Para uma peça de teatro..

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

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:”

+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

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:
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

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

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:
– 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

– 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

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

– 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.

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

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.

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.

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.”


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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!

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
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)
Dark skies and other disasters
Earth spell (sfx)
Electric spell (sfx)
Fire spell (sfx)
Footsteps forest (sfx)
Forever and a day
Ice spell (sfx)
Imagine (re-recorder)
In silence
Interface (sfx)
Lightgun (sfx)
Monster roar (sfx)
Neon god
Once upon a nightmare
Pixel faster stronger harder
Shadows guild
Spell words vol 1 (sfx)
The 29th planet
The dance of love and hate
The lab
The monster that lies within
The vanishing of Elisabeth Rose
The witching hour
Water spell (sfx)
Wind spell (sfx)
Zombie voices (sfx)

+infos(a campanha): LINK

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Uma campanha e um livro..

Está a decorrer na plataforma indiegogo uma recolha de “fundos” para ajudar na publicação de um livro intitulado “Production Point, How to plan and finish your game as a solo developer” por Benjamin Anderson. Já há algum tempo que sigo o trabalho que é desenvolvido por ele nomeadamente no que se refere ao uso de motores de videojogos. Inclusive já adquiri em tempos um curso dele relacionado com o motor GameMaker Studio.
Bom agora ele tem a decorrer uma campanha acerca do seu novo livro. O livro tem como secções:
Introduction: The Dream
How I got started in gamedev
What does success look like?
Chapter 1: The Gold Mine
Gold mine analogy
Explore + Exploit and the 2 Phases of Game Development
I‘m not the first person tbreak the process down int2 phases
Stuck in Pre-production (tomany prototypes)
Stuck in Production (working on a single game for months or even years without progress)
Stuck in Both (switching between the twphases)
Defining clear lines
Chapter 2: Clear Lines
What goes Pre-production Look Like?
What does Production Look Like?
Bringing them together, the Production Point
Exceptions tthe clear lines
Chapter 3: Pre-Production
Pre—production traps tavoid
Focusing on Systems and Mechanics
Scope by doing and keep it simple
Playful mentality
What tdwhen you lose motivation
Start on paper
Feedback from yourself
Videfeedback from small groups (5-10)
Evaluating feedback
What does progress look like?
Chapter 4: The Production Point
Production point traps tavoid
How dyou know when you are ready for production? (The uncertainty curve)
Consider what production will look like?
Transitioning to production
Crowdfunding and testing your game’s marketability
Chapter 5: Production
Production traps tavoid
Focusing on Content (how much content will you have)
Scope by planning (trello/github)
What tdabout burnout and monotony?
Alpha feedback from a large group of testers
Evaluating alpha feedback
Beta feedback from large group of testers
Evaluating beta feedback
What does progress look like?
Chapter 6: Ship it!
Launch traps tavoid
Making a press kit
Making a simple trailer
Support your players
Evaluate your launch. Find things that surprised you and readjust your model of making games for next time
Chapter 7: Conclusion
Finishing games
The hardest thing I know how tdo
Chapter 7: Conclusion
Finishing games
The hardest thing I know how tdo

What this book isn’t:
This book won’t teach you how to program
This book isn’t about game design, though if you follow the steps in it you will probably end up with a well designed game
This book doesn’t go into specifics about publishing your game on platforms like Steam, GOG, Epic, or any consoles
This book doesn’t cover the legalities or business side of making games (check out Gamedev by Wlad Marhulets as a starting point for that)

+infos(a campanha): LINK


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Play4Equality, um videojogo para mobile

A empresa Fun Punch Games desenvolveu um videojogo com o nome Play4Equality a pedido a Cruz Vermelha Portuguesa (CVP). De acordo com o site da instituição CVP trata-se de um “Jogo digital, através do qual os jovens são convidados a participar num fim de semana entre amigos, sendo confrontados com uma série de desafios relacionados com igualdade de género, violência no namoro e tráfico de seres humanos”

O jogo em si é um RPG com uma interface gráfica similar a um telemóvel. Também e na página (loja) onde o jogo se encontra é possivel ler o seguinte:
“Play4Equality! Queres jogar pela igualdade? Queres assumir a pele de um/a jovem adolescente e interagir com os seus amigos e amigas, ao longo de diferentes dias, através do seu smartphone? O teu objetivo é organizar, com sucesso, uma viagem de fim-de-semana. Mas os desafios são muitos e é preciso tomar decisões certas e perspicazes! Entra já numa história cheia de reviravoltas, animação e emoções!

De jogabilidade simples e intuitiva, o Play4Equality é uma app lúdica, única e fora da caixa, feita para ser utilizada como instrumento de sensibilização para questões de igualdade de género, violência no namoro e tráfico de seres humanos, bem como para ajudar ao desenvolvimento de atitudes, valores e competências, de uma forma divertida e atrativa para adolescentes.

Este RPG gratuito, desenvolvido pela Juventude Cruz Vermelha Portuguesa, simula a interface de um smartphone da nossa personagem principal – uma pessoa jovem que tem de interagir com um elenco diverso de personagens, através dos diferentes aplicativos, e ajudá-las a lidar com os seus desafios diários, enquanto tentam organizar uma saída de fim-de-semana! Diferentes decisões terão diferentes consequências e a escapadela de fim-de-semana pode ir por água abaixo! Que opções vais escolher?

Se tiveres dúvidas, pede a opinião aos teus amigos, professores e familiares para te ajudarem a refletir sobre os assuntos que vão surgindo!

Não percas tempo, começa já a jogar, diverte-te e desafia-te a aprender algo que podes aplicar na vida real!

Envia-nos depois a tua opinião sincera para:

Ou visita a nossa página no Facebook:

Ou no Instagram:

– Jogo de simulação de smartphone, com diferentes aplicativos e minijogos integrados!
– Resultados diferentes para cada escolha que fizeres ao longo da narrativa
– Jogabilidade extremamente simples, mas divertida
– Animação única e atrativa, com áudio e voz integrada
– Gama de personagens que celebram a diversidade
– Completamente gratuito: joga em qualquer lado e em qualquer altura!
– Adequado para ser jogado em grupo ou individualmente”

+infos(oficial): LINK

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Red Blob Games, um blog, por Amit Patel

Red Blob Games, é uma página web, um blog que divulga e partilha informações e conhecimento acerca de “algorithms related to maps, procedural generation, and pathfinding”. É possivel aprender e estudar diferentes algoritmos que são tradicionalmente aplicados nos motores dos videojogos.


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o portal: My Abandonware

Tantos destes jogos que eu joguei e que agora fazem parte do passado e são considerados software abandonado. Excelente portal que permite aceder a software desenvolvido no passado e relacionado com videojogos.


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Boardgames: ..board game design.. (um post de um blog)

Encontrei este texto no blog por Fink & Fink com o titulo “What I wish I knew about board game design before I started making games 8 years ago” com o seguinte texto:

This is Joe Slack from the Board Game Design Course. I recently discovered Fink & Fink games and I love how Nick is sharing his journey into board game design and transitioning to this full time. As a board game designer who has been making games for 8 years and who left my 17-year career in healthcare to pursue all things game design full-time about 3 and a half years ago, this got me thinking about all the things I wish I knew about game design before I started making games. Nick was kind enough to let me share my thoughts here on his blog. I hope you find this helpful in your own game design journey!

From ideas to design to Kickstarter, I’ve learned quite a few things over the past 8 years about designing board games. I’m going to share some of my biggest “a-ha” moments so that you can save yourself a lot of time and energy by not making the same mistakes I made.

Many of these thoughts are directly from my third book, The Top 10 Mistakes New Board Game Designers Make (And How to Avoid Them).

So, let’s jump right in!

Don’t worry about people stealing your idea
One of the biggest hang-ups I had early on as a game designer was around showing my game to other people outside of my circle of close friends and family. I thought that my game was so amazing and that everyone would want to steal the idea for themselves.

Boy was I wrong!

First of all, my game was okay, but it certainly wasn’t the best one ever created. It didn’t do anything groundbreaking and probably wasn’t even worth stealing.

Second, I didn’t comprehend the importance of showing my game to other people to get honest, unbiased feedback. This is such a crucial step in game design. Without hearing from other people what’s good and bad about your game, you can’t make the necessary improvements to turn it into the best game it can be. The only way to do that is to get over yourself and start showing it to others.

Third, playtesters and other game designers aren’t interested in stealing your game (especially if it’s at a very early stage and is just more of an idea). Other designers have their own games and don’t have the time or interest in taking yours. Besides, no one wants to earn the reputation of being a thief in such a small, tight-knit community.

Since execution is really the key element here, not your idea, this leads us very nicely into the next lesson…

Ideas alone are worthless
Every game begins as an idea. But like anything else, whether it’s a business idea, creative endeavor, or a New Year’s resolution, quite often that’s also where it ends.

Coming up with an idea is the easy part. Taking action and turning it into something is the hard part.

That’s why many of us keep a long list of ideas for things we want to do, but we rarely make a significant dent in it.

It’s so important to take the time and effort to turn that idea into something tangible. When it comes to a game idea, that means putting together the simplest prototype possible and testing it out.

The longer your idea just sits there in your head, the less chance you will actually do something with it. It’s even worse if you don’t write it down. If your memory is anything like mine, it will probably be forgotten by the next day (unless it’s an idea I just can’t stop thinking about!).

You have to execute on your idea. And here’s the fastest way I’ve found to do this…

Make your first prototype as quickly as you can
If you have a game idea that you think could be interesting, you must turn it into something tangible. You need to create a minimum viable prototype (MVP) and test out that idea. Try it by yourself, with friends and family, and when it gets to the point where it’s functioning well as a game, put it in front of strangers.

Just getting started is a huge hurdle. But if you can push yourself to create that first simple prototype and test it out, you’ll often become very invested in it and time will pass without you even noticing.

It doesn’t have to include everything you’ve had in your head. In fact, it’s best if you just keep this to the most basic version you can. Just make enough cards, boards, etc. you need, grab some dice, meeples, cubes, or anything else you need to get started. Don’t make an entire deck of 500 cards, just make 10 or 20 to see if the concept even works first.

If you want to be a prolific game designer, or even just create one game, you’re not going to be able to do this all in your head. You need to put something on paper, roll some dice, move some meeples, and see what’s working and what you need to change.

Put something simple together and try it out. See what works. See what doesn’t. There may be a lot of things not working initially, but that’s okay. This is where you work out the kinks and start to make early improvements.

Get your game in front of as many people as possible
Getting your game playtested by others is so crucial for getting valuable feedback to improve your game. This means getting it in front of as many people as possible, particularly other game designers and your core audience.

Try it out by yourself. But once you’ve worked out those initial kinks and know that it’s playable, you need to get it in front of other people.

You can start with family, friends, and anyone else willing to give it a try. As it develops, you’ll continue playtesting it with other designers, strangers, and anyone else who doesn’t run away when you pull out the box.

If you’re afraid to play your game with others, your game will not improve. At least not to the point where it’s going to be able to compete against all the other great games on the market.

Remember that games aren’t made in isolation. You need to share them with others who will help you make them better.

I’m about to give you some advice that will sound very counter-intuitive at first, but bear with me: If you’re still concerned in any way, the best thing you can do is play your game more, share images online, and show it to more people.

Here’s why: You’ll have a record. Proof that your game exists, and before anyone else had the idea. By making your game more public, you’ll be able to more easily prove your game existed first, as many people and archives will be able to support your claim. How’s that for a win-win solution?

Don’t waste time and money on things you don’t need
It’s really easy to fall into certain traps when you’re starting out in game design. Some of these will slow down your progress and waste time, others will cost you money, and some will cost you both time and money.

Unless you are self-publishing your game, there’s no need to spend any money at all on art or graphic design. If a publisher picks up your game, they will be the ones to choose which artist and graphic designer to work with (or will do this in-house) and will cover all the costs. If you spend money on this, it will almost definitely be completely wasted.

Another mistake is to get trademarks early on. This was my most costly mistake. It set me back $772, but it actually could have been much worse.

You see, I created my first game and was scared that someone else would try to take the clever name we had come up with. So, I started looking into how to protect myself. My co-designer and I even had a call with a lawyer. We decided we should protect what we had come up with.

Big mistake.

I discovered that every region has its own process and accompanying fee. To ensure full coverage, we would have had to apply and pay for a trademark in the US, Canada, China, regions in Europe, and the list goes on.

Fortunately, we settled for trademarks in Canada and the US. If we had considered going worldwide, we could have wasted a fortune!

Other things you may waste a lot of time and money on are finding the “perfect” sample art pieces online, making expensive, professional-looking prototypes when your game is at an early stage and will change a lot still, and searching for the exact components you want.

So, when you’re thinking about laying out a lot of money or spending a lot of time on something related to your game, ask yourself, “is this really necessary?”

+infos(fonte): LINK

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DDM e DAQA procuram-se game testers

A empresa Digital Development Management (DDM) e a DAQA estão à procura de pessoas em Portugal para fazerem parte das suas equipas de Game Testers. Para isso é preciso ter disponibilidade e usufruir de alguns dólares em retorno.

Do texto resulta:
“DDM and DAQA Test Questionnaire – European Testers
DDM’s partner DAQA is looking for testers based in Europe to help participate in tests for upcoming games. Please fill out this short questionnaire if you are interested in taking part. This is a part time contractor position. Tests typically take 2-3 hours to complete and pay $1-2 above minimum hourly wage in your country.

NOTE: You will need a PayPal account to be paid for these tests.
If you are a good fit, we will send you a contract and NDA for electronic signing via Docu-Sign. Then DAQA will reach out discuss specific upcoming projects.”

+infos(a procura): LINK

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Indie X, está de volta

O evento Indie X está de volta. Trata-se de um concurso que permite a submissão de jogos indie que foram desenvolvidos recentemente ou que ainda estão em desenvolvimento em Portugal. O prazo termina a 31 de Agosto de 2022.

Do evento surge o seguinte texto: “Indie X is a games event normally housed in videogame trade fairs which aims to promote the best games that Portugal’s rising game dev industry has to offer, as well as a selection of international indies who tag along for an awesome showcase with tons of networking and experience sharing”


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Exophobia, o jogo em modo físico

Está disponível, e para quem gosta de ter o jogo físico (como eu) o jogo português Exophobia para três plataformas: PS4, PS5 e nintendo Switch. Esta pré reserva trás uns goodies!!

o canais de compra/reserva são:
Best Buy:

+infos(sobre o jogo):


II Seminario Internacional. TRANSMEDIACIONES II: narratividad y videojuegos

Palestras online e interessantes acerca do tema de videojogos.. do programa, que dura dois duas, consta:

“Vestidos de corte imperio, una dosis de ingenio y mucho té: las adaptaciones transmedia de Jane Austen” por Susana Pajares Tosca (Universidad de Roskilde, Dinamarca)
Mesa redonda 1: Literatura y Videojuegos por Manuel Broullón, Juan Manuel Díaz, María Serrano
“Las huellas de Peirce en la ludonarrativa” por Luis Navarrete (Universidad de Sevilla)
“La ingeniería del metaverso: Desafíos tecnológicos y de diseño para el futuro de la ficción” por Federico Peinado (Universidad Complutense de Madrid)
“Videojuegos, narrativas y mecánicas para pensar otros mundos posibles” por Eurídice Cabañes (Arsgames)
Mesa redonda “Nuevos perfiles profesionales en comunicación para medios digitales” por Joaquín Aguirre Romero, Sergio Gutiérrez, Mar Marcos
“La nueva transmedia de los medios digitales” por Lynx Reviewer
“La narrativa como hilo conductor del proceso creativo en videojuegos” por Belén Mainer Blanco (Universidad Francisco de Vitoria)


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VII Edição dos Prémios PlayStation Talents, 2021!

Ontem, dia 14 de abril decorreu a VII Edição dos Prémios PlayStation,  e aqueles que ganharam foram:

Melhor Jogo de 2021, Sophia and the Girl in the Past (Perpétuos Games), LINK

Jogo mais Inovador de 2021, Onis (Primis Games), LINK

Melhor Arte de 2021, Tamed The Unseen Show (Pop Coin Studio), LINK

Melhor Utilização das Plataformas PlayStation, The Fall of Balance (Tiago Rodrigues), LINK

Melhor Jogo Infantil, Laura (PolyWeld), LINK

Prémio imprensa, Sophia and the Girl in the Past (Perpétuos Games), LINK

Melhor Narrativa, Helena (Rio Studios), LINK

Melhor Jogo de Competição Online, Universe 51 – Tannhäuser Wars (TechFrame), LINK

Prémio PlayStation®Talents Especial Games for Good, Sophia and the Girl in the Past (Perpétuos Games), LINK

É possivel ver o vídeo do evento, que este ano foi online, aqui:

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

E outra campanha da malta da Humble, que dizem que é software, mas só listam elementos gráficos. Tem o seguinte texto de apresentação:
“Thousands of icons for you. Create your own PC or mobile games, software, applications, websites, and more with this huge bundle of icons—perfect for representing weapons, armor, sci-fi gear, fantasy spells, skills, loot, and whatever your project needs! Rexard, the creator of these icons, is located in Kyiv, Ukraine, and will be donating proceeds from this bundle to support local hospitals during this time of crisis. Your purchase of this bundle will also support the humanitarian relief efforts of Razom for Ukraine and International Medical Corps, helping victims and refugees from Ukraine.”

da lista consta:
Bags And Boxes Icons
Scrolls and Books Icons
Magic Items
Potion Icons
Resources and Craft Icon Pack
Weapon and Armor Icon Pack
Fishing Icons
Hunting Icons
Forest Icons
Necromancer Icons
Sci-Fi Armor Icons
Mining Icons
Trophy Icons
Barbarian Icons
Engineering Craft Icons
Food Icon Pack
SpellBook. Page05
SpellBook. Page06
SpellBook. Page07
SpellBook. Page08
SpellBook. Page09
Skill Icon Pack
Sci-Fi Flat Skills
Strategy Game Icons
SpellBook. Page01
SpellBook. Page02
SpellBook. Page03
SpellBook. Page04
Sci-Fi Icons Pack
Sci-Fi Skill Icons Pack
Pirates Icons Pack
Witch Craft Icons
Fruit and Vegetables Icons
Gems Icons
Trading Icons
RPG Armor Sets
RPG Weapons Icons
Loot Icons
Herbal Icons
Prehistoric Age Icons
Fantasy Weapon Icons
Blue Loot Box
Jewelry Icons
Armor icon pack
Flat Skills Icons

+infos(oficial): LINK

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Humble Software Bundle: Grand Game Dev Tool Box (uma campanha)

Uma campanha da malta da Humble e com o seguinte texto de apresentação:
“All the right tools to make your game. Trying to make your game by rubbing sticks together and bashing a rock on it? This bundle has far better tools for your quest—a grand collection of over $1,000 worth of software and assets!
Create classic isometric role-playing games with RPG Tools. Light up your sprites with SpriteIlluminator. Create striking pixel art with the fun and innovative sprite editor Pixelmash. Explore a vast library of Tiny Tales assets with an included character sprite generator. You’ll also get dozens of music, SFX, and graphic asset packs. Primitive tools are for the birds. And Australopithecine hominids. And maybe raccoons. Evolve your creativity, help find a cure for Type 1 Diabetes by supporting JDRF, and make something grand!”

da lista consta:
SpriteIlluminator 1-year license
RPG Tools
CameraBag Photo
EVFX Sanctuary
Nightmares Music Pack Vol. 4
AD Visual Inventory: Containers Vol.1
The Japan Collection: Backgrounds
PVGames RPGTools Series: Apocalypse Tiles Vol. 1
Isometric Dungeon Designer, MEGA MAP PACK
Tiny Tales 2D Battler Pack Vol.1: Monstrous Uprising
Tiny Tales: 2D Character Generator
Tiny Tales: Human NPC Advanced Sprite Pack
Tiny Tales: Mega Sprite Pack
Aethereal Planes Battlebacks Vol. 1
Aethereal Planes Battlebacks Vol. 2
Asian Empires Music Pack
VisuStella Atelier: Rocks, Ores, and Minerals
Cute Game Sounds
AD Visual Inventory: Paper Vol.2
AD Visual Inventory: Plants Vol.1
The Japan Collection: Overgrown Backstreets
Cursed Kingdoms – Boss Pack
Tiny Tales 2D Battle Backs Pack Vol.1: World Landscapes
Tiny Tales: Magitek Dynasty NPC Sprite Pack
Tiny Tales: Monstrous Uprising NPC Sprite Pack
Tiny Tales: Overworld 2D Tileset Asset Pack
Tiny Tales: Wild Beasts NPC Sprite Pack
Tiny Tales: World Map 2D Tileset Asset Pack
EasySTAR Animations – Astrology
Seraph Circle – Monster Pack 4
Cursed Kingdoms Music Pack
Tiny Tales: Beastmen NPC Sprite Pack
Tiny Tales: Tower 2D Tileset Asset Pack
Retro Future Music Pack
VisuStella Armory: Jewelry Vol.01
Tyler Warren RPG Battlers – Pixel-Style 1
Beast / Animals Sounds Volume 1
Healing Spells Sounds
EVFX Slash
PVGames RPGTools Series: Apocalypse Zombies
Tiny Tales 2D Battler Pack Vol.2: Elemental Forces
Tiny Tales 2D Battler Pack Vol.3: Wild Beasts
Tiny Tales 2D Battler Pack Vol.4: Magitek Dynasty
Tiny Tales 2D Battler Pack Vol.5: Faith and Evil
Tiny Tales: Dungeons Vol.2 2D Tileset Asset Pack
Tiny Tales: Elemental NPC Sprite Pack
Tiny Tales: Faith and Evil NPC Sprite Pack
SeraphCircle – Pixel Monster I
Cursed Kingdoms Twisted Forest Music Pack
Tyler Warren RPG Battlers – 6th 50 Monsters (Monster Evolution)
Tyler Warren RPG Battlers – 5th 50 Monsters (50 Shades of Battle)
Children Game Music
AD Visual Inventory: Paper Vol.1
The Japan Collection: Icons
GalefireRPG Characters NPC pack 2 – “The Crew”
Tiny Tales: Dark Elves NPC Sprite Pack
Tiny Tales: Dungeons 2D Tileset Asset Pack
Tiny Tales: Human NPC Knights Sprite Pack
Tiny Tales: Human NPC Nobility Sprite Pack
Tiny Tales: Orcs NPC Sprite Pack
Valor And Villainy Music Pack
Tyler Warren RPG – 8 Little Monsters and Robots 5 of 10
Tyler Warren RPG Battlers – 8 Little Monsters and Robots 6 of 10
VisuStella Armory: Firearms Vol.01

+infos(oficial): LINK

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Humble Software Bundle: Learn to make games in the Unreal Engine 5 (uma campanha)

Uma campanha da malta da Humble e com o seguinte texto de apresentação:
“Discover how to make next-gen 3D experiences. Unreal Engine 5 is officially here—and you can learn to make games using this powerful real-time 3D creation tool with the world’s most popular online courses! This online learning bundle takes you from making a first-person shooter (FPS) in Blueprints (no coding required!) to learning C++ and coding your first games—all the way through to creating a multiplayer game you can play with friends, VR experiences, and more. Plus, your purchase will support Oceana!”

da lista consta:
Unreal 5.0 C++ Developer Course – EARLY ACCESS
Unreal Engine 5 Blueprints First Person Shooter (FPS) Course
Unreal Engine Blueprint Game Developer Course
C++ Fundamentals Course
Unreal Multiplayer Master Course
Unreal VR Developer Course
Unreal Engine Cinematic Creator Course
Sci-Fi Atmospheric Music Asset Pack
Unreal Engine 5 Environment Design Course

+infos(oficial): LINK

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