GUEST BLOG: The ‘Made in Creative UK’ Campaign

I’d like to use this blog piece to tell developers about the ‘Made in Creative UK’ campaign that aims to raise the profile of UK game developers.  The seed of this idea for the campaign started when I attended the launch presentation of The Livingstone Hope report (also known as the Next Gen. report) commissioned by the government in February 2011.

One observation made in the report was that so few of the public in the UK (or anywhere else in the world) know that the UK is responsible for many high profile video games. This means that students in the UK are less inspired to learn the skills required for careers in the games industry. Sadly IT (Information Technology) is seen by the brightest students as the worse subject on the curriculum.

I spoke to Ian Livingstone and Ed Vaizey about this at the reception afterwards and proposed that the government issue a ‘Made in UK’ logo that developers could use. I believed that developers would be keen to display this on their games and websites for the greater good of the UK games industry. They both said that would support such a campaign.

Unfortunately, after many meetings, I was unable to find government department that would launch and administer the campaign, so I decided to do it myself. I designed a logo, created the website and then starting contacting many friends in the industry to join the campaign.

The campaign has very clear goals:-
·  Inspire students to learn important skills for the digital economy in the UK
·  Raise the profile of the UK Games Industry across the world to promote global partnerships
·  Raise the profile of an important 21st century industry with the general public

The campaign has the endorsement of government officials, trade bodies and leading industry supporters, including: -  Ed Vaizey (Culture Minister), Ian Livingstone (Industry Spokesman), Dr Richard Wilson (CEO - TIGA), Dr Jo Twist (CEO - UKie CEO), Karen Price OBE (Chief Executive - e-Skills UK), Hasan Bakhshi (Director of Creative Industries, NESTA). Caroline Norbury (CEO - Creative England), Kate O'Connor ( Deputy CEO - Creative Skillset), Kelly Smith (BAFTA) and recently Nick Baird (CEO - UKTI)

I’d like to see British developers promoting the origin of their game. The world is very aware of many British pop stars, film and TV stars, and creations like James Bond and Harry Potter, but the origins of video games are largely unknown.

I’d like students and their parents, studying new computer science lessons to appreciate that there are game developers all around them, hence the developer map on the website, and that there are great jobs full of challenge and creativity. Making games is a very real and very rewarding career in the 21st century.

I’m delighted by the fast and overwhelming response I’ve had by UK developers embracing this important campaign, it started with Game developers, as it’s my background, but I see all creative digital content creators joining in, as the UK is world leading in all fields of digital media and we rarely get the recognition we deserve.

See the website www.MadeInCreativeUK.com and if you make games in the UK and would like to support the campaign, contact me, Philip Oliver - Philip@MadeinCreativeUK.com

 This blog was written by Philip Oliver, Co-founder of Radiant Worlds and long time supporter of Develop in Brighton - www.developconference.com

GUEST BLOG: The fear of risk is crushing innovation in the console market

I'm a 40 year-old father of three and have been working in video games for nearly twenty years, which means, while I love games, I don't have much time to play them and I certainly haven’t had much hands-on time with the Xbox One or PlayStation 4.

As a convert from console to mobile development when our new studio – Boss Alien – opened two years ago, it’s hard to be any more involved in the console world than watching from the side lines. As much as I want to cheer the latest console transition, I have to admit it has left me a little cold.  

I’ll be honest:  I haven’t been excited about buying a video game for years. I've played many and completed a few great games. But I haven’t had that feeling of anticipation and the frisson of excitement of taking a shrink wrapped game home for a long time.

It may be I'm getting too old. Losing that childlike glee was something I never anticipated and it's disappointing to experience. As a teenager and through my twenties I looked forward to releases for months and was really getting excited about buying, unwrapping and loading a new game.  

The last time I enjoyed this level of anticipation and fulfilment was when Halo came out at the same time as Devil May Cry and I played them on my Xbox and PlayStation 2 simultaneously. They were both really great games and the generational leap to Halo was enormous. The graphics were richer and sharper; the AI was great; the control system made the FPS finally work well on console. some of the encounters were epic and you could drive vehicles while shooting! The ambition seemed huge at the time and its impact on the gaming experience was massive and measurable in many ways.

It is from this perspective that I review our latest console transition. So far, the general consensus seems to be disappointment. Again, this may be cynicism powered by age, but, to my eye, this new round of launch titles merely look a little better. There is no real innovation despite the massive budgets and lead times the biggest developers enjoyed.  Compared with PlayStation 2, these consoles are relatively familiar and easy to develop for and we – the gamers – ought to be playing better games than we are. I bought four headline launch games with my new console and I'm already bored with them. An expensive investment that has left me feeling robbed and seen me return to the PS3 and Xbox 360.

Why has this happened? Risk aversion. Publishers and developers want to make games that have known markets, that don’t risk failure, massive financial loss and potential studio closure. What has this left us with? Conservative designs and a chart of triple-A games that are mostly sequels or derivative products. A warning from me: being conservative about design is one thing. Being conservative about business is self-destructive and dangerous. 

Occasionally the big players move away from traditional business models but often by taking disastrous and crippling half-steps. The result is increased nervousness and a reluctance to take bolder steps in the future. I can give you two examples: the price of downloadable games and premium titles with dubious DLC offerings. 

First point – the price of downloadable games. Why do titles like Killzone cost over £50 to download from the PSN Store when they're available on Amazon for £35? Surely it should be cheaper to buy a digital version because it's virtually free to manufacture and distribute online?  Why? Because platform holders don't want to undercut retailers. As a gamer, I don't care about retailers, do you?  I just feel conned. The High Street can stock console hardware to make profit. The app stores prove you don't need a huge High Street retail presence to sell software.  

Second point - dubious DLC. EA was brave to try a sort of paid/freemium mix; brave enough to leap from the edge only to turn in mid-air and scrabble for it again at the last moment. Dead Space 3 was a game you had to pay for but if you wanted it to be as functional as Dead Space 2, you had to pay again. This is wrong.  And I say this as a freemium mobile game developer.  It's not fair to make people pay twice for something that they only paid once for before - especially in a very well established market with an incumbent business model and distribution network.

Personally, I believe downloadable games should be free. It costs nothing to deliver the game. If the customer likes it, they can pay for it and games should be good enough that customers do want to pay. Games can and should be designed to encourage customers to pay because a) they enjoy them, but b) because they are also seduced cleverly into paying for them.  

I know these tactics are not appreciated by everyone and I understand and accept those reservations. However, I really believe with good design, a moral balance and a respect for customers, developers will find a way to make it work in a palatable way for everyone.  It's just a matter of time. The products and models you see now are sometimes a little crass and cynical. Those rough edges will erode with time.

If gamers DO have to pay to download console games, can we at least agree that should not be expected to pay more than at retail? This isn’t fair. What is fair is exploiting the fact you have a customer's attention for several hours, so why not use that to try and sell them something different?  I don't mean a weapon upgrade, a level, a game-mode or special ability. I mean a new but related experience: a different story for a new character, perhaps, or a new perspective or completely different way to play. Perhaps this could lead to increased innovation. Perhaps games could further exploit niches within themselves?  

My eldest son is addicted to Skylanders: Swap Force. He's five and this is the first time he's become totally immersed in a video game universe. It's inspiring and gratifying to see the same hunger and appreciation in him that I have for games. He's chewing through the content at an incredible pace and constantly nags me for Skylanders figures. Why can't you buy them by mail order from the game? Why can't I download last year's Skylanders Giants game from within the Swap Force game? It looks to me that the world of games has moved on but the consoles are still trailing behind.  

They could consider unbundling, too. What’s stopping them from selling the single player campaign for £10, co-op for £10 and multi-player for £10? This isn't discounting so there’s no perception of price erosion or poor quality. And it might just result in a lift in sales as more players pick up individual parts of the game at an affordable price. It's not beyond the realm of possibility to anticipate an overall net-positive effect on revenues because the number of buyers lifts hugely.

Wouldn't it be great to see one of the big publishers make a proper, ambitious, brave leap of faith this year?  There are some brilliant new games on the horizon.  Some of the brand new, original, next-gen games previewed at E3 will be landing soon and we may well finally get the truly next level entertainment that our investment in the new hardware deserves. What's more, the big evergreen titles are starting to appear on Wii-U, which is what Nintendo does best. We all want to see great, innovative games.  More than that though, I'd really like to feel new ways to be inspired to pay for them. Come on consoles!  You can be great again! Give me something to cheer about from here on the side lines.

This blog was written by Jason Avent, managing director at Boss Alien and long time supporter of Develop in Brighton - www.developconference.com 

GUEST BLOG: My best meeting at the Develop Conference

After returning from the Develop Conference in Brighton this week, Mike Bithell - Develop Award-winning developer of Thomas was Alone - wrote this magical blog for Develop Online about his chance meeting with an ageing coder.   

The conference, well, it kinda rocked for me this year. The volunteer stewards kept recognising me. I got to hang out with a ton of awesome journos, devs and the charming as hell Pewdie. I won a hefty award. I ate donuts on a beach. It was a good three days. But one meeting stands out.

On the Wednesday morning, I wandered into the restaurant at the conference's venue bleary eyed. It was later than I'd like, and I knew I'd missed the Cerny keynote. I was gutted. I'm a bit of a Sony fan. I queued, surrounded by holidayers and pensioners, looking around for anyone I knew to chat with over buffet scrambled eggs and single serving jam sachets. Nobody. I was, alone.

Except I wasn't. In front of me in the queue stood a short, elderly lady, politely waiting her turn to be seated. We bonded, mocking the complexity of the breakfast buffet's seating arrangements, and the manager's insistence on precision. I think the manager may have overheard my giggling, as she came over and suggested that as we were 'getting along so well, maybe we'd like to sit together to take up less room'.

And so we did. I saw a couple of chuckling industry folks as we sat down for our breakfast date (and a fair few more nodding approval at me for keeping the lady company) but we got on well.

I went through the predictable small talk list when confronted by a woman of extended years. "Do you holiday in Brighton often?", "What do your children do?", "Have you met any interesting people on the coach trip?". We had a laugh, and I grew less and less concerned about missing the keynote.

And then she asked it, the question I fear from anyone over 50, the question that instantly turns me from 'charming young man' to 'peddler of filth and innocence corruption'.

"What do you do?"

I explained that I made games, not the ones with guns, but more artsy pretentious fare. She talked about her grandchildren's love of iPad games, but how she never could work them out, despite really enjoying animation growing up (she equated games to animation, which I liked). We chatted a bit about that, but then, conversation dried up. Searching, I tried a question that I was surprised hadn't occurred to me earlier..

"What did you do before retirement? Before having a family I mean?"

"I programmed architectural simulations"

I was astonished. Turns out the woman I'd pigeonholed as an 'old lady' was creating programs to balance bridges and ensure scaffolding held up in the early 70s. She was a physics programmer. At this point, I may have freaked her out a little with my enthusiasm. We chatted more about the systems she created before marriage and children whisked her off to the gender expectations of her day. She confided the many times she'd snuck out of the office to watch Popeye cartoons in the cinema. She was a fan of two things in her early 20s, programming and animation.

I leaned in, and in a staggered whisper I murmured, "If you'd been born 50 years later, you'd be an indie game developer like me".

She chuckled at this and nodded, we then had a 10 minute conversation about how character move speeds in games are calculated. She promised to pay a bit more attention next time she watched her grandchildren playing games.

Best meeting ever. And a story to tell the next idiot who tells me women 'don't get' games programming.

GUEST BLOG: Vive la punk!

As much as I don’t like to admit it, I’m an old bastard, having been in the industry in various forms for 20 plus years and working with the team at Sports Interactive for 19 years.

Miles Jacobson

In that time, I’ve seen a lot of changes. 20 years ago, hardly anyone was using email for a start, let alone high speed interweb that many people take as a human right nowadays. We’ve gone from bedroom coding, to being told that the only way to survive was to be a huge multi-project, multi-studio indie, from indie being the only way, to publisher owned being the only way, no studio IP ownership to Angry Birds toothpaste, from console being the only way to go, to mobile being the only way, and pretty much everyone up until a couple of years ago claiming that the PC was dead (for the record, we’ve done pretty well on PC constantly through this period).

It’s all been pretty exciting. We’re very lucky to be part of a constantly changing industry – the only stable thing being the entertainment we provide to people who play our games. But right now, for me, it is the most exciting the industry has ever been.

Effectively, we’re going through punk.

Barriers to entry have, by and large, been removed.  You can now make a game using one of the many platform tools available for next to nothing, and publish it yourself for Windows, Linux, Mac or Android with no barriers at all. Getting onto some of the digital retail platforms is harder, but in Steam Greenlight’s case, democratic. There are a few hurdles to cross on some of the others, but none of them unsurpassable. Unless you want to be on Xbox, but I expect that’ll change.

People making games in their spare time, and having hits. People able to make games around themes that they want to work on, rather than what the market tells you will sell. I’m very lucky in that, at SI, we’ve always made the games that we want to make with little interference, but I’m well aware that most in the last 20 years haven’t had that luxury.

Of course, this new punk isn’t utopia. There are still huge problems with discoverability no matter what platform you are on. I can name a lot of games that I thought would be a lot more successful than they have been, and others that have simply not been picked up on at all. When you have tens of thousands of games coming out a month, not all can be successful. But at least people are trying.

I see in the press a lot of the woes the industry has been through and still faces. But I don’t see enough celebration of the success stories, such as the dozens of teams that have gone from being made redundant to releasing their own creativity, the tools that give the power to the devs, the new IP so desperately needed to push the industry forward (hey – sports games are immune to criticism there, OK!)

What’s been really great for me to see has been the camaraderie amongst the new breed, particularly in the UK. I’m lucky to have met many of the devs and teams, both socially and via my work at UKIE, and it’s brilliant to see people helping each other out with discoverability which is the key to success – let’s not go the way of punk and let jealousy get in the way of getting creative work recognised. Or spit on each other. That would be bad.

Some old school publishers are learning, too. Those who aren’t fixated on next gen consoles and hundred million dollar budgets have either worked on their future business models already, or, well, just like so many record labels in the punk era, they won’t survive. They can certainly help with marketing, PR and finances for those projects that need it and, in many cases, will get extra sales on titles – but the best have learnt that they are not the talent who makes the games.

You, the developers reading this, are the talent. Make great games. The rest will follow. Vive la punk.

This blog was written by Miles Jacobson, managing director of Sports Interactive and Develop Conference advisory board member. Contact him on Twitter @milessi

GUEST BLOG: TALK ABOUT LUCKY

“Have you seen this game, Hunters?”, he said.

“Umm, yes, in fact my company created it.” I replied in mild shock.

“Cool.” he stated. His very words mirroring his disposition.

“Thanks... Why are you heading out to LA?” I asked, still recovering from having met an actual player of our game.

“Oh, I’m the Head of Licensing at Games Workshop.” he replied

“......”, speechless.

That’s how we met the Games Workshop head of licensing. Sat beside one another on a random plane trip to Los Angeles. Back then Laurent (co-founder and business director at Rodeo) and I didn't even fathom it would be the first steps down the path to us releasing an iOS version of their much loved Warhammer Quest. We were just enjoying meeting one of our childhood heroes! Time passes, and since then we've spoken to dozens of people about the inception of the project. The response is universally always the same....

"Wow! Talk about lucky!!"

I guess on the face of it, yes, it sounds more like a lottery winner story than Branson self-made-man style tale. However, as is often true of these anecdotes in our industry, meeting that particular man on that particular plane was inevitable because of how we’d positioned ourselves previously. Let me explain why...

Focus, know exactly who you are and what you do.

“We make the best turn-based strategy games on iOS”. That’s our company M.O. We have three games with a metacritic above 80 in our stable so far, and a hardcore group of fans who follow us for because they “get” what we’re trying to attain. We know who we are, and we know who we aren't  Dual stick shooters, gesture based sports titles, even flower growing sims are all experiences we've played and enjoyed. However, as a developer, our passion lies within the turn based arena. It’s something we've created a foundation for, and continue to build upon. It’s where we excel, what we love, and ultimately the fuel that runs our strange developmental machine. That single statement clearly explains to any outside force (whether fan, publisher, license holder, potential hire, etc), what our company is.

We know what we do. Come join us if you share our passion.

Have a solid history of games displaying the field you specialise in.

As I mentioned. At time of writing, we have three 80 and above metacritic titles. When we had the Games Workshop plane encounter we only had a lonesome release, Hunters: Episode One. However, Hunters 2 was in showable development, and was essentially a bigger and better version of the first title. Weekend philosophers say a picture is worth a thousand words... an entire game must be worth a billion. When a prospective partner can see and play your work, you’re no longer theorizing and explaining. THEY are experiencing. From that experience it’s much easier to envision how an existing license could work within your gameplay. I doubt many companies would entrust their hard-crafted licenses to a developer with no prior record.

Be visible.

This may sounds like a ridiculously obvious point. It’s funny though to see how many developers and people in general overlook it. Say, for example, you’re looking for a girlfriend / boyfriend. Would you sit at home, waiting for that perfect partner to chance a knock on your front door declaring their love. Ok, fine, if George Clooney is reading this, then feel free to ignore that last statement. However, the point still remains that no-one knows you. We knew that in our first year we’d really struggle to get our name out there. So, we attended conferences, shows, drinks nights, quizzes, all sorts, just to meet people. Ok, let’s face it, these functions are generally a lot of fun as well so I’d be hard pressed to say it was all work. Facebook, twitter, blogs and websites all count towards the goal in their way. As the world of dating will tell you though, nothing is as good as a face to face!

It won’t happen overnight. We still have a long way to go before Rodeo Games becomes even a vaguely recognisable industry name, but we’d have even further to go without all the founding effort.

Know what things you love.

...and by that, I don’t mean love EVERYTHING. Just some things. Be passionate about them. In no particular order a few of my object loves are: Dinosaurs, Games Workshop, Sharks, Forests, Computer Games, Cats, Movies (Can’t believe Universal gave Jurassic Park to another developer. Grrrr). Anyway, why does this matter I hear you ask? Let’s take the plane encounter with GW as an example. We didn't talk about how we could make them millions. Or how we could take their next digital business to the next level. Our conversation consisted of which BloodBowl teams we fielded. Why Fantasy Chaos Armies were so ridiculously overpowered about fifteen years ago, and why Space Wolves will always be cooler than Ultramarines (I feel I should point out the views of Rodeo Games do not reflect those of Games Workshop!). The love of subject matter shone through and in some way affected the final outcome. I'm pretty sure that if the seat next to me was occupied by a representative from Hasbro, we wouldn't be making a Transformers game right now.

Be prepared.

Ending on a point that seems so spectacularly simple, yet so many overlook... Know your business.

Don’t be the guy we've all seen on Dragons Den who doesn't know his numbers. It’s embarrassing and creates a terrible impression. If you've made the rather large steps of first creating a company and then putting yourself out there, take five minutes to know the ropes. Learn the difference between gross and net profits (Branson claimed to not know....I think he may be fibbing). Know how many units you sold in week one. Understand how advertising in games works, even if you don’t currently use it. Let knowledge be the armour that shields you from the lances of questioning and pressure. Did you ever not study for an exam? Actually I did once...and turned up drunk...though that’s probably a story for another time.

Know yourself, your business and your loves. Then get out there! You never know who you might meet.

Ben Murch will be talking at the Develop Conference on Wednesday 10 July http://ow.ly/mt1Mj 

GUEST BLOG: IT'S ALWAYS THE NEW, NEW THING IN VIDEO GAMES

"In all the time I spent with him, I never once heard him refer to his ability to see the future. He couldn’t see it – that’s why he had to grope for it. He would be seized by some overwhelming enthusiasm . . . and he would be off and running down some long, dark tunnel leading God knew where. . . ."

– Michael Lewis, The New New Thing

Virtual reality helmet designed by Toshiba 

What's that? You foresaw the modern era of games?

No you didn't. Maybe you saw multiplayer gaming over modems moving to the Internet, and games being slowly but surely downloaded on Steam.

Oh, and you played Snake on a Nokia.

These breadcrumbs pointed the way to today about as clearly as whether you can tell me if we will be will be ruled by our robot overlords come 2045.

It's only in retrospect the future is clear. Getting there is anything but.

The history of games comprises middling periods of dull conformity punctuated by short revolutions. Trying to predict gaming's future is a loser's game, because it's irresistible to look at the current winners and extrapolate, yet it's the revolutions that reshape the industry.

I should know! I worked at Edge back when screenshots posted in a jiffy bag from Japan constituted breaking news. I spent years writing future-gazing columns for the trade press, in which I pontificated about the end of retail. And I co-founded Pocket Gamer in late 2005, just ahead of the mobile games revolution.

I even helped put together the first 'evolve' for Develop in Brighton, after a year of raving about how the Internet was changing everything.

Hark at me, the visionary!

Hardly.

I was ten years too early in writing off the High Street. Worse, like everyone I foresaw people downloading FIFA 2015 for their PS4, not Clash of Clans on iPad. Indeed iPads hadn’t been invented and most mobile pundits thought the likes of Vodafone would wield all the power.

I was humbled recently when I revisited a feature I wrote for Develop around the time we launched evolve at Brighton. Entitled Games 3.0, it came out a few months before a certain exec's GDC talk of the same name that really caused waves. Brilliant – except I focused on user-generated content and YouTube, barely mentioning Facebook and free games.

In economics they call it 'hindsight bias' – the belief we saw whatever has come, coming. Nearly always we don't, but we edit our past to believe so.

In truth, even those of us who predicted digital distribution didn't foresee a new industry springing up alongside it, nor did we anticipate handicaps such as content discovery.

Digital distribution was meant make everything available anywhere. In reality it's created an unpredictable hit-driven business that makes 1980's Top of the Pops look like a sober scientific analysis of popular music, with the sums done by Stephen Hawking.

When I edited the then-newly launched Develop magazine a decade ago, the talk was all about how we would manage teams of 500 people, and whether we could shoehorn emotion into photorealistic $500 million blockbusters.

Yet it's teams of 5-10 people who've reinvented gaming and most of the emotion we've seen has come from the staff departing triple-A studios as they've folded across the globe.

Don't try to predict the future of video games. But if you must bet on it, bet on change.

In the meantime, monitor every new development in technology, software, and monetization as if your career depended on it.

It does! But don’t ask me exactly when, or how.

This blog was written by Owain Bennallack, the chair of the Develop in Brighton Advisory Board www.developconference.com 

GUEST BLOG: Next Gen Audio - The Power of Ideas

I’ve interviewed a few famous composers in my time. They’re an interesting bunch – some perfectly relaxed, some slightly frazzled, some completely hyper, but they all have something fascinating to say.

John Broomhall

A particularly memorable moment occurred in conversation with an iconic movie maestro in front of a live audience. Having discussed some of his key works, his history and how he goes about the job, we strayed into his working relationship with orchestrators. This is sometimes a touchy subject, but no problem here. He was delightfully candid and complimentary about the contribution of the team around him. Figuring the audience of two hundred or so aspiring composers waiting on his every word might be interested in his choice of software and sample libraries, I then posed the question: “So, tell us about your studio – what technology do you use?” The terse, and somewhat unexpected, response: “Technology? F*ck the technology! What I do is all about the power of ideas!”

There are certainly many celebrated instances of sound design for moving pictures that have everything to do with ideas and little to do with technology. In fact, many were created using equipment we would now consider laughably rudimentary. The creative approach is, however, extremely sophisticated. I first experienced something of this early in my career sitting in a wildlife dubbing session watching a now famed sequence of whales beaching themselves in some exotic locale. It didn’t occur to me that the accompanying sound was complete artifice until the well-known wildlife dubbing mixer pointed out the tiger, tank and aircraft sounds that had been manipulated and combined to sell the drama of that extraordinary moment when a gigantic mammal hurls itself out of the sea.

The actual location sound recorded by some poor bod with a microphone in situ was truly pathetic. The cleverly ‘designed’ sound was awesome. The fact it wasn’t real didn’t matter one bit. It conveyed the immensity of the spectacle. This was the power of an artist’s ideas in play: story-telling through the choice and mix of sounds.

Such creativity is, of course, just as relevant to games. We may be inextricably linked to technology, but the power of our creative ideas is a real differentiator. However, it may require us to stray from some obvious paths that both technology tools and videogame culture and heritage tend to point us towards. For instance, a literal approach to sound choices and mix is not necessarily entertaining, informative or compelling for games either.  It’s a useful starting point but overriding it and embellishing it for dramatic effect to engage the power of ideas in storytelling and narrative support through audio is a rich seam, ripe for plundering. 

Xbox One and PlayStation 4 are almost upon us. Their technical power for audio is clearly obviously important. Equally important is the creative ‘ideas power’ we bring to the table to go beyond the obvious and break new ground, bringing engaging, dramatic and impactful audio to the console games of tomorrow.

This blog was written by John Broomhall who is a game audio specialist and organises and chairs the Develop Conference Audio Track. He is currently finishing work on original music composition and production for a major AAA console title TBA soon.

Find out more at www.johnbroomhall.co.uk or get in touch on Twitter - @BPLGameAudio and @broomerslive