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Category: Womenize! – Inspiring Stories

September 10, 2025

Luna Javier – Womenize! – Inspiring Stories

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Luna Javier, Co-Founder, Game Design Consultant & Educator. She speaks about her journey as the first female game developer in the Philippines, highlighting the importance of mentorship, building supportive networks, and collaborative leadership in shaping both her career and the future of women in the gaming industry. Read more about Luna here:

Hi Luna! When you look back at the moment you became the first female game developer in the Philippines, what did that mean to you then and what does it mean to you now, knowing how many others have walked through the door you opened?

I honestly didn’t realize I was the first until a friend pointed it out, probably 10 years into my career. I remember thinking, “Wait, what?” I had gone through the first part of my career completely oblivious, just trying to do good work and make great games.

But once I knew, I couldn’t un-know it. It took years for me to fully embrace the responsibility, not just to represent but also actively help others. I started volunteering my time to support other Filipina game developers. I did a lot of talks and press because I knew young women needed to see a woman onstage – that it helped them see what was possible. I became a Women in Games Ambassador and launched a free mentorship program for female game devs in the Philippines. I joined Women in Games Asia Chapter’s leadership team to amplify that impact, and together we built a mentorship program across Southeast Asia.

I am now very conscious of the responsibility I carry: not just being the “first” from the past, but also shaping the future. It’s one reason why I left my company and moved into teaching. I’m always thinking: how else can I help? What else can I do?

You’ve led projects, co-founded studios, mentored talent, and helped shape an entire industry’s culture. If you could time-travel and give your younger self one piece of advice from the Luna you are today, what would it be?

I would tell her to find other women in the industry – to form a support network of peers and mentors early. The younger me could have used career advice and coaching much sooner. It would have made me a better teammate, team lead, and manager. I had simply accepted that the workplace was mostly male, and didn’t realize how powerful female support could be until much later in my career.

In over two decades of making games, you’ve no doubt faced moments where the path forward wasn’t clear. Can you share a time when you had to take a leap into the unknown and how that moment shaped the way you lead and create today?

Co-founding Altitude Games in 2014 was a giant leap for me. I knew nothing about how to run a company or even how to be a creative director. What helped me was having four other co-founders that I knew well and deeply respected. Knowing I wasn’t alone, that we were all figuring it out together, helped me navigate the new role better.

Leadership to me is always a team effort. You’re only as strong as the team around you – so you should surround yourself with people who share your values, complement your weaker areas, and challenge you to be better. It takes a village to make a game or run a company. And when you’re leaping into the unknown, it’s a lot easier when you’re not jumping alone.

Thanks for this interview, Luna!

Luna’s links: LinkedIn, Website

Womenize! – Inspiring Stories Feature by Madeleine Egger

September 3, 2025

Lucy Zini – Womenize! – Inspiring Stories

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition, we talked to Lucy Zini, Environment Concept Artist at Compulsion Games. She speaks about how she balances creativity with practicality in concept art, draws inspiration from travel and real-world references, and emphasizes patience, passion, and self-confidence as keys to thriving in the game art industry. Read more about Lucy here:

Hi Lucy! As an Environment Concept Artist, how do you approach balancing your creative passion with the practical demands of game development? Looking back, did your educational background help you prepare for navigating this balance?

I am fortunate in that the studio I work for prioritises creativity in their games, I feel like rarely do I need to stunt any creativity in order to allow for the more practical demands of game development. If anything, I often feel pushed to make my work more unique and out there than I otherwise would. In the cases where I do need to think more about practicality, it’s generally in terms of producing work that gives more information to the 3D artists or Level design outside of a polished concept. But I’ve always seen Concept Art as something that is to provide support and inspiration to the rest of the studio, so it just feels natural to spend some time on these things. I also find this kind of work creates a bit of a break between artwork, and often improves my own understanding of what I’m doing as a bonus.

I’m sure this way of thinking started from doing my degree in game art and design, as we were encouraged to work together and take part in Game jams. I also like to have things to make sense and have a reason behind them – this helps guide my art and probably stops them from going too left field at the same time.

Your love for travel and exploration clearly fuels your art. How do these experiences influence your creative process, and how has your artistic vision evolved from your early days studying game art to now?

I’ve found travelling and looking for ideas through the world around me has mostly helped in keeping inspiration, sometimes I’ll see a type of architecture, composition, plant etc and see how that could inspire the work I am doing at that time. Or at least lead more research and references in a slightly different direction that I may have never thought of exploring otherwise. The places I go don’t always directly inspire a new idea, but more like specific elements are given a new perspective. I feel like it provides me with a wider field of knowledge that I’m able to draw in the future if I start to see overlaps.

I also believe drawing on primary references and inspiration allows for slightly more original ideas, no new ideas/perspectives will come from focusing your ideas purely on existing games.

I feel like my artistic vision is a lot clearer, I find that I’m better able to understand the art I’m trying to create from the beginning, whilst also relying on the iterative process to get there in a way I maybe didn’t first consider. My ability to research effectively has also improved, which helps to fuel the vision in a much more meaningful and accurate way.

What key piece of advice would you offer to newcomers eager to enter the industry, and how can seasoned professionals continue to grow and stay inspired in their careers?

To those looking to enter the industry, the biggest thing right now is to really be patient. The right job/ role will eventually appear. There is just no telling when, try not to be dis-heartened and continue to develop your portfolio and work. It’s easy to lose momentum and passion when you feel the end isn’t getting any closer but try not to let it dissuade you. Also, make sure to have fun with it, making games and art should be fun, if it feels overwhelming or stressful take a step back. Establish are you producing the kind of work you want, or just what you think you should? I find my best work happens when I enjoy and am passion about the project.

To other concept artists/professionals, the main thing I tend remind myself is to not compare my work to other artists. Imposter syndrome is real, I feel like most creatives will feel it from time to time. It is easy to fall into the trap of scrolling through Art Station and seeing all the amazing art on there, then wondering why you do not have work like that. But people have different styles, specialisms and experience. If everyone’s Concept Art were the same, all games would start to look the same.

Also, go out in the world to get new ideas, if you are feeling uninspired, take a few days off and go somewhere that relates to your project, or go to a gallery or whatever feels right. I personally often forget how important it is to attend gaming events and meet with other artists. Even if you cannot talk about certain work due to NDA’s, just talking to and meeting with other Concept Artists can act as a massive motivator.

Thanks for this interview, Lucy!

Lucy’s links: LinkedIn, ArtStation

Womenize! – Inspiring Stories Feature by Madeleine Egger

August 27, 2025

Ingrid Fridesjö – Womenize! – Inspiring Stories

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition, we talked to Ingrid Fridesjö, CEO at Blamorama Games. She speaks about her journey from traditional storytelling in journalism and film to creating interactive, educational games that engage players, emphasizing the power of combining local roots with a global mindset to build a creative, collaborative game studio. Read more about Ingrid here:

Hi Ingrid! Your journey spans journalism, film, and now leading your own game studio. What was the turning point that inspired you to shift from storytelling in traditional media to building digital experiences through games?

Storytelling has always been at the core of what I do. Whether through visual content, news reporting, or now, games. The real turning point came when we, as a team, wanted to create something more interactive and playful together. We wanted to tell stories that people could step into and not just watch, and we knew that gamification is a fantastic way to support learning and reach people with a message.

That’s how Bumi: Next Stop, Earth! was born – a mobile game where kids learn to care for the planet through casual play. It became the starting point of the Bumi Universe, and we’ve since expanded with Bumi Cosmic Colours, a creative coloring book game, and Sliding into Luleå, a cozy friendship game set in our hometown. The platform may have changed, but the heart of it remains the same: stories that connect, teach, and carry a message.

As the founder and CEO of Blamorama, you’ve built an international network while staying rooted in Luleå. How do you turn a local base into a global platform, and what advice would you give to creatives working outside major industry hubs?

We’ve proven that it’s absolutely possible to build something global from a small place. Luleå may not be a traditional game development hub, but it’s our creative home. From here, we collaborate with developers and artists across Southeast Asia and work with partners and clients throughout Europe.

And actually, our team reflects that global mindset: several of us have moved to Luleå from different parts of the world, like Malaysia and Indonesia, bringing new perspectives and experiences into the studio. For us, it’s not about where you are on the map, but how open you are to building strong, long-term relationships based on trust, clarity, and shared goals.

My advice to other creatives outside the big cities is to use the strengths of your local environment such as the space to experiment and the unique voice it gives you, and combine that with a global mindset. Technology makes distance irrelevant. What matters is how well you connect and how consistently you deliver. Your location can be an asset, not a limitation. There’s often more space to focus, prototype, and try new ideas. My advice is to stay rooted where you are if it feels right, but to keep reaching outward. Build a strong network, stay curious, and trust that your perspective has value.

Looking back at your early days reporting and working behind the camera at SVT, what skills or lessons from that time still shape how you lead creative teams today?

Before starting Blamorama, I worked with both children’s programming and news at SVT where I developed content, shaped ideas, and reported on stories. That experience gave me a deep respect for storytelling, clarity, and purpose. It also taught me how to adapt quickly, work with tight deadlines, and collaborate across different disciplines.

Those lessons are still with me today. At Blamorama, we lead small, agile teams where everyone wears many hats. I try to create an environment where ideas flow freely but where the whole team stays anchored in a shared goal and shared values. Just like in a good newsroom or production team, every contribution matters, but direction and trust are what keep things moving.

Thanks for this interview, Ingrid!

Ingrid’s links: LinkedIn

Womenize! – Inspiring Stories Feature by Madeleine Egger

August 20, 2025

Eva Piatrushina – Womenize! – Inspiring Stories

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Eva Piatrushina, Live Designer at Sharkmob. She speaks about her transition into AAA game development and her role as a Live Designer, emphasizing the importance of player-focused design, balancing creativity with data, and fostering community through mentorship and collaboration. Read more about Eva here:

Hi Eva! What key moments or decisions helped you transition into AAA development, and were there any challenges or lessons along the way that helped shape your approach as a designer?

In 2019, I saw an advertisement for the first Game Design course from a major AAA PC game development studio. For some reason, in that moment, I felt like it was my destiny. I got accepted into a program, and after it was chosen to get an internship, in the end, I got a full-time job.

The biggest advice I can give is that there are many amazing opportunities, but you should be open and actively looking for them. How? Use social media and make meaningful connections.

Both mathematicians and game designers are looking for the right solution in their jobs. There might be more than one way to solve the problem. A degree in Mathematics and Computer science gives understanding about how the software product (might be a game) is produced, gives a skill to learn new things faster, and how to think analytically.

One of my favorite mentors taught me a valuable skill to read correctly. Some people underestimate the power of proper reading.

When I started my GameDev journey, not everyone supported me. This was a good way to learn who your true friends are and who is not. The closest people will support your dreams and plans.

At the beginning of my career, the biggest challenge was the epidemic and the lockdown. Now I know how to work remotely, not to panic when the world is in crisis, and make friends without seeing someone in person.

As a Live Designer working on Exoborne, you’re responsible for keeping the player experience fresh and engaging over time. What excites you most about building live game systems, and how do you balance creativity with data-driven design?

Games are made for players. My favorite part of my work is seeing people’s reaction and the feedback. Of course, the positive feedback makes you happy and smiling, while the negative gives you room for improvement and valuable lessons.

When I design something in the game, I always keep in mind players’ expectations and needs. You don’t make a game for yourself, you make it for someone. Thinking about them is in the first place.

Creativity is good when it’s in the right place. Sometimes, you don’t need to reinvent the wheel. In other cases, being extra creative can be a risk that can help to be outstanding among multiple projects.

Data can be different from numbers in the dashboard to people’s reviews. The ability to analyse the data is a separate skill. As a designer, you need to find your own approach to design. Some trust numbers more, while others believe in their own gut feeling. The best advice is to try to decide what works for you and your project.

You’ve mentored aspiring designers, volunteered at events, and helped shape local game dev communities. What drives you to give back, and how has mentorship influenced your own growth as a designer and leader?

One of my mottoes in life is “Sharing is caring”. I share my knowledge and time with people around me to make the world a better place. I believe that together as a GameDev community, we can achieve way more. People need people.

Back in the day, I had people who supported me at the beginning of my career, so I want to continue this act of kindness. When you start mentoring people, you realize how many things you can do or just know. It helps to boost your confidence. Not only do your mentees learn something new, but you also learn something from them.

Thanks for this interview, Eva!

Eva’s links: LinkedIn

Womenize! – Inspiring Stories Feature by Madeleine Egger

August 13, 2025

Moira (Meeix) K. – Womenize! – Inspiring Stories

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition, we collaborated with ESBD – eSport-Bund Deutschland e.V. and talked to Moira (Meeix) K., Esport Shoutcaster & Content Creator. She speaks about her relentless drive for improvement, the unpredictable yet rewarding nature of freelance content creation, and the ongoing risks and challenges of building a sustainable career in esports. Read more about Moira here:

Hi Moira! Looking back over your 10 years on Twitch and in esports, what personal mindset or value has been most essential to your long-term growth and resilience?

There’s one thing I credit partly to my German upbringing and partly to my (very apparent) stubbornness: I always operate on a “it could be better” mindset. We just had a great show? I’m sure there’s still room to improve. One of my videos or streams did really well? I’m already thinking about how to facilitate more growth. I know it sounds a bit exhausting, and sometimes it is, but it also keeps me evolving alongside a scene that never stands still. And to be honest, I think it’s a great approach to life in general. It also leads to me giving a loooot of feedback, which sometimes can be hard especially when working with US companies – but if the product is better in the end I’m very happy to have a few uncomfortable conversations.

What does a typical day look like for you as both a caster and content creator and how do you stay creatively energized while juggling freelance life, prep work, and community engagement?

Hah, that’s a bit of the beauty of my job really – there are no “typical” days. Every day is somewhat novel and I try to take the freedom of being self employed to put certain tasks, like taxes or prep-work on lower energy days to be able to keep up with the more draining days where I stream or cast. I’ve been dabbling in IRL streams recently and it has really helped with doing things that aren’t just sitting or being in the house while still being able to connect with my community. A lot of what I do behind the camera is taxes, book-keeping and researching players, plays and meta as well as answering tons of emails on the daily. I will say that I’m pretty much always “on call” – even on holidays I absolutely cannot leave my emails or my social media alone, which probably isn’t the healthiest but I do try to reduce it to a minimum.

Was there a moment in your career when things “clicked” and you realized you could turn your passion into a profession? What did that moment teach you about taking risks or backing yourself?

I used to “only” stream and work a normal job. But I was decent at my main-game and hence was asked to cast for the first time. It was for the German Race to World First in WoW and I remember doing it and absolutely loving the experience. I was really eager to do more casting work and it was something that grew slowly with more and more people approaching me to work different events over time. Even today I’m sometimes doubting the risks of it all. Esports sadly is not a stable industry and I wish it was. I would love to have a family and kids one day and with how the industry is looking right now that feels impossible. A part of that is also the lack of care on the side of German politics to care for female entrepreneurs and coverage for pregnancies, but a lot is in “how much can you really afford to say no” before people stop asking you for their shows. I guess the truth of it is, that it’s not a single moment where you have to take a risk, but a daily occurence that continuously tests you if you’re still willing to take that risk again and again.

Thanks for this interview, Moira!

Moira’s links: LinkedIn, Twitch

Womenize! – Inspiring Stories Feature by Madeleine Egger

August 6, 2025

Dr. Sharon Coleclough – Womenize! – Inspiring Stories

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition, we talked to Dr. Sharon Coleclough, Senior Lecturer Technical Game Design at University of Staffordshire. She speaks about the value of embracing diverse skills and nonlinear career paths, the power of sharing authentic personal stories, and the importance of self-advocacy and belonging. Read more about Sharon here:

Hi Sharon! Your career has spanned film, sound design, game audio, and now education and podcasting. Looking back, were there any pivotal moments or unexpected turns that helped define your path and what would you say to someone who’s still figuring out how their skills might fit into the games industry?

When I started out, I didn’t even think about the games industry, but now I am a part of it I can see how everything I have done to this point contributes to my ability within this sector. So, something which has been important is my openness to learning new skills and approaches which then feed back into my next pathway.

I have a very diverse range of interests and although in academia sometimes that can be seen as a negative, I have always found it, for me, to be a massive positive. If something has piqued my interest I have looked at it, learned about it and those skills have essentially opened doors for me that I wouldn’t have first thought they would. So, for someone trying to find their way, think about what additional aspects you might add to your skillset or knowledge base. In many cases that extra thing, whatever it is, can mean that you are valuable because you are able to step into another area as well as your specialism. You don’t have to be amazing at the extra thing, so say an artist who specialises in environments but can also if needed contribute to character. The ability to step out of your focus and be directly helpful in another area is a massive win for everyone.

Something to also highlight is that game and the skills inherent to creating an engaging product or a good experience can be found in other sectors. Game is the “new kid on the block” so can be fed and shaped using knowledge from other areas which then find their shape in game. Game, and any sector really, benefits from a range of experience and a range of voices so don’t think that because you perhaps started in a different focus you can’t move into game.

With the “Game Changers Podcast,” you’re spotlighting women and underrepresented voices who’ve helped shape games and gaming culture. In your experience so far, what’s one unexpected insight or story that’s really stayed with you and why do you think it’s important we keep telling these stories?

Something which took me a long time to learn is that everyone’s journey is different. I think we are educated to believe that there are specific trajectories – ways we must travel to get to a place, whether that is a job, a life stage, etc. Importantly though, although how we get to a place is different we all have shared moments of doubt, epiphany or learning, which when shared resonate with other people and communicating these is important as it helps us to then navigate our own moments. Some of my most important moments of clarity have been hearing that people I think are leaders in their field have had times when things have not gone well, this isn’t to revel in their failure it’s salient because generally we see only the highs in someone’s journey. I think to hear that there is a struggle, that there are moments where they have had negative interactions is as important as hearing how things went really well.

I think from my chats on the podcast the real takeaway is how many people experience imposter syndrome, something that I struggle with. But the more I speak to people, the more I hear that similar narrative. Hearing that somehow calms my own experience, and I really hope that this is true for listeners who hear that people working in their field also navigate similar situations and feelings of un-necessary self-doubt.

That takeaway is why it is important to keep telling these stories – not necessarily just that other people experience imposter syndrome, although many women do and I think it is important to ask why this is such a shared experience for women. But to have people share their own life experiences and for a listener to hear something which resonates with them or lets them understand someone else’s experience a little better.

As someone who mentors the next generation through your teaching, what’s one piece of advice you wish someone had given you at the start of your career, especially as a woman working in technical and creative roles?

Oh gosh can I choose a couple? Well I will anyway!

Firstly – don’t ask, don’t get. I didn’t really learn this until I was in my 30’s. Be brave, it does feel like bravery sometimes! If there is something you need or want to know – ask. If they don’t have the answer, then ask someone else. If they don’t get back to you, that’s okay it’s not about you (see my next point below). Or they might give you the answer you need to move forwards to your goal. But sitting narritivising the outcomes of asking but never doing it will not move you on – so ask!

Next – You are in a space because you belong there, this can be a job, your wish to learn, because you want to participate etc. Remember that! I think that this is especially important for anyone who is in a minority in the sector they work in. Your skills and knowledge have got you where you are – you are meant to be in that space – take up that space and don’t minimise yourself.

Thanks for this interview, Sharon!

Sharon’s links: LinkedIn

Womenize! – Inspiring Stories Feature by Madeleine Egger

July 30, 2025

Nicole Amato – Womenize! – Inspiring Stories

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition, we collaborated with Kickstarter and talked to Nicole Amato, Games Outreach Lead at Kickstarter. She speaks about how her passion for writing and video games, combined with her academic background and professional experiences, led her from game journalism to game design and co-founding her own studio, ultimately shaping her current role supporting creators as Kickstarter’s Games Outreach Lead. Read more about Nicole here:

Hi Nicole! How has your diverse educational background in English, International Area Studies, and Library and Information Sciences shaped your path towards game design and writing?

I have always loved writing since I was little, and I have always loved video games, and about 17 years ago, I thought – why not combine the two? I had just finished my English degree, and I decided to start writing video game reviews. I got a part-time job working as a games journalist and got to attend some amazing shows, including E3, PAX East, and PAX West, as a writer. I met some amazing game designers and it eventually led to me working on video games and later making my own games, which was a dream come true. My degrees all involved rigorous writing and critical thinking courses, and my graduate program in Library and Information Sciences challenged me with courses on UX and UI, which helped shape the way I think about game design.

In your journey from writing and editing for video games to co-founding Cardboard Fortress Games, what pivotal moments or projects have most significantly influenced your creative vision and professional growth?

The first time I got paid to work on a video game was writing the story for the game Monsters!, which was funded on Kickstarter. It absolutely blew my mind that I was living my childhood dream – I never imagined my writing would ever be in a video game. Another pivotal moment was when we won the game jam for our tabletop game RESISTOR_, which we eventually took to Kickstarter. It was one thing to make the game and enjoy it, but for us to then win the jam made us realize we could make games that people liked, and maybe that people would even buy. It wasn’t a career path we’d ever imagined for ourselves, and that moment shifted our entire view of games and game design.

As Games Outreach Lead at Kickstarter, what strategies do you use to identify and nurture innovative game projects, ensuring they reach their full potential and connect effectively with backers?

That’s so much of my daily job! It’s really hard to say what strategies I use because everyone needs something different – board game creators need something different than video game creators, brand new creators need something different than established ones, etc. I meet with creators all the time, in person and online, to discuss how I can help them. With new creators, I talk them through the best strategies and plans to help make them successful – not just on the platform, but beyond as they make and publish more games. With established creators, I like to work with them to strategize on how best they can utilize the platform and their audience. For those making video games, it’s important to think about how they want to get the word out, whether that be Steam Next Fest, Wholesome Games, and/or PAX Rising – it depends on what kind of game they’re making. It’s important for me to look over their project, see what else they’ve worked on, and meet with them to figure out what they need and how best I can help them. It’s usually a collaborative effort!

Thanks for this interview, Nicole!

Nicole’s links: LinkedIn

Womenize! – Inspiring Stories Feature by Madeleine Egger

July 23, 2025

Velichka Georgieva – Womenize! – Inspiring Stories

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Velichka Georgieva, People & Culture Manager at Imperia Online. She speaks about her journey from working in casinos to becoming a People & Culture Manager in the gaming industry, emphasizing how her passion for supporting others, deep personal connections, and dedication to meaningful work helped her grow into leadership, and advising others to pursue the industry with genuine passion, resilience, and authenticity. Read more about Velichka here:

Hi Velichka! Your career began in the casino world, but you’ve since built a meaningful role in the games industry as People & Culture Manager at Imperia Online. What drew you to make that shift and how did you find the courage to start over in a new field?

Honestly, the transition felt surprisingly natural, even if it looked bold from the outside. Working in casinos taught me a lot about people – their hopes, their struggles, their energy. But deep down, I always knew I wanted to do more than just observe; I wanted to truly support and empower the people I work with.
When I found an opportunity in the games industry, it felt like the perfect place to combine my training with my empathy and curiosity about people. Gaming is creative, fast-moving, and centered around passionate teams, so it’s the ideal environment to grow alongside others. Starting over was definitely challenging, but what gave me the courage was my genuine belief that I could make a real
difference here – both in helping individuals feel valued, and in shaping a culture where everyone can thrive. I guess at a certain point you stop worrying so much about how new a path is, and start focusing on the people you’ll get to walk alongside.

You started at Imperia Online as an intern and grew into a leadership position over several years. Looking back, what were the moments (big or small) that shaped your growth and helped you believe in your own potential?

When I look back, my journey at IO has really been full of smaller moments that added up to big changes, both in my work and how I see myself. At the start, I had a lot of doubts – I was incredibly focused on perfecting every task, but struggled to find true satisfaction or confidence in my work. What really shifted things for me was connecting on a deeper level with my colleagues.

Realizing that people trusted me, confided in me, and even affectionately called me “Mama Zajka” – that feeling of being someone’s go-to person was both humbling and uplifting. Over time, the genuine compliments and the openness from people around me started to build up my own sense of self-worth. I’m a naturally hard-working and relentless person, but it’s the relationships within the team that made me believe in my own potential. I understood that my growth wasn’t just about how well I completed my tasks – it was about how much I could lift others up along the way. That’s what made every hour in front of the computer completely worth it: knowing that I could make even a small difference for someone else. To this day, it’s the people – those little moments of trust and support we build together – that keep me going and give me faith in
what I do.

For people who want to join the games industry but don’t come from a ‘typical’ background, what’s one piece of advice you wish someone had given you when you were just starting out?

My biggest piece of advice? Don’t just fall in love with the perks – fall in love with the craft. The games industry looks glamorous from the outside, but what really matters here is genuine passion and commitment. If you don’t feel a true spark – if you’re not driven by curiosity and excitement about games and the people who make them – it will be hard to find real fulfillment. Coming from a
non-traditional background myself, I learned that your story doesn’t have to fit the mold. What matters most is your willingness to learn, to dive in wholeheartedly, and to bring your unique perspective. The industry is full of inspiring, driven people who pour their hearts into what they do – you need to be just as ready to do the same. So my advice is: devote yourself to it for the right reasons. Love what you do, and be brave enough to show up as yourself. That’s what makes you stand out – and what sustains you through the challenges and the rewards that make this industry truly special.

Thanks for this interview, Velichka!

Velichka’s links: LinkedIn

Womenize! – Inspiring Stories Feature by Madeleine Egger

July 16, 2025

Astrid Castle – Womenize! – Inspiring Stories

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Astrid Castle, Art Director at Wooga. She speaks about her journey from QA to Art Director on June’s Journey, highlighting how storytelling, leadership, risk-taking, and perseverance have shaped her creative career and current role guiding artistic vision across teams. Read more about Astrid here:

Hi Astrid! You’ve been involved with June’s Journey in several roles over the years, from concept artist to art director. What does a typical day look like for you now, and how do you stay connected to the creative side while leading a team?

Firstly, a big cup of coffee! But yes, I’ve been with the team pretty much from the start, back when it was much smaller in every way, with just 2 stints away from it (first stint was a year of maternity leave with my daughter, and secondly as the Environment Art Lead for another hidden object game Wooga made, Ghost Detective) before returning again, this time as the Environment Art Lead there. As an art lead, I was very involved with providing feedback to the awesome environment artists, and even occasionally making a concept if necessary – but mostly over painting and looking after the large team with my then co-lead.

As an Art Director though, I’m not as hands on as such, but my days now involve being more aware of what is happening in each department with art (environment, character, isometry, sometimes UI) and having a nice overview – we all work quite far in advance of what goes live, and looking into the theming of the game each month.

Honestly, seeing each of the team’s work keeps me super motivated though! I still provide over paints where I can, and provide verbal feedback, aligning with the leads too. I’m also helping to push new tooling for the artists, and trying it out myself too.
But other than that, my day also involves talking a lot to various team members (not just in art) and drinking probably more coffee than I should!

Your career started in QA and evolved through storyboarding, concept art, and now into art direction. Looking back, what were some key moments or decisions that helped shape your path?

Ooo, great question! So many key points to be honest. So back in ye olde days of 2005, the quickest way to get into the games industry was via QA, so despite wishing to be an artist in games, I knew QA was a foot in the door so to speak. QA wasn’t the area I wished to be in, but I knew it would hopefully lead into other areas – which it did. 🙂 The experience I got at EA in QA allowed me to be hired for a job overseas in Germany, also in QA but with the idea to move on into the art department. It was tough though, as the artists there were incredibly talented, but I learnt so much from them. But actually – the decision to leave behind my family, friends and home in London was such a pivotal thing – if I hadn’t made this tough choice, I honestly don’t think I’d be where I am today. It was uncomfortable and difficult moving to a country where I didn’t speak the language, but I had such ambition and drive to work in art within games.
It wasn’t all roses though – The industry was a different place back then and I had to deal with a lot of negativity, from how I should “just focus on art as a hobby”, to “it’ll be time to settle down and have babies soon” to use but two actual examples.
Rather than let it get to me, it fuelled my determination and my resolve to prove them all wrong. Which I eventually did! Negative comments like that can drag you down, and are completely unacceptable (not to mention unprofessional), but they can also push you to go further, and not to give up.

I was also pushed into learning how to do environment art (I’d been doing storyboards previously) and wow was I so intimidated by environments! I do wish ‘past-me’ could be told I’d be leading a team of Environment artists one day; I’d have laughed and subsequently panicked 😉 Again this was a pivotal moment, as I realised I actually rather enjoyed making them, and loved adding in all sort of story telling which I’d previously done in storyboards.

Again, another move (this time from Frankfurt to Berlin within Germany) was a key moment – to join Wooga, where I’ve now been for 12.5 years. 🙂 I’ve found that taking these big risks and leaping out of my comfort zone is when the magic happens. (mostly ;)) And eventually taking on a more leadership and managerial role at Wooga was the next big step and challenge – I was very much enjoying being a hands on artist, but the challenge of leading a team was one I couldn’t turn down.

You describe yourself as an artist who loves to tell stories. What role does storytelling play in your work today, especially when guiding the visual direction of a game like June’s Journey?

It’s integral to all of the art we make here at Wooga on June’s Journey 🙂 We work closely with the narrative department, and even the ISO team who don’t work quite as closely – the small little scenes they make are bursting with character and storytelling. I help to ensure that the artists maintain story telling in their work – whether it’s the environments, character or ISO. Thankfully guiding the artists in this sense isn’t difficult at all – they all have an inbuilt sense for storytelling, and it shows in their gorgeous work. 🙂
I continue to tell stories both in and out of work – I have a 6 year old daughter and we invent all sorts of stories. Stories about princesses, hedgehogs, farts and other wonderful things – tough to beat the wild mind of a child in storytelling 😀

Thanks for this interview, Astrid!

Astrid’s links: LinkedIn

Womenize! – Inspiring Stories Feature by Madeleine Egger

July 9, 2025

Kristin von der Wense – Womenize! – Inspiring Stories

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition, we talked to Kristin von der Wense, Publishing Producer at Daedalic Entertainment. She speaks about how her media background led her to game publishing, where she blends past and new experiences to support developers and explore innovative ways to expand game narratives through traditional media. Read more about Kristin here:

Hi Kristin! From media studies to video game publishing, your journey spans diverse creative fields. What inspired you to transition into the games industry, and how have your past experiences shaped your approach as a Publishing Producer at Daedalic Entertainment?

The media studies were somewhat advertised as “learn how to make video games” which wasn’t exactly true, but it did choose it for that reason. As I always had a bit of an interest in video games and the industry. That interest fluctuated over the years of course, but the thought of working in the games industry was regularly at the back of my mind.

It’s tough to really pinpoint what I took exactly from where, but it’s true that some of it came from the studies, since it featured quite a broad stroke of games and media in general.
I also learned a lot of new things working as a Publishing Producer, given the change of industry and new field of work. That combination of old and new was rather beneficial to my personal development, and my work.

In your role as a Publishing Producer, you collaborate with various teams to bring games to life. Could you share a moment or project that felt particularly rewarding, and what you learned about leadership and creativity through that experience?

I’ve learned that it’s necessary to adapt my approach of how I work with the developers based on the developers walks of life. That doesn’t mean to completely change yourself or treat every developer entirely differently, since the core of honesty, keeping things on track and having the same overarching goal is applied to all projects. It’s more apparent in the nuances, like how I actually communicate with the developers and how hands-on the producing is.

A specific quote comes to mind that a developer shared with me when I think about rewarding moments. I’m paraphrasing here, but it was about me being a problem solver, not a problem maker, and really understanding their game and their vision.

Given your background in storytelling, interactive media, and podcasts, how do you see the intersection of traditional media and video games evolving? What opportunities do you envision for innovation in narrative-driven games?

Funnily enough, I was originally thinking about writing my bachelor thesis on media convergence, more specifically the intersection of video games and TV shows. Back then the amount of examples were few and far between. It basically came down to The Walking Dead and Defiance.

Nowadays there’s a massive amount of available platforms and media, not just for marketing video games, but also to share a game’s narrative and let your players engage with it. And by extension, possibly transforming and evolving it, or telling additional stories the game didn’t cover.

Though it is a tricky path to thread, since the game itself is the main focus and the player shouldn’t get the impression it isn’t. Neither should the player be constantly expected to pause the game and check some websites for actual lore or read an entire trilogy of thousand pager books.

The goal should be to find a way to make it worthwhile for the player, and give them enough incentives to seek it out, while not distracting from actually playing the game and experiencing its narrative.

I remember back when the first Last of Us launched there were websites for some of the game’s locations and stores. The example is pretty basic but it gets down to what I personally like about it: It’s not necessary to understand the game’s narrative, the game’s not pushing you to seek that out, but you learn more about the game’s world – which was what I wanted.

Getting to the actual questions, it really depends on what the goal of the intersection is. Is it to tell entirely different stories in the game’s universe, retell the game’s narrative beat by beat, share tidbits that aren’t necessary but interesting to learn or something the player can benefit from in the game. Like companion apps, companion podcasts, social media incorporation, AR and so much more.

And on top of that the game’s audience has a giant impact on the selection and execution of the above. It really has to be tailor made, copy and paste in this case seems like a terrible approach.

For example, having social media accounts, like Instagram or TikTok, for characters, which evolve over time showing the game’s narrative from a side characters perspective could be interesting for one game’s audience, but could lead to review bombing in other instances. I’m exaggerating a little bit of course.

Thanks for this interview, Kristin!

Kristin’s links: LinkedIn

Womenize! – Inspiring Stories Feature by Madeleine Egger

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Hi Luna! When you look back at the moment you became the first female game developer in the Philippines, what did that mean to you then and what does it mean to you now, knowing how many others have walked through the door you opened?

You’ve led projects, co-founded studios, mentored talent, and helped shape an entire industry’s culture. If you could time-travel and give your younger self one piece of advice from the Luna you are today, what would it be?

In over two decades of making games, you’ve no doubt faced moments where the path forward wasn’t clear. Can you share a time when you had to take a leap into the unknown and how that moment shaped the way you lead and create today?

Thanks for this interview, Luna!

Hi Lucy! As an Environment Concept Artist, how do you approach balancing your creative passion with the practical demands of game development? Looking back, did your educational background help you prepare for navigating this balance?

Your love for travel and exploration clearly fuels your art. How do these experiences influence your creative process, and how has your artistic vision evolved from your early days studying game art to now?

What key piece of advice would you offer to newcomers eager to enter the industry, and how can seasoned professionals continue to grow and stay inspired in their careers?

Thanks for this interview, Lucy!

Hi Ingrid! Your journey spans journalism, film, and now leading your own game studio. What was the turning point that inspired you to shift from storytelling in traditional media to building digital experiences through games?

As the founder and CEO of Blamorama, you’ve built an international network while staying rooted in Luleå. How do you turn a local base into a global platform, and what advice would you give to creatives working outside major industry hubs?

Looking back at your early days reporting and working behind the camera at SVT, what skills or lessons from that time still shape how you lead creative teams today?

Thanks for this interview, Ingrid!

Hi Eva! What key moments or decisions helped you transition into AAA development, and were there any challenges or lessons along the way that helped shape your approach as a designer?

As a Live Designer working on Exoborne, you’re responsible for keeping the player experience fresh and engaging over time. What excites you most about building live game systems, and how do you balance creativity with data-driven design?

You’ve mentored aspiring designers, volunteered at events, and helped shape local game dev communities. What drives you to give back, and how has mentorship influenced your own growth as a designer and leader?

Thanks for this interview, Eva!

Hi Moira! Looking back over your 10 years on Twitch and in esports, what personal mindset or value has been most essential to your long-term growth and resilience?

What does a typical day look like for you as both a caster and content creator and how do you stay creatively energized while juggling freelance life, prep work, and community engagement?

Was there a moment in your career when things “clicked” and you realized you could turn your passion into a profession? What did that moment teach you about taking risks or backing yourself?

Thanks for this interview, Moira!

As someone who mentors the next generation through your teaching, what’s one piece of advice you wish someone had given you at the start of your career, especially as a woman working in technical and creative roles?

Thanks for this interview, Sharon!

Hi Nicole! How has your diverse educational background in English, International Area Studies, and Library and Information Sciences shaped your path towards game design and writing?

In your journey from writing and editing for video games to co-founding Cardboard Fortress Games, what pivotal moments or projects have most significantly influenced your creative vision and professional growth?

As Games Outreach Lead at Kickstarter, what strategies do you use to identify and nurture innovative game projects, ensuring they reach their full potential and connect effectively with backers?

Thanks for this interview, Nicole!

Hi Velichka! Your career began in the casino world, but you’ve since built a meaningful role in the games industry as People & Culture Manager at Imperia Online. What drew you to make that shift and how did you find the courage to start over in a new field?

You started at Imperia Online as an intern and grew into a leadership position over several years. Looking back, what were the moments (big or small) that shaped your growth and helped you believe in your own potential?

For people who want to join the games industry but don’t come from a ‘typical’ background, what’s one piece of advice you wish someone had given you when you were just starting out?

Thanks for this interview, Velichka!

Hi Astrid! You’ve been involved with June’s Journey in several roles over the years, from concept artist to art director. What does a typical day look like for you now, and how do you stay connected to the creative side while leading a team?

Your career started in QA and evolved through storyboarding, concept art, and now into art direction. Looking back, what were some key moments or decisions that helped shape your path?

You describe yourself as an artist who loves to tell stories. What role does storytelling play in your work today, especially when guiding the visual direction of a game like June’s Journey?

Thanks for this interview, Astrid!

Hi Kristin! From media studies to video game publishing, your journey spans diverse creative fields. What inspired you to transition into the games industry, and how have your past experiences shaped your approach as a Publishing Producer at Daedalic Entertainment?

In your role as a Publishing Producer, you collaborate with various teams to bring games to life. Could you share a moment or project that felt particularly rewarding, and what you learned about leadership and creativity through that experience?

Given your background in storytelling, interactive media, and podcasts, how do you see the intersection of traditional media and video games evolving? What opportunities do you envision for innovation in narrative-driven games?

Thanks for this interview, Kristin!

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