Ryan Benno

🧮 De-mystifying the Pixel Processor in Substance Designer Chapter 2: Grid Generation Recreating a grid like the Tile Generator can do inside the Pixel Processor is a great practice to understand fundamentals of image processing. By scaling your UVs and taking the fractional part, you repeat a pattern across the surface. Then, by centering and stepping the result, you get a clean, evenly spaced grid, fully controllable in both X and Y. 🧱 Horizontal? Vertical? Brick layout? No problem. However how to get there with different shapes is going to be a different chapter. #madewithsubstance #substance3d #substancedesigner #pixelprocessor

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🎉 Two New Career Resources Just Landed on Our Community Site - With Huge Thanks to Scott Millard and Tim C.! https://lnkd.in/d3z__2sV If you’ve ever wanted to understand how video game publishing actually works - not the surface-level stuff, but real, on-the-ground global strategy - you now have one of the best free guides in the world, permanently, thanks to Scott Millard. Scott is a veteran industry leader, best known for his time as Managing Director of Bandai Namco Southeast Asia and Korea. He helped launch Tekken, Dragon Ball Z, and even brought Skyrim to market in the region. His publishing knowledge spans regions, formats, and decades - and he’s gifted our community his Guide to Video Game Publishing for all to access at Amir Satvat's Games Community. Also, I’m thrilled to welcome Tim Cullings as a contributor - someone I’ve admired for years. You may know Tim from his leadership at Global Game Jam, Seattle Indies, or his earlier work with Oculus VR and in engineering. He’s kicked things off by sharing a curated list of top game dev events and jams - something many have requested. But this is just an amuse bouche. Tim has big ideas, and we’re excited to build this space with him and for him. We’ve heard your feedback loud and clear - you want more Tim in the community, and so do we. 🔹 In sharing these, I also want to recognize the 20 amazing individual contributors behind the career resources on our site, in addition to our Discord moderators and 2,400+ community coaches. I’m proud to say that 10 of the 20 are female - 50%, which is double industry gender representation. And we’re equally proud of the diversity across many other dimensions, which we take seriously in every aspect of our work. Here they are - please join me in thanking them: • Sarah Thomson (Mentorship Guide) • Alex Gombos (Interview Guide) • Jasmine Coppin (Art Portfolio Review Guide) • Hailey Rojas (#OpenToNetwork) • Mayank Grover (New Games Roles Partnership) • Eva Tucker (Support Your Indies) • Alexander Rehm (MVP Resources) • Johnathan Vance (Indie Marketing Guide) • Aïda Figuerola (Early Career Guide Lead) • Ali Farha (Early Career Guide Lead) • Chris Mayne (Games Art Resources) • Seth S. (Guide To Games Startups) • Corey Neuman (Homelessness Resources) • Michelle Fuzari (Mental Health Resources) • Jessica Lindl (Career Resources Suite) • Renee Gittins (Game Dev Foundry - External Resource Partnership) • Lex Parisi (Ask Lex Career Questions) • Tim W. (LinkedIn Premium Trials Resource Ownership) • Tim C. (Events And Jams; And More To Come) • Scott Millard (Guide To Video Game Publishing) • Thank you also to Fitzgerald Lewis, Tim Wood, Will Morgan, Max Bowser, Alex Gombos, and Michelle Voillot for their contributions to the Early Career Guide 💙 Never forget - this is a total team project of 10,000+ lifetime contributors. "We Help Gamers Get Hired. Zero Profit, Infinite Caring."

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Taking a bit of inspiration from my contact Matt Barney here and his Gear Grind.... If an employer posts any type of flashy "We are Hiring" post/messaging or even job listings, but then later in said post/jobs listing/application has any messaging about the job being "volunteer" or (you are aware that this is a non payment role)in any way...YOU ARE NOT HIRING and are being dishonest to job seekers looking to actually be hired. To me, this is a major red flag. As defined in the Oxford dictionary hire: verb Definition: 1) employ (someone) for wages. noun: Definition: 1) the action of hiring someone or something. 2) North American - a person who is hired; an employee. employee: noun Definition: 1) a person employed for wages or salary, especially at nonexecutive level. volunteer: verb Definition: 1) freely offer to do something noun: Definition: 1)a person who freely offers to take part in an enterprise or undertake a task. When you say you are hiring, there is an expectation of wages by definition. If there are no wages, you are not hiring some you are seeking volunteered services. I personally don't care if you ask for volunteer work as that is completely up to individuals to give their time for free, but to lure people in with the lie of "hiring" that's just knowingly being dishonest. As and employer, you know if the job is paying or not. But that's just my opinion 🤷.

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Turns out creating my own Perlin Noise in the Pixel Processor and making it tileable wasn’t as hard as I initially thought. That said, I’m still struggling a bit with the Advanced Perlin, especially when reading values from a Data Table (as you can see in the bottom one). 👇 Interestingly, I only really started to see the value of the Advanced Perlin compared to the original when I noticed that with just one octave, the original algorithm had some pretty obvious grid stepping artifacts. This is likely due to the hash function, which controls how the gradient vectors are randomized at the grid corners. If that function doesn’t distribute things well, the underlying grid structure becomes very noticeable. Now, you might ask: "Why even bother recreating this when Perlin Noise is already implemented in Substance?" Well, here’s why: Substance’s default Perlin Noise is built using two FX Maps with different phases that are merged. The problem? FX Maps run on the CPU, and depending on how much the noise is scaled, they can become computationally expensive. The Pixel Processor, on the other hand, executes on the GPU, which has the potential for better performance. ✌ The biggest issue I’m facing right now is with the Data Table in the Advanced Perlin setup. Something isn’t quite working as expected, and I suspect it’s either an indexing mismatch or some kind of precision issue. If anyone has insights or can correct me on my findings, I’d love to hear them! #substance3d

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The AAA Job Standard: Unrealistic, Hypocritical, and Outdated Can we get away from the AAA vs. AA standards that are expected on almost every single job application? For years, AAA studios have set an industry standard for job applications that demand near-impossible levels of experience, skill, and specialization. Job postings regularly ask for 5+ years in a role that barely existed five years ago, mastery of multiple complex tools, shipped titles that meet arbitrary criteria, and—of course—a "passion for games" that somehow justifies long hours and unstable job security. Yet, what have we seen over the past few years? Massive layoffs across the biggest names in gaming. Thousands of talented developers let go despite meeting those rigorous hiring requirements. The very companies that demand loyalty, dedication, and excellence from applicants have shown that they don’t provide the same in return. The irony is, these same AAA studios often claim they "can't find qualified candidates," when in reality, their own impossible expectations filter out incredible talent. Meanwhile, they are proving they offer no more job security than smaller AA studios—despite the illusion of prestige. The result? A cycle of gatekeeping that prioritizes inflated resumes over actual ability, all while the industry becomes more volatile than ever. It's time for studios—AAA, AA, and indie—to rethink what really matters in hiring. Talent isn't just measured in shipped titles or years worked at a prestigious company. It's in the creativity, problem-solving, and adaptability of developers. And if the last few years have proven anything, it’s that the AAA job standard isn’t just unrealistic—it’s hypocritical. #GameIndustry #AAA #GameDev #Hiring #Layoffs

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For everyone who is not attending GDC: Relax. It’s not a big deal. You’re not missing any "incredible opportunities." Your opportunities come from how great and desirable your products are, not from the conferences you attend. Networking matters, but it’s not just about party invites. Your online presence is just as powerful (if not more). P.S. And yes, I'm not attending GDC either. Instead of spending days on flights and nights in overpriced hotels, I’d rather get some work done.

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I saw another one of those ‘you have to work a lot harder than you already are to be an animator’ types of posts today (link in comments). The point being made was that it’s a competitive field where there aren’t enough jobs for everyone who wants one, which is a fact (and one sadly not for just the animation field) so if that’s what you want, then you’re going to have to work your ass off for one. What I found absolutely crazy were the responses that objected to telling people they need to work harder if they want one of those scarce jobs because that could be upsetting to them. I think it’s time to stop this nonsense of trying to silence the truth tellers because the truth is upsetting. We already have more than enough of that nonsense going on in the United States at the moment. The sad truth is that the scarcity of creative jobs is nothing new. I grew up being told it’s a bad bet, and there are no shortages of jokes about aspiring actors and other artists waiting tables or something similar until they make it, but apparently now it’s unhealthy or “toxic” to say any of this anymore, which is just ridiculous. If you want something that’s scarce, something that many, many others want too, then you have to outwork everyone else to have a shot, or be very, very lucky. If that’s upsetting to you, good. It means you have to make some tough choices. Do you keep going after that dream job? Maybe you should see if there are other jobs that are less scarce that still allow you to use your skills. Maybe you take an unrelated day job and create what you want to create, rather than what some studio wants you to create. Many famous artists have done that like Gauguin, Rothko, Koons, and poets like Bukowski, William Carlos Williams and Wallace Stevens. For inspiration, look for Ralph Bakshi talking at ComicCon on YouTube, “Surviving in Tough Times.”

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Layoffs, studio closures and cautious publishing pipelines have dominated headlines (and conversations at GDC this year). But behind the doomscrolling, the last 12 months have quietly seen billions of dollars flow into gaming from VCs, government programs, crowdfunding campaigns and corporate deals. 🎮 Venture funds are still backing early-stage devs. 🏛️ Governments are doubling down on creative sector grants. 💡 Accelerator programs are popping up globally. 💰 Crowdfunding is booming again (especially for tabletop and indie). 🤝 And the biggest publishers and platforms are still making big bets. That makes me optimistic. I’m not blind to the challenges but convinced that the next wave of breakout studios are already being built. Here’s a snapshot of recent funding and investments that caught my eye… Play Ventures – Fund III – $140M – Announced Nov 2024 Kickstarter – Games crowdfunded – $270M+ in 2024 BITKRAFT Ventures – Fund III target – $275M – Apr 2024 Griffin – Fund III target – $500M – Jun 2024 Transcend. – Fund II – $60M – Nov 2023 A16Z GAMES – Games Fund II – $600M – Apr 2024 a16z speedrun – Accelerator – $1M per startup – 2024–25 cohorts UK Games Fund – Grants up to £150k – £5.5M committed for 2025-26 Canada Media Fund – Game project grants – C$7.8M – Aug 2024 Creative Europe – Game development funding – €5M annual call Screen Australia – Indie game grants – AU$1.6M – Mar 2024 Saudi Arabia / Merak Capital – Exel by Merak – $81M fund – Nov 2024 Tencent Venture Lab – Indie support program – Ongoing Scopely acquires Niantic, Inc. - $3.5B - Mar 2025 Playtika acquires SuperPlay – $2B deal – 2024 EQT Group acquires Keywords Studios – $2.8B – 2024 Miniclip acquires Easybrain – $1.2B – 2024 CVC Capital acquires Jagex – $1.1B – 2024 Modern Times Group MTG AB acquires Plarium – $820M – 2024 Just in those points above that’s $13.5B and I’ve certainly missed a ton. If you're building, job searching or fundraising don’t lose heart! There’s capital out there and plenty of people still backing bold creative bets. 📧 joe@play.vc

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A fair few folks I spoke to at PGC said they're skipping GDC this year. Mostly not for broader political reasons, but a mix of border risk and cost. Many basically don't want to risk either being turned away or being questioned because they feel in either event it harms their ability to visit later down the line. A few also cited being unsure whether GDC was "the place to be" any more, preferring to focus on Gamescom and its Dev arm. I also noticed that many aren't aware of the revised ticket structure for GDC. This is the part that I'm most excited for, as although it's more expensive to the Expo-only crowd it means most attendees can gain access to talks and panels in a way that they haven't been able to for many years. We may finally see some cross-pollination between the different camps of GDC, which I think can only be good for the conference (and the attendees) overall.

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I keep seeing some puzzling hot-takes from “VR news” outlets about the newly announced Steam Frame. Things like: “Greyscale passthrough is a missed opportunity.” “Resolution isn’t pushing the envelope.” “No OLED? Not next-gen enough.” To me, that misses the bigger picture completely. Valve isn’t just dropping another headset. They’re building out a coherent PC gaming ecosystem that connects Steam Deck, desktop PCs, and now Steam Frame into one continuous experience. A streaming-first, wireless headset that can run VR and traditional games locally on SteamOS/Arm, or stream them from a PC over dedicated 6 GHz, is a strategic move, not a spec sheet stunt. When you look at the design through that lens, some of the “complaints” start to look more like deliberate trade-offs: Greyscale passthrough & camera setup: Four mono cameras plus IR sensors are great for tracking and basic spatial awareness without overcomplicating the hardware or driving up cost and compute. This is a gaming device first, not an MR demo platform. Resolution & panel choice: 2160×2160 per eye with good lenses and a focus on stable, low-latency wireless streaming hits a very sensible sweet spot for PCVR. Chasing “spec flex” for marketing doesn’t help much if it compromises performance, thermals, or price. Streaming-first architecture: Foveated streaming and the dedicated wireless adapter are about making your existing PC and Steam library feel frictionless in VR, not shipping a sealed mobile console with a store on top. One thing I really appreciate: Valve is very explicitly saying the quiet part out loud. The goal is to increase the value of your Steam library and give you “a new way to play your entire Steam library,” not lock you into a walled garden or a vague “metaverse” vision. As a VR game developer, that clarity matters a lot. It means: I can design for PC-class experiences without pretending a mobile SoC is something it isn’t. I’m building for an ecosystem where games are the hero, not avatars, not social graphs, not ad real estate. There’s a strong incentive to create deep, replayable titles that live alongside the rest of someone’s Steam library, not disposable content. That’s exactly the kind of environment I want to ship VR games into. Because of that, our upcoming co-op VR dungeon crawler “Into The Light” is planning to treat Steam Frame as a first-class target platform from day one. We’re designing with PCVR in mind anyway; Valve giving that segment a focused, modern headset is a huge win in my book.

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I want to strongly recommend something to anyone who is—or aspires to be—an Artist, Art Director, or Creative in general. This isn’t me preaching, just sharing what’s been invaluable in my own career: Art History. That includes architecture. I spent over four years studying it, listening, learning—often wondering why I needed to know the difference between Romanesque and Gothic architecture or who Caravaggio was. But I stuck with it. Am I an expert? No. But it remains one of the most valuable subjects I’ve ever studied, and I still study it. Take Dead Space—the Ishimura’s interior is heavily influenced by Gothic architecture. Look closely, and you’ll see how that foundation helped create a cohesive, immersive world. That’s why, in interviews, I always ask Art Directors history questions. It’s that important. Wherever I travel in Europe, I make time for museums and galleries, seeing the art I once studied in person. Right now, I’m in Italy for the Florence Game Festival, but I extended my trip by nine days to explore as much as possible, then head to Venice to study its art and architecture. Seeing a Da Vinci, Rembrandt, or Michelangelo in person is almost a religious experience for me. It reinforces the idea that the history of art is the history of mankind—art has been our way of preserving culture and capturing time periods for thousands of years. For the past two weeks, I’ve been deep in the Italian Renaissance, and I’m still learning. It’s arguably the most extraordinary artistic period in history, with a level of talent that feels like divine intervention. Venice is home to the great Masters, but also countless lesser-known artists whose work is just as significant. The city itself is a testament to what great artists, architects, and builders can accomplish. Learning, studying, and visiting these places will make you a better creative. Sure, there are successful Art Directors who haven’t studied it—there are always exceptions—but for me, Art History has been an anchor for both my artistic and game development career. If you’re pursuing a career in game art, I highly recommend spending time with the works of the great artists who came before us. And Caravaggio? Easily one of my all-time favorites.

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When studios close, sourcers should be the first responders. News broke this week that The Outsiders, the studio behind Metal: Hellsinger, is shutting down after parent company changes. For the developers, designers, and artists impacted, it’s a tough moment. For TA leaders, it’s also a moment of truth. Whenever there’s a sudden shock - whether in gaming, tech, finance, aviation, or energy - hundreds of highly skilled people hit the market at once. And here’s the reality: only companies with modern, proactive sourcing pipelines will be positioned to catch them. I learned this the hard way when I built a global sourcing function at Keywords Studios. The sourcers who thrived weren’t the ones chasing reqs after the fact. They were the ones who kept “warm nets” in place; tracking talent communities, nurturing conversations, and knowing where the skill clusters lived before the layoffs. This applies far beyond game dev: ���‍💻 Tech startups: when funding dries up, engineers and PMs scatter. Are you already connected to them? 🛬 Aviation: route closures or MRO downsizing create rare windows to hire certified specialists. Do you have them mapped? 💲 Finance: regulation shifts often trigger sudden exits of risk & compliance staff. Is your sourcing team on top of it? In the GCC, the opportunity is even bigger. As global firms set up in the UAE and the broader region, the TA teams who already have sourcing networks in niche domains will massively outperform those who try to start from scratch. So here’s the question I’d love to throw out: 👉 If your company went under today, how would you want other orgs to “rescue” you, and where would you expect them to source you from? #TalentAcquisition #StrategicSourcing #GamingIndustry #GCC #FutureOfWork #TalentSourcing #Recruitment

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