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{
  "PageContent": "<h3>mylab – super sharing space</h3>Uma campanha de livros para desenhar videojogos. Com o titulo “Designing Game Play” e com o texto de apresentação: “Pay what you want to become a bona fide game developer with the Designing Gameplay Bundle from the experts at Taylor &amp; Francis! Start formulating your own one-off board games, design custom VR experiences, learn to publish video games, and so much more. Soak up all the good stuff from informative and entertaining game design ebooks.”.Da lista faz parte:“C# Game Programming Cookbook for Unity 3DDigital LoveDoing Things with GamesFreelance Video Game WritingGame Dev Stories Volume 1Game of X v.1Game of X v.2Games as TextsGesture DrawingHolistic Game Development with Unity 3eJavaScript for Sound ArtistsLove and Electronic AffectionMaking it HUGE in Video GamesPassion and PlayThe Board Game Designer’s Guide to Careers in the IndustryThe Board Game Designer’s Guide to Getting PublishedThe Craft and Science of Game DesignThe Publishing Challenge for Independent Video Game DevelopersVR Developer GemsWe Deserve Better Villains”+infos(oficial): LINKMais um texto interessante e para arquivo intitulado “Your Game Doesn’t Need More Features — It Needs More Focus” por Infiniteswipelabs.Do texto surge:”When we first started building Banana Bounce: Monkey Dash, the idea was delightfully simple.You’re a monkey. You bounce between trees. You collect bananas. That’s it.The core loop felt fun, quick, and sticky. The monkey would bounce, collect bananas, and rack up points. But as with most indie games, things didn’t stay simple for long.We thought the game needed more. More features. More systems. More everything.So we added:A banana magnet to pull in nearby bananasA banana shop to unlock itemsCustom banana skins for the monkeyA banana power-up that triggered a shieldAnd of course, a full banana rewards systemBefore we knew it, our focused little banana game had turned into a cluttered jungle of mechanics that didn’t blend well.And the worst part? It stopped being fun.“Just One More Feature” SyndromeEvery indie developer faces this.You’re building your game in Unity, and you think, “What if we just add one more mechanic?”In our case, we kept stacking systems.Each one seemed cool on its own:A slow-motion banana power-upAn upgradeable monkey dash moveDifferent jungle monkey skins with unique animationsA fancy banana shop UIEven an extra life system linked to Unity rewarded adsIt all looked good on paper. But when we tested the game, new players were confused.“What do I actually do?”They didn’t know where to focus. They didn’t know why they should care. The joy of a simple monkey jump was gone.Rediscovering the Fun: Focus Over FeaturesSo we did something painful.We cut.We sat down and asked: What is Banana Bounce: Monkey Dash really about?Answer: The bounce.The timing. The rhythm. The satisfying boing between tree trunks.We stripped away every element that didn’t enhance that feeling.The banana magnet? Reworked to feel like a reward, not a crutch.The banana shop? Simplified. No upgrade trees. Just clean unlockables.The monkey skins? Streamlined for visual flair — not stats.The banana power-up? Made it momentary and impactful.We turned our attention to what truly mattered: the monkey, the bananas, and the bounce.Play Now: Banana Bounce: Monkey Dash — Apps on Google PlayThe Beauty of Simplicity in UnityThis game was built in Unity 2D, using simple Unity prefabs, animations, and a tight gameplay loop.Become a memberInstead of building sprawling features, we polished the feel:We refined the Unity jump mechanic to make the monkey bounce snappier.We optimized monkey animation transitions to enhance responsiveness.We reduced unnecessary code and used Unity PlayerPrefs to save banana rewards and unlocked monkey skins.We focused on Unity mobile game performance, keeping build size light and frame rates high.We added Unity rewarded ads only where it made sense — to revive the player after a fall or unlock a new banana skin.This wasn’t just game development. It was restraint.Players Don’t Want Features — They Want FeelingOnce we simplified and polished the experience, we noticed something wild:Players were hooked.They understood the game within seconds:Tap to make the monkey jumpAvoid snakes and trapsCollect bananasSpend them in the banana shopUnlock cool monkey skins and bounce againNo tutorials. No confusion. Just a simple Unity game with satisfying feedback and progression.Our retention numbers improved. So did our reviews.One player said:“It’s like Doodle Jump meets Don’t Touch the Spikes — but with a monkey that actually feels alive.”Banana Bounce: Monkey Dash Is What It Was Meant to BeBy the time we released the final prototype, Banana Bounce: Monkey Dash had become something we’re truly proud of:A fast-paced, endless runner built in UnityFeaturing a lovable monkey characterDesigned around responsive monkey bounce mechanicsWith a simple banana rewards systemAnd monetization through Unity rewarded ads, done ethicallyWe didn’t ship everything we dreamed of.We shipped everything that mattered.Final Thought:When in Doubt, Trim the TreeThe biggest lesson we learned?Don’t bury your fun under features.If you’re making a Unity mobile game, especially a 2D casual title — focus.Your game doesn’t need a crafting system. Or 100 skins. Or five currencies.It needs one mechanic that players love.In our case, it was the monkey jump.The simple joy of watching a jungle monkey bounce between trees, grabbing bananas, and laughing when it missed.That’s it.That’s the game.That’s the feeling.TL; DRBanana Bounce: Monkey Dash is a Unity 2D mobile game where a monkey jumps between trees to collect bananas, unlock banana skins, and dodge obstacles. Built with Unity prefabs, smooth jump mechanics, and simple animations, it focuses on what makes games addictively fun. No fluff — just bounce.”+infos(fonte): LINKUm texto intitulado “First Attempt in Making Game Design Document for Endless Runner Game” por Audrysaskianisa“Hi everyone, I’m Saski, and this is my very first post on Medium. It feels a bit funny because I almost never publish my writing, but the first piece I’m putting out happens to be about my thoughts on designing a super simple game. It’s my way of challenging myself.What’s interesting (and kind of amusing) is that lately I’ve grown curious about exploring the side of me that loves playing games, wondering what it would actually be like to design one or how do I even create a gaming experience that feels genuinely fun to play? So here I am, sharing my very first concept!Game Title: Relief of SpiritsThe idea came from something simple: I just wanted to create a fun endless runner game, but with a local Indonesian twist. Eventually, I thought why not bring in our local ghost or spirit stories? In Indonesia, these tales often carry a layer of sadness behind the horror. Many spirits are believed to be victims of trauma or violence, and because their burdens were never lifted, they linger, angry, emotional, and restless, haunting the living.My goal is to use that narrative as a way to build empathy. Through a simple and engaging game, I want players to experience these stories not just as “scary folklore,” but as reflections of human trauma, delivered in a way that feels approachable, meaningful, and not boring.Core fantasyGoes upward thru haunted indonesian landscapes while being pursued by restless spirits (kuntilanak, pocong, …). Survive their attacks and uncover their backstories, helping them find peace.Narrative designA young shaman tasked with guiding wandering spirits to peace. But before they can move on, their anger &amp; sorrow manifest as attacksLoop →Encounter a ghostSurvice waves of attacksAttack back the ghostIf the player last long enough, they can pull cards/tarots and get a rewardIf the ghost defeated, it will be cleansed and the story of the ghost revealsGhost transition from vengeful to peaceful → ascendingTone → Not just horror, but also focus on empathyGameplay designCore Loop →Run upward endlessly through haunted environmentsAutomatically dodge attacksSurvive bullet hellCollect spiritual energy while dodging or attackingUse the energy to perform rituals that weaken the spirits furyProgression →After completing enough phases, the ghost/spirit’s story is revealed in a cutsceneClearing a ghost adds them to player’s Spirit Codex where the player learns about indonesian folkloreLevel designEndless levels themed by folklore →Haunted rice fields at night for mrs. kuntiDense jungle with glowing eyes for mr. gandaruwoGraveyard with hanging clothes for mr. pocong mr. pDynamic difficulty →Early stage: Simple bullet waves by easier ghost attacksLater stages: Overlapping bullet hell patterns by the bossesSystem design:Player progression →Collect spirit shards/pieces/cards to unlock new talisman/stones for abilities or cosmetic outfitsEach ghost defeated unlocks lore or spiritual blessings and provides small passive upgrades like slower bullets, etcGoals →Unlock all spirit (just make them 3) and help them ascendCollect folklore entries in codex (mini-wiki indo ghosts, written in a fun storytelling style)Control design:Drag to move →Touch and drag finger to avoid attacks: player follows that positionActions →Tap: use talisman/abilityDouble tap: quick dashMetrics design:Average run times 3–6 minutesUnlocking all ghosts + learning folklore storiesReplayability: endless difficulty rampUnique twist:Helping restless spirits move on. Each boss (super ghost) has an emotional arc, so the game balance tension with empathetic storytellingSo, my reflection so far on designing a game is this: to design a game, you really need to understand a little bit of everything. My background is in product design, so thankfully I’m used to wearing many hats, product design itself isn’t just about the “look” of a product, but also about math, physics, anthropology, ethnography, psychology, and even engineering.The big takeaway for me is that whether you’re a product designer, a UI/UX designer, or a game designer, you need to pay close attention to details, at least to some degree in every aspect.This game design project is, of course, still a work in progress since I haven’t yet touched the environment design or weapon assets. But I’m genuinely enjoying the process of concept designing so far. I’ll catch up again later with more progress!”+infos(fonte): LINKSam Liberty disponibilizou um post com o titulo “What Game Designers Don’t Know About Flow“.Do texto surge:“Every year in my game design class at Northeastern, I teach Csíkszentmihályi’s concept of flow. It’s a standard part of the curriculum, featured prominently in Tracy Fullerton’s “Game Design Workshop” that we use as our text.My students always get excited about it. I can tell by the energy in the room — it’s like they’ve discovered some secret cheat code for designing fun. But then an interesting thing happens: all their questions focus on just one aspect: balancing challenge against player skill. They fixate on that elegant diagonal “flow channel” diagram showing the sweet spot between anxiety and boredom.It’s not just students, either. Virtually 100% of discourse around Flow in professional contexts is *also* about the challenge/skill relationship.I get it. The diagram is compelling, and the idea is intuitive. But in our obsession with this single aspect of flow, we’re missing the richness of what makes games truly engrossing.The real power of flow theory lies in the elements game designers rarely discuss (because they’re harder to implement):Clear Goals and Immediate FeedbackFlow requires knowing exactly what you’re trying to achieve and getting instant information about how well you’re doing. Most failed games have murky objectives or delayed feedback loops.Exemplar: Tetris. Could goals be any clearer? Complete lines to clear them. Every action produces immediate visual and audio feedback. Each piece placement feels consequential. The simplicity of this feedback loop is why people are still playing it decades later, despite (or perhaps because of) its minimal design.Concentration on the TaskFlow demands uninterrupted focus. Every notification, UI popup, or feature competing for attention actively works against this state.Exemplar: Vampire Survivors. This game understands concentration brilliantly. Once a run begins, there are almost no interruptions. No tutorials, no dialogue boxes, no achievement popups during active gameplay. Just continuous, absorbing action. The only decisions (leveling up) are quick, meaningful, and then you’re immediately back to the core loop. Its success despite ultra-simple graphics demonstrates the power of unbroken concentration.Merger of Action and AwarenessThis is the “zone” where play becomes automatic and effortless. Your intentions translate to actions without conscious thought. It’s the feeling of being one with the controls.Exemplar: Hades. The fluid combat system in Hades exemplifies this principle perfectly. After a few runs, attacking, dashing, and using abilities becomes second nature. The controls fade from consciousness, and you’re simply expressing your intentions directly through the character. When you’re deep in a chamber clearing enemies, there’s no separation between thought and action — you’re simply flowing through the combat.Loss of Self-ConsciousnessFlow involves forgetting yourself entirely. Your ego and concerns about how you look or perform temporarily vanish as you merge with the activity.Exemplar: Civilization. The famous “one more turn” phenomenon in Civ games demonstrates this principle perfectly. Players become so absorbed in managing their empire that their self-awareness dissolves completely. You’re not thinking about yourself anymore; you’re simply embodying the role of a leader guiding a civilization through history. Hours disappear because you’ve stopped being conscious of yourself as separate from the experience.Transformation of TimeWhen was the last time you designed explicitly for time distortion? Yet this is one of flow’s most distinctive features.Exemplar: Any casino game. Casino designers are masters of time distortion, though for arguably exploitative purposes. Slot machines eliminate all external time cues: no clocks, no windows, no day/night cycles. They create rhythmic, hypnotic patterns of play with occasional variable rewards. The carefully calculated timing between spins — not too fast to drain players quickly, not too slow to break the trance — represents a deliberate manipulation of time perception.Beyond Difficulty CurvesI’m not saying we should abandon challenge balancing. But focusing exclusively on it is like trying to bake a cake with just flour and ignoring all other ingredients.The next time you’re designing a game, ask yourself:Are my goals and feedback loops crystal clear?Am I respecting the player’s attention and concentration?Do controls and systems become invisible during play?Can players forget themselves while playing?Does my game’s structure allow time to fall away?These elements of flow are harder to implement and measure than simple difficulty adjustments. They require a holistic approach to design that considers the player’s psychological experience above all else.But when you nail them all simultaneously, that’s when the magic happens. That’s when you create the kind of experiences players remember for a lifetime.When I ask my students to analyze their favorite flow experiences, they gradually realize just how multidimensional the concept really is.Dark Souls doesn’t put them into the Flow State because it’s difficult; it’s all the other things the game is doing right with it’s UI, exacting controls, and coherent atmosphere.Challenge balancing might get them in the door, but these other elements are what keep them playing far past bedtime.”+infos(fonte): LINKUma ferramenta a explorar para o desenho de níveis em 2D. O LDtk permite trabalhar como todos os games engines.Ainda não experimentei, mas vou testar em breve.+infos(oficial): https://ldtk.io/Outra ferramenta que serve apenas para cortar os tiles é a Webtyler:+infos(oficial): https://wareya.github.io/webtyler/Já estão planeadas as GameJams em 2026 em Portugal e que vão decorrer:ETIC_Algarve-GGJ26 – FaroGGJ 2026 @ Laboratório de Jogos – Técnico – LisboaLusófona University Lisbon GGJ2026 – LisboaUBI – Global Game Jam’26 – CovilhãVAM Lusófona Porto GGJ 26 – Porto+infos(listagem PT): LINKDe Espanha vem um exemplo que também deveria haver em Portugal, para ajudar a industria e todos aqueles que vão tentando desenvolver videojogos.Guias sobre diversos temas, para auxiliar empresas e/ou alunos que pretendem desenvolver videojogos, da lista desses guias surge:Propiedad intelectual e industrialAspectos laborales en el desarrollo de videojuegosEl seguro en el ámbito de los videojuegosDerechos de los consumidores, publicidad y protección de datosFinanciación de un videojuegoFiscalidad en el sector de los videojuegos+infos(oficial): LINKUm post para arquivo de Stonemaier Games:“I consume a LOT of tabletop game-related content. YouTube videos, podcasts, articles, Instagram, etc–I love hearing a variety of perspectives about games. I learn from them as a designer, they help to inform my decisions about what to play or buy, and they even increase my desire to get certain games back off my shelf and onto the table. As a publisher, their content helps to inform millions of customers we don’t reach directly.In short, I’m very grateful for tabletop content creators, and I want them to continue to exist, thrive, and grow.The majority of content creators do this as a hobby. With only a phone, anyone can create videos, write articles, record podcasts, and post photos without any additional or ongoing expenses. But once you start to level up to nicer equipment and make a more significant time commitment, there are costs involved. Plus, a rare few content creators have made this their job–to pay the bills, they need to make money from the content they create.So today I’ll explore some of the ways tabletop content creators currently generate some income, broken down into a few categories.General AdvertisingYouTube ads and Google AdSense: This is a common way to earn a little revenue from video or written content. Emphasis on “little”. After my email and YouTube channel were hacked earlier this year, I turned on YouTube ads for the first time, as I heard that might help me get faster support from YouTube if the channel was hacked again. I only activate ads at the beginning of my weekly long-form top 10 videos, and the monthly revenue has averaged slightly less than $200 per month (our YouTube channel has over 55,000 subscribers).Affiliate and Referral Links: I’m guessing these don’t add up to much, but perhaps they help in some cases.PublishersAs revealed in last year’s survey, it is exceedingly rare that a publisher might pay a content creator to post a review (opinion content). However, publishers support content creators financially in other ways that also must be disclosed by the content creator:sponsored playthroughs, previews, rules videos: There’s a variety of non-opinion content for which publishers will pay. For example, we pay Rodney to create Watch It Played rules videos, and this year we sponsored several content creators to make playthroughs of our games (with the special contingency that we get to add the video to our channel after they post it on theirs).sponsored segments (e.g., Secret Cabal, Shelfside): Just yesterday I was watching Shelfside’s video about Battle of Hoth, and a few minutes into the video there’s a 45-second sponsored segment filmed by Shelfside about another game, Conquest for the Capital. It didn’t feel like a commercial or interruption; rather, it felt like a little taste of another game I might want to learn more about.banner ads (e.g., Board Game Quest): If the content creator has a website, they can sell banner ads to crowdfunders and publishers. As a reader, I don’t mind these at all–there are so many games released and crowdfunded that I’d rather see an ad about them than potentially miss a great game.mention at the beginning of the video (“this channel is sponsored by”): I’m glad that some publishers pay for these mentions, though I doubt their effectiveness as compared to a sponsored segment about a specific product.visible product placement (tables, games in the background, etc): Repetition is a powerful tool–if I keep seeing a certain game, accessory, or table, I might try to learn more about it even if the content creator doesn’t overtly mention it.paid services via proof of talent: Some content creators use their platform as a showcase for skills that publishers are happy to pay for (photography, film, editing, graphic design). For example, we’ve worked with Tim Chuon as a photographer for many of our games.For all of these, the more data the content creator can provide to the publisher, the more likely they are to consider a sponsorship or paid ad. We need to be able to calculate the return on investment for our expenses.FollowersContent creators also receive financial support directly from the audiences they serve. Here are some options:There are also bespoke options like the Stonemaier Champion program, which started years ago to provide a way for people to support the hundreds of entrepreneurship articles and game design videos we post every year. It’s $15/year, and as a special perk, Champions save 20% on every Stonemaier webstore order.”+infos(post oficial): LINKUma campanha de assets para o motor Unreal. Com o titulo “Mega Game Dev Assets &amp; Tools” e com o texto de apresentação: “We’ve teamed up with ScansMatter to curate a bundle of ultra high-quality environmental assets for you this holiday season. Create big, beautiful scenarios within Unreal Engine using unique and clear preset environment kits designed to give you hyper-realistic settings: offices, abandoned airports, massive medieval markets, restaurants, and more”.Da lista faz parte:“Abandoned AirportAirport Security RoomAirport Terminal InteriorBrick Walls 01Concrete 04Construction EnvironmentConstruction Vehicles Vol1Crates &amp; Barrels KitGeneric Vehicle Kit Volume 1Large Medieval Market 3d EnvironmentMega Barriers KitOffice EnvironmentPlaster 04Roads 03Rooftop Asset KitSeating &amp; Beds KitServer Room EnvironmentShops &amp; Restaurant EnvironmentTrain Station 3D EnvironmentWalkway Platform KitWarehouse Environment”+infos(oficial): LINKUma campanha de assets e ferramentas para ajudar no desenvolvimento de videojogos. Com o titulo “Mega Game Dev Assets &amp; Tools” e com o texto de apresentação: “Save time, money, and effort on your next project with the Mega Game Dev Assets &amp; Tools Bundle! We’re offering a streamlining experience for your next development cycle with 40 ready-to-use asset packs—including hyper-realistic water effects with the Modular Swimming Pool Megapack, user-friendly interface creation with the Hyper Menu and Gamepad System v3, and a trip to the moon with the Space Launch Ground Control Command Center”.Da lista faz parte:“50% Discount Code Games by Hyper StoreBoard Game Room Interior Environment – ModularCosmos 1 month subscriptionCosmos 50% Discount CodeCyberpunk Billboards / Signs Set / 35 Unique Pieces ( Cyberpunk Billboards )Drivable Military Truck (Nanite)Driveable SteamPunk Car / Vehicle ( SteamPunk Car Retro Futuristic Victorian)Driveable Vehicle: Offroad Golf CartDriveable Vehicle: SeaplaneElectronics Mega Store Modular EnvironmentEssential VR Hands CollectionFreshwater Fish Collection ( Unreal + Unity )Game and Entertainment Area (Unity + Unreal)Games by Hyper 3 Month SubscriptionHeroRest | AnimationsHigh-End Sedan Car 02 Driveable / Animated / Realistic ( Car Cars Sedan Drive )Hyper Auto Landscape Material v3Hyper Menu and Gamepad System v3 [CommonUI]Hyper Mesh to Icon Creator v3Hyper Procedural Spline Toolkit v3Hyper Slot based Inventory V3Military Drone – Rigged/BP Controllable ( Military Drone Militarys Drone 3D )Military RocketsMilitary and tool BoxesModular Convenience StoreModular Swimming Pool MegapackOffice Space Megapack (Unity + Unreal)Pizza RestaurantPost-Apocalyptic Urban CityPunishment AnimationsRobot Wars FLY WHEELRobot Wars ThrowUpRocket Unreal Engine PluginSpace Launch Ground Control Command CenterSpace Telescope SimulatorThe Mansion PropsTire Repair Shop (Unity+Unreal)Valentine’s DayWarm ChristmasWillow Lake Biome Environment”+infos(oficial): LINKUma campanha para aprender a trabalhar com o game engine Unity. Com o titulo “Zenva Learn Unity in 2025” e com o texto de apresentação: “Go from gamer to creator with the Learn Unity in 2025 Complete Course Bundle! As the name suggests, this curated collection for the Unity Engine is a complete roadmap for your success. Each module covers a different genre of interest—take advantage of expert-led courses like Construct a Micro-Farming RPG in Unity, Create a 3D Turn-Based RPG in Unity, Build an Arcade Kart Racing Game in Unity, and more.”.Da lista faz parte:“2D Procedural Maps in Unity for BeginnersAction RPG Development in Unity for BeginnersBattle Royale – Unity Multiplayer ProjectsBuild an Arcade Kart Racing Game in UnityConstruct a Micro-Farming RPG in UnityConstruct a Mobile Physics Game in UnityCraft a 2D Idle Clicker Game in UnityCreate Your First 2D Game in UnityCreate a 3D Turn-Based RPG in UnityCreate a Retro Local Multiplayer Game in UnityCreate a Tower Defense Game in UnityDebugging Foundations for UnityDevelop a City-Building Game with UnityExplore Game Optimization in Unity 6Intro to ECS for Unity 6Intro to Game DesignIntro to Game Development with Unity (2025 Edition)Intro to Multiplayer Game Development in UnityIntro to Particle Systems for Unity GamesIntro to Rigging Models in BlenderIntro to the Game Development IndustryLearn 3D Modeling with Blender from ScratchLearn Version Control in Unity 6Level Design for BeginnersSurvival Game Player Mechanics in Unity for BeginnersThe Complete 2D Action RPG Unity CourseThe Complete 2D Roguelike Unity CourseUnity 3D Micro-Project – Point and Click RPGUnity Mini-Course – Extended C# Coding TechniquesUnity Mini-Projects – C# Fundamentals (2025 Edition)”+infos(oficial): LINKUma campanha assets, cerca de 100 para serem usados em Unity, Unreal e godot. Com o titulo “All-in One Game Dev” e com o texto de apresentação: “Build your worlds faster and bring your ideas to life with this massive collection of ready-to-use assets for Unreal Engine, Unity, and most major tools by Eldamar Studio. Unlock more than 13,000 assets, including 3D models, effects, UI, audio, textures, graphics, VFX, and more. No matter what kind of game you’re making—whether horror, fantasy, sci-fi, survival, or something completely unique—this bundle has assets for every style and setting. No complicated setup, no use limits—just drop the files in and start creating!”.Da lista faz parte:“10 Sci-fi Fonts100 Fantasy LUTs Pack100 Game Fonts Pack100 Gradient Backgrounds100 Horror Icons Pack100 Polygon Backgrounds100 Sci-Fi Icons Pack100+ Cinematic Post Processing Profiles For Unity2D Black&amp;White Game Pack30 HUDs Pack40 Ultimate Text Effects5000 Game Dev Icons Mega BundleAdventure LUTs PackAmbient SoundscapesAmbient Soundscapes – Vol.2Atmospheric Backgrounds CollectionAtmospheric LUTs PackCyberpunk LUTs PackDark Synthwave Music &amp; Samples PackDesert LUTs PackEldamar UI Sounds Vol. 1Eldamar UI Sounds Vol. 2Emotional Fantasy Music &amp; Samples PackFantasy Low Poly Pack – 2.0 (Updated)Food Low Poly PackForest Low Poly Pack – 2.0 (Updated)Futuristic Low Poly PackGrunge Textures PackHorror Game PSD UI KitHorror Low Poly Pack – 2.0 (Updated)Industrial LUTs PackLow Poly Interior Pack – 2.0 (Updated)Low Poly Modular City Pack – 2.0 (Updated)Low Poly Planets PackLow Poly Sci-Fi Pack – 2.0 (Updated)Low Poly Terrain Pack”+infos(oficial): LINKUma campanha assets, cerca de 100 para serem usados em Unity, Unreal e godot. Com o titulo “Leartes Studios Black Friday Mega Game Dev Bundle” e com o texto de apresentação: “Video games are nothing without detailed, atmospheric environments for your characters to move around in. Those can be tough to build from scratch, so we have the perfect solution: a bundle full of game development assets for every type of story and gameplay from the good folks at Leartes! This bundle of nearly 100 assets and asset packs for Unreal, Unity, and Godot has everything you need to design your neon-drenched cyberpunk city, your imposing fantasy castle, or your feudal Japanese village, along with nature assets for pine forests, jungles, and desert ruins”.Da lista faz parte:“Abandoned Swimming Pool Environment ( Unity Engine )Abandoned Swimming Pool Environment (Unreal Engine)Adventure Island (Unreal Engine)Asian Canal Environment (Unity Engine )Asian Canal Environment (Unreal Engine )Baker Character (Unreal Engine)Carpenter’s Workshop Environment (Godot Engine )Carpenter’s Workshop Environment (Unity Engine )Carpenter’s Workshop Environment (Unreal Engine)Character / Rigged / NPC ( Character Rigged NPC Rig Characters Animated 3D )Character / Rigged / NPC ( Character Rigged NPC Rig Characters Animated 3D ) (Unreal Engine)Chinese Lakeside Town Environment (Unreal Engine)Christmas Market (Unreal Engine)Classic Limousine / Driveable / Functional (Unreal Engine)Classic MotorBike / Driveable / Functional (Classic MotorBike Vehicle 3D Model)Classic MotorBike / Driveable / Functional (Classic MotorBike Vehicle 3D Model) (Unreal Engine)Classic Tram (Unreal Engine)Cosmos 50% Discount CodeCosmos One-month standard subscriptionCreating Abandoned Church 3D Environment in Unreal Engine 5Creating an Industrial Concept Art in Blender / PhotoshopCyberpunk Laboratory (Godot Engine)Cyberpunk Laboratory (Unity Engine)Cyberpunk Laboratory (Unreal Engine)Cyberpunk Megapack ( Unity Engine )Cyberpunk Megapack ( Unreal Engine )Cyberpunk Port City Environment (Unity Engine)Cyberpunk Port City Environment (Unreal Engine)Desert Planet Environment (Unreal Engine)Desert Ruins Environment (Unreal Engine)Driveable / Animated Construction Truck (Construction Truck Heavy Duty 3D Model) (Unreal Engine)Driveable Classic Car / Vehicle (Rigged Customizable) (Unreal Engine)FPS 4K Custom Modern Handguns – VOL.2 (Unreal Engine)FPS 4K Custom Modern Handguns – VOL.3, (Unreal Engine)FPS 4K Custom Modern Shotguns – VOL.3 (Unreal Engine)FPS 4K Western Guns – VOL.4 (Unreal Engine)Fantasy Castle Environment ( Unity Engine )Fantasy Castle Environment ( Unreal Engine )Fantasy Interior Environment ( Unreal Engine )Feudal Japanese Village (Unreal Engine)Haunted Village Environment ( Godot Engine )Haunted Village Environment ( Unity Engine )Haunted Village Environment ( Unreal Engine )Hemlock Forest / Jungle (Unreal Engine)Material Assignment Tool (Unreal Engine Tool Plugin)Medieval Market Environment (Unreal Engine)Nordic / Viking Landscape (Unreal Engine)Object Distribution Tool (Unreal Engine Tool Plugin)Old Workers Village ( Unreal Engine )Oriental Building Environment (Unreal Engine)Pickup Truck – Rigged/BP Controllable (Unreal Engine)Rocket Unreal Engine PluginSFX Car PackSFX Character LandingsSFX Cyberpunk GunsSFX Footsteps CrouchSFX Medieval Armor &amp; Body Impact PackSFX Medieval GoreSFX Medieval-Combat Weapons &amp; ImpactsSFX Post Apo DinerSFX Retail Checkout – Modern Coffee Shop Audio PackSFX SoulslikeSFX-Medieval Character MovementSUV 01 Driveable / Animated / RealisticSci-Fi Laboratory Environment (Unreal Engine)Sci-Fi Robot Factory (Unreal Engine)Sci-Fi Spaceship Hangar | Futuristic Industrial Dock Environment Pack (Unreal Engine)St Paul’s Cathedral (Unreal Engine)Stylized Ancient Temple (Unreal Engine)Stylized Christmas Amusement ( Unreal Engine )Stylized Christmas Market (Unity Engine )Stylized Christmas Market (Unreal Engine )Stylized Christmas Town (Unity Engine)Stylized Christmas Town (Unreal Engine)Stylized Fantasy Environment (Unity Engine)Stylized Fantasy Environment (Unreal Engine)Stylized House Interior (Godot Engine)Stylized House Interior (Unity Engine)Stylized House Interior (Unreal Engine)Stylized Japanese Shrine (Unity Engine)Stylized Japanese Shrine (Unreal Engine)Stylized Pirate Port City (Godot Engine)Stylized Pirate Port City (Unity Engine)Stylized Pirate Port City (Unreal Engine)Substance 3D Painter: A Complete Guide for BeginnersThe Pine Environment ( Unity Engine )The Pine Environment ( Unreal Engine )The Space Base in Red Planet ( Unreal Engine )Ultimate Level Art Tool – ULAT (Unreal Engine Tool Plugin)Ultimate Lighting and Camera Tool ( ULCT ) (Unreal Engine Tool Plugin)Unreal Engine 5, Blender – Creating a Classroom EnvironmentVFX Blood (Unreal Engine)VFX Dust (Unreal Engine)VFX Explosion (Unreal Engine)VFX Smoke (Unreal Engine)Water VFX (Unreal Engine)Watermills / Nature Environment (Unreal Engine)Yellow Parrot Restaurant (Unreal Engine)ZBrush: Beginner to Advanced Course on Three Miniatures”+infos(oficial): LINKUma campanha de mapas para serem usados em videojogos ou jogos. Com o titulo “Map Making Mega Bundle Encore” e com o texto de apresentação: “Passionate about building maps to great game worlds? Say hello to the Map Making MEGA Bundle. Whether it’s starships and solar systems, entire worlds, historical maps or fantasy floorplans, this treasure trove of assets and apps has what you need for your cartography. It includes practically everything either released by map-making experts ProFantasy Software, including the latest CC3+, Cartographer’s Annual Vol. 1–17, every symbol set, dungeon, city and overland app they’ve ever released”.Da lista faz parte:“Campaign Cartographer 3+ Lifetime LicenseCartographer’s Annual Vol 1Cartographer’s Annual Vol 10Cartographer’s Annual Vol 11Cartographer’s Annual Vol 12Cartographer’s Annual Vol 13Cartographer’s Annual Vol 14Cartographer’s Annual Vol 15Cartographer’s Annual Vol 16Cartographer’s Annual Vol 17Cartographer’s Annual Vol 2Cartographer’s Annual Vol 3Cartographer’s Annual Vol 4Cartographer’s Annual Vol 5Cartographer’s Annual Vol 6Cartographer’s Annual Vol 7Cartographer’s Annual Vol 8Cartographer’s Annual Vol 9Character Artist 3City Designer 3Cosmographer 3Dioramas 3Dungeon Designer 3Fractal Terrains 3+Perspectives 3Source Maps: Castles!Source Maps: Cities!Source Maps: Temples, Tombs and Catacombs!Symbol Set 1: Fantasy OverlandSymbol Set 2: Fantasy FloorplansSymbol Set 3: ModernSymbol Set 4: Dungeons of SchleySymbol Set 5: Cities of SchleySymbol Set 6: Isometric CitiesToken Treasury: Monsters 1Token Treasury: Monsters 2Tome of Ultimate MappingWorld Builder’s CompendiumWorld War 2 Interactive Atlas”+infos(oficial): LINKUma campanha de assets exclusivos para o Unity. Com o titulo “Bad Asset Bundle unity exclusive 14 mega pack ” e com o texto de apresentação: “Add a little spice to your holiday whether you’re naughty or nice with the hottest, BAD ASSets, around! This Unity-exclusive collection has everything you need to build stylized settings that are perfect for a variety of genres—run your own theme park with the Carnival, explore the dark and moody Gothic Interior Megapack, or a horror-ready Apocalyptic Hospital, and much more”.Da lista faz parte:“THE CARNIVALApocalyptic HospitalGothic Interior MegapackFeudal Japan MegapackPharaoh’s Legacy: Egyptian TempleGothic ExteriorDecay: Oil Drums DistrictMedieval Village MegapackElven Oak VillageStylized Village FatpackFantasy Gothic PackThe Bazaar (Market)Cyber-townAsian Temple Pack”+infos(oficial): LINKProcura-se um Systems Game Designer (Lisboa/Portugal) pela Funplus/Studio Ellipsis em modo presencial, em que:”What You’ll DoDesign, tune, and balance core gameplay systems that drive progression, resource flow, and dynamic world behaviors.Translate high-level design goals into clear, scalable systems that connect mechanics, player motivation, and content.Model dependencies and feedback loops between AI, combat, economy, and world systems to ensure long-term balance and emergent variety.Work closely with engineering and data teams to implement tunable, data-driven frameworks that can scale efficiently.Analyze telemetry and playtest data to validate assumptions, identify edge cases, and optimize player experience.Establish clear system documentation and parameter hierarchies, ensuring other designers can build within your frameworks.Collaborate cross-discipline (Combat, AI, Content, Technical Design) to maintain systemic coherence and design consistency.Champion systemic thinking within the team, promoting elegant solutions, simulation-minded design, and measurable outcomes.What You Bring5+ years of experience in systems or economy design on at least one shipped title.Proven ability to design and balance interconnected systems with multiple inputs, dependencies, and player variables.Strong understanding of data-driven design workflows parameter tuning within Unreal.Analytical mindset: translate qualitative goals into quantitative balance models.Clear communication skills, able to convey complex system logic visually &amp; persuasively.A genuine fascination for how systems behave, in games, and real-world dynamics.Experience designing and implementing gameplay systems in Unreal Engine.Shipped at least one game using Unreal Engine.BonusExperience with procedural content generation or systemic encounter frameworks.Familiarity with combat-driven or extraction-style PvEvP ecosystems.Understanding of AI behavior dependencies, rarity systems, and scaling logic.Background in mathematics, data analysis, or systems architecture.Familiarity with the Gameplay Ability System (GAS) and its application to multiplayer.”+infos(oficial): https://funplus.com/ ou https://www.studioellipsis.com/Procura-se um Combat Game Designer (Lisboa/Portugal) pela Funplus/Studio Ellipsis em modo presencial, em que:”What You’ll DoImplement, tune, and balance combat systems, weapons, abilities &amp; enemy behaviors.Own the feel of combat: responsiveness, hit timing, recovery, rhythm, etc.Calibrate interactions between player mechanics, AI logic, and camera to achieve a clean, deterministic combat model.Maintain and evolve combat parameters: damage curves, stamina systems, tracking logic, invulnerability frames, and cooldowns.Build, document, and maintain data-driven balance frameworks for PvE and PvP encounters.Partner with Animation, Engineering, and AI teams to refine movement fidelity, impact feedback, and rhythm.Analyze playtest data and player telemetry to validate tuning, surface edge cases, and evolve the meta.Ensure every weapon, archetype, and enemy type has a distinct combat identity and tactical role.What You Bring5+ years of experience in combat or systems design for 3rd-person or action titles (PvE and/or PvP).Deep understanding of melee and ranged combat design fundamentals — spacing, timing, recovery, and player feedback.Proven ability to tune deterministic combat systems for balance and consistency across latency and skill tiers.Strong grasp of camera, lock-on, targeting, and animation-driven gameplay.Experience with combat data management: tuning tables, curves, and debug visualization.Fluent in Unreal Engine (Blueprints, DataTables, tuning workflows).Analytical mindset — able to diagnose subtle feel issues through metrics and iteration.Comfortable working within clear design direction and taking ownership of executional detail.Experience designing and implementing gameplay systems in Unreal Engine.Shipped at least one game using Unreal Engine.BonusExperience creating PvPvE or extraction-based combat ecosystems.Knowledge of AI behavior trees, modular encounter systems, or systemic combat scaling.Understanding of competitive tuning and meta evolution in skill-based games.Background in combat animation timing, root motion, or motion matching.Familiarity with the Gameplay Ability System (GAS) and its application to multiplayer.”+infos(oficial): https://funplus.com/ ou https://www.studioellipsis.com/Procura-se um Lead Game Designer (hibrido/Portugal) pela Scopely em modo hibrido, em que:”Scopely is looking for a superstar Lead Game Designer to join our Star Trek Fleet Command team in Dublin or Barcelona on a hybrid or remote basis.What You Will DoAs a Lead Game Designer on STFC, you’ll own the standards, direction, and experiences that define how millions of players experience growth and mastery across our monthly content releases and beyond.Become the design owner and leader behind our content pipeline, directing designers and live ops specialists in crafting compelling experiences for our playersGuide teams through the creative process, ensuring they can hit the vision of the game and deliver upon player and product needs with accuracyGet your hands dirty through direct involvement in building and refining novel gameplay experiences focused on resource generation, spending, time gating, and power growthCreate systems that foster meaningful player agency and long-term investmentManage and mentor designers in systems and economy design to elevate our standards and craft incredible experiencesShape the design process to ensure the standards of players are met and exceededUse tools (Excel, Google Sheets) to model economies and progression pacingCollaborate with Experienced, driven and passionate Designers, Product Managers, Analysts, and Engineers to implement features which aim to advance the genreEvaluate performance using data, player feedback, and your own playtest experienceDesign for scale: plan for long-term content extensibility and system healthWhat We’re Looking For2+ years of game design leadership experienceProven experience in F2P systems design and progression modelling8+ years of experience designing systems or economies for live, F2P games (preferably MMO, 4X, or strategy genres)Confident people manager and mentor, that is able to grow &amp; nurture talentExperience with all aspects of game design discipline: concept, game progression, interface, monetization, and retentionA proven track record of delivering features that balance player fun, engagement, and monetisationAbility to translate KPI targets and data into design direction for teamsMastery of spreadsheets and confidence in balancing power curves, pacing, and resource flowExperience working cross-functionally and navigating live production environmentsA positive, thoughtful, and collaborative approach to game developmentBonus PointsDeep understanding of the 4X genre with specific experience in F2P 4XFamiliarity with SQL, scripting, or simulation toolsLove for Star Trek, sci-fi, or highly strategic social gamesPrevious work on alliance or co-op systems in large-scale games”+infos(oficial): https://www.scopely.com/Procura-se um Game Systems Designer (Strategy/Political Simulation) (Porto/Portugal) pela Top Sigma Studios, em modo presencial, em que:”Role DescriptionThis is a remote position for a Game Systems Designer specializing in strategy and political simulation games. In this role you will help shape the core systems of our debut title, State of Affairs, a political strategy game about managing power, social groups and crises.You will:Design and balance core game systems, political factions, social classes, economy, public opinion, unrest, elections and policiesDefine and maintain system documentation diagrams, data tables, rules and formulas that are easy to implement and iterate onCollaborate closely with programmers and artists to integrate your systems, tune them and keep them consistent across scenariosConduct focused research into politics, history and economics to ground systems in believable dynamicsRun or support playtests to identify exploits and dominant strategies, and improve clarity, tension and pacingQualificationsRequired:Strong understanding of game mechanics, balance, feedback loops and player behaviorComfortable working with numbers and data spreadsheets, curves, formulas, tuning and iterationAbility to conduct targeted research on political, historical or economic topics and translate that into game mechanicsStrong problem-solving skills and detail-oriented approach to designing complex systemsExcellent communication and collaborative skills for effective teamwork in a remote environmentPassion for strategy and political simulation games and a keen interest in player psychologyNice to have:Familiarity with Unity or another modern game engineExperience designing economies for strategy games or decision making in systemic gamesExperience with telemetry or analytics to guide balance decisionsBachelor’s degree in Game Design, Computer Science, or a relevant field”+infos(oficial): https://studios.top-sigma.com/Procura-se um Senior Level Designer – Coffee Pack (Lisboa/Portugal) pela Voodoo em modo presencial, em que:”RoleWe’re looking for a talented Level Designer to design levels for Coffee Pack.You will work with our Unity-based level editor to create fun and engaging levels.You’ll be Collaborating with our creative team to design and plan innovative game levels that align with our unique gameplay styleUsing our proprietary game development tools to bring your designs to life, creating immersive levels, interactive elements, and challenging obstaclesImplementing and adapting our core game mechanics into your level designs to create a seamless, engaging gameplay experienceWorking closely with our team of artists, animators, and programmers to ensure your level designs are fully realizedTesting and balancing your levels, taking into account player feedback and data to ensure they are fun, fair, and in line with our high-quality standardsDocumenting your level designs using diagrams, flowcharts, and spreadsheets to communicate your concepts effectively within the teamEnsuring your designs adhere to technical constraints and opportunities presented by our game engine.ProfileAt least 3 years of experience in a Level Design for a puzzle casual gameUnderstanding of models and tools to analyze gameplay and user behaviorProven experience in level design, with a portfolio demonstrating your ability to create engaging, fun levels for gamesStrong understanding of game design principles, particularly within the puzzle genreProficiency in Unity and other level design software and scripting languagesExcellent problem-solving skills, with a creative approach to design challengesStrong communication skills, able to work effectively within a team and explain your ideas clearlyNice to haveExperience in Puzzle games, Match 3 puzzle, Sort games…A degree in game design, computer science, or a related field would be beneficial.”+infos(oficial): https://voodoo.io/Procura-se um Senior Game Designer (Oeiras/Portugal) pela MiniClip em modo presencial, em que:”What will you be doing at Miniclip?Design and craft mission gameplay experiences and game features that deliver strong player engagement, retention, and monetization.Take ownership of mission gameplay design and implementation, collaborating cross-discipline to create new and exciting scenarios and moment-to-moment gameplay.Participate as a key member of the product team across the product life-cycle, working on games in production, and live titles, owning and creating high-impact gameplay content updates for our existing portfolio of games.Plan and execute mission designs within Unity using our proprietary tools and editors, from inception to finished product.Review and iterate gameplay designs and mission implementation both during production and post-release, incorporating feedback from key stakeholders and directing mission changes to balance game content based on analytics data.Help identify and deconstruct new markets and opportunities, expanding the portfolio of the company and staying at the cutting edge of the mobile gaming industry. How will you work with the team?Collaborate across the team to expand and iterate internal tools used for mission and gameplay implementation.Present and articulate your designs across the team, upholding and championing the game vision and core pillars.Support the team with subject-matter expertise on mobile &amp; social game design. What are we looking for?Extensive experience of gameplay and systems design, monetisation, and live ops on freemium mobile games.An excellent knowledge and understanding of gameplay design, complex game economy systems with multiple currencies, and progression systems.Experience across the product life-cycle, from prototyping, through production, to updating a live free-to-play game.Strong knowledge of the mobile &amp; social game space, with an exceptional understanding of current design techniques to deliver excellent engagement, retention, and monetisation.Understanding of and experience with reviewing game analytics, developing insights based on data to make better informed design decisions.Strong grasp of mobile user-experience design, and ability to consider &amp; empathise with many different types of players.Creative problem solver, with proven ability to create compelling gameplay.Relentlessly self-critical always sees the pros and cons of each approach, and works tirelessly to improve design solutions. Prolific with high-quality, well-thought-through proposals.”+infos(oficial): https://miniclip.com/Um livro interessante intitulado “Dice Men – The Origins of Games Workshop” , sobre jogos de tabuleiro mais especificamente sobre a história dos jogos de miniaturas. Parece que este livro é uma retrospectiva histórica sobre os espaços da Games Workshop e a Fighting Fantasy.+infos(loja): LINKProcura-se um Systems Game Designer (Lisboa/Portugal) pela Funplus/Studio Ellipsis em modo presencial, em que:”You’ll help design and refine the systemic backbone of our action title, from progression and resource frameworks, to systemic generation features, ensuring every layer contributes to the overall structure.This is a role for a designer who can think broadly and execute deeply: analytical, technical, and systems-oriented. Someone who can step back and see the whole machine, not just its parts.What You’ll DoDesign, tune, and balance core gameplay systems that drive progression, resource flow, and dynamic world behaviors.Translate high-level design goals into clear, scalable systems that connect mechanics, player motivation, and content.Model dependencies and feedback loops between AI, combat, economy, and world systems to ensure long-term balance and emergent variety.Work closely with engineering and data teams to implement tunable, data-drivenframeworks that can scale efficiently.Analyze telemetry and playtest data to validate assumptions, identify edge cases, and optimize player experience.Establish clear system documentation and parameter hierarchies, ensuring other designers can build within your frameworks.Collaborate cross-discipline (Combat, AI, Content, Technical Design) to maintain systemic coherence and design consistency.Champion systemic thinking within the team, promoting elegant solutions, simulation-minded design, and measurable outcomes.What You Bring5+ years of experience in systems or economy design on at least one shipped title.Proven ability to design and balance interconnected systems with multiple inputs, dependencies, and player variables.Strong understanding of data-driven design workflows parameter tuning within Unreal.Analytical mindset: translate qualitative goals into quantitative balance models.Clear communication skills, able to convey complex system logic visually &amp; persuasively.A genuine fascination for how systems behave, in games, and real-world dynamics.Experience designing and implementing gameplay systems in Unreal Engine.Shipped at least one game using Unreal Engine.”+infos(oficial): https://funplus.com/ ou https://www.studioellipsis.com/Procura-se um Technical Game Designer (Lisboa/Portugal) pela Funplus/Studio Ellipsis em modo presencial, em que:”What You’ll DoWe’re looking for a Technical Designer: a hybrid mind who speaks both design and code. Someone who can take abstract design ideas and make them playable, stable, and scalable inside Unreal. You’ll be the connective tissue between game design and engineering: prototyping systems, building scripts, and ensuring that creative ideas become functional, performant gameplay.This is a role for someone who loves turning concepts into working, tunable systems. You’re part designer, part engineer, and fully obsessed with elegant problem-solving.Key ResponsibilitiesPrototype and implement gameplay features, mechanics, and systemic behaviors in Unreal Engine (Blueprints + C++ exposure preferred).Partner with systems, mission, and level designers to bring designs from paper to playable.Build and maintain modular tools, templates, and data structures that empower non-technical designers to work efficiently.Debug, profile, and optimize gameplay systems to ensure smooth performance and clean dependencies.Establish and document best practices for gameplay scripting, naming conventions, and implementation workflows.Collaborate with engineering to bridge high-level design goals and technical constraints.Participate in feature reviews, offering grounded technical input on scope, feasibility, and integration.Support content integration across multiple disciplines (AI, audio, VFX, animation, environment).Maintain rapid iteration pipelines—helping the team test, tune, and evolve gameplay at high velocity.You AreA hybrid problem-solver with 4+ years of experience as a Technical Designer, Gameplay Scripter, or similar role.Fluent in Unreal Engine 5, with deep understanding of Blueprint scripting, data-driven workflows, and gameplay frameworks.Comfortable reading or writing C++, even if not your primary tool.Strong understanding of gameplay systems, state machines, event logic, and AI behavior frameworks.Obsessed with iteration speed—you automate what’s repeatable, document what’s complex, and simplify what’s messy.An excellent communicator who thrives at translating between creative and technical languages.Calm under pressure and laser-focused on execution quality.Motivated by building tools and systems that make great design inevitable.”+infos(oficial): https://funplus.com/ ou https://www.studioellipsis.com/Procura-se um Combat Game Designer (Lisboa/Portugal) pela Funplus/Studio Ellipsis em modo presencial, em que:”What You’ll DoImplement, tune, and balance combat systems, weapons, abilities &amp; enemy behaviors.Own the feel of combat: responsiveness, hit timing, recovery, rhythm, etc.Calibrate interactions between player mechanics, AI logic, and camera to achieve a clean, deterministic combat model.Maintain and evolve combat parameters: damage curves, stamina systems, tracking logic, invulnerability frames, and cooldowns.Build, document, and maintain data-driven balance frameworks for PvE and PvP encounters.Partner with Animation, Engineering, and AI teams to refine movement fidelity, impact feedback, and rhythm.Analyze playtest data and player telemetry to validate tuning, surface edge cases, and evolve the meta.Ensure every weapon, archetype, and enemy type has a distinct combat identity and tactical role.What You Bring5+ years of experience in combat or systems design for 3rd-person or action titles (PvE and/or PvP).Deep understanding of melee and ranged combat design fundamentals — spacing, timing, recovery, and player feedback.Proven ability to tune deterministic combat systems for balance and consistency across latency and skill tiers.Strong grasp of camera, lock-on, targeting, and animation-driven gameplay.Experience with combat data management: tuning tables, curves, and debug visualization.Fluent in Unreal Engine (Blueprints, DataTables, tuning workflows).Analytical mindset — able to diagnose subtle feel issues through metrics and iteration.Comfortable working within clear design direction and taking ownership of executional detail.Experience designing and implementing gameplay systems in Unreal Engine.Shipped at least one game using Unreal Engine.BonusExperience creating PvPvE or extraction-based combat ecosystems.Knowledge of AI behavior trees, modular encounter systems, or systemic combat scaling.Understanding of competitive tuning and meta evolution in skill-based games.Background in combat animation timing, root motion, or motion matching.Familiarity with the Gameplay Ability System (GAS) and its application to multiplayer.”+infos(oficial): https://funplus.com/ ou https://www.studioellipsis.com/Procura-se um Game Designer (hibrido/Portugal) pela freelance, em que:”ResponsibilitiesDesign and prototype user interactions that enhance the overall product experienceCollaborate closely with the project owner to understand vision and requirementsApply game design methodologies to create intuitive and engaging product flowsIntegrate graphic and UI/UX elements to ensure cohesive design across platformsProvide actionable feedback and iterate on design concepts rapidlyDocument design decisions and present interaction flows for reviewSkills And RequirementsProven experience in game design and product interaction designStrong portfolio demonstrating app, web, and graphic design projectsProficiency with design tools such as Figma, Sketch, or Adobe Creative SuiteAbility to translate user needs into engaging interactive experiencesExcellent communication and collaboration skillsAvailability for on-site work in Lisbon, with flexibility for hybrid arrangementsWillingness to travel for short-term assignmentsAttention to detail and a user-centered design mindset”+infos(oficial): https://www.twine.net/Vai decorrer novamente e em Pombal, o evento “Art &amp; Play – Pombal Game Jam 2025”. São dois dias a pensar e a desenvolver jogos, em equipas.Da apresentação do evento surge:“Who Can Participate?Game developers of all levelsArtists from any discipline — music, theatre, writing, visual arts, dance, fashion, design, and moreAnyone interested in exploring the possibilities of games as an artistic medium”o evento é gratuito mas tem lugares limitados. inscrições até dia 12 de outubro.+infos: oficialA “The Futuregames Team” está a disponibilizar slots para uma avaliação de portfólio de videojogos que foram desenvolvidos.São escolhidos alguns para serem avaliados em tempo real, pela equipa do The Futuregames Team e de um elemento de uma empresa convidada.Para isso só é necessário enviar o link do videojogo para review@futuregames.seUma campanha para aprender a trabalhar com o motor de desenvolvimento de videojogos Godot. Com o titulo “Learn Godot 2025 Complete Course Bundle” e com o texto de apresentação: “Your creative possibilities are limitless with the right game engine. Say hello to our latest Software Bundle: Learn Godot in 2025—a complete course collection designed to help you master Godot’s powerful, open-source, and beginner-friendly tools. Build any game you can imagine with step-by-step lessons like Make a Complete Bullet Hell from Scratch in Godot and Make a Fully-Fledged Farming RPG with Godot—then, learn to upload them online with Publishing to Steam for Godot Game Projects!”.Da lista faz parte:“3D Action-Adventure Game in Godot – Unit 1 – Characters3D Action-Adventure Game in Godot – Unit 2 – Inventory3D Action-Adventure Game in Godot – Unit 3 – World4X Strategy Game in Godot &amp; C# – Unit 1 – Hex-Based Map4X Strategy Game in Godot &amp; C# – Unit 2 – City Spawning4X Strategy Game in Godot &amp; C# – Unit 3 – UnitsBuild Practical Real-World Apps using GodotBuild a Complete Roguelike from Scratch with Godot (2025 Edition)Build a Walking Simulator with Godot 4Construct a Multiplayer Lobby in GodotCozy Sandbox in Godot – Unit 1 – Player &amp; WorldCozy Sandbox in Godot – Unit 2 – Tool MechanicsCozy Sandbox in Godot – Unit 3 – Base BuildingCreate a Complete 2D Platformer in Godot (2025 Edition)Develop a Complete 3D Platformer in Godot (2025 Edition)Explore VFX with Particles in Godot (2025 Edition)Godot 4 Mini-Projects (2025 Edition)Intermediate Godot – Essential Programming PatternsIntro to Godot 4 Game Development (2025 Edition)Intro to Rigging Models in BlenderIntro to the Game Development IndustryLearn 3D Modeling with Blender from ScratchLearn UI Systems and Layouts for GodotMagicaVoxel for Beginners – Create Voxel Game AssetsMake a Complete Bullet Hell from Scratch in Godot (2025 Edition)Make a Fully-Fledged Farming RPG with Godot (2025 Edition)Make an RTS Game in Godot from Start to Finish (2025 Edition)Publishing to Steam for Godot Game ProjectsUI/UX for Game DesignUV Mapping in Blender for Beginners”+infos(oficial): LINKUma campanha para aprender a trabalhar com o motor de desenvolvimento de videojogos Unity. Com o titulo “The 2025 Learn Unity Game Development Bundle” e com o texto de apresentação: “Get serious about game creation and take your passion to the next level with our latest bundle! Learn essential game development skills for one of today’s most popular platforms—Unity. The Unity Engine is approachable, powerful, and perfect for creators of all skill levels. Dive into top-rated courses like Complete Unity 2D C# Developer Course, Unity Real Time Strategy Course, and Unity Turn Based Strategy Course.”.Da lista faz parte:“Complete Unity 2D C# Developer Course (in Unity 6)Complete Unity 3D C# Developer Course (in Unity 6)Elven Music PackFrom Blender to Unity CourseProgramming Design Patterns For Unity CourseSci-Fi Modular Starships &amp; Carriers KitUnity 2D RPG: Complete Combat System CourseUnity Cutscenes: Master Cinematics, Animation and Trailers CourseUnity Game Feel CourseUnity Multiplayer Coding &amp; Networking NGO CourseUnity Procedural Generation CourseUnity Real Time Strategy CourseUnity Shader Graph CourseUnity Turn Based Strategy Course”+infos(oficial): LINKNão sou grande fã deste género de jogos, mas fica o registo de uma campanha para aprender a trabalhar com o motor de desenvolvimento de videojogos RPG Maker Unite e com alguns extras. Com o titulo “RPG Maker Unite Together” e com o texto de apresentação: “Pay what you want for RPG Maker Unite—the ultimate indie game-creation platform! Dive into our latest game dev bundle, designed to bring your game concept to life with a no-code structure, pre-built databases, and a massive library of assets to choose from. This comprehensive RPG Maker collection includes RPG Maker VX Ace, RPG Maker XP, Pixel Game Maker MV, and more! Get the tools you need to success.”.Da lista faz parte:“Cthulhu Mythos ADV Lunatic WhispersCthulhu Mythos ADV The Isle Of UbohothPixel Game Maker MVPixel Game Maker MV – Cardgame SamplePixel Game Maker MV – Weapon assets (100 varieties) and Dot Robot SetPixel Game Maker MV -2D Side-scroller Shooting Game Sample ProjectRPG MAKER XPRPG Maker MVRPG Maker MV – DS Resource PackRPG Maker MV – DorapixelMapChips – Modern JPRPG Maker MV – FES resource packRPG Maker MV – GENERPG Maker MV – MADORPG Maker MV – MV Trinity Resource PackRPG Maker MV – SAKANRPG Maker UniteRPG Maker Unite – Default Character Facial Expression Assets1RPG Maker Unite – Default Character Facial Expression Assets2RPG Maker Unite – Default Character Facial Expression Assets3RPG Maker Unite – Game Templates Worldview Taste Single-picture map collection of materials1 Ancient city EZILRPG Maker Unite – Game Templates Worldview Taste Single-picture map collection of materials2 Samurai town HINOMOTORPG Maker Unite – Game Templates Worldview Taste Single-picture map collection of materials3 Southern sea solitary island GOBARPG Maker Unite – Game Templates Worldview Taste Single-picture map collection of materials4 Frontline defense base ORADRPG Maker Unite Add-on – 3D DungeonRPG Maker VX Ace”+infos(oficial): LINKa história..I Used AI to Code a Game in Unity — Here’s What I Learned, por thuy le”This case study is a record of my experience designing “Hedgietown,” a Unity game for my MDes capstone project. During a two-day hackathon, I “vibe-coded” a minigame — Hedgie’s Easter Egg Hunt — using only Claude to write code, despite having no programming or game design experience. The term “vibe coding” was coined by OpenAI co-founder Andrej Karpathy in February 2025, describing AI-assisted programming where developers “fully give in to the vibes, embrace exponentials, and forget that the code even exists” (The Week, 2025). As Karpathy put it, “It’s not really coding — I just see stuff, say stuff, run stuff and copy paste stuff, and it mostly works” (Nielsen, 2025). For designers, this shift means we “can now try lots of things quickly, rather than having to hand ideas off to software engineers to create prototypes, one by one” (NPR, cited in The Week, 2025). If you can communicate your ideas clearly, you can now code them.This approach aligned perfectly with my goal to challenge myself outside my comfort zone of product design and apply UI/UX principles in an entirely new context. How did I go from concept to functional prototype using vibe coding alone? And what does this mean for the future of design? This case study explores both the practical journey from idea to playable prototype and the broader implications of AI-assisted design for creative professionals.Background: The Evolving Role of DesignTraditionally, the design-to-development process follows a clear handoff model: designers create mockups, wireframes, and prototypes, then pass these blueprints to engineers for implementation. This collaborative approach has defined the industry for decades.AI-assisted coding is fundamentally changing this dynamic. Now, designers can take their blueprints directly to AI tools like Claude, which can guide them through the implementation process. For designers willing to embrace a beginner’s mindset and learn how engineers think, this changes the game.This capability doesn’t necessarily make designers into one-person teams, but it does provide the majority of what’s needed to create an MVP and gather user feedback. That’s exactly what I did — building a functional game in Unity without prior coding or game design experience.Methodology: Research Approach and ToolsResearch QuestionsHow do mobile tap-to-move mechanics compare to traditional desktop controls in player experience?What are the practical limitations of “vibe coding” for game development?I used AI in three distinct ways throughout the development process:Natural Language Scripting: Describing desired game mechanics in plain language to generate movement scriptsTutorial Generation: Having Claude create step-by-step implementation guidesDebugging Partner: Troubleshooting issues through conversational problem-solvingTools and TechnologiesPrimary Development: Unity 2022.3 LTS with Claude AI (Anthropic) for code generationDesign Tools: Figma for concept sketches, Resprite for pixel artGame Concept: “Hedgie’s Easter Egg Hunt” — a 2D top-down timed collection gameTarget Platforms: Cross-platform (desktop/mobile) to test tap-to-move mechanicsDesign ConstraintsI intentionally limited player interactions to tap and swipe gestures, mirroring the ease of use found in popular mobile games like FarmVille or cooking games. This constraint would help me evaluate whether to implement similar mechanics in the full Hedgietown game and test the viability of creating customized player movement scripts using AI code generation.Design Process: From Concept to Playable PrototypeInitial Concept DevelopmentThe minigame concept emerged from my desire to test mobile-friendly mechanics. I went with a simple collection game format to focus primarily on player movement mechanics — simple enough to complete within the hackathon timeframe while yielding valuable insights about player behavior. Key questions included: How would players feel while moving around the map? What would they try to do? Would they prefer keyboard controls or tap-to-move mechanics?Day One: Scene Creation and Movement SystemsI began by sketching the game map in Figma, designing a test scene with various obstacles and buildings. My focus was on setting up the scene and “vibe coding” the movement script. I kept the scene compact and implemented a visual indicator so players could see where they clicked on screen. Surprisingly, the basic movement code worked almost immediately after just a couple of prompts to Claude.Day Two: Game Mechanics and UI ImplementationThe second day focused on the egg collection game mechanics and game UI. I described my vision to Claude: a simple Easter egg collection game where players approach an NPC to start, then have 60 seconds to collect as many eggs as possible before seeing their final score. Claude provided a guided tutorial for setting up the game manager and UI elements for displaying time remaining and current score.Technical Challenges and Creative SolutionsMy biggest challenge was debugging. Multiple instances arose where I couldn’t identify what was wrong with the code or why the game wasn’t functioning as expected.For example, I encountered issues with egg spawn points and the quest system not triggering when talking to the NPC. Rather than spend more hours debugging, I adapted the game flow: players now start collecting eggs immediately after clicking “start.” This actually improved the user experience by displaying all instructions upfront without requiring players to sit through dialogue. Small things kept building up that I couldn’t vibe-code my way out of. This raised concerns about whether I could create truly polished games and at what level of complexity — it felt I was starting to see the limitations of this approach.Outcomes: Testing Results and User Feedback118 prompts later, I had a complete game playable on both mobile and desktop devices. User testing revealed significant differences in player experience depending on the platform.Performance MetricsMobile players: Collected an average of 9/16 eggsDesktop players: Collected an average of 15/16 eggsPerfect scores: Only one player collected all 16 eggs (on desktop)Platform-Specific FeedbackDesktop players consistently performed better and reported that movement felt “more fun” on desktop. While players said the tap-to-move mechanic felt good overall, mobile players frequently got stuck on obstacles because the pathfinding system chose the shortest route, causing the character to rub against objects.Key Areas for ImprovementUser testing uncovered several critical issues:Collision detection: Players frequently got stuck on obstaclesMobile movement patterns: Players needed longer-distance movement options instead of relying on small tapsEgg collection sensitivity: Collision detection felt either too sensitive or misaligned with visual feedbackReflections: Transformation and Future ImplicationsI used to think using AI was cheating — that it meant I wasn’t the one truly creating. I always needed an engineer to bring my ideas to life. Yes, I tried to code before, but I always got frustrated or confused. Then AI arrived, and suddenly my ideas became real. I’m not an engineer, but I know how something should feel. I don’t always know what I’m doing, but I always know what I’m trying to make.A New Design ProcessThis experience taught me that you still have to design the experience. With a solid foundation going into development, you can test your ideas and see in real-time the technical limitations developers often discuss. It’s an interesting time to be a designer — being multidisciplinary is becoming increasingly important.The new workflow becomes: design, prototype, build, iterate. You can now position yourself as a design engineer. If you’re a designer with ideas who can execute them, you become remarkably well-rounded, combining empathy and human psychology with aesthetics and functionality.Being human is more important than ever. Designers have always been the dreamers — we need crazy ideas. AI amplifies this role. Being a designer should be less about optimization and more about dreaming, about pushing boundaries and imagining new possibilities.Looking ForwardWill I get close to the game I envision for Hedgietown? Who knows, but I’ll get myself as close as I can. If this hackathon taught me anything, it’s that the gap between imagination and implementation is rapidly shrinking. The question isn’t whether designers can learn to code with AI — it’s how quickly we can adapt to this new creative landscape.For creative professionals, this represents both an opportunity and a responsibility. We can now test our wildest ideas, but we must also develop new skills and ways of thinking. The future belongs to designers who can dream big and execute effectively — and AI just gave us the tools to do both.Link to game, have fun :)https://trinatle.itch.io/hedgietown-easter-egg-huntReferencesContext Engineering. (2025). Context Engineering is the New Vibe Coding (Learn this Now). YouTube. https://www.youtube.com/watch?v=P9A2NP5DtAANielsen, J. (2025). Vibe Coding and Vibe Design. Jakob Nielsen Ph.D. Substack. https://jakobnielsenphd.substack.com/p/vibe-coding-vibe-designThe Week. (2025, June 3). The rise of ‘vibe coding’. The Week. https://theweek.com/tech/the-rise-of-vibe-codingVerified Insider. (2025). Product Design Hiring in 2025. Verified Insider Substack. https://verifiedinsider.substack.com/p/product-design-hiring-in-2025-b47Assets: https://cupnooble.itch.io/sprout-lands-asset-pack”+infos(fonte): LINK“Hack Club has launched Shiba Arcade, an upcoming game jam building the world’s first open-source arcade in Tokyo made by teens on GitHub!They’re inviting you to code your first games on GitHub over the next two months &amp; earn the ultimate prize – a funded trip to Tokyo, Japan (November 5th – 12th), where participants will build an in-person open-source arcade together!Flight stipends offered, hotel &amp; food coveredHere’s how it works:Code your own open-source game on GitHub (with Godot)Playtest each other’s games &amp; make new releasesEarn a ticket to Japan and build an in-person arcade!”+infos(oficial): https://shiba.hackclub.com/Procura-se um Game Designer (Mobile) (remoto/Portugal) pela Infinity Games, em modo remoto, em que:”Key ResponsibilitiesConceptualize and design game mechanics, core loops, and progression systems for new and existing mobile games.Create clear and detailed game design documents, wireframes, and prototypes to communicate ideas effectively.Collaborate with artists, developers, and producers to ensure a cohesive and high-quality game experience.Balance difficulty curves, in-game economy, and reward systems to maximize engagement and retention.Conduct competitor and market research, identifying trends and opportunities to inspire new concepts.Playtest and analyze feedback to iterate on designs and improve gameplay.Use data-driven insights (KPIs like Retention, DAU, ARPDAU) to refine features and guide design decisions.QualificationsProven experience as a Game Designer in the mobile gaming industry (mandatory).Strong understanding of free-to-play game mechanics, monetization, and player engagement strategies.Ability to translate creative ideas into structured, actionable design documentation.Analytical mindset with the ability to use data to inform design choices.Proficiency in English (spoken and written).Excellent collaboration skills and ability to work seamlessly with cross-functional remote teams.Nice to HaveFamiliarity with prototyping tools (e.g., Unity, Figma, Adobe XD).Experience with puzzle, relaxing, or minimalist game genres.Passion for playing and analyzing mobile games.”+infos(oficial): https://infinitygames.io/Procura-se um Senior Game Designer (remoto/Portugal) pela Fishing Planet, em modo remoto, em que:”Foundational design work for a hyper-realistic simulator:Designing and prototyping core gameplay systems that define the player experience.Establishing progression, economy, and reward systems from scratch.Creating and maintaining design documentation, workflows, and pipelines for long-term development.Collaborating with programmers, artists, and producers to translate vision into playable features.Driving playtesting and iteration to validate systems early and adjust based on feedback.Ensuring all designs support the overall vision of realism, immersion, and multiplayer depth.You will bring5+ years of professional game design experience.Proven experience designing complex gameplay systems (survival, RPG, MMO, or simulation).Ability to design from zero — creating mechanics, rules, and loops without relying on existing frameworks.Experience building progression and multiplayer systems that balance depth and accessibility.Strong understanding of player psychology, engagement, and retention strategies.Excellent skills in documentation, communication, and cross-disciplinary collaboration.Hands-on experience using Unreal Engine or a similar engine to prototype and test mechanics.Will be a plusExperience shipping multiplayer survival or RPG titles.Background in economy design and balancing for live-service games.Knowledge of UX/UI principles applied to complex systems.Passion for realism, simulation games, and emergent player-driven gameplay.”+infos(oficial): LINKProcura-se um People and Culture Specialist (Vila Nova de Gaia/Portugal) pela Saber Interactive Porto, em modo presencial, em que:”Your missionActively promote and support a workplace culture that reflects the company’s values.Plan and coordinate cultural events and activities.Ensure a positive onboarding experience for new employees.Work with various stakeholders to plan and execute company events and activities.Assist international employees in adapting to Portuguese culture.Organize, plan, or support employee benefits, such as welcome packages and company meals.Assist with HR-related tasks.Conduct employee surveys about studio facilities and collaborate with relevant stakeholders to address the findings.RequirementsOver 2 years of professional experience in people and culture, HR, communications, or a related field, preferably in the games or entertainment industry.Bachelor’s degree in psychology, business, communications, HR, or a similar discipline.Must be located in the Porto Metropolitan Area or in a commutable distance.Proven ability to manage multiple projects and meet deadlines.Highly self-motivated, solution-focused, with a positive, can-do attitude.Proactive and hands-on approach to problem-solving.Strong interest in people and a genuine desire to help and support them.Empathetic, compassionate, and curious nature.Committed to work with equity, diversity, and inclusion.Enthusiastic about games and their culture.Proficiency in English and Portuguese.”+infos(oficial): LINKWargame Mechanics | Strategy Gaming Breakdownmecânicas usadas em jogos de tabuleiro de war gamming, as sugestões:zoc bond: zone of control (exemplos: Mark Simonitch (autor), Holland 44 (jogo), Salerno ’43 (jogo) )weather (exemplos:Thomas Van Hare  (autor), lysander soe (jogo))initiative (quem joga primeiro. exemplos: jogos onde a posição no tabuleiro determina a jogada, uso do chip pull systema (emparelhamento, factor aleatorio), Ted Racier (autor), Drop Zone (jogo)random eventsterrain effects (exemplo: simular no 2d o 3d real)+infos(fonte): LINK“History Will Be Lost Forever” – An Interview With Frank Gasking From Games That Weren’t, por Wayne Goodchild“Frank Gasking is the author and games preservationist behind the Games That Weren’t (GTW) book and website, which is a long-running project to find and catalogue lost, cancelled, and unreleased video games. His primary focus is on retro hardware such as the Commodore 64, but GTW also highlights titles from other platforms, including the NES, Amiga, GameBoy, and Playstation.GTW started in the mid-nineties, after Gaskin read an article in Zzap!64 magazine about Commodore games that were announced but never released. He started to dig into these games, and others, and when he was in his mid-teens was invited to write an article for the magazine following up on his research.Gasking spoke with Eneba via video call about GTW, growing up as video game technology and the industry has changed, and what the future might look like for game preservation and availability. The interview has been edited for brevity.What is it about Commodore games specifically that speak to you, that grabbed and continued to grab you?I think for me personally, it’s because the Commodore, like the 64 in particular, was the very first proper home computer that I ever saw. And it’s hard to explain. You get that sensation where you know you’re experiencing something extremely special.Like, the pixels pop out the screen, they’re very vibrant, almost luminous and you’re controlling it. And that was my experience playing something like Buck Rogers, I think, or Tapper, one of those two games.So I was completely mesmerized by this machine. And I thought I have to get my own computer, but I didn’t get a 64 straight away. We couldn’t afford it. We didn’t have a lot of money. So my mum very kindly went out and got this Atari 2600 bundle with a load of games. And that was still amazing, even though the games were quite old and it was archaic hardware, it was a fantastic machine.But I always had a soft spot for the 64. Every time I went around my sister’s, I was desperate to play this machine. And over time, eventually my mum got one off the catalogue. And I remember it turned up with no plug. It had no plug in it and I was only about seven years old. My mum had just come off working nights, so she was fast asleep and I had to sit staring at this box, not able to do anything, poring over the games for hours until she finally woke up and put a plug on it for me.I think it’s a combination of things with the 64; you not only got the really lovely graphics but you had that sound chip as well. That’s how I discovered songs. Rather than listening to Queen songs, like It’s a Kind of Magic, I heard the 64 version done for the Highlander game first. And that always stuck with me as well, and I didn’t really want that to end.What have you found to be the main reasons games back in the day were never finished, or finished but not published?There’s so many sorts of reasons for the cancellations. That’s one of the quite cool things about doing the archive for so long is that you discover all these different stories.Sometimes there’ll be a game that’s complete and it’s all finished and it’s about to go to mastering, and literally the company has been in financial trouble and they’ll collapse just before it can get there. An example of that is Daffy Duck on Commodore 64. It was reviewed in the magazines, it’s just about to go to mastering and just disappeared.Sometimes you don’t know the reasons, they get finished and reviewed but then they just disappear and there’s no reason given for it, the company’s still going and then you kind of try and sort of read between the lines.It might be that the game was released on another platform earlier and the sales weren’t very good and it sort of bombed, so that had an impact on deciding to release the game.An example would be Sensible Soccer on the NES that we found recently, that was practically finished. But the people that were set to publish that game, they suddenly decided the NES was on its way out and they didn’t think they were going to make any money from it. So they just focused on the Game Boy edition instead.Usually the game is complete and not released. If you find something that’s complete that you can release, then you feel a little bit sad for the person who spent all that time and effort, especially if it’s really good.With the work you do with GTW, you get a lot of help and resources from people who were actually involved in the games. But, have you come across anyone who isn’t supportive of your GTW efforts, and if so, did you give any decent reasons why?Thankfully we haven’t. I mean, sometimes we’ve had some people saying, “Are you kind of sharing these games? It’s morally wrong.” But that’s very rare. Most of the time people say that if we didn’t save a lot of this software, then it would be very likely lost for good. In some cases, some of the things that we found are on the last remaining disk in existence of that game. If we leave it too much longer, then that disk is going to deteriorate; this will be gone forever, potentially.We haven’t really had anyone kick back from what we’re doing because we are doing something positive. We’re not really causing anyone any harm. We’re just trying to preserve history. So, you know, we’re not profiteering off anyone’s work or anything like that.I always ask games preservationists what their Holy Grail is, but I’ve seen on your site you’ve found a few! Do you still have any titles that you’re dying to find…?There’s a couple. I don’t know if it’s weird having multiple Holy Grails, but the reason for that is that when I started doing the articles, there were a couple of base games that I remembered specifically, which to me were the big ones.The main one, It’s like an isometric Cluedo game called Murder!, by U.S. Gold. And that is an example of a game that was completely finished. It was reviewed by all the magazines, but they just didn’t release it for whatever strange reason. And we think that’s because the Amiga and the PC and the ST versions that were released earlier didn’t sell that well. So they decided to just can the 64 one, which is bizarre.And the other one I’d say would be Batman Returns by Konami. That was a late Commodore game that didn’t get finished. I remember reading the diaries back in the day, seeing all the levels coming together and I’d say they’re the two main ones that are left.Have you ever come across a lost game that made you think, “This really should stay lost?”On a personal level, no, because that’s the strange thing. I’m a very passionate person. I love anything that’s on the list. I mean, I’ve had criticism for this as well. I’ll post something on the site and say, oh, we found it. Oh, look at this amazing game with lovely graphics and that. And then someone will turn around and say “That doesn’t look lovely at all.”But I’m someone who’s fairly subjective, and I’m an artist as well, and I see beauty in all sorts of different things. And I’m the same with unreleased games. I’m kind of, even if we find a very early prototype and there’s not much to it, I’m still very excited that we found it.On the other hand, there are moments where you spend so long searching for something that you build it up in your mind as something being much greater than it really is. And there’s definitely been cases of that.And I’d say Daffy Duck was definitely one of those. Because Daffy Duck was one that had really good reviews, and we built up a picture in our minds that it was going to be this amazing action game.But the reality was, when we got the game, it was great. It was good. But some things didn’t quite live up to how we picture them. So for instance, the little laser gun that was shown in the screenshots – you couldn’t actually use it. It was just like a red herring, it did nothing in the game, you couldn’t shoot anything.I don’t think there’s anything where I’ve actually found it and thought “I wish I didn’t find it.” But, there will be others that probably wish that we didn’t find it. Maybe the authors of their game themselves. Some of them might wish that their stuff remained buried.You’ve been involved with the Commodore scene for a long time, not just through GTW, but also with various magazines linked to it. Zzap!64 is one that relaunched a couple of years ago, and its new editor is Chris Simpson, aka Peri Fractic. What are your thoughts on his taking over Commodore to bring it back?It’s certainly a really interesting development. I was still very much a part of the 64 scene long after many had moved on. And I remember in particular back then the excitement around Escom’s takeover, and there were all these promises of reviving the brand, and talk of releasing the 64 in certain parts of the world, that kind of thing.(Escom was a German company that bought Commodore and Amiga, but went bankrupt in 1996.)It’s like many of the takeovers and plans that followed over the years: it sort of ultimately came to nothing. So because of those past experiences I’ve tended to stay out of such discussions because I always remain fairly skeptical. I don’t know Christian personally, never really sort of crossed paths with him, but the main thing is that I hope his intentions are genuinely motivated by passion, rather than ego or attention, because I know that can happen sometimes.But that said, it’s encouraging to see that he’s got the right sort of people involved. I think having them involved is promising because that means that he’s got people overseeing what he’s doing and keeping an eye on everything. I’ve been skeptical of these kinds of things before and I’ve been happily proven wrong.With news that Compute!’s Gazette Magazine is also coming back (after 35 years), do you think that there’s a renewed interest in retro games? If you had your way, which old video game magazine would you love to see return?If there was a possibility of bringing a magazine back, I would love to see Commodore Format make a comeback. The thing is, it’s never going to be quite the same.I think what you want ultimately is those original writers that you grew up with writing for the magazine and you’re not necessarily going to get that. With Zapp’s case, they’re lucky to have a couple of the original people that worked on the original magazine so you’ve got that mix of new and old.You know, when you sometimes get a sequel to a film like 30 years on from the original, you’re kind of happy it’s happened, but then you’re still a bit disappointed. It never lives quite up to the expectation you have.It’s a real tough one because you do want to see it back. But then would you prefer to see something completely new to make new memories or something positive? I don’t know.Following on from this, nostalgia is often cited as playing a pivotal role in game preservation. Do you think younger generations lack the understanding of why and how game preservation is important, since they haven’t grown up with physical media the way we have?A lot of modern day gamers don’t really know what it’s like to have a physical copy. So they don’t have that attachment like we do.I guess it’s the same as if you didn’t grow up with vinyl music. If you only grew up with an iPod and you just had MP3s, you’ve got no attachment at all to physical music. You just think that you’ll just move your files around and it will go from hard drive to hard drive. There’s no attachment at all.And I think that’s going to be the same for newer generations with games. Unless you maybe reintroduce more physical media and bring that back, then people might understand it more and they might have more of a connection to it.There’s also the recent Stop Killing Games aspect, of games being delisted and disappearing for good.Yeah, that’s the kind of sad and scary thing at the moment, is that you’ll see people not realizing that when you buy a digital copy on a platform like Steam, if anything happens to Steam or if it just disappears and goes bankrupt, whatever, then you can’t access that game anymore. And that’s the issue.And from a preservation point of view, how then are you going to preserve it? Because at the moment, we’re in a situation that even if they turn the servers off, that means it blocks you from playing the single player mode of the game. If you’ve still got part of the code on the hard drive, there’s maybe a way that you could save some of that or preserve some of it, hack it together and get it going.Once it goes and gets streamed, so you’re only getting the data streamed down to your TV, then there’s nothing to preserve there unless you get physical access to the servers where the games are on. So it’s going to make preservation incredibly hard, almost, well, practically impossible.Regarding the impermanence of video games, I know that you make titles available to download on the GTW site, but do you also make physical backup copies – is this even possible for some of the games?No, I just make the digital backup and I make several copies of that. So we’ve got it preserved and then we put that on the website where we can or we give copies of those back to the original authors if we’re not allowed to release it, that kind of thing.What formats do you typically have to work with?The main sort of media I’ve been preserving from are five and a quarter inch floppy disks and three and a half inch ones. Which are surprisingly robust; the five and a quarter inch disks, even though they’re completely bendable, are more reliable than the three and a half inch ones. Sometimes I do cassette tapes as well.But if we’re backing up from tapes, especially ZX Spectrum, it’s always a bit of a challenge trying to get some of that hardware working on modern day platforms.How do you explain the idea of game preservation to someone who doesn’t really understand its importance? What can they do to help?Game preservation is about trying to save our history to do with games in general. If we don’t save a lot of this material that we’re doing right now, then much of this history will be lost forever. But it’s not just the actual games itself, it’s the stories behind them as well. It’s a race against time.If we don’t save any of this history, then there’s no context to the new games that are coming out. There’s no kind of background to them or no connection. If we don’t capture the stories of the people that made those original games as well as the actual physical games themselves, then we don’t learn about what their process was and what issues they had, what challenges they encountered back then. I think that’s really important.And in terms of people helping, from a Games That Weren’t point of view, it’s a case of: if you know anything about any of the games that we’re looking for, just even simple bits of information like a magazine clipping or a credit, something like that can go a long way.It can actually lead to something quite big to make a recovery, to get in touch with a person who, if you don’t reach them in time, they might go and bin all of their disks. So the race against time element is a really key point.There’s been instances over the years where we’ve just got hold of someone and they’ve got rid of their stuff or someone’s passed away a couple of years before. If we don’t do this, then we’re going to lose so much history. And we see that in the films industry and the music industry.There’s a lot of material that has been lost because we didn’t think to preserve things or keep hold of it. We didn’t see a value in it and it’s only now we start to see the value in those things. So, there’s an opportunity with gaming and I think we need to grasp it while we can. ”+infos(fonte): LINKEstão a dcorrer os DevGAMM Awards 2025 em Portugal, com um prémio de 10k euros, para a categoria “Best Game From Portugal”A submissão termina a 31 de agosto, e o vencedor vai ser anunciado em novembro.Para submeter o videojogo é necessário:“Name of the gameShort game descriptionDevelopment technologyChoose tags describing your genreDate of development start and planned releaseGameplay video (for judges, not public)Public video (trailer, gameplay, or letsplay – on your choice)Information about developer and publisher (if any)Key art with game logo and at least 3 screenshotsBuild (PC and/or Mobile), and codes if needed (see Build Requirements below)Information about your team/studioNo need to worry about information disclosure – all our judges sign an NDA that prohibits them from sharing any sensitive information publicly.”+infos(oficial): https://devgamm.com/awards2025/Procura-se um Brand Manager (Gaming) (Lisboa/Portugal) pela FunPlus (Studio Ellipsis), em modo hibrido/remoto, em que:”What You’ll Do:Lead the development and execution of brand strategies for our original IPs across media and formats (games, comics, podcasts, digital assets, physical goods, etc).Own the brand lifecycle across multiple verticals, from pitch decks to launch to live ops.Manage external creators, agencies, and production partners to deliver world-class content that aligns with brand tone, world, and goals.Collaborate with internal teams (Creative, Narrative, Production, Marketing) to ensure a unified identity across all channels and expressions.Work with our in-house and external marketing teams to craft campaigns that expand awareness, deepen engagement, and evolve each IP’s universe.Design go-to-market and release strategies that treat the product itself as storytelling,merging brand and narrative into a cohesive experience.Conduct regular brand health checks: audience insights, performance reviews,campaign retrospectives, and translate these into actionable pivots.Stay ahead of the curve on trends in gaming, media, tech, and culture. Track new platforms and narrative formats for IP expansion.Coordinate with legal to safeguard IP, manage licensing, and protect long-term value.Cultivate a collaborative, forward-thinking, globally minded work culture, one that values ideas and execution over ego.What You Bring:5+ years of experience in brand, IP, or franchise management, ideally in entertainment, games, or media.Demonstrated ability to lead multi-platform storytelling and brand development efforts from 0 to 1 (and beyond).Strong creative instincts and a feel for tone, audience, and positioning.Proven project management chops: timeline ownership, cross-functional coordination, clear reporting.Clear communicator with high emotional intelligence and cross-cultural fluency.Comfortable managing both macro-level strategy and micro-level execution details.Understanding of IP law, licensing models, and brand/IP protection strategies.Data-literate: able to interpret insights and translate them into strategy.A deep love of narrative and a belief in the power of well-executed world-building.Bonus: experience with transmedia publishing, early-stage IP development, or community-driven brands.”+infos(oficial): LINKProcura-se um Graphic Designer Intern (Lisboa/Portugal) pela FunPlus (Studio Ellipsis), em modo hibrido/remoto, em que:”Key ResponsibilitiesBrand Identity Design: Work with our in-house team to help develop and maintain cohesive branding for the studio and our projects.Content Creation: Design high-quality visuals for social media, websites, presentations, and promotional materials.IP Branding: Create branding assets for our IPs—logos, style guides, visual systems—that reflect the essence of our universes waiting to unfold.Website &amp; Digital Design: Collaborate on the design and visual updates of our websites and online platforms.Collaborative Development: Work with the marketing and creative teams to ensure visuals align with our narratives and strategic goals.”+infos(oficial): LINKProcura-se um Gameplay UI/UX Designer (Lisboa/Portugal) pela FunPlus (Studio Ellipsis), em modo hibrido/remoto, em que:”Responsibilities:UI Design: Create wireframes, prototypes, and final UI assets that align with the game’s visual style and improve user experience.Collaboration: Work closely with UX designers, game designers, and developers to ensure the UI complements gameplay and meets functional requirements.Iconography and HUD Elements: Design and implement in-game menus, HUDs, icons, and other UI components, ensuring they are clear, consistent, and visually appealing.Style Integration: Ensure that the UI design integrates seamlessly with the game’s overall art direction, contributing to a cohesive visual experience.Performance Optimization: Optimize UI assets to ensure smooth performance across various platforms without compromising visual quality.Iteration and Feedback: Gather and incorporate feedback from playtesting and team reviews to refine UI designs and improve usability.Documentation: Maintain documentation for UI design processes, including style guides, asset libraries, and interaction patterns.Requirements:Educational Background: Bachelor’s degree in UI/UX Design, Graphic Design, or a related field, or equivalent work experience.Professional Experience: Minimum of 3 years of experience as a UI Designer in the gaming industry, with a strong portfolio showcasing user-friendly and visually compelling interfaces.Technical Skills: Proficiency in UI design tools such as Adobe XD, Figma, or Sketch, and experience with industry-standard software like Photoshop and Illustrator.Artistic Sensibility: Strong understanding of typography, color theory, and visual hierarchy, with the ability to create interfaces that are both functional and aesthetically aligned with the game’s art direction.Cross-Platform Expertise: Experience designing UI for cross-platform games, understanding the challenges and opportunities in creating seamless experiences across devices.Collaboration: Excellent communication and teamwork skills, with the ability to work effectively with cross-functional teams.Problem-Solving Skills: Creative problem-solving abilities with a focus on enhancing user experience.Passion for Gaming: A deep passion for gaming, especially in PvEvP and cross-platform genres, with a keen understanding of current UI trends and best practices.”+infos(oficial): LINKProcura-se um Games Art Director (Lisboa/Portugal) pela Scopely, em modo hibrido/remoto, em que:”Responsibilities:Define a vibrant, stylized art direction and help shape an original universe.Collaborate intensively with the Creative Director, a tight-knit, senior team, and the creative Executive Producer to ensure the game’s artistic language harmonizes with gameplay and the broader universe.Embrace a hands-on approach, diving deep into the trenches to craft, refine, and polish visual assets, setting the benchmark for artistic excellence.Be the creative lighthouse for a select team of artists, guiding them to produce standout assets that embody our distinct art style.Foster synergy with world-building and marketing divisions, ensuring the game’s artistic DNA is compatible with comics, animated series, and promotional narratives.Unyielding desire to explore new visual horizons, continuously pushing artistic boundaries in gaming and broader media.Craft stunning concept artwork, translating abstract ideas into visual masterpieces, shaping the world, inspiring the team and aiding the project’s visualization.Offer continuous mentorship to the art team, fostering an environment of relentless innovation, passion, and growth.A constant learner, ever eager to absorb the latest in art trends, tools, and techniques.Requirements:Bachelor’s degree in Art, Design, or a related discipline. Master’s degree or substantial industry tenure highly preferred.Proven leadership in the art direction of prominent projects, with a clear tilt towards stylized, non-realistic aesthetics.A captivating portfolio demonstrating your prowess in creating diverse and pioneering visual styles adaptable across various mediums.Deep expertise in modern art tools, software, and methodologies, matched by a commitment to staying hands-on.Exceptional ability to galvanize, nurture, and steer a dedicated team of artists, ensuring a unified and standout visual narrative.Concept art skills are a definite plus, showcasing your ability to visualize and communicate ideas during the project’s nascent stages.Stellar communication abilities, ensuring intricate artistic visions are clearly conveyed, discussed, and executed within a senior team.”+infos(oficial): LINKProcura-se um 3D Art Lead (Porto/Portugal) pela Scopely, em modo hibrido/remoto, em que:”What You’ll DoWork closely with the AD, Principal artist, and lead narrative designer to establish the vision for each seasonWork closely with our 2d concept artists to create 3d models that capture the appeal and charm of our established art pillarsExplore how best to utilize AI in the creative process and help foster better collaboration/iterationDefine and uphold the visual style in collaboration with the Art Director and Creative LeadsReview and provide constructive feedback on assets to maintain high visual quality and technical standardsWork closely with other departments (Design, Engineering, Animation) to ensure seamless integration of assetsMentor, inspire, and manage junior and mid-level 3D artistsBe the main point of contact for 3D queries and discussions on assigned tasksAttend any daily meetings/ stand-ups/ mini retro’s to ensure a smooth workflowWhat We’re Looking For6+ years experience as a 3D artist working in games2+ years in a leadership or senior artist role.Strong ability to research and reference material that supports idea generation and problem-solvingExperience in casual mobile game art stylesExperience in shipping multiple titles in your career as a 3D ArtistProficient in 3D modeling: 3dsMax, Maya, Blender, etcProficient in 2D texturing: PhotoshopProficient in 3D texturing tools: Substance, 3DCoat, etcExperience in Unity, importing and optimizing assetsHave a good understanding of technical pipelines to export assets from 3D suite to UnityPositive attitude and an ability to receive and provide objective feedback”+infos(oficial): LINKProcura-se um Senior UX Designer (Porto/Portugal) pela Scopely, em modo hibrido/remoto, em que:”What you will do:Own and deliver complete UX for new features and player experiences, turning ideas into fully developed designs that deliver on the experience targets of the productBuild deep knowledge of the game to effectively step into the player’s shoes and ground your design decisions in real player perspectives and experiencesFind relevant references and comps, deconstructing to uncover inspiration and common pitfallsVisualize ideas by producing a range of design deliverables that communicate your thinking and design intent. This includes sketches, low to medium fidelity wireframes, user flows, and interactive UX prototypesIdentify weak points in designs, gaps in thinking, and opportunities to better deliver on our goals by applying critical thinking and a sharp design eye to strengthen solutionsWork closely with product teams and artists to refine ideas and stay aligned throughout development. Proactively share work, keep the right people informed, and provide relevant information when it’s neededLeverage feedback, data, and other insights to refine designs. Use them not just to react, but to reflect and make intentional improvementsSupport long-term product and UX consistency through your design work by drawing on developed knowledge of our design principles and patternsWhat we’re looking for:3+ years of experience specializing in mobile Game UX development, with a track record of delivering features or initiatives from concept to implementationConfidence in navigating ambiguity, with the ability to identify next steps, recognize blockers, and take initiative to move work forwardA solutions-oriented mindset that goes beyond identifying problems, bringing thoughtful, creative problem solving to the tableA strong understanding of game development norms and pipelines, including how to design with technical constraints, implementation realities, and cross-discipline workflows in mindA fit for a culture built on curiosity, improvement, creativity, and collaboration, paired with a genuine passion for both playing and making games that fuels thoughtful, player-centered design”+infos(oficial): LINKProcura-se um Senior Game Designer (Porto/Portugal) pela Scopely, em modo hibrido/remoto, em que:”As a Senior Game Designer, you will be instrumental in shaping the gameplay experience, contributing to the product roadmap, and ensuring each user interaction is engaging. Reporting to your Lead, you will work in collaboration with Product, Art, UX and Engineers to enhance existing gameplay features and develop new ones. In this role, you will:Deeply analyse and understand player data and feedback to inform design choicesMaintain a Product Owner mindset, ensuring all designs align with player needs, franchise strategy, and business objectivesUtilise your creative skills to develop innovative features and generate valuable insightsTranslate high-level concepts into detailed and actionable game design plansCreate comprehensive game design documentation including feature specifications, user flows, and prototypesContinuously update working feature specs to maintain clarity and precision, ensuring they are accessible to the entire development teamStay abreast of market trends and best practices to enhance our game design and introduce fresh ideasWork closely with Art, UX and Product teams to maintain a cohesive visual style and identity across game featuresPartner with UI artists to design clear, engaging, and visually appealing user interfacesCollaborate with artists, technical artists, and engineers to refine and optimize the design implementation processWhat We’re Looking ForProven experience as a Senior Designer within the mobile gaming industry, particularly in free-to-play modelsAbility to thrive in a dynamic, international, and cross-disciplinary team environmentStrong interpersonal and communication skills, capable of working collaboratively and independentlyA proactive approach to receiving and providing constructive feedbackCurrent knowledge of trends in casual mobile gamesProficient in designing complex systems across Core, Meta, and Social game layersDemonstrated ability to lead user-centric design initiatives and brainstorming sessionsA track record of developing impactful features for live gamesSkilled in designing, conducting, and analysing A/B testsPassionate about crafting polished, innovative gameplay experiences for casual mobile gamesSolid understanding of game design fundamentals and theoryExcellent communication skills, effective both in-person and remotely”+infos(oficial): LINKProcura-se um Senior Game Designer (Oeiras/Portugal) pela Miniclip, em modo hibrido, em que:”How will you work with the team?Collaborate across the team to expand and iterate internal tools used for mission and gameplay implementation.Present and articulate your designs across the team, upholding and championing the game vision and core pillars.Support the team with subject-matter expertise on mobile &amp; social game design.What are we looking for?Extensive experience of gameplay and systems design, monetisation, and live ops on freemium mobile games.An excellent knowledge and understanding of gameplay design, complex game economy systems with multiple currencies, and progression systems.Experience across the product life-cycle, from prototyping, through production, to updating a live free-to-play game.Strong knowledge of the mobile &amp; social game space, with an exceptional understanding of current design techniques to deliver excellent engagement, retention, and monetisation.Understanding of and experience with reviewing game analytics, developing insights based on data to make better informed design decisions.Strong grasp of mobile user-experience design, and ability to consider &amp; empathise with many different types of players.Creative problem solver, with proven ability to create compelling gameplay.Relentlessly self-critical always sees the pros and cons of each approach, and works tirelessly to improve design solutions. Prolific with high-quality, well-thought-through proposals.”+infos(oficial): LINK",
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