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阐述的游戏制作人需重视的原则2

2018-10-26 13:49:18

阐述的游戏制作人需重视的原则(2)

阐述的游戏制作人需重视的原则(2) |爪游控 首页多彩生活娱乐八卦汽车世界科技产业数码新品游戏动漫体坛风云军情解码社会万象健康养生 首页 / 游戏动漫 / 阐述的游戏制作人需重视的原则(2) 阐述的游戏制作人需重视的原则(2) Posted on 2014年1月31日 by eva in 游戏动漫 作者:Ernst ten Bosch在本文的第1部分,我解释了游戏制作人在游戏 开发中的作用及其应该遵循的原则。在第二部分,我将继续探讨的游戏制作人在具体的情境下应该做什么和不应该做什么。特定的情境和的游戏制作人应该做什么既然我们已经知道游戏制作人在游戏开发中的一般工作和作用,我们就可以更加深入地了解的游戏制作人如何处理以下特殊的和常见的情境。game-producer(from )任务分配所谓的“项目管理”其实说白了就是任务分配,我认识的所有游戏制作人都经常做的事。任务分配是什么?就是这个工作名称所显示的:分配任务。无论是通过电子邮件、便签或其他什么工具,本质上都一样:技术上是非常简单和平凡的。但即使是这么简单、千篇一律、想搞砸都很难的工作,也只有一种做好它的办法。制作人可以轻易地把所有相关人员召集到办公室或会议室,命令他们去做什么任务以及花多少时间完成等等。然后,如果任务有什么不清楚的地方,他可以找到原来的命令者;所有游戏制作人都必须经常审查任务的状态和任务执行者的更新情况。但这种方式是有缺陷的。在游戏开发的情境下,任务分配不只是指派工作给程序员、美工或设计师的方法,更是制作人和所有项目相关人员的一种发现疑问的方法。任务整合应该是一个工作记录:包含已经完成的工作和尚待完成的工作、遇到的问题和解决的问题、或导致新任务的事件。及时记录任务分配情况可以使大家对工作更加清楚、为以后的工作积累经验。所以,任务分配也要包含记录,这是非常重要的。不负责执行这项工作的人是否也理解它?起始日期和截止日期是否符合日程表?任务是否标明“完成”或者错过截止日期都没有更新?未来的我们是否能够读懂任务分配和执行情况?当然,把这种程度的详尽和勤勉运用到任何项目的成千上万的任务分配中,工作量一定会滚雪球般地增大,以至于游戏制作人几乎没有时间做其他事,但我认为这么做还是有实在意义的。制作人应该问自己:我是否理解了这项任务?是否可以期待理想的结果?如果有人问我,我是否能用非技术术语来描述它?如果制作人对这些问题能诚实地说是,那就说明他在任务分配方面做得不错。制定日程表制定日程表的方法肯定有成千上万种,取决于它的目标。制定日程表是为了让程序员、美工和设计师知道他们还有多少时间可以完成任务吗?是为了让营销人员、PR和社区经理知道任务什么时候可以完成吗?或者是为了显示赶圣诞购物季我们所有人必须完工的日期吗?这些目的可能都有。但无论是那一个,在过去数年制定日程表的日子里,我学习到两条简单的、基本的原则:1、不要让工具决定日程表的格式。我只使用Excel。2、你制定的日程表不是只给你自己看,你的客户才是接收者。如果我想做一份私人用的日程表,我会在表格中加入大量细节、缩略词、笔记和个人评论语,可能会混乱得让其他人都看不懂。但这些只是基本的建议,我会向需要制定任何一种日程表的人推荐这两点。对于游戏制作人,这么做太简单了:记下他从部门主管处听到的交付日期,填到整齐的表格或图解中,然后发送给相关人员,不管他们如可抱怨这份日程表的含糊。然而,的游戏制作人是理解日程表的。他知道重要事件意味着什么、为什么要在某个日期以及如果错过日期会有什么后果。他还知道什么因素能影响重要事件的日期是否可以达到;谁负责什么,谁在休假,谁生病请假以及那些团队人手不足、步入正轨或被延误了。知道了这些东西后,他可以预料问题和障碍,然后解决问题和克服障碍。如果游戏制作被问及为什么截止日期不能更早一些,他必须有现成的可靠的回答,或至少找得出一个。如果制作人不理解像他的日程表这样基础的东西,他还能理解什么?开会我认为可以说,并没有太多人真正喜欢开会,所以极少负责主持或准备会议的人会带着满满的活力和热情开会。游戏制作人,与任何会议组织者一样,应该确保达到基本的组织和会议标准,比如说有议程、有人做笔记、按时结束不拖延、相关人员到位以及会后任务跟进等。听起来很简单,但实际上不可能始终达到这些要求。至少对我而言。除了任何行业的会议中的实践,有一件事,如果不是的,对游戏制作人来说是非常普遍的。与我成为游戏制作人以前参加的大部分会议不同的是,我现在很经常参加一些讨论我个人不太期待的工作的会议。这意味着我不一定会理解所有东西,我只是必须知道会上说了什么。可能是因为技术性太强或与管理的问题有关,但二者都不在游戏制作人的范围内。或者更经常的是,因为会议是关于完全不同的团队或部门的工作,所以我根本不知道发言人在讲什么!在那些情况下,游戏制作人除了参加会议,还应该付出其他努力。如果他想有所贡献,他必须不仅知道别人在说什么,还要理解别人所说的。记笔记、分配任务然后敲定日期,这些事太容易了,一般的制作人都做得到。但真正的制作人会保证他理解材料、某个结论是如何得出的以及为什么要做某个决定。因此,他给他的工作增加了新维度,不只是成为执行者,分配任务、发送邮件、组织会议,他还成为建设者 -一个有权威的项目所有者和真正的开发者。沟通交流在游戏制作人的工作描述中,你必然会看到“的沟通交流者”这一项。我发现它经常被滥用。任何人都可以声称自己具有出色的沟通交流能力,毕竟没有什么标准方法可以判定一个人到底擅不擅长沟通交流。这并不是说沟通交流能力不重要,而是说,如果你想成为游戏制作人,你在陌生人面前一定不能怕生。类似地,如果你不敢在众人面前或在会议上发言,那么你可能得换一份工作了。至少,你不会觉得与人交流是你的限制因素或必须克服的障碍。如果是,那么沟通交流不是你的强项。所以当制作人在执行“沟通交流”时,他必须记住什么关键元素?1、每一个人都是的。的制作人了解自己的团队,知道如何与团队成员打交道。有些人喜欢开会,有些人不喜欢。有些人习惯于一整天埋头工作,通过邮件和聊天应用交流以。有些人喜欢你路过时跟他说上几句话,有些人则厌恶你那么做。如果制作人知道如何与成员们打交道,他就能更有效地传达信息、咨询问题或当有必要时表示拒绝。意识到不存在以不变应万变的沟通方式,是学会沟通的步。2、让别人随时找得到你。重要的事就是让人随时找得到你。当有人要找制作人时,他就必须找得到,让人找得到自己也是制作人的职责。在现在这个时代,找人应该不难,通过邮件、或甚至FaceBook、FaceTime、WhatsApp和Skype等。保证别人找得到自己并不是件容易的事。制作人必须保证别人能从公司的通讯录、内部站等地方找到他的联系方式。除了极小数时候,的制作人必须保证只要他在办公桌边,他的MSN就;如果他不在办公室,那么他的就开机;无论是在家还是在路上,经常查看邮件。这些应该占据他90%的工作时间,而把联系方式放在邮件的签名处和/或办公白板上应该占据剩下的10%。当别人不在办公桌边或电脑前,这些信息就很有用了。3、让别人知道你的工作。正如我在本文开头提到的,许多人,包括开发团队的其他成员,往往不知道制作人做什么。结果是,他们不知道制作人是否以及如何为游戏开发做出贡献。因此,游戏制作人让别人清楚他在做什么是非常重要的。为此,他要同时表现自己可以帮上什么忙和可以做什么。这样虽然会导致更大的工作量,但贡献也更大。帮不上团队或他的羊群的游戏制作人就是没有用的制作人。任何制作人都可以坐在办公桌前,发送邮件和分配任务,知道他在老板希望他做的事;但的制作人知道如何让外界意识到他的有用。在会议上,他准备好、注意到且说得出自己的观点。他能提出别人可能羞于提出的问题。他做报告、写日程表,表现他知道开发进程。他回答复杂的问题和根据需要调整日程表,表明他清楚他的羊群的工作情况。这些行为看起来可能有些做作或虚伪,但如果制作人希望自己有决策发言权、被平等对待且让人觉得他平易近人,那么就必须让所有人看到他工作得有多么努力,他受的苦与其他人一样多,即使他并不知道如何动画3D模型、录音或翻译任务文本。4、效率。终,良好的沟通交流是为了高效地执行工作。制作人在此扮演重要角色。如果制作人能把任务分配得好,那么程序员、美工或设计师更容易展开工作,不需要解释或修改。进一步说,如果任务分配得好,就更容易估计执行情况、所需时间、可能遇到的问题以及如何解决那些问题。这样,经理或其他制作人就可以立即了解开发进度。与此同时,设计师、美工、程序员和测试员可能会从执行中学到一些东西,当他们遇到类似的情况时就不必浪费时间做重复的工作。通过合理分配任务和跟进任务,的制作人不只是与指派到任务的人沟通,而且是与所有可能得知任务的人交流。这也适用于制定日程表。有了良好的日程表,开发人员可以立即知道目标的进程和重大事件。如果开发人员必须反复查看才能知道数字的意思,那就太浪费时间了,结果是他可能会觉得麻烦而不愿意再看日程表,进而忘记截止日期。与任务分配或制定日程表相比,会议上的沟通交流更是一门微妙的艺术。有些团队可能希望制作人这样开会:进场、保证录像机工作正常、发放议程、保证有人进行会议记录和发放笔记。但有些时候,团队会希望制作人更加尽职一些:保证发言不脱节,会议不超时等。我们普遍认为,开会不宜太久,不能局限于行话或沦为闲聊,制作人应该充当调解人。无论团队喜欢那一种会议形式,制作人都应该知道什么方式对与会者合适,并且确保与会者落实行动。的制作人是很灵活的,能够在不同的会议形式之间切换,但如果有必要,还能强制会议按效的形式进行。制作人不应该做什么我们已经探讨了游戏制作人在游戏开发团队中的角色和的制作人应该如何达到他的目标。现在,我想从相反的角度谈谈,制作人应该避免落入什么陷阱。的制作人不应该做什么?不要害怕提问题大家都默认游戏制作人具有深厚的技术背景或能抓住所有任务细节和漏洞。事实上,如果他花太多时间在这些事情上,他很可能是浪费时间,因为无论何时,总会有人比他更熟悉那些事情、比他有更好的位置去做那些事情。从更远一点的距离看工作量,会给制作人更全面的视角、更宽广的视野看待事情,这才是制作人的职责所在。另外,如果制作人能够理解一个问题并且能够用不带技术术语的话把它概述出来,他就能更容易把信息传达给其他人,如其他制作人或相关团队。为此,关键的一步是提问题。如果制作人发现自己对什么事情不理解,他必须让人解释给他听,即使这样会使他自己显得愚蠢或无能,或觉得给别人添了麻烦。与其等到任务分配了、开会了才会发现完全不清楚挑战是什么,不如花时间提问题和要解释。浪费一个人的时间和冒着被人当成傻瓜的风险,总是比浪费所有人的时间来得好。游戏制作人应该学会放低姿态,在必要的时间不耻下问。不要制造不必要的工作合理排序工作的步就是,决定某工作是否是必须做的。任何人在任何时间都可能产生若干“如果我们做了应该不错”的想法。虽然对于大部分没有执行权的人来说,抱有这种想法是安全的,但对于具有实权且有办法让想法实现的人来说,特别是那些可能在会议上把想法大声说出来、分配到实际工作中的人来说,是非常危险的。这正是制作人应该保持谨慎的地方。只因为有人认为做某事不错,并不意味着应该做某事,特别是当这个人本身并不是做事的人。制作人必须意识到决策转化为工作,太多工作会导致延迟,延迟是制作人的灾星。程序员、美工、翻译或设计师,即使是的或主管,对项目的整体看法可能不会与制作人相同,因此可能不会意识到整体影响。所以,制作人必须非常擅长顾全大局。制作人必须非常清楚,会议能否取消、漏洞能否悬空、任务能否延期或甚至不执行、一项必须完成的工作能否增加工作时间和精力。不要让人讨厌与你合作严格地说来,无论是什么专业,对于游戏开发者而言,与游戏制作人保持密切合作并不是关键的。角色美工或服务器程序员可以任务列表就开始一天的工作,无论他的任务是由制作人还是主管分配的,并不重要。如果他必须加班或通宵,他的直接上司会告诉他。如果他对薪水、升职或休假有意见,他可以找他的经理谈。他并不需要与游戏制作人打交道。这就是为什么,游戏制作人必须体现自己的有用和平易近人。如果他可以保证别人不忽略他,他在“有用”的道路上就迈开步了。我坚信,的制作人可以显着地提高开发团队的生产效率,但只有人们理解游戏制作人的价值并积极地希望获得那些价值,才能达到那个效果。不要拖延延误截止日期可能出于各种原因,比如额外的变数太多或相关性太强。这是应该预料到和准备好的。除了断电、病假、宠物死了和地震,即使是的游戏开发者也可能误判某个任务需要花多少时间和人力。这是可以接受的。不能接受的是,制作人自己的耽误拖延。如果计划不能制定因为还没开会,这就是制作人的失职了。如果程序员等着页设计师的回复,制作人必须保证了解这个情况。如果玩家遇到严重的漏洞,制作人必须找到负责修复漏洞的人。事实上,制作人很容易回避这些问题,因为他要做的通常是发送邮件或打。但正是因为听起来简单,在这些事情上的失败才显得更加令人不能容忍。不要忘记跟进发送邮件然后假设对方已经收到了、读了、思考了,这对所有人来说都是很容易做的事(注:尤其是在这样一个即时通讯、Facebook和随时发表“评论”的时代)。在这种“过后就忘”的文化里,问责和跟进基本上被忽略了。但在游戏制作人的日常工作里,那样可不好。很大程度上,发邮件、打和开会都是有原因,那些原因是需要解决方案的。在程序员必须回去写代码,美工必须回去做模型,设计师必须回去设计关卡的时候,制作人也没有喘息的机会,不能分心太久。用邮件跟进、在会上总结或询问开发者,是制作人存在的部分原因。在这些事情上失败了就是放弃了制作工作的核心。结论很难判定一位游戏制作人是否把自己的工作做好了。正如我在开头所说的,如果产品成功了,制作人可能获得好名声,他可以说:“是啊,我是制作人,成功归功于我。”类似地,如果产品失败了,制作人也很容易摆脱所有责备,他可以说:“我不是设计师、不是程序员、不是美工,我怎么可能搞砸游戏?”如果他的团队不错,游戏制作人是可以摆脱被看低的命运的。但事实是,憋脚的手艺人才责备自己的工具,对于游戏开发者,他的羊群就是他的工具箱。制作人应该总是拥有他的羊群的产出。他可能不是失败的原因,但那并不意味着他不必对失败负任何。在本文开头,我提到美术制作人不画画,那是真的。然而,的美术制作人知道画画需要什么。他知道他的团队赶截止日期需要多少时间、有什么困难、什么工作有什么用。他理解产品的生命周期。类似地,我也提到程序制作人不管理程序员团队。但的制作人知道如何与他的程序员沟通。他知道程序员喜欢怎么工作;谁喜欢呆在阴暗的角落里默默地写代码,给谁分配任务时要格外谨慎,每一次开会要邀请谁。另外,制作人通常不决定什么东西能加入到游戏中,但他们知道什么建议有用,什么变通合适,什么特征荒唐。制作人通常比单个开发者有更广阔的视野,更能从大局出发。,也许是重要的,尽管大多数制作人对整个团队的预算几乎没有影响力,但他们必须总是把预算记在心上。这个世界上没有公司会愿意随便砸钱,但另一方面也是真的:没有公司会因为潜在成本而压抑员工的效率,特别是在创造力主导的行业。这就是为什么的游戏制作人要始终把高效、截止日期和保证尽快解决问题放在心上。总之,的游戏制作人要根据与他合作的人、正在开发的产品和截止日期的紧迫性来展开工作。为此,他必须灵活知变通;总是能够适应新环境且有预见能力;当预料中的事发生时,当所有人都慌作一团时,制作人必须保持冷静和理性。同时,他必须精力充沛,有强烈的感。他必须做到他所承诺的事,必须跟进他分配出去的任务,必须催促拖拉的人、提醒所有人。他可能并不喜欢某些工作,可能不会受到太多认可,但这也是工作的一部分,的游戏制作人必须在利益面前把自我放到一边。在游戏开发人才云集的圣殿里,这是制作人宣称自己的价值的方法。(爪游控)What Makes a Good Game Producer? Part 2by Ernst ten BoschIn Part 1 of this article, I talked about the role of a game producer within game development, and the main principals by which he should allow himself to be guided. In this second and final part of my article, I will focus more on what a good game producer should do in certain situations, and what he ought not to ecific Situations and What a Good Producer Would DoSo now that we’ve established what a game producer generally does and what his role is within the development team, let us delve a little deeper into a few specific and common situations in which a producer will find himself, and subsequently determine how a *good* producer would deal with those skingNothing says ‘Project Management’ like tasking, and every game producer I know does a lot of it. The job of tasking is really nothing more than what the name would have you believe; assigning tasks. Whether it’s through email, a board with Post It notes or some fancy, customized tool, it’s all essentially the same; technically simple and generally quite mundane. But even with this simple, monotonous work that’s hard to screw up, there is one way to do it, and then there’s the good way to do it.A producer can easily just get all the relevant parties together in a room, or in individual meetings, and have them dictate to him what the tasks ought to be, how long they’ll take etc. Then if something is unclear about the task, he can simply refer to the original dictator; all the game producer needs to do is to regularly check on the status of the tasks and jab the taskee in the ribs for an t there are weaknesses with this approach. A task, in the context of game development, is not just a method of assigning a job to an engineer, artist or designer. It is also a way to see all the pieces of the puzzle, not just for the producers, but for everyone involved in the project. The combination of all the tasks should ideally function as a record of the work that has been done, has yet to be done and the problems that were encountered and fixed along the way or that have resulted in further tasks. Proper bookkeeping through tasking will result in clarity and lessons learned for the future; a playbook of sorts. So it’s important that the tasks contain the information that will yield this result. Is the task understandable to someone not working on it? Do the start and due dates align and make sense in the general schedule? Are finished tasks marked ‘Complete’, or are we passed the due date without a comment or update? Will future-us be able to read through the task and the comments and know what happened?Of course, applying this level of detail and diligence to the thousands of tasks a random producer might enter for any given project, will balloon the workload to such a level, that he would have little time for anything else, but I think the point is still valid. A producer should ask himself: Do I understand this task? Is it reasonable to expect the desired outcome? Could I describe it in non-technical terms if someone asked about it? If he can honestly answer yes to those questions, he’s doing a great hedulingThere must be hundreds of ways of making a schedule, depending on its purpose. Is it to show the engineers, artists and designers how much time they have left to complete their work? Is it for marketing, PR, Community and the Executive Management to show when the work will be done? Or is it to show which dates all of us absolutely must reach in order to make the Christmas shopping season? It could be any or all of these. But whichever one it is, there are two simple basic rules I’ve learned to adopt over the years in how I make my schedules: 1. Don’t let the tool determine the format of the schedule. I simply use Excel. 2. You are not making the schedule for yourself; your client is the recipient. If I wanted to make a schedule for my own private use, it would be filled to the brim with details, abbreviations, random notes and personal comments. It would be illegible to almost anyone t these are just basic tips that I would recommend anyone adopt for any kind of scheduling in general. For a game producer, it would be all too easy to simply take down the delivery dates handed to him from the department leads, put them in a pretty table or in a nice diagram, and send it to whomever might complain that they don’t know what the schedule is.A good producer however, understands the schedule. He knows what the milestones mean, why they are on that particular date and what will happen when they aren’t reached. He also knows which forces have played a part in determining that a date for a milestone is reachable; who’s working on what, who’s on vacation, who’s out sick and which teams are understaffed, on track or knowing these things, he will be able to anticipate questions and hurdles and subsequently be able to answer those questions and overcome those hurdles. If a game producer is asked why a date in the schedule can’t be sooner, he needs to have a useful answer ready, or at least commit to procuring one, and not resort to deferring to someone else. If a producer doesn’t understand something as basic as his own schedule, what is he there for?MeetingsI think it’s safe to say that not many people genuinely enjoy meetings, and as a result, few people in charge of leading or preparing for a meeting will do so with the vigor and enthusiasm necessary to get the most out of it.A game producer, like any meeting organizer, ought to make sure the basic criteria are met for organizing and running a meeting well. Things like making sure there is an agenda, that someone is taking notes, that it starts on time and doesn’t last too long, that the right people are present and that any action items are followed-up on. This may sound easy, but it’s practically impossible to do consistently. At least for addition to these standard best practices for meetings anywhere in any business, there is one thing that is, if not unique, then perhaps more prevalent in the work of a game producer. Unlike most meetings I was in before I became a game producer, it is now common for me to find myself in a meeting where we talk about work that I am not personally expected to do. This means I don’t necessarily need to understand everything, I just need to know that it was said. It may be because it was too technical or because it concerned managerial matters, both of which are rarely within the realm of a game producer’s responsibility. Or, more often than not, the meeting might be about the job of an entirely different team or department, in which case I might have no idea what anyone is talking about!In those situations, a game producer is obligated to make additional effort outside of the meeting itself. If he wants to be able to contribute, he needs to not only know what was said, but understand what was said as well. It’s all too easy to simply take notes, enter tasks and call it a day, and an average producer could get away with that ad infinitum. But a really good game producer makes sure he understands the material, how the conclusions were reached and why the decisions were made. In doing so, he adds a new dimension to his work, and instead of merely being an executor; an enterer of tasks, and sender of emails, a setter-upper of meetings; he has become an architect; an authority, a project owner and a real municationIn job descriptions for game producers you’ll invariably see mention of the necessity to be a “good communicator”. I’ve always found this to be somewhat obtuse. Anyone can claim to be a good communicator and, as far as I know, there’s no standardized methodology of determining someone’s skill at is is not to say that it’s unimportant. Being people-shy won’t do if you want to be a game producer. Similarly, if you’re ill-at-ease in large groups or at running a meeting, you might also want to consider another career. At the very least, the need to talk to people shouldn’t be a limiting factor or a hurdle that needs to be overcome. If it is, then communication is not your strong what are the key elements that a producer needs to keep in mind when he’s working on his “communication”?Everyone is unique. A good producer knows his flock, and he knows how best to talk to its members. Some people like meetings, others don’t. Some people want to sit behind their desk all day and do all their communicating through email and chat. Some like it when you drop by their desk for a chat, and some people detest it when you do that. If a producer knows how best to talk to his colleagues, he will be in a far better position to share information, ask questions or say “no” when it’s needed. Realizing that there is no single, catch-all method for communicating is the first step in achieving the best method for reachable. The single most important thing is to be reachable. If someone needs a producer, they should be able to find that producer, and it’s the producer’s responsibility to make sure this can happen. In this day-and-age, that shouldn’t be too difficult, what with email, cell phones, texting and chat, or even FaceBook, FaceTime, WhatsApp and Skype. It has never been easier for someone to make sure he is reachable. The producer just needs to make sure his contact information is available on whatever centralized contact list the company uses, normally in Outlook or some internal website or wiki. In additional to that bare minimum, a good producer will make sure that he’s logged in to Messenger whenever he’s at his desk, that his cell phone is switched on when he’s not, and that he checks his emails from time to time at home or on the move. That should give him 90% coverage. Putting that contact information in email signatures and/or on office whiteboards should take care of the remaining 10%, which can be useful when people aren’t at their desk or near a visible. As I mentioned at the beginning of the article, many people, including other members of the development team, have no idea what producers do. As a result, they don’t know if and how producers can contribute to the game development process. For this reason, it is important for a game producer to make it obvious what he is working on. By showing what he is doing, he simultaneously shows what he can help with or be used for. Obliging his colleagues in such a way, will, in turn, lead to more work and subsequently, a greater contribution. A game producer who can’t be of use to his team or his flock, is a useless producer.  Any producer can simply sit at his desk, send emails and enter tasks knowing he is doing what his boss wants him to do. But a good producer knows how to communicate his usefulness outwardly. In meetings he’s prepared, pays attention and voices his opinion. He asks questions that others might be too shy to ask. He shows that he knows what’s going on by sending out reports and schedules. He shows that he knows what his flock is working on by answering detailed questions and making adjustments to the schedule so it matches what is ese actions may seem artificial or somehow disingenuous, but if a producer wants to be involved in the decision making, treated as an equal and be approachable, it needs to be apparent to all that he is working just as hard and suffering just as much as the next guy, even if he doesn’t know how to animate a 3D model, record sound or translate quest eate efficiency. Ultimately, the goal of good communication is to attain a level of high efficiency in the execution of the work the team does. A producer plays a large part in this. If a producer does a good job in tasking out the work, it’s easier for the engineer, artist or designer to get started on it right away, without needing to ask for clarification or make corrections. Then further down the line, again, if the task was entered properly, it will provide a good record of how it was executed, how much time was and has yet to be spent on it, which problems were encountered along the way and what was done to overcome those problems. This way, managers or other producers can quickly find out how much progress is being made and how it will impact the bottom line. At the same time, designers, artists, engineers and testers might learn something from the execution and need not waste time reinventing the wheel, should they run into a similar situation. By doing a good and thorough job at tasking out the work and doing proper follow-up on that task, a good producer is not merely communicating with the person assigned to fulfilling the task, but also with anyone else who might be reading it, perhaps at another time and is also pertains to scheduling. With a great schedule, and producer can immediately communicate to the reader where we are in the process of reaching our goals and what the important milestones are. If the reader has to spend time understating the graph, repeatedly looking at the legend and not knowing what the numbers mean, he wastes time, gets frustrated and will, overtime, stop looking at the schedule and inevitably stop caring about he munication in meetings is perhaps a more subtle art than it is with tasking or scheduling. Some teams prefer it if the producer simply does the administration of a meeting: setting it up, making sure the video projector is working, sending out an agenda and making sure the notes are written and sent out. In some cases though, the producer is expected to be more involved; reign in the wild cards, make sure the conversation is kept on track and that the time limit isn’t exceeded. It is generally agreed that meetings shouldn’t take forever and devolve into useless shoptalk or chitchat, and generally a producer is in a good position to be the moderator. Whichever system is preferred by the team, the producer in question ought to know what is best for the participants and make sure those priorities are executed upon. A good producer is flexible to the varying nature of different meetings, but if needed, is also able to steer it in whatever direction is most productive. What NOT to do as a ProducerWe’ve talked about the role of the game producer within the development team and how a good producer should go about achieving his goals. Now I’d like to drive it home by looking at it from the opposite angle. What are the main pitfalls a producer should avoid. What should a good game producer NOT do?Don’t be afraid to ask questionsIt is not expected of a game producer that he has deep technical insight or is aware of the details of every task and bug. In fact, if he spends too much time on those things, he is likely wasting time, because in any event, there will be people out there more knowledgeable about such things and in a better position to work on them than he. By looking at and understanding the workload from a little bit of a distance will give the producer some perspective and allow him to see everything in the context of the bigger picture, and that is exactly what he is there for. Additionally, if a producer is able to understand an issue and able to describe it in general, non-technical terms, sometimes referred to as “producer speak”, it will be easier for him to pass on that information to other parties, like other producers or support teams. The key to making this work, is to ask questions. If something doesn’t make sense to a producer, he needs to have it explained to him, even if it makes him look stupid or incompetent, or if he feels that he might be burdening someone. It’s better to spend some time asking questions and getting explanations, then to move forward, enter tasks and share information in subsequent meetings when it is not entirely clear what the challenges are. Better to waste one person’s time and suffer the shame of potentially looking silly, than to have the whole team suffer. A game producer should learn to swallow his pride and stick his neck out when n’t create unnecessary e first step in properly prioritizing work, is to determine whether the work even needs to be done at all. Any random person on any random day may have several “wouldn’t it be cool if we did this!” ideas. Whereas for most people those thoughts remain safely locked away in the realm of inaction, people in positions of power might have the means of seeing them come to fruition. Especially on occasions where opinions can be voiced with an eager audience, like in a meeting, an idea might sprout into a concrete task. This is where a producer needs to be wary. Just because one person thinks doing something would be cool, doesn’t mean it should be done, particularly when they themselves wouldn’t be the ones doing the ‘doing’. A producer needs to be aware that decisions translate to work, and too much work translates to delays, and delays are kryptonite to a producer (or at least it should be). An engineer, artist, translator or designer, even if senior or lead, may not have the same overview of a project that a producer should have, and therefore might not realize the overall impact. So this is where a producer can be very useful. If a meeting can be cancelled, a bug can be punted or a task can be postponed to a later date or can be refrained from needing to be done at all, more time and effort will be made on the work that does need to be n’t make people not want to work with youStrictly speaking, it’s not critical for a game developer, in whatever discipline, to work closely with a game producer. A regular character artist or server engineer can simply come in to work in the morning, look at what’s on his task list and start hammering away at his job. Whether his tasks were entered by a producer or his lead, really doesn’t matter. If he needs to work harder or stay late, his direct manager will tell him. If he has questions about his salary, career path or vacation days, he can talk to his manager. He could easily get by without ever having to deal with a game is is why, above all else, it is important that the game producer makes himself useful and approachable. If he can make sure people don’t outright ignore him, he has taken the first step in becoming helpful. I firmly believe that a dedicated team of producers will greatly improve the productivity of a development team, but this can only work if people understand the benefit of having a game producer, desire that benefit and actively seek it n’t be the one who holds things upDelays in reaching deadlines can originate from almost any place, be compounded by a plethora of additional variables and have a myriad of dire consequences for any number of interdependencies. This is to be expected and prepared for. Power outages, sick leaves, dead pets and earthquakes happen and even the most veteran of game developers will misjudge how long a particular task may take to complete. All of this is acceptable. What is not acceptable is consistent delay on the part of the producer. If a plan can’t be made because the meeting didn’t take place, it’s the producer who failed. If a server engineer is waiting for a reply from a web designer, the producer needs to make sure he gets it. If players have encountered a critical bug, it’s the producer who should find the guy to fix it. And in truth, it is very easy for a producer to avoid being the bottleneck, because usually all he needs to do is send an email or pick up the phone. But simple as this may sound, it just serves to strengthen the reason why failure on this front cannot be n’t forget to follow-upIt is all too easy for anyone to send an email and simply assume it was received, read and pondered by the recipient. All the more so in this day and age with instant messaging, Facebook and ‘commenting’, in which it is the common practice to simply post a remark and forget about it. This is a fire-and-forget culture in which there is little accountability or follow-through. But in the day-to-day work of a game producer, that’s not good enough. By and large, emails are sent, phone calls are placed and meetings are held for a reason, and those reasons require resolutions. And while engineers need to go back to writing code, artists need to go back to creating models and designers need to go back to designing levels, producers don’t have that luxury and can’t allow themselves to get deviated or distracted for too long. Following-up on an email, action items from a meeting or questions from a developer, is part of what justifies the producer’s position to begin with. Failing in this is failing in a core responsibility of production nclusionIt’s very hard to determine whether a game producer is doing a good job or not. As I said at the beginning, if a product is successful, the producer can claim credit. He can say “Yes, I was there, I helped make it happen”. And at the same time, if a product fails, it’s easy for a producer to absolve himself of any blame. He can simply say “Hey, I’m not a designer, or an engineer, or an artist. I didn’t break anything”. A game producer can get away with being crappy if his team is t the fact is, it’s a poor craftsman who blames his tools, and for a game producer, his flock represents his toolkit. A producer should always own the deliverables of his flock. He may not be the cause of a failure, but that doesn’t exempt him of the beginning of this article I mentioned that an art producer doesn’t make the art, which is true. However, a good art producer knows what it takes to make the art. He knows how much time his team will need to reach the deadlines, what obstructions there are, if any, and what the work will subsequently be used for. He understands the life cycle of the product his flock delivers and its place in the general development of the game. Similarly, I also stated that an engineering producer doesn’t manage a team of engineers. Again, true, but a good engineering producer knows how to deal with his engineers. He knows how the engineers prefer to work; who prefers to be alone in a dark corner writing code all day, who needs extra attention on their task assignments and who wants to be invited to every meeting.  Furthermore, it’s true that producers generally don’t decide what goes in the game, but if they’re good, they know the game well enough to be in a position to make useful suggestions, propose alternatives and shoot down outright ridiculous feature proposals. Producers often have a broader view than the individual, core developers, and with this broader view comes a useful perspective. Lastly, and perhaps most importantly, although it’s also true that most producers have little to no influence over the team’s budget, they need to always keep it in the back of their minds. No company in the world can afford to throw away money, whereas the opposite extreme should also be kept in check: no company can afford to have their employees stymie their productivity by fretting incessantly about potential costs, especially in a business driven by creativity. This is why being efficient, trying to hit the deadlines and making sure problems get addressed as soon as possible, are what should be foremost in the mind of a good game producer, if in no one else’s short, a good game producer delivers a customized service, tailor-made to the people he is working with, the product he is working on and the urgency of the deadlines. To succeed in this he needs to be flexible; always be able to adapt to new circumstances and know that the unforeseen will happen. And when it does, to stay calm and rational even when others aren’ the same time, he needs to be vigorous and exude strong principals. He needs to do what he said he would do and he needs to follow-up on the work that has been set in motion. He needs to nudge slackers, jab stallers in the ribs and remind the heck out of everyone. He may not be liked for it and he may not get much recognition, but that is part of the job, and a good game producer needs to set his ego aside in favor of the greater good. That is the only way he’ll be able to claim his rightful place in the pantheon of true game developers.(source:gamasutra) 文章导航Previous Previous post: 手游和主机游戏研发应互相学习什么?下一条 Next post: 张柏芝、谢霆锋和王菲,怎么都能在一起! 本站CDN由UPYUN又拍云强力驱动. 关于我们 | 加入我们 | 联系我们 | 版权声明 © 爪游控 版权所有. 陕ICP备号-1 Top

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