| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | JOB106 | ||||
| Course Name: | ARCHITECHT Software Product Management | ||||
| Semester: | Fall | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | University Elective | ||||
| Course Level: |
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| Mode of Delivery: | E-Learning | ||||
| Course Coordinator: | Araş. Gör. KAZIM TİMUÇİN UTKAN | ||||
| Course Lecturer(s): |
Doç. Dr. ŞEBNEM ÖZDEMİR |
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| Course Assistants: |
| Course Objectives: | This course aims to equip students with the fundamental concepts and practical tools necessary for successful software product management. The students will develop an understanding of the roles of a product manager and the importance of balancing user needs with business objectives. By engaging in real-life scenarios and case studies, students will apply theories and practices to manage a software product effectively through its life cycle, from ideation to launch and beyond, ensuring alignment with the market needs and company strategy. |
| Course Content: | 1. Introduction to software product management: Definitions, roles, and responsibilities. 2. Product life cycle management: From conception to retirement. 3. Agile and waterfall methodologies in product management. 4. User-centered design and user experience (UX) principles. 5. Metrics and KPIs for product success, data-driven decision-making. |
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The students who have succeeded in this course;
1) Students will understand the role, challenges, and best practices of software product management. 2) Students will be able to apply the principles of Agile and Waterfall methodologies to product management. 3) Students will learn to integrate user-centered design and UX into product development. 4) Students will understand how to define and use metrics and KPIs to track product performance. 5) Students will develop the skills to make strategic decisions based on qualitative and quantitative data. |
| Week | Subject | Related Preparation |
| 1) | Course Introduction and Overview of Software Product Management | - |
| 2) | The role of a Product Manager and the Product Management Process | - |
| 3) | Market Research and Identifying Customer Needs | - |
| 4) | Product Strategy – Vision, Goals, and Initiatives | - |
| 5) | Introduction to Agile Product Management | - |
| 6) | Introduction to Waterfall Product Management | - |
| 7) | User-Centered Design and UX Fundamentals in Product Development | - |
| 8) | Midterm Exam | - |
| 9) | Applying User Stories and Personas | - |
| 10) | Prioritization Techniques and Roadmap Planning | - |
| 11) | MVPs, Prototyping, and Validation Techniques | - |
| 12) | Analytics, Metrics, and Data-Driven Product Management | - |
| 13) | Growth Hacking and Product Scaling Strategies | - |
| 14) | Leadership and Communication for Product Managers | - |
| 15) | Ethics and Legal Considerations in Product Management | - |
| 16) | Final Exam | - |
| Course Notes / Textbooks: | - |
| References: | - |
| Course Learning Outcomes | 1 |
2 |
3 |
4 |
5 |
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| Program Outcomes | ||||||||
| 1) Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | ||||||||
| 2) Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | ||||||||
| 3) Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | ||||||||
| 4) Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | ||||||||
| 5) Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | ||||||||
| 6) Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | ||||||||
| 7) Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | ||||||||
| 8) Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | ||||||||
| No Effect | 1 Lowest | 2 Average | 3 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | |
| 2) | Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | |
| 3) | Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | |
| 4) | Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | |
| 5) | Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | |
| 6) | Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | |
| 7) | Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | |
| 8) | Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Midterms | 1 | % 40 |
| Final | 1 | % 60 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 40 | |
| PERCENTAGE OF FINAL WORK | % 60 | |
| total | % 100 | |
| Activities | Number of Activities | Workload |
| Course Hours | 16 | 32 |
| Midterms | 8 | 44 |
| Final | 8 | 46 |
| Total Workload | 122 | |