Page:6 - News Archived: 3437

Title Date
Developing for the Apple II Infinity is more than ten right - Link Fri, 16 Oct 2015 04:03:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs Infinity is More Than Ten Right by David H. Schroeder on 101415 034600 pm 3 comments The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. Previous Post What Did 39Better39 Mean 1982-83. In designing Dino Eggs for the Apple II I wanted to make it much better than my first game Crisis Mountain as I discussed in my previous post. No one knew anything. People were trying to figure out what computer games were ndash and what made the good ones good. Suddenly a new concept swept the infant industry The number of screens is what makes a good game... FewScreens Bad. More Screens Good. The catalyst for this burst of wisdom was Miner 2049rsquoer a best-selling game with a stunning ten distinct screens of game play. Visual Variety. People told me that Crisis Mountain had only two screens of game play. Well sort of. It had two background designs on which the player faced randomly-placed objects and a dozen or so increasingly-difficult skill levels. The glowing orange rocks didnrsquot appear until skill level 3. The giant boulder and Bertrum ndash the crazed radioactive bat ndash didnrsquot appear until skill level 5. I donrsquot sound defensive do I - But I had to admit that Crisis Mountain had only two distinct background screens. For the record I designed a third background for a ColecoVision version of Crisis Mountain but for a variety of reasons that port was never completed. ColecoVision arrived in a frenzy and thebubble burst just as quickly. The third unpublished background screen I designed for Crisis Mountain So while I was designing the screen architecture for Dino Eggs the logic was inescapable If ten screens are better than two then surely an infinite number of screens is better than ten. Right I wrote a screen-generation routine that randomly determined where every non-living object on the next Dino Eggs screen would go ndash walkable ledges jumpable gaps between ledges vertical steps boulders exposed eggs pieces of wood and power flowers. In general the current skill level in the game determined the number of each type of object required for the next screen and then random numbers determined where on the screen those objects would go. Except that a completely-random screen would be unplayable. So I defined what a ldquoplayablerdquo screen meant Time Master Tim had to be able to get everywhere steps had to be connected to ledges there could be no mixing ledges and gaps at the edge of the screen etc. And then ndash it was a brute-force routine. The code created a screen randomly and tested it for ldquoplayability.rdquo If that screen failed the test the code tossed it away and began again from scratch. I knew that the success of this approach required walking a fine line. If the ldquoplayabilityrdquo tests were too lax the game wouldnrsquot be fair to the player. If they were too strict the code might take too long to come up with an acceptable play screen. And the multiplicity of randomness-upon-randomness was begging for problems increasing the chance that some obscure bug or combination of randomly-generated extremes could lock the code into an infinite loop and freeze the computer. So --many evenings I left my Apple II computer stay on running the screen-generation routine overnight in a test loop creating with screen after screen after screen -- while I slept. I couldnrsquot judge the ldquoplayabilityrdquo factor in that way but I could smoke out any critical bugs or fatal freezes caused by random conditions. It worked. Irsquove never tallied out how many different Dino Eggs screens are possible but itrsquos a lot. I used random numbers to an extreme and lived to tell the tale. Note In my second post I mentioned my discovery that there is no such thing as a random number which is true. A computer does various kinds of hand-waving to create an effectively unpredictable number on request but the result is never truly random. Irsquom just using the word ldquorandomrdquo here because it is clumsy to keep using the phrase ldquoeffectively unpredictable numberrdquo over and over. One more note on random numbers in Dino Eggs The game doesnrsquot ldquoknowrdquo what is beneath a boulderuntil you kick it over. The code assigns the number of eggs or piece of wood that is under the boulder at the moment it is kicked over not before. And because the playerrsquos own joystick movements re-seed my random number generator it can be said that the player is creating his own game screen as he goes along. He just canrsquot control the specific results. The philosophical implications of this are staggering This paper sketch of the Dino Eggs screen reveals many of my early thoughts on game design. Some of these ideas came to fruition. Some did not. Some are only now being realized in the gamersquos revival Dino Eggs Rebirth. Note at upper left ldquoPDL...rdquo refers to the early Apple II game paddle. My first game Crisis Mountain had required only that Pong-like paddle ndash because no one thought enough folks had joysticks to rely solely on them. How quickly that would change. But -- as of this sketch --I was still considering a Single PaddleKeyboard mode for Dino Eggs. The big right-cornerarrows I was thinking of Spiders going horizontally along the top then threading down vertically. That I did. I was also thinking of roaches going vertically going up and then going horizontally on the ledges. That I didnrsquot do. Also note the idea ldquoRoaches eat wood rdquo Note at center bottom ldquofalling eggs...rdquo In the original Dino Eggs the eggs disappeared after you picked them up. In the game revival Dino Eggs Rebirth you can see the towering teetering pile of eggs in your arms and they visibly scatter and fall if you get bitten by a snake or spider. Note toward upper right ldquofalling rolling rock can put out firerdquo You bet it can. And

Game Design Deep Dive Controlling space and sound in Panoramical - Link Fri, 16 Oct 2015 04:03:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .disable cursor default opacity 0.5 text-decoration none important .pageTextfont-weightbold .pager margin10px 0 Game Design Deep Dive Controlling space and sound in Panoramical October 16 2015 By Fernando Ramallo David Kanaga October 16 2015 By Fernando Ramallo David Kanaga 1 comments More ConsolePC Indie Programming Audio Design Video Deep Dive Game Design Deep Dive is an ongoing Gamasutra series with the goal of shedding light on specific design features or mechanics within a video game in order to show how seemingly simple fundamental design decisions aren39t really that simple at all. Check out earlier installmentson theheredity systemof Hero Generationstraffic systemsofCities Skylinesandthe plant-growing mechanicsofGrow Home. Also dig into ourever-growingDeep Dive archivefordeveloper-minded features on everything fromAmnesia39ssanity metertoAlien Isolation39s save system. Who Fernando Ramallo visual designerprogrammer amp David Kanaga music designercomposer Fernando is a designer who has worked on puzzle games like Adult Swimrsquos Cardboard Box Assembler as well as experimental software such as the drawing ecosystem Lienzo Fertil ldquoFertile Canvasrdquo. David is a composer and designer best known for the interactive music in Proteus and Dyad. What Panoramical39s18shy-dimensional audiovisual manifold Panoramical is a game in which players float through a variety of semishy-animate landscapes influencing the synchronized looks musics and feels of the worlds using an omnipresent lsquomixerrsquo of analog controls. Each of these landscapes considered formally is an 18shy-dimensional sculptural-shyorchestral manifold. Two other kinds of manifold In concrete terms this means there are 18lsquodegrees of freedomrsquo the expressions of which the player is able to control as a conductor in a quasi-shytotalizing fantasy of cyborg unity. What The Mechanical Possibility Space Letrsquos consider briefly the size of the actual control possibility space before we move on to consider the less quantifiable interplay of the virtual and affective dimensions. Panoramical feels smoothshyshy -- this is because each of the control dimensions creates the impression of apparently continuous --shyshy or analog --shyshy movement. If this continuity were really present the space we are dealing with would be infinite as in between any two real numbers there is already infinite lsquospacersquo. In fact as with lsquoanalog sticksrsquo we are rather dealing with a fineshy-grained discrete space. Each dimension is split into 128 discrete chunks as per the MIDI control protocol. Taking the number of units comprising each dimension 128 and hypershy-hyper-shyetc-shycubing it to the power of the space 18 the number of possible global control states is a dizzying 128 to the 18th poweror approx. 8.51 x 10 to the 37th power. This is one description of the lsquoformal possibility spacersquo of this game. As a description of the control space it is accurate but as a description of the game as a whole it is both too big and too little. Why 1288203 to the 18th power8203is too Little Letrsquos imagine lsquoswitching mindsrsquo with the game. Now the game is a world-shysensing body a classical empiricist with 18 sensory organs. Its external world is YOU. This is the meaning of all the lsquodisco-shygodrsquo theology and the implicit ashytheology of videogames in general that players become ldquothe external worldrdquo and as it were they begin to peel the selfshy-world relationship inside-shyout. Panoramical has 128 to the18th power8203possible bodily-shyinput states. But the number of its possible outputs is greater than this hinting at an lsquoinner worldrsquo of unspoken a priori concepts and emotions independent of the influence of the external world. To calculate these emotions we need to consider every possible state that the software can express including but not limited to the 18 control dimensions. To begin the game requires 1 GB of hard-shydrive space. This is of course 1 thousand million bytes each byte of which is 8 bits each bit of which exists in two possible states. A bit is analogous to a slider in Panoramical and its 2 possible states analogous to the 128 possible states of MIDI-shyprotocol control. Knowing only the size of the file we can say that the maximum number of states in Panoramicalrsquos TotalshySystem possibility space is 2 to the 8000000000th power. When I plug this into calculators online to try to reduce to scientific notation the answer provided is ldquoinfinityrdquo which of course isnrsquot true because you canrsquot get to infinity just by going far enough but it gets the point across that this value is VERY BIG. In any case somewhere between 128 to the18th power and 2 to the 8000000000th power there exists the actual size of the gamersquos quantifiable possibility space. And those parts of which are greater than 128 to the 18th power correspond to the mental a prioris of the game space as a rationalist rather than an empiricist. Why 1288203 to the 18th power 8203is too Big The 18 control dimensions are variously augumented and diminished by a variety of affective dimensions both virtual in the same sense that a mirror holds a lsquovirtual worldrsquo and actual. Actually there is a time dimension that the player does not have control over. This is manifest in musical and visual loops. Virtually the content which populates these loops exist for a player in dialogue with their own imaginative ecosystems. Altering the dimensionality of several elements suggests imaginative possible forms that do not exist just like a an incomplete melody suggests cadential notes which may not be the ones actually used. Qualitative virtual dimensions are implied by the lsquocontentrsquo which occupies the more formal quantitative control space 128 18 . Insofar as audio-shyvisual content lives in forms which are invariant over a large slice of one dimensional axis the affective magnitude of that dimension seems to shrink accordingly. And

Marmalade adds 2D Kit and 3D Kit to its toolset - Link Thu, 15 Oct 2015 17:00:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .disable cursor default opacity 0.5 text-decoration none important .pageTextfont-weightbold .pager margin10px 0 Marmalade adds 2D Kit and 3D Kit to its toolset October 15 2015 By Christian Nutt October 15 2015 By Christian Nutt Post A Comment More ConsolePC SmartphoneTablet Indie Programming Newsbrief The Marmalade game development toolkit has expanded with the addition of a new 2D Kit in beta and a 3D Kit. The two packages do what you39d expect help develop either 2D or 3D games respectively. The 2D Kit contains an entirely new 2D editor interface that allows for drag-and-drop scene layout. 3D Kit meanwhile is designed to improve Marmalade39s integration with industry-standard 3D packages like Maya and 3ds Max and FBX format files. There39s more info at the company39s blog and further on from that post plenty of much more detailed info at its developer portal for both tools -- linked from that post. Related Jobs 10.15.15 Server Software Engineer 10.15.15 Senior Game Engineer 10.15.15 Unity Engineer 10.15.15 Sr. Software Development Engineer - AI Programmer View All Jobs Top Stories Next News Story View All 256452 newswire viewnews256452Marmalade_adds_2D_Kit_and_3D_Kit_to_its_toolset.php Loading Comments

Video Designing games about tricky emotions like longing or love - Link Thu, 15 Oct 2015 15:47:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .disable cursor default opacity 0.5 text-decoration none important .pageTextfont-weightbold .pager margin10px 0 Video Designing games about tricky emotions like longing or love October 15 2015 By Staff October 15 2015 By Staff Post A Comment More ConsolePC SocialOnline SmartphoneTablet Indie Design Video Vault The spectrum of feelings and emotions evoked by video game designers is typically limited to things like joy fear frustration and satisfaction. Rarely do we see a game designed to inspire feelings of affection or longing or that peculiar sensation of having butterflies in your stomach. Funomena39s Robin Hunicke believes developers should try to tackle those tricky feelings more often and during the GDC 2014 Indie Soapbox she took the stage to make her case. It was a short but sweet presentation that showcased a rare and unique perspective on game design. Now you can watch Hunicke39s talk -- a roughly six-minute segment of the full panel -- completely free via the GDC Vault39s official YouTube channel. About the GDC Vault In addition to this presentation theGDC Vaultand its newYouTube channeloffers numerous other free videos audio recordings and slides from many of the recentGame Developers Conference events and the service offers even more members-only content for GDC Vault subscribers. Those who purchased All Access passes to recent events like GDC GDC Europe and GDC Next already have full access to GDC Vault and interested parties can apply for the individual subscription viaa GDC Vault subscription page. Group subscriptions are also available game-related schools and development studios who sign up for GDC Vault Studio Subscriptions can receive access for their entire office or company by contacting staff via theGDC Vault group subscription page. Finally current subscribers with access issues cancontact GDC Vault technical support. Gamasutra and GDC are sibling organizations under parent UBM Tech Related Jobs 10.16.15 Effects Technical Director 10.16.15 Experienced Level Designer 10.15.15 Senior Level Designer Amazon Game Studios 10.15.15 Senior Game Designer View All Jobs Top Stories Next News Story View All 256447 newswire viewnews256447Video_Designing_games_about_tricky_emotions_like_longing_or_love.php Loading Comments

3 things marketing my indie game taught me - Link Thu, 15 Oct 2015 14:07:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs 3 Things Marketing My Indie Game Taught Me by Raghav Mathur on 101215 015000 pm Post A Comment The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. I39m Raghav CMO at Black Shell Media LLC and marketing lead at Black Shell Games. I39ve had the pleasure of working on many games both internal and for clients over the past years and I39ve definitely learned a lot. Here are the three most important lessons I learned that I think everyone should keep in mind when diving into the world of indie development. 1.PLAYERS DON39T LIKE DEVELOPMENT STUDIOS THEY LIKE DEVELOPERS. Five minutes on some online forums will introduce you to a hive mind of hatred towards big companies like EA and Microsoft. Gamers don39t like big companies and they certainly don39t like anyone that resembles the man selling them games. They associate companies and entities with all that39s wrong with the world of gaming. They see companies constantly trying to bleed players dry and ruining everything that fans love. Whenever we tried talking to players or getting the word out using the Black Shell Games name as our representation people pushed back and we didn39t get the kind of engagement we wanted. So I decided to try a new strategy that has had immense successbe a person not a company.To this day every single mass email or promotional message I send out doesn39t come from Black Shell Games. It comes from Raghav at Black Shell Games or just Raghav Mathur. This way our fans see that there is a human on the other end of the message who39s trying to talk to them as opposed to some scummy company yearning to make a sale. We get immense click through rates almost 50 sometimes in our mass emails and people engage with us very comfortably. A large part of game development at Black Shell Games is feedback from our users. People will gladly give Raghav some feedback or ideas. Will people reach out to Black Shell Games and do the sameLess likely. 2. PAID ADS AREN39T WORTH IT WHEN YOU CAN DEFY MATH INSTEAD. Paid ads can begreat. They can put you right in front of your audience and position you perfectly to make a huge impact. But in the world of indie gaming I ask you to think about something. Look back at point 1mdashpeople don39t like companies. Who puts out paid adsCompanies. Companies that aren39t trying to reach out to you but rather just trying to take your money and put a product in your hands. Indie games rarely become successful because of their paid advertising efforts. It39s rarely detrimental but it39s just ahugewaste of money. Even on sites like Reddit where CPM rates can be as low as 0.75 you39ll break even at best.My philosophy as someone who39s been marketing games for a while is to get mathematically impossible ROI. What does that mean Consider this ROI equation. 102100 1.02 102 I spent 100 on ads and made 102 as a result. Seems OK right Wait just one second. Suppose I bill my time at near minimum wagemdash10hour. It took me half an hour to set up the ads an hour to interact with queries and talk to people who were commenting on the ad and another half hour to run the analytics. Now my total spend is 100 cash plus 20 labor 120. Now 102120 0.85 85 I didn39t make 2.I39ve lost money. What I strive to do at Black Shell Games is ROI that defies math. What the heck am I talking about Consider this. I have an existing community of followers that I39ve worked hard to build up over time. I send out one tweetmdashan action that barely takes a minute and that I wouldn39t even bill formdashto my fan base and generate 50 in revenue. Now let39s try the ROI equation again 500 Uh oh. You can39t divide by zeroI made 50 by doing essentially nothing In the long run it39s much more profitable to spend time and money on growing a community that you can turn into a sale generating fan base instead of having to constantly spend money to struggle and make a few bucks here and there. It39s inconsistent inconvenient expensive and just not worth it. Indie gamers are some of the most passionate engaged excitable people I know. If you build up a great fan base you39ll never have to worry about making money or reaching players. They39ll all beright by your side. 3. PICTURES SPEAK LOUDER THAN WORDS. SO DO GIFS AND TRAILERS. Copywriting is a vital skill for marketing buffs. Everyone should take a basic course in writing good copyor get in touch with Black Shell Media and let us take care of it for youto effectively reach and appeal to players. But in today39s day and age where information is visual clean and fast people would much rather look at pictures and other media than read text. Steam store pages focus prominently on pictures and trailers and push descriptions and feature lists down below all the multimedia. Donrsquot spend week after week perfecting your copy down to a T if you could instead spend a few hours cullingbreathtakingvideo footage and screenshots that sell your game much better than text does. Even on the App Store and Play Store the icon and screenshots are stunning for most hit apps and encourage people to play the game. Some theorize that society has shorter attention spans nowadays. I just think itrsquos a simple principlemdashpeople like looking at pretty things.Just ask any self-proclaimed pick up artist. Visuals aesthetics and outside appeal are what sell products and lead to downloads of your indie game. Playerswilljudge your book by its cover. So make the cover gorgeous. Keep these three points in mind when you set off to make and market your game and you39ll do just fine. All the best Related Jobs 10.16.15 Experienced Artist 10.16.15 Lead Technical Artist 10.16.15 Lead Artist 10.16.15 Experienced Game Engine Programmer View All Jobs 255889 blog blogsRaghavMathur201510122558893_Things_Marketing_My_Indie_Game_Taught_Me.php 1003234 36031793 Loading Comments

Dont Miss Designing people-programming puzzler Human Resource Machine - Link Thu, 15 Oct 2015 12:46:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .disable cursor default opacity 0.5 text-decoration none important .pageTextfont-weightbold .pager margin10px 0 Why a World of Goo dev made a puzzle game about programming humans June 12 2015 By Alex Wawro June 12 2015 By Alex Wawro 1 comments More ConsolePC Design Exclusive There was a weird bit of synchronicity to my lifethis week when shortly after publishing an interview with Zach Barth and Matthew Burns about the development of Zachtronics39 assembly language puzzle gameTIS-100 I got word thatWorld of Goostudio Tomorrow Corporation was getting ready to launch its own quotdrag 39n dropquot assembly language programming game this summerHuman Resource Machine. The game looks quite a bit more approachable than TIS-100 but it has the same low-level programming language underpinnings. So what is it about assembly languages that makes them so appealing to game designers quotAssembly languages lend themselves so naturally to tinkering in games because it39s like Legosquot Tomorrow Corp.39sKyle Gabler tells me. quotBut instead of building physical things out of blocks you39re building behavioral things out of little commands.quot Oddly Gabler says that trying to market a thinly-disguised programming puzzle game is actually quite a bit easier than Tomorrow Corporation39s previous game the IGF-nominated 2012 fireplace simulatorLittle Inferno. At GDC that year Gabler39s compatriot Kyle Gray spoke frankly about the many mistakes Tomorrow Corp. made in developingLittle Infernoand in a recent conversation over email Gabler opened up about how the team applied learnings from those mistakes to the design and development ofHuman Resource Machine.It was an interesting conversation so I39ve taken the liberty of reprinting an edited version here. Let39s talk about the design of Human Resource Machine. How does it reflect Tomorrow Corp.39s design sensibilities What were your specific influences and inspirations GablerIn Human Resource Machine you program little office workers to perform little tasks. Your office has an inbox an outbox some spaces on the floor to store stuff for later etc - and it all works together as a real working computer. As a player you don39t have to know any of this but you39re basically doing drag n39 drop assembly programming. And if you don39t know what that is don39t worry. It39s just a language of simple little commands like quotgrab the next inputquot or quotstore this thing over there for laterquot that CPU39s understand. This game continues the rich tradition of building games based on real life stuff. World of Goo that I made with 2DBOY was about playing with masses connected by springs simulated with Hooke39s Law. Little Inferno was about the value of time and blowing stuff up. And now computers which are so ripe for gameplay it39s no surprise we39ve seen other fascinating computer games appear like TIS-100 by Zachtronics that I can39t wait to play and Manufactoria which I loved. What lessons did you learn from previous projects and how did you apply them while developing HRM We learned a lot of hard lessons about how a game39s design affects your ability to promote it. Our previous game Little Infernowas incredibly difficult to describe - it appeared intentionally to be a silly fireplace simulator on the surface but with a dark story brewing in the background and with an abrupt change near the end - none of which we could talk about without spoiling. I imagine it was similarly difficult to promote The Crying Game Human Resource Machine in comparison is fun and easy to discuss There are no real secrets or mystery just a series of really good puzzles. We think The source material we39re working with - computers and programming - is so naturally interesting and fun and well designed by really smart people decades ago that we have a lot less work to do as game designers. So what technical and design challenges did you face in developing such a game TechDesign challengeIn Human Resource Machine you39re playing around with a computer inside a computer. The challenge here was designing how this little simulated computer would work. What exactly is the computer39s architecture Do you have registers Some sort of stack How do you access memory What instructions do we want to provide Placing the game in an office environment where you39re a little worker moving physical boxes around helped narrow it down somewhat. Nearly all decisions in the design of the computer were evaluated based on the question quotWill this make the computer simpler more intuitive for playersquot We can talk about the design of the computer forever if anyone is interested to know more. We also wrote a bit more about itherein the quotexpertquot section. Maybe our next game will be quotDesign Your Own Computer The Gamequot because it39s so fun. Thematic challengeBeginners and non-programmers can get really scared of the idea of programming - so we39ve put a lot of work into making the game and everything surrounding the game simple and accessible. No idea how we did yet but we39ll find out soon if we succeeded I suppose Writing challengeIn each level your fat little boss tells you what you need to do. The boss39s words here had to dispense technical requirements in a way that was clear unambiguous and brief as possible - and hopefully with a little sassiness along the way. Playtesting and iterating on getting each word exactly rightand coming up with a vocabulary that was consistent across all levels required a good amount of effort...even though we all know players will just click through as fast as they can. Related Jobs 10.16.15 Effects Technical Director 10.16.15 Experienced Level Designer 10.15.15 Senior Level Designer Amazon Game Studios 10.15.15 Senior Game Designer View All Jobs Top Stories Next News Story View All 245946 newswire viewnews245946Why_a_World_of_Goo_dev_made_a_puzzle_game_about_programming_humans.php Loading Comments

Considerations before you launch your game - Link Thu, 15 Oct 2015 12:07:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs Considerations Before Launch by Tara Brannigan on 101415 034600 pm 4 comments The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. Originally published athttpboop.socialconsiderations-before-launch Part 1 inthis series 39Just Put it on Steam39 Is Not a Strategy Audience Independent Developers Self-publishing What High level overview of the areas outside of 39make a great game39 that should be consideredbefore you launch.Not all of these may apply to your individual title but it39s worth the exercise of considering each high-level areaand its implications for your game. When Ideally you should be thinking of these throughout the development of your title and make a special effort to revisit and focus on them no less than 3-6 months prior to launch for any title which has been in development for more than 1 year. NOTE Questions provided are only intended as a kicking off point for brainstorming and consideration and are not intended to be all-encompassing. Please seek additional information andor guidance from subject matter experts as applicable. Jump to Market Awareness Being aware of the currentmarketis an absolute must for understanding how tobetter develop and position your game. If you39re creating a title that will be up against a lot of competition knowing this in advance will help you better develop identify highlight and market those points that differentiate you from others in themarket. If you39re not sure what you39re up against you39re doing yourself and potentially your team a huge disservice. Put some time aside research the current market and check in periodically to revise those findings as the market changes. Consider Regional Considerations If you39re intending on launching your game to a global audience you39ll also want to be aware of regional considerations. This impacts not just how you build your game but how you interact with and market itto your non-native-region customers. Remember Your customer may not end up being who you thought they were If you gain a huge customer base in another region how do you keep those players interested and engaged Consider Marketing PR You39ve made a great game ...Now how do you get other people to notice In a market that39s saturated with choice putting careful thought planning and resources into your Marketing PRstrategy can bevital. As discussed in the previous article in this series 39just put it on Steam39 is not a solid strategy. While it39s always fantastic when a game picks up traction and gains a huge following without much effort on the part of the team counting on that is gambling Consider Advertising If you39re launching a freemium game you39re absolutely going to want to investigate and understand your options with regards to advertising models. I know there can be a bit of hesitation around Advertising but remember there are models which benefit both you and the customer. thankfully enough these also tend to be among the most effective Consider Monetization In short how will you make money from your game Making a game just for fun is fantastic but if you39re attempting to earn a living from your work you need to carefully consider how you will be making money from it well before you send it out into the real world. For example in markets such as the Steam store a premium modelis still a viable option for most titles as long as you hit the right price point for your content. However if you39re launching on the App Store or Google Play Store you39re going to want to strongly consider a freemium option with an ad-supported andor in-app purchases. Your game and its audience will help inform the strategy that39s likely to work best for you but if you39re not thinking this through early in your development it may be too late to change course. Consider Analytics In short what information do you need from your game once it has been launched It39s much easier to build in the hooks to collect the right data before you ship than to attempt to foist them in at a later date so think through this area and what would be beneficial information for you to have longer term. Consider Finances Outside of 39how do I make money in the game39 you39ll also want to consider your larger financial picture. If you39re self-publishing and relying on your game39s success for your income this should be at the forefront of your mind before going into indie game development as your full time profession. Consider User Experience Technically User Testing Community In-game social hooks QA and Customer Supportcan all fall under the larger umbrella of 39User Experience39. However as these are all fairly large areas I39ve chosen to break them up into their own segment. Consider User Testing If you39re able to do so testing your game with your expected audience can provide a great deal of feedback and ideas that you might not have otherwise considered. User testing can also help validate or disprove ideas with the target audience before too much has been invested. Consider Community Social Media Building a great community and social media presence around your game can be a great way to not just build interest in your title pre-launch but also set the foundation for the long term relationshipsthat lead to great interactions genuine advocates for yourcurrent and future work. Consider In-Game SocialHooks Provided you39ve built a great game building social hooksinside of your game can go a long way to helping spread the word about your new title. With the cost of user acquisition well outside of the realm of possibility for most indie game developers finding real innovative ways for your players to easily share the things they love about your game can go a long way towards increasing visibility and hopefully downloads. Consider Quality Assurance QA If you39re not providing enough time for thoroughly

5 game design lessons from Tokyo Game Show - Link Thu, 15 Oct 2015 11:38:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs 5 game design lessons from the Tokyo Game Show by Brandon Sheffield on 101315 033600 pm 6 comments The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. I recently got back fromdemoing our upcoming gameGunsportat the Tokyo Game Show. It was definitely a different experience from Western consumer-facing tradeshows but talking to other developers was perhaps the most interesting part of the experience. I got to have a lot of conversations some short some long with Japanese developers who wandered by to play the game. Here are 5 takeaways either on game design or being a game designer that I gleaned from being at the Tokyo Game Show. A quick primer on our game Gunsport for those who haven39t played itndash it39s a 2v2 esports-ish action game rather like volleyball with guns. On each team one character doesn39t move and can fire twice per volley the Keeper and one character does move and jump but can only fire once per volley the Striker. Whenever the ball crosses the net in either direction it39s worth additional points. Also our control scheme is rather different ndash left trigger and right trigger aim your gun up and down and X fires. This is worth knowing as you read because this is what we had to communicate to players as they went through the game ndash rather a lot. Now on to the lessons. 1 Communication is everything. Japanese is not my first language so naturally verbal communication was at times an issue ndash but so too was visual and thematic communication within the game. One player in particular just didn39t like the jump of the character he was using. ldquoShe39s up in the air too longrdquo he said. ldquoShe39s just floating.rdquo To which I replied ldquoWell we39ll have a nicer feel to the gravity in the final game but ultimately we want her to have serious hangtime so she can aim and shoot to get a better angle on the ball.rdquo ldquoI just don39t like that long jumprdquo he shrugged adding ldquoI39m used to quicker ones in action games.rdquo Then I had the realization ndash I39d been trying to explain to him whythischaracter should have a long jump when instead I should39ve retargeted. I showed him another character from another team who has a very quick and snappy jump. ldquoOhrdquo he said. ldquoEvery character is different I get itrdquo And the problem was solved. But ultimately it highlighted an existing problem ndash how can we get people to realize that every character will be different right from the start without having to try every character out or have a conversation with meStreet Fighterdoes this with character design and we39ve tried there but it isn39t enough visual communication.We need to improve our visual language but also our educate people about our verbs in general. 2 Be ready to test. We had two new teams in the game and we needed to test them because they39d only been implemented the night before the show. I had no idea the teams would be ready but our programmer surprised us and pulled through So after some quick blind balance attempts we tried to test them out. All I could really do was take notes about which team beat which on a piece of paper but this was ultimately invaluable. When one group played for a really long time I39d urge them to try the new teams so I could test this at a varied level of play. So I got great data but if we39d had some actual metrics-mining tools I could39ve gotten a lot more hard data and that would39ve been great to compare across shows. Tak Fujii ninety nine nightswandered by at one point 3 Praise can fool you. At various points during the eventpals likeTak Fujii came byto play the gameand give their feedback.At one point during the first day Koji Igarashi of Castlevania fame wandered by. I grabbed him and asked him to play. Now he39s played games of ours before likeOh Deer Alpha and he gave a pretty neutral response. ldquoIt39s okayrdquo he39d say or ldquoIt39s not really my kind of thing.rdquo Gunsport on the other hand actually engaged him. He was good at it right away first of all which is already nice to see most people take a game or two to get decent. He got the nuance of the game very quickly and was able to bring his team to victory almost singlehandedly. He kept saying ldquothis is interestingrdquo as he was playing or every time he learned a new rule. At the end he pointed at the game and said ldquothis is super fun.rdquo Obviously this felt great to hear about our action game coming from someone whose action games I39ve been playing since highschool. But as soon as he left I realized that I couldn39t let this praise make us complacent. We39re far from done and just because someone who is already very good at action games can get good at it doesn39t mean others will figure out how to get there. The lesson here was take the praise but don39t let it get to your head as I almost did. Iga plays gunsport. 4 Japanese players are patient. This was an interesting one. We39ve demoed Gunsport all around the US Europe and now Asia and each audience seems to be quite different. Younger Americans mostly tweens seem to really get into it. So do older folks once they39re forced to play it and you do have to force them. Your 18-25 year old Call of Duty player has a lot more criticisms. But one thing was common among all American playersndash they didn39t listen to my instructions assumed they could figure it out and just went for it. This is good and bad. It39s a great way to test out whether your game teaches people how to play ours really doesn39t which is a problem but if they don39t figure it out they can get really frustrated. And that39s something I noticed a lot ndash when American players weren39t good at the game right away or didn39t ldquogetrdquo it right away they got frustrated and mad at the game. Japanese players on the other and if they weren39t good at

Destruction and growth in gameplay Creating Mushroom 11 - Link Thu, 15 Oct 2015 10:07:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .disable cursor default opacity 0.5 text-decoration none important .pageTextfont-weightbold .pager margin10px 0 Destruction and growth in gameplay Creating Mushroom 11 October 15 2015 By Lena LeRay October 15 2015 By Lena LeRay Post A Comment More Indie Programming Design Production Video Mushroom 11 which comes out this week is a platformer unlike any other. quotMushroom 11 is a game about destruction and growthquot is how developer Itay Keren describes it when he can39t show people the game. quotYou are an amorphous organism and the only way you move is by destroying your own cells. Destroyed cells immediately grow elsewhere allowing you to freely shape trim or split the fungus.quot He says he39s used the pitch many times but that even video clips can39t accurately convey what it39s like to play the game. And I agree. I watched his presentation at Sense of Wonder Night at the recent Tokyo Game Show where the game won the best game designaward and although that gave me a good grasp of how the gameplay works it turns out that the game is absorbingly tricky when you actually sit down to play it. Keren has been making games since he was a kid and although he spent some time working in non-game software development he established studio Untame a few years ago. quotI went through different ideas and genres... until I finally found true passion in more experimental mechanically based gamesquot he says. quotMy first game was a hard yet casually themed game called Rope Rescue which I released in 2011. My true passion is demonstrated in Mushroom 11 where I really set to make the game I dreamed of rather than try to please a certain audience.quot Destruction and growth He first came up with the idea for Mushroom 11 at a Global Game Jam event for which the theme was Ouroboros the snake eternally eating its own tail. quotWhat I see in this symbol is the cyclical nature of destruction and growthquot says Keren. quotAs a long time fan of decades of platformers I wanted to experiment with the idea of making a platformer where you move indirectly by destroying your own cells. That in effect causes a sporadic regeneration which is the true essence of the game.quot According to Keren the game jam prototype was unpleasant to play but even then showed promise and was awarded best game designat the GGJ event where it was made. quotOn the way back home in the subway I started sketching ideas of the things you can do with this novel mechanicquot he says. quotIt was really clear that I could do so much more than the prototype has presented and I couldn39t wait to start investigating this space.quot It was then that he decided to continue developing the game. The game is built in Unity and Keren is thankful for the tool-building time it has saved him. That time has instead gone into figuring out how to design levels for a game with novel mechanics. quotThe original prototype was pretty much the amorphous fungus set in a standard platformer levelquot he says. quotThe idea was new to me and it took me years literally to figure out what a Mushroom 11 level could and should have. Eventually I made a point in not simply including normal platformer obstacles but rather making every challenge unique and tailored to this mechanics.quot When asked how long it would take to create another level for the game if he started today Keren replied quotI have a huge unreleased level with dozens of 39deleted39 puzzles or puzzles that just didn39t fit mechanically or thematically. So it could be pretty quick. But truthfully it39s probably going to take months to make it just right - as it always does.quot Although the game39s physics work smoothly from the player39s perspective it seemed to me that the underlying technology must be pretty complicated. Keren said that questions about the game39s physics deserve a longer answer than is appropriate for this interview but pointed me to a talk about it that he gave two years ago. quotIt39s gotten even more complicated since that talkquot he says quotand I can say that making the tech took me around half of the fouryears it took to make the game.quot That isn39t to say that the game is all about the mechanics. quotOne of the things I39m particularly proud of is the story and even more so the storytelling or lack thereofquot Keren says. quotThere is a pretty large scale and hopefully interesting story that I wrote about the world of Mushroom 11 but instead of telling it to the players in cutscenes and dialogs we actually hint to the story using background images and artifacts. Figuring out what actually happened becomes a completely separate challenge almost a game on its own.quot Learning the mushroom One development challenge the folks at Untame ran into was communicating how the game works to new players. quotWhen you work on a game for so long you become shortsighted to its novelty and difficultyquot says Keren. quotTaking it to shows proved that we need to be extremely careful teaching this idea to new users. With the help of my wife Julia who39s also a game designer we devised a set of rules and a first chapter that39s essentially a big hands-on tutorial teaching one thing at a time and carefully ramping up the difficulty.quot Keren also expected the game to end up being much smaller. quotI thought at first that it was going towards the experimental puzzle route where I can lay out a set of consecutive challenges as I did for my previous gamequot he says quotbut the game really wanted to go towards being a large-scale adventure which ties the story and art into its mechanics.quot For all the challenges the game has presented him however Keren is glad to have been working on it. quotThe constant discovery of new things that the mushroom can do has been a constant source of joy in my life for the past few years.quot Related Jobs 10.15.15 Server Software Engineer 10.15.15 Senior Game Engineer 10.15.15 Unity Engineer 10.15.15 Sr. Software Development Engineer - AI Programmer View All Jobs Top Stories Next News Story

VV-Cinematic Animator-Temporary Activision - Link 2015-10-16

Cinematic Animator-Temporary Vicarious Visions developer of numerous award winning games including Skylanders Super Chargers Skylanders Swap Force Guitar Hero On Tour and Marvel Ultimate Alliance 2 is seeking a passionate motivated and experienced Animator to join our team of talented developers in creating next generation games for the Xbox 360 PS3 and Wii platforms. This position is temporary likely lasting 12 months. Candidates must be able to relocate to Albany NY and work onsite. No remote work. Your responsibilities will include Work closely with the Animation Leads developing defining and maintaining high-end cinematic animations. Seek out guidance from leads and other experienced artists to provide the best quality artwork and most efficient methodologies. Proactive in creating solutions and solving problems. Participate in peer reviews giving and receiving team feedback. Able to work with team members of other disciplines. Such as communicating with technical artists and engineering support for implementing your cinematic animations in-engine. Generating and presenting ideas for Artist development. Task tracking throughout development cycle. The skills amp experience were looking for Must show the ability to animate with high quality timing weight and acting skills. Excellent skills and understanding of character motion in a range of styles. Experience animating in 3D Software such as Max andor Maya. Must have a passion to create the best quality artwork possible for any game genre or platform that is assigned Xbox360 PS3 Wii NDS handheld. Task driven self-motivated amp proactive. Adept to changing requirements. Must have a positive attitude and be a team player. Provide Samples of your animation online with a clear explanation of what you did. Youll really get noticed with these Experience with cinematic production Character modeling. State machine setup and understanding e.g. Havok Behavior. Passion for Video Games. Pre-production skills such as Storyboarding and Animatics. Rigging and Point Weighting character meshes. Work with facial animation. Experience with camera layoutltimg srchttpfeeds.feedburner.comrGamasutraJobs4ARy6W-79UPw

Senior Sound Designer Respawn Entertainment - Link 2015-10-16

Responsibilities - Design high quality sound assets for the game including effects ambience and foley. - Implement and mix sounds directly into game engine. - Adhere to audio schedule delivering assets on time. - Work with Audio Design Animation and Engineering departments to ensure that audio works in-game and matches the aesthetic for specific levels as well as overall design of game. - Playtest troubleshoot and help fix audio bugs throughout the project. - Music editing and effective placement of cues throughout the game. - This person willnotbe responsible for composing music for the game. Requirements - 6 years experience in a sound design role for video games. Record of success creating sound for major titles desired. - Significant PC and console game audio experience a must. Shipped AAA games a plus. - Strong demonstrable audio design and editing skills. - Experience implementing sound into game engines by use of sound integration tools such as Wwise Miles or FMOD. - Professional level skills with major audio software packages such as ProTools Nuendo and Sound Forge. - Strong audio technical expertise. - Passion for audio. Passion for games.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4Qo-IKxXZAAQ

Server Software Engineer Visual Concepts Entertainment - Link 2015-10-16

Youre rare. Never satisfied with anything less than coding perfection you are constantly looking for ways to out-scale outperform and outclass the current best standards of excellence. There is never a moment when you are not visualizing complicated software systems and looking for ways to make them better simpler and faster. Scalable Check. Reliable Check. Redundant Check. Bugs Nope. Not on your watch. You are a stickler for incredible detail and when you write code youre creating a masterpiece and youre not satisfied with anything less. You know that there is nothing more amazing than designing and writing code that solves cool problems for millions of users on powerful computers across multiple data centers and does so with grace and ease. Why write code that runs on one system when it can run on a thousand This is not an IT role. Youre not a technician. Youre not a database administrator. Youre a software engineer. And you bring a proven deep understanding of software architecture and computer programming to the task at handle of designing implementing optimizing and perfecting software running in C and Python for massively-multiplayer online features and functionality in some of the best videogames on the planet. Requirements - Minimum BS in Computer Science or equivalent experience - Minimum 3-5 years of experience writing server backend code - Fluent CC and understanding of object-oriented programming - Fluent in Python PHP Perl or Ruby with an emphasis on Python - Deep understanding of distributed and scalable systems - Experience with multithreaded programming - Experience writing code for security and virtual currency transactions a plus - Experience optimizing database connections and queries a plus - Experience with online gaming architecture a plus - SQL database experience a plus MySQL Microsoft SQL Server or other - PS4 PS3 Xbox One or Xbox 360 development experience a plus About Visual Concepts A pioneer in video games across multiple generations and the creator of some of the top-rated video game franchises including 2K Sports and the NBA 2K series Visual Concepts is widely regarded as one of the worlds top studios. A subsidiary of Take-Two Interactive Software Inc. TTWO Visual Concepts continues to innovate in gameplay creativity and technology. With studios in Marin County California Shanghai China and Seoul South Korea Visual Concepts is a culture of excellence and passion for building amazing products year after year and offers top candidates the opportunity to learn and grow with some of the smartest and most creative minds in the industry. www.vcentertainment.com.ltimg srchttpfeeds.feedburner.comrGamasutraJobs48foR4tsw1iE

Senior Game Engineer Sega Networks Inc. - Link 2015-10-15

Three Rings one of SEGAs premiere studios is hiring a Senior Game Engineer in their San Francisco CA location to support in-development titles. Were looking for developers with a full stack background developing clientserver based games who want to join a fun team of bright engineers who get stuff done. Ideal candidates will be equally comfortable discussing scene graphs matchmaking algorithms scaling high-traffic server applications and optimizing database queries with a team of passionate peers. Candidates should enjoy a self-directed environment that gives you room to apply your expertise and make an impact. Resposibilities Build amazing games Be passionate take pride in your work and have a sense of ownership. Contribute in game design and architectural discussions - and be responsible for various parts of a project. Work in a collaborative and open setting with experts in all aspects of a games life cycle. Qualifications 1 year of mobile development experience including shipping at least one app or game. 5 years experience working with object-oriented languages. C and Java preferred but not required. High familiarity with Unix environments and SQL MySQL Postrgres. Experience with version control systems preferably Git and SVN. Knowledge of good software engineering practices and a willingness to learn. The ability to work in a team environment. Bonus if You Have A broad understanding of major game systems- graphics physics etc. Experience with the Unity game engine. A basic understanding of clientserver systems and Unix environments. Familiarity with agile processes particularly Scrum. We offer Competitive Salaries and Bonus Plans Complete MedicalDentalVisionFSA Relocation Assistance Company trips and parties we like funltimg srchttpfeeds.feedburner.comrGamasutraJobs45n3EaMNUfb8

Unity Engineer Backflip Studios - Link 2015-10-15

We are looking for smart creative engineers with programming and game design talent. You will use the Unity3D engine to create fun new games for iPhone iPad and Android devices. You will have a lot of input into the design and visual aspects of the game as well as coding core algorithms and gameplay features. Requirements - CS fundamentals and solid understanding of low level concepts - Software Architecture and design expertise - Strong background in C. Background in C is a plus - Expert level understanding of Unity3D - At least 4 years professional software development experience - Previous iPhone development experience andor game development experience - Ability to work fast quickly get up to speed with existing code and learn new concepts easily - Desire to create fun games - Eligible to work in the U.S.ltimg srchttpfeeds.feedburner.comrGamasutraJobs48H67mYKi1ko

Sr. Technical Artist Amazon - Link 2015-10-15

At Amazon our goal is to develop ground-breaking PC games that become cultural touchstones that redefine the boundaries of player experience and that change the way the world sees digital entertainment. Join us and youll have the power of Twitch Amazon Web Services and the entire Amazon ecosystem to shape the future of games. You will work alongside talented industry veterans including key contributors from dozens of titles Half Life 2 Left for Dead Thief System Shock 2 Age of Empires Dawn Of War II Halo The Last of Us Gears of War Forza Bioshock and Sunset Overdrive. We believe in a future of immersive highly engaging game experiences that will collectively cut across age gender and nationality. You share our belief and are among the top few technical elite in the world. Amazon Game Studios is looking to take risks and invent We want people that are driven to make the best games in the industry. In this role you will work closely with the Technical Art Lead enabling artists to execute high quality assets by adhering to the high visual standards and vision set by the Art Director and graphics engineering team. The perfect candidate will be a relentless creative problem solver a hardworking self-motivated team player able to work across multiple disciplines and potentially lead a small tech art team. You will be proficient at scripting and automating applications such as Maya or 3DSMax comfortable troubleshooting and inventing within game engines. You will have a proven track record of building and guiding talented artists and a desire to implement new production methods to deliver a high visual quality that delights customers. If the opportunity to help create Amazons next big hit is the challenge you have been looking for we want to hear from you Qualifications Implement new techniques and tools that increase art quality and efficiency. Proactively identify and solve problems before they affect the development team. Portfolio demonstrates tech art experience in several of the following characters rendering visual effects or environments. Experience troubleshooting workflow issues and scripting Version Control systems such as Git SVN or Perforce A minimum of 6 -10 years of experience with high-end game engines. Experience leading and mentoring a team of technical artists and providing direction. Shipped at least 1 AAA title in a Lead role. Work with multiple team disciplines on optimization tasks and help create the best processes for future development. Communicate solutions to art design and programming teams including documentation and training others increasing the teams skills through mentorship of skills process and artistic techniques. Preferred Qualifications Work closely with art director and leads to drive and evangelize the artistic vision of the game. Exceptional understanding of next generation asset creation pipelines tools software and customization systems. Expert knowledge of working with shaders and normalspecdiffuse maps to get the best look within game engine technical limitsconstraints. Able to troubleshoot and fix complex workflow issues in artist software version control systems and game engines. Examples of inventing new techniques or processes. Passion for making and playing great games with an awareness of current titles and industry trendsltimg srchttpfeeds.feedburner.comrGamasutraJobs4mNKfW9abnH4

Sr. Software Development Engineer - AI Programmer Amazon - Link 2015-10-15

At Amazon our goal is to create great PC games. We believe in ground-breaking games that can redefine the boundaries of player experience and change the way the world sees digital entertainment. Games have the power to connect people at a massive scale and creating these experiences will produce some of the futures most influential voices in media and art. We seek the best game developers in the world to join our team and become the architects of this vision. Join us and youll have the power of Twitch AWS and the entire Amazon ecosystem to shape the future of games. You will work alongside talented industry veterans including key contributors from dozens of titles Half Life 2 Left for Dead Portal Thief System Shock 2 Age of Empires Dawn Of War II Halo The Last of Us Gears of War Forza and Bioshock. Amazon Game Studios is looking for a Senior AI Development Engineer with extensive development experience and strong software engineering skills. The ideal candidate is a natural problem solver with a passion for gaming enjoys working with artists and game designers enjoys finishing projects and obsesses about the quality of the game constantly. This is a senior role working hand-in-hand with the engineering manager and other key team members to drive architecture and technology choices that enable a world-class game. As our AI expert you will have the opportunity to take ownership of designing developing and deploying major new AI featuressystems end-to-end. Your first priority is being a champion for the gamer Building games that thrill and entertain our players and constantly create new ways to delight customers. Qualifications Bachelors degree in Computer Science or Computer Engineering or equivalent experience. 7 years of professional software engineering experience in AI working on multi-discipline teams. At least one released game on which you were a primary contributor. Self-published titles are acceptable. Strong Computer Science fundamentals in object-oriented design algorithms and data structures. Advanced software engineering skills including the ability to write expert-level maintainable and robust code in a popular object oriented language like C C or Java. Preferred Qualifications 7 years of game development experience with multiple shipped titles. PC or console development preferred. Has contributed source code changes to an in-house or third-party game engine. Is able to work with constantly changing requirements and produces software that is adaptable to changing conditions. Experience working on large-scale commercial online game services. Experience working in AgileScrum. Excellent communication skills and ability to work effectively on shared projects with designers artists testers and other developers.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4FJJ82QsU4nE

Lead Game Programmer Amazon Games Amazon - Link 2015-10-15

At Amazon our goal is to develop ground-breaking PC games that become cultural touchstones that redefine the boundaries of player experience and that change the way the world sees digital entertainment. Join us and youll have the power of Twitch Amazon Web Services and the entire Amazon ecosystem to shape the future of games. You will work alongside talented industry veterans including key contributors from dozens of titles Half Life 2 Left for Dead Thief System Shock 2 Age of Empires Dawn Of War II Halo The Last of Us Gears of War Forza Bioshock and Sunset Overdrive. We believe in a future of immersive highly engaging game experiences that will collectively cut across age gender and nationality. You share our belief and are among the top few technical elite in the world. Amazon Game Studios is looking to take risks and invent We want people that are driven to make the best games in the industry. You are a veteran game programmer with broad game development experience and world-class software engineering skills. Your leadership has been a critical component of the success of your past projects. You enjoy iterating with artists and game designers to break down technology barriers and deliver experiences that delight customers. Youre a natural problem solver with a passion for games. You lead by example and make everyone around you better. The Role Lead a team of engineers responsible for gameplay and other aspects of a high-end PC game title. Develop project plans and commitments for yourself and your team then deliver consistently against those commitments. Coach your team members and grow their capabilities over time. Drive the architecture and technology choices that enable a world-class user experience. Hire world-class game developers and retain them. As an individual contributor design develop and deploy significant new game features. Be a champion for the user Insist on the highest standards and create engaging features that delight customers. Qualifications 6 years of game development experience on medium to large sized teams with at least 1 shipped title. 10 years of professional software development experience with multiple completed product cycles. Strong Computer Science fundamentals in object-oriented design algorithms and data structures. Advanced software engineering skills including the ability to write expert-level maintainable and robust code in C. Experience leading a team of engineers to deliver a combined result Good communication skills and ability to work effectively on shared projects with designers artists testers and other developers. Preferred Qualifications Hiring and performance management experience Experience improving extending and debugging large complex 3D game engines Specialized skills in a particular area of game development e.g. AI physics graphics animation networking Facility with additional languages lua C Java Experience building high-fidelity latency-tolerant real-time synchronous multiplayer gameplay Multiple shipped AAA console or PC titlesltimg srchttpfeeds.feedburner.comrGamasutraJobs4k3_02xdXBzk

Sr. Animation Programmer Amazon Games Amazon - Link 2015-10-15

At Amazon our goal is to develop ground-breaking PC games that become cultural touchstones that redefine the boundaries of player experience and that change the way the world sees digital entertainment. Join us and youll have the power of Twitch Amazon Web Services and the entire Amazon ecosystem to shape the future of games. You will work alongside talented industry veterans including key contributors from dozens of titles Half Life 2 Left for Dead Thief System Shock 2 Age of Empires Dawn Of War II Halo The Last of Us Gears of War Forza Bioshock and Sunset Overdrive. We believe in a future of immersive highly engaging game experiences that will collectively cut across age gender and nationality. You share our belief and are among the top few technical elite in the world. Amazon Game Studios is looking to take risks and invent We want people that are driven to make the best games in the industry. You are a veteran game programmer with deep experience building character animation and combat systems. Your contributions have been a critical component of the success of your past projects. You enjoy iterating with artists and game designers to break down technology barriers and deliver experiences that delight customers. Youre a natural problem solver with a passion for games. You lead by example and make everyone around you better. The Role Be responsible for designing and developing character animation and gameplay systems. Ensure features exceed the needs of designers artists other engineers and most importantly the player. Own broad game feature areas end-to-end. Assist in developing project plans and commitments then deliver consistently against those commitments. Relentlessly pursue great customer experience across all aspects of the product. Qualifications You possess these basic qualifications 5 years of game development experience on medium to large sized teams with at least 1 shipped title. 8 years of professional software development experience with multiple completed product cycles. Responsibility for core character animation and combat systems on at least 1 shipped title. Strong Computer Science fundamentals in object-oriented design algorithms and data structures. Advanced software engineering skills including the ability to write expert-level maintainable and robust code in C. Good communication skills and ability to work effectively on shared projects with designers artists testers and other developers. Preferred Qualifications You possess many of these preferred qualifications Multiple shipped titles including AAA console or PC titles Facility with additional languages lua C Java Experience building high-fidelity latency-tolerant real-time synchronous multiplayer gameplayltimg srchttpfeeds.feedburner.comrGamasutraJobs4JjZiiiZ7rSQ

Technical Animator Amazon - Link 2015-10-15

At Amazon our goal is to develop ground-breaking PC games that become cultural touchstones that redefine the boundaries of player experience and that change the way the world sees digital entertainment. Join us and youll have the power of Twitch Amazon Web Services and the entire Amazon ecosystem to shape the future of games. You will work alongside talented industry veterans including key contributors from dozens of titles Half Life 2 Left for Dead Thief System Shock 2 Age of Empires Dawn Of War II Halo The Last of Us Gears of War Forza Bioshock and Sunset Overdrive. We believe in a future of immersive highly engaging game experiences that will collectively cut across age gender and nationality. You share our belief and are among the top few technical elite in the world. Amazon Game Studios is looking to take risks and invent We want people that are driven to make the best games in the industry. In this role as Technical Animator will be responsible for developing and maintaining animation systems rigging pipelines and processes used by the animation. You will work closely with the Technical Art Lead enabling artists to execute high quality assets by adhering to the high visual standards and vision set by the Art Director and character animation team. The perfect candidate will be a relentless creative problem solver a hardworking self-motivated team player. You will be proficient at scripting and automating applications such as Maya or 3DSMax comfortable troubleshooting and inventing within game engines. You will have a proven track record of building tools and guiding talented artists in their use. If the opportunity to help create Amazons next big hit is the challenge you have been looking for we want to hear from you Qualifications Work close with animation and character teams team to assist in implementation of new techniques and tools that increase art quality and efficiency. Work with the animation team to define create and maintain the animation pipeline. Design and support complex character facial and weapon rigs in Maya. Own the skinning process for a variety of characters garments and gear. Support and improve the integration of animation assets from Maya to game engine. Able to learn all required features and functions of the animation system editor and tools. Able to identify and solve problems before they affect the development team. Able to follow direction and react to critiques in a timely manner Good communications and organizational skills. Able to work in cross discipline teams of art design and programming - to document and explain their work clearly and concisely Preferred Qualifications A minimum of 3 years of experience with high-end game engines. Portfolio demonstrates technical animation experience in several of the following rigging facial rigs skinning mocap node graphs animation trees similar engine editors and 3rd party animation technologies. Experience troubleshooting workflow issues and scripting Version Control systems such as Git SVN or Perforce Solid knowledge of next generation asset creation pipelines tools software and customization systems. Solid familiarity with MaxScript MEL Python or other scripting languages. Able to troubleshoot and fix complex workflow issues in artist software version control systems and game engines. Proven capability at inventing new techniques or processes. Proven ability to learn new tools and techniques. Able to accurately estimate the time to complete individual tasks. Have shipped AAA PC or console titles in a similar position. Passion for making and playing great games with an awareness of current titles and industry trends. Pluses Being an avid gamer Skill in one or more related disciplines illustration animation visual effects or technical art Proven ability to mentor and share knowledge effectively.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4lwktMd6ehrs

Senior Level Designer Amazon Game Studios Amazon - Link 2015-10-15

At Amazon our goal is to develop ground-breaking PC games that become cultural touchstones redefine the boundaries of player experience and change the way the world sees digital entertainment. Join us and youll have the power of Twitch Amazon Web Services and the entire Amazon ecosystem to help shape the future of games. Youll work alongside talented industry veterans including key contributors from titles like Half Life 2 Left for Dead Thief System Shock 2 Age of Empires Shadow of Mordor Guild Wars The Last of Us Gears of War Forza Bioshock and Sunset Overdrive. Amazon Game Studios is looking to take risks and invent We believe in creating immersive highly-engaging game experiences that cut across age gender and nationality. As a passionate member of the worlds technical elite you share our belief in making the best games in the industry. Amazon Game Studios is looking for an exceptionally skilled and enthusiastic Senior Level Designer. In this role you must own the quality and goals of our Level team while creating the worlds and game situations for players to enjoy. You will be responsible for designing grey-box maps as well as scripting engaging scenarios and systems for a third-person competitive melee-action game. The ideal candidate will have a thorough knowledge of game design theory and tools pipelines possess strong leadership skills production-sensibilities and the talent to produce and implement the highest quality work. You should be able to work independently and be comfortable with taking direction and critique on your designs. Youll be sharing your hard-earned knowledge while working within a highly collaborative multidisciplinary team of designers artists and programmers as you continue to develop your skill set by learning from your teammates. Responsibilities Work closely with the Creative Director and leads on delivering to design specifications. Design build and script levels for an exciting and innovative new project. Work directly with Environment Artists to create functional fun and visually compelling worlds. Collaborate closely with art animation programming FX and sound team members to achieve a top-of-class immersive experience. Work with all departments on the scheduling and integration of the Game Design as well as game feature development goals and execution. Collaborate with Creative Director and fellow designers on meta-game systems and AI. Generate documentation to clearly communicate ideas and goals to team. Spearhead and deliver work on time within a schedule. Develop data-gathering methods for game balancing and tuning through focus testing then implement changes based on the data. Qualifications 5 years of experience designing and building levels for video games. Must have shipped at least 1 AAA title as level designer. Direct experience making balancing and pacing levels. Strong methodology and problem solving ability with focus on creative and fun gameplay. Deep understanding of the competitive multiplayer game landscape. Proven experience in a professional game production pipeline. Very comfortable working in game editors and understanding enginegame constraints and opportunities. A portfolio with samples of your work. Preferred Qualifications Have shipped multiple titles. Must have the ability to take constructive criticism and maintain a professional attitude. Independently self-motivated team player with excellent communication skills. Knowledge of Maya 3D Max Photoshop Zbrush and other 2D3D applications. Experience with AAA Game Engines such as Source Unreal or CryEngine. Familiarity with programming and scripting languages such as C C Lua or Javascript.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4Ol6zPEUYVCs

Lead Character Modeler Telltale Games - Link 2015-10-15

Responsibilities Create appealing characters for Telltale games while working with the Art Director Concept Artists Designers Riggers and Animators to balance quality and game performance. Model UV and texture polygonal game characters accurately from provided concept art while keeping the appeal and the essence of the concept. Maintain the consistency of the art style for all characters for project assigned. Model and Texture in a variety of styles. Follow art directions and Telltale technical requirements. Organize represent and communicate on all elements of the Character Modeling creation process and pipeline for project assigned. Oversee and mentor other Character Modelers on the team in terms of model appeal best topology practices technical aspects of the proprietary tool etc. Establish character pipelines and help drive Character Modeling forward in the studio. Manage outsourcing communication and assets with various outsource vendors. Essential Skills Minimum of 5 years of work experience as a Character Modeler or similar role and at least 1 shipped title as a Lead Character Modeler. Proven experience with creating both realistic as well as stylized character models. Strong understanding of human anatomy a must. Proven ability to create excellent looking textures in a variety of styles both from reference and painting from scratch. Proper and imaginative use of materials and shaders. Required understanding of how rigging and animation impact character creation with regards to spans and geometry topology. Ability to assess and implement clean efficient geometry for maximum performance in the engine. Expertise in Maya ZBrush and Photoshop other packages are also encouraged. Self-driven excellent verbal and written communication team player. Experience working and directing outsourcing as well as mentoring junior team members Strong drawing and painting skills are essential. Please submit a link to a demo reelwork samples with your application in order to be considered for this position stills are favored over video reels. Candidates must be legally authorized to work and accept new employment in the U.S. Telltale Games is an Equal Opportunity Employer and ADA compliant. ltimg srchttpfeeds.feedburner.comrGamasutraJobs4J25_byiLHAI

Tools Programmer Red 5 Studios - Link 2015-10-15

The Discipline The Programming team at Red 5 Studios is comprised of some of the brightest minds in the games industry. Our team challenges conventional practices and follows a variety of approaches in producing creative solutions to build an online game played by millions. Whether its working on large scale deployment virtual cloud environments computer graphics gameplay programming tools development in-game UI web-enabled technologies artificial intelligence distributed computing or databases there is always a thought-provoking challenge for our engineers covering the full spectrum of computer science. We take pride in our development process and encourage ownership of projects - if you build it you own it. Working in a varied environment including Linux and Windows we have programs that have been written in over twenty languages. At Red 5 we are building a programming team that fosters creativity and autonomy in a large-scale development environment. Responsibilities Work hand in hand with the development team to improve process and design on various disciplines such as content creation tools world creation UI encounter tools game content mission creation installerlauncher and patcher Support the art team and world artists in their efforts to improve the pipeline and delivery of world class art objects to final production Collaborate with the UI Team on design sense and workflow improvements Qualifications 3-5 years of direct application programming experience C C and .NET development experience Previous work in developing database driven applications Great design sense for workflow and user interface Experience creating multi-user applications Knowledge and understanding of DirectX on 3D rendering 3D Math and Graphics familiarity Excellent communication skills Passionate gamer Pluses Linux and Unix Build Process experience Extensive knowledge of HTML JavaScript CSS and client-side frameworks e.g. jQuery Prototype etc. Previous experience with an MMO development studio with a large scale AAA game title Thorough understanding of cross-browser compatibility Some experience with graphic design programs e.g. Photoshop Illustrator etc. Passion for games The Studio Red 5 Studios creator of the free-to-play MMO shooter Firefall www.firefall.com is a video game developer dedicated to bringing together millions of gamers from across the planet by creating immersive worlds intriguing stories and compelling characters. Right now at this very moment Firefall is being played around the world. In the past month weve had players login from such distant lands such as Uruguay Morocco and yes even Kazakhstan. It is already a global community with a virtual store that is generating revenue today. Red 5 Studios has roughly 150 employees--large enough to find the resources or talent that you need to bring your vision to life but small enough where you have the opportunity to make a massive difference. Every employee leaves their indelible mark on the identity of Firefall.Everyone. THIS is the place to come if you seek mastery of your chosen vocation. These are the fertile grounds where you can learn from like-minded individuals that come from a cornucopia of industry-renown studios such as Naughty Dog Bungie Insomniac Blizzard and Microsoft. Every employee brings a significant knowledge base and we solicit best business practices from previous experiences. THIS is the studio to join if you want a chance to contribute to a fundamental shift in the way games are crafted. Firefall encompasses an original art style a proprietary in-house engine and a determination to make the free-to-play model work without being pay-to-win. We believe the free-to-play experience can be a win-win scenario for both the consumer and us alike. With no barrier to trying the game we believe it welcomes the greatest number of gamers possible. By having to work for gamers micro-transactions it forces us to be ever vigilant on quality forging a tight relationship with the community that will give the world of Firefalls New Eden a very long lifespan with years of continued development. THIS is the place for you if you value autonomy. If you want a chance to stretch your skills and excel in your chosen vocation without the constant Orwellian presence of a publisher or middle management questioning your every move this is for you. We trust our employees. We empower one another to make the game that we want to play. Were on a mission to create a living breathing world unlike any other for players to explore. We arent constrained by a specific title or role and individuals are often asked to tackle many challenges. We understand the challenges of bringing a AAA online game to life and we invite you to join us on this exciting adventure.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4w7vX8kzlYxo

DevOps Engineer PLAYSTUDIOS - Link 2015-10-15

Job Description Were looking for DevOps Engineers to configure new environments launch new games and maintain live products. Candidates must be self-motivated team players who thrive in a fast-paced dynamic environment. If youre a smart creative ambitious engineer committed to building stellar products we want to talk to you. This is an exciting opportunity to join a world-class team and bring our games to even more fans worldwide. Responsibilities Support a regular cadence of updates and hotfixes for multiple products across game platforms Set up new Microsoft IIS game backend environments Optimize our build process and develop backend automation tools Poll services and infrastructure to assess health and alert on KPI metrics Troubleshoot infrastructure to identify and resolve issues Document and communicate releases Work with DevOps team to release high quality products on schedule Requirements Experience managing the development lifecycle of products with regular updates Thorough understanding of HTTP server technologies and RESTJSON interfaces Experience supporting Microsoft IIS service stack of services including MSDeploy Experience in setting up and maintaining Microsoft IIS Hyper-V farms Python and BashPowerShell experience Experience setting up and maintaining Hyper-V instance farms Systems administration experience Ability to collaborate with QA to support standardized release process Experience with Mercurial Microsoft TFS Perforce or other RCS Excellent communication and organizational skills BS or MS in Computer Science Information Science IT or similar About PLAYSTUDIOS PLAYSTUDIOS is a developer of engaging casual games for the worlds largest social and mobile platforms. Founded by a team of experienced gaming and technology entrepreneurs PLAYSTUDIOs free-to-play application myVEGAS combines the best elements of popular social games with established gambling mechanics. Players enjoy an ever-growing collection of slot and table games and the opportunity to earn an unprecedented selection of valuable real-world rewards.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4ZmwJ51r_5MA

Database Engineer PLAYSTUDIOS - Link 2015-10-15

Job Description Were looking for Database Engineers to add even more great features. Candidates must be self-motivated team players who thrive in a fast-paced dynamic environment. If youre a smart creative ambitious programmer committed to building stellar products we want to talk to you. This is an exciting opportunity to join a world-class team and bring our games to even more fans worldwide. Responsibilities Develop new database code and improve existing code Design and implement relational database models Optimize database performance and automate operational tasks Collaborate with game server engineers to build production software Requirements BS in Computer Science or similar 5 years experience working on RDBMS Knowledge of Microsoft SQL Server 2012 Suite Expertise in relational database concepts and set based theory Create and maintain Stored Procedures Views UDFs CTEs and Distributed Transactions Expert knowledge in T-SQL query writing optimization and tuning Very strong knowledge in Backups ampamp Restores Indexing Compression Fantastic debugging skills and ability to resolve bottle necks Heavy SSIS Data Flow Tasks Cross Server report metric pulling SSRS Excellent communication and organization skills Ability to work on multiple projects Ability to hit the ground running and take ownership of assigned tasks Bonus Familiarity with Red Gate Tools tSQLt Framework and Unit Testing Development experience with VLDBs and OLTP volume in the gaming industry About PLAYSTUDIOS PLAYSTUDIOS is a developer of engaging casual games for the worlds largest social and mobile platforms. Founded by a team of experienced gaming and technology entrepreneurs PLAYSTUDIOs free-to-play application myVEGAS combines the best elements of popular social games with established gambling mechanics. Players enjoy an ever-growing collection of slot and table games and the opportunity to earn an unprecedented selection of valuable real-world rewards.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4dTE3lex5EJk

Game Server Engineer PLAYSTUDIOS - Link 2015-10-15

Job Description Were looking for Game Server Engineers to add even more great features. Candidates must be self-motivated team players who thrive in a fast-paced dynamic environment. If youre a smart creative ambitious programmer committed to building stellar products we want to talk to you. Responsibilities Develop and maintain server-side game-logic using C and .NET for our suite of online social games. Design and implement RESTful HTTP APIs using C and ASP.NET Web API. Work directly with client engineers designers artists and producers to deliver high quality products. Work with project manager to break down high-level goals into task and timelines. Requirements Current knowledge of C 5.0 and .NET 4.5.2. Thorough understanding of HTTP technologies and RESTJSON interfaces. Sound grasp of RESTful design principles. Excellent communication and organization skills. Proven ability to build high quality products. BS or MS in Computer Science or similar. Candidates should possess at least three of the following Game development experience with shipped titles. Development experience using ASP.NET Web API 2. Experience architecting highly scalable backend systems. Experience developing and maintaining servers that support multiple mobile client applications. Experience using both SQL and NoSQL databases. Bonus Experience using the Facebook API. Python development experience. Couchbase experience. Familiarity with agile development processes. Experience writing and maintaining unit tests. About PLAYSTUDIOS PLAYSTUDIOS is a developer of engaging casual games for the worlds largest social and mobile platforms. Founded by a team of experienced gaming and technology entrepreneurs PLAYSTUDIOs free-to-play application myVEGAS combines the best elements of popular social games with established gambling mechanics. Players enjoy an ever-growing collection of slot and table games and the opportunity to earn an unprecedented selection of valuable real-world rewards.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4t4dVxRvU42o

Game Engineer Nuclear Division - Link 2015-10-15

In this position you will develop and implement various game systems and tools for core mobile titles and contribute to pushing the boundaries of mobile gaming in a positive direction. Together with a team of exceptional designers artists and engineers you will be evolving a high-profile franchise into the next big thing in mobile gaming. RESPONSIBILITIES Implement and maintain robust flexible systems for all aspects of game development Client and server programming Profile and optimize game systems Collaborate with designers artists and other engineers to implement and fine-tune features Contribute innovative ideas toward all aspects of game production and development SKILLS AND ABILITIES 3 years of recent game programming experience having shipped at least one game Strong programming skills and knowledge of algorithms and data structures Strong knowledge of C Java or C Strong 3D math abilities Familiarity with Unity3D Performed multi-disciplinary client engineering within multiplayer games At ease working within the grain of existing code paradigms Rapid learner able to absorb and understand complex systems quickly HIGHLY DESIRED EXTRAS Shipped at least one mobile title Familiarity with cloud-based game server engineering and databases AI programming experience Agile development experience Scrum Kanban etc.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4pum8DTVBNBA

Unity Developer Vrse - Link 2015-10-15

Were looking for people to join our growing team who Seek out challenges and are comfortable with the unknown Thrive in fast-paced innovative creative environments Are expert communicators and collaborate well with others Take initiative to solve tough problems Are passionate about revolutionizing storytelling through virtual reality Most importantly have got grit Responsibilities Join the team that designs implements and maintains the Unity version of our player Architect high performance scalable mobile solutions for media consumption Partner with designers product managers and colleagues to implement UX and design Continue to design and implement new functionality and features for an improved user experience Unit-test code for robustness including edge cases usability and general reliability Complete bug fixing and improve application performance Qualifications Superb knowledge of Unity Proven experience building software with Unity games or other ideally that are consumer facing and content driven Solid understanding of the full software development life cycle. Optional but a major plus BSMS degree in Computer Science Engineering or a related subject Experience developing for Playstation Experience working with a start-up ampltimg srchttpfeeds.feedburner.comrGamasutraJobs4yZilQwS-9fI

Mobile Platform Developer Vrse - Link 2015-10-15

Were looking for people to join our growing team who Seek out challenges and are comfortable with the unknown Thrive in fast-paced innovative creative environments Are expert communicators and collaborate well with others Take initiative to solve tough problems Are passionate about revolutionizing storytelling through virtual reality Most importantly have got grit Responsibilities Join the team that designs implements and maintains our mobile platform for virtual reality content Architect high performance scalable mobile solutions for media consumption Partner with designers product managers and colleagues to implement UX and design Extend existing platform to incorporate new functionality and features for an improved user experience Unit-test code for robustness including edge cases usability and general reliability Complete bug fixing and improve application performance Qualifications Experience building apps across iOS and Android. We will also consider experts in one platform Have published iOS or Android apps in iTunes or Google Play stores Experience with interfacing designing and maintaining APIs Working knowledge of the general mobile landscape architectures trends and emerging technologies Solid understanding of the full mobile development life cycle. Experience working with remote data via REST and JSON A deep familiarity with Objective-C Java or CC Experience working with iOS frameworks such as Core Data Core Animation Core Graphics and Core Text or Android frameworks Optional but a major plus BSMS degree in Computer Science Engineering or a related subject Experience working with a start-up Experience with Unity ltimg srchttpfeeds.feedburner.comrGamasutraJobs4A0Qu05pWLhA

Senior Concept Artist Ready At Dawn Studios - Link 2015-10-15

The Senior Concept Artist is responsible for creating original and imaginative concept art for characters environments and other game assets. A successful candidate is expected to present a clear and comprehensive process of research and exploration that supports their final art and have a strong understanding of efficient ideation techniques. The ability to work both independently and in cooperation with Leads and other Artists to complete assignments and a demonstration of strong artistic interpretation skills is also required.Requirements Outstanding portfolio that demonstrates a strong artistic style and design sensibility Strong use of research and reference material that supports idea generation and problem solving Excellent drawing skills in both traditional and digital formats experience in Photoshop Painter etc. Excellent understanding of human and animal anatomy form proportion and scale and the ability to bend those rules in a creative and stylistic way Superior eye for light value color and composition Excellent communication skills and ability to take direction and accept critical review of your work Familiarity with and passion for gamesAdditional Skills Pluses Strong understanding of general 3d and game art production techniques Some basic Maya experience or comparable 3d software Please send samples of your work with your application.Ready At Dawn is currently looking for all levels of Concept Artists.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4onCerA3ja-k

Senior Online Programmer Sony Computer Entertainment America LLC - Link 2015-10-15

Support PlayStation Online Games by developing and supporting in production a high complexity service-oriented application that offers online functionality for PS4 PS3 and PSVita games. The application handles online features such as player login stats matchmaking virtual currencies inventory management community features and chat. It is written in Ruby and makes use of many different technologies such as MySQL Redis Memcache ActiveMQ Solr and HTTPS and is hosted on OpenStack and AWS cloud technologies. The Senior Online Programmer is responsible for working directly with the game teams to implement online functionality in their titles using our Ruby-based framework. Success will require in-depth knowledge of Ruby MySQL Redis Memcache HTTPS XML JSON GIT REST and Linux system concepts. An in-depth understanding of MySQL is desired especially in the areas of performance tuning and benchmarking. Familiarity with SinatraRuby on Rails ActiveRecord Riak and Apache-Thrift are strongly desired. Experience with concepts such as continuous integration continuous deployment zero downtime deployments auto scaling and auto healing are a big plus. This position will involve developing features in our Ruby framework and deploying them to OpenStack and AWS cloud platforms. This position will play a leading role in advancing our technology in the area of social networking to create an immersive game experience. The position will also work closely with the rest of the online team and game teams to create new features for games and support them through the production lifecycle. This position requires working on multiple projects simultaneously and will require after-hours on-call support as titles approach and through production launch. Responsibilities Develop in-game features using our Ruby-based XMLJSON services stack. Work with game teams to design and iteratively develop features and enhancements. Maintain infrastructure features and code within our core technology stacks. Write RSpec tests to cover features delivered. Ensure that tests work properly across our games. Tune and troubleshoot application and database. Profile Ruby Rails MySQL Redis Solr ActiveMQ and other pieces of application infrastructure to identify and resolve performance issues. Tune and troubleshoot MySQL. Profile MySQL queries and modify queriesindexes as needed to remove bottlenecks. Make recommendations for database andor application design changes to improve performance. Responsible for maintaining and developing code as infrastructure for hosting our technology stack on OpenStack and AWS. Work as an integral member of the team. Communicate with team members to design and support leading-edge applications. Over time contribute to future architecture decisions for our application. Qualifications Minimum 6-8 years experience developing professional web-based applications using Ruby. Ruby is preferred but candidates without direct Ruby experience will be considered if they have experience with similar dynamic languages and equivalent backend technology experience. Minimum 4 years experience with MySQL. Ability to benchmark and tune MySQL queries. Solid understanding of indexes InnoDB plugin and backups. Experience with Agile and Behavior-Driven Development. Ability to react quickly to changes and deliver features in incremental steps. Significant experience building large-scale high-traffic volume web applications including benchmarking load testing and performance tuning applications. Significant experience with webserver development and object-oriented programming languages. Five 5 years total programming using object-oriented languages. Ability to concisely and effectively communicate technical information to both technical and non-technical groups. Ability to gather requirements and support end-users. In-depth understanding of HTTPS TCP XML JSON REST HTML GIT and networking and related troubleshooting skills. Systems-level knowledge of Linux including administration concepts. Ubuntu CentOS or RedHat knowledge a plus. Strong English communication skills reading writing presentation and speaking. BS degree in Computer Science preferred or significant professional experience and certifications. Strong teamwork skills. Ability to work well with others in both learning and teaching roles. For over two decades PlayStation has been a market leader serving as the ultimate destination for millions of gamers across the world. 2013 witnessed the introduction of PlayStation 4 the worlds most powerful and socially-connected console ever created sold at the fastest rate in PlayStation history and has revolutionized how gamers play and engage online. One of the keys to PS4s early success is its ability to empower game creators to unleash their imaginations and deliver new gaming experiences. Based in San Mateo California Sony Computer Entertainment America SCEA is a wholly owned subsidiary of Sony Computer Entertainment Inc. with oversight for operations in the United States Canada and Latin America. SCEA has immensely talented employees who are deeply passionate about their love of gaming much like PlayStation fans. SCEA participates in a variety of higher education and high school based programs to help nurture young talent to fulfill their dream of working in the gaming industry. SCEA provides equal employment opportunity for all applicants and employees. SCEA does not unlawfully discriminate on the basis of race color religion gender gender identity marital status age disability veteran status sexual orientation national origin or any other category protected by applicable federal and state law. SCEA also makes reasonable accommodations for disabled applicants and employees.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4aQtuU1T-9Zs

Senior Technical Artist Crystal Dynamics - Link 2015-10-15

Are you the kind of person who thrives on removing barriers and solving the problems that exist between the hand-off of art to technology and back Do you speak the visualartist language as easily as you do the language of tech and engineering Does create efficiencies improving tools and pipeline and coming up with solutions to put the very best quality graphics current gen consoles have to offer the thing that keeps you up at night and gets you out of bed every day If so we have the nebulous catch-all of awesomeness Technical Artist generalist role for you Crystal Dynamics a part of the Square-Enix family is constantly on the hunt for top-tier gaming talent worldwide. We pride ourselves on attracting and developing the best talent available to concept create and contribute to the most exciting projects in gaming today. 20 years of history creating fun and exciting titles for the world to enjoy as well as our studios 1000 years of combined game industry experience provides a rich tapestry of tested and new ideas to draw from as have established us as one of the best studios in the world to work for. Join now to be part of our central Technical Art team in our Redwood City studio just south of San Francisco. Benefits for this fulltime position include competitive salary health insurance options to suit all lifestyles generous paid time-off as well as other studio and corporate perks such as a free gym and discounts on games and goodies.Position Summary Crystal Dynamics is looking for a talented Senior Technical Artist to help ensure that our levels run smoothly and look amazing in the next installment of the award winning Tomb Raider franchise. The ideal candidate would have a successful track record of improving performance through analysis and optimization while maintaining the visual fidelity of a gorgeous and immersive world. This position requires the ability and willingness to proactively work with all disciplines to solve complex technical problems as well as learn the processes and pipelines of each discipline to quickly remove day to day obstacles from the teams path.Essential Functions Work with artists and designers to create and document workflows and best practices for the creation of optimized content Use visual debug and profiling tools to identify the cause of performance problems Partner with Artists Designers and Programmers to find creative solutions to solve difficult memory and performance issues Optimize organize and debug shader and materials graphs throughout production Work closely with Artists and rendering Engineers to develop materials and shaders to help reach artistic goals Create intuitive end-user focused tools to automate processes for end users Understand and operate within the requirements and processes of each department to be able to troubleshoot and eliminate technical obstacles Competencies Skills Knowledge ampamp Essential Requirements A portfolio submission is required for this position Bachelors in a related field or equivalent experience is required AAA console industry experience is preferred Experience with PIX or similar performance profiling software Shader scriptingcoding skills e.g. CgHLSL GLSL RenderMan MentalRay or similar Knowledge of Python Proficient in Maya Ability to take initiative Ability to communicate effectively Must have a positive attitude and be a team player Pluses 5 years of production experience in AAA games C and or C knowledge Experience developing in the Maya API through either Open.Maya or C ltimg srchttpfeeds.feedburner.comrGamasutraJobs4d6yF6Bba3ao

Senior Unity Developer Fishermen Labs - Link 2015-10-15

Fishermen Labs is rapidly growing development studio with offices in LA Seattle and Czech Republic. Were looking for a Senior full time Unity game developer to work in our LA office near the LAX airport. We are looking to expand our AR and VR team. If you want to work in a collaborative challenging and fun environment Fishermen Labs could be the place for you. We Offer Competitive Salary Flexible Work Schedule Close to an airport Office with a view Medical Requirements 6 years of experience in games 3 years of experience using unity game engine 3 shipped title experience with deployment using xcode and android SDK staunch work ethic responsible self managing love games Cjavascript Responsibilities play a key role in developing ARVR and mobile games for ios and android develop gameplay and overall game architecture. help design fun and addicting mobile games collaborate with artist and animators to push graphics envelopes have fun while working Pluses experience with augmented reality or VR 3d art or photoshop experience rigging experience shader experience cghlsl please email applications to jobsfishermenlabs.comltimg srchttpfeeds.feedburner.comrGamasutraJobs4iyBi2JDn388

Senior Game Designer SEGA Networks Demiurge Studios Inc. - Link 2015-10-15

Demiurge Studios is seeking a talented experienced Designer to help lead our team to victory. Youll collaborate with our internal design team during all stages of development and help us perfect the game when its launched Your communication skills organization focus on iteration and polish are all legendary. Youve led a team of designers who would love to work with you again and youve got a portfolio of gamecontent design that demonstrates your elite skills. Most importantly you love games of all sorts - and its clear to you that the best most rewarding game of all... is making a good game for others to enjoy. Responsibilities Collaborate with artists engineers producers and team management in an iterative agile development process Drive gameplay and content design through all development phases including post-launch Create fun challenging content for a variety of game genres Task schedule and review design teams output Conceive design and pitch original intellectual properties Provide both high-level game design direction and hands-on design implementation Demonstrate proven design practices and mentor junior designers Author and refine game design documentation Qualifications 3 years of professional video game industry experience as a leadsenior Game Designer 3 Complete product cycles from concept to ship Strong knowledge of basic game design and design theory Reliable schedulingtime management skills Ability to learn new tools and workflows with minimal supervision Excellent organizational analytical interpersonal and communication skills Proficiency with MS Word Excel Passion for Video Games Four year degree or equivalent experience Applicants must be currently authorized to work in the United States on a full-time basis Preference to applicants with At least one complete product cycle on a free-to-play mobile or PC title Working knowledge of 3DS MaxMaya and Photoshop Experience with level editors such as Unreal Editor or Unity Game programming or scripting experience Rapid prototyping experience Outside interests Creating games is our passion. Founded in 2002 and acquired in 2015 by SEGA Networks we bring years of expertise to our projects. Our developers build fun accessible mobile games like our recent hit Marvel Puzzle Quest. Based in Cambridge MA Demiurge has contributed to titles such as Bioshock Rock Band and Mass Effect.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4RAFudsHniRU

Technical Animator Rigger - Infinity Ward Activision - Link 2015-10-15

TECHNICAL ANIMATOR RIGGER - INFINITY WARD Description As a Technical Animator Rigger you will support the production pipeline used by artists and animators and ensures that the animation team has all of the relevant tools and workflows they need to operate at peak efficiency. The technical animator will be responsible for creating rigs for the animation team and exporting rigged assets into the game engine. Responsibilities Cooperating closely with the modeling teams Work to improve existing pipelines and develop new tools to expedite the animation and rig creation process Working with MELPython scripts to automate the character animation process Tool development in Maya Motion Builder and C Working with 3rd party software for viewing and effecting animations in the game engine Designing and implementing efficient characterweaponvehicleprop rigs for the project Requirements Computer ProgrammingScripting experience e.g. CC MEL Python Etc Experience developing tools for Max Maya andor Motion Builder Experience developing rigs for Max Maya andor motion Builder Excellent organizational communication and interpersonal skills Knowledge of scripting for Motion Builder is a plus Bonus points for experience in UI design for artistsanimators Experience on console game development is beneficial Experience with motion capture data and pipelines helps as well Demo Reel Requirements Demonstrates tools and a concise and practical character rig Show in-game or movie footage of that rig About us Founded in 2002 Infinity Ward is the original studio behind the Call of Duty franchise. The titles developed by Infinity Ward have won over 200 Game of the Year awards and 100 Editors Choice awards among many other industry accolades. In 2007 the studio released Call of Duty 4 Modern Warfare a revolutionary title that set the bar for the modern first-person shooter. Our latest releases Call of Duty Modern Warfare 3 and Call of Duty Ghosts broke records with the fastest revenue generating launches of any entertainment product. In 2014 Infinity Ward merged with Neversoft bringing together two talented and accomplished groups under one roof with the goal of creating the best games possible. Infinity Ward is located in Woodland Hills California just outside of Los Angeles. A critically-acclaimed studio Infinity Ward is proud to have one of the most passionate and accomplished development teams in the industry. We love to have as much fun as the games we create and it shows in our relaxed yet diligent workplace environment. Activision Blizzard and its affiliated companies is an equal employment opportunity and affirmative action employer.ltimg srchttpfeeds.feedburner.comrGamasutraJobs46JpxtqilBQE

Senior GraphicsRendering Engineer 2K - Link 2015-10-15

Senior GraphicsRendering Engineer Lets talk some truth Making games is hard. Its a collision of art and technology thats about as predictable as a tornado. Theres no secret formula no foolproof blueprintbut it certainly helps to have a reason for making games in the first place. Every Players Story is Unique. At Hangar 13 thats why we make games. Were currently creating an intense action game set in an immersive world and with a strong narrative but player agency is at the heart of everything we do. We want to give players the freedom to choose how to overcome challenges and make meaningful decisions that shape the world and characters around them. SUMMARYHangar 13 is looking for a seasoned graphics programmer who enjoys a collaborative and creative work environment and is looking to push the boundaries of cutting edge 3D graphics. Research develop implement and debug high-end and photorealistic graphics techniques applicable to characters and large-scale environments. RESPONSIBILITIES Design and Write code that fulfills the functional graphical and technical requirements of the project. Provide the Lead Programmer with feedback regarding the time allotted to assigned tasks. Assist the artists with the creation of cutting edge environments and effects within technical requirements. Work with proprietary existing software technology and build new technology in order to fulfill the projects technical requirements. Research coding techniques and algorithms in order to keep current on technological developments and advancements in the game industry. Identify technical and developmental risksobstacles and generate solutions to overcome identified risks. QUALIFICATIONS Bachelors degree in Computer Science or related discipline. 5 years of programming experience on graphics programming. Experience developing for games preferably action FPS or 3PS titles Shipped one or more AAA game titles. Expert knowledge of real time rendering techniques in relation to lighting and visual effects Experience with multi-processor programming. Experience developing for game consoles. Experience working on multi-platform software projects. SKILLS Expertise in CC Thorough understanding of 3D math. Commitment to code quality documentation and sound testing procedures. Ability to research analyze and optimize code to meet performance requirements. Ability to learn and master new technologies and code. Ability to work independently and efficiently under reasonable deadlines. ABOUT HANGAR 13 Hangar 13 is the newest 2K development studio. Were focused on creating AAA games for console and PC. The studio is comprised of industry veterans drawn from a diverse range of studios who have collectively shipped hundreds of titles across a wide variety of genres. We are located just thirty minutes north of San Francisco where were currently building our own proprietary engine and tools in service of our current title Mafia III. To Apply - httpchc.tbe.taleo.netchc04atscareersrequisition.jsporgGAMES2Kampcws47amprid807 ltimg srchttpfeeds.feedburner.comrGamasutraJobs4xKf-9f6wrC0

Senior Software Engineer - Tools 2K - Link 2015-10-15

Senior Software Engineer - Tools Who We Are Hangar 13 is the newest 2K development studio. Were focused on creating AAA games for console and PC. The studio is comprised of industry veterans drawn from a diverse range of studios who have collectively shipped hundreds of titles across a wide variety of genres. We are located just thirty minutes north of San Francisco where were currently building our own proprietary engine and tools in service of our current title Mafia III. Though we hail from all over the world and our backgrounds are wildly different one thing binds us all together the belief that Every Player Story is Unique. We believe that a game should never be a fixed experience fed to the player but something that is shaped by the game developers and the player together every time the game is played. At Hangar 13 we want to make and play games that allow players the freedom to define everything from the moment-to-moment gameplay to the narrative creating their own unique player stories along the way. What We NeedHangar 13 is seeking the talents of a highly self-motivated Senior Software Engineer Tools who enjoys a collaborative and creative work environment. The Senior Software Engineer Tools will work directly with content creators to give them the power to create amazing experiences and to support our culture of iterative design to make AAA games. Create and maintain tools for an unannounced multiplatform game currently in pre-production using proprietary software and technology. Job Responsibilities Include Proactively identify the tools that will be needed throughout development Work with the art design and audio departments to design and create new tools based on the changing needs of the project Create and maintain documentation of all tools and their usage Participate in the design of the game features to assist in the creation of supporting tools and technologies Improve existing pipelines and tools to decrease iteration times for content creators Requirements Expertise with the C.NET 4.5 and CC programming languages along with a strong familiarity with OO design principles 5 years of programming experience on commercial software projects WPFMVVM knowledge is big advantage DevExpress knowledge is advantage Ability to work directly with content creators and iterate on the tools efficiently Self motivated and able to drive ideas to completion Strong ability to quickly learn new areas of development Proven ability to work well with all game development disciplines Ability to analyze a situation and communicate the most effective and efficient solution Experience in UI design and artist workflow Bachelors degree in Computer Science or equivalent work experience Additional Experience and Skills Highly Desired Shipped AAA console or PC titles Experience developing for game consoles PS3 XBOX 360 etc In-depth knowledge of game content pipelines at previous projects Familiarity with Perforce and bug-tracking software Experience with 3D Studio MAX MaxScript Maya and MEL Multithreading knowledge To Apply - httpchc.tbe.taleo.netchc04atscareersrequisition.jsporgGAMES2Kampcws47amprid1053 ltimg srchttpfeeds.feedburner.comrGamasutraJobs4kMHOXiEy8Os

QA Localization Tester Bilingual ItalianEnglish 2K - Link 2015-10-15

QA Localization Tester Bilingual ItalianEnglish SUMMARYAs one of the most recognized and talented technology companies in the world today we strive to hire team members who are customer centric motivated and who have experiences that bring new perspectives to the company. We seek the best talent and provide experiences to foster a fun and engaging atmosphere. We are looking for team members that are not afraid to learn as well as work hard while having fun at the same time. We offer an extensive benefits package for full-time employees to include medical dental vision 401k PTO and company paid holidays. RESPONSIBILITIES Identify and report mismatches in stringstext Provide the correct translation and where applicable fix directly via text database Provide context for foreign language defects Complete daily smoke tests in a timely manner Quickly run through the whole game to check the stability of a build Identify defects follow test plans and verify fixes Enter clear and concise bugs into bug tracking database Test fixes for programmers and designers Reproduce issues for programmers and designers Assist the Marketing department by taking screenshots and video capturing Available to work OT and weekends when necessary Work closely with other QA members Able to work under pressure and changing demands Must be dependable and punctual Be a positive role model in terms of both work performance and attitude. QUALIFICATIONS Must be fluent readingwriting in Italian and English High School diploma or equivalent. Minimum age of 18 years and above Must be able to communicate effectively in English in both written and oral forms Passion for video games. Well-developed interpersonal and communication skills Reliable with the ability to work in a team environment Attention to detail and positive personality Ability to lift up to 20 lbs. Testing experience with multiple games on multiple platforms Bug tracking software experience Test Track Pro experience SKILLS Experienced as a localization tester 1-2 years of QA experience Strong verbal and written communication skills Technically proficient with PCs gaming consoles and related hardware Computer literacy specifically Windows MS Word Excel and Outlook We have 2 openings for this position. To Apply - httpschc.tbe.taleo.netchc04atscareersrequisition.jsporgGAMES2Kampampcws39ampamprid834 ltimg srchttpfeeds.feedburner.comrGamasutraJobs4EPy0Zkk8liM

QA Localization Tester Bilingual FrenchEnglish 2K - Link 2015-10-14

QA Localization Tester Bilingual FrenchEnglish SUMMARYAs one of the most recognized and talented technology companies in the world today we strive to hire team members who are customer centric motivated and who have experiences that bring new perspectives to the company. We seek the best talent and provide experiences to foster a fun and engaging atmosphere. We are looking for team members that are not afraid to learn as well as work hard while having fun at the same time. We offer an extensive benefits package for full-time employees to include medical dental vision 401k PTO and company paid holidays. RESPONSIBILITIES Identify and report mismatches in stringstext Provide the correct translation and where applicable fix directly via text database Provide context for foreign language defects Complete daily smoke tests in a timely manner Quickly run through the whole game to check the stability of a build Identify defects follow test plans and verify fixes Enter clear and concise bugs into bug tracking database Test fixes for programmers and designers Reproduce issues for programmers and designers Assist the Marketing department by taking screenshots and video capturing Available to work OT and weekends when necessary Work closely with other QA members Able to work under pressure and changing demands Must be dependable and punctual Be a positive role model in terms of both work performance and attitude. QUALIFICATIONS Must be fluent readingwriting in French and English High School diploma or equivalent. Minimum age of 18 years and above Must be able to communicate effectively in English in both written and oral forms Passion for video games. Well-developed interpersonal and communication skills Reliable with the ability to work in a team environment Attention to detail and positive personality Ability to lift up to 20 lbs. Testing experience with multiple games on multiple platforms Bug tracking software experience Test Track Pro experience SKILLS Experienced as a localization tester 1-2 years of QA experience Strong verbal and written communication skills Technically proficient with PCs gaming consoles and related hardware Computer literacy specifically Windows MS Word Excel and Outlook We have 2 openings for this position. To Apply - httpschc.tbe.taleo.netchc04atscareersrequisition.jsporgGAMES2Kampampcws39ampamprid833 ltimg srchttpfeeds.feedburner.comrGamasutraJobs4siomQ3V8KAc

Production Artist Marketing - Temp 2K - Link 2015-10-14

Production Artist Marketing - Temp Who We AreWho knew that a publishing organization could have its own Art Team comprised of a handful of ninja-like specialists ready to take on the companys biggest and most challenging jobs Making games is hard and here at 2K we support our projects by working side by side with the development teams. Whether its making game assets cinematics trailers or creating high quality marketing materials this team does it all Join our small and extremely talented team and make a huge impact. What We NeedWith an impressive slate of games prepping to release to market we need art talent that can create the collateral that sells the game. Youll work closely with our Art Director to create Key Art marketing renders posters logos magazine covers and more. Youll also be a champion for traditional design principles including layout typography color balance composition as well as current design trends. Job Responsibilities Include Creation of highly polished print ready art assets 3D asset manipulation and rendering Retouching in-game imagery for print Graphical design including logo design layout presentation design etc. Who We Think Will Be A Great FitThe perfect candidate is an expert in CG and Photoshop and possesses high-level image making capabilities and storytelling from concept to execution. You can manipulate 3D files and render out stunning high resolution imagery and then turn those renders into print-ready finished pieces. You are a passionate artist who loves games and entertainment content and is not afraid to have deep conversations about the latest episode of name of awesome movie show comic anime etc. Requirements 3 years design experience within an agency or marketing department Highly proficient in Adobe CS6 Fluent in matte painting and image manipulation Excellent design skills type color composition Experienced with photorealistic and stylized rendering using Maya Max and commercial render packages such as Mental Ray vRay Marmoset etc must submit link to online portfolio in order to be considered To Apply - httpschc.tbe.taleo.netchc04atscareersrequisition.jsporgGAMES2Kampampcws1ampamprid1042 ltimg srchttpfeeds.feedburner.comrGamasutraJobs4Ir1Q8A4bsT4

Game design as design of experience - by Anatoly Shestov - Link Thu, 15 Oct 2015 02:21:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs Game design as design of experience by Anatoly Shestov on 101515 022100 pm Post A Comment The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. Wersquoll start from afar. Letrsquos assume that games must be interesting and exciting. We wonrsquot go into the subject so letrsquos just accept and move on. If you happen to see the vital game components in your own way - feel free to share in the comments. With your permission I will continue. We often come across the ldquoWhat makes the games the way they arerdquo question. I donrsquot think itrsquos correct. It would be better to ask what makes us feel interested and excited. Being interested generally is nothing but an intellectual feeling that is caused on one hand by the detailed understanding of the components and their interaction and on the other limited understanding of the possible outcome of the interaction of these components. Long story short we know the rules we understand the processes but we have no idea where wersquoll find ourselves in the end. Of course not everyone is interested in everything falling within this definition but all the interesting things have these signs. Chess mobs whodunits are all about it. Being excited generally means being affected by the lasting emotions harmony. State of flood good music all kinds of rituals are all about it. So these two feelings - interest and excitement - form our understanding of how good a game is. The quality criteria if you wish. The processes of interaction of clear elements with open issues obedient to the overall harmony. We have the clickers and the witchers and the civilizations. Besides the quality criteria which is quite simple of course if we only speak about it games may not must but may have a semantic content. If a game is of a media kind so here we are almost dealing with the video games directly it may have some idea. Not the clean and untainted sensation for the sake of sensation hey tetris football and the goat simulators but the conscious and formulated content. It may be an idea story exposition personalia - any thoughtform that may not be obligatory expressed as a plot. By the way those who specialize in expressing it are called the narrative designers. Of course every single game session will b1091 played by a particular person. They will have their personal mental abilities atmosphere preferences gaming skills environment upbringing and spare time amount. Despite the ldquoOur target audience is as wide as possiblerdquo mottoes developers often make their game for a particular person even if this person is very generalized - like a ldquoa man 25-29 years old with higher education family and a stable job with a particular salaryrdquo. Surely this generalized person will have their project expectations. RPG fans will expect a serious construction and and any kind of a plot from an RPG. Shooter fan will expect cool graphics and realistic physics from a shooter fantasy man expects to see some magic and epic adventures and so on. Whatrsquos the point of the game design Itrsquos about constructing the ldquoexcitedrdquo and ldquointerestedrdquo feelings for the generalized person meet their expectations as fully as possible and pass the formulated thoughtform having kept within the given resources and reached the money metrics. Constructing the feelings sounds beautiful but too mysterious. In order to make it more clear recall the way your parents or not your were preparing to meet guests on an important occasion long time ago. Do you remember the uncomfortable clothes strange dishes and those ugly decor stuff Thatrsquos the way your parents would change the atmosphere pointing out the difference between an ordinary and a feast day. They would talk for hours about boring life events of their far relatives and school friends so that the guests would feel like they belong. In other words they tried if not always consciously and not always skilfully to construct the feelings. A game designer does the same thing though they are unaware who why for how long and where their main guest would bring. Of course itrsquos more simple for game designers - they can build a special city for this special guest. All they have to do is to foresee all possible combinations of leisure options for the dear guests and the creators of zero and one will write the necessary tools. The only thing to do is to gather the desired city and show it to the guest in the best way possible. After we picture all kinds of emotions a player will have doing this ldquoemotion cardrdquo is the most difficult professional task of all we have to figure out the way wersquoll do it. Letrsquos take anger as an example. Of course we donrsquot want our player to feel anger but in a particular moment we in order to add some emphasis may offer an echo of this feeling - a set of feels the player will associate with the emotion. What is anger in terms of this generalized person We have to personalize them then but itrsquos not so interesting so wersquoll just take me. We will dissect my feeling of anger and sketch out the most obvious options of the implementation of its individual pieces. There are light ldquoneedlesrdquo on the upside sides of the throat ambient no bright sound or visualization in the perception moment inside-eyes-pressure convex parts with smoothing to the center contrasts attention fixing on the anger source itrsquos hard to look away the sounds of the world around are quieter not related directly to the source of anger visual details are blurred even in the primary field of view filter on the image requiring the aggressive thought action even if QTE and rapid decrease of options to handle this anger timer cutting off options falling tone when defeating anger colors environment debuffs or instant colorization with brightness and powerful

Dear Kanye Yes... Children Shouldn039t Be Exploited in Games - by - Link Thu, 15 Oct 2015 02:21:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs Dear Kanye Yes... Children Shouldnt Be Exploited in Games by William Volk on 101515 022100 pm Post A Comment The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. Dear Kanye I agree that children shouldn39t be exploited in games with in-app purchases. Finding out that my child has racked up in-app purchases while playing games on an iPad would infuriate any parent. As you said I39ve been following this issue for a few years. In 2013 I wrote this on the subject Freemium games depend on whales users who make large purchases for much of their income. A typical title may only have 2 percent to 3 percent of players making purchases. This isn39t a problem with social casino games targeted at teens and adults. These are rated at ages 12 by Apple. Many children39s games like SpongeBob Moves In My Little Pony Skylanders Lost Islands and Littlest Pet Shop offer in-app items as expensive as 99.99. The SpongeBob game rated ages 4 isn39t even a freemium title as the download runs 3.99. So even parents trying to avoid free-to-play games can get surprised by these purchases. The problem today is that apps targeted for 5 year olds are relying on in-app purchases even more so than they did in 2011. The top-grossing children39s game category shows 17 out of the top 20 are doing just that. - Free-to-play games are having their Soupy Sales moment I just checked the Kids category today five years old and younger 16 out of the top 20 grossing apps offer in-app items for sale in the game. While Apple does have excellent parental controls spending limits etc. not every parent and probably not Kanye takes advantage of this. There is a solution. The 99 Solution Twitter hashtag JustSpend99Cents. There was a time when you paid once for a game. Played it as much as you wanted. Were never asked for more money. For example here39s a game I wrote in 1982 yes I39ve been at this for that long. According to the US Inflation Calculator that 30 would be 74.09 today. Ouch. Luckily today there are games children39s games that retail for 99. For the price of a cup of coffee at Starbucks you can buy three of them. And they will never ask your children to spend money in the game. OK some are 2.99 or even 4.99 but you get the picture. Fun games like this Sago Mini Babies 2.99 Or a 99 whimsical puzzle game from my company PlayScreen Pigs A Pop39n 0.99 And you know what just as the music industry responds to popular tastes and demands the more parents JustSpend99Cents the more games you39ll see that do just that. Make you pay only once and don39t ask for more money from you or your children. I know most of us in the game industry would prefer this too. Let39s make it happen. originally published on The Huffington Post LINK Schedule Schedule Schedule Related Jobs 10.16.15 Experienced Artist 10.16.15 Lead Technical Artist 10.16.15 Lead Artist 10.16.15 Experienced Game Engine Programmer View All Jobs 256314 blog blogsWilliamVolk20151015256314Dear_Kanye_Yes_Children_Shouldnt_Be_Exploited_in_Games.php 897501 897501 Loading Comments

More Unpredictable Stuff - by Michael Cook - Link Thu, 15 Oct 2015 02:11:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs More Unpredictable Stuff by Michael Cook on 101515 022100 pm 1 comments The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. The Procedural Generation Jam starts on November 7th. Sign up on itch.io and get free tickets for our talks day in London At the time of writing this article I am on hole two thousand eight hundred and forty two ofDesert Golfing. Desert Golfing is a mobile game about punting a tiny white golf ball across the screen and into a hole. When you do this the hole pushes the ball up the screen scrolls to the right and a new hole reveals itself. This goes on for... well I actually don39t know how long for. It goes on for at least two thousand eight hundred and forty two holes. Like most people who play this game pastthe first hundred holes or so I play Desert Golfing because it39s relaxing because it39s easy to open up for a few minutes wherever I am because it39s fun to knock a ball around and play with a physics system. Most of all though I play Desert Golfing because it seems to go on forever. Whenever I need a new level there it is. For a long time I wasn39t sure whether the gamewasprocedurally generated as I knew very little about it. Then I began to consider whether it might be a combination of generated and designed whether the occasional hole that seemed too perfect might be an indicator of a guiding human designer. Over time I came to accept that it probably was entirely generated but even this left questions like whether it would ever end or whether its designer intended you to go past the first thousand holes. These questions might seem bizarre to some people - I told a friend the other day that it would be a 39spoiler39 to discuss the appearance of a cactus on one of the holes - but I use Desert Golfing almost like a meditativeaid. I sit I zone out I think about procedural generation and I wonder whether the desert ever ends. Three Word Story If you39ve played Desert Golfing you might be thinking this is a bit heavy for such a simple game so let me pull back a bit and talk about procedural generation as a whole for a while. Julian Togelius one of the most wonderful procedural generation researchers out therewrote a blog post this weekabout what AI could mean for games if all those academic research dreams came true. He painted a picture of a sort of infinite Grand Theft Auto capable of writing and rewriting its narrative mechanics and setting and able to be used as an intelligent game design tool on top of all of that. It39s a good post and you should read it but I found myself feeling a familiar sense of depression while reading it. Describing the game39s ability to generate new areas he writes The game makes up the landscape as you go along and you end up in a new city that no human player has visited before. In this city you can enter any house talk to everyone you meet and involve yourself in a completely new set of intrigues and missions. When Julian mentions places that 39no human has visited before39 it instantly brings to mind one particular example of procedural generation which lately has me thinking a lot andis emblematic of an ongoing trend that concerns me a bit - Hello Games39No Man39s Sky. Before I go on I want to emphasise that I39m really excited about NMS and I39m looking forward to exploring its worlds - my interest in the game is very similar to that of Desert Golfing in fact. What I39m about to say may come across as critical and I really have had trouble expressing it properly so I hope no-one will take offence and will understand it as the well-meaning discussion that it is. From the outset No Man39s Sky was marketed as a game that defined itself in terms of itsprocedural generation. It was described almost as the end point of procedural generation as a technique the ultimate dream a universe of trillions of planets to explore with 39every planet unique39 and 39every atom procedural39. Everyatom. If you read any press or coverage of the game the emphasis is on itsuncontrollable scale. How To Play A Game With 18 Quintillion Worlds chirps PC Gamer while the PlayStation blog explains how it would take 585 billion years to see them all note that what constitutes as 39seeing39 here is irrelevant - the important thing is the big number. No Man39s Sky39s universe is presented as unknowable and terrifying - even the technology behind it is reduced to 39maths39 as if the knowledge of what is going on might cause a RaidersOf The Lost Ark-style face melting. Everything exists for a reason and is governed by maths. the PlayStation blog explains. Polygon runs a similar line cringe-inducing for anyone who39s ever written a line or code or worked on tech communication How did Hello Games buildNo Man39s Sky In short math. How will it keep it running More math. Setting aside the problem of communicating technology to people all of thesethings lead towards the same issue the phrase Every Planet Unique the 18 quintillion stat the mystical 39math39 idea. It boils down toa vision of procedural generation that we39ve always used and it can be described in three words MORE UNPREDICTABLE STUFF I39ve chosen these three words really carefully andI think they sum up something like 90 of procedural generation applications in games right now. Let39s go through them from last to first This is everything people love and everything people hate about procedural generation and it defines a trench thatthe field has been stuck in for a very very long time. I think it39s time to get out. The Flaw Of Large Numbers I play a lot of games with procedural generation in. I39m currently playing Vagante a delightful side-on platformer-cum-roguelike that generates its levels and items procedurally. I actually really love the More Unpredictable Stuff mantra it works for me it hits all my buttons. Remember - I am on hole 2842 of

ampquotDeath of a Time Lord...ampquot - a candid tale on mental health - Link Wed, 14 Oct 2015 03:46:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs quotDeath of a Time Lord...quot - a candid tale on mental health of a Producer by Ryan Wiltshire on 101515 021100 pm Post A Comment The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. hellipThe death of a Time Lordhellip Regeneration a biological ability straight out of science fiction centred around the double beating heart of a Time Lord. The process allows one who is old or mortally wounded to undergo a transformation into a new physical form with a somewhat different personality. Now I39m no Time Lord although my job is all about managing time but for me and others regeneration in a sense is possible and happens in a time in which the body needs to survive which for me was much like a gradually inflating balloon of containing not helium but depression anxiety obsessive compulsivity which ignored enlarged to a point where it was to either pop or deflate but unfortunately it was not the later requiring repair and self-evolution to overcome the illnesses.. ...on the outside a nice bright and polite individual but appearances can be deceiving... My Year 11 leavers book statement by my form tutor. I didn39t really think anything of it at the time but as of this challenging for a lack of a better word period it39s been playing on my mind. What does it even mean What a weird thing to write about someone without explanation... Many people would describe me as a nice laid back fun hardworking with a willingness to help anyone at the drop of a hat. Is this me Or is it a symptom of anxiety to be like this to be accepted Who or what am I really ...must deliver 39X39 in 39Y39 with 39Z39...while trying to play pin the tail on the donkey... Stuck in a loop of obsessive compulsivity with work and the perceived need to succeed at an unattainable perfection whatever the costs with the ever looming fear of failure due to constants always out of control andor reach. Lists lists everywhere became my bedtime ritual to allow for my brain to even consider sleep. The floor beside the sofa my now bed piles of paper covered with flow diagrams worse case scenarios self-doubt and questioning which was done again and again until I had a complete brain dump and a nice tidy in order of execution list of actions follow-ups or investigations required for the next day. Damn it if I ever remembered or declassified importance of something requiring that nice and tidy list to be rewrote. ...247 lights out game withemails is a losing game... Checking your work emails before bed is never a good idea an email marked as important can39t ignore it can I Ok I39ll just reply to this one. They reply you can39t ignore it now you started the conversation. Emails exchanged they go on lunch breaks issue resolved...it39s2am... Working with partners abroad from the east and west does make this difficult especially when you don39t want to lose a whole day waiting for a response so this began to be the logical way to be to meet deadlines set. ...sorry I39ll be late again tonight... This phrase again and again to the point where it became a ritual. It was happening so often that the more logical solution was just not make the plans in the first place. Time flies when you39re having fun right Goes even faster when you39ve submersed yourself completely into being a metaphorical router of a project...divvying information out to the east and westfrom 6am - midnightjust trying to keep the 39plates39 spinning. Time...one year two years three years four years...gone at a click of the fingers. You sit back desk covered in lists from yesterday and even four years ago just in case you missed something. Personal relationships stretched to an irreparable state. Haven39t seen family members for years. My closest friends getting married and not even getting an invite and now hobbies only involve work. ...everyone39s only human... The hardest thing to ever do is ask for help. Actually the hardest thing is to admit to yourself that you need the help especially when you don39t even see it yourself. I think I only realised I needed help when spending a 39holiday39 with my son and there was just a vacuum of emotion. I hadn39t realised until that point that I was slowly losing pieces of myself I suppose you could describe it as the soul but I39m not religious or spiritual at all. I39d realised that all I cared about was whether an email was answered or not and whether we would hit the deadline or not. Everything else I wouldn39t get frustrated about if it got in the way of that purpose. ...side effects may include depression and suicidal thoughts... At this point October 2014 the first course of action was to see the GP. I had no idea what to say or expect but I was diagnosed with depression and put on Citalopram which I39m told is the basic go to drug for treating depression. October November and December go by with a repeated cycle of GP review dosage increase GP review dosage increase. ...Ho Ho ho... Christmas Christmas felt like torture. Most of December was spent prepping my projects most major release and I ensured everything was done well before the break. BUT my mind played on me and all I could do was my brain alleviating process of lists lists and more lists. ...mountains out of molehills... January came and the launch went perfectly smooth but after everything started taking longer and longer to do with the tiniest of details self-scrutinised re-done scrutinised again again and again. Keeping me away from completing the big ticket items. ...the injured Time Lord... Listening to advice I was given back in October 3914 I decided it was time to take a leave of absence at the end of January 3915. Work very supportive couldn39t ask for anything different there but just the sheer cutting off of my life support that had been my sole purpose and reason for living and breathing for what it has felt

Infinity is More Than Ten Right - by David H. Schroeder - Link Tue, 13 Oct 2015 03:36:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs Infinity is More Than Ten Right by David H. Schroeder on 101415 034600 pm 3 comments The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. Previous Post What Did 39Better39 Mean 1982-83. In designing Dino Eggs for the Apple II I wanted to make it much better than my first game Crisis Mountain as I discussed in my previous post. No one knew anything. People were trying to figure out what computer games were ndash and what made the good ones good. Suddenly a new concept swept the infant industry The number of screens is what makes a good game... FewScreens Bad. More Screens Good. The catalyst for this burst of wisdom was Miner 2049rsquoer a best-selling game with a stunning ten distinct screens of game play. Visual Variety. People told me that Crisis Mountain had only two screens of game play. Well sort of. It had two background designs on which the player faced randomly-placed objects and a dozen or so increasingly-difficult skill levels. The glowing orange rocks didnrsquot appear until skill level 3. The giant boulder and Bertrum ndash the crazed radioactive bat ndash didnrsquot appear until skill level 5. I donrsquot sound defensive do I - But I had to admit that Crisis Mountain had only two distinct background screens. For the record I designed a third background for a ColecoVision version of Crisis Mountain but for a variety of reasons that port was never completed. ColecoVision arrived in a frenzy and thebubble burst just as quickly. The third unpublished background screen I designed for Crisis Mountain So while I was designing the screen architecture for Dino Eggs the logic was inescapable If ten screens are better than two then surely an infinite number of screens is better than ten. Right I wrote a screen-generation routine that randomly determined where every non-living object on the next Dino Eggs screen would go ndash walkable ledges jumpable gaps between ledges vertical steps boulders exposed eggs pieces of wood and power flowers. In general the current skill level in the game determined the number of each type of object required for the next screen and then random numbers determined where on the screen those objects would go. Except that a completely-random screen would be unplayable. So I defined what a ldquoplayablerdquo screen meant Time Master Tim had to be able to get everywhere steps had to be connected to ledges there could be no mixing ledges and gaps at the edge of the screen etc. And then ndash it was a brute-force routine. The code created a screen randomly and tested it for ldquoplayability.rdquo If that screen failed the test the code tossed it away and began again from scratch. I knew that the success of this approach required walking a fine line. If the ldquoplayabilityrdquo tests were too lax the game wouldnrsquot be fair to the player. If they were too strict the code might take too long to come up with an acceptable play screen. And the multiplicity of randomness-upon-randomness was begging for problems increasing the chance that some obscure bug or combination of randomly-generated extremes could lock the code into an infinite loop and freeze the computer. So --many evenings I left my Apple II computer stay on running the screen-generation routine overnight in a test loop creating with screen after screen after screen -- while I slept. I couldnrsquot judge the ldquoplayabilityrdquo factor in that way but I could smoke out any critical bugs or fatal freezes caused by random conditions. It worked. Irsquove never tallied out how many different Dino Eggs screens are possible but itrsquos a lot. I used random numbers to an extreme and lived to tell the tale. Note In my second post I mentioned my discovery that there is no such thing as a random number which is true. A computer does various kinds of hand-waving to create an effectively unpredictable number on request but the result is never truly random. Irsquom just using the word ldquorandomrdquo here because it is clumsy to keep using the phrase ldquoeffectively unpredictable numberrdquo over and over. One more note on random numbers in Dino Eggs The game doesnrsquot ldquoknowrdquo what is beneath a boulderuntil you kick it over. The code assigns the number of eggs or piece of wood that is under the boulder at the moment it is kicked over not before. And because the playerrsquos own joystick movements re-seed my random number generator it can be said that the player is creating his own game screen as he goes along. He just canrsquot control the specific results. The philosophical implications of this are staggering This paper sketch of the Dino Eggs screen reveals many of my early thoughts on game design. Some of these ideas came to fruition. Some did not. Some are only now being realized in the gamersquos revival Dino Eggs Rebirth. Note at upper left ldquoPDL...rdquo refers to the early Apple II game paddle. My first game Crisis Mountain had required only that Pong-like paddle ndash because no one thought enough folks had joysticks to rely solely on them. How quickly that would change. But -- as of this sketch --I was still considering a Single PaddleKeyboard mode for Dino Eggs. The big right-cornerarrows I was thinking of Spiders going horizontally along the top then threading down vertically. That I did. I was also thinking of roaches going vertically going up and then going horizontally on the ledges. That I didnrsquot do. Also note the idea ldquoRoaches eat wood rdquo Note at center bottom ldquofalling eggs...rdquo In the original Dino Eggs the eggs disappeared after you picked them up. In the game revival Dino Eggs Rebirth you can see the towering teetering pile of eggs in your arms and they visibly scatter and fall if you get bitten by a snake or spider. Note toward upper right ldquofalling rolling rock can put out firerdquo You bet it can. And

5 game design lessons from the Tokyo Game Show - by Brandon Sheffield - Link Tue, 13 Oct 2015 01:29:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs 5 game design lessons from the Tokyo Game Show by Brandon Sheffield on 101315 033600 pm 6 comments The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. I recently got back fromdemoing our upcoming gameGunsportat the Tokyo Game Show. It was definitely a different experience from Western consumer-facing tradeshows but talking to other developers was perhaps the most interesting part of the experience. I got to have a lot of conversations some short some long with Japanese developers who wandered by to play the game. Here are 5 takeaways either on game design or being a game designer that I gleaned from being at the Tokyo Game Show. A quick primer on our game Gunsport for those who haven39t played itndash it39s a 2v2 esports-ish action game rather like volleyball with guns. On each team one character doesn39t move and can fire twice per volley the Keeper and one character does move and jump but can only fire once per volley the Striker. Whenever the ball crosses the net in either direction it39s worth additional points. Also our control scheme is rather different ndash left trigger and right trigger aim your gun up and down and X fires. This is worth knowing as you read because this is what we had to communicate to players as they went through the game ndash rather a lot. Now on to the lessons. 1 Communication is everything. Japanese is not my first language so naturally verbal communication was at times an issue ndash but so too was visual and thematic communication within the game. One player in particular just didn39t like the jump of the character he was using. ldquoShe39s up in the air too longrdquo he said. ldquoShe39s just floating.rdquo To which I replied ldquoWell we39ll have a nicer feel to the gravity in the final game but ultimately we want her to have serious hangtime so she can aim and shoot to get a better angle on the ball.rdquo ldquoI just don39t like that long jumprdquo he shrugged adding ldquoI39m used to quicker ones in action games.rdquo Then I had the realization ndash I39d been trying to explain to him whythischaracter should have a long jump when instead I should39ve retargeted. I showed him another character from another team who has a very quick and snappy jump. ldquoOhrdquo he said. ldquoEvery character is different I get itrdquo And the problem was solved. But ultimately it highlighted an existing problem ndash how can we get people to realize that every character will be different right from the start without having to try every character out or have a conversation with meStreet Fighterdoes this with character design and we39ve tried there but it isn39t enough visual communication.We need to improve our visual language but also our educate people about our verbs in general. 2 Be ready to test. We had two new teams in the game and we needed to test them because they39d only been implemented the night before the show. I had no idea the teams would be ready but our programmer surprised us and pulled through So after some quick blind balance attempts we tried to test them out. All I could really do was take notes about which team beat which on a piece of paper but this was ultimately invaluable. When one group played for a really long time I39d urge them to try the new teams so I could test this at a varied level of play. So I got great data but if we39d had some actual metrics-mining tools I could39ve gotten a lot more hard data and that would39ve been great to compare across shows. Tak Fujii ninety nine nightswandered by at one point 3 Praise can fool you. At various points during the eventpals likeTak Fujii came byto play the gameand give their feedback.At one point during the first day Koji Igarashi of Castlevania fame wandered by. I grabbed him and asked him to play. Now he39s played games of ours before likeOh Deer Alpha and he gave a pretty neutral response. ldquoIt39s okayrdquo he39d say or ldquoIt39s not really my kind of thing.rdquo Gunsport on the other hand actually engaged him. He was good at it right away first of all which is already nice to see most people take a game or two to get decent. He got the nuance of the game very quickly and was able to bring his team to victory almost singlehandedly. He kept saying ldquothis is interestingrdquo as he was playing or every time he learned a new rule. At the end he pointed at the game and said ldquothis is super fun.rdquo Obviously this felt great to hear about our action game coming from someone whose action games I39ve been playing since highschool. But as soon as he left I realized that I couldn39t let this praise make us complacent. We39re far from done and just because someone who is already very good at action games can get good at it doesn39t mean others will figure out how to get there. The lesson here was take the praise but don39t let it get to your head as I almost did. Iga plays gunsport. 4 Japanese players are patient. This was an interesting one. We39ve demoed Gunsport all around the US Europe and now Asia and each audience seems to be quite different. Younger Americans mostly tweens seem to really get into it. So do older folks once they39re forced to play it and you do have to force them. Your 18-25 year old Call of Duty player has a lot more criticisms. But one thing was common among all American playersndash they didn39t listen to my instructions assumed they could figure it out and just went for it. This is good and bad. It39s a great way to test out whether your game teaches people how to play ours really doesn39t which is a problem but if they don39t figure it out they can get really frustrated. And that39s something I noticed a lot ndash when American players weren39t good at the game right away or didn39t ldquogetrdquo it right away they got frustrated and mad at the game. Japanese players on the other and if they weren39t good at

Procedural world generation The simulation functional and planning - Link Tue, 13 Oct 2015 01:29:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs Procedural world generation The simulation functional and planning approaches by Rune Skovbo Johansen on 101315 012900 pm 6 comments The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. This post was originally published on the runevision blog. Procedural generation has gotten a lot more popular since my interest in it started 10 years ago. Today most game developers and even many gamers know what it means in broad terms. In this piece I want to highlight fundamental differences between three approaches to procedural world generation The simulation approach the functional approach and the planning approach. The approaches are not only algorithmically very different but are also suitable for different types of games and gameplay. Here39s a breakdown and analysis with lovingly hand-drawn - err mouse-drawn - illustrations. The three approaches The simulation approach attempts to create an environment by simulating the processes that creates it. Terrain erosion vegetation distribution based on plants competing over sunlight and nutrients fluid dynamics fire propagation and genetic algorithms all fall under this approach. Simulation approaches are not always based on reality. For example cellular automata simulations can be used to create nice cave patterns even though this is not mimicking how caves are formed in reality. The defining trait of simulations is that it39s a process with calculation steps that are repeated many times in order to reach the end result. The functional approach deals only with the desired end result and attempts to approximate it directly with a mathematical function. For height field based terrain this could be using a Perlin Noise function a fractal function or any combination of many different functions to determine the height for a given coordinate. Similar functions but for 3D coordinates can be used for voxel terrain. For vegetation mathematical functions can be used to determine the probabilities for various types of plants to appear at a given spot. The planning approach doesn39t primarily try to mimic nature at all but instead plans out an area according to level design principles. For a terrain it might create a mountain range that can only be passed in a specific spot or it could carve out a cave which contains a key inside that unlocks a vital door elsewhere. For vegetation it might create dense trees that block the player from taking an unwanted shortcut or it might place plants and flowers in specific spots to try to create a certain emotion or feel related to that spot. We39ll get back to the planning approach in a bit. For now let39s compare the simulation and functional approaches. Context or no context An important distinction of the functional approach is that the value at a given coordinate can be evaluated without regard for neighboring points. This is both a strength and a weakness. The strength is that the generation is simpler and that it can more easily be divided up into smaller parts that don39t rely on each other. No arrays need to be used for the generation except to store the end result and this means lower memory requirements. For games with a pseudo-infinite world such as Minecraft and No Man39s Sky the lack of dependencies on neighboring points at least for terrain generation is important. Since the world is generated in chunks on the fly a point may need to be evaluated without the neighboring points being available yet because they are in a different chunk that doesn39t exist at this point in time. The weakness of the functional approach is that certain things can just not be calculated meaningfully without context. For example consider a river that flows from a source and downwards wherever the terrain goes down the steepest. Given a mathematical function that defines a terrain it39s not generally possible to determine where the river would flow without considering the terrain at many different points at once. Similarly it39s not possible to calculate how light and shadow propagates in a space without having the context of the surrounding geometry available. There are ways to get around these limitations by mixing functional techniques with simulation techniques. Once a pass of functional calculations have run a different pass of simulation can run on top which has does context information. For game worlds that are not generated all at once - and that includes all pseudo-infinite worlds - this has to be handled very carefully to work correctly. One example is calculation of lighting in Minecraft. The terrain is calculated fully functionally with user-created modifications on top. After that the lighting is simulated with proper context information about the terrain. However the fact that the lighting simulation needs context means that lighting near the edge of a chunk needs terrain data from the neighboring chunk in order to be simulated. How far out can a change in geometry affect the lighting 2 blocks 10 blocks 100 blocks This along with the block size of chunks affects how many neighboring chunks must have been geometry calculated before a given chunk can be lighting simulated. It just so happens that chunks in Minecraft are 16x16 vertically they take up the entire world height while lighting propagates only 15 blocks. This conveniently means that only the 8 neighboring chunks need to be geometry calculated in order for sufficient lighting context to be available for a chunk. This is very likely not to be a coincidence. Having light propagate further than the size of one chunk would have had large negative consequences for the performance. Disclaimer My explanation of lighting in Minecraft is based on a few facts combined with speculation on my part. I can39t guarantee it actually works the way I describe but it39s entirely conceivable. Other types of simulation can not as

Arrangement for Vertical Layers Pt. 3 - by Winifred Phillips - Link Tue, 13 Oct 2015 01:29:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs Arrangement for Vertical Layers Pt. 3 by Winifred Phillips on 101315 012900 pm 2 comments The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. Welcome back to my three-part blog series on techniques of arrangement for interactive game music In this blog series Irsquom exploring the discipline of arrangement in relation to interactive game music using examples from my music for the LittleBigPlanet franchise. In part one we covered the purpose of the arranger the value of a strong arrangement and what differentiates traditional arranging from creating an arrangement for an interactive piece of music. We then discussed techniques for arranging an effective melody in an interactive construct. In part two we extended the discussion to countermelody exploring techniques that function well when creating a secondary melody for use within interactive music. If you haven39t read the first two parts of this series please click below to catch up Okay all caught up now Ready Let39s go Harmonic support chords In part one of this blog series we talked about two concepts that are intrinsic to music melody and accompaniment. So far we39ve focused on melody and countermelody examining concepts and techniques integral to the successful creation of melodic lines. In this article we39ll be talking about the all-important accompaniment. While melodies and countermelodies occupy the center of attention the accompaniment serves a crucial function. As a strong supporting mechanism the accompaniment grounds the listener in the key establishes chord structuresprogressions and lends harmonic weight to the composition. Harmonic weight indicates the tendency of certain chords to move logically to other related chords. To make this abstract concept more concrete let39s picture the first chord at the top of a hill ready to slide right to the next chord as though tugged there by the weight of gravity. Here39s a nicely simple video demonstration of this concept produced by the music tutorial site Rhythmic Canada. Let39s take a look at the most famous and popular harmonic progression dominant seventh to tonic. The progression of chords can lend a sensation of momentum to any composition implying moments of tension and release as chords proceed in logical and aesthetically desirable ways. As an arranger it39s our job to decide what instruments will carry what notes within the chords and how each individual chord will be voiced. Let39s start with the concept that should be pretty familiar by now it39s occupied the top of our list of considerations in the past two installments of this blog series Effective technique voice leading step-wise movement Voice leading is very important in harmonic progressions although ensuring good step-wise motion in our chords is not as crucial a consideration for interactive music systems as it is where melodies are concerned. We don39t typically separate our chord tones between layers because that would leave some layers with only partial chords that could not successfully establish a clear harmonic structure on their own. Because the tones of the chords tend to stay grouped into single layers we don39t have to worry about how the individual notes might sound if exposed. However we should always try to create smooth voice leading within chord progressions because the technique simply makes the chord movements more satisfying and graceful. Effective technique close position voicing In creating chord progressions we have to consider how we want to space the individual notes of the chord. Close together or far apart There are valid reasons to choose either approach but the Vertical Layering system tends to favor one technique over the other. First let39s look at them both. Open position voicing involves the use of large empty intervals between the tones of the chord. The notes are spread out to occupy a broad range - they may even be scattered across several octaves. With open voicing the individual notes of the chord are clearly discernible and the chords often convey an airy delicate texture. On the other hand close position voicing groups the notes of the chord closely together often within a single octave. The notes are highly localized to a specific frequency range and complex chords will tend to include clusters tightly-packed notes that are only a single tone or halftone apart. In a close position voicing the notes of a chord usually blend together and they can potentially sound quite warm and full. Close position voicing can be especially useful in Vertical Layers because the frequency range is specific and limited. A layer with close voiced chords will occupy a very specific slice of the available frequency range of the overall mix so when the layer is deactivated the removal of that frequency range will be sharply noticeable. Close voiced chords also leave lots of room in the composition for other elements - such as melodies and countermelodies. Here39s an example from LittleBigPlanet 3 The Pod - this is the music from the LittleBigPlanet 3 videogame that greets us at the beginning of the game and whenever we return to the main menu. The harmonic structure is carried and reinforced by a women39s choir singing close position chords. Notice how the chords are fully and satisfyingly voiced in a somewhat limited range Let39s hear how the same section of the composition sounds with the fuller mix now active The closely-packed notes of the women39s choir fit snugly into the mix without interfering with other musical elements including the melody and countermelody. Effective technique inversions When we invert a chord we change the order of its notes. As an example in the C major triad chord composed of C natural E natural G natural the lowest note is the C natural. Now we can bump the C natural up an octave so that the lowest note is

Opening Lines Finding a Voice for Epistory - by Urbain Bruno - Link Mon, 12 Oct 2015 03:03:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs Opening Lines Finding a Voice for Epistory by Urbain Bruno on 101315 012900 pm Post A Comment The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. I am the founder of Fishing Cactus and producer of Epistory - Typing Chronicles currently on Steam Early Access. This article explores the layers and subtle narrative tricks we used to landscape texts scripts scenario and defining multiple voices for our game. The job has been carried out by the whole team but we must thank Joe Clark for the awesome writing job he has poured in the project so far. OK enough for the introduction let39s get started Whether yoursquore writing a game or a movie or a novel itrsquos always difficult to start a story. Therersquos just so much riding on those opening moments. This difficulty is basically the premise for Epistoryrsquos plot in which a struggling writer is trying to start a novel. The player assumes the role of the muse helping the story come to life. Epistory adds an additional complication as well as attracting the player39s interest immediately it must also establish the narrative voice. In this article we39ll be explaining more about what this means and how our writer and team tried to solve the problem. Whatrsquos In A Voice By lsquonarrative voicersquo we simply mean the voice of the narrator who is telling the story Why And in what context Are they speaking to the audience directly Are they writing a letter Is the audience an active party in the story or are it given a camerarsquos eye view into someone elsersquos world Ultimately narrative voice defines the relationship between the storyteller and the audience. Most narrative voice is established by its medium and a few quickly-gleaned implications. When a written story starts with a line like ldquoCall me Ishmaelrdquo a la Moby Dick we instantly understand that there is a person telling the story to the reader. We understand that the narrator has their old world view and agenda and feelings. But when we watch a film and a camera sweeps across the Earth - like no human can do - we understand that a picture of the world is being presented to us impartially. We are invited to watch through a window. Whose Voice Is It Anyway In Epistory the narrative voice comes from a writer who we never see. All the words of narration - from the introductory sequence to the writing stretched over the levels - are the words this writer has written in their novel. The playerrsquos goal is to help the writer create the story typing words and discovering things to encourage the authorrsquos inspiration core game mechanics of the game. This is a very hard thing to explain in-game not least because we donrsquot meet the writer. We have to infer her presence. Originally the game39s script did this the obvious way it begins with a writer saying I hate writer39s block How am I ever going to write this story and quickly settles down into the story itself ldquoShe looked like a lost little girlrdquo. This establishes the narration as the writer39s voice and ensures it makes sense within the context of the game. This works - but itrsquos messy because it creates two distinct narrative voices. The authorrsquos ldquoI hate writerrsquos blockrdquo and the storyrsquos ldquoShe looked like a lost little girlrdquo. Because we donrsquot really know which is which we have to infer every time - and so therersquos a constant dissonance. Itrsquos hard to know who is telling the story. Also writers tend not to ask themselves questions in their own prose so the voice may not sound authentic to player. A New Voice With that in mind we wanted to try and do something a bit more subtle and seamless using a single voice that represents all the narration. Wersquove tried to do this by presenting the story as a work-in-progress and showing the writer39s edits. The theory runs like this The game begins on a black foggy screen. A blank canvas. Then some text appears Once upon a time. This is how all fairy stories start right The player knows that a story is beginning. But the text is quickly erased character-by-character. The story has changed the writer39s hand is revealed by implication. The writer tries again and this time she writes It was the best of times it was the worst of times. This is how Charles Dicken39s A Tale of Two Cities - the best-selling novel of all time - begins. Even if the player doesn39t follow the reference and most won39t they should understand that the story has been restarted. But this beginning is rejected too and so it is also erased. The pattern has been established now the author doesn39t know how to start the story. So third time lucky the narrative begins in earnest There was a girl. And she rode on the back of a great fox.. And hey presto - the fog clears to reveal the player-character. Voice of Reason Because there is only one narrative voice the player can trust that it represents the words of a story being written around their actions. We build on this start by adding more interactions which make the player aware of the author - and vice versa - by changing text as the player interacts with the world. Itrsquos a subtle idea and maybe not everyone will get it. We expect most people wonrsquot be able to articulate it. But subconsciously we believe people will understand that a story is being written around them by an unseen author. We have been struggling a bit to know if wether we should make it clearer or not see Daniel Cook talk. Successful execution relies on two things using recognisable or cliched opening lines so that the player understands what the writer is trying to achieve ie the beginning of a story and a character deletion effect so that the player is aware that the writer is deliberately erasing and rewriting text. Sound effects can help reinforce the idea of writing and erasing too. This

F2P Tower Defense Games A Detailed Analysis - by Ramin Shokrizade - Link Thu, 15 Oct 2015 02:21:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs F2P Tower Defense Games A Detailed Analysis by Ramin Shokrizade on 101215 030300 pm 36 comments The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. I am generally reluctant to put into the public space any detailed analysis of existing products for fear that someone39s interests might be harmed. Despite this concern I have published some such reports in the past Zynga Analysis Diablo 3 real money auction house analysis and a Guild Wars 2 economy analysis when I felt the public need was great enough. There has been a lot of demand from readership for just such a report that would be helpful in understanding the current F2P environment and how products perform inside that environment. This analysis only focuses on F2P mobile tower defense games in order to make the analysis simpler. All of the issues I discuss here can be applied to other genres and products even if the connection may not be immediately obvious. Here I detail the product names along with developer name level reached in game dollars spent in game Clash of Clans Supercell L66 0 Boom Beach Supercell L42 0 DomiNations Nexon L109 10 Star Wars Commander Lucas Tier 6 10 Rival Kingdoms Space Ape Tier 13 120 but only used about 40 of that I have been testing each game for about a year or since essentially the first day they were released in the case of newer products. I would describe myself as both an expert user and also a ldquowhalerdquo since I have no problem spending over 1000 per year on a game I enjoy. The contents of this paper are presented with the assumption that the reader has read the previous two papers in the series Whales Do Not Swim in the Desert and Secrets of F2P Threat Generation. Both were published immediately prior to this paper. Disclosure Nexon is the only company of the four listed above that I have worked for but that was back in 2001 and I do not believe I have a professional relationship with any of the teams involved. A sixth title was tested and not included because of a potential conflict of interest. Any other product I mention in this report is probably a product I had some involvement with at some point since I get around. What is a Game To properly understand how these products work or don39t work it is important to go all the way back to an understanding of what a game is in order to determine if these products are meeting the needs of consumers. This is the definition I use Game A contest of skill or chance between two or more participants. This is important to note because a major condition of whether a participant is enjoying a game or not is whether they are feeling challenged and whether there is uncertainty as to the outcome of the game. AI can take the role of one or more participants in modern times. While ldquofairnessrdquo is generally an important component of how enjoyable a game is for all participants I don39t put it into the most basic definition. Viewed as a whole 99 of F2P products in the mobile space are not games. The ability to assure a win by spending removes both the skill and chance conditions. This is not a fault of the F2P business model but is caused by a failure to understand the role of reward systems in games and thus a casual willingness to compromise these reward systems. While these products may not be true games they can attempt to ldquopassrdquo as games by including various game elements. In products without human opponents this is often done by creating the illusion of randomness in the challenges even though these challenges are typically carefully engineered and not random. The focus of this paper is on multiplayer competitive games so a careful analysis of competitive game systems is going to be attempted. PvV PvP and the Gaming Social Scale GSS While I have been using the term ldquoPvVrdquo in my writings since at least 2002 the term is not in common use so I must start by defining this term PvV Player vs. Victim Non-consensual contests between two opponents. Since the conflict is elective on the part of the initiator the initiator will generally attempt to find a favorable contest that they will almost surely win. The initiator is generally referred to as a ldquogrieferrdquo. The target of the griefer generally has no way to avoid the unfair contest without spending real money and is not allowed to decline the contest thus making the contest non-consensual. PvP Player vs. Player Consensual contests between two opponents where the outcome is typically uncertain. Exceptions include training exercises between two friendly opponents with unequal skillpower for the purpose of training the weaker opponent. In this latter case the outcome is generally certain but it is still considered PvP. PvV is a strong anti-social mechanic. Cooperative PvP where two teams square off against each other is a strong social mechanic. Individual 1 on 1 PvP is a weak social mechanic. All five products I tested utilized PvV as their primary gameplay mechanic. The quality of social and peer interactions in a gaming product is the primary indicator of commercial success of the product. I am of the belief that a big part of this is the hormone oxytocin which I believe is an even more powerful reward chemical than dopamine. While I am talking with various neuroscientists interested in this subject the research in this area still has not been done so it is reasonable to treat this statement about oxytocin as opinion not fact. To facilitate discussion of gaming social mechanics I have created the Gaming Social Scale GSS which follows Gaming Social Scale Class 1 Gameplay elements that rely on persistent PvV engagements. Class 2 Gameplay elements that rely on anonymous PvV engagements. Class 3 Gameplay elements that permit anonymous individual PvP engagements. Class 4 Gameplay elements that permit anonymous

Starting A Gaming Ad Network Without Wanting To Kill Yourself - by - Link Thu, 15 Oct 2015 02:21:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs Starting A Gaming Ad Network Without Wanting To Kill Yourself by Christopher Kovacs on 101515 022100 pm Post A Comment The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. Originally posted at Medium My oldest friend and I have just launched a boutique advertising network for independent gaming websites called Eudaimoneers. We want to give publishers a way to monetize without compromising their principles to serve their gaming enthusiast audiences and do it without the annoyances and privacy-invasive ad shenanigans that are standard operating procedure these days.Itrsquos about the least likely thing that me-of-20-years-ago could have imagined doing. Itrsquos disconcerting but it feels good man. Irsquod like to tell you some of the why of both. Yoursquove probably seen Bill Hicksrsquo advertising rant from back in 1993. Even if you havenrsquot the probability approaches 1.0 that yoursquove seen somebody reference it if yoursquove ever read a single message board thread in the last 20 years where people were talking about advertising. But just in case here it is and therersquos a lot of cursing and barely-suppressed anger and general billhicksiness so warning if itrsquos new to you Herersquos how he starts just in case yoursquore not up for the swears By the way if anyone here is in advertising or marketinghellip kill yourself. Itrsquos just a little thought Irsquom just trying to plant seeds. Maybe one day theyrsquoll take root8202mdash8202I donrsquot know. You try you do what you can. Kill yourself. Seriously though if you are do. Aaah no really. Therersquos no rationalisation for what you do and you are Satanrsquos little helpers. Okay8202mdash8202kill yourself. Seriously. You are the ruiner of all things good. Seriously. Thatrsquos a strange way to kick off an essay about trying to launch a new advertising business I know. Stick with me. Some people8202mdash8202even people who donrsquot make a living from it8202mdash8202kind of love advertising. A lot of folks are down with the program. Irsquove never watched a Superbowl in my life for example though I have watched a few Stanley Cups after enough beer was proven to be a present and b cold but I am given from what I read on the internet at least to believe that many people watch the games not for the grunting and kicking and tackling and manly buttocks-patting as much as for the advertisements being played during the Big Show. Which you know fine. Some people tolerate ads. For most thatrsquos probably the default position. Wersquore swimming in them all the time and if wersquove given much thought to it wersquove probably resigned ourselves to one or more of the reasons wersquore given that they generally fall into the spectrum ranging from Unalloyed Good to Necessary Evil. The justifications include things like lsquowithout advertising you wouldnrsquot be able to learn about marvellous new products and services that can make your life betterrsquo or lsquowithout ads the prople who produce most of the media that keeps you entertained and amused8202mdash8202tv shows websites movies games8202mdash8202wouldnrsquot get paid and so that stuff wouldnrsquot get madersquo or lsquoitrsquos the ENGINE OF OUR POSTINDUSTRIAL ECONOMYrsquo or lsquojooooooobsssssrsquo. Then there are the people who hate advertising like Bill Hicks may he rest in peace. Irsquoll tell you friends for decades I was one of those people. In a way I still am. Which is weird for a couple of reasons first Irsquove probably spent more time over the last 15 years building websites which I have stubbornly refused to monetize through advertising than I have doing my actual day job and second like I said Irsquove just launched and am trying to build an advertising network. I want to tell you about the project and the story of how I got here and maybe a few things Irsquove learned along the way. To get to todayrsquos what and why I need to go back a few years and gather some threads. Thread 1 In Which Video Games Teach Me About Virtuous Action Irsquom a middle aged man a middle-aged hetero cis-male middle-class caucasian with shiny hair and good teeth which sets me teetering atop the privilege pyramid I know and I kind of love video games. Itrsquos been nearly life-long love for me. I started back in 1976 when I was as over-excited as any 11-year-old was back in that day by the cornucopia of Cool Stuff in the Sears catalog and I somehow managed to convince my dad to buy one of the Home Pong consoles8202mdash8202the only console Irsquove ever owned. As ridiculous as it sounds playing Pong was a revelation. You could move the paddles ON THE SCREEN by twiddling a little knob while sitting on your sofa. Holy crap As much as I enjoyed the experience of controlling those white blocks floating on the cathode ray tube at least for a while it just fed a desire for more. More blocks More colors Well more than one color at least. I started lobbying all right begging for an Atari 2600 as soon as they were announced. Those things cost upwards of CA300 at launch though8202mdash8202one of the most expensive consoles ever taking inflation into account8202mdash8202and that made it a much harder sell particularly given how quickly my Pong-mania had faded something my parents did not fail to remind me. In a move of surprising wisdom though my folks suggested a compromise in 19788202mdash8202they wouldnrsquot spend that kind of money on a gaming device that might end up gathering dust under the big RCA in the living room but they would consider spending around four times as much on an actual real computer. I could play games on it if I wanted but they hoped Irsquod use it to learn. And so I did. My desk upstairs became home to a hulking silver-grey TRS-80 Model III. And so I learned to program and wrote some of my own primitive games and demos

Skyhook039s Super Smash Con Post-Mortem - by Waseque Qazi - Link Thu, 15 Oct 2015 02:21:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS October 16 2015 Latest Blogs View All Post RSS October 16 2015 Features View All RSS October 16 2015 Special Reports Press Releases October 16 2015 PR Newswire prn_overridesmargin0 10px 10px 3px prn_overrides tablebackground-colortransparent prn_overrides table tdbackground-colortransparent prn_overrides td.linkcell_prnbackgroundurltwimgs.comgamasutraimagesgray_arrow2.gif no-repeat 0px 7pxpadding-left12pxdisplayblock30px prn_overrides a.headlinelink_prnfont-family Verdana Arial Helvetica sans-serif View All Games Press View All RSS Calendar View All Submit Event About Contact Gamasutra Report a Problem Submit News Comment Guidelines Blogging Guidelines How We Work Gama Network If you enjoy reading this site you might also want to check out these UBM Tech sites Game Career Guide Indie Games .content_box_middle pre overflow-xauto Blogs Skyhooks Super Smash Con Post-Mortem by Waseque Qazi on 101515 022100 pm Post A Comment The following blog post unless otherwise noted was written by a member of Gamasutras community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. tldr Yes you should totally bring your game to Super Smash Con It was incredible and amazing and exhilarating This year I had the pleasure of attending a fresh new convention in the U.S. called Super Smash Con. While preparing for the event I read every shred of blog I could find online about event postmortems. Still I wished that I could read about the actual event itself. Of course one written by a time traveler who traveled back for the sole purpose of writing video game convention postmortems. Alas. Hower to you future con goer I write this post mortem about our experience showing Skyhook at Super Smash Con. A SMASHCON YOU SAY If you havenrsquot yet heard of Super Smash Con itrsquos a brand new video game convention as of 2015. Itrsquos centered around all things Super Smash Bros. Irsquom talking Smash Bros tournaments Smash Bros panels Smash Bros artist alleys Smash Bros vendors and even Smash Bros parkour performances The event took place at the Dulles Expo Center in Chantilly Virginia in the U.S. They gave us a 10x10 booth in the Indie Games area for free All we had to do was get ourselves to Virginia. HOTEL AND TRAVEL The convention was partnered with the Holiday Inn that was literally in the same parking lot. We stayed there the third night. They were already booked up though so we spent the first two nights at the Hyatt Place Chantilly a 5-minute drive from the expo center. The Hyatt also had free breakfast which really helped fuel us for the con and had a shuttle bus that went to and from the expo center. The Dulles Expo Center is also minutes away from the Dulles International Airport but we opted to drive from New York to keep travel and shipping costs low. PRE-CON PREPARATION The most challenging thing about preparing for SSC though was that I had no idea how big or small it would be -- it was literally the first event Since I was preparing so close to the event date I was lucky that this infographic was posted on twitter showing how many people were registered for the Smash Bros. tournaments. Over 9000 Just kidding but there were over 700 people signed up for the Wii U tournament so I used that as a gauge and decided to plan for roughly 1000 potential players. In hindsight it might have made more sense to just ask the event organizers. SAVED BY THE STAPLES Since we found out about the convention pretty late I had only about a week to get the booth together. Staplesrsquo same-day pickup printing really came in handy here. I literally ordered an 8-foot banner on outdoor vinyl at 9 AM before work and picked it up on my way home on that same day. And oh did I. I got an 8rsquo x 2rsquo outdoor vinyl banner with grommets for hanging behind the booth and a 6rsquo x 2rsquo vertical banner for propping up with a banner stand. I got lucky because Staples accidentally printed the vertical banner on outdoor vinyl even though I asked for indoor vinyl and so they let me keep both What luck But then I got a bit unluckyhellip DIY BANNER STAND I hadnrsquot accounted for the 7 business-day shipping time it took to get a banner stand. Staples doesn39t carry the stands in stores I began calling all the local print shops on Long Island but they all quoted me 120 for JUST a banner stand Thatrsquos when I had the idea to search the internets for ldquoDIY banner stand.rdquo I found this great video on making PVC light stands for photography so I took the basic idea and added two cross-beams to hold the top and bottom of the banner. It was surprisingly fulfilling to make the stand myself. The total cost for the stand was a whopping 16 and took me about an hour to build. Irsquom already working on pirate-themed banner stands for our next event OUR BOOTH The Indie Games area at SmashCon consisted of 12 booths about 10x10 feet very professionally done with black curtains and side walls. There were power outlets inside each booth and electricity was free. It was all pretty great. Herersquos a photo of the 6 center booths with 6 more on the opposite sides. You can see the hoards of people playing Smash Bros in the back. That area was a dedicated console area with every Smash Bros game ever. For our booth I wanted to have some pirate-themed elements to help give it some personality. I had a plastic skull lying around from halloween and I picked up a pirate flag and some plastic doubloons for very cheap on Amazon. I printed 250 postcards and 500 business cards to hand out at the con. Staples same-day pickup again. They seem to always have sales on their print products which really helped keep costs low and there is no shipping charges for picking it up. I also printed the how-to-play sign and the mailing list forms there too. Irsquod strongly recommend you bring some kind of mailing list signup form when you go to these kinds of events. We got 88 new email subscribers at the con and gave out most of our print material. We also ran out of signup forms and had to start using the backs. In the future I will definitely go with using an iPad or other tablet to avoid having to copy all the handwritten emails over to Mailchimp. We also picked up a black tablecloth and a dry-erase board for tournament signups at the Walmart which is also in the same parking lot TOURNAMENTS Holding side tournaments every few hours was perfect for both the game and the smash audience. People would sign up hours ahead of time and return when the tournaments started. I tried to commentate on every match which resulted in me losing my voice but I think that -- combined with the noise from the tournaments-crowd -- really helped draw in more people. We didnrsquot have much swag at the event so we gave out Steam Keys that I had printed on

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Floating Point Softwares is an Indie company started in 2015
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