Michael Huang is the Co-Founder and Vice President of Business Development of NEKCOM.

Michael actively contributes to NEKCOM's brand from a business perspective through holding various industrial activities and exploring new business opportunities that enhance NEKCOM's unique identity.

After he co-founded NEKCOM in 2011, Michael changed his role from a game developer to a business developer. He established collaborations between NEKCOM and many game industry icons, such as PlayStation, XBOX, Nintendo, and Epic.

Abstract: In the 12 years since its founding, NEKCOM Games has been working on its own IPs on consoles. Currently, two IPs are DYING, which is a puzzle game, and Showa American Story, which is an ARPG.

How NEKCOM created these two completely different IPs, and how these IPs are recognized by global players.

Why would NEKCOM want to create IP on Console?

IP vitality, NEKCOM around these IP follow-up 10 years of cultivation plan.

NEKCOM University IP/ talent cultivation plan - with high quality and high requirements of host to cultivate host talent.

Has worked in the games industry since 2007. Anna produced and published more than 30 multiplayer games, among which are such titles as KartRider, Lineage II, Point Black, Black Desert, and dozens of single-player games, including most recently the Atomic Heart game developed by the Mundfish studio.

Abstract: Game characters and the ideas that lie beneath their appearance and behavior: how to identify key characters to promote the game, their impact on audience perception of the game, and how to use them in advertising to create an impactful image of the game.

Kenji Ishimaru joined Polygon Pictures, a leading Japanese CG studio, in 2005. In 2018, he became President of Kodansha VR Lab Ltd. He plans, produces and disseminates VR content in order to 'explore the best storytelling in VR'.

His representative works are：TV series Knights of Sidonia Seasons 1 and 2 (2015-2016 production producer)

Theatrical film GODZILLA Trilogy (2017-2018 production producer)

VR idol 'Hop Step Sing! VR music video' (2017-2020 producer)

VR Film 'Last Dance' (2020 Producer, Chainsaw Game & Music Festival 2021 Best VR Film)

VR Film 'Thank you for sharing your world' (2022 Producer, Official selection in Venice International Film Festival)VR Film "My Inner Ear Quartet (2023 Producer, Official selection in Ottawa International Animation Festival)

He is currently the executive producer of JX3 and has previously served as the chief planner of JX3 and the executive producer of JS2.

Engaged in the MMO field for decades, he has rich experience in MMO product development and deep understanding of the player ecology. Now he is responsible for the development and production of several mature MMO products.

Abstract:

There are numerous mature games in the current gaming industry and each has its own methodology of success. Among MMO games，social is a topic that cannot be ignored and skipped. The understanding of social games varies from person to person as well.

And this time, I will take JX3 as an example to talk about our view of social definition and methodology in this project. I always believe that social games have great vitality, which will extend much beyond the game. Additionally, combining the data the I would like to share with my product experience, I am going to talk about how to make an MMO not only survive in the current market competition pattern, but also be able to look good, fight for a long time in the future and even continue coexisting with its players.

Mr. Lyu has worked in the overseas game publishing industry for ten years, with experience in game publishing across all platforms. He previously served as the Assistant President of Oasis Game and in 2015, initiated and established the PC/console publishing business line. As one of the earliest Chinese PC/console overseas publishers, he has published dozens of PC and console games, including the first domestically-produced game "Candleman," the first PSVR game, and the first domestically-produced game "Tiger Knight" to surpass one million downloads on the Steam platform.

He also served as the Head of Publishing at Leyou Technologies, responsible for publishing the works under Leyou Group.

In 2018, he participated in the establishment of Jolly Roger Game, the development of the Sony China Hero Program project "Lost Island" and the establishment of a cooperative development pipeline for Timi Studio.

Abstract:

Cross-platform games are those that are released simultaneously on mobile, PC, and console platforms, offering roughly the same content and experience across different platforms. With the technological advancements in game development tools and the improvement of mobile device performance, an increasing number of cross-platform games are achieving success. This presents new opportunities for China's gaming industry, which excels in mobile game development and publishing.

Cross-platform games are not merely multi-platform adaptations of mobile games but aim to recreate the native experience of PC and console games on mobile devices as much as possible. Ensuring success relies on the foundation of adopting a cross-platform design philosophy for the game's theme, content, target player design, and business model.

In the cross-platform game user market, overseas PC and console market shares cannot be overlooked, as they are important sources of revenue. Domestically, the consumer market for PC and console games in China has gradually taken shape, but the supply is insufficient, making it a significant source for the future growth of China's gaming industry. Currently, prioritizing overseas projects for cross-platform games is a rational choice.

Regarding the theme and content design of cross-platform games, the speech will explore how to apply Chinese cultural themes in overseas markets from the perspective of cultural export strategies and methods.

In terms of gameplay and business model design, the speech will discuss what types of games are suitable for Chinese developers targeting overseas markets, based on the strengths and weaknesses of China's game development.

Lastly, the speech will explore the insights that the development history of the overseas gaming industry offers to China.

Working as mobile game designer from the age of Nokia。Has worked in rekoo, netease, then created CrossingStarStudio with friends.

The Producer of series.

Abstract:

In modern mobile game development, the increasing volume of graphic assets, diverse gameplay elements, as well as the dire needs of content monetization have posed multiple challenges to the developers. One of the challenges is to maintain the lasting vitality for the design and production of game arts in the long run.

Having recently launched the second title, the Helix Waltz franchise has successfully operated for over five years, continuously providing exceptional and innovative art content to its users. I would like to take the chance to share how our team effectively smoothing the creative process of art production through group meeting sessions and seamless communication between gameplay department and art department. By enhancing collaborative ideation process, fostering logical thinking, we could find a way to help provide consistent production of quality and innovative artworks.

A well-known game developer, generalist and producer with over 13 years of experience in the gaming industry and nearly 20 years of programming experience, has participated in and led the production of multiple mobile games, console games, and PC games, and has served as Head of several game studios. Currently focusing on the production of Steam indie games for the global market, with expertise in game development, system design and architecture, TA, and other related work.

Abstract:

In this keynote, we will delve into the fascinating topic of procedural generation in game design and explore the potential conflict between classic aesthetics and technology. We will examine the ways in which classic aesthetics can be applied to procedurally generated scenes, while also ensuring that the scene has unique features and a sense of completeness.

To fully explore this topic, we will use the upcoming game "Goblin Stone" as a case study, analyzing its software architecture, terrain editing elements, custom node editors, and more. By dissecting the game's design and development process, we will gain valuable insights into how to balance randomness and controllability in procedural generation.

But that's not all - we will also explore the ways in which procedural generation can be used to achieve aesthetic details in game scenes, and how technology can be leveraged to improve production efficiency. Through this sharing of knowledge and experience, attendees will gain a deeper understanding of the secrets behind procedural generated game scene design.

Furthermore, we will provide a detailed technical explanation of "Goblin Stone", addressing the needs of developers who are looking to incorporate procedural generation into their own projects. By sharing our expertise and insights, we hope to inspire and empower game designers and developers to create truly unique and captivating game experiences.

With more than 20 years of industry experience across a variety of roles and game genres, Richard joined Creative Assembly as a level designer for Viking: Battle for Asgard and has been ever present on Total War since Empire. Specialising in battle and level design until becoming a founding member of the WARHAMMER series and getting to work across all elements of his dream IP, he likes nothing more than painting miniatures and absorbing its rich lore in his spare time. He is currently the Senior Game Director of the Total War: WARHAMMER franchise.

Abstract:

Total War: Warhammer is a genre-defining franchise within grand strategy gaming, bringing the depth of Games Workshop’s incredible world to life in a sprawling sandbox experience offering thousands of hours of gameplay.

In 2022, the Total War: Warhammer series marked nearly a decade of development and the release of Immortal Empires, the epic goal and vision of the trilogy. Like it’s prior instalments, Warhammer 3 continues to evolve and expand, pushing the limits and expectations of the critically-acclaimed franchise and strategy gaming in general.

In this keynote, Senior Game Director, Richard Aldridge, and Design Director, Mitchell Heastie, will revisit their experience of setting the stage for the grand finale of strategy’s most ambitious trilogy, and the story yet to come.

Dean Ayala is the Design Director of League of Legends, responsible for design craft quality across the game. This includes the continued improvement of existing maps like Summoner’s Rift & ARAM, as well as new developments like game modes & events.

Dean is new to the League team and has been working at Riot for 6 months. Previously, Dean worked at Blizzard Entertainment as the Game Director for Hearthstone where he filled a variety of creative, design, and product roles.

Dean's mission is to uphold the aspiration of making League of Legends the most player focused game in the world: communicating with League's players often, and always working on additions to the game that are aligned with the interests of League's existing passionate audience.

Abstract:

Join League of Legends' Game Design Director, Dean Ayala, as he walks through the development of League of Legends' newest game mode: Arena.

The main talking points are as follow（tentative）:

What is this latest mode about?

Why are we developing this mode?

How we developed it?

What is the future development direction for League of Legends?

Graduated from Sichuan University in 2015, joined NetEase in 2018, and worked in UX design for Pro Evolution Soccer and Infinite Lagrange.

Abstract: Experiencing games is ultimately a linear process. Whatever the design, the experience derives from what the player encounters. Thus, the biggest challenge in UX design is finding a method to balance the perspectives of both the creator and player. In Infinite Lagrange, utilizing a concept design method has presented a viable solution for this challenge, offering a way to create and verify a game system’s UX design from the perspective of the ones experiencing it.

After finishing my studies in game design, I joined Ishtar Games for the beginning of the development of The Last Spell in 2018. I worked on both game design and project management for a large part of the development. I switched to full time project management during early access because the team was growing and there are a lot of things a producer has to take care of during an early access.

Abstract:

The Last Spell is a tactical RPG with rogue-lite elements released in March 2023 after almost 2 years of early access on steam. During this talk I will go back on the processes we’ve created for the early access of the game. I will detail for each process what worked and what didn’t work. Here are some subjects I will cover: how we prepared ourselves for the release in early access, how we designed and planned the content of our updates, how we managed to collect and process players’ feedback.

Dai Qi, who once served as the chief planner and producer of Perfect World, joined YOOZOO in 2014 as the chief planner for "Youth Romance of the Three Kingdoms" and the producer for "Youth Romance of the Three Kingdoms 2". He is the current senior producer of YOOZOO and head of the Youth Studio. In 2017, he led the team as a producer to start the development of "Youth Romance of the Three Kingdoms 2." In 2020, the game achieved a revenue of 300 million yuan in its first month online, accumulating a total revenue of 3.5 billion yuan worldwide throughout the year. In 2022, he led the Studio's first two-dimensional project, " Echocalypse" which achieved impressive results in Japan. The project ranked the seventh in Japan's best-selling list in its first week, breaking YOOZOO's previous records. He believes that in the future, the Youth Studio will produce more games beyond imagination, grow together with all of the gamers, and be committed to building a high-quality game world.

Abstract:

This discussion primarily focuses on the exploration process of how Youth Studio expanded its card games into overseas markets. It mainly involve user targeting, product design, technical processes, and team management. The exploration and validation methods are described in three stages: user difference perception, adaptive verification, and core area customization accumulation.

The discussion also takes the challenges and feedbacks that the Youth Studio’s products “ Youth Romance of the Three Kingdoms 2" and " Echocalypse(Code J)" encountered in various overseas region as cases for specific analysis.

About the future, some experience will be shared , such as the application of AI in product research and development. Additionally, a brief introduction to Youth Studio's future product layout and planning will be provided.

My family and I have been making indie games for a decade. We have 3 games on Steam,

all well-received, and 3 successful Kickstarters. We've also released a free to print-and-play

tabletop game.

Abstract:

This speech provides a brief overview of Aces & Adventures' development and how we managed to add a layer of complexity to deckbuilders by leveraging player's existing familiarity with poker. I discuss how we used the 4-suits and values to help push the uniqueness of our ability cards and touch on how we approached balancing of probabilities. The presentation closes with a section on "games as nutrition," inviting us to consider the impact of the games we choose and how we process them.

I’ve worked for 9Game, Alibaba Games and Xingfei Games since entering the industry. Now I'm a producer at Good Studio. In 2021, during my spare time, I wanted to design a unique simulation game, so I teamed up with some colleagues to establish Good Studio and created ’the Village of Solace’, As part of the team, my main responsibilities include developing the game framework and version plans, following th project management and designing the core gameplay mechanics and game values.

Abstract:

In this sharing,I’ll explain why we choose to focus on these three dimensions: simulation , leisure, and storytelling during our two-year development process. On the simulation side, we designed and implemented features such as the calendar, weather, and daily routines of villagers, not only to reduce players' cognitive load but also to enhance their immersion in the game world. From a leisure perspective, I'll discuss how we made the game more automated by using a placement-oriented design philosophy. In this emotionally-driven era, I will also explore how we organically integrated the concept of ancient Chinese ghosts and emotional expression into our game's narrative.Finally, how ’the Village of Solace’ will be and the possibility of simulation games that could be explored in this sharing.

Zhenglong Zhou graduated from Shanghai Jiao Tong University and received his Ph.D. degree at National University of Singapore. He has worked on 3D MMO projects as graphics engineer for companies such as Giant, Changyou and Tencent. He is now lead engine architect at Cocos and in charge of render pipeline development.

Abstract:

Recently, Render Graph or Frame Graph is gaining adoption in the modern engines. We proposed a new approach which combines scriptable render pipeline and data-oriented design to simplify pipeline setup and execution in Cocos engine.

Previous render graph implementations usually choose code-driven approach which requires proficient programming skill and cannot be visually edited. In Cocos, we used a data-oriented render-graph to present the render pipeline together with the scene description. The render graph can be built at runtime using scripting language such as JavaScript or produced offline. At pipeline execution, the render-graph will be compiled, and all required resources, states and barriers will be allocated and handled automatically. Cocos engine will use this generated information to do the rendering.

The data-oriented render graph is relatively easy to use and highly customizable. Since it is stored as data, one render graph can be transformed into another or visualized by the editor, which lead to much larger usage other than rendering. For example, it can describe a heterogeneous-compute task which is used in procedural content generation.

Another benefit is that user can optimize render pipeline according to the specific platform. In Cocos engine, we supported a great range of platforms including browser, Windows, Mac, Linux, Android, iPhone, Switch, and in-app games such as WeChat games. It is hard for us to implement graphics effects and optimize performance for so many platforms previously, and scalability has become a problem for us. With render graph, we can design different algorithms for different platforms and roll out rendering features at faster pace.

As games become more and more complicated, users find it difficult to produce the visual effect they want. We believe it is the engine's responsibility to simplify this procedure and do the heavy lifting. Our render-graph design puts a lot of effort onto this and do as many as possible for the user. For example, when setting up the render passes, we will calculate pass dependency on the fly. All users should do, is to add render passes according to the desired precedence.

In this talk, we explain our data-oriented approach in detail and show its applications. We hope it can inspire developers that render graph can do much more than rendering.

Co-Founder&CTO of DataCloak，leading team to build the first zero trust data security platform in China. Former senior architect at Baidu, responsible for the development of internal security products at Baidu. Previously worked at Tencent, responsible for security research and development work on Tencent's cloud computing platform. Over ten years of experience in the field of enterprise infrastructure security research and operation, and leading R&D team to achieve major breakthrough in multiple enterprise security fields, including large scale distributed system fine grain access control; massive IDC workload security management; dynamic data-flow security management and control; massive sensitive data tracking and forensics, etc.

Abstract:

Data is said to be the lifeline of gaming industry, carrying the creative essence of every game development team and running through the entire game development process. This includes: game copyright data, code, planning documents, etc. The leakage cost of these core data is often unbearably painful. On the other hand, flexible and diverse game development collaboration models are also booming, the experience and efficiency of development tools and collaboration tools are also very demanding in the game development process.  How to build an efficient and "senseless" but fully secure development model has become an urgent common problem for the industry to solve. This presentation will introduce an innovative technical practice to build a game development secure workspace based on zero-trust data security framework, achieving the dual benefits of efficient collaboration and data security.

Joined the Well-Link Ark-Studio in 2022 as a Principal Technical Artist.

Responsible for the advanced visual effects of “The Grass of Genesis” project.

An ordinary person interested in game technology.

Currently focusing on real-time interaction and performance effects of games, biased towards application layer.

Familiar with UE Niagara particle system and BRDF material. Real-time fluid simulation with low GPU overhead, performance and interaction effects.

Looking forward to communicating with developers and discovering more ideas to make better performing games and increase player immersion.

AMD GPU Developer Technology Engineer, focus on the integration and optimization of AMD rendering features – FidelityFX SDK/RayTracing Denoiser/TressFX in UnrealEngine, and apply them in many games, improve the rendering quality and performance of FSR2 in many games, involved in the integration and optimization of TressFX in Unity and UnrealEngine, familiar with the rendering system of UnrealEngine, optimize the rendering pipeline of UnrealEngine based on AMD GPU hardware, optimize the performance of many rendering algorithms based on GPU architectures.

Abstract:

Real-time global illumination is key to enabling dynamic and believable game worlds. GPU-accelerated ray tracing makes this possible; however, framerate and resolution requirements limit the number of traceable rays per pixel, imposing practical limits on current hardware generations. Existing solutions, such as probe-based techniques, approximate the irradiance signal using fewer rays per frame but suffer from reduced details and slow response times to lighting changes. On the other hand, reservoir-based resampling techniques capture higher detail but typically suffer from poorer performance and increased noise.

In this presentation, we will walk through the practical implementation of a solution , aimed at making the most of every sample by caching the estimated radiance into a cache hierarchy used for both sampling and filtering. We will show how this approach allows for highly performant, high-quality, dynamic, and leak-free global illumination without requiring any content pre-processing, thus enabling easy integration into existing real-time rendering pipelines.

Xu Fan joined Virtuos in 2013 and is currently the Lead Software Engineer at Virtuos Shanghai Studio. He is mainly responsible for supervising and leading the team to participate in game development and adaptation projects on console platforms. In recent years, his work includes Batman: Return to Arkham, Hyper Universe, L.A. Norie Remaster, PUBG Stadia and Outriders Stadia, all have achieved good results.

Abstract:

The game team of Shanghai Virtuos Studio has been deeply engaged in cross-platform development in recent years by participating in and leading the adaptation and co-development of many famous 3A games on the console platform. One of the most critical components during the development is how to effectively and reasonably optimize CPU and GPU performance to ensure the game runs smoothly without memory issues. The technical team of Virtuos has been continuously exploring and has accumulated rich practical experiences and systematic solutions in this field for years. In this presentation, Xu Fan, Lead Software Engineer, will combine some of his and his team's best practice experience in recent projects to deeply introduce and analyze various aspects of CPU, GPU, and memory optimization in cross-platform development, and so on.

After completing her Ph.D. in Physics and gaining experience in software application development for laboratories, Lisa transitioned to a professional career in the gaming industry in 2020. She initially joined Black Shamrock - a Virtuos Studio located in Dublin and subsequently transferred to Virtuos Shanghai in 2022. Throughout her tenure at Virtuos, Lisa has specialized in multi-platform development for PC and Next-Gen titles, demonstrating proficiency in Gen 8 as well. Her unwavering motivation lies in leveraging profiling and data analysis techniques to optimize outcomes within designated platforms and timeframes.

Abstract: The game team of Shanghai Virtuos Studio has been deeply engaged in cross-platform development in recent years by participating in and leading the adaptation and co-development of many famous 3A games on the console platform. One of the most critical components during the development is how to effectively and reasonably optimize performance to ensure the game runs smoothly as well as stable with a reasonable memory footprint. The technical team of Virtuos has been continuously exploring and has accumulated rich practical experiences and systematic solutions in this field for years. In this presentation, Xu Fan and Lisa Willig, both Lead Software Engineers, will combine some of their and the team's best practice experience in recent projects to deeply introduce and analyze various aspects of performance and memory optimization in cross-platform development.

The speaker led an engineering team at Intel, responsible for collaborating with local game developers to analyze and optimize their games' performance on Intel hardware platforms. The speaker has been doing this work since the MMORPG era of technological diversity to the present commercial engine era of game content diversity, always wandering around the gaming community. With the launch of discrete graphics cards by Intel, we look forward to continuing our close collaboration with game developers for a win-win situation.

Abstract:

In 2022, Intel launched its first discrete graphics card, Arc, in twenty years, bringing some much-needed freshness to the discrete graphics card market. Although the Arc graphics card products have not made a huge splash, they have generated a lot of online discussion and have some very good highlights, particularly from the perspective of price-performance ratio. In this speech, we will share the continuous technological improvements of the Arc graphics card over the past period, our vision for the future, and our support for game developers. We are looking forward to in-depth exchanges with our domestic game development partners, to engage in technical and market cooperation, and to work together to promote the development of the domestic gaming industry.

I am a veteran in the game industry for 16 years. I have participated in the projects "Roland DTX", " Armored core", "Armored Pointer", "Dream of War", "Ancient Sword", " Elemental Fighting-Girls" , "Burst Witch" and other projects. Possess a wealth of professional experience and a deep understanding of game audio.

Abstract:

Introduce the latest video application technology of CRIWARE, covering SOFDEC, VOD, etc.include

1. Online video playback;

2. Video format;

3. Game cases;

4. The current status of the corresponding platform;

5. Technical characteristics;

6. Distribution data; process from video production to user experience.

Liao Jun Hao currently works at TiMi Y1 studio as an Art Director who's responsible for art direction, visual design, IP creation and quality control. He has over 20 years' experience in creating games for Console and PC in the art field. He has previously worked for Tose, Konami, Epic Games China and Ubisoft, during which he developed many games such as Far Cry 6, Far Cry New Dawn, Far Cry 5: Hours of Darkness, Far Cry Primal, Far Cry 4, Tom Clancy’s EndWar Online, Far Cry 3, I Am Alive, Cloudy with a Chance of Meatballs, Tom Clancy's EndWar, Gears of War 2, Unreal Tournament 3, Tom Clancy’s SplinterCell - Double Agent, Tom Clancy’s Ghost Recon, Tom Clancy’s SplinterCell - Pandora Tomorrow, Tom Clancy’s SplinterCell, World Soccer 2002 J-League, World Soccer 2002, Jikkyou Powerful Pro Baseball, GUNBALLINA , Bioharzd Zero, Chocobo Stallion, etc...

Abstract: With a deep understanding of 3A video game development, analyze the key elements and related production processes of game production industrialization; at the same time, from the perspective of art design and production, compare differences in design approaches, work methods, and team collaboration between eastern and western culture, and share how to better apply industrialization design approaches in local projects in agile and flexible way, optimize and implement industrial production process and related pipelines.

Qiwei Liang (Soulframe), known as an independent game producer in China, the founder and CEO of S-Game, has Master’s degree in architecture from Yale University, graduated from Tsinghua University in architecture. The following year after his postgraduate program, he returned to China and founded an indie studio which was registered as S-Game. During his time at school, he independently completed two single-player RPG games, "Rainblood: Dead Town" and "Rainblood 2: Ye City". Later, S-Game further developed the series into the "Phantom Blade" series under his lead, which is currently one of the most popular original game brands in China. S-Game has won international awards such as the Cologne Game Show Best Mobile Game nominees, Sony's Home Game console "Golden Joystick" award, Unity Golden Cube award, aSTs well as numerous awards from the global gaming industry. The mobile "Phantom Blade" series have accumulated more than 50 million registered players; the new 3A title "Phantom Blade Zero" powered by Unreal Engine 5 officially announced at the PlayStation showcase in May 2023 and attracted worldwide attention upon its show up with over 5 million views of one single trailer. Meanwhile, the brand-new title "Stellar Saga" is currently in development as well.

I Studied “Technical Artist in Game Design” at the university and began my adventures in the game industry in 2018 as a customer support agent at Mojang, the company behind Minecraft. Since then, I have also been a Content Coordinator at Mojang where I curated player-made maps and skins and provided feedback to the creators. After that, I joined Iron Gate Studio as a QA Manager. Nowadays I work both as a producer and QA manager at Iron Gate Studio.

Abstract: In this presentation, Andreas Tomasson, producer at Iron Gate Studio, will give an overview of the production of the Mistlands, the most recent biome update of the award-winning adventure-survival game Valheim. The biome initially displayed a placeholder environment of a dark and spooky forest, full of large trees and cobwebs – but the end result turned out to be quite different. Hear about the challenges of bringing this biome to life with magic, mists, and a brand new kind of NPCs, all while needing to stick to the core feeling of the game. What really makes Valheim feel like Valheim?

Adrien Maljournal is Senior Audio Designer at Ubisoft Shanghai. He joined Ubisoft in Paris in 2016 right after graduation from ENJMIN, the national public school for videogames and interactive digital medias in France. He applied for international mobility after a business trip to Shanghai where he got fascinated by Chinese culture and the daily life in the megacity. He has worked on multiple projects on world-renowned franchises, including Just Dance and Far Cry, and is currently fully committed to delivering the amazing world offered in the forthcoming Avatar: Frontiers of Pandora with other Ubisoft dev members.

He discovered his passion for electronic music at high school, which led to crafting synthesizers and eventually took him on a career path of audio design for video games, a form of art which he believes to be the ultimate form of active immersion.

Abstract:

This talk aims to present how we designed the world of Pagan Min in Far Cry 6’s DLC - Pagan Control.
Different from other open worlds in the Far Cry franchise, this world is quite special - built around narrative POIs, smaller, less procedural and more linearly designed, hand crafted to control player’s emotional path, rhythm and progression. This allowed an open field for experimentation and creativity, a lot of room for strong sound design choices and concepts.
We will demonstrate during this sharing session:

A thorough analysis of the personality of Pagan, the villain;

The creative tools we used to achieve that design direction;

How we blend and build these layers of narrative through the world design.

How we approach the map design with more linearity.

How we painted the progressive destruction of the world “inside the mind” of Pagan, both creatively (assets design) and technically (our approach in Wwise)

How we built ambiances in our world with our in-house engine.

Wojciech Ostrycharz, Art Director at Starward Industries. An experienced artist who worked on triple-A game titles such as: Dead Island, Dying Light and Call of Juarez series.

Abstract:

In the interview, we discuss an important topic of adapting literature to video games, focusing on the graphic aspect. The art team talks about challenges and difficulties they faced while creating the visual world in the hard s/f game "The Invincible". The Art Director and the Environment Artist discuss their approach to design with full awareness that art must meet science here. Inspirations are mentioned - old book covers, but also the real architecture of ships. The creators talk about what was involved in designing robots and machines. In the course of this conversation, the creators share specific tips for people who, like them, will face the adaptation of both a literary and hard s/f work. At the same time, they try to describe the process as consisting of trials, errors, in-depth research and crowned with an original and eye-catching effect. They will also pay great attention to visual storytelling, which is extremely important in the case of The Invincible. The artists talk about their approach to costume design, character presentation and visual representation of the main feelings that will accompany the player: the sense of fear, loneliness, madness, as well as delight in discovering the unknown and secrets of the cosmos. Ultimately, I show that "The Invincible" is an iconic example of a game created in the atompunk genre.

Sebastian Spłuszka, Environment Artist with several years of experience. Visual artist in games such as: Observer (Bloober Team) or Witcher 3 (CD Project). A graduate of the Academy of Fine Arts in Krakow.

Abstract:

In the interview, we discuss an important topic of adapting literature to video games, focusing on the graphic aspect. The art team talks about challenges and difficulties they faced while creating the visual world in the hard s/f game "The Invincible". The Art Director and the Environment Artist discuss their approach to design with full awareness that art must meet science here. Inspirations are mentioned - old book covers, but also the real architecture of ships. The creators talk about what was involved in designing robots and machines. In the course of this conversation, the creators share specific tips for people who, like them, will face the adaptation of both a literary and hard s/f work. At the same time, they try to describe the process as consisting of trials, errors, in-depth research and crowned with an original and eye-catching effect. They will also pay great attention to visual storytelling, which is extremely important in the case of The Invincible. The artists talk about their approach to costume design, character presentation and visual representation of the main feelings that will accompany the player: the sense of fear, loneliness, madness, as well as delight in discovering the unknown and secrets of the cosmos. Ultimately, I show that "The Invincible" is an iconic example of a game created in the atompunk genre.

Olga Piech, Creative Brand Manager at Starward Industries. For 12 years associated with the creative industry – a specialist in advertising and a narrative consultant in the gaming industry.

Abstract:

In the interview, we discuss an important topic of adapting literature to video games, focusing on the graphic aspect. The art team talks about challenges and difficulties they faced while creating the visual world in the hard s/f game "The Invincible". The Art Director and the Environment Artist discuss their approach to design with full awareness that art must meet science here. Inspirations are mentioned - old book covers, but also the real architecture of ships. The creators talk about what was involved in designing robots and machines. In the course of this conversation, the creators share specific tips for people who, like them, will face the adaptation of both a literary and hard s/f work. At the same time, they try to describe the process as consisting of trials, errors, in-depth research and crowned with an original and eye-catching effect. They will also pay great attention to visual storytelling, which is extremely important in the case of The Invincible. The artists talk about their approach to costume design, character presentation and visual representation of the main feelings that will accompany the player: the sense of fear, loneliness, madness, as well as delight in discovering the unknown and secrets of the cosmos. Ultimately, I show that "The Invincible" is an iconic example of a game created in the atompunk genre.

Previously worked on "LEGO Infinite", and was in charge of gameplay design, the creation of official-themed MODs and the construction of UGC basic components.

Currently working on "SYNCED” and taking charge of combat-related gameplay and system design. With gunplay as the core, combined with hero design, gear system, and weapon progression system, a highly replayable, deep and strategic BD system.

Abstract:

We will share with you some thoughts on the combination of gunplay design and BD in the PVE environment of "SYNCED" during its production process, including the following topics:

1. Introduction to gunplay and BD gameplay: In this section, we will elaborate on the current relationship between guns, BD, and the core gameplay SYNC.

2. Introduction to gun design and iteration ideas: In Looter Shooter games, players mainly focus on the pursuit of abilities in guns, and a rich and diverse shooting experience can significantly enhance players' enjoyment. This section will discuss how to carry out gunplay design and iteration ideas from the hook experience.

3. Emergent combination of gunplay and BD gameplay: Players are always seeking strategic growth. When players achieve drastic growth by combining a series of regular effects, they will be deeply fascinated by the strategic achievements. The emergent combination of guns and BD comes from this. We need to make guns and BD as connected as possible while limiting the upper limit of connectivity, allowing players to form ability growth through strategic collocation. The main way of this connection is attributes and mechanics, and specific practices will be discussed in this section.

4. Gun progression design under the influence of BD: We provide players with a gun progression system, allowing players to pursue the continuous improvement of guns. In order to better integrate with BD and not dilute the fun of BD, the abilities that gun progression can provide also need to be designed in the direction of expanding connectivity, rather than simply stacking values. This section will provide a detailed introduction.

5. The challenge of balance between guns and BD in live service games: Compared to box products games, free-to-play live service games require long-term updates, and there are requirements for the upper limit and balance of BD and gun strength. When designing, it is necessary to avoid introducing overly strong BD and guns in terms of mechanics, which may lead to a decrease in the attractiveness of subsequent updated content. We need to balance and limit both values and mechanisms.

2004-2017: Worked in Com2Us Beijing, Sega-Sammy and GLU China successively, responsible for the development of original projects, and then entered the management position. Founded Cheongplay Box Studio, which was acquired by Beijing Shimo Technology Co., LTD. Later, he founded Beijing Wanma Feiyang Network Technology Co., LTD., and Beijing Magic Click Technology Co., LTD., with 7 years of entrepreneurial experience. 2017-2020: Joined San69 Global (Beijing) Co., LTD as Executive Vice President, responsible for the overall work. From 2021 to present, founded the Black Pigeon Game.

Abstract:

At present, due to changes in the market and industry, there are many people joining the team of independent game development for various reasons, but unfortunately, everyone needs to grow and mature in the process of learning, and it is inevitable that we will encounter various problems and difficulties in the process of learning. I hope to learn from the following aspects: I would like to share with you the accumulation and experience of our Black Pigeon game, hoping that Chinese independent games will become better and better.

1. What are the opportunities for small and medium-sized indie game teams in a global market?

2. Several dimensions that small and medium-sized independent teams need to pay attention to when setting up projects

3. How can small and medium-sized indie games make themselves known to a global audience

4. How to choose suitable partners in the global market

5. Indie games can make a big difference

I worked as lead engineer for several game development projects for 10 years when I joined game industry and joined Microsoft to support several game development projects 7 years after his engineering lead career. After that, I joined Epic Games to evangelize Unreal Engine for Japanese game developers 8 years. Then I joined AWS (Amazon Web Services) to support game developers to use cloud solutions for 3 years. Finally, I joined Microsoft again to support game developers to utilize Microsoft solutions for game development and operations.

Abstract:

As you also know, generative AI is a big trend of the tech industry. Microsoft has had Microsoft Research (two of eight labs in China!) for more than 30 years for R&D (research and development), especially AI, and the results of the research are utilized in many solutions of Microsoft and game development projects in Microsoft.

I would like to share trends in AI solutions, and how we cloud utilize AI solutions for game development and operation.

You can find tons of news for utilizing AI solutions for enterprise companies, but you are concerned about how we could utilize AI for your game development.

So, we could utilize AI solutions more for game development! Let me talk about that.

Do you imagine a generative chat AI bot for NPCs (Non-player characters) in your game? Yes, we can, but you have concerns about how we could control what NPCs say.

Are conversations in classical text chat suited for your game? In some cases, you would need to use verbal communication in the game. And sometimes, you need a text transcript from verbal communication. How do you implement them?

How do you moderate conversations with NPCs and players? That is a big concern too.

So many concerns in AI for gaming, let me talk about concerns and solutions.

Yan Meizi has been in game development for many years.

She helps APAC international companies develop scalable 3D content generation and managing strategies.

She started leading the team 2009 to create the Substance parametric digital material library. She has participated in projects such as Uncharted 4, Metal Gear Solid, Rainbow Six, Blade Soul, Star Wars, etc.

Adobe Substance 3D is the industry standard for 3D game content creation at a scale; Substance solutions empower the intelligent workflow of 3D artists, accelerate creativity, and, most importantly, reduce the copyright risk of game content that integrates AI&ML into game production.

Abstract:

Using artificial intelligence and machine learning algorithms to facilitate 3D game content creation:

Adobe Substance 3D explores and is committed to being creator-centric to develop creative, cutting-edge technological empowerment. Taking 3D game assets as an example, assign 3D models to materials to automatically generate assets of different styles and quickly create new types and variants to double the speed of content production quality and efficiency. Tremendous assets provide players with constant changes and new experiences, opening up the possibility of future game innovation.

Use industrial automation technology to help with 3D game content creation at scale:

Substance 3D automation plug-in; unified material management and distribution of generators; batch automation tools; large-scale parameter material library creation; cutting-edge scanning and generation technology; latest 3A game cases.

AI and machine learning must address enterprise security, privacy, and compliance needs while providing guardrails for brand standards and ethical bias.

After graduating from Xiamen University in 1997, he joined Xiamen Fire Phoenix and entered the game industry.

Joined Jinshan Xishanju in 2000, participated in the stand-alone version of the Swordsman Love series, as well as online games such as "Jian Wang 1", "Jian Wang 2", "Jian Wang 3", and served as the chief artist and general manager of the studio.

In 2011, he founded Xinyou Technology as a co-founder and participated in the product "Xiaoyao Jianghu" and so on.

In 2014, he joined Daren Technology as the president of R&D.

Joined Shengqu Games in 2017 as vice president and established Shengqu Art Center. Responsible for the establishment of the art style and art quality of all games developed by Shengqu Company, and the control of the process. Leading the team to participate in the development and production of more than a dozen game projects including "Dragon Nest 2", "Celebrating More Than Years", "Radiation Shelter" and "Famine".

Abstract:

The development of AI is changing rapidly, with new breakthroughs every day and new applications every week. So how should we face it?

I think from being shocked by AIGC in 2022 to today, how does our company combine AI technology with our game art needs and our workflow, and apply it to old projects that are more than ten years old, as well as new projects that have just been approved.

Among them, the pits we have stepped on, the process we have experienced, and the little achievements we have gained, all want to be displayed here, throwing bricks to attract jade, discussing with peers, and moving forward together. Looking Up at the Stars, Staying Grounded is the theme of my sharing this time. The world is constantly changing rapidly, but what remains unchanged is to focus on the present step by step.

Mac Lin with nearly 25 years of independent R & D experience in game engine.

He is now an Pricinpal Engineer (T13) and rendering engine technology expert in Tencent (Shenzhen) Ltd.

He was the Technical director of game development of iDreamSky (Shenzhen) Technology Ltd. He led the Technical teams for Garden Scape, Fruit Ninja, Temple Run, Subway Surfer, Angry Birds, etc.

He was also the Chief Engineer of an American consulting company, leading the team of foreign engineers to develop Console Engine, Xbox, PS3, PS4, Wii, PSP, Android, IOS. He has produced e.g. Hannah Montana – the music jam for many famous foreign game publishers and developers (Disney, THQ, Majesco).

He was also a Research Associate of Game technology, Hong Kong Polytechnic University / Multimedia Innovation Center, responsible for real-time path tracking, GPU image algorithm research, discrete physics simulation engine algorithm research.

Abstract:

In computer science, we usually solve problems by algorithm. Algorithm is a finite sequence of instructions to solve a specific problem. In order to obtain an algorithm, we usually have to find the fundamental principal, rules, , behavior of the problem.(based on physics, optics, heuristic, etc.). However, as the complexity of game algorithm increases, it becomes difficult to find such rules for algorithm to solve problem.

With the recent advance in Machine learning. We may solve the problem in different point of view. Instead of discovering the rule by hand, we let the machine to find the pattern through data. In the section, we will introduce several joint applications of traditional graphics / physics algorithm with machine learning. It involves global illumination, denoising and cloth simulation. We hope this section may give audience inspiration of incorporating Machine learning with traditional algorithm.

Calvin Lin is the senior manager of content technology of NVIDIA China. His interest in real-time graphics led him to study in computer graphics and receive an MS degree in Computer Science from Shanghai Jiaotong University. After several years working as a graphics engineer in game studios and participating in development of many cross-platform games, he joined NVIDIA in 2007, and from there he spent his days researching graphics techniques and helping game developers get the most out of graphics hardware. Currently he leads a team providing consultant to game studios for GPU related technologies, focusing on advanced visual effects, virtual reality, machine learning and performance optimization.

Abstract:

This talk aims to explore the innovative integration of miniaturized LLMs and generative AI techniques to create intelligent game characters that can interact and engage with players in unprecedented ways.

The talk will begin by discussing the process of optimizing LLMs on a single GPU, highlighting the computational challenges and solutions involved in achieving real-time performance for driving game characters. Furthermore, this presentation will delve into the fusion of speech recognition, text-to-speech, and audio-to-expression technologies to enable natural and responsive interactions between players and game characters. Demonstrations will showcase how these AI-driven mechanisms empower game characters to understand spoken commands, provide contextually relevant responses, and dynamically adapt their facial expressions and body language. Additionally, the talk will show the practical aspect of integrating these technologies into popular commercial game engines such as Unreal and Unity.

Xiaoxu Lu, CEO of Xiaoxu Music, founder of a well-known game music company in China, whose works include thousands of titles such as QQ Fight the Landlord, Ancient Sword Legend, Jade Dynasty and Tianlong Ba Bu. Founded 17 years ago, Xiaoxu Music has grown into a large-scale music company with dozens of employees, headquarters in Beijing and branch in Guangzhou Chengdu. At the same time, Xiaoxu Music has made great efforts in such businesses as Douyin short video, animation game concerts, ancient style second Yuan artists and singers, music distribution and integrated marketing, and is among the top music brands in terms of scale and influence in China.

Abstract: AI technology, namely artificial intelligence technology, uses computer simulation of the human nervous system to achieve intelligent behaviors such as autonomous learning, autonomous adaptation, and autonomous decision-making through learning and reasoning methods. With the widespread popularity of large-scale language models led by ChatGPT in society, AI technology has become a widely focused topic. Currently, the general public and the gaming industry mainly focus on the research and application of AI technology in fields such as natural language processing and computer vision related to text and images. This speech will mainly start from the perspective of game audio, presenting and elaborating on the current status, development trends, and possible innovative directions of AI technology in the audio field, including composition, sound effects, and voice acting.

Ruoyang Zou, Joined Xiaoxu Music in 2021, main responsibilities include:

Game sound effect and music production. Construction and design of audio middleware and game engine audio system. Providing technical support and guidance to help improve the team's audio production capabilities. Ensuring that game audio matches and connects with the game experience and visual effects,

leading projects including 'Shanhe Travel Detective' and 'Tarris World'.

Abstract: AI technology, namely artificial intelligence technology, uses computer simulation of the human nervous system to achieve intelligent behaviors such as autonomous learning, autonomous adaptation, and autonomous decision-making through learning and reasoning methods. With the widespread popularity of large-scale language models led by ChatGPT in society, AI technology has become a widely focused topic. Currently, the general public and the gaming industry mainly focus on the research and application of AI technology in fields such as natural language processing and computer vision related to text and images. This speech will mainly start from the perspective of game audio, presenting and elaborating on the current status, development trends, and possible innovative directions of AI technology in the audio field, including composition, sound effects, and voice acting.

Film and Television director，Film and Television visual and CG production expert,

Twenty years of experience in the film and television industry,

Has served as the director of image promotional films for multiple cities in China,

Has served as the director of promotional films for first-tier television channels in China,

Has served as the overall packaging and visual director for large-scale variety shows，

‘Chinese band’ Art Director，

‘China Music Awards’ Art Director，

’ Chinese Nebula Awards’ Director\Art Director，

Film：’A Western Boy’s Memories’ Director，

Film:’Underground Palace’ Co-director，

Animated Film：’Elf: Dragon’s Secret Manual’ Art Director，

Animated Film：’A Thousand Li of Rivers and Mountains’ Director\Art Director，

Won the China Society of Motion Picture and Television Engineers Technical Award，

Short Film：’The taste of first love’，Berlin Chinese Film Festival Best Art Direction Award，Culture.china Best Short Film Award.

13 years of experience in the gaming industry

Current position: Producer at RocketPunch Games

Graduated from Beijing Film Academy, specializing in game design

Proficient in various roles including game artist, animator, game designer, and UI designer

Co-founded RocketPunch Games in 2015

Lead game designer for the independent game "Hardcore Mecha"

Producer for the independent game "Anomaly Collapse"

Abstract:

1. Dual Nature: The Characteristics of Indie Game Development and the Challenges in Creating a Plan

2. Sisyphean Boulder: Unachieved Milestones

2.1. Information Gap

2.2. Deviation from the Plan

2.3. Scope Creep

2.4. Unexpected Occurrence

2.5. Extending Deadlines Blindly

3. Embracing Change: Do not abandon setting new milestones just because the previous ones were not achieved.

3.1. The "LOD" Principle for Planning

3.2. Milestone Components That Can Be Trimmed

3.3. Experience

I graduated from the Computer Science Department at Harbin Institute of Technology in 2011 and started working. In 2013, I entered the gaming industry as a Unity3D development engineer. From 2015 to 2019, I worked as a lead developer on various games, ranging from MMORPGs to casual games. Some were highly successful, while others didn't perform as well. In 2017, I started conceptualizing gameplay for a 4x cultivation game, and when the conditions were right, in July 2020, I formed a team to develop 'Ascension.' It is a strategy game that combines 4x gameplay with cultivation as its main content. There wasn't much experience to draw upon from domestic 4x games, so we encountered numerous difficulties during the production process. However, the team managed to overcome them one by one, and over the course of three years of development, we accumulated a lot of experience. Currently, the game is in the final polishing stage.

Abstract:

'Ascension' has been under development for 3 years so far. From the beginning, the aim was to combine the simulation management of a cultivation sect with 4x gameplay. Throughout the process, we encountered various challenges.

1. How to generate more realistic random 3D maps through technical means.

2. Differences between the art process and traditional art production processes that led to detours. 3. Contradictions between conventional immersion-enhancing methods and 4X gameplay.

3. How to balance the demands of hardcore players and casual players.

4. Difficulties and challenges in designing multiplayer gameplay.

Over a period of 3-4 years, controlling the research and development costs for a small team is crucial.

Shuai Qin, producer of indie game The bad kids. He joined ALUBA Studio in 2019 and was responsible for the lead strategy of the independent game "Cyber Manhunt". After joining an independent game, I used my previous experience in game planning to explore new structural frameworks that balance gameplay and story, and strive to open up the boundaries of the game genre. Together with ALUBA, we adhere to the heart of independent games, adhere to the deep exploration of the core value of content-base d games, pay attention to the immersion and experience of players on the story, and evoke players' thinking about the real world in the way of games.

Abstract: Film and television IP adaptation games are nothing new, but there are few film and television IP shadows in the field of independent games. The main reason is that the size of indie game teams is difficult to match that of commercial game teams, and it is not wise to compete with them in the absence of money and manpower. Traditional commercial games can invest better and greater resources to tell the world view setting of the original IP, more story scripts, and less gorgeous performances to lead players to follow the original IP characters to explore the game world. What can we indie game teams do? This sharing will focus on the development case of ALUBA team's " The bad kids ", and lead you to in-depth discussion on whether film and television IP can be adapted into an independent game, how to adapt it in line with our independent game team and independent game positioning, and what is easily overlooked in the adaptation process.

TBD

Founder of “NibstechPack” game Studio , indie game developer, and technical blogger.

Abstract:

The speech is mainly divided into three parts:

1. Interesting anecdotes and development process in the development of "国寄像棋": how the team on 48-hour gamejam managed to submit the work before the end of the exam, reflections and summaries on some aspects of gamejam, how to generate countless possibilities from a given topic, and the importance of workflow.

2. Sharing of workflow for independent game development: how independent game studios use Feishu workflow to carry out project initiation, execution, placement, and review works, and how Aigc becomes a good helper for independent studios.

3. How can independent games break the awkward situation of homogenization: the key lies in project initiation, with content differentiation being the current answer, and only by staying alive can one produce better content.

In 2019, after obtaining a degree in UX design, I joined Feiyu Technology and worked for the development of a 2D ARPG mobile game "Dougui".

In April 2022, after the project released, I left my job and started my personal game creating. I mainly make jam games on Itch.io, and participated in various jam challenges including Ludum Dare.

In May 2023, the AVG "Grimm of the Dome" independently developed by me released on Steam.

From June 2023, my new indie galgame project "Between the Worlds, in the Skies of You" is in development of the free trial prologue version.

Abstract:

As a poet who’s far from famous, although I published works on several top Chinese poetry journals during my college days, these few pieces are not enough at all to give me any "fame" in the literary world. As it comes to the game industry—even if I want to apply for a job as the designer of game story—literature attainment is not necessarily an important thing to have.

Well, well, that’s not good. I will not be able to find a job.

I need to come up with something in my portfolio, so that one or two companies will think that I am worthy of a job, and new colleagues will think that I am good enough to give me the “trust” which is critically necessary for a game designer.

Why not make an independent game by myself, I thought. Thus, I embarked on this thorny road.

Now let’s see: how can a game designer who doesn't understand programming and can't paint, make an independent game of a passing grade.

Yes, although unbelievable, this guy actually made it.

And even started making the second one.

"Grimm of the Dome" is not a success. On contrary, it failed so much that I wanted to publish a special article to complain and criticize.

However, as an individual developer, the birth of this game is of special significance: relying on image and audio assets in the public domain, various open source tools, and the mushrooming AI tools, it has been possible to make a game with seemingly good appearance for a just normal individual.

In this talk, I will share:

1. How can a layman in fine art and music use public domain assets and open source tools to produce stylized game resources, that meet the needs of a game designer.

2. How small teams or individual developers can maximize the use of AI technology represented by AI drawing, and minimize the unavoidable quality problems.

3. As a poet, I will briefly share my opinion on the upper and lower limits of AI technology in the field of "enhancing the narrative expression function of games" from the perspective of art and literature, as well as some opinions on the ethical controversies AI technology currently facing.

Luo Chenjian, as the co-founder of the Shanghai Youyun., LTD, founded the company in 2016 and has been specializing in animation and game intellectual property rights (IPR) protection for 7 years.

Luo Chenjian leads his team in Youyun, combining his expertise to provide IPR defense for the gaming industry he loves, serving nearly 1000 high-quality games from 700+ companies in China, establishing barriers for monitoring and defending infringement, and providing full-chain IPR services.

So far，a total of 3,000+ game intellectual property infringement cases have been handled by Youyun, including the typical “Soul Knight” crack case in 2019 , the “Chinese Parents” skin-swapping case in 2020, the “Firework” adaptation case in 2022，the Three Kingdoms: The Last Warlord unfair competition case in 2021，the “Amazing Cultivation Simulator” cloud gaming platform case in 2020, and the first domestic NFT infringement case about “The Vaccinated Fat Tiger” in 2022，etc.

In 2010, working for Dolphin Browser, responsible for overseas casual game development for iOS and Android.

In 2011, I formed a team SomeHand to develop the iOS free casual game Big Bang! It ranked top 100 in the Free list of Appstore in North America, top 30 in China, and ranked no. 1 in Family and Puzzle.

Mediocre, in a hurry, simply live.

In 2019, I formed BadMudStudio to develop the action rogue-like warm snow.

2013—2018, started my own business on Mobile Game TCG project.

2019—Now, developed PC console game “Tale of Immortal”; set a historical record of Steam in-game Players among Chinese Games.

Abstract:

There’s a shared question among game developers: how to make NPCs in-game a bit more human-like. This is gonna give more fun to the gaming world we made, and also more surprises and emotional feelings to our players.

Maybe God has the same thought. If we were all NPCs, then what are the rules that gives us motivation, constraints our behaviors, and owns the final say of our fate? Will there be bugs or loopholes? Are we all NPCs serving for certain purpose of game? Why do NPCs set rules themselves?

What’s the impact of the development of AI on game? How to get it under control?

Started working in mobile game server-side development in 2009, including card games like Mahjong, Happy Farm, and other casual games.

In 2012, transitioned to game designing/development for mobile games. As a game producer, I was responsible for projects such as "Popping Legend," a casual game with bubble shooter gameplay, "GrandLine," a card-based cultivation game with match-3 mechanics, and "Fairy's Wardrobe" and "Starry Shopping Street," both anime-style dress-up games.

In 2021，as a game producer, I oversaw the development of the Chinese-style DBG game "Lanre Yitan." It was successfully released on Steam in May 2023.

Abstract:

Integration of traditional poker game rules with strategic card game rules.

Simplifying the complex cost mechanics.

The strategic dimension in DBG games.

Chemical reactions in strategic card games: Synergistic effects.

I graduated from Camberwell College of Art, University of the Arts London, with a background in Illustration and as an independent cartoonist. Getting into games was serendipity, but it turned out to be how I love creating.

Butterfly on the Windowsill is my first game project, and I'm very excited and excited about it. This indie comic book-style art puzzle game will showcase my unique artistic talent and creativity and my brave attempt at interactive storytelling.

Abstract:

In this talk, I will take you into a world of fantasy and art, exploring the intersection of art and gameplay in interactive storytelling. As a female artist and game producer, I will share my journey and the challenges and creativity I faced in creating an indie comic book-style art puzzle game called Reviver.

With the Butterfly effect as its core concept, "Reviver" tells the story of Felicia Serrano and Carlos Lopez from their acquaintance to old age by changing their fates. The game's storyline is divided into chapters, each representing a different age group, and players will drive the story through puzzles and interactions.

In this talk, I will focus on the art side of games. We bring players into a peaceful, warm art world through the carefully drawn indie comic art style. I'll share our team's inspiration and creative process in the game's art design and how to blend art elements with gameplay to create a unique interactive narrative experience.

In addition to art design, I'll explore the technical challenges and creative solutions in making games. We will discuss the importance of interactive design and how to engage the player in the story through gameplay. Through this talk, I aim to inspire a love of art and games and explore how to create unique and engaging experiences in interactive stories.

Let's demystify the interactive canvas and explore the strange intersection of art and gameplay. Let's enjoy this journey together and feel the magic and inspiration of art and play.

From 2012-2013 worked for Shanda Games. From 2013-2015 worked for Shanghai Zhongzhuo Network Technology Co. From 2015 to 2017 worked in Shanghai Pulei Network Technology Co. During this period,  participated in the development of several web/handheld games. Established StarryStarry in late 2017 to participate in the development of the independent game A Guidebook of Babel. Currently working on the sequel of Babel.

Abstract: In the field of narrative, do games possess unique tools and techniques that are difficult to replace by others? Many game creators are answering this question by releasing groundbreaking works. Some of the techniques that were experimental in the past have now matured to the point where they have become established patterns, such as fragmented narratives, procedural generation, and walking simulators… When we created A Guidebook of Babel, we also wanted to explore a new narrative technique with this work. This talk is about our exploration.

I am an independent game developer and educator currently teaching at School of Design & Innovation of the China Academy of Art. With over ten years of experience in game design education, I have been using games as a medium for research and creation, focusing on the relationship between games and people.

In 2021, I founded Xia Ming Games and began the development of "Retrace the Light".

In 2023, My project received funding from the Unreal Engine's official Epic MegaGrants program.

Abstract:

In comparison to mature industrialized games, independent game development has never adhered to a fixed paradigm. It embodies the unique aesthetics and interests of its creators. From conception to production, from planning to art, independent games resemble products emerging from a black box, with each team and individual creator possessing diverse skill sets and attributes.

In this presentation, I would like to share with you the development journey of "Retrace the Light" since its inception. As a micro-sized team without prior development experience, we will explore how we started from scratch, designed game mechanics, and secured funding from the Unreal Engine's official Epic MegaGrants program within just six months of development.

Responsible for publishing several best-selling buyout games both domestically and internationally, including Tales Of Immortal, ANNO:Mutationem, Noobs Want To Live, and Hardcore Mecha etc.

Abstract:

Introduce some of the challenges faced by PC buyout games in day-to-day community operations and how to validate the effectiveness of community management efforts.

Thomas Rosenthal is the Vice President for Asia Pacific of 505 Games. In 2015, he started-up the China operations of Digital Bros Group, a leading stock-listed Italian digital entertainment company, parent of 505 Games. 505 Games APAC now has offices in Shenzhen, Hong Kong, and Tokyo. Thomas is a member of the Board of the Italy China Foundation and a prior Member of the Board of the European Union Chamber of Commerce in China. Alongside managing the business in China and Asia, he gives lectures on the Chinese economy and doing business in China and has authored over 20 academic publications on contemporary Chinese studies.

Abstract

The speech will delve into the role that 505 Games is playing in internationalizing video games from China and in contributing to nurture the Chinese video games industry.

We will examine the key reasons and stages of 505’s evolving strategy in China and confirm the enduring commitment toward the Chinese gaming market while sharing the opportunities and challenges of doing business in China and working with Chinese developers.

505 Games hopes to reach success in partnership with local content providers in their journey to the West and envisions a future where Chinese video games and culture are not only celebrated but also embraced by gamers across continents contributing to the cultural understanding of our interconnected world.

Jonhson Lin has ten years of experience in marketing and operations in the gaming industry. He joined Douyin Group in 2019, responsible for providing gaming industry clients with integrated marketing solutions on Douyin, Toutiao, Xigua Video and other platforms. Our team is working to explore the value of game content by building a rich, diverse and all-round game platform for developers, content creators and gamers. Our long-term vision is to inspire the vitality of games and surface more fun games for players.

Senior consultant of Sony Interactive Entertainment Shanghai, Partner of Whiz’s China Hero VC Fund. Co-founder of A.G.

2017 - 2022: Leader of China Hero Project ( 1st and 2nd Batch ), an incubation project of SIE.

2016: Publishing producer of Final Fantasy simplified Chinese version.

Ms. Zhu Ying, engineer, holds an MBA from KEDGE Business School, mainly engaged in the operation management and strategic development of large listed state-owned enterprises and foreign-invested enterprises, covering industries such as aviation, port and waterway, high-end extreme manufacturing, mobile Internet, gaming industry, etc. In 2014, she joined E-Home, joint venture of Microsoft and Oriental Pearl Group, where she currently serves as Chief Operating Officer.

Aldric Chang is a seasoned entrepreneur with 20+ years of experience spanning game development, publishing, virtual worlds, and animation. His insight into the gaming and VR markets led to the creation of a top-selling VR game and an award-winning children's virtual world. He has served as a board consultant for Singaporean educational institutions and a mentor at a Singapore government-backed gaming incubator. Beyond founding a game production company, he's the CEO of Spiral Up Games, publisher of high-quality independent PC games such as "Wandering Sword" and "Back to the Dawn". Witnessing China's rapid growth in the gaming field over the past twenty years, Aldric hopes to contribute to this thriving industry, helping high-quality Chinese indie games take the international stage.

Abstract

At the 2023 ChinaJoy Expo, I plan to share our successful experiences and strategies at Spiral Up Games in bringing Chinese games to the international market. I'll focus on one of our represented games, 'Wandering Sword', which has gained strong traction during Feb 2023's Steam Next Fest, becoming one of the most wishlisted and highest downloaded demos. I'll delve into the challenges faced when marketing this game to Western audiences. A crucial part of my talk will discuss the different platforms and methods we used for promotion, including maximising exposure on Twitter and Reddit without violating community guidelines. I'll also address the nuances of creating game trailers that resonate with Western audiences. Furthermore, I'll explore our process of selecting and collaborating with influencers in Western markets. Finally, I'll discuss our media outreach and share our successful experiences in drawing media attention. Throughout my talk, I'll share actual tweets, Reddit posts, and news publicity examples to provide a clear understanding of our strategies. I hope to deliver an informative yet actionable talk beneficial to game developers, marketers, and gaming enthusiasts.

Olivier Deslandes is a games industry veteran, starting as a voice talent, voice director and translator in the late 1990s. He has contributed to more than 200 titles. Olivier joined SIDE in 2002 to establish and develop its localization department. In 2017, with SIDE under PTW ownership, he became Senior Director of Global Audio. He now serves the industry and PTW as Senior Vice President of Audio & Speech Technology. Olivier holds degrees in communication and advertising.  

Abstract:

This is a session to understand the bigger picture of localization and help you identify the areas that impact localization schedules, budgets and quality. Avoid the pitfalls that invariably hamper the process of making your game accessible to the world, and learn how to make the early calls that will ease the pain and reduce the compromises further down the line.

SIDE works at the cutting edge of interactive media as a provider of audio services for the global entertainment market. With over 25 years’ experience, an international network of resources, and state-of-the-art studios, SIDE’s award-winning team of technical and creative experts still hold the same collective intention: to develop the truest interpretation of each client’s vision, for audiences of every genre, on any platform, in all languages.  SIDE’s selected projects include: Cyberpunk 2077, The Legend of Zelda: Tears of the Kingdom, Witcher 3, Final Fantasy 16, God of War, It Takes Two, Horizon: Forbidden West, Age of Empires, The Legend of Zelda: Breath of the Wild, Sifu, Hitman 3, etc.

PTW, the parent company of SIDE, provides a one-stop services solution, from Localization, Localization Quality Assurance (LQA) to Audio Localization and Player Support. PTW's global team can support 45+ languages for your games, dedicated to 'bringing your story to the world'.