception@bafta.org

bafta.org

©BAFTA 2024

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Housed in a historic Grade II Listed building in the heart of London’s West End, BAFTA 195 Piccadilly is a world-class venue, providing five floors of innovative stateof-the-art facilities for special events.

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In gaming your worlds are infinite. In real life you only get one.

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