Earlier this week, sister GSW site GameCareerGuide.com posted a second story about life at a Japanese game school, as written by Andrea Rubenstein, who "...had two recent goals in life: to become a fluent Japanese speaker and to find a game development school that would accept her somewhere in Japan."

The first GCG story on the subject tackled her successful attempts to get into HAL, and this new one discusses day to day life at the Osaka-based game academy.

In any case, the piece itself is pretty darn interesting in terms of educating about what goes on at one of these Japanese game schools - it seems pretty different to many North American game courses, at least. But even more interesting is a comment on the Gamasutra story precis from an anonymous game industry professional.

Sure, it's cutting stuff, especially given the advantage of anonymity, but it seems to have some relevant information in it, and it's nice to see behind the scenes intel from Japanese publishers - here's the full post:

"Japanese game schools are notorious for turning out useless otakus who wouldn't "cut it" in conventional colleges or trade schools. There have been numerous exposés on game schools in the 90's that lambaste these game schools as nothing more than profit centers for their proprietors.

Hopefully, the situation has changed since then, but I seriously doubt it.

When I worked at a major Japanese publisher (ironically, at one of the companies responsible for producing a game mentioned by Rubenstein in part I of her article), we basically found ourselves almost automatically rejecting game school graduates because we found that the skills taught in those schools were wholly inadequate for our needs. We prioritized our recruiting process on candidates with degrees from traditional colleges and electronics/computer trade schools.

Unlike Western game companies that tend to hire only experienced developers, our company's internal process was to invest in the time necessary to educate our new recruits in our work flow and development culture through what essentially is an apprenticeship system. In addition to seasoned vets, we basically hired people with zero game development experience. The last thing we needed was a newly minted game school graduate who was taught based on a specific curriculum that didn't fit our needs.

Our new recruits would require at least 2 years before they became full-fledged members in a production team. During that "probationary period" of sorts, our experienced production staff (company "lifers" with ~5+ years of experience) would teach, mentor, and monitor the new employees to determine their natural skill sets and eventually placed the employee based on their ability to perform at the best of their abilities.

For example, if we discovered that someone with a computer science degree was brilliant at game design, we would encourage the individual to become a game designer. If that designer eventually demonstrated strong leadership skills, we would eventually promote that employee to become either a director or producer. There was a colleague of mine who went through that exact career path.

As another example, I also worked with a music director with a degree in music who also wound up programming part-time in our internal middleware team since he enjoyed programming.

In short, our approach to game development was based on the principle that making games is an art, and not necessarily a vocation. We fostered diversity in our ranks through a recruiting system that placed a higher priority on the natural aptitudes of a prospective recruit instead of someone with a cookie-cutter game school educational background.

I'm morbidly interested in future installments from Rubenstein, especially articles discussing her attempts at finding employment at a major publisher/developer, especially in Osaka."