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Teaser
Amiqus NewsContent Type
News
12/05/2021
Summary
As restrictions continue to ease and we look forward to a return to more of the things we love, it may feel like the worst is over. Experts however are warning of a mental health pandemic, the longer lasting outcome of our experience of COVID-19 and it’s easy to understand why. Our mental health has never faced the pressure and strain it has in the last year and while there have been some really inspirational moves from employers to support the mental health of their teams during the pandemic, we’re now facing longer term stresses that we have to prepare for. Making time to talk has never been more important. The time to embrace those impactful, courageous and difficult conversations is now, to safeguard the wellbeing of our people in the future. - Make time to talk: Take time to discuss the pressures peers and teams are facing. People need to be listened to, no matter how hard it can be to hear it - Focus on humility: Use good role models in senior positions who are able to talk about mental wellbeing with a sense of vulnerability and humility. Opening up a conversation that encourages people to talk – including sharing personal experiences from managers – will be crucial in helping staff cope in the modern world - Get your people involved: Empower staff to take action themselves. Maybe look at appointing some Mental Health Ambassadors who are accessible to anyone looking to talk about their struggles in and out of work - Train your managers to have empowering conversations: Managers are facing a new challenge themselves. Providing training to help them have impactful discussions delivered with confidence and compassion can help tackle the mental health pandemic. Have trained mental wellness ambassadors work with managers regularly to develop this skill - Take a global viewpoint with a regional approach: Be considerate about the fact that there are regional differences in terms of pandemic restrictions, so the mental health support needed will vary across geographies. Approaches to how mental health is talked about and normalised needs to be adapted across demographics and cultures as well, so avoid a ‘one-size-fits-all’ approach If you need to talk, please reach out. In the games industry we have the brilliant Safe In Our World https://safeinourworld.org mental health initiative, which can provide resources and help.
Teaser
BlogsContent Type
Blog
05/05/2021
Summary
Your skills are in demand right now - is it time to consider your options? After the past year, it’s definitely time to reflect and look forward. The employment landscape has changed, and we can help you to navigate the new normal, to create the ideal role that matches your ambition and the lifestyle you want.Get in touch for a Career 1-2-1 with one of our team. Even if you’re not thinking of a move right now, we can help you to shape your next role for whenever you're ready. You’re in control of your career, we’re here to look after every detail for you. Email hello@amiqus.com - subject line Career 1-2-1 and we'll be in touch to arrange a call.
Teaser
Amiqus NewsContent Type
Blog
30/03/2021
Summary
We’re delighted to be involved once again with the Games Education Summit - https://thebgi.uk/2021/01/27/ready-player-learn-the-games-education-summit-returns-for-2021, a brilliant event that brings together studios and educators to discuss key issues facing the sector during the Covid pandemic and beyond. The virtual event takes place today (Wednesday March 31st) and tomorrow (Thursday April 1st) and is organised by the BGI. Our Business Manager Liz Prince will be joining representatives from industry partners such as Epic Games, Unity, Electric Square, Playground Games, Creative Assembly, Payload Studios, Dovetail Games, Sumo Digital, Ubisoft and nDreams, along with academics from the likes of Bournemouth University, University of Portsmouth, Abertay University, Priestley College, Coventry University, Staffordshire University and Norwich University of the Arts. A whole host of other associated bodies are also taking part – such as Next Gen Skills Academy, AIM Group, BAME in Games, Out Making Games, Autistica Play and Into Games – and we’re honoured to be joining them. Liz will be taking part in the opening session, The Great Debate, as well as moderating a panel on Hiring, Retaining and Developing Talent During the Pandemic. We’re looking forward to two days of discussion and learning. Hope to see you there!
Teaser
BlogsContent Type
Blog
07/03/2021
Summary
The theme of this year’s International Women’s Day is #ChooseToChallenge. In the words of the organisation behind this brilliant initiative, a challenged world is an alert world. In the context of gender bias and inequality, it’s important for us all to continually challenge behaviour and attitudes that are unhelpful and potentially damaging to our collective effort in creating a more inclusive and welcoming environment for women. To anyone who is experiencing any kind of harassment, the #ChooseToChallenge message couldn’t be more appropriate. But for anyone – male or female - witnessing it in their workplace, the message is just as important, if not more so. If we are to create safe, welcoming environments for female talent within the games industry, it is the responsibility of every single person working in the business to step up, support co-workers – and continue to challenge. For my part, I want to call out and highlight some behaviours that perhaps people don’t always think are a problem, things that can make women feel uncomfortable and we don’t always know what to do. How should we react? I’m talking about things like the tone of emails to women, how they’re addressed – things that may be considered ‘small’ or insignificant, but that actually have a cumulative impact on overall attitudes to women in the workplace (and elsewhere). If you’re aware of the Everyday Sexism Project that was launched by writer Laura Bates a few years back, you’ll understand what I mean. The initiative aimed to raise awareness of the things that happen to women every day including those things that have become normalised, small things – micro-behaviours, if you like – that serve to undermine women and young girls. From supermarkets having separate sections for boys’ and girls’ toys and pink razors being sold for ‘ladies’; to professional women being on the receiving end of ‘mansplaining’ in the workplace – the campaign has made huge strides in highlighting what is unacceptable in today’s modern society. But, while the supermarkets and fashion stores have mostly reconsidered their strategies, there are still many examples of ‘everyday sexism’ we see in the workplace, all the time. And I can give you recent real-life examples experienced by two women in our team. Our work as recruiters means that we spend a lot of time connecting and communicating with people via LinkedIn. A recent exchange between one of our team and a potential candidate saw him telling her she “has a beautiful name”, with the message becoming increasingly flirtatious (from his side) thereafter - and resulting in him trying to follow her on Instagram (her personal account). Another member of our team was told by a potential candidate that he’d taken all morning to draw a picture of her from her LinkedIn profile – and had loved spending the few hours looking at her..We are supposed to find it funny and flattering – if we don’t we are uptight and rude...Neither of these incidents caused direct harm but are they appropriate ways to talk to a recruitment professional? Absolutely not. Would they have happened to a male colleague, I suspect not. It shouldn’t be up to a woman in the Games industry to highlight this sort of behaviour as unacceptable, it should be understood by everyone. Within the games industry – as in the rest of the workplace, and society in general – we must #ChooseToChallenge all attitudes and behaviours that undermine women and young girls. Of course, we continue to stand firm and united in condemning and fighting injustices and wrong doings when it comes to serious incidents of bullying, sexual harassment and inequality in the workplace. But I also #ChooseToChallenge the ‘everyday sexism’ that continues to blight our industry and beyond. I urge everyone to do the same – and make it an ongoing consideration of the way that we communicate and act towards women. Because eliminating these ‘small’ things really will make a BIG difference…
Teaser
Amiqus NewsContent Type
News
16/02/2021
Summary
We’re delighted to be involved in this week’s Interactive Futures event – a celebration of the talent and creativity of video game studios within the Leamington Spa region. https://interactive-futures.com Today (February 16th) sees the conference focus on the industry itself and our Business Manager Liz Prince is taking part in a panel session which looks at the Challenges and Opportunities facing UK Development in 2021. The rest of the week, the spotlight will switch to talent and careers in video games, with dedicated sessions lined up for students, schoolchildren and their parents. On Wednesday Liz will chair a panel on Why There’s A Career in Games for Everyone – Even if you don’t like maths or science. And on Thursday she will chair a panel which will uncover What Skills and Qualifications are required for a Career in Games. The video games sector in the Leamington Spa region is the second largest in the UK outside of London and Slough & Heathrow and is home to some of the most respected studios around the world, including Codemasters, Mediatonic, NaturalMotion, Playground Games, SEGA Hardlight, Sumo Digital and more, plus a huge number of indie studios. Interactive Futures is hosted by the Coventry & Warwickshire Local Enterprise Partnership, Warwickshire Country Council and Warwick District Council.
Teaser
Amiqus NewsContent Type
News
25/02/2020
Summary
Ukie launches Get Smart about PLAY Get Smart about PLAY is a campaign that seeks to encourage parents and care givers to use tools on devices to help manage spend, screen time and access to content. The campaign, which is being fronted by former footballer and TV pundit Rio Ferdinand, will do so with the help of their PLAY code which stands for: P - Play with your kids.Understand what they play and why. L - Learn about family controls. Visit www.askaboutgames.com for simple guides. A - Ask what your kids think. Discuss ground rules before setting restrictions. Y - Set restrictions that work for your family. The aim of the campaign is to empower care givers to manage play in the way that works for their families, as well as demonstrating that as an industry we take our responsibility to all our players seriously. The campaign launched today and there will be activities running throughout the year. Visit www.askaboutgames.com to find out more.
Teaser
Amiqus ToolkitContent Type
News
28/11/2019
Summary
.suzes-btn { width: auto; padding: 10px 7px; border: 2px solid #ec6b01; border-radius: 5px; background: #ec6b01; color: #ffff !important; font-family: 'Proxima Nova W01'; font-weight: 700; margin: 2px; display: inline-block; } .suzes-btn:hover { background: #ffff; color: #ec6b01 !important; } Whenever you’re hiring for a studio or project there are some staple considerations How long you will need someone for; what employment model is most cost-effective; what level of experience is necessary; or whether anyone in your existing team can step up to the plate to name a few. The recruitment of key hires will have an enormous impact on your game, and this is particularly true of writers and narrative designers. With this in mind, where should studios start when recruiting for the story-tellers? Decide what your game needs Phil Harris, Narrative Designer at Deep Silver FISHLABS told us “The first thing to consider is what your product really requires, as the roles of writer and narrative designer are quite different. Although often the difference in these roles is poorly defined within the industry. A writer creates text within a game world, which can range from the description a player reads when they click on an icon, to the flowing conversational dialogue between two characters, or the description of a vast fortress in the game. A narrative designer is a more specialized role, directly involved in the creation of the game world. They create the ‘machinery’ that makes the world working with the designers, artists, developers and producers to understand what is possible and how they can adapt their ideas to fit within the technical limitations of the game engine. They also maintain the canon of the product, so if the product is revisited, consistency is maintained.” Get the timing right Writers are often recruited after the start of product development, with freelance and remote working being common employment models. Narrative Designers on the other hand are typically needed from the initial inception of a product as they are integral to the creation of the game. Colin Harvey, Senior Narrative Designer at Rebellion agrees - “Ideally and most fundamentally, get the Narrative Designer in at the beginning of the project. That way he or she can help shape the project and make sure everything is suitably integrated from the get-go. If you don’t have existing processes for creating story, be prepared to let the Narrative Designer help establish those.” However, as any experienced game developer knows, unforeseen issues mean it’s often necessary to deviate from the plan. Though your game vision is a cornerstone of any project, Harvey has some advice should things go wrong. “If for whatever reason you absolutely have to bring a Narrative Designer in part way through the project, be prepared to be flexible with the overall vision. The Narrative Designer will do his or her best to stitch together what you’ve already got, but there’s got to be some give and take to make the vision the best it possibly can be.” Ensure team integration Being able to bring elements together is a key competency to look for when hiring and you’ll need to decide how you are going to assess candidates for these attributes. A good games recruitment agency can provide some guidance here. Freelance Narrative Designer, Anthony Jauneaud, believes that a person-spec as well as a skills list is key, he says "A writer on a video game project should be a people's person. They should be able to communicate with coders, artists, designers, producers... this is crucial. Narration is information, so they should be updated with changes. See narration as a binder for your games, but also for your team.". Competency-based interview questions around examples of where your Designer has deployed soft-skills, such as influence, will help you pull out the capability of your candidate. It’s also a good idea to take up references about their style and approach so that you can get beneath the surface and find out how they are likely to function in the job. What kind of project are you working on? Ultimately the kind of game you want to create will heavily inform your choice of hire. Experience in the genre or style you’re developing will mean a writer or designer has proven their ability in line with your vision. That said, many studios enjoy a totally fresh approach so it’s worth assessing personal portfolios in addition to formal work experience to find out what someone is capable of, some of which hasn’t yet been discovered. As Harvey at Rebellion points out, it’s possible to pitch for a share in an increasingly competitive leisure market by challenging the status quo and experimenting with new ideas. “If you own your own IP, be prepared to think radically about it – are there fundamental things that need to be changed to get it to work? If possible build in development time to test story ideas, do table read-throughs, etc. and see what works and what doesn’t. Contemporary gameplayers have justifiably high expectations of narrative and will expect plotting and characterisation to be on a par with what they see in the cinema and on Netflix.” This approach can allow you to open up your usual games recruitment patterns and think about hiring someone who will bring you new ideas you didn’t expect. Some final words Harris of Deep Silver FISHLABS emphasises the critical nature of making the right hire and summarises with some practical advice. “The real importance of narrative design is player engagement. If the world doesn’t work beneath the surface, the spell you hope the player is under can be broken. If you are considering a product that is a quick and simple puzzle game with some sparkling text to engage the players, you want a writer. But if you plan to produce a game with a stronger story element like a third person action adventure, an MMORPG, a multi-media launch, or a series, you should probably consider hiring a narrative designer. Or, if the product is big enough, both”. Finally, Rob Yescombe, acclaimed Writer & Narrative Director (RIME, FARPOINT, THE INVISIBLE HOURS) concludes. "Narrative is half science, half art. Don't hire a scientist without soul, and don't hire an Artiste who can't explain their methods." This article written by Amiqus was first published in Develop magazine Amiqus can help you Are you looking to make a new hire and want some more advice? We specialise in games recruitment and would love to help you find that next brilliant member to join your team - get in touch. Or if you’re looking for an exciting new job in the games industry browse our latest jobs and apply today!
Teaser
Amiqus NewsContent Type
Blog
09/10/2019
Summary
"I work with at least two different languages in my current studio, but more and more I'm feeling I would need to learn more to make the next step in my career." If creativity is the beating heart of the games industry, then technology is its lifeblood and the ability to code continues to be a mainstay of the most desirable skills when a games studio is looking to hire. Without the contribution of the programmers there is no game, so from the array of software options what are some of the most desirable languages game developers choose and why? Even as we move through the fourth decade of games software development, the number one skill continues to be the 35+ year old language of C++. The majority of console and PC games still fundamentally rely on C++ and critically it underpins the most complex and demanding game engines available, such as Unreal. “Basically, nothing that can handle complexity runs as fast as C++” says Bjarne Stroustrup, creator of C++ back in 1979. Why has it not been usurped since then? Arguably the results that can be achieved with C++ have never been bettered. One of the beauties of C++ is that it is flexible, enabling you to write additional features in to an existing engine, game or tool-set at the lowest level. This provides the flexibility of a high-level language with the power, efficiency and level of control more associated with low-level languages such as assembly. As a core object oriented language, C++ has the power to apply hugely complex programming demands balanced with more efficiency and speed than any other high-level OOP language out there. It’s a win-win and these features make developers with C++ skills enormously attractive to hire. The power of C++ is not without price and mastery is highly aspirational If you’re not familiar with it, getting started in C++ can seem like an uphill climb - the power of C++ is not without price and mastery is highly aspirational. When making career choices it’s worth bearing in mind that some languages are easier than others. Being so intricate it’s challenging, no low-level systems are handled for you and the kaleidoscope of possibilities means precision is key. One benefit of learning C++ however is that many other languages follow similar principles, so once these skills are mastered transferring skills to other languages can feel much easier. C++ is not alone however, C# has continued to rise in demand from employers. Born of the same object oriented principles, inspired by the C and C++ family tree, C# began as Microsoft’s simple, modern, general purpose language for the .Net framework. When it comes to online and cloud technology, the presence of C++ and C# are pretty evenly matched, with the likes of Microsoft Azure utilising the agility and speed of its home language C#. Over the last few years demand for C# has grown exponentially as the basis of the Unity game engine. Unity combines the power to create games and critically, to take them cross-platform, uniting game development for PC, consoles, mobile devices and websites alike. You can play, preview, edit, test and debug your game with rapid iteration, and this comprehensive list of features makes Unity very attractive to game developers. It is capable of creating physically-based visual features with rich and immersive visual content and although it is yet to match the full power of C++, C# within Unity has become extremely attractive when hiring today. Not least because it is still relatively new so experienced developers are harder to find. Python has gained momentum because of its universality across staple tools and packages such as Max, Maya and Blender. It’s lighter and more readable syntax makes it much easier to pick up than the deeper languages and nimble scalability increases its usefulness for large and small scale development. Different developers will be attracted to different skills depending on their choices of mobile strategy Alongside the demand for cross-platform skills we also see studios opting for native mobile development specific to a given mobile platform, primarily Objective C for iOS and Java for Android. Native development requires unique expertise for that device and the benefit is that the full potential of the platform can be reached, driving greater user experience through larger and faster capabilities. On the non-native side, also attractive in mobile, are HTML5 skills for apps using standard web technologies which creates cross-platform mobile applications that work on multiple devices. These hybrid apps and games using an SDK are typically cheaper and faster to create than native. Different developers will be attracted to different skills depending on their choices of mobile strategy, so there isn’t a one-size-fits-all. As you might expect from the aforementioned, C++ can also be utilised for mobile development. This is a common denominator enabling reuse of core code to port across platforms. Due to the high skills demanded within the industry getting in at entry-level can be a challenge and it’s no secret that software development requires a rigorous set of competencies. Most developers look for graduates with at least a 2:1 or a 1st Class degree and the deeper and more mathematical the computing aspect the higher the demand. However a good piece of advice is to keep focused on your capabilities and play not only to your strengths, but also what you enjoy. Experience and demonstration is always of huge value to the industry with or without a degree and cross training into new languages can make you more widely desirable, in particular within a smaller studio where the variety of tasks can be greater. The alternative to generalist skills is to consider not only your languages of choice but also a programming specialism. If in your current role you are already working with one of the most in-demand programming languages our advice is to keep evolving techniques, share your ideas and learn from other developers in the games community. There's nothing to stop you from learning other languages in your spare time and knowing the emerging languages in the industry will help to keep you current. If you’re worried about not having the most desirable skills then it’s up to you to ask for some training, to learn what you can to produce personal projects that demonstrate you can cross into other languages with ease. The key is to always stay open-minded to learning new things and to keep in touch with what’s going on in the wider industry as well as what’s happening within your own studio. Are you interested in learning new languages in a programmer job? Amiqus are experts in games recruitment and we want to use our industry knowledge to help you find a role that you love, whether that's in programming, animation or art. If our current jobs aren't exactly what you're looking for then sign up to our job alerts. Browse jobs by skill: C# jobs C++ jobs Core Tech Programmer jobs Engine Programmer jobs Gameplay Programmer jobs Graphics Programmer jobs UI Programmer jobs
Teaser
BlogsContent Type
News
07/10/2019
Summary
.suzes-btn { width: auto; padding: 10px 7px; border: 2px solid #ec6b01; border-radius: 5px; background: #ec6b01; color: #ffff !important; font-family: 'Proxima Nova W01'; font-weight: 700; margin: 2px; display: inline-block; } .suzes-btn:hover { background: #ffff; color: #ec6b01 !important; } What special skills do employers look for when hiring for roles on VR projects and how risky is it to skill up in those areas considering the longevity of VR is still unknown? The global VR & AR market was valued at around $3 billion in 2016 and in just one year it grew to $7 billion. The demand for VR & AR skills has followed this upward trend and will continue to as the industry grows to a projected of value of $92 billion by 2025. There is an entrepreneurial spirit in the space with many industry vets channelling their experience into setting up new VR & AR ventures. VR has been on the scene longer than AR but there is space for both to exist. A UK study found that 50% of respondents thought owning a VR device was fairly or very appealing. A virtual reality headset presents many uses – training for the military, treating PTSD, and helping sportsmen and women refine their techniques. And the needs that VR cannot meet are where AR comes in. With the ability to overlay virtual objects on the real-world environment, augmented reality has strong prospects for meeting navigation needs and propelling immersive learning in the classroom. On the surface of it, new skills do not appear necessary, core VR code- base is built on the most in-demand areas such as C+, C# and Unity. Art assets and environments created using Physics Based Rendering are also not unique to VR, but we are now seeing demand for candidates who have gained VR experience, either through employment or at University. Employers are starting to look for the context of deployment rather than skills alone – so effectively VR itself is becoming a skill. It’s early days and many specialist abilities needed to address the unique challenges of VR are still in formation. So what are employers looking for when hiring for gameplay jobs today? PROBLEM SOLVING A key ingredient is problem solving skills. Candidates with a leaning toward methodical, mathematical or experimental thought processes are of great interest to studios facing new challenges. The enhanced physicality of the gameplay interaction and multitude of visual configurations makes rendering images without blurring a major challenge. Achieving sufficient speed for a seamless VR experience increases demand both from an artistic and a technical perspective and optimising the efficiency of the code base is of critical importance. These features point to an evolving trend that the disciplines of creative and tech are growing closer together when it comes to VR. This new level of granularity in the interdependence of image and code has led to employers demanding stronger visual evidence in portfolios when hiring. Programming jobseekers can typically evidence their skills by showing source code excerpts, however when it comes to VR, studios want to see the impact of the code on the in-game visuals. On the art side, managers not only want to see the right quality models and artwork but how artists have technically integrated their assets into the game engine. Portfolios need to be comprehensive enough to demonstrate these fully rounded skills, showing an understanding of how they will cope with the additional demands of VR. SENSE SHIFTING As a game experience becomes more immersive, so the role of the senses shifts from the everyday. The VR headset reframes vision and removes real world touch so that the compensatory instincts kick in, particularly hearing. This means that audio, which has always played a key role in games, has an even deeper level of contribution to make to the VR experience. We have seen an increase in the demand for audio programmers in particular. Now that a player can turn toward or away from the source of a sound, the impact of even the smallest nuance in ambient sound will play a major role in sustaining the level of immersion. Once again a solid portfolio and showreel should demonstrate the level of detail and finesse VR requires and hirers seek standards above the ordinary. Another focus area is UI skills. The traditional thumb oriented handset is not available in VR and while this rewrites the design rulebook on menu access and selections, user interaction requires a higher level of intuitiveness to avoid confusion. Getting lost in virtual menus or physically knocking things over in reality is a no-no. Gameplay interactions have a new dimension of consequence – in fact pretty much every consideration in a ‘2D’ game is amplified exponentially in VR. To a large extent, the level of specialism a hirer is looking for depends on the size of the studio and what scope of project they’re working on. Some are looking for knowledge of a specific headset, others are happy with art or coding generalists, and some need the aforementioned tech- creative hybrid to bridge the two. DURABILITY OF VR One of the threats to growth that have been levelled at VR is that the level of immersion could potentially cut-out any interactions beyond the headset, making the VR experience an engaging but lonely pursuit. This has already been countered by the likes of vTime, developer of a VR social network that allows anyone, anywhere to spend quality time with family and friends in virtual reality. For vTime, VR has social connection at the core, aiming for participants to enhance people’s experiences of their relationships. In recent years the market has seen a continued rise in demand for VR skills both in and outside of games. This is reflected in the growth in VR titles being brought to market, but it’s worth noting that this has been a steady stream of releases rather than an explosion. Whatever the reason, if there is no ‘bubble’ to burst and market confidence grows gradually, the outlook from the commercial bedrock of VR looks strong. There is an entrepreneurial spirit in the space with many industry veterans channeling their experience into setting up new VR ventures. Despite the inevitable naysayers it remains an exciting, innovative space for a career in games. FIND A GAMES PROGRAMMER ROLE WITH AMIQUS Do you have a passion for games development? Whether you’re currently working in the industry or are curious about where a job in games development could take you, we’re here to help. Take a look at our latest job vacancies or sign up to receive personalised job alerts so that you don’t miss out on any of our great opportunities.