Dorian ALEXANDRE Junior Game Producer
PRODUCER - 2024
4 Weeks | Team of 11
GAME INFORMATIONS
GENRE Beat'em all
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PLAYER Solo
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CAMERA Third Person Shoulder
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PLATFORMS PC & Next gen
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TARGET Dark & power fantasy fan
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BUSINESS MODEL Premium
KEY FEATURES
ANNIHILATE YOU ENEMIES
Use an arsenal of soul-bound weapons to tear enemies apart and bring down colossal foes.
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MASTER THE GRIM
Use this wretched energy to unleash powerful attacks, but be careful not to let it take apart your body and soul.
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LEARN ABOUT THE WORLD BEFORE
Find remnants of an ancient war that tore the ground open and unleashed the Grim on the land, forever tainting every living being.
GAMEPLAY VIDEO
MY PROJECT'S ROLE
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Coordinated the team through all production stages.
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Developed and maintained project macro and micro plans.
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Established an agile development process using ClickUp.
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Organized and directed project milestones.
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Conducted design reviews to ensure alignment with project goals.
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Conducted one-to-one sessions with the team to support them in achieving their goals throughout the project.
MACRO PLANNING
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Divide the timeline on different phases (Conception made before)
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Sprint distribution based on time estimation of the development.
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Velocity calculation to enhance the project scope.
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Each sprint is concluded with a milestone.
PRODUCTION WORKFLOW
PRODUCTION EXAMPLE
REQUEST
Chain elevator - Level element
DESCRIPTION
Used to travel vertically, works both to ascend and descend
INTENTIONS
Brutal - Astonishment
PRODUCTION VALUE
P2
Moderated impact - Reinforcement of intentions but not crucial
TASK ASSIGNMENT
Evaluating a request mainly focuses on analyzing the necessary resources and identifying the type of work required to create the feature.
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Once we break the request down into smaller tasks, we can assign each to the relevant department.
My vision of Stories during this project
During the Grim production, I view a story as a collection of tasks needed to complete an element, involving contributions from various departments.
Once the tasks are created, I discuss them with the Game Design Lead to align our vision.
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Then, I organize a meeting with all relevant team members to evaluate the complexity of each task and assign story / sprint points.
Total : 24
I use an Excel table to help me track which departments are involved and whether their work is needed.
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After slicing the request, we can determine all the tasks required to complete it, transforming the request into a story.
This table also helps me determine whether our team can accomplish a request.
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For example, if a feature requires a Visual Effects artist but we don’t have one, the feature cannot be completed. Unless we assign it to someone outside their specialty, which would take additional time for them to learn.
GANTT PLANNING
It’s important to plan with dependencies in mind.
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Assign tasks that cannot be accomplished without a particular asset, ensuring they are scheduled after the asset’s requirements have been met.
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Consequently, the priority order for a task is determined by these requirements and the number of other tasks it unlocks upon completion.
EXAMPLE
A 3D model can only be animated once it has been created, and fitting sounds to this animation can be done afterward.
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In our case, the chain elevator needs to be modeled by an artist according to the design intentions and metrics. It should then be animated to move the chain upward, and finally, metal sounds can be layered over it.
Using a simple waterfall method is not the best approach to achieve this.
Tasks can overlap, assuming that changes are predictable. Organizing our workflow allows the team to collaborate closely and facilitates the overlapping of tasks.
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By utilizing this workflow, we can naturally create some buffer time to polish everything or start new tasks quicker. This approach works much better when communication within the team is efficient.
EXAMPLE
For instance, an artist can quickly create a blockout of the 3D model while adhering to the Game & Level designer's metrics & vision.
During the polishing phase, the animator can create a rough version of the animation using the blockout and later refine it once the artist has completed the final model.
Additionally, the animation polish can occur simultaneously with the model texturing.
CANCEL ANTICIPATION
Sometimes it happens during production to kill a feature during its realization. To exceed this event, its important to anticipate how to adapt the organization.​
PLAN A
CHAIN ELEVATOR
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Highly intensify intentions
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Affect many departments
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Expensive to produce
PLAN B
PLATFORM ELEVATOR
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Intensify intentions
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Affect little departments
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​Affordable to produce
PLAN C
STAIRS
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No intention intensification
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Only affect Level designers
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Cheap to produce
GAME ARTISTS
Gabriel CHALANCON Artstation
Envrionment Artist
Erton LLANOS Artstation
Environment Artist | Concept Artist
Leny MOYNAT Artstation
Environment Artist | Tech Artist | Level Art
Diego DUBOIS Artstation
Character Artist
David FERNANDES Artstation
VFX Artists