Kael Hammond

How to accelerate your career in game development? Think "one level higher." 🔹 If you're a junior or mid-level:  -- Consider how your task affects the team's work. 🔹 If you're a lead or senior:  -- Focus on how your team's work impacts the entire project. 🔹 If you're a producer, director, or PM:  -- Think about how your project fits into the company's strategy. 🔹 If you're a CEO or executive:  -- Ensure the company's results align with stakeholder interests. 🔹 If you're a stakeholder:  -- Align your assets with market interests. Always try to understand the bigger picture.

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Bit late talking about this one but huge news coming from 343 Industries, both a re-brand to Halo Studios and confirmation that they are switching development to Unreal. 🗞️ This comes off the back of 343's struggles with development of Halo: Infinite. We've seen many other studios move away from their own engines to Unreal, notably CD Projekt Red! Are proprietary engines going out fashion? 🤔 For those who have worked on both proprietary engines and Unreal, what have you found to be the key advantages of working with Unreal? #gamedev #unreal #halo

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Hello friends. Last month, I was looking for more work and finally secured some on Reddit from a guy who needed help with preproduction on his Tabletop RPG / Card Battler. After a meeting with him, he showed me what he had and it was quite impressive. He had a prototype of a card-battler using a tabletop RPG battle system, but he had little to no documentation or planning—he's been chiseling away at his game for a few months in his spare time after work. I suggested that before I dive into art, we flesh out the game design and the rest of the game up to around an 80% mark and let the last 20% be changes, additions, and that sort. As your game evolves, it'll come into it's own and you'll find things that need changed or added, this accounts for that. He agreed and I asked if I could work on all this since I did that with my game Alligori and lead the team from start to finish with our vertical slice, and I know tabletop RPGs very well. He agreed and we did the whole song and dance with paperwork, and he sent over a retainer and I began work the following Monday. Three weeks go by and we're working great together. I'm fleshing out his game, adding some meat to the backbone of his prototype with classes, abilities, etc. My goal was to write out as much as possible and then trim content to fit it into a 1-year development cycle. So I flesh a bulk of his game out, and then categorize it more into a game design document that clearly conveys concepts, ideas, and mechanics. Catching up, last week was the final week of my first month and payment was due. He just up and disappears like a fart in the wind, I have no idea if he's alive, incarcerated, on vacation, or what. He didn't remove me on Discord, so I don't entirely suspect malicious intent, but he gave no notice. That's the risk you run with working 1-on-1 with a client remotely, one day they can just up and disappear. I do have paperwork, so I may pursue legal action. If he doesn't log on by Friday, I'm going to publicly release all my documentation and the GDD I wrote on here.

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Creating games is very difficult. And building games is challenging. The process of build requires to compile the code and all the data required in the game in a specific sequence involving many dependencies. As such monitoring the outcome is essential, but not sufficent. What if we were able to predict the outcome of a build ? What if we were able to decrease the required computing resources while increasing our iteration capability ? #Ubisoft #Ubisoftlaforge #innovation

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At Uncapped Games I'm helping to develop my favorite game I've ever worked on professionally by far... and surprisingly it's an RTS. This is surprising because I (unlike nearly the whole team who are RTS powerhouses), have basically no RTS experience at all. Fire up Super Smash Bros and I may have a shot to impress, but RTS has been a huge - and fun - mental shift for me! ...and somehow, I've gotten pretty good! (At our game at least 😅). Very excitingly, we're on the schedule to say more about our game at SGF ( https://lnkd.in/e5uDTwZp ) in June, but now, kicking things off so to speak, we've put out a really cool documentary that explains some of our philosophies, hopes, and goals. If you're an RTS nerd - or just curious to learn more, check it out: https://lnkd.in/eQpxP3WZ

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In today's little bit of progress, we're working with a little bit of music and setting up some Enemy Animation Blueprints- just with patrolling and idling for the time being. These are called Agonized Hunters and probably for good reason. Lore is so fun to come up with, by the way. I suppose all the stories I started to write even as a kid should've been a grand sign towards my liking of storytelling, but I definitely know about it now. I thought it would be a nice touch for the light to turn red/add in some invincibility frames when the player comes in contact with them, as well as adding in a sliiiight distinction between the breakable platforms and the ones you can walk on regularly. On a semi-related note, something I only learned fairly recently: the Nav Mesh Bounds Volume in Unreal only registers traversable ground. That's why it's only the ground that turns green when you preview it and not the air that the volume may also be in contact with. If you're working with flying enemies you won't want to rely on those or the functions related to them (like GetRandomReachablePointInRadius and co.), since they will bring those flying guys right to the ground at best. You'll want to look into the Math function RandomPointInBoundingBox instead. ✨

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Lots of people changing jobs or on the hunt at the minute. Some useful tips to be mindful of from Amanda here. Even though you'll understandably be focused on landing the new role as smoothly as possible, these aren't unreasonable expectations at all and much easier to tackle up front than to deal with after the fact.

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Why Spliced Inc. should be on your radar if we aren't already. Especially if you're a Lead or Principal VFX Artist that's already working with or is excited about generative AI. What NOT to expect: Stage after stage after stage, without knowing why you're moving forward. We love giving feedback and we help set you up for success instead of throwing you into the dark. Being kept in the dark about salary or package right until the end. Ever had an interview process to land an offer at the end of it that misses the mark by a mile? That's not how we operate. Here at Spliced Inc. you'll know exactly what the role could look like before you go into finals and that means everything from our benefits, salary, the project itself, onboarding and importantly, how we're going to set you up for success. Limited flexibility that's labelled flexible working. I've heard several stories recently from people who are considering a move due to being sold flex and remote/hybrid options, to be hit with a very different reality. At Spliced Inc, you make the choice. Whether it be fully remote, fully studio based or somewhere in between, it's up to you. You don't even need to tell us. We're hiring for a number of roles at the moment but my main priorities if you got this far (!) are Lead/Principal VFX Artist and Lead Game Designer. I'll post later/tomorrow on that second role but if you're interested in learning more on either position, send me a message. As always - shares appreciated for reach! Liam Howard Jerlyn ChaiGabriele Sanfilippo

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Over the past few weeks, I’ve been working on a game design document for a new DLC chapter for Elder Scrolls Online called Conquest. I wasn’t asked to do this—honestly, I doubt anyone at ZeniMax Online Studios even knows I exist, haha. But I’m passionate about the game, having played since beta, and with my background in game development, albeit as a lead 3D artist, I felt inspired to create something that could enhance the player's experience in an impactful and meaningful way. ESO’s PvP system is incredible—some of the most engaging combat since Funcom's Age of Conan—but two major issues stand out: Lack of PvP zones and options: Outside of Cyrodiil, Imperial City, and Battlegrounds, there’s a shortage of varied PvP content. The potential for expanding the system feels huge but underutilized. Conquest introduces a new (optional) PvP zone (In Hammerfell) where players can flag themselves for world PvP (on and off switch while in town), inspired by Blizzard Entertainment's Diablo 2s' hostile mechanic. It’s an optional experience that brings new incentives for both solo players and guilds to participate in PvP. This isn't meant to be a quick fix, but rather a revitalization of the existing systems, giving guilds more reason to engage together, and providing meaningful rewards for PvP participation. One of the core focuses of the design of this DLC chapter is to incentivize group play—especially within guilds. Guilds often have limited in-game reasons to interact beyond chat and trading, and running a trial (raid). My design offers new systems and incentives for guilds to run content together, utilizing existing mechanics like the Housing system to create features such as Guild Halls that further encourage community-driven gameplay. I know ZeniMax’s team is full of incredible talent with no shortage of amazing ideas. Conquest is simply a labor of love, aimed at addressing some of the game’s current issues, and introducing new, exciting content. I now release the document with the hope that they see value in it. Please be kind, I haven't shared my work with anyone before. Thank you for your time! https://lnkd.in/e3gfr2g9

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Why this item is so expensive? Is it the material it's made from? I know, so many questions. But here's the thing: These are not physical objects you can touch or hold. Yes, you heard that right! It’s just a few pixels on a screen, yet it can cost a fortune. These are virtual items in video games So, why is this happening? Social status and investment drive this trend. Video games mirror real life behavior, much like acquiring a fancy brand item. The in-game economy has grown so large that gaming companies are hiring economists and data scientists to understand player behaviors. Understanding the value of digital items: 1. Social Status: Owning rare items boosts a player's status among peers. 2. Investment Potential: Players see these items as investments that can be appreciated in value. 3. Player Satisfaction: Unique items enrich the player's experience, increasing their enjoyment and satisfaction. 4. Market Dynamics: Supply and demand dictate the prices, just like in real world markets. 5. Developer Influence: Game developers can create scarcity, driving up the value of certain items. And just like in the real world, the value we place on digital items reveals more about us than the items themselves. In the end, it's not just pixels it's a reflection of our desires, ambitions, and the ever evolving digital economy. P.S. What’s your take on digital item value? Share your thoughts below!

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Laws of game Dev (Proposed) #1: Meetings start late = Games ship late - Teams that have the skills, focus and discipline required to ship games on time do not seem to be the same ones waiting for meetings to reach "critical mass" or someone to finish their "worst weekend ever" story. - Correlation only, but it has been very consistent red flag over the last 27 years. - Open for comment before it gets written into the book.

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Try as I might it's not going to get easier to say this, so I won't spend any more time wordsmithing: after 7 incredible years working with the best team I have ever seen in game dev, my time at Fire Hose Games is at an end. I won't try to sugarcoat it: this sucks. Anything else I say would be a lie. But it sucks for the best possible reason: my years at Fire Hose were incredible, and I wouldn't trade them for the world. I am so, so proud of the team we assembled while I was there, and of the games we made together. We created experiences that were uplifting and fun, and we had fun doing it. There isn't a person I worked with who I wouldn't run through a brick wall for, and wherever they end up next will be all the better for it. If I know you and you are thinking about hiring an ex-Fire-Hose dev, hit me up. You are about to make the best decision of your professional life, and I cannot wait to give you a preview of the good times that await. From a professional standpoint, these have been the best 7 years of my career. I did my best work and had the best work-life balance I've ever found. We built a studio where respect and kindness were the rule, and every single day I went to work with people who made me laugh even as they pushed me to be better. In particular I'm so proud of Techtonica. It's a gem of a game that isn't quite like anything else out there, and that I believe stands head-to-head with the best work of studios several times our size. Making video games is hard, and anyone who tells you otherwise is selling something (probably video games). One of the things I tell people contemplating getting into this business is that it's easy to go broke making bad games, and it's just as easy to go broke making good ones. I've been incredibly lucky in my career to have only experienced the latter, and I say that with complete sincerity. A lot of these "today is my last day at GameCorp, and I'm thankful for the opportunity" posts have the quality and cadence of a hostage video. If you read between the lines of all the professionally-acceptable sentiments that folks are supposed to type at a moment like this, you can practically see the writer blinking out morse code for "screw this place, I'm done." This isn't one of those posts. Working at Fire Hose rocked, and my only sadness is that, for now, it's over. Endless love and gratitude to my fellow ex-Fire-Hosers, and I sincerely hope folks who haven't yet taken Techtonica for a spin will give it a try. You've got a good time waiting for you. 💙

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Come learn about Xsolla's strategies to improve your mobile games revenue.

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I gave AoE mobile the old college try without assumptions, knowing they have to change the formula for a mobile format. I, too, have uninstalled. Here’s why: 1. Disingenuous marketing- acts like it’s regular AoE gameplay (it isn’t) 2. Disingenuous tutorial- pretends it’s regular AoE gameplay (they really hit this “sin” hard) 3. Unoriginal gameplay- same stuff that has been around for years, but with AoE skin over it (nostalgic SFX really hook you) 4. Fomo mechanics- if you don’t habitually log in multiple times a day, you’re missing out (this could also be called “disrespecting player time” & “not casual friendly”) 5. Gatcha game (heroes)- clearly a situation where pay to win AND power creep will keep a carrot on a stick infront of players. Predatory, unbalanced, and fosters vice. Bonus: Fiction- That’s right, straight up fictional characters on a fictional timeline not even trying to portray history. I don’t know what they were thinking, there’s SO many real people to draw from. (Note: half the hero roster is real historical figures and half is this fictional stuff) If anyone is curious how much content I saw, I paid a few bucks for a third builder, got my city to full lvl 10, got a few heroes to lvl 40 and 6/7 star pieces, participated in guild activities including taking a major town on the world map and pvp. Did everything I could for dailies, events, promotions, spending all energy as often as I could for nearly a week. There is fun to be had, but overall unfulfilled promises, unoriginal mechanics (not even the 80/20 rule, feels like 100/0) and predatory mechanics make me not want to support this game, despite being a huge AoE fan and wanting to see more success in my industry.

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Laws of game Dev (Proposed) #6: Do your own ports In this day there is significantly less reason for any teams to not be doing their own console ports. Once upon a time porting meant: - Acquiring rare and very expensive console dev kits and their even more expensive and rare profiling hardware version. - Rewriting large chunks of your engine in custom assembly after learning a brand new CPU's instruction set. - Learning completely new pipeline of custom compilers, converters, packaging, burners, OS's, quite often it involved building entirely new workflow per console. - Writing a completely new rendering path for a custom (read 10 years behind) and under performing graphics chips with limited memory. - Doing instruction pipelining in your head because compilers were 1 offs and had the optimization abilities of the DMV, or CPU didn't even have L2 cache. - Trying to transfer your audio engine over to the least expensive chip they recycled from returned Sony camcorders. - Packing and compressing all your data into a single 1GB continuous files so entire game could be read off a DVD with only 3 seeks. - Testing against 100's of unique TCR's and packaging your submission just right to not get a tech Failure. These were the days when the port team was 1/3 - 1/2 the size of the original team and it was were you sent the hardcore or the people you were trying to managing out. Crunching full sized PC games down to something that would even fit and run well on consoles was not exciting or glamorous. It was just waking up every day and eating glass until all the bugs had been filed on the new SDK, the code was a sea of #ifdef's and you stripped enough out that the game is no longer effectively a slide show. Today things are very different:   - All consoles are supported by Linux or Windows.   - The CPU / GPU is almost all AMD.   - The memory delta is no longer 20x but now 2x.   - Middleware is a thing on consoles.   - Most commercial engines natively support all platforms, their workflows, submissions and TCR's. Thus the majority that is left for the developers now is:   - Select new platform in project type.   - Make the games' input system still feel intuitive on controllers.   - Pick a bunch of LOD and detail setting until game runs at desired FPS.   - Hack on the UI until it fits inside TV safe zones & still looks good.   - Maybe add in support HDR. It is no longer entire teams but often just a few people can now kick out the console versions if the game is designed with porting in mind.   And there is the crux of the issue, if the team making the game has never done the ports, they will not understand the impact their decisions are making on it. These teams often do create hack projects that are significantly harder to port than they should be. Thus unless your working on a custom engine that has never been ported to the platform, train your team up and have them do their own console ports.

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Nostalgia has a funny way of creeping up on us, especially when we think about the classic PC games we played as kids. Remember those shareware titles? The thrill of discovering a hidden gem that someone passed along? It’s amazing how many of those experiences feel lost to time, yet they played such a significant role in shaping our love for gaming. In today’s fast-paced world, preserving those nostalgic moments is more important than ever. I’ve developed a real appreciation for efforts to back up old games and keep that nostalgia alive. It’s not just about playing; it’s about remembering the joy and creativity that sparked our imaginations. When it comes to remasters, I think they serve a crucial purpose. For many, they provide a chance to experience beloved classics that they may have missed or never had access to. Remasters breathe new life into these games, allowing a new generation to enjoy them while giving longtime fans a way to relive cherished memories with improved graphics and gameplay. What are your thoughts on this? Do you have any favorite classic games that you wish would get a remaster? Let’s celebrate the past while looking forward to the future of gaming.

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🎮Monthly External Game Dev Pulse🎮 I’m on a personal mission to broaden my awareness and gain an ongoing pulse into the landscape of External Development in the Video Games industry. Video Games is an industry that I have been employed in for nearly 20 years, with External Development covering much of this tenure. I love it, I live and breathe it, and I’ll be doing this until I’m much older and wrinklier. I care about seeing this industry continuing to thrive, and I believe that the flexibility, scalability, and diversity of expertise in External Development can be a key component in supporting the industry as the landscape begins to (hopefully) restabilize. As such, I am starting a monthly pulse survey to gain regular snapshots in time of the industry-wide vision on External Development, with an aim to provide Video Games professionals the data needed to lean on external development to create increased development stability. To help with this mission, I am asking the community to please take 5-10 minutes completing this 5-question survey. I plan to release these pulse surveys on a monthly basis, and as a thank you I will share key data and insights with this community on Linkedin. This survey is open to participation for those working in External Development in the Video Games industry as a Service Provider, Developer or Publisher. I hope that this personal initiative will help many throughout the industry, whether you are involved in external development, hoping to learn more about external development, or interested in learning more about options for industry stabilization. I hope for a large pool of diverse participants, so if you see the value in this initiative please do share this post with your network. If you have any feedback for how the most can be made of this initiative, or improve the questionnaire for future releases, please let me know your perspectives through a Linkedin message. Thank you.

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Had a great chat with some fellow dev veterans about the basics of production—stuff that’s often missing on projects but makes a massive difference when done right. One big gap we kept coming back to: validating estimates. Here’s the thing: individual estimates might seem fine, but over time and across teams, they’re consistently off. That’s why it’s so important to measure and track the historical patterns of estimates vs. actual outcomes. When you do that, you start to see a truth—like a team that commits to X workload but only delivers 70% of it on average. With that insight, you can adjust future plans to set realistic expectations. This approach helps nail down milestones based on reality, whether that means prioritizing scope or sticking to a fixed deadline. If scope is king, you give the date. If the date is immovable, you define what can actually get delivered. When I interview production or program management candidates, at some point I always ask how they came up with their dates. Was it handed to them, or did they calculate it? Then I follow up with how they validated those dates were realistic? This is where most candidates stumble. Many just say, "The team told me what they could do by the date," and leave it at that. The problem is, people are notoriously bad at estimating, especially for long-term tasks and honestly, if you’re just taking estimates from the devs and passing them up the chain, I find myself wondering what value you're adding to this process in the first place. Why not skip you and go straight to the devs? In this process, a large value of the producer is in the validation step—digging into whether those dates hold up under scrutiny. After all, a big part of a producer's job overall is protecting the team, even from themselves. That means taking their estimates, validating what’s possible, and being the one to push back on both the team and communicate this out to the stakeholders. Without all that, you’re headed for crunch, every time. Learning to validate dates is one of the most important level-ups for associate and mid-level producers. Having this skill and being able to articulate how you do this can be the difference between landing a job or not. Then, once you’re on the team, it’s what sets apart producers who deliver from those who don’t. Hope this helps!

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