By Andrew Curley
Cohort 25
蜜桃酱Guildhall, located in Plano, Texas, is one of the country鈥檚 leading graduate programs in video game development. The hallmark of its academic program is the Team Game Project (TGP) curriculum, in which students from all disciplines (Art, Level Design, Production, and Programming) work together to create games on rapid development cycles. This allows students to experience all the thrills and pitfalls of real-world game building 鈥� the palpable energy of the first brainstorming session, the anxiety of looming milestones, and yes, crunching.
I am currently in the middle of my second TGP at the time of this writing, working as a producer on a team of nine developers. In the previous project, I served on a team of five as its game designer. These leadership roles, I have found, have a tendency to find themselves at odds with each other. The game designer鈥檚 primary concern is to make the game as fun as possible, while the producer鈥檚 job is to ensure the game actually ships on schedule. On the other hand, when the producer and game designer are in lockstep with each other, their team becomes unstoppable. Although my career in gaming thus far has been brief, my TGP experiences have given me plenty of insights on these seemingly conflicting leadership roles and how teams can turn this conflict into a force for good.
Producers Are Your Friends! Seriously.
If one were to ask twenty Guildhall students about their understanding of the producer鈥檚 role, not one answer would be the same (although there might be a quite a few jokes about Excel spreadsheets). In an article for Gamesauce鈥檚 Spring 2010 issue, wonderfully subtitled , authors Kenn Hoekstra and Dan Magaha identify five key roles that game producers inhabit:
- Project Manager
- Champion
- Communicator
- Counselor
- Problem-Solver
All of these roles fall into the larger catch-all title of 鈥淟eader.鈥� The success of any game project, especially those with rapid deadlines like those at 蜜桃酱Guildhall, hinge upon the team鈥檚 ability to come together as a cohesive unit and create its own unique culture. The producer, in many ways, is the facilitator and protector of that process.
Positive cultures emerge when producers give each individual on their team the opportunity to grow and succeed while simultaneously contributing to something larger than themselves. At the beginning of any project, the producer should take the time to get to know each member of his or her team 鈥� their personalities, their strengths, weakness, preferences, workflow 鈥� and use this knowledge to place them in a role designed to maximize both performance and personal satisfaction. Everyone on the team should feel like they are making valuable contributions to the game every day.
In most cases, the producer acts as the game鈥檚 representative, meeting with stakeholders to present progress and reporting back to the team to communicate feedback and requests. They should be the buffer between the developers and any outside forces that threaten to derail the project, and once the game is complete, the producer should step aside to allow the team to receive its due credit. As Hoekstra and Magaha write, 鈥淧roducers are truly the force multipliers of game development: a bad one can weigh down even the most stalwart of teams, and a good one can help a mediocre team raise its game.鈥� As projects proceed further into development, if all goes well, the responsibility of the game鈥檚 success gradually shifts away from the leadership and onto the rest of the team. The best producers know the right time to step aside.