I recently joined the WIGJ (Women in Games Jobs) Advisory Board and was asked to deliver a keynote on ‘How to get to the top as a woman in gaming’. So on September 22nd 2011, I attended the first annual WIGJ Conference in London, England with over 150 attendees from the games industry throughout Europe, as well as a large number of students looking for advice.

During my keynote, I shared some advice with the audience which is relevant to men as it is to women. In particular, 1) do what you love – the most successful people in the world share one characteristic – they care more than anyone else. It’s hard to care about something you’re not passionate about and 2) do whatever job you do to the best of your abilities – every task, however menial it may appear, is a reflection of you and your standards. Attack every task with the same dedication and passion to do it well and other, more senior people will notice and respect you for it.

I strongly believe that you have to take responsibility for your own journey and work hard to achieve your goals. I joined Criterion Software Limited as the only woman in the development studio and as a producer who had never worked in games. Yet within three years I was running the studio, renamed ‘Criterion Games’ and to date it is amongst the most successful studios in the UK.Today I continue to run Criterion Games but have also recently been given the opportunity to run all the driving games within the EA Games Label.

I was inspired and energized by the women I met at the conference but I was mortified at how so many of the students felt they were facing an impossible challenge to get into the industry. Fortunately EA has made it a priority to increase its graduate employment by significant levels. EA also advocates increased diversity, be it the hiring of women or minorities as one of its key tenants when it comes to building the company. The world today is a very different place and we NEED new blood, different viewpoints, and diverse cultural backgrounds within the company to bring fresh thinking, new ideas, and perspective to ensure EA can remain competitive.

Happily there are more women in game development today but we still need to increase our numbers. I am more passionate, today than at any point in my career about helping women succeed in gaming. The message to women is clear – it’s important not to let being a woman in the games industry be an obstacle, but instead be what makes you valuable.

If you’re interested in working at EA and you’d like more information on positions available around the world, please check out EA’s Jobs Site.

As always, the teams did an awesome job, but there unfortunately can only be one winner. So, we are happy to announce that this year’s overall winner (and the winners of a shiny new iPad®) is ….Team Two from EA Canada!! Congratulations EAC Team Two!!! And… let’s not forget the team from our Tiburon (Orlando, Florida) studio who came in just behind the EAC Team Two in the judging. The members of the Tiburon team each collected $200 gift cards for their 2nd place finish. Congratulations to the Tiburon team!!!
Last, but not least, we want to give a huge shout out to all of the Interns/Co-ops that participated in this year’s event!!! A special giant high five goes out to the team from EA Redwood Shores who had the most creative video of the bunch and an over-the-top fist bump goes out to Team One from EA Canada for best showcasing their studio location in their video. Once again, we were so impressed with all of the videos that were created in just a matter of weeks. Great work everyone! They are all amazing!

EA Canada Team 2 – Winners

2nd Place Winners – Team Tiburon: Best showcase of intern experience

EA Canada Team 1: Best use of location

EA Redwood Shores: Best use of creativity and humor!

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Diarmid Clarke in the spotlight at EA India's 2010 Holiday Party

DC:  That’s a good story!  My dad brought home an Atari 2600 back in the day and I played Combat until my fingers, literally, bled.  There was no turning back at that point as I had fallen hopelessly in love with games.  While still in school I convinced my parents to pick up a 48K Spectrum with the promise that it had enormous educational advantages – fortunately my dad was destined to be a huge gamer himself, so no further convincing was required.  At the time we lived in a very small, very old, town in the UK where strangely enough, the head of Microprose lived. Microprose had just set up in town and I literally spent 6 months hanging around their doorstep trying to get a job.  As I was an expert in Ultima 4 – that Microprose had just picked up in a distribution deal with Origin (acquired by EA some years later) – they asked me to do a sales presentation on the game to the executive team.  Here I was, 16, bad hair and acne, presenting to a group of gaming executives.  It wasn’t long before they gave me a job in QA, which of course included serving coffee and fixing the license plate on an exec’s car among many other such tasks.  But for me it was certain that I wasn’t going anywhere else, that it was a life in games for me from that moment onward.  I decided that I was going to be a game producer/designer.

EArl:  You are now the Studio Head of our Hyderabad, India studio – congratulations!  What prompted you to you make such a big geographical (from Canada to India) and career (from console to mobile) move?

DC:  Thanks!  Making such a big drastic decision does require one to have a certain mind-set, be incredibly adaptable and not need to be surrounded by the familiar.  I’ve made pretty big decisions throughout my career – starting off from going from a tiny village in the UK where if your family haven’t lived there for 100 years you are still considered to be an outsider – to working up to the big metropolis of London at a fairly early age.  I worked in external development for a chunk of my career, so I love the opportunity that the games industry provides for one to see and experience many different things. I’ve always been somewhat of a risk taker when it comes to my life and career, and I feel it has certainly paid off with some amazing and challenging experiences.

As for moving to India, it literally felt like I went from the coldest place on earth (EA BioWare in Edmonton, Canada) to the hottest (Hyderabad, India), but I was looking to try something entirely different and challenge myself in a way I had not done before.  I wanted to not pass up on the opportunity for such a challenge.  I get easily bored with the mundane, so this opportunity presented a great contrast from a safe and predictable existence and I hope that my time here will prove to leave a positive legacy within the studio.

As for moving from console development to mobile – the mobile industry is incredibly fascinating, it is changing extremely rapidly and the audiences are wide and diverse.  In my opinion, mobile gaming is really the most different and exciting thing to happen to the games industry in a long time.  Moving from PS2 to PS3 is primarily nothing more than a hardware upgrade and I could familiarize myself with the new platform in a week.  However the learning involved within the mobile, social gaming space is never ending – and this fascinates and challenges me.  The fast turnaround of projects is also appealing, where a game like Mass Effect takes several years to make (and it is indeed an incredible game), there is something exciting about making a game in less than a year and having several projects on the go at once  The mobile industry is much like going back 10 – 15 years where a lot of the fun old ideas, and ability to take more creative chances, are coming back and we can perfect the game mechanics to fit with the new platform technology.

EArl: Give us a taste of what it is like living and working in India as a foreigner, as well as a glimpse into your team in India.

DC:  It’s bloody hot right now, up to 100F at the moment and getting hotter, so certainly a contrast to the -40 I experienced in Edmonton.  India is a place of huge contrasts, events and views.   Things can be, on the one hand, unbelievably frustrating with things like power cuts on a regular basis and having to do without certain amenities, like being unable to drink the tap water.  Yet on the plus side the people here on our EA India team have a willingness to learn and an enthusiasm that is very rare.  They have no arrogance and are passionate about wanting to show that world class games can come out of India.  The Indian people make living here a tremendously rewarding experience.  For example, my water ran out in my home and within 10 minutes I had 3 handymen arrive to fix the problem – at no charge.  It is refreshing on many levels living and working among such people.

EArl:  What EA India studio successes under your leadership are you particularly proud of?

Diarmid and India team kicking back at 2010 Holiday Party

DC:  Along with my amazing team here in India we were able to produce Harry Potter and the Deathly Hallows which ended up getting the highest Harry Potter game rating from Pocket Gamer, along with an award nomination. (Thanks should also be giving to our Romanian studio on this with helping with the core technology)  It proved to that the team here India does indeed have the talent and motivation to develop world-class titles, and this is an exciting time for the studio.

EArl: How do you feel EA currently supports your ability to be successful, and how it has supported your career overall over the years?

DC: What has been excellent in the mobile team is that they let me just get on with it.  We have general goals and shared product knowledge and we have weekly calls with the UK as well as LA for key milestone points – but beyond that I am basically allowed to make decisions here on the ground and do what I see fit.  So the hands off approach EA provides allows us to continue to be successful here with the team.  Even though we are geographically removed from the US and UK hubs, the contact is regular and consistent.  The mobile team execs, Chris Gibbs, Travis Boatman and Barry Cottle make a point of coming out here on a regular basis to have face time, which shows the human approach to leadership at EA.  The only thing that is missing here in India is a strong game development community for social interaction with which we can exchange ideas and who possess the level of quality and experience of EA. The gaming industry is still very young here comparatively but I firmly believe we have the best studio in India!

As for how EA has supported my career, that is an interesting question!  This is the third time I have come back to EA, so to speak, in my career, each time in an entirely different role.  Back in the UK the decision to move to EA was based on the feeling that EA was bringing order to the wild west of games, it was clear at the time we had to learn how to make great games with greater predictability (the industry is littered with the corpses of both Developers and Publishers who have failed to achieve this).  What I have consistently gotten out of working at EA is the insight into how games are made, that 80% of making games is doing things correctly, smarter and faster.  It is not rocket science.  Then 20% of course is the magic component.  Just being at EA facilitates learning as there is a depth and breadth of experience here second to none.  I have a huge amount of respect for the guys in Mobile –  as I said earlier they let me get on with it at my end – and this cuts down on what I call the “stupid loop” but provide valuable insight that allows our team to keep pushing the quality bar up higher.  I have worked for guys in the past where they had no passion or interest in games, yet they are up there making redundant, irrational decisions.  That is far from the case with the mobile team here at EA.   It continues to be a fascinating and challenging run!

EArl:  Thanks for sharing your experiences with us, Diarmid – certainly fascinating — wishing you continued success with your projects at EA Mobile in India!

DC: Cheers!

EA employees around the globe recently received an announcement from our Global SVP of Human Resources, Gabrielle Toledano, encouraging any and all to be fearless in our approach to furthering our careers – within EA.  EA has an active Internal Mobility program in place that encourages all employees to take full control of our career development, and partnered with our management teams, engage in our fully transparent process of internal applications and transfers.  There are some guidelines of course, but the bottom line is that EA is committed to facilitating this process, underscored by the belief that our organization is strongest when employees are openly encouraged to grow within.  Way to make career dreams possible, EA!

EA and the Japan Relief Effort.

Last month’s devastating earthquake, tsunami and nuclear disaster in Japan were felt very close to home within the EA community.  Our team in Japan is fortunately safe, but they are facing a daunting and uncertain future as their country begins rebuilding and recovering.  EA teams from around the world, including Battlefield Heroes, Playfish, Pogo, The Sims, Ultima Online and FIFA Ultimate Team have implemented some creative ways to reach out and help those in need.  Some of those campaigns included:

• In-game micro-transactional features were modified to allow players to circumvent EA and go directly to Japan relief organizations.
• At EA Canada, the facilities were used to pack meals for “Kids Against Hunger” – which were then sent directly to those in need in Japan
• EA set up a donation matching program for employees donating to select organizations

In the face of such tremendous challenge, our employees and their families in Japan have voiced their gratitude for the contributions being made by the EA team to the aid of their nation.

Yes, it’s time to go behind the doors of Playfish

Just in.  Smoking hot off the press.  We all know that social gaming is exploding in growth.  Playfish is one of those cool companies leading the charge in creating innovative, high quality and fun social games.  Great games that trip off the tongue include Restaurant City, Pirates Ahoy, Hotel City and FIFA Superstars.  The team have just released the critically acclaimed Madden Superstars.  And there is so much more to come.  Wish I could tell you more but you’ll have to wait and see.  Nice surprises to come.

But behind all the great games, what’s it like to work for Playfish?   That’s where this great video helps us wrestle open the doors of Playfish and see the faces behind the games describe their lives, challenges and fun at Playfish.

Let us know your views.

And yes……Playfish is recruiting right now.  To learn more about Playfish visit:  www.playfish.com   To look for a job at Playfish, your next stop should be:  www.jobs.ea.com

EArl

Here’s the new video:

© 2010 Electronic Arts Inc. All rights reserved. All trademarks are the property of their respective owners

Very cool insight into gaming in India and an illustration of one way that EA are trying to message out about building successful careers in videogames.   

Last week, EA attended ‘Game On’ events held in Delhi and Mumbai.  These events, organised by the MAAC, were aimed at raising the general awareness about careers in gaming in India.    

    En route to the event, fighting through the traffic   

MAAC were the event organisers.  Here’s a little more information on them….The Maya Academy of Advanced Cinematics (MAAC) is one of India’s leading educators in 3D Animation and Visual Effects. Founded in 2001 to cater to the specific needs of high-end 3D Animation and Visual Effects companies, MAAC is a division of Aptech Ltd. which is a key driver of education, training and content in various domains like, IT, Hospitality, Language with more than 3 lakh students in 35 countries.  Today MAAC has a network of more than 70 academic centers spread across India and abroad, and a 30,000 alumni members who have been major contributors to the rapid growth of this exciting industry in India.   

 Inside MAAC Delhi:  Students get vital development practice & schooling

With the rapid growth of the games industry globally and tremendous growth in India, MAAC is totally focused on driving initiatives to bring awareness about the scope of gaming as a great career option. To help drive awareness MAAC organised a specialized COUNTRY TOUR on GAMING in India and asked EA to join it in two key cities with Delhi on 20th Aug & Mumbai on 21st Aug. The GAMING TOUR focused on case studies and insight into the global gaming industry, how the education system in India is going to serve the gaming industry and a live gaming contest. The gaming event was introduced to more than 5000 students and professionals.   Matthew Jeffery, Global Director of Talent Brand, represented EA.

  ’Game On’  Careers in Gaming event in Delhi entrance    

 EA’s Global Director of Talent Brand represented EA in Delhi

Jeffery messaged that EA is excited about gaming in India for several reasons and drew attention to the success of Indian films.  ‘India has a rich culture and heritage.  As we have seen from the worldwide success of Bollywood films, it is obvious that there is a Global appeal to Indian cultural films.  Now the question is, which Indian games development studio will be the first to create a globally successful ‘AAA’ game?  If it is possible in film, why not games?  Just think that there are people sitting in this room who could have that potential to create such games.  They could be the next Will Wright, Miyamoto or Kojima.  EA aims to help and uncover that talent and nurture them.  Very exciting times for gaming in India’.   

    Over 800 students and interested industry professionals crowded into the Auditorium   

What makes India so exciting for growth?  Jeffery continued to enthuse the audience: ‘We see India as a good long term growth opportunity for the industry.  There is demand for consumer electronics/entertainment products like PC’s, LCD TV’s, Digital Camera’s, Mobile Phones and Game Consoles, and rapid adoption of internet with over 40 million current users. Those elements, plus new game offerings and delivery platforms will help the industry grow in this market.  We see opportunity for long term growth.  There is a strong talented pool of artists, programmers and game designers across India that can help contribute to the global interactive entertainment industry. We see potential here for talented individuals to build, grow and solidify a world class, unique gaming proposition. We also have to break through the myths of careers in gaming.  Gaming is the fastest growing media segment, and offers jobs in a stable industry, well paid, with companies like EA that offer well defined career paths, including promotion prospects.  And are fun !   The Indian games industry has so much potential.  Individuals need to believe in what is possible and achievable and make a difference.  Those bed room programmers, artists and game designers have to take risks, pursue a dream and start making those games that will place India on the gaming map’.

    ‘Beat EA’  10 people were selected from the audience to play a game of Crysis and at the end see who had the most hits 

To motivate the excited crowd, 10 people were selected from the audience, based on correct answers to quiz questions, to take part in ‘Beat EA’.  This was a gaming competition in which the 10 audience members would compete for 10 minutes on a LAN on a game of Crysis to see who could get the most hits.  Jeffery joined in, hence the tag line ‘Beat EA’.  In Delhi the highest number of hits was 27 in ten minutes.  In Mumbai the result was 32 hits.  This well exceeded what Jeffery achieved. 

 Delhi life  

An Insight into EA offices in Hyderabad   

Before we take a look at the event in Mumbai, let’s get an insight and refresh ourselves of what EA is doing in India.

EA has a large studio team situated in great offices in Hyderabad   with teams from 3 major global business units: EA Mobile, Central Development Services (CDS) & Global Finance. To give you more of a flavour, the mobile studio develops original mobile games and adapts games for a variety of mobile handsets. EA Mobile is the number one mobile games publisher worldwide developing a host of the world’s most popular mobile phone games including Tetris, FIFA, Need for Speed, The Sims,   to name but a few.  CDS India works with EA studios around the world on a range of next generation game projects for Xbox 360, Sony PS3, Nintendo Wii & PC. The team is made up of talented Software Engineers and QA Engineers who share a common passion for making games better this team of young professionals is led by an experienced management team in an  informal but professional atmosphere where creativity and innovation are strongly encouraged. At EA, people are expected to be bold, accountable and think quality first. EA India provides an environment where one can learn and grow while working and playing hard. The CDS India team has worked on multiple instalments of major franchises such as FIFA, Need for Speed, Sims, NBA, NHL, Skate, NCAA, Spore, The Godfather & Army of Two.  And finally, Global Finance is a key and critical support group within EA that delivers and supports services for our global business.

‘Game On’ Mumbai

Jeffery discusses just how far gaming has come in 25 years in Mumbai   

A key goal is to ensure that creative talent in India gets to understand the excitement of the games industry.  Jeffery told the audience:  ‘We have to help demonstrate the great careers that talent can have in our industry.  Let’s also   look how far gaming has come in 25 years – remember back to the early days of gaming, the simplicity of Pong, with two bats and a square ball!  Moving on to pacman and space invaders.  Graphically basic games but compelling for their gameplay.  Fast forward to today and you have compelling game worlds like those found in Dragon  Age or Dead Space.  Games that look graphically superb, but also draw you in with compelling story and gameplay.  Videogames have come a very long way in 25 years.  What is fascinating is the choices where talent artists, engineers, producers etc can work.  There are vast differences between film and gaming and this provides different career challenges.  Obviously, the big difference between film and game is that an individual watches a film, they are required to do no more than that.  With games they interact and that already starts to demonstrate the technical challenges of working in game. In film, the film director is in control and takes you through a roller coasters of emotions.  But these are linear and controlled.  In gaming, the control is handed to the games player.  A game can have multiple outcomes, driven by user choice, AI & simulation.  In a film, the audience have no control of what happens.  In game, so much changes, be it camera angles, number of gamers, interaction, events, lighting etc.  Even just starting to comprehend these complex technical challenges is enough but add to that the complexity of producing online games, running in real time, with huge online worlds all interacting.  The complexity of realistic AI.  Real time physics.  Or creating controllable game characters with emotionally believable characteristics’.   

Over 1,000 packed a huge Auditorium in Mumbai    

Let’s hope that events like these and others being organised across India demonstrate to the creative talent the exciting challenges…and fun…of working in videogames.  Currently, creatives are actively competing to work in film, (which makes sense due to the global appeal of ‘Bollywood’ films).  Word of mouth and the media have a key role to play in helping to demonstarte the strong future potential of videogames in India.  In the words of the MAAC events…’Game On’ for India.

EArl

A last view of life at EA in Hyderabad   

© 2010 Electronic Arts Inc. All rights reserved. All trademarks are the property of their respective owners   

No seriously, every year EA challenges their interns/coop in each studio to unite, work together, and create a video that encompasses their internship/coop experiences at EA. This year we had entries from Tiburon, EAC, Bioware Austin, and EARS.  While all the videos were incredible, there can only be one winner.  Not an easy decision, as we had a great mix of videos showing elements of humor, action, music, visual and sound FXs, and best of all showed us how fun it is to intern/coop at EA.  

Envelope Please……………………

And the award for Best Picture goes to TIBURON. 

Congratulations Tiburon!!! You are this year’s winner!

So, please have a look at some of these great videos and see for yourself which one is your favorite.    Oh, and don’t forget to give your local intern/coop team member a high five for their efforts on their video!

TIBURON

EARS

EAC

Honorable Mentions go out to:

• EARS for Best use of Visual and Sound Effects  (WOW, NICE WORK!)
• EAC for the Best use of a Child’s Flower Costume in a coop film (It really started to grow on us)

© 2010 Electronic Arts Inc. All rights reserved. All trademarks are the property of their respective owners

Answer:  When the CEO personally makes time in in a busy diary and spends quality time with the new graduates.

Yes, EA CEO John Riccitiello is a man who is devoted to ensuring EA hires the best talent and for him that includes putting Graduates on the centre stage.  He recognises they are the future business leaders.

Yesterday, he gathered a group of new Grads, interns and co-ops together and spent time discussing EA, the future, business models, competition, latest games and then held a great Q&A so the grads could ask him about anything.  And that they did!…….

All involved left feeling inspired…..and that included JR.

How cool is that?      EArl

 A couple of extra shots for you.  Look carefully at the audience amongst the grads and you can see Gabrielle Toledano EA’s EVP of HR and Cindy Nicola, the VP who heads up Recruitment.  Very cool.

© 2010 Electronic Arts Inc. All rights reserved. All trademarks are the property of their respective owners

EA is very proud to be a member of Skillset in the UK.  

What is Skillset?  Well, Skillset is the Sector Skills Council (SSC) for Creative Media which comprises TV, film, radio, interactive media, animation, computer games, facilities, photo imaging, publishing, advertising and fashion and textiles. Their aim is to support improvements to the productivity of our industry to ensure that it remains globally competitive. They do this by influencing and leading; developing skills, training and education policy; and through opening up the industries to the UK’s pool of diverse talent.  Skillset conducts consultation work with industry, publishes research and strategic documents, run funding schemes and project work, and provide information about the challenges that face the industry and what we need to do to overcome them.  Lastly they also provide impartial media careers resources for aspiring new entrants and established industry professionals online and over the phone. Whether a freelancer looking for training information, a student furthering knowledge of industries or a public agency partner, Skillset aim to provide all with easy access to the information required.  To learn more, click here. 

Leading the way for the videogame sector in the UK is Executive Chair, Industry Statesman Ian Livingstone who presides over a prestigious council with representatives from EA, Sony, Microsoft, ELSPA and TIGA amongst others. 

Many students in the UK are confused by the explosive growth in degrees, particularly those focusing on videogames.  What should they study?  Where should they study?  Are some Degrees ‘worth more’ than others?  What are the Degrees to avoid!Through a very thorough review process, Skillset accredits the best Gaming Degrees in the UK, (with Industry support).  This is a key guide for students as games degrees have received a bad rap and some have been hastily put together. The goal….to help students best decide.

Skillset have again been at the forefront of the skills agenda.  At a recent event they brought together some of the most talented animation graduates from the UK’s most industry-savvy courses together under one roof in Soho for industry to meet.  Even better is that they filtered the best of the current crop too- into the best new breed of 3D, 2D, and stop frame animators!  As well as a great conference, Skillset arranged for an informal exhibition space allowing the best graduating students from Skillset Accredited degree and postgraduate courses to showcase their innovative and inspiring work. A new addition for the 2010 showcase was a screening room to view selected student work.

 To give an idea of who attended and spoke at the Conference, here’s the agenda.

EA supported the Animation day…..

EA keynoted the event via Matthew Jeffery of the recruitment team who presented on the 12 principles of animation and what EA look for.  Matthew detailed what EA looks for in a showreel and gave an overview of the 12 principles of Animation.  This advice has been provided on this blog previously.  In particular take a look at :

-     The principles of animation  Click here

-     How to put together a killer showreel   Click here

-     How to put together a great cv   Click here

-     Advice to students and graduates   Click here

-     How to maximise your chances in getting a job     Click here

Signing off the 40 minute presentation Matthew inspirationally reminded the Graduates and Professors to aim high and to never give up on their dreams.  The likes of Walt Disney, John Lasseter, Steven Spielberg, Will Wright all had their dreams and through their unshaking dedication to these dreams, lost blood, sweat and tears to ensure they brought joy to millions of people across the world through their ability to entertain.

Keep up the great work Skillset.     EArl

© 2010 Electronic Arts Inc. All rights reserved. All trademarks are the property of their respective owners

Obviously we love working at EA.  But we are biased.  It is always great to receive external recognition about EA being a great place to work.

Let’s take a look at some different awards announced recently.

First up at the prestigious ‘Recruiter Awards’, EA was delighted to be awarded the recognition ‘Highly Commended’ for the most effective Employee Brand development.  What makes this special is that the recognition comes in a category that included hundreds of applicants across different industries eg financial services, pharmaceutical, public sector, retail, consumer goods etc.

Every year, Universum surveys students and asks them questions about their career expectations, how they perceive companies as employers and what they associate to those employers. Universum asks students to pick the employers they would consider working for and then choose the employers they would most like to work for, that is the companies that they perceive as being “Ideal”.

The Universum Top 100 Ideal Employer Rankings reflect the frequency with which these employers were selected as being ideal by the students who participated in the surveys. The Universum Top 100 essentially measures the level of employer attractiveness that a company/organization has on the recruitment market vis-à-vis other competing employers. In other words, how many students perceive you as a “best place to work” company or organization and where do you stand in the crowd of all those employers needing top talent.

The Universum American Student IT Survey results are out.

And……..

EA are in the Top 10….at number 8!!!

Very cool.

Now what makes this exciting is that this is the opinion of students…some 56,900 were polled from 345 leading US Universities.

Other Universum results have also been announced.

In the UK, some 11,637 students from 65 leading Universities were polled and EA were ranked at number 15in the Engineering / IT Sector.

And in Sweden, 16,791 University Students were polled from 34 leading Universities.  DICE, (an EA Company), were voted in at number 5.

These votes mean a great deal for us at EA.  Especially as they are voted by students.  Thank you.

© 2010 Electronic Arts Inc. All rights reserved. All trademarks are the property of their respective owners

So you want to be an artist?

I thought it cool to share a presentation on art careers in EA, the different art disciplines, (eg animator, modeller, VFX, Concept artist etc), the skills and experience we look for each role and a definition of ‘what good looks like’.  This will give you a great insight into what recruiters look at and how they take decisions.

Take a look at the presentation.  (For those reading the news letter you will need to view this HTML on the site).

 So let’s continue our focus on art with an interview by our sister site www.ea.com.  Lucian Tucker met with Emma Toyonaga a Concept Artist.  Over to you Lucian.

Imagine designing a game character from scratch. Sure, you’re given some design parameters like “make sure it’s cute,” or “appeal to kids,” but even so, the look of the character is in your control. You’re the one with the blank sheet of 11 x 17 paper on your desk and what you draw will be molded, and animated, and will end up on screens all over the world.

If you’re interested in working in the game industry and love to draw, I’m sure you’ve dreamed of being a Concept Artist like my interviewee this week Emmy Toyonaga (see self-portrait on left). She’s responsible for creating the look of the MySims characters. Before that, she was responsible for changing the colors of couches on The Sims from brown to black. Have to start somewhere I suppose.

Can you tell me your name, job title, and what you do at EA?

Emmy Toyonaga. Lead Character Artist for The Sims Label, though currently I’m doing concept art and character art direction.

So really you have two jobs.

What I do isn’t really typical here. I guess you can do more than what is in your job description when you work on small teams.

I’m also a special case since I came up with the look for the characters in MySims and created the base 3D meshes, so I function as a style guide for the franchise.

Tell me about that. When you created the MySims characters, where did you start?

Everything starts from design. The lead designer wanted characters that appealed to the Nintendo market and the game was to be more light hearted and approachable, so I tried to create something that would appeal to that market.

I referenced current Nintendo games and looked at urban vinyl toys as reference. The small characters resonated well with the team so we went with that. Also, in games and animation, I found that more cartoon-like, squat characters are used in light-hearted situations, and realistic and gritty characters work better for serious situations. Since the Sims characters have always been more realistic in style, I thought a lighter hearted version of the Sims should have characters that are small and cute, like toys coming alive.

And when you go to actually design them, do you start with pencil and paper, or something else? How does that process begin?

Pencil and paper back then. Now I have a Wacom Intuos (pen tablet) that allows me to draw directly onto the screen. Pencil and paper is still the best though. You just scan the drawings, open them in Photoshop, and edit them there.

What happens after you finish the concept art?

Concept art in gaming has multiple purposes. For characters, like on the Sims series, you draw the character and the clothing and get approval from design and management. It’s kind of like drafting out a building design before you build it. You make changes in the drawing so you don’t spend time fixing it while you’re building it.

The concept art then goes to the 3D Modeler, who makes the character out of the drawing. On MySims 1, in the beginning of the project, I was both the concept artist and the character modeler so I performed both tasks.

Are they similar at all? Or easy to go from one to the other?

Modeling and concept art? Concept art involves visualizing and projecting information that Design would like to see onto paper. Concept artists are the idea guys responsible for creating reference art for the 3D modelers.

For 3D modeling, you take concept art and build out the information, whether it is a level, character, or object-almost like molding clay, in the computer. 3D artists are basically the sculptors.

So we have Emmy the Concept Artist and Emmy the Modeler. What about the Character Art Direction side?

That’s where I’m the style guide. I help other artists understand what makes a MySim look like a MySim.

Ah, because you’re the person who created it and you know it best.

Yes. Art tends to be subjective-it’s important to have a point person that can make decision of whether or not looks good within a set style. Of course, the director has to be flexible enough to incorporate other artist’s ideas and input. I think this can be said for other jobs as well.

It’s a lot of pressure sometimes though, since you have to believe in your choices and trust that they are correct.

How long have you been at EA?

[She checks] November 14^th, 2003 is my start date-around 9 years I guess. Wow, that long? I worked at Maxis before were merged into EA Headquarters.

Back in 2003 did you join Maxis as a Concept Artist or something else?

I actually came on as an Object Modeler/Texture Artist. It was a very boring job in the beginning, but you have to start somewhere.

[Laughter] I would take a brown chair, and make a black version, and a green version. Or fix bad outsourced art. Ah, the memories.

So I want to go forward a little, and then backwards. Going forwards, where did you go after making black couches?

[Laughter] I kept on nagging people to let me work on characters and they gave me an opportunity. After proving that I’m capable, I was moved on to the Sims 2 character team. I got to work on both character concept and 3D modeling, which was great. If you are passionate and persistent a team will normally let you try out different tasks that may not necessarily be what you were hired for.

So for all aspiring concept artist out there, the key to moving up is to nag everyone, according to Emmy Toyonaga.

[Laughter] I think you have to be passionate and willing as a concept artist. If you stay in your corner and just draw whatever, it’s harder for people to recognize you. If you outwardly tell people what you’re interested and aspire to, they’ll remember what you told them and give you a heads up when there’s an opportunity. For example, let’s say you’re interested in becoming a cook. If you just stay at home and cook and not tell anyone, no one will know. But, if you let tons of people know you may find an opportunity. A friend might find an opening as a chef’s assistant or find some good class you may be able to take.

Sorry, that metaphor sucked.

[Laughter] No, it was good. Nice and simple. Makes perfect sense.

My advice to people interested in getting into the game industry as a concept artist is this: put your artwork online. But, make sure it’s safe and won’t get stolen. Watermark it and keep the resolution low. That’s how I got in. One of my first big freelance jobs was thanks to my website. I got a job doing spot art for Playstation Magazine and Dreamcast Magazine. One of the editors liked the stuff they saw on my website and decided to contact me.

As for my first game job, I got in contact with other online artists and formed a network with them. One of the artists was a lead character artist at Midway who ended up hiring me.

I got my art on to the net pretty early when the internet was just happening so I was lucky too. It’s funny, but I had a fan art site, a forum, a whiteboard, and an IRC chat channel. It’s really cool seeing MySims fan art on Deviant Art and such since I used to do the same thing-draw characters from games I liked.

I also recommend artists to go to conferences such as GDC (Game Developers Conference). Try to socialize and get to know other artists. Even something simple as joining forums like CG Talk and posting art will help.

Did you go to school for art?

I went to Sheridan College in Canada. I took Illustration there. Some people think I can only draw MySims but I can do pretty cool nude paintings too [Laughter]. I have so many life drawing stories.

I did a little nude drawing in college using just a Wacom, but I didn’t do it enough to be great.

Wow, a Wacom? That must be tricky! I love working with conte (chalk type material) and manilla paper. I suggest working with big paper and use your whole arm when drawing.

Let me know! But let’s get back on topic. You’re in California now, you went to school in Canada, and I know you’re Japanese. Were you born in Japan, or Canada, or somewhere else?

I’m weird. I was born in Canada and was shipped to Japan when I was 1-years-old. I grew up in Okinawa and went to an American school. When I was 18, I felt like checking out the place I was born at so I went to school in Canada.

It was cold.

I can imagine. And then you graduated and went to Midway?

At some point. I worked at an advertising company for a bit, but that didn’t work out, so I went to Midway after that. The advertising thing is a painful story.

Ah. Sorry bringing up bad memories…

[Laughter] It’s alright. You learn from hardships and it makes you stronger. I used to be very, very timid. Moving out to Canada was a very good thing for me.

Just a few more questions if you don’t mind. I like talking to you. You’re the first creative person I’ve interviewed!

Aw, thank you! You’re very nice to chat to as well!

So, are you a gamer?

Oh yeah, huge one. I just stayed up till 3:00am yesterday playing Might and Magic DS. I was pretty casual during the NES (Nintendo Entertainment System) days though, mainly since I didn’t have money to buy many games. My love for games grew more since I entered the industry. Now I know how much effort it takes to make a good game-it’s just crazy. Some of those AAA titles out there, just the teamwork, leadership, and everything that it takes to make a game like that is amazing.

Was working in this industry always a goal?

I always liked games but I was trying to become a freelance illustrator at first. It was by chance that I stepped into this industry but I’m happy I did. My goal once I entered the industry was to become a lead character artist so I was totally stoked when I was able to do MySims. I was dancing on my bed on the first day I was told I can design the characters.

Oh yeah, and another tip for beginner artists is that this industry is all about connections. Also, it’s also beneficial to go to art school and use internship programs to get your foot in.

Any advice for females? Do you find it hard being a female in a mostly male industry?

Sometimes, when you come across that rare guy that treats you unfairly just because you’re a woman, yes. It’s not that bad. I think as long as you really like making games and you’re passionate about it, it resonates with people that want to do the same. If you don’t care about games I don’t recommend this industry though. It’s a lot of work.

What other games do you play? Any first person shooters?

I love Halo. Gears of War was okay. I’m more of a cooperative FPS player. I don’t have the patience to play capture the flag and such. I’d spawn, get shot in the head, then respawn, get shot in the back. It’s hard to get into when you play with good players [Laughter]. It’s like “Hey guys… Bam!”

What games do you play mostly then?

Hm. My favorite games of all time are the Zelda series. Genre wise, I like adventure and RPG’s. I like many games. I like anything from Katamari Damacy, to Plants vs. Zombies, to the Myst series, to Bayonetta. Bayonetta is awesome crazy.

What consoles do you use?

Any console. I love them all [Laughter]. I can’t choose. There are both good and bad games for all the consoles. I also like crap-tastic games too. What do you like playing?

Mostly shooters like Halo and Call of Duty. Also action adventure games like Assassins Creed and Uncharted.

Uncharted 2 was pretty cool. Haven’t played Assassins Creed yet. I’m not a good “sneaker” so I figure I’d suck at that game. Like in Metal Gear I’d be Rambo and get killed. I do like the cardboard box though. I liked the open ended story of Shadow of the Colossus too.

I actually don’t play online though. It’s weird, no? I avoid it because I’ll get addicted. I put in 600 hours over one summer on Phantasy Star Online, and I thought I probably shouldn’t play online anymore if possible. That’s why I’m avoiding WOW (World of Warcraft) like the plague. I even got hooked on to Restaurant City.

So yeah, I guess I get hooked to things.

I’m the same way, but I don’t hold back. I just prioritize. I just think to myself, “I’ll do this first, and then play all the games I want.

I’ll be like “OK, I’ll just play online for 2 hours and then sleep,” and next thing I know it’ll be morning. I’d have my mind set to stop but… the game… it sucks me in… [Laughter]. I must learn to be like you.

Well with that, I think we’re done. It was good talking to you.

Alright. Thanks!

© 2010 Electronic Arts Inc. All rights reserved. All trademarks are the property of their respective owners

Everyone wants to be a game designer.  It is by far the most popular topic that the recruitment team is inundated about…..how do I become a game designer?  What qualifications do I need?  

Everyone wants to create the holy grail.  That ‘AAA’ hit that sells millions across the globe to huge critical acclaim.  But not everyone will be the next Will Wright or Miyamoto. 

In the past we have highlighted a presentation made at the Swansea International Animation Festival called ‘Mum, Dad, I want to be a Game Designer’.  This is published on our YouTube Channel and has had 23,440 viewings and been rated at 5 Star by the Community.  It is a 50 minute presentation, so grab a coffee and settle in……click here and enjoy

Also, extremely noteworthy is an interview published on our sister site www.ea.com by Lucian Tucker.   Lucian met with Rom Rodriquez, a Level Designer on Dead Space 2 to get more insight into breaking into Game Design…..over to you Lucian…

You know how when you play horror games like Dead Space you start to walk slowly around every corner and point your gun at every dark space you see? And just when you think it’s safe some bizarre creature drops from ceiling and you start spraying circles around it while running backwards as fast as you can. But oh no! You hit a wall behind you and now you’re forced to focus and aim for a leg to slow the enemy down so you can reload and go for the kill.

Well that’s all partly thanks to a great Level Designer who help map out environments and decide where and when enemies appear. Level designers, like Visceral’s Rom Rodriguez, are essentially the ones who “help determine the experience the player [should have] in a rough form,” leaving the artists and animators to make it come to life.

My interviewee Rom here also draws, so read on if you’d like to see a piece of art that helped influence the original Dead Space.

Can you tell me your name, job title, and job description?
Romulo Rodriguez, Associate Game Designer, and I set up game play in Dead Space 2.

I know there are many different types of “designers” and what each of them do is different depending on what company you’re at. What exactly does an Associate Designer do at Visceral?
I am a Level Designer but the Associate Designer determines my level. I’d say I am a low level designer at the moment. My duties involve blocking a level based on the story and desired combat for that point in the game. I then pitch the ideas to my managers, the Lead Level Designer, and the Creative Director and make changes if needed. I later block out combat with simple enemy set ups to help determine the experience we want the player to have in a rough form.

By blocking, I set up square rooms connected by hallways with no cool textures or architecture. I place markers in the environment to indicate where important events take place as well.

Would you mind walking me through a typical day as a Level Designer?
It would depend on the state of the project. If it’s in mid-production, I’ll come in early and get into the level design tool. I would probably be looking at my whiteboard with notes I took down of game play that remains to be implemented, or notes from a review of the level the day before.

If this game was Dead Space 1, I would proceed to start placing some scripting entities like spawners and some enemy types and position them in the 3D environment. After about 15 minutes of doing this-given it’s a simple setup-I’d go and build the map. After it’s built I will load the checkpoint on the PS3 and play through to see if it’s what I’m looking for. If so, I’d continue to the next task, say setting up the next room for bigger combat which can take at least 1.5 hours just roughing it in. Then, take another 1 or 2 hours to clean it up and iterations.

Next step would be to find time in my lead’s schedule or the creative director’s schedule to take a look at it. I would look for feedback, or maybe we have an enemy that’s being built that would be better in this space. Then maybe create tasks for the lighters or other artists to make this room scarier so the moment is more intense. The days can really vary.

One day could be combat, another day could involve implementing a complex scripted moment with the main character talking with other people. In that case I would be talking and working with animators, engineers, and my managers. This would take most if not all day-sometimes two days depending on the complexity.

That is pretty interesting stuff. Your job sounds really cool.Yeah, it has its fun moments but at the same time tough times, like working overtime to fix bugs. But I think my favorite moment in level design was when I worked on the first Dead Space. When it first came out and there was a line outside of the company store to pick up Dead Space… I was so proud to be a part of that game.

I can imagine that feeling. And Dead Space was a great game too. Did you play it through when it was complete to look for your name in the credits? I imagine that being a cool feeling too.
I did play all the way through, mostly to reminisce over the good times on the project. I did look at the credits though to look at my name but also other people.

As a level designer, how early on in the process do you get involved? Do you have much input on the story or do you come in after everything has been decided on a story level, and you just pitch ideas on how that might play out for the player?
I joined the Dead Space 2 team very early on so there were times where some of my layouts helped influence the script, when new enemies were introduced, or when dialogue sequences would occur. The story was at its infant state at that time. As the story begins to solidify later, levels will not have as much room for change but there still remains certain flexibility as to the timing of certain events.

How long have you been at EA then?
7 years. I started in QA, and then I worked as a Graphic Artist, then a Tools Tester. Afterwards, I went into Level design on my first project, James Bond, From Russia with Love.

That seems like a perfect career route for what you do now. Was it always your goal to get into design?
Initially my goal was to become a concept or character artist. I wasn’t familiar with level design then-I didn’t really understand the role. It wasn’t until I became a Tools Tester and actually tested the level design tools that I really became interested and wanted to become a level designer.

Did you go to college for graphic design?
Actually my major was 3D Modeling and Animation, but took Graphic Design classes on the side.

I have been an artist since I was kid and have always loved to draw. 3D was new to me so I wanted to find out more. It was my 3D experience that helped me become a tools tester. The tools revolved around a 3D space so it was easy for me to understand the technical language, navigate the environments, and learn to use the interface.

Did you major in 3D to help better position yourself for a job in the gaming industry?
Not intentionally. I wanted to learn 3D to expand my abilities and create 3D forms of my 2D drawings. It wasn’t until the Playstation came out in 1995 that I thought I could use my 3D knowledge for videogames creating characters or scenes. Consoles were a big part of my past so when 3D was introduced I was excited.

You’ve kind of hinted at it already I think, but what can someone do to prepare themselves for a job as a level designer?
Play lots of games and try to understand what works and what doesn’t, which is pretty easy. Play different games and think to yourself, “why is this game so awesome to play?” Or, “why don’t I like playing this game.”

I was lucky to have gained my level design experience from testing the very tools I use. For someone on the outside, I would strongly suggest getting Unreal Editor or an editor of some type to create and assemble your own setups. I’d even suggest looking into modding online multiplayer maps-that’s a good way to get your name out. To be honest, I would like to get the Unreal Editor myself just to play around with combat ideas.

Are the tools you use fairly complicated?
Somewhat. It depends on the person’s background. If they’ve work with a level design tool then they will understand how the scripting works. If not, it will take maybe a week of practice to really understand how to execute some basic setups.

Do you still draw a lot on the side?
I draw on the side as well as at work. When blocking out a level I need a visual representation before I start creating the geometry. I either draw in my notebook or on the whiteboard. This helps me get a better sense of the space and how all the rooms connect and what the game’s flow will look like.

I’ve been doing that since The Simpsons Game-sketching up ideas for environments, hazards, or puzzles. It’s a great way to sell an idea to a group of people. This way everyone can see exactly what I’m thinking. It’s much faster than creating the 3D world.

What games are you playing right now?
Right now I’m playing Bayonetta.

No Mass Effect 2 like the rest of the world?
[Laughter] No. I played the first one. The story was good but it wasn’t my “cup of tea.”

Well, I’m not in the mood to play it right now at least. There are times when I need immediate action from games like Bayonetta, and there are times when I feel like a good RPG.

Alright, I think that’s all. Thanks for doing this.
No problem. It was fun.

© 2010 Electronic Arts Inc. All rights reserved. All trademarks are the property of their respective owners

Lucian Tucker from www.ea.com meets with Raasahn a Senior QA Test Lead, who provides a great insight into working as a tester in videogames.

Raasahn leads “the QA team from the start of the project to the finish.” And unlike what you would expect, he came to EA 5 years ago with an interest in testing, not in making games.

What’s your name and job title?
My name is Raasahn Browder and my title is Senior QA Test Lead.

And what do you do as a Senior Test Lead?
Currently I’m training for the Project Lead position but as a Senior QA Test Lead, I’m responsible for multiple projects at a time, leading the QA team from the start of the project to the finish.

How exactly does that work? Can you describe that process from beginning to end?
Sure. At the start of the project, the main goal is information collection and finding out what the responsibilities of the QA team are for the project. Getting a GDD (Game Design Document) and formulating a test plan to see how to tackle the project is the focus at the start.

Also setting up meetings with the developers and producers you are working with is a large part of it. Working within the time frame allotted with the testing plan that is created is the major goal.

Once that is complete, the focus is making sure that all aspects of the title that is being worked on are covered with the staffing that is available.

When that is all hashed out, working towards the milestones and updating the developers and producers with the progress of the title is very important so they can make any changes that need to happen so the title doesn’t miss any of the milestone dates that were set.

Near the end of the project, the focus is more on making sure that all the loose ends of the project are tied up and there are no major issues that still are not addressed as well as making sure the title is in compliance with all the current standards.

Do you test games yourself or just manage the other testers?
For the last two years I didn’t have any in game testing other than training the new employees that I received on my team. Since there are a lot of changes with the staffing lately, I will most likely spend more time testing going forward.

And is there a certain studio, or label, or platform, you test games for?

Yes, for the last 4 years or so, I have been working for the EAP (EA Partners) Label which are producers that work with external studios that hire EA for services. This department is getting updated so currently I’m going to help helping out the Sims label.

And I test on all platforms under the sun, PC to PSP, as long as it needs a QA team.

How long have you been at EA, and how long did it take you to become a Sr. Test Lead?
I’ve been at EA for about 5 years including my temporary contracts. I have been a Test Lead/ Sr. Test Lead for about 1 year.

What was your career path? Like what where you when you first joined as a contractor and what positions have you had since?
Well, I started out in the game tester position. The next step was a Sr. QA tester, which is the first position where you are no longer a contractor. After that you move into the Test Lead Position and then Senior Test lead.

Got it. So, I’ve heard mixed things about being a game tester. Some people think of it as one of the most stressful jobs that sucks the fun out of games, but it’s a good way in if you want to eventually make games. But then I hear some people say it’s hard work, but it’s fun. What are your thoughts?
That’s an interesting question. The only real thing I can say about that is you get out what you put in. If you have a lot of pride about the games that you work on, even if you don’t specifically like the game, you will enjoy your job. If you go into the job looking to just “play” and have fun all the time, that’s definitely not what it’s about so you might not be in for a pleasant surprise.

The real goal is to make a difference and put out a quality game specifically that you worked on, so if you look at it that way, you will get a lot more out of the job.

The job isn’t too stressful for just being a tester though, As long as you are okay with working longer hours when it calls for it, you should be all set.

Do you think it’s a good entry level job for someone aspiring to someday design games?
It definitely can’t hurt to get some experience with QA before you try to move into a developing position, especially if you are still new or trying to develop skills. It’s possible that there will be intern positions available and someone that you are working with can recommend you if you are showing very promising work.

Do you find that a lot of the people who join your team eventually move to game development? And what about yourself. When you joined was it with plans to eventually make games?
I can’t say that a lot of people I see eventually move into the position that they desire. There are several reasons why people don’t make it but the sheer competition of how many people are looking for the job makes it difficult right from the start.

The career path I chose wasn’t one of trying to design games or anything like that and I didn’t really come into this job looking to try to make games per say. I like working with people and leading teams. I enjoy what I do currently though.

Your name gets in the credits of the games you work on right?
Yes it does. Anything I work on and have a significant role in, I get into the credits.

The first time your name was in the credits, did you play through the game and look for your name?
[Laughter] I can’t say that I did. I still have an unopened copy of the first game I worked on but I did see my name in the credits while I was still working on it. It’s always a pleasure to see people working on their first title and checking to see if their name is in there correctly.

Alright, changing gears a little, what can someone do if they wanted to be a tester? I’m assuming you interview people, so what are some of the things you look for in a potential employee?
Some of the things I specifically look for in a tester… For sure a tester needs to be able to communicate clearly. Testers will be writing up issues in a database so they need to be able to clearly convey any problems they come across to the development team. Also, punctuality and dedication are very important to making sure a project will run smoothly.

Everything else can be taught, but if the person isn’t really into to the work, it’s going to be hard to get them where they should be as an effective tester.

Do you look for them to be really big gamers?
It’s not totally necessary but if they do enjoy playing games, it does help out just so they are bit more proficient. If they have basic knowledge of how to use the consoles and whatnot, it’s a definite plus. If they don’t know how to turn on a console, that might be a problem.

Did you always want to work in the gaming industry as a tester or did you kind of just fall into the job?
For me personally, I was always interested in it. I didn’t know much about it when I started but I had a friend that worked here and he recommended that I start out in the testing department and see if I liked any of the other jobs that EA had to offer. I ended up really liking the job path as a supervisor type in the QA department so that’s what I worked towards.

Did you play games much before you started here? And do you play games much now? I’m just curious whether playing them everyday sucked the fun out of it for you or not.
I played games before I started working here. I play less now because of other reasons but I still really enjoy the job and it has opened my view up to other types of games that I didn’t know interested me before.

I would play more now than before if time permitted it so it didn’t really take any of the fun out for me.

What’s an example of a game you worked on that you might not have played if it wasn’t for working here?
A game like Mass Effect I would not have played. When I worked on that title, I didn’t know anything about the game. After I spent some time to play through it, I really enjoyed it a lot. Now I can’t wait to get time to play through Mass Effect 2 because I enjoyed the first one so much.

Both of them are great games. Is there a game that comes to mind that you wish you didn’t have to work on? Maybe Charm Girls Club, or something like that?
I enjoy working on every title that’s given to me for testing. I make it my job to make it a quality game. Whether or not I like the game play is a bit irrelevant. The people I get to work with make the projects all worth it.

What’s a typical day like for you when you’re in the busy period of testing a game?
A typical day would probably consist of about 3 phone conferences, 3 actual face to face meetings, and 3-4 hours of making sure all the work that we are trying to get done is making progress.

If I have two shifts of team members I might be working 12 hour days 6 days a week just to make sure it’s running smoothly.

Wow. And that’s a typical day, not just an extra busy day, with those 6 meetings a day?
6 meetings… It’s about normal. Not all meeting are very long and some are very short, for instance check-ins with the staff, but they need to happen to make sure that nothing gets dropped on the way.

Do you have any final advice for someone who wants to be a tester, or even eventually a Sr. QA Test Lead?
The only advice I can give is that being diligent with your work and making sure that you have a lot of tolerance for changing conditions will take you far. Keep working hard and don’t expect anything too special but take the opportunities when they present themselves.

Have you had many people start and quickly drop off because it’s too much for them?
It happens a lot. There is a lot of turnover in this department, but the people that make it usually do their job pretty well.

I guess the people that drop off come in thinking it’s going to be a picnic, but then realize it’s actually work?
Yea that happens a lot as well. It’s definitely a job and people should take it seriously if they want to keep it and move up.

Alright I think that’s all I got. Thanks for doing this.
No problem at all.

© 2010 Electronic Arts Inc. All rights reserved. All trademarks are the property of their respective owners