MAM
Samsung sparks PC gaming revolution in India with World Cyber Games
MUMBAI: Samsung India Electronics Ltd. has kicked off the PC gaming revolution in India by announcing the launch of the Cyber Olympics event – the World Cyber Games 2005. The event was kicked off in Delhi yesterday.
The World Cyber Games is the world’s first “Cyber Game Festival,” designed to build a healthy cyber culture. The best gamers around the world gather in various cities to share the excitement and fun of the game tournaments. The World Cyber Games (WCG) have been promoted on the lines of the International Olympic movement. Samsung Electronics Co. Ltd, South Korea – is the main sponsor for the WCG in over 75 countries this year. The winners from each of the 75 countries will compete at the WCG finals being held at Suntec City Singapore, between 16 – 20 November, 2005.
WCG India preliminary will be held across eight cities in India between 13 – 31 October. The cities are as follows: New Delhi, Ahmedabad, Pune, Mumbai, Chennai, Bangalore, Hyderabad and Kolkatta. The preliminaries will be followed by the semi finals and the finals in Mumbai on 30 – 31 October.
The gaming contest includes team as well as individual games. “PC gaming is today a very evolved sport – fostering virtues of ‘team work’, ‘healthy competitiveness’ between teams and individuals and there is a strong emphasis planning and analytical skills,” said IT Products general manager Harry Ahn.
“Games like Counter Strike (five member team game), Warcraft , FIFA football, Warhammer and Need for Speed test these attributes in the gamers. While most of us interface with the PC as a productivity enhancement tool, today PC gaming is emerging as a very strong entertainment platform across the world,” Ahn added.
Recognising the needs of the rapidly growing gaming industry in India, Samsung now offers a range of products designed keeping the discerning customers in mind. For serious gamers, Samsung’s MagicGreen Monitors, SATA HDD and Combo Drives are ideal. The MagicBright? Ô technology in Samsung’s recently introduced Magic Green monitors allows for change in screen brightness to suit multiple applications. The technology offers specialised settings for four highly used applications – Movie Mode; Game mode; Internet mode and Text mode.
Indiagames is working along-with Samsung India to successfully execute the WCG event this year. Alongside, Sify i-Way chain of cyber-cafes will also be supporting WCG-2005 in India this year.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
