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Warcraft executive producer J. Allen Brack is now president of Blizzard

Activision-Blizzard has announced new leadership changes for Blizzard Entertainment, most notably the departure of Mike Morhaime as company president, according to a press release released today. 

In his place, World of Warcraft executive producer J. Allen Brack will be stepping into the role and taking charge of the company. 

Brack’s promotion comes alongside the addition of Ray Gresko and Blizzard founder Allen Adham to the company’s executive team. 

This changing of the guard does come amidst a semi-recent trend of high-level departures from Blizzard Entertainment. Though no major public-facing changes have come with these departures, Morhaime is the third upper-level employee to leave the company this year. 

It’s been some time since Gamasutra spoke with Brack, but last time we did, he appeared to have an eye on the company’s console future (which has now come to pass with the success of Overwatch).

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Get a job: Funcom is hiring External Producers

The Gamasutra Job Board is the most diverse, active and established board of its kind for the video game industry!

Here is just one of the many, many positions being advertised right now.

Location: Raleigh, North Carolina and Oslo, Norway

Funcom is looking to hire not 1 but 2 talented External Producers to handle the management of the company’s publishing projects. The role’s responsibilities include the continuous communication with developers, the management of work pipelines, project finances, team management, internal and external resource management and the successful timely launch of the projects/titles.

Responsibilities:

  • Oversee development of publishing projects by working with external developers and resources as the day-to-day point of contact.
  • Strong time management skills with a proven ability to focus on priorities, solve problems, juggle multiple tasks, and meet deadlines.
  • Ability to communicate effectively across a spectrum of Business, Creative, Technology, and External partners/personnel at all levels of the organization.
  • Work with leadership to establish and maintain the product/game’s vision, feature set, scope, schedule, and budget.
  • Identify and fix bottlenecks, as well as clearing roadblocks both on the day-to-day and in the longer term.
  • Act as primary point of contact with Marketing, PR, Sales, Operations, QA, Localization, and other supporting departments.
  • Use project management tools, production methodologies, and leadership level dialogue to maintain tight schedules and high standards of quality.
  • Prepare Presentations on status for the Executive Team.
  • Additional duties include assisting with content creation for game development and assisting with quality control of all products.

Requirements:

  • 5+ years of experience working as a Producer on an internal or external development teams within the video game industry.
  • Experience shipping one PC/console titles as a Producer.
  • Strong knowledge of Microsoft Project, Excel, Word, & PowerPoint.
  • Experience as a Product Owner in an Agile environment.
  • Open to nationally and internationally travel.
  • Proficiency with project management & version control software tools such as JIRA and Perforce.
  • A demonstrated understanding of various Production methodologies is required.

Pluses:

  • Extensive Experience managing external developers/resources.
  • Deep knowledge about game development processes for engineering and art.
  • Scrum Master certification.

Funcom Offers:

  • Great employee benefits (Insurance package, vacation/sick days, etc)
  • Possibility of advancement
  • Dynamic and challenging work environment
  • Training opportunities
  • Team-oriented culture
  • Social events and gatherings

Funcom was founded in 1993. We were there in the early nineties, guns for hire making games for the big studios to fund our own crazy ideas. We were there in the early days of the massively multiplayer online games, breaking new ground and pioneering features and business models that are commonplace today.

We’ve gone from making pixel platformers on the SEGA Genesis to developing cutting-edge, cross-platform online games and massive open world sandboxes for PC and consoles.

We’ve made over 25 games so join the studio that is responsible for: Mutant Year Zero: Road to Eden, Conan Exiles, Secret World Legends, Age of Conan, Anarchy Online, The Longest Journey and many others.

Interested? Apply now.

Whether you’re just starting out, looking for something new, or just seeing what’s out there, the Gamasutra Job Board is the place where game developers move ahead in their careers.

Gamasutra’s Job Board is the most diverse, most active, and most established board of its kind in the video game industry, serving companies of all sizes, from indie to triple-A.

Looking for a new job? Get started here. Are you a recruiter looking for talent? Post jobs here.

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How Serious Sam set itself apart in the era of Duke Nukem and Quake

To gain what we want to achieve in the game, that’s huge environments and a huge number of enemies, we had to deliver something that wasn’t actually seen anywhere.“

-Croteam CTO Davor Hunski explores Serious Sam’s need for large environmental scope.

In an interview for Ars Technica’s War Stories series, Croteam’s chief creative officer Davor Hunski tells the story of how Serious Sam’s hand-made engine came to be and how a vertical slice demo ultimately saved the game.

Hunski explains how the early Serious Sam development team set their sights on a first-person shooter game and, lacking the funds to use a big-name engine, set out to create their own 2D Wolfenstein-like engine.

However, as technology continued to evolve throughout the project’s development, games like Duke Nukem and Quake came out and offered features that made the team’s 2D engine something that was no longer viable.

Instead, Hunski explains that they aimed to stand out from the crowd by creating an engine that could handle 10 times the on-screen enemies and projectiles that other games of the time featured. 

“So, we invented this caching ahead system, where one projectile or moving object would actually cache [maybe] three or four seconds ahead, everything that it could collide and until nothing changed during those three, four seconds, it wouldn’t have to test again against an environment for collision,” says Hunski.

“To speed up the collision, we were not able to use real geometry of cubes for collision. But we approximated them with several spheres,” he explains. “On the one side, it sped up immensely our collision tests, because actually a test with a cube is a really, really easy one. And the second gain that we got is that we could have multidirectional gravities so characters would be able to walk on ceilings, inside the spheres, so we had several types of gravity and we actually put that into the game as secret places locations, and that was really, really awesome.”

Hunksi’s full explanation of that early engine tech and how a lone positive review of a vertical slice demo can be found in the full video just above.

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Review: Where Shadows Slumber

Mobile gaming has really enjoyed a resurgence of compact, clever & pretty puzzle games. That desire for a quick break on the subway or the john has merged with clean and modern hipster design and minimalistic storytelling to create a whole new genre of precious mazes you can play with one hand. Like Monument Valley and Square’s Go series among others, Where Shadows Slumber tries to give you an experience both artistic and thoughtful, wrapped up in bite-sized chunks.

The game has a conceit almost as clever as Monument Valley‘s Escher-like pathways, but more indebted to the early iOS hit Helsing’s Fire. In Where Shadows Slumber, you have to make use of light and shadow to transform the world around you. Your character carries a brilliant yellow-green lamp that throws pitch-black shadows. When cast in darkness, portions of the scene will change. Sometimes this only changes something small, like making a door appear out of thin dark. Other times, shadows will reveal a whole other world. As the shadows sweep across the screen, you’ll see new possibilities blink in and out of view. Your job is to figure out how to walk between these worlds and make it out alive.

WSS Rev 3
The controls are straightforward and familiar to anyone who has played this type of game before. You can use simple single taps move your hero through single-screen mazes (or double-tap for a run) and drag on various parts of the background (light sources, blocks, platforms, or walls) to open new paths. 

Like Monument Valley, a lot of the puzzles come down to figuring out what is possible to change in a given scene. You need to figure out what will shift when shadows pass over each section of the map, and then how you can get a light source into position to throw or remove those shadows. There are 35 stages in seven worlds, each a single screen long. No one stage is particularly brutal, and each will probably take less than ten minutes to puzzle through.

WSS Rev 2
On top of the central twist, Where Shadows Slumber tosses all the usual maze-puzzler tools at you: sliding platforms, floor switches, impassable obstacles, and moving NPCs that can help or hinder. These additions can be nice, since it means each level has something new. At the same time, a lot of these are tossed in without much explanation, assuming you are familiar with them from other puzzle games, and then they are tossed out just as unceremoniously. It gives some variety to the puzzles, but it doesn’t give a strong sense of progression. The game never sets any expectations to the puzzle mechanics, so it can’t challenge those expectations in more advanced levels. Instead, the game is more about recognizing what the tools you’re given can do and how they affect the screen they’re on. That’s fun, but it could be more ambitious. 

Given the title, one would expect the story to be gloomy, but it is also surprisingly violent; this is not a low-key puzzler you can let the kids fool around with on the iPad. Instead it’s host to a silently-told tale of pursuit and lots of seemingly random murder. The hero seems to live in a world where sad bald humans are under the thumb of cruel and capricious animal-headed monsters, which is certainly a game setting I’ve never experienced before.

WSS Rev 1

Animated cutscenes break up chapters, updating us on the story of Obe and his quest to escape with his magic lantern. The atmosphere is oppressive, twisted and really effective. The music and architecture emphasize the dreariness of the environment. The common people live in run-down wooden villages while the animal overlords inhabit monolithic labyrinths. It’s dark, but also imaginative, and the hero ventures through several distinctly different environments to the conclusion.

If you’re a fan of the Square Enix Go series of puzzle games and you’ve finished Monument Valley already, Where Shadows Slumber is a good pick. The puzzles are clever, but not as varied or mind-melting as the Go series. The game’s central mechanic is cool, but it isn’t quite clever or adaptable enough to push it to instant-classic status like Monument Valley. That said, it would be hard to reach the heights of those games, and as it is, Where Shadows Slumber is an atmospheric and imaginative puzzle game.

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Nintendo Power Podcast episode 9 available now!

Nintendo Power Podcast episode 9 available now!

Nintendo Power Podcast is the official podcast of Nintendo of America, in which guests such as Nintendo employees and developers discuss the world of Nintendo each month.

In Episode 9, host Chris Slate (previously editor-in-chief of the Nintendo Power™ magazine) is joined by Nintendo of America’s Kirk Scott and Vince Chon from the Publisher and Developer Relations team, plus Camille Van Duyn from Strategic Communications to discuss recent game announcements and some of the biggest titles coming this fall to the Nintendo Switch system. The group also responds to listener comments about the Nintendo Entertainment System – Nintendo Switch Online lineup, takes the Warp Zone quiz and more.

Nintendo Power Podcast is available on Apple Podcasts, YouTube, SoundCloud and Google Play Music and on the Nintendo Switch system in News.

We hope you enjoy the show!

–Your friends at Nintendo

Games Shown:

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Game devs call for better working conditions via #AsAGamesWorker

September’s slew of layoffs and company closures has sparked large conversations about the future of labor in the games industry. While some have used this month to call for unions, the conversation about laboring on large games for large companies has expanded to take many different shapes. 

Today on Twitter, game developers at companies like DICE, Ubisoft, and WB Games Montreal began sharing hopes for game development’s future via the hashtag #AsAGamesWorker.

Apparently kicked off by game designer Osama Dorias, #AsAGamesWorker contributors are specifically discussing shortcomings they see in the industry as it stands, and ways they hope it can improve in the future. 

Workers and business leaders should know that there are some clear, unifying themes from these talented folks. Many, including ex-employees of Ubisoft and 343 Industries, have called for support for game developers as they get older and start families, preventing burnout after 5 years.

Other veterans from Telltale, Heroic Leap, and beyond have discussed the imbalanced relationship between players and company employees, and the fact that employees are seemingly expected to be on-call customer service agents, even in their off hours.

The recent revelations about sexual harassment at Riot Games have been discussed too, as several participants have called for more safety for themselves and their coworkers against sexual harassment and other kinds of abuse. Some have also pointed out that employers in this business will label themselves a “meritocracy” without accounting for bias in hiring and promoting. 

In a year of exceptional turbulence for the video game business, #AsAGamesWorker is a reminder that the voices of people who produce labor in games—not just lead their effort—are working to make sure they are heard. 

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Video: A retrospective look at ‘girl games’ of the ’90s

The history of the game industry is already long and complicated, with lots of under-appreciated ideas and projects.

At GDC 2018, developers Laura Groppe, Brenda Laurel, Jesyca Durchin Schnepp, Sheri Graner Ray and Ernest Adams dug into a particularly interesting corner of that history by revisiting a whole genre of “girl games” that found success in the 1990s.

It was a great talk about a key piece of game industry history that’s rarely discussed, especially by those who lived it. During their talk the panelists shared their memories of what it was like to produce those games at that time, what their direction and goals were, what they might have done differently, what effect those games had on the industry today and the state of girls and games today.

It’s a one-of-a-kind talk that’s well worth watching if you have any interest in game design or game industry history; if you missed out on seeing it at GDC this year, make sure to watch it now (for free!) over on the GDC YouTube channel

In addition to this presentation, the GDC Vault and its accompanying YouTube channel offers numerous other free videos, audio recordings, and slides from many of the recent Game Developers Conference events, and the service offers even more members-only content for GDC Vault subscribers.

Those who purchased All Access passes to recent events like GDC or VRDC already have full access to GDC Vault, and interested parties can apply for the individual subscription via a GDC Vault subscription page. Group subscriptions are also available: game-related schools and development studios who sign up for GDC Vault Studio Subscriptions can receive access for their entire office or company by contacting staff via the GDC Vault group subscription page. Finally, current subscribers with access issues can contact GDC Vault technical support.

Gamasutra and GDC are sibling organizations under parent company Informa.

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PUBG has banned 13 million cheating players to date

PlayerUnknown’s Battlegrounds has banned over 13 million players since the game’s publisher started sharing ban numbers in June 2017.

That 13 million figure comes courtesy of a Reddit post spotted by Eurogamer that added up (and made a nifty chart out of) the publicly disclosed ban numbers that PUBG Corp’s parent company Bluehole shares online.

The data, and the resulting graph, offers developers a slightly more detailed look at the war PlayerUnknown’s Battlegrounds has been fighting against cheaters since the game kicked off the current battle royale boom. 

Those 13 million permanent bans have been dished out across 69 weekly waves of bans. The original post from the Reddit user sjk045 features a spreadsheet of each week’s ban numbers as well that shows a peak of 1,010,163 cheaters banned during Bluehole’s 42nd weekly ban session.

The post also notes that this latest week, week 69, is the only time since week 25 that under 100,000 cheaters have been caught and banned.

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Now Available on Steam – Assault Spy / アサルトスパイ

Assault Spy / アサルトスパイ is Now Available on Steam!

Dash, evade, and smash your way to the truth as the corporate spy, Asaru; or the reckless CIA agent, Amelia! Uncover the dark secrets of the Negabot mega corporation as you save the company from a hostile takeover. Assault Spy is a stylish, fast paced, pure-action game with a dash of comedy.