Anouk Bachman on her role as producer on South of Midnight

You worked as a producer on South of Midnight, can you tell us about the project and your role in it? 

Anouk: 'I joined Compulsion Games around three and a half years ago to work on South of Midnight. It was a fascinating project from the start, inspired by the Southern Gothic genre. A game set in a macabre fictional version of the Deep South, which is a setting we rarely see in the industry. The story revolves around Hazel, a young Black woman using her newfound powers to help others. South of Midnight’s narrative and artistic angles are truly unique.’ 

‘My first task was to produce the Shakin’ Bones teaser trailer for the announcement of our game in 2023, the one with the giant playing guitar. From there, I took on responsibilities in the production of the world, environment art, lighting and level design. Over the final year of development, I stepped into the role of interim lead producer, helping guide the team through to shipping the game.' 

What were the most challenging parts of the project? 

Anouk: 'The optimisation and debug phase at the end was incredibly intense. Everything needs to work seamlessly across different PC settings and consoles, without compromising visual quality or the gameplay experience. That demands close collaboration between tech, design, qa, and art teams. I learned a lot from the process of finding that balance.’ 

‘I also realised how differently people respond to stress. Some thrive under pressure, others struggle. As a producer, it is essential to understand those dynamics and support people accordingly. That human aspect of production is just as important as planning and logistics.' 

What’s it like working at Compulsion Games?  

Anouk: 'Compulsion Games is a really special place. It is made up of unique individuals and genuinely celebrates diversity and open-mindedness. Creatively, we aim to do things that are different, pushing boundaries and imagining what hasn’t been done yet. But it is also a very human company, where employee wellbeing is a top priority. In a tough industry, we want people to feel safe, happy and fulfilled, and that culture is something we all help uphold.' 

Take us back to the beginning. How did you end up at Compulsion Games in Montreal? 

Anouk: 'I was born and raised in Breda. My brother, who is eight years older, introduced me to video games at a young age, and I was hooked. But in the late ’90s, there were no real pathways into the games industry in the Netherlands, no dedicated education routes, and I had no idea where to start.’ 

‘So, I studied Film and Television Studies at the University of Amsterdam, where I met a professor, Dr Joyce Goggin, who was exploring the idea of a games-focused course within social sciences. I became her student assistant, which really changed my direction. I then applied for a Fulbright scholarship programme in San Francisco, where I got a taste of the booming games industry, visiting E3, GDC, and companies like Maxis, EA.’ 

‘When my visa expired, I couldn’t stay in the US, and Europe still lacked opportunities in games. Canada seemed promising, especially for entry levels. My then-partner and I arrived in Montreal in January 2008, in the dead of winter and, after a lot of rejections, I landed my first job as an assistant producer at EA Montreal. That was my foot in the door. Once I was in, I could find my way.' 

You were recently back in Breda for a guest lecture at BUas. How did that come about? 

Anouk: 'I visit Breda about once a year to see family, and when I found out BUas had a game development programme, I was eager to learn more. Having worked in games for seventeen years, it felt meaningful to return to my hometown and connect with the next generation of game developers. I got in touch with BUas lecturer Martin Walker, and the timing was perfect, South of Midnight had just launched, so I came to speak with students.' 

What did you think of the BUas Games programme? Does it prepare students well for the industry? 

Anouk: 'I was seriously impressed. The fact that students are immediately placed in multidisciplinary teams, with programmers, visual artists, designers, and producers working together, is so important. That is exactly how it works in the industry at a small scale, and it is something I didn’t experience during my university studies.’ 

‘You spend years working side-by-side with colleagues, so learning to collaborate under pressure and solve creative challenges together is vital. BUas prepares students for that reality. The quality of work coming out of BUas in such a short time, is hugely impressive.' 

Looking back, what did your own education look like? Did you always want to work in games? 

Anouk: 'My love for games never faded, but I took a roundabout path. The lack of direct opportunities in the Netherlands at the time forced me to explore related fields. In the end, that worked in my favour, it gave me a unique foundation and very broad and international perspective, and I am grateful for that.' 

Is there a project you are especially proud of? 

Anouk: 'South of Midnight stands out because it is the first project I have worked on as a producer all the way through to release. It was not easy, even under the best circumstances, shipping a game is incredibly difficult. I learned so much, especially about managing teams, people dynamics, and how to align technical and artistic needs without compromising quality.’ 

‘Another milestone was Assassin’s Creed Valhalla, which launched during the COVID-19 pandemic. Overnight, thousands of people at Ubisoft Montreal had to switch to remote work. I wasn’t a producer yet, I was working in marketing and PR, but it showed me the vital role that producers play in keeping things running. I saw the whole operation shift, from setting up remote collaboration to delivering hardware to people’s homes. It was an impactful experience, and it changed how we work forever.' 

Do you have any tips for students who want to work in games, particularly as a producer? 

Anouk: 'The biggest lesson I learned, and it took me years, is how to work well in a team. I came from an academic background and initially found it hard to communicate effectively while still asserting my own needs. But these are skills you can learn.’ 

‘I am somewhat introverted and need time alone to recharge. I used to think that made me unsuited for leadership roles in games, but that is not true. The industry needs a balance of personalities. People like me bring strategy, calm and steady energy. Others bring high voltage enthusiasm and spontaneity. Both are needed. If you are more introverted, that doesn’t mean you can’t thrive in teams or become a great producer. You can absolutely learn those skills, and BUas gives you a good head start to experience working in a team.' 

What skills or qualities do you think are most important for newcomers to the industry? 

Anouk: 'Soft skills, communication, empathy, and collaboration. Technical ability, hard skills, are important, but in such a high-pressure, creative environment, it is the human element that often makes the difference when it comes to becoming someone people want on their team. Being able to work with others, under stress, towards a shared goal is essential.' 

Are there any exciting things on the horizon for you or Compulsion Games? 

Anouk: 'Yes... But I can’t share details just yet! What I can say is that South of Midnight has given the team a huge boost in confidence. We are ready to push creativity even further. My role has expanded, I am now also overseeing audio, and qa, in addition to environment art, level design and lighting. Audio is new territory for me, but the team here is incredibly innovative, as you can hear from the music and sound design in South of Midnight. The entire team at Compulsion is already imagining how to defy expectations again!'

Follow Anouk’s work on LinkedIn: linkedin.com/in/anoukbachman