Posted on Leave a comment–Free Godot Hosting (Game Of the Month) is a completely free hosting services for hosting and sharing your Godot developed game.  In just a few moments you can host your Godot developed game by simply uploading the PCK file.

First you need to be able to generate a PCK file, a process we just described in this tutorial.  With your generated PCK file, you simply have to register and account using your GitHub, Gmail or Twitter credentials and upload. recently launched the Game Hosting Dashboard enabling you to configure your home page and manage installed games.

This is just the beginning of GotM.  According to their roadmap there are a number of great features coming down the road including statistics, leaderboards, commenting, achievements, remote play together and more.  Check out in action, including how easy it is to make and publish a Godot title in the video below.

GameDev News



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Unsubtle Rainbow Six Siege DDoS dealers hit with Ubisoft lawsuit

Ubisoft yesterday filed a lawsuit in California against a group of people who it claims are in the business of selling access to software and services which can disrupt the servers of (among other things) Rainbow Six Siege.

This is a notable bit of follow-through on Ubisoft’s recent promise of legal action against Rainbow Six Siege DDoS attackers, and as Polygon points out, Ubisoft’s lawsuit claims the defendants themselves have been asking for it.

“Indeed, Defendants have gone out of their way to taunt and attempt to embarrass Ubisoft for the damage its services have caused to R6S,” reads one excerpt, alongside a sample screenshot embedded below. “For example, a Twitter account operated by one or more of Defendants has repeatedly mocked Ubisoft’s security efforts, including Ubisoft’s efforts to ban individuals utilizing Defendants’ DDoS Services.”

The lawsuit spells out how the defendants have allegedly been selling subscriptions to services which can initiate DoS and DDoS (Distributed Denial of Service) attacks against a number of games, including Rainbow Six Siege.

In the end, it calls on the court to shut down the defendants’ operations, ban them from interfering with the game’s servers any further, and award Ubisoft full legal fees, damages, and restitution for the revenue generated at Ubisoft’s expense.

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Get a job: Be a Principal Writer at Deep Silver Volition

The Gamasutra Job Board is the most diverse, active and established board of its kind for the video game industry!

Here is just one of the many, many positions being advertised right now.

Location: Champaign, Illinois

Volition is searching for a Principal Writer for the Saints Row franchise. The ideal candidate is adept at interactive writing and storytelling for AAA open world action games, while also being able to direct, inspire, and mentor writers and other game developers. This is a rare opportunity to become an integral part of Volition’s creative team.

About Volition: 

Deep Silver Volition has created original, smash hit games for over 20 years, including the Saints Row series. The studio has prospered by making games no one else can make, focusing on work-life balance, and developing a culture of collaboration, continuous growth, and learning. Volition is located in the heart of Champaign, Illinois – the best kept secret in the Midwest. Champaign has all the activities, amenities and diversity of much larger cities, but without the traffic and high cost of housing.


  • Drive the narrative vision for the Saints Row franchise.
  • Ensure narrative vision is consistent with the creative vision for projects throughout production.
  • Lead a team of internal and remote writers to produce high quality writing.
  • Collaborate across disciplines to identify and deliver on writing needs.
  • Write and edit dialogue and other in-game text to be high-quality, snappy, and entertaining, and to match the Saints Row tone and style.
  • Write or contribute high level direction for pitches, concepts, cinematics, style guides, documentation, and marketing material.
  • Facilitate giving and receiving narrative feedback across the team.
  • Share and represent the game’s narrative vision to the team and to the public.
  • Conduct presentations, writing reviews, brainstorming sessions, and other meetings as needed.

Required Qualifications:

  • 8+ years of experience as a game writer.
  • In-depth understanding of how writing and gameplay work together to create fun, engaging experiences for the player.
  • Exceptional talent for creating vivid characters, compelling narratives, and believable dialogue.
  • Ability to lead, mentor, delegate, and provide clear direction to others.
  • Open minded, with a knack for inspiring others and building consensus.
  • Meticulous proofreading and editorial skills. Attention to detail.
  • Positive, professional attitude. Disciplined and self-motivated with a strong work ethic. 
  • Strong communication and organizational skills.
  • Passion for games and ability to articulate that passion clearly and analytically.
  • Broad knowledge of pop culture, modern games, and entertainment.
  • Ambition to create a Game of the Year title.

Preferred Qualifications:

  • Previous experience as a Narrative Director, Lead Writer, Principal Writer or Creative Director.
  • Proven track record with AAA open world games.
  • Experience working with actors, casting, and directing VO recording sessions.
  • Experience with narrative development tools.

Interested? Apply now.

Whether you’re just starting out, looking for something new, or just seeing what’s out there, the Gamasutra Job Board is the place where game developers move ahead in their careers.

Gamasutra’s Job Board is the most diverse, most active, and most established board of its kind in the video game industry, serving companies of all sizes, from indie to triple-A.

Looking for a new job? Get started here. Are you a recruiter looking for talent? Post jobs here.

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Don’t Miss: Making Horizon Zero Dawn’s Machines feel like living creatures

One of the most memorable features of the recent PlayStation 4 title Horizon Zero Dawn are the sophisticated robots, known as Machines, that wander the game world like a natural part of the landscape.

They are clearly automatons, with all their inner workings plainly visible. But they also exhibit unmistakable animal-like behaviors and movements. These Machines are a key feature of the game’s unique primordial futurist milieu.

How were these distinctive robot/creatures conceived of and designed? We talked with several devs from Guerrilla Games, the studio behind HZD, to see just what went into the making of the Machines.

At the start of the design process, the team queried local Holland universities, including the Delft University of Technology’s robotics department, for assistance. (Among the insights gleaned — far-robots would potentially be 3D printed.) One question the developers posed: Are there areas of nature that could be improved upon?

“Skeletons, they told us,” says Jan-Bart van Beek, studio art director. “Skeletons are kind of shit, because they’re on the inside,  surrounded by very soft tissue. And it’s a single point of failure — if your leg breaks, you’re pretty much dead as an animal.”


Instead, the profs suggested the possibility of something more like exoskeletons to the team–think lobsters, not humans, and you’ve got the right idea.

“If you look at some of our robot designs, you can see the outside has sort of a metal framework, and there is soft tissue on the insides, which also creates a convenient soft spot for arrows to be pumped into, ” van Beek says.

“All these things came from the inspiration of the robotics engineer explaining to us how they would build a robotic T-Rex if they had to do that,” he adds.


Originally, the machines weren’t intended to have such animal-like movements. The team initially made the machines behave in a way that was more, well, mechanical. “It felt too much like a bug, like it wasn’t moving the way it should be moving,” says Richard Oud, lead creature animator.

To bring the designs into the game — instead of waiting for a perfected model — the team would take unpolished models directly from ZBrush, slap a skeleton in, and bring it right in. Even if it was running at a slow FPS, it would give them some idea of the creature.

“You had to have big tough ones that were fast and deadly, and you also wanted ones that were easier at the beginning of the game,” says Blake Politeski, machine designer.

“And at the same time, we needed to find ways that these would fit in with the fiction of these sort of robots that are maintaining nature. They’re part of nature, so it had to fit with that narrative as well.”


The modeling was in and of itself a colossal task. It took “man years” of work, and van Beek believes that it took five modelers around eight months for the T-Rex-like Thunderjaw. And that was just on the modeling end: it was around 18 months from the initial sketch to get it working and enjoyable in-game.

Despite the work, the team had a “realization that if we would nail the Thunderjaw, we would sort of know how to make the game,” van Beek says.

And to dial in how these robotic animals should move, the team even pulled in Dr. Stuart Sumida, who has done anatomical consulting on myriad projects including films The Lion King, Dinosaur, Hercules, and Harry Potter, and Disney World’s Countdown to Extinction and Expedition Everest rides. Oud also took a several month long course focused on animal and creature animation, as well.


Balancing the design of the animals with their in-game functions was another challenge, especially in terms of the visual complexity of the machines. 

“There was always a risk maybe that it would just overload everything, you’d end up with a Christmas tree problem, where you have all these kinds of blinking lights and different colors and you’d actually have no idea what’s going on anymore,” van Beek says.

Animation and design worked together on this issue, so that all of the various machines’ gameplay elements were kept intact, while also keeping it clear to the players what they were there for.

Weight was also a challenge. The bigger things are, the harder they fall, as they say. But it also tends to mean the slower they move. Dennis Zopfi, lead machine designer, mentioned this difficulty in the Behemoth in particular.


“From [an] AI and animation point, it was very hard to get right … you can’t make the thing turn too fast, because then it loses its weight,” Zopfi says.

“But if it cannot turn fast enough then, because the player’s very agile and athletic, so the players run by very fast and we had a lot of issues with making it look right but also making it responsive enough to deal with the player.”

Conveying weight to the player was a combination of factors, including the sound, animation, particles, and how the camera shakes.

“There’s lots of subtle little things maybe that can make a bunch of polygons colliding with a bunch of other polygons sort of look like a real thing,” van Beek says.

Guerrilla Games shared a series of images and videos with us that show the process of creating one particular type of Machine. Specifically it’s the Longleg, a flightless avian robot that’s somewhat reminiscent of the extinct apex predator known as “terror birds.”

1. Visual concept art of the Longleg

2. Final model of the Longleg

[embedded content]

3. Animation rig of the Longleg

[embedded content]

4. Reference footage: a real flightless bird

[embedded content]

5a. Blocking (CTRLs)

[embedded content]

5b. Block (No CTRLs)

6. Longleg animation network

[embedded content]

7. Longleg final polish

[embedded content]

8. The end result: Longleg in the game

Looking back at the team’s past work — like the giant spider-like MAWLR in KillZone 3 – brings into perspective just how quickly gaming technology continues to improve.

“That was incredibly complex at the time,” Politeski says. “And I remember thinking, ‘Oh my God we can’t do anything bigger than this.’ And then I look back now and it’s like, even our most basic robots overshadow that a lot. The amount that goes into each of these and how technically detailed they are and how complex they are is not really going to be seen by the players. But  to me, it’s actually amazing how big and complex these things are, and how we somehow managed to get it all working together.”

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Video Game Deep Cuts: 2020’s Most Exciting, 1983’s Most Breakout Games

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.

Video Game Deep Cuts: 2020’s Most Exciting, 1983’s Most Breakout Games

[Video Game Deep Cuts is a weekly newsletter from video game industry ‘watcher’ Simon Carless (GDC, Gamasutra co-runner, No More Robots advisor), rounding up the best longread & standout articles & videos about games, every weekend.

The latest highlights include a look at 2020’s most anticipated PC games, 1983’s ‘breakout’ game (fine, it’s a book excerpt from a 1983 tome about Breakout!), plus looks at Android: Netrunner, the best game animation of last year, & lots, lots more besides.

Well, international travel & the countdown to early reg deadline for GDC 2020 (look how much content we got! Including this Hideo Kojima talk!) has kept me busy this week, but glad to see there’s still a lot going on out there in ‘great writing & videos about games’-land. Catch you right here 7 days later for more!

Until next time…
– Simon, curator.]


The afterlife of Android: Netrunner (Matt Thrower / Dicebreaker – ARTICLE)
“Last May, there was a thread on Twitter where gamers discussed the tabletop titles they’d spent the most hours playing. As you might expect, there was a colossal diversity of opinion. But that made the single strong trend that emerged all the more striking; over and over, the game Android: Netrunner came up. Fans of the game poured forth their love and the hours they’d sunk into play. Not bad for an out-of-print game cut short in its prime.”

The Feature That Almost Sank Disco Elysium (Audio Logs / GameSpot / YouTube – VIDEO)
“In this week’s episode of Audio Logs, Disco Elysium’s lead designer and writer Robert Kurvitz discusses the hardships ZA/UM underwent to make sure that the game’s Thought Cabinet mechanic worked, and talks about the game’s unlikely inspiration.”

2020’s Most Exciting PC Games (Hivemind / RockPaperShotgun – ARTICLE)
“Over the break we had a chance to do some serious scientific study of this business we call games, and it turns out that games are actually good. 2020 in particular has a healthy mix of big budget bonanzas and smaller indie plates to suit everyone’s discerning tastes. And, as you know, the RPS treehouse is the most discerning, so to make it easier for you we’ve got a big ol’ list of the games we’re most looking forwards to this year. It’s traditional.”

We Keep Having The Same Video Game Arguments And It’s Driving Me Bonkers (Heather Alexandra / Kotaku – ARTICLE)
“On its face, this conversation isn’t even about whether women should be represented. That’s a no-brainer. The answer is yes. But instead of tackling the question of whether games should be diverse and acting accordingly, people keep finding ways to reframe it as a question of whether they can be, minimizing their own culpability.”

3DS, In Retrospect (David Buck / Tedium – ARTICLE)
“The 3DS was my go-to game system for most of the decade. With such a long system life, it certainly built up quite a history and whether you love it or hate it, the 3DS had an amazing library and a long shelf life, despite the initial hurdles it faced at the start of its life.”

The Two Types of Random (Game Maker’s Toolkit / YouTube – VIDEO)
“From critical hits to random encounters, and from loot boxes to procedural generation, video games are stuffed to bursting with randomness. In this episode, I look at the way randomness is used in games – and why some forms are more contentious than others.”

What Does It Really Mean to Be an Indie Game? (Cameron Kunzelman / VICE – ARTICLE)
“Journalists and game critics have never had a good, clear definition of what makes an “indie game” ever since the emergence and solidification of the term in the early 2000s. It hasn’t stopped them from searching for one, nor has it stopped the term itself from becoming a label that is as popular as it is imprecise.”

How to Keep Child Predators Out of Virtual Playgrounds Like ‘Fortnite’ and ‘Minecraft’ (Will Oremus / OneZero – ARTICLE)
“Part of what makes policing gaming so tricky is that the interaction between predators and kids rarely stays on the gaming platforms. Often, the predators find and form a relationship with kids on a gaming site, only to move to more private chat apps such as Facebook Messenger or Kik to trade sexual images and blackmail them.”

How to run AGDQ: Step one, have an entire computer store on hand (Elizabeth Henges / Washington Post – ARTICLE)
“Behind the projectors in the hotel ballroom, away from the lenses of the video recorders and darkened to not interfere with the studio lights are rows upon rows of computers. Wires are threaded in seemingly every direction. One computer has six monitors connected to it, displaying a dizzying amount of data.”

Always There for You: How Fire Emblem: Three Houses Subverts Absentee Parent Tropes (Malindy Hetfield / EGM Now – ARTICLE)
“In media centering on young protagonists, parents are usually either an afterthought or fully absent. The assumption is that to be without parents is liberating, but Fire Emblem: Three Houses shows that separating from your parents and finding your own moral compass is a longer process, made especially difficult if a young person is meant to mature early and behave responsibly.”

Clark Tank: IGF Nominees, Steam Top 50, and Wildermyth! (Ryan Clark / Brace Yourself Games / YouTube – VIDEO)
“Every third Friday at 1pm Pacific time we stay on top of the latest game industry trends by examining the Steam top 50, scrutinizing the latest Kickstarted games, and by playing the most prominent recent releases.”

Game dev union leader: “Dream job” passion “can open us up to exploitation” (Kyle Orland / Ars Technica – ARTICLE)
“Kinema says the CWA reached out to the nascent Game Workers Unite movement soon after it was formed and has spoken with various local chapters of the organizing effort over the last two years. In that time, and through discussions across the industry, Kinema says that developers have generally been “curious or open to the idea of unionization,” in her experience.”

Round Again We Go: Applications of Cyclical Progression (Various / Project Horseshoe – ARTICLE)
“Many service-based games last for years, which necessitates a content treadmill to keep players fed and happy. However, many common progression systems borrow from RPGs and MMOs and involve leveling up in linear fashion. For example, players grind up to some max cap, at which point the numbers have started to break down. [SIMON’S NOTE: part of the newly published 2019 reports for game design retreat Project Horseshoe, all of which are fascinating.]”

Can real-time strategy come back from the brink of death? (Fraser Brown / PC Gamer – ARTICLE)
“There’s never been a better time to be obsessed with strategy games on PC, unless you have the misfortune to carry a torch for real-time strategy. We’re spoiled with all these brilliant turn-based tactics, 4X and grand strategy diversions, but try to find a notable new RTS and you’re going to have a much harder time. What the heck happened, and can we ever go back to the glory days?”

Looking back on the hypnotic charm of Breakout (David Sudnow / Kotaku – ARTICLE / BOOK EXCERPT)

“Pilgrim In The Microworld, a 1983 book by professor, sociologist, and musician David Sudnow, was far ahead of its time. As a book-length digression on a single video game—Breakout for the Atari 2600—it took the emerging medium seriously at a time when it was largely dismissed as a mere fad on the verge of dying.”

The 2019 Experimental Gameplay Workshop (Various / GDC / YouTube – VIDEO)
“In this 2019 workshop session, developers Trynn Check, Nicolas Saraintaris, Nicolas Recabarren, Mohannad Al-Khatib, Jenn Sandercock, Shawn Liu, Dennis Carr, Jonah Warren, Jay Tholen, Su Liu, Daniel Benmergui, Tim Garbos, Juuso Toikka, Antti Sandberg, Frank DeMarco, Alex Bull, Jongwoo Kim, Lee-Kuo Chen, Gerben Grave and Robin Hunicke showcase a selection of surprising and intriguing prototypes made by innovation-minded game developers from all over the world.”

The top 7 reasons women quit game development (Pixelles / Gamasutra – ARTICLE)
“Pixelles, a feminist non-profit, also started by focusing on training up new, aspiring, and junior women developers. But after speaking to some aspiring narrative designers, a mentor pulled me aside to express concern. “I can’t do this anymore,” she said. “They all want to work at my old studio. The one that I’m still going to therapy for years later. I can’t in good conscience help them enter that meat grinder.””

Whatever Happened to Mike Ross, The Fighting Game Star Who Walked Away? (Suriel Vazquez / USGamer – ARTICLE)
“At the Video 94 rental store in West Covina, California, high school student Mike Ross had found something he really cared about: fighting games. It was the start of a life-long love affair that would propel him to stardom, make him a legend to thousands of people, and nearly destroy him.”

Video Game Delays Cause More Crunch (Jason Schreier / Kotaku – ARTICLE)
“Imagine, then, having a single release date in mind—knowing that you’ll just have to work nights and weekends until then—only for that date to slip back five more months. Maybe at that point, the emails will start getting even more contrite.”

My Favorite Game Animation of 2019 (New Frame Plus / YouTube – VIDEO)
“Here’s a list of some 2019 games that had amazing animation! [SIMON’S NOTE: this is really effing good, and even talks about titles like Anthem that otherwise have had a bit of a rough time – much recommended.]”

Designing Manifold Garden’s believably unbelievable world and puzzles (John Harris / Gamasutra – ARTICLE)
“Manifold Garden is a game that reimagines the laws of physics. In the game, you explore a beautiful Escheresque world where the laws of physics are different. Geometry repeats infinitely in every direction, and falling down leads you back to where you started. You can also manipulate gravity to change your perspective and see the world in new ways. As you solve puzzles and progress throughout the game, you bring vegetation and life to a once barren world.”


[REMINDER: you can sign up to receive this newsletter every weekend at – we crosspost to Gamasutra later, but get it first via newsletter! Story tips and comments can be emailed to [email protected]. MINI-DISCLOSURE: Simon is one of the organizers of GDC and Gamasutra & an advisor to indie publisher No More Robots, so you may sometimes see links from those entities in his picks. Or not!]

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Video: How Bungie improved the audio workflow for Destiny: Rise of Iron

In this 2017 GDC session, Bungie’s Kareem Shuman explains how Bungie’s audio QA team improved the tools and workflow to assist the content creators from day one of working on Destiny: Rise of Iron.

This was the talk to watch if you’re at all curious about how Bungie’s audio QA team improved the tools and workflow to assist the content creators from day one of the project, and predicted the best ways to support development down the line!

If you missed seeing it live, take advantage of the fact that you can now watch Shuman’s talk for free over on the official GDC YouTube channel!

In addition to this presentation, the GDC Vault and its accompanying YouTube channel offers numerous other free videos, audio recordings, and slides from many of the recent Game Developers Conference events, and the service offers even more members-only content for GDC Vault subscribers.

Those who purchased All Access passes to recent events like GDC or VRDC already have full access to GDC Vault, and interested parties can apply for the individual subscription via a GDC Vault subscription page. Group subscriptions are also available: game-related schools and development studios who sign up for GDC Vault Studio Subscriptions can receive access for their entire office or company by contacting staff via the GDC Vault group subscription page

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GDC 2020 offers practical tips on hiring and keeping women leaders in games

It’s never been more vital for game makers to make active, sustained efforts to diversify their leadership teams, and at the Game Developers Conference in March you’ll get the latest tips and tools to do so!

Notably, the GDC 2020 Production & Team Management track talk “Diversify Your Kingdom: A Toolkit for More Women in Leadership” will feature King senior producer Sabrina Carmona deconstructing how King has worked to remove barriers keeping women from leadership roles in games via recruitment best practices and a tailored development program for women leaders.

By broadening the pool and diversifying leaders for the future, Carmona will show how King has tried to create a culture that is inclusive to everyone and integrates D&I into core people processes, removing barriers preventing the hiring of diverse candidates and the development of women into leading, influential roles. Don’t miss out!

Register now for GDC 2020

Next year GDC 2020 runs from Monday, March 16th through Friday, March 20th. This will be the 34th edition of GDC, and now that registration is officially open, you’ll want to take a look at the (ever-expanding) session schedule and your GDC pass options — register early to lock in the best price!

For more details on GDC 2020 visit the show’s official website, or subscribe to regular updates via Facebook, Twitter, or RSS.

Gamasutra and GDC are sibling organizations under parent company Informa Tech

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Microsoft pledges to wipe out its carbon footprint by 2050

Microsoft has outlined plans to not just reduce, but completely remove its carbon footprint in an attempt to combat the climate crisis. 

The Xbox-maker said it intends to be carbon negative by 2030, and by 2050 hopes to have removed from the environment all the carbon it has emitted (either directly or indirectly) since it was founded in 1975. 

Outlining the plan on its blog, the company explained that those in a position to “move faster and go further” must do exactly that, which is why it’s seeking to completely remove its carbon footprint by 2050. 

It also claimed the decision to do chase the “audacious” goal was of fundamental importance to every person alive today and countless future generations, reiterating the need to urgently address the carbon and climate crisis in order to avoid “catastrophic” results.

“Ultimately, we must reach ‘net zero’ emissions, meaning that humanity must remove as much carbon as it emits each year. This will take aggressive approaches, new technology that doesn’t exist today, and innovative public policy,” reads a company blog post. 

“While the world will need to reach net zero, those of us who can afford to move faster and go further should do so. That’s why today we are announcing an ambitious goal and a new plan to reduce and ultimately remove Microsoft’s carbon footprint.

“While we at Microsoft have worked hard to be ‘carbon neutral’ since 2012, our recent work has led us to conclude that this is an area where we’re far better served by humility than pride. And we believe this is true not only for ourselves, but for every business and organization on the planet.”

Alongside its carbon removal pledge, Microsoft has also launched a new $1 billion climate innovation fund to accelerate the global development of carbon reduction, capture, and removal tech, while it also wants to use Microsoft technologies to help its suppliers and customers reduce their footprints. 

You can find out more about the company’s approach to carbon removal over on the Microsoft blog.

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JetBrains Mono–A Font For Programmers

JetBrains, the makers of programmer tools such as IntelliJ, WebStorm, CLion and Rider, as well as the programming language Kotlin have been working on a font specifically designed for code.  JetBrains Mono is an open source font family consisting of 8 fonts specifically designed with reading and writing code in mind.

Details from the JetBrains blog:

For the most part of our day we, as developers, look at the code. And it is no wonder that we are always on the lookout for the best font to make looking at the text on the screen easier on our eyes. However, the logic in many popular fonts does not always take into account the difference between reading through code and reading a book. Our eyes move along code in a very different way, often having to move vertically as often as they do horizontally, which is opposed to reading a book where they slide along the text always in the same direction.

Therefore, while working on JetBrains Mono we focused, among other things, on the issues that can cause eye fatigue during long sessions of working with code. We have considered things like the size and shape of letters; the amount of space between them, a balance naturally engineered in monospace fonts; unnecessary details and unclear distinctions between symbols, such as I’s and l’s for example; and programming ligatures when developing our font.

Today, we proudly present JetBrains Mono – a new open-source typeface specifically made for developers. Check out what makes JetBrains Mono unique in the big family of monospaced fonts and try it in your favorite code editor. Have a look at JetBrains Mono, your eyes will thank you for it.

More details about Mono are available here.  It is the default font on all 2020 JetBrains IDEs and is available as an option in version 2019.3 and beyond of all JetBrain products.  If you use another IDE you can download the zip here.  Learn more about JetBrains Mono, including how to install and configure in Visual Studio Code in the video below.

Programming GameDev News