 Very pleased to be here. King is essentially a Swedish company, five out of the six founders are Swedish, so it's slightly strange that an Englishman is in front of you today. I'd like to start with a little show of hands, building on Henrik's presentation, how many people in the room have a smartphone or a tablet of their own? Nearly everyone, we are in Sweden after all. Of those, how many play games on their smartphone or tablet or have a partner who plays games? If you're slightly embarrassed about it. And of those, how many have played Candy Crush Saga? A smattering. Okay, this game was designed and built in Stockholm. We have another game, Pet Rescue Saga, designed and built in Malmö, we have a studio in Malmö. And those two games have essentially driven King from having maybe ten million players per month two years ago to over 170 million today. So it's been a kind of very, very rapid trajectory, driven by the smartphone. So very much again, reflecting what Henrik was saying. Over 675 million smartphones were sold in 2012. This is a photograph of the papal inauguration. It's not there yet. It was a photograph of the papal inauguration. It will be a photograph of the papal inauguration. And the point of the photograph, which you will see very shortly, is that in 2005 you have no smartphones in the audience. You may have a smattering of candles. And in 2013 you can see a sea of luminous screens up there. That just gives an indication of how prevalent smartphones and tablets have become. And what do people do with them? Well, again, building on Henrik, one of the reasons people read less on the tablet is actually they're playing games. Nearly 70% of tablet time is spent playing games. Nearly 40% of tablet time is spent playing games. These are massive games platforms. And King has really kind of come of age by building games that work across these platforms. And there are a couple of important things. First of all, we see a very similar bump during the commute. People can play Candy Crush Saga or Pet Rescue Saga on their smartphone as they're on the bus to work. When they get to work, they click and synchronize. And then when they're supposed to be working, they can have a sneaky play on Facebook of Candy Crush Saga and find that they're on the same level they reached when they were on their mobile phone commuting to work. And then when they're on their way back from work or when they've got home, they can click and synchronize again and they can play the same game with the same puzzle challenge, with the same virtual goods on their tablet at home. So you can play on any device you choose, which means more opportunities to play, which means more play. And we currently have just over 30 billion gameplays per month. So a billion gameplays of Candy Crush and our other games each day, driven by this cross-platform experience. And people do play the games anywhere. The number one place, and again, this may reflect some of the lack of reading, the number one place cited by our players for playing is in bed. That's what they do, I guess, last thing at night these days. We get actually a lot of emails from couples saying they're very grateful for Candy Crush bringing them back together. It's something that both men and women seem to be able to enjoy on any device at any time of the day. So, yeah, playing Candy Crush and the Pet Rescue in bed is quite popular. The other thing that's very important about the way King has grown is that the games are designed to be playable on multiple devices. That would be a bit like writing a book so that it can be read on a tablet or a smartphone. The games are typically kind of simple puzzle games, casual games, we call them. They're not complicated graphics with kind of alien spaceships and controls. We have to learn how to jump and skip and shoot in order to blow up an alien. They're very, very simple to play. You can play with one finger. We design so that the game can be played with one finger, which means that it's something that everyone can learn how to play. You don't need to be a teenager with hours and hours of spare time to learn how to zap an alien or whatever. Everyone can learn how to play our games. Our average or typical player is a woman in her mid-30s. That's the normal King player. And like 10 years ago, you wouldn't have found women in their mid-30s playing games. And this is driven by smartphone and tablet growth. People like the puzzles. These are some verbatims. The key thing here is that it's like Sudoku. It's a mental exercise. Solving a puzzle gives people pleasure. Playing gives people pleasure. Puzzle solving gives people pleasure. When you combine the two in a game like Candy Crush or Pet Rescue, that's a recipe for a good audience. And what we've done is we've taken these casual puzzle formats and we've added what we call a social framework. So we've made them connect to Facebook. And this is very important because when people play, they are playing both for themselves and they're playing with and or against other people. So you want to get further ahead in the game than your cousin or your brother or your friend at work. That's a good thing to be able to do. You also want for your own pleasure to solve the puzzle on level 33 or level 34 of the game. These are kind of inherent to play. It's always been the case. There's a very interesting exhibition exhibit in the Louvre in Paris. It's 2000 BC. It's an Egyptian hippopotamus, a wooden hippopotamus, which has some of those elements of kind of casual gameplay built into it. Dice and moving around the wooden hippopotamus. So this has been with us for a very long time. We've added this social layer. So for example, if you want to get from level 21 to level 22 in Candy Crush, you're invited to ask your friends to join the game and then you can go and progress. Or if you're feeling generous, you might give help to your friends who've got stuck in the game, send them extra moves. So it's a very, very social experience that we've built. And this map is very key. You can see where you are and you can see where your friends are and that encourages social interaction and the competitive gameplay I was talking about. Another thing about making a game social, and this could equally go for music or a book or anything else, is that it fuels discovery, which is the kind of posh technical word for saying cheap marketing or effective marketing. Through Facebook, people send out notifications saying they're playing Candy Crush or they invite their friends or they're encouraged to do so by the game. And this means friends recommendation number one, citation for joining one of our games. Number two, the Facebook news feed, I'm playing Candy Crush, I'm playing Pet Rescue, why not come and join me? So it's very important for building the audience, this social layer. It can also induce a kind of viral phenomena. And here we're looking at two charts. The red is Hong Kong, the blue is the United Kingdom. In the red line, Candy Crush saga went bonkers in Hong Kong. You couldn't walk in the street in Hong Kong without someone coming up and asking you, will you become my friend on Facebook so I can get some extra lives on Candy Crush? And you can see there's that kind of vertical incline in the audience size in Hong Kong. UK, we're much more reserved, we don't do that sort of thing, it took longer to build. Another interesting thing we saw in Hong Kong is that when people were playing collectively on the commute, so they were on the Kowloon ferry for example, people who had reached level 150 or above that, very proud of their achievement, they'd be playing with their tablet very, very open like that. Whereas people who are on level 20, 25, just starting, they'd be playing on a phone kind of like this. Extraordinary social phenomena there. So how do we get a lot of data as you can see from that? How do we make use of that? And making a game is both an art and a science. There's game design and there's science and a lot of data around how people are playing. I'll just give you a small example here. Level 51 65 in Candy Crush, it's called the Lollipop Forest. Level 65, the objective is clear all the jellies, so you've got to remove all the elements underlying the coloured image and do that within a particular score target. Here it's 310,000 and within a limited number of moves. That's the puzzle challenge you have to complete. This was not a good level because 40% of our customers who were at that level dropped out. They gave up. They couldn't crack it. So we changed the game slightly and actually all we did was move to a single layer of jelly rather than a double layer of jelly. So that's not the kind of thick translucent white. It's the more transparent white on those marked areas. And doing that meant that the dropout rate fell from 40% to 20%, so 50% reduction. So more people passed level 65. And then whoops, you can see this is quite tricky. This is time. This is number of gameplays. Each line is a month and as you move forward in time, you can see that there are more gameplays happening as we continue to make those types of improvements in the game. So tweaking, changing, optimising in that way means that you get more people to remain within your game more often. Right, another important thing about these games is that they're free. Yeah, we don't charge to play the game. Some people do play and they pay because they're just really into it or they've got stuck or they want to beat their friends. This is US and UK survey data. It's the same in Asia. This is Korean survey data. I bought an item because my friend was higher up than me and I needed to catch up. So typically, people pay in order to progress faster in the game. They don't want to try level 65 30 times. They just want to get through it straight away. So people pay in order to advance both for their own personal satisfaction and to get ahead of their friends. We also do a lot of traditional marketing, I guess you'd call it in terms of trying different price points and different bundles of virtual goods to see which is the best price to charge for long term customer value. So the level progress, what we charge, all a lot of data goes into the decision making around what we do there. The fact is, however, that most people do not pay. And the vast majority of people who finish the game don't pay. So Candy Crush in particular, 80% of those who finished the game last month didn't make a single payment to King at all. But this formula works. Being free, having a social element, mixing data and art works. And Candy Crush, top grossing game on Apple, top grossing game on Google, top game in terms of audience size on Facebook. So it's a good formula to use. And yeah, there it is. Art, science and making it social and viral. That's you done. Thank you.