Category: News

Zynga has entered into an agreement to acquire Rollic, the Istanbul-based hyper-casual mobile game developer and publisher behind games like Go Knots 3D and Tangle Master 3D.

The deal is expected to close on October 1, 2020 and will see Zynga spending $168 million in exchange for 80 percent of Rollic. The remaining 20 percent will then be purchased over the next three years in, according to a press release, “equal installments at valuations based on specific profitability goals.”

Though Zynga has made a name for itself in the mobile games space, the deal marks the company’s first steps into the hyper-casual game market, a corner of the mobile games space where Rollic has already claimed 250 million downloads, 5 million daily active users, and 65 million monthly active users across its entire game portfolio.

“We are excited to expand into the hyper-casual category with the acquisition of Rollic, one of the fastest growing hyper-casual developers and publishers worldwide in 2020, led by an incredibly creative team,” reads a statement from Zynga CEO Frank Gibeau.. “With Rollic, we are meaningfully growing our audience, expanding and diversifying our global advertising business, and adding to our game pipeline and developer network. Zynga and Rollic are well-positioned to grow faster together.”
 

Journey developer thatgamecompany has almost become synonymous with the word ’emotion.’ Almost every title in the studio’s oeuvre has succeeded in making players feel something — whether it’s a twinge of sadness for an ancient civilization buried in dust or the spark of joy when you spot another cloak-clad wanderer chirping away in the distance. 

Speaking at GDC Summer, one of the studio’s ‘feel engineers,’ John Hughes, offered some insight into how that propensity for ‘feeling’ helped refine the social play that drives its latest release, Sky: Children of the Light. 

Like Journey before it, Sky allows players to interact and forge connections with strangers. Although players can complete the main story arc themselves, Sky leans heavily on social mechanics, pushing its airborne wanderers to connect with each other.

Getting players to actually connect, however, wasn’t straightforward. Initially, the development team found that giving players clear goals and putting them into a relatively linear structure actually dissuaded them from forming relationships. The more compelling the goal in front of players, the more likely they were to completely ignore each other. 

“Multiplayer gameplay that inspires social play should provide a careful balance of open-ended and goal oriented play,” explains Hughes. “We switched to more of a tree structure and created alternate paths and added secrets and activities. These acted as ice breakers for deeper relationships to form. Anything in the world that slows players down can create the boredom necessary to inspire creative usage of the mechanics they’ve gained access to.”

One of those mechanics was ‘hand holding.’ The feature allows players to link hands and guide each other, and ultimately serves to encourage unique shared experiences within the game world. 

“We knew that some of the best experiences you can have in Sky are off the main path, being guided by an other player or just stumbling around together. To reinforce this, we introduced hand holding between players, which has proven to be one of the most iconic features of Sky. One player can give control to another, and then be guided around the world. A really attentive guide will create experience for other players.”

Hughes explains how those exemplary guides will create experiences for other players, leading them to hidden locations and collectibles. Those moments, where one player decides to place their trust in another and is rewarded, create intimate connections.

“We define social play as ‘any activity performed near other players, which encourages simulating the thoughts and feelings of others,'” continues Hughes, outlining how the mere act of guiding another player to a hidden vista qualifies as social play. “Basically, we’re talking about empathy.”

To help players solidify those nascent bonds, thatgamecompany added a gifting mechanic that allows players to reward their newfound friends. On a surface level, it’s a way of saying ‘thank you.’ But it’s also a mechanic that elicits a genuine emotional response for both the giver and receiver.

The studio also implemented ‘social rituals’ that provide a sense of growth and investment, adding to the sense that those friendships and experiences within Sky are genuine. “At first when you interact with a new player in Sky their identity is hidden and you can only see their silhouette. To reveal the other player you touch your candle flames together, and once they’re revealed you can perform other actions and see their outfit,” continues Hughes. 

As those in-game relationships grow, new abilities are also unlocked. It’s a looping system that reminds players that the more they invest in a friendship, the more both parties will get out of it, which in turn mitigates the potential toxicity that can some from “short, low investment interactions.” 

That said, Hughes notes that its important for some interactions to fall short. As in life, not everyone players meet will stick around for the long haul, and that okay. It means those relationships that do blossom feel organic. 

“This is important because as soon as you start thinking someone is doing something with you because the designer has forced them to, even if the designer hasn’t, you lose a bit of trust in the other player that they’re being genuine,” he adds. “You need the lows to really appreciate the highs.”

In Emily Greer’s long career in games, which saw her take the helm of game distribution platform Kongregate, she’s had a lot of time to think about not just the value of work, but the environment where work is done. At her GDC Summer talk (Greer’s slides available here), Greer chose to tackle many of the stories of harassment and abuse we’ve heard about the game industry of late through the lens of game leadership. At its height, Kongregate’s staff topped off at 120 employees, before Greer left to found Double Loop Games. 

Though Greer’s talk acted as a guidebook for developers looking to build more respectful spaces, developers should take note about one particular point Greer made early in her talk. Right now, most companies in the United States are trained to look at harassment prevention as an exercise of policing individual behavior. But that’s a slightly misaligned goal. Individual behavior is moderated through incentive structures, but what happens when the incentive structures for abusing one’s coworkers go beyond what’s in the company code of conduct?

To illustrate this point, Greer relayed a story from the early days of Kongregate, during a dinner at GDC 2009. While speaking to an executive from a then-rising social game company, the executive’s tone drastically shifted mid-conversation.

“His language became suddenly sexual,” she explained. “It was ‘we don’t have to get married, we can make this deal a one-night stand…'” Greer mimed an obscene gesture the exec performed. “I was really taken aback. What was happening here? Does he want me to have sex with him to get a distribution deal?”

As promised, here are the slides from my presentation on how leaders can prevent abuse & harassment.https://t.co/hpf3eNmW6r

— Emily Greer (@EmilyG) August 6, 2020

Even though Greer knew she hadn’t done anything wrong, all the good feelings of the dinner had evaporated in the face of this random executive’s garbage comments. But she still couldn’t understand why he tanked a potentially lucrative deal. After some reflection, she came to a conclusion about why that executive had spoken that way: harassment is only sometimes about sex, but it’s always about power.

Even if that executive had thrown away a profitable deal in the name of a quick rush, Greer opined that it probably felt worth it because of how the power dynamics of the interaction gave that executive a feeling of control. In work hierarchies (like the recently revealed alleged behavior at Ubisoft), this sense of control helps reinforce “the traditional pecking order.” 

That analysis lines up with data from the Equal Employment Opportunity Commission. The EEOC identified a number of forms that harassment can take in the workplace, that can target race, age, disability, experience, and more. These kinds of harassment are likely to occur at an array of workplaces that feature certain characteristics.

Those characteristics included a homogenous or young workforce, workforces with “high value” employees, workplaces that rely on customer service/satisfaction, all examples that describe game companies to a T.

To sum it all up, Greer pointed out that most modern companies, in their anti-harassment policies, are focused on retributive punishment for illegal behavior. But on the pathway to illegal behavior, you get a number of other toxic behaviors like asking coworkers on a date, “ironic” racist jokes, or even just teasing put-downs.

“Companies have been focused for a long time on just eliminating illegal harassment… but to create a safe environment, you have to deal with that whole spectrum, including behaviors that are more subtle,” said Greer. “You can’t half-ass this. Your culture is defined by what you choose to do when it’s inconvenient, not by what you say when it’s expected.”

By realigning how your workplace thinks about harassment–less about lurking predators and more about how your company promotes and rewards power, you can make your workplace safer and promote the health of your employees. “Because harassment is so much about power, the most underlying factor you can use to create cultures of respect is to minimize the power differential,” she pointed out. “Or at least the perceived importance of that power.”

That’s not an argument for organizations to follow the example of Motion Twin and create flat hierarchies—Greer pointed out that harassment happens in flat organizations too–but that developers do need to think about the separation of people in your organization, what it means, and how it’s perceived. Hopefully, before anyone gets hurt. 

Tribe Games founder Charles McGregor appeared at GDC Summer today to talk about how would-be game creators can better fuel their creative fire, and perhaps turn a hobby into a profession.

“Before I even start, I do want to say that there is nothing wrong with wanting to just be a hobbyist developer, or a hobbyist at anything in life,” McGregor said. “You don’t always have to try and make a living off of everything that you do. Doing things just for you is valid.”

His goal was to share some advice with fellow game makers about how to best overcome that feeling of always starting new projects, but never finishing them. 

Notably, McGregor brought a fresh perspective to this common problem; he’s a young game developer still in the early part of his career, and he described a childhood full of passionate attempts to learn how to design, code, and flesh out his own games. 

After years of never finishing anything, he stumbled across a Unity forum post with some advice for would-be game devs who are struggling to make headway: scope out a small project, set a reasonable deadline, and ship it. Even if it’s not great (and it probably won’t be), the act of finishing a game will propel you to finish more projects.

McGregor said the post goaded him into taking on a small project: develop a game for an upcoming school fair where clubs would be showcasing work.

Deadlines are important

“The catch? I had two days to finish it,” said McGregor. He buckled down and managed to ship something; “it was rough, but it was completed. I showed it off at the event, and it went amazingly; sure there were some bugs, and it wasn’t the most amazing game out there, but it was something that was actually finished.”

Elated, he decided to release it to the public and gave himself a strict two-week deadline to get it out. It took two months and a few added features (“discovering that adding in polish took that much time really helped put things in perspective”), but at last McGregor released his first game: a 2D twin-stick shooter called Glitch in the System. 

Releasing Glitch in the System opened up the “floodgates” of opportunity for McGregor; he ported the game to mobile, did some public talks, won an award, and got his first paid contracting gig because of it.

More importantly, he says, he began to see how game production works, and how projects can sputter or spiral out of control before the finish line.

“I started to understand what went into finishing a game, because I now had the experience of doing it,” he said. “It was no longer a hazy area…I was able to start working on projects that were much more reasonable in scope, and I better understood what caused my games to bloat.”

McGregor continued to make small games, taking part in game jams and making games with friends in an effort to learn more and experiment with new mechanics.

After two years he’d finished 8 projects of varying sizes, a “stark contrast” to what he’d accomplished before. At some point he was asked to speak in front of a class, and had four days to design a game for the presentation, so he scoped out a game (that would become HyperDot) that he figured would take about four days to finish. It ended up taking four years.

“So…yeah. It doesn’t always work out perfectly every time,” he admitted. “The difference was that I had much more experience dealing with each part of the game.”

Another key difference is that HyperDot is now for sale across PC and console. It’s a well-reviewed minimalist arcade action game with a $20 price tag, and it shows McGregor’s skills have come a long way since that day he was browsing the Unity forums for inspiration. 

When you’re stuck, focus on shipping something

Releasing his first game was the big push that helped him get there, and he exhorts fellow devs to do the same thing when they’re feeling stuck. Release it anywhere you like: on a storefront, on a forum, among your friends or family, anywhere. 

“When you feel like you’re getting nowhere in your projects…when you feel like you aren’t making progress…when you want to take the next step, try to finish a game,” he said. “It doesn’t matter how small you think that idea is; go through the process of releasing a game.”

Limit scope by setting time limits, not game design goals

McGregor also recommends you use time to limit your scope, suggesting it might be easier to tell yourself “I’m going to make and release a game in one week” or “one month” instead of trying to tell yourself you’re only going to make a small game. Small projects often balloon, but deadlines are only ever met or broken.

Break big game ideas into smaller, more manageable game projects

If you have an idea for a game you’re really excited about, but it seems too big to tackle all at once, great! McGregor recommends you try and break that big idea down into smaller, more manageable game projects you can complete in reasonable amounts of time. 

“That way, when you do go back to that big idea, it’s more refined…and you have a better idea of how the entire game will be scoped out,” he said. “The big game will be better in quality.”

“It’s okay for whatever you make to not be the greatest thing,” he concluded. “Glitch in the System wasn’t the greatest thing ever…but I learned from the process of making [it], and you can learn from the process too.”

Ultimately, McGregor hopes this talk can be for others what that forum post was for him: a good reminder, and a kick in the pants to take the next step and finish that game.

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: Burbank, California

Character TDs at Insomniac are responsible for working with the talented team to design, implement and maintain the animation and rigging pipeline.  This role creates character setups, Python tools and basic animations as needed, and works with other departments to solve art related production needs, creates production systems and methods to attain production goals. Go teamwork!  Read on if this sounds interesting-   

Essential Duties and Responsibilities include the following:

• Creates high quality animation rigs, systems, setups and workflows that help to define the standard for the industry
• Designs, develops and continuously improves character set-up process and systems, including facial setups and animation transfer tools, as it relates to the animation pipeline
• Rigs characters in preparation for animation in Maya. This includes creating skeletons, smooth-binding character models, rigging character faces for lip-synch and facial performances, writing Python tools, and creating custom rigs as needed
• Writes Python scripts that expedite character setup and animation processes
• Works with the Core Dept on improving engine and tools features to advance the state of character performances
• Works with the Art Department on modeling practices to facilitate the set-up process and to advance the visual fidelity of the character performances
• Acts as an intermediary between the animation and programming teams to elucidate the workflows, needs, and terminologies of each team
• Understands (and assist when technical needs arise) the entire process of creating cinematics including set construction, camera setup, character blocking, character animation, animation troubleshooting, and help ensure that scenes run properly on the real-time game engine
• Maintains an expert understanding of skeletons, facial animation methodologies, constraints and other Maya tools and systems used for character animation
• Maintains expert understanding of the Facial Action Coding System and corresponding facial anatomy
• Possesses strong shape-sculpting abilities for both facial rigging and corrective shapes
• Maintains strong understanding of skeletal and muscular anatomy
• Maintains awareness of industry leading performance capture and solving techniques, including machine-learning based approaches
• Assists Leads with supervising/mentoring with more junior level Character TD’s
• Other duties may be assigned

Education/Experience:

• Bachelor’s degree (B.A.) from a four-year college or university; or five to seven years related experience and/or training; or equivalent combination of education and experience
• One to four years of experience in character setup, Python scripting, a familiarity with MEL and a comprehensive understanding of all technical aspects of Maya animation
• One to two years of animation training covering all basic animation principals
• Extensive knowledge of Maya

Other Skills: The ability to articulate thoughts and ideas effectively both verbally and in writing.

If this sound like the opportunity that you have been looking for- we want to hear from you.  Please use the link and apply directly to the role.  Also remember to attach your reel.  Thanks!

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.

When Astroneer, the delightful sci-fi sandbox adventure from System Era, was preparing to exit Early Access, the team stumbled across a rather alarming issue: the game’s crafting system was stagnant.  

As explained by System Era technical designer Aaron Biddleton and gameplay programmer Elijah O’Rear during their GDC Summer talk, addressing the issue was like “trying to perform open heart surgery on a conscious patient.” The team begun second guessing themselves as they assessed the issue, which was something of a red flag because it implied they didn’t understand their own game.  

To overcome that creative paralysis, the pair treated Astroneer like an archeology dig site, mining their own design to reconcile their conflicting visions for the crafting system, which became apparent when they both suggested a contradictory fix.

“I was coming at it with an outsider’s perspective, while Aaron was really familiar with the existing gameplay and how players were engaging with it,” explains O’Rear. “Soon after we started working on the [crafting] update, we both accepted that we both had valid points, and diving into Astroneer’s mechanics wasn’t so much to prove who was right, but to find some missing piece of design that could reconcile our perspectives.”

So, what was the issue? In short, it seemed like Astroneer’s crafting system was causing player engagement to drop. It was “flat” and appeared to sap player motivation due to the fact it hardly changed after the first hour. O’Rear believed the system lacked a big moment that shifted gameplay. 

He wanted to add more crafting modules that would introduce extra resources, but Biddleton pushed back. He believed Astroneer needed to preserve the “laid back, low stakes vibe” that formed a core part of its identity. While the overall crafting loop was shallow and repetitive, it still had lots of moving parts that competed for player attention — though it wasn’t clear how the game actually benefited from that added complexity. As they battled over those issues, they quickly realized they were fighting over the problem of “cognitive load.”

“Normally when you hear that term it’s in a negative context, as in you have too much of it. But you can just as easily end up with not enough, which results in losing player engagement. This was the problem Elijah was pointing to with our crafting system,” adds Biddleton. “Its core loop centered around just three simple steps that the players repeated ad nauseam. You mine resources out of the ground, toss them into the smelter, then use the output to print new items. On top of that, all but one of those three resources were available on the starting planet.

“At the same time, we had added several additional crafting stations. And instead of creating a stable long term loop, they began chipping away at the simple elegance that players had found to begin with. From my perspective, I felt like we were already placing too much cognitive load on players, to the point that we were losing them to frustrating complexity.”

Rather than discarding one argument, the pair decided to harness each other’s strengths — the fresh perspective offered by O’Rear and Biddleton’s deep understanding — to solve the problem.

By working together to mine their own design and fill in their respective knowledge gaps, they eventually found a solution. The system needed more depth, but not at the expense of burdening players with more information. That meant preventing the existing crafting modules from becoming redundant by giving them more unique resource outputs.

“Having more modules that made unique resources gave us a way to expand the resource table without adding tens of new deposits, which would be pretty disruptive to the game. Resource acquisition could tie into additional game systems in a more fundamental way. And most pressingly, it would expand the depth of the crafting system without needing new modules, while simultaneously reducing the cognitive load caused by the current disjointed system.”

The fact that it took two conflicting ideas to land on that solution is important. According to O’Rear, it proves developers should be willing to challenge their assumptions, which is easier to do when you bring another voice into the fold. 

“[Once we implemented the change], the experience we intended the player to have started lining up with how we were incentivizing them to play Astroneer. If you’re struggling to align your design incentives and intent, challenge the assumptions you’re making on each side of that divide. This can reveal a hidden or flawed assumption,” he explains.

“If you’re still struggling to challenge your assumptions, collaborate with someone who has a very different vision for the design. It’s easy to get attached to the way things are and take it personally, but let it go. This can be difficult to practice, but it’s a powerful way to get through problems that have got you totally stumped.”

When Disneyland & Disneyworld guests wander into the back end of the park, they have the opportunity to leave the wonderful world of Walt Disney behind and take a tour of a galaxy far far away–or, a small slice of it at least. At Galaxy’s Edge, park guests wander into the world of Black Spire Outpost on the planet Batuu, in an experience that recreates the world of Star Wars as defined by the new trilogy of films created by Disney. 

At GDC 2020, Walt Disney Imagineering assistant producer Anisha Deshmane took some time to tell how the company turned Galaxy’s Edge not just into a tourist destination, but a storytelling opportunity using the mobile phones that guests bring into the park every day. It turns out that many mechanics used in role-playing games work equally well in real-life (something any dedicated LARPer is probably already aware of). 

Like any well-designed RPG, the Galaxy’s Edge Imagineers needed a unique setting to attract ‘players’ when they set out. Star Wars means something different to every guest who comes through the park, and planets from the films like Tatooine or Jakku are better aligned with the stories of the movies’ heroes, rather than individual guests who come with other baggage. Deshmane said the goal was to create a setting where guests could “live their own personal version of Star Wars, no matter how new of a fan they are, or how dedicated of a fan they are.”

To that end, a visit to Galaxy’s Edge is bolstered by a number of role-playing game mechanics that might be at home in Dragon Age or World of Warcraft. Deshmane joked that park visitors might begin to feel like unique characters after their time at the park, what with the customizable outfits and (pricey) merchandise they can acquire. 

Several of these mechanics are executed by way of a “Datapad” component to the Disney Play app, that the Imagineering Team used to build narratives that can’t be expressed through the park’s architecture or lifelike animatronics. There’s an interesting real-life behavior that Deshmane says the team was able to map onto— travelers, especially Disney tourists—are used to using their phones to explore a foreign country. That makes the Datapad app a natural hotspot for hosting interaction mechanics for the park.

The Datapad app has four key functions that interact with over 250 markers in the park. Droids and circuits can be hacked to trigger physical responses from Droids and ships, crates can be scanned, signals can be scanned, and signs written in Aurabesh can be translated.

“We’ve seen guests who’ve learned Aurabesh just from the app,” Deshmane said. The tool even works outside of the park, letting players translate some text in Respawn’s Star Wars: Jedi Fallen Order.

The app also allows Disney Imagineering to merge the art direction of the park with narrative context. Deshmane pointed out a subtle detail in the park’s design that only some guests might notice–a stairwell pockmarked by blaster scorch marks. A guest not using their phone who saw the marks might form their own story about what took place on the stairs, guests who use the app’s scanning features can discover local gossip that tells the “true” story.

The app’s tools even have a mild difficulty curve—they’re accompanied by some minigames that may be familiar to the hacking systems of Mass Effect and BioShock, and higher-level story moments are able to rely on guests’ being skilled enough to tackle more difficult puzzles. These mechanics also interact with a series of quests that let players align themselves to Black Spire Outpost’s different factions using a reputation system like those from World of Warcraft. 

A bonus effect for these quests–they send players physically around the park, helping keep foot traffic flowing and leading them to more physical attractions. Deshmane also discussed how the app keeps players entertained while waiting in line for rides like Millenium Falcon: Smuggler’s Run, alleviating the normal boredom of waiting in an hour-long line. How players perform in Smuggler’s Run and can be tracked, and sent to some cast members and animatronic actors who can offer unique responses to players based on their prior performance, much like how RPG characters in digital and tabletop settings.

Star Wars: Galaxy’s Edge isn’t the first real-life location to borrow from the world of role-playing game mechanics, but it’s a neat exploration of how seemingly niche tools can be used to expand the experience of guests who are different kinds of Star Wars fans, from the newcomer to the lore-quoting veteran. 

Since I was able to check out Galaxy’s Edge before COVID-19 swept across the nation, and compare it to the usual Disney experience, one of Deshmane’s quotes stood out for me, since it sums up how drastically different the park’s design is once you step onto Batuu. (You can even contrast it to the longstanding Star Tours ride to see how this philosophy holds up). “We really think of the land itself as an attraction,” she said. “This is where guests are spending most of their time, we know they love Star Wars for different reasons. 

“Instead of seeing them as visitors to the land and telling them what to do, we see them as explorers on a new planet, and want to provide them the opportunity to become part of whatever stories pique their interest.”

 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: Cambridge, MA

Disbelief is a game development studio focusing on contracting and consulting services. We’ve worked with both AAA and independent studios to help their projects ship. Notable projects we’ve worked on include Gears Tactics, Gears 5, Borderlands 3, and Torn.

At Disbelief we value work-life balance, and want to create an alternative to the crunch-culture prevalent in game development. We also believe strongly in investing in our talent and our team. Disbelief is a place to puzzle out the solutions to cutting-edge problems in graphics and engine programming, but also a place where people can grow their careers and skill sets as valued members of a stable and close knit team.

Currently, we’re looking for a programmer. This opportunity is for a full-time position in Cambridge, MA. Programmers at Disbelief are called on to develop and debug in a variety of areas from game play to core engine programming. You are expected to learn new systems and projects as you grow as a developer. You are also expected to use your knowledge to solve problems both you and others in your team have.

Key Responsibilities:

• Clearly communicate your work to others
• Debug code
• Estimate task work
• Assess impact of issues on schedule
• Write performant code and specialized systems
• Document your code
• Study version histories to guide current problems
• Implement new system features

 Skills and Requirements:

• BA/BS in Computer Science, or equivalent experience
• Excellent communication skills, both verbal and written
• 1+ years of experience in writing software in C++
• 1+ years in game development, or 3+ in a related industry
• Experience with version control with P4, git, or equivalent
• Understanding of multi-threaded systems

Remote: Currently all of Disbelief is working remotely during the pandemic. Post-pandemic our plans are to return to a hybrid model where we still live near the office but often work from home. Some of our projects require access to physical infrastructure.

Visa Sponsorship: No

Technologies: Most of our work is C++ of varying standards with a sprinkling of other languages as needed for tooling. We do a lot of graphics programming work, using shader languages and platform graphics APIs. Since we often are debugging the lower levels of systems, being able to read x64 or ARM assembly is useful. Primarily we work with Unreal Engine, but we also work with Unity and custom game engines. Our work uses rendering, physics, audio, VR, AR, and other APIs frequently. Our primary platforms are PC, Xbox consoles, Playstation consoles, Switch, and VR/AR devices.

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.