Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Romy Halfweeg, Business Development Manager at Poki. She speaks about the value of openness in networking, learning from event management, and balancing creative and business aspects in game development. Read more about Romy here:

Hi Romy! Throughout your career, you have held various roles. What key lessons have you learned about building and maintaining professional relationships within the gaming industry, and how have these experiences shaped your approach to business development?

I think that overall in all of my roles, from Event Manager to Partnerships Manager to Business Developer, the biggest lesson I’ve learned is to always be open and approachable. You never know who might want to talk to you, so I make sure to give people that chance. I do this by being present at events, attending smaller meetups, giving presentations, making myself easy to reach online, and being active in Discord servers and Slack channels. I also usually try to lower the barrier by introducing myself first. Basically I try to enter physical and virtual spaces with an outstretched hand 🙂

This approach has worked well for me in business development too. Instead of saying no to a meeting or walking away from a conversation if I don’t immediately understand the mutual benefit, I try to listen to what they’re looking for whenever I can. Even if we can’t collaborate right away, there have been times when it became relevant months or even years later. If I hadn’t been open to listening to what these people were working on in the first place, I would have missed those opportunities.

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Coline Sauvand,  Co-Founder & Artistic Director at Ram Ram Studio. She speaks about how moving to Brussels, art school, a competition win, and quitting her job were key steps in her journey to becoming an illustrator and artistic director. Read more about Coline here: 

Hi Coline! Looking back at your early days as an illustrator, what were some of the key decisions or risks you took that significantly impacted your career trajectory?

🔥 The spark was to come and live in Brussels. At the time, I thought it was a random post-adolescence move. ( I lived in Montpellier back then ) Today, I realize that it was the most important decision I ever made to become an illustrator. Brussels is a very open city, with a strong pictorial and alternative culture. Everyone is welcome, there’s plenty of room for you.

⚙️ I joined an art school, and for 3 years I had 3 hours a week of live drawing sessions: it’s mega important to connect your hand, your eye and your brain together. That was the technical key. 

🧿 Then I entered a “travel book” competition and won a trip to Istanbul. There I visited an exhibition of “Persian miniatures”, traditional images that illustrated 15th-century Persian tales. It was so different from what I was used to that it deeply inspired me; I decided to tell my journey through them, copying them. That was my “style key”😎. It also inspired the videogame “30 birds” I’m releasing at the end of the year!

📢 Finally, the decisive key was quitting my part-time job to take advantage of a full year‘s unemployment benefit: I had time to take more commissions, create my website, prototype my children’s book and my video game. 

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 Sandra Bloy, President of the E-Sport Association of Bavaria. She speaks about how her diverse experiences in legal administration and Japanese studies have shaped her approach to her current roles, emphasizing the importance of cultural sensitivity, strategic thinking, and promoting diversity and inclusion within the gaming industry. Read more about Sandra in this interview:

Hi Sandra! Your professional journey spans from legal administration to marketing in the esports industry, with a degree in Japanese Studies. How have these diverse experiences and your education background influenced your approach to your current role?

I did not have a clear goal set, when I started to look for jobs after graduating school. My main motivation was to financially support my immigrant mom, therefore I aimed for a job that would provide a good salary in the future. I am thankful to have absolved a traineeship as a patent paralegal, since it taught me valuable skills, such as attention to detail, analytical thinking, and a strong understanding of regulatory frameworks. Totally helpful, if you need to accommodate to German legal topics and politics when working in esports clubs and the regional esports association of Bavaria. Man, you got to love the German Law. 😁 However, I knew that being a paralegal for the rest of my working career would never satisfy me as an individual.

As one of the first to attend university in my family, I prioritized a subject that interested me personally, rather than a potentially high future salary. Ultimately, this led to my degree in Japanese Studies. It provided me with a unique cultural perspective and a deep appreciation for international collaboration. I was taught the importance of understanding and respecting different cultures, which is essential in the global esports community. During my studies I chose to specialize in Japanese economy and eventually I wrote my bachelor’s thesis about the worldwide successful game companies Sony and Nintendo. As I got deeper into the topic, my passion for the games industry grew so strong that I had to shoot my shot and try to obtain a job in this field. And so, I did – successfully! What started as an internship copy writing texts for a gaming event, led to a vast knowledge of the national and DACH esports and gaming community. Working directly in the game industry also equipped me with the ability to create and execute campaigns, cut out this specific audience, engage with diverse groups of people and build strong connections within the charming games community, which only strengthened my cause for female representation in esports.

Overall, these experiences have enabled me to approach my role with a well-rounded perspective, combining strategic thinking with cultural sensitivity and a passion for promoting diversity and inclusion in esports.

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Elizabeth LaPensée, Narrative Director at Twin Suns Corp. She speaks about how her education in Liberal Studies and a Ph.D. in Interactive Arts & Technology shaped her diverse skill set, leading to her role as Narrative Director at Twin Suns Corp. where she values continuous prototyping and collaboration. Read more about Beth here: 

Hi Beth! How did your educational background in Liberal Studies and a Ph.D. in Interactive Arts & Technology influence your career path in the gaming industry, and what pivotal moments during your studies helped shape your vision as a game designer and narrative director?

For me, getting an education was about having the time and ability to focus on wherever my attention drifted to. Ha ha. Liberal Studies gave me well-rounded experience in several different topics, ranging from graphic design to history to literature. I was very fortunate that the university I was attending had a Liberal Studies option, otherwise I would have had years finishing up all the various degrees I dipped into. Getting a Ph.D. through Simon Fraser University provided the resources for me to get into coding, game engines, and visual software.

I initially shaped my career around balancing several part-time industry contracts at once while weaving in academic work, because I was sure that I would never be able to stick with one singular company full-time and I wanted autonomy to develop games independently. There was something else in store for me, though! On the cusp of receiving tenure, I was invited to join Twin Suns Corp. full-time as their Narrative Director based on contract work I had done with them. I fulfilled my responsibilities, wrapped up my academic life, and jumped into what has turned out to be the greatest educational experience of all. I’ve learned from Twin Suns team members just how important on-screen work is and how vital it is to keep prototyping and iterating, day by day, moment to moment. It has been a refreshing and exciting journey working with them and I look forward to being able to some day share details about these lessons when we can announce what we’ve been up to.

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Julie Kane, Founder of Midori Animation. She speaks about balancing creative and administrative tasks, the inspiration and ecological focus of her project “Vesturia: The Scarlet Bloodline,” and the rewarding impact of promoting environmental awareness through her start-up.  Read more about Julie here:

Hi Julie! How do you balance the creative aspects of your work as a graphic designer and illustrator with the commercial and administrative demands of running your own start-up?

As a graphic designer and illustrator, my passion lies in creating visually captivating stories and experiences. However, creating a start-up also requires a lot of time and energy devoted to administrative tasks, strategic planning and financial management. To achieve this balance, I adopt a fairly structured approach. I allocate specific blocks of time for creative work and commercial tasks. It’s very important for me to stimulate my creativity. It helps me to stay focused and make sure that no aspect is overlooked. Being a very undisciplined person, the Pomodoro method is my best friend! I try to integrate my creative processes with the company’s objectives and those I’ve set myself. Not forgetting that I stay up to date, generally by keeping a close eye on what’s going on in the industry, so that I can better anticipate and adapt as I go along.

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 Julia Weitzel, Head of Product Management at Freaks 4U Gaming. She speaks about her journey into esports fueled by a passion for gaming, her role as Head of Product Management, the challenges in balancing community, team, and business needs, and offers advice for aspiring individuals to leverage their strengths and seek mentorship. Read more about Julia in this interview:

Hi Julia! Can you share your journey into the esports industry? What initially drew you to gaming, and how did your experiences shape your professional path leading to your current role as the Head of Product Management at Freaks 4U Gaming?

As with many others, my journey into the esports industry began with a deep love for gaming. This passion led me to study Media Informatics with a focus on Game Development. Though my initial career path diverged from gaming, I always maintained side projects related to gaming, which kept my passion alive.

Over the years, I dedicated myself to building local gaming communities by organizing tournaments, viewing parties, and themed meetups. These projects not only strengthened my love and commitment to the gaming community but also enabled me to gather strong skills and connections.

Joining Freaks 4U Gaming was the culmination of the long-held dream to align my career with my passion. My diverse background has been a significant asset in my current role as Head of Product Management. I’ve gained valuable insights from working in small companies, large corporate groups, startups, and even through running my own business. This variety of experiences has equipped me with a broad skill set and an ability to adapt to different environments and challenges. In my previous roles, I’ve consistently held product and project lead positions, which has allowed me to work on a wide range of products, enabling me to effectively collaborate with various professionals within my team. My time as a self-employed individual was particularly impactful, as it required me to manage all aspects of a business independently, fostering rapid learning and continuous adaptation.

At Freaks 4U Gaming, I oversee internally conceptualized, monetized, and operated products like the Prime League (DACH League of Legends Esports League), 99Damage (German CS Channel), and DreamHack (yearly gaming culture event). I leverage all the knowledge and experience I’ve gathered over the years to drive these projects forward. This role allows me to merge my professional expertise with my personal passion, creating a fulfilling and dynamic career in the esports industry.

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Freyja Melhorn, Director Marketing Communication at BXDXO GmbH. She speaks about her work on the “EVERSPACE” series and the Gaming Zone at The CCON | COMIC CON Stuttgart, her transition to a Director of Marketing Communications role, and the importance of passion and communication skills in game PR. Read more about Freyja here:

Hi Freyja! Since entering the games industry more than 15 years ago, you’ve worked on a diverse range of PR campaigns for games across various platforms. Could you share a particularly challenging or rewarding campaign that stands out from your career and the lessons you learned from it?

After 17 years in the games industry, I’ve managed hundreds of PR campaigns in my career, from AAA to super small part-time indie devs. What I value the most is that my job is never boring as every campaign is unique due to the different requirements, backstories, and goals. However, one of my favorites are definitely the campaigns for “EVERSPACE” and “EVERSPACE 2” from ROCKFISH Games. I’ve been working with the Hamburg-based studio since day one (I even worked with Michael Schade and Christian Lohr back in the days of Fishlabs Entertainment), and the PR business has changed a lot during that time. From the very first announcement of a Kickstarter for a new space game from Germany, the release of the original EVERSPACE, to the most successful German Kickstarter campaign back then for the 2nd instalment of the series, the release of EVERSPACE 2 which became an international bestselling space game, to winning “Best German Game” at Der Deutsche Computerspielpreis 2024 – I’m proud that I contributed to this success story over the last 10 years and I’m happy to continue working with these incredibly talented guys to share all the exciting things they’ve been working on for space fans.

A particularly challenging project was the Gaming Zone at The CCON | COMIC CON Stuttgart, which we created for the first time in December 2023. We were able to implement our vision of a gaming event from the idea to the implementation on site as the organizer fully trusted our expertise. It was a lot of fun to bring the 500m² area to life, but as typical for the event business, it was also quite nerve-wracking at times. We were particularly pleased that the Gaming Zone was voted the third most popular area at CCON by visitors right from the start. For 2024, we want to implement some improvements and offer even more great games, tournaments and show programs for visitors.

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Lena Falkenhagen, Narrative Director, Novelist and Game Writer. She speaks about adapting storytelling for games versus novels, emphasizes media analysis, dramatic structures, and personal perspectives in teaching, and highlights balancing player agency with predefined narratives for immersive games. Read more about Lena in this interview:

Hi Lena! Your versatility in writing spans across various genres, from modern literature to historical fiction. How do you approach the creative process differently when crafting narratives for games compared to traditional novels, and what unique challenges and joys does each medium bring to your storytelling?

Stories usually have to adapt to the medium you’re telling them in, and to external factors. If you want to sell a concept for a book to a publishing company, you need an outline of what you’re going to write. But then, in the writing process, you can err from the script, because the novel only has to function in itself. A game needs a lot of structure and preplanning because you’re working in a team. If you go and try to find the story in the making, a lot of people have to wait for you, twiddling their thumbs.

That being said, a lot of game studios use the 1-3-2-method, as I like to call it. You concept the story in preproduction, and in production, you build the beginning of the game first, the end second, and the middle third. Then you go over everything again to smooth all parts together. You never want to build the end at the end of production, because then, time and ressources are scarce. You want a perfect beginning and a perfect ending.

In a book, you usually work chronologically, because you have more insight into the characters mentality and way of thinking. This needs to be a continuous development, otherwise the character will have breaks and gaps in their growth process. So, in novels, I usually pre-plan what I’m going to do, and then I have to let the outline go and find the way that makes sense for the characters in the story. Because sometimes, you plan things that just don’t work for a character.

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Svenja Anhut, Freelance Designer and Media Educator. She speaks about her journey from aspiring fashion designer to her current career in game design, where she combines her interests in games, culture, and education to create engaging public gaming experiences, workshops, and events, highlighting her work on the EZRA project that promotes political participation among youth.  Read more about Svenja here:

Hi Svenja! Can you tell us about your journey into the intersection of games, culture, and education? What sparked your interest to combine these?

I drew a lot as a child, preferable people and loved coming up with designs for clothes. That’s the reason why I originally wanted to become a fashion designer very early in my life.

Also, I got a taste of museum life during a school internship at the Museum für Kunst und Gewerbe in Hamburg, which also had a fashion department. I went through all the departments there in three weeks and I found the museum education very exciting, too, back then.

Later, As a rather shy student of fashion, I was asked to organize the semester fashion show. This sparked my interest in organizing events. Even though fashion design and the fashion world were not for me after all, this experience remained an important point on my path to my current career.

When I switched courses to my game design studies, I got hooked by prototyping games with pen and paper or as street games when I attended my first Game Jam organized by students from another school. Exchanging ideas and experiences with others, especially those who also studied in the same field motivated me to join their group. So, I organized analogue game jams with these friends from other schools and we created the Gamestorm e.V. We designed small analoge Street Games in our events which we for example showcased at the early public A MAZE. events. Seeing people playing your game and understanding your intention was magical for me. Also, I liked the challenge to bring people fast into playing a game and not read papers and papers of rules first.

Fascinated by these game culture events and I became part of the A MAZE organization team and still am a part of it. Through the game jams, I gained my first workshop experience with students, adults and soon also kids and also first experiences in designing games for public events.

So, one thing led to the other and after graduating, I became a freelance museum educator for the Computer Games Museum and then more different opportunities came. This was a good starting point for the combination of games, culture and education in my career.

Womenize! – Inspiring Stories is our weekly series featuring inspirational individuals from games and tech. For this edition we talked to Charly Harbord, CEO/Founder of Outwith Reality. She speaks about the importance of diverse creators in gaming, grassroots educational initiatives, and the role of games in implicit learning and preserving Indigenous cultures. Read more about Charly in this interview:

Hi Charly! How has your extensive background in game localization and culturalization influenced your approach to your career, and what initiatives do you envision to further enhance cultural diversity in the gaming community?

Doing localization and culturalization in China was my first step into the game industry many, many years ago. I learned a lot through that role and crafted an understanding that just changing the words doesn’t make a game suitable for another audience or culture. I think this also put me in a position where I began to gain an understanding of different gaming cultures and the way that different cultures not only approach game play but the way that they play games as well. Additionally, having lived in different countries and being immersed in their cultures and traveling to conferences and seeing the game creation and player cultures there has helped me to see that it’s not a one-size-fits-all situation. It’s also helped me to understand different ways to approach peoples of different cultures and to communicate and work with them across linguistic boundaries.

But when it comes to cultural diversity within gaming communities, I think one of the first steps that we need is to create more diverse studios, and more diverse creators to be truly representative of the cultures that the games are based around. There’s a huge power that the game industry has which also means we have a massive, massive responsibility to make sure that we get things right. And the first step to doing that is to provide the tools to those that may not have the chance due to accessibility barriers or financial implications or even location. There are many amazing initiatives that are already in play that focus on giving these skills to people who would not normally be able to access them, allowing them to have a voice in the game industry.

A lot of these initiatives start from the grassroots, meaning that they start from education and allowing people to see that there is a space for them within the game industry no matter what their background, gender, race, culture or any other factor is. But I truly believe only when studios are more diverse and more representative will the games that are made truly reflect the real world which we live in.