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market-insider · 6 months

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Game Engines Market: Unveiling Opportunities and Challenges

The global game engines market size is anticipated to reach USD 8,261.6 million by 2030, exhibiting a CAGR of 17.4% over the forecast period, according to a new report by Grand View Research, Inc. The growth of the market for game engines can be attributed to several factors, including the increasing demand for mobile games, the rise of virtual and augmented reality technologies, and the growing popularity of esports.

Game Engines Market Report Highlights

The solution component segment accounted for the highest revenue share of over 70.0% in 2022, due to the ease of development of high-quality games using game engines. Solution components like plugins and asset packs can help developers save time and resources by utilizing pre-made tools and assets for game development

The 3D game engine segment is expected to register the fastest CAGR from 2023 to 2030. The growth is attributed to the increasing popularity of 3D games, which provide players with immersive and engaging experiences and are becoming more popular among gamers of all ages

Based on genre, the action & adventure games segment accounted for the highest revenue share in 2022, and is poised to expand at a CAGR of 16.1% during the forecast period. The rise in trend of smartphone-based gaming among end-users is anticipated to propel the growth of the segment

Asia Pacific is expected to expand at the highest CAGR of 18.4% over the forecast period, owing to the region's large and rapidly expanding population of gamers

For More Details or Sample Copy please visit link @: Game Engines Market Report

Game engines are also becoming more accessible and easier to use, allowing developers of all skill levels to create high-quality games and interactive experiences. The market is also witnessing the emergence of innovative game engines, including Unreal Engine 5 and Amazon Lumberyard, which are expected to further drive industry growth. The increasing adoption of game engines across various industries, including education, healthcare, and advertising, is expected to continue the rapid growth of the market during the forecast period.

The increasing popularity of mobile gaming drives the market growth of game engines. With the sustained rise in popularity of smartphones and tablets, mobile gaming has become more accessible than ever, increasing demand for games that can be played on the go. Platforms like Unity and Unreal Engine have been able to capitalize on this trend by providing developers with tools and resources to create high-quality mobile games quickly and efficiently.

The primary advantage of using game engines for mobile game development is the ability to create games for multiple platforms. Companies offer support for a range of platforms, including iOS, Android, console, and PC. This allows developers to create games once and deploy them to multiple platforms, saving time and resources. The rapid growth in popularity of the eSports industry is also driving market demand, with esports having millions of players & viewers globally. As it continues to grow, companies like Unity and Unreal Engine are becoming more crucial for creating high-quality games that can be played competitively.

Game engines offer features such as real-time physics simulation and network optimization, which ensure smooth and responsive gameplay in online multiplayer matches. Besides providing tools for game development, these platforms are used to create specialized tools and software for eSports. For example, Unity has launched Unity for eSports, a set of tools and services designed specifically for the industry. The platform offers features like match management, player profiles, and live streaming integration, making it easier for organizers to manage and broadcast eSports events.

The accessibility of this platform is another factor contributing to the market growth. In the past, game development was a highly technical and time-consuming process that required significant expertise. Nowadays, game engines have become more user-friendly with drag-and-drop interfaces, pre-built assets, and tutorials, making it easier for developers of all skill levels to create games. This accessibility has allowed more developers to enter the market, leading to an explosion in the number of games being created.

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srilanka1234 · 2 years

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#Asian news #uk news #asean gaming summit #manila philippines #2023 #gaming industry insights #exhibition #live-streamed

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trendbuzze · 9 months

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"Trump's Vision for American Industry: A Game-Changing Address to UAW Members 🚀 Don't Miss Out on the Insights!"

Trump makes play for Michigan’s : In a pivotal moment on September 27, 2023, former President Donald J. Trump addressed the United Auto Workers (UAW) at an event that captured the essence of American industry and its relationship with labor unions. The speech, held in Michigan, marked a significant juncture in the political landscape, as Trump delved into critical issues impacting the automotive…

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#"Trump&039;s Vision for American Industry: A Game-Changing Address to UAW Members 🚀 Don&039;t Miss Out on the Insights!"#Trump makes play for Michigan’s

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nicholasandriani · 1 year

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"10 Key Takeaways from LudoNarraCon 2023: Insights and Inspiration for Narrative-Driven Games and Beyond

LudoNarraCon 2023, the annual digital convention dedicated to narrative-driven games, was a huge success. Over the course of three days, attendees were treated to a wealth of exciting new games, insightful discussions, and thought-provoking panels. With so much content to absorb, it’s easy to feel overwhelmed. That’s why we’ve put together a list of the top 10 key takeaways from LudoNarraCon…

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kajmasterclass · 2 months

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#The Power of Storytelling & Digital Marketing for Small Businesses with Dan Grech | KAJ Masterclass Join us as we discuss the power of story #founder of BizHack Academy. Discover how to leverage storytelling to attract customers and build a marketing-focused culture. Gain insights #this episode offers valuable insights to elevate your marketing game. 🔥 5 THINGS YOU'LL LEARN IN THIS VIDEO🔥 💼 BUSINESS INQUIRIES 💼 For p #contact us at: [email protected] ………………………………………………………………………………… *SUPPORT KAJ MASTERCLASS* Discover products and services that suppo #you help us create more valuable content for you. Thank you for your support! 🎙 Elevate your podcast journey! Connect with top podcasters #unlock a FREE exclusive 30-minute handholding session with me #whether you're a host or a guest. Join now: https://www.joinpodmatch.com/kaj 👗 Shop authentic Indian handloom sarees on Ethnics Land (Since #Khudania Ajay (KAJ)#is a seasoned content entrepreneur #podcast host #and independent journalist with over two decades of media industry experience. Having worked with prestigious organizations like CNBC (Indi #Reuters #and Press Trust of India #Ajay is dedicated to helping you succeed through his LIVE Masterclasses. Connect with Ajay: https://www.linkedin.com/in/ajaykhudania/ https #coaching sessions #and more: https://www.thekajmasterclass.live/book-online** 🌐 CONNECT WITH ALL THINGS KAJ 🌐 📺 Watch More: youtube.com/@kajmasterclass 🎧 List #Youtube

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data-bridge · 2 years

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Serious Game Market Analysis, Growth, Demand Future Forecast 2028

Industry Analysis

The serious game market is expected to witness market growth at a rate of 17.93% in the forecast period of 2021 to 2028.

Additionally, the credible Serious Game Market report helps the manufacturer in finding out the effectiveness of the existing channels of distribution, advertising programs, or media, selling methods and the best way of distributing the goods to the eventual consumers. Taking up such market research report is all the time beneficial for any company whether it is a small scale or large scale, for marketing of products or services. It makes effortless for Semiconductors and Electronics industry to visualize what is already available in the market, what market anticipates, the competitive environment, and what should be done to surpass the competitor.

Get a Free Sample of The Report: https://www.databridgemarketresearch.com/request-a-sample/?dbmr=global-serious-game-market

Market Insights and Scope

Serious game is designed to provide education and training related services. It basically simulates the real world into a virtual world scenario. They offer multiple benefits including decision making, self-monitoring, negotiation, enhanced problem recognition and problem solving and social skills such as collaboration. They are utilized in numerous end user industries such as education, healthcare, military and government.

An international Serious Game Market research report examines competitive companies and manufacturers in the global market. Competitive analysis carried out in this market report puts forth the moves of the key players in the Semiconductors and Electronics industry such as new product launches, expansions, agreements, joint ventures, partnerships, and recent acquisitions. This market report puts light on various aspects of marketing research that range from important industry trends, market size, market share estimates, sales volume, emerging trends, product consumption, customer preferences, historic data along with future forecast and key player analysis. It studies market by product type, applications and growth factors.

Get full access to the report:https://www.databridgemarketresearch.com/reports/global-serious-game-market

Industry Segmentation

The serious game market is segmented on the basis of application, platforms covered, industry verticals and end-user. The growth among segments helps you analyse niche pockets of growth and strategies to approach the market and determine your core application areas and the difference in your target markets.

On the basis of application, the serious game market is segmented into advertising and marketing, simulation training, sales, emergency services, research and planning, human resources, product development, support and others.

On the basis of platforms covered, the serious game market is segmented into web-based, PC-based, mobile-based and hand-held.

On the basis of industry verticals, the serious game market is segmented into healthcare, retail, aerospace and defense, government, education, media and entertainment, automotive, corporate, energy and others.

On the basis of end-user, the serious game market is segmented into consumers and enterprise.

Industry Share Analysis

The major players covered in the serious game market report are

Market Country Level Analysis

The countries covered in the serious game market report are the

U.S., Canada and Mexico in North America, Brazil, Argentina and Rest of South America as part of South America, Germany, Italy, U.K., France, Spain, Netherlands, Belgium, Switzerland, Turkey, Russia, Rest of Europe in Europe, Japan, China, India, South Korea, Australia, Singapore, Malaysia, Thailand, Indonesia, Philippines, Rest of Asia-Pacific (APAC) in the Asia-Pacific (APAC), Saudi Arabia, U.A.E, South Africa, Egypt, Israel, Rest of Middle East and Africa (MEA) as a part of Middle East and Africa (MEA).

An influential Serious Game Market research report displays an absolute outline of the market that considers various aspects such as product definition, customary vendor landscape, and market segmentation. Currently, businesses are relying on the diverse segments covered in the market research report to a great extent which gives them better insights to drive the business on the right track. The competitive analysis brings into light a clear insight about the market share analysis and actions of the key industry players. With this info, businesses can successfully make decisions about business strategies to accomplish maximum return on investment (ROI).

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Global Frozen Vegetables Market

South Africa Battery Market

Global Plant-Based Egg Market

Global Nutritional Beverages market

Spain Fuel Cards Market for Commercial Fleet

Europe Fall Detection System Market

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ad445566 · 2 years

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#proficient market insights #pc gaming accessories market #pc gaming accessories #gaming industry #pc accessories

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alwaysbewoke · 6 months

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our entire political system is flawed, but

you're not going to change it in one election to perfection; what you can absolutely do is make everything worse in one election. also, you can acknowledge that the system needs work and that you want more without lying and pretending as if it has produced nothing positive for you. the problem right now with many people is that you guys want an instant solution. you want an instant fix. however, there is no such thing. there will not be one election or one candidate or one bill that's going to fix this. this is going to take long-term, strategic, methodical work for us to make it right, and i can tell right now that many people are not up for the task. they're too weak, but they won't be weak enough to complain, make videos, tweets, ig posts, reels, tiktoks, blog posts and whatever whining when shit hits the fan. they'll be the first ones howling at the moon and gnashing their teeth without taking responsibility for the part they played in the shitstorm.

here's some simple advice: pack the senate and congress with hardcore progressives. hardcore progressives. and then go to your local election and pack that with hardcore progressives again. but by no means should any of us accept any talk or strategy that gives the republicans power. at some point, you've got to stop playing checkers in a chess game.

however, the problem is this point of view should have been adopted in 2016. i fear that it might actually be too late because people played checkers in the chess game knowing full well that whoever won that election was going to have at least one supreme court pick. that winner actually got three and now has set this country back for the foreseeable future. generations are going to be feeling that pain. we missed out on critical years to address climate change. the voting rights of black people have been completely undermined. the educational opportunities for black people have also been undermined. discrimination against gay people has been affirmed. we saw the death of millions of americans at the hands of a global pandemic that was profoundly mishandled, and yet having seen and experience all of this people are willing to entertain the idea of allowing those in power who did all this to get even more power again. UNBELIEVABLE! people like that deserve ridicule.

if you actually care about black lives, people of color, trans rights, gay rights, healthcare, education, palestine, dr congo, police brutality, child poverty, climate change, restoring democracy, voting rights, equitable access to all levels of education, ending the prison industrial complex, women's rights, and etc do not entertain any talk about taking actions that will give republicans power. not in the short term. not in the long term. don't let your anger and your disappointment force your hand into making things worse for yourself and others. there's already been widespread voter suppression so if you think you're going to give republicans all that power and then vote to take it away from them down the line when everything is more to your liking, you are delusional. if you really want to change things (like for real, you're not just talking shit about "progress"),here are some insightful videos:

#FuckBidenButHellToTheNoOnAnyRepublican

#politics #reality check #fuck biden but hell no to republicans #voting #palestine

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feetpiclovers · 4 months

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youtube

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absolutebl · 2 months

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Hi ABL! Can I be what I'm assuming is the 80th person to ask for your analysis about the move of Prem and Boun to GMMTV? Particularly, any thoughts on:

Why did the move happen and does it mean anything that they moved together?

What might this mean for new series with them as a pair and the potential to break up their pairing?

Are there any GMMTV talents that you'd love to see Boun or Prem paired with?

Thanks in advance for any insights!

BounPrem move to GMMTV

DISCUSS!

AKA Thai BL industry speculation, my favorite game!!

I am actually cautiously optimistic about this.

They're an ideal pair for GMMTV to get. Especially if GMMTV continues optioning Japanese IP. These two are beautifully suited to A LOT of yaoi. Just imagine them in a Thai version of Takumi-kun? !

Rise up Broccoli Nation... let's talk kabedons!

Why did the move happened?

From BounPrem's perspective:

I think they've been pretty underserved by their current home and that home is pushing them towards pulps (I refuse to talk about Even Sun and I found Between Us pretty darn disappointing too.) If they want higher quality narratives and content, GMMTV is a better home for them.

Also it will handle their brand better for sponsorship and longevity. I was shocked not to see them on more stuff in Bangkok. Most sponsor gigs and major promos and billboards and such were GMMTV pairs and... ZeeNunew

Right now there are good indication for pairs who WANT to stick together (even while aging up) that GMMTV can handle it - because of what they've done with OffGun and TayNew recently.

It's clear that GMMTV will throw a good pair at decent content (or at least popular stuff) pretty regularly. With GMMTV, BounPrem stand an even better chance at landing a prestige piece, since they have an established fan base.

From the pair's perspective, this is a good career move.

Now, from GMMTV's perspective, let's talk...

Does it mean anything that they moved together?

Yes, it most likely means GMMTV signed them as a BL pair. Some of GMMTV's other hot properties like EarttMix, OffGun, and TayNew clearly want to do (and have done) more than just BL for GMMTV. Even "second levels" like JimmySea are being split for het dramas. It means they lose their BL talent for a good potion of filming season, while they film some other property.

If GMMTV can sign a high value pair that's happy to stay doing BL regularly, that will work very well for them.

ALSO they've add a hot property pair into their stable that's on the EarthMix (highly commercial) level AND willing to do high heat. I think this is key. GMMTV has shown they want to move into sexier stuff (NC-GMMTV?) with things like Moonlight Chicken and Only Friends. VERY few of their existing pairs are willing to go there, and can do it as well as, BounPrem. These 2 do lust and thirst in a way that most GMMTV pairs can't (they are just too brotherly with each other).

I think this is a sign GMMTV want's to enter the after dark market, and move international markets too. (The higher heat stuff tends to be particularly popular outside of Thailand.)

Also, I think it's pretty clear some of GMMTV's hoped for heavy hitters last year (like PerthChimon) aren't working out for them, so it makes sense to onboard a solid bankable pair whole cloth at this juncture.

I said a while ago I thought GMMTV would make a play for ZeeNunew. I didn't have BounPrem on the list as a backup option, but these pairs are kinda similar, and fill the same niche.

Anyway, smart move all 'round, IMHO.

What might this mean for new series with them as a pair and the potential to break up their pairing?

I think the pairing is now less likely to break up than ever.

I think they've possibly been tempted to sign BY a prestige new series carrot. We could get something historical with them in it. Or, like I said, something Japanese IP. Probably higher heat than GMMTV has given us in a full BL.

Eyes Target the Finder thoughtfully. (It was VERY popular when I was over there.)

Are there any GMMTV talents that you'd love to see Boun or Prem paired with?

Like I said, I think GMMTV's objective in signing them would actually be the opposite - NOT to split the pair.

But if you just want me to speculate for fun (and piss stadn off), I'm always happy to do so.

First is great with anyone, so First with either... or both. First is like the MSG of GMMTV, always improves the taste of any dish.

It might be fun to see Jimmy paired with Prem. But in all honestly I really want a Jimmy + Khaotung thing to happen.

I think Mix has some BDE too, so I think he should play the seme for a change, why not him and Prem?

As for Boun, I think he's a little more dependent on the pairing. It's hard for me to imagine him with someone else. Lemme think. Someone with a very soft screen presence, maybe? How about Gun?

Heh he, now I'm just winding ya'll up.

Let me have my foibles.

#fun fun speculation #thai bl #bl industry chat #BounPrem #gmmtv #thai bl branded pairs #smart move gmmtv very smart

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redbatchedcumbermayned · 15 days

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It all started under a duvet held up by an oar

Not so long ago I emailed Chris Tester, the voice of Heinrix van Calox in Owlcat’s recently released CRPG Rogue Trader, and asked if he would like to sit for an interview with me. Having some experience in interviewing people I like, most famously Oscar winner and all-around sweetheart Eddie Redmayne, this was not a completely nerve-wracking endeavour. And within a day of sending my email, Chris said yes. And what a pleasure it was interviewing him: Chris was so generous with his time, that the agreed upon 30 minutes turned into 50 minutes as we brushed upon many topics from his start as a theatre actor to his first voice-over role in a video game to his recently discovered hobby of playing D&D. Of course, we also spoke about all things Warhammer 40k, his new found fame brought on by voicing Heinrix and the insights he could share about the character.

I will publish this interview in three parts over the next week in text form and with the accompanying audio file (the audio quality is not spectacular but tumblr limits uploads to 10MB). If you quote or reshare, please quote me as the original source.

Part 2 of the interview

Part 3 of the interview

Fran: Thank you very much for taking your time.

Chris Tester: That's no problem. No problem at all.

F: So then let's start. You graduated in 2008.

CT: I did. Yes.

F: You started out as a stage actor. Did you always want to become a stage actor or an actor in general? Tell us a bit about your career.

CT: I always wanted to be a stage actor. Yes, as soon as I knew that I wanted to be an actor, which probably wasn't until I was a teenager. But yeah, my first passion was always the stage, and that was kind of borne out in my career. I would have been open to TV and film of course, if it had come along, I'm a huge fan of TV and film as well, but I never got an audition for any TV or film work.

I think I literally did about three short films in my 10, 12 years of actually professionally acting, and it is one of those industries where the more you do of one thing, the more you seem to find yourself doing the same thing to a degree. So yes, watching Shakespeare from an early age was one of my first passions.

And that was what first planted the seed of wanting to do it myself. The whole aspect of live performance is still something that I'm very passionate about. Up until 2020, when the world changed, I was trying to do two or three theatre shows a year, but since 2020, I haven't been near a stage and I doubt right now, especially with the way that the UK theatre scene is going, that I'm going to be back on stage anytime soon. I am resigned to that, but at some point in my career, I know I will be on stage again, because I can't live without it, but only for the right thing, both financially, but more importantly, creatively.

F: Your production company is currently on hiatus?

CT: I was the producer of a theatre company, which was run and was the baby of the director of the company, a guy called Ross Armstrong, who's one of the most talented writers and directors that I've ever worked with. I was helping out with a lot of the administration stuff so that he could still put me in plays. Instead of creating my own work because I'm not a very good writer or the best writer in the world, I support those people who will write me good parts. So yes, it is currently on hiatus, but never say never, we would always be looking to get back. It's difficult right now. It's difficult for all of us, because arts council subsidy, that way of being able to fund stuff, is drying up. We were doing a national tour of the UK when we were doing that [with the support of a subsidy]. There's even less money, there's even more people. I won't bore you with anything more than that, but it's kind of tough. We'd like to come back, but in the right way, and that's tricky to negotiate.

F: It's always hard as a stage actor to earn a living.

CT: Well, I've been spoiled by voice-over as well, and whereas when I was in my 20s and 30s then you're all about your art. And of course, I'm still all about my art, but I'm also about my wife and my cat and the mortgage and the bills and wanting to have nicer things to a degree as well. I've come to terms with that and voice-over does facilitate that as well as it opens you up to different roles and working with different people. So, I can't complain.

F: It's quite similar with making a living as a writer, because with a steady income you get used to a certain standard of living and once you have obligations and bills to pay, I think the stress on your mental health being creative and having all the stresses of regular life thrust upon you brings with it a challenge.

CT: It's a cliche we can very easily fall into: if I'm suffering, then it means I'm an artist. And that's not necessarily very true. It very often means that the art that we create only reflects one aspect of our lives, and it's usually a very tortured one. I am also about having wider experiences and broadening myself out. Whereas I think when I was in my twenties, I was thinking a bit more like: Oh, I'll experience the world and life through my art and just purely through my art. Whereas now necessarily I need to have a life outside of it as well, and then I can justify like I have the life so that I can feed my art or not, whatever. You know, I'll be a better artist by having a bit of a life outside of it. Maybe.

F: But that's what your twenties are for.

CT: Yeah, indeed.

F: Doing the crazy stuff, doing the band stuff

CT: Yeah, yeah, exactly. So, there was certainly an aspect of that in my twenties.

F: So, what brought you to voice acting or voice-over work initially?

CT: Money. Video game stuff is kind of sexy and cool, and I'm a gamer, so that's important. Before I was a video gamer, I was a board gamer and off the back of that, I was a voracious video gamer, partly because I wasn't very good at team sports at school. I was always the person who was picked last in the football team. So that becomes part of your identity for better or worse. But video games, I was pretty good at, not amazing, but I was pretty good at, and I enjoyed it. And it gave me a different form of escapism as well, and off the back of that I always had an interest in them.

So, the very first voiceover job was a video game: Dark Souls, which is quite a big franchise. At that time, I was your very typically jobbing actor. My acting agent came in and said: I got something for you. And so, I went in with that. But it was only in 2016, 2017 that I realised it was something that you could actually do yourself. People had recording studios at home and they were contacting people directly, not just going through agents. Because I'd basically written to the same 20 voice agents in the UK, mainly in London for like eight years in a row and not received anything. So, you keep knocking on those doors hoping.

Before I'd even graduated from drama school, I'd burnt a CD and made these cases with my headshot on it and sent them all off at what at the time felt like great personal expense and didn't get anything for eight years in a row. So, I was a bit like, I'm obviously doing something wrong, but I don't really know what, because I'm doing these workshops and getting good feedback. Then I found out through a couple of online courses, that there were ways and means of doing it myself, and that was a bit of a game changer for me, and within six months of having started, I was earning more through voice work than the bar job and the box office job that I was doing combined. Within six months, I was kind of like: “I gotta quit because I'm actually holding myself back from things.” So that was quite a big shift.

F: Somewhere you said, you started out under a duvet and with an oar.

CT: Yeah. On my website, I do have an image of it. [Dear reader, I could not locate this elusive photo] I literally had to take the duvet off my bed and put it into the living room, which was the quietest space in my then shared flat. I also had to wait until after one flat mate had watched TV and another one had used the table that had their washing on it. One of my flat mates had stolen an oar from some night out and that was perfect in order to be able to erect it over my head and the duvet as a frame.

I did probably the first four or five months of voice recording like that. Probably about 10, 15 voiceover jobs that I actually got paid for, I was using that because it worked well enough. Since then, I've gone through various different iterations of a setup in the bedroom, to a setup in the hallway, to my current setup. In 2020 we moved to our first house, and this is the spare bedroom which I've had converted into a studio, which means my cat can be here asleep on me or near me getting fur everywhere, but it's fine. I can thrash around and I've got natural light to work in at the same time, which I find quite important. [Pictured below Chris' current setup.]

F: Very pretty. That's good. Guide us through a typical day of yours, if you like.

CT: Oh, sure. I mean, there is no typical day. And yet, and yet, and yet. A typical day for me is, because I am spending the vast majority of the day sitting in this room or somewhere close to this room, because I may need to record at short notice, because the vast majority of jobs are quite short notice. My priority is exercise for mental health more than anything. I've got some weights at the bottom of the garden, and I will get up first thing, and I will go there and I will do that after breakfast. And that's my minimal routine of physical activity done.

And then I'll come back, and this is so rock and roll. Now what I do is, I spend like an hour on LinkedIn. And that's what you dreamed of as a creative person. Isn't it as an actor? I spend time on LinkedIn regularly every day, because it's a really good networking place for a lot of my types of work, and first thing in the morning, I'm a bit mentally sharper. So that's when I come up with a quick post that may be inspired by a bit of content that I've made elsewhere. That probably takes about 20 minutes and then I spend another 45 minutes to an hour engaging with people and saying hi and introducing myself and asking questions, whether that's with video producers or game developers or documentary makers or pretty much anything and everything. There are a lot of people who are active at that time. And so I do it.

And then after that, if I already have some recording lined up, then I'll prioritise mid-morning, because I've warmed up physically a bit more then, and I'm focused. So, you're going through the scripts, annotating the scripts, recording the scripts, editing the scripts. But then there could be live sessions at any time within that as well. I try to keep hours from nine till six. But occasionally, like with Rogue Trader, that was recorded at various different times of the day because we had people in New York, we had people in mainland Europe, and we had people in the UK. So all different time zones, so that can happen at any time.

And then I try to do other kinds of bits and pieces of marketing whenever I've got free time to. I do use really exciting productivity hacks, like time blocking. Again, not something that as a creative individual, I was like: Oh God, this gets me so excited, because it doesn't, but it works. It's finding a system that works for you, but still has a certain kind of flexibility and fluidity. I'm trying to make sure that I get outside of the house, and that kind of stuff.

Recently, over the last year, I’ve started doing audiobooks as well. That long form type of thing is quite nice to be able to dip into because sometimes you don't record for two, three days. You don't get the work. Nothing’s coming in. So, you’re marketing, but it kind of connects you back to the performance side of things to go: I can do a few chapters and you know, that kind of thing. So that's probably it. I try to formalise it, but you know, every voice actor’s day is radically different. There are people, some of the biggest names, going into different studios every week or every day. I very rarely, despite being based in London, I very rarely go into external studios. Like I would say 99 percent of the work I just do from home.

F: So how do you find the right voice for the specific type of voiceover work you do, maybe start with how did you find Heinrix's voice?

CT: Thankfully, Owlcat sent through quite a detailed casting breakdown. So, you get a picture, and that's pretty crucial, as well as a short bio, in terms of the background of the character, but not too much, because you have to sign an NDA, a non-disclosure agreement. But even if you do sign an NDA, I think developers are always slightly hesitant of giving you too much info about the game because things could still be changed. But I think I did get a picture of Heinrix, if not in the first audition, then certainly on the second one. From that you immediately think about the physicality and what might affect the voice, and there was also some direction in terms of what they were looking for. Anybody who has heard the character and me, they do not sound radically dissimilar. There's not a transformative process that I needed to go through, other than his sense of authority and the space that he takes up and the sureness that he has in that he has a kind of divine right from the emperor, so that level of confidence being brought through.

The other part of the audition was about the void ship [the Black Ship] that he'd been raised in and the horrors that he'd seen. And you as the actor have to do the detective work to go like this is showing another side, the more vulnerable side, the side that underpins all of his life choices up to this point. It's essentially playing the opposite to a degree. So it was kind of knowing when to let those elements bleed through a little bit. I think I had probably about a page worth of scripts, quite a lot of script actually to audition with.

But I don't like to listen back to it a lot, because I think you get into your head. My biggest thing is stage work where it's ephemeral. You say it once and it could be different the next night. The whole point is that there's no one definitive way of doing things. Not quite the same with voice acting, where it's being recorded and you've got to get used to hearing it back. But I try not to overthink it. Just like record it two or three times with different impulses and then review and go like, those two seem pretty contrasting. I'll send those along and hope and then never hear anything back unless I do.

#chris tester #heinrix van calox #rogue trader #warhammer 40k #rouge trader crpg #owlcat games

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kareblog · 1 year

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shuttershocky · 14 days

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Penny for your thoughts about this thread? Just wanna hear some more opinions from people who work in the industry.

I don't want to fucking talk about pricing and monetization and markets and how F2P live service titles have warped the industry beyond recognition anymore.

The insights look good (of course they look good, this guy literally worked with Square Enix) I just can't fucking take it anymore I know what he says before I even finish reading the tweets and it's reminding me of how I started getting into learning game development in 2010-2011? (I don't remember anymore it's been that long) and EVERY SINGLE TALK AND MEETUP AND LECTURE WAS ABOUT MONETIZATION (to be fair, my local industry was a small one that could only really support mobile back then)

I watched all of this happen. I saw how the mobile industry's designs slowly bled out of mobile and into the AAA industry, warping it forever. I was in college when I first learned what minnows, dolphins, and whales were and why your games ought to be fishing for whales. I watched Team Fortress 2 go from a premium game you got all the content at the start to introducing lootboxes (they popularized that shit outside the gacha sphere btw, people blame Overwatch, but TF2 started that trend) to going F2P. I've been an active Dota player since 2012, meaning I was there when the concept of Battlepasses were first birthed into the world during 2013's The International 3 and which made other companies realize live service titles could gain yet another psychological hold on people to add on to World of Warcraft's skinner boxes.

"We are seeing standard singleplayer games no longer able to gain new audiences as they are crowded out by increasingly growing live service titles like Fortnite" "Why would someone spend 60 dollars to play FF16 for 100 hours when they could continue playing Fortnite and Minecraft and Roblox for free where all their friends are"

I have seen all of this before I remember when Overwatch first came out in 2016 a peculiar statistic was that almost every popular title at the time saw their playerbase drop as everyone moved to Overwatch, EXCEPT for Dota 2's because of how hard Valve had captured their audience to the point where they would not play other games. Of fucking course everyone else learned that was actually an incredibly efficient way to make money forever and they should do that too (except Dota was free and had all characters and all game mdoes unlocked for free, but these other games would now ask you for 60 dollars to play as 4 guys with a 100 hr grind for the rest)

I might feel a little unhinged right now because I have worked for two weekends straight and it's a Sunday night (EDIT - put it in drafts and it is now Monday and I am at work) and I'm still at work working on video games and tomorrow will be Monday and another work week working on video games where if we don't sell our upcoming titles my job is toast but fuuuuuuccckkk dude I just wanted to help make things that people would find fun

Capitalism and corporate greed (but I repeat myself) has twisted an industry that was already shitty in the 90s to be something hideous and completely hostile to the idea of creatives being able to make games that are meant to be played, finished, and remembered fondly and even wholly single player one and done experiences like Insomniac's Spider-Man games need to fill themselves up with checklists or else their audience will claim they got ripped off because the time they spent on it was simply not worth the money which STILL happened with Spider-Man 2 anyway

I'm not against live service games as a concept I love seeing a title like Dota get constant support since 2011 (or 2003ish if you want to count the original WC3 mod) and witness it grow and evolve with the times but I hate how it's become increasingly difficult for other games to exist.

I don't actually have a point to make here I'm just rambling. FF7Rebirth was fucking great though (and I hated FF7Remake as a game) so I hope it actually makes its sales target eventually so it doesn't scare Square into adding even more bullshit filler or worse into the 3rd game. I need to play Vincent Valentine with Rebirth's combat system. it's not a want, but a need. A thirst even.

#Locking reblogs because every time I make one of these posts it leaves containment and i get gamers who don't know what theyre talking about

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jcmarchi · 3 months

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Benefits of using artificial intelligence in online pokies. - Technology Org

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n7cloacadestroyer · 2 months

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"ACAB applies to Garrus"

I've heard this independently 3-4 times over the past week, and it strikes me as such an odd thing to say. Not because it isn't true--we know Garrus wasn't above working a suspect over if he thought it would make them talk. Like, he wasn't just a cop, he was kind of a dirty one. Not in the same way as someone like Harkin, but definitely in the "you better hope his hunch doesn't lead him to you or you're getting beaten with a rubber hose until you tell him what he wants to hear" kind of way. Which is arguably just as bad, if not worse.

No, the reason it's such an odd thing to say is that ACAB honestly applies to about half of the characters in the visible universe of Mass Effect. It's a very "save us, military industrial complex," sort of narrative in many respects--up to and including the part where all the politicians and diplomats basically have "beta cuck," or "dick dastardly's understudy," tattooed on their forehead with very few exceptions.

That's just something you have to accept if you want to enjoy the series. It's a star war, not an insightful commentary on power structures and the abuse of the people therein.

If you want to evaluate it as one, then there are quite a few bigger fish in this particular pond. The Citadel Council alone is one of the most abusable legislative mechanisms conceivable, and admission to their ranks is predicated solely on approval by the current Council. The council whose individual votes would be weakened by adding another member. Not to mention that the idea of an individual speaking for their entire species is bananas on its face.

And not to put too fine a point on it, but Shepard is a fed. Like, a "clandestine intervention and special operations" kind of fed. ACAB absolutely applies to them too.

The Point™: The Mass Effect universe was created solely to facilitate a role playing game in which the player had more narrative freedom than was typical of AAA titles at the time. If you apply any degree of knowledge regarding sociology or political science, the thing falls apart faster than the M-44 Hammerhead. Basically anybody who has spent more than five minutes thinking about it could tell you that. Anybody can also tell you that if the game mirrored an effective and equitable political process, there probably wouldn't be much call to splatter some faceless space pirate against a wall with your dark energy mind powers. If you want to be all cinemasins about it, that's your call, but I don't think you would make a very good action game going about it that way.

I'm not trying to say that you're wrong if you don't like Garrus. It's a matter of opinion, first and foremost. There are valid reasons to dislike him. Like his elevator conversations, for example. But it's more than a little disingenuous to pretend he is uniquely or egregiously problematic in his abuse of power while we control Commander Shepard--the literal avatar of abusing their power with little to no consequences.

#op #mass effect #commander shepard #mass effect trilogy #mass effect lore #garrus #MELE #mass effect legendary edition #garrus vakarian #mass effect politics #meta #text

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