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New allegations show the cycle of abuse and misconduct runs deep at Ubisoft

Over the past several weeks dozens of current and former Ubisoft employees have come forward with allegations of abuse, harassment, and misconduct that suggest the publisher has spent years building its workplace culture on a bedrock of toxicity and deniability.

High-ranking execs like chief creative officer Serge Hascoet, vice presidents of editorial Maxime Beland and Tommy Francois, and Assassin’s Creed Valhalla director Ashraf Ismail were all accused of misconduct, and while they’re far from the only names implicated, their status and longevity within Ubisoft highlights the sheer scale of the issue facing the French company. 

These revelations and allegations are significant. They indicate Ubisoft is facing an endemic culture crisis that at best stems from years of ignorance, or at worst has been actively cultivated by those in charge at various levels throughout the company. 

As the outpouring of allegations continued, multiple anonymous sources told Gamasutra how Ubisoft is run like a “mafia,” where abusive family members are protected at the expense of their victims. One current staffer, who asked to remain anonymous, said the issue runs “deeper and wider” than those public allegations indicated, and suggested Ubisoft isn’t committed to driving meaningful change, but rather creating a “false culture of growth and transparency.”

Following that initial report, we spoke with more than a dozen former and current Ubisoft employees who wished to share their experiences at the studio. What I heard reinforced what others were saying in public and behind closed doors. Harassment, homophobia, sexism, racism, bullying, and manipulation are rampant within Ubisoft studios around the world. Those I chatted with have spent varying lengths of time at Ubisoft Singapore, Ubisoft Montreal, and Ubisoft Quebec, but their stories were similar, as were the names they shared.

Punching down

Ubisoft Quebec is best known for its work on the Assassin’s Creed franchise, having led development on both Syndicate and Odyssey over the past decade. I’m told, however, that its successes often come in spite of the inept and abusive management that reigns unchecked at the Canadian studio. 

I’ve spent the past few weeks speaking at length with seven former and current Quebec employees, all of whom have asked to remain anonymous out of fear of reprisal, who explained the studio is “hostile” and “plagued by toxic and abusive people.” They told me how one of the biggest offenders at Quebec is Assassin’s Creed Odyssey creative director Jonathan Dumont. According to multiple sources, Dumont is an abusive and controlling figure who in many ways embodies many of the problems currently facing Ubisoft. 

They claimed Dumont often uses his physical presence to intimidate people by slamming doors, punching walls, or throwing objects, and has verbally abused staff members — reducing some to tears — using offensive terms and homophobic slurs. He allegedly also targets women, telling them how to dress or when to smile. 

“He is very narcissistic and overall a major bully,” said one source. “[He] pushes people to the edge of their mental health regularly, and tries to justify his behavior by saying ‘this is how you get things done.’ [He makes] various misogynistic and homophobic comments, and when he’s called out on them will come out with defenses like ‘my mother left my father when she realized she was ​a lesbian, so I know what I am talking about.'”

Dumont’s behavior was an open secret, according to our sources. People complained about his combustive style, but management never offered a concrete solution beyond forcing him to apologize or telling him not to interact with the writing staff directly. Dumont might’ve been the perpetrator, but Ubisoft management were complicit.

Gods & Monsters quest director Hugo Giard allegedly “shares the same pattern of behavior” as Dumont, a source said. He’s depicted as an abusive figure by those who’ve worked with him. A bully who according to one source has “torn people apart” without reason, and someone who specifically targets women and new hires.

“He also likes to make people cry during meetings, especially women. I can’t even count the number of people who left the studio because they couldn’t stand working with him any more, from junior and senior positions. No one was spared, and he keeps on being empowered despite this,” said one source. “Jo Dumont and Hugo Giard are both bullies who did not care about any of the employees who worked with them and promoted a culture of fear. The list of people who left because of them is frightening,” added another.

Stephane Mehay, an associate producer at Ubisoft Quebec, is also accused of being manipulative and verbally abusing colleagues. Multiple sources claim they have either witnessed his aggressive behavior or experienced it first-hand. “He’s a bully that likes to insult people and push them to the edge,” said one source, who added that Mehay will accuse those who struggle with the pressure he puts on them of being “not easy to work with.”

Another source tells me how Mehay refuses to speak English to intentionally exclude people, and will even insult his colleagues in French. “Outside of Dumont, I’d say Stephane was probably the main reason why people left,” they claim. “He refused to speak in English to intentionally exclude people from conversations, and while speaking in French — assuming English speakers didn’t understand — would insult the people in the room with us.”

‘Subtle manipulation’

Marc-Alexis Cote, an executive producer and former creative director at Quebec, is called out on a number of occasions for knowingly enabling that toxicity. While some sources claimed Cote, who’s been a senior figure within Quebec for the best part of a decade, treated them well on a personal level, most agreed he knew of the abuse being dished out by senior colleagues and did nothing.

“I always felt like he had my back, but knew he’d never actually step up himself,” explained one source. “He knew a lot of what was happening with Jonathan [Dumont] and Hugo [Giard],” added another, “but the work was still getting done and when you’re a studio of close to 500 staffers, a few disgruntled people leaving doesn’t really matter to them.”

Others, however, alleged that Cote was particularly adept at navigating the political landscape within the studio, and would use “more subtle manipulation” to keep Quebec ticking over while advancing his own career. I’m informed that one of his favorite tactics was to make employees compete with each other by promising them the same things, or constantly alternating between “hot and cold” — praising his colleagues one day before insulting them the next. 

“He is narcissistic and extremely manipulative, and has absolutely no care for the health of employees or the studio itself as long as he can keep climbing the ranks,” said another source. “He is the one that will empower, legitimize, and even protect the other toxic people in the studio.” It’s an allegation that tallies with other testimonies, with someone else claiming that Cote has a “direct line to Yves [Guillemot] and [now departed Ubisoft CCO] Serge [Hascoet]” that allows him to protect himself and other creatives with well known toxic behaviors. “Marc-Alexis Cote basically decides who lives or dies at the studio,” they add. “His motto ‘whatever it takes’ says it all.”

Sources indicated this behavior is representative of the broader culture at Ubisoft Quebec, describing a studio dominated by internal politics, bullying, and nepotism that actively rewards those who fit the Ubisoft “alpha” mold. That those in power regularly intimidate, harass, and grind down their colleagues is an open secret, and it’s one Ubisoft refuses to address, they said.

“I think Ubisoft has a culture of allowing creative directors to be aggressive and dominant and they encourage it from editorial. They always chose large, loud, alpha male figures to lead projects and so they saw the bullying and harassment as part of the job,” another source told me. “I always found Ubisoft had a hard time firing anyone. They really didn’t want to do it. I’ve worked at places where people being rude, or aggressive, or even too strongly opinionated would get you fired, but Ubisoft would just let people coast unless they did something really publicly bad.”

With the publisher allegedly intent on turning a blind eye, it’s left to those in the trenches to address the glaring issue facing the company, but how can they when the system is rigged against them? Those who do push back are often shot down by their managers and HR, with one source claiming they were subjected to a personality test and chastised for not being a “team player,” because they attempted to negotiate their salary.

A global issue 

The problems facing Quebec aren’t unique. Others with experience working at Ubisoft Singapore came forward with strikingly similar allegations. Sexism, racial insensitivity, harassment, and abuse are allegedly a regular occurrence within the Singapore office, where many of the perpetrators and enablers are people in power. 

One person claimed they began experiencing sexual harassment almost immediately upon joining Singapore, with co-workers telling them to “show more career line” — a phrase that suggests they should show more of their body — if they wanted a raise and making other comments about their appearance. Another spoke of a “bro culture” that permeates the office, which encouraged “derogatory talk or behavior towards some women,” and explained that “racist views were openly discussed in the studio during a normal working day.”

For instance, a “huge, almost life size” diagram depicting how slaves were transported to the Americas was allegedly a mainstay in the Singapore office despite staff members raising their objections. They were told it was a “decorative” piece that corresponded to the project at the time. It reportedly remained in place for at least a year.

That culture of “fear and oppression” was once again propagated by those running the show, sources said. Ubisoft Singapore managing director Hugues Ricour was accused by multiple sources of sexual harassment. According to them, Ricour would regularly target women, making suggestive and inappropriate comments about their clothing during office hours, or encouraging them to kiss him at work events. I’m told those involved in these incidents were visibly uncomfortable, but that Ricour’s unprofessional and harmful behavior persisted nonetheless. Those who questioned his actions claimed Ricour retaliated by using his influence to make their work life miserable, and while a formal harassment complaint was never filed against the managing director, HR were reportedly aware of the issue. 

Justin Farren, who was formerly creative director on Skull & Bones at Ubisoft Singapore but has now moved to Wargaming, was also called out for allegedly bragging on the studio floor that he only “fucks Asian girls” and “never dates white girls.” We’re told his behavior was reported to management after upsetting an employee who overheard those remarks, but that nothing was done.

Another senior staffer, Jordi Woudstra, who worked as Ubisoft Singapore’s marketing product manager before moving to the Discovery Channel in January 2020, was also allegedly a problem. Multiple sources claim that Woudstra inappropriately touched at least one woman employee, despite them firmly telling him ‘no.’ He allegedly received multiple warnings from HR, which eventually resulted in him being moved to another building and the implementation of a new harassment reporting system. Woudstra, however, was allowed to keep his job until eventually departing of his own accord.

Elsewhere, one former Ubisoft Montreal employee told me how they were sexually harassed by two colleagues. They reported the abuse to HR, but again, nothing was done. Shortly after coming forward they were dismissed for not being a good fit, despite having passed their performance review weeks prior. They were also offered a settlement [pictured here] that would prevent them from injuring Ubisoft’s reputation. They declined what they describe as  “hush money” and departed the company. The two men accused of sexual harassment still work at Ubisoft Montreal today. 

Those I spoke with at Quebec, Montreal, and Singapore explained how HR and management would often push the blame back onto the accusers, asking why they didn’t do more to stop the situation. “When I reported [sexual harassment], I was told that my body language wasn’t strong enough when I said ‘don’t touch me,’ or that maybe I need to ‘stay away from these situations,'” recalled one source.

Another suggested there was “a complete and utter lack of support from HR, to say nothing of broken trust,” and claimed those working in HR would actively spread gossip and rumor. “There was no proper infrastructure for reporting, let alone dealing with cases of sexual assault, harassment, misconduct, or other abuse in the office,” they continued. “When critiqued about the lack of official support, they went as far as saying they didn’t have anything in place because that would ‘imply we needed it,’ and that it would reflect badly on them.” 

Complicity and denial

Publicly, Ubisoft has been making the right noises. It recently unveiled a five point plan to address its broken culture that includes allowing independent external consultants to investigate allegations and deploying a confidential third-party platform where employees can report abuse. It has also pledged to review and reorganize the editorial department, transform its HR processes to “better prevent, detect, and sanction inappropriate behavior,” and appointed a head of workplace culture alongside a new head of diversity and inclusion. Both of those new hires will report directly to company CEO Yves Guillemot, who’s released a number of sympathetic statements promising more action.

When pressed on how this could happen under his watch during a recent investor Q&A, Guillemot, whose corporate representatives have twice declined an interview with Gamasutra, insisted the company has always acted on allegations of abuse. “Each time we’ve been made aware of misconduct, we made tough decisions,” he said. “It has now become clear that certain individuals betrayed the trust I placed in them and didn’t adhere to Ubisoft’s shared values. So I have never compromised on my core values and ethics, and I never will.”

One source, however, suggested that isn’t entirely accurate. A former Ubisoft senior leader told me that Guillemot and his direct team stopped them from ousting an abusive member of staff because they were “talented” and bringing more value to the company than causing collateral damage. When they explained to Ubisoft leadership that such a model was unsustainable, their comments were ignored. I’m also told that, as well as being protected by those in charge, said abusive member of staff was even rewarded with a substantial amount of company stock.  

While it’s possible Guillemot didn’t know the full extent of the allegations, it’s a claim that suggests the long-serving CEO was on at least one occasion willing to place other workers in the firing line to protect Ubisoft talent.

The fresh allegations against key employees within Quebec, Singapore, and Montreal also cast doubt on Guillemot’s assertions that Ubisoft has “made tough decisions” each time it’s been made aware of misconduct. Although it would be unfair to suggest Guillemot should have personally dealt with every instance of abuse within the company, the buck ultimately stops with him.

“Change should start with a personal apology from the CEO of the company as he needs to take responsibility for this. I have seen no mea culpa, simply blaming others is not a sign of real intent for change,” explained that former Ubisoft leader.

“Most serious cases would have reached the Ubisoft leadership team and Yves. It is his company,” they said. “Toxic behavior was not encouraged, but not acting decisively only makes the problem bigger and worse over time. I feel bad for HR leadership being blamed publicly as well as some of the studio leaders who tried so hard to fight this system, and create positive change. The reality is they had their hands tied and did what they were told to do. You accept this is how it works or you leave.” 

Time for a reboot

Another Ubisoft worker I spoke with for our previous report implored me not to lose sight of the bigger picture, and now that image has become even clearer. My conversations with current and former staffers over the past month suggest Ubisoft must do more to forge a brighter future for its employees, and it feels like crunch time for those at the very top, including Guillemot.

It’s not the job of victims and accusers — those who’ve already left the company and others who continue to suffer in silence — to start the healing process. That responsibility falls firmly on those in power. Ubisoft must welcome the mighty challenge of rebooting its culture, and it must do so immediately. It won’t happen overnight, but as long as there are still abusers and bullies operating with impunity, a permanent culture shift appears unlikely.

Speaking to me about how the company can rise from the ashes of toxicity, Ubisoft Quebec’s former director of narrative design Jill Murray said the process has to be painstakingly comprehensive, leaving no stone unturned. Perhaps more importantly, however, the rebuild must be transparent. Ubisoft must be willing to openly identify and address its own shortcomings, and ensure nobody — no matter their status within the Ubisoft family — is ever again beyond reproach.

“Real change at Ubisoft has to happen from the ground up and the top down, and it needs to be transparent. Empower employees. Remove business-as-usual executives. Yves Guillemot can’t pretend to want change, while installing his cousin [Christophe Derennes] as CEO in Montreal,” said Murray. 

“To be transparent, don’t hire union-busting law-firms like Relais to handle external investigations. Don’t make abuse reporters sign confidentiality agreements. Get serious about finding out what the deeper problems are. Many critics and former employees are able to give them important information. Invite them in. Pay them for their service if they’re still hopeful and willing to help.”

Ubisoft and those named in this report declined to comment on these new allegations, although the publisher again reiterated that it will take each claim seriously. “We won’t comment on individual employees. We take any allegations of abuse or harassment very seriously, and each of them will be promptly and thoroughly investigated,” said a company spokesperson when notified of our investigation. “Swift, appropriate action will be taken based on the outcomes of these investigations.”


If you or someone you know has been affected by this, you can email our reporter Chris Kerr to share your story confidentially.

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Blog: Mortal Kombat’s John Tobias on the creation and evolution of a franchise

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


Author’s Note: The following interview comes from GameDev Stories: Volume 6, one of 11 game industry-focused eBooks featured in StoryBundle’s Exclusive Retro Game Bundle. Available for the next three weeks, the Exclusive Retro Game Bundle offers three books for $5 or all 11 for only $15; a portion of the proceeds will go toward the World Health Organization (WHO) as it provides relief to those affected by the Covid-19 pandemic.

**

Mortal Kombat remains one of my favorite franchises, and not only for its hard-hitting combos (er, kombos) and the spectacle of its finishing moves. Even though 11-year-old David thought Street Fighter II the better game, Capcom and its World Warriors had nothing on Midway and MK’s mythology.

There’s a difference between a game’s story and its lore. Naughty Dog tells stories. Dark Souls rides on its lore. So did the early Mortal Kombat titles. In the days before flashy 3D graphics and photorealistic cutscenes, the endings of MK games rewarded players with two or three still images and as many paragraphs of text describing what happened to the player’s chosen “kombatant” after he or she won the tournament. But there was a catch: Those endings weren’t “kanon.” (Okay, enough with substituting Cs for K.) Each ending was a what-if scenario that detailed what might happen if Reptile, or Sub-Zero, or Tanya, or Mileena, or whoever won the tournament. Players had to wait until the next Mortal Kombat to see which of those endings Midway formalized as part of the mythology, if any.

While interviewing MK co-creator John Tobias–one half of the “Noob Saibot” character that debuted in MKII–for Arcade Perfect, my 2019 book about arcade-to-home-system conversions, we talked about the genesis of MK, concepts for characters, the emphasis on lore over storytelling, and more.

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David L. Craddock: I’m interested in the many ways games tell stories: some through traditional narratives, others through game systems. To start at the beginning, how did you get your start in the games industry?

John Tobias: I was hired at 19 right out of art school. I joined Williams Bally/Midway in 1989 and started working on what became SmashTV. I got to work with Mark Turmell (NBA JAM) and Eugene Jarvis (Robotron, Defender, Stargate, etc.).

Craddock: What led to you teaming up with Ed Boon, Dan Forden, and John Vogel to create the inaugural Mortal Kombat title?

Tobias: Ed was already there programming pinball machines and joined the video game department to work on the High Impact football game around the same time. He and I were both working on follow-up games when we had the idea to do a one-on-one fighting game. Dan Forden, who did our audio, worked with Ed on High Impact and joined us on MK shortly after we started as did John Vogel who put together many of our backgrounds.

Craddock: Was the idea of doing a 1-on-1 fighter a direct response within Midway to the success of Street Fighter II?

Tobias: I remember thinking of Karate Champ at the inception of our idea to do a one-on-one fighting game. But, there was a good stretch of time between that idea and when we actually started production on MK because Ed and I had to finish our prior projects. I think it was during that time that I remember Street Fighter II being released and doing well in arcades, which helped us convince our management to let us do MK.

So, while the original concept wasn’t a direct response to Street Fighter II, I think the eventual green light for us to move forward was in part based on that game’s success in the arcades.

Craddock: What was the driving idea, or motivation behind, MK1’s setting? It had a very Chinese/martial arts movie vibe to it.

Tobias: I had been a huge fan of martial arts films since I was a kid and so the opportunity to use those influences was something I couldn’t pass up when we started working on MK. I’ve heard MK described as Enter the Dragon meets Star Wars and I think both of those were also part of our DNA. What made Mortal Kombat unique was that it was really a bundle of never before bundled together concepts.

Craddock: How far along did the concept of a game starring Jean-Claude Van Damme progress before it was reworked into the MK1 we know today?

Tobias: We pivoted away from JCVD pretty early in the process. I believe we had already developed the core of our game’s premise while we were in those talks, but the idea was that JCVD would either play as himself or as one of the characters in our story. Johnny Cage being a Hollywood movie star was directly influenced by the possibility of JCVD’s involvement.

Craddock: I read that you’d been wanting to do more with story prior to MK. Did you see this game as your opportunity to flex more of your storytelling muscle? Or did that come later?

Tobias: I think I learned on SmashTV how powerful a familiar premise and theme can be in conveying story to the player without much, if any, actual exposition. But, I remember feeling frustrated while working on the sort of sequel to SmashTV called Total Carnage. Because we were working on an arcade product, story was certainly secondary to gameplay and so I felt it wasn’t being taken as seriously. Ed and I were given free reign to do what we wanted with MK. I saw that as an opportunity to try some things out with how we presented our story.

Craddock: Do you remember roughly where the ideas for the seven fighters came from?

Tobias: The initial roster evolved from a set of character archetypes. Because there were so few characters at the time, we were able to lean on that concept as a way of informing the player on who the characters were and how they related to each other within the context of the larger setting. Liu Kang was the hero, Johnny Cage was a sidekick, Raiden being a god implied wisdom as a mentor character. Every character fell some place on a basic spectrum of archetypes. In the first two games we were dealing with a relatively small list of characters and so we were able to manage that effectively. That became more difficult to manage as the roster grew in later games.

Another part of character creation was what they looked like, which also played a role in conveying story. Very simple visual choices led to questions by the player that helped layer story. Kano has one eye; how did he lose the other? This guy puts on a pair of sunglasses at the end of a match; why? Liu Kang’s intro says he’s a Shaolin Monk but he doesn’t dress like one; why? Goro is a monster and clearly not like the other characters; where is he from? This woman is in the US military; how does she relate to the mystical nature of some of the other characters?

Also, if there were influences from other media, we typically used it because we felt it would help the player identify with a character. If making a character resemble ‘that guy from that movie’ helped establish the character in the mind of the player, we saw that as an opportunity. Being an arcade game, we didn’t have a place to unfold story exposition so we had to take advantage of telling story any way that we could.

Craddock: As a kid, I was drawn to MK1 in large part because of the mythology. The game intrigued me in a way SF2 didn’t. Was the emphasis on characters and setting a conscious response to distinguish MK1 from SF2?

Tobias: We did everything we could to differentiate from SF2, but I don’t remember our fiction being in response to anything they did or didn’t do. I think MK had its very own vibe. Yes, it was a one-on-one fighting game, but it offered a very different experience than Street Fighter both in mechanics of play and visual space.

Right out of the gate it was a good thing that we had made the choices we made because it offered a somewhat familiar and yet very unique experience. I think that combination of novelty and familiarity is present in almost every successful game even today. I also think that the time we spent developing the characters and story, which was an odd thing to do in an arcade product, helped build a larger world in the minds of our players. That impact lives with MK even in its most recent iterations.

Of course, our brand of violence is in large part what gave us a seat at pop culture’s table. But, the attention we gave to developing those early games and the incredible work being done at NetherRealm today is what has assured that MK was no passing fad.

Craddock: How much of MK’s mythology did you envision during development of the first game? Or was that first development cycle so tight that you primarily focused on material needed for the game?

Tobias: We had the base of our fiction pretty well thought out in the first game and what didn’t actually make it into the game through the methods we had available, I had scribbled in a notebook or sitting in my head. What was important for us was to establish; here is this world where there exists a mystical martial arts tournament and here are these fighters and why they compete.

Basic stuff but the groundwork for everything that would follow in subsequent games. Our development cycle was tight, but not so tight that we would pass on an opportunity to embed story into the game.

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Craddock: What influenced the decision to create Shang Tsung as an older character?

Tobias: We wanted to imply that the host of the tournament had a long history. Making Shang Tsung an old sorcerer created instant implications for us in terms of how he fit into the larger fiction and making him a shapeshifter played directly to a villainous character archetype. I also thought about a character from an old Shaw Bros. film called Clan of the White Lotus. He was an aged fighter with flowing white hair and beard who had mastered mystical techniques.

That sorcerer-like character type was prevalent in many of the kung-fu films I had seen as a kid and I think was the basis for Lo-Pan in Big Trouble in Little China, which had a superficial influence on Shang Tsung.

Craddock: MK seemed to explode right away, with comic books and other products available at or near the game’s launch. I loved the comics. Did you push for those, or did Midway come to you with the opportunity to write and illustrate them?

Tobias: I wrote and drew the comics that were sold through the first two arcade games. That was entirely our idea and a way for us to get actual story exposition out into the players hands. All of the ancillary stuff came a few years after the first games.

Craddock: How did you want the comics to tie into, and/or expand upon, the mythology detailed in the first game?

Tobias: The comics that we sold through the arcade game were meant to work as setups for the game fiction. They told a story that led up to the game leaving the rest up to the players to sort out in their heads. So much of the fiction in our games was implied and it was amazing how well that worked for the player. They were willing and able to fill in the blanks based on the tidbits we shared.

The Malibu licensed comics came a few years later and were not canon to the actual games.

Craddock: Was Boon interested in contributing to the game’s mythology/lore, or did he need to concentrate more on coding?

Tobias: Ed and I had our expertise, but efforts were always very collaborative and so ideas flowed between us and really anyone involved with the game. Although I focused on the actual fiction I would say that MK’s reputation for being mysterious with mythology and lore came just as much from Ed’s penchant for hiding things in the game itself as it did from anything we did with the story.

Craddock: Liu Kang’s Fatality in MK1 stood out from the rest. The screen didn’t darken, and it was quite tame–a cartwheel into an uppercut–compared to others. Why was Kang’s Fatality designed differently?

Tobias: That was a conscious choice to differentiate him as an enlightened, former Shaolin monk.

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Craddock: Meaning no disrespect, but Goro was an even more memorable boss character than Shang Tsung, even though the Goro fight preceded the final battle against Tsung. Not only was Goro’s mythology enthralling–a half-human, half-dragon badass–but the audiovisual touches you and the team added to the match before Goro were fantastic, specifically the screen shaking and heavy footsteps. You knew something bad was somewhere above you, and you almost hoped you’d lose so you wouldn’t have to find out who or what it was. But even more fascinating, to me, is that Goro was sculpted from clay and animated via stop-motion animation. What was the process of bringing Goro to life?

Tobias: The only experience I had with stop-motion animation prior to Goro was on a film short that I did with my brother as kids using our Star Wars action figures and a super-8. Any difficulties I had with Goro were due to inexperience. The mini-stage setup for Goro was incredibly crude, but I suppose it got the job done. I think the concept of incorporating a stop-motion puppet with digitized actors in a video game was novel enough to give us a pass on quality. No one had done it before as far as I know.

The Goro puppet itself was amazing. The sculptor, Curt Chiarrelli, did a great job of interpreting my drawings. The one thing that made it somewhat difficult to animate was that Goro’s armature was built with wires. It worked okay, but would’ve worked better had we done it with ball and socket joints as I believe Curt had suggested. I think we were looking to save time and money so we cheaped-out. We should’ve listened to Curt because on our later puppets for MK3, Motaro and Sheeva, we went with full skeletal armatures which made it so much easier to pose the figures.

Craddock: In 1992 and ’93, MK was infamous for its gritty atmosphere and violence. How did the team decide to go in that visual direction?

Tobias: I think the gritty came from the digitized technique we used to create the graphics. The violence kind of grew out of the inherent nature of two fighters beating the heck out of each other. MK’s fatalities were entirely about getting a positive reaction from the players by creating something that was hidden from the average player and a spectacle when pulled off. We wanted them to be events that put an exclamation point at the end of a match.

Craddock: Did you expect the amount of blowback MK received, going all the way to the government’s attempt to censor the game?

Tobias: We didn’t expect any of that. We were buried in wanting our players to have a good time.

Craddock: Were you aware the Genesis and Game Gear versions would include a blood code?

Tobias: I only vaguely remember being aware of a blood code and I don’t remember whether that was during the course of conversion development or after the release. Ed was much closer to the code side portion of the ports and if I learned of the codes it would’ve been through him.

Craddock: Mortal Kombat was largely responsible for the creation of the ESRB rating systems for games. I understand the need for that system, but I disagree with any form of censorship. Nintendo effectively censored an artistic creation when they forced Sculptured Software to sanitize their ports of MK1. What were your thoughts on that?

Tobias: I have a mixed reaction to the issue. We developed coin-op games for the arcade crowd, which in our experience skewed older than console players at the time. But, in hindsight the industry itself was maturing and it took a while for us to see that happening. I was 21 when we started development on the first MK and I hadn’t stopped playing games. My friends hadn’t stopped playing games. Certainly the older players we saw in the arcades hadn’t stopped playing games. So this idea that video games were only for kids was a misread by the industry and the public at large.

There was an assumption that people stopped playing video games just like they stopped playing with toys. The reality was that video games had become a form of entertainment that reached beyond our childhoods and so the idea of games themed toward adults was a reality that took some time for people to grasp. Nintendo had a very specific demographic that they thought they were catering to and when MK showed up on their system it acted as a disruptor, so I understand their reaction.

Unfortunately, I think Nintendo tried to take advantage of opportunistic politicians looking for headlines to gain an advantage over their competition with Sega and it backfired. Thankfully, when the dust settled the ESRB was the result and I think that it was a reasonable reaction to the whole dilemma. It was pretty much an acknowledgement of video games as a legitimate form of entertainment that caters to all ages.

Craddock: How did MK1’s success influence the team’s development process within Midway leading into MKII?

Tobias: MK changed my professional life forever. Our MKII team only grew by one additional artist. The core group of Ed and me, Dan Forden, and John Vogel remained although I believe John may have been busy with other projects as well. The new artist who joined was Tony Goskie and he was a significant addition. Our fiction in MKII introduced the realm of Outworld and Tony was a huge part of visualizing what it would look like.

Craddock: Was Kintaro easier to create, move, and animate, since you had the experience of working with Goro under your belt? 

Tobias: John Vogel animated Kintaro in MKII. In fact, I remember John buying action figures and cutting up and gluing parts of armor onto the new puppet that Curt had created. The puppet was created the same way as the original Goro. I think John did a better job of animating Kintaro than I had done with Goro.

Craddock: In evaluating MK1 and working on II, where did you see room for improvement?

Tobias: We knew that we were going to have more time on MKII and that there were improvements to the process that we could make. The compressed schedule of the first game was cause for a lot of happy accidents in design, but now we could take those learnings and create something bigger and better.

On the art side of development, there were things like color palette management and moving from an analog to digital camera capture with the characters that gave them a much cleaner look on MKII.

Craddock: MKII’s backgrounds and characters are gorgeous–in a bloody yet colorful sort of way. Its art direction still holds up today. What visual direction were you aiming for? And, how did you want the game to differ from MK1’s visual style?

Tobias: The first MK had a very raw, digitized look. That choice was made in part because of time constraints, but it was also an aesthetic choice we felt would give MK a unique visual style amongst its competitors. On MKII, with the introduction of the Outworld, we saw an opportunity to create more richly colored visuals.

We did coordinate the colors of our characters in contrast to the backgrounds so that they wouldn’t get lost. Characters were typically composed of flesh tones and a primary color or two, which let us cut loose on the environment visuals. I think that in combination with improvements in how we captured footage of the actors added up to what gave MKII its unique visual approach.

Craddock: As if you and Ed hadn’t attained immortality already with the first MK, Noob Saibot made his debut in MKII. Who came up with the Noob Saibot character?

Tobias: That was Ed! I gave Ed a bunch of random color palettes for the ninjas and he snuck Noob Saibot into the game entirely on his own. I added fiction and history to the character later, but Ed was responsible for the inception.

Craddock: MKII’s home release came 18 months after its debut in arcades. That seems like an exceptionally long time between arcade and console releases. Do you know if there as any particular reason for that?

Tobias: I don’t remember why that would’ve been other than maybe having to do with the release of the arcade game. I think the coin-op was officially released in the spring time and so it’s possible that the port would not have been ready in time for that holiday season.

Also, that would’ve only been several months from the arcade release, which would’ve upset arcade operators who were dependent on coin-drop. There was a feeling that the home release could affect their earnings and our relationship with the distributors and operators was very important.

Craddock: How soon after MKII released in arcades did you and the team break ground on MK3?

Tobias: I don’t recall exactly. I know after we locked down software and began manufacturing the coin-ops I turned to creating the MKII comic book that we advertised in the arcade game. That was great fun for me and a good break from pushing pixels. Also, the team probably spent some time decompressing before we rolled on to MK3. But, we didn’t float too long. It was business as usually for us. We had that blue collar Chicago work ethic engrained in our souls.

Craddock: Of all the MK games you worked on, which is your favorite?

Tobias: For nostalgic purposes I’d say MK1 was my favorite only because we were so innocent and had no idea of the success that was ahead of us. That’s a very rare experience for anyone who embarks on a creative endeavor. It was just us. No one told us what to do or how to do it. We had absolute creative freedom.

Craddock: Ed Boon says Scorpion is his favorite character. Who’s your favorite?

Tobias: I love all my children!

Craddock: I love the speed and gameplay of MK3, but I’ve always been curious why its violence was even more over-the-top. For instance, a single character would explode and shower the screen with multiple skulls, rib cages, and more than four limbs. Fatalities were more over-the-top, too, such as Jax growing into a giant and stepping on his opponent. Why was this more comical style chosen?

Tobias:  Because bigger is better! Honestly, I don’t know that we were comical on purpose as much as just wanted to be more over the top with the violent aspect.

Craddock: Arcade and console hardware seemed to exist in a symbiotic relationship: Conversions of coin-op games gave consumers reason to spend money on a game once and play it at home, but arcade games were graphically superior to consoles, and boasted unique apparatuses such as cockpits and huge screens. Was this relationship as symbiotic as it seemed, or did the home console supplanting arcades seem inevitable, then or in retrospect?

Tobias: Actually, in my experience it was quite the opposite. For me it was the unique peripherals that made arcade games special. It was the seat and steering wheel of a driving game or the actual molded gun of a shooting game. For fighting games the pads of home consoles were inferior to the feel of an actual joystick and mounted buttons.

I think that’s true to this day. But, in the late 90’s and early 2000’s when the graphic quality of the consoles caught up with what we could do in the arcade, that’s when players began to stay home. Today the arcade experience has kind of had a resurgence. Not so much with the barcade retro scene as much as the new location-based event games you find in places like Dave & Busters.

Craddock: I’ve learned a lot about the obstacles console and PC programmers faced in bringing arcade experiences into the living room. Pac-Man for the Atari 2600, for example, was incapable of rendering circular dots—at least at the time Tod Frye worked on the conversion—and TV screens were wider than they were long, forcing Frye to rejigger Pac-Man’s maze. Frye’s conversion was judged harshly, and was considered partially responsible for the North American video game market’s crash in the ‘80s. Do you feel conversions like Pac-Man and programmers like Frye were judged too harshly then or now, given that consumers—and most critics—couldn’t understand the restraints that developers charged with home conversions had to work within? Or should that not matter?

Tobias: It’s funny you mention the 2600 Pac Man game because I remember being bent as a kid that it differed so wildly from the arcade version. I remember flipping through the manual and reading the dots described as wafers to kind of explain away the square shape. My view on that changed when I began actually working on games and understanding how hardware limitations can put a pretty low ceiling over your head.

For what it’s worth, I loved every game I played on our 2600… even the bad ones! That was a magic time for me. Even the crash was magical for me because the games were discounted to $2 or $3 bucks!

[embedded content]

Craddock: Do you keep up with MK? What are your thoughts on the franchise?

Tobias: Yes I keep up when I can. I visit NetherRealm on occasion and the guys will share works-in-progress. They’re kind enough to send games to me when they’re released and I’ll typically play through the single player modes. I really only started playing again at MK9 and I think the new versions are amazing. I’m always excited to see what they’ll do next and the graphic capabilities are incredible. Honestly, I’m in heaven when I see how cool the original characters are interpreted in the new games.

I think MK is a forever franchise. I felt that way when I left Midway and I feel that way today especially with Warner Brothers’ acquisition of the property. Like any franchise it may have ups and downs, but it is engrained in popular culture because of its birth in the 90’s and will remain a staple as longs as it’s dusted off and kept polished. Its relevance today is entirely due to the great work being done at NetherRealm.


Author’s Note: This interview comes from GameDev Stories: Volume 6, one of 11 game industry-focused eBooks featured in StoryBundle’s Exclusive Retro Game Bundle. Available for the next three weeks, the Exclusive Retro Game Bundle offers three books for $5 or all 11 for only $15; a portion of the proceeds will go toward the World Health Organization (WHO) as it provides relief to those affected by the Covid-19 pandemic.

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Apple and Google kick Fortnite off mobile

Fortnite is no longer available to download from the App Store and Google Play following Epic’s latest update, which featured a workaround where you could pay less for V-bucks by avoiding the 30% cut both mobile game stores take whenever you make a purchase. Epic appears to have expected this reaction, as it has also launched a lawsuit against Apple. 

“Apple has become what it once railed against: the behemoth seeking to control markets, block competition, and stifle innovation,” says the injunction. “Apple is bigger, more powerful, more entrenched, and more pernicious than the monopolists of yesteryear. At a market cap of nearly $2 trillion, Apple’s size and reach far exceeds that of any technology monopolist in history.” 

The injunction refers to the 1984 Apple commercial, where the Macintosh is the revolutionary force breaking IBM’s monopoly over the computing market. Using an in-game Fornite parody of the famous advert, Epic suggests that Apple has become what it once vowed to stop – a monopoly, using anti-competitive restraints to choke the market.

If you’ve never seen the original Macintosh Super Bowl advert, you can find it on YouTube. We recommend watching the original first before you check out Fortnite’s parody below.

Epic’s lawsuit explains that it’s not seeking financial compensation or favourable treatment by suing the multi-trillion-dollar conglomerate. Instead, Epic is seeking to relieve what they refer to as the ‘monopoly’ that Apple has over the iOS app distribution market, and the in-app payment processing market.

It’s not clear what the result of the injunction will be, or how long we will have to wait before we see Fortnite readily available on all smartphones again. 

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Don’t Miss: Landing venture funding with LVP’s David Gardner

David Gardner is a 30-plus-year game industry professional who spent 25 of those years at Electronic Arts where he built the publisher’s European business.

Today, he’s co-founder and general partner of London Venture Partners, a venture capital seed fund that specializes exclusively in the game industry and were early investors in Supercell, Unity, and other big names.

Listen now on iTunes, Google Play Music, and Spotify

On GDC Podcast episode 11, Gardner joins Gamasutra’s Kris Graft and Alissa McAloon to tell us what he and his team look for when investing capital. Here are just a few highlights.

“The first thing we’re looking for is the team. Is the team amazing? Because we’re only going to do eight investments in a year and we’re going to see 700 [projects]. And that was before the world became even more nervous about investing. So roughly 1 percent of what we see, we invest in…

“The start is always going to be the team, because you never know if the game is going to make it or not but you know the team is going to learn from whatever they do. And that learning is the critical process of improving the product…we definitely are looking for teams that want to build a company. And that generally is more than one project.”

“First of all, is the kind of capital that comes from the investing industry the kind of capital they want? Of course there is the joke about ‘vulture capital’ and the scary side of taking outsiders’ money. And I think that, largely, that is myth.

“But there is one thing that I always try to make sure that people are accepting of is that our business model in the investment industry is to make an investment, and then at some point to sell that investment. So we’re going to be with you for part of the journey, but your journey is going to be far longer, hopefully…but you have to understand that investors need an exit…so if you’re really trying to build something that you own and control completely and you don’t have to think about the responsibility you have to other investors, then maybe don’t take venture money.”

“…Definitely be honest and try to project who you are as a leadership team and what you want to build. Try to get to know that character of the investor to make sure it’s a good match…the plan you present [should] have some thoughtfulness to it and not just, ‘Hey, I need $80 million to build the next most amazing thing you’ve ever seen.’

“…Sadly, statistically, it’s not likely to even work. And I always ask people, ‘When this doesn’t work, because by the way, statistically-speaking, it’s not going to, what are you going to do next?’ And that helps me discover their longer-term thinking, what they’re really made of, and can they suffer through the unfortunate stress and pain of creating a startup.”

GDC Podcast music by Mike Meehan

Listen now on iTunes, Google Play Music, and Spotify

Gamasutra and GDC are sibling organizations under parent Informa Tech

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Get a job: Join the Savannah College of Art & Design as its Chair of Visual Effects

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: Savannah, Georgia

Join SCAD as chair of visual effects and help students become fluent in digital film and entertainment production as they prepare for creative careers in Hollywood and beyond.

The SCAD visual effects program provides a combination of fine arts foundation and professional instruction in a collaborative environment that reflects real-world productions. In this role, you will direct the SCAD Savannah visual effects department, develop curriculum, and teach classes annually as assigned. Responsibilities also include overseeing the department’s budget, working with admission to recruit talented students to SCAD, observing and evaluating professors, and consulting with the dean on the strategic plan for the School of Digital Media.

The ideal candidate should have significant professional experience as a visual effects artist and as a supervisor, facility manager, or lead member of a visual effects production team on-set or on-location. Experience should be in one of the principal areas of visual effects production, including technical direction, modeling, texture mapping, lighting, compositing, matte painting, shader writing, effects animation, and creation of virtual 3D environments.

Candidates should have a passion for leading curriculum development, possess strong communication skills, and work well with students and faculty of diverse backgrounds. Candidates should also be knowledgeable of current trends and technological developments in visual effects image acquisition as well as AR/VR applications of visual effects and other emerging technologies. Familiarity with the comprehensive planning and execution of photographic elements for visual effects is preferred.

Named among the best small cities in the U.S. by Condé Nast Traveler, Savannah offers an inviting climate and a culturally rich downtown, providing a real-world workshop for the study of art and design. The university blends seamlessly into the Savannah landscape and provides students with a dynamically layered learning environment in which to thrive.

Requirements
– Terminal degree or its equivalent in visual effects or a related field
– Proven leadership skills with the ability to motivate students and faculty to think creatively and critically
– University-level administration and/or four years of teaching experience preferred

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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Epic Games sues Apple to end what Epic calls ‘unfair and anti-competitive actions’

This morning’s Fortnite update is looking more and more like a coordinated attack from Epic Games against Apple with each passing hour.

The Fortnite developer has now filed a lawsuit against Apple, only maybe an hour after Apple pulled Fortnite from the App Store for flagrant rule breaking, with Epic accusing the platform holder of unlawful, unfair, and anti-competitive actions through its App Store policies.

For a quick bit of background on today’s developments:

This all started this morning when Epic Games updated Fortnite to include a payment method that bypassed the usual platform fees taken out of in-app purchases. (More on that here.)

Apple fired back this afternoon by pulling Fornite from the App Store, claiming that payment scheme and update violated its App Store Guidelines. (And, more on that here.)

Moments ago, Epic broadcast an in-game short to Fortnite parodying an Apple commercial and displaying the message “Epic Games has defied the App Store Monopoly. In retaliation, Apple is blocking Fortnite from a billion devices. Join the fight to stop 2020 from becoming 1984.” (Found here.)

Looking back to today’s lawsuit, Epic Games says its ultimate goal is to “end Apple’s unfair and anti-competitive actions that Apple undertakes to unlawfully maintain its monopoly” both on the iOS platform where the App Store is the only sanctioned app distribution option, and in the iOS payment processing market that locks developers into funneling payments through Apple and forfeiting 30 percent of revenue in the process.

However, Epic maintains that this isn’t strictly retaliation for the still-warm remains of Fortnite’s App Store page. That calculated challenge against Apple’s policies and Fortnite’s swift (and seemingly expected) removal at Apple’s hands were merely the catalyst Epic used to challenge the very principles powering Apple’s tight control of its iOS ecosystem.

Per the lawsuit: “Epic is not seeking monetary compensation from this Court for the injuries it has suffered. Nor is Epic seeking favorable treatment for itself, a single company. Instead, Epic is seeking injunctive relief to allow fair competition in these two key markets that directly affect hundreds of millions of consumers and tens of thousands, if not more, of third party app developers.”

Epic is taking aim at Apple’s App Store policies and saying that the anti-competitive attitudes powering them causes “sweeping harms” to developers as a whole by dampening competition, denying devs the ability to choose storefronts or payment processing options, and forcing them to pay a 30 percent revenue “tax” to reach Apple’s millions of iOS users. It argues that many of those same harms impact other platform holders and payment processors by denying both the chance to compete on iOS. This trickles down to iOS users too, argues Epic, by denying consumers choices or any of the benefits healthy store competition on iOS might offer them in terms of app or in-app purchase pricing, for instance.

Epic’s Nineteen Eighty-Fortnite video takes aim at Apple’s own origin story.

Fortnite makes for an excellent illustration of Epic Games’ complaints against Apple, which is no doubt the reason behind today’s theatrical back-and-forth. Epic CEO Tim Sweeney himself has often spoken out against the 30 percent cut platform holders like Apple (and Google on Android) mandate for apps on their storefronts. But, unlike Google, Apple does not allow companies to host their own app stores on its operating system, a system that currently claims a userbase of over one billion users according to Epic.

If it did allow third-party stores, Epic says it would have launched its own Epic Games Store app on iOS which, without a Apple 30 percent revenue tax, would allow it to charge Fortnite users less for in-app purchases and allow them to use a variety of payment processing tools.

That lower IAP price isn’t entirely hypothetical either; Epic planted that seed earlier today when it patched its own payment processing method into Fortnite and charged players less for purchasing premium currency through that Apple-bypassing method. 

Epic’s ‘direct payment’ ploy survived on the App Store for mere hours, a fact Epic is gleeful to highlight in its lawsuit as proof that Apple cannot “tolerate this healthy competition and compete on the merits of its offering.” The company also calls attention to the fact that it has spoken and attempted to negotiate with Apple privately to no avail, leading to today’s lawsuit.

New users won’t be able to download Fortnite on iOS now that its been forcibly delisted.  Existing Fortnite users are able to still play and purchase currency (through either Epic or Apple’s payment processing options!) but won’t be able to receive future game updates for the massive and consistently updated online game. 

Epic points to this retaliation and its direct impact iOS-favoring Fortnite players, as a direct example of the dangers of the monopoly it says Apple has on iOS, saying: “Apple’s removal of Fortnite is yet another example of Apple flexing its enormous power in order to impose unreasonable restraints and unlawfully maintain its 100 percent monopoly over the iOS In-App Payment Processing Market.”

Still, the company isn’t seeking any monetary damages for itself and instead asks the court to strike down Apple’s “anti-competitive restrictions on the iOS ecosystem” and “and ensure that Apple mobile devices are open to the same competition as Apple’s personal computers.”

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Ezio from Assassin’s Creed is now a playable character in AFK Arena

Lilith Games has announced that the loveable rogue from Assassin’s Creed, Ezio Auditore, is playable from today in AFK Arena. The Master Assassin is available for free during his first week, meaning you can try him out for yourself before deciding whether you want to purchase him for good. This character update comes after the news that AFK Arena recently reached 40 million downloads just in time for its first birthday.

“We’re excited to see AFK Arena’s core audience continuing to explode across the globe,” comments Xiao Dong, Producer of AFK Arena. “We’re thrilled to add Ezio from Assassin’s Creed to our hero lineup from today.”

For those that don’t know, AFK Arena is a fantasy idle-RPG well known for its unique art style. In the game, you build a party from a selection of 100 heroes belonging to seven different factions, and face off against enemy armies invading the land of Esperia. But as AFK is also an idle game, you can sit back and relax while doing this – letting your heroes fight for you to gain xp and rewards.

If you want to learn more, you can watch the snazzy live action trailer for the crossover below:

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For those wanting to play AFK Arena, we’ve got plenty of content to keep you satisfied! Check out our AFK Arena tier list to know what characters are worth playing, and also our AFK Arena codes selection.

If you fancy checking out Ezio for yourself, you can download AFK Arena on Google Play and the App Store!

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Video: Speedrunning Skyrim with Skyrim dev Jonah Lobe

The name of the speedrunning game is picking apart the weird ways video games work to quickly work through–or even circumvent!–carefully designed systems and levels, so what happens when a game’s developers join in on the run?

Find out in this GDC Summer session where game developers and speedrunners who know their game engage in a spirited exercise. In this particular GDC Summer Dev Speedrun session, The Elder Scrolls V: Skyrim artist Jonah Lobe commentates and shares memories from development all while runner BubblesDelFuego works their way through the expansive world of Skyrim in just over an hour. 

See how runners find the tricks that developers use to make the game functional in order to beat the game at top speeds in this GDC Summer session, now up for free on the official 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

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Obituary: Meridian 59 and MMO developer Brian Green

Game developer and noted MMO advocate Brian “Psychochild” Green has passed away at the age of 46.

Green was a pillar of the game industry, particularly in MMO spaces, and played a key part in keeping the early MMO game Meridian 59 up and running during his time as CEO and co-founder of Near Death Studios from 2001 to 2010.

In the years since, Green took to sharing his knowledge, thoughts, and reflections on MMOs and beyond with other members of the game industry though his own blog posts while, recently, working on an unannounced online game. 

A Facebook post from a close friend remembers Green as a gentle and kind soul that channeled that kindness into many things, including building communities within Final Fantasy XIV as a player where he “was regarded with incredible respect, as a bright light that illuminated the entire world around him,” remembers fellow game developer Elonka Dunin in that post. “Everyone who knew him, both online and offline, commented about his kindness. He was a very gentle soul, and will be missed.”

Dunin adds that those wishing to pay their respects to Green may make a donation to Save The Children in his name.

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Get a job: Join Airship Syndicate as a Mid to Senior Worldbuilder

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: Austin, Texas

We’re currently working on an unannounced PC/console title (with an exciting pedigree), and need help bringing the game world to life.

If you love building levels and bringing worlds to life for players, read on!

RESPONSIBILITIES:

  • Creating interesting, lived-in worlds with clever world building in Unreal Engine.
  • Placing environment assets, VFX, lighting, and so on
  • Establishing and maintaining technical requirements for environment assets and levels
  • Working closely with designers to iterate on and finalize level layouts
  • Utilization of 3DS Max or Maya, Photoshop, and other related tools to author environment assets
  • Working with art leadership to review, critique and iterate on work

REQUIREMENTS:

  • Familiarity with the usual tools of the trade: modeling tools, game engines, source control, and so on.
  • A keen willingness to adapt work as design iterates or evolves
  • A do-whatever-it-takes mindset: flexibility to learn and grow to fill the needs of a small team
  • Good understanding of how to create believable and visually memorable levels
  • Good understanding optimization needs and other technical requirements regarding performance
  • 5+ years of experience, demonstrating the above responsibilities in action
  • Must be immediately eligible to work in the United States

PLUSES:

  • Titles shipped using Unreal
  • Titles shipped across major platforms
  • Affinity to learning new tools and techs
  • Proficiency creating hand-painted textures

SOME OF THE BENEFITS WE OFFER:

  • Full health benefits including medical, dental and vision
  • Profit sharing
  • Generous PTO
  • Relocation packages 

PLUS…

  • Office movie lunches
  • Snacks on snacks on snacks
  • Ping Pong with a leaderboard
  • One sick mame cabinet

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.