How to play craps?

History of craps

Craps is one of the most ancient games, popular in ancient Egypt as well as in Rome, the game was played by all. It’s not clear the precise root of the term craps. It is said that the so-called unwinning combination consists of two numbers, identical to a crab’s eyes. Before the emergence of the game of craps, there was a game called azar in the 18th century. Then this game came to America, carrying on a variety of modifications and finally getting the name craps. The new and current iteration of the game has already existed in the United States of America during the first half of the twentieth century.

By the 1930s, craps was played in virtually every casino in the U.S., where it became the most popular casino game. Yet it’s still losing its influence in the nineties. More and more online casinos are emerging at the moment and craps has begun to appear even more regularly on monitors. Internet craps isn’t equivalent to the actual one, it still keeps players in anticipation and suspense, you can gamble on one or two bets, waiting for the next dice roll.

The rules of the game can sound very, very complicated for beginners, but the game is played in many stages and the most difficult thing is that there are a large number of different bets. You also need to follow enough of the rules and every player can find the game very simple and understandable. In this game, you don’t have to count something, just put a bet and wait for your win or lose. That’s not it, you ought to know even more of this game’s subtleties, for instance, a lot of bets are played several times, and bets can be removed during play.

Craps say the game is structured to predict: the players attempt to guess how high the two dice will be after the throw of the shot, and make the correct decision. Many players want to deduce possible winnings from a statistical system.

About craps

Craps is a table which places bets on. You have to play two dice. Craps is played in turn by all of the table members. Thanks to two cubes – hexagons the game works. The player takes up two dice and tries to shake them, drops them quickly, and they fall randomly, and the numbers fallen are read from the top sides of the dice, which we sum up to get the score.

The craps game has a rather nice aspect – an immense betting area where up to ten bets a game can be made. The idea is the same as in roulette where you can bet on red and black, even and bad, and also in craps you can bet on pass line or don t pass line, to win or lose.

Both bets are profitable because the chance of winning is one to two, the same trait for bets on come and don t come. If you put on these prices, and on odds bet as well, it will yield a great outcome. The key challenge is to get the right amount we need at one of the levels of the game. Various numbers will fall out, we can go from two dice in total from two to twelve points. The craps play table is set out in a special manner. Similar to the danger game, players can position bets thanks to the special style.

Craps dice

A large special elongated gaming table with rounded corners is required to play craps. Twelve participants can concurrently play at craps mini-table, but there are also regular tables where twice as many players can take part in the game. The edges of the table’s sides are high, so the bones do not break out during the toss. The inner sides (except the casino chip box) are covered with a special ribbed rubber coating, so that the bones rebound off and are not bent or scattered off the sides at the same time. Special grooves are made in the sides of the boards, on the side of the table where the players stand, with sectors where the players can position their chips.

The craps table play area is coated with cloth and labelled with bet sectors. The betting area on the game table is divided into three parts: two simple symmetrical fields at the sides, and there is one more between them in the middle. The centered field is the betting area for a shot of one player. There are also representations of bones in the markup of this area in the form of dots (indices), and not just numbers. Only the stickman takes bets and puts them on the area. Base fields, or on – line bet fields. The casino rules allow players to make bets on the field individually.

Dice in craps are hexagonal, right angled dice. in casinos the dice for craps are big – with 1.9-2 cm edges – made of acrylic. They are coated to achieve optimal consistency and clarity of the cube facets. There are indices (dots) on each face which denote numbers from 1 to 6. The indices are drilled with the same plastic but with a different hue. This is achieved to achieve precise cube balance. There’s a selection of 5 bones and a bowl for them on the stickman’s table which has its own tag – a sail. He passes the dice to the shooter with the ring, so that he picks two out of five to fire. Pax – markers to the position.

There are two big black and white plastic washers about 5 cm in diameter, with the inscriptions on on one side and off on the other side. Depending on the situation in the game, the dealers place them on the right side on the play field to show whether the bet is working or not. These pucks are often dubbed a mark. If the puck-marker is on the number with the inscription on upwards, it indicates this number is a point, and played in the second level. With this side the marker is put on the don’t come bar sector in the corner of the table, at the end of the throws to the floor.

Casino chips on bets of varying denominations. Unlike roulette, in which a shovel gathers chips, craps dealers collect chips by hand. Swap chips – boxman. A stick is a special tool for pushing bones around the table, equivalent to a poker.

Craps participants

Near the table where craps are played, you can see the following people:

Boxman – a casino employee, seated by the box of chips on the long side of the table in the middle, watching game progress and overseeing the dealers’ work. He also deals with the exchanging of money for chips between players. Boxman got his name from the english term ring, since there’s a recess on the board next to him – a box – of casino chips.

A dealer or two dealers at the bases – casino workers, standing on both sides of the boxman and serving on the specific fields: putting signs, taking half bets and making payments.

Stickman – a casino employee, sits in front of the boxman, watches the progress of the game, controls the dice, takes bets from players on one shot of the gunman (the area for them is in the centre), declares the start of the game, the outcomes of throws and levels, gathers bets from the middle of the table and informs the dealers which bets have won.

The name stickman is derived from the english word stick, meaning a special stick to shift dice around the table. this is the stickman’s key role at the table – to pick up the dice after the throw and pass them to the player for the next throw after completing the payoff on all bets. The stickman has another role in luring players into the gameplay. Stickman is the showman at the craps table, he yells out stick calls, making the crowd entertain. More careful that the stickman is, the more fun the game gets. Thrower or sniper or gunman – a player who is dice rolling without losing.

From the end of the table (at the short part) it becomes for a toss. At the conclusion of his game or defeat (rolling 0 7-out), the dice are passed in clockwise direction to another player. Players are the ones making bets on the sticks. They are seated at the table adjacent of and behind the gunman. The rules of the craps game encourage players to enter and leave the game at any point at any moment.

Spectators – casino guests who are noisily interested in the contest, urging the gunman on.

Casino manager – checks the casino’s facilities, does not stand by the bar. For inspecting bones only found in serious circumstances. When the die is tossed over the edge of the table, for example.

Craps rules

As already described, the stickman has a set of five dice on the table in craps. The stickman pushes all five dice with the stick to the shooter before the throw is completed, so that he picks two to throw. Rolling the die or roll is the primary move in craps playing.

Only the gunman is making throws, with one hand – the one taken from the bench. The throw is called complete if at least one of the two dice hit the board opposite to the shot, and both dice stayed on the deck. Set point – set the marker to the across line point number. This operation is carried out by the dealers on the simple fields prior to the start of the throws in the second stage of the game.

Exchange money for casino chips you’ll need to swap money for casino chips before playing the game (placing bets). Typically this occurs at the table on craps. Every time between the dice rolls the money for the chips is changed by the boxman. If the chips have been collected, the player may either keep them in his hands or place them on the table next to him (but not on the field marking) or place them in special chip grooves found on the sides of the table. They choose the latter.

Step 1 – come out roll is considered the first level of the game. The stickman says these words as the gunman pulls out the dice. At this point the players and the shooter are able to put bets on the simple bet area – on the line (english transfer line).

The gunman specifically throws conventional six-sided dice with one hand in such a way that they strike the board opposite the thrower, then remain squarely on the table until rolled back. If the dice are out of the table, the game is stopped before the dice that has been lost is checked (the casino inspector does this). However as a norm the whole collection of bones is replaced by a new one immediately.

The thrower is called the player who throws the dice. Based on what number he got the outcome of the duel is decided.

The most winning bets in the game:

 Pass Line 

The most common bet that can be made after the announcement of a new round. The options for the victory are 11 or 7. If the dice shows combinations 3, 2, 12 the player loses his bet. if 10,9,8,6,5, 4 comes out, so point is called the mix. To win, it takes a condition where the point combination falls down on subsequent throws. In the case of rolled 7 before repeating the argument, the participant wins. In case of a draw the bonus is 1 to 1.

Odds on pass line

Each player can use an additional bet after the point has occurred. Each variation the payouts are different. For instance, numbers 10 or 4 are payable as 2 to 1, 10 or 5–3 to 1, 6 or 8–6 to 5. When the point is rolled until the variation 7 occurs the player wins. May cancel this bet.


The rate offered varies from the pass line in that craps can be made at any moment. When the number 7 or 11 can be found on the dice the individual becomes the winner. If the 12, 2 or 3 variation turns up, the bet fails. As with the point variations, the player continues to roll until the point (the bet wins then) falls out. If you lose 11 or 7 – bet. The outlay is 1: 1.

Step 2 – point roll as you have already learned, whether the second stage will take place depends on how the game progressed in the first level. The second step of the game is called the point roll, since the key point in this period is the point thrown on the first roll. The dealers mark this precise point (4, 5, 6, 8, 9, or 10) on the base field with a play puck (up) before the shooter resumes action.

Across line marker is placed on it. This action is known as set point. Players and shooter can then put bets on point number drawing, or bets behind the pass line. The line marker remains on until the end of the second point. The player must validate his claim in the second level, which dropped on the first cast, i.e. you have to roll the dice before the same point comes out again or until rolled 7. 4, 5, 6, 8, 9 or 10 – 1st stage point – second stage score. 7 – seven outs (english seven outs or 7-outs) – second stage defeat. The shooter’s game ends on a 7-out roll.

Craps rates

Unlike roulette, where the edge of the house on all bets is the same (except bets on similar chances under the jail rule), the edge of the house on different bets is substantially different in craps. It is important that the player knows and understands where bet placing is beneficial or undesirable. First, find out what simple craps bets exist, how to position a bet, and at what point in the game, most importantly.

Craps options

There are plenty of poker games around the world where dice are one of the game’s features and the main action is dice roll. Dice games occur with various variants. But it’s customary to split different dice games into categories while universal rules apply to them, according to a common standard. A party like that is craps. Once upon a time only one version of this game would have been available. But the success of craps has given rise to several versions, where special ones supplement the general rules of this dice game. Here are only a couple of them: craps is one of the most common and favoured casino games in the united states. Private craps and bank craps are the most common craps in this country.

How to request an Online Casino Bonus Payout?

When it comes to online casino gameplay, players have access to quality incentives like promotions and bonuses. With these offers, players need to comply with certain casino requirements to benefit from the perks. If you are a casino player who wants to enjoy great bonuses, like the ones you’ll find at online casinos like EmuCasino or BetOnline, it is important to understand the way rollover and wagering requirements work and how to calculate them.

The terms and conditions of a casino bonus will mention the words “rollover” and “wagering requirements”. These refer to the steps you need to take before you can withdraw the bonus amount you were given. Welcome Bonuses, Reload Bonuses, Free Spins, and other offers all have some type of rollover and wagering requirements. Each online casino will have its own terms. In order to prevent any type of abuse, bonus amounts are required to be rolled over an X number of times before a cash out can be requested. This is called a rollover requirement. You will usually find this expressed as 15x, 30x, 60x, and so on…

o calculate the rollover amount, take the Deposit Amount plus the Bonus Amount and multiply the total by the rollover. This is how much you will need to wager before you can make a withdrawal. For example, if a casino offers you a Welcome Bonus of 100% up to $100 with a 25x rollover, and you make a deposit of $50, the offer has a rollover requirement of 25 times the bonus plus the deposit amount. This means you will be given $50 in bonus cash. But how much do you have to wager and play to be able to withdraw those $50? Adding the bonus amount ($50) plus the deposit amount (another $50) equals $100 in total. Now multiply it by the rollover, which is 25. This means those $100 need to be wagered 25 times.

That is, you will need to play a total of $2,500 before you can withdraw your bonus of $50. A wagering requirement is the amount that you wager on specific games that counts towards clearing the rollover requirement. In other words, casinos will give you a certain percentage match based on what games you play. If a player has to clear $2,000 and they play slots, then for every $1 they bet, $1 counts towards clearing that bonus. However, if someone plays Table Games, it only counts 20% of the total amount wagered towards clearing the rollover. So, for every $1 a person wagers, only $0.20 will count towards clearing that $2,000. This means that on table games, a player has to bet $5 to have $1 count.

Each promotion may have additional details, so always read the terms and conditions. Make sure you understand all the requirements of each offer before claiming it. Be careful: A casino may offer a specific bonus with little or no rollover, but there are no online casinos without wagering requirements. Instead, look for casinos with low wagering requirements. New players may feel confused or overwhelmed by rollover requirements. Our trusted casinos offer bonuses that are easy to access and are straightforward to clear. Check out our recommendations for top-rated online casinos with low rollover at our site and learn how to take advantage of low wagering requirements at the best online casinos like Bovada and BetOnline. We hope this video has helped! If you have any suggestions or want to know more about other requirements at online casinos, please leave a comment below.

Texas Hold’em from the beginning

When playing this game at online casinos, you have many issues to consider right from the get-go. Think of it this way even from the preflop on you have decisions to make. The nature of preflop (even the flop and post flop) betting and your opponent’s tendencies should give you a pretty clear picture as to where your hand stands and what you are up against at on line casinos. Any preflop hand can be folded, in all honesty you will fold more hands (or at least you should) than you will keep. The wrong preflop can destroy any hand – even a pair of aces. One of the most common problems in the preflop is an opponent who has an overpair. From the beginning of this game through the river card and more, you have to make decisions. When online gambling, this game can pose many obstacles as to tells and body language because you simply can see your opponent’s face. So watch betting tendencies from the preflop on.

If you enjoy playing games like Texas Hold’em at online casinos, you will probably enjoy playing a few other poker games that are very similar to Hold’em. There are a few other free slots south africa that you can play on the Internet and live dealer Singapore online casino that you will find just as challenging and rewarding. In fact, many betting spots on the Net have recently added new poker games with great graphics. Try playing Omaha High or Omaha 8 or Better. Both of these poker variations play similarly to Hold’em. Some places on the Net even provide variations of Texas Hold’em itself, life Double Board Hold’em and more. These games are fun and they break up the monotony some players feel from playing the same exact game over and over. Not all online gambling destinations provide players with these games, but many are actively adding them. They are not as popular as the original Hold’em, but there is plenty of action involved in these games. Check them out.

If you play Texas Hold’em at online casinos, you are most likely a poker player who has some experience playing on the Net and offline. This in mind, you probably have sense to know that bluffing in this game is not totally recommended for long term winning. Nonetheless, there are some of you out there that will from time to time have to bluff or at least feel the need to do so. If you are going to bluff at on line casinos, the bluff must make sense. Don’t do it just to do it. If you do, the other players will pick up on it eventually and mark you as a player that does this. Yes, you can be read on the Net even though the other players cannot see you physically. Your betting patterns and wager amounts will be readable to some better Internet players, so be sure your bluff has logic to it. Don’t expect Net players to fold just because you wager a big bet. You must bluff well enough to make your opponents believe your hand is probable when online gambling. A good bluff demands good timing and understanding of your opponent and how they will react to your wager when only you know you are bluffing.

What it’s like to train with Cloud9 in League of Legends

In just a few minutes, the first ever Scouting Grounds draft will take place, with each of the LCS organizations picking one player from this week’s event for exclusive negotiation privileges Huge traditional sports fan. Every year I would watch my favorite sports, read up on all the players who might come, and see it transition into the actual LCS now is something that I can’t wait for going to the future. this is a great first step and there’s so much potential here, like you said with Cloud9 investing heavily in the future of players in the past, continuing to do so here, this is where winning traditions can start to be grown.

Played pretty sloppy that game. It wasn’t that bad. I like the flash auto you did with Taric at the end. Flash *ksh ksh* oh shit. I thought my teammates would be a lot more toxic I guess. But they’re all really nice and really nice people in game and we all help each other outside the game and in no deposit bonus casino.

It was definitely pretty interesting meeting them all the first day. It’s like who’s going to be how they are in solo queue and I don’t think any of them are. Everyone’s been really nice Everyone’s like right next to each other I can like give everyone a high five or something. And it’s like a really fun time.

But when you lose you can’t just go into a room and log off Team Speak or Discord. I still have my ult we can win this. Varus has ult.

I’m just pushing him back. Help bottom. It’s a pretty different experience because coming from solo queue, you’re not in a team environment and there’s a bunch of different factors coming in, and these teams evaluate you not in terms of just skill but also your mindset and how fast you’re willing to improve, and overall the players here are coming from solo queue and it’s a whole different experience. So Riot, there was an idea to sort of put some kind of like sort of performance workshop together for the Scouting Grounds players and I wanted to do something small, I didn’t have much time. So I focused in on the key components of performing under pressure and the mental side of performance for League of Legends players. Whenever you’re going to do Baron or something, try not to get too greedy.

Think clearly. Talk about conditions when you’re walking from base or when you’re dead. The mental side of performance is such a huge part of being a pro player and the qualities you need to be at your peak, you can train. I think one of the big things that helped me a lot was talking about meditation and regaining focus in a game. It’s like obviously not everything is going to go your way.

So if you can stop yourself from tilting and you sort of regain your composure it really helps a ton. Focusing is probably the most explicit instruction in meditation. bring your focus to your breath is the most common focus you do. And so any time you lose your focus you have a thought that pops into your mind or you start to get bored or you start thinking about what happened yesterday or what’s going to happen later today, you’re no longer focused on your target and so you ideally what happens is you wake up to that at some point and then you bring your focus back and you might do that over and over and over again. it’s like flexing a muscle it’s like doing repetitions at the gym if you’re lifting weights every time you lift the weight your muscle gets stronger. So every time your mind wanders and you wake up and become aware and then refocus, you’re getting your strength in that focus muscle.

So that’s one thing It’s obviously really good to play a lot of league legends and get a lot of practice in. But you have to take care of yourself outside of the game and in your mind to perform well. I notice a lot of mistakes from my own performance and it tilts me a lot but everyone makes mistakes so it’s just good to focus on what’s going to happen and what I should do best in the game That’s what I do, I kill towers, what do you mean? You’re Kha’zix you’re supposed to kill them. I kill towers, you kill them. It’s a team game.

This is not solo queue. It’s not solo queue. So there’s that piece, the mental side of performance, and then the other piece was okay, these guys are coming from solo queue and now they have to play on a team and they have to do voice communication and some players have trouble with being on tilt or getting frustrated with teammates. And once you get into a team environment it’s actually such a relief for most players because as soon as you have a structured review process you know there’s a time and a place for going over mistakes. You know that you’re going to, you’re going to talk it out in the review process after.

and if you have good coaching staff, the coach takes over the job mostly of giving that feedback. So it just frees you up as a player then to really just focus on yourself, focus on what you can control, which is your own individual play, your own individual performance. If you like put five players in a room just for themselves without without a coach they’re just going to be arguing who’s right who’s wrong who’s right who’s wrong.

you’re starting a conversation with the players and you’re helping them improve. So after every scrim we’ll review for about 10 to 20 minutes regardless of win or loss and Westrice will just wind through the whole game. And if we want to talk about anything we can tell him to stop or he’ll have notes for us that he’s taken during the games. Being a pro player for five years, they’ll ask me some of these questions, and I speak from experience with some of these players.

I was an assistant coach for the main team of Cloud9. I went to China with them. I went to Korea. I was coaching solo queue. Like I was coaching like one on one coaching with players in solo queue while I was in school.

I got a lot of experience from that like you know teaching myself and then using that knowledge to teach the players. After you got that first tier 1 bot turret, I think you need to try your best to get involved in teamfights somehow. It was really surprising is that they’re insanely open to what I want to do. They’re more player-based than team-based. Especially as the coaching staff is letting us go through everything, since most of the time when you’re on a team, the coach just has a plan and wants to do it.

He really lets the players like initiate discussion and then he’s really open to hearing suggestions of how we think the game should be played and telling us just what he thinks is right and what we think is right and then trying to find the middle ground. He’d rather us make the mistakes in scrims than in an actual game that matters. So sometimes I’ll go for really aggressive plays and it’s like aw man, it didn’t work out. But no one flames me after the game, West doesn’t.

He’s like it’s good that you’re testing what you can do right now. There were a lot of times when after you took tier 1 bot, you just kept going bot, like you kept rotating mid back and forth, back and forth. I don’t have the replay but I’m pretty sure you kept walking past wards back and forth back and forth. Over the past 2 days the drafted Drake teams have competed in a round robin tournament which has determined seeding for today’s matches. first up is the third place match between CLG’s Mountain Drake and C9’s Cloud Drake.

The first time onstage for me it was really nerve racking. The first game I felt super nervous on honestly I was shaking a little bit. And League is on the frontline, marching straight forward, and a double kill onto the side of Cloud.

Playing on the LCS stage was like really fun just being able to watch the streams and then being there in real life is… it’s amazing being onstage. All the lights and then we didn’t have many fans in the audience but my AD Carry brought his whole posse so we still had people cheering for us, so that was great. Playing on stage was a pretty surreal feeling knowing I’m playing where the pros and people looked up to are playing. Hopefully one day I can get there as a pro. The nexus itself falling now… Playing here is different from playing solo queue at home because at home, no one’s just… no one’s playing as a team and everyone’s playing for themselves and everyone flames each other. So, I’m pretty sure everyone here has gotten flamed by each other.

So it’s really funny to get here and play with each other and everyone’s working and there’s no ego and there’s like no toxicity. It’s weird because to get to Scouting Grounds you have to be good at solo queue, which is a very selfish way of playing a game, you need to play really well by yourself, learn to be good, like just be good by yourself and not care about your team. When we play with a team, your team matters more. I think it definitely made legal legends fun again.

playing solo Q For seven years straight, it gets boring eventually. So it’s a really nice change of pace to be playing in a really competitive environment and I’m just learning so many new things. It was great playing with everyone on C9. All the players drafted and all of the staff I mean I loved all of them.

They were great people. Really fun experience.

Most people don’t realize how much work it takes Pro character artist on getting hired

– I mean, I understand where the people came from you know? Like, I can draw you know, or I can do that. But it’s like yeah you can draw.

Maybe not as what you expected or what you imagined, but you can draw, it’s just the time you have to work everyday to get that level. – You might not know him by name, but Daniel Orive is a character artist that works at Riot Games. And Riot Games, if you don’t know, created League of Legends, that big, I don’t know, I’ve never played it but I hear it’s got a lot of players. Anyway, so he’s a senior character artist there and he’s good at both like concept 2D, as well as 3D sculpting and modeling.

And whether or not characters is something that interests you, his advice that he gives in this interview is applicable to pretty much all artistic fields. We talked about like talent versus skill, overcoming procrastination, being realistic with your goals, using your time wisely, identifying scam schools and much, much more. So it’s about an hour long, but there is chapter marks in the YouTube description if you want to jump ahead because I know a lot of you do, short attention span. It’s just like me.

So this is part of a new YouTube interview series. If you wanna see more, I could give it a like. And so that you don’t miss a future episode, hit subscribe.

And the last thing I wanna mention before we get to the interview is that this video is made possible thanks to our sister company, Poliigon, Poliigon. So if you wanna make world-class renders, you need world-class textures, and that is what Poliigon provides. So try it out today and discover the difference that professional sharp textures can make to your renders. And now, onto the interview. Daniel, thanks for coming in.

– Well, thank you for inviting me. – Yeah. – Of course, my pleasure. – So tell me, have you always been a creative person?

– I think so yeah. Yeah, I remember when I was a child, like always before to know like I like art, always I was messing around in the garage, like building things, I don’t know, like taking like an old piece of wood and trying to create something. So I guess I always say I was kind of creative. Yeah, I don’t know in what direction yeah, something like a builder or something like an artist, I don’t know, but yeah always I like to take any challenge or create stuff since I was a kid. – What do you think it was that drew you to that? – I don’t know, like most of my time when I was a kid I watched a lot of movies.

Like movies from 80s, kind of like Dark Crystal, Neverending Story, so I guess in the background I was building kind of like that creative sense, you know? So always like also because those kind of movies, they have the Muppets, they have stuff like that so that’s why always I wanted to create the stuff with the hands. So I guess like mostly of that things coming from what I was doing when I was a kid, what kind of movies I was watching or like when I was playing like with kind of things. You know, I think so, I don’t know. Some people say it’s like you born like this.

You know, you born as kind of artists, creative or whatever. I don’t know if it’s that true, but I remember like I really liked it, like all that kind of stuff. – Do you think some people can be born creative or you think it’s (crosstalk). – Yeah, I think some people born with that kind of like, I don’t know how to say it but that kind of like they like that kind of things. But I don’t believe like some people say they born with like an artist, like for example if you have like insane skills, art skills, like yeah, yeah, you have those because you’re born with those. I don’t believe in that at all.

I think it’s more about how you work and turned your life, you know? I think you’re born with just like a sense of I don’t know, like a feeling of creative, like a feeling for the art, like a sense, just like a small thing but I don’t think you’re born like I’m a creative person, I’m gonna create stuff or whatever. That’s my point of view.

– yeah, has anyone ever said that to you, like you’re gifted? – Yeah, everyone. (laughs) Yeah, yeah most of the people say that, like how much I love Dan, you have this gift, you can do it like whatever.

Like I work a lot, no I don’t think so. I think that’s a minimal thing that you can use for that, you know, but it’s not the full thing. – Yeah, yeah I think that what that is like people don’t, they can’t understand how you went from nothing to being where you are, and so they just assume like well that’s so special, that’s so amazing, it must be some supernatural or I don’t know given ability. – Yeah, yeah, I mean I understand where the people came from, you know?

Like I can draw or I can do that. But it’s like yeah, you can draw. Maybe not as what you expected or what you imagined, but you can draw, it’s just the time. You have to work every day to get that level. So always I say like I mean, I have seen like friends of mine, like some of them for example they were super talented, they didn’t work at all.

Like every day they were not telling himself to become better and they’re stuck with that. And people who was like a worse, having words like less say creative (crosstalk) they become super good because they work so hard. So I think it’s like the path is different for everyone, depends about that skill you have since you born. It’s like okay, I’m level one instead of level three, but let’s say something like that but it’s not a big, big, big thing. – Right, we have to get to level 100. – It’s like a full career.

I mean always I say the same. Like I would like to have like two lives so I can like a full work in my 3D and my 2D in a different life because it take a long time so it’s just about time and work. It’s nothing about I don’t know, this is not Matrix like plug something in my head and I’m gonna get it. You need to work hard for that for sure. – Why is it that you think, you mentioned that some people, they stop, right? They practice but they sort of stay at a certain level.

Why do you think that is? – Well, depends of the person. I’ve seen cases like they stopped because they don’t have interest. It’s like yeah, I like it but I like other things. So probably they choose other things. I’ve seen other guys that are lazy, really lazy.

So always I think is you are lazy with art is because maybe you don’t like enough to keep going on that. And to be honest, this is most of the cases I’ve seen before, like– – What do you mean by lazy? – Well, like you have to work a lot of time. You have to do, redo and redo and again and fail.

It’s not like I draw something, looks amazing, way is to say to see it and put it there and everyone love it. No, it’s not like that. You work on that, you say fah, it’s not good enough, you need to learn okay, I need to learn how my values work, my collar or like a sculpting, I need to do more stuff because you all the time compare with other artists. Like you go to ArtStation and you see like awesome artists over there.

So you are comparing yourself somehow. So you wanna be that better. So imagine like those people I’m talking about, like they not trying enough because probably they don’t see themselves like, they recognize like how long it take that.

It’s like far, I know this guy is working a lot. Yeah, I can do it, I can do it, but tomorrow. And that tomorrow start going rolling, rolling and never happen. I mean some of the cases I’ve seen.

And its really, it’s kind of like sad because you see like people like really, really good with a lot of talent. They only need to work on that. But unfortunately, they don’t do that. – So you think like exposing yourself to better artists and realizing how much more you can grow is helpful in that? – Yeah, yeah, yeah for sure, for sure.

Yeah, it’s a lot of time. I mean, the thing is like people I think don’t realize how many things you have to put away to be here. Like to be honest, I don’t meet anyone like maybe one or two like they were like super good and they never have to put like a lot of time because they get things like that, but most of the people who I work with, they put a lot of time, they hang out less with friends or with girlfriend or whatever. So it’s a lot of commitment and not everyone is ready to get that or to do that. – Yeah, so you say you think that some people that work professionally, they feel like they’ve got a job, they can sort of relax. – Oh yeah, yeah.

Yeah, I’ve seen in my experience some studios, I’ve seen that a scenario, like people they feel like, well, I don’t know I’ve seen like kind of like two scenarios like the one who feel they are in the place they wanna be or like this is, I’m working now at (mumbles) studio or something like that so I just need to keep going here and it doesn’t matter; or people who I don’t know, maybe they get older, they have like another things to care in life and that’s like a job is a job. So in what we work is kind of tricky sometimes because these are passion or hobby, and also it’s our job. So right sometimes you need to put the line because it’s so easy to put a step pass in the line and it’s like oh fuck, it’s too far.

– Have you experienced that? Can you tell a story when you went too far? – I mean, I do that a lot because I am a guy who have a lot of passion for what I do in my work, my hobby and other stuff. So when you come back home for example and you’re still thinking in work, in the character you’re working or something happen at work, I think you’re getting far. – You’re what? – It’s when you’re getting far.

– Too far? – Yeah, too far with that. Like, okay, so yeah work, you should be like 100% with all this stuff, but when you’re at home, maybe it’s time for other stuff.

Like hung out with your wife or like do your personal stuff. So it’s like okay, I need to separate that and sometimes it’s difficult, really difficult. – Have you learned any tips to get past that? – You need to realize that. That’s the tip. You need to realize like I’m getting far.

I’m over thinking this thing, and that’s not worth. So when you realize you’re doing that is when you start changing. But sometimes it’s difficult to realize that. – Yeah, yeah. Do you think it’s important or essential for an artist that wants to work in the industry today to continually practice personally?

Or can you be one of those people that just goes home and doesn’t try to evolve? – Well, it depends about your goal. I mean, I always say that. Like I was a guy who wanted to came here to lay to work like a big company.

So I knew it, I had to put a lot of time in my work and my personal work because a lot of people want to work there. So it’s like really difficult to get to those places so I was realistic and it’s like I have to be one of the best or at least like, I don’t know, they have to look at me in somehow so I need to get, get better. So if you have like a big challenge, you wanna, I don’t know, like work in a place or build your company, I don’t know whatever, probably yeah, you have to work more time. But if you don’t have that, it’s totally fine. I mean, if you’re happy with what you’re working, what you’re doing, you don’t need to go home and still doing that.

If you like it, of course do it. But it’s not a must. I think it’s just a must if you have like high goals. – Okay, so you’re not at risk of being fired or anything if you don’t try to evolve or anything over time? – Why, why? (crosstalk) – Not fired for not practicing but just, if everybody else is improving and you’re sort of staying the same.

– Well, think about like at work, we work like eight hours. So you’re getting better. – That’s true. – You’re getting better, doesn’t matter. So that’s true, like people are getting really good and you have to be there, but I think like over the years is another waste, like you can use your, probably you have like less energy to put that time on it but you are more, you have like a more wisdom.

You know how to use an hour maybe you have, or two hours. So you are more focused and you know how to avoid like a difficult way to achieve that. So you’re getting smarter in what you’re doing. So I don’t know. Yeah, I’m not gonna say like yeah, I don’t know, I think it depends, it depends.

– Yeah, makes sense. – But there’s a lot of people, like I work with a lot of people who they are kind of like worry about that, like they worry a lot about to get better because in the future people is getting better, get a job. We are losing that, like you are doing that because you enjoy that. – Right, you think they’ve lost the love for it. – Yeah, yeah. I think we are just sometimes looking at the business and we are not looking like what we’d really like or what we’d really do.

And we are, as we told before, like I guess we are creative all of us, so I’m pretty sure we can figure out if that future came to us to do something. Like you feel like you’re not good enough or whatever, or like people are better than you. So you will figure out I’m pretty sure.

– Yeah, that’s it, interesting point you mentioned that yes, some of the reasons that professional artists are so much better is well, one, they’re professional so they’re at a level where they can be hired. But also, once you’re hired, you’re working eight hours a day and you’re able to improve at a much rapider rate than somebody who’s doing it part-time or a hobby. – Yeah.

– Yeah. So I’d say at Riot Games for example, like how many of those eight hours are actually sculpting or drawing or something artistic? I’m just curiuous. – Well, Riot is quite different because our culture give us like a freedom to be involved in everything. So that means I have a lot of meetings.

I have a lot of meetings for one thing that’s happening here, one thing that’s going there. So it’s the first job I’m not like eight hours there like doing all the time what I have to do, but I have plenty of time. – Like four hours, six hours a day? – Oh yeah, yeah for sure, something like that, around that is you have.

So that’s again what I say before, like that way to work is because I came in from a place that you have to work so fast, I have like my pipeline is kind of fast. So right now, I’m getting smarter so because I don’t have the full time, when I go I use my time to do what I know I have to do. So that’s like a different, you’re learning. It’s not like okay, I’m okay because I know tomorrow I’m gonna have eight hours and tomorrow I’m gonna have another eight hours, another day I’m gonna have eight hours. So I’m like oh maybe tomorrow I’m not gonna have the full time to work on this so I’m gonna now make like at least I have two hours and I’m gonna go super, like full speed to work on this.

So it’s like again, like it makes you smarter in how you still work. – Yeah, yeah, that makes sense. So trying to use the time that you’ve got valuably. – Yeah, yeah, that’s it. And that’s really cool because that’s what happened at home too, like you are with your wife, you have kids or whatever, you don’t have a full time.

So if you have like a one hour, a couple of hours, like okay, I know suddenly how I’m gonna invest that time, that small time, and maybe no. I mean I know other people who they don’t have any commitment, like they are kind of like oh yeah, yeah, I’ll do it tomorrow, tomorrow, you know? They get that lazy or stuff like that. So the same, come back to your question like at Riot, we are really busy with a lot of stuff. We are like, as I said, we have a lot of freedom to be involved in different stuff.

So people like me with a lot of passion say yes to everything, and that’s like oh dude, I have to do my stuff. (laughs) – Yeah, yeah, oh that’s interesting. Do you ever have times when you want to sit down and work but you just feel so distracted, or like you just don’t wanna do anything?

– Oh yeah. – Can you describe a time you’ve had that and how you’ve gotten past it? Have you got any other, I was curious what your talk was about so how do you get past art slumps? – So basically what we talked about it’s like, well, it was funny because we say how to get out of art slumps so people came there like, oh how can I get out of them. But you can’t. I mean, the thing is like we give them kind of like experience in a, sorry, like we give them some stories about our experience how we get out of any art slump we have in that moment, but doesn’t mean that’s a way to get out.

This is what we did at that point to get out of those, but at the end you realize like those are slumps, they’re gonna be with you. You need to accept them. And when you are in one of them, don’t freak out because some people think it’s like kind of like you have like I don’t know, like a hole.

You go in the hole and when you get back, you stay in the same floor. But they are not true, they are kind of like a stairs. So probably you are in the hole, but when you get out you are like in a higher step on that stairway. – Oh really? – So you’re getting better, you’re getting better.

So you have to see them as it’s okay, it’s gonna be all right. When I get out, it’s gonna be much better, I’m gonna have like a more no late, I’m gonna be smarter. So that’s what happened. And most of them are related about your personal life. So we think sometimes art slumps is about like I can’t draw hands or I cannot sculpt this, I’m not good enough to get that.

So most of them, they are about your life. Like I mean, to give some examples, like I mood… Well I think I’m gonna give another example. I’m trying to remember the talk so which one is like the most, yeah so for example I remember my first studio when I was working on like six years ago or something like that, was it like a small studio, I was feeling like fuck yeah, yeah, I’m here, I’m in the art industry, it’s just like I get this train, I feel like comfortable and just the stop will be like Riot, Blizzard or any of those places.

And they fired me. Like yeah, I was like there at the beginning, like I put in a lot of hours like enjoying that and they fired me and I was like okay, so– – Why did they fire you? – Oh well, it was like a kind of financial problems and they get rid of people. I remember that my plan was completely destroyed. Like how I’m gonna get there?

And also like I didn’t, I was not allowed to use anything I was doing there to my portfolio and was a good thing because it was really bad (chuckles) at that point. So I start from scratch and I joined a challenge that was the Comicon challenge at that time. And I did the Comicon challenge so the people, I didn’t know that, like the people response to me so well, like hey I love these what you’re doing, so they gave me that motivation. I was completely destroyed, I was no motivation.

I was thinking like maybe I’m never gonna be a character artist or working art or working games. I so quit and do any other stuff. But thanks to that, thanks to the art challenge, like give me the motivation to people to believe in me. So for example is what I say, like that was an art slump, like a huge art slump in my life.

Like I was feeling so badly I wanted to quit. Like I was not believing in myself and just joining art challenge give me that motivation because people start trusting or like what I do. So that, as a personal style, I give you the motivation, it’s like fuck yeah, I’m gonna do this.

Also at the end I get the third five position I don’t remember, so that even more give me the motivation to you know what, I think I can work on this in games, making character, stuff like that. So one of the how to get out of art slump was like do challenge, art challenge. But doesn’t mean you’re gonna get that. For me is how work at that point, make sense? – Yeah, yeah, I understand. What do you think it is about a challenge or a competition that motivates people?

Why do you think that is? – I think it depends. Like I guess like if people want to get the prize. I guess other people want recognition. And most of them, I think they wanna join for fun and do something.

So it’s like a reason to go home. Instead to be lazy and don’t do anything, you have like okay, I’m gonna do this, like a motivation to work on something. – And a deadline. – Yeah, you have that there. So probably you’re gonna start with some friends, so the people in the forums they’re gonna see you. So if you don’t finish you’re gonna feel guilty.

(laughs) But you can say oh guys, I’m kind of busy with work, everyone understand. But I think it’s motivation to do something. Like most of the people, yeah, yeah, yeah, yeah.

– That makes sense yeah, I’ve experienced that myself where I’ve had a personal project that I was working on and it just wasn’t, didn’t feel like there was any point that I needed to work on it tonight. But then I had a competition, actually I created the competition, it was this sci-fi competition and then yeah, it was like every night I had a reason, I had to work on it because otherwise I wasn’t gonna finish it. And I already told people. I think that was it, I told people that I was gonna do it. So I was accountable.

And you don’t wanna look lazy in front of your friends. – That’s it, that’s how been. Yeah, I’m remembering right now, like another challenge I joined was the city hub, do you remember city hub, the Mass Effect one? So I joined that challenge because challenge is amazing, but I remember that was really funny because I’m a Dragon Age fan.

Mass Effect I didn’t play. – Dragon what? – Dragon Age.

– Dragon Age fan, okay. – Yeah, but I didn’t play Mass Effect. So I didn’t know anything about Mass Effect, but I checked the people who was participating in that challenge and was there badim, like a slipgate central, one of the the guy who won the dominance world, that one, like it was amazing, and few other artists, they were super, super, super good. So I decided to participate in Mass Effect because I wanted to beat badim or those people. At that point, I was like yeah I wanna do that, to give some context, like badim, his work inspired me to be a character artist. When I start working in art, the game industry, I was a concept artist and I saw his stuff and I started like learning ZBrush and stuff like that.

I really admire his work. So at that point it was like I want to beat him. So that was another motivation, it’s like I don’t care about the prize, I don’t care about anything, I wanna just, I don’t know, like this guy notice me or something like that.

– [Andrew] Right, so you wanted him to notice you. – Yeah, that recognition, I guess. So at the end I didn’t beat him, but he got the first position, I get the third position. So that was amazing. So he did my goal like really high. So I was able to be close to that.

So after that, we start engaging, we’re friends. Yeah, that was cool. So another motivation at that point for that. – Right, that’s an interesting one. Yeah, like recognition from the people that you admire. – Yeah, so it depends where you are.

I mean, what stage are you? Like you feel like you want the motivation or you just wanna do something, or it depends. But always help. – Yeah, yeah, that’s a good point.

Everyone has their own reasons. – Yeah, yeah, yeah. You never know. – That’s right. – It’s so dark.

(laughs) – Wow, do you think it’s important to practice different styles or like maybe you work on like fantasy, grungy detailed stuff at work that you also tried to get good at simplified cartoony as an example? Or do you think it’s good to go the very narrow niche route? – Hmmm, always depends. Of course better if you can handle like a different style, so think about like some of the studios, they are not like just focusing one style.

So if you have that variation, you’re gonna be like a better fit for them for sure. Is this what you like? Sure. If you don’t like, like dude I met some of those guys like doing the portfolio review in THU, like I like just realistic stuff. But I know (mumbles) doing that or whatever, it’s like dude, don’t think about that, like do what you like. If you don’t like to do the stylized stuff, don’t do it.

I mean, always I give them like a sample, if you see my portfolio, you can see some like pieces like really stylized, like the stuff I’m doing in League, or you can see stuff I did in Castlevania, like really more realistic or the city hub that the challenge, like a more kind of like CG character more realistic. I do all different stuff because I like it and I never think about if it’s good or not good. Some people they think like you’re still just stuck in one style so you’re gonna get better. You’re gonna kind of like be an expertise about that. How I see it is like every different style benefit another style. So probably you are thinking about your stylized stuff, and it’s like ah, what I like is realistic.

But if you are working in something stylized, when you jump to the realistic one, you’re gonna be better with shapes. You’re gonna have better read silhouette because you have that foundation from stylized. So the same for realistic, when you go to the stylized, you know where to add that detail because you are working on that on the realistic side. So for me, have a benefits to work in a different style.

Also like I do the 2D and 3D, right? So at one point, I was like I was doing 2D, I jumped to 3D and I was doing three 3D, 3D, 3D and I was like oh you know what, I wanna come back to 2D, I like 2D, but I feel so kind of like scared and kind of lazy because I know it’s gonna take a lot of time again, like I come back. So my surprise was when I come back to 2D, I was better because I guess I was bottling the ZBrush, I was getting that 3D view and working the anatomy, working on different shapes, stuff, so when I had to draw, it was easier for me to understand and was like wait a second, I learned a lot from that. So again, like a style or like the way you’re gonna work is gonna be like, you’re gonna have benefits from any side of those.

– Right, yeah. That’s interesting. There’s one thing I’ve noticed across all the artists I’ve been interviewing, is even the most obscure thing related to art or creativity can be helpful in other areas, yeah like watercolors, yeah, can be helpful for sculpting.

You wouldn’t think it would but somehow you’ll remember like oh there was that texture of the brush or something. – That’s awesome, yeah, seriously. 100% agree with that. So when people came to me like I only wanna do these, or when the people say like do you still do just this style because you wanna get the expertise or better on that, I’m like okay, I’m okay with that but it’s not what I think. I think you’re still jumping to whatever you like and you’re gonna get any benefit or you’re gonna improve for anything you’re doing with passion. – Yeah, yeah.

Do you think it’s also important to have a focus? Something that you’re, like say somebody, they go to clay or they’re interested in clay, watercolor, mosaic, but they can’t get a job. – That’s difficult.

I know that. I mean, like get focus when you are looking for a job is difficult. So my recommendation is like first try to work for your job stuff.

Like get the job and so if you have to work in your portfolio, 3D, (mumbles) or whatever, do that. Do that, finish it, try to find a work so at least you have that like down, like it’s done. And later you can enjoy your clay or you can enjoy another stuff. But if you’re jumping around and you’re stuck with that idea like you don’t have a job, you need to find a job, it’s gonna burn you.

Yeah, yeah, yeah for sure. I mean, that’s my kind of like recommendation. Like if you really want to get a job, or maybe not, if not it’s okay, do whatever you want and just finish what you do. But if that’s what you have in mind, yeah for sure.

– Yeah, you gotta meet what they’re looking for. – Yeah, I mean at the end, we live in a world where you need money to pay bills and stuff like that. So yeah, it’s hard, it’s beautiful, but I mean you have to do your stuff to– – Yeah, if you wanna get a job in this industry, yeah, there’s sacrifices I guess.

– But anyway, what I say too to other, like some people they kind of like frustrate themselves because they wanna get a job in a specific place or whatever, like enjoy any. I think you’ll learn from any place. Like it doesn’t matter if it’s to play studio, some mobile studio, you’re gonna learn from any place and it’s gonna be amazing stories over there, like badass stories I’m pretty sure, but you’re gonna get more expertise, you’re gonna get better.

So like enjoy any time, like any position or any job. Don’t feel like so frustrated like you have to take that. – Yeah, yeah, gotcha. Hmmm, it’s good advice I like it.

(laughs) Can you describe a time when someone on your team or somebody else has given you feedback on something that you didn’t notice or you couldn’t notice before and that you eventually changed? – I think for Xayah, when I was working on Xayah, I really want to have the white hair. So I was like a white-haired thing, I had my design, I love it.

– This is a character? – Yeah, it’s a character, it’s a character on League of Legends and I loved her with the white hair. It’s like, what, I love my favorite character, I love her. I remember, so was a paint over with the red hair and I was like the first day when I saw it it’s like, no, no, no, no, no, that red, pink hair, no, no, have to be white because it’s serious, have to be white. But like two days later I was like, it’s better. (laughs) Works better.

I went to Chris and say dude, like yeah, yeah, yeah, I really like it. I’m sorry, I don’t know, I was stuck on that white, but right now I believe it’s much better. Yeah, so that’s happened. Yeah, for sure, for sure. – Yeah, yeah, I’ve noticed that as well. Like sometimes you can get, in fact that’s probably the biggest problem with working by yourself, is that you get tunnel vision.

– Totally, I get that. Totally I know so. What I think like when we do stuff, we put our passion. So when we create something, it’s like a bit of our soul in there, so when something like taken away or it’s not there, you feel like I believe in that. (laughter drowns dialog) better. – Right, right.

Has there been any times when you’ve not wanted to listen to feedback? – No. – No? Okay. – Like always I think listen, at least listen to feedback.

I mean, we are talking about that word but that will be for everything. Like, if you are like in a forums or stuff like that, you are in a challenge, you’re doing something more or you put like a piece of artwork there, you always should listen to feedback just because you, I mean one thing is listen to feedback, one other thing is take the feedback and execute that feedback. So listen, you should always listen because you’re gonna learn. Like, we have different point of views so that’s amazing, see like with other eyes what they get from that.

And sometimes that feedback is really good. It’s something you didn’t see and it’s like okay, this gonna improve a lot my piece. But if you are rejected to listen to feedback, you’re gonna miss all those opportunities. So I mean, like you have 10 guys saying the same thing probably as a human, they’re gonna say like I know, I know, give me time, you know, whatever. But yeah, I encourage everyone to listen to feedback because we can’t, as ourself, we only have two eyes, we only have two hands, that brain, so we don’t know everything. Always people with fresh eyes, they give you some context.

Like it’s really nice. And also, I’m pretty sure it happened to you when you’re working on something, maybe you don’t finish, walk away, you come back on that scene like two days or in a week later, you see things different. – Yeah. – Oh really?

I was doing that, I think it’s wrong. So yeah, so imagine someone who is not working directly. – Yeah, yeah, it’s such a strange thing isn’t it? Like you mentioned, like a couple days later, come back and like what was I thinking?

(laughs) That’s so stupid. – And also something I love that’s happened at Riot, like I mean in our work environment, like you receive the feedback from different roles. So as a character artist, a concept artist, we care a lot about their silhouette, proportions or values, how work the character, but sometimes we don’t think about how it’s gonna move or how it’s gonna be, I don’t know, like everything, anything related to different disciplines. So when they came to you to give some feedback because they are thinking of their discipline, it’s something like it’s bringing more value to what you’re doing. It’s like oh okay, I didn’t think about that.

Or when they come with idea for a character from another discipline, it’s like they are bringing a point of view where you never were. So that’s cool too. – Can you think of any example when that happened?

– I remember like I was in India when I was working in, okay, I was working with an animator like Warwick was his name, so I should say hi. – Warwick? – Warwick, Warwick. – Warwig.

– Yeah, I remember this guy always bring me crazy ideas, like dude, I don’t know, like a little character with a step of her legs have their little hands, like completely he was thinking about the movement of the characters. We were doing this for fun, not work related and it was amazing because you know what dude, I never bring that kind of ideas. So he was all the time pushing for that, and that was awesome. Yeah I learned a lot from that. – What role was he?

– Animator. – Animator, ahhh. – Yeah, yeah, yeah. So that’s what I say, like as a character or concept artist, most of the stuff we care is like, as I say, silhouette, kind of like the character we are creating, values or stuff like that. But sometimes we miss like cool things, like another discipline can bring. – Right, right, gotcha.

I’m curious, can you think of any resources like online training or books that could help someone learn character design, like concept character design? – I mean, it’s exactly for character design? I don’t know. I’ve been, like most of my career, I’ve been like a self learn stuff. – Okay!

– Yeah, so because I think, like Internet, you have a lot of resources. Like YouTube channels like yours, so stuff like that. I remember I told you about the color theory. So I’ve seen that video, I learned from that video. Like a lot of different tutorials you can find on Internet. So it depends.

Like it’s sadly something I have in mind like really helped me out was I did that course with CGMA. – CDMA? – CGMA. – CGMA, okay. – You know that one?

So it was about the color and light, and I did that class with Tyson Murphy, he was my teacher. So because I really liked his stuff and the course was really nice about that color theory. I learned a lot. But other than that, I never done like a class or something like that. Like all the 3D stuff, I learned by myself on the 2D, yeah. So Internet is a lot of resources.

So right now for example, I follow a few Patreons too. Like Tay Carter, Taylor Carter, he’s one guy I follow. I really love his stuff. There’s another guy I don’t remember the name right now, he’s good too. – Ha, poor guy, doesn’t get the promotion.

– Oh, sorry, sorry. He’s really good. But anyway, like when I wanna learn something, like right now I’m doing color pencils. So I go to YouTube, I just color pencil and I start learning from there (crosstalk) yeah, yeah, anywhere.

– What was the name of that Patreon guy? – Taylor Carter. – Taylor Carter. Does he have tutorials as well, does he?

– Yeah, yeah, yeah, he has, like the Patreon. He does tutorials, stulff like that, it’s really nice. He used to work at Disney and he had like a really nice sense for color and light and like simplified stuff. So I really like his stuff. – Nice, okay.

We can put the link for that in the description. – Also, I can put the other one I don’t remember. (crosstalk) (laughs) So, so sorry.

(crosstalk) The name is not the easy to say. – Right, got those tricky names. Yeah, so I’m curious, we didn’t finish talking about your upbringing. So first of all, your accent, where are you from? – I’m from Spain. – Born and grew up there?

– Yeah, yeah, yeah.. I was there like living there for 26, 27 years, something like that. – Right, okay.

And you moved to America how many years ago? – No, first I moved to UK. So I was there in UK for like a couple of years, two, three years living there and recently moved to, well like a year and a half I moved here to America. – Right, and you moved like straight from UK to US. – Yeah, that’s it, that’s it. – That’s a lot of moving.

– Yeah, yeah, yeah. – Stressful, isn’t it? – Yeah, well it’s nice, yeah, yeah, yeah. What’s nice, I think it’s not as stressful at work. Probably the beginning yes, the first move to UK. But right now, with my wife and me, we’re already used to that so it was like an easy thing.

But for example, like this is another way, like move abroad is another thing like we did to get out of art slumps too. – Oh, for moving? Okay. – You know, like when I was living in Spain, I was working on Mercury Steam, Castlevania, we are like really happy over there but I was not feeling like like, I don’t know, like a feeling what I’m doing what I want to do, end up in one of the studios, so I wanted to improve my English.

And one of the ways was like I can go to school and study some English or I can move to another country and learn there, it’s like yeah, the hard way is my way. – Right, well that’s interesting. So yeah, tell me about your life in Spain. So you finished high school, what did you do after high school? – Ah well no, I didn’t finish high school.

No, no, no. As I said before, like I was not a great student so I quit the school when I had 16 or 17, something like that. To be honest, I quit and I was super lost. I didn’t know what to do. I was like no motivation, and I remember at that time, a friend of mine, he was doing, he was working on video editing, like a camera, yeah something like that, and I was like you know what, that’s cool, TV, I like it, so I start doing some like free classes that were there for people who doesn’t have like employment. So I was doing that and I remember at that point I met another guy who told me he’s gonna go to a school, an art school where they’re doing like dragons and stuff like that and that time I was playing World of Warcraft a lot and thanks to that, it’s like, thanks to that friend, like so my (mumbles) and also like my passion for the game, I was like, maybe I can draw for games.

And that’s why I started there. So I did that, it’s like a three years course. Like it was traditional animation.

– All right, okay. – Nothing related to video games but I don’t know, for me, when I opened the dossiers, like dragons, I don’t know, Viking, stuff like that, yeah, this is what I want to do. – Yeah, yeah. – So yeah, I did that. So the thing is like when I finished that school, most of my teachers, they were former students for that school.

So what that mean, they never get a job in the game industry or art, related to art. So that frustration, they give it to us. Like it’s really difficult to work in a game industry, just stop telling people they are gonna do it, so yeah, don’t try or things like that. So when I finished, I didn’t try. – Wow, because they took away your motivation.

– Well, it’s not about motivation. When someone is your teacher, he’s better than you, he knows more than you and say to you like it’s impossible, what do you expect? It’s like I believe them.

– So they actually said like you shouldn’t try? – Well, not that way, but in the way like it’s really difficult and just like the most talented guy is gonna get the job. – And you are not the most talented. (laughs) – Well, you get that, you get that, you get that.

So when I finished, I decided to don’t try. I worked in advertisement, web design and stuff like that for yeah, doing that stuff. – You did everything. – I was working on that for five years. So yeah, so I start kind of late in the game industry.

It was like my first job with 25, 26. – Really? – Yeah. – Your first? – Job in the game industry.

– Okay. – So before that, I was working in an advertisement and web design, and yeah, it’s really funny because I was working on that but after five years, I was feeling like this is not my passion. I feel it’s not what I like. The day I realized that is like I went, I had, at that point I was doing well, I had my clients, I was making my money so it was no reason to quit, to be honest.

I had like an appointment, sorry, like a meeting in a fancy hotel there in Madrid and the client was super fancy, they came with a suitcase, with everything, like it was really nice to talk about that bezel, I don’t know, for the company or whatever and it was summer and I was wearing like shorts and a World of Warcraft t-shirt and I wasn’t that fancy with those fancy people. Like, hmmm, I think this is not my place. I’m not enjoying in this. So when I went home, I decided to quit.

Yeah, I quit, I start over and it’s like you know what, I’m gonna work on my portfolio, I’m gonna do what I like to do, it’s the characters, game stuff like that. – So you knew that you wanted to do games? – Yeah, I wanted to do that. Yeah, well, yeah.

I was playing World of Warcraft so of course I wanted to– – Ah, so that was the motivation. – [Daniel] That was the motivation. – World of Warcraft. – [Daniel] Yeah, that was for me the motivation. – And that’s why you wanted to go to Blizzard. – Yeah, that was, that was.

So I always have a think, like imagine like working games, so imagine to work in this game. The game like suck my life. – How many hours did you have in World of Warcraft?

– Oh dude, I don’t know but like we are talking about hours or months? Yeah, yeah a lot, a lot them. Yeah I remember my dad, he came late from work every night and say good night to me and I was playing all the time. My dad was like, he’s playing this game all the time?

So one night he came to me and he asked me, like Dan you never gonna finish this game? And I was thinking like, wow my dad feels like I’m a loser, like I don’t finish games? No dad, you don’t understand, I’m playing with friends, this is online thing, this never end. Oh okay. – Woah.

What did you think when he said that? – I’m crazy, but it’s true. Well right now, they understand that.

My Dad say, you know the game I was playing like lately, because I was playing, like so this is the company, I explained to him all this stuff, like wow, this is amazing. – Right. – Yeah, yeah. – Wow, that’s interesting. Were you like drawing a lot at that time when you were working at the, I’m curious how you went from web design, which seems pretty far from concept art.

So yeah, like do you have a hobby for drawing characters at that time or… – Yeah, I think a few years I didn’t do anything at home. I was just like living my life and working and stuff like that. Little by little I realized like it’s not what I like, so I started drawing. I took few works like maybe more involved in draw instead of, in draw, in drawing something or something like that or for example at that point I was like a freelance thing to do, they didn’t pay that much but it was okay, it was like a book for childrens, like a tale. So stuff like that because I was happy doing that.

So I don’t know, I was drawing. Not constantly. – [Andrew] Consistently. – Yeah, consistently sorry. But yeah, like after I quit, it’s where like I closed the door of another room and never go out.

– Wow. Wow, so how long was it since you quit to when you got your first job in games? – So probably less than a year, something like that. – What was your training regime in that year? – At that time?

I don’t remember. I remember was a book about anatomy for comic artists or something like that. I draw a lot from there. I copy a lot, stuff like that. I don’t remember, like books or things like that.

Internet at the time was not like that thing like a library or whatever. So at that time I think I was drawing by myself a lot. But the thing is like this company, like it was a really small company, they just start, I met them because I was involved in a project with another guy, like I was helping them to draw Viking stuff like that.

So I made those guys that want to start a company, so they called me in to work in that company. So I was kind of like lucky movement too. The thing is like I work in that company maybe for a year or something and it’s when they fire me for that economic problems. So there was even more difficult, so there is like, well more difficult, I took that more seriously is when I start doing my portfolio, like working on those challenge.

So there, for example in my mind I was like okay, at that point, the best company in Spain, well I knew that I want to work Blizzard or whatever but it’s like I have to be realistic. I need to work here. So what is the best company here we have in Spain. At that point it was Mercury Steam because we were working with, they were working with Konami on Castlevania.

– [Andrew] Mercury what? – Mercury, Mercury Steam. – Oh okay, sure.

– So I was like okay, I’m gonna do a real focus to get a job there. So for it was like a seven month, I was like that was crazy, probably I slept every day like three, four hours. Yeah, no more than that. – For how long? – For seven months. – Dude!

– Yeah. I was crazy. – [Anrew] That was crazy. – It was really crazy at that point– – And you were just teaching yourself, learning at home? – Yeah, I was learning ZBrush, I was doing the character, stuff like that.

So preparing my reel– – How do you practice? Like some people could just work seven months and stay on, like I’m sure you’ve seen them, they sort of stay at the same level, they don’t really improve. How did you ensure that you were growing? – So for me, how works always like I take huge risk. Like a huge goal. So I don’t, it’s not like I’m gonna learn ZBrush and I’m gonna do, I’m gonna get the ball, I’m gonna stretch a ball, I’m gonna learn the different tools or I’m gonna do like a bust, I’m gonna do a gun.

No, I do a full character. I do a full character, I’m gonna finish the character, I’m gonna do the UVs, I’m gonna do the texture, I’m gonna put it in a render. I take the huge thing.

So finishing all this little project, I don’t think, well sorry. If you have in mind to do like a small project, like I said, like a gun or bus or whatever, you have to do a ton of them to get a level up. When you do one as serious like you say three months for a character and you work those three months to do something really good, when you’re finished is when you’re gonna have like the level up. Because the next one, you’re gonna take it and it’s like okay, you learn a lot from that long path.

But if you’re taking small pieces, at least for me how it works, like I never get something. Like I say, like I don’t know, like this is worth to learn. I have to take like a huge risk or like goal or something like that.

– Right. And did you try to produce many characters in that time? – No, no, no, focus on one. – Oh, so you just did one?

– No, no, no, I’m sorry. For those seven months? No, no, no. For that one I did four, four or five. Yeah, I think so, goes like that.

– Yeah, yeah. Here’s a question, how do you know when you receive feedback whether or not to listen to it? – I guess you mean like execute, not listen, because listen I guess– – Sure, execute.

Whether you should do what they say. – I mean if it’s something like really improve what you’re doing, like what you’ve done or something like that, of course. And you have to see it in the same way. Also, what I say like when I see those, most of the cases is when someone dropped me a paint over. When you see a paint over, I mean I’m an artist. If I read like how to improve like a piece of art, sometimes it’s difficult.

It’s like it should be this, should be that, it’s like yeah, but you don’t know, I don’t see that. But when someone like drop you like a paint over, it’s like oh damn, yeah, yeah for sure, for sure. – Then you can see it. – Yeah, yeah, yeah, yeah. So depends on the feedback. You can have feedback like maybe with just words, like someone said to you like in person.

Hey dude, I think this or whatever. It’s like yes. But come back to your questions, to the question, I think when you see like something is improving what you got is when you take an action for that. – Could you give an example? – Hmmm, I don’t know. Like for example always I get feedback from Mavi for example, Mavi work at Riot to simplify the silhouette and try to unify some of the shapes.

So when you see it, it’s like yeah, you’re right. But I’m still working, I’m still learning to get at that level, to see that, simplify shapes, and I’m getting much, much better since I joined. But still someone have to like say no, you can do this better and put it there.

And when you see, it’s like damn it, you’re right. – Yeah, so it depends on where you get the feedback from. – Yeah, it depends. I mean, it depends. Like sometimes, when you get some feedback from imagine like a narrative for how is the character or if you’re transmitting that with your sketches, ideas or not, like that of course coming from words doesn’t come in from a paint over, but you get those, it’s like make sense.

– That’s interesting, yeah. That makes sense. So you don’t have a degree? – No, no, no. So some people, I mean I like always to be really clear with that because I feel like it’s a different ways to get where you wanna be. So all my life I grow up like family or people around you like you have to do these to get that.

At the end it’s like don’t have to be like this. It’s different ways. Could be maybe harder or whatever, but it’s different ways.

– I’m curious, what are your thoughts on art school? – I mean depends where because here I went to Gnomon or I went to the San Francisco artists school too and they are amazing. I wish to had a chance to study here when I was in Spain at that time, like for me, like the most close to art stuff was like life drawing or like paint like fruit and vegetables. So there we didn’t have any culture about games.

So it’s not game industry or like a studio. I mean like classes for that or whatever. Probaby today it’s better.

I don’t think it’s like here, but at that point, like when I was there, like it was empty with that kind of thing. So for me never was an option. – What sort of things, like say somebody who’s watching this that just finished school and they’re curious whether or not they should go to art university or college, what advice would you give them? Like for making that decision? – Well, my advice is like first, like do whatever you wanna do. So if you think for you it’s better to go to the art school and do it and learn there and finish it, whatever, do it.

Like if I’m saying I didn’t do that, doesn’t mean that’s the way to get here. So that’s another experience. But if you are kind of like in my side where you are not good like a student or you don’t enjoy that, like don’t frustrate yourself. Work hard and you can get there too.

So doesn’t matter what you choose, you just do it with passion, with love and enjoy what you’re doing. And that’s my advice, just enjoy what you’re doing. Doesn’t matter, don’t think about. Most of the people, like in this world, like think in the steps they have to do to get in somewhere. Sometimes yeah, you have to be realistic, but I think you have to follow up yourself, believe in yourself, trust you and just go through.

It’s not like okay, because I meet this guy, he did this, this, this, this, I need to do the same. Don’t do that ever, that’s not my advice. Like feel free to choose your path and just be clear where you wanna get. – Mm-hmm, right.

Yeah, that’s something that I’ve learned talking to different artists. Like my advice previously before talking to everybody was like don’t go to university because it’s a waste of money. But after hearing from so many people who did go to university and they had a very good experience, and if anything, it was the reason that they were able to get a job, it sort of changed my perspective and it does, I think it very much depends on, for one, the sort of person that you are. And like you said, if you don’t do well in school and if you’re, I think that’s important as well, if you can learn yourself like on YouTube or reading books or something and you can do that, like not everyone can do that. – Yeah, also the most important, like some of those things, like art places, like art schools like here, they are really expensive.

So don’t think it’s the only way to just go through one of those schools to get a job. Like, if you can’t afford one of those schools, like go to YouTube, like learn online and learn from others and you’re gonna get the same level as those guys they go to the school. I think that’s cool. Always I look at them like when you are not, that how to say like it’s not mature but like what I’m trying to say when you are a guy who knows like you’re gonna sit in that desk for two hours, three hours and you’re gonna do it, you are like self-motivated and you are strong enough to do it, it’s like cool, nice.

But for those guys who are not that strong, like dude, this is impossible to me to sit in that desk and do something, go to a school is the best way for them because they’re gonna force themselves to go to that school, sit there and listen to the teacher. So they’re gonna get used to that workflow in a time. But some of them, they are super, I mean there are people who maybe they don’t have any resources, they are in countries where I don’t know, it’s not that easy to get anywhere.

So thanks to Internet or whatever, they can do whatever they want, yeah. So it’s more about you, how you wanna get it. And then your resources. – Mm-hmm, yeah, it really depends if you do choose the school route which school you sign up for.

Because I think there are a lot of scams out there. Like, they advertise as like, do you like video games? Then you can get a job in the video game industry, we teach you how. And I think they’re just scams. – I mean for me, if I have to choose or help to choose, like I try to check who are the teachers. So if the teachers are people who work in the industry or they have kind of experience, for me it’s good.

If they are people like in the school I went, like that thing, the teacher, they were like former students so what are you gonna learn? You’re not gonna learn anything. But for example I know like some people, one of the guys, like he was doing an internship at Riot, his teacher was Sam Neilson. And it’s like, dude, I wish my teacher was Sam Nielson.

So if you go to the school and Sam Nielson is your teacher, yeah, go for that school if you can for sure. Yeah, so check, check. Like double check who are there. And if you recognize some of the guys or you feel motivated for some of them, like this is a good option. – Yeah, yeah definitely. And also, check the students’ art, see what they’re producing.

Because some of it’s quite sad. – Well, the thing is like, I don’t know, like I think some of those art schools, they promote themselves with the student work. I don’t know, they have, imagine, like 200 students per year and just to show this stuff from two guys?

I’m gonna get the sense or what they’re doing? I don’t think so. – Yeah, exactly. – Like if you get 200 of anybody, the top 1% is always gonna be pretty good. Yeah, how do you see the other 99%? – I think it’s what I said before, like you need to just check like who is behind those classes, what they’re doing, because what you’re gonna do is, I mean you’re not gonna learn more because people around you is doing better or worse.

I think it’s how you’re gonna get it. Of course, like an environment where everyone is like going, learning a lot, going faster, you’re gonna go with them and you’re gonna be awesome. But the basic is the guy who is talking to you. That for me is the basic thing. If that guy motivates you and you trust him, you see him as a guy who you wanna be like him, yeah, that’s good enough to choose a place. So yeah, like the way I decided to, like I wanted to do games, like working in games, was because I was playing World of Warcraft you remember and a friend of mine gave me like a dossier for a school, art school.

So that art school was for three years and most of them was about traditional animation. I was doing animation for cartoons, stuff like that. But also I had like life drawing, color class and stuff like that. Some of 3D too. Like there I learned to model something, but it was really bad.

Like I remember like you have the concept like this, like you put the planes and start modeling, it’s like oh my gosh, I have to do this? I can’t, I can’t. – Poly modeling, right?

– Yeah, so I remember I hate 3D at that time. This is boring, this is so boring, I don’t like it at all. I think I came back to 3D when I met ZBrush. – Oh really? – Yeah, I remember like some friends, they were working with ZBrush and I was like, wait, wait, wait a second, this is like clay you can move around, blah, blah, blah? Yeah, yeah, yeah, look at that.

And I was like oh, so you don’t need again like this poly modeling with those planes there? Like, no, you can go free and do it. So that’s why I started. – Wow, yeah, seems like ZBrush was like a big changing point for the industry, right? – Yeah, yeah, yeah for sure. – On that note, I’m curious, like a lot of artists, actually a lot of people around the world are worried about automation or like AI taking the jobs of the future, right?

So I’m curious from your perspective, do you think there’s any let’s say smarter software that could make certain jobs or tasks in what you do redundant in say, five to 10 years? What you mean, like I want to get what you mean. Like something that’s gonna take what we do in like any program or? – Yeah, well like say there’s like I don’t know, retopology as an example, like ZBrush does like a ZRemesher, which is quite good. So some tasks like that. Is there anything that, yeah, like could you foresee any software taking away jobs from artists?

– I hope so. – Yeah? – Like, I said to everyone around me, you wanna be rich? Just like create a program who make the retopo for me. Like a good one, not like something, like ZRemesher is nice for proxy models or something like that, but never gonna be like the final one. So if someone create that, that could be awesome.

I hope so. People create like tools like the things I don’t like to do they do for me, all the technical stuff. But anyway, no joking about that, I’m pretty sure like in the future, like a new technologies they can, for example like I think it was a huge thing, like a scan, 3D scan? – 3D scanning, yeah. – Start using those, like it’s kind of like putting away like some character artist’s job. They are kind of like cleaning on top of that, they are like 3D scanning everything for that thing.

So yeah, I’m pretty sure, like I mean this is like both things so I’m pretty sure like in years, it’s gonna be like a new tools it’s gonna kind of like, no, it’s not gonna take us away but it’s gonna facilitate what we do. – [Andrew] Facilitate. – Yeah, facilitate what we do I’m pretty sure. But I guess like I’m ever like a creative stump, like a creative side. If you’re creating characters, you’re, I don’t know, like if you’re creating monster stuff, like monsters or I don’t know, whatever, always gonna come. I don’t think it’s gonna came from a program.

Program is gonna facilitate our workflow. – Or help you, yeah right. – But never it’s gonna do our job. I’m not sure. Maybe like in Matrix, maybe we can put a cable here and you can like I don’t know, print orc or something like that from your brain.

But I don’t know if it’s gonna be a future pretty close to us, I don’t know. – Yeah, any advice that you would give to a young 18-year-old out there that’s got the world ahead of them and they wanna work in this industry? – Hmmm, I think like my advice would be like enjoy what you’re doing.

Like don’t trust, don’t run to get something. Like just enjoy. Of course like you’re gonna prioritize. You’re gonna get your goals or whatever, but enjoy. So don’t frustrate too much yourself.

Like it’s a long journey and every day count to get better. So it’s not like something like this. Like that was my mistake.

Like I tried to rush, I tried to run, I tried like fuck, I’m gonna work a lot, I’m gonna learn this, I’m gonna learn that. Sometimes I didn’t in my life I didn’t enjoy what I was doing sometimes because I really want to get something, so that could be my advice for people. Like, they’re gonna get there, I’m pretty sure. Like no worries, it’s just about time. So enjoy and try to be smarter with the decision you’re taking, what you’re learning and stuff like that. But you’re gonna get there, you’re gonna get there.

I’m pretty sure, yeah. Some people they think they never gonna get, blah, blah, blah, it’s like you know, it’s a space for everyone, yeah, I’m pretty sure. – Fantastic. – Cool!

– All right, thank you. – Thank you man, bye.

The Top 10 Most Dominant League of Legends Rosters of All-Time

What’s up guys I’m Colin for theScore esports. Professional League of Legends has been around since mid 2010 and since then we’ve seen some incredible rosters rise and fall. Now the question is which of those squads reigns supreme in the history of League of Legends. It is a tough question to answer but one we here at theScore esports were up to taking on.

We took into account regional dominance, international performance and yes impact on a given era to come up with our list of the Top 10 Most Dominant League of Legends Rosters of All Time. Coming in at number 10 is a 2013 Cloud9 squad that burst onto the North American LCS scene and changed the way that that that region played League of Legends. Balls, Meteos, Hai, Sneaky and LemonNation dominated their first LCS split, fielding a 25-3 record en route to an LCS title. (Casting) After that impressive first split, this lineup went on to win another NA LCS title in the 2014 spring split as well as back-to-back Worlds berths in 2013 and 2014.

At number nine we have Fnatic’s dominant 2015 roster that saw the likes of Huni, Reignover, Febiven, Rekkles and YellowStar make history as the only European team to go undefeated for an entire regular season. (Casting) (Casting) (Casting) (Casting) (Casting) Many have called this team the best roster the west has ever produced. Their perfect 18-0 record throughout the 2015 summer split translated into yet another EU LCS championship.

and the team would then go on to become one of the first Western rosters to ever finish in the Top 4 at Worlds. At number eight are the reigning world champions, Samsung Galaxy. Samsung may have not been heralded as the best Korean roster heading into Worlds 2017 but that’s what made their victory so special. Cuvee, Ambition, Crown, Ruler and CoreJJ surprised the entire world by doing something that had never been done beating Faker in a Worlds finals. (Casting) The team not only beat SK Telecom in the finals, but swept the series in three consecutive games, cementing their place in history. Our number seven team is the 2015 edition of China’s Edward Gaming.

This veteran squad consisted of Koro1, Clearlove, PawN, Deft and Meiko and became the first non-Korean team to win a major international event in the LCS era when they defeated SKT in the finals of MSI in 2015. (Casting) Their MSI victory aside, this roster dominated the LPL, winning back-to-back LPL splits. Coming in at number 6 is Korean powerhouse Kingzone DragonX. In 2018, the roster consisting of Khan, Peanut, Bdd, Pray and GorillA put up a whopping 16-2 record in the LCK and continued that momentum into the playoffs en route to an LCK title. (Casting) (Casting) During that season, members of Kingzone made up 4 of the top 10 KDA rankings in the region. This roster is the consensus best team on the planet right now, and they are the odds on favorite to take home this year’s MSI title.

Before the LCS was formed, competitive League of Legends was very different and nobody embodied this unique style more than Moscow 5. In an era where everyone was trying to stall out the game, Darien, Diamondprox, Alex Ich, Genja and GosuPepper ran right down their enemies’ throats and closed out games in under 30 minutes “And this was their era, this was when they had the most vitality and the most force the most impact. on the game. And they were the best team in the world. They were dominating.

Like when I first saw them at those first IEMs. They were getting wins in 20 minutes. Even against the best teams in the world. They were making teams just look embarrassing. (Casting) (Casting) (Casting) (Casting) (Casting) (Casting) (Casting) (Casting) (Casting) During their reign of terror in 2012, they won the IEM season 6 world championship and IEM Kiev in addition to 11 other tournaments. At number four we’ve got the 2016 edition of the ROX Tigers.

Sure, Smeb, Peanut, Kuro, Pray and GorillA ultimately played second fiddle to SKT, but the Tigers put up some of the most impressive results we’ve ever seen. ROX were finished first overall even above SKT in both the 2016 spring and summer split regular seasons, bringing home the LCK title in Summer. (Casting) (Casting) (Casting) (Casting) (Casting) Despite the fact that they were never able to win a major international title Pray, GorillA and company deserve to be considered among the game’s best. At number three we’ve got SK Telecom T1K, and let’s be honest you knew it was coming.

In 2013 SKT won the Season 3 World Championship with Faker in the mid lane, Impact in the top lane, Bengi in the Jungle, Piglet at ADC and PoohManDu at Support. They beat the KT Rolster Bullets to bring home the Korean regional title and then set their eyes on the World Championship. (Casting) Their Worlds victory and 15-3 combined record at the event was truly a turning point in pro League that led to the era of SKT dominance we know so well today. At number two we have the team that put up the most convincing world championship performance the game has ever seen Samsung White.

Looper, Dandy, PawN, Imp and Mata made up one of the strongest lineups in the game’s history and they battled hard with Samsung Blue during championship summer 2014 in Korea but ultimately finished 3rd. But, when it came to Worlds they were able to settle into the patch and their hyper aggressive play and incredible vision control made them unstoppable on the game’s biggest stage. “They come into the series as the heavy favourites. And we’ve seen them absolutely dominate the competition throughout Worlds.” “And to say that Samsung White has been dominant is absolutely an understatement.” “They’ve taken out the number one Chinese, North American, and Korean seeds throughout this entire tournament only dropping a single game.”

(Casting) (Casting) (Casting) (Casting) (Casting) Coming in at number one is the best of all of SKT’s dominant lineups. The core of Faker, Wolf, Bang, Bengi have collected the most impressive body of work in the history of League of Legends. This team won the World Championship in 2015 with MaRin in the top lane, as well as both the spring and summer LCK playoffs that year. That same core was able to do it all again in 2016 with the addition of Duke over MaRin in the top lane and Blank as a secondary jungler.

(Casting) The organization was unstoppable and set the bar for what it means to dominate. Okay guys, that’s out list. Now if your favourite League of Legends roster did not make the cut. Feel free to make your case in the comments below, and I will see you next week. Thanks for watching.

If you want more great content just like this, be sure to hit the subscribe button.

How Much Money Does Riot Make On a New Skin? (League of Legends)

What’s up guys it’s me Jeremy. Throughout the last few decades, if you think about it, more console games have featured luck-based minigames and wagering, but the difference between computer games and casino games has never been so far apart. By incorporating real virtual casinos as Jackpot City Casino, that you can find following the link ,inside the gaming world, certain games take this much further, or make casino games more useful. Moreover, there are a lot of betting provides that accepts game bets. One of the games that is included in the betting range is Riot.

In 2016, Riot Games released a total of 74 new skins, not including chroma packs, for League of Legends. Riot also released their earnings for the year of 2016 where they showed a revenue of just about $1.8 Billion Dollars. That’s a lot of skins! Now of course, a lot of that revenue comes from things other than skins, but there’s no denying, Riot sells a lot of skins, and they certainly release quite a lot of skins as well to keep up with the demand for new content.

Now, although Riot doesn’t share more in depth statistics for their sales and things like that, there are a few past events we can draw information from. Starting with some information from a while back, In 2011 Riot held a charity event for the Japan Earthquake and Tsunami fund, where they ran a promotion with the Red Cross to donate 100% of the profit from Nurse Akali to the charity. And it was later announced that they had raised over $160,000 dollars and sold over 50,000 copies of the skin.

This brings them out to an average profit of $3.2 per skin sold, however it’s likely that the margin would increase if they sold a lot more copies, since the production costs of a skin remain the same whether you sell 1 copy or 1 million copies of it. (Source: In 2012, Riot had another charity event involved with Make a Wish, where they sold the Jaximus skin at 50% off and donated 100% of the revenue to charity for the duration of the event and sale, which lasted for a total of two weeks. It was later announced that they had raised $480,000 for charity during this event.

(Source: Now, those numbers are of course a small fraction of what things are like today. Back in 2011 and 2012 league of legends was a much smaller game. But there’s even more information and more recent statistics to go off of. In October of 2016, it was announced that a little over $3 million would be added to the worlds prize pool, as a result of 25% of the revenue from Championship Zed and the Championship Ward skin. This means the total revenue for those two was around $12 million.

However, we can’t really say how much of that was the skin and how much was the ward. Although ward skins might be cheaper, there is a larger appeal since a zed skin is only something zed players would want, while the ward is something potentially anyone could purchase. (Source: Riot also announced that if had they done this type of promotion for the Worlds prize pool in 2015, Championship Kalista would have and I quote “More than doubled the prize pool”. Which means that with the prize pool of $2.13 Million, Champion Kalista made at least $8.5 Million, likely a bit more since they said it was more than double, not just double.

(Source: Now of course, how much a skin sells depends quite a lot on a ton of factors, including but not limited to the popularity of the champion, the price of the skin, the promotion and marketing material behind the release, as well as the quality of the skin itself. In the case of skins like Championship Kalista and Championship Zed, the skins are only on sale for a short period of time, and then are taken down from the store. And although that may cause a lot of hype and sales for the duration those two weeks, the skins that remain on the store forever slowly accumulate sales here and there, and likely surpass any temporary promotions. The championship skins were both 975 RP, but based on the statistics provided, the most accurate estimate, is that they made around $10 million or so each. Not too bad for a 975 rp skin!

As for the more expensive ones, it’s a tough call since you can’t be sure how many copies of a more expensive skin they might sell relative to the cheaper ones. And going back to the overall revenue numbers, if we consider the average of $10 million per skin, 74 new skins a year, that’s $740 million, and with a revenue of 1.8 Billion that does start to seem like a realistic estimate. Add in a ton for champions, as well as a bit for some of the older skins, and bits and pieces here and there for things like summoner icons, ward skins, and name changes, and $10 Million of revenue per skin is looking to be pretty accurate.

Perhaps it’s a bit of an overestimate, but it’s tough to generalize since obviously each skin individually is going to make drastically different amounts of revenue compared to one another. Considering that the skin department is actually relatively small compared to other departments at Riot Games, it’s quite interesting to see how successful skins really can be, and one things for sure, is that we can count on Riot Games to release more skins in the future. So thanks for watching! All of the information used to put this video together can be found at links in the description, so check em out if you want, but anyway that’s going to be it, so I’ll see you guys next time.

Why you shouldn't judge League of Legends pros based only on their KDA

KDA ratio is the best-known and most widely-used statistic in League of Legends. But while it shows us how many fights a player wins, it isn’t a good enough stat to stand alone. That’s because KDA is heavily influenced by deaths, but dying isn’t always bad.

To accurately gauge player performance, we need to use stats properly, and that means making sure we’re measuring the right things, with the right context. Let’s dig in with an example: here are the KDA ratios of three NA LCS mid laners, following Week 8 of the 2017 Spring Split. Based solely on these numbers, Bjergsen has been the strongest performer by far, while Froggen has been a little above average and Hai is way out of the running. But this isn’t the whole story, and we’ll show you why. It’s time to expand our horizons with some core stats that every aspiring League analyst should have in their arsenal.

First up, here are some more nuanced measurements around kills and deaths. Kill participation, or KP, is calculated as a player’s kills plus assists, divided by the team’s total kills. Death share works the same way, but with… deaths. KP tells us how much a player contributes to their team’s fights, while death share tells us how well the player balances their involvement with survivability. Quick note: when comparing between players, remember that a higher KP isn’t always better, and a higher death share isn’t always worse. For example, some teams play a more spread-out style that leads to lower KPs across the board, and some deaths are more worthwhile than others.

KP and death share are useful stats for all roles, but KP is especially meaningful for measuring the impact of mobile playmaking roles like jungle and support, while death share is most telling for mid and AD carry positioning, as they’re often priority targets in fights. Here are the kill participations and death shares for our sample mid laners. Although Bjergsen has the highest KDA in this group, Froggen actually leads in KP and death share, showing just how crucial he has been to Echo Fox’s success. Hai has the highest KP on FlyQuest, but his death share is ugly.

This tells us two things: first, he takes too many risks trying to create plays for his team, and second, he’s often targeted by his team’s opponents. It would be great if Hai could tighten up his play and keep his death share under twenty percent while still leading his team in kill participation. Next up are two common resource metrics. Creep score per minute is a player’s last hits on minions or neutral monsters, divided by game length.

Gold share is a player’s earned gold divided by the entire team’s earned gold, after removing starting gold and inherent gold generation. These stats help us understand a player’s role on their team: higher resource numbers should raise our expectations for fight involvement and damage output, while lower resource numbers suggest a more supportive role. Bear in mind that CS per minute and gold share are affected by both a team’s willingness to funnel resources into a player and by the player’s ability to generate resources for themselves. Resources are both distributed and contributed, so context is key. Here we again see Hai trailing the others, picking up far less farm than Froggen or Bjergsen.

Froggen has a larger gold share than Bjergsen, and Hai has the same gold share despite a much lower CSPM. That suggests either that they’re both out-earning their teammates in kill gold, or that their teammates are worse than Bjergsen’s at farming. Hai leads FlyQuest in both kills and farm, so while we can’t necessarily praise him because his numbers are still lower than the average, we can say that his teammates are letting him down in the side lanes. As for Froggen, these numbers confirm just how heavy a load he’s carrying: his ADC has the lowest CS per minute in the league at his position, and his top laner is second-to-last. Compared to Bjergsen, both Hai and Froggen play more central roles for their team, so we should evaluate them with that in mind. Now we hit the really fun stuff: damage to champions.

Everyone wants to know how hard their favorite player is carrying, but be extra careful: damage stats are the most context-heavy numbers in League of Legends. Damage is very heavily influenced by champion choice and game length: poke champions like Corki, Jayce, and Varus will always produce high damage totals, and the longer a game goes, the more the per-minute numbers will get inflated as they level up and buy bigger items. When possible, it’s best to look at damage per minute, or DPM, and damage share together. For example, a high DPM with low damage share means the whole team’s DPMs are probably inflated by game length and frequent fighting.

Damage stats are most useful in determining the impact of carry roles like Mid and ADC, who are often the main damage dealers. Before we read into the numbers for our mid laners, let’s identify potential champion biases: Hai has played ten games on poke champions, while Froggen and Bjergsen have each put in six. We should expect to see a little bit of inflation on Hai’s damage output. Sure enough, look at Hai’s numbers: they’re way up there! In fact, Hai and Froggen have the two highest DPM marks in the entire NA LCS. Hai is definitely carrying his team, and he’s doing it with less gold in his pockets than Froggen, even if his champion pool is boosting his numbers a little.

You may be surprised to see how much lower Bjergsen’s damage numbers are, even though he’s played just as many poke champions as Froggen and gets more farm. Bjergsen gets a little leeway because his team fights less often than Froggen’s, but it’s fair to say that Froggen is generating more value from his gold than Bjergsen, as far as damage goes. Time to put it all together: we started with a clear tier list based on KDA ratio, with Bjergsen leading and Hai way behind. Kill participation and death share brought Froggen closer to Bjergsen’s level.

Some resource numbers helped us understand how central Hai and Froggen are to their teams’ success. Finally, we looked at damage output, where Froggen and Hai both came out looking pretty good. Based on all of these stats, Froggen actually looks like one of the best performing mid laners in North America, while Hai is providing a lot more value than his basement-tier KDA might suggest. The journey doesn’t end here. There are more stats to consider, from laning to warding.

And of course, we need to watch the games closely to understand where the numbers are coming from. But armed with this information, we can have a better idea of what to look for: Why does Hai die so often? Why does Froggen get so much of his team’s gold?

Why are Bjergsen’s damage numbers so low? Better focus makes for better analysis.

Video Game Songs

– Hey guys, Sabrina here, React Channel producer. We’re excited to bring you this episode of Guess That with the help of our friends over at Kingdom Hearts. If you clicked on this video, you probably already know it’s the story of light and friendship overcoming the power of darkness through beloved Disney storylines and your favorite Disney characters.

You may also know that we here at FBE are mega fans of this game and we’re not just saying that. We actually cheered at a company meeting when we heard we would be working with Kingdom Hearts. We love it because this game lets you fully immerse yourself into the movies we already know and love so much.

If you haven’t seen this game yet, you need to check it out after you watch this episode, of course. The production quality is as stunning as a Disney or Pixar movie itself. Thank you so much to Kingdom Hearts for supporting us and this episode.

Give them that FBE Fam support right back by clicking the link in the description and checking them out. Enjoy this episode. Bye, guys. ♪ (upbeat intro) ♪ – ♪ (8-bit jingle) ♪ – (FBE) So, everyone in this episode has something in common.

– Okay. Devilishly handsome good looks. – A role? I mean, we’re both editors. – Jordan is wearing the same watch as me.

– Sid is wearing the same watch as me. – (FBE) You’re all self identified gamers and today, we’re playing a Guess That video game song challenge. – Ooh, okay. – Okay.

– We’re both really competitive, so this is gonna be a lot. – I probably play more video games than he does. – Yes, I would say she definitely plays more video games than me.

– I play mostly like platformer type stuff. I don’t really like shooter games. – I just kinda play whatever big triple A titles are coming out.

I don’t seek indie games. – I started getting into gaming here as a PA. I’ve been all about Super Mario Odyssey and Spider-Man came out.

I finished the whole thing. It was so great. – (FBE) So, we’ll play you one second at a time until fifteen seconds to see if you can guess it. If you guess wrong at any point, your opponent gets a chance to answer.

Now, you each only have two chances to guess each song, so don’t mess up. No pressure. – Oh, shoot. – Okay. That’s higher stakes, I think.

– I like it. I think it makes it more competitive. – He’s my manager, so if I beat him, then I might be in trouble. – (FBE) Here we go.

Here’s the first second of your first video game song. – ♪ (8-bit music) ♪ – Hm. – Could be anything. – It’s not one of the instantly recognizable ones like Zelda or Mario. – ♪ (8-bit music) ♪ – Very techy. Oh boy.

– We’re so screwed. – Doom? – (buzzer) – Undertale.

Yes. – I actually knew that. – I love Undertale.

Sans is my favorite. – That is from Undertale. That’s Megalovania. – See, she’s gonna totally wipe the floor with me. I played Undertale, about half the game.

– Oh, ♪ doo doo doo doo doo doo doo doo ♪ It’s Undertale and I’ve never played the game, but I know it from memes. – Your meme knowledge came through. – I know. Thankfully, being on the internet every day is helping me out. – ♪ (8-bit music) ♪ – Yep, sounds good.

Sounds like a fun game. – There’s gonna be some drop and then it’s gonna be like, that’s the theme that I recognize. – It’s a genre of game that I know, but I just wanna make sure. This two guess rule is intense. – ♪ (8-bit music) ♪ – Do it.

– Is it Doom? – (buzzer) – I thought I was gonna be better at this. – Street Fighter? – (buzzer) – Castlevania? – (buzzer) – I’m gonna just throw a Mass Effect. – (buzzer) – Oh, I’m out of this round.

I have to wait until she guesses. – Oh, that’s right. Oh, it seems the power is Niomi’s hands. – ♪ (intense music) ♪ – I like it. – I do, too. – Mega Man?

– (buzzer) – That was one of my guesses, too. – Yeah. – More time before I sink myself.

– Is it Metroid? – (buzzer) – Ah, [bleep]. – (FBE) So Niomi, you’re out now.

– Well, that’s fantastic. – I’m gonna throw out a guess. Mortal Kombat. – (buzzer) – I was gonna say F-Zero.

– (buzzer) – Ah, that’s a good one. – (FBE) Skipping to fifteen seconds. – ♪ (intense music) ♪ – More of the same. – Just more of the same. – It’s very wrong. Sonic the Hedgehog.

– (buzzer) – Fast paced, upbeat. – Mega Man. – (buzzer) – Ooh. – That was a good one. – I really don’t know. – I’m gonna go way out of left field and say Dance Dance Revolution.

– (buzzer) – (FBE) This was Undertale. – Oh. – I bought this game a couple days ago. I have not played it yet. – I’m not a big fan of Undertale, so I don’t know it well enough to even be able to begin to guess that game. – (FBE) Let’s play your next video game song.

– ♪ (acoustic guitar) ♪ – A fantasy game. – Definitely newer. – One second is hard. – ♪ (acoustic guitar) ♪ – Dope.

That was so melodic. Oh my gosh. Can we go to two seconds? – Yeah, I’m down for that. – Zelda?

– (buzzer) – Was it Skyrim? – (buzzer) – I will throw out my one random guess. Is it the Legend of Zelda Breath of the Wild? – (buzzer) – I got nothing.

I’m gonna save my guesses. – Oh. – Red Dead Redemption.

– Nice. – Oh. – I’m gonna make a wild guess. – Okay.

You can go for it. – Red Dead Redemption. – I think… – Yes! – I just started playing that game. – I recently starting playing it as well, very recently.

I didn’t really recognize it, but I just thought, “Okay, this feels like Red Dead Redemption.” – (FBE) Here’s five seconds. – ♪ (acoustic guitar) ♪ ♪ S– ♪ – It’s spoken. – There’s a man in there. Give me a little more time, but I think I have a guess. – ♪ (acoustic guitar) ♪ – Is this Last of Us?

– (buzzer) – My brain’s like, “Is this an old game or a new game?” – Maybe not brand new, but it sounds like a new game. – Gonna use my last guess. Is it the Last of Us? – (buzzer) – Damn it. All right, well A-dubs.

It’s up to you now. – I’ll throw mine out there. Is it Red Dead Redemption? – What? – I have never played that. – I’ll throw out a random one.

I’ll say Red Dead Redemption. – Ah. – Yes. – We got one. – Thank you.

– Now I’m just rooting for us to get any. – Yeah. – At this point. – ♪ Stand in front of a runaway train ♪ – Was that Last of Us? – (buzzer) – I just said that. – Oh, you said Last of Us.

[Bleep]. I was like, I just blanked completely. – Was this in Red Dead? Yes.

– Damn it. – He’s very mad. He loves this game.

We both do. – I listened to the music from it, just not that much. – (FBE) So, this was from Red Dead Redemption.

– Red Dead Redemption. – It’s from Red Dead Redemption. – Mother [bleep]. – Oh my God. – If we throw in some Mario, I think… – I was about to say, I love Nintendo, so if there’s anything Nintendo in there, that could get me. – (FBE) Here we go.

Here’s your third song. – ♪ (orchestral music) ♪ – I think I actually kind of have a little bit of an idea, but I’m not gonna guess yet. I’m gonna save it.

– Okay. – I don’t know yet. – ♪ (orchestral music) ♪ – This is tough. – I don’t like this game. It’s making me angry. – Is it Mario?

– No. – Amazing Spider-Man? – (buzzer) – That’s one guess. I can see why. – Right? It’s just like the, ♪ Bam bam bam bam ♪ Oh my God, wait.

I know what it is! I know what it is now! – Damn it. – This is from Smash Bros. – (FBE) Which one? – No? Oh, which one?

– Oh. – Do you know? – Yes.

That’s from Smash Ultimate. – Super Smash Brothers Ultimate. Yes!

We play that game a lot in this office. – That is Super Smash Brothers Ultimate. We’ve only been playing it in the break room three times a day. – But you always skip through the menu screen right away. – ♪ (orchestral music) ♪ – Super Smash Bros. – (FBE) Which one?

– Super Smash Bros Ultimate. Yeah! – No.

I knew it was a Smash Brothers song on the first second, but I didn’t know which game. – ♪ (orchestral music) ♪ – Super smash? – (FBE) Can you be more specific? – Super Smash Brothers Ultimate? Did I get it? Oh my God, I got it!

– Super Smash Bros Ultimate. As soon as I was like, “Wait, I’m singing the whole song in my head.” Then I got it. – I was gonna guess the same thing. – Andrea called in sick two days straight and spent the whole time playing Smash Brothers.

– It’s true. I unlocked all the characters in the two days that I was sitting in bed. – So therefore, as her manager, I was okay with it because it meant that I got to play all the characters when she brought her Switch and then finally returned to work. – (FBE) Here is your next video game song.

– ♪ (ominous choir) ♪ – Whoa. That’s God of War? – (buzzer) – No, damn it. – Halo. – (buzzer) – Okay, we both have one guess.

– ♪ (ominous choir) ♪ – God of War? – (buzzer) – That sounds like another big title. – Yeah. – That’s something big and epic, but I don’t have anything yet. – The Legend of Zelda Breath of the Wild? – (buzzer) – I’m just gonna guess one.

I don’t think it’s it, but it has a lot of the, ♪ Oh ♪ Is it Halo? – (buzzer) – Ah [bleep]. – Skyrim. Every time you boot it up you hear that ♪ dum dum ♪ – I knew it too. – Skyrim?

– No. – Did you whack my hand? – You just elevated this game. – That instantly Skyrim. As soon as you hear that deep singing, instantly. – Try it.

– ♪ Oh ♪ – ♪ (ominous choir) ♪ – God of War. – (buzzer) – I’m all out of guesses. – Oh God, it’s all onto me.

Skyrim? – No, it is. You’re so right.

– Oh my God. – Is it? – That game was huge in high school. Everyone played. – ♪ (ominous choir) ♪ – Oh, oh, oh.

Is it? Skyrim? Yeah, all right. I got it. – You saying Skyrim, I was like… – Whoo.

– I’m just gonna throw a guess out. Is it the Elder Scrolls: Skyrim? – No, that wasn’t what I was thinking. That’s not what I was thinking at all. I was gonna go Halo. – (FBE) For our last song, we’re gonna have you wager.

– Oh. – No. – (FBE) So, if you get it right, you get that many points added to your score, but if you get it wrong, you will lose that many points from your score. – Oh my God. I’m going all in. – Yeah, wanna do it?

– Yeah. – Let’s do it. – One, one.

– One, one. Both wagering one. – I’ll wager just one point. – I’m gonna go big or go home and do three.

– Well, make it interesting, Andrea. I can’t wager anything. – I’m gonna wager two points. – I have nothing to lose. – Can I just wager one?

– I’m wagering three points. – I’m wagering– – All of it. – Zero points. – (FBE) Here we go. Here’s the first second of your last song.

– ♪ (orchestral music) ♪ – Oh no. Oh, it was so small. – My own Jeopardy and I know nothing. – I think I might need another second. – Definitely. – ♪ (orchestral music) ♪ – Oh no.

It’s still there. Okay, more time. – God of War?

– (buzzer) – Dang it. – That one is Spider-Man. – Fun. I’m feeling pretty mad.

I’m upset. – It’s tough. Sorry, Spider-Man. – Ooh, nice.

– Sorry, I just beat that game, so I was playing, I was like, “Oh, that’s the entire intro song. I know that.” Yeah! – Congrats. – Thank you, seriously. It was not easy.

– I don’t know what it is. – I know what it is, actually. – You do?

I mean, go for it. – It’s Spider-Man for the PS4. – I’m so proud of myself.

– At least I got one even though my score says zero. – You technically– – I still technically got one right. – ♪ (orchestral music) ♪ – Spider-Man. It’s another game he loves. He’s so mad. – ♪ (orchestral music) ♪ – Spider-Man.

– Oh, nice. – Here we go. – That was very good. – That’s a first challenge win right there.

I’ll take it. – Was it Spider-Man? Oh my God! – Are you serious?

You know something? I’m very happy with the way this ended because now I haven’t lost Nicole. – You would never.

– I lost my dignity during this game as it was. – I really just destroyed his hopes and dreams and that feels good. – It’s true.

I had a little bit of hope left there in the end and he made sure he… – Thanks for watching Guess That Video Game Song on the React Channel. – Subscribe, we have new shows every single day. – How well did you guys do in this challenge? Let us know in the comments. – Bye, guys. – Hey guys, I’m Katie, a React Channel producer.

Thank you so much from all of us in the staff for watching this week’s episode of Staff Reacts. Be sure to follow us here on the React Channel, FBE, and FBE2 for over 20 videos a week from all of us. Bye, guys.

iMac – Can It Play Games Well?

Hey, how’s it going? Dave 2d here. So, this is the 2017 27-inch iMac and this is their fully spec’d out one. It’s got the 7700K and the Radeon Pro 580 and if you purchased this from Apple from their website, it would be closing it at $5,300 which is disgusting.

Now I purchased the 8 gig model and I added my own RAM to get up to 64. So if you purchase a 27-inch iMac I highly recommend you do the same, because Apple charges crazy amounts of money for their RAM. Now, just a quick hardware overview. This year, the 5k display has been improved a little bit. It’s supposed to get 40 percent brighter, you can notice it in a really bright room, but it is measurable with the Spider. The drive speeds are faster this generation, particularly the write speeds.

Now, this is the two terabyte model, I’m not sure if the smaller drives are slower. Now, in terms of the ports we get 4 USB-A and a couple of USB-C that support Thunderbolt 3. It is just a wider spread of ports than the previous generation.

With a Thunderbolt 3 port external GPU connections work really well in Windows. I tried both the Razer Core and the Bizon Box 3, those connect without a hitch, but in Mac OS I’m still getting hiccups. Now, I don’t know if I just need a newer version of Mac OS, so High Sierra is supposed to support external GPUs a lot better.

So I’ll probably revisit that in the near future. The dedicated GPUs this year are the Radeon Pro 500 series. And the one in here is the Radeon Pro 580, which is based on the RX580. It’s not the most powerful GPU in the world, I mean on paper it’s not too bad, it looks like it’s between a GTX 1060 and a 1070, but that’s what I want to do: test the hardware to see what it could do for games and video editing.

So first I played some games on Mac OS and the performance is better than I thought it would be. Apple claims that you can get up to 50% better frame rates compared to the previous generation and playing some Blizzard games I’m actually getting around 40% better, so that’s not bad. Now Blizzard is a developer that put a ton of effort into the Mac content, but overall pretty impressed with the gameplay.

Now playing some Steam games, I don’t have anything super demanding in my Steam library for Mac OS, but for the curious here’s some data when running at 1440p. Now if I play at 5k resolution, as expected, framerates get choppy, but let’s be real here. Macs aren’t meant for 5k gaming and at 1440p at this screen size games look really good. Running Bootcamp Windows, the Radeon Pro 580 actually gets to show off a little bit more, the biggest difference that you can play Overwatch in Windows. You still can’t play anything in 5k but… whatever.

Some games have scaling issues because it’s not a standard 16×9 screen. You get some black bars at the top and bottom, nothing too bad and in general this card does well for gaming and bootcamp. Very comfortable performance in 1440p for moderately demanding games. Heavier games and also poorly optimized games, you’ll have to drop quality or run at 1080p. But if you want to play games on the Radeon Pro 580, you’re good to go. Now I tried to connect my Vibe to test out VR games, but I couldn’t get it to connect.

I’m not sure if it needs drivers from HTC or if I need to get High Sierra running up on this, but yeah I’ll have to revisit that in the future. Right now, can’t get it to connect. Ok, video editing in Adobe Premiere Pro. Now, this is where I found the most surprising results.

The previous top end iMac with the M395X was never great in Premiere, but these new Radeon Pro GPUs, they’re pretty good. The 580 keeps up with the GTX 1060 for 4k footage and for 5k footage from the Scarlet W, it’s actually a little bit faster. And i tested this a couple times. Now, let’s keep in mind this machine is stupidly expensive.

I mean you could build a PC with a 7700K and a GTX 1060 for like $800-$900, it wouldn’t have this amazing 5k panel, but it would be a lot cheaper. It’s hard to compare the two because of this panel. The takeaway is this: the Radeon pro 580 in here is a better card than I thought it would be, it’s an Apple iMac and if you build it like this configuration, it’s idiotic. You’re still overpaying through the nose.

If you build a more reasonable configuration, I think for like 2,500 bucks, you can get something that still has this great card and has good components. That’s a better value. It’s still an Apple, it’s still an iMac, you’re overpaying, but it’s a better value than Apple iMacs have been in the past.

How Much Do League of Legends Pros Make?

The first and most important thing we need to say is that pros can make hugely different amounts of money. It all depends on the individual, their performance and other value metrics like popularity.

It’s totally possible that some pros make less than 6 figures while others are earning millions, so you can treat this as a bit of a disclaimer that not every pro will match up perfectly with our estimates. We’re really gonna focus on the different methods that pros use to make money, then we’ll shift the perspective a bit and look at how the more popular pro players increase that amount to reach the real high-tier salaries. The first and most important revenue stream we want to talk about is team-based salary, which makes up the majority of a pro player’s income. This is also where you’ll find the most variance, since this amount is based on a contract, and there’s a few different things that come into play when it comes to figuring out how expensive that contract is going to be for the organisation. The obvious factors are things like that player’s skill level or how popular they are with the League community, but location plays a huge part too.

Different regions offer different salaries, and organisations will often pay a higher sum to incentivize players to move to a different region. For example, Korean player Impact was apparently offered a place on the SKT T1 Roster, but rejected it to sign with Team Liquid for approximately $1 million dollars a year according to the ESPN eSports podcast between Rachel Gu and Jacob Wolf. This is of course a super high-tier salary and definitely way above the average, but it definitely goes to show how much higher a salary can be offered to encourage players to stay in one particular region over the other. The highest salaries in the world are typically found in China. The same podcast that we heard the rumors about Impact’s salary also claimed that Looper, the South Korean Top Laner for Royal Never Give Up, was earning $750,000 last year on this website.

At the time, this was higher than any player salary in North America, although the gap has definitely been closing and NA is a clear cut second place for player salaries, to the point where EU has been reportedly struggling to compete with NA bids. Surprisingly, Korea is on average the region with the lowest salaries. In fact, an investigation into player salaries in 2015 by the Korea e-Sports Association (or Kespa as most of you will know it) found that the average salary of 40 League of Legends players across the 8 Kespa teams was $57,717. This average will have definitely increased since then, but it just goes to show how not every pro player in the world is in a position where they can think about early retirement! In fact, this was one of the motivating factors in Immortals CEO Noah Whinston pushing for a public database that tracked player salaries. With everything done behind closed doors, it’s entirely possible that many players were being exploited, especially since there are no player agents and no union.

As you can see from these examples so far, the range of salaries for pro players is pretty massive. Lower tier pros can typically expect to earn around $50-80k a year, with the more notable LCS players reaching around $150-300k. Beyond that you’re really getting into the seriously noteworthy player bracket where their insane skill or popularity can easily push a player’s value up from anywhere between $700k and millions of dollars. It’s worth keeping in mind that franchising is actually going to push these salaries even higher, with all pro players and even academy pros being able to do really well for themselves depending on the team. Salaries are also going to become a lot more consistent, since organisations are going to be held accountable so they can’t get away with not paying their players. According to Goldenglue, most players don’t get any of the money directly from Riot stipends, team sponsors or promotional events since it’s just a part of their contracted salary.

However, some players do get a percentage of merchandise revenue if it’s using their brand, like on jersey sales for example, so popular players could potentially earn a little extra here. One other factor worth considering here is performance-based bonuses. A lot of pro players contracts have stipulations where they are granted bonuses based on their success. This is typically done based on how much perceived risk there is to sign a player; so you could sign a player with a less pricy yearly salary, meaning less risk for the organisation, but strong showings from that player will give them bonuses and a potentially huge salary if they do well.

One notable example of this is Reignover, who is cited as the highest salary in the NA LCS with a $350,000 contract. Compared to other high-tier salaries this might not seem THAT extreme, but Reignover’s performance bonuses could ramp up to a solid $700-800k extra in a single year, which would easily push him into the very top percentage of pro player salaries. I know what you’re all thinking at this point; how much does Faker make? According to Dot eSports, the world’s best player is apparently earning a cool $2.5 million dollars for 2017.

That might sound like an absolutely insane sum of money, but compared to the other highest-paid athletes it’s still a pretty humble amount. That just goes to show that despite all the crazy growth in the eSports industry, it still has a long way to go before it competes with established sports that have been around for such a long time. The next revenue stream we should definitely discuss is personal content, such as Youtube videos or Twitch streams. This is pretty easy to estimate because it uses very similar metrics to other content creators.

Most of the money here comes selling advertisement space on content or gaining subscribers on Twitch. Dot eSports estimated Bjergsen’s content income in 2015 to be around 20-40k a month, not including his Youtube, which is likely to be negligible compared to his streams so we’d be surprised to hear it earns more than 5k a month. Bjergsen serves as a pretty good baseline for estimating other pro player’s earnings from content.

It really all boils down to how many people watch your content, so people with similar viewership will earn similar amounts, and that will scale up or down in a pretty linear fashion based on any particularly player’s popularity. Bjergsen might be the most popular NA LCS streamer, but he doesn’t stream as often as other players and can be pretty inconsistent with content. Working as content creators, pro players can really only maximize their earnings during the off-season when SoloQ is sufficient as a practice tool. Most pros we’ve talked to say that streaming Solo Queue is nowhere near as good practice as simply playing SoloQ off stream though, since they can dedicate more of their attention to streaming, so you can also consider personal content to be a pretty seasonal income stream. Still, it can definitely line the pockets of pro players in a significant way if they are dedicated to it. The most popular pros are likely pulling in $50k or more a month on this kinda stuff if they have high viewership and stream frequently, but the less popular players are likely still reaching a good $5-10k a month which is still a substantial amount of money, especially for a side income.

There’s also tournament winnings to consider, with prize pools being typically split as 15% for players and 10% for the organization and coaching staff according to Goldenglue. Although events like MSI, Worlds and the LCS splits can have pretty sizable prize pools, it’s important to remember that it’s going to be split between a whole bunch of people, so it ends up being a generally low source of income for professional players. If you consider how much work a pro needs to put in to reach the final and win a tournament, only receiving 10-15% of the prize pool is a pretty low sum, so it’s not really a reliable income source for those planning their careers as pro gamers.

Using Faker as an example, according to estimates by the site eSports Earnings, he’s earned $1,160,286.36 from 38 different tournaments since he started his career in Season 3. That’s less than half of his approximate salary for 2017 alone, so any budding professional players amongst you should definitely be looking to land a good contract rather than expecting to be rich from tournament winnings! There are a few other extraneous income sources out there that professional League players can take advantage of, but in all honesty they are probably insignificant compared to the other revenue streams. Riot skins like the World Championship team skins do have a revenue share, and there’s also stuff like team events or coaching that players can do on the side to earn a bit of extra income. Goldenglue commented that although some players do make guides or coach others for that small income boost, it’s not really a common thing among pro players and it’s usually not a particularly substantial amount.

Success stories: Ted Turner – Turner Broadcasting (now part of Time/Warner)

After inheriting his father’s small billboard company, Ted Turner found himself facing the hard facts of business. His dad’s operation was in rough financial shape. Turner had a bold vision for the future. He became fixed on building a media empire based on new satellite technology and the expansion of television markets with the opening of the UHF broadcasting bands.

In 1970, with a little investment cash, Turner acquired the once publicly traded Rice Broadcasting (WJRJ-TV) in Atlanta. Merging his billboard company into Rice Broadcasting adding value to the company’s stock. Turner was now in a position to tap the capital markets of Wall Street.

He created TBS, the first national UHF superstation, CNN, and The Cartoon Network. Latter he purchased the MGM/UA film library and launched Turner Film Classics. Never one to sit still, Turner acquired a national baseball franchise which he moved to Atlanta. After an unsuccessful attempt to purchase the long established CBS-TV network Turner Broadcasting was itself acquired by the Time/Warner corporation. Today, his is personal worth over five billion dollars.

Typical Public Shell Structure

Here is a profile of a typical public shell corporation available for a reverse merger with your private business. This corporation is registered with the S.E.C. and is a fully reporting company.

  1. The company is a reporting company under the Exchange Act of 1934. The company is current with all its filings.
  2. The company was formed to be a vehicle for merger with a private company, and is free of operating history, assets (other than its nominal capitalization) or liabilities, existing or contingent.
  3. The company is incorporated in Delaware, with capitalization of 20,000,000 common shares and 5,000,000 preferred shares.
  4. There are 5,000,000 common shares issued and outstanding. No preferred shares have been issued, and no rights, warrants, options or commitments exist for any other common or preferred shares.
  5. One of our associates, who is a securities attorney, will transact the merger.
  6. Assuming the co-operation of the client company in furnishing necessary information, obtaining action of its board, etc., you may expect the completion of the merger within 14 days.
  7. Audited Financials: show no liabilities and no material assets.
  8. The cost for the transaction is anywhere from $95,000 to $150,000.00, in U.S. Dollars, which includes legal fees. Progress payments are acceptable in three installments: The first due when work is commenced, the second when the SEC filing is made, and the final when the Form 211 is filed. If you cancel the engagement after preparation of the SEC filing is commenced, all of this fee will be retained. We may also retain a minimum of 6% of the merged company.

Steps in Taking your Company Public Via a Reverse Merger

Shell Profile:

The company was formed to be a vehicle for merger with a private company, and is free of operating history, assets or liabilities, existing or contingent.

Quick Response:

Submit the questionnaire and our investment committee will make a decision concerning your enquiry within 48 hours.

We prefer to make a public shell corporation available to a going concern, profitable private company. However, we have made shells available to start-ups when there is key management in place, when a great idea or concept has been developed and substantial funding or seed capital is available.

How Long Until Trading:

This process is demanding and time sensitive to both the client company and the public shell company. Assuming the co-operation of the client company in providing all necessary information, obtaining action of its Board of Directors and providing audited financial statements within the required time, you may expect to be trading in 60 to 90 days after execution of the agreement.

The Process:

One of our principals is an attorney specializing in securities law and related corporate and federal taxation matters who will provide all documents and filings required to complete the Transaction. Legal fees for the completion of “the business combination” and all filings to become a trading company are included.

The Cost:

The cost for the transaction is from $95,000 to $150,000.00, in U.S. Dollars, which includes legal fees.

Progress Payments:

Progress payments are acceptable in three installments: The first due when work is commenced, the second when the SEC filing is made, and the final when the Form 211 is filed. If you cancel the engagement after preparation of the SEC filing is commenced, all of this fee will be retained. We may also retain a minimum of 6% of the merged company.

Reverse Merger – Overview

A “reverse merger” is a method by which a private company goes public. In a reverse merger, a private company merges with a public listed company with no assets or liabilities. (The public company is also called a “shell” corporation). The publicly traded corporation is called a “shell” since all that exists of the original company is its corporate shell structure. By merging into such an entity, a private company becomes public.

The private company merges into a public company and obtains the majority of its stock (usually 90%). The private company normally will change the name of the public corporation (often to its own name) and will appoint and elect its management and Board of Directors. The new public corporation has a base of shareholders sufficient to meet the 300 shareholder requirement for admission to quotation on the NASDAQ SmallCap Market.


The advantages of public trading status, which are outlined in greater detail below, notably include the possibility of commanding a higher price for a later offering of the company’s securities. Going public through a reverse merger allows a private company to go public typically at a lesser cost and with less stock dilution than through an initial public offering (IPO). While the process of going public and raising capital is combined in an IPO, in a reverse merger (also know as a “blind pool” merger) these two functions are unbundled; a company can go public without raising additional capital. Through this unbundling operation, the process of going public is simplified greatly.

The private company which has gone public obtains the benefits of public trading of its securities, namely:


-Increased liquidity of the ownership shares of the company
-Higher share price and thus higher company valuation
-Greater access to the capital markets through the possibilities of a future stock offering
-The ability of the company to make acquisitions of other companies using the company’s stock
-The ability to use stock incentive plans to attract and retain key employees
-Going public can be part of a retirement strategy for business owners


The benefits of going public through a reverse merger, as opposed to an IPO, are the following:
-The costs are significantly less than the costs required for an initial public offering
-The time required is considerably less than for an IPO
-Additional risk is involved in an IPO in that the IPO may be withdrawn due to an unstable market condition even after most of the up-front costs have been expended
-IPOs generaly require greater attention from top management
-While an IPO requires a relatively long and stable earning history, the lack of an earning history does not normally keep a privately-held company from completing a reverse merger
-The company does not require an underwriter
-There is less dilution of ownership control
-You will receive a higher valuation for your company


Requirements prior to entering into a reverse merger are the following:
-A private company will require approval of the majority of its stockholders for a merger with a public corporation
-Once a company is taken public through a reverse merger the financial markets hold the following future prospects in the capital markets for the newly public corporation:
-The market value of a public company is often substantially higher than a private company with the same structure in the same industry
-Capital is easier to raise for public companies because the stock has market value and can be traded
-The public trading price of the public company’s securities serves as a benchmark for the offer price of a subsequent public or private securities offering
-Acquisitions can be made with stock since publicly traded stock is viewed as currency for mergers and acquisitions
-Form S-8 stock can be issued for officers, directors and consultants
-If the stock dividend distribution included warrants, the new company can receive proceeds from the exercise of those warrants if the trading price of its common stock exceeds the exercise (strike) price of warrants.


This is not to be construed as legal advise.



Private Placement Investing

What are Private Placement and Bridge Loan Investments?
A Private Placement is the sale of an issue of Debt (Loan) or Equity (Stock) securities to a limited number of buyers that are qualified as Accredited Investors. The Placement is generally made by an Investment Banker, who acts as an Agent of the Issuer, bringing together the Issuer (business or corporation) and the Buyer(s) (Accredited Investor(s)). The Accredited Investor may be an individual, an entity (business or corporation), or an Institutional Investor (Mutual Fund, Bank, etc.), Pension Fund or Insurance Company. Because of the sophistication and experience of these investors, the securities offered in a Private Placement are exempt from the registration requirements of the Securities and Exchange Commission and most states.

An investment in a Private Placement is generally considered speculative and highly risky. Investors must meet the qualifications of Accredited status in order to qualify as a purchaser. An investor in a Private Placement must be capable of enduring the loss of the total investment and must not require the funds invested for living expenses, retirement or other purposes.

Who may participate in Private Placements?
Investors may participate in Private Placement offerings by qualifying under one of the three investor definitions under SEC Regulation D Rule 506… Accredited, Sophisticated, or Foreign.

Bridge Loans
A Bridge Loan is generally defined as a short-term, or emergency financing that “bridges” the need for capital between the Private Placement and longer term financing (in most cases, an Initial Public Offering or IPO). The corporate financing methods used and amount of capital raised may vary from case to case. Typically, the corporate financing sequence for a start-up company may go as follows:

Example: *
Start Date —> 6 months – 1 year —> 1 year or more
Private Placement Bridge Financing Initial Public Stock Offering
$2/share $3/share $6/share
$2 million $500,000 $10 million

* The structure, amount, and timetable used in this example may be considered fairly “typical;” however, it is important to recognize that dollar amounts raised, structure, and timing vary from one offering to another depending upon the particular circumstances of each Private Placement.

Interesting About Investor Definations

New investors may join our private network by qualifying under one of the three investor definitions under SEC Regulation D Rule 506… Accredited, Sophisticated, or Foreign.

Accredited Investor
A person that has a net worth of $1,000,000 or an annual income of $200,000.

“Accredited Investor” shall mean any person who comes within any of the following categories, or who the Issuer reasonably believes comes within any of the following categories, at the time of the sale of the securities to that person:

  • Any natural person with an income in excess of $200,000 in each of the two most recent years or joint income with a spouse in excess of $300,000 for those years and a reasonable expectation of the same income level in the current year;
  • Natural persons with a net worth individually or jointly with spouse of at least $1 million;
  • Directors, executive officers, and general partners of the issuer;
  • Any entity in which all the equity owners are accredited investors;
  • Banks, insurance companies, registered investment companies, business development companies, or small business investment companies;
  • Certain employee benefit plans for which investment decisions are made by a bank, insurance company, or registered investment adviser;
  • Any employee benefit plan (within the meaning of Title I of the Employee Retirement Income Security Act) with total assets in excess of $5 million;
  • Charitable organizations, corporations or partnerships with assets in excess of $5 million;
  • Trusts with assets of at least $5 million, not formed to acquire the securities offered, and whose purchases are directed by a sophisticated person who either alone or with his purchaser representative has such knowledge and experience in financial and business matters that he is capable of evaluating the merits and risks of the prospective investment.

Sophisticated Investor
A person that has knowledge or experience of private investments and can “describe” their qualifications. Each Reg. D Rule 506 offering has slots for 35 sophisticated non-accredited investors.

Investors that meet the standards for participation in a non-public offering under Section 4(2) of the Securities Act of 1933, as amended, (“Act”), under Section 25102(f) of the California Corporate Securities Law of 1968, as amended, (“California Act”), and under the laws of other states.

These investors do not have to have the net worth or income of an Accredited Investor, but may invest in the same type offerings by qualifying under the “sophisticated investor” status.

  • The investor should be able to hold his investment for an indefinite period of time and have sufficient net worth to sustain a loss of his entire investment in the event such loss should occur.
  • The investor must have, either alone or with his purchaser representative, such knowledge and experience in financial and business matters that he/they is/are capable of evaluating the merits and risks of any investment contemplated.
  • The investor represents that he has made other investments of a similar nature to any contemplated now or in the future and, by reason of this business and financial experience and of the business and financial experience of those persons he has retained to advise him with respect to any investments contemplated now or in the future, has acquired the capacity to protect his own interest. He will carefully evaluate his financial resources and investment position and the risks associated with any investment and acknowledge that he is (will be at the time of investment) able to bear the economic risks of any contemplated investment now or in the future.
  • The investor represents that any contemplated investment will not exceed 20% of his net worth at the time of purchase (including home, furnishings, and automobiles).

Foreign Investor
A person that is not on United States territory. A non-US address must be indicated.


A Qualified Investor residing outside the U.S.

Foreign Investors may invest in the same offerings available to Accredited Investors by qualifying under the S.E.C. Regulation S (Foreign Investor) see below.

All correspondence must originate outside the U.S.

Regulation S

The US SEC regulation regarding sales of US securities outside the United States.

The following is an overview of US Securities And Exchange Commission regulation S that addresses sales of securities of US companies in instances where those securities could find their way back into US markets without registration under the US Securities Act of 1933. The intent of Regulation S is to define the registration requirements of the Securities Act of 1933 with regard to offerings made outside the US to foreign residents. The regulation differentiates between securities which are determined to be sold outside the US, and not subject to the registration requirements of the Securities Act, and those which are subject to the Securities Act registration requirements. Regulation S does this by establishing a “territorial” approach, and the application of mutual courtesy to the laws of other countries as they apply. Because of differences in laws, the difficulty of obtaining solid legal advice in all countries has been a hindrance to international transactions.

Two Safe Harbors

Regulation S sets up two sets of “safe harbors”. One addresses offers and sales by issuers, their affiliates, and securities professionals involved in the initial offering of securities (the “issuer safe harbor”). The other addresses resales by securities professionals such as banks and brokers (the “resale safe harbor”).

The Issuer Safe Harbor

To qualify for the issuer safe harbor, the issuer’s offer or sales must be made in an “offshore transaction”. The offer must not be made to a person in the United States, although a prospective offeree may visit the United States to inspect physical facilities. There are two sets of criteria to be complied with.

  1. Reasonable belief the buyer is outside the US at the time the purchase is made.
  2. Submission of evidence, as described in the Regulation, that the sale is made through a physical trading floor of an established foreign securities exchange or through the facilities of a designated offshore securities market. The Regulation derule18ates types of offerors and offering restrictions which show that the “distribution” is completed offshore before resales take place to or in the US markets.

Sales cannot be pre-arranged with a US buyer and no “directed selling efforts” can be made in the US in connection with either type of offer or sales. Directed selling efforts are activities that could reasonably be expected to result in directing sales or securities to US residents.

Resale Safe Harbor

For secondary trading under the resale safe harbor, Regulation S permits sales in an “offshore transaction” without any directed sales effort into the US market. Special provisions apply to sales by securities professionals and affiliates of the issuer.


Advantages of Going Public Without an IPO

Reverse Merger With a Public Shell:

A “reverse merger” is a method by which a private company goes public. In a reverse merger, a private company merges with a public company with no assets or liabilities. The publicly traded corporation is called a “public shell” since all that exists is its corporate structure. By merging into such an entity, a private company becomes public.

The Private company merges into a public company and obtains the majority of its stock (usually 90% or more). The private company normally will change the name of the public corporation (often to its own name) and will appoint and elect its management and board directors.

The advantages of public trading status, which are outlined in greater detail below, include the possibility of commanding a higher price for a later offering of the company’s securities. Going public through either a reverse merger or a registered spin-off (described below) allows a private company to go public, typically at a lesser cost and with less stock dilution than through an initial public offering (IPO).

In an IPO, the process of going public and raising capital is combined. In a registered spin-off or reverse merger, these two functions are unbundled – a company can go public without raising additional captial. Through this unbundling operation, the process of going public is simplified greatly.

The Private Company which has gone public obtains the benefits of public trading of its securities, namely:

Increased liquidity of the ownership shares of the company.
Higher share price and thus higher company valuation.
Greater access to the capital markets through the possibility of future stock offerings.
The ability of the company to make acquisitions of other companies using the company’s stock.
The ability to use stock incentive plans to attract and retain key employees.

Going public can be a part of a retirement strategy for business owners.

Simply by merging into a public company, a private corporation can increase its value by three to five times.
Considerable tax advantages are available through the reverse mergers, and proper exit strategies.
The newly created value can become part of an estate providing value not only for the founders, but for generations to come.

The Benefits of going public through a reverse merger, as apposed to an IPO:

The costs are signifigantly less than the costs required for an IPO.
The time is considerably less than that for an IPO.
Additional risk is involved in an IPO in that the IPO may be withdrawn due to an unstable market condition, even after most of the up-front-costs have been expended.
IPO’s generally require greater attention from top management.
An IPO requires a relatively long and stable earnings history.
There is less dilution of ownership control.
The company does not require an underwriter.
You will receive a higher valuation for your company.

Once a company is taken public through a reverse merger, or a registered spin-off, the financial markets hold the following future prospects in the capital markets for the newly public corporation:

The market value of a public company is often substantially higher than a private company with the same structure in the same industry.
Capital is easier to raise for public companies because the stock has market value and can be traded.
The public corporation may be used for special purposes, such as qualifying as a category two company for overseas offerings pursuant to Regulation S.
The trading price of the public company’s securities serves as a benchmark for the offer price of a subsequent public or private securities offering.
Acquisitions can be made with the stock since publicly traded stock is viewed as currency for mergers and acquisitions.
Form S-8 stock can be issued for consultants.

It is essential that public companies, especially newly public companies, actively maintain and manage a financial communications program.

A newly formed public company would be well-advised to invest in consulting services, to plan and execute a strategy for building and maintaining an active interest in your company within the financial community.
Consultants are available to assist the public corporation in providing corporate relations services intended to increase awareness of your company on Wall Street.

For most people, recapitalization and stock value appreciation would seem reasons enough to be publicly owned, but there are other advantages that a company can gain. A public company has a broader equity base, thus increasing it’s opportunities for obtaining financing for future projects. Increasing the bottom line net worth of a company, as well as its debt to equity ratio, enables it to borrow at lower interest rates from traditional institutions.