Welcome to GameSpot AU's new feature, Aussies Abroad, where we chat to local gaming industry professionals now working overseas. What led them to leave our shores for greener pastures? How are they getting along in the worldwide competitive gaming industry? Find out as GameSpot AU tracks down some of the best and brightest in our monthly Q&A. If you're interested in getting into the industry yourself, their stories may give you vital hints and tips on how to achieve your goals.

　　Kicking things off is Media Molecule's 29-year-old executive producer Siobhan Reddy, who worked on Little Big Planet. Reddy grew up in Sydney's west before moving to London to pursue a career in games.

　　Media Molecule's Siobhan Reddy worked as the executive producer on Little Big Planet.

　　Name: Siobhan Reddy

　　Position: Executive Producer, Media Molecule

　　Hometown: London

　　GameSpot AU: How long have you been at Media Molecule?

　　Siobhan Reddy: Three years.

　　GS AU: How did you get your start in the industry? (I.e. university courses studied, first job, etc)

　　SR: I worked from when I was very young and have always had a head for independent businesses due to my parents having their own business. I was very interested in technology and films before games specifically. I worked at a web design company called Spike Wireless immediately after high school. I learnt a lot and it gave me a taste for production and the idea of building a studio at some point, but I wasn't aware of it at the time. When I moved to the UK that experience got me in the door at Perfect Entertainment as a production assistant/assistant producer and I discovered that this was actually an industry that fitted me. My next role was as an associate producer at Criterion, where I ended up working for seven years shipping AirBlade, Burnout 3: Takedown and Burnout Revenge. It was there I really learnt the craft of making games and building teams. I really enjoyed my time there but was looking for a change when I was approached by Media Molecule.

　　GS AU: How did you get your position at Media Molecule and when did you leave Australia to work there?

　　SR: I got the position through being buddies with Alex, Mark and Kareem, and having worked at Criterion with Chris. I had a lot of respect for the work that they had been doing at Lionhead and as they were my friends, they knew what I was doing at Criterion on Burnout and they also knew that I was looking for a change. It was a total no-brainer as the talent around the table the first time we spoke was intoxicating and I felt that there was real potential for us to do something great together. I am also a big fan of independent business and the risks that you can take, so I dived in as soon as they spoke to me.

　　GS AU: What attracted you to work in games development?

　　SR: A combination of the end result, the process of making a game and the people we get to meet.

　　GS AU: What is your opinion of the Australian industry today?

　　SR: For me, recent highlights of how well the Aussie industry is doing would have to be the work completed on BioShock and de Blob. However, I would love to know more about the local industry, and would definitely love to meet with games studios in Australia.

　　GS AU: Would you ever consider returning to Australia to work?

　　SR: Definitely!

　　GS AU: How important do you think it is for Australia to have its own games development industry?

　　SR: I love the idea of there being a thriving industry as Australia is a great country for technology, storytelling, music, art, etc. It seems like a cultural fit for us to be a nation of great games makers. I also have met lots of amazing Aussie developers, so I think it's very important for there to be an industry.

　　GS AU: Do you think it's worth aiming for original IP in our industry, or should we be focusing on being a good outlet for international developers instead?

　　SR: That all depends on the team and what they want or have the skills to do. I enjoyed making Little Big Planet because it was such a reflection of the individuals within the team and the team itself; I love original IP as it allows you to push that individuality. There is something special about that experience.

　　I have recently been re-inspired by the great work of people who have made games like Flower and Braid. The work that the IGF (Independent Games Festival) are doing is really impressive in promoting the idea of indie games, and I really feel that these teach us all something about the power of an idea.

　　GS AU: How can the industry be made more attractive to those who wish to work in it?

　　SR: The industry gets some bad press sometimes, but it is a great industry to be a part of. It may be hard work, but so are all commercial creative industries. It's also incredibly stimulating and filled with diverse, intelligent, creative people.

　　It's important for people to think about what they want to make and then almost find the most appropriate route for doing that, be it working in a big company or working with a bunch of buddies to make flash games from their living room. A healthy industry is one that's profitable but is also filled with people expressing themselves through their craft.