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Postgraduation Video Game Development - Studio Zero

Studio Zero is a full-time postgraduate programme in which an entire cohort operates as a single game studio. Over ten months, students take one game idea and develop it to release on Steam (the largest global digital storefront for PC games), then support Read more
Course formatIn-Person Hours328h Credits60 ECTS
  • 1st Edition, Academic Year 2026/2027

    1st Edition, Academic Year 2026/2027

    Coming Soon
    Start date 18 Jan, 2027
    End date 19 Nov, 2027
    Application end 9 Nov, 2026

    Schedule

    Monday through Friday from 10:00 a.m. to 5:00 p.m.
  • What will I learn in this course?

    What will I learn in this course?

    Studio Zero is a full-time postgraduate programme in which an entire cohort operates as a single game studio. Over ten months, students take one game idea and develop it to release on Steam (the largest global digital storefront for PC games), then support it after launch with patches and a first content update. Faculty act as expert advisers and stakeholders, stepping back from traditional lecturing, and allowing students to self-direct the project, accordingly, allowing professional judgment to emerge naturally through the process. Graduates leave with a published title on their CV, genuine production credit, and the studio experience that employers test for.
  • Entry requirements and conditions

    Entry requirements and conditions

    Cohort size: minimum 15 students, maximum 25. Formal requirements: - Completed a bachelors (or masters) degree in game development, game design, computer science, digital art, animation, or a closely related field. Adjacent fields accepted where the portfolio demonstrates relevant game production experience. - EU residency (pilot cohort restriction). - Professional working proficiency in English, assessed at interview. - Full-time, in-person availability for the whole programme. Selection process, in three stages: 1. Eligibility screening (administrative). Completeness, degree, residency, availability, presence of portfolio or CV. Incomplete applications are rejected without academic review. 2. Substantive review. Each complete application is assessed by at least two faculty members on discipline competence and team readiness. Applicants declare a primary track and, optionally, a secondary track. Required submissions: application form (background, tools proficiency, skill self-assessment, team experience, motivation), and a curated portfolio of three to eight projects with the applicant's specific contribution stated for each. Production-track applicants submit a CV and supporting production documentation instead of a visual portfolio. 3. Interview. Mandatory for all shortlisted applicants; no offer is made without it. Panel of two faculty members, 20 to 30 minutes, covering portfolio or CV walkthrough, a track-relevant scenario, and team dynamics. Scored on discipline competence, communication and interpersonal readiness, and programme fit. Cohort composition clause. Admission does not consist exclusively on individual ability, rather functions like a casting process. Given that the entire cohort operates as a single studio, the group must contain a viable distribution across the four tracks. A strong applicant in a saturated track may be waitlisted in favour of a solid applicant in an under-represented one, and applicants may be offered a place under their secondary track with their explicit agreement. If a viable team cannot be assembled, the programme does not run that year, even if the minimum headcount is met. This is stated publicly at listing. Conditions of enrolment. On acceptance, students confirm that they understand roles are assigned by faculty and may change during the project, that the entire cohort works on one game, that attendance is mandatory and in person, and that interpersonal conflict is expected to be addressed among peers first.
  • Technical and professional skills that I will acquire

    Technical and professional skills that I will acquire

    1. Shipping a completed product end to end. The objective of the programme is offering students a real-world game development experience, allowing them to take a concept to a fully-fledge release with real players. Over the course of the programme students will take their game through pre-production, production, feature complete, content complete, release candidates, certification and public launch on a commercial storefront. They will learn what "being done" costs. This offers them publishing experience, which is a boost for any entry-level professional looking to enter a highly competitive game industry. 2. Working at studio scale. A cohort of 15 to 25 people building one product is a qualitatively different problem from the usual small team in student projects. Students learn cross-discipline handoffs, dependency management, version control discipline, integration, documentation that other people rely on, and communication overhead that makes or breaks a real production. This is the gap between student work and professional work, and closing it is the core of the programme. 3. Autonomy and Responsibility. Responsibility for planning and decision-making is progressively transferred to the students as production advances, with domain experts providing guidance throughout the process. Students plan their own sprints, define internal milestones, identify and manage risks, and make decisions about scope. In doing so, they learn to recognise production issues and respond to them as a team, rather than relying on direct intervention. 4. Documentation and process discipline. Students must develop design documentation, plan sprints and their progress reports, build risk logs, develop pipelines, keep track of on-going tasks, organize playtests, apply bug triage, and develop postmortems. Students produce and maintain the artefacts that professional production that ensures effective development, and are assessed on their quality and consistency, not only on the final game. 5. Post-launch and live operations. The programme continues for nine weeks after the game is public. Students are faced with real players, and must handle feedback, prioritise fixes, monitor stability, while planning, building and releasing a first content update. Experience supporting a live product with real users gives graduates practical exposure to post-launch development that is not typically available in student projects. This provides a distinctive foundation for roles involving live products, maintenance and ongoing content development.
  • Main reasons for choosing this course on ULusófona

    Main reasons for choosing this course on ULusófona

    • You ship a real game. Not a prototype and not a vertical slice: a finished title, publicly available on Steam, with your name in the credits. Most people entering this industry have never shipped anything. You will arrive having already done it.
    • You learn the part of the job that normally is only learned by doing. Working across disciplines, at studio scale, on one shared codebase and one shared deadline. The distance between a student project and a real production is the entire curriculum.
    • Release is not the finish line. The programme continues after launch with real players, real feedback, real patches, and development of its first content update. This is an essential skill for modern game development, and unique to this programme.
    • You are treated as a professional, not a student. You own the project. Faculty and domain experts act as producers and expert advisers, and step back as production advances. You plan, you decide, you cut scope, you deal with the consequences.
    • One cohort, one studio, one game. No individual project, no competing for attention. You spend ten months learning what your colleagues in other disciplines do, which is exactly what makes someone employable in a real team.
    • You hold a stake in what you build. Every student signs an agreement giving them a percentage of the released game, scaled to cohort size. If a publisher ever buys the IP, a share of that sale is yours. The work does not stop being yours when the programme ends.
  • Program

    Program

    • [Anual]
    • Foundations: Pipeline and First Playable Build 4 ects
    • Post-Launch: Live Support, Patching and First Content Update 12 ects
    • Production I: Core Features to Alpha Build 14 ects
    • Production II: Content Lock to Beta 16 ects
    • Release: Certification, Publishing and Launch 8 ects
    • Studio Setup and Pre-Production 6 ects
  • Career opportunities and career prospects

    Career opportunities and career prospects

    Graduates are prepared for entry to mid roles in game studios, in the discipline they specialised in during the programme: - Game Design: systems designer, level designer, narrative designer, UX designer, economy designer, technical designer. - Programming: gameplay programmer, engine or tools programmer, AI programmer, UI programmer, build and release engineer, technical generalist. - Art: 3D artist, environment artist, character artist, concept artist, technical artist, VFX artist, animator, UI artist. - Production: associate producer, production assistant, project coordinator, live operations coordinator, release manager, QA coordinator. Because the programme extends beyond prototype development to release and post-launch support, graduates are better prepared for the practical demands of professional game production. They gain practical experience in areas that are not commonly encountered in undergraduate project work, including release preparation and store submission, patch and hotfix planning, responding to player feedback, and planning post-launch content. Competences transfer directly to adjacent sectors that use real-time engines and interactive production pipelines: serious and applied games, simulation and training, virtual and augmented reality, architectural and industrial visualisation, interactive installation, film and television virtual production, and interactive advertising. The programme also prepares graduates to start or join an independent studio. Having taken a title through storefront requirements, build submission, age rating, store page preparation, launch and patching, a graduate has performed in practice what independent self-publishing requires. Finally, the shipped title itself functions as professional evidence. A publicly available game with a verifiable credit is a stronger recruitment signal in this industry than a transcript, and it remains permanently visible to employers.
  • Observations

    Observations

    Assessment is continuous and modelled on professional studio practice. Each curricular unit is assessed independently and corresponds to a production phase, so students receive a discrete result at each phase boundary.

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Email

Lisboa | Esc.Comunicação, Arquitetura, Artes e TI
ENROLL

Course Direction

Maria Micaela Fonseca

Secretariat

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