Saturday, November 23, 2013

Doctor Who's 50th Anniversary_Google Doodle Game

http://www.google.com/doodles/doctor-whos-50th-anniversary

Doctor Who's 50th Anniversary




Nov 23, 2013




The Doctor Who doodle started life as a request from a huge fan at Google. It seemed daunting- 11 Doctor's, 50 years of adventures, countless enemies and time travel!

But we loved the idea of science fiction, technology and fun coming together, so we set about creating a multiple level game. 


The game was always a simple premise- those dastardly Daleks have stolen the Google letters and we need Doctor Who to retrieve them.

Artists don't make games, programmers do. I provided the designs and various pieces of animation but without the engineers the game would only exist in another dimension! I was fortunate to work alongside people that genuinely cared:

 

Engineering Gurus - Rui Lopes, Corrie Scalisi. Mark Ivey
Additional support - Doug Simpkinson, Jonathan Shneier
All things D of 3 - Leon Hong
Deity of rain, lava & lightning - Kevin Laughlin
Additional game ideas - Gregory Capuano
Sounds - The BBC, Tom Tabanao, Manuel Clement and Cody!
Creative consultant - Chris Dibona
User testing - Jennifer Zamora

 

We thank the BBC for trusting us and also helping us whenever needed. So what are you waiting for?! Jump in your TARDIS (Time and relative "doodle" in space) and become the fastest time lord in the universe!









Location: Global
Tags: Dalek, Cybermen, Cemetery, Tardis, Weeping Angel, Game, Doctor Who, London, Time Lord, Interactive

Tuesday, November 19, 2013

Monday, November 18, 2013

Designing a game that breaks friendships (SpeedRunners) by Casper Van Est on 11/12/13

http://www.gamasutra.com/blogs/CasperVanEst/20131112/204579/Designing_a_game_that_breaks_friendships_SpeedRunners.php#!

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.


 
Cursing. Screaming. Victory dances. Lots more cursing. Occasional airborne controller. This is daily routine when working on SpeedRunners. You recognize this feeling if you played it.

SpeedRunners is like Mario Kart if it was a 2d ultra competitive platformer. It will make you reevaluate certain friendships after playing. It will bring out your inner-rage. The competitive nature of the game is probably the most important focus for us.

So here's a step by step crash course of how we approach the design behind SpeedRunners:

1. Making it fun for new players

We're not designing the next Starcraft with a 4 hour learning curve. We are making something that's super easy to pick up, that makes you instantly understand what's going on. In SpeedRunners, you simply hold RIGHT or LEFT to start running. Running is usually enough in the beginner maps. You can instantly start having fun without knowing any of the deeper mechanics. You discover how to jump, jumping over platforms. Everyone knows how platformers work.

You don't need to know all mechanics of SpeedRunners to start having fun.

2. Easing into deeper mechanics

Within 3 matches you will know how to grapple onto white ceilings, do super quick wall jumping, and that you can boost mid-air to quickly change your direction (Devil May Cry style). You will start discovering more interesting ways to use items. Dropping boxes onto people's heads while wall jumping makes them lose grip and fall. The shockwave mid-air makes people fall to their deaths. The grapplehook can change the outcome of a match in a matter of seconds. Sliding just before getting hooked makes you dodge it.

It gets really deep really quickly, without feeling overwhelming.

On the 4th match or so, out of nowhere a Wheel of Fortune will appear. It will choose one of several modifiers - like all items being grappling hooks or everything being super fast - to spice up the game. What it also does is force people to use key mechanics in different ways.

When everyone has grappling hooks, you quickly realize how to use them more effectively, and how to dodge them.

3. Level design & choices

Even if you have all the mechanics in place, the game easy to pick up, etc -- it won't matter unless your level design is spotless. We spend most of the time balancing and fine-tuning levels. This makes or breaks SpeedRunners.

If you look closely to all the levels we have, there's always a risk-and-reward thing going on, along with mini-races to specific goals.

Illustration of Factory's right part
Messy illustration of a hard and easy path in the upcoming Factory level. The easier path enables you to block the harder path, or to choose an item instead. If you succeed on the hard path, it's almost a guaranteed point. 

The most fun - and competitive - aspect of SpeedRunners is when you're about to win, or about to lose. This makes alternate paths in levels very important. Each path has it's own risk/reward. You can take a more risky path with lots of spikes and tricky jumping sections, at the end of which is a trigger. The trigger closes the other path, giving you an almost-guaranteed point. Fail that path and face certain defeat.

These paths spawn mini races. You clearly see someone going for a trigger. It makes your heart race. Palms sweat. Unintentional cursing. Glory of winning or shame of defeat.
Levels are designed so that everyone always has a fair chance. You mess up a small wall jump, your gate gets closed. You weren't fast enough. If you were friends with your opponent, you're not anymore.

The mini races become more interesting with specific rewards. Item pick ups are strategically placed, giving you incentive to try specific paths. More experienced players will hold on to their items and wait for specific moments. It's much smarter to hold onto the Invincidrill (a drill powerup, making you fast, invicible and knocking down opponents) until you are in a narrow corridor, than using it in a wall jumping section.

In the recent Theme Park level we have two large Leaps of Faith. These are long jumps that result in insta-death if you mess them up. Each time you are about to do one of them, it's a good idea to be aware of what items other players have and prepare to counter.

Think split-second reaction of assessing the situation on-screen, timing your counter -- or item use -- and preparing to double jump to land on the platform correctly. These split second decisions contribute to the competitiveness, and keep SpeedRunners interesting for more experienced players.

4. Testing, testing, testing

It definitely helps to be in Steam Early Access. We can getaway with breaking the game and label it as testing. Before introducing the Wheel of Fortune, we had an event every Thursday where we'd break the game. We'd make rockets fall from the sky, force everyone to use only grappling hooks, mirror all levels, etc. The fun game breaks made it into the final game as a Wheel of Fortune modifier.

Wheel of Fortune in SpeedRunners
Pictured: Wheel of Fortune that modifies the game every 4 matches or so

During a Twitch Lets Play session with several thousand viewers, the players got a bit confused and started running _wrong way_ around the map, which doesn't exactly work. This is when we started to pay more attention to labeling maps as finished or Prototypes.

Prototypes are levels in development. Some levels we're instantly confident in - they are just really fun to play and easy to understand. Others we will release without much artwork, with the intention of doing more tweaking based on player feedback. We take that feedback and perfect levels before putting in final artwork. And we'll sometimes do 3 releases a day.

Past few months we've been working out the core mechanics of SpeedRunners, and how to streamline new level creation. Both are nailed down by now, and are going into overdrive mode on creating new levels for the next couple of weeks. The initial success of levels is usually measure by the amount of cursing during local playtesting.

What NOT to do when starting as an indie game developer by Roger Paffrath on 11/15/13

http://www.gamasutra.com/blogs/RogerPaffrath/20131115/204871/What_NOT_to_do_when_starting_as_an_indie_game_developer.php

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.


This text was originally posted on Roger Paffrath's personal blog.

A while ago I stumbled upon a talk submission form for an event called The Developers' Conference. It's a gathering of people who want to learn a little bit more about topics like architecture, digital marketing, Arduino and others. Sure enough, games were going to be discussed there too.

The event was close to at least four universities that have game courses, so I thought many young faces would show up. Right after I saw the submission form, I started thinking what I could tell those people that want to be a part of the game developing scene here in Brazil. 

It didn't take long before I realized I wanted to share with them the things I messed up on the past two years and maybe help them be more aware of some of the tricks you can fall for when you are too eager or too optimistic to do something.

When my talk got accepted I wanted to validate my arguments with other people's own experience. That was something I didn't have time to do and this post is an attempt to fix that. What this post is not, however, is a receipt to follow blindly. Feel free to disagree with me and bring your ideas to the table.

Here's what I've come up with:

1. Do not fall for survivorship bias.

For those who may not know, survivorship bias is the tendency to consider only successful cases when analyzing market data, behavior, etc. It even influences warfare.
How does that apply to game development then? Well, when I started, I remember being really optimistic and enthusiastic about building an iPhone game. I was reading article after article of developers that were making good money out of the App Store and I thought maybe I could get some bucks myself. I didn't stop to think things through and it did not go well.
"Resistance outwits the amateur with the oldest trick in the book: it uses his own enthusiasm against him." - Steven Pressfield, The War of Art
Take your time. Think of the obstacles ahead. Talk to people and ask for advice. Analyze every option. Then take some more time. Only after that make a choice and never look back.
To know more about survivorship bias I strongly recommend reading this.

2. Do not start with a complex idea.

I see a lot of guys that want to start out doing things like an FPS. They seriously want to start doing that. They have only the basic skills, but that's what they want to do.
When these guys sit down to actually do the job, they are easily defeated. That's because they don't realize the amount of energy you need to put into a project and they have even less idea of their own professional capabilities.
I am not saying your first game cannot be an FPS, but you have to consider all the things ahead. If you choose an FPS, it will take really long before it is finished and it will be on the market alongside Call of Duty. Isn't it better to start with a smaller project to get under the radar of the press and fellow developers earlier?
For me, the smaller the better. But, no matter the size of the project, I like to read this piece by Tommy Refenes every once in a while. You have to divide your project in parts, tackle those parts individually and every now and them step back and enjoy the progress you made.

3. Do not make a simple idea complex.

Do not overcomplicate things. This happened with Little Red Running Hood. If you start thinking about adding stuff, stop and evaluate if those things are really going to improve player experience and if they sit well with the core mechanics.
I found that the two next items on the list are important agents on avoiding adding useless stuff to a game you've been working on for months. You can also read more about this here.

4. Do not skip the prototype phase of development.

So, how do you keep from adding useless things to your game? You do this kind of thing on a prototype. That's why it is important not to skip prototyping, specially when you're really eager to start making something. It's an opportunity to let your big creative brain run on overdrive.
By making a prototype, you can find out if the mechanics created really work by their own. You can also get folks to play your idea and get decent feedback to improve it. Yes, you will probably need to improve it.
Discover if your game, in its simplest form, is fun before investing months of your time developing it.

5. Do not forget to make a GDD [game design document] or write your ideas down somehow.

Ideas have this weird behavior. Sometimes they run away and are lost forever. Other times they mutate... it can be to something better - which is cool -, but they can also transform into something nastier than their original version. Writing them down is a way to avoid such messy scenario.
When working with teams there is also this strange thing that happens sometimes. You can try to explain your idea to me and I can choose what to listen or twist it somehow. Or maybe your explanation isn't clear enough. When the time comes to actually implement it, it won't turn out as you expected. Hopefully, a well documented idea can solve this situation.
A GDD also makes things easier when there is need to bring someone new to the team, specially if the person is working remotely. It gives a full perspective on the game.

6. Do not underestimate the power of good planning.

Deadlines are awesome. Most of the things done on this planet have only been accomplished because of them. Without them, we feel too comfortable and a comfortable creative mind starts wandering. Before you realize, you're taking double the time to complete simple tasks.
Other positive aspect of good project planning is that you are able to focus on one thing at a time. You don't have to worry about those awful bugs, because you will have the proper time to deal with them later.
Some people might think that's only for larger teams or projects. That's OK. In the end, if you sit down every day and do the work you need to do, it all falls into place. Me? I like a good old fashioned deadline.

7. Do not leave marketing to the last months of development.

Legend has it that when Brazilian cartoonist Maurício de Sousa started drawing, his father told him that there was no problem with that, as long as he learned how to sell his creation too. Thankfully, he listened.
Here is something I see most of indie game developers around me doing: they focus exclusively on the technical aspect of making a game, without even thinking about how to get it in front of larger audiences. Not even to play test the things they make. They worry about it much later, when the project is near the finish line. Alexander Bruce has some great insights on how that can lead to obscurity.
Hopefully, as the industry matures, beginner indie developers will become more aware of that and will start getting word out earlier and saving bigger budgets for marketing.

8. Do not play test only by the end of the project and/or only with friends.

Like stated before: it is best to have large groups of people playing your game as soon as possible. You followed the advice provided here and built a prototype? Show them to strangers on the street. Go to events with the latest build of the game and get as much feedback as possible. After that, make some adjustments and go to the next festival.

9. Do not start on the mobile market.

This one is the one I get most of people disagreeing with me. It's the first item on this list making young developers see everything optimistically. The real truth is: the good things on mobile are far less numerous than the bad things going on on the platform.
Seriously, if you are starting, with no fans, no press awareness and no big money to invest on marketing, forget the mobile market. This is something I learned the hard way. I saw months of hard work fall into the limbo of the App Store. Obscurity is a bitch.
Even if you forget the discoverability of games on the mobile market being all messed up, I really don't think you should start there. There are easier and faster ways to make and distribute games. Part of the reason we didn't play tested Little Red Running Hood accordingly was the fact that it was hard for us to send the app to people outside of our friend circles.
I realize there are two sides for that discussion and that there are down sides to any market, but I will remain encouraging people to start reading more about the problems of mobile and all the stories of other developers who fell for the mermaid's song.

10. Do not forget the budget for attending events and festivals.

Hands down, this is the best way to show your game to other people and starting networking with other developers and press. These are creative minds that gather on the same place at the same time because they love games. That's inspirational. At least I heard. I was stupid enough to consider only submitting my game to these festivals, but never thought of showing up in person. When I realized the benefits of attending these events, I had no money to do so.

11. Do not ignore the fact that you are part of an industry.

Starting out on any industry is hard. It is even harder if you are blind to all the topics and people that are relevant in the business. Luckily, this is the easiest tip on the list to follow. Just check this list Rami Ismail wrote with some interesting twitter accounts on the gaming world (don't forget to follow @tha_rami himself). Don't have a twitter account? Fix that now, it's free!

12. Do not wait for a diploma to start making things.

You are not studying to be a doctor, lawyer or engineer. Maybe if you were you would have realized something most of my colleagues at university don't.
You want to work in a certain field? Start thinking of your career early.
Stop throwing that unfinished project away at the end of the semester. Stop doing things for grades. Stop doing things for love, too. Do it for your career. Love your career itself. Become a professional and finish things!

13. Do not hide those things.

I know for a fact that there are a lot of people around me doing things related to game development. However, I know very few of those people and even less of their games. Why is that?
If you are working on a game and you hide it from people, you are being selfish. You are keeping them from having fun. You are also overconfident. Before spending more time working on the awesome idea you had, how about you let us play it and them we can give you feedback?
I am currently trying to organize meetings with developers to get something going. If you are a local indie working on a game, please get in touch. It isn't hard to find me. If you made it this far on the post you are truly persistent, therefore I would like, not only to play your games, but also to personally high five you.

Bonus for Brazilian developers:

This consist of only one tip, but it can make all the difference for people with tight budgets. Maybe it applies to other countries too, but for now I only know how this works in Brazil.

14. Do not open a company.

You are just starting out. You don't need to pay taxes, you don't need to have an accountant and you don't need fancy paperwork (and believe me, there is a lot of paperwork).
Focus on building something first. Make some games, get some word out and try to find your voice. Partner up with different people and get informed about their experiences. There are many other ways to start out other than opening a company right away.
Actually, those who encouraged me to start a business were the ones who were interested on doing the accounting for us. Coincidence? I think not.
The damage wasn't that much, but the money we put into the company could've been used to show our game on events. International ones.
Now, I only see a point on going through all the paperwork to register a business here if you are aiming to get a deal with an investor, join government programs or sign a contract with Sony or Microsoft. You have to really trust your gut to go for those things as a beginner. But, if you decide to do it nonetheless, let me know how it turns out.

Anyway,

Even if you don't take any of my advice, you are probably here because you are interested on game development. So, I wish you keep making great games. Maybe someday I'll get to play them.

Follow Roger Paffrath on Twitter.

Monday, November 11, 2013

The Game Prodigy: Get a Job in the Games Industry

http://thegameprodigy.com/welcome-to-the-game-prodigy/

You Can Get a Job in the Games Industry

If you are interested in a career in game design, programming, art, audio, production, product management, or quality assurance [QA]/testing, you’ve come to the right place here at The Game Prodigy.

Whether you are a high school student, college student, graduate, or parent of a son or daughter interested in games, this site has the resources and support needed to prepare, from high school through college, interviews and your first day on the job.

The path to a career in games is broken into five separate stages, each leading up to a promising career. Each stage has its own section on the site.

FiveStepProcess
Click to Navigate: Intro > Stage I > Stage II > Stage III > Stage IV > Stage V

Stage I: Build Your Skills

Most people think that getting a job in games begins with sending out resumes, but they couldn’t be more mistaken. Professional game developers know the preparation begins long before a resume is sent to any studio. In order to get into games you need to build the right skill set, whether that’s learning how to program, creating artwork and user interfaces, game and level design, composing music and sound, managing schedules or mastering finances and statistics. Click here to see free articles and resources in Stage I.

Stage II: Earn Credentials

The best way to land a job is by getting the right degree that supports your career ambition. Here you’ll learn about what degrees different careers within game development need, and you’ll find resources to locate the perfect programs and schools for you depending on your location, your financial situation, and your academic ability. Click here to see free articles and resources in Stage II.

Stage III: Find Game Studios

Once you’ve developed your skills and are on your way to earning your credentials, it’s time to seek out places to work. In this stage we’ll discuss different kinds of studios that are out there, how to find them and make yourself available, and narrow the list down to the few you want to contact. We’ll also share techniques for getting in touch with insiders and networking your way to an opportunity. Click here to see free articles and resources in Stage III.

Stage IV: Land the Job

After finding the perfect studio you’d love to work for, it’s time to go through the job application process. Here you’ll learn how to put together a perfect resume, prepare for both phone and live interviews, and leave a good impression so that you can be sure you’ll land the job. Click here to see free articles and resources in Stage IV.

Stage V: Be a Rockstar Developer

Once you’ve finally reached your goal of landing in the games industry, the journey is just beginning. In this stage you’ll learn what life is like in the industry, whether as an intern or a full time graduate, and how you can blow away your fellow developers and kick off a promising career. Click here to see free articles and resources in Stage V.

With the Right Knowledge, You Can Make Games For a Living

My name is Brice Morrison, and I’m a Lead Game Designer and game career advisor. I’m also founder of University of Virginia’s Student Game Developers, an organization that gets students jobs every year. I work with parents, educators, and games industry insiders to help connect students with their future.

And if your dream is to work in games, then I believe I can help you too.

Almost all the information on this site is free. I’ve laid it out so that for the few out there who are willing to work hard to achieve their dreams can have a shot at it, the information that I wish I had when I was first starting out. The games industry is one of the most exciting places to be and continues to boom every year. If you can find your way in, now is a fantastic time to do so.

Best of luck!
Sincerely,
Brice
Editor, The Game Prodigy
Lead Game Designer and Game Career Advisor

About

Lead Game Designer

Sunday, November 10, 2013

FAMASUTRA: Using Game Job Boards To Your Advantage by Brice Morrison on 11/07/13

http://www.gamasutra.com/blogs/BriceMorrison/20131107/204309/Using_Game_Job_Boards_To_Your_Advantage.php



[This post is cross posted from Game Career Guide and The Game Prodigy, the site for game careers and design.


If you're in school and looking towards getting a job in the games industry, then you've likely thought of looking at online job boards. Studios big and small use job boards to find new talent for their upcoming game projects, and so perusing the Gamasutra Job Boards and postings regularly is a great way to round out any job search.


But too many students make common mistakes when they're looking for jobs online. The worst thing is, they don't even know they're making them, because they haven't really applied to jobs at a game studio before. Making these mistakes narrows their opportunities and may prevent them from getting a job, or worse, landing them in a job that isn't for them.


As someone who has looked at resumes coming into a studio as well as applied for jobs myself, I've learned the ins and outs of using job boards for all their worth. There are simple strategies that you can use to turn online job boards into an asset for you, instead of a task that you need to trudge through. By using job boards right you can build your skills, improve your chances, and eventually get the perfect job for you.


So let's take a look at what you can do to be successful in getting your first game gig. There are three main stages: first, you want to use job boards to target your skills and grow as a future game developer. Second, you want to find the jobs that are right for you and get over the common "1-2 years experience" hump. Finally, you want to use what I like to call the "Studio Checklist Method" to stand out on your application and make sure you're a perfect match.


Step 1: Use Job Boards to Target Your Skill Development

 


That's right - you can actually use job boards to build your skills and gain more experience, even before setting your foot in a studio. I'll explain how.


I'm a big believer in the concept of "career capital" - in order to get great jobs and build a successful career, you need to learn valuable skills that others will pay for. The better you get at these skills, the easier it will be to trade in your "career capital" to get a great job. People who become Design or Art Directors have tons of career capital that they've built up over time. They have skills that studios need to make great games.


But how to you know what kinds of skills game studios want? Sure, they want someone who can "program", but what languages specifically? What frameworks, what engines, what types of tasks? Sure they need someone who can "draw", but what techniques and styles specifically?


Well there's two ways to find out. You can ask someone who works at a game studio (which may be difficult, especially if you don't know many people) or you can, you guessed it, use the job boards.


Job boards are a great resource for learning about what skills are currently valuable out there in the "real world". It's like being given the answers to an exam - even if you don't have the skills now, the skills you need are laid right out there for you. It's just up to you to study and put in the time to develop them. 


Let's look at an example job posting:


QUALIFICATIONS

Knowledge of 2D/3D programming

Knowledge of C / C++

Strong math and engineering background

Bachelor’s degree in Computer Science or Computer Engineering preferred

2+ years of programming experience

Significant experience in hobby or professional game development

Good communication skills


Each of these items are something that this company wants, the career capital that's needed in order to get this job. And these are all very actionable. If you're looking at this example job posting and this is the type of job you'd like to have, then pick a few items on the list and start teaching yourself. Let's break it down:

  • If you don't have any "Knowledge of C / C++" go out there and start working on some personal game projects that you decide to write in C++. Look online for resources and tutorials, find books at the bookstore, and start practicing

  • If you don't have any 3D programming experience, sign up for a course at school, or do a project yourself. Get some books and start practicing and build a simple 3D game

  • If you don't have strong math background, then pick up your old calculus, trigonometry and geometry textbooks and go through them. Work through some problems, and then see if you can apply them to your 3D game experience

  • We'll talk about the 2+ years of programming experience in a moment


These skills are what you want to go after. While you can't change your skill set overnight or even over a week, in the course of a few months to a year you can learn a substantial amount of valuable skills. 


The key to understand is that if several companies are posting jobs that all require skill X, then several months or a year from now, there will be lots of other companies posting jobs that require skills X as well. This is your career capital that you want to build up. Then in a few months when the next job posting comes up, you will have invested in yourself and will be ready to apply for those jobs - and they'll likely be ready to talk to you!


This brings us to that last point, what do you do it all the posting require 2+ years of experience?


Step 2: Get Over the "1-2 Year" Requirement


One thing that I hear all the time with students at The Game Prodigy is "All the jobs I look at require 1-2 years experience! How am I supposed to break in?"


It is a bit of a chicken and egg problem. But I'll tell you how to tackle it. When companies say they are looking for 1-2 years experience, they are just saying that they want a person of a certain caliber. They don't want a programmer who barely knows any C++. They don't want an artist who doesn't know how to use Illustrator. And they don't want a designer who has never made a single game before. They are looking for people who know what they are doing.


So the best way to overcome these obstacles is to make sure that you are experienced through your own personal projects. 


Take this example: Let's say you are hiring someone to work for your game studio. You see two resumes come to your desk. The first is a guy who has worked for 2 years at some no name game company where he basically did nothing. It's really even clear he did anything at all. But the second is a girl who has made a Top 100 iPhone game, made a 3D game that was nominated for an indie game award, and led a project for a game jam that got over 100,000 plays - in fact you've heard of it.


Who would you hire? The answer is obvious - the second person.


But see what's happened here? The first person may have had experience sitting at a job, but the second person made their own experience. 


The best way to do this is by working on your own personal projects and going above and beyond in courses


So when you see jobs that require 1-2 or 2-3 years of experience, reframe it as, "This is a job for someone who has the same skill level as someone who has been in the industry 1-2 years". Then put in the work (as we discussed in step 1) to make it happen.


Now that you've been reading the job boards to find your marketable skills and found a few jobs to apply for, it's time to use the Studio Checklist Method to close the deal.


Step 3: Use the Studio Checklist Method to Stand Out


[Image by mistersnappy, used under Creative Commons License] 


Here's some advice I bet you've heard before: "When you're applying to jobs, use a custom resume and cover letter for each company."


But what does that mean exactly?


I'll tell you exactly what it means - it means that when you apply to each company, your resume should reflect what that company and job posting is looking for. To do this, you'll want to use what we at The Game Prodigy call "The Studio Checklist Method".


This means that when you are surfing on job boards, you need to use their job posting as a checklist to build your cover letter and resume. 


Let's use the example again from earlier:


QUALIFICATIONS

Knowledge of 2D/3D programming

Knowledge of C / C++

Strong math and engineering background

Bachelor’s degree in Computer Science or Computer Engineering preferred

2+ years of programming experience

Significant experience in hobby or professional game development

Good communication skills


Upon reading this, you should literally make it a checklist. The most important items that the studio wants are typically going to be at the top or mentioned two or three times, while the least important items will be at the bottom. With that in mind, an example cover letter might look like this:


To Whom It May Concern,


My name is Brice Morrison and I'm excited to apply for the position of Game Programmer. I believe my experience matches what you are looking for. I was the creator of "Mega Banana", a 3D game that was entered into the Independent Games Festival, and "Legend of Melba" a 2D open world exploration game that received over 50,000 plays online. 

Last year, I was in charge of a semester long C++ project with 3 other students where we made an inventory management program of over 10,000 lines of code. I believe my schoolwork has prepared me well for this position - I currently hold a 3.7 GPA in my math and engineering courses and am majoring in computer science. With my hobby


Now let's break this down using the Studio Checklist Method to make sure we have everything covered. Look back at the job posting and see if it's all there:

  • Does the cover letter mention "Knowledge of 2D/3D programming"? Yes! "I was the creator of 'Mega Banana', a 3D game that was entered into the Independent Games Festival, and 'Legend of Melba' a 2D open world exploration game that received over 50,000 plays online." - CHECK!

  • Does the cover letter mention "Knowledge of C / C++"? Yes! "Last year, I was in charge of a semester long C++ project with 3 other students where we made an inventory management program of over 10,000 lines of code." CHECK!

  • Does the cover letter mention "Strong math and engineering background"? Yes! "I currently hold a 3.7 GPA in my math and engineering courses" - CHECK!

You get the idea.

This should be done for both the cover letter and for the resume, and as a result, each one you send out should be totally unique. After going through each item and searching in your own experience to find matches where possible, you give yourself a much higher chance of success. The studio will see your resume and say, "Wow! This is exactly the guy we are looking for!" 

This is also the reason you want to build up your skills and career capital as much as you can, so that you have a lot of experiences to pull from to match job board postings you see.


One important point is that you don't want to lie or exaggerate your skills. Never ever. But what you do want to do is use the job posting to decide which of your skills and experience you want to emphasize on your 


Don't Stop at the Job Board


Many students think that job postings are the end of their job search - far from it, they are actually just the beginning. There's one other key technique that I teach my students to find jobs and get offers in our Game Prodigy Newsletter. If you're interested in learning more, head over to The Game Prodigy at the bottom of this article.


Best of luck!


Brice Morrison is a Lead Game Designer and Editor of The Game Prodigy a site for building your game career. Visit for more strategies on how to become a pro game developer.

Gamasutra: Five Tips to Keep People Playing Your Game by Maria Baeta on 11/07/13

http://www.gamasutra.com/blogs/MariaBaeta/20131107/204333/Five_Tips_to_Keep_People_Playing_Your_Game.php

We collect a lot of data at Softonic. The data show us which apps – from games to utilities – are downloaded most and, more importantly perhaps, which have the most loyal users.

For example, worldwide, Softonic users have downloaded more than 285,000,000 games so far in 2013. In the race for top game downloads in the U.S. Slender: The Eight Pages is narrowly beating Minecraft as the most downloaded game on the Web, with more than 700,000 downloads in 2013 so far. Subway Surfers is by far the most downloaded mobile game with almost 80,000 downloads.

These are great numbers but what do they tell us about the games themselves? What is it about Slender, for instance, that keeps people downloading and playing it?

I recently attended GameLab, an international exhibition of video games and interactive entertainment, where speakers gave some insight into the success of their games. I took away five reasons why those games are a hit and have loyal followings. Here they are, along with some examples of what I think are games that meet the standards.

1. They have a unique story line: One of the most important elements is a game’s story. There are two kinds of stories:  designer stories and player stories. Designer stories relate to the immovable plot of the game, scripted events and everything that the user cannot change. Player stories, on the other hand, are those that vary according to the user's game.

A good story comes from balancing the two types of narratives. For example, killing a character, taking one path or another or answering A or B are part of these stories, and will make each experience unique or, at the very least, one of hundreds of variations.


2. They challenge gamers: Make sure it’s not too easy. Gamers want to be challenged and then rewarded for their efforts. It’s also fun for users to be able to see how they compare to others playing the game for some added competition.

Examples: GTA V, Temple Run, Despicable Me: Minion Rush, Surgeon Simulator 2013

3. They offer a surprising twist: When you’re not expecting something, you get more pleasure from it. That’s human nature. So don’t give everything away. Build up anticipation by not releasing too many details before users play/find the twists themselves.

When we compared the sales of games that were released following demos and trailers, to those that released only a trailer, the games without a demo sold more (generally speaking).

Examples: GTA: San Andreas, Grand Theft Auto IV, GTA V

4. They are available anywhere on any device: One platform isn’t going to cut it. Let users go back and forth between playing on their PC at home to their mobile device on-the-go, without having to start over each time.

Keep in mind, though, despite the rise of mobile gaming, the days of the traditional format aren't numbered because the TV is still the center of the home. So, playing on a home console won’t disappear, it'll just have to share the space with ever more portable devices.

Examples: Minecraft, Slender, Temple Run, Subway Surfers

5. They are free or offer flat/fixed fees: Let the user pay a flat fee and have access to everything. In total they may be paying more than they would by making micropayments, but their perception is that they have more freedom and access to the entire world that the game offers. Don’t surprise gamers by charging more later on.

 Charge a flat/fixed fee for access to everything all at once to keep players from quitting midway through.

Examples: Grand Theft Auto IV, Farming Simulator 2013, Slender, Subway Surfers

While we continue to seek game nirvana - the "perfect" game with impressive graphics and plot, a comfortable interface, fair payment system, complex artificial intelligence and options for interacting with friends - keeping these five attributes top of mind will get game designers started on the right path.

Wednesday, November 6, 2013

GAMASUTRA: Want interesting women in video games? There are binders full of them

http://www.gamasutra.com/view/news/204101/Want_interesting_women_in_video_games_There_are_binders_full_of_them.php


Want interesting women in video games? There are binders full of them



November 6, 2013 | By Kris Ligman


Jill Murray, narrative designer at Ubisoft Quebec, says there is very little excuse for the dearth of smartly-written women characters in games.

The Assassin's Creed: Liberation and Assassin's Creed IV: Black Flag writer took to the podium at GDC Next yesterday afternoon not to argue why diverse representation in games was important, but to illustrate how easily this could be achieved.

 

In a talk titled "Binders Full of Women: Diversifying Feminine Archetypes in Games," Murray listed off examples of women from history, current events and her own life, ranging from women Soviet pilots in World War II to Chinese empresses; Ethiopian entrepreneurs to Syrian snipers.
 

"Often in history you'll see women leaders and generals erased from the record, [but not all of them]," said Murray. "There is a simple trick to finding examples of awesome women: you type anything into Google and then add 'women' after it."
 

While Murray criticized the extent to which 'woman' is still used as a discrete category for characterization, she did note its effectiveness for research purposes. All of the women she profiled in her half-hour talk were the result of less than 60 seconds searching online.
"Imagine how much more you could find, with more time than I used," she suggested.

 

The point, Murray said, was not to provide her GDC Next audience with a cursory look at women in the armed forces, positions of government, or business. The point was that this was easy -- and so defending the scarcity of women protagonists on the premise of realism or lack of ready-to-hand examples through research only betrayed a certain laziness.
 

"This talk is less of a call to action and more of a look to the future," said Murray, "of a time when we will move beyond common archetypes and find new inspiration for a greater variety of games."
 

Further, Murray added: "Not only can we fix this oversight, but when we do it, it will be fun."
 

Murray has received accolades for her writing on Assassin's Creed: Liberation, which features as its protagonist the French Creole woman Aveline de Grandpre. Her most recently launched title is Ubisoft's Assassin's Creed IV: Black Flag. She is reachable on Twitter at @codejill.