Oddur Magnusson

📃 𝗢𝗽𝗲𝗻 𝗖𝗼𝗻𝘁𝗿𝗮𝗰𝘁 𝗣𝗼𝘀𝗶𝘁𝗶𝗼𝗻𝘀 𝗶𝗻 𝗚𝗮𝗺𝗶𝗻𝗴!! 🎮 Here is our list of European Gaming Contracts across all disciplines, see below 👇 TL:DR: Contracts with European Studios open to Consultants based in Europe Remote - Sweden 🏡 Remote - Europe 🌍 Hybrid - Stockholm 🏢 Reach out to Paul Hackett for: 𝗣𝗿𝗼𝗱𝘂𝗰𝘁 𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🏡 Interviewing 𝗝𝗮𝘃𝗮 𝗕𝗮𝗰𝗸𝗲𝗻𝗱 𝗗𝗲𝘃𝗲𝗹𝗼𝗽𝗲𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🏡 Interviewing Reach out to Andy Bargh for: 𝗧𝗲𝗰𝗵 𝗔𝗻𝗶𝗺𝗮𝘁𝗼𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🏡New Job 𝗔𝗻𝗶𝗺𝗮𝘁𝗼𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🏡Applicants Needed Reach out to Melanie Lindsey for: 𝗝𝗮𝗽𝗮𝗻𝗲𝘀𝗲 𝗦𝗽𝗲𝗮𝗸𝗶𝗻𝗴 𝗖𝗼𝗺𝗺𝘂𝗻𝗶𝘁𝘆 𝗦𝗽𝗲𝗰𝗶𝗮𝗹𝗶𝘀𝘁 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🌍Interviewing 𝗖𝗼𝗺𝗺𝘂𝗻𝗶𝘁𝘆 𝗖𝗼𝗻𝘀𝘂𝗹𝘁𝗮𝗻𝘁 - 𝟮 𝗠𝗼𝗻𝘁𝗵𝘀 𝗼𝘃𝗲𝗿 𝗦𝘂𝗺𝗺𝗲𝗿 🌍Interviewing 𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 - 𝗣𝗮𝗿𝘁 𝗧𝗶𝗺𝗲 🌍Interviewing 𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 - 𝟯 𝗠𝗼𝗻𝘁𝗵𝘀 𝗼𝘃𝗲𝗿 𝗦𝘂𝗺𝗺𝗲𝗿 🏢Applicants Needed 𝗢𝘂𝘁𝘀𝗼𝘂𝗿𝗰𝗶𝗻𝗴 𝗠𝗮𝗻𝗮𝗴𝗲𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🏢Applicants Needed 𝗟𝗼𝗰𝗮𝗹𝗶𝘀𝗮𝘁𝗶𝗼𝗻 𝗠𝗮𝗻𝗮𝗴𝗲𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🏢Applicants Needed 𝗦𝘁𝗼𝗿𝗲 𝗠𝗮𝗻𝗮𝗴𝗲𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🏢New Role! 𝗦𝗿. 𝗔𝗳𝗳𝗶𝗹𝗶𝗮𝘁𝗲 𝗠𝗮𝗻𝗮𝗴𝗲𝗿 - 𝟭𝟬 𝗠𝗼𝗻𝘁𝗵𝘀 🌍New Role! Reach out to Aarronn Campbell for: 𝗦𝗲𝗻𝗶𝗼𝗿 𝗖++ 𝗚𝗮𝗺𝗲𝗽𝗹𝗮𝘆 𝗣𝗿𝗼𝗴𝗿𝗮𝗺𝗺𝗲𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🌍Applicants Needed 𝗚𝗮𝗺𝗲𝗽𝗹𝗮𝘆 𝗣𝗿𝗼𝗴𝗿𝗮𝗺𝗺𝗲𝗿 - 𝗡𝗼𝗲𝘀𝗶𝘀 𝗚𝗨𝗜 𝗘𝘅𝗽. - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🌍Applicants Needed 𝗦𝗲𝗻𝗶𝗼𝗿 𝗖++ 𝗚𝗮𝗺𝗲𝗽𝗹𝗮𝘆 𝗣𝗿𝗼𝗴𝗿𝗮𝗺𝗺𝗲𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🌍Interviewing Reach out to Adam Miller-Bettridge for: 𝟯𝗗 𝗖𝗵𝗮𝗿𝗮𝗰𝘁𝗲𝗿 𝗔𝗿𝘁𝗶𝘀𝘁 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🌍Interviewing 𝗠𝗮𝘁𝗰𝗵𝟯 𝗚𝗮𝗺𝗲 𝗔𝗿𝘁𝗶𝘀𝘁 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🌍Applicants Needed Reach out to Sol Bate for: 𝗦𝗲𝗻𝗶𝗼𝗿 𝗨𝗻𝗶𝘁𝘆 𝗗𝗲𝘃𝗲𝗹𝗼𝗽𝗲𝗿𝘀 𝘅 𝟰 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀+ 🏢Applicants Needed - Must be Stockholm Based Reach out to Heather Nicholls for: 𝗦𝗲𝗻𝗶𝗼𝗿 𝗗𝗲𝘃𝗢𝗽𝘀 𝗘𝗻𝗴𝗶𝗻𝗲𝗲𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀+ 🏢Interviewing for Post Summer 𝗦𝗲𝗻𝗶𝗼𝗿 𝗔𝗻𝗮𝗹𝘆𝘁𝗶𝗰𝘀 𝗘𝗻𝗴𝗶𝗻𝗲𝗲𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀+ 🏢Applicants Needed for Post Summer Reach out to Mia Elizabeth for: 𝗖𝗼𝗻𝘁𝗲𝗻𝘁/𝗟𝗲𝘃𝗲𝗹 𝗗𝗲𝘀𝗶𝗴𝗻𝗲𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀+ 🌍Applicants Needed 𝗘𝗰𝗼𝗻𝗼𝗺𝘆 𝗗𝗲𝘀𝗶𝗴𝗻𝗲𝗿 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀+ 🌍Applicants Needed 𝗦𝗲𝗻𝗶𝗼𝗿 𝗩𝗙𝗫 𝗔𝗿𝘁𝗶𝘀𝘁 - 𝟲 𝗠𝗼𝗻𝘁𝗵𝘀 🌍Applicants Needed Follow Evolution Recruitment Gaming as we have more roles coming in all the time! 💪 Share this with your network for those looking for their next gig! ▶️

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Capcom has released a less-than-positive annual report. There's nothing critical in it; all the declines are tied to a pause in releases. Capcom certainly has a vast catalog of successful franchises for upcoming releases. Resident Evil (RE) stands out distinctly. While Capcom didn't start with RE, it played a crucial role in their history and has had a significant impact on the gaming industry as a whole. Today, RE comprises 32 releases across 33 platforms. These are incredible numbers and a testament to success. Moreover, judging by Metacritic scores, Capcom manages to maintain a high standard of quality. I gathered a timeline of all RE releases on one website (link in the comments). I thoroughly enjoyed watching videos, reading books, reminiscing about my own experiences playing the games, and playing with friends and colleagues. Here are a few interesting facts about RE and Capcom: - Resident Evil 4 was released on 14 platforms. - The first RE took 3 years to develop, instead of the usual 3-6 months for Capcom in 1996. Consultants hired from the U.S. advised shutting down the project when it was almost complete, predicting its failure. - Devil May Cry and Dino Crisis were born while searching for fresh gameplay for RE. - Capcom was one of the first companies to start paying revenue shares to developers, which is particularly noteworthy for Japanese companies. - Toy Story I and RE I were released around the same time. - For a while, music for RE was composed by a well-known Japanese composer who was said to be deaf. It later turned out that he wasn't actually deaf and didn't compose the music himself. PS. In 2026, the series will celebrate its 30th anniversary, and there will likely be a special release or edition. Or perhaps they'll simply release a version with full DualSense support.

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A lot of people have written about the devastating closures of Arkane Austin, Tango Gameworks, and Alpha Dog. I don't want to repeat that stuff. It's a terrible situation. As a developer, it's heartbreaking. As a player, it's even worse. I just want to say something personal about Arkane Austin, and the kinds of games they make/made, and in particular, Harvey Smith, who heads up (headed up) the studio, after Raphael Colantonio moved on to new things. The first game I really fell in love with was Half-Life. HL showed me the way forward for games, particularly first-person ones, as an expression of deep and interesting -- often claustrophobic -- exploration, combat, and puzzle solving, excellent balance, and the power of first-person interactive narrative to create super immersive worlds for players. The second game I really fell in love with was Deus Ex (Ion Storm). DX showed me the way forward for extremely systems-centric experiences. The power of player choice, experimentation, and improvisation. The promise of a more mature, sophisticated narrative than you mostly found in games of the day. The joy of a game that was responsive and adapted to your choices as a player. The freedom to contrive your own solutions to problems. These games, together, rewired my brain. DX followed the work done before it by games like Thief (Looking Glass), System Shock (also Looking Glass), and later Arx Fatalis (Arkane's first game), but really locked in on the idea of the "immersive sim" that, later on, BioShock (made by ex-Looking Glass people) would replicate. Then Dishonored (Arkane). Then the 2017 Prey (also by Arkane Austin). Other games have riffed on the formula, even when taking it in different directions. There's some DX in Far Cry. There’s some DX in Fallout. There's some DX in Stalker. There's even some DX in The Long Dark. Player freedom. Experimentation. Thoughtful narratives. World dynamism and responsiveness. Affordance of player improvisation. These are core tenets of Immersive Sims that make all games better. They've never set the market on fire. But just like there are movies for movie-makers, these are games for game makers. These are games, we as developers who recognize the alchemy and miracle behind them, stare at in awe, wondering how the creators were able to harness this black magic. That's what we lost in Arkane Austin yesterday. Harvey Smith was the lead designer on DX, and his work has always inspired me. The team there was dedicated to making these sorts of complex, wonderful experiences that we need more of. These are important games, important ideas, important ideals, and it will once again fall to independent developers to keep them alive. So be it.

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ElevenLabs can now read your webpage! 🎉 The new feature let’s you customize a player you can then embed into your website. Choose your favourite narrator and voila! A pretty neat feature! #ai #genai #elevenlabs #texttospeech

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Webinar Announcement 👇   🎨 Are your artists and modelers storing and managing assets in generic cloud storage solutions not designed for modern game development? ⏳They likely spend countless hours searching for necessary assets—or worse, they might not even know that the assets they need exist. 🟢🟢🟢If this sounds familiar, we have great news for you! 🟢🟢🟢 💡Asset Manager is an engine-agnostic, API-first solution tailored for the demands of 3D asset creation. For Unity developers, it's already included with your license. 🎯If you're using a different engine, explore Unity Cloud plans to find the one that fits your needs. 🎫Join us for the Asset Manager webinar, featuring a live demo and Q&A session, on August 14th at 3:30 PM UTC. Share this link with your artists and modelers—they'll thank you for it!

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‘There's A Hole In The Bottom Of The Sea (Nik Vocals)’ is on #SoundCloud https://lnkd.in/eNkG4Z5v There's a hole in the bottom of the sea (Traditional Folk Song) There's a hole in the bottom of the sea, There's a hole in the bottom of the sea, There's a hole, there's a hole, There's a hole in the bottom of the sea. There's a log in the hole In the bottom of the sea, There's a log in the hole In the bottom of the sea, There's a log, there's a log, There's a log in the hole In the bottom of the sea. There's a branch on the log in the hole In the bottom of the sea, There's a branch on the log in the hole In the bottom of the sea, There's a branch, there's a branch, There's a branch on the log in the hole In the bottom of the sea. There's a bump on the branch on the log In the hole in the bottom of the sea, There's a bump on the branch on the log In the hole in the bottom of the sea, There's a bump, there's a bump, There's a bump on the branch on the log In the hole in the bottom of the sea. There's a frog on the bump on the branch on the log in the hole in the bottom of the sea, There's a frog on the bump on the branch on the log in the hole in the bottom of the sea, There's a frog, there's a frog, There's a frog on the bump on the branch on the log in the hole in the bottom of the sea. There's a tail on the frog on the bump on the branch on the log in the hole in the bottom of the sea, There's a tail on the frog on the bump on the branch on the log in the hole in the bottom of the sea, There's a tail, there's a tail, There's a tail on the frog on the bump on the branch on the log in the hole in the bottom of the sea. There's a speck on the tail on the frog On the bump on the branch On the log in the hole in the bottom of the sea, There's a speck on the tail on the frog On the bump on the branch on the log in the hole in the bottom of the sea, There's a speck, there's a speck, There's a speck on the tail on the frog On the bump on the branch on the log In the hole in the bottom of the sea. There's a fleck on the speck on the tail On the frog on the bump on the branch On the log in the hole in the bottom of the sea, There's a fleck on the speck on the tail On the frog on the bump On the branch On the log in the hole in the bottom of the sea, There's a fleck, there's a fleck, There's a fleck on the speck on the tail On the frog on the bump on the branch On the log in the hole in the bottom of the sea. #HoleInTheBottomOfTheSea, #FolkSong, #TraditionalSong, #KidsMusic, #ChildrenSongs, #NurseryRhymes, #SingAlong, #FamilyMusic, #FunSongsForKids, #ClassicTunes, #EducationalMusic, #InteractiveSong, #LogInTheHole, #BranchOnTheLog, #FrogOnTheBump, #SeaShanty, #SimpleSongs, #SongsForLearning, #ChildrenSingAlong, #CatchyMelodies, #MusicForKids, #SillySongs, #FunFolkMusic, #ClassicChildrenSong, #FamilySingAlong, #PreschoolMusic, #FrogSong, #FunLearning, #NatureInspiredSong, #RhymesForKids

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Dear Stretch Network Partners, Please allow me to inform you about additional changes that will take place in the global network on July 8. 🍀 All Heads-up tables will be removed 🍀 Badugi cash tables will be removed 🍀 Sonic cash tables will become 6-max 🍀 The minimum buy-in for Sonic Omaha cash tables will be 20 BB 🍀 Sonic Omaha 7 card cash tables will be added These changes apply only to cash tables and only to our Global Network. In your local networks, you decide your product strategy, but we would be happy to assist you in managing your local networks as well. If you need our help, please contact us. The above-mentioned changes are part of the new strategy for the Stretch Network Global Network, which prioritizes the comfort of novice players and casual traffic to maintain the proper balance of our ecosystem between amateurs and professionals. Caring for the ecosystem of the Global Network is our priority. The changes we are implementing now and will continue to implement will significantly improve the user experience for your players, extend their LTV, ARPU, and, of course, Revenue.

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Once Human is a Free to play, open-world, survival, MMO and is currently one of the top selling games in all of Steam, and at the time of this writing has over 200k concurrent players on the platform. Made by Starry Studios of NetEase, feels like a cross of Fallout 76, LifeAfter with a dash of Lovecraftian. Once Human, along with The Last Descendant and Zenless Zone Zero, all released at relatively the same time, are free to play, and thus far able to carve out an audience. Insight: All three of these games support crossplay.

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A simple observation about voice production for games: It pays to embrace sourcing diverse talent early on. You’ll be much better prepared than if you rely on the same talent pools every time. Casting characters is sourcing diverse talent. Building believable worlds is sourcing diverse talent. Creating unique game experiences is sourcing diverse talent. When you’ve worked through finding fresh, diverse voices and know that challenge well? The process of building a truly immersive world becomes a lot easier.

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The benefits of outsourcing game development is an interesting topic now, during the optimization of resources in large studios

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I did a talk during Devcom in Cologne. So many young faces with "Student Tickets" (they made me feel a bit older) But honestly, I love Gen Z ❤️ Before my fellow industry veterans start grumbling... Let’s be real: We’ve had our time as the pioneers. We’ve seen the gaming world evolve in ways we couldn’t have imagined. Examples: 1. We REMEMBER the days of pixelated art. ↳ So we value how far the tech has come. 2. We KNOW what it’s like to build a game. ↳ So we value the craft and the hard work. 3. We SEE the new generation stepping in. ↳ And they’re bringing fresh energy & ideas. I could keep going... But the point is: We led the way, but now it’s Gen Z’s turn. They grew up with gaming as a way of life. ↳ It’s in their DNA. They dream big. They are fearless. They are creative. They are ready to push the boundaries. And I’m here for it. SO many of the students I met at Devcom are the future of the gaming industry. They’re the ones who will take what we started and run with it. The future of gaming is in good hands. Cheers to Gen Z. Cheers to the bright future of our industry. P.S. Tag your fav Gen Z talent in gaming. ↳ Let’s show them some love ❤️

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It's entirely possible to technically f*ck up your console launch before you've even started porting. With over 30 individual platform ports, Dreamloop Games has seen some shit when it comes to porting. I'll be taking the stage in Malmö next Wednesday at Nordic Game to discuss the good, the bad, and the ugly 'bout porting to consoles. If you're bringing a game to consoles (for the first time or the 50th), this one will be worth a listen. If you're a publisher, this will help you understand what technical red flags to look for when signing games. If you're a developer, this talk will help you identify ways your technical choices might make your game a nightmare to bring to consoles, and (hopefully) help you avoid 'em. If you've got 30 minutes, this one will be worth a listen. Details are in the comments!

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Last month, Sumo Digital Ltd announced a 15% staff reduction in light of tackling the ongoing misfortune of the gaming industry. The layoffs affected almost all of the Sumo studios across Canada, the UK, Poland, the Czech Republic and India just a day after Sumo unveiled big projects at the Summer Games Fest. Almost 250 individuals were told that they would be sacked in the coming weeks because Sumo Digital cannot afford them anymore and wants to navigate upcoming challenges. Those challenges are mainly maintaining its development partnerships with giants like Sony, Microsoft, and SEGA since Sumo mostly provides work-for-hire and co-developmental services. As usual, the workforce had to take a hit in the name of cutting costs. To be real, can the bosses and higher-ups of studios like Sumo (and many others that have laid off people in mass) really show their books wide open to the ones impacted and prove that even their salaries are being cut? Can they prove that they are cutting these jobs for the studio to survive in the future and that they have not taken a single profit for themselves? This is just messed up, and this industry needs a revolution for the better altogether. In the hope of helping some of the folks who were impacted by the Sumo layoffs, this post is a shoutout to bring visibility to them from recruiters and game studios. Sara Machado — We all know about Sara’s immense contributions to this community and how she looks after the people of this industry day in and day out. But apart from helping the community, Sara has 5+ years of experience building game development teams. Incredibly, she has hired teams for titles like The Texas Chainsaw Massacre and Still Wakes the Deep. Peter Barnard — The studio art director who has worked for many renowned studios like Electronic Arts, Rebellion, and Exient. Moreover, Peter has worked on the quirky title Angry Birds Transformers at Exient. Steven Hird — With 24 years of experience in the gaming industry, Steven was a veteran artist for Sumo Digital, the studio’s principal concept artist who was with the studio for over 12 years. He has also worked for studios like EA, Sony, and THQ. Check out his blog here: https://lnkd.in/gWc-U779 Pier Francesco Tortorelli — Another hardcore industry veteran with immense production experience across studios like Ubisoft and Ubisoft Reflections. Pier is a bomb talent whose games speak for him; games like Burnout Revenge, Battlefield: Modern Combat, Splinter Cell: Double Agent, Assassin’s Creed, and many more AAA titles. Aaron Drinkwater — An associate programmer for Sumo Group’s subsidiary Auroch Digital who was with the studio for more than 3 years. Take a look at Aaron’s potential on his itch portfolio: https://lnkd.in/gE2Wkf_F *** If you were impacted by the layoffs and are looking to upskill, we are offering you a 100% scholarship on our $11,000 flagship game programming BootCamp: https://lnkd.in/gg_4HcT5 *** #layoffsupport

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My new Youtube video, which I explained how you can build a 2-bit computer. (with Falstad Circuit Simulator)

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For the past year or so, I've made it a habit to join two teams in game jams as a contingency measure: if one does not finish, the other is a fallback option. This method ensures that I at least have some material for the purposes of an eventual, updated reel. So imagine my surprise when, in the #gdevelop BIG Game Jam 5, 1) not only do both teams finish, 2) they place highly as well, landing third and second place respectively, and I'm on audio for both of them! (As it happens, the video below doesn't list my name in the Tulenväki Studios production. The reason is because of an agreement I struck with the judges that if both games placed, my name wouldn't be mentioned on one to avoid upset. But, my Itch page — https://trsnx.itch.io — has my name on both games for audio.) https://lnkd.in/eYsgptwZ #gamedev #gamedevelopment #gamejam #gameaudio

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Yesterday, I wrote about the access to talent. Now, it is time to focus on access to funding and support for IP creation. Let's start on building a digital-ready copyright framework. The regulatory fragmentation of the European digital single market area is one of the key market access barriers for European game developers. Consequently, we need a fully harmonised copyright framework. AI-ready copyright framework will be one of the critical debates of the next Commission term. The EU needs a legal framework that keeps human-created copyright-protected content competitive. On the one hand, we need a copyright framework that protects artistic authors. However, the EU must widen its focus to protecting trademark and design rights holders in a digital environment, as these rights are likely to become much more important in the AI-driven world. On the other hand, we need a copyright framework that ensures contractual freedom and freedom to conduct business. These two perspective must be carefully balanced against each other. Lastly, the commission needs to create a specific legal framework for unfair, non-negotiable standard contracts used by AI tool developers. When it comes to funding, the EU needs to increase Creative Europe Media funding for video game development. Furthermore, digital games are an under-exploited driver of innovation. Therefore, the Union should give them a clear cross-cutting role in the new framework programme for research and innovation and introduce a specific R&D funding instrument targeting the games industry. The Union must require member states to introduce specific measures to support new emerging industrial sectors, like the game industry, in their regional smart specialisation strategies. Unlike any other cultural industry, public support for the game industry must currently be notified in Brussels. The Union must make it easier for member states to introduce public support for their local game industry ecosystem. Thus, the Union should broaden the audiovisual state aid exemption under the General Block Exemption Regulation (GBER) to include video games. If you have not done so already, vote! Vote for someone who continues the European support for Ukraine. For more information on the EGDF EP election manifesto, please visit: https://lnkd.in/eXYzVDHv

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Horrible news to hear about KeokeN Interactive having laid off their entire team today. In a statement published on X, CEO Koen Deetman and managing director Paul Deetman said the Netherlands-based studio was forced into the decision after exhausting all possible options for completing planned projects or taking on other work. To those affected, please find a comprehensive list of resources, below: 🥇First, Discipline Games Jobs Resources: Over the past weeks I have created 9 (at time of writing) Games Jobs Resources to find jobs in a wide range of disciplines: 🎨 Art, Animation, VFX and UI: This resource contains around 1,000 jobs worldwide across all links. Link: https://lnkd.in/eKAHK7VF ⚙ Engineering and Programming This resource lists just over 1,800 jobs worldwide across all links. It also talks about interview tips and questions to practice. Link: https://lnkd.in/eYdxANFM 🕹 Quality Assurance: This resource lists over 450 QA jobs worldwide. This post also talks about the craft of QA and contains tips and interview practice. Link: https://lnkd.in/dwwVjZuc 📑 Game Production: This resource lists around 400 jobs worldwide. It also contains info about game production as a whole and GDC talks. Link: https://lnkd.in/gxDvFM-Z 📢 Marketing & Community: This resource lists around 400 jobs worldwide. It also gives an intro into game marketing and community management. Link: https://lnkd.in/e5MuViug 🎶 Audio and Sound Design: This resource lists around 190 jobs worldwide. Link: https://lnkd.in/eSkPSsWf 📠 Studio Support, HR, Recruitment and BizDev: This resource lists around 290 jobs worldwide. Link: https://lnkd.in/ePG57_7v ⚙ IT, Helpdesk and DevOps: This resource lists around 140 jobs worldwide. Link: https://lnkd.in/e8ZsuiZh 🎮 Game Design: This resource lists around 440 jobs worldwide. https://lnkd.in/dCv_hQXv 🥈 Second, the Ultimate list of Video Games Career Resources: This should be your one-stop shop for all information. My dear friend Amir Satvat maintains these documents, he is a legend for doing this - please check them out: https://amirsatvat.com/ 🥉 Third, do not give up. Ever. No matter how dark things may look right now, I KNOW you will get through this, you have got this! 👊 Remember you are not alone. If you need help, advice, or even an ear to listen, we're here for you. Always! ➡ A request to my community, please can I ask you to repost this post to your colleagues and friends, so that we can get as many into jobs as possible! And please comment if you or your studio are currently hiring - let's help each other! Much love ❤️ #layoffs #gamesindustry #jobsingames #keokeninteractive (source: https://lnkd.in/eWK2PgvX)

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