Senior Producer

Senior Producer ScapeWorld Entertainment Remote. Our working day runs on CET, wherever you sit. Full time, on a long-term contract. Starting as soon as you can. Where you live while you do is up to you; the location field on this posting only fits one country, so please read this as the real rule and apply from wherever you are. About us We are Scape, a Swedish game studio of about 30 people, fully remote by choice. We are launching Scape on Steam Early Access later this year: a growing platform of multiplayer games where a player's identity carries across all of them. The first game inside Scape is Gravity: a precision climbing game where 100 players share one server, one tower, and one long way down. Our senior team has shipped and run live games at studios including Arrowhead (Helldivers 2), Avalanche Studios, Epic and Ubisoft. Since we are a small team about to put our first game in front of players, we are looking for the person who holds the plan, the priorities and the team together while we do it. If that sounds like you, we would love to meet. The role Let us start with the studio you would be joining. Around thirty people, fully remote, and a group of strong leads in design, art, engineering, QA, community and commercial who own their crafts and run their own teams. What we do not have is the person who looks across all of them at once, holds the plan they are all working to, and makes the day-to-day calls that keep it moving as one. That is this role. It is the only production seat in the company, and it comes with real authority. You would work closely with the Creative Director. They own what the game is, set the direction and make the big bets. You own the plan that gets us there and the decisions inside it: scope, sequencing and trade-offs within a milestone are yours to make, and you decide which questions need to reach them and which do not. They should be able to step back and know that things are being handled, because they are. In practice, it comes down to four things: You know how a game gets made. You can see what depends on what, where the effort really sits, and whether an estimate is going to hold. When a lead tells you how long something takes, you know how to hear it and what has to land for the work to ship on time. You own the plan and the priorities. Not just the schedule, but the order of work behind it. When two things compete, you decide, or you get the decision made and tell everyone affected. Open questions have an owner and a date. Nothing sits unanswered because nobody was sure whose call it was. You plan ahead. Problems get found while they are still cheap, and everything that has to land together lands together: builds, assets, store material, localization, press dates. You lead the team's delivery. People know the plan is real, feel good about hitting it, and are still standing when it ships. The leads lead their crafts. You lead how it all comes together, and you meet each team where it is: some want you in the weeds with them on estimates and sequencing, others mainly need the picture across teams kept current. You read which is which. We have a production pipeline that works, and like any pipeline it can always be better. You would inherit it as it is, get to know it and the people who run it, and then improve it where you see the need. Nobody here expects you to arrive with all the answers. We do hope you arrive curious about how we work and comfortable telling us, kindly and clearly, where we could do better. What you will own Production priorities day to day: the order of work across the studio, the trade-off calls within a milestone, and every open question that is blocking someone. You find who can answer, get it answered or escalated with a clear recommendation attached, and close the loop with the teams waiting on it. If a question is blocking someone, it is yours until it is not Keeping design, art, engineering, QA and marketing in step with each other, week by week, so nobody is working against a version of the plan that has moved The forward view: every feature in flight, what each one is still waiting on, the handoffs between departments caught early, and risk seen while it is still cheap, named, and carrying a mitigation before it turns into a schedule event The team's delivery health: sustainable pace, morale, and delivery on target, treated as one problem rather than a trade-off Marketing as a real production dependency, and the alignment dates around release: builds, assets, store material, localization drops, press dates, landing on time and together The production plan behind all of it: a milestone schedule with a baseline, a forecast per milestone from velocity against remaining scope, estimates held against actuals, and replanning on a cycle rather than after something breaks QA in step with everyone else. Our QA lead owns testing; you make sure QA knows what is coming and when, that testable builds land when the plan says they do, and that the QA window sits in the schedule where it belongs rather than where it ends up External production partners: localization, video, 3D, anything we outsource. You own the relationship and the communication in both directions, and you chase. Briefs and context going out, deliveries coming in and landing in the build, and the schedule that keeps them in step with everyone else. Leads should never have to chase a partner themselves. The craft stays with the partner; making it fit is on you The production process itself and the tools it runs through. We use Jira, including Jira Plans for planning months out against a baseline, and you own it for the studio. You also support hiring managers through their recruitment processes, so a lead who is hiring can focus on assessing the person rather than running the process You Most people who can do this job have around five years in games production behind them. Take that as a description of who tends to apply, not a bar we hold. If you can show us th