Vassal: open-source game engine for building and playing online adaptations of board games and card games


Encontrei este software que permite jogar em formato digital alguns jogos de tabuleiro. Para além disso tem as funções de:
“Vassal is a game engine for building and playing online adaptations of board games and card games. You can use Vassal to play in real time over the Internet or by email. Vassal runs on all platforms and is free, open-source software.”

Da vasta lista de módulos (jogos de tabuleiro) surge:
Module:Carcassonne
Module:Memoir ’44
Module:Axis & Allies: Battle of the Bulge
Module:The Great War

+infos(oficial): https://vassalengine.org/

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Oferta de trabalho (em Almada)

Uma empresa Britânica abriu escritórios em Portugal e o local físico escolhido foi Almada. Por este motivo aparecem várias propostas de trabalho para o desenvolvimento de videojogos nomeadamente (e que eu destaco):

Game Designer – Casual Games
What’s the job?
As a Game Designer for Casual Games you have experience conceptualising and designing engaging mechanics and metagame. You’ll work closely with every department to craft new games and improve existing titles.

Skills and requirements
A minimum of 3 years experience in a game design role.
Experience working with F2P mobile games.
Working knowledge of the Unity engine.
Strong written and verbal communication skills.
Strong knowledge of mobile free-to-play game monetisation.
Knowledge of mobile game market, trends, competition, platforms and app stores.
Ability to work creatively in a demanding team environment.
Absolute passion for playing and making video games, especially mobile games.
Strong creative ideas and imagination, able to entertain players with challenges, humour, surprises and fun.
Positive attitude, self driven and able to work alone or as part of a team.

Desirable
Creative writing skills.
Coding / prototyping skills.
Experience of mobile game live ops, A/B testing and telemetry.

We offer
We want everyone involved in our games to share our success, that’s why we have a generous team profit sharing scheme from day 1 of employment
Creative Wednesdays! (Design and make your own games every Wednesday)
Great work-life balance with flexible working hours
Quarterly team building days – work hard, play hard!
Monthly employee awards

Level Designer (Casual Games)
Skills and Requirement
2 + years experience working as a level designer
Keen interest in Casual mobile games
Proficient in Unity
Experience with evaluating analytics data and/or user feedback and actioning improvements based on it

We offer
We want everyone involved in our games to share our success, that’s why we have a generous team profit sharing scheme from day 1 of employment
Creative Wednesdays! (Design and make your own games every Wednesday)
Great work-life balance with flexible working hours
Quarterly team building days – work hard, play hard!
Monthly employee awards

Game Programmer – Gameplay
What’s the job?
As a Game Programmer (Gameplay) you’ll be focusing on prototyping and refining the feel of games to make a great player experience.

Skills and requirements
At least 3 years of experience in game development with C#.
Experience with Unity.
At least one of the following: console / Android / iOS / Amazon experience.
Excellent communication skills.
An avid interest in either console or mobile games, preferably both.
Ability to derive tasks from a design document.
Attention to detail.
Self motivated.
Ability to work individually and as part of a team.
Experience with source control such as SVN, Git or Perforce
3D and 2D gameplay experience.
Understanding and appropriate use of design patterns.
Rapid prototyping experience would be a plus.
Graphics experience would be a plus.
Android build pipeline experience would be a plus.
Experience integrating 3rd party APIs would be a plus.
RESTful experience would be a plus.

We offer
We want everyone involved in our games to share our success, that’s why we have a generous team profit sharing scheme from day 1 of employment
Creative Wednesdays! (Design and make your own games every Wednesday)
Great work-life balance with flexible working hours
Quarterly team building days – work hard, play hard!
Monthly employee awards

Game Tools Programmer
What’s the job?
As a Game Tools Programmer within the Tools and Tech Department, you will be writing Core code which is the foundation to all our games plus writing tools and software to optimise and automate our processes.

Skills and Requirements
At least 1 years of experience in development with C# or C++.
Experience with Unity.
Unity Editor Tools experience would be a plus.
Experience with scripting languages
Android / iOS experience would be a plus.
Excellent communication skills.
An avid interest in either console or mobile games, preferably both.

We offer
We want everyone involved in our games to share our success, that’s why we have a generous team profit sharing scheme from day 1 of employment
Creative Wednesdays! (Design and make your own games every Wednesday)
Great work-life balance with flexible working hours
Quarterly team building days – work hard, play hard!
Monthly employee awards


+infos(oficial): https://www.kwalee.com/jobvite

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Oficina de jogos narrativos (em Marvila, Lisboa)

Encontrei este post numa rede social e acho o tema muito interessante:
“Oficina de jogos narrativos na Biblioteca Municipal de Marvila, dias 4, 5 e 11 de agosto!
A segunda na série de oficinas de jogos narrativos programadas pelo Atelier Publidrama com a Forja de Papel e as Bibliotecas de Lisboa vai iniciar-se na próxima semana e conta contigo, desta vez em Marvila.
Objetivos:
Familiarizar os participantes com os jogos narrativos (sessão 1).
Transmitir técnicas para encenar aventuras (sessão 2).
Partilhar os princípios a que obedece a conceção de cenários (sessão 3).
Datas: 4, 5 e 11 de agosto.
Horário: 20h00-21h00 (prolongável até às 22h00).
Lotação: até 10 participantes.
Acesso: livre, mediante inscrição prévia por email para a Biblioteca Municipal de Marvila, bib.marvila@cm-lisboa.pt. (A participação inclui toda a documentação de apoio à oficina, incluindo uma cópia de Ludodrama, O Sistema de Jogo Narrativo.)
Inscreve-te já!
Num jogo narrativo o encenador prepara um cenário com as grandes linhas do enredo em que se envolvem os protagonistas, as personagens jogadas pelos restantes jogadores. Ao longo do jogo o encenador modera a interação dos protagonistas com as personagens secundárias e os obstáculos que se interpõem no seu caminho. Vem explorar a encenação de um jogo narrativo.”

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Oferta de trabalho (remota, em Portugal)

Encontrei esta oferta que indica que é para Portugal mas não me parece que seja exclusivo.
“Position Summary: Narrative Designer
Full time, 100% remote
As a narrative designer, you will champion everything narrative design related and be a central resource for the team.
Join us in building the next generation of remote international game & publisher.
Competitive salary, excellent benefits, and stock options available for full-time employees.
Reports to: Lead Game Designer

Responsibilities:
Create emotionally engaging dialogues, story moments, characters and quests.
Create and maintain narrative design documentation to present and explain your intention to the team and act as a point of reference.
Working closely with design, art, audio and other departments: make sure every aspect of the game is enhanced by the narrative and vice versa.
Work in-engine when needed to integrate story elements and iterate on the narrative design.
Help with in-studio voice recording and mocap.

Required Qualifications:
5+ years of experience in a narrative designer position.
Experience with non-linear storytelling and branching dialog tools.
A capacity for autonomy and proactivity. If something is unclear, lacking or misunderstood, you should be able to quickly bring it up and move forward.
Ability to thrive in a fast paced and entrepreneurial environment.

Desired Qualifications
Experience shipping AAA titles a plus.
Experience with the Unreal Engine a plus.
Dedication, teamwork, and professionalism.
Knowledgeable of story-driven console games.”

+infos(oficial): https://tlmpartners.com/job-openings/

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Humble Software Bundle: RPG Game Dev RE-Bundle (uma campanha)

Está a decorrer uma nova campanha com assests e efeitos de sons para jogos de RPG. Do texto de apresentação surge “Making a role-playing game? Did you pick up our epic RPG Maker Resurgence bundle? This massive library will be the greatest asset in your game-dev journey! Get collections of art assets including 2D heroes and characters, tile sets, icons, and more—along with RPG-worthy music, sound effects, stingers, and other versatile audio building blocks.”. e a lista é constituída por:
“2D Game Art Bundle
2D Hand Painted – Dungeon Tileset
2D Hand Painted – Grassland Tileset
2D Hand Painted – Interior Tileset
2D Hand Painted – Town Tileset
2D Heroes Characters Bundle
2D Isometric Tile Pack
2D Top-Down Tile Set
7Soul’s RPG Graphics – Icon Pack
7Soul’s RPG Graphics – Sprites
7Soul’s RPG Graphics – UI Pack
Animals RPG Sprites
Battle RPG Music Pack
Cartoon RPG Characters 1
Fantasy RPG Tileset Pack
Game Music Stingers and UI SFX Pack Pack 2
GUI Icons
Inventory SFX Bundle
Magic Spells SFX Bundle
Medieval Fantasy SFX Pack
Monsters Time Fantasy RPG Sprite Pack
Orcs and Beast SFX Pack
Over 80 RPG Characters with Animations
Pixel Characters Collection Vol 1
Pixel Effects Collection Vol 1
Pixel Hero Base
Pro Sound Collection
RPG Dungeon Tileset Plus 2 Bonus Characters
RPG Inventory Icons Pack Vol 1
RPG Items – Retro Pack
RPG Overworld Tileset
Skill Icon Pack
Tiny, Tiny Heroes – Armies
Weapon and Armor Icon Pack”

+infos(oficial): LINK

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Oferta de trabalho (em Lisboa)

A empresa Funcom anda à procura de um “Senior Game Designer” para trabalhar em Lisboa. Da proposta surge:
“How you can have an impact in your position:
5+ years of experience as a game designer
Preferably, experience working in survival games
Extensive experience playing survival in multiple titles
At least 1 shipped AAA title as a designer
Strong sense of level design, scale, pacing, and gameplay flow
General understanding of game engines, technology and the game development process
Experience with Gameplay Scripting

We are looking for someone that has:
Bachelor’s degree
Experience working in survival games
Enjoys playing survival genre games
Familiarity with Dune and the Dune IP

In addition, the perfect candidate has:
Experience working in survival games
Enjoys playing survival genre games
Familiarity with Dune and the Dune IP”

+infos(Funcom): LINK

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Oferta de trabalho (em Portugal)

Encontrei mais uma proposta de trabalho para Portugal. Parece ser uma empresa de RH que está a fazer o trabalho de pesquisa, a saber:
“OPM’s client has a rich history in games with multiple studios across the globe.

The successful candidate will turn visions and ideas into playable events. You will collaborate with the Level/Game Designers and Environment Artist to build engaging play spaces and translate a feature design into a fleshed-out system design with clear iterations.

Requirements
Previous experience as a game designer.
Experience working in survival games.
Previously shipped a AAA title in a designer role.
Strong sense of Level Design, Scale, pacing and gameplay flows.
An understanding of game engines, technology, and the game development process.
Experience with Gameplay Scripting.
Responsiblities
Turning visions and ideas for the game into playable events
Collaborate with other Level/Game Designers and Environment Artists to create engaging play spaces.
Translating feature designs into a fleshed-out system design.
Assist with content creation for game development.
Assist with quality control of all products.
Benefits
Flexible working schedule.
Relocation assistance.
Healthcare package.
Free gym access.
Interested in finding out more about the studio and project? Apply now or call me directly today on +44 (0) 1206 214425!”

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50 Years of Text Games: From Oregon Trail to A.I. Dungeon, um livro

Esta é uma campanha que estive de olho, não porque seja o meu género de videojogo mas porque conta um pedaço de histórica acerca daqueles tipos de videojogos que fazem uso da escrita para o desenrolar das narrativas! Do autor Aaron A. Reed surge mais um livro no mercado para mostrar um pouco de outra parte da história dos videojogos.

+infos(campanha): LINK
+infos(o autor): Palestra do autor

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Oferta de trabalho (remoto, em Portugal)

Uma empresa Sueca anda  à procura em Portugal de um Game Designer… da propostas surge:

“The Gang is now looking for Game Designers to work on creating art for our new projects and our existing games. As a Game Designer at The Gang your main role is to work closely with the other disciplines to drive and fulfill the vision of the game and to deliver an experience that meets the expectations of the players and the team.
You will be responsible for designing and balancing features, build levels, write story and quests, onboarding and more. Together with the team make sure that the project planning and documentation is up to date and through play tests and feedback iterate on the games. In case of work for hire productions you will be the creative point of contact, so a strong social competence is highly desired for this role.

Required Qualifications
4+ years of games industry experience
Fluent in English, both written and spoken
Great knowledge of Agile workflows such as Scrum or Kanban
Exceptional communication skills
Must be based in Portugal

Desired Qualifications
Audio design and production skills
Strong monetization knowledge from free to play
Strong UX design skills
Experience in making games for target audiences of 5-12 years
Programming skills (c-family, Lua, Javascript)

What we offer
A role in a growing and highly collaborative group with room to both diversify your skills and focus on your specialization.
The opportunity to work on our own established IPs as well as working with some of the biggest brand clients worldwide.
The opportunity to work with a diverse, fun, and talented team.
A 100% remote work environment.
Yearly wellness allowance.

If this sounds like a good fit for you, please click on the apply button above or send an email with your CV written in English to careers@thegang.io with subject line ‘Game Designer Portugal'”

+infos(oficial): LINK

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IGDA CLIMATE SIG

Encontrei este grupo “IGDA Climate Special Interest Group” que é um SIG e que se debruça sobre: “serves to unlock grassroots climate action, enable climate councils on every major game company, and amplify the UN Environment’s message about youth advocacy, the power of video games, the climate crisis, and what games can do.”

têm produzidos vários documentos bem como alguns videos sobre o tema de desenvolvimento de videojogos. Mais um recursos sobre este tema!!

+infos(oficial): https://www.igdaclimatesig.org/

 

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Asset Forge: uma ferramenta

Mais uma ferramenta para auxiliar no processo de desenvolvimento de assets (modelos) para videojogos sem grande preocupação com a aprendizagem acerca de modelar :)

Foi desenvolvida pela equipa do kenney e fica aqui o registo..

+infos(oficial): https://assetforge.io/

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Humble Software Bundle: Learn Game Development for Beginners (uma campanha)


Mais uma campanha da malta da Humble com a GamedevTV, com uma série cursos e assets para aqueles que querem começar a aprender um pouco sobre as tecnologias que permitem desenvolver videojogos. Do texto de apresentação surge:
“Level up your skills in coding, art, and more game dev fundamentals with these beginners’ online courses from GameDev.tv! Whether you’re interested in building your own game or pursuing a studio career, you’ll get dozens of hours of expert instruction to help you build a foundation in Unity, Unreal Engine, Blender, C++, C#, and more”

a lista é composta por:
Complete C# Unity Game Developer 3D Course
Unreal Engine Blueprint Game Developer Course
Blender Low Poly Landscapes Course
C++ Fundamentals: Game Programming For Beginners Course
Complete Drawing: Create Video Game Concept Art Course
Make Games In Scratch: Programming For Absolute Beginners Course
Make Your First Web Game Using Construct 3 Course
Pixel Art Fundamentals – 2D Game Art Course
Desert Village Asset Pack
Finish It! Motivation & Processes For Game Developers Course
Math For Video Games Course

+infos(oficial): LINK

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Proposta de trabalho (em Oeiras)

SENIOR GAME DESIGNER
Miniclip is looking for a Senior Game Designer to hire in our Lisbon (Portugal) Games Development Studio. This is a full-time position.

Your Primary Responsibilities Will Include
Work with the team to design and craft gameplay experiences and game features that deliver strong player engagement, virality, retention, and monetisation.
Work with the team to create and craft game content to delight players, and devise & balance meta-game economies to maximise game performance.
Write, review and give feedback on game/feature design documents, builds, and game roadmap plans.
Participate as a key member of the product team across the product life-cycle, working on new titles, games in production, and live titles, proposing high-impact updates to our existing portfolio of games.
Help identify and deconstruct new markets and opportunities, expanding the portfolio of the company and staying in the cutting edge of the mobile gaming industry.
Collaborate with other designers to improve overall output, and support the team in growing & developing their design capabilities.
Assist with reviewing, scheduling & prioritising design team workload.

Skills & Experience
We are looking for a social, hard-working person who enjoys working in a team, and is passionate about games, and mobile free-to-play. The ideal candidate will be articulate, proactive & energetic, with the following attributes
Significant experience designing successful free-to-play published titles, preferably on mobile.
Experience across the product life cycle, from prototyping, through production, to updating a live free-to-play game.
Strong knowledge of the mobile & social game space, with exceptional understanding of current design techniques to deliver excellent engagement, retention, and monetisation.
Highly numerate, with experience designing virtual currencies and managing in-game economies.
Experience with reviewing game analytics, designing AB tests, and producing insights based on data to make better informed design decisions.
Strong grasp of mobile user-experience design, and ability to consider & empathise with many different types of players.
Mature judgment, able to balance between innovation and setting reasonable goals.
Collaborative & effective communicator, with an ability to work with multinational teams, with a variety of cultural backgrounds.
A hard worker, with drive, initiative, and ability to self-manage effectively.
Highly organised, with a track-record of guiding & advising others (some management experience is ideal).
Ability to compromise and prioritise appropriately to deliver to tight deadlines.
Additional Information

You will be working in our fashionable, open plan studio in Lisbon with enthusiasts and professionals from the games industry. We like to maintain a very friendly and relaxed atmosphere, with regular team building and social events. We understand that being tied to a desk all day is not fun and that’s why there is a games area and fridge with complimentary drinks and fruit for all staff.”

+infos(oficial): LINK

+infos(oficial): LINK outras propostas

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Para uma peça de teatro..

Não que seja algo que entenda muito mas encontrei este concurso que achei interessante:



CALLING ALL SOUND DESIGNERS AND MAKERS OF NOISE
Hello! I’ve recently been forging my theatre company – Pixel Syndrome – makers of multifaceted, playable theatre that is influenced and informed by video game ideology and gaming culture.
And I’m running a unique competition for sound and music-makers – with a CASH PRIZE!

My favorite console start-up sound is the original PlayStation. It’s iconic and inspiring. When that logo suddenly fades in and hits ya with that jingle, it gives me goosebumps. And it got me thinking. In line with Pixel Syndrome’s vision, I thought wouldn’t it be cool if my logo was accompanied by a start-up sound reminiscent of the days when we used to boot up old gaming consoles.
And thus, that is the contest:
To design an original piece of start-up music!

A few things to bear in mind:
Length of sound must be between 5-10 seconds long
1 entry per participant
Keep in mind that the sound will be playing under a fade-in of the Pixel Syndrome logo
Make sure you follow @pixelsyndrometheatre on Instagram/@Pixsyndrome on Twitter – the winner will be revealed there!

Prize: £100 + your start-up sound will be used as the official Pixel Syndrome “start-up screen”.

Deadline: July 14th 2022 midnight
Please send all submissions to: hellopixelsyndrome@gmail.com”

+infos(rede social): LINK

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Proposta de trabalho (em Lisboa/hibrida)

Do anuncio de FRVR Studio Ursus surge:
“We’re looking for a creative and proactive Game Designer that loves to collaborate with a small team and is willing to make design decisions, both big and small.

What you will be doing
Be responsible for the end to end design of complete games
Design features from ideas to mockups, wireframes and flows.
Systems design and balancing
Use a healthy combination of data and gut feeling to inform your design
Collaborate closely with a small team of developers and artists

Requirements
Worked as a Game Designer on at least 2 shipped games
Enjoys collaborating with artists and programmers
Used to communicating your designs through wireframes, sketches and other visual means
Plays games regularly

Nice To Have
Experience with instant or social games
Experience with multiplayer games
Experience with games that runs on video calls
Experience with small teams

We offer
A job with a high degree of freedom and influence
Full time employment
100% remote work
Flexible work hours
Competitive salary”
+infos: LINK

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Oferta de trabalho (remoto, em Portugal)

O estúdio do Porto “Creative Method Studios” está à procura de um artista que desenvolva trabalho em Pixel Art, da proposta surge:

+infos(oficial): LINK

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Oferta de trabalho (remoto, em Portugal)

A Arkadium procura um Unity Games Software Engineer com os requisitos de:
“Responsibilities
Lead continued development of new features in Unity mobile games
Deliver solid code that is bug-free, maintainable, and scalable
Develop comprehensive documentation, both inside code and in internal wiki, and refactor projects to meet architectural best practices
Review code from other developers and share technical knowledge to improve overall team quality
Develop shared modules, plug-ins, and templates to help improve team productivity
Work in rapid iteration, accurately providing time estimates and producing polished playable builds
Work in an Agile environment as part of a multi-disciplinary team that values speed and autonomy

Our Ideal Candidate Has:
A bachelor’s degree in Computer Science
3+ year experience in mobile game development
A portfolio of previous game examples (preferably with source code in a git repository) in addition to your resume
Strong familiarity with Unity, C#, and mobile technologies
Strong knowledge of programming fundamentals, design patterns, and math
Experience integrating third-party SDKs and libraries
Experience with version control and project management tools
Experience working in an Agile team
Strong verbal and written communication skills
Proficiency in English
All applicants must be legally authorized / have the necessary visa to work in Portugal

Benefits
Competitive compensation with structured performance and career development check-ins
Competitive compensation with structured performance and career development check-ins
Meaningful supplemental health insurance (medical, dental & vision plans)
Meal allowance
Additional budget for conferences you are interested in
Personal development budget to fuel your passions and desire to learn (Arkadians are taking classes in not only Excel and leadership, but also interior design and even swimming!)
Time off from Christmas Eve through New Year’s Day so we can all enjoy the holidays
A unique culture of transparency, true teamwork and fun
Summer Fridays: 4 Fridays off throughout the Summer to have more fun in the sun”

+infos(oficial): LINK

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Oferta de trabalho (remoto, na Europa)

Não é um anuncio para trabalhar em Portugal, mas achei interessante os requisitos.
“About the role
The Lead Game Engine Engineer will be in charge of leading the Game Engine team in implementing and optimizing low level code and architectures in Unreal Engine 5.
This person will need strong C++, algorithms and technical architecture skills. They will also need a strong understanding of target platforms, performance targets and optimization.
The Lead Game Engine Engineer will need to work in a low level environment with Unreal Engine 5 to ensure that the game runs optimally on all our target platform, modules and components are well implemented for scalability and efficiency. They will need to be intimately familiar with the Unreal Engine 5 road map and the various technological pieces and how best to leverage them for our game.
The Lead Game Engineer will need strong leadership skills in order to manage and lead the Game Engine Team. There will need to be very hands on in technical implementations as well as architecture and planning.

What you’ll be doing
The Lead Game Engine Engineer will be expected to fulfil the following activities:
Lead the Game Engine Team with sound technical architecture and planning
Optimize and enhance the Unreal Engine 5 for our game
Implementation of modules and components for low level mechanics, such as streaming, graphics, physics etc.
Maintenance and integration of Unreal Engine 5 code base (using GIT)
Collaboration and Review of impacts of high level system on performance

About you
Experience: 10+ years in engineering
Skills: Proficient in C++, UE4/UE5, low level game engine architecture.
Ability to lead a team with confidence
Proficient with planning tools such as Jira & Miro
Experience with remote teams, experience with git-flow, experience with network enabled games
Passion about gaming, crypto and blockchain technology
Ability to work remotely and independently with flexible hours
Strong communication skills
Optional: you love cats and enjoy our humour

FAQs
Location: From anywhere in the world. We are globally remote.
Equity/tokens available: Yes
Start date: ASAP”

+infos(oficial): LINK

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Oferta de trabalho (em Lisboa)

Uma proposta de trabalho para Lisboa:
“PROCURAMOS
– Programador com bons conhecimentos de Unity
– Conhecimentos de C#
– Experiência em desenvolvimento de jogos
– Bons conhecimentos de inglês e português
– Regime de teletrabalho ou freelancer

OFERECEMOS
– Integração em equipa multidisciplinar e experiente
– Participação num projecto de sucesso (TOP 5 na Apple e Google)
– Formação contínua
– Contactos elementos da equipa a nível internacional
– Remuneração adequada à experiência e capacidade individual

COM CAPACIDADE PARA
– Trabalho em equipa
– Adaptação e flexibilidade a novas áreas
– Inovação em ambiente de evolução permanente
– Adesão a standards e procedimentos

DAMOS PREFERÊNCIA A CANDIDATOS COM EXPERIÊNCIA E CONHECIMENTOS DE
– Desenvolvimento gráfico e animações
– Web Services
– SQL ou Oracle
– Micro-transacções (compras integradas)”

+infos(oficial): LINK

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Oferta de trabalho (na Europa)

Estas duas propostas de trabalho surgem de uma empresa israelita que procura profissionais para duas posições na área do game design e que são:
para “Lead Game Economy Designer“:
“Israeli Game Design team is one of the largest in Plarium and responsible for design, analysis, feature concepts, and game balance of our projects. The team contains several feature designers, balance designers, level designers and more. Working hand-to-hand with other departments, our job is to provide the best creative and technical solutions, in order to make the best games in the industry.

Responsibilities:
You will be a part of the team responsible to design and build free-to-play game economy
Understand how the game economy works and how different customers behave in it
Design the economic systems to drive players to play and enhance their game experience
Identify and develop the purchase drivers and challenges in the game economy context
Investigate different macro economy models for different segments of users
Define different metrics that allow you to measure and keep improving
Research and design new features that improve long-term player satisfaction, and provide more monetization opportunities
Analyze the collected data and report which are the performing/under performing aspects of the game economic model

What we expect:
A minimum of 4 years’ experience in game design, game economy or game development
In-depth knowledge of F2P games on mobile, web, and consoles
Enjoy working with numbers, formulas, data analysis and excellent skills in Excel
Organized and well-developed understanding of game economies
Proficient at data-related activities, such as data mining and analytics
Able to work in a team and collaborate with different development roleplayers
Strong understanding of game development and design evaluation
Proficient English with outstanding verbal, written, and visual communication skills

Desired:
A solid understanding of the market and a (fiery) passion for video games
Knowledge and experience with mobile RPG and free to play
Financial background
SQL\R knowledge”

e para “Game Narrative Designer“:
“Plarium is looking for an outstanding Games Writer to help us craft the voice, UI text, and content of our legacy and in-development free-to-play titles.
As a strong candidate for this position, you have worked in a game studio and helped ship at least one successful title. You have an encyclopedic knowledge of free-to-play games. From casual to mid-core, you have a mental pool of great examples to draw from, and are familiar with a broad set of common game mechanics and features.
You have excellent lateral-thinking skills, can dig into stat calculations, and thrive in the space where game mechanics and writing intersect. You have spent time honing your professional writing skills, and can take a task from concept documentation to live update, while problem-solving, self-proofing, and editing your work independently.
If you have a sense of adventure, and the above describes your skillset – we want to talk to you.

Responsibilities:
Maintain quality standards of all English-language content through professional writing, proofing, and editing.
Develop and play-test UI text and strings for mobile, PC, and social platforms.
Support daily localization document workflow.
Develop engaging, original game-related content for our players, including but not limited to: gameplay tips, push notifications, strategy guides, promotional copy, and storyboard texts.
Conduct ad-hoc writing, proofing and editing as needed (including press releases, web copy, newsletters, collateral materials, game proposals and other written corporate materials and communication).
Other duties may include, but are not limited to, creating character backstories, brainstorming creative references, drafting wiki articles, codifying style, tone, etc.

What we expect:
Strong creative writing skills, excellent grammar and spelling mandatory.
Experience in game writing or English localization QA on at least one shipped game.
Passion for video gaming and the video game industry necessary.
Native English speaker.
Experience working in cross-cultural and cross-studio environments.
Excellent written and verbal communication skills.
Ability to multitask in a multicultural, fast-paced, deadline-driven environment.
Strong logical and lateral thinking skills, and a problem-solving mindset.
Strong time-management skills and the ability to take initiative.
Background in gaming, fantasy, sci-fi, comic book, and other game-relevant creative material.

Desired:
Bachelor’s Degree or equivalent professional experience in Journalism, Communication, English Literature, Creative Writing, Technical Writing, or related field.
Copywriting/copy editing experience highly desirable.
Experience writing for social and new media.
Experience with video script-writing
Experience using localization software.
Experience working in Unity 3D.”

+infos(oficial): https://company.plarium.com/en/career/

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Oferta de trabalho (em Oeiras)

A empresa Miniclip,
SENIOR GAME DESIGNER, Miniclip is looking for a Senior Game Designer to hire in our Lisbon (Portugal) Games Development Studio. This is a full-time position.

This is a fantastic opportunity to develop your free-to-play design career in mobile help bring new titles to market, and work on highly successful live games at a leading mobile studio that’s just 10 minutes from the beach!

Duties
Your Primary Responsibilities Will Include:
Work with the team to design and craft gameplay experiences and game features that deliver strong player engagement, virality, retention, and monetisation.
Work with the team to create and craft game content to delight players, and devise & balance meta-game economies to maximise game performance.
Write, review and give feedback on game/feature design documents, builds, and game roadmap plans.
Participate as a key member of the product team across the product life-cycle, working on new titles, games in production, and live titles, proposing high-impact updates to our existing portfolio of games.
Help identify and deconstruct new markets and opportunities, expanding the portfolio of the company and staying in the cutting edge of the mobile gaming industry.
Collaborate with other designers to improve overall output, and support the team in growing & developing their design capabilities.
Assist with reviewing, scheduling & prioritising design team workload.
Skills & Experience

We are looking for a social, hard-working person who enjoys working in a team, and is passionate about games, and mobile free-to-play. The ideal candidate will be articulate, proactive & energetic, with the following attributes
Significant experience designing successful free-to-play published titles, preferably on mobile.
Experience across the product life cycle, from prototyping, through production, to updating a live free-to-play game.
Strong knowledge of the mobile & social game space, with exceptional understanding of current design techniques to deliver excellent engagement, retention, and monetisation.
Highly numerate, with experience designing virtual currencies and managing in-game economies.
Experience with reviewing game analytics, designing AB tests, and producing insights based on data to make better informed design decisions.
Strong grasp of mobile user-experience design, and ability to consider & empathise with many different types of players.
Mature judgment, able to balance between innovation and setting reasonable goals.
Collaborative & effective communicator, with an ability to work with multinational teams, with a variety of cultural backgrounds.
A hard worker, with drive, initiative, and ability to self-manage effectively.
Highly organised, with a track-record of guiding & advising others (some management experience is ideal).
Ability to compromise and prioritise appropriately to deliver to tight deadlines.”

+infos(oficial): LINK

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Professor auxiliar na área disciplinar de Design (Jogos Digitais)

Concurso para Professor auxiliar na área disciplinar de Design (Jogos Digitais) na Universidade da Beira Interior, com destaque em “titular do grau de Doutor em Design ou área afim.”

+infos(oficial): LINK

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E quando o programa PlayStation Talents falha.. (o caso em Espanha)

Surgiu na web, no site um relato/investigação intitulada “Fuga de talentos” de autoria de Marta Trivi acerca do (mau) exemplo que está a acontecer com o programa PlayStation Talents, que se trata “apenas” de marketing do que outra coisa! Fica aqui o relato… e fica a curiosidade de como é que se tem comportado esta entidade em Portugal?

“Según la última edición del Libro Blanco del Desarrollo Español publicado por DEV, Canarias es una de las comunidades, junto con La Rioja, Castilla y León y Extremadura, con menos estudios de videojuegos y menos porcentaje de facturación por empresa del país. Por su naturaleza y localización, los profesionales canarios tienen dificultades añadidas a la hora de asistir a eventos, desplazarse para realizar sesiones de networking o encontrar la formación adecuada, limitada en el archipiélago a diferentes escuelas y másters privados, junto a dos cursos, ambos centrados en la programación, disponibles en la Universidad de Las Palmas y en la de La Laguna. Por todo esto, el programa de PlayStation Talents parecía especialmente interesante para los componentes de Broken Bird Games, un pequeño equipo con experiencia en otros ámbitos relacionados con la industria, que se enfrenta aún hoy al desarrollo de su primer videojuego: «Venimos de unas islas en la que el sector tiene una presencia prácticamente inexistente y muy enfocada al desarrollo móvil y esto no es precisamente lo que nos apasiona», señala uno de los responsables. «Vimos [el programa] como la oportunidad de entrar dentro del sector bajo el paraguas de PlayStation y ya directamente estar arropados por ellos».

Pero quince meses después de haber empezado a trabajar dentro del programa de incubación de PlayStation España, Broken Bird Games, junto con sus compañeros de Moonatic Studios, Tapioca Games y Gatera Studio, han anunciado el cese de su participación en PS Talents. Los motivos son variados pero parten del desencanto. De la desilusión por ver que su trabajo no se recompensa de ninguna forma a través de las promesas explícitas que la compañía incluyó en el contrato.

PlayStation Talents se define como «una iniciativa de apoyo al desarrollo local» puesta en marcha por PlayStation España en 2016. Tiene dos ramas, Talents Camp y Talents Alianzas, que se diferencian según la experiencia de los estudios con los que trabajan. Talents Camps está dirigido a profesionales sin experiencia previa en el desarrollo, mientras que Talents Alianzas se enfoca en «estudios consolidados» que necesitan apoyo en la publicación y el marketing de su siguiente proyecto. Según su página web, el programa de incubación está pensado para que los estudios noveles ganen experiencia profesional a través de mentorías y sesiones de asesoramiento, con el objetivo de desarrollar y publicar su primer juego en PlayStation. Talents, que a nivel presupuestario se financia con una partida de marketing, como una más de las acciones que realiza la compañía para promover la presencia de su marca en medios, se desarrolla en colaboración con otras empresas como la incubadora y aceleradora valenciana Lanzadera y el estudio y publisher madrileño Gammera Nest. Por parte de Lanzadera, se ofrecen mentorías periódicas que pretenden guiar a los profesionales. Por parte de Gammera, se busca asesorar a los participantes y ayudarles con la publicación a través de la subsidiaria Good Game Publishing, en muchos casos gestionando el cobro de los royalties si los desarrolladores aún no se han constituido legalmente como estudio.

Así, aunque PlayStation España no promete ningún tipo de apoyo económico directo a lo largo de los doce meses que dura el programa, sí garantiza que los estudios contarán con supervisión profesional y apoyo material para poder introducirse en la industria. «Lo que esperábamos de PS Talents era profesionalizarnos. No solo tener una mentoría de calidad sobre el desarrollo y sobre el workflow de hacer un videojuego, sino aprender a producir, calcular los tiempos y todo eso», nos detalla un responsable de Moonatic. «Queríamos que, una vez saliéramos del programa, fuéramos capaces de seguir adelante con el estudio fuera o no un éxito el videojuego. Queríamos saber cómo llevar una empresa indie. También esperábamos una exposición adecuada a lo que podría esperarse de PlayStation, algo que no podríamos alcanzar yendo por nuestro lado». Desde Broken Bird coinciden: «Antes de entrar en el programa lo que queríamos, más allá de sacar el juego, era ganar experiencia y sacar partido del asesoramiento y la formación que ellos ofertan en la web. Queríamos aprender cómo funciona el sector». En muchos casos, el programa viene directamente recomendado por profesores de másters y grados como una forma de continuar el trabajo realizado durante los meses de aprendizaje.

Sin embargo, los estudios señalan que incluso antes de entrar al programa tenían ciertas dudas sobre su eficacia. En Broken Bird habían tenido contacto previo con otros participantes de Gran Canaria que les habían confesado que la experiencia final no había sido precisamente la que ellos esperaban, mostrándose descontentos con el resultado final. Desde Moonatic llegaron a preguntarse qué había pasado con los participantes de los años anteriores y por qué se sabe tan poco de ellos: «Vimos que salen muy pocos estudios profesionalizados y los que salen no destacan que han estado en Talents, como pasa por ejemplo con Lince Works*», aclaran. No obstante, la falta de alternativas reales para estos estudios, junto con la incapacidad para acceder a una industria que puede mostrarse inaccesible, hicieron que Gatera, Tapioca, Moonatic y Broken Bird, junto con el resto de los participantes de la edición del 2021, se decidieran a presentar una candidatura. Tal y como explican, el proceso de selección, basado en un pitch del juego, junto con varias entrevistas personales, está más interesado en ver si el equipo puede llegar al final del proyecto que en evaluar la propuesta en sí. En palabras de uno de los integrantes de Moonatic: «Creo que buscaban ver si el estudio es sólido y capaz de terminar el proyecto. Creo que eso les interesa más que el propio juego».

«A la hora de entrar en la preselección del programa firmas un NDA que dice que no puedes contar que formas parte de Talents hasta que se hace el anuncio oficial. Una vez te seleccionan definitivamente firmas un contrato de un año que es efectivo, según el documento, desde que lo firmas hasta febrero del año siguiente, que es cuando entran los nuevos estudios a Talents», aclaran desde Broken Bird Games. «Según el contrato, teníamos derecho a formación, a asesoramiento profesional, a asesoramiento empresarial paralegal por parte de Lanzadera, y también a la oportunidad de ir a eventos tantos de PlayStation como otros generales dentro de la industria en España. Según nos dijeron íbamos a tener la oportunidad de trabajar en oficinas con una serie de materiales, como ordenadores y kit de desarrollo, que podríamos utilizar». Fue tras firmar el documento cuando los integrantes de Moonatic empezaron a ver problemas con Talents: «A posteriori nos dimos cuenta que el contrato [para entrar en el programa] era muy abusivo, con cláusulas injustas por las cuales si pasa algo malo por nuestra parte nos pueden denunciar pero si pasa algo malo por su parte no pasa nada».

El contrato que firman los integrantes de PlayStation Talents —conseguido de forma independiente por AnaitGames— establece un convenio entre tres partes: un representante del estudio a título personal (ya que ninguno de los estudios participantes está legalmente constituido), Gammera Nest y Sony Interactive Entertainment España. Según el documento, SIEE tiene la obligación de facilitar al estudio el acceso a un espacio físico en un centro asociado a la marca en el que puedan trabajar hasta 5 personas «siempre que las circunstancias sanitarias y/o de cualquier otro tipo lo permitan», comprometiéndose en otro punto independiente a prestar a los equipos ciertos materiales entre los que se encuentran una televisión, cuatro monitores, dos ordenadores, un mando y varias licencias, que deben permanecer siempre dentro de estos espacios cedidos. Por supuesto, la compañía acuerda publicar y promocionar el juego final si el Director Técnico del programa certifica que este cumple con «los requerimientos de excelencia» previamente pactados. Así, según el contrato, PS Talents es «un programa de captación de empresas emprendedoras con el objetivo de promocionar y desarrollar en España la industria del videojuego, así como para facilitar a esas empresas la posibilidad de crear videojuegos en un entorno apropiado facilitando a esas empresas medios y espacio físico y virtual donde poder desarrollar sus creaciones». Hay que destacar que en el contrato nunca se hace referencia a una de las promesas (ya eliminadas) más llamativas que encontrábamos en la web oficial: la posibilidad de disfrutar de una campaña de marketing valorada en 100.000 euros: «Destacaban mucho lo del marketing. Para ellos lo más importante del programa era que accederíamos a una campaña de marketing valorada en 100.000 euros que generaría PlayStation con sus propios medios», recuerdan desde Broken Bird Games.

«Supuestamente, al empezar el programa podíamos acceder a un asesoramiento a nivel de producción y organización para hacer posible que el juego saliera en un año. Pero el problema de todo esto es que, de lo que promete el contrato, PlayStation no ha cumplido casi nada. Apenas hubo formación y fue demasiado básica y confusa, no era apropiada para cada momento de desarrollo», comentan desde Broken Bird Games. «Al empezar en el programa nos encontramos con que las charlas prometidas en el contrato, a las que teníamos la obligación de ir, no existían en su mayoría y las pocas que existían no valían para nada», señalan los responsable de Moonatic. Otro de los desarrolladores consultados coincide: «Las mentorías iban muy justas y no estaban al nivel de PlayStation. Estaban dedicadas al marketing y poco más, sin rastro de los profesionales de la industria de otras áreas. No se nos enseñó una metodología de trabajo ni se nos apuntó a cómo desarrollar con buenas prácticas. Ya que no pagan, deberían ofrecer la formación adecuada por este año de trabajo».

Los desarrolladores señalan que el «enorme desinterés» por parte de la mayoría de los mentores se ha traducido en situaciones que van desde olvidar reuniones previamente agendadas hasta evitar probar el juego o revisar los materiales. Este mencionado desinterés llevó a que todos los estudios tuvieran que realizar un plan de producción sin asesoramiento, que posteriormente fue utilizado por el programa para marcas los hitos que contractualmente debían alcanzar: «Desde Lanzadera debían preocuparse de que llegáramos una producción adecuada pero el plan de producción lo hicimos nosotros solos sin ningún tipo de asesoría. Las reuniones con ellos se basaban en preguntarnos por lo que habíamos hecho y ya está», explican en Moonatic. «No nos pasaron ni una plantilla, ¿cómo pretenden que terminemos el juego en noviembre sin recibir una educación o una mentoría específica? ¿Cómo lo vamos a hacer bien si incluso gente con años de experiencia falla en los plazos de producción? En Lanzadera no tienen ninguna relación con el videojuego, solo nos decían que hay que trabajar más y esforzarse más el mes siguiente sin importar que fuéramos a las reuniones sin dormir». El hecho de que los estudios no recibieran asesoramiento a la hora de plantear los diferentes hitos es especialmente importante dado que el contrato establece que, de no poder cumplir con estas exigencias, el firmante deberá hacerse cargo de todos los «costes y gastos» en los que incurre el estudio con el incumplimiento; lo que incluye un pago de 250€ mensuales por puesto de trabajo en los espacios asociados.

De los estudios participantes en la edición del programa del 2021 sólo uno de ellos pudo acceder a uno de los puestos prometidos en las condiciones exactas mencionadas en el contrato. Sin embargo, este estudio confirma que tardó casi un año en poder disfrutar de estos dos puestos de trabajo en una oficina donde también se encontraban casi todos los materiales detallados en el acuerdo previo. El resto de estudios, que han tenido que trabajar con sus propios materiales, señalan que el no contar con una oficina les ha impedido trabajar con agilidad y desarrollar relaciones laborales con otros profesionales del sector. La imposibilidad de realizar actividades de networking también ha estado afectada por lo que desde PlayStation España han explicado como «la prohibición por parte de la compañía de asistir a eventos». Así, aunque en el contrato se hacen referencia a tres eventos, Moonatic, Gatera, Tapioca y Broken Bird solo han formado parte de The Moment, una muestra digital organizada por PlayStation.

«Nosotros queríamos ir a eventos y preguntamos varias veces cuál era el sistema para ir. [Desde el programa] nos comentaron que les pagarían a dos personas el desplazamiento y la estancia pero nunca llegamos a ir a ninguno con PlayStation; fuimos al Fun&Serious, a Gamergy, a Valladolid Gaming Experience y al Indie Dev Day todo autofinanciado, pagado todo por nuestro bolsillo. Talents en este caso solo aportó el kit de Play para el Indie Dev Day, que nos entregó tan solo un día antes del evento, lo que generó varias complicaciones», recuerdan en Moonatic. Los estudios señalan que PlayStation avisó con muy poco tiempo de la celebración del The Moment, por lo que los equipos tuvieron que parar el desarrollo para centrarse en el tráiler A la hora de montarlo, no recibieron desde PlayStation ningún tipo de ayuda o consejo, más allá de las animaciones de la marca para el inicio y el final: «Sufrimos un gran desgaste mental por dejar aparcadas muchas cosas en nuestra vida», aclaran en Moonatic. Destacan que este cansancio, que arrastraban desde hacía meses, les hizo pensar en dejar el proyecto: «En verano ya estábamos muy desgastados y empezamos a pedir datos de previsiones de venta y objetivos para ver si nos merecía la pena seguir trabajando teniendo en cuenta el retraso que llevábamos. Pedimos un desglose del marketing y no lo tuvimos».

Según los participantes, desde la organización se han negado repetidamente a entregar información relacionada con la inversión en marketing que, según lo que ellos mismos detallaban hasta hace unos meses en su web, estaba valorada en 100.000 euros: «Desde marketing nos hablaban mucho en plan what if, nos comentaban las diferentes situaciones que podíamos encontrar y qué iban a hacer por nosotros, pero nunca nos dieron datos, no nos especificaban un plan de marketing o números relacionados con las acciones», nos comenta un representante de Broken Bird Games. Otro desarrollador coincide: «El marketing es muy justo, Desde la cuenta de Twitter a veces comparten tus actualizaciones pero todo el trabajo lo teníamos que hacer nosotros. La conversión de los retweets y los likes es muy baja, lo mismo que con las actualizaciones en el blog [oficial]. No creo que esta sea una campaña de marketing valorada en 100.000, creo que por eso lo han quitado de la web». Los estudios señalan que ellos tenían que diseñar sin ayuda la campaña para las redes, crear los copys y elegir las imágenes sin asesoramiento por parte de la marca. También debían escribir las actualizaciones para el blog cuando la compañía se las solicitaba. Por parte de PlayStation, según los estudios, solo se ha gestionado la creación de las notas de prensa y, en algunas ocasiones, la aparición en varios medios a través de artículos pagados: «La cuenta de Talents solo nos retwitteaba si insistíamos pero nunca veíamos el retorno. Estos tweets recibían pocos likes, pocas interacciones. Nunca podíamos ver las estadísticas de los impactos porque decían que era información privada».

Tras varios meses insistiendo a la compañía para que cumpliera lo prometido en el contrato, los estudios se reunieron con los responsables en un tenso encuentro en el que se acordó una prórroga para el desarrollo y un nuevo contrato para todos aquellos estudios que quisieran continuar: «En la reunión nos dijeron que firmaríamos un nuevo contrato y que estaríamos algo más de tiempo en el programa, algo que aprovecharían para darnos la formación prometida, para ir a los eventos de este año y para que pudiéramos sacar partido del marketing. El nuevo contrato que nos ofrecieron era peor que el original. Por ejemplo, ponía que ellos serían los encargados de editar el juego en PC y Switch. Querían un porcentaje del merchandising y un montón de cosas. Cuando protestamos le echaron la culpa al abogado y dijeron que no era correcto. Ahí vimos la mala comunicación y decidimos desvincularnos. El acuerdo de resolución propuesto por PlayStation daba a entender que no podíamos hablar sobre el programa si no lo consultabamos con ellos primero», explican. Para los cuatro estudios, tener el derecho de hablar su su experiencia y poder anunciar la marcha con un comunicado es muy importante: «Nos hemos enterado de que muchos equipos de otros años también abandonaron el programa, pero lo hicieron sin un anuncio oficial y no nos parece bien», señalan desde Moonatic. «Queríamos irnos de forma profesional, explicando los motivos para que no pareciera que PlayStation nos había ayudado cuando la realidad es totalmente distinta. Como no se hacen públicas las salidas por miedo a represalias no se sabe que el programa no funciona bien».

«Se promete un asesoramiento que no está, tienes que perseguir a la gente en el programa para que te hagan caso en lugar de ser ellos quien lleva las riendas», explica un desarrollador resumiendo su experiencia. «Seguro que la pandemia ha afectado, seguro que con espacios físicos hubiera sido todo más ágil, pero aún así la ayuda que proporcionan no es profesional; no hay tutelaje, es como seguir en la universidad en donde te dan una palmadita en la espalda». «Lo que quieren es sacar al año seis juegos para seguir recibiendo el dinero para el programa que les destina PlayStation. Quieren que se hable de PlayStation con un trabajo mínimo pero para ellos somos marrones. Lo dijo en un vídeo Daniel Sánchez, que los juegos son marrones que se tienen que sacar lo antes posible. Los juegos tienen que salir estén como estén», declara otro de los participantes al ser preguntado por su opinión sobre el objetivo final de PlayStation Talents. En Broken Bird Games se muestran de acuerdo: «Nos hemos dado cuenta con el tiempo de que les dan igual todos los estudios y solo les importa que el nombre de PlayStation esté en todos lados. Da igual que sea para bien o para mal».

«Cuando acabas de salir de la universidad y firmas un contrato con PlayStation crees que te vas a comer el mundo», señala un desarrollador. «Nos daba igual no cobrar porque pensábamos que la formación iba a merecer la pena. Que tendríamos un juego profesional publicado y una buena experiencia. No ha sido así. Nosotros nos hemos ido pero cuántos estudios se habrán quemado, habrán pensado que la industria es muy dura, que no es para ellos, y lo habrán dejado. Entristece pensar que algo que tendría que ayudar lo que hace es quemar».

+infos(fonte): LINK

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Humble Software Bundle: 7000+ Game Dev Icons (uma campanha)

Uma campanha da malta da Humble, como uma série de musicas e sfx para serem usados em videojogos e noutros cenários. Do texto de apresentação surge:
“Score your game with this vast sound library! Add mood, melody, and explosive sounds to your game with this vast and varied mix of royalty-free audio assets! Discover fantasy themes for your dark fantasy RPG, unearthly harmonies for your sci-fi adventure, and all manner of effects for creatures, spells, user interface elements, alien technology, and more.”

Da lista destes assets surge:
A journey to origins
A story of life and death
Alien voices (sfx)
Archives vol 1 the dark side
Archives vol 2 the love
Archives vol 3 the joke
Aurora
Beast (sfx)
Black sails
Chaos logic chaos
Chronicles of the illusion world
Chronicles of the illusion world part 2
Chuck kick ass
Cold case
Crawler (sfx)
Cult
Dark skies and other disasters
Darkventures
Dreamagination
Earth spell (sfx)
Electric spell (sfx)
Fire spell (sfx)
Footsteps forest (sfx)
Forever and a day
Haunted
Ice spell (sfx)
Imagine (re-recorder)
Immortals
In silence
Interface (sfx)
Jotun
Lightgun (sfx)
Mindhunter
Monster roar (sfx)
Neon god
Once upon a nightmare
Pandemonium
Pixel faster stronger harder
Shadows
Shadows guild
Slasher
Spell words vol 1 (sfx)
Superheroes
The 29th planet
The dance of love and hate
The lab
The monster that lies within
The vanishing of Elisabeth Rose
The witching hour
Underworld
Unia
Water spell (sfx)
Wind spell (sfx)
Witchcraft
Zombie voices (sfx)

+infos(a campanha): LINK

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