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The Game Production Handbook, 2nd Edition

Author Heather Maxwell Chandler
Release Date: 2010/03/01
ISBN: 9781934015407
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Book Description

The Game Production Handbook, Second Edition presents information that a producer, lead, or studio manager needs to know in order to successfully develop a game from concept to gold master. The general game development topics such as pre-production, production, testing, and code release are covered, along with more specific topics such as how to organize voice-over and mo-cap shoots, creating cinematics, working with marketing, localizations, working with external contractors, writing documentation, and project management practices. New material includes additional information on project and personnel management, new technologies, online gaming issues and middleware, and updated examples from next-generation games. It includes new interviews with industry experts who discuss insider knowledge and real world examples of what works and what doesn’t work in game development. A fictitious game project is used to fully illustrate the production cycle, documentation, and other production concepts. The book has a CD-ROM that includes all the templates/forms, so anyone can immediately apply the principles discussed in the book. An Instructor Resource Kit is available for use as a textbook. (eBook version does not include the CD-ROM)

Table of Contents

  1. THE GAME PRODUCTION HANDBOOK, Second Edition
    1. Copyright
    2. Dedication (1/3)
    3. Dedication (2/3)
    4. Dedication (3/3)
    5. FOREWORD
    6. PREFACE
    7. ACKNOWLEDGMENTS
    8. ABOUT THE AUTHOR
    9. Part I: GENERAL PRODUCTION OVERVIEW
      1. Chapter 1: GAME PRODUCTION OVERVIEW (1/3)
      2. Chapter 1: GAME PRODUCTION OVERVIEW (2/3)
      3. Chapter 1: GAME PRODUCTION OVERVIEW (3/3)
        1. 1.1 INTRODUCTION
        2. 1.2 PRODUCTION CYCLE
        3. 1.3 PRE-PRODUCTION
        4. 1.4 PRODUCTION
        5. 1.5 TESTING
        6. 1.6 POST-PRODUCTION
        7. 1.7 CHAPTER SUMMARY
      4. Chapter 2: ROLES ON THE TEAM (1/5)
      5. Chapter 2: ROLES ON THE TEAM (2/5)
      6. Chapter 2: ROLES ON THE TEAM (3/5)
      7. Chapter 2: ROLES ON THE TEAM (4/5)
      8. Chapter 2: ROLES ON THE TEAM (5/5)
        1. 2.1 INTRODUCTION
        2. 2.2 PRODUCTION
        3. 2.3 ART
        4. 2.4 ENGINEERING
        5. 2.5 DESIGN
        6. 2.6 QUALITY ASSURANCE TESTING
        7. 2.7 TEAM ORGANIZATION
        8. 2.8 CORPORATE
        9. 2.9 CHAPTER SUMMARY
      9. Chapter 3: PROJECT MANAGEMENT METHODS (1/4)
      10. Chapter 3: PROJECT MANAGEMENT METHODS (2/4)
      11. Chapter 3: PROJECT MANAGEMENT METHODS (3/4)
      12. Chapter 3: PROJECT MANAGEMENT METHODS (4/4)
        1. 3.1 INTRODUCTION
        2. 3.2 PROS AND CONS
        3. 3.3 PERSONAL SOFTWARE PROCESS (PSP)
        4. 3.4 SCRUM
        5. 3.5 PROJECT MANAGEMENT INSTITUTE (PMI)
        6. 3.6 CHAPTER SUMMARY
    10. Part II: BUSINESS INFORMATION
      1. Chapter 4: LEGAL INFORMATION (1/3)
      2. Chapter 4: LEGAL INFORMATION (2/3)
      3. Chapter 4: LEGAL INFORMATION (3/3)
        1. 4.1 INTRODUCTION
        2. 4.2 INTELLECTUAL PROPERTY RIGHTS
        3. 4.3 LEGAL AGREEMENTS
        4. 4.4 LICENSES
        5. 4.5 CHAPTER SUMMARY
      4. Chapter 5: DEVELOPER AND PUBLISHER RELATIONSHIPS (1/4)
      5. Chapter 5: DEVELOPER AND PUBLISHER RELATIONSHIPS (2/4)
      6. Chapter 5: DEVELOPER AND PUBLISHER RELATIONSHIPS (3/4)
      7. Chapter 5: DEVELOPER AND PUBLISHER RELATIONSHIPS (4/4)
        1. 5.1 INTRODUCTION
        2. 5.2 PITCHING A GAME TO A PUBLISHER
        3. 5.3 MANAGING THE DEVELOPER-PUBLISHER RELATIONSHIP
        4. 5.4 THIRD-PARTY GAME APPROVALS
        5. 5.5 CHAPTER SUMMARY
    11. Part III: MANAGING PEOPLE
      1. Chapter 6: HIRING AND RETAINING TALENT (1/3)
      2. Chapter 6: HIRING AND RETAINING TALENT (2/3)
      3. Chapter 6: HIRING AND RETAINING TALENT (3/3)
        1. 6.1 INTRODUCTION
        2. 6.2 HIRING TALENT
        3. 6.3 RETAINING TALENT
        4. 6.4 TRAINING
        5. 6.5 CHAPTER SUMMARY
      4. Chapter 7: TEAMS (1/6)
      5. Chapter 7: TEAMS (2/6)
      6. Chapter 7: TEAMS (3/6)
      7. Chapter 7: TEAMS (4/6)
      8. Chapter 7: TEAMS (5/6)
      9. Chapter 7: TEAMS (6/6)
        1. 7.1 INTRODUCTION
        2. 7.2 PROJECT LEADERSHIP
        3. 7.3 PICKING LEADS
        4. 7.4 TEAM BUILDING
        5. 7.5 TEAM BUY-IN AND MOTIVATION
        6. 7.6 QUALITY OF LIFE
        7. 7.7 CHAPTER SUMMARY
      10. Chapter 8: EFFECTIVE COMMUNICATION (1/2)
      11. Chapter 8: EFFECTIVE COMMUNICATION (2/2)
        1. 8.1 INTRODUCTION
        2. 8.2 WRITTEN COMMUNICATION
        3. 8.3 ORAL COMMUNICATION
        4. 8.4 NONVERBAL COMMUNICATION
        5. 8.5 ESTABLISHING COMMUNICATION NORMS
        6. 8.6 COMMUNICATION CHALLENGES
        7. 8.7 CHAPTER SUMMARY
    12. Part IV: TECHNICAL PRODUCTION
      1. Chapter 9: MASSIVELY MULTIPLAYER ONLINE GAMES (1/3)
      2. Chapter 9: MASSIVELY MULTIPLAYER ONLINE GAMES (2/3)
      3. Chapter 9: MASSIVELY MULTIPLAYER ONLINE GAMES (3/3)
        1. 9.1 INTRODUCTION
        2. 9.2 DIFFERENCES BETWEEN MMOS AND OTHER GAMES
        3. 9.3 PRE-PRODUCTION
        4. 9.4 PRODUCTION
        5. 9.5 POST-PRODUCTION
        6. 9.6 CHAPTER SUMMARY
      4. Chapter 10: VOICEOVER (1/6)
      5. Chapter 10: VOICEOVER (2/6)
      6. Chapter 10: VOICEOVER (3/6)
      7. Chapter 10: VOICEOVER (4/6)
      8. Chapter 10: VOICEOVER (5/6)
      9. Chapter 10: VOICEOVER (6/6)
        1. 10.1 INTRODUCTION
        2. 10.2 PLANNING FOR VOICEOVER
        3. 10.3 CHOOSING A SOUND STUDIO
        4. 10.4 CASTING ACTORS
        5. 10.5 RECORDING VOICEOVER
        6. 10.6 VOICEOVER CHECKLIST
        7. 10.7 CHAPTER SUMMARY
      10. Chapter 11: MUSIC (1/3)
      11. Chapter 11: MUSIC (2/3)
      12. Chapter 11: MUSIC (3/3)
        1. 11.1 INTRODUCTION
        2. 11.2 PLANNING FOR MUSIC
        3. 11.3 WORKING WITH A COMPOSER
        4. 11.4 LICENSING MUSIC
        5. 11.5 CHAPTER SUMMARY
      13. Chapter 12: MOTION CAPTURE (1/2)
      14. Chapter 12: MOTION CAPTURE (2/2)
        1. 12.1 INTRODUCTION
        2. 12.2 PLANNING FOR MOTION CAPTURE
        3. 12.3 WORKING WITH A MOTION CAPTURE STUDIO
        4. 12.4 PREPARING FOR A MOTION CAPTURE SHOOT
        5. 12.5 MOTION CAPTURE CHECKLIST
        6. 12.6 CHAPTER SUMMARY
      15. Chapter 13: MARKETING AND PUBLIC RELATIONS (1/3)
      16. Chapter 13: MARKETING AND PUBLIC RELATIONS (2/3)
      17. Chapter 13: MARKETING AND PUBLIC RELATIONS (3/3)
        1. 13.1 INTRODUCTION
        2. 13.2 WORKING WITH MARKETING
        3. 13.3 PACKAGING
        4. 13.4 DEMOS
        5. 13.5 MARKETING ASSETS
        6. 13.6 GAME BUILDS
        7. 13.7 ASSET DELIVERABLE CHECKLIST
        8. 13.8 CHAPTER SUMMARY
    13. Part V: PRE-PRODUCTION
      1. Chapter 14: GAME CONCEPT (1/5)
      2. Chapter 14: GAME CONCEPT (2/5)
      3. Chapter 14: GAME CONCEPT (3/5)
      4. Chapter 14: GAME CONCEPT (4/5)
      5. Chapter 14: GAME CONCEPT (5/5)
        1. 14.1 INTRODUCTION
        2. 14.2 BEGINNING THE PROCESS
        3. 14.3 DEFINE CONCEPT
        4. 14.4 PROTOTYPING
        5. 14.5 RISK ANALYSIS
        6. 14.6 PITCH IDEA
        7. 14.7 PROJECT KICK-OFF
        8. 14.8 CONCEPT OUTLINE
        9. 14.9 CHAPTER SUMMARY
      6. Chapter 15: GAME REQUIREMENTS (1/4)
      7. Chapter 15: GAME REQUIREMENTS (2/4)
      8. Chapter 15: GAME REQUIREMENTS (3/4)
      9. Chapter 15: GAME REQUIREMENTS (4/4)
        1. 15.1 INTRODUCTION
        2. 15.2 DEFINE GAME FEATURES
        3. 15.3 DEFINE MILESTONES AND DELIVERABLES
        4. 15.4 EVALUATE TECHNOLOGY
        5. 15.5 DEFINE TOOLS AND PIPELINE
        6. 15.6 DOCUMENTATION
        7. 15.7 RISK ANALYSIS
        8. 15.8 APPROVAL
        9. 15.9 GAME REQUIREMENTS OUTLINE
        10. 15.10 CHAPTER SUMMARY
      10. Chapter 16: GAME PLAN (1/7)
      11. Chapter 16: GAME PLAN (2/7)
      12. Chapter 16: GAME PLAN (3/7)
      13. Chapter 16: GAME PLAN (4/7)
      14. Chapter 16: GAME PLAN (5/7)
      15. Chapter 16: GAME PLAN (6/7)
      16. Chapter 16: GAME PLAN (7/7)
        1. 16.1 INTRODUCTION
        2. 16.2 DEPENDENCIES
        3. 16.3 SCHEDULES
        4. 16.4 BUDGETS
        5. 16.5 STAFFING
        6. 16.6 OUTSOURCING
        7. 16.7 MIDDLEWARE
        8. 16.8 GAME PLAN OUTLINE
        9. 16.9 CHAPTER SUMMARY
    14. Part VI: PRODUCTION
      1. Chapter 17: PRODUCTION CYCLE (1/2)
      2. Chapter 17: PRODUCTION CYCLE (2/2)
        1. 17.1 INTRODUCTION
        2. 17.2 DESIGN PRODUCTION CYCLE
        3. 17.3 ART PRODUCTION CYCLE
        4. 17.4 ENGINEERING PRODUCTION CYCLE
        5. 17.5 WORKING TOGETHER
        6. 17.6 CHAPTER SUMMARY
      3. Chapter 18: PRODUCTION TECHNIQUES (1/4)
      4. Chapter 18: PRODUCTION TECHNIQUES (2/4)
      5. Chapter 18: PRODUCTION TECHNIQUES (3/4)
      6. Chapter 18: PRODUCTION TECHNIQUES (4/4)
        1. 18.1 INTRODUCTION
        2. 18.2 GETTING A PROJECT BACK ON TRACK
        3. 18.3 PROJECT REVIEWS
        4. 18.4 CRITICAL STAGE ANALYSIS
        5. 18.5 WEEKLY STATUS REPORTS
        6. 18.6 RUNNING MEETINGS
        7. 18.7 RESOURCE ALLOCATION
        8. 18.8 PREVENTING FEATURE CREEP
        9. 18.9 ESTABLISHING APPROVAL PROCESSES
        10. 18.10 TASK FORCES
        11. 18.11 CHAPTER SUMMARY
      7. Chapter 19: MAKING BUILDS (1/2)
      8. Chapter 19: MAKING BUILDS (2/2)
        1. 19.1 INTRODUCTION
        2. 19.2 BUILD PROCESS
        3. 19.3 MULTILINGUAL BUILDS
        4. 19.4 BUILD NOTES
        5. 19.5 PREVENTING PIRACY
        6. 19.6 CHAPTER SUMMARY
      9. Chapter 20: SOFTWARE RATINGS (1/3)
      10. Chapter 20: SOFTWARE RATINGS (2/3)
      11. Chapter 20: SOFTWARE RATINGS (3/3)
        1. 20.1 INTRODUCTION
        2. 20.2 SOFTWARE AGE RATINGS
        3. 20.3 ESRB (UNITED STATES)
        4. 20.4 PEGI (EUROPE)
        5. 20.5 BBFC AND VSC (UNITED KINGDOM)
        6. 20.6 USK (GERMANY)
        7. 20.7 OFLC (AUSTRALIA)
        8. 20.8 CERO (JAPAN)
        9. 20.9 KMRB (KOREA)
        10. 20.10 CHAPTER SUMMARY
      12. Chapter 21: LOCALIZATION (1/4)
      13. Chapter 21: LOCALIZATION (2/4)
      14. Chapter 21: LOCALIZATION (3/4)
      15. Chapter 21: LOCALIZATION (4/4)
        1. 21.1 INTRODUCTION
        2. 21.2 CREATING INTERNATIONAL CONTENT
        3. 21.3 LOCALIZATION-FRIENDLY CODE
        4. 21.4 LEVEL OF LOCALIZATION
        5. 21.5 LOCALIZATION PLAN
        6. 21.6 ORGANIZING ASSETS FOR TRANSLATION
        7. 21.7 INTEGRATING TRANSLATED ASSETS
        8. 21.8 TESTING
        9. 21.9 CONSOLE SUBMISSION
        10. 21.10 LOCALIZATION CHECKLIST
        11. 21.11 CHAPTER SUMMARY
    15. Part VII: TESTING
      1. Chapter 22: TESTING (1/3)
      2. Chapter 22: TESTING (2/3)
      3. Chapter 22: TESTING (3/3)
        1. 22.1 INTRODUCTION
        2. 22.2 TESTING SCHEDULE
        3. 22.3 TEST PLANS
        4. 22.4 TESTING PIPELINE
        5. 22.5 TESTING CYCLE
        6. 22.6 EXTERNAL TESTING
        7. 22.7 CHAPTER SUMMARY
      4. Chapter 23: CODE RELEASING (1/2)
      5. Chapter 23: CODE RELEASING (2/2)
        1. 23.1 INTRODUCTION
        2. 23.2 DETERMINING CODE RELEASE
        3. 23.3 CODE RELEASE CHECKLIST
        4. 23.4 GOLD MASTERS
        5. 23.5 CHAPTER SUMMARY
    16. Part VIII: POST-PRODUCTION
      1. Chapter 24: POSTMORTEMS (1/2)
      2. Chapter 24: POSTMORTEMS (2/2)
        1. 24.1 INTRODUCTION
        2. 24.2 PURPOSE OF A POSTMORTEM
        3. 24.3 CONDUCTING A POSTMORTEM
        4. 24.4 LESSONS LEARNED DOCUMENT
        5. 24.5 CHAPTER SUMMARY
      3. Chapter 25: CLOSING KITS (1/2)
      4. Chapter 25: CLOSING KITS (2/2)
        1. 25.1 INTRODUCTION
        2. 25.2 DEFINING CLOSING KITS
        3. 25.3 CREATING CLOSING KITS
        4. 25.4 ORGANIZING CONTENT
        5. 25.5 FINALIZING CLOSING KITS
        6. 25.6 CLOSING KIT CHECKLIST
        7. 25.7 CHAPTER SUMMARY
      5. Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (1/11)
      6. Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (2/11)
      7. Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (3/11)
      8. Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (4/11)
      9. Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (5/11)
      10. Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (6/11)
      11. Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (7/11)
      12. Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (8/11)
      13. Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (9/11)
      14. Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (10/11)
      15. Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (11/11)
        1. A.1 INTRODUCTION
        2. A.2 PRE-PRODUCTION PHASE
        3. A.3 TECHNICAL PRODUCTION
        4. A.4 PRODUCTION
        5. A.5 TESTING PHASE
        6. A.6 POST-PRODUCTION PHASE
      16. Appendix B: GLOSSARY
      17. Appendix C: RESOURCES
        1. BOOKS
        2. ARTICLES
        3. WEBSITES
      18. Appendix D: BIOGRAPHIES (1/2)
      19. Appendix D: BIOGRAPHIES (2/2)
        1. KARIN GROEPPER BOOSMAN
        2. TOM BUSCAGLIA
        3. MELANIE CAMBRON
        4. CAREY CHICO
        5. DON DAGLOW
        6. STEPHANIE O'MALLEY DEMING
        7. JAMIE FRISTROM
        8. TRACY FULLERTON
        9. RAYMOND HERRERA
        10. CLINT HOCKING
        11. LEE JACOBSON
        12. TODD KEISTER
        13. CLINTON KEITH
        14. PAUL LESKA, JR
        15. ERIK LOUDEN
        16. JEFF MATSUSHITA
        17. LUCIEN PARSONS
        18. JAY POWELL
        19. STUART ROCH
        20. AMANDA RUBRIGHT
        21. TOBI SAULNIER
        22. CORAY SEIFERT
        23. TOM SLOPER
        24. WADE TINNEY
        25. PATRICIA VANCE
      20. Appendix E: ABOUT THE CD-ROM
    17. INDEX (1/2)
    18. INDEX (2/2)
18.221.158.222