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The Future of Being a Video Game Producer
by Harvard Bonin on 04/12/14 03:29:00 pm   Expert Blogs   Featured Blogs

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

 

Trip Hawkins may have done our craft an unintentional disservice.  While he’s a pioneer in our business of video games and will be admired for generations to come, he’s also the one that gave us the title “producer.”  Back in 1982 Hawkins, a founder of Electronic Arts, began using the term with the idea that we were “managers of creative artists”, just like movie or music producers.  There is truth to that.  We do manage very creative people.  However, the producer discipline can and should be considered so much more.  When you ask what it means to be a Games Producer to an actual Games Producer you’ll often get some hand wavy answer that speaks of “sheparding,” “firefighting,” and to “by God, get things done.”  I believe, however, that this ambiguous understanding about what we do leads to practices and methods within production that are simply uninformed and sometimes non-existent. Quite frankly, these are old school definitions and we’re beyond that.  Producers with no training likely have no formal methodologies.  They have no real established and verified best practices.  They operate mostly on instinct and apply practices they’ve created themselves over time.  Some even scoff at training without understanding the benefits education offers.  This lack of formal training is simply not acceptable in these days of AAA multi-million dollar game budgets.

And there’s the rub.  How do we make producers understand that they are much more than what their own discipline has led them to believe?  And if producers don’t know what they are, why would a team of talented creative artists, designers and programmers, often well trained in their own craft, know what they are either?

This article is based on my own experiences and past mistakes.  I completely understand and accept that some people will disagree with me.  I welcome all opinions and discussion.  The job of producer can vary widely from company to company.  While I’m passionate about this topic I certainly don’t profess to know everything there is to know.  Only through collaboration will I be able to formulate and improve on my findings.  Your thoughts are appreciated so please share them with me directly at harvard_bonin@yahoo.com

SO YOU WANT TO BE A GOOD PRODUCER?

I am often asked “How do I become a producer?” by game players, college graduates, QA analysts, etc.  It’s a question that, sadly, they have often received poor guidance on.  Also, it’s the wrong question.  You want to be a Good, Informed Producer. A “GIP”, if you will allow the indulgence. It’s actually pretty simple.  There are plenty of other ways to be one but here’s a path that worked for me:

Year 1 - 4: Go to college.  Major in Business or Computer Science.  Work in a gaming QA department for 1 year while finishing school. Graduate.

Years 5 - 7: Get a job in a Production Assistant role.  Do that for 3 years and work your way into more responsibility or even get promoted.  Take project management courses at night while still maintaining your production job. Maybe even take the Project Management Professional test conducted by the Project Management Institute and pass. (The PMP® certification isn’t absolutely required so long as the producer is well educated in project management practices and methodologies.  PMP focuses on very traditional project management and is a good foundation but it must be augmented with other training such as Agile practices.)

Year 8: You are now ready to be an Informed Producer.  Maybe not Good…but at least informed.

This roadmap is one way to set prospective producers up for success.  I actually didn’t follow this exactly but in retrospect I wish I would have.  There are other ways to become an informed producer however this is pretty straightforward.  I recommend training in a variety of capacities but based on my experience I believe in the ascribed steps.  Being an entrepreneur that starts and runs a company can work beautifully too, if not better in many cases.  Nothing makes a person truly understand the many facets of our business more quickly than running his or her own company.  This takes you down the road of hopefully being a good leader, but not necessarily an informed producer.  You can cut corners but relying only on “learning from experience” will set you down the wrong road.  You may have force of will, learned from mentors, experience, charisma, etc. which may make you a good leader, but you’ll always be an uninformed producer without training and you’ll lack some basic tools to make you better. A good producer exhibits qualities like leadership, dedication, tenacity, professionalism, ethics, etc., but these alone aren’t enough and are too vague to be relied upon alone.  Production experience by itself will not make you an informed producer, though it may make you good.  In the end, being an informed and good producer is the goal.   “Good” is subjective.  “Informed” is fact.

It should be noted, however, that I am not advocating that producers become project managers.  Most project managers in our industry are all about the schedule and its management.  Producers usually have another key responsibility that the project manager generally doesn’t have and that’s to communicate and champion the vision of the game to the team, sponsors and outside stakeholders.  The producer may not come up with the vision, but the producer is the one that must protect it at all costs.  The project manager (sometimes known as development manager/director) does not generally carry the vision and, instead focuses solely on schedules, risk analysis, processes and planning.  It’s imperative for a producer to be armed with this same knowledge and training to help augment the execution of the vision he or she holds, even if the project manager’s sole focus is solely this role.  The role of producer can vary from company to company.  In some they are more like project managers and in others they are little more than note takers.  Either way, the producer must add value to the team and training is a vital step to do so.  Put in another way by my friend Patrick Gilmore, Studio Head at Double Helix, “Development Directors are in charge of the literal tradeoffs—team size, organization and cadence, schedule, budget, milestones, tracking, work breakdowns, construction frameworks, pipelines and techniques.  Producers are often in charge of the blind tradeoffs—quality, scope, priority, richness and depth, polish, pacing, compulsions, narrative, vision and cohesiveness, competitive product, feature relevance, unique selling points and the feeling of “wholeness” of the game.” 

PROJECT MANAGEMENT, NOT PRODUCTION?

If you do a Google search for books on producing you’ll find some, but not many.  Personally, I like the book by Quincy Jones called “Q on Producing.” http://www.amazon.com/The-Quincy-Jones-Legacy-Series/dp/1423459768  His core message: producers should bring the best out of creative people.  While this is an admirable philosophy he tells producers little about how to actually do it.   Music is also a drastically different business.  Engineers, artists and designers aren’t musicians. At the core they are not even game makers; they are software developers.  Games are just the type of software they are lucky enough to create. Software development is complex, often made up of large teams and larger personalities.  The producer needs to know how to harness and focus that creativity while managing a software project at the same time.  On the other hand there’s an enormous amount of data available on project management training.  There are classes anyone can take, there are certificates anyone can earn and there are tests anyone can pass.  There are only a few related to the role of producer, however, and this is at the core of the problem.  It’s a murky, undefined field of study.

BEING A GIP

In my humble view, there are thematic core components to being a good, informed producer.  In no specific order they are…

Communicate, then Repeat: Communication is often noted in project post mortems as the #1 problem teams run into.  It’s also a very broad category since there are so many things that must be communicated and so many people that must not only receive the message but understand it too.  Project vision, work, scope, goals, dates, features, pipelines, tracking, schedule, etc., etc. all need to be communicated in all directions.  That’s a very short list and there are a myriad of other topics.  The best way to communicate most subject matter is almost always face to face.  If you never leave your seat and ONLY rely on email you’re simply doing it wrong.  Email is supportive, face to face is critical.  Face to face is also faster since the back and forth conversation iteration is immediate and can be reacted to on the spot.  A person may not even read an email till the end of the day, if at all.  It’s been said that 55% of communication is nonverbal. Face to face, even over Skype is the only way to collect this.  I believe there are generally two types of overall communication: 1) Direct and 2) Osmotic.  Direct communication is just as it sounds, directive.  It’s a request for someone to take action.  As a producer I’m asking you to do “X”.   Face to face discussion, supported by email, daily stand ups, scheduling, milestone content and deadlines can all be examples of directive communication.  Osmotic communication is supportive and all around a team members.  It drifts into their consciousness through environmental factors or even overheard conversations.  (Incidentally, this is exactly why I will never sit in an office.  The buzz of the team around me can be an excellent way to collect information.) Milestones posted on walls, concept art, posters outlining the team values, video monitors summarizing the sprint goals, Scrum boards, etc. are all environmental.  The idea is to surround a team with the creative vision of the title as well as all the key, high level info they need to do good work on time.  It’s immersive.  Poor communication on a project is always the fault of the production staff. It’s the producer’s responsibility to make sure it happens. Communication is also a two way street.  Producers must actively question, engage and even interview team members to collect data on the project health and status, especially in the planning phase.  The producer doesn’t have to know all the answers but he or she must find ways to engage the team and stakeholders to find them.

Own and Plan the Project Plan Vision.  To put this another way, plan, plan, plan…and then plan some more.  Then expect it all to change daily or even more frequently.  Your team requires producers to know what’s on the horizon so that risk can be mitigated, minimized, removed or accepted.  Producers need healthy participation and collaboration from the team experts and stakeholders with the goal of clearing the road for the title.  The tools available in proper project management can aid this effort.  Scope Management Plans, Delphi Analysis, Work Breakdown Structures, activity scheduling, budgeting, Risk Registers, etc.  All these tools are available to anyone with the proper training.  This is a good reason why producers should be trained in project management.  Producers without training don’t know what they don’t know.  Many producers without training rely on their own crafted tools and processes.  Some may work but many others may not be optimal. Or, worse, they have no tools and processes and instead rely on brute force of will to get the job done.  It should be noted that it is impossible to plan game projects out at the start.  Games are actually full of smaller, achievable little projects and the subsequent phases should be broken down as new information is discovered.  Agile development expects and embraces these changes and attempts to manage uncertainty.

Track, Trust and Verify: Holding the team accountable for the goals they collaboratively set with production is a key responsibility of the producer.  The producer must engage the team to help build the honest, iterative plans.  The producer must also make sure team members are delivering on their plan.  Frequent checking and monitoring of status is crucial so that change requests can be evaluated and the project course adjusted as it progresses toward the finish.  Game projects are complex.  They have millions of different inputs that must converge on a single output.  A producer must have a great understanding of the entire problem space of a project so that he or she may make course corrections when required.  They must perform the ABCDs…Always Be Collecting Data.

Historically our industry generally reacts to project scope change by simply working the team harder.  This has led to many neglected children and marriages and often games that are subpar due to poor resourcing, bad decision making and underdone features.  As the adage goes, we need to work smarter, not harder.  While I don’t believe crunch can be removed from a creative endeavor I do think it can be planned for and managed better.  Game developers are some of the hardest working people on the planet and squeezing an extra 10% from these dedicated people isn’t always the best answer; it’s usually just the easiest.  It takes no production IQ to tell people to work the weekend.  Producers need to track, monitor, gather metrics and control the inevitable changes that occur during a project lifecycle.  Without this data clear decision making is impossible and the team (and project) will pay the price.

Tools & Processes: As mentioned previously the study of project management comes with it standardized tools to help the GIP understand and manage scope, changes, stakeholder buy in, project goals and success criteria, among others.  I’m not referring to tools like software. Hansoft, Project, Jira, etc. are all fine tools but in this case I’m referring to project management tools such as Risk Registers, Scope Statements and Project Charters.  I’m also referring to project management methodologies like Scrum, Dynamic Software Development Method, Kanban and even Waterfall.  A producer needs to be familiar or even an expert in various methodologies since different ones might be more applicable to different phases of the project. These tools are independent of the software used to track the project, though some, such as Hansoft or Greenhopper are designed specifically for Agile methodologies.

Know your Pipelines:  The work flow process in a project must be intimately known by the producer.  The producer must know the overall roadmap for a project and the work flow pipelines are at the core.  At the end of the day the producer is helping move around assets and ideas so that they may be executed as fast as possible to the assigned quality bar.  The pipelines are how this work moves from person to person and ultimately into the game.  Without understanding them the producer will be unable to fix or even optimize workflows.

Encourage Frequent Failure:  I’m a big fan of prototyping.  In a nutshell prototyping simply means creating a demonstrable feature as quickly and as small as possible that proves the core idea before investing a lot of people’s time only to watch it fail.  Often this may not even be a piece of running software.  It can also be a document or a movie.  Whatever proves the feature and minimizes the risk that the feature or idea will not work.  Prototyping allows experimentation and the team to fail quickly.  He or she MUST accept iteration as a reality.  Only through failure will the team learn and make corrective action and come to the right decisions. 

Set the Rules:  Teams work best when they are clear on the title vision and the rules for working that are expected of them.  The rules of operation are things like “everyone must respond to their email at least twice a day”, “everyone must attend the standup at 10:30” or “everyone must update their task list before the standup.”  They can also be values such as “we are committed to trying new processes and methods” or “we value communication transparency”.  Your rules should be set in collaboration with the team. 

Commit, then Deliver: (This one is again from Patrick Gilmore, Studio Head of Double Helix). “The producer’s job is to make commitments to an organization or group of stakeholders, then work with the team to deliver on those commitments.  Success is dependent upon knowing what the team is capable of, understanding how to help the team focus, and also on managing and communicating with stakeholders.  Junior producers fail on one side or the other—they overcommit and grind their teams, or don’t know how to build quality and so can’t be trusted the next time they need to commit to stakeholders.”  

Execute now: The mindset of a GIP can be described with one word: Urgency.  Everything must be done as soon as possible so the producer can have time to navigate the unknown unknowns that are sure to pop up in the project.  Nothing can wait till tomorrow.  If a problem is large the producer must have a plan on how to break down the issue into smaller, consumable and attackable issues…and then focus the team toward doing so, all the while juggling the other immediate issues on facing the team.  No problem can be delayed, even though a Producer must sometimes wait due to resourcing priorities.  Stack rank the issues, come up with plan and then “do”.

Beacon of Ethics:  The Producer should be the guiding light when it comes to executing a project in an ethical and moral way.  Most of this can simply be achieved through open and honest communication.   This can build trust with the team when they know the producer is being straight with them on what’s expected of them.

Carry the Creative Vision:  The Producer needs to fully understand the title’s creative vision.  What will the title “do” for gamers?  Creatively what is it trying to attain?  To be clear, I used the word “carry”, not “create” the vision.  Anyone can create the project vision, though it usually comes down to the Creative or Design Director.  If that’s the case the producer should support, defend and communicate that vision, regardless of who creates it.  Consider the producer something like a knight and the creative vision is the crown.  It must be protected and championed.  I also didn’t use the word “own” the vision.   Again, this usually falls to the Creative or Design Director.  The owner of the creative vision tells the team where to dig the well.  The carrier does whatever is necessary to make sure the water gets to the thirsty folks without spilling.

Beware the Dirty Phrase “But We’ve Always Done it this way…”:  This has been called the most dangerous phrase in our business.  Leaning on old techniques will lead a producer down a black hole without a conscious effort to improve.  The producer MUST be adaptable and willing to change for the betterment of the team and project.  Nothing creates a bad producer faster than success.  If a producer picks up bad habits early but happens to deliver a great title despite these habits there’s no motivation for corrective action.  Worse, he or she won’t even know corrective action should be taken.

Be a Lifelong Learner:  I believe producers MUST commit to lifelong learning about their craft.  Read books, take classes, interview other producers, interview team members about what they think a producer should be, etc.  Too often I’ve found that producers are content with on the job learning.  The problem is that habits picked up this way are a small microcosm of lessons outside their sphere.  Also, they are sometimes simply wrong! 

Be a Servant of the Team:  In game making, the team is the absolute most important thing.  While a producer is a leader he or she often should lead by servicing and providing for all the needs of the team.  One of my old bosses used to say “The game is a reflection of the team.”  A poorly run, unhappy team will probably deliver a poor, unhappy game.  The producer must do everything to protect the team and allow them to do the great, creative work required.  I’ve heard it said producers should be a “S--t Umbrella.”  There’s a lot of truth in that.

Be Humble and Actively Listen:  The producer usually isn't the smartest person in the room.  We work with experts in their craft.  Always be humble and treat them with respect. Above all, listen to them with enthusiasm.

IN SUMMATION

Granted, this article comes off slightly preachy…and for that please accept my apologies.  It’s a trend I’ve been seeing in our business lately and I care very much that we improve our craft and the teams around us.  We are in an industry that is not unlike a teenager.  We think we know it all but we’re still immature.  Only by pointing at the elephant will we all acknowledge that it’s in the room.  In the end we’re the only ones that can make it so.  I welcome competing theories so please feel free to offer them.  In the end only collaboration and discussion about this topic will progress our discipline.


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Comments


Matt Powers
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Very nice Harvard - well written, interesting, and informative. I definitely agree with your points. I would recommend any producer or someone interested in being a producer give this a read. Thanks for putting it all down.

Juliette Dupre
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Agreed. I'm always looking for good articles like this to send to aspiring producers.

Harvard Bonin
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This is just cuz you know me. :) Thank you, though. I appreciate your advice on posting.

Tyrone Rodriguez
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"Engineers, artists and designers aren’t musicians. "

But I don't think all engineers, artists, designers and musicians share one thing at least--they're all artists of their own craft.

Harvard Bonin
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I disagree. Anyone creatively solving a problem in all disciplines is, in a form, an artist.

Harvard Bonin
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Thanks Tyrone. You are correct. There is artistry, even in coding. My key point is that I believe software developers operate in a much more complex field. I'm not minimizing the craftsmanship of a musician but I do believe there are more difficult challenges in game making due to the size of teams these days. That said, I could be very wrong as I'm not a musician.

Stephen Dinehart
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Nice piece Mr. Bonin, but I don't know. I swear I saw you strumming around EALA back in the day, guitar in hand. :)

Harvard Bonin
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You did Stephen. And I see you strumming around Linked In everyday! :) Thanks for the post.

Sean Decker
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Great article Harvard. Nice way to break down some of the many roles of "Producers" and give prospective producers an understanding of what they can do to be successful.

Harvard Bonin
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Thanks Sean. I hope all is well with you.

Sami Saari
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Thanks for this Harvard. Im currently a student in Oulu Game Lab (Finland) working as a producer for a pretty ambitious project. Having a background/education in digital media production and marketing, I still find it so overwhelming especially because of the lack of tools at my disposal. Still theres a lot in the post that indicates Im on the right path so thanks for the encouragement.

Harvard Bonin
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Good luck to you. The tools are there for you to discover. With the experience you'll find success.

Mikail Yazbeck
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Thanks so much for making this great write-up. I'm sending it around our studio now.

Harvard Bonin
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I appreciate that. Thank you.

Andrew Dovichi
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Producers sure do love their acronyms. Speaking of which, the typo in this line wasn't intentional right?

"They must perform the ABDCs…Always Be Collecting Data."

Thanks for taking the time to write this up, very informative.

Harvard Bonin
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Good catch. Thanks Andrew. Now corrected.

Josep Martinez
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Very nice article. In my opinion a good an easy way to explain the other peopl what our role is, that by the way it might be a little hard to explain when meeting somebody that is not from the games industry.

Harvard Bonin
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This is my motivation for writing this. I want producers to have a better grasp of their craft. I've seen too many only rely on "working the team harder" as their only response to project issues. Thanks for the note.

Morten Skaaning
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This is a fine and well meaning article. All the fancy words aside you especially want two things from producers (these two are hard):

1) You want them to *not* change the game every five minutes. Imagine a game as a giant oil refinery and the people in charge want to experiment with producing espresso, ketchup or women's shoes.

2) If 1) is actually happening then the producers must also extend the deadline for the project. Games are *very* complex and no one can polish a turd if dihoerra is rampent

If producers could fix these two problems the game industry would be a much better place..

Harvard Bonin
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Thanks for the note. I'm 100% in agreement with #1. As for #2 I don't agree. The producer must look for ways from the start to avoid moving the date. No one wants to ship bad product and if it comes to moving the date, contingencies should have already been in play. Moving a release date once the title is in full production means that proper risk analysis or management was not completed by the team. I appreciate your feedback.

Harvard Bonin
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PS. It was well meaning. Thank you for noticing. These are my own beliefs and I'm sure others disagree with many of my points. As you said, your two points are hard to execute. Keep your thoughts coming.

Morten Skaaning
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Hi again,

First, I understand that no-one wants to delay a product, but the new features requested will not take less time than the old ones. Is the scope under control the second time around? If perma crunch is the answer to lack of scope control then people will eventually leave the company, maybe even the business.

One thing that I always miss from the produces/designer side is very aggressive priorities. As a programmer I can't really efficiently build systems without knowing the single most important aspect/feature of the particular system. That's because I need that single thing to spearhead my implementation into the various, often complicated, pipelines inside the game engine. Once that groundwork is laid down it is much easier to incrementally extend than if I had been given five features for the system, where two would be thrown away later.

Second, answering your first response. The reason for my very "alien" sounding first post, is that I have experienced very little analysis on some of the large games I've worked on. So it sounds odd when someone is using a tone that suggestes deeper analysis is a widespread practice. We would usually just have five seconds to come up with a complete guess as an estimate and those guesses was the basis for planning the project. There was also much anger when management tried to use those estimates as promises. Even suggestions of macro scale analysis was rejected because that would take too much time. Here what I'm hinting at is a simple a rule as "for every two systems that have not talked together before, that you need in your feature, you need to multiply your estimated by an additional 3x". Doing simple statistics to see the schedule impact of newly-connected systems could yield valuable information.

In my mind the producers should shape the game creation process such that the developers can always spend their time 100% effectively. Make every second count. And in my mind you need aggressive prioritization and scope control to get the "first things first" down. A skeleton. It's easy and fast to expand on a simple structure but if too many balls are thrown into the air, then the underlying systems becomes an interdependent mess that just drains time and energy.

(also, my english grammar is not the best in the world)

Robert Hyder
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Enjoyed the article Harvard. Passed it around to a few of my friends.

This one section gave me a little pause though:

"Everything must be done as soon as possible so the producer can have time to navigate the unknown unknowns that are sure to pop up in the project. Nothing can wait till tomorrow."

While it is important to move quickly, I have seen this taken to destructive extremes. Sometimes things do need to wait until tomorrow. Sometimes there does need to be time to think. People do need to go home. The key is to know when something is truly important and when it's just another thing that needs to be accomplished in good time. The producer who runs around with his/her hair on fire at all times loses the trust of their team because they seem out of touch and out of control.

Just my two cents. Really good stuff though.

Harvard Bonin
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Hi Robert, you make a good point. I should have written that a bit more clearly. I should have used something like "Focus on the work." My main thrust is that the producer should be laser focused on getting things done. I do not advocate moving just to move.

NICK LAING
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Harvard, good write-up. Is it fair to say I can see your "EA" showing? Producers at EA are expected to be very versatile not singularly focused.
Two things
1) I appreciate the distinction you make about Producer are not Project managers - Sadly this industry has moved down the path of making Project managers take a the title of producer (Because it sounds sexy, thanks to to movies?) while a producer should be a competent project manager that should not be his first objective.
2) Your opening statement is slightly flawed. Historically, Trip wanted Game Developers to be Rock stars (remember the Album covers?) and based the role on the music industry, specifically his friend Jerry Moss, a music producer. (http://en.wikipedia.org/wiki/Video_game_producer) it is a much more fitting role. Because we orchestrate many smart, creative, technical people to a product greater than we could reach alone. but at the same time we are the inflection point to the needs of business, finance, marketing, while being the internal and external face of the product.

in recent years people have forgotten this story and everyone wanted to be a Producer but nobody wants to be a Project manager, so we started giving people the title they wanted but the job they didn't. Have you ever gone to a Producer round table at GDC? It's a PMP convention, a valuable skill, one I have done well in the past when needed but it's not the role as originally intended, or as it's seen when you are dealing with a world-class producer.

TL;DR
Good words, check wiki.

Harvard Bonin
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Thanks for the clarification Nick. I'll amend accordingly. Good thoughts here.

NICK LAING
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Happy to be part of this conversation. I am very interested and passionate about this role as well - and to be honest I think I may be a little defensive due to the "Hand wavey-ness" that is acceptable when discussing the role. (I hate the term "herding cats", IMO you're not doing it right if you relate to that.)

BTW I'll be giving a talk at East Coast Games Conference next week on this precise subject http://www.ecgconf.com/schedule/session/61

If you don't mind, I may reference you and this Post?

Harvard Bonin
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Yes, feel free. Thanks.

Harvard Bonin
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By the way, I'm on board with your points. Sorry for the quick answer. I think you and I are on the same wavelength. Good luck with your presentation.

Joel Nystrom
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What about the distinction between Production and Development? I've overseen over 50 SKU's, and I can't say that we've ever been in production. To me, the distincton is that in development, you invent new stuff on a daily basis, and therefore need different planning methods, than when you are producing a well-defined product that you can produce assembly-line style.

I can see how AAA enter "production" once the game is feature complete though. If they truly stick to not adding a single new feature or changing anything. But I wonder how often that is the case in reality.

Harvard Bonin
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Production is the management and leadership of development. However, "production" generally refers to the execution phase in project management. That's when the whole team is on boarded and the unknowns should be mostly known. Its as close to a production line in something like cars as we get (which is not close).

I've found that there are seven phases in game making...Initiation, Concept, Pre-Production, Onboarding, Execution and Closure...and they are almost always all jumbled up in game development.

Harvard Bonin
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Please check out my new post regarding my Scrum experience.

http://gamasutra.com/blogs/HarvardBonin/20140419/215829/Using_Scr
um_in_Real_World_Game_Production.php

Joonas Laakso
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Thanks for the thoughts! I've been scouring the internet for different takes on production as I'm preparing my new full-day lecture on game production. Very useful distinctions and arguments here.

Studios would really benefit from figuring out what exactly their producer roles are all about. I've known a few producers and they all approach the job very differently; it feels like a job that becomes all about your personality. Still, having a good idea about the project management responsibilities versus management versus leadership versus product (vision) championing would be a healthy thing to have.

sameer puthran
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I am so Happy to be reading your article Mr Harvard. Honestly i am a producer who works by instinct, experience and as per the job requirements as per the company. Bur totally agree on the management training. I have taken up the PMP traning course to upgrade myself further. Just wanted to know whether such courses cover up the scrum, agile and working on processes on Jira. I am very much following your post. Please reply on this


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