Escolar Documentos
Profissional Documentos
Cultura Documentos
Games Industry
Conclusion..........................................................................................72
The Conclusion................................................................................158
Appendix A - Interviews...................................................................159
Special Thanks................................................................................183
Copyright.......................................................................................184
The Author
I originally came from the Unreal Tournament Mod scene in which I am
still active. I started my career when I was fifteen, and worked my way up
since then. I am entirely self-taught.
As a level designer and environment artist I have worked both on and offsite for a range of studios; small & large, startups as well as established
studios. These include: Guerrilla Games, Streamline Studios, Psyonix
Studios, Digital Extremes, Epic Games, Webzen, Prophecy Games, Playlogic,
and Khaeon. Titles I have worked on include Killzone, Shellshock nam'67,
Unreal Tournament 2004 and its ECE add-on pack, Warpath, Huxley and
The Chronicles Of Spellborn.
For UT2004, I created two of the most well-known levels from the game:
DM-Rankin and ONS-Torlan. Both were also featured in the UT2004 demo,
and have been played millions of times.
As a mod developer, I have created dozens of free stand-alone levels for
a number of games. I also worked on several very large mods such as
Operation Na Pali, Xidia, and Jailbreak. My mod work also won me several
prizes in the large, one million dollar, MakeSomethingUnreal contest.
Including a first prize.
I am still active in online communities, and have been so for the past
eight years. I moderate chat channels, forums, and answer peoples game
development questions. Participation in community activities has made me
very familiar with the issues and questions of people who are trying to
break into the games industry. It is these issues and questions that are the
inspiration for this book, and I aim to answer the majority of them here.
Because of my extensive experience with online communities and the
modding scene, as well as with permanent on-site jobs and freelance offsite jobs, and having performed work in both small studios as large studios,
nearby as well as far away, I believe I am able to present an accurate
picture of the games industry and approach various subjects from a
different and more community minded perspective than similar books.
Chapter 1
Introduction
History
While Pong was the first commercially successful video game, other
various experimental games were created before Pong ever saw the light of
day.
In 1962, a group of friends wrote a little space game named Spacewar!
for their DEC PDP-1 computer. The game was controlled by two players,
each controlling a space ship, and the goal was to destroy the others ship.
The game attracted the interest of the DECs manufacturer who then
decided to distribute the game with all of its computers in order to
demonstrate its power. This decision caused the game to be distributed to
university labs across the United States thus influencing an entire
generation of students.
Almost ten years later, in 1971, two students from Stanford University
put the game to its first commercial use: they hooked it up to a coin
machine and placed the computer in the university.
One of the students influenced by the game was Nolan Bushnell. After
graduating he developed his own Spacewar! clone with the aim of getting
video games into arcade halls. He struck a deal with a coin operator
company and distributed 1500 units. Unfortunately the game proved to be
a little too complex for the average customer and the venture failed.
However, this did not stop Nolan Bushnell and soon after, with co-worker
Ted Dabney, he founded Atari.
Almost simultaneously, another important development too place. In
1951, Ralph Baer started thinking about the principles of an interactive TV
game. In 1966 he put his idea to the test and built a simple two-player
game called Chase. Each payer controlled a dot on the screen and one
player would chase the other. The game was well-received by the company
he worked at and a toy rifle was added to control one of the dots.
Soon after, Bill Rusch joined the project and, with his help, a third dot
was added to the game, but this time, the dot was controlled by the
computer. Soon, this new variant led to a game very much like Pong. This,
in turn, led to the development of two controllers, and a simple console to
control the game.
A few years later, Nolan Bushnell witnessed a demonstration of the
project and saw commercial potential in this little game. He hired a
programmer to create a separate version of the game and named it Pong.
In 1975 the home version of Pong was released to the public and it was a
hit. Soon, games quickly began to gain popularity.
Facts
The games industry is one of the newest and fastest growing industries in
the world. Its internationally oriented, has grown almost continuously
since its inception, and now generates billions of dollars a year. Yet there
remains plenty of room for additional growth and continued success is
expected for many years to come.
Some Facts:
Since 1996, the games industry has grown by nearly 300 percent.
That's an average of about thirty percent a year. Compared to
historical industries, that's a lot.
Over $13 billion worth of games and related hardware will be sold in
just the USA in 2007.
Nearly all developers are male and, on average, between twenty and
thirty-five years old. The average age largely depends on the age of
the industry in the region. The developers in the USA and the UK in
general have the highest average age. In other regions most
developers are in their twenties.
The times when games were a kids toy are long gone. Games, more and
more, are becoming a fusion of technology, art, and design, and a method
to generate revenue. Today, games are a multi-million dollar industry
where the focus is shifting more and more to adults. Current games are
more serious and even though its unclear exactly what direction theyre
heading in, one way or another, its clear that video games are here to stay.
The Expectations
If youre looking for a stable job in a stable industry where you can live
the remainder of your life in a quiet suburban home, then the games
industry probably isnt for you. The video game industry is new and
dynamic; it changes rapidly both for the good and the bad. Its highly
volatile. One bad game can break a company, and even if the company is
solid, sometimes the games dont even reach beta before getting canned.
Many reasons for this exist: complexity of the game, costs, bad
management, bad organization, staffing problems, missed deadlines,
publishers losing interest or trust, and more.
In this industry, one must be dynamic. If you absolutely must have job
security then youd be better served picking another industry. In the games
industry the only sense of stability one can attain is that of ones own skills
and experience. If youre good enough, youll never be without a job for
long.
Additionally, work in the industry can be lonely, and antisocial. Its also
an indoor job and most developers focus almost entirely on their job. If
youre an active and social person, then sitting quietly behind a desk all day
may not fit your personality very well. Usually, more quiet and introverted
people pick these jobs; of course there are always exceptions.
Because of its fluctuating nature, odds are that you will move a few times,
or more. The industry is spread all over the world and there are few
companies. Unless you live in one of the few locations where game
companies have already congregated, then its quite unlikely that there are
more than a few interesting companies within a 100 KM/60 mi radius
around you. Moving cross country, or even internationally, is an option
youll need to keep in mind if you want to get anywhere.
A common misconception is that game developers play games day in and
day out almost like a big, ongoing party. Usually, youll really only be
playing the game youre working on, unless youre doing research. Also,
playing your very unfinished game that youve already played hundreds of
times usually isnt much fun and certainly cant be considered a party.
Development includes boring and repetitive work its simply part of the
job.
One of the largest problems beginning game developers (and actually all
beginner-level professionals) face is that one needs experience to get hired
in the first place. Its the common problem: if you dont have experience,
no one will hire you, but without anyone hiring you, you cant gain
experience. It may seem like an endless circle, but there are a few ways
out. For example, some companies offer internships or and/or junior
positions, and theres also non-commercial mod work. This issue will be
addressed more in depth further on in the book.
The bad issues aside, there are also positive aspects that one can expect
of a job in the games industry well get to these shortly.
The industry will expect to see certain traits in their employees. The most
common are:
#4 Initiative: A self-starter.
The industry looks for those who need little supervision and don't
need to ask for everything. They search for those who can figure out
#7 Analysis: A problem-solver.
Don't just ask, research it first. Experiment with techniques,
research it online and, if after all that you still dont have the answer,
only then are you expected to ask. A person who asks for help for
every little problem will quickly become an annoyance and will waste
the time of the senior developers who have better things to do than
to answer basic questions.
Chapter 2
The Industry
Why
Why not
A Frustrating Industry
As previously discussed, the industry can be incredibly frustrating. Some
say the average developer only survives for five years before they leave the
industry, burned out by frustration. This is, of course, largely dependent on
who you are working for and what you are working on, as well as your
personality and personal expectations. But rest assured that at one point or
another, this industry can be extremely taxing on ones patience.
There are several common sources of frustration:
#1 Passion!
This is a very passionate industry. Every developer in this industry
is passionate about what he or she does. To many, this isn't just
work; this is their life, blood, sweat and tears. The more passionate
you are about something, the more any setback will upset and
disturb you. Even the smallest issue could become a huge source of
frustration when blown out of proportion by emotional investment.
given this chance. Whatever you do, there is always the stress of an
impending deadline on the horizon. You, or the team as a whole,
might have to rush through a particular task or you might never have
the chance to truly finish a game to match what you had in mind.
After years of hard work you might have to abandon the game
because some guy in a suit tells you its good enough to be released,
even though you still see a hundred shortcomings. This issue
becomes even worse when a game is released and completely
butchered by the press and the public - something that could have
been avoided if the game was given another few months. All your
trouble and effort can be rendered useless in just a month.
The Money
One does not work in the games industry for the money. People who think
they can get rich off it or wonder if they would earn more in industry a or b
before making their career choice are not meant for the games industry. I
have seen plenty of people who leave the games industry after a year or
two to return to the real world, simply because a regular IT company
offered them a car and a laptop. If you are truly passionate about games
you don't leave the industry purely for financial reasons.
Few game developers will ever get things like a company car or an
expense account. However, the industry does not pay badly either. The
average salary is highly dependent on the region but is, in general, around,
or slightly more than, the average income of that region.
The highest salaries can be earned in the United States, followed by
countries like the UK and Canada. The salaries in mainland Europe are in
general only half of what the same position would earn in the USA, or even
less.
According to surveys the average salary in the USA is between 3,000 and
6,000 USD gross a month. Cut that in half and you end up with an average
salary of 1.300 - 2.600 Euro a month gross for average European
developers. The UK is somewhere in between those two.
The salary is, of course, also very dependent on the position one holds
and the type of projects one works on. A junior artist working on a local
market game is obviously going to earn much less than a lead artist
working on a AAA blockbuster.
Within the same company a lead developer could easily receive double or
more, than what a junior developer receives monthly. All other positions are
in between the two.
Programmers usually earn slightly more than designers who, in turn,
often earn a little more than artists. Testers and all kinds of other less
essential team members earn the least of all. Any type of lead or senior
position usually earns the most. In general, the more specialized it is what
you are doing, the more you will earn. For example, an animator will earn
significantly more than a general 3D artist.
http://www.animationarena.com/video-game-salary.html
http://gamecareerguide.com/features/266/features/266/are_you_in_
demand_2006_game_.php
Also note that even while some salaries might appear either huge or tiny,
you need to take into account that another region or country might have
more or lesser expensive standards of living. This is especially true in urban
areas: in parts of the USA rent might be a tenfold higher than what you are
used to paying and you may also have to pay for insurance, a dozen hidden
taxes, and multiple utilities. Europe, on the other hand, is usually somewhat
cheaper to live in, but also features much higher taxes.
Occasionally one might also receive bonuses. When certain milestones are
achieved on time or when a game goes gold the developers are often
rewarded with a bonus; sometimes worth thousands. And while those
bonuses are great they are, most of the time, also some of the only extras
the developers ever receive. A regular developer will never become wealthy
from their own game; even if the game sells millions. Most of that money
goes to the publisher and other parties. The developers themselves usually
dont see any of that money at all, or only a few thousand, return to them.
Royalties are usually not part of a contract.
The only way to ever become wealthy in the games industry is to start up
your own company and turn it into a success. That may sound easy but it is
very hard to pull off these days. The main reason being that it is a huge
challenge to acquire the funds necessary for a decently sized project.
Budgets of five to ten million USD are not unusual for the average game,
and even larger budgets are slowly becoming the norm.
Private investors are often wary of getting into such a new and unstable
industry and game publishers want to see a smoothly working company
with a strong game demo before they will commit themselves to financing
the project. Both of these are hard to pull off without a significant amount
of investment money in the bank. It's the same story most beginners face.
You can only get hold of a job if you have experience, but without a job you
can't get the necessary experience. The same is true for companies. A
company needs experience as a studio if it wants to secure funding, but it
can't get experience if it doesn't have funds in the first place.
However, those who start small and have enough patience, or simply a lot
of luck, may end up becoming successful and very wealthy in this industry.
A single good game can make millions and make up the initial investment
several times over. Some dare to take that risk, others don't.
Like other companies in the computer and internet industry, game
companies too have the unique ability of returning a huge profit within just
a few years and with only a relatively small team of a few dozen employees.
What most forget though, is that the number of companies that do not
make it is larger than those few who manage to shine. This is a very volatile
and funding-intensive industry and it is very difficult to pull off a successful
project when you have very little. The days of garage developers working
on the next sleeper hit are over and unlikely to ever return. Game
development has evolved into multi-million dollar projects and few
independent studios survive.
Although games are becoming massive in size and even though the
games industry receives more money than, one could say, an third world
country, the general public still has a stigma toward video games. The
unknown scares humans; and this is no different with video games. Today's
youth is the first generation that has really grown up with video games and
understand them. Those who know little of games often do not regard a
game developer job as a real profession or valid career path. These people
often view games as entertainment for kids. If the people close to you have
such opinion you might be in for a hard time.
Although the situation is, luckily, slowly improving because of the
increasing influence of games on daily life and because of game
development schools, the public support is still a long way from where it
should be. Negative media coverage stories of violence in video games and simple lack of knowledge and understanding may make your family and
friends respond negatively to a game career.
Regardless of their opinion the most important consideration should
always be what would make you happy. What do you want to achieve and
what do you enjoy? What do you dream of? What do you think you should
do with your life so you will not regret your choice once you're retired?
Those who are cynical will usually turn around and be convinced once you
achieve success. Although it is not easy, try not to worry too much about
them; their doubts and opposition usually melt away when you begin to be
successful.
Chapter 3
Skills
Nearly all the people who currently work in the games industry are almost
entirely self-taught. Personal initiative is one of the most important aspects
of the games industry. Without plenty of personal study and practice one
will not be successful in the games industry.
One of the most decisive aspects in the industry is your skill. What you
are capable of is very important - perhaps even more important than any
experience you might have and much more important than any education.
How you achieved that skill is irrelevant if you are good enough. Whether
you learned what you know by going to a specialized school or by personal
study doesn't really matter in the end. Whatever works best for you is the
best method. Both approaches have positive and negative aspects.
Skill also means that you can demonstrate what you can do. In this
industry skill means nothing if it can't be proved. Stating that you are a
great modeler will do no good if you can't also show a couple of great
models. Your portfolio, the work you have, is even more important than the
actual skill because it will demonstrate your skill, as well as your dedication
and passion.
It can take years to really master a skill. On average it takes most people
at least two to four years to reach an entry-level skill level in their
profession, dependent on how motivated they are, how talented they are,
and how much time they put in. It takes about twice as much time (or even
more) to become an expert. It personally took me seven years of 24/7 work
before I fully understood what I really do and more importantly why I do so.
There are various stages to go through before one reaches an expert
status. The difference between an expert and a person of an average skill
level is the level of understanding and the time spent on trying things out. A
person with an average skill often does know how to achieve certain results
but they do not always know why exactly they take certain steps - the
reasoning behind the actions. Most people simply do something because
they remember it worked out well last time, or perhaps looked great in
another game they've played, instead of understanding the actual reasoning
behind it or the bigger picture. This understanding, in general, takes many
years to acquire.
Related to this is the amount of time spent on trying different techniques
and options. An expert has to experiment little because their previous
experience enables them to foresee any future problems with a design or
technical approach. Also, because they likely encountered similar situations
earlier on in their career, they know exactly what to look for. An expert
works efficiently and quickly with little need to repeatedly experiment. A
person with an average skill level works slower and often has to redo and
remake something because they hit on an unexpected problem they should
have foreseen.
Starting Out
Beginners can gain experience by focusing on just one or two things and
trying to master just those few before moving on to something else. Once
mastered, progress on to the next few things you want to learn. If you dive
into too many different things at the same time, you can easily become
overwhelmed and give up. In addition, your time will usually be too
fragmented over a many different things. This will not give you the time
necessary to really master any of them.
I started my career by investigating the Unreal Editor and Level Design. It
was only two years later that I also moved into, for my profession,
secondary programs such as 3DSMax and Photoshop. I would never have
been able to handle all the complex new material if I had gotten into all four
at the same time. Split up and focus on what's most important first, then
gently move on to related skills. We'll get back to this more extensively in
Specialization.
At first, it was never my intention to get into the games industry. I never
started designing levels to get into the industry; at the time it was just my
hobby and nothing more and that kept me motivated. The desire to do this
for a living only came much later when I realized that this was what I
wanted to do with my life. There are two things that can be learned from
this:
Don't look too far ahead when you're just starting out. Just as in
developing skills, the same goes for looking ahead to work: do not
look too far ahead or do too many things at once or you can loose
your motivation quickly. If I would have known what a huge pile of
work there was ahead of me, I would have probably given up. I
didn't, because I never knew where I wanted to end up with my skill
and how much there was left to learn. And while that may not be the
ideal way, and perhaps even impossible these days, it does illustrate
the need to focus on the present time and focus on what's important
right now. Patience is the key.
I feel that one of the most important reasons why I have succeeded in
everything I wanted to achieve is that I didn't lose precious time by talking
or thinking about what I was going to make - I simply made it. Talk means
little in this industry - you need to show what you can do. I have seen
dozens of people advertise their upcoming mods or levels on a grand scale,
and in the end they disappear without a trace and nothing got finished, let
alone released. Don't talk, just make it and talk afterwards. Don't sit
passively next to your computer, thinking of how great it would be if you
could make this or that. Simply start on it and see where you end up.
Practice is the only way to learn something valuable, and the only way you
can fill up your portfolio.
Similarly, many people are too critical of themselves and end up finishing
nothing they start because they dont have the confidence that their current
design is worth the time. This can be very detrimental to ones career or
personal development. Plenty of beginners never progress because, by the
time they are halfway through development, they start to doubt their own
design, or they get stuck on technical issues. They give up, start a new
project, and that ends up crashing down halfway through as well. This cycle
can continue for years and, in the end, their portfolio is either still empty or
filled with half-finished projects. This certainly is not what a potential
employer likes to see in a portfolio.
Do not expect your work to be perfect right away. You won't be able to
achieve a level of quality similar to professionally made material right from
the start. It's perfectly normal that you can't as a beginner. The
professionals spend years making it to the point where they are now you're not going to beat them to it in just a few month.
Attempt to be realistic about your expectations and allow yourself to
make mistakes. And when you do, accept them! Do not start over again on
each new problem you face. Accept it, learn from it, finish the project, and
move on. I never drop the level Im working on when I discover a problem.
Either I fix the problem or, if I can't, I simply accept it and learn from my
mistake. The whole issue can be compared to musicians. When a musician
plays out of tune, he or she doesnt stop the performance because, if they
do, it will only become obvious that they made a mistake. Don't put
attention on your failures. Do not obsess on the problems you encounter
theyre inevitable, but not the important part of developing yourself. What
counts is what you do right, and what you learn by doing so. And the only
way to show this to potential employers is by finishing the work.
Specialization
Why?
Becoming more specialized in one aspect of the work over others is often
necessary in order to reach a sufficient skill level and then, through that,
find a job in the games industry. The amount of specialization depends on
the exact circumstances.
Game development is incredibly complex. It has taken me years to get to
a skill level where I feel like I truly understand and control my own
specialization; namely Level Design. Years to master just one skill! Imagine
how long it would take to master a wide range of completely different
aspects of Game development! It takes years of practice to truly master a
particular skill. If you try to master too many new skills at once, your time,
effort, and memory will become fragmented between them. It will become
impossible to practice each and every one of them to the necessary extent.
By the time you're ready to go job hunting, you may have the luxury of
looking at a wide variety of job types, but its unlikely youll have mastered
any of the appropriate skills to the level you would need to actually get any
of the jobs. For any job you apply at, there will likely be someone else who
has spent the last four years trying to master that one single skill, and
therefore, theyre going to be light-years better. And that will cost you the
job.
Without a significant amount of practice you will not be able to stand far
enough out of a crowd to get the job you want. Specialization on one skill
is essential so you can be completely focused because, believe me, you will
need all the development time you can get. Getting a job is harder if youre
the Jack of all trades, master of none.
There is another problem to being too well-rounded: namely your own
level of talent. I am strongly convinced that whenever you are not very
good at something you should consider giving up and look for the skill for
which you do have talent. If you don't have it, then no matter how hard
you try, you will never become a master in that specific skill. By the time
you would achieve an intermediate skill level there's always somebody else
who has already become an expert in the same, or less, amount of time.
Simply because they had it. It's that person who is going to get the job
you apply for - not you. If you are talented, you will have much easier time
learning a skill than someone who isn't. It's the time that a talented person
saves that will allow them to invest that extra available time back into the
desired skill. The result is a more skilled person.
Programming and art are two drastically different aspects of game design.
Programming is logic and ratio. Art is emotion. Most people are talented in
one of the two, but very few in both. Programmers often lack the sense of
balance and harmony an artist has. Likewise, an artist often lacks the
logical and mathematic insight a programmer has. If you don't have the
talent for it, you won't get very far with it. You could have better spent that
valuable time where your true talent lies; where it would really pay off!
Regardless of what some will try to tell you, without specialization you're
nearly useless in this industry. Most jobs demand a certain amount of
specialization, even if it's just the basic Programmer or Artist separation.
Very few professionals are both good artists and good programmers; even
fewer actually use both skills in their daily profession because it simply isn't
practical for the company to have one person in both types of positions. If a
single developer has to handle too many different tasks they will loose focus
and will run out of time. They will have to rush through everything, at the
cost of quality. Plus, this is not an efficient way for a company to handle
staff skills.
Due to the ever rising complexity of game development, more and more
positions are split up and divided over multiple, highly specialized,
individuals. An example of this is one from my own profession: Level
Design. At first a single developer created the entire level: from the initial
concept, to texturing, to gameplay, to decoration and lighting, to its final
iteration. A few years later a texture artist got involved and started taking
over the texturing tasks of the Level Designer. Some time later, the job of
the Level Designer was split into one person handling the gameplay of the
level, and another handling the environmental art. This progressed to the
point that today there are gameplay designers, scripters, sound composers,
texture and material artists, concept artists, environment modelers, particle
artists, level artists, and so on simply to create just one level. Ten years
ago this used to be handled by one and the same person! The rising
complexity of the gameplay, materials, particles, environment geometry,
and the like, made the original single task so complex that a single
developer would never be able to handle all of it on his or her own anymore.
This process is going to continue and soon there is also going to be
somebody dedicated to just environment physics. Specialization is key if
you want to stand a chance!
What?
What to master is purely a personal choice. Pick what you like the most,
not what would earn you the highest wage or for that which is in the most
demand. This is about what you are going to do for a good part of your life.
You should enjoy it!
There are a number of widely differing specializations in the games
industry one can pick from. While this is by no means a definitive list - there
are too many sub-specializations and variations within them to list them
completely here - it will give you an idea of the most common
specializations there are and what is generally expected for each of them.
Since most of those reading this book have very likely already made a
choice, the list is kept brief. You can probably skip this section if you've
already found your passion.
General Programmers
Requires someone who is good at math, has a strongly logicorientated mind and can work with precision.
Tool Programmer
Network/AI/Physics Programmers
Very technical job that requires strong math skills. Usually not
suitable for beginners.
Graphics/Engine Programmers
They design and create the engine on which the entire game
runs, including programming complex visual effects such as
water surfaces, or they modify an existing engine.
Requires someone who is very good with math and has some
kind of art experience. This job is usually not suited for
beginners due to its complexity, although exceptions do exist.
Scripters
Game Designers
Level Designers
Design the floor plans, descriptions, and events for the levels
in the game. They are usually also responsible for enemy and
powerup placement. In some studios this person can also play
a large role in implementing graphical content and therefore
also be responsible for making the environment visually
appealing.
Interface Designers
Design and create the interface of the game. Both the menus
as well as the heads-up-display in-game.
Writers
Hard to get into as a beginner since there are often very few
open positions available.
Creates just about any asset required for the game. These
artists help wherever they are needed. Varied work.
Technical Artists
Concept Artists
Environment Artists
Character/Texture/Lighting Artists
FX Artist
Only larger studios require these artists, there are few fit
candidates and there is a high demand for this job.
Cinematic Artists
Animators
Harder to get into due to the complex subject matter but that
difficulty is offset by the shortage of capable people. Demand
outstrips supply usually.
Essential developers.
Producers/Directors
#3 Education: Is it educational?
Attending a game development class can, of course, teach you a
thing or two about the development of games. Even though it might
not teach you everything (see The Bad Side below), additional
knowledge is never a bad thing. You can't go wrong by knowing too
much. A game development class can teach aspects of the industry in
a more structured way and might go over subjects you might have
never thought about yourself.
#2 Inexperienced teachers: The less they have the less youll get.
Many teachers often have little to no games industry experience
themselves. Often they are very new to game development and have
only gotten into it recently. I have heard plenty of stories where the
students actually know more about certain programs than their game
development teachers. Some have also had greater skills, or even
been in situations where the teacher has only been working with
certain programs for just a few months and has never even been in a
game development company. And yet, they stand in front of a
class This can obviously have grave repercussions on the quality of
the coursework. A good teacher must know the subject extensively
and have plenty of experience to back it up. Its impossible to
comprehensively teach students about subjects that you, yourself,
have never experienced, or have only just started learning yourself.
Because game development schools are still a relatively new
phenomena and, because there are very few experienced developers
around who are also good teachers, there is currently a very serious
lack of experienced teachers. Attending a game development school
might find you in a class with a teacher who is just as new to the
subject as you are. Thats not exactly an ideal situation.
The Future
While a diploma is currently not essential for acquiring a job in the games
industry, it certainly can have long-term ramifications. The games industry
is a very international industry. As mentioned before, one might have to
move to another country or even the other end of the world to get a good
job. To do so one needs a visa or a green card. Visas are hard to arrange
without a proper education. Government officers of the country one wishes
to move to need to be convinced that they are justified in moving a
foreigner into their country specifically for that job. If one does not have
solid education then that might be a sign to those government officials that
the person is not qualified to move over, even though the person might be
the very best in what they do. Foreign nations try to admit only highly
educated people because that group of people gives them the most
insurance that they will be a benefit to their society. They consider a person
with a mediocre or worse educational history to be a risk for the country
and admitting them might end up costing their society money if they were
to loose the job. Thus, they would not be happy to go through all the
trouble for unqualified people.
The whole point about the complex visa procedures is that the
governments try to make the companies hire people from their own country
first, before looking outside the borders, so it can benefit their own citizens.
Their thinking is that if a person has not received sufficient schooling then
they are a low-skill worker and thus such a person can also be found within
their own borders. While this logic is completely out of place in relation to
this industry, there is little one person can do about it. Not having a diploma
might make it very hard to move to a foreign country to work; especially in
the post 9/11 United States of America. If you ever want to move out to a
different part of the world then you should really consider getting a good
education.
The same long term vision is true as a backup plan for yourself. As
mentioned before, the games industry can be an incredibly frustrating place
to work in. Some say that the average games industry career only lasts
about five years before people burn out and get out of the industry. If the
only thing you can do is create games, and you have no diploma, then you
won't easily be able to leave the industry and find another, more traditional,
job.
Young people eager to start their careers are often so motivated that they
do not consider quitting a possibility. Game development is their life and
they honestly expect to work on games for the rest of their lives. But
believe me, it is not that simple. Even the most dedicated and motivated
professionals sometimes think about quitting because it really is that
frustrating at times. Do not underestimate the impact of frustration.
Of course, whether you will become frustrated or not also depends largely
on yourself. If you typically can't sleep at night when things aren't going
like you want them to, and when you are very passionate about your
profession then you are more likely to end up frustrated at some point in
time.
This is also true for the workaholics. If you are the type of person who
works 24/7 and who works overtime every day for free, then one day you
will either going to become really frustrated or you will burn out and
become depressed.
Another reason why one might one day choose to step out of the games
industry is stability. Most people getting into the industry are very young
and have not settled down yet. But when those people have settled down,
perhaps with a wife, kids, a house, and a nice car, then a more stable job
will be very desirable. A twenty year-old might not object moving from one
country to another every few years but a 40 year-old most likely will. Few
people are content moving for their entire life; at some point you will have
to settle down or at least slow down and the games industry in its current
form is not exactly perfect for that.
In all these scenarios a backup plan is at least desirable, and at most,
necessary. The ability to step out of the industry, even if it's just for a few
months, is highly desirable, but without a diploma its much harder to pull
off. Getting a job as a teacher at a game development school is, for
example, a very stable and long-term job, but its also hard to get without
the proper educational background.
Conclusion
The overall point is that game development schools are not essential but
can make a difference. It's never bad to go to one but in the end it is still
somebody's portfolio, skills, and experience that will land the job. Game
schools should be regarded largely as a way to stretch time. Ask yourself
the question whether you are ready for a job or not. If you are then simply
find a job and start your career because a single year of field experience
will teach you more than a decade in school. Any employer will hire a
person with no diploma but with four years of professional experience over
a person who completed a four year game course but who has no
professional experience. Experience matters a lot and is much more
important than any school ever will be.
However, if you do not consider yourself to be ready yet for a career, for
whatever reason, then game development schools are a very good way to
stretch time and allow yourself more time to develop yourself and your
skills. If you have the money and motivation then a game development
school can be a wise decision that can pay off, especially in the long term.
There are a large number of incompetent schools around so do be careful.
The best schools are those who are in close contact with the games industry
itself. Not with just one or two local studios, but with a dozen studios and
industry people. The best teachers are those who have industry experience
and who know what counts in this industry. And the best classes are those
that are up-to-date and relevant to today's games industry. Look for a
school that can offer you such an education, and you will probably be set for
a few years.
Chapter 4
Indie Games.
Independent and stand alone game projects that are non-profit or
low-budget games are generally built from scratch by enthusiasts.
Unlike mods, these games are not based on any existing game and
they are more likely to go commercial than the average mod.
Indiegamer.com is an example of this kind of community.
Demoscene.
This is the art of creating realtime and non-interactive demos with
the purpose of showcasing art and programming skills. It appeals
primarily to programmers and much less to those who are interested
in gameplay. Scene.org is an example of such community.
Why
There are several reasons why being active in mod teams and communities
can greatly benefit yourself and your career. Let's line those up.
#1 Fun!: It is!
Developing games, or extensions for existing games for that
matter, is simply fun. Fun should be the number one reason why
anyone gets into modding. You shouldn't get into it because of the
publicity, or because of the commercial potential of your creations, or
as a way to get into the games industry. The primary reason for
modding should always be for the love of what you are doing, and the
ever-present urge to create and develop.
#3 Publicity: Be a star.
If you develop a quality mod, you, and/or the team you are part of,
can become quite a star online. The success of a mod will directly
translate to the amount and/or quality of people working on it. You
can earn quite a lot of publicity and respect by your community work,
which in turn could pay off in the long run. Because of your, or your
team's, distinct online presence the right people might notice you and
offer you a job.
Why Not
On the other hand, not everything related to mods is good. There are a
number of negative aspects too.
especially the case with overly complex concepts and designs or how
to best handle certain situations. An experienced modder will design
concepts that are realizable, and they will know how to best handle
the mod: how to start it, what to focus on, and so forth. An
inexperienced modder on the other hand might come up with a
design that, after months of work, proves to be impossible to realize.
They might also focus on the wrong aspects and don't have a clear
enough vision of what makes something good and fun. All the time
you've put into such a mod might turn out to be useless because of
the incompetence of others.
How
Joining a mod community is fairly easy. All you need to do is pick the game
and technology of your choice, and become active within that games
community.
Being active in a mod community usually means following:
Unreal
The unreal community is one of the largest and most supported
communities. As the Unreal Engine is one of the most widely used
commercial engines out there, getting up to speed with this
technology would be a wise move.
Epic Games, the company behind the games and the technology,
has traditionally offered quality support to the community - especially
in the first year after a release - and also occasionally organizes huge
modding contests. There are official online tutorials, video tutorials,
and books available to help beginners get up to speed. Right after a
release of an unreal series game there is a huge increase in the
active modding community. Historically, Unreal experiences a strong
peak in community activity the first year after a release and then
slowly declines to almost nothing until the next release.
Half Life
The Half-Life community is sometimes also known as the Source
community, named after the engine it uses. The Source Engine has
had a moderate degree of commercial success and is mainly used for
smaller and lower budget games, although there are exceptions.
Valve, the company behind the games and technology, is known for
being supportive and dedicated to its community and offers official
tutorials, forums, and other help. Of all mod communities, Valve is
best known for buying up successful mods. Counterstrike is the best
example of this practice.
The Half-Life community, traditionally, is a large, very dedicated,
and stable community that survives quite a long time over the life of
various game releases. Usually, years after the release of a game, its
community still maintains a fairly consistent activity level, although of
course, reduced compared to the activity level soon after a release.
The technology is popular among beginning developers because of
its relatively simple and direct approach. Whereas other technology
becomes more complex over the years, Half-Life uses a less powerful
but more oldskool approach. This more simplistic approach is slightly
more accessible to beginners than the more modern and more
complex approach of other technology.
Well-known moddable games that belong to this category are,
obviously, both Half-Life games, Counterstrike, and Team Fortress.
Online, collective.valve-erc.com would be a good site to start out of.
Of course, there are many more communities out there than just these.
Examples are Far Cry and Crysis, Supreme Commander, Grand Theft Auto,
Warcraft 3, World of Warcraft, The Elder Scrolls (Oblivion, Morrowind), and
others too numerous to mention. Each of these offer different advantages
and disadvantages and it is up to the modder to decide which game,
technology, and community fits them best.
The Types
If you decide to join a mod community you should note that there are three
primary ways to be active in the mod communities.
#1 Independently.
Smaller projects.
Faster. You never have to wait for anyone. You don't have to
worry about a team member who has an exam next week and
can't work on the mod for a week. The only thing you need to
care about is the time you have available yourself, which
hopefully is quite a bit. You also don't waste any time on
recruiting people or leading your team.
Why Not:
Fewer contacts. If you're on your own, you will also have less
interaction with fellow members of the mod community. There
won't be a team to interact with or build up a relationship with.
Without knowing the right people, it might be harder to get
hold of a job in the games industry one day.
Larger projects.
Typical examples are new gametypes and any other type of larger
mod.
Why:
More help. You're not on your own if you have a team backing
you. Any problem you bump into can be handled by the entire
team. Your fellow team members might know the solution to a
difficult technical problem, or they might have skills that you
don't. All of this allows you to get work done that you
otherwise wouldn't be able to by yourself.
Why not:
Way too many teams. There are also simply too many
mod teams. The few intermediate candidates there are
have a choice of over hundreds of mod teams who all
want to recruit them. In the end, every team has some
members, but none of the teams have enough to realize
their projects. Many people start their own team without
taking into consideration that they could also join an
existing team and thus the number of one or two
member teams grow.
#3 Joining a team.
Bigger projects.
Typical examples are any other type of larger mod. Often the mod is
already well established.
Why:
Why not:
Slow. Similar to what was described when you start your own
team. You are dependent on the rest of the team and the
speed they work at. The amount of time you put into it yourself
is irrelevant if they don't invest a similar amount of time into it.
As with any groups of people, there are many incompetent leaders and
teams around. If you do decide to join a mod team then there are a number
of potential problems to look out for. After all, the last thing you want is to
put in thousands of hours of your valuable time into something that never
sees the light of day. Carefully make your choice or your work might be for
nothing.
#5 Want to be a: Wannabes.
A problem that is relatively new to the mod community is that of
wannabe professionals. Some people run their mod as a company
even though it is non-profit and no one involved has any experience.
The original idea of modding was to alter a favorite game alone or
with a bunch of friends, have a good time together, and enjoy whats
being done. Today, this is often forgotten as too many people regard
modding solely as a stepping stone to a professional position. If the
key members of a mod have a very high and unnecessarily
professional attitude, then the mod is more unstable than a
different, more relaxed, and easy-going team.
There are two serious reasons for this:
In the end it is not about fancy titles but it is about the quality of the mod
itself. If a team cares more for the titles they are giving themselves than
the actual mod, then there is something wrong.
Never join a mod team solely because you want to score a job in the
games industry. One of the most important aspects of modding is that you
enjoy it and that you are passionate about your own creation. The potential
for a job should only be secondary.
Conclusion
People just don't know or don't care about why a screenshot looks
bad. People judge what they see, not whether or not it's a screenshot
of a mod in alpha stage or not. If they don't get hooked by it right
away, they'll move on and forget about your mod. Most work in
progress screenshots are not yet impressive enough to grab the
average gamer. Do not release material that does not do justice to
the final result you have in mind.
Advertising your mod will make sure people actually play what you've
made, which is another reason why you've actually made a mod. The public
will help you improve by providing feedback and reviews on your mod, and
that feedback is indispensable if you ever want to evolve into a better
developer.
The public will also put you, or your team's, names out there; again this
is indispensable if you ever want to get noticed by the right people. Those
right people can be people from inside the community through which
building a relationship can later lead to several advantages, or to
professionals who can offer you a job. In other words, building relationships
through word of mouth.
If you ever want to get anywhere, make sure people notice you. I
personally know some extremely talented modders who are so into
developing their mods that they forget about this important step. No one
knows them and they are missing out on many opportunities, which is a
shame. A couple of exceptions aside, attention isn't something that'll come
on its own.
Apart from all that, all you need to do is enjoy it and strive for quality.
Chapter 5
Going Commercial
If you are convinced that you are ready for the big leap then there are a
number of considerations you will want to take into account. Among these
are: what type of companies are there? why is freelancing so hard? what to
look out for when applying to studios, what to expect during job interviews,
and much more.
Beginners often have a very difficult time getting into the industry. Every
job requires experience, but one cannot get experience without a job. It can
be an endless circle but not impossible to get out of.
One reason is that most job ads which demand experience do so solely to
scare off beginners. If you are really good with what you do, they'll forget
the fact that you might not have any professional experience and give you
a chance anyhow. If a job demands experience it does not necessarily mean
they will not hire a highly skilled person with no experience.
Secondly, being a beginner can sometimes even be an advantage. Hiring
experienced developers can sometimes have several drawbacks. For
example, they can demand more benefits, a higher salary, and, perhaps
most importantly, they may be too opinionated and biased about certain
aspects of development. A young developer usually hasn't grown their own
style or approach yet and thus can be molded into the shape that the
company is used to. This can be a reason why a company might choose a
beginner over a more experienced person. The inexperienced will be easier
to mold into what they are looking for and push in the direction they want.
It is easier to transfer a style and approach onto a beginner than it is onto
an experienced developer who might object to the style or try to alter it too
much.
Most people usually manage to get hold of a game development job after
anywhere between two to five years of study, regardless of whether they
studied at a game development school or on their own.
Portfolio
The Goal
The Presentation
The portfolio is meant to give the viewers an idea of your skill level, what
you do, and to convince them that you are good at it. A gallery of your skill,
and thus a good presentation is key.
Many developers present their portfolio in the wrong way. Let's line up
the most common mistakes.
By now, the three most common mistakes should already give you a clue
about the must haves of a game industry portfolio:
#1 Clarity: Crystal-clear.
Who you are, what you can/do do, how you can be contacted, what
you are looking for, and why you should be hired. Apart from your
actual work these are the most important questions a potential
employer would like to see answered. Make sure the answers to
these questions are easy to find. If the viewer has to go through four
pages just to find your email address because they would like to
express interest in you, they may never end up doing just that.
Your work might also require additional information. Be sure to
provide it. A potential employer might want to know how long it took
you to create work a or b. They might also want to know what
exactly you did: an environment might have been made by multiple
people. If you were only responsible for the lighting then state this.
Explaining and detailing your work is never a bad idea as long as it
does not hinder the viewing experience.
Internships and junior positions are often the only way an inexperienced
game developer can get into the industry. They are great opportunities but
do be careful.
Some companies use interns and juniors as cheap labor and keep
promising their interns that if they do well, they'll be hired, while exploiting
them.
It is normal that an intern or junior does not get paid much, if at all, but it
becomes a problem when a substantial number of the development team is
made up of interns or juniors. If there are too many beginners on the team
then it means A) the team as a whole is inexperienced thus potentially
harming the production quality and B) the company is neglecting to either
hire expensive but experienced people or promoting hard working
beginners. In either situation it's an unhealthy solution.
Also be aware that one will potentially be micromanaged and/or checked
up on much more often as an intern or junior developer. Such a person will
have much less swing with the senior people and they will be more critical
towards you, possibly lowering your confidence and causing frustration. In
general it is hard to try out new techniques or push your own ideas if you
are not in a senior position. Often one is told what to do and to stick to it
thus leaving little to no room for your own creativity or a chance to improve
one's skill.
This can be very frustrating but if you keep it up long enough then one
day you can be in a position to control all of it. And that's when it really
becomes fun. Entry-level positions are sometimes a necessary evil. Struggle
through and you will shine.
Often beginners are very eager to look for internships abroad. Don't
underestimate how difficult this may prove to be. Very few studios will
relocate a person for an internship or a junior position. Usually it is only
possible to get into the industry through an internship if you already live
near the studio. Interns and juniors take a lot of time to educate and they
are quite a risky investment as it is impossible to know how the person will
evolve over time. Few studios are going to put in even more effort and
money, and take even more risk, by relocating someone far away. Not only
does this require more money and effort, but someone who used to live far
away is also more likely to get homesick after a while, or simply get bored,
and thus leave the area again since they have no emotional bond. This is
also true for testers; which is the next subject we will touch on.
Testers
A good way into the industry is to start as a game tester at a local game
developer. As a tester, you can become familiar with how a game studio
operates, become an insider, and gently role into a production position.
There are plenty of developers who've started as a tester first, and later on
moved on to become a programmer or similar.
The requirements to be a tester are quite low and, with a bit of luck,
getting a job as a tester should be possible for most. Companies expect
following from a tester:
A good writer. Testers need to write a lot. Anything that has been
tested needs to be documented. The better you are at writing, the
better the chance of getting the job.
Dedicated. A game tester will have to play the same level a million
times over. Without dedication it will not be possible to keep up with
this tiresome task.
Why
Why Not
#4 Gratifying? Hardly.
It is one of the jobs at the bottom of the development ladder. Apart
from reporting bugs, a tester has little to no impact on the game.
Often most bugs that the testers report are never fixed because the
developers may not agree or there's simply not enough time to fix all
the bugs - only the most critical issues.
Freelance
Many newcomers think that a good way to get into the industry is by
freelancing: short, often off-site contracts. But beware the freelance work;
it is not easy at all.
While it depends heavily on one's skill, it is generally very hard to get a
foot in the door by freelancing. The only skills that can be used relatively
easily for freelancing are concept art and sound/music. All the other
industry professions are very hard to pull off remotely. There are many
reasons why freelancing is not the easiest career path and we'll get back to
those after the positive points.
Also note that there are two types of freelancing. On one hand, there is
specialized freelancing; often performed by individuals who are highly
skilled in one area like concept art, level design, music composing and so
on. Companies have a demand for specialized freelancing to fill specific gaps
in their teams. Tasks are often quite complex and there's a substantial
amount of creative freedom available. As a specialized freelancer you are,
after all, the expert.
On the other hand there is the factory freelancing, often performed by
groups of people/companies and often, although not by definition, located in
a developing country such as China or Eastern Europe. These groups
freelance by contract and perform various tasks for other games; for
example, modeling trees for another company's RPG. Factory freelancing is
a mass production of often simple and boring tasks which the company
behind the game doesn't feel like doing themselves; and because it would
be cheaper to have a room full of low-cost labor do the work.
We will focus on specialized freelancing as it is the better choice of the
two. Factory freelancing is hard to get into as an individual and is often lowpaid, boring work.
Why
Why Not
#1 Not much to choose from: There simply are not many contract
jobs available.
The more centralized a position is, the more eager a company will
be to have a person on-site in the team, on a permanent basis.
Centralized positions are, for example, programmers, animators,
level designers, or general 3D artists. Any position that requires a lot
of input and communication is not outsourced easily.
The few exceptions are the very specialized programmers and
artists; for example, a weapon artist. But then again, the stronger
one's specialization, the smaller the potential market will be. Thus,
there is less of a chance for a successful freelance career.
Having a great idea alone won't get you anywhere in this industry. The
games industry is plagued by people who claim they have the greatest idea
ever. If you have a great idea you can do two things.
Legal. Who would own the intellectual rights to the concept? What if
the company was already working on a similar concept long before
you send your idea in? You might think they've stolen your idea when
they release the game and then you might sue them. Even though
the company would probably win any court case, few companies want
to get into that kind of trouble.
Vagueness. Most people with great ideas usually only have a vague
idea of what they want and usually have written nothing down. A
good concept is written down in a design document thats usually at
least ten pages long. The document explains everything that is
somewhat important in detail including the target audience, similar
games, the goal of the game, the key points of the game, and it
describes exactly what would make the game fun and how the player
will experience it. Optionally, it also can provide a rough
walkthrough of the first fifteen minutes of the game and everything
the players have to do and how they would accomplish it. Most
designs fail miserably in this aspect.
Chapter 6
Types Of Games
Apart from the obvious differences such as whether it's a sports game or
a MMORPG, there are also differences in terms of budget, development
time, target audience, and so on, and it are these aspects that are often the
most important from a developer's point of view.
Although not every game can be categorized as easily, the distinctions
between the most common types are usually quite clear. Depending on
personal expectations, and the type of company you prefer (see below) you
may want to make a specific choice what type of game you would like to
work on. I am only going to list the more special types: the average game
is too standard to be worth mentioning.
Well paid. Triple-A games require huge budgets and are thus
well-funded. Of all games, working on a Triple-A game will
usually guarantee you the best salary and other benefits.
Why not
No marketing.
Why
Why not
Small in size.
Why
Why not
No marketing.
Why
Why not
Choosing the right company to dedicate part of you life to can be a hard
choice, and if you end up making the wrong choice, it can also have
devastating consequences.
I have tried to categorize the most common types of companies. The
details can obviously vary per company and not every company can be this
simply categorized but it will give you an idea of what to expect. Read this
carefully and pick a company that you think suits your needs and
expectations. This might be difficult to do as a beginner because of blinding
enthusiasm and, often, little other choice, but do try. Start off in the wrong
type of company and you might be put off working in the games industry
and therefore lose the enthusiasm and satisfaction you used to get from
game development. Combine the definition of the type of games with these
types of companies to figure out what you are looking for.
Why
Well paid. The bigger the company, the more money they
have in general and this will, hopefully, translate to the salaries
of their employees.
Why not
Why
Why not
Less rewards. The same can be said for the rewards offered.
Bonuses and guaranteed salary rises might be less likely in a
hobbyist company although they might still be a possibility.
Lower salary. Although they likely offer a salary that will pay
your rent nicely, it won't make you rich. The pay is average.
Privately owned.
Why
People with diverse skill sets will feel at home. Due to the
often widely varying projects the company is contracted for the
developer's tasks will change constantly. The tasks are varied.
Why not
New company.
Privately owned.
Why
Help shape the company. Your opinion matters and can help
shape the company. You could try to push it in the direction
you envision and you could watch the genesis of something
great.
Why not
Can be any size, usually not incredibly large though. Five to thirty.
Why
Why not
In general, larger companies hire only you for what you can do and don't
care much about your personal opinion or creativity. That is, unless you
apply for a top position, of course. Large companies have large and
specialized teams that have a distinct hierarchy. There is often little room to
experiment or voice your personal opinion, point of view, or insert much of
your own creativity. The consequences of this will depend heavily on what
you personally expect from it. No matter what happens, though, game
development is still a creative profession; it will always require at least a
little personal creativity but don't expect to get much as a new hire,
especially not in larger companies. Designers, programmers, and more
technically-minded developers often experience this the least; artists
experience this the most and therefore may become frustrated quickly.
The bottom line is that large corporate companies will offer you the most
job security and the highest salary but you pay for it in terms of personal
development and freedom.
Smaller companies, on the other hand, may offer you more possibilities,
but they are also less secure. A large corporate company is a slow, but
guaranteed path to success. Anything smaller is more of a gamble. A small
company can rocket your career higher in a shorter amount of time, but
only if you're lucky. If you really have to make a choice, which would you
pick: Stability and money but a slow and guaranteed path to success? Or
more creativity and a possible quick, but risky, path to success?
The best place to work for most developers is a hybrid between the
corporate entity and the hobbyist company. Well known examples of this
type are iD (Quake/Doom) and Epic (Unreal/Gears Of War). They have the
larger projects, financial stability, security, and benefits of a large corporate
company. Yet they have maintained their more friendly, personal, and
highly ambitious atmosphere. Perhaps most importantly, they are still
privately owned and control everything that happens themselves.
Good Qualities
A company can make or break your career. Making the right choice may
very well be essential for your future career. When job hunting there are
several good qualities in a company you want to look for although, as with
everything, these points are in no way the same for every person or
company. Regard these as mere guidelines.
#1 A cool project!
Do you like the game the company is working on? After all, you
might be spending years of your life on this project. Are you willing to
put in all that time, blood, and effort into that project? Do you like
the concept so much that you don't mind working on it for years on
end? And do you believe in the project? You can't work on something
you don't believe in yourself. Do you think that the game will be a
success or does it play so horribly that you can't imagine anyone
wanting to ever play it?
Even though newcomers often do not have the luxury of being able
to pick a project, it is important to ask yourself the question whether
or not the project will ever succeed. There's nothing worse than
wasting months of your life, or even years, on something that will
never be released. Or perhaps plays so badly that no one will ever
play it. Not only is it a waste of your talent and time, it also isn't
great for your resume. Bottom lime, the more successful you envision
the game to be, and the more it suits you, the better.
Dangerous Qualities
Whether a company is healthy and stable or not can be quite difficult to
determine but try to find out regardless. After all, you don't want to lose
your job after just a few months time, or having to work overtime for
months on end and getting severely frustrated.
Of course, it can be very hard to discover these qualities if one does not
know the company. And even more so for a beginner who may be blinded
by either their enthusiasm, lack of experience, or the stressful situation of
having to find a job soon. Regardless, try to do your best at it because it
can make or break the next few years in your career. The more experienced
you become, the better you will be at seeing the symptoms of these issues.
In addition to these individual points, there are also two types of companies
you should be careful with in general.
#1 False start-ups.
Of note are the false start-ups. There are literally hundreds of
these companies floating around on the Internet. They are typically
characterized by being solely virtual companies (no real offices), who
are in permanent pursue of a publisher and funder for their
project(s). These companies, because often they legally aren't even
companies, can be quite dangerous. Very few of these actually do get
a publishing deal, and even if they do, it's often a very small deal or
one with a small and unknown publisher. The royalties they promise
their team members are often not enough to be worth the time, or
they will never get handed out.
Most of these so called companies are started by inexperienced
developers. The more experience the key members of the team have,
the more likely it is to succeed. If they have no experience
whatsoever however, I would strongly advise not to do any work for
them because your effort will likely come to naught. Most of these
companies are no better than most MOD teams, the same rules of
MOD teams thus also apply to these. Regardless, do not let yourself
be talked into a game thats not worth your time by marketing talk
such as we've just sent a copy to a publisher or we are about to
sign a deal with a publisher or even better we'll make the best
game ever. Until the publishing contract is actually signed and until
there is money, it doesnt truly have any value and it is not a proper
business. It may sound harsh but the last thing you want to do is
waste a year of your precious life on someone else's impossible
dream.
#2 Family business.
While family businesses may make up a significant portion of
society, they should usually be avoided in the games industry. While
of course there are exceptions to this rule, as with any rule, these
companies are usually managed quite badly for many reasons.
The biggest reason is that the people in charge usually have little to
no relevant experience. They are often beginners who have no idea
how to handle a team of developers, let alone the development of a
game. The only reason they are in charge is often because they, or
someone in their family, happened to have a lot of cash available to
pour into a hobby.
The problem only worsens when the one in charge hires a couple
of family members or friends to help them with management. Again,
these people often also have little to no experience with the very
complex matter of game development, with all kinds of grave
consequences. These types of companies are often seriously
mismanaged.
Chapter 7
Applying
When you've finally found an interesting studio, you will need to apply to
it if you want to have any chance on getting a job. Studios rarely contact
people themselves, and certainly not if you're unknown. Contacting them is
the best thing you can do. Don't sit around passively; act actively.
The How
There are several ways to get in touch with a studio.
#1 Recruiters.
Recruiters and headhunters are usually independent parties who
search the Internet on the look out for talented individuals. Recruiters
usually recruit developers for various companies and are nothing
more than an intermediary between the candidate and the company.
Once someone is hired, they have nothing left to do with the recruiter
anymore.
Recruiters can be quite expensive for the company that uses their
services. If they land somebody a job, they claim a bonus from the
company the person will be employed at. Because of this, usually
only large and well established companies make use of their services.
The only way to get in touch with a recruiter is to find one
somewhere on the Internet, or to get in touch through a mutual
friend, or via anonymous job websites (see #2).
#2 Job sites.
The games industry has several specialized job sites with hundreds
of game-related jobs. Most of these sites only focus on a specific
region in the world.
Gamasutra.com
Gamesindustry.biz
GameJobs.com
GamesRecruit.co.uk
HighEndCarreers.com
Gamedev.net
Jobs.CGSociety.org
Of course there are more than just these, and plenty of mod and
game development communities also have commercial job forums.
boards.Polycount.net and Mapcore.net are examples of this.
There are a few aspects of job sites that you should be aware of.
First of all there are two types: the anonymous job ads and the direct
job ads.
Direct: The site simply lists both the jobs, and the companies
the positions are with. The listing is purely informational and
applicants can directly contact the company themselves.
Gamasutra uses this method, as do all forums with job listings.
Anonymous: The site lists the jobs but never the companies
behind them. These are posted by job agencies and recruiters
who represent the studio. In order to apply you first need to
contact the agency or the recruiter, who then may or may not
pass your application through to the company behind the job
you applied for. The site and agency acts as an intermediary
between the applicant and the company and occasionally filters
out applications that don't stand a chance so the company
doesn't get flooded by unnecessary applications. One positive
point is that they help the applicants looking for a job that
would suit their needs. This is basically similar to what a
recruiter does. Gamesindustry.biz is an example of this
practice.
#3 Studio websites.
Contacting a studio directly is one of the best ways to approach a
studio. It gives you a chance to bypass all the extra steps like
recruiters and job sites, and directly contact the studio. Visit the
website of a studio you are interested in and see if you can find a
way to contact them. Gamasutra.com and Gamedevmap.com are two
sites that list companies per region. They are perfect to get a list of
the websites of all companies near you.
Also of note is that if the website does not feature a job section it
doesn't necessarily mean you can't email them. There is nothing
wrong with sending an open application letter even if they don't have
any open position. For three reasons:
#4 Conventions.
Conventions are the ideal place to quickly get in touch with a large
number of different studios. Also, since you can chat face to face to
representatives of the studio, it is often also a more personal
approach than simply sending an email.
Large studios often organize special recruitment events and mass
interviews in their convention booth. This is especially true for
Northern American and British conventions while Europe seems to lag
behind at this time.
Attending a convention isn't easy, however. Usually they take place
far from where you're living and not everyone is given entry.
Friends and contacts usually do best in getting you a job. Whatever way
you choose, remember that making direct contact is always better than
indirect contact. Recruiters and anonymous job sites are indirect ways of
contacting a company. All communication will happen through, often biased,
intermediaries and that can obstruct the recruitment for several reasons.
Persuasion. Since recruiters and job sites are paid a commission for
every person they land a job, their prime motivation is to do so for as
many people as they can. In general, there are of course exceptions,
but they care more about how many they can land a job rather than
whether or not it is the right job for the applicant. They might
become persuasive towards the applicants and try to talk them into a
job that may not be entirely what they looking for.
On the other hand, intermediaries can also offer some benefits.
One thing you should know about the hiring process of game
development companies is that it is slow. Not just slow: really slow. Of
course some companies are an exception to this rule but it can take a
couple of weeks before a company answers your application, if they even
do...
Applications are usually reviewed by a person handling recruitment first.
That person filters out the serious applications and sends them to the
corresponding department where the leads review all of them and send
their thoughts back to the recruitment manager, who then contacts the
remaining applicants. By the time your application has gone through this
whole process, weeks may have passed.
The company may also withhold from answering the application until they
have received more applications so they have a broader choice. This could
take months.
Personally I have never been able to determine if there is a relationship
between the time it takes them to reply and whether or not I get invited for
an interview. Several times I have applied to positions and only got a reply
back four or five months later with an invitation to an interview, or a denial
of my application. There is no need to panic if a company doesn't answer
your application within a week, or even within a few weeks. It doesn't
necessarily mean they are turning down your application.
On the other hand some companies simply never reply, which is quite
rude if you ask me. If it takes a long time and you are still very interested
in getting a job with that particular company, a simple update request
might be a good idea. After all, you never know whether or not your first
communication actually arrived, maybe it got lost in the post, or in a spam
filter. Do you want to risk a potential job for such a stupid reason?
Spamming a company should never be done but there is nothing wrong
with a second and polite email to ask for an update on the status of your
application.
The What
Before you apply at a studio do some research. If you don't know the
company you're applying at, you also can't know if the job and the studio
would suit your personality and ambition. At the very least you should know
what games they have made in the past.
The best way to do this is to look up all companies that you might want to
work for, compile a list, and sort it depending on how badly you want to
work for each company on the list. Then extensively research the top five
companies on your list and put some extra effort in your application to
them. If the first five don't work out, move on to the next five.
How a studio prefers to be contacted often varies greatly. Some content
themselves with just an email and an online portfolio. Others like to have
the portfolio on a CD or expect a demo reel. In general an email is usually
preferred and by far simpler, but a paper application can get much more
attention. An email can easily be overlooked or get stuck in a spam filter;
which is not true of a paper application.
Regardless of the way the studio likes to be contacted, either through
email or snail mail, one should always include a cover letter. Since the
games industry is quite easygoing, cover letters don't have to be overly
official, although this does depend on what type of company one applies to.
In general, the smaller a studio is, the more casual a cover letter can be.
Whatever the style of the letter is, it should always touch on a number of
key points.
#6 Be positive!
Never mention your weaknesses! Not on your portfolio and resume,
and certainly not on your opening letter. Lets use the texture artist
example again: let's say you are a texture artist and you are very
good with realistic textures but weak with a fantasy style. Never
mention that you're no good with fantasy. Stick to what you can do
well, like realistic textures. The same goes for other things. If you'll
have trouble relocating, do not mention this yet because chances are
they'll just dump your application straight into the recycling bin. The
opening letter's purpose is to get the studio interested in you and
undertake further action. Negative points do not get any one
interested. Once the interest is there, they might be better prepared
to try to overcome issues and any weaknesses you might have.
#7 Be serious!
Applying for a job is a serious business. Don't joke in your cover
letter. It will either make you look immature or the other party might
not get the joke and misunderstand you. Don't try to come across as
the funniest person around because no one takes such a person
seriously when dealing with business matters. They may be a real
joy to share a room with, but in a professional environment such a
person will only distract colleagues.
Likewise, do not come across as frightening either. There's nothing
wrong with being different, but don't try too hard. You will not
increase your chances by mentioning your hobby of visiting
graveyards at night. There is nothing wrong with strange hobbies
they are more common in this industry than in others - but there is
little need to place emphasis on them. Keep that for later.
Additionally, its never a bad idea to state how you came across the studio
and how much you like their games.
Most studios prefer a fairly simple cover letter, a resume document
attached, and a link to an online gallery of the applicants work. I personally
never attach a document but simply refer the studio to my portfolio site that
holds both my portfolio and my resume. The industry is far from strict.
There are no definitive guidelines as to what to send and how to send it.
The only thing that is truly important is that what you send gets the
message across and gets them interested in what you can do. Whether you
do this by attaching the resume, or simply putting it on your website,
doesn't really matter in the end as long as the information is easy to access.
The Interview
Types
When you've finally found a studio who is interested in you, they will
invite you for an interview to discuss your skills and the job either on the
phone, or face to face; depending on the type of interview. In general there
are three types of interview; some studios use all of them, others just one.
Usually done when the candidate lives far away, when the
studio is not entirely convinced yet of your qualifications, or
simply as a first step.
Usually the first step, and rarely the last step. If the call goes
well, they will probably invite you over for an on-site interview,
although there are exceptions. There is a slight chance they
will hire you straight away based on your telephone interview.
This is especially the case when they are already convinced of
your skill or very stressed for employees, but it can also be an
indication that the studio is too poor to pay for an interview
trip. It can also mean that they rush through the recruitment
process and don't take hiring people very seriously. This can
have negative consequences such as a badly assembled team
or quick to fire/lay off policy on the other end. It could be
either or even both. I highly advise you to visit a studio before
accepting a position. Well get back to this later on in the
chapter.
Also usually just the first step. The mass interview is a way to
quickly filter out the good and the bad from a large mass of
applicants. If you are interesting enough to them, they'll likely
invite you back over later for a more personal interview.
Only large and wealthy companies have the resources and the
opportunity to hold these types of interview sessions.
How many interviews you have to go through all depends on the type of
company and where the company is located. If you live nearby, they will
probably invite you over right away. If they are located far away on the
other hand, they will probably phone you first, after which they invite you
over if the phone call went well.
Apart from the phone interview and with an exception for some very large
companies, people are usually hired after just one interview. Being invited
to an interview also pretty much means you will likely get the job;
especially if you live far away. In general the rule is the farther away you
live, and the poorer the company, the more likely an invitation for an
interview means a contract. Unless there are problems that come up during
the interview, of course.
A well-mannered and financially healthy studio will refund your interview
travel costs and, if necessary, arrange transport and a place to spend the
night for you. All of this costs them time and money. If they are not
genuinely interested in you they won't go through so much trouble. The
more it costs them to bring you in for an interview, the more likely it is that
you will get the job.
Of course for everything there is an exception. No matter how much it
costs them and how enthusiastic they are, without the contract in your
hands anything can still happen and they could still choose someone else.
The managers you may speak to are trained to be enthusiastic. They are
simply doing their job and a good conversation doesn't necessarily mean
the manager likes you much. Keep your feet on the ground. We will return
to this later on.
One thing you certainly shouldn't do is inform everyone about your
interview and the job you think you are about to get. I have seen plenty of
people who update their site or make a post on a big forum to announce
they will be hired by some studio. Not only is doing this highly
unprofessional, you will also make a big fool of yourself when it turns out
you do not get the job after all. If you do not have the signed contract in
your possession, don't do foolish things because anything can still happen.
What To Expect
Of course every studio has its own way of doing things and there is no
real road map as to how an interview goes but the following will give you an
indication of some of the things that may come up.
When they invite you in (or phone you), usually just one or two key
developers will ask you the usual questions such as who you are, what you
do, what you did, and what you are looking for. They will ask specific things
that are important for the position they have open. For example,
experience with this software, or that application. These sorts of questions
are usually quite relaxed and friendly and basically, in terms of atmosphere,
it's similar to sitting around a table and discussing your work with a bunch
of likeminded people. Relax and just talk about what you've done, when you
did it, why you made something, why you made certain choices, how it
works, how long it took you, and so on.
Also, make sure that you have something legitimately valuable to say
about your work. There is nothing more boring than an applicant who
describes every screenshot as this is a piece of my work and it represents
a soldier/gun/tree/whatever!. Usually, the developers can determine what
it is by themselves, and it is pretty obvious that its yours (It better be!).
What they really would like to hear however, is how you made it, what
steps you went through to get to the end result, why you chose to do it that
way, what your intention was, what you value most about it yourself, and
so on.
Before, after, or during the interview they will show you around the
studio, or at least the department where you would be employed. They will
likely show you the project you would work on and you might have a chance
to talk to some developers.
After that they either send you home or they'll conduct another interview.
Sometimes theyll even call you back in for a second interview later on. This
is especially a possibility in a larger studio who don't mind the extra costs
associated with another trip or if you live nearby.
Their Questions
So, what kind of questions can you expect? Here is a list of frequently asked
questions.
Why are you interested? Why did you apply to our company and not
some other random company?
What was the most fun project you worked on up to now and why?
Where and how do you see yourself in five years time? How do you
think youll get there?
While you usually don't get asked typical questions like describe yourself
in three words in games industry interviews, some do ask these types of
questions. Even though it is unlikely you will be asked these questions, it
wont hurt to prepare for them; especially if youre interviewed by a larger
studio.
The best way to prepare for questions is often to try and guess what
questions you will be asked prior to the interview and think about what you
would answer. Basically come up with all the possible questions and the
respective answers to them and then learn them roughly by heart. You will
be able to answer the questions much quicker if they are asked, and that
will make you look more confident and like a quick thinker. However, dont
answer all the questions as soon as theyre asked sometimes a small
deliberate pause while you appear to be thinking can indicate that you dont
rush your decisions, which is also a trait that employers like to see.
Your Questions
A job interview does not just exist for the company. It also exist so you,
as the interviewee, you can ask them questions and figure out whether or
not you even want to work at their company. You are interviewing them
while they interview you.
Apart from the obvious questions (what they are working on/how big is
the team/what tools do they use/and so on), which you probably already
know the answer to after their introduction, there are several other
questions you can ask them on a job interview.
Can you describe the organization and the scheduling? What kind of
steps do you take to minimize the need to work overtime? (a very
justified yet dangerous question as it can make you come across as
lazy.)
What exactly will my tasks include and what will you expect of me?
What do you like most about your company? And what do you like
least? (This can be asked both to the hiring staff you meet with, and
to the other developers you happen to meet as well.)
If you get the chance, also try to have a chat with a couple of regular
developers and see if you can figure out if they are happy and how long
they've been employed by the company. If most people have only been
hired recently, and it is not a start-up studio, it can mean that a lot of
developers have left recently, for whatever reason.
Additional information
Apart from being asked all kinds of questions on an interview, I have also
heard of people who have been asked to play a random game and then
comment on what they see, like, and don't like.
It may also occur that interviewees are asked to perform a test during or
after their interview. This may especially be a possibility if you apply for a
job that can allow a quick test. These tests are usually for level designers,
concept artists, or programmers. They may even ask you to quickly draw a
rough level floor plan or sketch a new character to determine whether or
not you can, and whether you can work well under stress.
There is also a possibility that initially you may not be interviewed by
developers at all, but by a recruitment manager. This usually only happens
when you are interviewed by large studios. Recruitment managers can give
you quite some trouble because, unlike the developers themselves, they
often know little of the job you are applying for. You may be the best
programmer or artist, but if the person viewing your work has no clue what
to look for or is unfamiliar with all the styles and techniques, it will take
much more effort to impress that person. Recruitment managers are trained
to deal with applicants, they might ask more difficult and/or unrelated
questions and relay more on traditional material, such as a proper school
grade, to determine whether or not you're qualified for the job.
If you happen to be faced with a recruitment manager, explain what you
do in a simple way, for example by using buzzwords that are instantly
recognizable instead of technical terms only insiders know about. And
demonstrate these concepts to them dont just talk about them because
they may not understand all the technical babble, but try to visualize or
demonstrate what it is that you are good at. After all, a picture is worth a
thousand words. In short sell yourself by speaking well and fluently about
your passion as if it's your grandmother you are talking to, who has no clue
about all the technical jargon.
Studios are unlikely to offer you a contract right away when you're there
on site. Often they will send you home and contact you a few days later and
either turn your application down or, more likely, offer you a contract. More
on the contract later on.
#2 Ask questions.
As mentioned before, asking questions will make you appear
interested. Ask questions even if you already know the answers! It is
not always only about the answer, it can also be about the gesture
and a symbol of interest. Although you should obviously refrain from
asking about the basics or it will seem as though you have no idea
what you're doing. Find the middle road. The more you notice - stay
positive and fair in your comments - and the more you ask, the
better, usually. In general, just speak fluently about their project.
#5 Be passionate!
It is especially important that you come across as a passionate
person who loves games. If you don't play games, you do not belong
in this industry. The interviewer will try to figure out just how much
you like games and whether or not you are faking your passion just
to get the job.
Donts
#1 A suit.
While it's better to overdress than to under dress, there's little
reason to do so in the games industry. It's a casual industry. I have
personally never worn a suit on an interview and except for a single
manager, none of my interviewers ever wore one. Very few game
developers ever wear a suit. Dress nicely and clean, but casual. Dress
one step down from a suit, but one step up from your most casual
clothes; somewhere between a business suit and a t-shirt and shorts.
If they did expect you to come in a suit and don't hire you because
of it, then that's a good thing. After all, you wouldn't want to work for
an employer who cares more for your clothes than your skills. I
wouldn't want to anyway.
The Contract
Once you get your hands on the contract read through it carefully. A
contract in this industry can be especially difficult to understand because
chances are it is written in another language than yours, especially when
you apply abroad. Legal text is quite complicated and one has to master a
language quite well before being fully capable of understanding what the
contract states. If you're having trouble with the language, or some of the
laws the contract refers to, ask your future employer. They should be more
than happy to help you and go over the contract with you to explain
whatever you don't understand.
While you should certainly read the entire contract, most of it will be
somewhat standard and can be read over quickly. In general there are only
a couple of critical areas in a standard game development contract that you
will want to devote extra attention to.
#2 Restraint of trade After employment: The other half of the NonCompete Clause.
In almost every contract there's a clause included that imposes
restrictions on what you can do after your employment at the
company has ended. Usually these restrictions are quite meaningless
and self-explanatory. Most contracts will prohibit you from working
for an affiliated party during the first few months or years after the
contract has ended. This is usually done to prevent partners from
backstabbing each other and stealing employees from each other. A
clause like this is very unlikely to ever bother you. The chances that
you would ever move to a partner business is near zero. And if it
does happen, it will likely be a friendly transfer and the parties
involved will just disregard the clause.
The worse kind are those that impose industry-wide limitations. For
example, they may demand that you not work on a similar or
concurrent title in the next twelve months. If you want to make a
career move and quit your current job and move over to another
company that also happens to be working on a specific type of action
game, this clause might prohibit you from doing so. Likewise, if there
are only two companies in your region, and both of them happen to
be making an action game, you may not be allowed to move to the
other and you may end up having to move to another region to work
on a racing game, which you may not be a great fan of. Great!
Usually a company will simply give you permission to start a
contract at a different company, but they are not forced to do so,
they may just as well object to it; especially when they aren't happy
with your departure.
While the decision of your former employer can always be fought in
court, it is obviously brings in a lot of unnecessary hassle and stress.
I personally don't sign contracts that include a too strict restraint of
trade clause in an attempt to prevent future conflicts.
#4 Freelance contracts.
There are studios out there that may try to make you sign a
freelance contract, as opposed to a contract as a regular employee. If
your intention is to become a regular employee with the studio, do
not sign a freelance contract as it will strip you of many of your
rights! As a freelancer the studio does not have to care for you, they
won't pay for healthcare, or any other benefits, and they will not pay
taxes on your salary. Of the salary you'd receive, you will have to pay
taxes yourself (and possibly much higher than usual), thus
considerably lowering whatever amount you get.
Usually only smaller studios and startups try to enforce freelance
contracts on clueless beginners in order to save money on taxes,
healthcare, and to allow them to more easily fire and abuse their
employees. Beware of this! If a studio tries to pull this kind of trick on
you, it is advisable to decline any offer they make, even if they do
offer a proper contract later on.
If the contract involves relocation, be sure to ask about it before you sign
the contract. Ask if they will help you with relocation or if they perhaps even
provide temporary housing. If they don't, the salary might become much
less attractive quickly. Spending thousands of dollars on a move to the
other side of the world will drastically drain whatever budget or savings you
have. It is an investment that may prove to be a waste if the job does not
turn out to be as good as you thought it would be. Only pay for your own
relocation if you are completely convinced it is a great opportunity and that
they can provide you with job security!
All this aside, the most important point to remember about a contract is
to actually have it in your possession, signed by both parties! This may
sound completely obvious, but many people do not take this seriously
enough!
Without a contract, nothing is certain. They may have vocally given you
the job a million times, but without the signed paper, it is not a contract yet
and thus gives you absolutely no guarantees. Be sure to have the contract
ready before you work on anything!
The best way to explain how serious the consequences can be are to relate
three examples based on true stories:
#1 Deportation.
A person was hired by a company overseas and made his final
trip to the other country. However, he did not have a copy of his
contract yet and upon his arrival in the other country he was stopped
by the border police who did not believe his story. Since the company
was out of reach and he had no copy of the contract on him to prove
his story, the person was deported as an illegal immigrant on the
next flight home.
#2 Premature Application.
Another person was hired by a company overseas but only received
verbal confirmation of his appointment. He arranged and financed his
relocation and gave up his old job and apartment. However, shortly
before he was to start at his new job, they suddenly canceled his
appointment for unknown reasons. He lost his job, his apartment,
and sent his all his belongings to another part of the world for
nothing.
Chapter 8
Moving
Why
#1 Adventure!
Making (hopefully) great games with big budgets on the other side
of the world is a big adventure. You get to see the world and do
things a regular gamer could only dream of. You get to make what
millions will play (or at the very least a few tens of thousands...).
Why Not
#1 It is not a vacation.
Most people who move abroad experience the first few weeks as if
they are on a vacation, followed by a (sometimes) hefty culture
shock. Moving abroad is not the equivalent of a vacation. The primary
reason you are moving is to work. Its completely different than
traveling for a vacation and to relax and amuse yourself. Also, as a
tourist you generally only see a small portion of the region/country
youre staying in, and its usually only the best bit. What wouldnt
bother you about the place, may become quite irritating after dealing
with it day after day. After all, on a vacation, it's only for a week or
perhaps two. As a resident you'll see everything, including the notso-nice bits and it could become frustrating. A tourist might not like
the subway, the traffic, or the rude people but they won't care too
much about it since the they will shortly leave again anyway. You
however, as a resident, will become bothered by it whatever it will
turn out to be. You're there permanently and it will cause you to look
at life through different glasses, up to a point where you might even
start to hate everything about the new region or country. The further
away from home you go, and the larger the cultural differences, the
worse it can be. The classic nice to visit but wouldnt want to live
there syndrome.
In general, the larger the distance, the more it will multiply any
problem. Whatever happens will suddenly become two to three times
worse simply because of the distance. Losing your job might be
annoying at home. It will become a very serious problem when
losing your job also means having to relocate back home. Relocating
is very troublesome and expensive. The last thing you want to do is
assume extra expenses when you've just lost your income.
#5 Trouble adapting.
For some, adapting to another culture and language can be a
serious challenge. Wherever you end up might be freezing cold or
baking hot, and you might not understand anyone or anything. There
probably wont be anything on television you can even remotely
understand, all the movies in the theater might be dubbed, and you
might have to guess about what, exactly, is the food you buy. It can
take years to adapt to a new language, climate, and culture.
matter), they too will need to have the right documents if they are
even allowed into the other country. If you are not married, it might
not be easy to acquire the proper legal documents for your partner. I
personally know of more than one example where a developer didnt
leave his home country either because his wife wasnt qualified for a
visa for country X or where a developer quit the job after a couple of
months to return to his home country because setting up a visa for
his partner proved to be too much of a hassle.
The Expectations
Once you've been hired, both sides will have several expectations towards
each other.
Their Expectations
Learn the workflow, and work efficiently. Learn, and adhere to,
their rules, guidelines, conventions, filenames, and so on. Arrive on
time and finish your work properly. Dont rush through it and work
efficiently. It is better to spend a little longer on something and
present your lead with a result properly achieved, than to rush
through it and finish it early, but with messy results. Your lead will
likely prefer properly done but slower work to quickly done, but
sloppy work.
Don't be too critical. Try to keep a somewhat low profile for the first
few weeks. Try to shine and prove yourself worthy, but at the same
time appear willing to learn new things and don't provide too much
critique on what others do or propose. Even if you truly believe your
ideas are better. Your colleagues will not want to work with a
newcomer who wants to do everything differently. That is annoying
at best.
Speed! You will learn much quicker than ever before. The
interaction not just contact with skilled and experienced people is
invaluable and allows you to become much better with what you do in
a short amount of time.
More motivation. To most, the team spirit and the contact with
those who are equally motivated is a catalyst and will drive them,
and you, further than ever before.
Mentoring the flip side. While good mentoring can greatly aid to
your skill, it is also likely to mean that you are checked up on more
than a regular developer. As a brand-new person in the industry, the
established developers will keep a much closer eye on you, and
possibly be more critical towards whatever you do, than on a regular
developer. Don't let this lower your confidence though; they are only
trying to help you.
The Community
Expands your network of contacts. Just like you, others will also
land themselves jobs and become professionals. An extensive
network of community contacts will one day evolve into a network of
professional contacts which can be very handy in the long run.
Especially when you're on the hunt for a new job. It could also help
when the company you're employed by is looking for new talent and,
because of your community connections, you might know just the
right person for the job. You might even earn a nice bonus if that
person ends up getting hired.
And finally, the community has likely helped you land the job. You found
inspiration, solutions to problems, likeminded people, and who knows what
else in the community. Don't turn your back on them when you don't need
them anymore. Use your knowledge to help others, just like they've helped
you in the past.
Your Career
The future of games is bright. The market is still steadily growing every
year. It is not expected to slow down any time soon, and the rising
technology standards will make games look better than ever. New doors
open every day, and new ideas are ready to be pioneered. Game
development studios will need ever more developers in the future and, in
the mean time, the industry will stabilize and grow in maturity. Work
conditions will improve, salaries will go up, and this whole process will be
driven by the ever larger number of experienced developers and employers.
The more financially healthy employers there are, the more choices
developers will have, and the more the employers will have to prove
themselves worthy instead of the other way around. Those who pay low
salaries, set impossible deadlines, and disrespect their employees will
eventually lose out. Why would anybody want to work for such company
when the next city over has a fair and honest developer who is also on the
lookout for developers?
The rising experience within the industry as a whole will likely also further
streamline the development process and overcome some of the growing
pains the industry currently faces, such as organizational problems.
However, this does not mean that this will become the perfect industry
either. Perfection doesn't exist, and there is no reason to think that the
games industry will ever achieve it. There is no guarantee that this industry
will ever become truly mature and stable. And the number of developers
who do not envision themselves working much longer in the games industry
are staggering. Having a backup plan and a way to get out might not be a
bad idea.
If you ever do wish to step out of the games industry, there are some
escape routes...
Casual games. The casual games market is huge, and the success
of the Nintendo Wii is just another verification of this. It should be
easy for an experienced game developer to transition smoothly into
the world of casual gaming. The deadlines are less stressful and the
work is more varied. Perfect for when you are looking to settle down.
The film industry. This mainly applies to artists, although there are
some exceptions. The film industry is an incredibly creative and
interesting industry. Who wouldn't want to create the character
models for a brand new fantasy movie? With the ever increasing
complexity of games sooner or later games will catch up with realism.
It will be easier and easier to transfer from game development to film
production in the future. For some though, the job may vary too little
compared to the games industry.
The Conclusion
The games industry can be a great place to work in. Your work can be
seen by millions, it doesn't pay too badly, the possibilities are endless, and
it can allow you to see the world. The industry is still growing steadily every
year and if you are good at what you do, work is practically assured. It is a
very international and satisfying industry. What's cooler than seeing your
work on the front page of every gaming magazine and website in the world?
What's cooler than being at the beginning of what millions will eventually
play, and what, perhaps, may influence an entire generation? You get to be
a kid for a living, all life long!
A job in the games industry is the type of job that you can be proud of even brag about if you like. And its a job that most people, who get stuck
in regular jobs and regular life, are jealous of.
On the other hand, the games industry is a very young and volatile
industry. Plenty of studios just don't make it at the end of their fiscal year,
and a large number of mistakes are made at every level due to the
immaturity of the industry. If you are unlucky, you will be either exploited
or the games and projects you work on are never finished, or if they are, no
one may care about them. Also, the quality of life standards are not always
what they should be in this industry.
A thing to remember about this industry is that it can be a very
frustrating business. It is not a question of if you will be frustrated by this
job, it is, rather, a question of when and by how much. You must consider
how well you will deal with it, and how long you will tolerate it.
In the end, a job in the games industry is still a job, and there will still be
days when you just don't feel like going to the office. No matter how much
you love what you are doing, it still is your job and there will be unfortunate
days or times when the work is simply boring and uninteresting. This too is
part of the job, but of all the jobs in the world, besides being a lottery
winner, a job as game developer might be the best option one has. It is not
a perfect job, but if you truly enjoy what you are doing and with a bit of
luck, it will come close.
Appendix A
Interviews
With a strong high school background in math and physics, and a love of
gaming, I knew I had to look into the games industry. I got my start with a
Bachelors of Science in Real-Time Interactive Simulation from DigiPen.
The two things I like most are working with talented and passionate people
to creating great games I can be proud of as well as the flexible, casual and
creative environment the games industry offers me.
Often time and money will dictate the quality of life and work of a
developer. Many companies often have underdeveloped structure and are
constantly fighting to break even with low budget games.
Developers don't usually get enough research & development time to better
themselves by learning new tricks and technologies, yet those skills are
important in keeping up with and creating innovative technology.
Ive always had a big interest in games and ever since I first tried out some
level design for Quake and Duke 3D Ive been struck with game
development pretty much.
The path to my texture artist position begun with spending some time
working on specific content for a portfolio and using material I had made
previously for game modification projects. I sent all of it off to Grin and
started out as a level designer not long after. Even though my main goal
was to create graphics I went ahead with level design as the studio was in
more need of that at the time. After the first project was completed I
switched over to a Texture Artist position.
Beside working with something I feel very passionate about it is also a very
creative job. The freedom is also a very important part when it comes to
maintaining a motivated and creative employee.
I would have to say to work with others who share your interest is also
something that boosts your ability to get better and gain new skills.
The often late hours before deadlines. Of course this varies from project to
project and between different companies. But if you are looking for a job in
the industry you should know that you may need to work quite late hours
sometimes.
As this is a relatively new industry it can also be a pretty uncertain place to
work at if you are unlucky.
I like the fact that all my co-workers have a real passion and enthusiasm for
their work. Also, most people in the games industry are rather young, and I
appreciate this a lot. It's way better than working in, for example, a boring
administrative bank with colleagues of 55 years or older, who are
depressing and who always think about retiring as soon as possible. All in
all, when I get up the morning, I never think damn, I have to go to work
and that is priceless!
On a more creative side, I also love to create a universe and see people
having fun within it. Again, totally priceless!
After having spend two years on creating mods, I started out at the bottom
of the ladder as a tester. It was my first professional job in the industry. I
spent a year as a tester, but was unsatisfied with my position. Later I was
hired by Artificial Studios to be the Lead Network Programmer on an Unreal
Engine 3 game called Monster Madness.
Well, the games, of course! Being able to implement and see your ideas
play out in a visceral way is very satisfying, something that application
engineering doesn't really deliver for me. My current programming position
has also allowed me quite a bit of authority on technical design, which I also
really enjoy.
I think the biggest problem with the industry is a lack of overall job/pay
security. Working on a milestone schedule means that you don't get paid
until you deliver your next milestone, so this leads to ridiculously long hours
and a lot of unnecessary strain. While many larger developers don't have
this problem, working in a smaller company puts you at the mercy of the
publisher. That, combined with having no guarantee as to keeping your job
for the next project, causes many professionals to ditch the games industry
in favor of a more secure position. I once heard that the average career
span of a game developer is only somewhere around five years. To me, that
signifies a major problem; something I hope to see changed in the future.
I had a film background from college and had always been heavily into art. I
spent some time after school playing with animation programs, then
managed to land a job doing architectural visualization. After a few years of
that I entered a character in a competition. It didnt win, but the response
was good. That was enough for me to leave the architects and pursue
games. My first few gigs came to me by word of mouth.
Crunch? Ill let someone else cover that. Im hoping that more companies
will embrace the virtual office. I waste a lot of my life commuting and I
think Id be a happier employee if I could work from home more.
I started out working for Acony Games in Germany in 2006 after applying to
dozens of companies and having had many interviews and several design
tests for Acony Games. I had the luck that I somehow got in touch with
someone who worked there at the time who was also active in the Unreal
community. In the end the work I had done in the community and with
teams like UCMP proved to be the deciding factor.
Theres a few things which I really like about the games industry. The
people who are passionate about creating games and being creative, being
able to actually work on creating games and experience a project youre
working on to slowly develop and blossom into a full- fledged product, those
things are all incredible to me.
Though there are a few things that I dislike as well, one of these things
stands out most. Job security at this point is one of the most annoying
things in this industry. Its not normal (yet) for a studio to have a bigger
chance of surviving than the chance it has to go belly up; thus adding a lot
of stress and tension to the people working for these companies. If anything
needed to change for me personally, Id change the amount of job security
people have in this industry.
The old school way, starting with a self-funded and garage styled office,
with friends sharing the same passion. Later, we finally had the chance to
work in a real software house as a group after which we decided to open
our company, 7th Sense, with the idea to grow up step by step. Two years
ago I decided to leave my company to make room for some experience
abroad and now I'm here at Spellborn.
It's not a matter about what I like, but I can say this is what I was made for
since I was 12 and I got my first Commodore 128. I like to think that video
games could give me the chance to communicate with the people in the
same way a painting or a book can. This is also the reason why I think there
is still a lot of room to improve in this form of entertainment.
The fact that this industry, except for some special cases, still doesn't know
how to learn from its mistakes. The turnover rate is really high and this
doesn't help the business health. Moreover, sometimes one can have the
impression that the industry doesn't give the appropriate importance to the
loss of know-how that this phenomenon causes. Again the field is still too
immature, but it also looks like it is hard to find the right path.
I started out by doing custom levels for Half-Life and Counter-Strike and
later on I progressed into making levels for mods where I ended up as a
Lead Level Designer and Game Director. After having finished high school
and four years of modding I applied for a job at IO Interactive and got hired
as Trainee Level Designer.
I totally love to work on games and level design and in this industry I am
being paid to do exactly that. The working structure also seems to be a lot
less strict than usual, which fits me well. Furthermore, the games industry
also provides a good opportunity to progress to a lead position relatively
quickly, which is definitely something I am aiming for.
I got started in the industry by luck to be honest. Since high school and
through most of college I did a lot level design work in my spare time. With
time and practice I got better at making levels.
As I got better with level design it hit me that I should do this as living. But
to my despair I could not find a gaming job, got turned down quite often on
the grounds that You dont have game industry experience which
strangely enough, you can't get hold of without first getting a job... A
common paradox within the games industry it seems.
After many rejections I finally gave up. I started looking for a more
regular job. Until one day there was voice mail from a game company up
in New York. I called back and got a phone interview scheduled. I passed
that interview and was brought on-site for a second interview. I passed that
as well and was given an offer and I took it without hesitation.
Lets see, I guess the first thing is that I get paid a decent amount to play
and work on video games.
The work environment is great - not too uptight as with most normal jobs.
And the people I work with all have great personalities and similar interests
in terms of games, movies, and to some extent, music.
The thing I like the most is the fact that working in the games industry is
quite rewarding. For me, when I see one of the games I worked on on store
shelves and watch people buy it, it instantly gives me a feeling of success
and satisfaction towards the many months of hard work that the entire
team put into getting the game functional and complete.
Theres not much I dislike. Perhaps the only things I can say that I dislike
are when there are empty pots of coffee in the morning and when there is
little or no swag given for the product the team worked on.
I started out by doing animation and modeling for commercials, video clips
and small series. Due to internal problems one of the producers teamed up
with some Dutch investors to start a game development studio and asked
me to join. Initially I was the only animator so I basically had to start by
giving myself a crash course in game animation. Not an easy job if you
know how different game animation is from full motion video or prerendered animation.
The most satisfying thing about my job here is seeing all different
disciplines such as art, game design, modeling, animation, coding come
together to create a believable interactive universe which, hopefully,
players will find fun and exiting to explore.
It may be a fun job and all but in the end its still a job. Take away all the
pretty pictures and nice colors and you re working in a big merciless multimillion dollar industry. Some people seem to forget this fact and like to
think that creating games is all about fun and creativity. Many of them drop
out when the harsh reality kicks in that there will always be periods in a
production when the work will be less rewarding and tedious, leaving it up
to others to finish the job. This can be very frustrating at times. Its a job,
NOT a hobby.
Around 2001, I was just married and had a baby on the way, I had no idea
what I wanted to do as a career other than something to do with art. I
was attending a small tech school, learning graphic design using programs
like Photoshop , Illustrator, and Quark Xpress. I thought graphic design
would be fun, until I landed my first gig. I was making menu's for
restaurants, junk mail ads and little league rosters, and that all didn't really
fit in with my idea of art. After the company folded and I got laid off, I was
introduced to the Maya Personal Learning Edition, and eventually 3DS Max
4.
During my down time after the layoff, my wife was at work and I was at
home playing Metal Gear Solid and I remember thinking "Who makes this
stuff? There has to be some sort of videogames artist who makes these
awesome characters and environments!" Shortly after I went to the library
and searched for "video game artists". I came across sites like "Polycount"
"CgChat" "CgTalk" and "Conceptart.org" and my mind was just blown away.
I wanted to rub shoulders with these guys, join them in what they were
doing.
I started reading tutorials, books anything I could get my hands on to help
me build my first demo reel. Those were hard times. I would work at a used
car lot nine hours a day, then go home and work on 3d for 5 hours a night.
My wife was very supportive and knew it was something I wanted.
A few months later I had something I felt I could show ( if I look back on it
now, I cringe!) so I looked up all the game studios in the Salt Lake area. I
was knocking on every door I could find like a newbie, trying to get my
demo to the Lead Artists and Art Directors.
Two months passed after my first applications, and then a small indie
(independent) company called "Wahoo Studios" gave me a call. They had a
contract open for a couple of little PS1 and PS2 budget games and wanted
to know If I wanted to come on board. I quit my job that day and since then
officially got my foot in the door of the game industry. The rest is on my
resume.
What I like most about the industry is the satisfaction of it all. I love making
cool characters and creatures and what I love even more is seeing them run
around in a world I helped create with my buddies. What I love even more
is spotting the box at a store and pointing to my wife, saying I made that.
Its all very satisfying and rewarding.
I love the camaraderie and passion that emerges while working on a single
project. Its great to work with people who like the same things you do. It's
really a great time going in to work.
There are only a few things that bug me in this industry, one of them being
exploitation of passion for games. I have seen so many scenarios of young
talented artists and designers getting paid far less than they are worth
simply because the company they work for thinks that Hey youre making
games! Thats reward in of itself!
The other thing that bugs the hell out of me is when marketing screws you
over in one fell swoop. You put in 2 years of your life into making what you
think is an awesome game. Then your publisher hires his brother in law who
is the artist in the family to do the box cover art. Or marketing overlooks
your game altogether because they dont get it.
Thankfully Im at a studio now that doesnt have these problems.
By working on some hobby projects and getting advice from the author of
this book to start looking for a job in the games industry. He told me to try
to get a job at Guerrilla Games (one of his former employers), I did so and
they hired me.
The fact that designers sometimes change their minds a bit too much. I
dont really like to have to remake a certain feature three times or more.
Luckily that doesnt happen too much.
I started by learning first UT2004, and then by learning its editor. Thanks
to the internet, and video tutorials on the UT2004 DVD, I was able to slowly
learn more about the software, and the theory behind level design. As I
became more involved in the Unreal community online, my skills increased
more and more. After completing a few levels individually, and then
completing a few more with the UCMP, I felt comfortable enough to begin
applying to places. A little less than two years after I began, I got an email
from a developer asking if I was willing and available to work. And I was.
And I am. And I will continue to be.
What I enjoy the most is the constant change. New games, new twists in
gameplay and/or plot, new tools, new techniques, new places to explore,
new technology to learn, and new people to learn from are at my fingertips
all day, every day. Being in a profession that promotes, encourages, and
thrives on change is challenging, but also, in the end, rewarding.
What I do not enjoy the most is, ironically, change. As soon as one finally
comes to terms with a concept, or a process, theres suddenly a new way to
do it, or a change in perspective. Perhaps even the game design changes,
or the schedule, or features are added or removed. Sometimes it seems
like there just isnt enough time to sit down and dig really deep into
something at a leisurely pace before it all changes again.
Sometimes I feel like change is the biggest blessing and yet the biggest
curse to working in this industry. But Im enjoying working in this industry
more than in any other Ive been a part of.
The first thing that comes to mind is the general misconception about the
industry. I think far too many people who enter either form an opinion
about games or the games industry without being properly educated about
the subject. Schools rake in as many people as they can, almost promising
jobs, only to send out armies of misinformed students onto the job market.
You see so many commercials pushing a job in the games industry as if its
more or less playing games all day and incredibly easy to land a job. Do
you love playing video games? You could be making the next great game!
Really, its not that easy...
I had been doing hobbiest programming for almost 10 years (started at the
age of 12 on a Schneider CPC) until one day in 1994 I met a Commodore
Amiga friend who had just set up his own games company. While visiting
their development site I realized I wanted to get into professional games
programming too. I teamed up with my friend Peter who was attending the
same (at the time boring) computer science class at university, and just a
month later we visited the Atari booth at ECTS and we got hold of a Jaguar
development kit. Miracle Designs was born
Everything about the game industry is in transition. New systems enter the
marketplace every few years. Although this way it never gets boring there
is always a learning curve involved. Publishers like to introduce time
pressure. Any project I have been working on there was deadline to hit and
unfortunately project tasks to give in to.
I started out when a game called Duke Nukem 3D was released, which had
its own game creation tools in 1996. These tools allowed people to create
their own content for every aspect of the game, which was something I was
really interested in. After a year or two of just playing around and
releasing my home-made game levels onto the internet, I got noted and
approached by a company who made commercial add-on packs for Shadow
Warrior and they asked if I wanted to make a level for their new product.
After that, word of mouth about my work got around and I got more and
more offers. I was hired full-time at Guerrilla Games when I was 19 by a
guy who I had previously done freelance work for.
For me it is the knowledge that if you do a really good job, if you give it
your best, there is a possibility that millions of people are going to enjoy
your creation. Having a creative outlet that has the possibility of reaching so
many people is very rare and is a huge drive for me.
The industry has grown exponentially over the past 10 years; games cost
tens of millions of dollars and take years to be created by teams of 150
strong, where in the past it would take 9 months for a team of 15. This
growth has taken away a fair bit of the individual creativity that used to
make the Games Industry so great and is making it very hard for the
simple man to come up with a fun game idea and make it see the light of
day.
Working with a team of extremely talented artists and I mean off-thehook extremely talented guys and girls that really make you push yourself
beyond your current capabilities to do better.
Two things. First of all a nasty four letter word: TIME. Some tasks will take
longer than usual however milestones must still be met. Its not uncommon
that we have to put in many days of obscenely long hours to complete the
work at hand.
Secondly: poor concept art. As a freelancer it is nothing more than a mind
game to me if all the client supplies me with are vague raw pencil sketches
or verbal descriptions. Get ready to do your work more than one time.
And still get your feet held to the fire to finish it on time!
When the original Unreal Tournament came out I was instantly more
hooked on the Editor than I was on the game itself. I have always been
interested in making levels for strategy games like Warcraft and Command
And Conquer but never got serious about it until I found out what I could do
with the Unreal Editor. The Unreal Editor pretty much opened the door for
me and it was definitely the deciding factor in what I wanted to do with my
life.
I love being able to make something that has the capability of reaching
millions. I love being able to not only create dreams, but also to live the
dream that many people wish to live. Having an extremely flexible work
schedule (crunch time aside) is a huge plus, and other than doing
something I love, it's at the top of my list.
The long work hours can often take away from any personal life you have
and you're seldomly given anything in return for any extra effort you put
into it.
The same thing youre going to hear from most people the hours. Since
this industry doesnt really have a uniform managerial system, development
styles vary greatly from company to company, project to project. Little
things, like how many characters are in your game or how the graphics are
presented, can have a major impact on the makeup of a team and therefore
the development pipeline. Departments have complex dependencies among
each other and its sometimes impossible to work in parallel, so to
implement a system takes extra hours. And even if you have a
development style that you know will work, it also needs to mesh with
publishers needs. Then again, we also work extra hours because we have
cool ideas that we want to see put into the game.
After I released CTF-Catherine, my first job offer came from the Americas
Army team. I couldnt take it at the time because I was still in the Navy. I
continued to work on levels and started getting into UnrealScript, and after
I got out of the Navy I submitted one of my levels to CliffyBs Ownage. The
level didnt make it, but Cliff Bleszinski referred me to Secret Level. I had
an interview with them a week later, and started doing remote contract
work for them soon after. After a few months of that, they hired me on full
time and I moved to San Francisco.
I love being able to do something I love for a living, and not dreading
waking up in the morning and going to work. I remember someone once
saying to me, If you find a job you love youll never work a day in your
life. Its very true. I also love the talented people I get to work with that
have the same passion for games.
I dont like the long hours and working weekends. It doesnt happen all the
time, but Im a big fan of getting your work done and leaving whenever its
done.
While working freelance, I didnt like the fact that everyone wanted inhouse employees, making it difficult to find work.
I always had a fascination for games, which extended beyond playing them.
When I was around 11 years old, I got my first home computer (a sharp
MZ-800) which unfortunately had only very limited software. So I bought a
book about the basics with which it came, and started making everything
myself. Games were also made and, although my programming interest
vanished with my first 386 PC, I did still create levels for popular games.
Years later, while I was working with two friends selling websites, we
managed to go commercial with a mod we were developing in our free time.
We became game developers overnight and kicked off our game
development career with the title Alpha Black Zero.
The fact you're working with people who have exceedingly different
backgrounds, interests, and personalities. It's very much like the first year
in high school where you know no-one and then you walk into a group of
people who like the same music you like. In development it's pretty much
the same. It's safe to say that it takes a certain personality to work in an
industry that underpays, overworks, and never quite appreciates what you
do as an individual.
It's an immature industry which means the people lowest on the totem pole
(the developers) are treated like an expendable workforce. Management,
and certainly investors, do not understand that it's not a bunch of random
people that create games, but that it requires skill and experience.
It's a terrible risk of course, and one that management/the money often
doesn't know how to handle. But to make good games, the kind of games
that people buy and play, that journalists like, you need long term
investments in teams and it seems this is becoming more of a rarity as cost
rises.
There are also not enough people with experience in middle management to
balance the pros and cons of development.
I started out as a level designer working on mods and levels for Doom 3. I
also had this urge to move overseas, which led to me to keep pestering
Splash Damage for a level designer position. After about a year or so of
developing my level design skills they hired me in 2005 to work on Enemy
Territory: Quake Wars.
You get to meet some wonderful, skilled, and interesting people while
working with some amazing technology. With graphical capabilities and
hardware pushing new boundaries, its quite an exciting time to be in the
industry.
I would say the worst part about the industry would be crunching without
rewards, which can really ruin motivation and encourage stress at times.
Working with bad management is also a big no-no that seems to be a
frequent thing throughout the industry as well.
Special Thanks
Matt Bromley Proofreading and general advice
Romano Molenaar Illustrations
Ben Burkart Proofreading
Cdric Danneels - Proofreading
Frank Bakker Website coding
Katrien Anthonissen
Ivanpxxx
Wikipedia
And all of my interviewees!
Copyright
This book, The Hows and Whys of the Games Industry, is copyright 2007,
by Sjoerd "Hourences" De Jong. Illustrations are copyright 2007 by Romano
Molenaar. Cover character by Ivanpxxx.
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You may not reprint, republish, alter, translate or reproduce this book
or any part of it in any way and in any language without my explicit
permission.
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