High Court refuses video game developer and publisher interim relief ahead of trial

A dispute between Victura and Secret Mode came to a head in August 2026, when both parties’ applications for mandatory interim injunctions for full control over the development and publishing of “Six Days in Fallujah” were dismissed.

Each party’s respective ability to use the source code to continue developing the game, and its value to Victura, featured heavily in the Court’s decision.

The development of “Six Days in Fallujah”

“Six Days in Fallujah” is a video game based on real-world events that took place during military action in Fallujah, Iraq, in 2004, which Victura Inc has been developing for the past eight years at a cost of around $50 million (the Game). In October 2025, Victura signed a publishing agreement with Secret Mode Limited and Six Days Holdings Limited (together, the Publisher), under which the Publisher agreed to provide up to $8 million in staged development advances and publish the game, in return for certain publishing rights and receiving a revenue share once the game was completed (the Publishing Agreement). Victura was required to deliver milestones to the Publisher for review, and the Publishing Agreement contained step-in rights allowing the Publisher to take full or partial control of the Game’s development if it found Victura had not addressed the deficiencies of a given milestone after two resubmissions. These step-in rights would (i) entitle the Publisher to develop and publish the Game and (ii) require Victura to share various assets including the Game’s source code.

How did this dispute arise?

Between 31 January 2026 and April 2026, the Publisher rejected Milestone 0.6, both initially and following Victura’s two attempts at resubmission, citing issues relating to “stuck AI” (whereby characters would sometimes implausibly stand motionless, detracting from the gaming experience). On that basis, the Publisher argued it was entitled to exercise its step-in rights under the Publishing Agreement, and that these would take effect on 1 May 2026.

Victura disagreed. It argued the Publisher’s step-in rights were not validly exercised and that the Publisher had intentionally pre-determined its rejection of Milestone 0.6 in order to acquire access to Victura’s source code, which included proprietary and confidential technology for the procedural generation of building layouts. Victura also argued that it had terminated the Publishing Agreement on 29 April 2026.

What were the parties seeking?

Both parties issued claims and – somewhat unusually for this type of dispute – brought applications for interim injunctions. These were heard on 29 and 30 July 2026, to determine whether either Victura or the Publisher should be entitled to the exclusive right to both develop and publish the Game in the period between now and trial:

  • The Publisher applied for an interim injunction requiring Victura to provide certain material to it including source code so that the Publisher could exercise its step-in rights in the period up to trial of the claims on 21 May 2026.
  • On 29 May 2026, Victura applied for an injunction restraining the Publisher from any misuse of Victura’s confidential information and requiring the Publisher to give publishing control of the Game to Victura in the period until trial. Victura also sought an injunction prohibiting the Publisher from taking any further exercise of step-in rights, and requiring the Publisher not to dissipate revenues received from sales of the Game and to hold those in a separate account.

Both Victura and the Publisher accepted that they would need to offer a cross-undertaking in damages to obtain the relief sought.

The High Court’s decision

The High Court refused both parties’ applications, holding that the contractual status quo in terms of the parties’ respective control over the development and publishing of the Game should remain in place. It cited a number of reasons:

  • It found that Victura had the expertise to take full control over the development and publishing the Game until trial, but not the financial resources to do so (nor to meet claims under its cross-undertaking in damages).
  • On the other hand, although the Publisher (i) had the expertise required to develop and publish the Game and (ii) had sufficient financial resources to do so, there was a real risk that it’s taking over the Game’s development would cause a material delay to its launch. The Publisher (or the third-party developer it engaged) would need time to get up to speed and there was a risk that, in this period, the Game could become stale, and the delay might impede the launch. The Court found that, if the Publisher’s claim failed and Victura should, with hindsight, have been free to develop and publish the Game as it saw fit, damages under the Publisher’s cross-undertaking would not be an adequate remedy.
  • The Court also found that, given Victura’s argument that the Publisher deliberately rejected Milestone 0.6 in order to get access to Victura’s source code has not yet been tested, there was a risk that giving the Publisher the source code (which Victura had spent over $50 million developing) would cause Victura irreparable harm. The Court found that this risk was not sufficiently mitigated by the possibility of the Publisher giving an undertaking not to use the source code for purposes other than developing and publishing the Game.
  • More broadly, the Court considered that if either party was given the ability to develop and publish the Game, there may be real scope in the future for the other to complain about that party’s delay and/or poor-quality work impacting the Game’s sales, resulting in further claims under the cross-undertaking in damages. Conversely, refusing the parties’ applications may increase the chance of them resolving their dispute by negotiation, potentially by engaging in mediation.

Read the Court’s decision in full here.

Observations

Cases like this are rare. The majority of disputes between developers and publishers settle long before reaching the courts, and certainly before parties commit the time and expense of applying for interim relief ahead of trial. The fact that both parties sought interim relief at the same time is rarer still and made the Court’s job of applying the ‘balance of convenience’ test an intricate process, requiring a detailed understanding of both parties’ financial positions, their roles in the arrangement and their future capabilities.

In the end, the Court opted to maintain the status quo. The practical effect is that the parties’ rights and obligations under the Publishing Agreement remain in place until trial, leaving the questions of whether the step-in rights were validly exercised, and whether Victura validly terminated the Publishing Agreement, to be determined at that stage (if no settlement is reached before then).

Please get in touch with Ella Ditri or co-head of our interactive entertainment practice, Kostyantyn Lobov, if you have any questions.

Ofcom’s new parental guidance on online video gaming: what it signals for the industry

On 7 September 2026, Ofcom published guidance directed at parents of children who play online video games.

According to Ofcom’s research, most parents impose some form of restriction on their children’s gaming habits, however many remain concerned about online safety issues. These concerns principally relate to their children interacting with unknown players, encountering violent or otherwise age-inappropriate material and being on the receiving end of in-game abuse or ‘trolling’.

What is Ofcom asking parents to do?

At its core, the guidance encourages parents to take steps in three stages: review the safety settings currently configured on their children’s gaming devices and accounts; have regular conversations with their children about their online gaming habits; and update parental controls in light of what they find.

Interestingly, Ofcom urges parents to verify that the correct date of birth is registered on their child’s accounts. This is important because the UK Online Safety Act’s (“OSA”) requirement to use highly effective age assurance (meaning ID matching, open banking etc.) does not generally extend to mainstream gaming services. This obligation can only trigger where a regulated provider permits “primary priority content” on its service (such as pornographic or suicide-related content), which most gaming platforms do not. In the absence of that obligation, Ofcom is asking parents to step in and ensure a false date of birth has not been used, which is a well-known shortcoming of relying on self-declared age.

Where a player’s true age is reflected on their account, platforms will usually tailor the experience accordingly. For instance, by gating certain social or communication features, disabling loot boxes or filtering out age-inappropriate content such as 18-rated titles.  Ofcom also reminds parents that there is a breadth of parental controls available to them. These include the ability to restrict friend requests and messaging, limit playtime and in-game spend, and adjust privacy controls.

In short, Ofcom is encouraging parents to take a proactive approach in order to help foster a safe online environment for their children. This will be welcomed by the industry, as it signals some recognition by the regulator that responsibility for children’s online safety does not rest solely with platforms, and that parents, too, have a role to play in managing their children’s gaming experiences.

Growing regulatory scrutiny

This guidance arrives at a time when the UK Government is pursuing further legislative measures to protect children in online gaming. As we reported on here in June this year, the Government has announced plans to restrict high-risk features, including the ability for strangers to contact under 16s. For 16 to 17 year olds, that feature is to be switched off by default. Draft regulations are expected before the end of this year, with implementation from Spring 2027.

Separately, on 28 August 2026, Ofcom issued an open letter to all in-scope service providers, emphasising that existing obligations under the OSA remain fully in force even in light of the Government’s announced reforms. The letter makes clear that Ofcom expects compliance with current illegal content and children’s safety duties, stating it will “not hesitate to take enforcement action if services fail to comply with their existing safety duties.”

What does this mean for studios and publishers?

The new parental guidance is a signal that gaming is moving up Ofcom’s agenda. To date, the regulator’s enforcement activity under the OSA has generally concentrated on higher risk services (such as pornography services, suicide forums, social media and file sharing services) and on the deployment of highly effective age verification. This latest publication suggests that the games sector is increasingly in Ofcom’s sights.

Video game companies should ensure they have assessed whether they are in scope of the OSA. Typical features which bring games services in scope include in-game chat, usernames, player profiles, leaderboards, guilds, clans and discussion forums. In its guidance for online video games, Ofcom adopts a broad interpretation of the OSA’s scope, confirming that manipulation of player profiles, avatars, objects, and the environments themselves, are forms of regulated user-generated content.

Companies that are in scope should be: completing or updating their risk assessments and child access assessments; ensuring they have implemented (and recorded in writing) the safety measures set out in Ofcom’s Codes of Practice (or demonstrating that their alternative measures meet the required standards); and complying with other OSA obligations, such as reporting CSEA content.

Companies that are in scope of the OSA should also consider whether their services fall within the scope of the EU Digital Services Act (“DSA”), and in particular, whether they might constitute a hosting service or an online platform. Where they are in scope, there are opportunities to align compliance across these regimes. For example, by using data from DSA Transparency Reports to feed into OSA risk assessments, or by building a content reporting tool that satisfies the requirements of both the DSA and Ofcom’s Codes of Practice.

Platforms that have not already done so may also wish to consider how they can deliver tailored age-appropriate experiences (as opposed to uniform experiences across the userbase).

Finally, while these are relatively new legal frameworks and there remains room for interpretation in how these obligations apply to games services, companies should resist the temptation to wait for greater clarity before acting. Regulators expect to see evidence of genuine, documented compliance efforts. Having a record of the steps taken will place companies in a stronger position if or when Ofcom makes contact.

Runescape gold not recognised as currency according to top EU Court

The legal debate over the characterisation of in-game currency has continued for some time now. What happens when it lands in the EU’s highest court?

This article dives into the CJEU’s 2026 ruling in Žaidimų Valiuta (C-472/24), in which the CJEU held that Runescape Gold is neither a virtual currency nor a voucher for VAT purposes. It also asks what that means for the ongoing regulatory battle over premium in-game currencies.

The origin story

The in-game currency debate kicked off in 2024, when BEUC [1] filed a complaint to the European Commission, and continued into 2025 when the CPC Network [2] published its “Key Principles on In-game Virtual Currencies”. Both publications take aim at the industry’s use of premium in-game currency (i.e. currency purchased with real-world money). BEUC and the CPC Network argued that premium in-game currency obscures the real value of in-game content and denies certain consumer rights. Going further, they contend that in-game currency is a “digital representation of value”. In other words, a direct proxy for real-world money. If correct, consumer law obligations and contract formation would not simply be triggered when a player first purchases a bundle of gems with real money, but at all subsequent exchanges of those gems for in-game content.

The European Commission’s 2024 Digital Fairness Fitness Check echoed BEUC and the CPC Network’s concerns. The upcoming Digital Fairness Act (DFA) looks set to codify the Commission’s proposed solution into law. A first draft is not expected until later on in 2026, but the DFA consultation hints at what might be coming, including a requirement for real-world money pricing being displayed alongside in-game currency prices.

The industry response

The industry responded swiftly and robustly. The key counterargument is that in-game currency is not a financial instrument. Rather, it is content which is part of the game, the purpose of which is to enhance the player experience. On that basis, it is difficult to see how a player exchanging gems for in-game content is concluding a new consumer contract; they are simply exchanging one category of digital content for another.

The practical consequences of the alternative view would be seismic. Developers would need to build features to display an array of pre-contractual information (including real-world prices – which would first need to be calculated in real-time and in the correct currency); players would need to accept each contract, waive their digital content withdrawal rights, and receive a copy of the ‘contract’ electronically. Indeed, there may not even be a single determinable “real price” for in-game currency, given, for example, it can usually be purchased through different retail channels at different price points. In-game item exchanges, which are supposed to integrate seamlessly into the gameplay experience, would become a disruptive chore. Moreover, treating in-game item exchanges in this way seems legally flawed.

In-game currency in the EU courts

While stakeholder conversations continue behind closed doors, the in-game currency debate has entered EU courtrooms. In March 2026, the CJEU held in Žaidimų Valiuta (ZV) (C-472/24) that Runescape Gold was neither a virtual currency nor a voucher for VAT purposes.

Runescape Gold can be acquired with real-world money indirectly via a ‘Bond’ purchased from the developer, Jagex. ZV bought and sold Runescape Gold via third party platforms in exchange for real-world money (notably, in breach of Jagex’s Terms of Service). The Lithuanian tax authority found that ZV had not declared or paid VAT on those transactions, and ordered that ZV pay the outstanding VAT, plus interest and a fine. Legal proceedings were commenced, and questions over the characterisation of in-game currency were ultimately referred to the CJEU.

Runescape Gold as a virtual currency?

ZV first argued that Runescape Gold is a virtual currency, so its sale should be VAT-exempt under the exemption covering currency, bank notes and coins used as legal tender. ZV referred to the CJEU’s ruling in Hedqvist (C-264/14), where the CJEU held that exchanging Bitcoin for traditional currencies was VAT-exempt because Bitcoin functioned as a “non-traditional currency”. This was because the Bitcoin satisfied the following criteria: (i) it was accepted by the parties as an alternative to legal tender; and (ii) it had no purpose other than to be a means of payment. In essence, it was a financial transaction. ZV argued that Runescape Gold was analogous to Bitcoin in that sense.

The CJEU disagreed, finding that Runescape Gold failed both Hedqvist conditions. It held that Runescape Gold had no purpose other than to be used within the game. That in-game purpose prevented it from constituting a currency that could be accepted as payment for goods or services. The fact that players do not own the Runescape Gold under Jagex’s Terms of Service further reinforced that conclusion.

Runescape Gold as a voucher?

ZV then argued that the Runescape Gold should be classified as a “multi-purpose voucher”, for which VAT is only charged at the point of redemption. Two conditions needed to be met: (i) there must be an obligation to accept the instrument as consideration for a supply of goods or services; and (ii) the goods or services to be supplied must be on the instrument or in related documentation (such as terms and conditions).

Again, the CJEU disagreed. It held that Runescape Gold was not a voucher because it failed to meet the first condition. A voucher serves to procure a further consumable benefit (a good or service). Runescape Gold does not work in this way. When a player spends Runescape Gold on weapons, armour or consumables, they are not exchanging it for a separate service. Rather, the player is engaging directly with the game service itself.

Where does this leave us?

The CJEU in this case found that Runescape Gold was not a “virtual currency” (and therefore there was not a financial transaction) under VAT law because it only serves an in-game purpose.

On the face of it, this outcome appears to conflict with the CPC Network’s position that premium in-game currencies are a “digital representation of value”. On the contrary, the CJEU’s characterisation of Runescape Gold as an electronic service seems to align with the industry’s position that an in-game currency is digital content which is part of the gaming experience.  

The correct characterisation of in-game currencies by regulators is critical to the industry and consumers. As noted above, the CPC Network’s interpretation would create significant practical compliance considerations for many in the industry. The CJEU case points in a helpful direction for industry, but it does not conclude the debate.

This was, of course, a VAT-specific case. The CJEU did not rule on the categorisation of in-game currency under consumer law, and so ambiguity remains. It does, however, illustrate the difficulties of adopting a blanket approach which treats in-game item exchanges as financial transactions, and the unintended and far-reaching consequences that this could lead to in multiple areas of the law. It also suggests that a more nuanced approach to both soft and hard legislation, which takes into account the specificities of the video games industry, would be more appropriate.


  1. The Bureau Européen des Unions de Consommateurs, an umbrella body representing consumer organisations across EU member states. ↩︎
  2. The Consumer Protection Cooperation Network, a network of national authorities responsible for enforcing EU consumer protection laws. ↩︎

UK Government announces plans for a social media ban and additional measures to protect younger audiences

The UK Government today announced plans to introduce a social media ban for under-16s, alongside a range of additional measures intended to safeguard younger audiences. Key drivers of the ban are stated to be children’s mental health and wellbeing, in addition to concerns over exposure to harmful content online.   

The ban is expected to be brought in before the end of this year, and to take effect from Spring 2027. It follows largely the same model as the Australian social media ban, which was introduced earlier this year, but with some additional measures. The Government has been taking preparatory steps so that the ban can be implemented quickly – including through changes to the UK Online Safety Act via the Children’s Wellbeing and Schools Act 2026. These changes empower the Secretary of State to introduce rules to prevent children’s access to “specified internet services” or their functionalities.

In addition to banning social media, the ban also promises a restriction on “harmful functions”, such as livestreaming and stranger communication with children for under-16s. The Government says that these restrictions will apply to a wide range of online services, including so-called “gaming sites” where adults can be paired with children (the exact meaning of which is not provided).

In parallel to this, the Government has said that it plans to introduce more Highly Effective Age Assurance (HEAA) to support compliance and make it harder for children to bypass restrictions – an issue which has plagued the equivalent restrictions in Australia.

The Secretary of State wrote to Ofcom to ask for an urgent review of Ofcom’s enforcement capabilities, and for Ofcom to publish an enforcement strategy. Ofcom has responded at lightning pace to confirm its commitment to working alongside Government to ensure the protections will be effective, robust and introduced quickly. Further, its updated enforcement strategy will be published in due course.

While details of the plans are still thin, a few immediate concerns arise. For example, the scope of what platforms will be caught within this is unclear. The announcement openly says that Snapchat, TikTok, YouTube, Instagram, Facebook and X will be caught; and that messaging services like WhatsApp will not. However, the outer limit of the scope are not clear. This will cause concern for providers of mixed services, such as online multiplayer video games which contain a mixture of solo content, multiplayer content, chat/social functions and UGC.

At a time when studios and publishers have only just got to grips with their obligations under the UK Online Safety Act and the EU Digital Services Act, this is not what they will want to hear. The UK Online Safety Act is a comprehensive law, requiring many providers to implement safety measures which are designed specifically to protect children. For example, informational resources for children, child-friendly anonymous ways to report harmful content, internal policies for children protection, training, performance targets etc. A lot of these efforts could be in vain (or need significant update) if then U16s are simply blocked from the service (or the communications part of it).

Partner Kostyantyn Lobov said: “Like most of these laws, the games industry is not the primary target here but, once again it will be caught in the crossfire. If we continue to put games into the same bucket as social media then, sadly, developing and incorporating multiplayer interaction features may eventually not be worth it for smaller and medium-sized studios. The irony is that multiplayer games can foster social interaction and create meaningful friendships, in a way that doomscrolling your favourite social media app does not.”

We will be monitoring these plans in the coming months and will post further updates as needed, but the key takeaways are as follows:

  • Law expected in late 2026, coming into force in Spring 2027.
  • Social media platforms will be banned for under 16s.
  • “Harmful functions” like livestreaming and stranger comms will be restricted for under 16s.
  • Expanded roll out of Highly Effective Age Assurance (HEAA).
  • Ofcom to publish an enforcement strategy.
  • Mixed services, such as some online multiplayer games, likely to be at least partly within scope.

For further information please contact Kostyantyn Lobov or Sophie Lewis.

Meet the Indie Games Collective members

After launching the Harbottle & Lewis Indie Games Collective (IGC) in January, we are pleased to announce our programme members for 2026.

PROGRAMME OVERVIEW

Over the next six months, they will have access to a series of training sessions covering key legal and business topics, including an introduction to IP essentials, contracts, the use of AI, corporate housekeeping and much more.

THE IGC MEMBERS

Beyond the Pixels

Based in London, Beyond the Pixels develops original and licensed game IP designed to expand into film, TV and user-generated content. Their debut indie game Astro Burn is being developed in parallel as a TV show concept.

Epoch Media Studios

Based in Warsaw, Poland, Epoch Media Studios has just premiered their asymmetric horror game Soul Walker as transmedia IP, with plans to expand into film, animation and fashion collaborations.

Foolhardy Games

Based in London, Foolhardy Games develops indie games for Steam. They are currently working on their upcoming game Crashbound, a 2D side-scrolling strategy game where players aim to survive, expand and rebuild their airship to escape a hostile world.

Galatico Studios

Galatico Studios is an independent UK games studio based in Portsmouth that creates gameplay-driven experiences for PC, mobile and AR, with a focus on community. The studio also supports emerging developers through practical production experience, mentorship and collaboration.

Gamirare

Gamirare is an indie games studio based in Kyiv, Ukraine, currently working on projects Trickster Trove and SaaS Keeper. With game designers, developers, artists and storytellers, their focus is on building deep, re-playable worlds. Their portfolio includes dark fantasy PvPvE titles, storytelling tools and a creator platform.

Haaris Entertainment Ltd

Haaris Entertainment Ltd develops online entertainment focused on unique gameplay, distinctive characters, imaginative worlds and in-depth narratives. The London-based company aims to create experiences designed to inspire creativity and connections across multiple media platforms.

Lost Wanderer Games

Also based in London, Lost Wanderer Games aims to craft immersive gameplay experiences through meaningful storytelling. They are committed to innovation and creativity in order to reflect the diversity of the real world.

Ludo Gamelabs

Ludo Gamelabs is a games development studio from Manchester focused on creating innovative and engaging gameplay experiences. The studio utilises AI technology to support game creation and offers tools to assist developers in brainstorming ideas, generating assets and streamlining workflows. Their platform aims to empower creators and enhance the game development process. Recent projects include Wordhunters and Project Rome.

Pretty Cool Games

Based in Leeds, Pretty Cool Games are currently developing their debut title for PC and console, featuring physics-based gameplay. Their aim is to centre their business around creating unique, memorable and engaging IP.

Second Star Games

Second Star Games is a games development studio based in London that creates interactive experiences for young gamers and their families. The studio focuses on storytelling, unique mechanics and delivering exceptional story-led co-op experiences based on well-known and loved IPs (LEGO Star Wars), aiming to bring new worlds to life and create shared moments for families.

Silver Script Games

Silver Script Games is a Hampshire-based games startup currently focusing on their debut game The Quiet Things, an autobiographical game that deals with topics around childhood abuse and the impact that has on a person growing up.

South Westerly Games

South Westerly Games is a micro indie studio based in Hastings on the Southeast Coast, focused on developing and publishing games. The studio’s debut title, NINE ROUNDS RAPID, is a hand-painted, stylised roguelite top-down shooter for PC, PlayStation, Xbox and Switch.

Splash Games

Based in London, Splash Games is a tech-first games company building a platform for skill-based competitive play. They develop and operate original mobile games that allow players to compete in short, structured competitions where outcomes are driven by skill rather than chance. The company focuses on scalable technology, strong unit economics and operating responsibly within regulated environments.

The Goblin Workshop

The Goblin Workshop is a PC-first studio based in Surrey with four core values: a focus on action RPGs, influence from both the UK and Japan, visionary leadership and creating games that are dark but with a heart. 

Umbra Dynamics

Based in Scotland, Umbra Dynamics specialises in remastering classic games for modern audiences, preserving well-loved game heritage. The studio revitalises proven IP to make previously out-of-print titles accessible, with the aim of appealing to both nostalgic gamers and introducing timeless classics to new generations. 

Unannounced studio

This Derby-based games studio focuses on creating compact and innovative games developed with an emphasis on sustainability and ethical practices. With extensive experience in design, programming and independent publishing, the team is currently working on its first commercial project and looks forward to sharing it with players soon.

Unskippable Dialogue

Unskippable Dialogue is in the very early stages of development. The studio will focus on narrative experiences to tell stories about overlooked people throughout history. Their latest project focuses on lightkeepers of the 1860s and the surprisingly perilous work they undertook to keep the shipping lanes safe.

Verso Gaming

Verso Gaming is a UK-based skill-tech company creating regulated, skill-based competitive infrastructure for multiplayer games. Its platform integrates with PvP titles to enable fair and compliant competitive play, allowing players to compete for real rewards while protecting developers from risks. Verso aims to provide a trusted, ethical and scalable alternative to unregulated competition, prioritising skill over spending and safeguarding player autonomy.

Whetstone Games

Whetstone Games is a London-based studio focused on developing short, genre-blending games for PC and console, with an emphasis on sustainability, quick production turnarounds and small budgets. The studio’s first project, currently in early prototype stages, is a business simulation game centred on music production.

Loot box crackdown in the UK: what you need to know

What’s happened?

On 26 February, the UK Advertising Standards Authority (ASA), the UK’s advertising regulator, issued an Enforcement Notice concerning the disclosure of loot boxes in mobile game advertising and app store listings. For these purposes, “loot boxes” are random-item generators that can be acquired with real money, or with virtual currency obtainable only through real-money purchases. The notice was prompted by the ASA’s concern that mobile game publishers are failing to adequately disclose the presence of loot boxes in their games.

The ASA will begin actively monitoring compliance from 26 May, with targeted enforcement action to follow.

What is an Enforcement Notice?

An Enforcement Notice is essentially a warning to the relevant sector that the regulator intends to focus on this issue more intensively starting from the relevant date, giving the relevant businesses an opportunity to ‘get their house in order’.

We can expect a string of adjudications from the ASA (which enforces the CAP and BCAP Codes) on this subject in the months to come.

What are the rules?

Under CAP Guidance, the presence of loot boxes in a game is considered material information. This means the presence of loot boxes must be presented to consumers before they purchase or download a game (particularly for those with gambling-related vulnerabilities).

This can be achieved with a disclosure statement such as “Includes random-item purchases” or “Contains loot boxes” in a prominent location within advertising and app store listings.  

Players should not need to expand hidden sections or scroll through game descriptions to find it. Note that built-in app store labels such as “Offers In-App Purchases” are not generally sufficient on their own. Loot box disclosures must be presented prominently alongside, or as part of, any in-game purchasing information.

What should I do now?

If your game incorporates loot boxes, review your advertising and app store listings to ensure the appropriate disclaimers are included.

Bear in mind that the global loot box regulatory environment is fragmented. This is largely due to a lack of harmonisation of gambling regulation and consumer protection laws across many jurisdictions that have developed in different directions over time.  Territories with a particular interest in regulating and taking enforcement action in relation to loot boxes include Brazil, Netherlands, Poland, Belgium and recently there has been action in the US.  It is a good time to reflect on your global loot box approach, and update any internal policies.

If you would like to discuss this further, please contact Sophie Lewis and Kostyantyn Lobov.

Join the Indie Games Collective

Today we launch the Harbottle & Lewis Indie Games Collective – a mentorship programme which will offer legal guidance to early-stage games businesses, to help them navigate in their next steps in the industry.

The 12-month programme will include expert-led training sessions on key topics like incorporation, fundraising and access to finance, key commercial contracts, IP and regulation; and access to a free legal helpdesk for all members throughout the programme period.

Members will be invited to attend networking events, where they can connect and share insights with others in the industry.

The programme is completely free, but spaces will be limited and filled from a pool of applicants.

If you are an early-stage games business looking for some guidance and support, and would like to take part, please apply below by Friday 23 January 2026.

Register for the Collective

View a list of FAQs here and read the full programme terms here.

Harbottle & Lewis advises Super Media Group on its acquisition of Bulkhead and investment from Everplay and HIRO Capital

We have advised Super Media Group on its acquisition of Derby-based video games developer, Bulkhead, and on its investment from Everplay Group plc and HIRO Capital.

Founded in 2014 and best known for Battalion 1944, Bulkhead was acquired from global technology business Tencent by a consortium comprising Super Media Group, Everplay and HIRO Capital. Super Media Group also signed a strategic partnership with Everplay, which will see collaboration on future titles, including new IP WARDOGS and further development of the popular Hell Let Loose franchise.

The team was led by partner Ed Lane, with support from managing associate Katerina Capras, associate Jake Jacobson and trainee solicitor Jacob Eardley, who advised on all corporate matters relating to the deal. The commercial and publishing aspects of the deal were led by partner and co-head of interactive entertainment Kostyantyn Lobov with support from associate Sophie Lewis. Partner David Scott advised on tax.

On working with Harbottle & Lewis, Bulkhead CEO Joe Brammer commented:

“Harbottle & Lewis were exceptional throughout the process. This was a complex, multi-party transaction and the team worked tirelessly, often outside normal hours, to get the deal done. Ed and the wider team handled our business as if it were their own, combining deep attention to detail with a clear understanding of the commercial realities, which made a genuine difference in delivering the outcome we wanted.”

Ed Lane added:

“It was a real pleasure advising Super Media Group on this huge milestone; a complex and layered transaction that really demonstrated the strength and depth of our market-leading corporate and games practices. I look forward to seeing what they do next!”

We have been fully immersed in the interactive entertainment sector since its inception and are recognised as leaders in the sector. We specialise in corporate financing and transactions within the games industry, advising on investment, fundraising, tax credits, M&A, and rights exploitation. Learn more about our interactive entertainment practice here.

Harbottle & Lewis advises on the management buyout of The Chinese Room from Sumo Digital

We have advised the management team of British indie games studio The Chinese Room on their buyout from Sumo Digital.

The studio is known for first-person narrative-centric games such as Dear Esther, Everybody’s Gone to the Rapture, and recent BAFTA-award-winning Still Wakes the Deep.

Our team was led by corporate partner Ed Lane, supported by senior associate Alex Gays and associate Elizabeth Compton. Partner Mark Phillips advised on commercial games matters, senior associate Mark Primrose on employment matters, partner Shireen Peermohamed on IP matters and associate Lauren Probert on real estate matters.

On working with Harbottle & Lewis, studio director at The Chinese Room, Ed Daly commented: “Ed Lane and the team at Harbottle & Lewis were a great help throughout the process. It was important to find advisors with an understanding of the game development business and I look forward to our continuing to work together in this next exciting phase for the studio.”

Ed Lane added: “We are delighted to have been able to support Ed and the whole team at The Chinese Room on their journey towards independence – we can’t wait to see what they do next! Against the backdrop of a challenging few years for independent games developers, this is a massive ‘good news story’ and we are proud to have played a small part – indies are a key part of what we do.”