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Game Production and Role of Game Producer Case study: Research on demographic of gamers in Hanoi, Vietnam Phan Nguyen Bachelor’s Thesis ___. ___. ______ ________________________________ Valitse kohde. SAVONIA UNIVERSITY OF APPLIED SCIENCES THESIS Abstract Field of Study Social Sciences, Business and Administration Degree Programme Degree Programme in International Business Author(s) Phan Nguyen Title of Thesis Game Production and Role of Game Producer Date 12/11/2014 Pages/Appendices 43 + 2 Supervisor(s) Leo Suomela Client Organisation/Partners Abstract This thesis was intended to serve as a guideline on how to manage a video game development process as a producer. The study includes basic knowledge of game production process, focusing more on managing the project as a whole, rather than reaching specific technical aspects. The production methodology described here is a combination of several methods used by most studios in the game industry. Additionally, understanding of game producer’s roles and characteristics was also studied to give author a “mental map” to apply in future career. The goal was to accomplish the most efficient and inspired production process as possible which could be utilized in most cases. Finally, the demographic of gamers in Hanoi – capital of Vietnam – was studied and analyzed, for the purpose of drawing a conclusion on whether Hanoi would be a potential environment for new startup game development studio in the future. The investigation method carried out was quanti- tative research; data was collected from online questionnaire and physical handouts. The theoretical part of this study primarily relied on Heather M. Chandler’s knowledge on game production, through the book The Game Production Handbook. In addition, project management knowledge from James P. Lewis’s book Project Planning, Scheduling & Control is also used. The theoretical framework of the report contains project management, production and production planning. Keywords Video game, production, producer, project management, environment, analysis CONTENTS 1 INTRODUCTION ............................................................................................. 6 2 GAME PRODUCTION OVERVIEW ...................................................................... 7 2.1 Introduction ............................................................................................. 7 2.2 Production Cycle ...................................................................................... 7 2.3 Pre-production ......................................................................................... 9 2.3.1 Game Concept ................................................................................ 9 2.3.2 Game Requirements ....................................................................... 14 2.3.3 Game Plan .................................................................................... 16 2.4 Production .............................................................................................. 18 2.4.1 Progress Tracking and Project Review ............................................. 19 2.4.2 Builds and Making Builds ................................................................ 21 2.4.3 Risk Management during Production ................................................ 21 2.5 Play testing ............................................................................................. 23 2.5.1 Test Cycle ..................................................................................... 23 2.5.2 Testing Strategy ............................................................................ 24 2.5.3 Alpha and Beta Testing .................................................................. 24 2.6 Post-production ....................................................................................... 25 3 ROLE OF THE PRODUCER .............................................................................. 28 3.1 Introduction ............................................................................................ 28 3.2 Producer in general ................................................................................. 28 3.3 Associate Producer .................................................................................. 29 3.4 Executive Producer .................................................................................. 30 3.5 Background and Training ......................................................................... 30 4 RESEARCH ON DEMOGRAPHIC OF GAMERS IN HANOI, VIETNAM ...................... 34 4.1 Research’s background ............................................................................ 34 4.2 Research’s results ................................................................................... 34 4.3 Warping up ............................................................................................. 40 5 SUMMARY ..................................................................................................... 41 REFERENCES ..................................................................................................... 42 APPENDICE ....................................................................................................... 44 Appendix 1 Questionnaire for video gamers in Hanoi, Vietnam ................................ 44 5 LIST OF FIGURES Figure 1. Basic game production cycle ....................................................................... 8 Figure 2. Multiple production cycles for a single project ............................................. 8 Figure 3. Ansoff matrix ............................................................................................. 11 Figure 4. Possible topics for SWOT analysis ............................................................ 12 Figure 5. Vertical slice and horizontal slice of a game project .................................. 14 Figure 6. Major budget line items ............................................................................. 17 Figure 7. Relationship between project variables ..................................................... 19 Figure 8. Control Cycle ............................................................................................ 20 Figure 9. Testing Life Cycle...................................................................................... 24 Figure 10. Main contacts of Developer Producer and Publisher Producer ................ 29 Figure 11. Gender and age groups of respondents .................................................. 35 Figure 12. Income of respondents ............................................................................ 36 Figure 13. Respondents’ gaming systems ................................................................ 36 Figure 14. Time respondents spent playing video games per week ......................... 37 Figure 15. Respondents' purchasing rate ................................................................. 38 Figure 16. Respondents’ purpose of purchasing ...................................................... 39 Figure 17. Paying methods respondents used ......................................................... 39 Figure 18. Respondents' sources of information ...................................................... 40 6 1 INTRODUCTION Over the past ten years, the video game industry has been growing rapidly and be- comes one of the most successful industries in the world, generated billions of dollars revenues worldwide each year. Video games are becoming closer and closer to the point are considered as art, not just high art like literatures, paintings or films, but an interactive form of art. From “Pong” to “Mass Effect”, video games can get people emotionally invested as well as movies can do, to the point that they are not consid- ered as just “kid’s toys” but also a philosophy of life. However, just like a movie, a video game can be terribly bad as a result of fail production. As a gamer, video games have been my passion for over fifteen years; it is my dream and goal to not just play but to be able to produce games that will stay in people’s hearts. With that idea in mind, I started to write this study as a personal guideline, hoping it will be helpful for my future career as a game producer. In this thesis, I will research details of some aspects in game production process, mostly non-technical areas, finding out how games are made, from concept to final product, and focusing as close to project management field as possible. In addition, a minor study on what makes a game producer will be presented afterwards. Finally, the last portion of my thesis is reserved for an analysis of gamer’s demographic in my home town – Hanoi, Vietnam. For this study, I used mostly secondary research (also known as desk research) for theoretical part. The materials were collected from internet sources as well as physi- cal books. The method used to gather information for my final analysis is quantitative research, online surveys were distributed among Hanoi’s citizens in Vietnam. 7 2 GAME PRODUCTION OVERVIEW 2.1 Introduction In general, production refers to the responsibility of producers, especially in the con- text of video game development, it refers to project management. More likely, the producers will receive help from their teams, their managers, or other departments, but even though, as the teams grow bigger and budgets increase, they are required to have a solid knowledge of the game production process, how to fit all puzzles to- gether, or adjust the process to meet

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