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 the things below with less, please apply anyway. We would rather meet you than miss you. You know how games get made across disciplines: what waits on what, how long things really take, and where a plan is optimistic before the dates say so You have produced across several titles and taken at least one PC title all the way to release, including the closing stretch: feature lock, bug burn, submission, the go decision. Which store matters less than that you have been through a PC launch. Projects that were cancelled along the way still count; we know how the last few years have gone for a lot of good people You have owned priorities, not just a schedule. You have made cut-or-keep calls on a shipped title and lived with them, and you can tell us about one you got wrong You have worked closely with a founder, studio head or creative director, and you know how to take decisions off their plate without going around them You have built and driven a schedule, and you have written down a way of working that other people picked up and used. We would love to see examples, in whatever form they exist You have led a team to a target without burning it out, and the people on it would work with you again You are proactive by default and you work independently. You do not wait to be asked or chased; given an assignment, you find out what it needs and finish it well without someone checking each step. That is what senior means to us Leads tell you how things are really going, because you talk with them directly and they trust you with the real picture You are fluent in Jira at the level of owning it for a team, Jira Plans included. It is a tool, not the job, but it is the tool we run the plan through, so we need you good with it You work our day, which runs on CET; where you sit while you do is up to you. And you are comfortable working in English, written and spoken Helpful, not required Steam specifically: Steamworks, builds and depots, the store page, review and submission, and how Early Access behaves through the whole run Live operations and a patch cadence Working with external production partners before, on either side of the relationship Time at a small studio where you were the only producer, or where the producer and product owner were the same person A remote-first team What we offer The whole project and the authority that comes with it. Real decisions, not just a schedule to report against. Strong leads beside you rather than under you, and a Creative Director who wants to hand things over and means it. A company small enough that what you do is visible in what we ship, and people who will notice. We are a self-motivated team, remote by choice and flexible in how we work, and we run on people helping each other rather than watching each other. Everyone here is trusted to own their part and supported when they need a hand, and we would like that to be true for you from your first week. And we are early. Scape is heading to Steam with everything still ahead of it. Joining now means building something with a real chance of becoming big, and being one of the people it belongs to when it does. Practical Remote. Our working day runs on CET and this role keeps it. Full time, on a long-term contract. Start: as soon as you can. Tell us your notice period in the application form and we will work around it. Recruitment is ongoing.