Jami Laes

Adding a few more points: 1. The core goal of cross-platform from game apps to H5 mini-games is to reduce UA (User Acquisition) costs. In the past two years, Tencent’s H5 mini-games have brought significant benefits by lowering UA costs, while user payment and retention rates are not worse than those of client-based games. (For Mini Games on iOS, Tencent won’t charge developers; for Android, they charge 40% of revenue, rebate 10% for UA, so it’s a 30% cut of the revenue goes to Tencent, which is lower than Huawei, Xiaomi, Oppo and Vivo’s 50% cut - pathetic right? lol) 2. From a cross-PC and mobile perspective, directing users to make purchases on PC is also aimed at increasing profits by secretly pocketing the 30% share that would otherwise go to Apple and Google. (PayPal only charges up to around 5%, which is significantly less than 30%) 3. The strategy of cross-platform development for consoles, PC, and mobile, combined with global multi-language and cross-platform simultaneous releases, aims to outcompete and bankrupt rivals who try to follow suit. (It’s a trap, but some CEOs love to be “brain washed”. They are fascinated by this global multiplatforms multi-languange regions launch thing, aiming 1 month ROI positive goal. (Copying Genshin Impact) Good luck!!

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Interesting report from VG Insights giving some hard numbers on the extra opportunity for building and growing game IPs through other types of media, be they TV, movies, books and more. Too often, game companies are only looking at the direct business opportunities of transmedia projects to determine whether they want to engage into it or not, but the real opportunity is indirect, it is through the engagement of new and existing players, and extra sales of existing games, even with very little is done on older titles. We've seen this on The Witcher, on The Last of Us, now on Fallout, and many more.

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#Gamescom24 Why should we meet at Gamescom? - Come see me on stage on Gamescom Congress talking about AI, Games and Propaganda in the new age - You are an investor, Angel, VC, or a Publisher that can help us with our games and Transmedia ongoing projects (Games, TV, Toys) - You are an event organizer / speakers scout, that want an experienced speaker on stage talking about AI, Mental Health, Social impact and how we can fix our potentially great world (currently kinda sick world) - You are an indie in need of an advice, BizDev help, Game design insights - You are one of my close Gaming family, which i always love to meet everywhere in this world, sharing battle stories and development scars over a cup of coffee, beer or fresh juice! Peace and Love, Live long and prosper! here is a link to Meet2Match, send me an invite there (or just DM) https://lnkd.in/d9w26Xxz #AI #mentalhealth #gamedesign #gamedev #socialimpact #propaganda

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So here at LKHE we make games for gamers, and we support our devs fully. We are also about teaching and innovation, and will be opensourcing our games eventually, as well as the behind the scenes. This also means we don’t hide our code in a vault. It insures you guys get to bring your cool ideas to life, and it makes sure we’re always ready to take that extra step further into innovation. I noticed a lot of people are looking for this, and there isnt really a source out there that shows you how to do it. SOOOOoooo here it is (a Sin City Filter) for UE5. You can also use this for any post process, and bring an object, or character out and separate it from the post processing! Give us that Like and subscribe on the channel, and stay tuned. Out Pitch Demo is almost done for Project Kianna, and we'll be pumping out content via Discord, Facebook, LinkdIn, Twitter, Instagram, Tiktok and have our own fully operational Website! Once were up on social media, we will be releasing the official "Prototype: Kianna" which is the free (player built demo) where your input matters on how we proceed with our game! it will have 6 upgrades, based on player input, and will slowly uncover the origin story of Kianna. but for now, check it out my dudes https://lnkd.in/gPSUfjkh

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I more or less started this series of posts with what I called Dansky's First Rule of Game Writing, namely, that words are always the cheapest fix until suddenly they are the most expensive. That line got a lot of rueful laughter and a lot of agreement, but today I want to dive a little deeper into it and talk about what it means. First of all, I absolutely believe this is true. When something gets cut or changed or added, it is much easier and faster to add, edit, or cut dialog around it, or rewrite backstory (assuming it hasn't already been put in a player-facing format) than it is to change a character model or a map or an animation, at least early in the project. Narrative folks should understand this and be flexible, because it comes with the territory and pushing back against a solution that saves time and money is not a good look. But. Too often this gets taken to extremes. When narrative is constantly called on to paper over the cracks caused by others' decisions, certain things happen. One is that as a solution, it is easy to overuse. Yes, it may be less work for narrative than for other teams, but it's still work, and it still involves throwing out work that has been already done. That comes with multiple costs, not the least of which is a morale hit. Constantly asking one team to be the only ones who bend can feel a little like they're being picked on, or worse, taken for granted. And that's a great way to demotivate people. Because with that comes an inevitable devaluing of narrative work. I've heard "It's just words" too many times in my career. Nobody says "It's just pixels" or "It's just lines of code" to other departments. The assumption that rewrites are a cheap and easy fix is incorrect; it is cheap, not easy. It takes craft and skill to seamlessly close the gap in a narrative when an entire level gets cut. It takes craft and skill to turn around a rewrite immediately because a recording session is coming up and another department failed to read a character design doc so the character details have to change. And on it goes, and on and on. The other half of the statement is that words suddenly get expensive, which is also true. Once you record dialog, once you put stuff into localization, all of a sudden changing those words gets pricey. Want to make a tweak to a level that contradicts a line that's already been recorded? That means hiring back the actor, plus the studio, plus the director. plus plus plus. And while pickup sessions are a thing, there is not infinite time or money to keep going back to the well every time someone wants to fiddle with something that was supposed to be nailed down for script lock. "It's just words" isn't true any more at this point, and other departments need to be cognizant of upcoming recording session dates and script deadlines in order take their requests timely. Otherwise, everyone's going to be unhappy.

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Game Industry Ecosystem ♻️ Yesterday, during dinner with three remarkable individuals from the Swedish game industry in Stockholm, we sparked a discussion about the current challenges in game industry education. We talked about how there are currently too many educational programs, and that many game industry teachers end up getting jobs themselves instead of helping students secure employment, leaving their teaching roles. Additionally, we highlighted the significant gap in the ecosystem—soon, we'll have an influx of newly graduated students who lack the necessary experience to be fully prepared and responsible candidates for companies. This is where organizations like Spelkollektivet and initiatives similar to game jams, summer game camps play a crucial role. They function like boot camps, where students can acquire practical skills necessary to become game developers, regardless of the category. I believe we will soon need more places like Spelkollektivet, where students can learn teamwork, hone their skills, and work on several actual projects. These experiences will help them build real portfolios and sharpen their raw talents. Moreover, such environments enable students to form valuable relationships, potentially leading to the creation of their own companies/startups/consult and freelance. Here are some suggested solutions to help solve this issue: 1. Enhanced internships and apprenticeships 2. Project-based learning 3. Industry-driven curriculum 4. Boot camps and workshops 5. Portfolio development 6. Networking opportunities 7. Career services 8. Soft skills training 9. Continuous learning 10. Entrepreneurial support #gameindustrysweden #gameindustry #gamedev #gameindustryeducation #gameindustrycommunity #futuregames

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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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🚀 A new monetization method for mobile? 🤞 We all know that the main pillars of mobile monetization methods are IAPs, Subscriptions, Ads, and Offerwalls. The issue is that IAPs and subscriptions are difficult to master, and Offerwalls and ads require many users to engage heavily with ads. BrightSDK is a new method to monetize your users via their bandwidth. ⚙️ How does it work? Bright SDK works with the largest e-commerce, travel, and social companies in the world to help them make decisions about products and pricing by analyzing Public Web Data. Turns out that large companies are willing to pay to know for example the average review score of a product in different geos and how an airline ticket between London and New York is priced in different geos. To do this at a large scale you need crawlers to get the data that the companies need. But as the web is built for people most of these programs are blocked. By using some of your users' bandwidth Bright SDK can get the data. 👏 How does it look in an app or game? Users can’t share their bandwidth without giving consent on iOS or Android to stay compliant—but incentivizing users to opt in is fair game. In Outlets Rush by Supercent, for example, players see a tempting pile of gems (premium currency) on the floor, which they receive if they agree to share a bit of their phone’s bandwidth while playing. Other approaches include offering fewer ads to users who opt-in or gifting a bundle of “skip” tickets as a reward for their consent. 💸 What’s the revenue potential? As Bright SDK is only active while users are playing a game thus earning potential depends on your session lengths, sessions per day, and the location of your users. If we take an app that has 50k DAU with 40% in the USA and 30% in T1 geos and around 10-minute session lengths per day this app would earn about $720/day or $21,600/month. 🧨 Keen to learn more about this new monetization method tune in to my conversation with Ofir Meir on two & a half gamers. 🎥 Youtube: https://lnkd.in/eZyaQMC3  ✉️ Ad Monetization Newsletter: https://lnkd.in/eRWRFiGf #MobileMonetization #BrightSDK #AdMonetization #MobileGames #growth #GameDev #RevenueGrowth #MobileGaming #AppGrowth Matej 🦩Jakub #monetization #mobilegames #mobileapps #new

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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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For me, the policy summit at the Nordic Game Conference was a call to action. It is time for games to be fully recognised as a cultural medium in their own right with high innovation and economic potential. The European game industry needs better public support structures and funding instruments to unlock sustainable digital growth. Sweden, a country with one of the biggest and most quickly growing game industries in Europe, is a perfect location to discuss policies to support the European game industry. One of the Swedish game industry's best-kept secrets is its exceptional local cluster organisations and game incubators, which are among the best in Europe. Their success is evident in the fact that Sweden, with its 900 game developer studios — more than four times the number of studios in Finland, for instance — has the largest studio base in the EU. The success of Swedish clusters and incubators is supported by world-class professional game education infrastructure. Sweden does not only have studios. It also has successful studios that run a significant turnover and employ a wast amount of industry experts. Overall, the Swedish game industry employs almost 8 500 industry talents and runs a combined local turnover of more than EUR 3 billion. With its 5 000 industry experts, Stockholm is one of the key game industry hubs in Europe. Furthermore, with over 2 500 industry experts, Copenhagen and Malmö form a rare cross-border talent hub. Local cluster organisations are crucial in supporting local game studios with knowledge and networks. Unfortunately, the Swedish industry lacks national cultural production support and R&D innovation funding instruments to boost the industry to the next level, creating a significant challenge for the long-term sustainability of the industry's growth. Most likely, Finns will once again have a head start in exploring the possibilities of the next technological disruption with their highly successful R&D instruments. With their cultural support instruments, Danes will likely be among the forerunners pushing the boundaries of games as an artistic medium. Sweden is likely to maintain its leading position in the global race if it is able to ensure both the continuation of support for local cluster organisations and the introduction of dedicated national public support instruments for its local game industry. Thank you Erik Robertson for making this happen.

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Status check of the Swedish games industry Do we still need people? Look, it’s me! I had the honor of giving my view on the current staffing landscape in Swedish Games Industry 2024: Game Developer Index So, even after a few tough years, do we still need people? Short answer: yes, we do! As I shared in a previous post, the Swedish games industry is still growing And studios will always need seniors and specialists. In fact, the demand has increased significantly after the summer this year If you are looking for your next gig in games, you should definitely consider Sweden! Here’s what I’ve seen since starting Game Boost: 𝐂𝐡𝐚𝐧𝐠𝐞𝐬 𝐢𝐧 𝐭𝐡𝐞 𝐦𝐚𝐫𝐤𝐞𝐭 𝐬𝐢𝐧𝐜𝐞 2021: There has been a significant shift in mindset around contractors → Initially, consultants were rare and mainly used during time-pressured periods. → Now, studios incorporate more consultants into their general staffing strategy. → New studios keep their core team small and back up with external help. My observation is that things are finally starting to happen in the staffing area After 10 years of “this is how it’s always been done” New ways to staff for efficient productions are emerging. Exciting times! 𝐂𝐨𝐧𝐭𝐫𝐚𝐜𝐭𝐢𝐧𝐠 𝐝𝐮𝐫𝐢𝐧𝐠 𝐞𝐜𝐨𝐧𝐨𝐦𝐢𝐜 𝐢𝐧𝐬𝐭𝐚𝐛𝐢𝐥𝐢𝐭𝐲: We are seeing a split in how studios handle contractors → Some studios cut back on consultants to reduce direct costs. → Others bring in consultants to minimize long-term risks and costs. My observation is that contractors are crucial in unstable times. They provide access to specialists you need for shorter periods You get a game that can compete in the market out without a massive long-term cost. 𝐑𝐨𝐥𝐞𝐬 𝐢𝐧 𝐝𝐞𝐦𝐚𝐧𝐝 𝐚𝐧𝐝 𝐫𝐞𝐪𝐮𝐢𝐫𝐞𝐝 𝐞𝐱𝐩𝐞𝐫𝐢𝐞𝐧𝐜𝐞: Specialities vary, Unreal stays a must have → Previously people mostly requested Unreal programmers (they are still in demand) → Now they also look for animators, producers, and UI/UX designers. → You need field experience to hit the ground running. → Important traits: self-motivation, good team player, not afraid to ask questions, proficiency in English. My observation is that to be successful in contracting you need to bring more to the table than your hard skills. A good consultant is both productive and shares their knowledge to strengthen the team. To sum it up: The Swedish games industry is thriving and modernizing staffing - it’s a great market for developers with professional experience and unreal competence. PS Swedish Games Industry 2024: Game Developer Index is a yearly report produced by the Dataspelsbranschen / Swedish Games Industry. (Link to English and Swedish versions of the full report in the comments) As a loyal reader and someone who looks forward to the report every year, I was excited to be part of it. Thank you Johanna Nylander and Elin Carlsson for letting me share my perspectives ❤️

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In the latest Elite Game Developers newsletter Edvard Groundstroem, co-founder of Flowstate Games, which shut down recently, shares his learnings. In a typical 🇫🇮 Finnish way, there's zero sugar coating. I recommend everyone to read it. Here are my three key takeaways from the interview: 1️⃣ Have a compelling strategy and adjust your work inside of it rather than pivoting to the new and shiny thing when the going gets rough. Without a strategy, you're making MVPs that lead to failing fast and pivoting too soon into the unknown. While we hear stories of pivots leading to ultimate success, the vast majority of startups (and not only startups...) pivoted themselves to death without ever building any expertise in anything. I've made this mistake multiple times before and only in my startup was I adamant never to switch genres. 2️⃣ Listen to VCs but don't take orders from them. Chasing "product-VC" fit and trying to hit their "flavor of the week KPIs" means that you've handed control of the direction of your company to an external party. I was there too thinking that VCs know it all. It wasn't until I understood that VCs give a perspective not a direction that our execution improved. Listen to VCs but remember that the ultimate decision is on you. 3️⃣ Complacency is the death of execution. Startups should be in code red until they start generating sufficient revenue. Getting funded doesn't mean you're good. It means that you have limited runway to prove you can execute. Edvard Groundstroem put it better than I ever could "Making great commercial products that can scale as a business is hard. Understanding how a game goes from good to great is instrumental, and the only way to gain insight into that is to study games that made it, as well as the ones that seemed liked they would but didn’t." This is painful to read. I've failed at instilling product expertise within everyone in the studio multiple times before thinking that if just a few key people have it, it's enough. I highly recommend Joakim Achren's Elite Game Developers newsletter to everyone working in games. 🙏 thank you Eddie for the public post-mortem! #gameindustry #gamedevelopment

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FYP! Here’s your insights to the early days of the Necesse franchise and Fair Games by Founder and CEO Mads Skovgaard 🙏

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🎉 Exciting news from Ruckus Games! Transcend is thrilled to announce that our portfolio company, Ruckus Games, has successfully raised a $19M Series A round, led by KRAFTON, with strong support from BITKRAFT Ventures, Hypergryph, and Transcend. This is a remarkable achievement in today’s funding climate and a testament to the visionary team at Ruckus Games, who are redefining the multiplayer gaming experience with their debut title. 🚀 Just over a year ago, Transcend led a $5.5M Seed round to invest in Ruckus Games' ambitious vision. Today, we are incredibly proud to continue our partnership with the exceptional Ruckus team—Paul Sage, Scott Kester, Carl Shedd, Kevin Penrod, Keith Schuler, Christofer Strasz, Jesse McIntyre, Alexandra Takei, Devann McCarthy to name just a few—as they build a game that is set to disrupt the multiplayer landscape with its unique blend of fast-paced action, deep RPG elements, and a whole lot of "stupid weapons" (in the best way possible). 🔫 The newly expanded squad includes: - Hyeri Maria Park, Vice President, Head of Corporate Development and Mike Hong 🎮 🔜 G-Star, Director of Corporate Development at KRAFTON Inc. - Jasper Brand, Partner at BITKRAFT Ventures - Clare Yang, Head of Investments at HYPERGRYPH - Ed Fries, General Partner at 1Up Ventures - Andrew Sheppard, General Partner and Lirui Ding🔜 G-STAR Ding, Principal at Transcend. The momentum behind Ruckus Games is undeniable, and we couldn't be more excited to see how they’ll craft their way to the top of the looter shooter genre. For more color on that, please follow along in the comments. ➤ VentureBeat: https://lnkd.in/dvhDM3qK ➤ GamesIndustry.Biz: https://lnkd.in/dxERRMWK ➤ PC Gamer: https://lnkd.in/dKAFtZ9J ➤ Mobidictum: https://lnkd.in/d36NKJAB ➤ Massively OP: https://lnkd.in/dXNEKSBH ➤ Gematsu: https://lnkd.in/dnbQuQzX ➤ PC Games N: https://lnkd.in/dYuKwSgk ➤ PSX Brazil: https://lnkd.in/dW9Mn5PJ ➤ La Pause Geek: https://lnkd.in/dxj22Db2 ➤ Gamereactor: https://lnkd.in/deFYN7TK ➤ Video Games Chronicle: https://lnkd.in/dBwuUa4F ➤ WCCF Tech: https://lnkd.in/dV7z5bd6

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Some news about Crevoid and its why. Read the Article here https://lnkd.in/dVnDT2dY

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Thank you to Dave Bradley for moderating such a great panel at PGC Helsinki! Here are some key points I touched on during the discussion: - AI's Expanding Role: No area in game development (marketing, art, development, analytics, QA, liveops, customer support...) will be untouched by AI's evolution over the next few years. - AI as an Aid, Not a Replacement: While AI will transform many processes, it will not replace the need for skilled professionals. For instance, a great artist will create even better work with AI than a less experienced artist. - A New Tool for Creators: AI is often just the new tool—similar to when Photoshop first came on the scene. - AI and Jobs: We often hear concerns about AI replacing jobs, but it’s more likely that someone proficient with AI will replace someone who isn't. In certain cases, AI will help current size teams accomplish more and with better quality, ultimately driving business growth. - AI and Team Dynamics: Since AI can be a polarizing topic, it’s important to discuss a job candidate's perspective on AI during the hiring process to ensure aligned expectations. #AIinGames #PGCHelsinki

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Hope and Growth in Hard Times: Sweden’s Game Industry Continues to Thrive It’s here!  Yesterday Dataspelsbranschen / Swedish Games Industry released their annual report on the Swedish games industry. The “Swedish Games Industry 2024: Game Developer Index” is a masterpiece of insight into the Swedish gaming industry. It contains all the statistics as well as important topics such as game releases, IPOs, screentime, climate footprint, trends and global monitoring. I recommend everyone to read it.  (Link to the english version in the comments) This year's report is a hopeful read in a difficult time. It starts off stating: "𝑨𝒍𝒍 𝑻𝒊𝒎𝒆 𝑯𝒊𝒈𝒉 𝒇𝒐𝒓 𝑮𝒂𝒎𝒆 𝑰𝒏𝒅𝒖𝒔𝒕𝒓𝒚 𝒊𝒏 𝑺𝒘𝒆𝒅𝒆𝒏 – 𝒄𝒓𝒆𝒂𝒕𝒊𝒗𝒊𝒕𝒚 𝒂𝒏𝒅 𝒅𝒊𝒗𝒆𝒓𝒔𝒊𝒕𝒚 𝒃𝒆𝒂𝒕 𝒕𝒉𝒆 𝒕𝒊𝒅𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒆𝒄𝒐𝒏𝒐𝒎𝒊𝒄 𝒄𝒓𝒊𝒔𝒊𝒔” And continues to explain “𝘋𝘦𝘴𝘱𝘪𝘵𝘦 𝘥𝘦𝘤𝘭𝘪𝘯𝘪𝘯𝘨 𝘢𝘤𝘤𝘦𝘴𝘴 𝘵𝘰 𝘤𝘢𝘱𝘪𝘵𝘢𝘭, 𝘵𝘩𝘦 𝘯𝘶𝘮𝘣𝘦𝘳 𝘰𝘧 𝘯𝘦𝘸 𝘤𝘰𝘮𝘱𝘢𝘯𝘪𝘦𝘴 𝘢𝘯𝘥 𝘦𝘮𝘱𝘭𝘰𝘺𝘦𝘦𝘴 𝘪𝘴 𝘪𝘯𝘤𝘳𝘦𝘢𝘴𝘪𝘯𝘨. 𝘛𝘩𝘦 𝘪𝘯𝘥𝘶𝘴𝘵𝘳𝘺 𝘪𝘴 𝘱𝘳𝘰𝘧𝘪𝘵𝘢𝘣𝘭𝘦, 𝘢𝘯𝘥 𝘢 𝘮𝘢𝘫𝘰𝘳𝘪𝘵𝘺 𝘰𝘧 𝘵𝘩𝘦 𝘤𝘰𝘮𝘱𝘢𝘯𝘪𝘦𝘴 𝘸𝘪𝘵𝘩 𝘳𝘦𝘷𝘦𝘯𝘶𝘦 𝘮𝘢𝘬𝘦 𝘢 𝘳𝘦𝘵𝘶𝘳𝘯 𝘰𝘯 𝘪𝘯𝘷𝘦𝘴𝘵𝘮𝘦𝘯𝘵. “ Sweden has been fortunate to not be hit as hard by the global crisis as many other countries. What makes me truly happy when reading this is that people are not giving up This industry is in many ways an industry of big dreamers We all know it’s one of the toughest industries It’s high risk and fierce competition Add the declining access to capital And all the heartbreaking layoffs of the last years That should be enough to make most people give up their dreams for something more secure But the numbers tell another story “𝘛𝘩𝘦 𝘯𝘶𝘮𝘣𝘦𝘳 𝘰𝘧 𝘯𝘦𝘸 𝘤𝘰𝘮𝘱𝘢𝘯𝘪𝘦𝘴 𝘪𝘴 𝘪𝘯𝘤𝘳𝘦𝘢𝘴𝘪𝘯𝘨 𝘪𝘯 𝘚𝘸𝘦𝘥𝘦𝘯. 𝘐𝘯 2023, 108 𝘤𝘰𝘮𝘱𝘢𝘯𝘪𝘦𝘴 𝘸𝘦𝘳𝘦 𝘧𝘰𝘶𝘯𝘥𝘦𝘥, 𝘳𝘦𝘴𝘶𝘭𝘵𝘪𝘯𝘨 𝘪𝘯 𝘢 𝘵𝘰𝘵𝘢𝘭 𝘰𝘧 1,010 𝘢𝘤𝘵𝘪𝘷𝘦 𝘨𝘢𝘮𝘦 𝘤𝘰𝘮𝘱𝘢𝘯𝘪𝘦𝘴 𝘥𝘶𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝘺𝘦𝘢𝘳. 𝘖𝘧 𝘵𝘩𝘦𝘴𝘦, 196 𝘨𝘢𝘮𝘦 𝘴𝘵𝘶𝘥𝘪𝘰𝘴 𝘩𝘢𝘥 𝘧𝘪𝘷𝘦 𝘰𝘳 𝘮𝘰𝘳𝘦 𝘦𝘮𝘱𝘭𝘰𝘺𝘦𝘦𝘴. “ People are still going after their dreams This undefeatable love for what we do It drives persistence to go for it, even when it’s tough. It's what makes this industry magical. It’s what will make us not only survive this crisis. But come out stronger on the other side . I’m here because I’m a dreamer too. I still believe in magic. And that mountains can be moved with passion. I’m grateful to be in this industry with likeminded believers. Together we thrive. Keep the dream alive! ♻️ Reshare to spread some positivity and hope in your network

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Unpopular opinion: Sometimes it's cheaper to work with a third party. People often say outsourcing is expensive. Here's an instance where it saved our client YEARS. For game studios - a successful game requires a passionate team. This synergy can't be built inside a big corporation. At least not overnight. A large mobile studio partner of ours already had an internal team. But couldn't allocate resources in time. (to deliver an upcoming project) So they partnered with us to: - Leverage our ready-to-go team. - Scale their project fast. - Deliver key assets on time. - Without the need to hire new staff. What did this save them from? - Months building new teams. - Disturbing the current team. - Missing that deadline. This is why hiring external partners is cheaper with the right partner. And if you're looking for a partner. To save yourself all the above. Send me a DM and I will send over our details :)

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How I became both a producer and a CEO: (And I love every inch of it) At my previous job at LoadMe I did: - Project production - Partner collabs - Client relations Doing both the work of the CEO while being Head of Studio. At UGI being both a producer and CEO helps me: 1/ Be the bridge between business & creative So that I bring my clients’ visions to life. 2/ Understand the core product Having product knowledge helps make decisions that benefit clients. 3/ High standards Being actively involved in the game production cycle allows me to hold high standards. Leadership is one thing. But what drives me is connecting to gamers and games which I love. And switching hats isn’t a problem. It makes the journey fascinating. PS. Do you think a CEO should be involved in game production?

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