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

Location: Cambridge, Massachusetts or Chicago, Illinois

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 of War 4, Borderlands: The Handsome Collection, and Perception.

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 senior programmer. This opportunity is for a full-time position in Cambridge, MA or Chicago, IL. Senior programmers at Disbelief are leaders and developers in their project. You should be comfortable working independently and with a team to develop, test and integrate software into a larger codebase. A key responsibility is mentoring and guiding fellow programmers to improve.

We believe a diverse team is a stronger team, and we encourage marginalized programmers to apply.

Key Responsibilities

• Clearly communicate your work to others
• Mentor fellow programmers in and out of your team
• Communicate with clients on team progress and problems as they arise
• Debug code with precision
• Estimate your and others work
• Assess impact of issues on schedule
• Diagnose and solve performance issues
• Document your code
• Study version histories and code documentation to solve present problems
• Implement features in innovative ways

Skills and Requirements

• BA/BS or MS Degree in Computer Science, or equivalent experience
• Excellent communication skills, both verbal and written
• 3-5 years of experience in writing software in C++
• 5+ years in game development, or 10+ in a related industry
• Experience working on a large code base
• Experience with version control with P4, git, or equivalent
• Experience with 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.

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“Regarding adventure games, I have also helped develop many of them beginning with Shin Onigashima, but it’s very hard to make one in the current environment.”

-Shiigeru Miyamoto weighs in on the current landscape for adventure games.

The official English translation of Nintendo’s most recent investor Q&A isn’t up quite yet, but Siliconera has translated some interesting parts of that session, including comments from longtime Nintendo developer and current creative fellow Shigeru Miyamoto on why Ninitendo isn’t exactly racing to launch adventure game after adventure game.

Specifically, Miiyamoto calls out the fact that modern games are localized in over 10 languages, and handling this for both voice and text in text-heavy adventure games can lead to massive costs. He notes that declining interest for the genre from younger players is also a factor, but he recognizes the promise of the genre.

“However, designing adventure game mechanics is fun, and are used well in Capcom’s Ace Attorney and Level-5’s Professor Layton series, so while we can still have hope for the genre, please understand that actively making one is hard in the current mainstream.”

His comments follow a question from an investor on the topic of adventure games, something asked out of that investor’s own positive experience with the genre years and years prior, specifically Famicom Detective Club 30 years back.

“Thank you for this question that can also be taken as encouragement. We also want to make games that we won’t be embarrassed about 10 years later,” Miyamoto offered in response. “We’re told sometimes that we only keep making sequels, but we have many brands that have continued for 30 years. We also keep working hard on releasing games in new series.”

Hello, Xbox Wire fans! My name is Samuel, and I’m one of the members of Altered Matter – a small studio that’s located in sunny Barcelona, Spain. I want to tell you a little bit about our game Etherborn, a project that we’ve worked on for the last four years of our lives.

Etherborn is an exploration-platformer in which you explore a gravity-shifting world. Here, gravity works in a totally different way to what we are used to. It’s not static – it moves with you, changing the environment around you. Imagine yourself standing next to a wall. You take a few steps forward and suddenly that wall becomes the floor, and the whole world around you has changed position entirely. Because of this ever-shifting gravity, you will find yourself walking across a bridge while glued to its side, circling around the side of a column, and running under a waterfall whose stream is going up towards the sky.

The environmental puzzles that we prepared are a backdrop to a story that we want to tell. In Etherborn, you are a voiceless being that has just been born into a world where a bodiless voice is waiting for you. You don’t know who or what this voice is, but you feel that the two of you are meant to meet. And as you take your first steps, the journey begins and the world around you starts to flip. You will come across bridges suspended in air, ever-changing structures in the clouds, and lands filled with mysteries.

Etherborn is coming to Xbox One on July 18. Seeing our game so close to release sends slight shivers of excitement down our spines. We’ve been playing games our entire lives, and now with Etherborn, we’ve tried our best to create something unique and new.

We hope that this post gave you a decent glimpse into the world of Etherborn. We will be sharing more news as we get closer to release, so if you want to see more, follow us on Twitter, Facebook, and Instagram.

CODE VEIN is Now Available for Pre-Purchase on Steam!

In the not too distant future, a mysterious disaster has brought collapse to the world as we know it. Towering skyscrapers, once symbols of prosperity, are now lifeless graves of humanity’s past pierced by the Thorns of Judgment. At the center of the destruction lies a hidden society of Revenants called Vein. This final stronghold is where the remaining few fight to survive, blessed with Gifts of power in exchange for their memories and a thirst for blood. Give into the bloodlust fully and risk becoming one of the Lost, fiendish ghouls devoid of any remaining humanity. Wandering aimlessly in search of blood, the Lost will stop at nothing to satisfy their hunger. Team up and embark on a journey to the ends of hell to unlock your past and escape your living nightmare in CODE VEIN.

Welcome to #Madden20 @NFL Rookies!
Yes...these are the REAL ratings ? pic.twitter.com/yAw0tOqnmY

— Madden NFL 20 (@EAMaddenNFL) July 1, 2019

There’s nothing better than an ice cold drink on a hot day, that’s why The Pokémon Company is releasing a special range of Pokémon bubble teas in Sweet Dynasty Bubble Tea Drink Bars across Japan this summer.

There will be a total of six different teas to select from and prices range from 540 yen (US$4.98) to 756 yen.

Eevee Milk Bubble Tea, Plenty of Pikachu Melon Soda Bubble Tea, Bulbasaur Matcha Bubble Tea, Pikachu Bubble Mango Smoothie Bubble Tea, Plenty of Pikachu Rainbow Soda Bubble Tea and a Mew Watermelon Smoothie Bubble Tea.

If you live in Japan, you’ll be able to quench your thirst from 17th July until the end of September. There’ll also be a special pop-up store selling these teas opposite Tokyo’s Pokémon Cafe.

Which of these drinks would you like to try? Do you enjoy bubble tea from time to time? Tell us below.

When the crew of Apollo 13 informed Houston that they had a problem it required considerable ingenuity under extreme pressure to get them home safely. When the crew of the Iktomi are hit by disaster, the situation that they find themselves in is substantially worse. They are still ten weeks away from their destination, and not only has their ship been seriously damaged but their pantry has been completely destroyed. The crew not only face the prospect of no biscuits with their cuppa but the even grimmer possibility of having to chow down on their dearly departed comrades. Cannibalism ftw?

Tharsis is a disaster management game that immediately brings to mind classic roguelike, FTL. The big difference here is that the action takes a more leisurely turn-based approach rather than demanding real-time decision-making. Tharsis also has a narrower range of less demanding crisis points, which makes for a much more approachable game but still a very tough one.

Each turn represents a week aboard the failing Iktomi, in which the crew have to repair various system failures or suffer the consequences. These consequences include a faulty life support system damaging the crews’ health or a severe fire destroying the ship’s hull and bringing an abrupt end to your mission. Tharsis begins with two of the six crewmembers taking you through a brief tutorial, before disaster strikes and they meet an untimely demise. Look on the bright side; they can always be stored away in the fridge for later, yum.

The remaining four astronauts must use their action dice, alongside their unique skills to traverse the ship, moving from module to module. First, select an astronaut and then use the side on view of the ship to deploy them to a module, be careful though because passing through damaged areas will reduce your astronaut’s health. On reaching a location, the crewmember will first need to roll their action dice. Much like Yahtzee, you can set aside favourable rolls and then re-roll the rest. However, each crisis will have additional hazards that are triggered by particular rolls. These extra problems include preventing re-rolls, causing injury, or sending dice into the void. This results in many a tense situation. For example, when you send a guy with low health into a module where an unlucky roll causes injury, they may well end up being added to the evening’s menu.

Each crisis will have a damage rating, which is lowered by allocating dice. Reduce the damage to zero and disaster is averted – for a time, at least. What elevates Tharsis from being just a Yahtzee clone is that much like Castles of Burgundy your dice are not limited to a single use. Throwing low numbers, although not much use for repairing damage, can still be put to good use. Research allows you to build up a sequence of dice that can be spent on a one-off bonus. Dice with a value of five or six can be used to trigger a character’s unique ability, this means that the Doctor can, for instance, restore one health point to everyone that is in the same module. Once a module is fully repaired you will be able to make use of its special ability. The greenhouse is a very useful module since it allows a pair of matching dice to be converted into food.

When all of your characters have taken a turn and used their dice then the negative effects of any remaining disasters are resolved. Between turns, characters must forfeit action dice, but if you have any spare food then a quick meal will restore an additional three dice, up to a maximum of five. If you have no food available then the non-vegans in your crew can indulge in a bit of cannibalism. Eating a dead crewmember restores two dice, but, understandably, isn’t that great for the character’s mental health. Also, between turns, you will be able to choose one of the side projects that your crew have been working on. These have both a positive and negative effect and the less stressed the crewmembers are then the more useful their project will be. An insane character will go off on their own and work on their own project, which will invariably have selfish bonuses and detrimental effects for the rest of the crew.

Presentation is excellent, with moody sound and a graphical style that pays tribute to Gerry and Sylvia Anderson’s 1970’s sci-fi shows UFO and Space: 1999. After each day there is an atmospheric cut scene that recounts a neat time-looping storyline. Adding to the budget sci-fi feel is the fun technobabble – no one wants a leak in their Photovoltaic Thermal Control System. The animated crew close-ups are also nicely done; as their stress levels escalate, they become increasing twitchy and agitated. The interface is smooth and responsive, with all relevant information just a single tap away, although once a dice has been allocated you cannot switch its position, which feels a little harsh.

There are a couple of other features that can aid your mission. Assist points can be acquired and used to negate hazards, whilst dice can be put into a holding area rather than being allocated immediately. You also have a forecast of the disasters that will assail you one week ahead, although you will probably be way too busy handling the current situation to pay too much attention.  The main storyline can be tackled on three different skill levels, but even the easy level can be brutal at times. There are an additional ten extra missions that can help if you are struggling, as they reveal some vital strategic advice. The final challenge is to unlock new crewmembers by reaching various targets, like eating a set number of human-based meals.

The main criticism levelled at Tharsis is that the dice rolling makes it appear very random and just too frustrating to formulate an effective strategy. However, I found that the game allowed just enough choice so that although at times it can be exasperating it still manages to remain entertaining. The key is to prioritise the disasters and have a backup plan so that your dice can be put to good use even when the rolls are not what you want to see. It is brutal; any disasters that you do not deal with are carried over making things even more hectic and desperate, and, yes, one bad roll can ruin your entire game.  However, at the same time, if you are cagey enough you shouldn’t often find yourself in a position whereby you are relying on a single roll to save your skin.

Accusations of an excessive reliance on luck could be partly down to the fact that whilst many games hide their luck factor away under the bonnet Tharis delights in rubbing your nose in it. There is a real sense of theatre as the dice teeter and totter across the screen, promising a certain six only to topple over at the very last second.  It’s a cliché but Tharsis is a real Marmite game, you either roll with the blows or say blow to the rolls and play something else instead. I found that even when I turned off the game in frustration the addictive gameplay and dark undertones soon had me eager to try again.