Page:18 - News Archived: 3437

Title Date
How else Heart.Break turns players into coders - Link Fri, 25 Sep 2015 04:01:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 How else Heart.Break turns players into coders September 25 2015 By Chris Priestman September 25 2015 By Chris Priestman 3 comments More ConsolePC Indie Programming Design Video Playing else Heart.Breaktaught me basic coding practice.It39s set in a simulated city in which atoms are replaced with bits meaning that everyday objects run on code and can be manipulated through hacking. The player is cast as a young newcomer who has no experience of coding but who soon slips into the city39s underground world of hackers. Your avatar is moved through the world by simple point-and-click mechanisms but hacking into objects requires players to type code with their keyboards. I think the game could be used in schoolsto teach kids about programming.But creator Erik Svedang disagrees. He feels thatelse Heart.Break contains too much partying drugs and booze to be appropriate for the classroom.I see what he39s saying but I39d still argue that it has the same qualities as a greateducational game.In my experience it39s the only piece of software to incorporate coding into its mechanics without making it feel like a chore. How to make coding fun Tweaking code to change the functions of objects is howelse Heart.Breakbegan as an idea in Svedang39s head. He had misread a description of Monolith39s 2003 gameTron 2.0 thinking that it had players tinkering with code to battle viruses inside a computer.This isn39t the case--it39s a first-person shooter. Svedang was enamored with the concept of allowing players the freedom to use code to solve puzzles. He got the funding to work onelse Heart.Breakfrom Nordic Game Program in 2010. Svedang39s game adheres to two tenets appealto the player39s curiosity and give them freedom to explore instead of forcing them into a rigid lesson structure. quotI wanted to create a game that had a rhythm to it and that let you live inside its worldquot he says. quotSo things are believable even if you don39t progress.quot To this end else Heart.Break has a simulated city that runs on a day-and-night schedule with citizens going about their lives on their own accord. Svedang hides the story and the puzzles within this simulation andteaches actual coding while you play. Unlike other recent games that incorporate programming principles such asInfinifactory and Machineersyou actuallyhave to type things out manually with your physical keyboard. quotI39m trying to convey this magical view of programming. Especially those moments when you understand and can solve issuesquot You start life as a soda salesman. It quickly gets dull. Then you see a hacker fiddling with a fuse box only to beblown up in the process. It immediately implants the idea that hacking is exciting. You become attached to an enigmatic woman called Pixie who shows you where all the cool parties are at. You enter her circle of friends. She stays up drinking and dancing with you. But she refuses to tell you is what her day job is. Of course you eventually find out she39s a hacker. And so Pixie acts as a conduit to suck youinto the underground world of hacking. From there you can consult a number of coding manuals found on floppy disks and get characters to give you tutorials on certain functions. quotTo me it wasn39t interesting to just make a game where you solve programming puzzles that39s another reason why it39s not an educational gamequot Svedang reasons. quotI39m trying to convey this magical view of programmingespecially those moments when you understand and can solve issues. And to get people into the mood to do that you need to lure them in with a believable world.Then you can let them flip the world upside-down when they start hacking it.quot How to make coding seemcool Svedang initially lures you into this quotmagicalquot portrayal of coding through world design. The city of Dorisburg seems to be stuck in the mid-3980s. Data is transferred on floppy disks and computers take up whole rooms being operated with huge red buttons and giant text-heavy monitors. Svedang tells me that he chose this retro aesthetic as he thinks computers had a better look back then. quotNowadays they39re all just invisiblequot he sighs. He adds that he was inspired by quoteverything that makes computers seem cool.quot The eternal image of computer hacking was embedded in the public consciousness by Hollywood with the movie WarGames in the summer of 1983. We know that this kind of romantic fetishized portrayalof coding is inaccurate but it does have the effect of making hackers seem like wizards of the technological age. Svedang draws from the same iconography as Hollywood to depict hacking in else Heart.Break. In fact he goes beyond that conveying it as something closeto a religious act. Hacking in the game is done on quotmodifiers.quot When they39re being used a colorful halo appears around the hacker39s head as if they39ve achieved hacker sainthood. Turning coding into intuitive and forgiving gameplay mechanics While else Heart.Break turns hacking into a form of ethereal magic it also treats it as a science. As said else Heart.Break incorporates actual coding into its challenges. There are 39if39 and 39else39 functions looping is totally possible and accurate syntax is vital if you want your code to work. This is the core of the game and where it all started. quotOne of the first things I did was to design a programming language that I tried to make similar to what people might have experiencedquot Svedang said. Hislanguage is called Spraringk literally quotlanguagequot in Swedish and is inspired mostly by BASIC as that39s what he learned to code with as a child. Svedang39s most challenging goal with Spraringk was to ensure that newcomers to coding wouldn39t be intimidated by it. To this end it contains a few subtle differences that make it less strict than other coding languages. For instance while you can still use semi-colons to end lines of code

Spending time to save money - Link Thu, 24 Sep 2015 12:17:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 Spending Time to Save Money by Keaton White on 092315 022900 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. When it came to tackling art for City of the Shroud we needed a plan if we were going to be successful still waiting on results for that part. Irsquove experienced and heard countless tales of studios big and small investing heavily in art assets early on and locking in content before the relevant gameplay even exists. This usually ends up limiting whatrsquos possible with the game and costs a lot of timebudget for work that will likely need to be changed or replaced. When operating on a minimal budget that is probably not the ideal path to success. In our case we looked at our constraints and our experience and chose to do things differently. Art is nice to look at and it can be really difficult to look at black and white squares and stock figures for months on end. I donrsquot fault anyone for wanting nice art and would love more for our game. Still when faced with constraints I think it is a safer bet to prioritize developing the gameplay and systems before investing in artwork which is what we are doing for City of the Shroud. Obviously budget constraints arenrsquot the best. Without the money to drop on art assets early in our gamersquos development the team here at Abyssal Arts was forced to work out the vast majority of gameplay and story before we could afford to commit to hiring artists to build our game world. This gave us a clear vision of what we wanted and by the time we were ready to bring in artists we had scraped together the money to pay for top-notch talent who would know how to avoid common pitfalls and save us rework. When I say art here Irsquom referring to art assets not necessarily concept art. Understanding the Needs of the Gameplay Our game is a ldquotactical brawlerrdquo - imagine if Final Fantasy Tactics and Street Fighter had a real-time baby and gave it a stamina system. Put into visuals it looks something like this Our initial concept - tactical gameplay with an action feel - meant we could start out drawing on staples of tactics games like FFT and Fire Emblem. We also wanted the game to be in 3D so we started with this grey block level Beautiful ainrsquot she We then proceeded to iterate on our gameplay extensively for several months. We looked at how height would affect gameplay what rotating the camera would mean for players potential benefits for players who captured the high ground and so on. In this tiny area alone we tore down and built up our gameplay more times than I can recall. The gameplay would be too fast too slow too confusing not visceral enough etc. causing us to iterate and iterate. To accommodate our tests we simply moved blocks added blocks took them away and made them taller or shorter. We set them up so that they changed color and provided very basic information to the player but we stuck with our little grey cubes throughout testing our fundamentals. Meanwhile our total environment spend was still 0 but our little grey block world had served its purpose admirably. Balancing Art and Gameplay Once we had locked down a system we were confident in we knew it was time to start seeing what would happen with the introduction of art. We still werenrsquot ready to hire an artist - our concepts werenrsquot developed enough and while we had the narrative laid out there wasnrsquot enough concept material to build something that we could guarantee wouldnrsquot change. Instead we grabbed about 40 worth of Unity Asset Store assets that were vaguely in the imagery of our game world all we could find were ruins or deserted villages. Perhaps we should include a sun. Using these assets we were able to build a level that showed us what we were dealing with on a technical level and how we had to balance that with our gameplay things are in the way of other things. We adjusted the camera playable area size versus viewable area for different aspect ratios learned what would have a negative impact on gameplay or performance and could then start toying with overall readability. To name just a few things. Aside from our time and again wersquore bootstrapping wersquod only spent about 40 on environment art at this point but wersquod managed to get our gameplay to a state that is comparable to where it is today. Making the Commitment At this point we started talking to a friend who worked as an art lead on the Total War series about building the first set of environment models. Our game is a tactical game so the artistic implications are similar and upon seeing our game screen he immediately identified numerous elements that could be improved surprise. We were now also at a point where our gameplay was fairly finalized and our needs were clear. We had more concepts to work with though they would still require quite a bit of interpretation to turn into game assets - something an experienced freelance artist could offer. So we bit the bullet we hired our friend to make our first environment. In preparing to build the pieces we discussed how we could reuse assets and generally get the most lsquobang for our buckrsquo - essentially so that we could build a few environments with one set and reuse assets in other sets once those were built. Working together closely often one of the benefits of freelancers vs full studios he built us a system that is modular expandable and repeatable with plenty of details to avoid visual repetition for an indie game. The most important element however is that each piece followed the rules we had for our gameplay and our settings in Unity. The pieces dropped into our game and once configured were good to go. There was no fussing or late nights spent trying to make the elements work with our systems or rebuild anything - we simply built the

Ready to launch The work we put into XOs successful Kickstarter - Link Thu, 24 Sep 2015 12:16:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 Ready To Launch XOs Kickstarter Post-Mortem Part I by Corey Warning on 092315 022900 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. Corey Warningworks atJumpdrive Studios and indie game company in Portland. They39re currently working on their first gameXO. Introduction It39s only been a few weeks since XO was funded on Kickstarter and I39m already getting quite a few e-mails asking for tips and advice. One of the coolest things about the indie dev community is how open most people are to share their stories of success ndash and sometimesfailure. I read a lot of Kickstarter post-mortems this year shout-out to my 3 favorites Moon Hunters Darkest Dungeon and Aegis Defenders and researching other project owners39 experiences saved me from making a lot of mistakes that could have been easily avoided. We still made mistakes just different ones And in the spirit of transparency and giving back to the community I want to go over what worked and what didn39t work during our campaign. Disclaimer Jumpdrive Studios is a team of 5 guys working full-time. XO was in development for 6 months before going to Kickstarter and almost all of my time went towards marketing. We also had the support of Square Enix Collective which you can read more abouthere. We39re not the biggest studio to go to Kickstarter but we39re certainly not the smallest ndash if you39re a lone developer a smaller team or working part-time you may not be able to take all of this on by yourself. Every project is unique and my aim is to give you an idea of what worked for our game specifically ndash hopefully you can take away something useful for your own game Why Kickstarter Before you launch a Kickstarter campaign you need to be able to answer this question. If you think that crowdfunding is an easy money grab then I39ve got bad news for you. With countless stories of abandoned projects and empty promises backers are more cautious than ever. To have a successful campaign today you have to be ready to put in the work ndash not only to make your project stand out but to assure everyone that you have the chops to follow through. What39s awesome about Kickstarter is raising funds interest and equity-free while building a community of enthusiastic backers who truly believe in what you39re doing. We had people sending us XO fan art and fan fiction during our campaign it39s super-empowering There39s a reason so many indie studios choose to go this route especially for their first game. However consider this once you39re funded you39re making a game with potentially thousands of people watching. Delays will get more criticism changing features may piss people off and Gods help you if you underestimated the amount of funding you needed to finish your gamehellip We have a community to answer to now and that means extra time and energy dedicated to keeping our backers updated. I39ve seen more than a few teams struggle with this recently it39s not something you should take lightly. Our 3 basic rules for crowdfunding be transparent don39t over-promise and no knee-jerking. Research and Planning I ran a Kickstarter back in 2011 but a lot has changed since then. For the most part I was learning to build a campaign all over again. If this is your first rodeo you39ve got a long road ahead of you. Although many of us have worked in the game industry for years XO is our first project as Jumpdrive so we39re relatively unknown and untested. Building an audience takes time and it39s much more challenging without a prior release. Here39s what it took to get things ready to launch During this time the entire team was trying to find a balance between developing XO and marketing XO. While Brian XO39s creative director and Jumpdrive founder and I handled the heavy lifting many times the development realm focused towards Kickstarter. What39s the coolest ship on the list The devastatorhellip guess what Brian Davis39 working on next Things like shooting and editing our gameplay trailer getting playable demos ready for events and even putting content together for the next blog update all took a remarkable amount of time away from actually creating the game. Part of my job at Jumpdrive is to make sure that demands on the development team are minimized as much as possible but we39re still a small team so everyone has to wear several hats ndash for example on top of regular PRmarketingcommunity tasks I39ve done most of our web design and video editing some scouting for contractors and all of us have contributed to XO39s game design from time to time. Analyzing Similar Projects As I mentioned before I read lots of post-mortems I watched dozens of trailers and spent weeks digging through every aspect of both successful and failed campaigns. I looked for red flags in dozens of Kickstarter projects ndash problems in pitch videos expensive or uninteresting rewards and unrealistic goals. It was often hard to judge what was actually working from one campaign to the next but the data that I found was a great place to start figuring out what could work for XO. Here are the places I kept coming back to for resources feedback and maybe a few fans This is just the tip of the iceberg so be ready to do some serious homework and give yourself extra time. I found myself in the Kickstarter research rabbit hole many times Picking A Launch Window Since we were working with the Collective we had to put together a schedule that worked for everyone. This turned out to be easy and we launched when we wanted to but I thought I should make a point of this since I39ve been asked about it before. We knew we had to be very careful selecting our start and end dates. Finding a 30 day window where there are no big gaming events and no major releases is hard. Now couple that with starting and ending in the middle or

Microsoft and Creative England relaunch Greenshoots games initiative - Link Thu, 24 Sep 2015 09:51:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 Microsoft and Creative England relaunch Greenshoots games initiative September 24 2015 By Chris Kerr September 24 2015 By Chris Kerr Post A Comment More Indie BusinessMarketing The latest round of Microsoft and Creative Englandrsquos Greenshoots games initiative is now open and this year the amount of available funding has been doubled to pound500000. Greenshoots was established with a view to helping English game developers - based outside of Greater London -kick-start development promote their games and create jobs. Last year 17 teams from around England benefited from the programme which helped secure the release of titles including Warhammer 40000 Freeblade and Crime Coast. quotThe creativity and success of past games and the fantastic teams behind them is what makes this programme excitingquotsaid Jaspal Sohal head of games and digital media at Creative England. quotNot only is Creative England uncovering hidden talent across the country but this is also an unmissable opportunity for games companies to work with Microsoft and benefit directly from their support and guidance.quot As well as an increase in funds this yearrsquos programmewillgivecompanies the chance toenroll in Microsoftrsquos IDXbox scheme.Investors and publishers will also brought into pitching sessions to help developers secure additional funding. Interested parties must apply before the deadline on October 30. Related Jobs 09.26.15 3D Artists 09.26.15 Unreal Programmer 09.25.15 Data Scientist 09.25.15 Associate Product Manager View All Jobs Top Stories Next News Story View All 254523 newswire viewnews254523Microsoft_and_Creative_England_relaunch_Greenshoots_games_initiative.php Loading Comments

3D Artists Intrepid Studios Inc - Link 2015-09-26

Intrepid Studios is an online PC based game development company. We are looking for experienced professionals to join our team in creating an MMORPG with a fantasy setting. With a state of the art facility located in beautiful Sorrento Valley San Diego our team will be dedicated to an environment that supports creativity and success. At Intrepid Studios we are searching for people who are passionate and driven to excel in this industry and have a desire to invest their time and effort in the success of what will be the most anticipated MMO of the Industry. 3d Artists Intrepid Studios is currently seeking experienced 3d Artists with focuses in Environment Character and Props. Duties and Responsibilities Include- Collaboration with designers and programmers to ensure game development composition and visualize ideas. Provide day to day team growth with fellow artists responsible for creating top quality environment art. Actively participate in technical and aesthetic problem-solving discussions Ensure project deadlines are met Requirements- 3 years of experience as an Environment Character andor Prop artist with one or more shipped AAA games on PC. Experience with MAYA V-RAY Z-BRUSH PHOTOSHOP. Bachelors or better in art 3D computer graphics or related discipline. Be receptive to art direction. Strong knowledge of architecture physiquearmorclothing andor props with desired lighting. Excellent high- and low-poly modeling skills. Experience with Unreal Engine. Passion for gaming and fantasy settings. Desired- Strong foundation in traditional art with ability to concept ideas. Exceptional visual and technical understanding of 3D modeling and texturing.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4LicZzxRQVe8

Unreal Programmer Intrepid Studios Inc - Link 2015-09-25

Intrepid Studios is an online PC based game development company. We are looking for experienced professionals to join our team in creating an MMORPG with a fantasy setting. With a state of the art facility located in beautiful Sorrento Valley San Diego our team will be dedicated to an environment that supports creativity and success. At Intrepid Studios we are searching for people who are passionate and driven to excel in this industry. Professionals that have a desire to invest their time and effort in the success of what will be the most anticipated MMO of the Industry. Game Programmer Intrepid Studios is currently seeking experienced Unreal Engine Game Programmers to join our team in creating the gaming industrys most innovative MMO. Duties and Responsibilities Include- Contribute to the games development in the following areas Game logic behaviors animations motion systems mini-games physics systems collision systems rendering particle effects entities systems camera logic and sound. Collaborate with Designers and Artists to ensure game development and visualize ideas. Actively participate in technical and aesthetic problem-solving discussions. Ensure project deadlines are met. Requirements- 3 years of experience as a programmer of PC based games. Advanced level CC programming Expert level understanding of Unreal Engine 4. Strong understanding of data structures algorithms and methodologies. Wide-range of game application and game engine skills e.g. AI physics camera logistics animation etc. Desired- Bachelors degree or better in a computer science or related discipline. Commitment to code quality documentation and sound testing procedures. Ability to research analyze and optimize code to meet performance requirements. Ability to work efficiently under deadlines. You may also email your resume to ContactIntrepidStudios.comltimg srchttpfeeds.feedburner.comrGamasutraJobs4JLvwRHOSFcw

Data Scientist VC Mobile Entertainment - Link 2015-09-25

Responsibilities Own the metrics and define the KPIs for mobile iOS ampamp Android games Pro-actively form hypotheses and perform data analysis to continuously increase conversion engagement virality and monetization of mobile games Collaborate with cross-functional teams to drive the implementation and testing of each hypothesis Help improve the players experience in the games in addition to improving KPIs Implement and maintain data mining and analysis programs vendors or other software Be an expert on competitive games user experiences and monetization practices Develop and present KPIs and interesting metrics to the team on a weekly basis Qualifications Direct experience in mobile game analysis required 5 years in analytics gaming consumer facing digital offering or equivalent preferred Must be analytical articulate not easily stressed and a strong team player Strong sense of mobile gaming market Passionate about making and playing games About VC Mobile Entertainment VC Mobile Entertainment is on a mission to bring the magic touch of founder Jon Van Caneghem creator of Might and Magic Heroes of Might and Magic to your screen. While its a new quest for us were all pros. We have decades of experience creating award-winning mobile PC console and online games. In short we love playing games and making games people love to play. VCME is looking for passionate and motivated individuals interested in an exciting opportunity at a well-funded startup. Youll be part of a small collaborative team working on the next generation of mobile games. Learn more at httpvcmobile.netltimg srchttpfeeds.feedburner.comrGamasutraJobs4pUaSxoX03sQ

Associate Product Manager Vrse - Link 2015-09-25

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 Develop product strategy based on user experience partner requirements and technology landscape Set product roadmap and technical specs for a platform that works across devices and delivery methods Collaborate with design and engineering team on user and partner experience Manage production pipeline prioritize resources oversee QA and drive deliverable timeline Qualifications 5 years of product management product design or equivalent consultant experience An academic background in Computer Science or related engineering discipline Natural ability to make things happen around you Strong communication skills and intuition for communication strategy at every level -- within teams within the company to users to press and other audiences Detail orientated with superior organizational skills -- balancing multiple projects deadlines and requests should be second nature to you Optional but a major plus Startup experience ltimg srchttpfeeds.feedburner.comrGamasutraJobs4SjkTEVwX3cc

Mobile Platform Developer Vrse - Link 2015-09-25

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 Unityltimg srchttpfeeds.feedburner.comrGamasutraJobs4TJCLh8PCfBc

QA Engineer Telltale Games - Link 2015-09-25

Responsibilities Play early builds to identify performance and platform specific risks evaluating content and recording data for the QA and core platform engineer teams Work with art and technology teams to tune build parameters and assets to provide the best experience possible on every platform Serve as an in-house expert on console mobile and desktop platform requirements working closely with core engineering teams and project managers to diagnose software and hardware issues and verify execution of solutions Along with the entire compliance group develop documentation and process to handle emerging production core and build engineering requirements as needed to ensure clean submissions to first-party partners Set the highest standards for bug discovery tracking and detailed reproduction steps to discover critical issues and to guide additional support QA Be the funnel for all fidelity and core cross platform technology bugs to add any relevant information in the form of standards documentation call stacks and historical data Essential Skills and Experience 3 years of experience within a QA department as a QA analyst or engineer Excellent cross-disciplinary skills ideally with 3 years of experience working in a game development capacity as an artist or engineer Technical education or equivalent experience with working knowledge of game development pipelines console tools art development tools andor game engines Excellent communication skills ability to communicate and coordinate between multiple teams and a cross-disciplinary audience. Proficiency with high level scripting languages examples Javascript LUA Python Perl NSIS ideally in the area of unit tests and automated testing 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.comrGamasutraJobs4aDK89gQvR5w

Visual Effects Artist VFX Artillery - Link 2015-09-25

We are looking for a Visual Effects Artist to help bring life to Artillerys first title Project Atlas. Were turning the idea of a real-time strategy game on its head and looking to build a lasting iconic universe with an engaging story compelling units and ultra-fun multiplayer battles Responsibilities Embrace our high bar for art and create work that supports the unique style of our game and fulfills gameplay vision. Create a wide range of high quality particle effects using our proprietary tools Aid us in tuning our VFX pipeline and pushing the boundaries of our engine Collaborate with other team disciplines including art game design and engineering Develop assets optimized for current systems Troubleshoot and problem solve visual effects issues while balancing art and gameplay needs. Were interested in individuals with Industry experience on game titles as a VFX artist Deep experience and understanding of Photoshop After Effects and other effects-related tools for creating textures and effects sequences Experience working in Maya and other 3D packages Knack for creating stylized graphics and flipbooks hand-painted and animated effects are a big plus. Working knowledge of game engines and the willingness to drive the development of our own engine and pipeline Excitement toward designing awesome effects for many units in a genre-pushing RTS game with fresh art style We also highly value candidates with these skills and qualities Having multiple shipped titles is a plus but not a requirement Creative personal projects A rabid passion for gaming and strong knowledge of games -- love for RTSes and MOBAs is a plus A strong intrinsic drive to build something youll be proud of decades from nowltimg srchttpfeeds.feedburner.comrGamasutraJobs49wLYi4-T8MU

Gameplay Designer Cignition - Link 2015-09-25

We are looking for an innovative gameplay designer to join our team. Cignition is a growing startup passionate about blending gameplay and pedagogy to create immersive learning experiences. As a member of our team you will wear many hats and be required to design test and tune gameplay mechanics that meet specific learning goals. You will have the opportunity to collaborate with other designers artists developers scientists teachers and subject-matter experts to help define the vision for our products. This is a great opportunity to get in on the ground floor of a company developing an innovative new approach to interactive learning. Responsibilities Conceive and communicate game designs structured for specific learning tasks focused on K-12 STEM-related education Design game systems individual gameplay features ampamp player progressions Describe user experience stories and create wireframe screens and flows Requirements Experience going through a full product cycle from concept to shipping and post launch support in a role that included both designing game systems and post deployment analytics and tuning. Understanding of technical parameters as they apply to design implementations Ability to analyze data and translate into actionable tasks Adeptness with spreadsheets Broad knowledge of casual mobile and classic game genres Self-starter mentality to thrive in a startup environment exploring a new problem space. Strong communication and collaboration skills. Pluses Experience designing games in a variety of genres in particular puzzle games Hands-on Unity experience Game programming background We offer Highly collaborative environment with wide range of expertise. Opportunity to greatly improve human learning. Generous stock options and opportunity to help build company from startup. Highly competitive benefits package. Send your resume to jobscignition.com ltimg srchttpfeeds.feedburner.comrGamasutraJobs4uEJpQKGLIhk

Gameplay Programmer Cignition - Link 2015-09-25

We are looking for an innovative gameplay programmer to join our team. Cignition is a growing startup passionate about blending gameplay and pedagogy to create immersive learning experiences. As a member of our team you will wear many hats and be required to prototype develop core features and optimize for target platforms. You will have the opportunity to collaborate with designers artists other developers teachers scientists and subject-matter experts to help define the vision for our products. This is a great opportunity to get in on the ground floor of a company developing an innovative new approach to interactive learning. Responsibilities Write extensible and easily maintained game code using C in the Unity game engine. Create asynchronous data-driven components capable of handling dynamic content received from a web server. Develop technical solutions for challenges faced in deploying a multi-platform game with limited processing and storage resources. Requirements Mastery of software design fundamentals including object oriented patterns event driven systems optimization and debugging principals. Must have gone through a full product cycle from concept to shipping and post launch support in a role that included both architecting game systems and tracking down bugs. Self-starter mentality to thrive in a startup environment exploring a new problem space. Strong communication and collaboration skills. Pluses Experience with tabletmobile graphics pipelines multi-threaded programming practices and HTTP API techniques. iOSTablettouch-interface design and implementation. Familiar with Python and REST API fundamentals. We offer Highly collaborative environment with wide range of expertise. Opportunity to greatly improve human learning. Generous stock options and opportunity to help build company from startup. Highly competitive benefits package. Send your resume to jobscignition.comltimg srchttpfeeds.feedburner.comrGamasutraJobs49VcWLaz3Ajo

Server Engineer Cignition - Link 2015-09-25

We are looking for an innovative server engineer to join our team. Cignition is a growing startup passionate about blending gameplay and pedagogy to create immersive learning experiences. As a member of our team you will wear many hats and be required to develop and optimize core features. You will have the opportunity to collaborate with designers artists gameplay developers scientists teachers and subject-matter experts to help define the vision for our products. This is a great opportunity to get in on the ground floor of a company developing an innovative new approach to interactive learning. Responsibilities Create and maintain easy to use HTTP interfaces in a scalable system. Ensure a good user and developer experience via testing debugging and monitoring server and database resources. Develop tools to provide game analytics and educationally relevant information. Requirements Familiarity with scalability and optimization considerations within server API and database development. Security minded when handling sensitive user information and understanding of solid cryptography implementations. Python and NoSQL database experience. Low level network knowledge and diagnosis capabilities including packet inspection routing firewalls DHCP DNS and NAT busting. Self-starter mentality to thrive in a startup environment exploring a new problem space. Strong communication and collaboration skills. Pluses Familiarity with higher level networking protocols such as HTTP SMTP and FTP Prior game development experience with clientserver game systems We offer Highly collaborative environment with wide range of expertise. Opportunity to greatly improve human learning. Generous stock options and opportunity to help build company from startup. Highly competitive benefits package. Send your resume to jobscignition.comltimg srchttpfeeds.feedburner.comrGamasutraJobs4AXQxle1zdRw

Senior System Designer Deep Silver Volition - Link 2015-09-25

Volition is searching for a Senior System Designer. The successful candidate will have a proven track record designing various game systems such as player control enemy and ally AI behavior weapons and difficulty balancing for AAA third-person shooters or action games. Experience in vehicle and vehicle combat is a plus. Responsibilities Work on cross-discipline teams to design and develop gameplay systems for the product. Specific responsibilities may include vehicles player control AI behavior weapons andor other systems. For each area of responsibility the Senior Systems Designer is expected to do the following Understand how the system fits within the strategic overview of the product design Ensure that the player experience fulfills the vision of the game Drive the quality planning scripting pacing implementation and polish of the system Provide input on milestone work assignments estimates and dependencies for related goals and tasks Ensure deliverables meet expectations for completeness quality balance vision and player emotion Ensure that relevant team members understand high-level goals for the system as well as low-level specifications dependencies and workflows Evangelize for the needs of the player and work with user experience researchers to define goals for player testing and data gathering Drive on-going competitive analysis to assess the quality and scope of the player experience against that of the competition May be tasked with other duties and responsibilities in support of the project design team Qualifications At least four years of professional industry experience with significant responsibilities in systems design. Proven track record with AAA console products Positive professional attitude. Disciplined and self-motivated with a strong work ethic Ability to think creatively and analytically. An in-depth understanding of how gameplay works and how to create fun meaningful experiences for the player Excellent communication and organizational skills. Ability to multitask and be flexible about changing role requirements Passion for games and ability to articulate that passion clearly and analytically. A broad knowledge base of console games and RPGs Other Information Sample Work Required Please provide samples of your design work. Downloadable and playable levels are preferred but other samples may be acceptable e.g. videos or instructions for viewing levels shipped in retail products. Any supplemental materials demonstrating skills relevant to this position are also encouraged.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4rl5AyUDFUg4

Game Art Indiana University Media School - Link 2015-09-25

The Media School in the College of Arts and Sciences at Indiana University invites applications for a lectureship non-tenure-track in Game Art. This position is for a digital artist experienced in creating visual assets for use in game design and other digital media. Candidates should have experience in 2D 3D and animation plus first-hand knowledge of the inner workings of a game or software studio setting with asset pipelines deadlines and team-based production. The position is central to our new undergraduate major in game design and requires a combination of creative and educational vision with a willingness to help build a new program with high student demand. Applicants should have both teaching experience and a substantive portfolio of work in digital visual arts. Applicants are expected to hold a B.A.B.S. M.A. or M.F.A. in art design or a related field is preferred. Indiana University is an equal employment and affirmative action employer and a provider of ADA services. All qualified applicants will receive consideration for employment without regard to age ethnicity color race religion sex sexual orientation or identity national origin disability status or protected veteran status. To ensure full consideration applications should be submitted by October 24 2015 however applications will be considered until the position is filled. Interested candidates should review the job description and submit application materials on-line at httpindiana.peopleadmin.compostings1799 Questions regarding the position or application process should be directed to Susan Kelly The Media School Indiana University 940 E. Seventh Street Bloomington Indiana 47405-7108 or e-mail skellyindiana.edultimg srchttpfeeds.feedburner.comrGamasutraJobs4EeRVioI1hbo

Senior Network Engineer Boss Key Productions Inc - Link 2015-09-25

Senior Network Engineer Engineering Raleigh NC United States Founded in 2014 by Cliff Bleszinski and Arjan Brussee Boss Key Productions is a new videogame development studio based in the heart of Raleigh NC. BKP believes in an agile no-nonsense approach to product and studio building with an emphasis on high quality product in a friendly environment while remaining as transparent as possible to the gaming community. Boss Key is currently partnered with Nexon Lawbreakers - a science fiction first person shooter.Boss Key Productions is looking for a talented andrivenSenior Network Engineer to help define and implement the best back-end architecture and online infrastructure for Lawbreakers.Responsibilities Work closely with the design and gameplay team to develop the entire network portion of our game with a focus on servers and back-end service infrastructure Create the back-end server infrastructure including web statistics databases and game server hosting on 3rd party infrastructure Diagnose and fix complex player impacting problems within the live environment Setting up systems to deploy worldwide client ampamp server versions ampamp Patches with minimal player downtime Setup the Player Persistence back-end 3rd Party Account Profile Statistics Create back-end solutions for competitive Leaderboards with Ingame App and Web digestion Implement Commerce API Implement Advanced skill based and geographic Matchmaking systems Setup deep User Tracking analytics and support the creation of dashboards Create load-testing test suites and analysis and drive towards solutions Create the Client interface with the Cloud systems and Launcher Managing and Deployment of Virtual machines Support the game as a High availability service and Maintenance Be the key point of contact with 3rd parties Requirements At least 4 years experience as a network engineer on a high availability and high performing service Have deep and current knowledge about Multiplayer games architecture of the past 10 years Excellent programming skills in CC Proven knowledge and experience in setting up modern Cloud andor Website architectures Experience with UDPTCP low-level network implementation Experience with smart Client and Server Patching Low-level network knowledge such as packet capture wireshark tcpdump routing firewalls DHCP DNS NAT etc Great communication skills and have a collaborative attitude with co-workers and external parties Only US citizens or individuals with a valid green card should apply Plus Prior experience running a game as a service as an Online engineer on a PC or Console game Experience with Python UnixLinux andor REST APIs Experience with AWS services architecture roll-out and managementltimg srchttpfeeds.feedburner.comrGamasutraJobs4t4TO7QSQIhM

UnityDevOps Engineer Disruptor Beam Inc. - Link 2015-09-25

Disruptor Beam is building a new generation of games for every screen based on popular universes like Game of Thrones and Star Trek. This is an opportunity to join a rapidly growing company alongside a veteran team working with some of the most iconic brands in entertainment.We are seeking an experienced Unity developer who is passionate about launching and operating scalable development and operations environments. At Disruptor Beam youll be responsible helping to deliver mobile and online game products in one of the highest-scaled Unity development and production environments. Youll administera range of systems createautomation systems coordinatewith QA and debug build ampamp deployment issues and work with game system developers to ensure that changes are easily deployable and scalable.This position is located in Framingham MA. Disruptor Beam will cover relocation expenses.Responsibilities Work as a core member of the DevOps team solve problems and propose solutions to streamline all of our development and operational processes with a focus on builddeployment. Act as liaison with software ampamp infrastructure partners including Unity Apple Google Android Amazon EC2 and Facebook manage code-signing and relevant dashboards track relevant product roadmaps identify expected breaking changes and qualify SDK updates Manage entire build and deployment process to test staging and production environments. Write scripts to automate build deployment and integration with QA automation and validation. Resolve complex merge problems Create tools to simplify ampamp automate deployment content creation pipelines Provision computing resources on EC2 and help with internal IT issues within thedevelopment team. Requirements Experience with reasonably complex projects built in Unity Experience with SCM platforms such as Perforce or equivalent Object-oriented programming experience in C Big Plus Experience with complex 3D pipelines especially in Unity. Big Plus Experience with Amazon EC2. Big Plus Experience with iOS development and build processes with Xcode Plus Experience with Capistrano Jenkins andorequivalentsltimg srchttpfeeds.feedburner.comrGamasutraJobs4fmv81gq13Es

SOFTWARE ENGINEER -- SIMULATION UBER Advanced Technologies Center - Link 2015-09-25

We are looking for people who will enjoy writing the simulation software and tools that will enable our Motion Planning Engineers to test their algorithms. This software includes the simulation of vehicles and people that behave in a realistic manner. We need engineers who can work with the Motion Planning Engineers to understand their requirements and then translate those requirements into production-quality simulation systems that enable them to reliably test their algorithms. A Software Engineer - Simulation will have the following responsibilities Design and implement AI systems to support the testing of Motion Planning algorithms Design and implement solutions to create realistic behaviors for simulated entities Collaborate with Motion Planning engineers to understand their testing needs Contribute innovative ideas towards all aspects of simulation development Write well architected robust and maintainable code using company coding standards ...and the following skills Prior experience with AI systems Path finding LOS state machines sensory systems group behaviors etc... Experience implementing AI behaviors for both characters and vehicles Strong C background Strong 3D math abilities Creative problem solving Able to understand and integrate with existing systems quickly Experience developing real-time systems Experience with multi-threaded implementations Working knowledge of OpenGL Working knowledge of Qtltimg srchttpfeeds.feedburner.comrGamasutraJobs4QxPdcZt_vV0

VV-Cinematic Animator-Temporary Activision - Link 2015-09-25

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 Engine Programmer Unreal Engine Seasun Games - Link 2015-09-25

Chinas earliest and one of the most successful game developers Seasun Entertainment Inc. a subsidiary of Kingsoft Corp Ltd. listed on HKES 3888 has now came to the North American market to launch its large scale mobile game. We are looking for a talented Senior Engine Programmer to join our mobile gaming company. Ideally you are a quick learner who can write optimized code in the fast paced mobile space where the focus is on speed and execution. This key role will be responsible for developing the core technologies that drive our game engine. This role will work closely with the development director to help define the features and architectural vision for the engine. Qualified candidates must be experienced with the Unreal Engine and be proficient with writing extensible and maintainable code under deadline pressure. Responsibilities Code primarily in C to develop our next-gen game engine Define technical specifications for our game engine Produce well documented optimized extensible code Perform code reviews Qualifications Demonstrated interest in games Bachelors Degree Solid knowledge of UE3 or UE4 Strong linear algebra knowledge and understanding of game design patterns Experience developing large software projects that are clean and extensible 10 years experience in engine development Familiarity with iOS and Android development tools and processes is a plusltimg srchttpfeeds.feedburner.comrGamasutraJobs45u0tcv6Y5a8

Art Director Seasun Games - Link 2015-09-25

Chinas earliest and one of the most successful game developers Seasun Entertainment Inc. a subsidiary of Kingsoft Corp Ltd. listed on HKES 3888 has now came to the North American market to launch its large scale mobile game. We are looking for a talented Art Director to join our mobile gaming company. Ideally you are a visionary artist and skilled communicator who can thrive in the fast paced mobile space where the focus is on speed and execution. As part of the project leadership group you would work to establish the visual style for our games and actively communicate it to all team members. Your outstanding art direction is needed to distinguish our games from the competition. Responsibilities Establish the visual style for our games Actively communicate visual goals to all team members Ensure art vision meets the gameplay and technical needs of our games Responsible for the final art quality of our games Provide feedback mentorship and assistance to all artists Requirements 8 years experience Shipped 4 games as lead artist or art director Ability to create and adapt to various game art styles Excellent social communication and leadership skillsltimg srchttpfeeds.feedburner.comrGamasutraJobs48z-PdBlhhKg

Sr. Graphics Engineer Unreal Engine Seasun Games - Link 2015-09-25

Chinas earliest and one of the most successful game developers Seasun Entertainment Inc. a subsidiary of Kingsoft Corp Ltd. listed on HKES 3888 has now came to the North American market to launch its large scale mobile game. We are looking for a talented Sr. Graphics Engineer to join our mobile gaming company. This role will own the full rendering stack for our mobile games and work with other team members on implementation of new rendering features. Ideally you would have experience architecting high performance solutions to displaying complex 3d graphics on mobile GPUs. Qualified candidates must be experienced with the Unreal Engine and be proficient with writing extensible and maintainable code under deadline pressure. Requirements Own the rendering stack for our mobile titles Collaborate with team members on the art pipeline and rendering technologies Identify technical and developmental risks and generate solutions to overcome the identified risks Be our technical expert on mobile graphics rendering Qualifications BSMS in CS Engineering or related field 5 years graphics programming experience Shipped one or more AAA game titles Expert knowledge of real time rendering techniques in relation to lighting and visual effects Expertise with Unreal 3 or 4 engines Familiar with rendering algorithms and design patterns iOS and Android programming experience is desired.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4BM7BYRH_omk

Publishing CoordinatorBeijing Seasun Games - Link 2015-09-25

Chinas earliest and one of the most successful game developers Seasun Entertainment Inc. a subsidiary of Kingsoft Corp Ltd. listed on HKES 3888 has now came to the North American market to launch its large scale mobile game. We are looking for a Bilingual Coordinator to join our mobile gaming company. Ideally you are an outgoing and positive self-starter who can thrive in the fast-paced mobile gaming space where the focus is on speed and execution. Your passion for gaming organization skills and language ability will be put to the test as you play a vital role in facilitating the communication between the teams in California and China. This role will be at our Beijing China location. Responsibilities Facilitate communication between the US and Beijing teams Get in peoples faces Proper communication doesnt happen over email. Go talk to them Process information and development requests in a timely manner Translation of documents and emails update documents take and distribute detailed meeting notes Schedule and coordinate travel and other requests Requirements Demonstrated passion for games Able to readwrite and speak fluent English and Mandarin Understanding of gaming and technical terminology in both English and Mandarin Excellent organization and multitasking skills Able to work independently with little direction Chinas earliest and one of the most successful game developers Seasun Entertainment Inc. a subsidiary of Kingsoft Corp Ltd. listed on HKES 3888 has now came to the North American market to launch its large scale mobile game. We are looking for a Bilingual Coordinator to join our mobile gaming company. Ideally you are an outgoing and positive self-starter who can thrive in the fast-paced mobile gaming space where the focus is on speed and execution. Your passion for gaming organization skills and language ability will be put to the test as you play a vital role in facilitating the communication between the teams in California and China. This role will be at our Beijing China location. Responsibilities Facilitate communication between the US and Beijing teams Get in peoples faces Proper communication doesnt happen over email. Go talk to them Process information and development requests in a timely manner Translation of documents and emails update documents take and distribute detailed meeting notes Schedule and coordinate travel and other requests Requirements Demonstrated passion for games Able to readwrite and speak fluent English and Mandarin Understanding of gaming and technical terminology in both English and Mandarin Excellent organization and multitasking skills Able to work independently with little direction ltimg srchttpfeeds.feedburner.comrGamasutraJobs4a9_IejLjuf0

Engine Programmer Insomniac Games - Link 2015-09-25

The engine programmer who could. That is what Insomniac Games is looking for. We are on the search for a programmer who will work with the Core team to design add and modify features of both runtime and tools components of the engine. This role is also responsible for designing writing and modifying data and code with a heavy focus on real-time performance and usability. You will be asked to provide features which can be used in practice to create best-in-class contributions to our games as well as write and modify tools that will provide access to engine features. Keep reading if this interests you as wed like to hear from you. Essential Duties and Responsibilities include the following Design and develop data and code based on direction andor feedback from leads or Director Work independently to complete assigned projects with limited supervision Implement new functionality in tools and engine Design and implement efficient low-level systems to support higher-level programmers ampamp pipelines Design and implement tools that allow content creators to quickly iterate on game ideas Rewrite existing systems as directed for increased functionality reduced memory usage and increased performance Respond to bugs and feature requests related to engine code as directed Provide technical assistance by responding to inquiries regarding errors problems or questions with programs Complete processor-specific optimization tasks Analyze code performance Other duties may be assigned Education andor Experience Masters degree M.A. or equivalent or five to seven years related experience andor training or equivalent combination of education and experience. Advanced C C and assemblymicrocode programming various CPU cores. Additional languages such as HTML JavaScript and Perl as needed. Strong grasp of mathematical concepts graphics collision detection data transformation database management and advanced programming techniques. Ability to work with various content creation and analytical tools such as Microsoft PIX and RAD Telemetry. As mentioned above if this sounds like the spot for you then we would love to hear from you. Please use the link below and apply directly to the role. Thanksltimg srchttpfeeds.feedburner.comrGamasutraJobs4wwKr6mUp-hU

Senior UX Designer Insomniac Games - Link 2015-09-24

Feelings nothing more than feelings oh wait. Wrong posting. Or maybe not. Wikipedia says that UX takes into account the feelings people have while using a particular product. So maybe we do want to seehear this Insomniac Games is searching for a senior UX Designer to work closely with the Design UI and Art teams to develop user interfaces for games that contribute to compelling gameplay experiences and player engagement. User interfaces typically include in-game HUD and player messages frontend and pause menus tutorial sequences error display icons and loading screens. If this sounds like your cup of tea keep reading Essential Duties and Responsibilities include the following. Designs and documents UI flow for all aspects of game user interface Creates UI design mockups wireframes and prototypes Works closely with Designers to create a usable interface for game Works closely with Art Director to ensure UI design aligns with game art direction Reconciles art and design needs in UI design Assists in coordinating UI programmers and artists to implement UI design Participates in usability testing interpreting test results and creating actionable tasks Acts as UI representative when interacting with other departments Works with project management to scope plan and schedule UI production Contributes to implementation of UI through Flash or ActionScript as necessary Other duties may be assigned This role will indirectly oversee the work of the UI team and provide performance feedback and may provide input to training methodologies and hiring. Education andor Experience Bachelors degree B. A. from four-year college or university or five to seven years related experience andor training or equivalent combination of education and experience in information architecture new media information technology communications or libraryinformation science. Experience with Flash ActionScript and Photoshop. We look forward to hearing from you. Please use the link below and apply directly to the position. Thanksltimg srchttpfeeds.feedburner.comrGamasutraJobs4uHHX-w9xXUY

Sr. Technical Artist Amazon - Link 2015-09-24

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 2015-09-24

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 2015-09-24

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 2015-09-24

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 2015-09-24

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 2015-09-24

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

Tools Programmer Red 5 Studios - Link 2015-09-24

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

Software Engineer E-Line Media - Link 2015-09-24

Company Description E-Line Media harnesses the power of games to engage audiences through meaningful entertainment and to empower learners to thrive in a complex rapidly-changing digitally connected planet. The Companys consumer division publishes really fun games that explore the human condition provide a gateway to new ideas and empower players to shape their world. E-Line partners with leading foundations academics nonprofits and government agencies to help insure that its products pair great artistry with informed authenticity. Description Software Engineer Software Engineer Job Purpose Architect develop and debug educational products and games with an online focus. Qualified applicants will possess the following experiences Experienced with C or Java in a client-server environment. Professional experience with a relational database understanding transactions joins DDL and DML. Strong knowledge of Web Development and experience with Java and Javascript. Familiar with REST API web services Software design patterns Software debugging Ability to work in a team and structured tasking environment. Documents and demonstrates solutions by developing documentation flowcharts layouts diagrams charts code comments and clear code. Improves operations by conducting systems analysis recommending changes in policies and procedures. Provides information by collecting analyzing and summarizing development and service issues. Develops software solutions by studying information needs conferring with users studying systems flow data usage and work processes investigating problem areas following the software development lifecycle. Proactive work habits Pluses Unity3D Experience Mobile development Android and iOS SDK Knowledgeable of clientserver architecture. At least 1 online product shipped Network Programming in any language Relocation Note We dont support international relocation just domestic relocation.ltimg srchttpfeeds.feedburner.comrGamasutraJobs4pcNt0VkwYG4

The Key Masters Reselling and the Games Industry - by Paul Kilduff- - Link Thu, 24 Sep 2015 05:48:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 The Key Masters Reselling and the Games Industry by Paul Kilduff-Taylor on 092515 123100 pm 8 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. Last year after something Proteus developer Ed Key mentioned on Twitter we noticed that copies of our game Frozen Synapse were being sold on several sites that we didnrsquot recognise. Thatrsquos not a pleasant moment for any developer it instantly feels like someone is making a cheeky profit at your expense. The persistent background buzz of piracy is one thing but another company profiting from our games without our knowledge is an entirely different sensation. Itrsquos important to check these things out though so we emailed the sites in question to ask them if they had a valid distribution agreement with us and if they could show us a copy. Fast2Play Kinguin and G2Play are sites which are all owned by a company called 7 Entertainment. Fast2Play is a store where keys are sold to customers whereas Kinguin is a ldquomarketplacerdquo which allows users to sell keys between themselves. G2A are a separate entity their business also has both store and marketplace components. All of these sites had listings for the game but were unable to supply any proof that they were genuine copies that we had authorised. We had never received a share of sales from any of them. Fast2Play immediately responded to our enquiry by saying simply ldquoProduct has been disabled on the store.rdquo I asked them if this constituted an admission of illegal activity to which I received no reply. Frozen Synapse remained on sale on the rest of their sites until several days later when more unanswered emails prompted its short-term removal. It was at that point that Game Informer decided to write about the story interviewing Ed Key and I about it httpwww.gameinformer.combnewsarchive20140328retailer-scam-resells-humble-bundle-games-reaps-profit.aspx 7 Entertainment then responded to the article httpwww.gameinformer.combnewsarchive201403297-entertainment-updates-terms-to-prohibit-the-resale-of-humble-bundle-keys.aspx It was at that point that I decided to leave things. Wersquod achieved a commitment from them to stop selling keys from Humble Bundles for profit a concept which was pretty much universally panned by customers and developers alike. The traditional indie response to situations like this is to spend our limited resources elsewhere specifically on things which directly benefit legitimate customers. However some recent developments have caused me to renew my interest. G2A and 7 Entertainment have taken out some very high-profile sponsorships with a particular focus on esports and Twitch streaming. This kind of activity can be profoundly powerful in establishing the legitimacy of a brand it seems to partially explain G2Arsquos rapid growth Itrsquos not just indies who have tangled with the key resellers. Ubisoft got into a difficult situation with Far Cry 4 keys which were purchased with stolen credit cards and then resold via Kinguin and G2A. Kinguin responded by effectively blaming EA and then appealing to gamers ldquowho simply donrsquot want to pay publisher suggested pricesrdquo. As many players had bought their keys via reselling sites believing that they were legitimate Ubisoft were then forced to backpedal. Polygon published a comprehensive look at the matter and revealed the confused chaotic nature of key marketplaces. Apparently nothing has changed since the original Game Informer article publishers and developers ignoring the situation has simply allowed these sites to grow. Irsquoll begin by taking a look at the legality of reselling then move on to some developer perspectives and finally conclude with a few thoughts of my own. Is it legal The question of legality here is paradoxically simple and complex. If you believe that the EULArsquos which Valve Humble and other distributors use are valid and enforceable then reselling is clearly prohibited. If not then the situation is far more vague. If yoursquore content with that as a summary then please feel free to skip this long section and continue at ldquoThe Indie Perspectiverdquo below If yoursquod like a full exploration of the legal issues then read onhellipI now wish Irsquod written this in Twine. I spoke to Tilly McAdden and Alex Tutty from Sheridans law firm in the UK. Tilly and Alex specialise in games and technology they deal with these issues on a daily basis. Could you give me a general summary of the issues here For the purposes of these answers we will use the terms ldquosellrdquo and ldquosalerdquo etc. but in fact what we are talking about is paying money for a key which provides access to a piece of software which is covered by a licence. More specifically in relation to downloads and software keys when you buy these in order to use them you need to download the software which involves making a copy of it. The unauthorised reproduction or copying of proprietary software products in most cases amounts to copyright infringement. This is because generally speaking all uses of the software like many other copyright protected products physical and digital require the express permission of the rights holder. So it follows that if the desired use of the game such as reselling is omitted from the End User Licence Agreement ldquoEULArdquo then it cannot be used in that way without further authorisation from the rights holder. Or alternatively where the EULA does include terms which permit the further reproduction of the software or game you can indeed make a further copy as long as it is used within the prescribed terms of the EULA. At the end of the day any use of the software or game outside the specific terms of the EULA would not be permitted and in the instances of any transfer which involves making another copy would amount to

The Mysterious World of Game Budgets - by Ron Gilbert - Link Thu, 24 Sep 2015 03:11:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 The Mysterious World of Game Budgets by Ron Gilbert on 092415 054800 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. Reposted from the Award Winning Thimbleweed Park Dev Blog. Awards TBD. During last week39s Thimbleweed Park podcast I asked Gary and David what scares them the most about the project. I find this a useful exercise to do with the team to see what they are worried about. The answer always changes as the project progresses and new worries come and go. The common theme from the three of us was the amount of work there is to do. It39s daunting. But as I39ve said several times on this blog that39s normal. I39ve never not been daunted by the amount of work facing me on any game I39ve done. If you39re not daunted by the amount of work there39s probably something wrong and you need to be pushing harder. Be daunted and push yourself right up to the point of being overwhelmed. During the podcast I mentioned my concern about money and seeing the bank account go down each month. This was somehow turned into we39re running out of money which is far from the truth. I am worried about money anyone running a project should be. The thing is I worry about things so they don39t become problems and worrying about money is one of those things. If we didn39t worry about money everyday we would run out of money. It sneaks up on you. Seeing 500000 in your bank account can make you cocky. It can seem like an endless supply of cash and more money than most people including me have ever seen in their bank account. But you have to treat that 500000 like it39s 5000 or even 500. Every dollar matters. It39s why I like to have a budget. It is one of the advantages of having a publisher they will poke your budget full of holes and challenge your assumptions. The downside is they will also push your budget down and it39s not uncommon for developers to then fake the budget so they get the deal which their studio is often dependent on to stay alive. It39s not malicious they and I have done this as well just convince themselves they can make it for less and that39s often not true. I want to know where every dollar is being spent from here until the end of the project. You start putting line items into the budget and you instantly see your money starting vanish. A few line items later and you39re out of money. It39s sobering and a necessary process. It really makes you appreciate spending anything. We had budgets back at Lucasfilm but we were very isolated from the gory ramifications of those numbers. I could make a budget and if I went over by 20 I might get a stern talking to but it39s not like people weren39t going to be paid. When you39re running your own company and project with your own money and you run out people don39t get paid and they don39t like that. In the real world they stop working. I do a first pass budget before I start designing. I often know how much money I have and I want to see how many people and how long I have before that money is gone. If I know I have 15 months and can afford 5 people then that helps me in scoping the design. If I have 24 months and can have 100 people that39s another scope. Once I39ve done the preliminary budget we39ll start designing and then enter pre-production all the while adjusting the budget as I know more.When pre-production is done we can look at the amount of work and do a final budget based on the schedule. Budget and Schedule are two different things that feed into and help refine each other. You can39t do one without the other but they aren39t the same thing. A schedule lists everything you have to make and who is going to make it and when. A budget takes all those people and how much they cost and tells you what the project is going to cost. Below is the current budget for Thimbleweed Park.It39s what I like to call a living budget. You39ll notice that the first monthly column is October not the beginning of the project. Money spent is water under the bridge and is only relevant for historical and educational reasons. What I want to focus my attention on is how much we have and how much we need to spend going forward. Anyone who has a real background in accounting is probably having spasm right now. There are much better ways to do this but I39m not an accountant and neither are most indie devs. This is a much simplified way of budgeting and it works for me. Each month I look at what we spend versus what we expect to spend then make any adjustments to future costs. I then remove the current month column look at the projected total and the bank balance. If there is more in the bank then we39re projected to spend then we39re OK back to programming and designing. Let39s go through the budget. First up are the people. Gary and I are working for peanuts honey roasted. Neither of us can afford to work for free for 18 months and we39re making about a quarter of what we could get with real jobs but we do need to eat and pay rent. Everyone else is working below what they could get but I do think it39s important to pay people. I don39t feel getting people to work for free ever works out and usually ends badly and friendships or you get what you pay for. The reality is that when someone works for you for free you aren39t their top priority. They may say you are they may want you to be but you rarely are and you end up dealing with missed deadlines and hastily done work. It39s important to have team members that can work as professionals and you pay people that are professionals. You should respect people39s time and talent and pay them for their work. It39s what the Kickstarter money was for after all. Everyone is budgeted in at 5 days a week and 8 hours a day as we39re trying to keep normal hours. I have no doubt these hours will go up towards the end of the project but I try to

No Such Thing as a Random Number - by David H. Schroeder - Link Thu, 24 Sep 2015 03:11:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 No Such Thing as a Random Number by David H. Schroeder on 092415 031100 pm 10 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 PostEverything I Learned About Computer Games I Didnrsquot Learn at Yale 1981. Manycomputer games were home-grown anddistributed on audio cassette tapesstuffed in plastic sandwich bags with sparse photocopied instructions. I was four years out of college and seeking creative employment. Reading ads for such games in the budding computer hobbyist magazines like Creative Computing Byte and Compute I wondered if any of these odd new machines could reproduce the thrills I experienced in the arcade corners of the local taverns and 7-11rsquos as I talked aboutin my previous post. Could I play Donkey Kong at home Could I write something like Donkey Kong at home and get others to play it in their homes And needing a job I wondered ndash Is anyone making money doing this Which of the machines described sobreathlesslyin the magazineswere going to stick around The Tandy Radio Shack TRS-80 The Commodore PET The Texas Instruments TI-994a The Atari 400 The Commodore VIC-20 The Timex Sinclair 1000 Or the Apple II I couldnrsquot afford to buy any of them. If the nearby Seattle Central Community College had stocked their computer lab with something other than Apple IIrsquos would I have written my first game Crisis Mountain for that type of computer Yes of course I would have. But that lab had Apple IIrsquos and so that was the mountain I began to climb. Signing up for a lab course that granted me access to those Apple IIrsquos I explored the nooks and crannies of that amazing machine looking for the canvas on which I could try to re-create Donkey Kong. The two text screen pages No. The two Lo-Res graphics pages No too chunky. The two High-Res graphics pages Ah-Ha There were the tiniest dots I quickly wrote a game loop in AppleBASIC that mimicked the bones of Donkey Kong in High-Res graphics ndash it was a jerky little line running back and forth among rolling dots. The movement on the screen was clearly not fast enough to recreate the excitement of Donkey Kong. AppleBASIC didnrsquot go deep enough. So I soaked up every book I could find in the computer lab and taught myself 6502 machine code. There werenrsquot many tools to make this process easier but those that I found were precious. Thank you Roger Wagner Thank you CallA.P.P.L.E Thank you Gibson Light Pens Computers are now so deeply woven into our culture I strain to remember how they astonished me at the time. But all this was new Forgive the clichndashbut it was a golden age ndash my golden age. Andfor this creative introvertit would last only a fewyears ending far too quickly. Because eachbit each byte each pixel each click of the speaker each check of the joystick was mine and mine alone. To each of these features I had direct and exclusive access at a permanent address. Everything stayed where I put it. To this day if you play the original Crisis Mountain every byte in your computer is there in exactly the same place as it was on my computer. Between me and an audience this was as close as I would ever get to a Vulcan mind-meld. How would a running figure on screen ldquoknowrdquo where the solid ground was How would a rolling boulder ldquoknowrdquo where and how it could alter its path There were no tools to automate the relationships between screen co-ordinates and the behavior of animated images. The computer accepted only raw numbers and every bit of every number was precious so pencil and paper were essential to figuring all thisout. Above and Below Here I am giving structure tothe action on the screen by graphingcalculatingand condensing huge lists of numberson paper. Then I wouldenterthese numbers into the computer one at a time. I completed Crisis Mountain and got my first advance on royalties from Synergistic Software. It was one of the proudest moments of my life. I bought an Apple II for myself and took it home. Now ndash how could I make my second game even better What would I write next To be continued... --------------------------------------------------------------------------------------------- These are my memories... Growing up in a world with three TV channels and paper mail... My years writing some of the earliest 8-bit games CRISIS MOUNTAINDINO EGGS SHORT CIRCUIT... And now reviving my best-selling game asDINO EGGS REBIRTH. Related Jobs 09.26.15 Unreal Programmer 09.25.15 Mobile Platform Developer 09.25.15 QA Engineer 09.25.15 Gameplay Programmer View All Jobs 254347 blog blogsDavidHSchroeder20150924254347No_Such_Thing_as_a_Random_Number.php 999872 35501903 Loading Comments

The Maps of Mystery Match Rich and classic - by Junxue Li - Link Thu, 24 Sep 2015 03:11:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 The Maps of Mystery Match Rich and classic by Junxue Li on 092415 031100 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. - Characteristics of a few mobile game maps - Part 5 Please note in this post I would use art works from some popular games to elucidate the ideas of the article. As our team also create map art please donrsquot mistake that the art work in the post are created by our team. And a big thanks to those developers who had released those great games Today almost every mobile game has a map in this series of posts I would evaluate the characteristics of maps of a few popular games Bubble Witch 2 Saga Jelly Splash etc from the point view of an art producer. If yoursquore a game developer whorsquos planning to have a map for your game or an artist this series is for you. This is Part 5 of the posts letrsquos travel around the world in Mystery Match. Overview Mystery Match is a story driven Match-3 game itrsquos set in the 1930s and the heroine Emma would trace a mystery cult around the world. It has a vertical scroll map each zone features a famous citysite in the real world. Today cartoon and vector style are very popular for mobile game maps for they look fashionable and cheap in making. Mystery Match doesnrsquot go after this fad instead it features rich and classic style paintings a good choice for the story. So far these are the most richly painted mobile maps I have ever seen. Art production solution Nothing fancy the production solution is digital painting all around. You can find the procedure of making a digital painting in my previous article. Theme Each zone features a famous city or world heritage site. Typically a zone would have two monumental buildings in it complemented by minor structures in the area. For example in New York zone they are Empire State Building and the Chrysler Building In India zone Taj mahal and the Buddha statue. Very delicate painting Rich in design Organic object placement Overally each scene is nicely composed by big elements like buildings and monuments and carefully dressed with smaller items. If you play ipad version you can see the organic placement of small things in every nook and cranny. Mystery mood The game has a ldquoMysteryrdquo in its name right You can see how much the designers take it into the maps. Most zones are with dark lighting or in foggy twilight. Layout The maps should be a representation of 3D space that there should be layering there are things in the front and back. However therersquos an unwritten rule for mobile maps that is regardless of spacing the level nodes should always be on the top most layer. So map designers would try to avoid using high buildings for they donrsquot wish path to go behind them. You can see in Farm Heroes therersquore almost flat structures In Mystery Match since itrsquos world traveling it canrsquot avoid to have monumental buildings. In these cases the tall or massive buildings are always put to the side of the map and path go round them then above the top to make sure the path doesnrsquot go behind. Level node size In vertical map format the level node size should be carefully chosen. The developers wish it to be big enough for the screen of phones is small But if itrsquos too big the levels and path would take much of the screen space leaving little freedom for design. You can see on the left is a zone from Mystery Match the node size is a bit small for a phone but it gives great freedom to the layout it can even afford to have widely laid out structure such as the Stonehenge On the right is map of Juice Jam the node size is ideal for phones but too big to the layout it can only have small cluster of buildings placed at the turn of the road here and there. We can be convinced that Mystery Match is much more made for ipad. For it has great detail in design and small level nodes. Transition between zones Itrsquos smart for the MM team to cover the transition with clouds reason No.1 it would take considerable map length to paint the transitions No.2 it would look weird to have the plateau of Tibet run down to the houses in Venice. Clouds would give a good sense of going through space and time. Scene scale is different across zones You can see save the level nodes keep constant size to the end no two zones have exactly the same scene scale. Itrsquos not a big problem for therersquos no people and animals on the map to give intuitive reference And there are clouds to separate zones a travel through space and time space could be relative. We should note that in many other games zones are physically connected and the scene scale is uniform. The lighting It uses mostly soft side lighting giving great sense of modeling and very flattering look. And the iron tower is of dark material itrsquos good idea to use the back side light to create the beautiful rim light. Here is a reference of which key light directions are good for maps. We need to note that the key light direction is different across zones too. Itrsquo s not a problem going through space and time. And in other games for example Bubble With 2 Saga the key light direction is constant. Rough estimation of production time Irsquom not sure how much time MM team spend on each map but I can give a time estimation to the production of a sample map zone in a general sense with breakdown of each stagersquos work Each map zone would accommodate 20 level nodes it seems to be the norm for lots of freemium games. For this zone It would take a lot to come up with a concept in the first place so how long this step takes really depends on your team. So I leave this step blank. In this Series P1 Developerrsquos General Concern P2 Bubble Witch 2 Saga P3 Cookie JAM P4 Jelly Splash P5 Mystery Match If you like this post please see more of my

GameSoundCon Game Audio Industry Survey 2015 - by Brian Schmidt - Link Thu, 24 Sep 2015 03:11:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 GameSoundCon Game Audio Industry Survey 2015 by Brian Schmidt on 092415 031100 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. GameSoundCon recently conducted its annualsurvey of audio professionals in the game industry asking questions about compensation use of live musicians contract terms and other issues affecting the game audio industry. The results are compiled in the Game Audio Industry Survey the most comprehensive survey of its kind in the game industry. Our goal was to We ran our 21-question survey from July 29 to Aug 13 2015 and promoted the survey heavily via social media and other game and music industry web sites and received 622 responses. Because of the stratified nature of the game industry itself we broke out the data across large budget games professionally produced casualsmall scale games and indy games. Of course it is impossible to draw a sharp line between the three categories outlined above. Nevertheless we believe it serves as a useful distinction so that wersquore not comparing the compensation from Activision or Microsoft with that of a 3-person dev company making an iPhone game in their basement. The Survey covered 6main topics covering 1 Compensation 2 Work and EnvironmentGetting Gigs 3 Additional Compensation BonusesRoyalties 4 Use of Live Musicians Middleware 5 Contract Terms PROs 6 Education Of the over 600 responses 591 were deemed usable we have compiled and analyzed the results. Note that ldquoproject feesrdquo or ldquoSalariesrdquo areexcludingany optional payments such as bonuses royalties profit sharing etc or any other benefits such as 401k matching health care etc. Some of the highlights One thing that caught our attention Compensation had two definite peaks one at around 50000 and one significantly higher in the150000 range. There is a correlation between those higher salaries and management or creative direction i.e. ldquoAudio Directorrdquo and reflects the very competitive salaries for those with the requisite skills and experience and also shows great career growth potential in the field. This also explains why surveys like the Gamasutra annual salary survey tends to show pretty high numbers for audio professionals since the senior-level audio directors and top-shelf composers are more likely to have attended gdc and therefor participated in the Gamasutra survey. The other thing that caught our attention was the continued underrepresentation of those identifying as female in game audio a trait sadly in line with the rest of our industry. Although female representation did double from 2014 it still hovers at an unacceptably low 7 Conclusions It is difficult to draw generalization from such a broad and diverse industry. Itrsquos clear however that top video game composers and sound designers with the right skills and experiencecan command top dollar for both large-scale projectsXbox Playstation large PC titles etc. and smaller-scale games despite the highly competitive nature of the industry. Experience in games and knowledge of how they work is highly valued regardless of whether itrsquos a huge AAA blockbuster or a small mobile game. Read the Full Report The complete GameSoundCon Audio Industry Survey 2015 complete with charts and graphs can be viewed herehttpwww.gamesoundcon.comsurveyc1hp9 Brian Schmidt is a 28-year game audio veteran and an independent Game Audio Consultant Composer and Sound Designer atBrian Schmidt Studios LLCand is founder and Executive Director ofGameSoundConheld this year onNovember 3-4 inLos Angeles CAand creator ofof the audio game companyEargames. Brian sits on the GDC Advisory Board and is President of theGame Audio Network Guild Related Jobs 09.26.15 3D Artists 09.26.15 Unreal Programmer 09.25.15 Data Scientist 09.25.15 Associate Product Manager View All Jobs 254554 blog blogsBrianSchmidt20150924254554GameSoundCon_Game_Audio_Industry_Survey_2015.php 864808 25113853 Loading Comments

Four Years of the MADE A Post Mortem - by Alex Handy - Link Wed, 23 Sep 2015 02:29:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 Four Years of the MADE A Post Mortem by Alex Handy on 092415 031100 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 Museum of Art and Digital Entertainment is a 501c3 non-profit videogame museum located in downtown Oakland. We host playable exhibits of significant works along a theme and free programming classes for kids and adults. Our goal is to inspire the next generation of game developers. The MADE is currently running a Kickstarter campaign to move to a larger facility. On September 27 2011 the MADE opened its doors for the first time. All we really had was a bunch of old games and one large collection donatedfrom a friend of mine names Miah. Between my collection and Miah39s we maybe had 100 games and 20 consoles and computers. Maybe. Today the MADE has over 5000 games and over 100 consoles and computers. Though we focus exclusively on console and computer games we39ve also accrued a large number of board games books strategy guides posters and even two full upright arcade machines. You can see in the above photos that we were not much more than a room with some stuff on tables at the start. The photo above is one of our first events RJ Mical speaking about his career. At the time we were horribly embarassed because we had empty seats. Today the MADE regularly has standing room only events. Thus it39s time for a post mortem no What went right Location While it has been a bit of a double edged sword we have to come down on the side of our current location being something that went right. You39ll see that we also put this under what went wrong but it39s first under what went right because we feel the bad outweighed the good. For a start and I would recommend this for anyone starting any kind of business anywhere our location was cheap. We got it for 1.07 a square foot. In the San Francisco Bay Area for full service office space that includes power this is an obscenely low price. We were very lucky to get this price and we got it because the realtorowner of the building wanted to be nice to us to grow a longer term relationship. Since that time the building has been sold and is currently undergoing gentrification at a high rate of speed. We could never have gotten this space this close to BART and city hall and bars and food today. It would have cost double. Primarily this was a result of... Timing When it comes to planning things out timing is never on your plate. Sure you build schedules you set dates but in terms of actual timing as in the element of being in the right place at the right time you can39t plan for that. And yet we managed to get our space open right as the recession was beginning to recede. Today Oakland and San Francisco are packed with 2.50 to 4 per square foot spaces. Heck in SF full service office space can go for as high as 30 per square foot And we39re just sitting here in Oakland paying about 2200 a month in rent. Not bad Volunteers We39ve been very fortunate to have some of the best volunteers you could possibly ask for. Especially in recent years our voluntees have been willing to go the extra mile and do all the horrible things that need to be done to run a business on a shoestring budget. They39ve stuffed envelopes for Kickstarter rewards moved items in my car from as far away as Benicia and have rarely complained or fussed. Additionally some of our volunteers have crazy good skills like art design programming or even speaking Japanese. These have been exceptionally helpful to have on hand particularly when the time came to deal with Fujitsu around our Habitat resurrection project. Without our volunteers we would have nothing and never be open. Because of their enthusiasm and hard work we39re still an all-volunteer run organization with no payroll. Of course lack of a payroll is a bit of a challenge and that39s why volunteers appear twice in this post mortem. Industry enthusiasm I have to say everyone in the industry has been incredibly supportive and helpful when it comes to advice ideas and stuff. We39ve gotten a ton of donations from folks in the industry and they always bring us amazing things we couldn39t have acquired otherwise. From E3 kiosks to help us show games off to design documents to boxed copies of games and figures the industry has been very supportive when it comes to helping us along the way. Specifically the luminaries in this industry have come out of the woodwork to show their support. While this doesn39t always mean a check it almost always means a Tweet a blog post a phone call intro to someone important or even just an email to say hey keep up the good work Without the support of industry veterans we39d be lost. A big thank you to everyone out there who39s helped us. Stuff The amount of items that have come in for donation is truly staggering. I could never have guessed we39d get as much as we have. From relics like the GamePro donation in November of 2011 to individual donations from closets and garages to actual outright storage lockers being emptied into our facility we39re always seeing new donations. And not just from the outside. We39ve been able to spend a little here and a little there on local outlets to buy up items they39d never sell in a million years. Just this past weekend in fact we spent 50 on strategy guides and old programming books at the SF Public Library book sale. That money helps the local libraries and it39s helped to add over 50 books to our collections and a Z80 dev kit to boot We39re humbled by the amazing items we39ve had donated. When we put out the call the items show up. One particularly important person here at Gamasutra even entrusted his Nuon player to us. There39s only really one more thing we need that we don39t have a CD-I. Considering we39ve been at this for four years and our collection is around 75 complete

New Beginnings Sacrilege and Budgets - by Trent Polack - Link Wed, 23 Sep 2015 02:29:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 New Beginnings Sacrilege and Budgets by Trent Polack on 092315 022900 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. So due to a combination of legal reasons and game-related reasons mostly legal I39ve essentially started over onAll Things Die. The new game uses Unreal Engine 4 and is comprised of entirely new assets new code new maps new powers my new business Joy Machine LLC and a new name Sacrilege Even Gods Get Bored Beyond the complete technological functional conceptual and design changes the core tenets of the game remain the same an emergent action-RTS god game in which you play the role of a faction39s God in order to guide that faction to victory over other Godsfactions. One of the biggest challenges inSacrilege39s development is not starting over from square one though that39s certainly a challenge but rather it39s having the budget to work on the game. For the duration ofAll Things Dieand nowSacrilege I39ve been working a primary job in addition to the time I can devote to development on this game. It39s a game that I feel so strongly about that I have no qualms about devoting the time to working on it and those around me have beenincrediblysupportive but it39s still difficult to spend every waking hour on the game. That39s one of the reasons that I39ve setup adonation page on our websiteas well as aPatreon page. Working on a game of this scale that I intend to sell is an entirely new experience for me I39ve worked on personal iOS games that I took to market under the banner ofTeam Chaosbefore but nothing this independent with this lack of outside support or monetary uncertainty. Oh that39s a thing too. I39ve left Team Chaos and have become a contractorfreelance game designerdeveloper currently working with theCrowfall teamas a VFX artistprogrammer but that contract runs out soon. So hey hire me if you want Working as a contractor is interesting but also terrifying. I39m so used to working on long-tailed projects that the uncertainty of where my next paycheck will come from is kind of... scary. I39ve been hoping for some time that I could magically raise somewhere in the neighborhood of 20-30k in order to focus full-time likefull-full time - 16 hour days onSacrilegein order to produce an awesome prototype that I could then shop to publishers... But finding someone willing to provide that kind of money is difficult to say the least. So I have to continue taking contracts and odd-jobs and so on to fund my life while I continue work on this game on the side. It39s an odd experience to say the least. I still continue to hold out hope that some day that will happen but I39ve given up the notion that I can rely on that happening. But what about Kickstarter people often say to that. I personally don39t really believe in Kickstarter. I think it can work incredibly well for people that are already well-funded to be able to show off prototype footage or demos of a game that is already far along but that39s not where I am. I also think games on Kickstarter are starting to get an awful bad rap which increases my skepticism that I could ever jump on that bandwagon. And if your game fails to raise Kickstarter funds it starts raising questions about whether or not your game is good. Which I believe is not the case whatsoever not raising funds on Kickstarter simply means you didn39t do enough to be a showypolishedart-heavy Kickstarter page with a great video. So here I am left with a meager war chest and a brand new engine upon which to build the most ambitious game of my career with absolutely no content acquired or code written before the last two weeks. Granted I have a lot going for me my tech is largely procedurally-based my modeling software is procedurally-based I have a great deal of experience with my VFX package of choice Popcorn FX which is absolutely astounding and I39m able to learn things remarkably fast not to sound like a braggart. Plus I believe so strongly in the potential ofSacrilegeand its ability to succeed as a game both commercially and critically. Anyone who39s met me and talked about the game with me has remarked on the passion I39ve exhibited for this game and it39s absolutely true. This game since its original inception has been like a duh that39s perfect moment for me. I have absolute confidence in it as an idea and about a month ago I wrote an extended game design document that made me even more excited about the game and its potential. So if you39re reading this and want to put a bit of faith in me and my company an investment ofanykind is incredibly helpful beyond words. Even small investments are helpful -- if not for building the war chest terribly much they provide an incredible morale boost which is invaluable. Check out ourdonation pageor myPatreon pageand know that if you decide to support us I will make that support worthwhile. I39ve never wanted to make a game as badly as I want to makeSacrilegeand although I haven39t shared the design document with anyone outside Joy Machine I have confidence that it would excite anyone reading it. Related Jobs 09.26.15 3D Artists 09.26.15 Unreal Programmer 09.25.15 Data Scientist 09.25.15 Associate Product Manager View All Jobs 254333 blog blogsTrentPolack20150923254333New_Beginnings_Sacrilege_and_Budgets.php 825294 32693783 Loading Comments

Simultaneous Genres in Dynamic Game Music - by Winifred Phillips - Link Tue, 22 Sep 2015 01:32:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 Simultaneous Genres in Dynamic Game Music by Winifred Phillips on 092315 022900 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. In my blog today I39d like to explore some of the creative processes that went into structuring the interactive music for tracks like LittleBigPlanet 3 The Ziggurat Theme and LittleBigPlanet 2 Victoria39s Lab. I39ll be sharing with you a fun technique thatrsquos actually one of my favorite aspects of composing music in this interactive system. Irsquove been a part of the music composition team for six LittleBigPlanet games and over the course of those six projects Irsquove been asked to execute this particular technique a lot. Itrsquos a great musical trick that can only be pulled off when yoursquore composing in a Vertical Layering system. Since the LittleBigPlanet music system is one of the most complex examples of Vertical Layering it really makes for ideal conditions in which to execute this technique which ishellip Composing in Two Simultaneous Genres Wersquoll recall that Vertical Layering is the process by which a single piece of music is recorded into separate yet simultaneous audio recordings that each embody a percentage of the whole composition. This allows the music to be disassembled and reassembled into different instrument combinations during gameplay. Last year I produced an instructional video that goes into the process in more depth Vertical Layering gives us the chance to write one track in two simultaneous musical genres. In traditional music composition if we want to combine two genres of music in one track we can attempt to pull together a creative fusion in which the styles are mixed together to create a result that isnrsquot quite one genre and isnrsquot quite the other. Fusions can be exciting and original but thatrsquos not what wersquore talking about here. The musical interactivity of Vertical Layering gives us the chance to keep the two genres distinct and still incorporate them into the same piece of music. The track can switch up which layers are playing and itrsquoll be in one musical genre in one moment and then become another genre at the drop of a hat. Itrsquos very cool and a lot of fun for a composer ndash although it can also be hard for us to wrap our heads around especially at first. Letrsquos take a look at three examples of this technique in action. Wersquoll start with a couple of tracks from LittleBigPlanet 2 and then a more recent track from the latest game in the franchise ndash LittleBigPlanet 3. LittleBigPlanet 2 Victoriarsquos Lab In the ldquoVictoriarsquos Labrdquo level from LittleBigPlanet 2 our world-famous hero Sackboy must do his best to navigate a perilous steampunk bakery using cupcakes as weapons against evil robots made of teacups. All these wacky elements come together to create the typically whimsical awesomeness that makes LittleBigPlanet the lovable franchise it is. I composed the Victoriarsquos Lab music for LittleBigPlanet 2. Herersquos a music video that includes the complete track along with action from the Victoriarsquos Lab level of the game Victoriarsquos lab aptly demonstrates the ldquotwo simultaneous musical genresrdquo approach. For instance Victoriarsquos lab can switch from a whimsical lollipop style to a gritty orchestralrock hybrid at any time. Herersquos the whimsical lollipop And herersquos the orchestralrock hybrid Itrsquos like the music has a case of multiple personality and the audio team can use this to add distinctive character to locations and situations within the level ndash some areas benefiting from the cuteness of the whimsical style others from the toughness of the rock. In order to make this happen as game composers we have to keep the two styles balanced in our minds ndash compose them both separately test how they work together adjust the instrumental performances and fundamental organization so that the two styles can coexist in a way that makes musical sense test the layers some more in various configurations until all the layers seem to work well ndash both when played together and when played alone. LittleBigPlanet 2 Eversquos Asylum Now while the Victoriarsquos Lab example presents a fairly extreme contrast in music styles the music from the Eversquos Asylum level of LittleBigPlanet 2 shows off this technique in an even more dramatic way. The Eversquos Asylum level is set inside a giant tree where a lady with an apple for a head runs a a highly-spiritual insane asylum. The music for this level is structured around two very distinct musical genres that are assigned to specific tasks. The sparkling surreal New Age music style works to enhance gameplay during relaxed exploration and it also highlights the natural beauty of the giant tree. Herersquos a taste of that On the flip side of the coin the Boogie-Woogie style pays tribute to the Andrew Sisters and the age of swing and the high-energy rhythms provide support for combat and perilous situations. Letrsquos listen to a little of that Okay now herersquos what it sounds like when the Vertical Layering music system transitions from one musical genre to the other in the Eversquos Asylum level of LittleBigPlanet 2 Whatrsquos great about this technique is that it allows the music to morph into something completely different in a perfectly seamless way without ever making the player overtly conscious of the transition and without creating any artificial sense of demarcation where one style ends and another begins. The music is simply interacting with the gameplay changing in a logical way as the playerrsquos circumstances change. Now letrsquos look at one more example of this technique this time from LittleBigPlanet 3. LittleBigPlanet 3 The Ziggurat Theme In the Ziggurat level Sackboy explores a gigantic sanctuary

How our PR partner039s reputation became a liability and what we did - Link Tue, 22 Sep 2015 01:32:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 How our PR partners reputation became a liability and what we did about it by Josh Sutphin on 092215 013200 pm 9 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. Josh Sutphin is the founder of Kickbomb Entertainment an indie microstudio dedicated to uniquely satisfying action games with a focus on sustainable development. We launched Kickstarter and Steam Greenlight campaigns forLegacy of the Elder Starthis past Thursday. To help drive traffic to those campaigns we hired a PR company to send press releases and conduct some audience outreach. On Monday we terminated our partnership with them. But this post isn39t about stirring up drama. I39m not even going to reveal the identity of the company because I39m not here to drag their name through the mud.Instead this post is about how this past weekend taught me an important lesson about properly vetting a PR firm. What we did I started looking for PR services about a month ahead of launching our campaigns. I found ndash and was found by ndash a bunch of firms offering to write and distribute press releases... but that was it. While press releases are helpful I felt like to get us through Kickstarter we39d need more especially since the games press is understandably more-than-sick of getting Kickstarter pitches. Then I got an email from the company we ended up hiring offering not only press releases but also a sizable social media campaign and audience outreach. I liked the direct access to our audience and the price was right so I did a little research to see if I could find anyone else who39d worked with them. I didn39t find a ton of information but what I did find was positive a handful of testimonials from other indies who39d used this company39s services and rapidly cleared Steam Greenlight and in a couple cases Kickstarter as well. These were reddit posts and independent dev blogs not anything posted by the company itself so I felt reasonably confident in their implicit recommendation. We signed a contract shortly thereafter. What happened We launched both campaigns on Thursday with some great initial support from my local community hat tip to Utah On the second day however I started seeing some comments pop up on our Steam Greenlight page complaining about...the PR company. It was a minority of users but their position was unanimous they liked our game but refused to support it on principle due to our partnership with this specific firm. That... really threw me. o I approach business incredibly conservatively so I39d planned out a bunch of different disaster scenarios ahead of time. But the idea that our PR company39s reputation could hurt us ndash the idea that our PR company would have a reputation with gamers at all ndash never even crossed my mind. I did manage to get in touch with a few of those commenters to ask why they had such a problem with these guys. They complained about spammy andor shady marketing tactics but their complaints were inspecific and nobody could link me to any evidence of the behavior they were complaining about. I decided I39d keep an eye on things over the next few days but that these complaints were probably just coming from people who flat-out don39t like to be marketed to at all ever. Then this morning I got a PM from a Steam admin asking me to stop soliciting Greenlight votes with free game keys. This was the first I39d heard about us soliciting Greenlight votes with free game keys... but he included a link and sure enough that39s exactly what our PR company was doing. To be clear they weren39t giving away keys to our game they were using giveaways of other games to solicit votes for ours. Once I saw it I understood exactly why those other people I talked to over the weekend were upset. Not only is this practice really frowned-upon on Steam specifically it39s also absolutelythe wrong kind of marketing tactic for a mainstream gamer audience. Furthermore itsends the wrong message about our game it suggests that we39re making shovelware that needs to resort to these kinds of tactics for lack of ability to sell itself on its ownquality and appeal. This obviously is not the kind of message we hired a PR company to propagate for us and that39s why weterminated our partnership as soon as we found out. What we missed Now that I know what to look for it39s actually not hard to find many more instances of this particular company using this particular tactic for other games. If it had crossed my mind to vet the PR company39s reputation with gamers beforehand I39d have found this stuff on Google in ten minutes and we never would39ve signed with them. My blind spot was that I assumed PR companies were a strictly business-to-business affair. As a lifelong gamer I39d never heard of even one so I assumed they were like QA and localization firms disc manufacturers etc. in that they operatebehind the scenes and gamers are rarely if ever even aware of them. From that perspective why would I even think to vet their reputation with gamers Why would they even have one So maybe that was a fair mistake but I screwed up in another waywhich is absolutely 100 on me I didn39t research their prior promotions. I went off what they told me they39d do for a campaign but I never actually dug up other campaigns they39d run before. I never saw any of their prior press releases social media posts or promos. All I saw was that they39d do X and Y and those were two things I needed and I39d seen a couple positive independent testimonials and that was enough for me to pull the trigger. And it shouldn39t have been. What you should take away from this Your PR company39s reputation is officially A Thing. When you39re vetting a potential partner you need to find out if your audience is aware of that partner and if they are how they feel about them. Once you know how your

Micro-Tut Applying Modular Techniques to Wheels - by Jobye Karmaker - Link Fri, 25 Sep 2015 12:31:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 Micro-Tut Applying Modular Techniques to Wheels by Jobye Karmaker on 092215 013200 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. This post was originally posted on my game art blog Creating Triangle Souphttpjobyek.blogspot.ca201509micro-tut-wheels.html -------------------------------------------------- Why Wheels tldr - If this post is looking too long for you to read right now scroll to the bottom for a nice big recap image Wheels are arguably what makes or breaks a vehicle in game art. You could have the best looking vehicle body but if the wheels suffer in quality the whole vehicle does too inevitably. Case in point I recall this one teaser screenshot Kojima released 4 years ago to tease The FOX EngineMGSV Teaser image released by Kojima back in 2011 for The FOX Engine You have this nicely detailed vehicle then your eye scans down and see the sore spot of the wheels that are really flat lacking any good shapesvolume and that are of a much lower quality and resolution than the vehicle itself. To be fair the vehicle might not have been finalready to show and marketing might have taken it anyways definitely something that happens sometimes. All that to say this little micro-tutorial will focus solely on creating high-quality efficientwheels. There are tons of tutorials that focus on full vehicles so I figured I39ll focus one this one part which can ultimately help elevate an already great vehicle. Surprisingly after having looked around online I haven39t seen the technique I39ll be outlining below mentioned at all. It39s definitely a technique that39s used more for modular structural environment art to get the best resolution and quality see how Simon Fuchs uses this with his small environment but not one I39ve seen applied too much to something as small as wheels. It39s a nice technique that I learned from my good friend and super talented colleague Tim BergholzCheck out his upcoming gumroad tutorialduring our time working together on the Benghazi map in Splinter Cell Blacklist. Through the tutorial I39ll be going over the creation of wheels similar to ones that were used in my portfolio pieces from Splinter Cell Blacklist 0. Symmetry Quartering Are Your Friend The over-arching technique that guides this whole tutorial to achieve the best resolution and quality out of your wheel is that of symmetry and quartering. By not fully uniquely unwrapping your wheel tread and sides and only being able to focus on a quarter of your wheel you can maximize its resolution by maximizing the quarter shell size to what you would use for a unique unwrap all while leaving room for other elements and make it match if not exceed the resolution of the vehicle body as well as speed up texturing time although it comes with its own challenges to make sure details don39t tile badly. Knowing this you need to fully keep this in mind as you flesh out the design for your wheeltreadsrimsetc. Click on image to see full-size 1. Creating Treads I39ve personally seen a few tutorials of creating high-poly treads like this but here39s a quick overview framed within the symmetryquartering technique. The most important thing is to make sure your design tiles well so that the symmetryquartering works flawlessly Click on image for full-size 2. Creating Hubcaps Again nothing out of the ordinary for creating the hubcaps. Where it diverges from most methods is in the quarteringsymmetry of it to get the best size and resolution within your UV sheet. Given we39re using this technique here you just need to make sure your design quarters well and always pay attention your spacing is cleanly fitting within a 360 degree rotation. Here39s an overview of hubcaps framed within the technique Click on image for full-size 3. Closing thoughts And there it is. Doing this technique is definitely a bit more involved and takes some light planning. However for the gains in quality and resolution you get for the vehicle as whole through the wheel I think it39s worth doing. Symmetry and quartering shouldn39t just be used for this it can also obviously be used for any type of repeating parts of a model e.g. either side of a vehicle concrete dividers tank treads etc. which you don39t want to double up work on and save precious UV space so long as you break it up cleverly in the texture or with other unique middle pieces in the model. As always I39m always open to critique feedback to the blog post. All I39ve said can most definitely be updated if anyone brings up any issues or things worth clarifying. Just give me a shout on Twitter jobyekor in the comments One last thing...here39s a nice big high-resolution recap page of all this Click on image for full-size ---------------------------------------------------------------------------------------- Links used in article Simon Fuchs39 use of quartering in an environmenthttpwww.simonfuchs.netfolioproject06.htm Tim Bergholz39s Portfoliohttpwww.timbergholz.com Tim Bergholz39s upcoming Gumroad tutorialhttpsgumroad.comtimb Related Jobs 09.25.15 Associate Product Manager 09.25.15 Game Art 09.24.15 Publishing CoordinatorBeijing 09.24.15 Producer View All Jobs 254253 blog blogsJobyeKarmaker20150922254253MicroTut_Applying_Modular_Techniques_to_Wheels.php 887569 33277493 Loading Comments

Mobile Games User Acquisition in Asia China Japan Korea - by Yura - Link Fri, 25 Sep 2015 12:31:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 Mobile Games User Acquisition in Asia China Japan Korea by Yura Yashunin on 092515 123100 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. By 2018 there will be 770 million mobile players in China. By the end of 2015 China will have caught up and possibly surpassed the United States and Japan in terms of mobile game market volume. RPGaccounts for8533of all Chinese Top-Grossing. In Japan so many people play mobile games ldquoon the gordquo that the administration of East Japan Railway Company even had to place notes in public locations that forbid using mobile devices while moving. In 2016 F2P games are expected to generate the revenue of over 100 billion. The smartphone ldquopenetrationrdquo level is 73 which is 16.6 more than in the USA. Yearly mobile game revenue growth in South Korea equals to 33. China Japan and South Korea are the key regions for entering the Asian market but they are not the only ones. Here is a tidbit of information on Taiwan for you to think about. The mobile game industry in Taiwan is growing at an average rate of 70 per year breaking all possible records of profitability. There is a good reason why Wu Wen-Jung from Taipei Computer Association prefers to call it a ldquosnowball effectrdquo. By the end of 2015 the industry is forecasted to have earned more than 474M. So what do you need to know about entering Asian markets We could write about the specific nature of their players their preferences in graphics gameplay local stores and payment services. So much has been told and written on this topic that we see no good in bringing up this subject again instead we39ll talk about the more pressing problem of KPIs that one should rely on when carrying out a soft-launch in Asia. Let us take a closer look at China as it is the largest country in the Asian region The Chinese Internet population amounts to 701073270 people which is the second largest population following the United States. This is one tasty morsel for developers and marketing specialists however it is reliably protected by the famous Chinese wall. The Chinese market is as closed as it is possible to be and the Android market is fully fragmented. Billings and piracy thrive on the fertile ground of the Chinese user market. It is almost impossible to find any transparent sources of traffic there. Besides in order to launch a successful online campaign you need to have offline support. For a successful release in China you should use App Store and at least TOP-20 local Android-stores The mobile game preferences of the Chinese players differ from the preferences of their Japanese and South Korean counterparts. TOP-5 most popular mobile game genres in China Facebook and Twitter are blocked by a firewall WeChat and Weibo are the two most popular social networks among the Chinese users as well as other Asian users. The average ARPPU is very high and amounts to about 235month Given that the English language penetration rate is very low among the Chinese population it is imperative that your game should be localized into Simplified 1057hinese. The time it takes the product to fully enter the Chinese market is not less than 8 months. We strongly recommend searching for a partner or a publisher in this region. The following table provides some key indicators for a launch in China. Pay attention to the following metrics Login Times Per User Per Day and Use Time Per Login. In the RU-market it is not common to measure performance indicators using these metrics let alone include them into KPIs. The Chinese on the other hand widely use them to measure the performance of their campaigns. Japan has the third largest Internet population in the world closely following the USA and China. It is an open market traditionally dominated by Google Play and App Store. Unlike the Chinese market it does not need a large amount of billings. About 15 of all titles are foreign ones however the English language penetration rate is still low among the Japanese population. The Japanese people rank first in terms of the average ARPPU that amounts to over 50month. The characteristic feature of the Japanese players is their gambling nature reflected in their passion for relatively harmless mechanics such as gacha in-game events Fortunersquos wheels etc. TOP-5 most popular mobile game genres in Japan To enter the market localization is mandatory. South Korea has the second largest smartphone penetration rate over 73 of players or more than 24 million people of the 50-million population. At that the CPI rate is still very high there as compared to ARPPU 5.27. Favorite games of the Koreans bullPuzzles bullRaces bullSimulations bullAction bullStrategies This is an open market dominated by App Store and Google Play where the latter is clearly winning. 85 of South Korean users prefer Android. Of all the titles proposed only 10 of games are foreign ones which is why localization is necessary for this market. The weakest point of South Korean players is virality. All popular games there are published on platforms such as Kakao Line or other messengers. 93 of smartphones in South Korea have KakaoTalk installed. 9 of 10 TOP-Grossing applications are published on the Kakao platform. Always consider this fact when planning your release in this region. Tip start a pre-launch campaign with early registration and thus create buzz around the launch of your game. Due to the popularity of messengers marketing buzz has become such a powerful tool in South Korea that it will literally do half of your job for you. Provided of course that your product is worth the attention.Thus an aggressive burst-campaign with your productrsquos getting to the TOP in 3-5 days will leave a long tail of organics. There are four different ways to organize your UA campaign in Asia. It is up to you to

Can the last indie game devs turn the lights off - by Phil Maxey - Link Fri, 25 Sep 2015 12:28:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 Can the last indie game devs turn the lights off by Phil Maxey on 092515 123100 pm 7 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. There has been more than a few articles recentlyhereherehereandhereabout the Indiepocalpyse regarding the state of affairs for indie devs and the debate as to whether it39s now become almost impossible to make money as an indie developer. Ok so here39s my half rant half thought out jibber jabber based upon personal experience and observation of the indie game industry for many a year. I39ve written and rewritten it numerous times but it never felt right I couldn39t quite make it coherent until it struck me what the true nature of the situation is we are all in. If it39s not already obvious it39s pretty much over for indie game developers. The time when you could be an indie dev make a half decent game with half decent graphics nice gameplay do some promotion on FacebookTwitter and make some nice coin is well and truly behind us. There were a few glorious moments where the clouds cleared the sun shone and a 1-2 person indie game dev team could make a lot of money but unless you win the equivalent of the indie game development lottery Flappy bird those times are now over.Business models that worked don39t anymore. For those of us of a certain age cough 4039s who as kids saw the rise and success of the bedroom programmer 7-8 years back it looked like that time had returned. And it had Flash was booming games portals were booming Steam was showing that indies could do well on PC and a strange new world called the App store was giving lots of game dev39s new opportunities. The sun was shining on us common folk and some of us were making hay. And it39s fair to say it was a bubble an indie game bubble.Everyone and their dog was making a Flash PC or mobile game not just in the traditional markets of the USAwestern europe but now eastern europe India Africa South America. And why not you just needed a PCMac some rudimentary codeart skills and you could make money. Game development had truly been democratized. In this mad scramble for money some game developers weren39t just making hay they were making gold. This enabled them to grow fast take on more people and use their positions wisely to lock down the markets they had their initial success in. Meanwhile AAA game developers and global brands saw all the money being made and wanted a piece of the pie this process is still happening obviously so they piled in as well further pushing indie game devs out of the markets. The amount of games now being made available to the public was so huge and the windows onto them so small that in the words ofJacques Attali who in the 70s who wrote a book called Noise The Political Economy of Music there had become acrisis of proliferation he went on to say regarding the music industry that soon we would all have so much recorded music it would cease to have any value. This situation has happened x100000 in the games industry. As the stores increased in size so inversely the exposure a game would get decreased. This is why How do I make a good game started to be replaced with how do I get my game discovered. I would say it39s not that each game has no value it39s just that there39s so much gaming content let39s leave to one side that it has to fight for mindshare with all other forms of entertainment its perceived value is low. There are lots of films released each year for sure but just what would the value of any film be if there were15k released each monthThis is why it39s almost impossible to get people to download premium games on the App stores. The only way you get your game to be downloaded is if it39s perceived value is high. Perception is everything. Social proof is everything. A lot of us are hanging onto a narrative which ran its course years back. The narrative of Indie game developer makes game and get39s rich. This narrative will happen again but I think it39s most likely that the times it does it won39t have anything to do with the actual game but be merely based upon the pressespublic39s perception of the situation again Flappy bird. We are in an economy of perception. But nobody wants to stand up and sayIf you want to make games as a hobby fine but if you want to make it a financial success don39t give up your day job. Business reality has a way of destroying dreams and dreams and making games are closely related. There39s also this idea that if a game is brightly coloured and contains stars and flappy things or sickly coloured objects that drop and swirl that the company making it is an indie gaming company because they are not making a full on 3D virtual world with guns and monsters. But there was a greatarticleon TouchArcade.com which gives you some idea of just how far the bigger indie development companies will go to succeed. If you want to have a big financially successful game especially on mobile THAT39S YOUR COMPETITION. Whatever indie game you are working on you are up against games that are being made with more people who have more resources and who have 10000s of dollars that39s a low budget to spend on advertising. They probably also have established networks and connections within the gaming media to push their game. Compared to all that what do you have Is your game really so great that it39s going to beat those other games with all the moneytimework being spent on them Part of the reason I39m writing this article is because I39m still reading articles with a hopeful point to them this is a very dangerous message to put out. We all can39t be Don Quixote fighting windmills anymore. If you39re an indie game dev reading this I don39t want you to think it39s not worth it. But I do want you to appreciate thateither you know someone with a lot of influence who can help you get your

Wordsum Postmortem - The 10 year journey of a solo game developer - by - Link Thu, 24 Sep 2015 05:48:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 Wordsum Postmortem - The 10 year journey of a solo game developer by Carleton DiLeo on 092515 122800 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. Working on Wordsum was a personal test for me. I had been attempting to make games for around 10 years.Most of my time was spent learning the basics building prototypes and completing lots of tutorials. All of this effort amounted in 0 games completed. My projects were either too ambitious or required a knowledge I didnrsquot have. I continued to pursue my passion at night while working as a software developer during the day. It wasnrsquot until I ported my most complete game called Flax to Unity that I felt like I had a chance. It also didnrsquot hurt that I had quit my full time job to take a much needed break. From a tiny sketch in a note book Wordsum was born. iPhone iPad httpsplay.google.comstoreappsdetailsidcom.pixelshotgames.Wordsum Android httpsgeo.itunes.apple.comusappwordsumid991595052mt8uo6 What went right 1. Play testing from prototype One thing web development had taught me was the sooner you involve your users the closer your final product will be to a user39s expectations. I found games to be no different. From the moment I had something that resembled playable I installed it on my phone and asked friends to try it. Play sessions were informal and I asked simple questions like how do the controls feel and what do think about the concept. I observed their body language and any audible clues to what they were feeling. It39s pretty easy to spot when someone is or isn39t having fun. The feedback helped me uncover problems with the game that seem so obvious now. For example I found players really wanted a sense of progression.Having a single game board with no real win state provided no reason to return. Adding worlds and levels for players to complete provided an end goal. Players could beat as many levels as they wanted in a session and then return later to complete more. I continued to have people test the game when I reached new milestones. In the end play testing often was essential part in turning Wordsum from a rough idea to a finished game. 2. STARTING SIMPLE AND KNOWING MY LIMITATIONS For years I would dream up game ideas that sounded great but ended up being too ambitious and required skills I didn39t have. For Wordsum I thought of a game what I could make without any help. In the past I had ran into road block when it came time to create the art for the game or add more complicated systems like multiplayer. For this game any feature I added had to be something I actually thought I could do and not something I hoped I could do. Also Each new thing I added must be absolutely core to the game39s experience. This thought process contributed to why the game was 2D instead of 3D. Each new idea I wanted to add had to pass a series of questions.How long will this take me Can I do something easier How sure am I that this will be funWhat will I have to learn to complete this The answers to these questions would determine if my idea was worth implementing. This saved me time by avoiding big changes that I would eventually throw away. 3. AGILE DEVELOPMENT When I started working on Wordsum I created a version of the game with only the core elements. This was a single screen that created a new row of letters everyNnumber of seconds until it filled a grid and informed the player the game was over. There was no input or any real game mechanics. It was a start and a milestone I had reached. The first iteration of my game only had these core elements The screen filled with new rows of letters everyNseconds based on the timer. Once the grid was filled a message displayed to the player that the game was over. It was simple no input no real game mechanics. It was my first milestone and I had reached it. Even though it wasn39t a playable game I showed it to people even though it was lameand explained what it would evolve into. From there I worked on the basic gameplay loop. I started adding the ability to select letters and a button to submit the selection. Next I added logic to determine if the selected letters was a dictionary word. These steps led to iterations that could be played by users. Building the game in layers made my code better and more modular. Each time I completed a milestone and pushed out a build it felt good. This progress is what kept me going and prevented me from losing sigh of my end goal. From there I worked on the basic gameplay loop. Once I had a build that someone could actually ldquoplayrdquo I showed it to my friends. It looked really bad and played just as bad but being able to build the game in layers made my code better and was a big motivator. Each time I completed a milestone and created a build it felt good. This progress is what kept me going and prevented me from losing sight of my end goal. Things that went wrong 1. CHOOSING A MONITZATION STRATEGY Making money as a game developer is hard. Making money as an mobile indie game developer seemed almost impossible. I doubted whether people would buy my game. Free to play seemed like an obvious choice at first because it was easy to convince people to download the game and try it. I found that most that tried it liked it a lot.I made some money from advertisements as well as In-App Purchases. This was great but in the end I wasn39t making a lot of money. This was partially due to my download numbers being too small.This was dueto the game not being social which made it very hard to get the word out. Also I found it hard to implement IAP in this type of game without upsetting players and just being down right shady. If I had charged 0.99 for the game and received half the downloads I would have made much more money. I feel like my game was much more suited as a paid game rather

Entering the brave new world of VR - by Simon Jackson - Link Thu, 24 Sep 2015 05:48:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 Entering the brave new world of VR by Simon Jackson on 092415 054800 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. It should come as no surprise to anyone that the dream of Virtual Reality VR and Augmented Reality AR experiences has accelerated in recent monthsyears with the evolution of newer and more modern technologies and techniques. Many companies Kickstarterrsquos and freelance coders architects are steadily bringing about the Reality revolution. Whether we are actually there yet or there is still a way to go before there is full consumer acceptance of VRAR like Cars and mobile phones do today is a point of debate. Anyone however who has tried at least one Demo though will tell you they are very impressed. With all the recent announcements the future is practically at our doorstep. So thatrsquos the blurb sales speech whatrsquos the reality how do new developers or those interested in this brave new frontier get involved Such is the subject of this slightly different book review for today. In this post I have two book reviews for those interested in getting in to VR and one big offer direct from their joined publisher to further accelerate you on this tremendous journey so letrsquos get started. Be sure to check the end of this article for the books offers which run until 19th October 2015 so grab yourself a bargain. Developing AR Games for iOS and Android ndash published September 2013 This title was published some time ago based on Unity 4.1 focusing on implementing the Augmented Reality Vuforia SDK in to your Unity titles. You shouldnrsquot be deterred by this as Vuforia have updated their SDK for Unity 5 so no worries there. In its 5 Chapters you are led through implementing the Vuforia SDK getting started with all of its tracking options and the online services the chapters are detailed as follows Pros Cons and conclusion I have mixed feelings about this book at its best it is a very detailed user manual for the Vuforia SDK focusing on its trackables services. On the other hand the title is very short and could have done with more detail on all of the other capabilities of the Vuforia SDK so it does feel lacking. Overall if you are looking in to creating a Vuforia based appgame then this will be a useful reference to get started. Prorsquos Conrsquos Get this book here ndash Use code DARGIA40 to get 40 off the list price Unity Virtual Reality Projects ndash published September 2015 Unlike the previous title this book focuses solely on Virtual Reality VR over Augmented Reality AR solutions. In its pages yoursquoll discover how VR apps and games differ from their desktop counterparts and what really goes in to making them especially focusing on scale very important walks you through several different types of VR solutions like Dioramarsquos First person controllers riding on rails like a rollercoaster 360 projections you are IN the painting and social VR. Yoursquoll even delve in to several VR implementations inside Unity 5 such as the Oculus rift and for those of you without a few hundred or to spare Google cardboard. Pros Cons and conclusion Overall Irsquom very impressed with this title both for its content and approach but also because the author writes and thinks like me . There is a very clear intention to structure the content so that it is easily read and informs the reader at a clear pace. Also unlike the previous title it covers a much more varied level of content and approaches to VR. As books go itrsquos one of the best ones Irsquove read recently baring my own of course certainly one to pick up if you want to get serious about VR. Prorsquos Conrsquos Get this book here ndash Use code UVRP50 to get 50 off the list price If you use VR remember there are physical items out there that WILL hurt you Well thatrsquos if for the review with one major exception the publishers like my idea of reviewing these titles so much that they gave me two fantastic offers for readers to grab these titles at a bargain price. Related Jobs 09.26.15 3D Artists 09.25.15 Data Scientist 09.25.15 Visual Effects Artist VFX 09.25.15 Senior System Designer View All Jobs 254409 blog blogsSimonJackson20150924254409Entering_the_brave_new_world_of_VR.php 950036 33861463 Loading Comments

Examining the Voice Actor Strike Debate - by Josh Bycer - Link Thu, 24 Sep 2015 03:11:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 Examining the Voice Actor Strike Debate by Josh Bycer on 092415 054800 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. In big news that I didn39t know about until just lately theScreen Actors Guild - American Federation of Television and Radio Artists or SAG-AFTRA have been negotiating on behalf of voice actors in the Game Industry for more compensation and benefits for voice actors who work on video games .These negotiations however are not going welland there are talks of possibly striking against the game industry. This is certainly an interesting debate among fans publishers game developers and the voice actors but more importantly this once again calls into question some of the quandaries of working in the Game Industry. The Situation SAG-AFTRA has been pushing for more benefits for voice actors and you can seewhat they want from their FAQ. The big point is offering voice actors residuals or additional bonuses based on the copies sold starting at two million copies sold and getting additional bonuses for every two million copies in addition with a cap at eight million. The other points offer protection for the voice actor in various ways which you can again read in the FAQ. Quality Voice Actors have become major selling points for a lot of big name titles and can do a lot to elevate a game Major game companies on the other handpitched their own termswhich seem to punish voice actors and make the conditions worse for them. As of this moment the SAG-AFTRA members are voting to decide whether or not to go on strike with the cut-off date being October 5th.If they get at least 75 approval for striking then after the cut-off no member of the group will be allowed to do any voice acting on any video game projects until a contract has been hashed out. This is a very sensitive issue and has caused a lot of debates about game development from both sides. In favor of Looking at this from the SAG-AFTRA and Voice Actor39s point of view there are two parts of what they want Better compensation for their work and protection of their livelihood. In terms of compensation they39re arguing that games that become mega hits or the ones that go over two million in copies sold should reward the voice actors as they39re essentially the face of the game. And when you think about it that way they are. Professional voice actors like Nolan North Troy Baker Jennifer Hale and so many more become the standout parts of a lot of the most memorable games. Some examples Nolan North as Nathan Drake and the Penguin Troy Baker as Booker in Bioshock Infinite and Joel from the Last of Us Jennifer Hale as FemShep in Mass Effect. Other entertainment mediums can live or die based on the quality and name of their Voice Actors there was of course the recent worry when Harry Shearer was threatening to leave the Simpsons. The differences between a quality voice actor and someone who isn39t is night and day and I could sit here for the next five minutes typing out the names of standout Voice Actors in games and TV from the last three decades. Narrative titles especially can be improved dramatically thanks to the quality of a professional voice actor The other part of their requests I personally think are 100 fair. Starting with Stunt pay for Voice Actors doing stressful or strenuous voice acting as someone who has done a lot more talking thanks to live-streaming and podcasting my throat has become a lot sorer lately and I can39t imagine how it would feel for someone yelling and screaming for hours on end. And when your job has you working on multiple projects at once it39s not good if one project affects the work you do in others. Having someone on hand during physical motion capture sessions for assistance I think is reasonable too. No one wants to get hurt on the job and having extra safety measures in place is never a bad thing in my book. Finally giving Voice Actors more information about the jobgame seems like a no brainer to me. With that said the problem and argument from the Industry39s point of view is how much video games are different than other mediums and the wording of the requests. Against Video games are an entertainment medium but they39re not the same as other industries with the obvious point being that they39re interactive. The big point that critics will pull up is the fact that there is definitely issues of members of the Game Industry being vastly underpaid compared to their worth when looked at from other industries. I was originally going to base my thoughts on this point as well but when having debates about the quality of life of one segment of the workforce it39s not fair or conducive to bring others into it it39s that whole You can39t complain because of X argument. The issue of Game Developers Programmers and Artists etc getting their fair compensation is an important topic but until there is more talk about unionizing and a serious movement for it we can39t use that as a part of this discussion. What I can talk about however are some of the issues that the Video Game Industry has compared to other entertainment markets and how the wording is a little grey on these points. The demands cite two million copies as the level of a blockbuster and when Voice Actors should be compensated however this is where the Game Industry is a bit different compared to other mediums. Games these days that are making the big sales over a long period of time are ones that have been supported with more post release developer support not Voice Actor involvement Video game pricing is not standardized these days thanks to digital sales and greater devaluation. A game could have sold two million copies at sixty dollars on launch or it could take a year or so and after the game has dropped to thirty or below. The point is that you can39t really

The hard road to Hololens and VR - a possible mobile solution - by - Link Thu, 24 Sep 2015 03:11:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 The hard road to Hololens and VR - a possible mobile solution by Tiago Moraes on 092415 031100 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. Irsquove written this post to share some difficulties and possible solutions when working with Virtual and Augmented Reality. Itrsquos a quite romantic text about how many risks we are willing to take when we have strong motives. Irsquove been developing games for 15 years and the struggle has always been the same getting noticed in the middle of such an infinity of high quality games. After some time working in the industry we certainly improve and commit less and less mistakes however having a great game and doing all the ldquohomeworkrdquo is not enough we still need a little bit of luck to earn our spot in the market. Hope If therersquos something that can really work on our favor it is understanding the perfect timing. However it requires a refined sensibility. Whenever we are able to identify the right moment for certain trends or needs then getting noticed starts to become an easier monster to defeat. Changing The entertainment industry is very dynamic and there are big changes happening right now. Next year there will be a whole new series of virtual and augmented reality devices available. Itrsquos become more than just a new sensor like Kinect huge companies such as Facebook Sony Microsoft HTC Steam Samsung Google Epson Apple which has already registered a patent are investing heavily in devices for virtual and augmented reality. There is still time for us to get noticed by this new movement that VR and AR represent. If we miss this opportunity we must identify what shall be the next trend. Dificults Despite the perfect timing things arenrsquot always perfect. Advising someone to invest in this area is like sending soldiers to a suicidal mission. The installed base for new devices is practically non-existent. No one knows for sure how long it will take to be consolidated. Itrsquos highly risked developing an indie game aiming at this market. The big why Here at Ovni Studios we have always been in love with augmented reality and with the announcement of Hololens our minds blown. It had been many years since wersquove got so excited and enthusiastic. And thatrsquos when we know for sure that we would be developing games for this platform. But as you all know Hololens is a top secret project and only a few privileged companies have the access to its hardware. Leading our company to work with this platform was a suicidal mission because as we mentioned before Hololens will take a while to have an installed base to become interesting enough to justify investments. MIcrosoft itself has stated Hololens will take at least 5 years for its consolidation and that they would start investing more in the corporate market instead of the gaming market. Another issue will be its price. As we know its first version will be more expensive for being a standalone device unlike other glasses connected to consoles or computers. Before we move on to possible solutions let me introduce you to our first title making use of an ldquoall in onerdquo approach. Peronio Pop-up Book ldquoWhat do you want to be when you are grown uprdquo Turn your conventional mobile phone into a ldquosuper-special-laser-vision-machinerdquo and enjoy the MAGIC Everyone is looking for innovation and for experimenting different perceptions. And that is what Peronio is all about. Peronio provides the user a never before seen adventure that the reader can engage in to discover this ultra imaginative Pop-up Book. This world that kids build up about adulthood and professions is really magical and it fascinates us. Developed by only 2 people Me Tiago Moraes and Renato Klieger the project doesnrsquot only focus on the technical approach. We took a lot of care with the artistic and ludic touch of the game. Solution Give up Certainly not And how can we reduce the risks What is a possible solution Living in emerging countries like Brazil where we have such a negative scenario with high taxes and ongoing crises that forces us to be more creative minimizing risks to its fullest. Our solution was investing in RV and RA for mobiles and making use of new technology as optional gameplays modes. Having the mobile player forced to get glasses even low cost ones such as Google Cardboard would restrict our income. And thinking about game design it is of huge difficulty having a not only fun but also relevant game for those who like RV and RA as well as for those who donrsquot. If we solve this equation and the game is more important than the used technology people will be impacted in the expected way. All in one gameplay modes You can play Peronio in many different ways with or without a VR glasses. It is important to know that the game will function with every low cost VR glasses like the google Cardboard. The player will have two ways to play in Augmented Reality - Wall target you don39t even need to print the target just access the link in your monitor and enjoy. You can use this mode to track your head movements in the VR mode. - Table target print or use a second screen like a tablet to target and play the traditional Augmented Reality on the table. All gameplay modes automatically switch naturally and fluidly. Virtual Touch The current smartphones are not yet equipped with sensors to map your hands or the environment around you as the Hololens for example. And demanding that the players buy the additional sensors for their smartphones is unaffordable. For that reason aiming a full feature glass with hand and surface tracking we developed a technology via software so the players could in fact touch the elements of the scene. Itrsquos not a perfect solution as the use of specific hardwares for those purposes but

The key to designing an effectively tense survival horror experience - Link Thu, 24 Sep 2015 03:11:00

SEARCH GAME JOBS updates Blogs events contractors newsletter store SEARCH PROGRAMMING ART AUDIO DESIGN PRODUCTION BIZMARKETING Latest Jobs View All RSS September 26 2015 Latest Blogs View All Post RSS September 26 2015 Features View All RSS September 26 2015 Special Reports Press Releases September 26 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 The key to designing an effectively tense survival horror experience by Michel Sabbagh on 092415 031100 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. One of the greatest fiction authors of all time H.P. Lovecraft once said that ldquothe oldest and strongest emotion of mankind is fear and the oldest and strongest kind of fear is fear of the unknown.rdquo This tried-and-true adage has served as the bedrock of memorable horror works like The Shining and The Ring for several decades and people are still finding ways to create that unsettling feeling effectively and innovatively. It worked extremely well with movies and books. What about games Video games have untapped potential for effective horror experiences and there have been many examples of games that have fulfilled if not exceeded that potential. Games like Alone in the Dark Silent Hill and Fatal Frame have taken Lovecraftrsquos template and repurposed it to unnerve the player in their own unique way be it through the gameplay mechanics or the audiovisual presentation. Itrsquos one of the greatest and most potent ways of immersing the active participant into the virtual experience. Video games are special when it comes to depicting horror because the participant himselfherself is the one who has to bear the tension and eeriness that permeates the overall experience and heshe is the one who has to face hisher fears and keep them in check. As a result the game designer can take serious advantage of that immersive trait to craft a game that plays with the playerrsquos paranoia. Video games are special when it comes to depicting horror because the participant himselfherself is the one who has to bear the tension and eeriness that permeates the overall experience and heshe is the one who has to face hisher fears and keep them in check. As a result the game designer can take serious advantage of that immersive trait to craft a game that plays with the playerrsquos paranoia. But evoking feelings of terror and panic in a fictional work is no easy task and doing so in video games is no different. The game designer has to be extremely careful about how heshe wants to craft the gamersquos spooky ambiance and design the game mechanics around the ultimate goal of making the player feel uneasy and tense. I shall prove my point by listing the five important tenets that all engrossing survival horror games should respect. For each tenet Irsquom going to give you an example of a game that nails that design element. 1 Put an emphasis on atmospheric tension One of the first things a survival horror game has to do to make a very good and foreboding first impression is to draw the player into its virtual world by setting the atmosphere and tone of the game world. This can be accomplished by injecting the environment with a potent dose of ambient tension which can be achieved through eerie audiovisual effects that can exploit the playerrsquos psychological fears and emotional instability. Games that take advantage of that presentational technique generally leave a huge impression on the player and hisher psyche. Call of Cthulhu Dark Corners of the Earth is one such game. This psychological horror title relies heavily on its creepy atmosphere to unsettle the player by designing its game world and gameplay mechanics around the idea of the main characterrsquos insanity. From the visions that the player experiences if heshe is exposed to extremely disturbing environmental aspects to the panic-inducing moments that force the player to act hastily Call of Cthulhu does an incredible job of making the player feel uncomfortable without becoming schlocky. Atmospheric tension is a useful immersive technique because it gradually gets under the playerrsquos skin throughout the whole experience and enhances the gamersquos engrossing qualities. Since this approach is progressive and accumulative in nature the game designer has to craft the ambiance in an intricate manner to incorporate such an element one that emphasizes mental conflict. 2 Try not to make the player too powerful Another thing that the game designer has to keep in mind when designing a survival horror game is that heshe should avoid making the player powerful enough to overcome hisher fears through sheer brute force. While giving the player tools for means of survival isnrsquot a bad design choice in and of itself making said tools extremely powerful will not only make the player potentially reliant on them but it will also shatter the sense of vulnerability thatrsquos essential in making the experience palpably frightful. The tools that the player is given should have limitations of their own which will compel the player to approach parlous situations in a more methodical and careful manner. One game that manages to strike that fine but satisfying balance is the RPGshooter hybrid System Shock 2. Although the player is given plenty of tools that range from guns to psionic powers heshe is also faced with the worrying issue of limited resources which can really prove problematic if the player doesnrsquot manage them properly while fighting the Many and exploring the Von Braun. This means that the player should not only be worried about the monstrosities that populate hisher surroundings heshe also has to contend with his limited capacity of repelling hisher fears and opponents. And thatrsquos not mentioning the already spooky atmosphere that haunts the player throughout the whole game. A good survival horror game isnrsquot necessarily one that completely omits weapons or similar tools from the gameplay equation. It is one that encourages the player to manage hisher resources and adopt a careful approach that will enable himher to make steady progress without sacrificing the oppressive ambiance. Accomplishing that feat can

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