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 or Chicago, IL

 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 5, Borderlands 3, Gears of War 4, 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 or Chicago, IL. 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: No, but we do enjoy working from home up to two days a week, when project constraints allow.

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 4, 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 One, PS4, 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.

The ultra-niche “propaganda simulator” genre has a new entry with Steam Early Access game Not for Broadcast, the latest satire from Britain’s NotGames.

Not for Broadcast puts the player in the role of a censor in charge a radical government’s media operations, making “live” TV decisions about what to air and as the title suggests, what’s not for broadcast.

We spoke with the game’s creator, director, writer, and artist Alex Paterson about Not for Broadcast, who explained the non-traditional background of the dev team and how Sam Barlow’s Her Story informed the game’s design.

Who are you, and what is Not For Broadcast?

I’m Alex Paterson, creator, director, writer and artist of Not for Broadcast.

NotGames is a British game studio that opened its doors in 2013 to attempt to save the charity that brought us all together. Coming from a bizarre background of film, TV, theatre and comedy, NotGames aren’t your usual game developers. If you’re asking, we’d like to call ourselves ‘multi-talented all-rounders’, while our former employers would probably say we’re ‘unfocused and easily distracted.’

Not For Broadcast is an immersive, narrative-driven TV station sim set in an alternate 1980s as the nation stumbles towards dystopia.

An FMV game in 2020 is a rather bold choice. Why’d you do it? Would you say the play inspired by older FMV games like Dragon’s Lair or Night Trap?

At NotGames we’re not your usual game devs. We come from backgrounds in film, TV, theatre and comedy (it’s actually how we all met) so film, comedy, and story were always going to take their place in the forefront of our games.

While I have fond memories of playing my uncle’s copy of Tex Murphy adventure Under a Killing Moon as a child in the late 90s, I’d say as inspiration for NFB goes, we were much more influenced by Sam Barlow’s Her Story and his innovative approach to FMV.

How much footage did you end up producing?

Hmm. Excellent question. Short answer: loads. We shot most scenes on four cameras simultaneously so that makes the total amount of footage just sky rocket. In Episode 1 alone, we’ve got over four hours of FMV. And that’s only the stuff that made it into the game. One sequence, the Sportsboard Championship (super prestigious), is about an 11 minute sequence which we shot eight times.

Video production is not a skill in most game developers’ toolbox. How’d you manage to create and maintain all those video clips? Do you have any tips for people making their own FMV games?

The honest answer is get people with the right skills. Our crew include directors, camera ops, booms, sound recordists, autocue operators, runners, make up artists, lighting, armorers, choreographers. And that’s just the folks behind the cameras. We would not have been able to produce the content that we did without all of those people. Which is simultaneously what makes Not For Broadcast so interesting and unique and also just such a bad idea…

A tip for people making their own FMV games I’d say–don’t feel limited to how other games have done it before you. We were adamant that our FMV wasn’t going to be shot in the office with Gary from finance in a silly hat. Even though, on paper, shooting four-camera, 10 minute long sequences without any mistakes or cuts including music, dance and camera moves is a terrible idea, we meticulously worked out a way to make it work and then did it anyway.

The obvious comparison for Not For Broadcast is to Papers Please, which was released in 2013. Have you played it? How would you say NFB is differentiated from it?

Of course we’ve played it! It’s similar in the sort of ‘dystopian work simulator’ angle but apart from that I’d say it differs quite heavily.

The main difference is of course the central mechanic of cutting together a live TV broadcast, censoring language and choosing ads. Lots of dystopias, including Papers, Please begin with their oppressive states already established. In NFB we wanted to explore ways these kinds of states can start and make people question the steps along the way almost more than the end result itself.  We also try to leave the political morality quite open. There’s no bad guys in our dystopia. The government certainly aren’t evil. In Episode 1 they’re actually fairly nice…

Although the point of the game is serious, a lot of the individual clips are comic. How did you balance the tone between the dystopian elements of the story and the humor?

We had our scripts read aloud as much as possible. We treat the writing process very much like writing a play (stick to what you know, right?), and gathered all the actors around a table to read the script. It’s a sure fire way to judge the tone in a way that you never can while writing.

The atmosphere in the room does the job for you. The joke you’re proudest of could get the least laughs or what you thought was a shocking revelation can fall flat. We’d then slink back to our keyboards and rewrite the script again.

The simulation element is interesting. Some parts (like switching feeds and playing ads) are similar to how a real station technician would work, while other parts (avoiding “interference”) seem more fanciful. About what percent of the game is realistic? Did you feel like the play should simulate how someone would actually do this job, or did you make it more game-like as a nod to playability?

We always wanted to strike a balance between immersion and fun. We wanted the choices in the game to feel like they mattered, so it was important for the player to really feel in the shoes of the character.

But simultaneously it is a game and to make the mechanic as fun as possible we removed lots of the dull realism. We initially had a much more realistic sound desk with different mute buttons for different feeds but players found it way too overwhelming so we decided that, for now at least, giving too much control might actually negatively impact the experience of the game. People could accidentally mute the important bits and not know what they’d done for example.

And at a certain point if your goal is realism, the game stops becoming a game or a work simulator and just becomes work. Of course the player is actually taking on the jobs of many people in reality but by gamifying them down to their basic functions we managed to create that sense of one person having to constantly firefight and spin plates.

Playing multiple videos at once and quickly switching between them is something that’s technically impressive even now, reminding me of demos for the old BeOS. Did you have technical trouble with playing multiple videos simultaneously? Any trouble with streaming bandwidth that you had to solve?

Yes! The biggest problem we had was getting videos to play ball across different platforms. Because of the way videos are decoded, it’s not always simple to identify what the problem is, as you can’t know what media packs or codecs a system has. We had issues where the game ran great on Windows 10 machines but just lagged unbearably on Windows 7 which turned out to be something solved by a Unity video hardware loading fix.

I personally have trouble with games with a plethora of controls, especially when they expect me to make quick decisions between many controls while under sensory assault. It’s possible to make things arbitrarily difficult for a player in this way, by throwing them more balls to juggle. Where do you draw the line in terms of the number of plates the player is expected to keep spinning at once, so to speak?

Playtest, playtest, and playtest again. We regularly brought in fresh players and watched them play the game, watched carefully how quickly they learned the mechanics and what levels of multitasking were fun and what was too much.

Early on we actually overestimated how much the players actually wanted to do and discovered that just letting them focus on editing the show and paying attention to the FMV sequences was already pretty engaging alone. We found that as people mastered mechanics, it was good to slowly introduce more and the pacing is what actually mattered more than number of plates.

Once your ears are tuned to censoring it actually takes no time at all to slam the space bar when you hear an “F” or a “Geoff,” but at the beginning, getting your brain around the concept takes a lot of your focus. So we’ve tried to keep that level of focus constant by forcing players to do new things at about an equal rate to them getting the hang of the old mechanics. It keeps the pressure and tension steady and stops you getting bored. Though of course every now and then it’s important to ease up slightly and let the player feel cool for mastering something.

The most important collection data type in Python is the list data type. You’ll use lists basically in all your future projects so take 3-5 minutes and study this short guide carefully.

You can also play my short video tutorial as you read over the methods:

If you’ve studied the table carefully, you’ll know the most important list methods in Python. Let’s have a look at some examples of above methods:

>>> l = []

>>> l.append(2)

>>> l

[2]

>>> l.clear()

>>> l

[]

>>> l.append(2)

>>> l

[2]

>>> l.copy()

[2]

>>> l.count(2)

1

>>> l.extend([2,3,4])

>>> l

[2, 2, 3, 4]

>>> l.index(3)

2

>>> l.insert(2, 99)

>>> l

[2, 2, 99, 3, 4]

>>> l.pop()

4

>>> l.remove(2)

>>> l

[2, 99, 3]

>>> l.reverse()

>>> l

[3, 99, 2]

>>> l.sort()

>>> l

[2, 3, 99]

Action Steps:

• Master Python Sets (with Harry Potter Examples)
• Master Python Dictionaries (the ultimate blog tutorial)
• Join my free email computer science academy for continuous improvement in Python

Thanks for taking the time to reading this article!

It’s not been a terribly interesting week, but I’ve made do the best I can – lots of behind the scenes changes going on at the moment, which I’ll be talking more about next week hopefully. We’ve got a few reviews in the pipeline but as we head towards the end of the month don’t expect much in the way of new features. I’ll be ticking things over with news in the interim.

Meanwhile, in mobile gaming…

New App Releases

Castlevania: Symphony of the Night (iOS & Android)

Castlevania is back in vogue at the moment thanks to the Netflix show, but we were genuinely surprised when we’d heard that one of the best entries of the series, Symphony of the Night, had dropped on mobile as a premium port – with controller support, no less!

It’s dirt cheap as well at $2.99, and the game is pretty much as it was back in the PS1 days, with a new ‘Continue’ feature being added by Konami, as well as Game Center achievements on iOS. There hasn’t been a new mobile trailer released as far as we’ve seen, so the below is from when the game was ported to the PS4.

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Other new releases today include War Tortoise 2, which is exactly what it sounds like (an on-rails Idle Shooter where you’re on a tortoise. Free to Play). Interestingly, Motorsport Manager has returned, only this time as online free-to-play game Motorsport Manager Online. I was thinking the other day we were overdue for a new entry in the series and it seems like rather than going down the annual release of other sports franchises, they’d try their hand at the free-to-play MMO world instead.

We’re not sure how it stacks up vs. the premium games, but we’ll try and find out. If you want to try it for yourself it’s available on both iOS and Android.

App Updates & News

Star Traders: Frontiers got some new updates over the past couple of weeks – a new crew class was added called the Blade Dancer, and this week a new blade weapon type was also added. ‘Straight Blades’ use quickness instead of strength as the primary stat, and have a higher piercing chance. This week’s update also closed the loop-hole where you could get a negative jump-cost stat and generate fuel by hyper jumping between systems. Crafty.

Mario Kart Tour has also received a few quality of life improvements ahead of the official release of multiplayer early next week.

App Sales

Football Manager Mobile & Football Manager Touch are at least 25% off on both iOS and Android.

It’s not much, but Bad North is also discounted by $1, which is still the cheapest it’s gone since launch. Kingdom: New Lands is 50% off, as is Star Traders: Frontiers.

Seen anything else you liked? Played any of the above? Let us know in the comments.

Unity have just announced a new free student plan for eligible students. You get full access to Unity Professional features including teams, Unity Learn Premium, cloud analytics and yes, even dark mode. To enrol you need to be at least 13 years old, or 16 in the EU, and have been verified as a student on GitHub Education.

Details from the Unity blog:

That’s why the Unity Student plan provides access to professional resources and tools like cloud-based collaboration which enable students to use the same workflows that teams use on real-world projects:

Cloud-based Collaboration

Work on group projects with up to five teammates, manage versions, share work with teachers, and easily move between home and school computers.

Cloud Build

Speed up build and iteration cycles on complex projects using minimal hardware. See the impact of your changes quickly, and learn more effectively.

Learn Premium

Supplement in-class learning and dive into the topics you care about most with unlimited access to on-demand, industry-specific resources to solve problems on your own, such as this popular Introduction to XR: VR, AR, and MR Foundations course. 

Student Asset Pack
Prototype and iterate your game projects quickly with free access to the Snaps Prototype pack. Beginners can create 3D worlds with ProBuilder and Snaps, without having to use additional 3D modeling tools. These assets easily snap together with ProGrids.

Dark UI theme

Develop your game or project with an easy‑on‑the‑eyes, dark UI environment for those long hours, late-night cramming sessions, and game jams.

You can learn more about Unity Student here and apply for the GitHub Student Developer program here. If you want to learn more about Unity Learn, check out our video available here and Unity Learn premium here. Finally, watch the video below to learn more about Unity Student.

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GameDev News Unity

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Sunday, March 8th will mark a day that’s close to my heart, International Women’s Day.

The day shines a light on the progress we’ve made in recognizing the potential of a diverse and inclusive economy and the power that comes from developing strong, female role models. Yet while we can reflect on that progress, we must also acknowledge the work that still must be done. It is critical for me that we address the challenges that still exist for women in today’s business landscape—there are many women around the world who are locked out of opportunities many take for granted, for a variety of reasons.

I’m proud of the work we’ve done at Microsoft so far to increase access and opportunities for women through our workplace culture, policies and technologies. I believe we have a responsibility to highlight other organizations that have also prioritized diversity and inclusion and encourage others to do the same.

Building opportunity and access for all through technology

Technology helps organizations empower their employees, optimize their operations, connect with their customers and transform their products. It’s also a key factor in building an inclusive economy; an economy that harnesses the power of diversity to create opportunities and positive business outcomes for all. At Microsoft, we understand that a diverse work force inspires diverse solutions, which ultimately helps drive innovations that benefit everyone.

That’s why I am excited to share that Microsoft is supporting the United Nation’s Sustainable Development Goals through our #BuildFor2030 campaign. Through October, we will be highlighting Microsoft partners with solutions that align to the UN’s goals. And in celebration of Women’s History Month and International Women’s Day on March 8^th, we will be focusing on solutions by women-led organizations within our Microsoft partner community. I encourage you to read more about these incredible innovations here.

These solutions
showcase the entrepreneurial spirit of women in technology—a community that is
grossly underrepresented in the marketplace today. Recent studies suggest, if
women and men participated equally as entrepreneurs, global GDP could rise by approximately
3% to 6%, boosting the global economy by as much as $5 trillion. If we work together, we can start that
shift, and create more opportunities for everyone.

Did you know?

According to the McKinsey Global Institute:

• Companies in the top quartile for gender diversity are 21 percent more profitable than companies in the bottom quartile

• Companies in the top quartile for ethnic and cultural diversity are 33 percent more likely to outperform companies in the bottom quartile

• Closing the gender gap in the workforce could add $28 trillion to the global GDP

• Closing the gender gap in the workforce could add $28 trillion to the global GDP

Women in Cloud

In January, Microsoft hosted the Women in Cloud Summit in Redmond, and I had the privilege of discussing how we can all work to create more opportunities for women in technology. Women in Cloud is a community-led organization that brings together female entrepreneurs, global leaders, corporations, and policy makers to support economic development for women in tech. They have vowed to help create $1 billion in economic access and opportunity by 2030.

As an executive sponsor of this initiative, I have sat down with many
female business owners and have heard their struggles, triumphs and
breakthroughs. Everyone I’ve met has emphasized the importance of access to
technology, customers, partners, and investments. My team and I are focused on
creating access for their growth through co-marketing and co-selling opportunities
as we strive to create an inclusive marketplace for all partners to deploy
cloud solutions and services.

Building for the future

While we are
focused on creating equal access and opportunity for women business owners
today, we must also prepare the next generation of entrepreneurs and female
tech leaders. To participate in the global economy and businesses of the future,
understanding and innovating with technology will be a core skill of any job. Young
women need to embrace technology and develop skills and passions that will be key
success factors in a world where technology is part of every business in every
industry.

I’d like to invite all Microsoft partners to join other impact-oriented technology solution leaders in the #BuildFor2030 campaign to highlight their innovative solutions. And in honor of International Women’s Day, I encourage you to take action and drive momentum towards creating a gender-equal society by supporting this campaign.