Breaking Into The Game Industry

Provides an overview of the game industry and offers advice from experienced professionals on entering the video game industry.

Find out from an industry veteran exactly what you need to do to become a game designer, tester, artist, producer, programmer, writer, soundtrack composer, videographer, or sales/marketing professional. You’ll get full-spectrum coverage of positions available within the game industry as well as details on how a game is created--from start to finish--and much more.

The Video Game Industry provides a platform for the research on the video game industry to draw a coherent and informative picture of this industry. Previously this has been done sparsely through conference papers, research articles, and popular science books. Although the study of this industry is still stigmatized as frivolous and ‘only’ game oriented, those who grew up with video games are changing things, especially research agendas, the acceptance of studies, and their interpretation. This book describes and defines video games as their own special medium. They are not pinball from which they grew, nor movies which they sometimes resemble. They are a unique form of entertainment based on meaningful interactions between individuals and machine across a growing sector of the population. The Video Game Industry provides a reference foundation for individuals seriously interested in the industry at the academic level. As a result, this book will serve as a reference in curricula associated with video game development for years to come.

Videogame development is usually seen as a male dominated field; even playing videogames is often wrongly viewed as a pastime for men only. But behind the curtain, women have always played myriad important roles in gaming. From programmers to artists, designers to producers, female videogame developers endure not only the pressures of their jobs but also epic levels of harassment and hostility. Jennifer Brandes Hepler’s Women in Game Development: Breaking the Glass Level-Cap gives voice to talented and experienced female game developers from a variety of backgrounds, letting them share the passion that drives them to keep making games. Key Features Experience the unique stories of nearly two dozen female game developers, from old-school veterans to rising stars. Understand the role of women in videogames, from the earliest days of development to the present day. Hear first-hand perspectives from working professionals in fields including coding, design, art, writing, community management, production and journalism. Get tips for how to be a better ally and make your company and teams more inclusive. Learn about the obstacles you face if you’re an aspiring female developer, and how to overcome them. Meet the human face of some of the women who have endured the industry’s worst harassment... and kept on going.

Become a Player in the Business of Video Game Art Every year video games generate billions of dollars and some of the most dynamic and engaging artwork today. It’s an ever-growing field that holds great professional opportunity, but you need the right skills and savvy if you want to stake your claim. In How to Become a Video Game Artist, veteran video game designer Sam R. Kennedy provides the inside track on everything you need to forge a career in the world of video game art. Starting with the basics of game creation and a look at the artistic skills necessary to get started, Kennedy spotlights specific, key roles for creators—from concept artists to character animators to marketing artists and beyond. Each chapter features screenshots from popular video games like Tom Clancy’s Ghost Recon and World of Warcraft; interviews with video game art professionals who’ve worked for top gaming companies like BioWare, Blizzard, and Ubisoft; step-by-step examples of actual game art; and detailed breakdowns of the training and portfolio samples you’ll need to make these jobs your own. For anyone who wants to go from gamer to game designer, this book contains all the secrets you’ll need to rise to the top of one of the most exciting industries of our time.

National bestselling author Charles Wilson delivers a cutting-edge thriller based on real-life experiments at improving human intelligence currently underway in both government and private circles. Imagine a computer chip no bigger than the tip of a pencil. This chip, if implanted in a human brain, could give someone encyclopedic knowledge, lightning-fast reflexes and superior learning skills. In a remote military hospital in Montana, an experiment is being performed: implant the chip into the brains of five volunteers. These volunteers, four men and one woman, are all serving life sentences in prison. The experiment works...but the five criminals escape. One young doctor is pulled into the intrigue by the baffling murder of his medical school mentor. Can this one doctor stop the conspiracy of five powerful opponents...whose driving desire is absolute and total control?

In recent years, computer games have moved from the margins of popular culture to its center. Reviews of new games and profiles of game designers now regularly appear in the New York Times and the New Yorker, and sales figures for games are reported alongside those of books, music, and movies. They are increasingly used for purposes other than entertainment, yet debates about videogames still fork along one of two paths: accusations of debasement through violence and isolation or defensive paeans to their potential as serious cultural works. In How to Do Things with Videogames, Ian Bogost contends that such generalizations obscure the limitless possibilities offered by the medium’s ability to create complex simulated realities. Bogost, a leading scholar of videogames and an award-winning game designer, explores the many ways computer games are used today: documenting important historical and cultural events; educating both children and adults; promoting commercial products; and serving as platforms for art, pornography, exercise, relaxation, pranks, and politics. Examining these applications in a series of short, inviting, and provocative essays, he argues that together they make the medium broader, richer, and more relevant to a wider audience. Bogost concludes that as videogames become ever more enmeshed with contemporary life, the idea of gamers as social identities will become obsolete, giving rise to gaming by the masses. But until games are understood to have valid applications across the cultural spectrum, their true potential will remain unrealized. How to Do Things with Videogames offers a fresh starting point to more fully consider games’ progress today and promise for the future.