‘Game Developers Make Too Much Money’

Accourding to Alexander Hinkley the reason computer games and DLC cost so much to make is because game developers earn too much money and that most of us drive round £40k sports cars on top of amazing bonus payments and other big benefits… I wish!

Obviously I work in the UK game industry and pay might be slightly different over here (but from reading the comments on the article it doesn’t look to be vastly different) but I know many developers (excluding really high up managers and excluding London living costs for some studios) normally get paid between £18-30k up to around 10 or so years experience, with over-time generally not being paid as standard. Also the majority of us could only dream of having £40k sports cars and the reality is that many games get cancelled and people get made redundant/contracts not extended relatively frequently.

Also the reality of these ‘game sales percentage bonuses’, and other such things, is that the majority of the games do not sell enough to actually activate these bonuses and then even if they do the majority of the time they are such small percentages that there is minimal actual bonus coming your way! I don’t know anybody who has actually received a bonus from the sales that ends up being more than a couple of hundred pounds in the last 5-10 years, the only big bonuses like this I have heard of were many console generations ago when the games industry was still new!

It’s an entertaining read, but this guy really does not have his facts straight, enjoy:

The girlfriend of a fairly prominent game developer (who shall both remain nameless for the sake of privacy) recently tweeted that she was having a bad day because she ran over the curb while driving his $70,000 sports car around the city. The tweet has since been deleted but statements like this make one start to wonder if game developers and consequently publishers really should be making enough money to afford $70,000 sports cars to begin with.

Your first reaction might be something along the lines of “well if the game is really good, they deserve to be paid well for working on it,” and that is a valid line of thought until you consider that these costs are then unnecessarily passed onto the consumer. It has become commonplace to see publishers try to nickel-and-dime gamers through downloadable content that should have been included on the disc, micro-transactions, forcing us to pay extra for online passes just to access multiplayer, and even trying to abolish the entire used game market in the next generation because it is “hurting the industry.”

Former Epic Games design director Cliff Bleszinski (perhaps known best for working on Gears of War) even supported Microsoft’s previous Xbox One policy of restricting used games when he tweeted, “You cannot have game and marketing budgets this high while also having used and rental games existing.”

Perhaps not, but why are game budgets so high anyway? Publishers have routinely complained about the cost of creating blockbuster titles getting more and more expensive in recent years. In the past, a game selling just one million copies was considered to be a success but nowadays they are disappointed when games sell 3.4 million copies in just one month because the costs are so much higher now.

When you juxtapose the idea of publishers and developers complaining about the cost of making a game with the fact that they are driving around in $70,000 sports cars, it gets to be pretty absurd. Have publishers ever thought that perhaps games are getting too expensive to make is because they paying people such huge salaries? According to Game Developer magazine, the average salary for U.S. developers in 2011 was $81,192 a year. It’s probably gone up since then due to inflation. Compare that to the current average salary of a police officer which is $50,745 a year (www.salary.com) or a teacher which can be as low as $39,850 a year depending on the state (www.teacherportal.com). Being a game developer is apparently an even better paying job than working at the CIA which according to http://www.simplyhired.com comes with an average salary of $70,000 a year.

In addition to a high salary, the majority of game developers also receive a myriad of fringe benefits including stock options, annual bonuses, project bonuses, royalties for games they have worked on, medical benefits, dental coverage, and even pension plans. Those who received financial benefits made an average of $17,689 above and beyond their salary (source). In other words, the average yearly earnings of a video game developer is about six figures!

Why are developers making so much money? Their job isn’t life threatening like a police officer’s is and it’s not important to the future of the nation like a teacher’s job is. It might be tedious or even grueling at times and require long hours and lots of commitment, but working in the video game industry is generally fun. People should be working in the gaming industry because they want to create awesome games. Not because they want to become rich. When did the gaming industry become so corporate?

The developer whose girlfriend made the tweet mentioned at the top of this article is non-essential to his particular game’s success as well. He works on the player behavior team helping to discipline players on a free-to-play game which utilizes micro-transactions to earn revenue. Considering it is free-to-play, you might think that having an exorbitant salary doesn’t hurt gamers since the game is free after all, but that’s not exactly the case.

Unless you want to log literally hundreds upon hundreds of hours to unlock new characters and in-game items, you do still have to pay for them. Using micro-transactions can be a very profitable model. Valve recently announced they have sold over $10 million worth of hats on Team Fortress 2. The game this guy works on is much, much larger than TF2 (it sees a daily player base 71 times larger than Team Fortress 2 does) and also earns money from many more things than purely cosmetic enhancements – but stuff that actually gives people an edge in the game. One can only imagine how many sales they make daily. Revenues must surely eclipse numbers in the hundreds of millions each year!

And yet, the publisher has been raising the prices on their in-game items lately. Why? So people working there can afford more $70,000 sports cars?

When gamers buy something, they expect that money to go into maintaining the game or making it better. They don’t expect their money to be put towards people living in luxury. Surely the prices of the in-game items could be a lot lower than they are now if the salaries of employees working there weren’t so hefty.

If developers weren’t making as much, perhaps games wouldn’t need to sell as many copies to be successful either. Keep in mind that many game studios employ literally thousands of people. If the average salary is $81,000, then a studio with 2,000 employees is paying out roughly $162 million in salaries alone. And that’s not even including any of the bonuses of benefits which if the average is $17,000 yearly would be another $34 million. No wonder games are so expensive to make! What if these numbers were cut in half? This would only benefit gamers. Maybe games could go back to being $50 each. Maybe DLC and in-game items would be free to download. Are we to believe there isn’t an equally qualified person out there willing to do this guy’s job for less pay?

It’s no wonder games like Call of Duty (which is not the franchise the dev highlighted in this article works on) can sell tens of millions of copies earning billions of dollars each year and yet the game still does not use dedicate servers and runs horribly online. Where does all this money go?! If Activision is anything like Riot Games, then according to the tweets of at least one very happy girlfriend, it goes towards buying sports cars, fine dining, and expensive jewelry.

Check out the original article for the comments section here.

Here is a very entertaining response from ‘Cannibalcandy: Art Of Izzy’ on Facebook:

This article is an asinine poorly thought out tantrum.

Stick around for subsequent smack down.

Firstly; you presume that you can tell a person what they are allowed to do with their income. You think yourself priest enough, that you can insist what their earnings can or cannot be spent on. I’m not even getting into the amounts they are paid yet, I just need you to be aware that you are essentially saying that you can be upset that a person spends their money on what they want to. You did this in print for all to see, and stand with arms akimbo like you are a proud revolutionary. Zero irony.

Secondly; you carry on in this fit about how game developers make too much. Here is a simple truth. Games are a luxury item. You do not need your games. Yes, police, firemen, and teachers are vital and should be paid their worth. I absolutely believe that, and have voted, and paid to make it so. However you, and the public have put forth your vote on what is most important with your taxing decisions and your dollar. The American society values luxury more than necessity. Need an example? Did you stop to look up how much the designer of aforementioned sports car made? How about the engineer? The CEO of that company? What about the movies that CEO likes to watch? How much do the director, or actors make? A lot more than game devs, and an embarrassingly larger sum than the symbolic Teacher, the Fireman, or the Police Officer. The people of this country value luxury, and thus those that deliver it get paid more. Simple economics.

Thirdly; your math argument is boldly idiotic. “Keep in mind that many game studios employ literally thousands of people.” -False. Most studios, even triple A studios employ literally a few hundred. LITERALLY. Few push into near quadruple digits. Riot, Blizzard, and maybe a few Activision satellites. And I can promise you those dev’s salaries are wildly varied depending on necessity or perceived necessity. (See crushing point number 2).

Your average salary number contains the disparate incomes of Studio Heads, Game Directors, Art Directors, HEAD PROGRAMMERS, and QA teams, likely even janitorial staff, and security. So it’s a very soft average. Did I mention Programmers? They make barrels of cash because their jobs are hard, and supremely vital. Dennis Nedry taught us a valuable lesson of why we don’t fuck with programmers. PEOPLE DIE, MAN!

“If the average salary is $81,000, then a studio with 2,000 employees is paying out roughly $162 million in salaries alone.” -False. We already discussed that salaries vary, and your numbers of employees are yanked directly from your rectum. But let’s get into the budget of a game a little bit. Triple A game budgets are prepared with full knowledge and expectation of what they are trying to make back. It is a business after all. The goal is to make more money than you put in. Logical, right? Investors and publishers DO NOT throw a massive pile of money into a pit and HOPE that they’ll get their return. Budgets to deliver the class of game that YOU and the public have come to demand are large, but not beyond the bare minimum of what they need to be to get that game shipped. Publishers invested the money and they want to make it back plus enough to have made it worth while. Devs are only a tool in that process doing what they love and getting paid to make publishers happy. Devs need to be paid less? Have you ever thought that gamers need to not expect a bowel loosening-paradigm shifting gaming experience from every disc they acquire? Of course not. No gamer does. I love my games as they are. Budgets are up because standards are also up.

“And that’s not even including any of the bonuses of benefits which if the average is $17,000 yearly would be another $34 million.” -False. Your source is for programmers, yet again, the highest paid on the floor devs in the industry. Fluffed numbers aside, most studios do not offer royalties. Bonuses are lean, and usually paid out to make up for profound amounts of overtime. You think seventeen or eighteen hour days are a thing of the past? Crunch is dead? Oh, my friend, you could not be more wrong. I did the math with my own salary and a few others. If you account for actual time at work in an hourly wage, you would find your absurd estimations are down right laughable. Game dev studios perform these crunches to keep from going OVER budget. They spend more time at work than with their families for a thing they are passionate about, to deliver a product that they; in their deepest wettest dreams, hope you will enjoy. I’m not complaining, or whining for them. We love what we do, that’s why we do it. But an interview or two before you churn out drek would really help you not look the fool.

“No wonder games are so expensive to make! What if these numbers were cut in half? This would only benefit gamers.” -True… and False. Yes, the games are expensive. What if the numbers were cut in half? Oh yes! Gamers would benefit, surely, the games would be cheaper. Game devs would not benefit directly, and your games would not be made, or be made sub-par. Enjoy the benefits of your utopian game developing fantasy. Indie games are out there, and they are on the rise. I see you partake yourself. Good on you. But don’t presume to insult or insist that anyone else HAS to take your route of development.

The most damning part of this article is your terrible misrepresentation of Cliffy B’s quote. I hope you purposefully messed that up, because the thought that you actually think that’s a justification or defense for your argument will be an affirmation that I have indeed been wasting my time shedding some light.

He is talking about equalizing the cost to return ratio by removing what the publishers have implied is a seeping monetary wound in the industry and a justified reason for price hikes. He is not saying lower salaries. He is not suggesting that developers ‘make too much’. He is saying lower the cost of production that is being woven into budgets to cover heavy losses in the rental/return market. This is obvious, and I truly hope you just had ill will and malicious intent in including it in the article. No one enjoys dunking on someone that is incapable of jumping. It loses all the fun.

My favorite remark in your article is this: “Why are developers making so much money? It might be tedious or even grueling at times and require long hours and lots of commitment, but working in the video game industry is generally fun. People should be working in the gaming industry because they want to create awesome games. Not because they want to become rich. When did the gaming industry become so corporate?”

This logic could be applied to ANY job. Teachers, police men, corporate officers, architects, scribes of terribly researched and thought out articles, artists, musicians, politicians.

I want you to read it again. Slowly. Try to be objective. That’s generally the job of a journalist. Especially one that gets paid for it. Read it one more time.

If you aren’t cackling with laughter at that statement, you haven’t the forebrain to deal with the world around you, and I hope you are institutionalized for your own safety. The world is just going to tear you apart.

Please take more care when you write. Get more rounded sources, the internet doesn’t have all the answers. Try also to not let your own feelings of misguided injustice lead your fingers into saying things that are so non-purposefully funny.

I hope the Examiner reconsiders it’s gaming journalists with more care and caution in the future. Actually, Examiner? If you are taking applications…

I partially apologize. This is my first response to a ridiculous article like this. So like a baby rattle snake, I am probably spurting more venom than necessary to drop the simple woodland critter I caught unawares.

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Need Some Inspiration To Do Some Work?

Jon Troy Nickle (Hazardous) wrote a very emotional and brilliant post over on Polycount about how to get good in the art industry (but it applies to everything in life) and it is really something I need to learn to follow myself to be able to become a top artist like I want to be, instead of being so lazy after work!

Essentially he says to pick up a pencil and draw. Simple as that. Do some work! Don’t worry how good or bad the outcome will be, just do it, and do it again and again until you think you are good and then practice even more to become even better.

I have made the sentences that I find the most important bold (even though it does not show up well on my blog), but I would recommend reading through the rest of it if you have time.

Everyone’s a n00b at some point. Everyone asks stupid questions, annoys some pro until he blows a gasket and says dumb shit on forums. Then I thought – why are these people coming to me for answers? I am the least qualified person to provide guidance or help. My path to where I’m at is so fucking weird to me, it doesn’t seem like good advice to give out. It REALLY doesn’t, so I’m not going to tell people what I did, because what I did is the WRONG WAY.

Then as my career went on, I talked to other artists and artists that talk to me, veterans, revered artists, 3d and 2d, some working in big AAA stuff, others working in mobile stuff. Some drawing comics, some sculpting in clay, some working in film! Some of them become very good friends, and with them, I’m able to really get into the nuts and bolts of what got them there – I’m talking about the Slipgatescentral’s the haikai’s, the Gav’s – guys that are really fucken good. That’s when I discover that their experience to becoming an art god (and being successful at this career) is pretty damned similar – it’s a pattern that’s remarkably similar for all the artists that we all raise up on the ‘I gotta be as good as this artist’ platform.

Over the years, that got me thinking. It’s something I spent an awful lot of time thinking about.

My experience and my path to get where I am, is not crazy at all, sure some decisions are unique to me, but I’m not special, and the path I took to get there is even less special.

When you’re a n00b artist, the answer is so simple that it doesn’t even make any sense, you just aren’t equipped with the experience to absorb what it means.

Put in the time.

Scared of the results being shit? Doesn’t matter.
Scared of making yourself hate your work? Doesn’t matter.
Scared of not knowing what to draw? Doesn’t fucking matter.
Scared you’re doing it wrong? Doesn’t mother fucking matter.
Picking up the pencil right now and drawing a funny looking penis with hairy balls on the paper – ALL THAT MATTERS.

Not how good the balls or the cockhead look – all that matters is that you did it. 

So do another one. This time draw it pounding a sheep in the buttcrack. Draw the sheep eating a farmers leg, draw the farmer holding an axe about to bring it down on the sheep’s spine, draw a horned goat in mid leap attempting to save his wooly buddy, draw the farmer’s wife with a loaded gun aimed at the goat. Boom you just told a little story. ‘My day at the farm!’ Quality? Shit. WHO CARES. It’s better than sitting there passing that time and doing nothing, trust me IT IS. And you have to believe me that it was worth it. As someone asking for advice, believe me when I say… it’s worth it no matter how fucking piss poor, terrible your skill is. 

But thats not enough, still the students ask, but HOW do you get good, what tools do you use, what tricks do you have to get good, how do you stay motivated, there must be something that gives you the edge. Very rarely, some are satisfied with the answers, they just ‘get it’ somehow. But most feel like my advice ripped them off somehow, I can see in their faces when I talk to them, I can hear it in their voices when I skype them, I can feel shift in conversation when I IM them. It wasn’t the thunderbolt from the heavens they were looking for.

That ‘AHHHHHHHHHHHHHHHHHHHHHH I fucken get it!!!’ Moment was not present in my answer.

Now Deviantart makes it really easy for me to keep track of those same artists, I can with a click jump back to their folio, to see where they are at now. I store all of my conversations, notes, all of our exchanges. I’ve been able to watch some young artists grow over a 5 year period – (it makes me feel really fucken old) And I’ve been able to watch some students flounder – still asking the same questions, still struggling with the same problems they have been for 5 goddamn years.

Out of the hundreds, Literally HUNDREDS of students that have asked me stuff, there is only a few that still add artwork to their folios more frequently than once a year. And in those students, you can also see the pattern emerging. They are slowly leaving the others behind, they are getting better, more skilled, and they are even starting to pick-up freelance work. They are rising up above the sea of n00bs all on their own – They also stopped asking for advice, because they realize what they are doing, works. And there’s no other way, but to keep doing it, and keep posting your results even when you can’t be bothered.

However, the same students that TOLD me so eagerly, I need to get a job, I want to work in games, I need to be a killer artist!!! Folio’s empty. Journals that talk about playing Dota or league of legends, art? none. They seem to never get it, always asking ‘How do I get a job?! It’s really tough out there for students!’ Some even come back to tell me they feel guilty for pissing their lives away and are fucking up and need to get back on track! 

I applaud their persistence yet the advice remains the same. It didn’t change from last time you asked!

Stop playing games, hanging out with your friends, and make your folio. You’re a student, now is the absolute best time to be working on it – trust me, you do not want to be an old bastard like me trying to build your folio when you have more serious things to worry about, it gets infinitely harder to do. I have no question there are a tonne of artists here at polycount that would attest to that. Don’t fucking waste the opportunity you have RIGHT NOW. Your friends will be there in 6 months’ time and if they give you the flick, fuckem you’ll make more through your art! Take control of your shit! you’re the boss and you CAN do it.

I just wish they’d truly listen to the little artist voice inside that pushed them to reach out over and over again. Its starving and dying in there, its food is not playing games, its food isn’t fucking about getting drunk, watching days of your life go past without doing anything, it needs hairy balls and cocks drawn on paper to survive.

‘I can’t do it, it’s hard, I don’t know where to start ‘

Yes!!! It’s fucking hard!!! I’ve been through it, I’ve been through my own set of problems, I climbed my own mountains, without telling you my life story, have the foresight to understand that even though you are a student and I have 10 years of experience doing this job, we are the same!!! We are cut from the same fucking stone you and me. I’m trying to help you, I’m telling you what I did to ‘get there’ and you won’t listen to the words. You won’t! You refuse to help yourself, even though you’re asking for help!! TAKE CONTROL OF YOUR SHIT!!

I have reached this point with dozens of students, and it’s taught me a few things. Firstly, no matter what I say, or how often I say it – the words can only be received, whether they are digested, fathomed or understood is up to the recipient. Secondly, what they do after talking with me about the problem isn’t up to me. From that moment onwards it’s all up to them.

They are alone again.

They need to figure out for themselves how to move past the point of sitting there doing nothing now, to sitting there and doing something, and NOT going to play a game or watch a movie, but to go and start making art.

And it’s within that tiny little statement where *everyone* is remarkably unique.
What makes YOU go, ‘okay I am now going to pick up my pencil and start drawing hairy balls on paper’ is completely unknown to anyone else but you.

You won’t find the answer to that riddle no matter how many questions you ask on what forums, how many awesome reference pics you find, or how many epic artists you befriend, or how many threads you create. No one has that answer. And there is no substitute for putting in the time. Remember that.

Knowing that the ultimate point of this dance of questions comes down to something that is unique to every person, knowing that before the student even asks the first question – already knowing that I really can’t help them with that magic bullet that switches them on and turns them into art machines, what do I say?

I look at the people I’ve respected in my life, and recalled how they treated me, and what makes them special – why did I listen to them? What habits do I have from when I was a child, how come I kept them? I find out what it was. For me, it was people who were honest, and straightforward if that mean hurting my feelings, punishing me for making mistakes, making me cry – then so be it.

I don’t remember people who treated me nicely, told me my work was great, coddled me and told me everything’s ok (except my mom! of course). I remember the people that took me to heightened peaks of emotional state – and encouraged me to fly on my own. People that gave me bloody knees, got my hands dirty, encouraged me to take a plunge into the unknown and abandon my fears. Those people made me a much stronger person. And that kind of person, is who I would like to be for others if they need it – because that’s all I know, that’s what worked for me and I try to share that.

Check out the original post over on Polycount.

Check out Nickel’s portfolio here.

Go Green To Support The VFX (And Other 3D) Industries

 

 

 

greenscreen

 

vfxsolidarityinternational

 

Check out the VFX Solidarity International Facebook page here.

 

Also VFX artist Rob Baldwin explains:

So, for those friends and family that are out of the VFX loop, here’s what happened today:There was a VFX march at the Oscars, to shine some light on what’s been happening in our industry. My guess is word of that got to the directors of the Oscars and they got skittish.As the awards for Best VFX were being presented, some jokes were made by the cast of the Avengers, either as an attempt to diffuse the situation, or to make fun of the nerds in the back room. I’m unclear as to which was the intent, but either way it was awkward.Bill Westenhofer and the crew from Rhythm and Hues, won for Life of Pi. As soon as Bill started to mention R&H, the latest casualty in the VFX race to the bottom, they cut him off like so much a political activist, or anybody else using the bully pulpit of the awards as an awareness tool. He should have lead with it, as some folks might have interpreted events as, “Oh, he was just running over his time!” They played him off with Jaws. How cute.He hadn’t. What was telling is that they cut his mic and cut away, first to the audience and then to a bewildered Seth MacFarlane. He had been silenced.What’s different in this case, is that these guys had just won the VFX Oscar! Now they’re outta jobs and the FX facility is bankrupt and in danger of closing, like so many other FX facilities.Directly because of the producers, directors, and studios IN THE ROOM. It’s deplorable. Artists have been sent home WITHOUT PAY, and without any kind of benefits for them or their families. This time it’s R&H and yeah, they just did some really great work that just won the Oscar for the VFX and for the Director of the movie, so a light was to be shone on the situation. (The Director, by the way, failed to mention them, even though the Digital Tiger was a significant part of the film.)It’s actually happening all over. Digital Domain, just had it happen. They’re still recovering, and who knows what will happen in the long run. Pixomondo (VFX Oscar, 2012) just shut down their London and Detroit facilities today. The Mill, Double Negative and even ILM are having staff laid off, transferring staff overseas and between facilities, and generally leading their artists, animators, engineers, technicians and programmers into a state of constant economic migration, and fiscally indentured servitude.All because the people sitting in the room tonight, at The Oscars: the Producers, Directors, and Studio Executives – all feel that Visual Effects, the one thing in common with all of the top grossing movies of all time, are too expensive. The highly talented people who create these profit avenues for the studios are disposable commodities, and are not to be paid fairly.It’s wrong. It’s got to stop.

 

Worst Client Comments Posters

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SharpSuits.net is a great website on which Ireland’s creative community has created some brilliant posters from the worst client feedback they have received. Check out the website for many more!

Thank you BoredPanda.com for bringing this to the attention of my friend.

Looking For Work After Redundancy

Hey all,

I hope you had a lovely festive season (if you have that where you live!). I am sorry for the lack of updates on my blog in the past couple of weeks. I got made redundant from my job at Frontier Developments the week before Christmas so I have been working hard on my showreel as well as moving back to my parents house and trying to celebrate Christmas as best as I could- given my current mood.

I will be adding some updates to my showreel to my blog over the next few weeks as I look for a new job in 3D (preferably in games), and here are some quick updates I knocked together to make my portfolio a bit more up-to-date.

grass_01

 

You can check out more updates over on my personal page of my portfolio here.

 

I am looking for all types of paid employment in any location all over the world, with preference for English speaking locations. 

If you know of anywhere that I might be suited to or know of people who might then please send me an email or check out my CV and contact details over on my About Me page.

 

I hope you have a great day,

Ben

FINALLY The UK Adds Games Tax Relief

FINALLY the UK is catching up with other major games developing nations by introducing tax incentives. This will hopefully allow the industry to be a bit more free with their creativity and development and hopefully also increase our pay a bit!

Chancellor George Osborne has promised the corporation tax reliefs for the video game industry will be “among the most generous in the world” in his autumn statement today.

Following consultation on their design, the government will ensure that the reliefs are among the most generous in the world by offering a payable tax credit for all three reliefs worth 25 per cent of qualifying expenditure,” said the official statement from the treasury.

The corporation tax reliefs for the creative sector, which also includes animation and television production, will still come into effect from April 13, and will offer qualifying companies the chance to, “choose between an additional deduction at a rate of 100 per cent of enhanceable expenditure or a payable tax credit at a rate of 25 per cent of qualifying losses surrendered.”

“Having run an independent games development and publishing company for many years, seeing this happen is great and long overdue news”

Andy Payne, chairman, UKIE

The statement also promised further investment in the existing Skills Investment Fund administered by Creative Skillset over the next two years, which will add video games to its remit. The government will match industry contributions of up to £6 million over the next two years.

The statement also announced a reduction in the main corporation tax to 21 per cent next year, better broadband for UK cities and £600 million in science research spending.

“Tax breaks for games production will ensure that the UK remains a world leader in the high technology video games development industry. A single 25 per cent level of relief will be simple to administer and economically impactful. Yet we will have to monitor the actions of our competitors: the province of Quebec in Canada already boasts a 37.5 per cent level of tax relief,” said TIGA’s Dr Richard Wilson, who also hoped the measure would help make high skill, export focused industries a bigger player in the UK economy.

Check out the full article over on GamesIndustry.biz.

The Best Way To Apply For A Job!

Marius Fietzek really wants a job at Double Fine working on their new adventure game. But he did not just send off an application form like most people, he made a whole game out of the application, and its pretty fun to play too!

Have a play here: rickrocket.de/df/.

Check out the full article on Kotaku: Genius Turns Job Application Into Lucasarts Adventure Game