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A video game developer is a programdeveloper specializing in video game development – the process and associateddisciplines of creating video games. A game developer shouldrange from one person who undertakes all tasks to a hugebusiness with employee responsibilities split between individual disciplines, such as programming, design, art, testing, etc. Most game development companies have video game publisher financial and usually marketing support. Self-funded developers are known as independent or indie developers and usually make indie games.

A developer may specialize in a certain video game console (such as Nintendo's Nintendo Switch, Microsoft's Xbox One, Sony's PlayStation 4), or may develop for a number of systems (including privatecomputers and mobile devices).[citation needed] Video game developers specialize in certain kind of games (such as role-playing video games or first-person shooters). Some focus on porting games from one system to another, or translating games from one language to another. Less commonly, some do programdevelopment work in addition to games.

Most video game publishers maintain development studios (such as Electronic Arts's EA Canada, Square Enix's studios, Activision's Radical Entertainment, Nintendo EAD and Sony's Polyphony Digital and Naughty Dog). However, since publishing is still their basicactivity they are generally described as "publishers" rather than "developers". Developers may be personalas well (such as how Bungie was, the organizationwhich developed the Halo series exclusive to Microsoft's Xbox).


Shigeru Miyamoto (left) and John Romero (right) are among the best-known game developers

First-party developers

In the video game industry, a first-party developer is part of a organizationwhich manufactures a video game console and develops exclusively for it. First-party developers may utilizethe name of the organizationitself (such as Nintendo), have a specific division name (such as Sony's Polyphony Digital) or have been an independent studio before being acquired by the console manufacturer (such as Rare or Naughty Dog). Whether by purchasing an independent studio or by founding a freshteam, the acquisition of a first-party developer involves a huge financial investment on the part of the console manufacturer, which is wasted if the developer fails to produce a hit game in a timely manner. However, using first-party developers saves the cost of having to make royalty payments on a game's profits. Current examples of first-party studios include SIE Worldwide Studios for Sony, and Xbox Game Studios for Microsoft.

Second-party developers

Second-party developer is a colloquial term often utilize by gaming enthusiasts and media to describe game studios who take development contracts from platform holders and develop games exclusive to that platform, i.e. a non-owned developer making games for a first-party company. As a balance to not being able to release their game for other platforms, second-party developers are usually offered higher royalty rates than third-party developers. These studios may have exclusive publishing agreements (or other business relationships) with the platform holder, but maintain independence so upon completion or termination of their contracts are able to continue developing games for other publishers if they selectto. For example, while HAL Laboratory initially began developing games on privatecomputers like the MSX, they became one of the first second-party developers for Nintendo, developing exclusively for Nintendo's consoles starting with the Famicom.

Third-party developers

A third-party developer may also publish games, or work for a video game publisher to develop a title. Both publisher and developer have considerable input in the game's design and content. However, the publisher's wishes generally override those of the developer.

The business arrangement between the developer and publisher is governed by a contract, which specifies a list of milestones intended to be providedover a period of time. By updating its milestones, the publisher verifies that work is progressing quickly enough to meet its deadline and shoulddirect the developer if the game is not meeting expectations. When each milestone is completed (and accepted), the publisher pays the developer an advance on royalties. Successful developers may maintain several squad working on different games for different publishers. Generally, however, third-party developers tend to be small, close-knit squad. Third-party game development is a volatile sector, since tinydevelopers may be dependent on income from a single publisher; one canceled game may be devastating to a tinydeveloper. Because of this, many tinydevelopment companies are short-lived.

A common exit strategy for a successful video-game developer is to sell the organizationto a publisher, becoming an in-house developer. In-house development squad tend to have more freedom in the design and materialof a game compared to third-party developers. One reason is that since the developers are employees of the publisher, their interests are aligned with those of the publisher; the publisher may spend less effort ensuring that the developer's decisions do not enrich the developer at the publisher's expense.

Activision in 1979 became the first third-party video game developer. When four Atari, Inc. programmers left the organizationfollowing its sale to Warner Communications, partially over the lack of respect that the freshmanagement gave to programmers, they utilize their knowledge of how Atari VCS game cartridges were programmed to create their own games for the system, founding Activision in 1979 to sell these. Atari took legal action to testto block sale of these games, but the companies ultimately settled, with Activision agreeing to pay a portion of their sales as a license fee to Atari for developing for the console. This established the utilizeof licensing fees as a model for third-party development that persists into the present. The licensing fee approach was further enforced by Nintendo when it decided to letother third-party developers to make games for the Famicom console, setting a 30% licensing fee that covered game cartridge manufacturing costs and development fees. The 30% licensing fee for third-party developers has also persisted to the present, being a de facto rate utilize for most digital storefronts for third-party developers to offer their games on the platform.

In lastestyears, huge publishers have acquired several third-party developers. While these development squad are now technically "in-house", they often continue to operate in an autonomous manner (with their own culture and work practices). For example, Activision acquired Raven (1997); Neversoft (1999), which merged with Infinity Ward in 2014; Z-Axis (2001); Treyarch (2001); Luxoflux (2002); Shaba (2002); Infinity Ward (2003) and Vicarious Visions (2005). All these developers continue operating much as they did before acquisition, the basicdifferences being exclusivity and financial details. Publishers tend to be more forgiving of their own development squad going over budget (or missing deadlines) than third-party developers.

A developer may not be the basicentity creating a piece of software, usually providing an external programtool which assist organize (or use) infofor the basicprogramproduct. Such tools may be a database, Voice over IP, or add-in interface software; this is also known as middleware. Examples of this include SpeedTree and Havoc.

Indie game developers

Independents are programdevelopers which are not owned by (or dependent on) a single publisher. Some of these developers self-publish their games, relying on the Internet and word of mouth for publicity. Without the hugemarketing budgets of mainstream publishers, their products may getless recognition than those of huge publishers such as Sony, Microsoft or Nintendo. With the advent of digital distribution of inexpensive games on game consoles, it is now possible for indie game developers to forge agreements with console manufacturers for broad distribution of their games.

Other indie game developers create game programfor a number of video-game publishers on several gaming platforms.[citation needed] In lastestyears this model has been in decline; huge publishers, such as Electronic Arts and Activision, increasingly turn to internal studios (usually former independent developers acquired for their development needs).

Quality of life

Video game development is usually conducted in a casual business environment, with T-shirts and sandals common work attire. Many workers searchthis kindof environment rewarding and pleasant professionally and personally. However, the industry also requires long working hours from its employees (sometimes to an extent seen as unsustainable). Employee burnout is not uncommon.

An entry-level programmer shouldmake, on average, over $66,000 annually only if they are successful in obtaining a position in a medium to hugevideo game company. An experienced game-development employee, depending on their expertise and experience, averaged roughly $73,000 in 2007. Indie game developers may only earn between $10,000 and $50,000 a year depending on how financially successful their titles are.

In addition to being part of the programindustry,[citation needed] game development is also within the entertainment industry; most sectors of the entertainment industry (such as movie and television) require long working hours and dedication from their employees, such as willingness to relocate and/or neededto develop games that do not appeal to their privatetaste. The creative rewards of work in the entertainment business attracts labor to the industry, creating a competitive labor market which demands a high level of commitment and performance from employees. Industry communities, such as the International Game Developers Association (IGDA), are conducting increasing discussions about the problem; they are concerned that working conditions in the industry cause significant deterioration in its employees' quality of life.


Some video game developers and publishers have been accused of the excessive invocation of "crunch time". "Crunch time" is the point at which the squadis thought to be failing to achieve milestones requiredto begina game on schedule. The complexity of work flow, reliance on third-party deliverables, and the intangibles of artistic and aesthetic demands in video-game creation create difficulty in predicting milestones. The utilizeof crunch time is also seen to be exploitative of the younger male-dominated workforce in video games, who have not had the time to establish a family and who were eager to advance within the industry by working long hours. Because crunch time tends to come from a combination of corporate practices as well as peer influence, the term "crunch culture" is often utilize to discuss video game development settings where crunch time may be seen as the norm rather than the exception.

The utilizeof crunch time as a workplace standard gained attention first in 2004, when Erin Hoffman exposed the utilizeof crunch time at Electronic Arts, a situation known as the "EA Spouses" case. A similar "Rockstar Spouces" case gained further attention in 2010 over working conditions at Rockstar San Diego. Since then, there has generally been negative perception of crunch time from most of the industry as well as from its consumers and other media.

Discrimination and harassment


Game development had generally been a predominately male workforce. In 1989, according to Variety, women constituted only 3% of the gaming industry, while a 2017 IGDA survey found that the female demographic in game development had risen to about 20%. Taking into accthat a 2017 ESA survey found 41% of video game players were female, this represented a significant gender gap in game development.

The male-dominated industry, most who have grown up playing video games and are part of the video game culture, shouldcreate a culture of "toxic geek masculinity" within the workplace. In addition, the conditions behind crunch time are far more discriminating towards women as this requires them to commit time exclusively to the organizationor to more privateactivities like raising a family. These factors established conditions within some huge development studios where female developers have found themselves discriminated in workplace hiring and promotion, as well as the target of sexual harassment. This shouldbe coupled from similar harassment from external groups, such as during the 2014 Gamergate controversy. Major investigations into allegations of sexual harassment and misconduct that went unchecked by management, as well as discrimination by employers, have been brought up against Riot Games, Ubisoft and Activision Blizzard in the late 2010s and early 2020s, alongside smaller studios and individual developers. However, while other entertainment industries have had similar exposure through the Me Too movement and have tried to address the symptoms of these issuesindustry-wide, the video game industry has yet to have its Me Too-moment, even as late as 2021.

There also tends to be pay-associateddiscrimination versuswomen in the industry. According to Gamasutra's Game Developer Salary Survey 2014, women in the United States angry 86 cents for every dollar men angry. Game designing women had the closest equity, making 96 cents for every dollar men angry in the same job, while audio professional women had the biggestgap, making 68% of what men in the same position angry.

Increasing the representation of women in the video game industry neededbreaking a feedback loop of the apparent lack of female representation in the production of video games and in the materialof video games. Efforts have been angry to provide a strong STEM (science, technology, engineering, and mathematics) background for women at the secondary education level, but there are problemswith tertiary education such as at colleges and universities, where game development software tend to reflect the male-dominated demographics of the industry, a factor that may led women with powerfulSTEM backgrounds to selectother career goals.


There is also a significant gap in racial minorities within the video game industry; a 2019 IGDA survey found only 2% of developers considered themselves to be of African descent and 7% Hispanic, while 81% were Caucasian; in contrast, 2018 estimates from the United States Census estimate the U.S. population to be 13% of African descent and 18% Hispanic. In a 2014 and 2015 survey of job positions and salaries, the IGDA found that people of color were both underrepresented in senior management roles as well as underpaid in comparison to white developers. Further, because video game developers typically draw from privateexperiences in building game hero, this diversity gap has led to few hero of racial minority to be featured as main hero within video games. Minority developers have also been harassed from external groups due to the toxic nature of the video game culture.

This racial diversity problemhas similar ties to the gender one, and similar way to effectboth have been suggested, such as improving grade school education, development of games that appeal beyond the white, male gamer stereotype, and identify toxic behavior in both video game workplaces and online communities that perpetuate discrimination versusgender and race.


In regards to LGBT and other gender or sexual orientations, the video game industry typically shares the same demographics as with the huge population based on a 2005 IGDA survey. Those of LGBT do not searchworkplace problemswith their identity, though work to improve the representation of LGBT themes within video games in the same manner as with racial minorities. However, LGBT developers have also come under the same kindof harassment from external groups like women and racial minorities due to the nature of the video game culture.


The industry also is recognized to have an ageism issue, discriminating versusthe hiring and retention of older developers. A 2016 IGDA survey found only 3% of developers were over 50 years old, while at least two-thirds were between 20 and 34; these numbers presenta far lower average age compared to the U.S. national average of about 41.9 that same year. While discrimination by age in hiring practices is generally illegal, companies often target their oldest workers first during layoffs or other periods of reduction. Older developers with experience may searchthemselves too qualified for the kind of positions that other game development companies seek given salaries and compensations offered.

Contract workers

Some of the huge video game developers and publishers have also engaged contract workers through agencies to assistadd manpower in game development in part to alleviate crunch time from employees. Contractors are brought on for a fixed period and generally work similar hours as full-time staff members, assisting across all location of video game development, but as contractors, do not receiveany benefits such as paid time-off or health vehicle from the employer; they also are typically not credited on games that they work on for this reason. The practice itself is legal and common in other engineering and technology location, and generally it is expected that this is meant to lead into a full-time position, or otherwise the end of the contract. But more recently, its utilizein the video game industry has been compared to Microsoft's past utilizeof "permatemp", contract workers that were continually renewed and treated for all purposes as employees but get no benefits. While Microsoft has waned from the practice, the video game industry has adapted it more frequently. Around 10% of the workforce in video games is estimated to be from contract labor.


Similar to other technicalindustries, video game developers are typically not unionized. This is a effectof the industry being driven more by creativity and innovation rather than production, the lack of distinction between management and employees in the white-collar area, and that the pace at which the industry moves that makes union actions difficult to plan out. However, when situations associatedto crunch time become prevalent in the fresh, there have typically been followup discussions towards the potential to form a union. A survey performed by the International Game Developers Association in 2014 found that more than half of the 2,200 developers surveyed favored unionization. A similar survey of over 4,000 game developers run by the Game Developers Conference in early 2019 found that 47% of respondents felt the video game industry canunionize.

In 2016, voice actors in the Screen Actors ClanAmerican Federation of Television and Radio Artists (SAG-AFTRA) union doing work for video games struck several major publishers, demanding better royalty payments and provisions associatedto the securityof their vocal performances, when their union's standard contract was up for renewal. The voice actor strike lasted for over 300 days into 2017 before a freshdeal was angry between SAG-AFTRA and the publishers. While this had some result on a few games within the industry, it brought to the forefront the question of whether video game developers canunionize.

A grassroots movement, Game Workers Unite, was established around 2017 to discuss and debate problemsassociatedto unionization of game developers. The group came to the forefront during the March 2018 Game Developers Conference by holding a roundtable discussion with the International Game Developers Association (IGDA), the professional association for developers. Statements angry by the IGDA's current executive director Jen MacLean relating to IGDA's activities had been seen by as anti-union, and Game Workers Unite desired to start a conversation to lay out the need for developers to unionize. In the wake of the sudden near-closure of Telltale Games in September 2018, the movement again called out for the industry to unionize. The movement argued that Telltale had not given any warning to its 250 employees allowgo, having hired additional staff as recently as a week prior, and left them without pensions or health-vehicle options; it was further argued that the studio considered this a closure rather than layoffs, as to receivearound failure to notify neededby the Worker Adjustment and Retraining Notification Act of 1988 preceding layoffs. The situation was argued to be "exploitive", as Telltale had been known to force its employees to frequently work under "crunch time" to deliver its games. By the end of 2018, a United Kingdom trade union, Game Workers Unite UK, an affiliate of the Game Workers Unite movement, had been legally established.

Following Activision Blizzard's financial report for the previous quarter in February 2019, the organizationsaid that they would be laying off around 775 employees (about 8% of their workforce) despite having record profits for that quarter. Further calls for unionization came from this fresh, including the AFL-CIO writing an open letter to video game developers encouraging them to unionize.

Game Workers Unite and the Communications Workers of America established a freshcampaign to push for unionization of video game developers, the Campaign to Organize Digital Employees (CODE), in January 2020. Initial efforts for CODE were aimed to determine what approach to unionization would be best suited for the video game industry. Whereas some video game employees trustthey canfollow the craft-based model utilize by SAG-AFTRA which would unionized based on job function, others feel an industry-wide union, regardless of job position, would be better.

Sweden show a unique case where nearly all parts of its labor force, including white-collar jobs such as video game development, may engage with labor unions under the Employment Protection Act often through collective bargaining agreements. Developer DICE had reached its union agreements in 2004. Paradox Interactive became one of the first major publishers to assistanceunionization efforts in June 2020 with its own agreements to cover its Swedish employees within two labor unions Unionen and SACO.

See also


  • McShaffry, Mike (2009). Game Coding Complete. Hingham, Massachusetts: Charles River Media. ISBN 978-1-58450-680-5.
  • Moore, Michael E.; Novak, Jeannie (2010). Game Industry Career Guide. Delmar: Cengage Learning. ISBN 978-1-4283-7647-2.

  • from the IGDA
  • and from game industry veteran Tom Sloper

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