ETAO PODCAST, EPISODE 142. Last time Anisa Sanusi was on the show, she talked about the Limit Break mentorship program, and her thoughtful, wide-ranging UI/UX work on Planet Coaster and Elite Dangerous. Now she’s back to talk about her work on Rollerdrome, how it dovetails with her own newfound love of skating, and how she collaborated with the rest of the team to convey loads of timely information to the player without giving the game too gamey an aesthetic. You can get Rollerdrome on Steam and PlayStation.You can learn more about Limit Break on their Twitter, their Instagram, and their website.And you can follow Anisa on Twitter, Instagram, and TikTok. ———• We cite our sources around here, so here’s where I got that pull quote. • “The Dice Punks go Meatpunk!” is here, and everywhere else you want podcasts to be. • Here’s Anisa’s episode of What Else Do You Do? wherein she talks about her skate crew and their specializations and such. • Neo Cab is another game with a comic-booky visual style, albeit one with some more shading, and therefore distinct from Rollerdrome or Sable. • Here’s that joyful video of Anisa watching the Rollerdrome reveal.———“All The People Say (Season 5)” by Carpe Demon.“Zugspitz Station” and “Kara’s Theme” from the Rollerdrome OST by ELECTRIC DRAGON. We’re on Apple Podcasts, Google Podcasts, Stitcher, Amazon Music, Spotify, PocketCasts, and just about everywhere else. You can also subscribe using good old-fashioned RSS. Logo by Aaron Perry-Zucker, using Icons by by Llisole, Dávid Gladiš, Atif Arshad, Daniel Nochta, Mike Rowe, Jakub Čaja, Raji Purcell and IconsGhost from the Noun Project. Left-click to play. Right-click to download.
Episode 20: Mentoring for The Gaming Industry with Anisa Sanusi
The Mentoring Mindset
On this weeks episode of the mentoring mindset, we're joined by Limit Break founder Anisa Sanusi. Limit Break was founded in 2019, with the aim of helping underrepresented people working in the UK games industry. Throughout this episode Anisa shares more about her daily role in the gaming industry, the purpose of Limit Break, how mentoring is adding value to peoples lives, her goals for the next 5 years, and so much more!
The Brave Room Episode 11 - Double Dip Into Crunch Featuring Anisa Sanusi
GamerBraves - The Brave Room
This week on the Brave Room, certain recent events cause us to take a little dive back into the topic of crunch. Rather than reiterate the already established points of Crunch= Bad, Wan brings on Anisa Sanusi, UI/UX designer and Tiktok sensation to talk about how it's more than just bad bosses, it's a whole system that's not going to be fixed with any single witch hunt. The Brave Room is Gamerbraves' own podcast, hosted by "Wan" Amirul . Don't forget to tell us with [Serious Suggestion] what you want to see more of so when we hit 2k plays, Wan will have to start taking audience suggestions.
ETAO Podcast, Episode 104. http://dts.podtrac.com/redirect.mp3/etao.files.wordpress.com/2021/03/etao-podcast-104-anisa-sanusi.mp3 Anisa Sanusi is an accomplished UI/UX designer, probably best known for her work on Elite Dangerous and Planet Coaster—two utterly different games that bring with them utterly different challenges in terms of usability, accessibility, tone, and scope. She’s also the founder of the Limit Break mentorship program, an organization dedicated to providing guidance, access, and support to underrepresented genders (and in this new year, BIPOC and LGBT+ folx) in the UK games industry. Here Anisa talks about the difficulty of doing as much good as she can with Limit Break without allowing the scope of it to expand beyond what she can feasibly achieve, her approach to UI/UX, and how those two kinds of work potentially overlap. Also: Marveling at Hades’ incredible UX despite the absence of a dedicated UX person on the project. Also-also: Undoing the myth of misery making for better art. You can learn more about Limit Break on their Twitter, their Instagram, and their website. You can get Elite Dangerous on Steam, PlayStation, and Xbox. You can also get Planet Coaster on Steam, PlayStation, and Xbox. And you can follow Anisa (and Limit Break) on Twitter. ——— • Here’s the conversation with Emma Kinema that I mention repeatedly. • And here’s my conversation with Greg Batha—a good one to check out if you want to hear about what UI and UX are, even. • As I say in the outro: Applications for Limit Break will be open next month, and we’ll be sure to remind interested would-be applicants when the time comes. ——— “All The People Say (Season 4)” by Drew Messinger-Michaels. “Roller Coaster” by Delugg Busch, performed by Henri René & His Orchestra. “Apple Blossoms” by Vernon Geyer. “You’re the Limit” by Sidney Bechet, performed by Sidney Bechet and The Sidney Bechet Trio with Willie “the Lion” Smith. We’re on Apple Podcasts, Google Podcasts, Stitcher, Amazon Music, Spotify, PocketCasts, Overcast, Podyssey, and RadioPublic. You can also subscribe using good old-fashioned RSS. Logo by Aaron Perry-Zucker, using Icons by by Llisole, Dávid Gladiš, Atif Arshad, Daniel Nochta, Mike Rowe, Jakub Čaja, Raji Purcell and IconsGhost from the Noun Project. Left-click to play. Right-click to download.
Anisa is a UI/UX Designer for Rebel Racing and the founder of Limit Break Mentorship which is a program that offers women and minorities an opportunity to meet industry professionals and receive help in their careers. Anisa has also judged the BAFTA game awards multiple times and even spoken at GDC. Within this episode we talk about how Anisa found her place in the industry and the struggles she’s faced with visas while attempting to stay within the field that she loves.
To make games is to connect with people in an intimate, meaningful way, often when they’re looking for relaxation or solace, or simply to escape. But it’s also a business ruled by market trends. Join us as we talk with UI & UX designer Anisa Sanusi about navigating this tension to create meaningful art that values everyone's most precious resource: time. Together, we dissect insidious "dark patterns" in design, discuss the true meaning of user experience, and confront our own imposter syndrome.
Hit play for the podcast interview below. MGIF is also available on iTunes or with whatever podcast software you use. Just search for "Making Games Is Fun". I love Cambridge, it's so powerfully English it's unbearable. As I walk through the city I am practically mugged by Gothic architecture; I don't understand how everyone isn't constantly walking around with their heads skyward, mouths open. I'm snapped out of my trance by the tinkling of a cyclist's bell as they pass; a long, slim, white dude in his late 50s with a white beard, head to toe in very lime green lycra. Obviously. The cyclist glides along like a middle-aged, neon bogey against a backdrop of opulent, medieval edifices.Cambridge is a place where men and women use a long stick to push a very small boat around a river like it's a reasonable mode of transport in 2016, so it must've felt like a parody of England to Anisa Sanusi, a UI artist at Frontier Developments, when she first moved here. We wander through the streets aimlessly, looking for a places to shoot and, more importantly, places to eat. We're in no rush, however, and we soak up the brief window of sunshine before scuttling into a café to grab a bite to eat.We chuck a bit of lunch down us and form a plan to record in the café - a plan quickly scuppered by the arrival of the lunchtime rush and a very loud couple on the adjacent table. We're not in any rush, so we brave the rain and winds and go hunting for a quiet spot. Anisa is great company - easy going, friendly and funny - and we pass the time waiting for the rain to stop by buying cupcakes and laughing about essentially walking around in circles. Anisa was born and grew up in Petaling Jaya in Malaysia. She's a city girl at heart, from her youth spent travelling in from PJ - as it's affectionately known - into the nearby city of Kuala Lumpur. Because Malaysia is a Muslim majority country, café culture predominates, as opposed to the somewhat aggressive pub culture of the UK. This is something she found especially alienating at first, seeing as anywhere that isn't a place to get drunk closes by the evening.Anisa has always been interested in art and creating things: like most small children, she would draw on the walls of her house, the difference being she would complete her masterpieces with a signature. At school, Anisa got A's across the board, leading to others expecting her to move into law or medicine, but she was only interested in art. Support was strong from her parents, in a "well, she's so headstrong there's no way we'll change her mind, so let's roll with it" sort of way. Her mother being an architect meant that she had sympathy with Anisa's life goals; whenever Anisa's uncles see her constantly doodling away in one form or another, they remark on how she is just like her mother was at her age. Her first experience of living in the UK came when she studied for two years at Teeside University from the age of 19. Anisa applied through UCAS to a number of universities, but settled on Teeside due to the Animax Festival, a celebration of animation and videogames. It was Anisa's mother that suggested she focus her career interests in animation, as it is an industry with a greater likelihood of a stable career than other artistic pursuits. Anisa tells me she has huge respect for comic book artists, who work incredibly hard making beautiful art for comparatively little money (and mainstream respect) but do it for the love of it. View fullsize View fullsize View fullsize Anisa tells me that Malaysians pride themselves on multiculturalism, and she grew up in PJ within a culture of racial harmony and diversity. She found it strange to have messages of diversity preached to her on a regular basis as a child, because around her, with the children of her generation, it had always been that way. It wasn't until she left her little bubble of harmony that she realised that life wasn't as harmonious as it seemed. As children, you don't see others as different to you. Nobody is born with prejudice, prejudice is taught.Despite the upheaval of moving halfway across the world, Anisa found leaving home far less daunting than you might think. Anisa had visited the UK on holiday several times before, staying with family friends, so this just felt like a slightly longer holiday. The plan was never to stay in the UK, or maybe it would be more accurate to say she hadn't thought that far ahead yet. This meant that, instead of the stinging, gut wrenching feeling of being torn from her home, she just took each day as it came. View fullsize View fullsize View fullsize Before she knew it, Anisa had secured an unpaid internship at a small startup called Arcus Studios. It was a two hour commute from her home, so it cost her to work there. However, the wealth and variety of experience she gained from this set her up for her first paid role at Double Eleven in Middlesbrough as a UI (User Interface) artist. By adopting the "fake-it-til-you-make-it" approach, learning both on the job and studying further at home, Anisa soon cemented her role. Today, she works as a UI Artist at David Braben's Frontier Developments, creator of Elite Dangerous. It was that fearless quality of the young that took Anisa on her journey from being a curious, bright-eyed girl travelling halfway across the world to study, to the successful, intelligent woman I see today. That perfect balance of naivety and optimism is something we lose as we get older, yet it's so important in helping us find our feet in the world. It allows us to take risks, to venture out beyond our self-imposed boundaries, to be less concerned about long term outcomes and to focus on each day as we experience it. I'm hardly an old fart - I'm more of an "ageing smell" - but when you reach your thirties, responsibilities add up. You can be trotting along happily when life hits you square in the face; suddenly, heavily, heartlessly. Eventually, you gather yourself, find your balance, and trot some more. Your priorities and parameters shift, and although you grow stronger and wiser in some ways, in others you grow timid and cautious. So it's ironic that, if you're a doddering thirty-something like me, there is strength and knowledge to be drawn from the ambition of youth, and stories like Anisa's can help us remember that.