The games industry in Flanders (2024)
As part of our annual report, we report annually on the Flemish games sector. We surveyed 78 game studios on a range of operational factors. Additional input was provided for 42 Flemish video games that received VAF support and had some form of engagement in 2024.
Our work method
We established a straightforward declaration system with clear KPIs. We settled on several measuring points including, but not limited to diversity, turnover, and game figures. Only games with some form of engagement in 2024 were included in this report. Given the different business models, the following events count as instances of engagement: downloads, purchases, logins for free-to-play games, and indirect revenue generated through advertising or merchandise. In summary, any kind of activity, regardless of revenue is considered to be engagement.
We considerably increased our pool of studios. This year we contacted every studio that has ever received support for the development of videogames and is still active in the sector. Last year we only contacted studios that received production support. To avoid representational bias, we made additional analysis of trends that we noticed for studios that were present in our report in 2023 and 2024.
The data collection was limited to Flemish studios that had previously received VAF support. This corresponds to about 79,6% of all game development studios in Flanders and Brussels and represents around 35% in terms of revenue. Studios that do not request support from VAF are typically large and generate sufficient revenue to fund their projects independently of financial aid. We intend to conduct a more comprehensive survey in collaboration with federations and other relevant bodies in 2025, to include these studios in the study.
We'd like to explicitly thank the 78 studios that provided us with data, FLEGA and games.brussels for providing us with additional data, and Allie Weis for their insights on inclusion and diversity.
Last edited: 28th April 2025
In a rush? Here are eight observations.
1. In 2024, 42 VAF-supported games generated 10 million euros in revenue. This is comparable to last year's report.
2. 14 new games from 12 studios were released in 2024, of which 3 were supported by VAF and 5 VAF Alumni, which are studios that received VAF support in the past and are now partially or fully independent of our support. Additionally eleven demos were released, all of which were supported by VAF or made by alumni, and two games were rereleased on additional platforms.
3. The 78 studios were responsible for generating a whopping 22 million euros in revenue. Just under 20% from work for hire. One out of five studios didn't generate any revenue in 2024. These are studios that are at the beginning stage of their project.
4. The game sector is growing and becoming more diverse. If we compare the studios that were in both reports, we can see a growth of 4% in terms of the number of employees and 13% in terms of Full-Time Equivalents (FTEs). Additionally, the number of women employees increased (19.5% to 21%), just like employees with a disability (1.4% to 4.1%), and employees with a migratory background (3.6% to 7.3%). If we include the studios that weren't present in our 2023 report, the number of women is even higher at 21.7%.
5. Gamestudios would like to be more diverse, but encounter limits. Young studios indicate that they don't have enough resources to hire additional employees, while older studios told us that there's not enough talent. They hire based on skills, not based on the person.
6. Most studios expect stability or growth. However 6% studios fear that they'll have to shut down. The biggest challenges for gamestudios are salaries, securing private funding and finding an audience for their games.
7. 1 out of 4 younger studios don't engage with their community, because they don't find the benefits substantial enough. For older studios this is only 1 out of 10. Older studios who do communicate with their audience usually hire a community manager or develop an expansive marketingplan.
8. What is the sector's biggest need? According to our survey, there's a need for a better fiscal environment for enterpreneurial activity, for example tax credits or increase the caps for tax shelter. The higher labour costs impede growth and leads to bigger competition from abroad.
Games released in 2024
Games can be released in a number of different ways. The most common way is to release a completed game through one or more distribution channels. In 2024, 14 new Flemish games were released this way, three of which received funding from VAF and seven by Alumni*.
Sometimes a studio or publisher elects to release a game that is not yet complete. This is referred to as a preview version. In many cases in the form of a demo or prototype, where one or more levels are published. This allows the studio to cultivate a loyal community by providing people with a look behind the scenes of game development. Moreover, the team receives valuable feedback, which enables them to make changes to the game in collaboration with their fans. In some instances, the creator sells the consumer the unfinished game, usually at a discount. This method is commonly referred to as 'Early Access' or 'Paid Alpha' within the industry and allows the studio to rely on an (additional) revenue stream to complete the game while engaging its loyal community in the development process and collecting feedback. Consequently, these players are designated as ambassadors, provided with updates and eventually the full completed game. In the previous year, eleven games were made available in a trial version, seven of which had VAF support and four by Alumni*.
A third pillar of releases we labeled ‘re-release'. Games are typically developed on a single platform and subsequently adapted for other platforms. Games developed for PC will not work on PlayStation or Nintendo Switch by default; this requires meticulous adaptation and in some cases a complete overhaul of the software. This can be very costly but could reach a previously untapped audience, which is why it's recognized as an additional release, provided the original game was released in another year. In Flanders, two games appeared as ‘re-releases’ in 2024, one of them was by an Alumni*.
The fourth and final major category is expansions, which could include additional levels, game modes, items, or stories. It should be noted that this is different from a sequel. A sequel is a stand-alone game that can be purchased separately and played independently of the original game. An expansion, on the other hand, marketed as 'downloadable content' (DLC for short), 'season pass' or 'expansion', can usually only be played if you own the original game. No expansions were released in Flanders in 2023.
*A VAF Alumni is a studio that received VAF support in the past and is now partially or fully independent of our support.
Why we don't publish individual game figures
In light of the sensitive international and competitive context, we have chosen not to release individual figures. Given that games are released globally, where the market is dominated by a handful of major players, publishing figures of Flemish studios could put them at a disadvantage. Only aggregated turnover figures are published.
Furthermore, we can't provide accurate and comparable numerical data. Some games are monetised through subscription formulas, while other titles are free-to-play and generate revenue from advertisements or expansions. This makes it near impossible to make an accurate comparison between these figures, without a way to process and normalise these figures.
Turnover by category
In 2024, 42 VAF-supported games generated revenue. A closer examination of sales from these games reveals that the majority of these sales were generated by entertainment games. This is logical, given that entertainment games theoretically sell for up to 79 euros per copy for titles in the 'AAA segment', whereas educational games typically limit purchases to one copy per school, or sometimes even offer them for free. This is why cultural and social values are equally important as sales figures.
| Category | Number | Turnover |
|---|---|---|
| Entertainment | 34 | 9.349.597 EUR |
| Artistic | 4 | 49.532 EUR |
| Educational | 1 | 14.795 EUR |
| Serious | 3 | 662.712 EUR |
| Total | 42 | 10.076.226 EUR |
Game studios' turnover
A review of the aggregated business turnover of the 78 studios that participated in our survey indicates a total of € 22.1 million* in 2024. A total of 22.3% of the turnover is accounted for by ‘work for hire’ which indicates that the revenue was generated from work for third parties, rather than from the studio's intellectual property.
Many studios must guarantee a consistent revenue stream, given that it takes approximately two to three years for a game to be released, with outliers due to the complexity of the game itself, interruptions due to other projects or ‘work for hire’.
One out of five studios (20.5%) didn't generate any revenue in 2024 because they didn't combine the development of their games with 'work for hire'. The majority of these studios are young enterprises, who are in the early stages of development and have low recurring costs. Partial payment from VAF support allows them to focus entirely on developing their first game.
*This is based on definitive numbers or prognoses communicated to us in February and March 2025. This number is subject to change in June.
Total number of employees
In 2024, 78 participating studios employed 546 people or 368.99 FTEs. Due to the increase in a number of participating studios it wouldn't be accurate to compare the numbers to those of 2023, without giving an overview of the 48 studios who were included in both years. These studios' employees increased by 4% and their FTEs by 13%.
| 2023 (all) | 2024 (all) | 2023 (intersection) | 2024 (intersection) | |
|---|---|---|---|---|
| Studios | 49 | 78 | 48 | 48 |
| Employees | 426 | 546 | 422 | 439 |
| FTE* | 272,82 | 368,99 | 271,32 | 307,73 |
*FTE = Full Time Equivalent
Trends and employees
If we take a closer look at the intersection of studios in 2023 and 2024, we observe an interesting trend. Firstly the number of permanent employees is consistent: from 65.6% to 65.4%. We do observe an increase in the percentage of freelancers by 1.1 percentage points (ppt) to 17.5% while the number of interns dropped by 0.9 ppt (17.1%). Despite the turbulent international landscape where many studios had to let go of numerous employees, our sector generally remains intact.
In terms of diversity, we can observe some very positive trends. The number of women increased slightly from 19.5% to 21%. The percentage of people with a disability, including neurodiversity tripled, from 1.4% to 4.1% and employees with a migration background according to the VESOC definition* doubled, from 3.6% to 7.3%. It's very positive that the growth in the number of employees results in a more diverse sector that more accurately represents society at large.
* Under the VESOC definition, the term 'third country national' refers to an individual who possesses the nationality of a country outside the EU-15, or an individual with at least one parent or two grandparents who hold the nationality of a country outside the EU-15.
New studios and their employees
Besides the 48 studios who participated in our previous study, there are 30 studios who were included for the first time. If we include these studios, we see some remarkable shifts. The percentage of permanent employees decreases noticably to 62.8%, in favour of freelancers (21.2%). This is logical considering most of these studio's haven't released any games and have a more conservative approach with their financial means. They rely on the flexibility of freelancers to develop their first games.
In terms of gender we see a positive evolution, 21.7% of all employees are women. The fact that these younger studio's increase the percentage of women is very encouraging. The percentage of non-binary employees nearly doubles (2.3%) by adding 30 extra studios. 3 out of 4 employees identify as men, nonetheless there's been a significant increase in gender diversity due to the new studios.
Other diversity metrics are positive as well. For example, the percentage of employees with a disability, including neurodiversity, increased from 1.6% to 4.8%. The number of people with a migration background according to the VESOC definition more than doubled from 3.5% to 7.3%.
Remark: Despite the increase in the number of studios we see that the total number of studios in West Flanders remains at 7. The biggest increases in number of studios are in East-Flanders (+11), Antwerp (+8) and Flemish Brabant (+6).
* Under the VESOC definition, the term 'third country national' refers to an individual who possesses the nationality of a country outside the EU-15, or an individual with at least one parent or two grandparents who hold the nationality of a country outside the EU-15.
Employees
Gender
Diversity
Education
In regards to gender, the demographic profile of university students can be considered an indicator of the future composition of employees. Two bachelor's degrees are available in Flanders and Brussels with a focus on video games: Digital Arts & Entertainment (DAE) at Howest in Kortrijk and Game Design at LUCA in Genk. The former offers an English-language curriculum, while the latter is in Dutch. Both are open to international students and offer shorter programmes for one or more semesters in addition to the three-year bachelor's degree. LUCA offers a master's degree in Game Design and since September 2024 Howest has added a master's degree in Game Technology.
The graph below provides a detailed analysis of the Belgian students enrolled in these two programmes, with a particular focus on the total number of students and the number of students graduating in 2024 who will most likely represent the new employees of Flemish Game Studios in 2024. At Howest, 17.2% of registered students were women, which is an increase of 1.3 ppt. However, Howest does not possess data regarding non-binary individuals or any other genders besides men and women. Notably, international students account for nearly twice the proportion of women students. When including them in the calculation, the percentage of women students rises to 25.9% which is an increase of 1.4 ppt.
At LUCA, we see that 20% of the total number of students are women, which is a remarkable increase of 6 ppt. Similar to Howest international students consist of a higher percentage of women. If we include these students the total number of women students increases to 26.6% (+6.3 ppt). However, in 2023, LUCA had several non-binary students who were enrolled, which means we have no record of any non-binary students for development in 2024. The number of women students who graduated from either school decreased as well. The percentage at Howest decreased from 16.7% in 2023 to 16.2% in 2024. At LUCA there was a larger decrease from 11.1% (out of 9 students) to 4.8% (out of 21 students).
The gamesindustry remains dominated by men, but we do see a positive evolution which would lead to a more balanced pool of employees in terms of gender.
Provinces
Looking more closely at the data the geographical distribution of the 78 participating studios are interesting to say the least. East-Flanders scores highest overall in terms of number (27 studios), turnover (EUR 9.6 million) and employees (123 FTE). However, Antwerp has the best ratios, with an average of 5.8 FTE per studio and a turnover of EUR 369 000 per studio. Limburg, on the other hand has the best turnover per FTE (EUR 78K).
Remarkably, the number of FTEs/studios has decreased. Only in West-Flanders had an increase. The average turnover per studio decreased in every province except for Limburg and West-Flanders.
| Province | FTE/studio | vs 2023 | Turnover/studio | vs 2023 | Turnover/ FTE | vs 2023 |
|---|---|---|---|---|---|---|
| East Flanders | 4,6 | -1,3 | 368.959 EUR | -150k | 78.552 EUR | -10k |
| Antwerp | 5,8 | -2,4 | 348.465 EUR | -198k | 59.250 EUR | -8k |
| Limburg | 4,1 | -0,5 | 324.815 EUR | +40k | 78.647 EUR | +17k |
| Flemish Brabant | 5,1 | -1,6 | 163.168 EUR | -23k | 32.051 EUR | +8k |
| Brussels | 4,2 | -0,1 | 169.08 | -2k | 40.673 EUR | +1k |
| West Flanders | 3,7 | +1,4 | 91.492 | +12k | 25.017 EUR | -9k |
Turnover per province
Studios per province
FTEs per province
Company Size
Choosing an appropriate scale isn't easy. In general European definitions for MSE are used as a baseline where a small enterprise has less than 50 FTE and a medium-sized enterprise has less than 250 FTE. In collaboration with the federations, we made an additional breakdown for enterprises with less than 10 FTE. 58% of studios that received support from VAF fall in this category. These studios represent 40% of the total turnover. 14% of studios have more than 10 FTE, but represent 55% of the total turnover.
To take into account young studios, we looked at the studios with up to 1 FTE (28%) and studios between 1 and 4.9 FTE (42%). These start-ups represenet 23% of turnover. 3 studios who received VAF support in the past have more than 20 FTE and are responsible for 35% of turnover in 2024.
Company Size
Company Size (adjusted scale)
Company Age
A closer look at the age of the studios shows that 35 studios (45%) who received VAF-support are currently between 1 and 5 years old. They represent 25% of turnover. 21 studios (27%) are between 5 and ten years old, these studios represent 22% of turnover or nearly 5 million euros. 15 studios are older than 10 years and responsible for 53% of turnover.
These results shouldn't come as a surprise considering that any healthy company will grow yearly and achieve a larger turnover. The reverse is also logical, studios younger than 5 years (54%) only represent a quarter of total turnover. These studios are still working on their first successful games. A positive trend is however noticeable: The turnover of this group increased by 10 points, which proves that this group has found a clear path to quickly become profitable.
Work for hire: additional observations
As mentioned before, 19.98% of total income came from 'work for hire'. This means that revenue was generated from work for other companies, not from their intellectual property. Studios need to have a stable revenue stream while working on their game since it can take two to three years for a game to see the light of day.
If we analyse how much 'work for hire' is done by province, there are some interesting findings. In West Flanders, 'work for hire' is double the average (43%), presumably because of training and incubators. Limburg (16%) is one of the lowest-performing provinces in 2023. Only beaten by East Flanders, with only 7.7% of turnover originating from 'work from hire'. Last year, this was 24%.
There are considerable shifts in 'work for hire' when we look at company size. Last year 8.8% of the income of the smallest studio's (1 FTE) came from 'work for hire', this year this jumped to 30.6%. A similar evolution can be seen in companies between 1 and 5 FTE, where the 'work for hire' in these companies went from 44.7% to 70%.
We can draw similar conclusions based on the age of these studios. Studios established in 2024, rely on 'work for hire' for 50% of their turnover. The older a studio is, the less they rely on 'work for hire'. The increased focus of the smallest and youngest studios on this revenue model shows that the small studios are taking actions to remain independent, but it also points to a potentially increasing pressure on developing their IP.
Women in the industry
We have taken some time to look at the diversity above, in particular the proportion of women employees. It is well known that the games industry is male-dominated. Fortunately, efforts are being made to address this imbalance, although it remains a long-term process that requires continuous effort.
There are a number of shifts in comparison to 2023. The proportion of women employees decreased considerably in West-Flanders (22%) and Flemish-Brabant (13.8%). Which makes Flemish-Brabant the least representative province for women developers. Antwerp (27.7%), East-Flanders (21.9%) and Limburg (18.4%) shifted in the positive direction.
What caught our eye is that women are more likely to start their studios. The number of women in studios with a maximum of 1 FTE increased considerably from 18.2% to 27.8%. The largest studios have also made a considerable effort. The proportion of women here grew from 13.3% to 19.8% which means they're right below the average.
The proportion of women in recently established studios has decreased by 8.2% (from 20% to 11.8%). The biggest evolution can be seen in older studios. The proportion of women in studios between 5 and 10 years increased from 21.1% to 24.8%, in studios older than 10 years this increase was even larger: from 15.4% to 22%.
A broader view on diversity
Diversity is more than gender. In 2024 we saw spectacular shifts in terms of people with a disability including neurodiversity. In 2023 Limburg was the province with the largest number of employees from this category, but in 2024 Limburg (5.9%) was surpassed by Brussels (9.1%), Antwerp (7.9%) and West-Flanders (7.0%). East-Flanders is at the bottom where barely 1.6% of employees have a disability. As a reminder the average in Flanders tripled to 4.8%.
Employees with a migration background are receiving opportunities. On average 7.1% of employees in Flanders have a migration background and West-Flanders (9.3%) is still the main province where these people end up in the gamesector even though the percentage decreased by 3.2 ppt. The percentage of employees with a migration background increased in Brussels (9.1%) and Flemish Brabant (8.3%) while it decreased in Limburg to 2%.
In 2023 we remarked that studios with at most 1 FTE had no employees (or founders) with a disability or migration background. This is now totally different. 10.9% of employees in this category have a disability and 9.1% has a migration background. Studios established in 2024 follow the same remarkable trend with 11.8% of employees having a disability and 17.7% of employees have a migration background.
Diversity can be achieved in two ways: inclusive hiring practices which increase diversity or minorities establishing their studios. Both should be encouraged as much as possible.
Views on inclusion and diversity
In addition to questions focused on quantitative data, we also asked several open-ended questions. For example, we asked studios for their interpretation or definition of inclusion and diversity. Here we made the distinction between studios younger than 5 years in 2024 and studios that are 5 years or older.
Regardless of this distinction, most studios indicated diversity and inclusion means hiring based on skillset and not based on gender, sexuality, religion, background or any other parameters. We did notice an important difference between these two groups. Younger studios tend to be more open and positive towards diversity and inclusion, but they haven't had the chance yet to hire new employees.
I'm a sole proprietor, so this doesn't apply to my enterprise. I do try to support external initiatives that help underrepresented genders find a job in gamedevelopment.
Older studios indicate that in reality applicants aren't as diverse as they would like which makes it harder to assemble a diverse team. They do see the advantages of more diversity and take that into account when recruiting.
We decide as a team who we hire. Every team member has to support that decision. If multiple candidates are equally experienced and fit the role, we always choose the more diverse option, because we think this might be a big advantage for our team.
Not everyone agrees with this approach. Some studios indicate that they don't allow positive discrimination either in their policy, while others mainly choose profiles based on the stories they want to tell.
We apply an inclusive and unbiased approach. Our hiring process is completely based on teamcompatibility, workethic and skills, without taking gender, etnicity or other personal features. We consider initiatives that put one group ahead of another - whether this is based on gender, ethnicity, or through policy that doesn't consider the demographic reality of our sector and region - problematic.
We plan on creating stories that are close to home. As soon as we feel like we need a more diverse team, we will actively start the search for the right people.
Despite many good intentions, there's a long road ahead. Many studios indicate that they have an open mind when it comes to diverse profiles, but in reality, this rarely results in a diverse team. 40% (+7 ppt) of studios are made up exclusively of men and 67% (-4 ppt) of studios have admitted to never having hired people with diversity characteristics besides migration background or disabilities. As VAF, we don't want to make any value judgements here, but we highly encourage diversity in all its forms.
Challenges for the sector
We asked every studio what their biggest challenges are. Even though the challenges for young and old studios are pretty similar, the areas of focus can differ. For example, paying wages is the number 1 priority for both types of studios. 50% of younger studios and 41.7% of older studios have their concerns. In second place both have similar concerns, private funding, respectively 40.5% and 38.9% of the studios view this as a challenge.
The differences lie in the next priorities. Younger studios consider ecological sustainability (33.3%) as a top 3 challenge, while only 13.9% consider this a challenge. For older studios finding an audience is the third priority (33.3%) which is a concern for 28.6% of younger studios.
Younger studios consider competition and energy costs as the least of their challenges (2.4%), while older studios consider negotiations the least challenging (2.8%).
In both categories, more than half expect to grow in the coming 5 years and a third thinks they will stay stable. Remarkably, 14.3% of younger studios expect a decrease or fear of having to shut down. 8.4% of older studios reported a similar which means this expectation or fear is remarkably less present but still present.
Challenges
Expectations in 5 years
How do studios reach their audience?
Considering a lot of studios indicated that they struggle to find an audience we asked how they communicate. A quarter of younger studios indicated that they barely communicate. Younger studios feel like they don't have enough to show a broad audience or that their project doesn't meet their expectation yet. They'd rather invest in resources to develop their game than to communicate about it. If they do communicate they do this via Discord, X, Tiktok and their Steam page.
We believe that it's currently more important to focus on the period leading up to a release to make sure first impressions are enough to wishlist and follow our game.
Older studios tend to integrate communication into their workflow. Some hire a community manager who regularly engages their audience. Only 1 out of 10 don't or rarely communicate with their target audience.
Studios that communicate frequently mainly use Steam, Discord and newsletters. They tend to hire community managers more often and have a detailed marketing plan. They include their audience when testing their game and provide feedback loops. They're convinced that this is the way to stay relevant in a densely populated market. Some studios have learned important lessons in the past and how crucial communication is. They lost part of their audience for previous games by not communicating often and it was very difficult for them to gain traction after this happened. Regular communication is a best practice for long-term player retention.
We currently post regularly on social media and our Discord channel grows by 2-3 members a week. We try to keep our communication limited to a small group but plan on talking to the press and influencers once our assets are finished. We regularly partake in playtest events and are organising an event with the game course at DAE.
What does the Flemish gamesector need.
What does the Flemish Gamesector need? Most studios indicate that they need more funding to partially finance their games, especially now that securing private funding is more difficult. They explicitly mention the need for a more favourable financial climate, e.g. tax reductions and financial incentives like tax credits and increasing the cap for tax shelter. The higher salary costs hamper growth and there's heavy competition from abroad with more beneficial salary costs.
Most studios seem to have smaller teams, usually consisting of the founders and 1 or 2 employees. Many of these studios don't survive past their first or second release which means they don't have the chance to gain enough experience and expand. Attracting more private investors (Tax shelter is a good step) or venture capital in combination with extra grants would help.
Younger studios need guidance and clarity. They don't always understand that it can be simple to find certain information and the fragmentation in terms of support doesn't help. This is a core issue. Younger studios miss unity and cooperation, something that worries older studios as well. They don't think the fragmentation of the sector is beneficial and request more unity.
At the moment people who want financing and support are forced to think in regions: Flanders, Wallonia and Brussels. This doesn't promote Belgian unity and instead drives us further apart.
Belgium could certainly benefit from presenting a united front abroad, instead of the current fragmented approach.
Finally, studios indicate that the market lacks talented people Several studios mentioned that they struggle with finding senior profiles and that we should strive to have a beneficial climate to keep talented people in Belgium. Additionally, there's a lack of corporate know-how.
In general young studios are fighting to stay in the sector and hope to get more opportunities by receiving support from VAF for example. Older studios mainly want to invest in stability and scaleability, focussing on long term, economic reform and a mature ecosystem.
Remarks
- According to the contractual obligations every studio that receives VAF-support needs to yearly provide us with data so long as there's exploitation. This data was received using these contractual obligations.
- We only requested aggregated data for team compositions. We never received the personal information of employees.
- Definitive turnover figures are only known when the yearly financial reports are completed, we allowed studios to instead use their most recent prognosis if this wasn't the case. The data was requested in February and March.
- There are 133 game companies in Flanders and Brussels, representing a turnover of 65 million EUR (source: Belgian Games, 2023). According to FLEGA and games.brussels, there are 98 game development studios active in Flanders and Brussels, which means this study represents 79.6% of all studios in this region.
- The target audience in this study isn't necessarily representative of the entire sector but does show important trends. We receive requests from older and younger studios at VAF. However, some studios never received support from VAF because they were financially independent when VAF was founded. For example, Larian Studios employed 85.4 FTE in Belgium (source: yearly report 2023) and 470 employees in 7 locations worldwide (source: interview 2024). Their most recent game Baldur's Gate 3 made at least $ 900 million (source: report 2024). These numbers were not included in our study.
- The studios indicate that they receive a lot of requests for information and would like more efficient solutions. In 2025 we're taking additional steps with professional associations, relevant bodies and stakeholders to have just one collaborative request for information per year. This would be a more efficient solution, leading to more willingness to share information and less work for the studios.
Questions or need more information?
If you have questions about our methods or would like to receive more information, don't hesitate to contact us.
