Small Studio development choices – Astraware’s Cuboid Approach

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There’s always so much to do, so many new things we could work on! What do we choose next?

More importantly – how do we choose what to do next?

TL;DR : This is an article intended primarily for other developers who are in small studios, about making the best choices on where to focus their efforts. The answer is usually to spend time where it will make the greatest difference, rather than just choosing what’s most fun (well, duh!). Read on for more detail about that!

 

About our games in general

We have, like many developers after a while, a number of games all sharing a similar framework.  That means that an improvement to one, can be rolled out into the other games relatively easily, and maintainability (OS level fixes, new device support) is much easier too!

With that in mind, our choosing process is about where to put the next effort, to best get to a goal of making more revenue. (Got to support that tea and biscuit habit somehow!)

So, do we

  • Make a new game?
  • Work on features in an existing game?
  • Find and implement a new way to improve the monetisation across our games?
  • Work on ways to get more users to the game?

All of these are good options, so it’s about choosing the best.

 

Applying some metrics

Our collective revenue from games is ultimately determined by:

How many games we have :  G

How many daily active Users there are per game (on average)  = ( Dau / G )

Monetisation (aka ‘ARPDAU’ – catchy!) – How much revenue is generated on average per day per active user : Arpdau = ( R / Dau )

 

Simply, if you multiply these values, you get the daily revenue across your whole portfolio : G x  ( Dau / G ) x ( R / Dau ) = R

 

We view these three values as three sides to a cuboid, with the volume being the revenue.

Games, Users (retention), and Monetisation (ARPDAU)

 

 

When we decide what to work on, we look at how much our effort will increase one of those dimensions.

In turn, by knowing the other values that would be fixed, we would be able to estimate the change in the volume.

In the example above, would adding a ‘box’ size to games, users, or monetisation, increase the volume by the most?

Usually – the simplest best choice will be to increase the smallest current dimension.

However, not all of those choices will the same cost, which makes it into a more complex decision.

For instance, over 2016, our possible choices have included:

  • Spend 4 months to make one new game, increasing from 7 to 8
  • Spend 2 months to build a new social system into the games increasing the retention, and the number of users by 10%
  • Spend 3 months to add in a new revenue system (i.e our puzzle streams) which could increase our revenue by 20%
  • Spend 2 weeks on an interim small update to each of the games fixing a problem that affects a small number of users on the latest OS level – 2% improvement in users (but might become more later)
  • Spend 2 weeks on adding in an additional advert provider to increase our ad revenue by perhaps 5%
  • Spend 1 month to build another method for micro-currency earning  ( “Complete surveys for extra stamps!” ) to increase revenue by 20%
  • Spend 4 months to add in daily puzzles to increase active users (via retention) by 50%
    • Spend a further 1 month to add 2nd daily puzzles to add another 10% to users
  • Spend 1 month on adding in extra purchasable puzzle packs to each game to increase revenue by 5%

These are very much the kind of ‘interesting choices’ that might be presented to a game player in a strategic game like Civilization, for instance. It’s one of the places where we’re running a game theory to make smart choices for our games business!

It’s never quite so simple a choice, sometimes a sequence has to be made which isn’t so good in the short term, but ultimately better in the long term. This is like working through a tech-tree in a game in order to get the best bonuses at the end.

For instance, we had to add puzzle streams which was an expensive piece of work, in order to have a micro currency in place and making sense, so that we could add in surveys as an final option. By doing things in that order, we were able to do a meaningful release at each stage, with the players getting a new feature each time.

It would have taken the same total time to do it in the other order, but we wouldn’t have been able to do the interim releases.  We’ve found that every time we do a release we get a burst of new users and activity, and our existing users are kept happy too, so it does make a lot of sense to do things in an order that gets us more updates.

Also there’s always more going on that needs to be done – other projects (like hitting a retail version on time), coping with a new piece of technology (Samsung’s new device resolution of the week), rebuilding to cope with latest OS version ( Apple’s new iOS version of the month! ), etc.

More Games

This is straightforward! We make another new game, create a whole load of puzzles (and plenty to keep the daily puzzle hoppers filled too), and then we can launch it.

A new ‘puzzle’ game in our existing framework takes about 3-4 months of creation time, usually split between the two of us, across all of the tasks – Design / Art / Development / Puzzle Creation / Testing / Production, etc.

We know that we’ll be able to cross-promote to  our existing players, using the advertising system that’s already in the games. We can sacrifice some paid ads, to promote our own games instead, which players typically are happy to try, as they already trust our games and the new game is free too!

Revenue Per User

Statistically the revenue per user can be calculated from the number of users and how much is made, in terms of in-app purchases and ad revenue. It’s a bit more challenging in that advert revenue is comparatively small, only a trickle, but if a user keeps up with the app – playing for free – but for many months or years, that can add up appreciably.  The industry talks about LTV (Long Term Value) or LARPU (Lifetime Average Revenue Per User), which are used in calculations.

Some of the things we can do to increase the revenue are:

  • Adding in extra purchasable features or packs
  • Including adverts at appropriate times
  • Add in other cross-sells to our other games
  • Add in other ways for people to get items in the game (micro-currency) such as doing sponsored surveys

There’s an obvious limit – if we put in too many adverts, or adverts that pop up at a bad time interrupting play, or adverts that take up too much of the screen while a game is in progress, etc., these will increase the number of advert views in a short time, at the expense of retention – nobody likes a product they can’t use because it’s constantly interrupting them! Sometimes it’s a careful balance between monetisation and retention, but we tend to side more with retention!

We currently get a revenue of around $0.15 per user on average, roughly split equally between in-app purchases and revenue from advertising.

 

Number Of Users

While the number of games and revenue per user are fairly straightforward, in terms of changes made, the choices about number of users is quite a bit more subtle.

Every day we have new users finding the game, and some users uninstalling.

Each choice we make will change the number of new users trying the game, and the likelihood of them (or existing users) from deleting the game. This is all about retention which I’ve written more about in another article!

We hope to make choices that increase new users, and decrease uninstalls, at the same time!

  • Best possible first-play experience
  • Plenty of value over time
  • Daily content
  • Sufficient free content (which may be ad supported)

 

Having Fun

Sometimes we can be guilty of being a bit blind, and launching into doing some development that’s fun. For us, that means running headfirst at whichever problem seems the most difficult, challenging, and downright unsolvable. We love creating new things, new systems… but it’s not always the best choice.  Yes, we end up with more fun things (and our customers love that too) but there are times when improving the existing suite of games could do better!

Over the last few years, we’ve deliberately tried to take an informed/data driven approach to what to work on – ultimately we look at the choices, and we work out what think each choice would mean for our revenue stream (best guesses all round). We might divide in to the effort to get a value of  ” revenue per month, per day of effort ” which is an awkward unit, but really makes us focus on the reality.  Sometimes that means we’ll have to punt ‘fun’ things down the development order a few times, which is always a pain, but they do get to stay on the list!

 

Crazy Assumptions

OK, we admit it! There are a lot of assumptions to be able to call it a cuboid!

  1. Not every game has identical monetisation.
  2. Each game will get a different profile of retention.
  3. Each new game doesn’t add the same number of users straight away (it takes a while!)
  4. Fans of certain games are more likely to follow ads (or take surveys) than other games.
  5. What worked last year might not work this year or next
  6. That we can estimate in advance the timescale to create products, features etc.

That’s so many assumptions and errors that it’s not exactly a bankable value, but any analysis is better than none – and if you know the flaws, you can at least appreciate the risks!

 

Summary

While we do love to make new games and solve new problems, that isn’t always the best choice.  Averaging over a long time, we spend about a third of our time on making new games, a third on acquisition and retention (supporting new devices, new platforms, new features, product maintenance and updates), and a third on making sure the games can make us revenue ( extra puzzle packs, more ways to play for free supported by ads / surveys, more content, etc.)

There have been times where we’ve realised (after analysing some data) that we’ve been missing something important, and that we have an easy way to increase one of the dimensions.  An example of this was when we realised how badly we were organising our advertising! ( Hint – mediation can be brilliant! )

 

Player Retention and Acquisition

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We’ve been making games for a long time, and we have quite a lot of happy, and above all – loyal players, who keep on playing!  Here’s some information about some of the recent things we’ve been working on that have made a really big difference to us!

TL;DR : This is an article intended for game (and app) developers, about increasing the total number of users over time.  Summary : Retention matters more than Acquisition!  Read on for more info!

 

 

Acquisition

Acquisition is (relatively) easy by advertising, and of course improving marketing/cross-selling/app landing pages, etc.  Changing our review and rating system built in to the games has really helped with this!

While there are lots of ways of getting more people to try an app, most of them have a cost.

The free things that can improve acquisition include:

  • A good App icon
  • Great keyword choices and good app store text
  • Supporting screenshots (and video, if appropriate)
  • Good chart positioning  – it’s hard to get in the top downloads as an indie developer – but it can often be possible to get into the more niche charts.

If advertising for a game, there’s a definite cost attached.  If the cost to acquire a user exceeds the average revenue you make, then you’ll lose money, so it’s essential to make sure you know how much acquisition costs and how much revenue you make on average from a player over the entire time they have your game installed and running.

 

Retention

Retention is about how long the user keeps the game. Especially for games which generate revenue by having paid items (IAPs) or advertising (interstitials, rewarded ads), it makes a huge difference to the total revenue.

Retention certainly matters more than acquisition – if we keep people for longer (by keeping them happy), and still provide ways for them to give us ongoing revenue, then we improve our total revenue the most.

The ‘Lifetime Average Revenue Per User’ – LARPU – is ultimately what really matters much more than how much a customer buys on day 1.

We use Flurry to collect a certain amount of analytics about the usage of our games, partially for event tracking, partially for tracking any problems that happen, but also as an overview to track things like retention and usage rates;

This article at Flurry has some great info about what’s a normal retention and usage rate for various categories of apps, and from that this chart is especially helpful:

Retention and Frequency of use by App Category

Retention and Frequency of use by App Category

 

We expect many of the new installs – because our game is free – to be uninstalled (or unused) fairly quickly.

Here’s an example of our retention of new users, for our iOS version of Astraware Acrostic, by week;

Rolling Retention (Acrostic)

Rolling Retention (Acrostic)

More precisely, we currently have a D1 of 50%, a D7 of 37%, and a D30 of 22%. ( This doesn’t quite map to the weeks above, Flurry’s a bit weird like that!)  D1 means the retention rate 1 day after the install.

This means that about half of the people who install the game keep it beyond the first day (D1), and half delete it within the first day. We reckon that’s pretty good for a free game!

Of those who keep it beyond that day, 74% are playing a week later (D7), and 44% are still playing after a month (D30). Apparently that’s a good set of values, which was nice to discover!

We did a lot of work about retention over the last year to achieve this!

Onboarding

We’ve worked on the ‘onboarding‘ process (don’t blame us for the term!), which is about encouraging the players to stick with the game beyond the first few seconds, to get them through their first successful game and for them to see what it’s all about. Dori Adar has a great slide deck about this! Our take on it was to make it as easy as possible for people to know what to do to get into their first game as quickly as possible, and to enjoy their first experience with the game.  We don’t overload with nags, we keep the interface easy (with a few subtle hints with glow effects to draw attention to some appropriate buttons), and we make sure that the player doesn’t get an ad for their first game (in fact, we make sure they get at least 5 ad-free games, before introducing an explanation about ads and then having them at the end of games.)

Improving the onboarding is immediately shown by a change in the D1 value, so is extremely measurable.  We still have some ideas to make things a bit better for that first launch ‘experience’.

Medium Term Retention

We also worked on the retention rate in general, which reflects better in the D7/D30/D90 values.

We give people daily content with extra available each new day. The changes we made were to let people catch up at any time for any of the past week’s puzzles, and we added a second puzzle each day, meaning much more free content available especially for anyone who didn’t check every day.

We also increased our number of built in “free” puzzles from around 12 to around 60, giving the average user a few hours worth of completely free puzzle play extra.

Most recently we added extra puzzle streams (ad supported) so that nobody should get to a point where they completely run out of available puzzles.

 

Long Term retention

Incredibly (and wonderfully) we have players who have been playing our daily puzzles for several years – some of them are happy to watch an ad each game, some prefer to buy the In-App Purchase which makes the daily puzzles ad-free.  Both are great for us!

It’s good that many players do eventually build playing our game into their normal daily/weekly routine, but we do acknowledge that we’re not quite as good at keeping players beyond 6 months as we would like to be.

Again, we still have more to do, in particular we want to do better linking with social media (Facebook) so that players can more easily compare results with their friends, which we hope will keep many more people enjoying the game (together) for longer!

Some of the ideas we have in some games, and some others planned

  • Compare daily scores and times with friends (as determined by Facebook login) as the default view for scores
  • Optional show “local” times for nearby players ( perhaps, closest 100 players, geographically. )
  • Achievements to earn over a longer time
  • Extra linking with friends – puzzles that can be played together
  • Gifting/Reciprocation between friends  ( I buy a puzzle pack, I get something to give to a friend too, hopefully they’ll return the favour! )
  • In-game bonuses – extra hints ‘donated’ by active friends, which encourages you to stay somewhat active on the game to help them out too.
  • Loyalty bonus rewards. ( Thanks for staying for 1 month! 3 months! 6 months! 12 months! ) etc.
  • “Come back!” reminders (done politely of course!) to alert a player that they’re about to miss out on a puzzle which will soon drop off their board. This should help to make it so that players come back at least once a week to catch up on free games!

For a game to become part of someone’s habit for over a year is quite an honour – it’s become part of their lives. We know we’re doing some things well when we see a user who gets in touch who has played several hundred daily games!

… Profit?

So, if everything works well, and the cost of acquisition is less than the LARPU, at some point we make profit!

Well, that means we make some net revenue per user… we still have to factor in the cost of development!

Right now we are only spending on very inexpensive acquisition, Apple Search Ads, Google Ads, etc, where we can put in a disgracefully low bid for keywords that make sense for us.  For our ‘paid’ acquisitions like this, our average cost per extra user is around $0.10, but the number of users we get at this rate is fairly low.  We can increase the number by increasing our bids… but then the average cost goes up.

Our LARPU is much harder to calculate, it is very game dependent!

If a user buys any of the IAPs in the game, from a $1 item (for which we get $0.70) upwards, we will do well!  Our ‘average’ IAP revenue per user who tries our games is about $0.07.

The average time a user plays our games is trickier. Many of the users uninstall straight away; Of those who keep the game beyond the first day, the average time they keep the game running for is about 24 days, but there’s a very wide range! (Those who we convert to multi-month players will stay a very long time!).  A player who plays a reasonable number of the daily games for 24 days will see (if we’re lucky) about 10-15 adverts, which will be an average value of about $0.08 to us.  (Our current eCPM for adverts is about $5 on average).

So our LARPU is the IAP revenue plus the Ad revenue – or about $0.15, and splits almost evenly between ad revenue (free players) and IAP revenue (players who purchase).

Wow, that’s not a huge value… but it means a profit of about $0.05 per user if we’ve paid to acquire (by advertising.)

 

Purchased Installs

There are companies out there who are happy to ‘sell’ installs of your game – they incentivise players to try out your game. As a developer you pay per user who makes it into your application (having gone through the install process, and launching the game, perhaps to a minimum level of activity.)   I have had quoted values of $0.50 up through $2.00 or more per install!  Obviously these would not be economical in our case.

 

All users are equal, but some are more equal than others

It may be no surprise, but users who have deliberately searched for your application (in general, or specifically), are those who want to use it!

Then there are those who saw an advert for it as they were doing something else, and thought they might give it a go.

Finally, there are those who are ‘incentivised’ to try the application, not because of the app itself, but because of a reward they’ll get elsewhere.  These users are the least likely to stick with a game (but they still might!)

 

We cross-promote our games where it makes sense – the player of one of our word games is likely to be interested in others too. If someone has had a good experience in one of our games, they’ll already know the user interface for the next, and they’ll hopefully be warm to the next game already, and more likely to stick with it. We can cross-promote almost for free, which is brilliant! ( Building cross-promotion systems into your apps is a good idea!)

We get lots of users who are searching for games of our types in general, and some will try our game if they see it.

We pay for some adverts to come up within searches. Hopefully we’re still advertising to people who are interested in the game, so should still be fairly good value.

We haven’t (yet) tried advertising in general – i.e. in other people’s games, but for that we need to be able to advertise for lower cost than we’re likely to make back.  If our average user gets us $0.15, will someone we’ve found by advertising get us the same?  That’s something the revenue/attribution/tracking companies are real experts at working out – and why all the big companies really focus on this too!

 

Summary

We currently think much more about retention (keeping existing users) than acquisition (getting new users); We’re not the only ones to realise this!   We’ve learned a lot from other developers who’ve shared their experiences online and at various conferences, and the choices we make are about the overall retention and ‘LARPU’ rather than making a quick profit!

 

Tips for a good games developer CV

We’re not hiring right now! Best to mention this up front 🙂


This article is about how someone looking to get a job as a game developer (programmer) can improve their application.


 

HT - 2014I’m Howard Tomlinson – co-founder of Astraware, and since we became a company in 2000 we’ve employed a lot of different people – customer support, artists, QA testers, programmers, and more!  I’m guessing we’ve employed somewhere over 100 different people over that time (the maximum at one point was around 25), but that means I’ve seen a lot of CVs.

A lot of good CVs, hundreds, and a huge number of poor ones. Thousands.

I’ve been seeing a lot of posts recently from game developers – recent graduates and people with just a few years experience in particular – asking for advice on their CV, and occasionally a prospective CV sent to me by someone who didn’t read our about page – and if I’ve been in a nice mood I’ve taken a look and sent along constructive feedback.

I thought it might be useful for me to make public some general info about what I find good or bad about a CV, in the hope that it can help some people to improve theirs!  This is particular to being a games developer – i.e. Programmer of some sort.  Much is relevant to the other disciplines too.

My Background

Not every prospective employer will be the same, but in general you’d hope that someone sorting through CVs for a position has some level of knowledge in the area.  I’m predominantly a programmer with a background in physics and computing, although I do a lot of design work too (game design rather than graphic design) so when I evaluate a CV I’m looking with that kind of lens.

When I’m looking to fill a position, I’ll have a range of CVs from candidates to look at. Perhaps 10-20 per position.  I want to find the slightest excuse to whittle that down to about 5 which I’ll review in depth, and then maybe call 3 of those to talk, and 1-3 of those to interview.

“Go ahead, make my day.”

Nothing will make me happier than an excuse to move your CV from the ‘in review pile’ to the ‘rejected’ pile, along with a 3 word reason written on the top as to why.  If you can leap out straight away with an obvious fail, you’ve saved me a huge amount of time.  In my experience, half of the applications can be rejected for obvious fails in under a minute.

 

CV and Covering Letter

First up – for me, I take the CV itself and Covering letter (or email) together as a whole.  There’s a big argument about what formally you should leave off the CV and include in the letter, or vice versa, but really that’s a style choice, and I don’t get too wrapped up in those choices.

Broadly the letter would be more about your goals, personality, interests, and your CV about your education, skills and background. Prose versus facts, perhaps.  If you include your hobbies and interests in one versus the other, that’s fine.

Remember to address your letter to the person who will be looking at it, if that is at all possible to discern from their website. If you have dissected the company website for the right contact and there still is none, then falling back to a title such as “To the Manager responsible for recruitment” may be acceptable.

A note on mailshots : Don’t let your letter look like a failed mail-merge, with [fields] left exposed such as Dear [Recipient].  Ouch.  It really pays off to make each application bespoke to the company. If you are using a generic letter/CV which covers your hope to get an internship/volunteering role/work-experience/contract work/permanent position doing QA/junior programming/animation/engine development/senior developer/tea maker, you have made it really obvious that your just shotgunning out to every possible employer without even looking at what they’re after.  If you do that, they know that you’re (likely) not what they’re after.

Length

Between your letter and CV, I’d be expecting to see 3-4 pages of stuff at a reasonable kind of size of print. 1-2 pages in total is not going to include enough to be of interest, more than 5 and (unless you’re very experienced with a number of very valid previous workplaces and projects) you’re probably waffling on a bit too much.   If you have to err on one side, err by including a bit too much.

Layout & Style

As a developer, stick to a reasonably straightforward style and template.  Artists and graphic designers are aiming to make a visual impression and show what they can do, but as a developer it’s going to be more about the content.  If you show me that you can competently use an external template, you give me confidence that you can work in a team where some level of consistency is going to be required.

Anyone who reads vast quantities of text on a daily basis will see errors like inconsistent spacing (one versus two) right away. Try to keep it neat and consistent.

Remember that the person reviewing your CV could well be in their 40s or 50s, and may be at the point where reading tiny fonts is a challenge, or they have to read at arms length because long-sight is kicking in. Don’t make it hard for them – make it easy to read please!

Thinking of making a really clever idea for a CV design – something reminiscent of The Matrix, something formatted so it looks like pseudocode… ah, all fantastic and innovative ideas, but no. Don’t do that.  You’ve got opportunities to show off your skills in other ways – don’t make your CV harder to read, even if you think it will make you stick out. (It will, but not in a good way!)  Edit : QR Codes are ugly and messy, don’t include them. A short URL is fine, honestly. If we like your CV we can type in a tidy URL faster than we can get a smartphone out.

File Format

Make it easy for me and you’ve made a friend!

Covering letter in either email (marked up) format or a PDF is great. CV as a PDF is great.

Anything that has me needing to open up some other fruity editor to read your item means that there’s a chance your formatting will all cock up and your CV will look terrible. If you send it in a Word format then depending on whether I open it in MS Word on PC, on Mac, in Pages on Mac, in Open Office, within Google Docs… any of these will give indeterminate results.   Saving out as a PDF is going to keep it simple.

In the UK go for A4 page format, in the US go for US Letter size.  If I print out your CV and it all goes wrong, I’m going to feel like the idiot (again) so that won’t reflect well on you.

I’ll be printing in black and white, often on a printer that’s a bit crappy.  Don’t do anything clever with shading or gradients or colours.

 

Spelling and Grammar

I’ll be brutal here.  Don’t make any mistakes. None whatsoever. Any spelling or basic grammar mistake in your CV or letter will leap out to me like a neon-lit spring-loaded boxing glove.  OK, I’m not going to quibble about subtle things like an occasional sentence that’s a spot too long or might be phrased in passive voice.

Special attention to:

  • Capitalisation in general,  capitalised ‘I’ in particular.  If you can’t get basic English capitalisation right, what makes me think you can correctly get the rightVariableName consistently.
  • Use of Proper nouns – Names of either people or companies, product names ( Unity ) – make sure you get these exactly right. If you misspell my name, or just as bad, my company name, that’s a big D’Oh! right away.
  • Typos – a spell checker will pick up 75% of these, but it takes a careful eye to pick up the rest.  If you make (and don’t spot) typos, you would be the member of the dev team who everyone curses as they have to trawl through your untidy code looking for the error. Again. On a Friday Night when you’ve gone home and they would rather be out with their significant other.
  • Incorrect usage of apostrophe’s. You know the difference between plural and possessive, yes?
  • All Caps for anything goes straight into the bin.

If in doubt, get it checked by someone who is better at this stuff than you are. Teacher/Senior Lecturer, English Student, competently literate spouse/relative, etc.  Do not get your mate Dave who is on the same course as you to check it over when he sobers up one afternoon. Get the smartest person you know to check it and ask them to be utterly brutal, like they’re the meanest member of a parole board just looking for the slightest pettiest reason to throw you back inside.

 

Skills

I’m going to want to genuinely get an impression for your level of skill at the various elements that make up being a games developer. I’ll broadly rank you somewhere from Expert, Competent, Familiar, or lower (i.e. vague knowledge of) at the various elements/languages that would come up.

Broadly ‘Expert’ means you have used regularly in commercial products for 5+ years. Competent for 3+ years, Familiar for 1+ years or a main degree course component, and anything else means that you’ve been exposed to it at some formal level, either in passing at a company, or during a university course.

Languages

For languages, it depends what you’re applying for, but I’d be looking for a heirarchy of:

Main usable languages : C / C++ / C# / Objective C / Java (maybe) / HLSL (maybe)

Processing languages : PHP / Ruby / Perl etc.

Scripting languages : Javascript, VB/VBScript, Lua

Markup languages : HTML / XML / CSS

Put the best ones first – if you list “Javascript + HTML” as your main experience I’m not going to take that seriously for high level game development.

Before employing you, I will most likely have you do some kind of proficiency test (either externally, like BrainBench tests, or internally with a work-through of some problems.).  If you lie about your capability, it will be completely obvious, it will waste my money/time, and you will not get the job. You will not be able to bluff your way out of it.

Packages / Engines / Platforms

If you have Unity 3D Experience, list it, and what level you’ve used it at. Same for Unreal, and any other packages you’ve used properly.  If you list it on your CV I’d expect you to be able to sit down and create something showable in it without needing to go Googling, so don’t list it if you haven’t used it to at least finish a tech demo (or preferably a released product!)

Competent with Photoshop / Illustrator / Blender / Maya / 3DS Max etc?  Great – list those too. Give me an honest rating of your skills. A programmer who can use the tools to work with things created by others is still useful.

List the platforms you have experience in – again give an honest rating of your level of comfort with each.

Systems

I’m going to want to see experience of GIT / CVS / SVN or something along those lines for source control.

Familiarity with various project methodologies is a plus, but if you say you’re a ‘SCRUM Guru’ I’m going to think you’ll be overly evangelical and unwilling to fit in with another system, so be careful.

 

Education

Obviously include your academic qualifications and where you attained them. I’ll care that you have some GCSEs (or equivalent) including decent Maths and English, that you have a range of appropriate college qualifications (A-Levels), and usually that you have an appropriate degree.

If you’re a recentish graduate, then for the degree breaking out your areas of specialism, your main thesis / projects, and any work experience or internships, will be important.  Include a list of the major relevant modules you’ve done.

There’s a huge debate about whether or not you need a degree to be good.  I’ve come across counter-examples a few times, but in my experience, a degree means that you can complete a large multi-year piece of work, successfully navigating an amount of bureaucracy, learning plenty along the way, some portion of which (but definitely not all) you can apply to future work. As a games developer, the kind of skills you will have through completing a degree – usually in a fairly technical subject – will be useful, even if the exact modules you studied are not.  In some ways the exact degree you have will be less important than that you have one.  If your degree is in any non-development but technical subject, expect to be asked about it, but you’ll be fine.  If your degree is in a non-related subject, expect to have to provide a bit more proof that you can handle the technical side (particularly programming) too. Your portfolio will be important for this! A developer with wider skills is great – but you’re still going to have to convince that you can do the development!

 

Experience

OK – here you need to list where you’ve worked that is relevant to the job you’re applying for.

For games/programming companies, list the company, your position, your main responsibilities, the time you were there.

For non games companies, unless they are directly relevant, just include a simpler list for a time period.  ( “Bar + Fast Food work.” or “Retail work” ); The details aren’t going to matter enough to be on your CV here, though if you make it to interview you might be asked.  If the best you have to offer is that you worked for a summer at your Dad’s company making tea… you probably need to get some more real-world experience.

If you have further relevant work experience / internships, include those.

Portfolio

OK- so you’ve made loads of awesome and exciting things…

Please don’t

  • Attach them to an email
  • Send me source code listings
  • Link a random youtube page to me
  • Send me a CD or USB stick of stuff

What I want to see is a link to a simple website which you have developed, showing a broad range of your portfolio;  Either screenshots, embedded graphics and videos, game descriptions, maybe links to the game on app stores, all that kind of thing.

Unless you did them all by yourself, rate each one with how much your contribution to the project was. If you were a tiny cog in a large project, be honest.

This needs to be attractive if you’re going to want me to look and get an impression of your skills.  If you’ve done some awesome abstract work, you’d better find a way to visualise that too, but I’m an academic professional, I can cope with big words – you don’t need to dumb it down.

If you have a good ‘gameography’ then a list of that in your CV ( game, platform, company, date, your contribution) would be fine.

Hobbies and Interests

Personal bugbear : Please please do yourself a favour and don’t put “Playing video games” in your hobbies or interests, or even more cliche “I have a passion for video games.”

The last thing I want to do is to ruin your passion and hobby by giving you a job that will make you hate it.  This is like saying that you have a passion for eating cake when you’re applying for a job at Mr Kipling’s.

If you do have to include this in your interests, I want to see something much more in depth.

Example from a recent CV that was sent to me:

“Going to the cinema and playing video games”; Obviously I know what you mean by this, but it’s an opportunity missed. ( You don’t actually go to the cinema to play video games, do you? That would be weird, unless you enjoy the twin-gun style of arcade machine…)
Could you instead write:
“I have an interest in cinema, enjoying the technical aspects of cinematography – lighting, framing, scene transitions, writing, as all of these have a bearing on how I work on games too. I particular enjoy the modern horror genre and 1960s Film Noir.”

or

“I love to play and deconstruct video games, looking out for excellent art and user interface style, often thinking about how I might do things differently.”

or

“I love the psychology of video games and what people get from playing them. I spend as much time observing others playing as I do myself, thinking about how the game has managed to effectively convey an emotion or experience.”

Imagine how they would read to me, a games programmer with a love of cinema looking to hire a games programmer… You’d leap right to the top of the pile to call for interview. However, I’d pretty much rather read about your stamp collection or favourite football team (meh) than read “I enjoy playing video games” or “I have a passion for video games” yet again.

In your hobbies and interests I’m looking to see something that tells me that you’re an interesting and intelligent person. That you have a varied life outside of your career. That when you’re in work, you have experience and interest to bring to the team. That you can take care of yourself in fitness and mental well-being terms.

If you have a hobby that neatly implies that you have the ability to commit effort and time to something non-trivial, for instance a high grade at a musical instrument, club level performance at a sport, that’s going to look really good for you.

Don’t make things up for your interests though – that’s a dangerous game. You might discover that your interviewer has an interest that coincides and asks you about it.  It’s quite common for an interviewer to try to put you at ease by asking you to talk about some of your hobbies, which hopefully is something you can talk with confidence on. If you suddenly dry up then it’s going to look pretty poor!

 

Agencies and Applying Directly

Oh, agencies… Sometimes a necessary evil, but really, they do make things much more of a pain.

Here’s the thing, they can aggregate a number of candidates quickly, which is good. However, the quality of who they send is much more variable than people who looked us up directly, read our job specs, and still decided to apply.

Unfortunately for us, agencies want a cut of your salary (paid to them by me) when I hire you.  That cut might be 10%, perhaps more, perhaps less.

You know what, I’d rather pay you that 10% more. (Or perhaps, avoid paying you 10% less if my budget is fixed.)

So the upshot is : If I have two candidates that are otherwise the same, the one that applied directly will get the job and get a higher initial salary.

It’s not that hard to look up games companies in areas you’re interested in, collect a list of the websites, and look through them for vacancies.  An hour per vacancy to tailor your CV and covering letter to suit (and perhaps even research the company, team, history + games a bit) will increase your chances massively above having an agency forward your generic unspecialised CV (that they’ve butchered and littered with errors) to the same company you could have approached.

Oh, and if the company tells you the format / size / specifics to include in your application, make sure you get this right!

 

One last thing… your web presence

If you’ve made it to the shortlist to be considered, that final 5, I’ll be looking you up online. I’ll be looking at your Linked In profile (you do have one, right? Better make it good!), and doing a couple of pages of Google checking to see how you’re mentioned.  If you’ve been an idiot somewhere online, then I’ll see it, and you won’t make the cut.   Badmouthed someone in a forum? Posted questionable material? Tweeted anything hateful?  You just made my job easier again.

Is that all?

Yup! That’s about it… for the CV stage anyway 🙂   That’s how to make the cut and be one of the 3 out of 20+ CVs that gets through.  There’s a lot of competition out there.

Am I just a miserable old git?  Well yes, but you’ll find that there’s an equivalent miserable old git in many companies who’ll be making decisions on who to hire, and every one of them will have their own pet hates, so you may end up being binned for an unpredictable reason anyway, but it’s pretty safe to say that the basic CV errors are going to fail you with anyone. Well, maybe not anyone… but surely you want to work in a team where the bar to enter is pretty high?  Thought so 🙂

I hope this helps! Again to reiterate, I’m not hiring, so don’t ask 🙂   ( Feel free to get in touch and argue if you disagree with anything though, happy to take comments from anyone either in or out of the industry!)

Good luck!

— Howard