<p>Andrea Fricke is a Game Designer on the Anno 1800 team at Ubisoft Mainz since January 2018. She studied Computer Sciences and was more than amazed that she got into the games industry after her diploma. She started to work on adventures and puzzle games, and went into economy simulations, which is also her personal favorite genre to play.
Being able to join the Anno team was a major milestone for her, as growing up with the Anno series and Anno 1602 is one of her dearest childhood memories. In her free time, she likes to play <span style="color: #FF0000;">strategy- or story-oriented video games, watch movies and go see the world.</span></p>
Started working in the community space with Star Wars: The Old Republic at Bioware in 2011. Bastian was part of the transition of traditional community management to the modern approach of social media marketing and development communications. Working on a variety of AAA franchises as a Community Liaison at EA up to Virtual Reality community building and creating Early Access development pipelines at Crytek, he was responsible for the community development initiative for the strategy title Anno 1800 at Ubisoft Mainz.
I’m based in Melbourne Australia. In 2008, I started an indie studio focusing on mobile games and apps. We have received over 100 million downloads in the last 12 years. We have released a number of games with a few reaching the top 100.
I started working in the game industry as an intern programmer in the mid-90s in the San Francisco Bay Area while I was still a student. The most well-known company I worked at in that time was LucasArts. After graduating from university, I worked as a programmer for years at Nihilistic Software on console games published by EA, THQ, and Sony. Then I spent two years working in Japan, working at Grasshopper Manufacture and then as a consultant.
In 2011 after coming back to the US I founded Shiny Shoe and have been running it since as CEO. In our nine years in business we have worked on both original games and have worked with a wide variety of partners on their projects. Monster Train is our biggest and best original game. Some of our biggest partners over the past few years are Double Fine, Unity, East Side Games, and Madison Square Garden.
Gerson Da Silva has almost a decade in video game development, starting with educational math and history games as a screenwriter and content designer. He is currently Lead Game Designer and Project Manager at Ironhide Game Studio, where for more than 7 years he has been designing games such as the award-winning Kingdom Rush Origins.
His last release, Iron Marines, is a sci-fi RTS designed specifically for mobile devices, that earned the Android Excellence, Editor´s Choice, App of the Day, Latam Game of the Year among several other awards and nominations. It also reached the top 1 on premium games in more than 35 countries with an average of 4.8 of 5 stars at the stores.
He conducts games design and prototyping workshops at the Faculty of Fine Arts of the University of the Republic and is Professor of Game Design at the Bios Institute of Montevideo. Selected as Game Design mentor by Google for the Indie Game Accelerator 2019 at Singapore, he also has conducted game design workshops and lectures on several countries.
With more than 20 years in the analog games industry, Gerson is a veteran RPG storyteller with a passion for history and anthropology.
<p>Working as a game designer in “Gujian Online: Swords of Legends” at Aurogon Info&Tech (Shanghai) Co., Ltd. since 2017.</p>
I am Zhang Chengwei, the Senior Game Producer of Virtuos Shanghai. I started my career as a Game Master Intern for a famous MMO while I was studying in University, and have continued to work in the games industry ever since. I have been working in Virtuos for around 9 years, and I am mainly responsible for game development and leading projects in the company. Some projects that I have participated in include games such as Final Fantasy X/X-2 HD Remaster, leading the development of Final Fantasy XII The Zodiac Age in HD for the PS4, and adapting Starlink: Battle for Atlas for the Nintendo Switch. The most recently shipped titles that I have just completed work on include BioShock: The Collection & The XCOM 2 Collection on Nintendo Switch, as well as PUBG on Google Stadia.
In 2013, Artistic Director in Shanghai The Dream Network Technology.
Past development experience in mobile games such as The Legend of Qin, Wudongqiankun and Ragnarok Mobile
From 2019, Artistic Director for Torchlight Infinite in X.D. Network inc.
Aoru Qiu is an experienced game designer at Ubisoft Shanghai. Ambassador of the unique Worldlife expertise Ubisoft Shanghai Studio has developed over the years, he has been part of the development teams that worked on many titles of Ubisoft’s classic FPS franchise Far Cry, including FC Primal, FC5, FC New Dawn, etc. He created important features for Worldlife ecosystems which delivered immersive experience and memorable moments to players. He is skilled in achieving balance between Worldlife realism and gaming experience.
Aoru Qiu joined Ubisoft Shanghai in 2008, starting his career in game quality control on popular franchises such as Assassin’s Creed and Rainbow Six, Far Cry, before shifting to the role of game designer because of his great insights into gameplay. His passion, creativity and collaboration are the key drivers of his aspiration of creating high-quality AAA games for players.
Laurent Erignoux, Tools Programming Lead at Ubisoft Shanghai leads a small versatile team to support multiple project production on different Ubisoft engines with tools and services, with the purpose to automate game dev work. He joined Ubisoft Shanghai in 2017, starting as a game designer on the Far Cry franchise before his talent in programming led him to a role shift.
Prior to Ubisoft, he worked at an IT startup in France, where he developed a problem-solving mindset by always seeking better alternatives.
Started as a modeler in the Warcraft 3 community, where I taught myself to animate. Graduated from Breda University of Applied Sciences having studied game art and design, and went on to work as a designer on the Rayman series for five years at Ubisoft Montpellier, where I worked on critically acclaimed titles such as Rayman Origins and Rayman Legends. For the past 4 years I have been working at Moon Studios on Ori and the Will of the Wisps, which was released to critical acclaim in March of this year.
25 years of experience in game research and development , game IP creator, senior game producer in China.I used to be the director system of the three generations, the external generation and the four generations of "Chinese Paladin：Sword and Fairy ", and the producer and director system of the first generation and the second generation of" Gujian ". The three and four generations of the legend of the immortal sword and the one generation of the ancient sword are all made into TV dramas. The latest original IP "The Welkin World ：VOYAGER" has a comprehensive layout of Pan entertainment, the game supervisor of "Jiu Xiao", try to make domestic pure act game.
With over 10 years of experience in game audio design, he has participated in the development of QQ Speed (PC)、Yulongzaitian( PC )、Jiulongzhan Mobile、Contra Mobile、PUBG Quanjunchuji Mobile、Call of Duty Mobile , etc
With over 10 years of game development experience, he has participated in the development of QQ Speed (PC)、Yulongzaitian( PC )、QQ Speed Mobile、CrossFire Mobile、Contra Mobile、Call of Duty Mobile , etc. And he has a lot of experience in FMOD, Unity, Wwise sound engines.
Joined the videogame industry as a planner at Human Entertainment in 1993. After his work on “Super Fire Pro Wresting” and “Moonlight Syndrome”, he went independent and founded Grasshopper Manufacture Inc. in 1998. He has worked on many titles as the director, scenario writer and game designer.
Some of his major work includes “Silver Case”, “killer7”, “No More Heroes” series, “Shadows of the DAMNED”, “LOLLIPOP CHAINSAW”, “KILLER IS DEAD” and “Travis Strikes Again: No More Heroes”. His latest title is a Nintendo Switch exclusive “No More Heroes 3”.
Bao Bo is the production director of Improbable who is responsible for all the production management of clients’ projects. Previously, as the founder and GM of Virtuos Xi’an, he built up a professional gaming production team from 0 to over 160 which was the largest game company in the northwest of China.
He participated in over 100 game projects including green light decision, quality control, publishing and etc. with plenty of experience in QA, content creative, art, process management.
He has deep understanding in project management, technology application and trends as well as the gaming industry forecasting.
Improbable Games UK is led by John Wasilczyk, former executive producer at EA DICE and Epic Games who has over 20 years working experience in gaming industry. He also worked in Activision for several years. His past work includes Battlefield V, Star Wars: Battlefront II, Shadow Complex: Remastered, The Saboteur and Modern Warfare titles within the Call of Duty franchise.
Upon graduation in 2002, Mak represented Singapore as one of eight members to be hired by Tecmo Koei Japan to receive on-job-training. He had since been heavily involved in and worked as Producer, Lead Game Designer for multiple AAA titles and social mobile titles, e.g. Nobunaga's Ambition Online, Romance of Three Kingdoms Online, Dynasty Warriors Online, 100 Fist of North Stars, 100 Winning Post Special, to name a few. He took a leap of faith back in 2012 to join a startup invested by the former Gloops CEO as Design Director of Dreamrocket where he shipped multiple mobile titles and apps before joining King to work on mid-core mobile titles. Seeing the rapid growth of the industry in China, he joined Ubisoft Chengdu in 2018 as Lead Game Designer to work on game pitches and produce casual titles on the Nintendo Switch.
Yang Zou started his career at Ubisoft Chengdu as a UX designer back in 2009. He was involved in the production of several titles under the Heroes of Might and Magic and Tom Clancy brands. After switching to a Producer role in 2017, Yang Zou and his team geared their expertise towards developing games for the Nintendo Switch. They have since released a multitude of casual games for the Nintendo Switch, including the globally well received Hasbro Game Night.
After graduating from ENJMIN in the year 2008 in France, Balthazar started his career at Ubisoft Montreuil where he worked on the Raving Rabbids franchise and helped prototype Just Dance. After joining Nimble Giant he was one of the Designers who shipped the last expansion for Master of Orion (2016). Baltha is the Lead Game Designer and Game Director of the Award Winning Quantum League, an innovative FPS that for the first time travel in a multiplayer game with all the paradcombines acting as Lead Game Designer and Game Director since the inception of the project in 2017. Balthazar also teaches Game Design and Level Design in the most prestigious institutions in Argentina.
Business development and strategic partnerships professional with over 7 years of experience in mobile gaming industry.
For the past 6 years I’ve been working in ZeptoLab UK Limited.
ZeptoLab – is a global gaming and entertainment company best known for the award-winning, hit franchise Cut the Rope ®, with over 1.6 Bln installs around the world.
Currently I am responsible for Business Development & Strategic Partnerships at the company. My areas of focus are in games distribution, IP licensing, brand cooperations, searching for new market opportunities and revenue streams for the company. I am responsible for fostering relationships with top publishers & distribution channels in Asia; co-development & strategic business collaborations with local game studious & IP distribution initiatives.
I have been working at SoFunny Technology since I joined the game industry at the end of 2011. Now I am the producer of Ulala.
The web games I involved from 2011 to 2016: <Shen Xian Dao>、<Xian Xia Dao>、<Xian Xia Dao2>
The mobile game I involved from 2016 to now: <Goodo Scream>、< Ulala >
Philip started Mighty Kingdom in 2010 with the ambition to create the largest independent studio in Australia. He comes with 15 years experience in the gaming industry having worked with big international brands such as Hellboy, Spyro, Star Wars, Transformers, LEGO and Disney. Philip is an advocate for growing the Australian games industry and reintroducing AAA development to the country.
As a director and producer at Tecmo, a major console games company, I was involved in several hit titles. Afterwards I founded Geisha Tokyo Inc., which in 2009 produced one of the earliest hits in the Japanese social games market: "Omiseya-san". Then we transitioned into the smartphone era and found success with "Omiseya-san for smartphones" and "Brain Quest".
In 2018 we entered the hyper-casual games market and have released several titles that have reached #1 in the US app store rankings, such as "snowball.io", "Traffic Run", "Pizzaiolo!", "Recharge Please!", and others.
Jared is a veteran of the mobile games industry, starting his career at Halfbrick Studios (Fruit Ninja and Jetpack Joyride) in 2012. Over the last 8 years he has led advertising teams, game teams and analytics teams as well as co-founding a mobile monetization consulting company. He is currently Chief Product Officer at Hipster Whale, creators of the smash hit Crossy Road and Piffle.
<p><strong>ChillyRoom CEO & Co-founder.</strong></p><p>Abstract: This talk is about the design and production of the game</p>
<p><strong>Zhuang yue joined Ubisoft Shanghai in 2012 , now serves as leader gameplay programmer and works on core gameplay programming and porting current IP to different platform. until he got bachelor's degree of media and education, he has cost a lot of time on classical animation. In his free time , he set up lantern-studio with his friends for developing a story telling game.</strong></p><p>Abstract: Without using any text or dialog, how can a game be understood and connect with players all over the world?</p><p>By looking back over the 4 years independent development process of "LUNA The Shadow Dust", Lantern Studio shares their experience of how to deliver an immersive gaming experience by using traditional hand-drawn animation and film language, from not only the style choice, world-building exercise, and also their personal growth experience point of view.</p><p>The team also talks about the artistic approach of the interaction mechanism, which plays a big role in establishing a universal emotional experience in game design.</p><p>Last but not least the team shares their struggles and happy moment of being indie, do we really have to choose between the market and trying to stay innovative and original?</p><p><br/></p>
<p><strong>After backed to China at the end of 2018, Che entered the game industry as a game artist
when he joined the Cotton Game, where he participated in a sandbox survival game at the
beginning stage of the game development. During the game development process, Che
re-improved and established the art style of the game project. After that, he was further
involved in game design. He eventually re-planned the game content through his own
understanding of the "creation" when the game development encountered bottlenecks,
and restarted an independent game called "Before Fate" with a production method that
was more in line with the project's art style and team development advantages.</strong></p><p>Abstract: </p><div class="page" style="white-space: normal;"><div class="section" style="background-color: rgb(255, 255, 255);"><div class="layoutArea"><div class="column"><p>I think project experience itself may not be the most important thing for indie game maker. It is actually good for other types of game development other than indie game. Because I think the advantage of project experience is often to allow creators or teams to solve problems more professionally and provide corresponding solutions. But for our independent games, there will be many unexpected problems, which the problems we encounter more often may be difficult to find answers in past project experience, because we are always trying a lot of things we have not tried before due to our own preferences. So I think the more important thing is whether the creator has a complete creative idea. It can be come from any form of art and not just for game production, I think that will be a key point to go through and overcome various difficulties during the process of game development.</p><p>So in this presentation, I want to focus on two aspects. On the one hand, I want to talk about as a game artist from the beginning of my career, how do I use my own idea of art creation as a starting point with my own understanding in terms of the creation itself , in order to keep learning and growing up during the development of game project. On the other hand, as a team leader, I want to talk about what kind of mentality should be kept up in order to find out a solution to the problem and persist when the game development gets to bottlenecks with various problems.</p></div></div></div></div><p><br/></p>
<p><strong>Ruonan Zhao, Master of Engineering. After graduated from USC, Ruonan worked for Sony’s second part studio Zindagi Game in Los Angels for two PlayStation Move titles <Deadmund's Quest> and <Sports Champions 2>. He came back to China in 2012 and made two famous Chinese title <RainBlood> and <DarkBlade>. For now, He start his own studio and works on PSVR title <Blind Spot> and 2D platform Game <Kelipot>.</strong></p><p>Abstract: In this speech, we are going share some experience of level design in puzzle game and how we apply those method in our game <Blind Spot>.Also, We are going to share some experience about level design in VR, how do we deal with hidden puzzle in our game, how we do storytelling in VR and difference between VR and no VR game design. </p>
<p><strong>Co-Founder of Veewo Games
Chief Game Designer of 《Super Phantom Cat》
Chief Game Designer of 《Neon Abyss》</strong></p><p>Abstract:</p><p>Recently, Roguelike game is getting more and more popular for its varied random elements and the uncertainty of game experiences. Game developers especially indie game developers have been explored a lot on roguelike games and shows its fascinating potential.</p><p>This speech will try to analysis some of the most popular roguelike games and conclude the structure of these roguelike games. Also, this speech will introduce how emergence game design works when designing a roguelike game, hoping it would inspire the upcoming roguelike game developers.<span style="font-size: 14px;font-family: 微软雅黑, sans-serif"> </span></p><p><br/></p>
Graduated from Communication University of China with a master's degree in computer science.
Worked as a client programmer in large and small companies, participated in the development of web games and mobile games, was mainly responsible for graphics rendering.
In recent four years, start trying to develop indie games, is the only one developer of “Wanba Warriors”, responsible for all work.
Current full-time on developing this project (apr. 2020)
10 years of game development experience,7years of Unreal Engine 3/4 experience and 6 years of self-development experience in PS4 console games.
Artwork and technical solutions have been featured on Adobe Subtance and EPIC, Quixel's homepage, social networks and art galleries.
Member, China Film Arts Association;Served as a management leader and expert in several teams.
In 2014, spielberg's film team invited production art for the next movie 《player one》
In 2015, I was invited to speak at EPIC unreal developers conference in Shanghai and share the material and terrain production plan.
In 2016,Invited to speak at EPIC Unreal Developers in Beijing , sharing Unreal Engine game development and environment performance.
2017,Invited to speak at EPIC Unreal Developers in Chengdu. Sharing game development using Unreal Engine and the overall art atmosphere of the game.
2017 EPIC unreal engine landing interface, America home page works recommended.
2019 Adobe Substance Greater China Official Live. Sharing game development sessions and Substance usage scenarios.
Working with SIE (JP) Studios to develop content and optimizations for Chinese developers on PS4VR and shared at CGDC.
Responsible for controlling the studio's game scenarios and projects. Experience working on several AAA projects and R&D team.
Founder of void dimensions, doctor of information science, TOHOKU UNIVERSITY of Japan.
In 2017, the VR game 《Light Tracer》 released, and then non VR versions were released on multiple platforms; in 2020, action adventure puzzle game 《Light Tracer 2》 is expected to be released.
A new game developer, made Juicy Realm.
Since 2011, participated in multiple game development in the company.
Since 2013, developed nearly 10 indie games part-time or full-time.
From 2018 to now, we have developed the indie game ‘The Rule of Land: Pioneers’.
Graduated from NYU Game Center with MFA degree. Full-stack game developer. Solely working on Signal Decay in full time, and won multiple awards including IndiePlay Most Innovative and SXSW Gamer’s Voice nominations.
Xinyu Wei is the founder of Misty Mountain Studio. He and his team are currently working on their first title - The Rewinder. Previously, he was a Senior AI Scientist and has worked for Disney Research. Xinyu has a PhD in AI but his interest always lies in indie games.
2015-2016 《Planet explorer》
2016-now 《Ever Forward》 designer，Producer
Calvin Lin is the senior manager of content technology of NVIDIA China. His interest in real-time graphics led him to study 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.
I am a veteran in the game industry for 14 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.
I’m the former game producer, participated in the production of "ICEY", responsible for the levels and values, and also produced its sound effects and final mix.
Currently in charge of audio technical support at CRIWARE, I hope that from the perspective of game design, I can really help game developers solve video and audio problems in game development.
Kai Wang is a Senior Application Engineer from IAGS (Intel Architecture, Graphics, and Software) of Intel Corporation. He joined Intel in 2014 and has been working mainly on game enabling. He has rich knowledge and hands-on skills in game rendering, performance analysis, and optimization. Before Intel, he worked for many years on game engine/tools development, workflow iteration, and performance optimization. As a frontline game developer, he worked as technical roles for companies such as Kingsoft Corporation, Giant Interactive Group. During his career in the game industry, he is always enthusiastic about how technology changes games and the process of making them. He is now spending most time working on performance optimization and making the best of the hardware platforms. He works with developers and help them deliver wonderful game experiences.
Meizi Yan specializes in 3D Art and Substance parametric PBR material for more than 10 years, providing different style 3D material solutions to promote intelligent processing of digital materials, serving customers including Tencent, Netease, ByteDance, EA, Ubisoft and other Asian customers. She Start to lead team to create Substance parametric material library since 2009. Substance is the industry standard for 3D texture technology. We have a broad customer base in the gaming, VFX and other industries.
Dong Yang currently works as Unity Technology Director (Greater China), responsible for China Evangelism team and Product Management team. He is very proficient with Unity for developing games and interactive contents. He focuses on spreading the latest Unity technologies to Unity developer communities.
<p>2019-Now, I work at Parametrix.ai as Senior R&D Director, responsible for the whole research and development of game AI, have solid experience in applying deep learning and reinforcement learning to games.
2016-2019，I worked on research and development of game AI at Tencent AI lab, and developed the game of Go AI “FineArt”and the King of Glory AI“WuKong”as a core member.</p>
Chenzhong Hou is a sound designer, composer and music-tech researcher. He used to work at Ubisoft Shanghai and was involved in the sound design of Just Dance and Far Cry series. Today, he is a Product Expert for Greater China at Audiokinetic.
Li has been in the game industry for more than a decade, starting her early days as the global localization producer for CCP Games. Prior to helping Keywords establish a business presence in China in 2015, Li has served in various positions in game development including as software engineer, development director and producer for AAA titles. She has accumulated in-depth knowledge of game globalization from both technical and business perspectives through her years of experience in the field.
Sebastian is General Manager of Player Research, a Keywords Studio, the premier partner for insight into players and play. He is a passionate evangelist for player insight in gamedev, leading 200+ projects at Player Research, both as researcher and as research strategist. He authored two chapters of the Games User Research book, regularly lectures on topics around user research and UX, and in 2017 was accepted as a Member of BAFTA.
Michael Gu, who joined Bytedance in 2017, is currently the head of DataRangers. In the decades, he has been working with enterprise customers to capture value from big data, develop growth strategies and achieve long-term business growth.
Based on past experience and research for a substantial amount of time, DataRangers had built a strong and effective“Data Mining+Business Growth”methodology and tools to help business clients keep moving forward and gain success. Knowing the game industry’s own characteristics, it also developed a user behavior analytics and operation tool called “DataPlayer”,that provides tailored solutions to game products.
Elena Lobova is the founder of ACHIEVERS HUB, a platform that unites indie developers with investors, publishers, services and mentors from all around the world.
Elena has a track record for growing a game development outsourcing company iLogos from a small studio of 30 to 300+ employees international company as COO and then CEO, founding and organizing a game developers conference Get IT in Ukraine, consulting and helping various companies on business development.
Elena enjoys traveling, networking, sharing and connecting people with great ideas. She is also a creator of Ukrainian Game Development Industry Guide and a co-organizer of online pitching event Global Games Pitch, hyper casual game jam Going Hyper, and games industry networking dinners around the world.
Responsible for TalkingData East China business, providing Internet industry customers with comprehensive solutions such as data statistics analysis, advertising effectiveness monitoring and big data services.
Years of experience in the Internet industry, rich experience in product refinement operations, data analysis and marketing, and in-depth research and insight into the Internet industry.
<p><strong>Archon，Deputy General Manager of Fantasy division
After graduating from Zhejiang University in 2004, I joined NetEase company and the Fantasy Westward Journey team. At the same time I assisted in managing the technical team of more than a dozen projects such as "Nostos", "Onmyoji" and "BuildTopia"</strong></p><p>Abstract: When I first entered the game industry in 2004, I thought that a game only had a limited lifespan of 2-3 years. With the efforts of the team, "Fantasy Westward Journey" continues to break my cognition, this mobile game becomes an IP and maintains youth forever. After then, I follow the long-term operation strategy to operate the "Fantasy Westward Journey Mobile". Today I will share with you some ideas from the technical level: how technology can assist the long-term operation of products.</p><p style="text-align:left;line-height:36px;background:#F8F9FA"><br/></p>
<p><strong>Anna Donlon is the Executive Producer on the character-based tactical shooter video game, VALORANT, developed and published by Riot Games. Leading a team of veteran game developers, Anna steers the direction and production of the recently launched competitive PC shooter. Earlier in her career, Anna honed her expertise in the games industry at the renowned FPS studio Treyarch, working as a Senior Producer on AAA titles, including Call of Duty®: Black Ops 1 & 2, among others.
After joining Riot in 2015, Anna took on the role of Lead Producer for all of League of Legends’ cosmetic content and in-game events, shipping League’s most iconic alternate universes, thematics, and game modes, including Star Guardian, Odyssey, PROJECT, and K/DA. In her current role as Executive Producer on VALORANT, Anna leverages over twenty years of game development experience and a passion for competitive shooters to lead Riot Games’ first foray into the tactical FPS game genre.</strong></p><p>Abstract: VALORANT by Riot Games, which released in June 2020, is a brand new 5v5 first-person tactical shooter. VALORANT Beta hit 1.7 million concurrent viewers on Twitch, becoming one of the most popular games viewed on the site before it was technically even been released. When VALORANT officially launches, it rapidly gained massive attention and interest from global core FPS players. Riot Games aims to develop a game that satisfies the core needs of all the FPS players and preserve the fairness of the game. To achieve this goal, we will continuously work and improve on our design, product, techniques and network frameworks to insure competitive integrity of this game.</p><p>Now the development team of VALORANT will share the story behind the scene. </p><p><br/></p>
<p><strong>After joining Riot Games as a designer on League of Legends in 2010, and then champion design lead in 2012, Joe Ziegler quickly established himself as a creative force within the company. In 2013, Joe moved to a nascent development team as design lead on a new, first-person tactical shooter video game, now known as VALORANT.
As the Game Director of VALORANT - Riot’s recently released, record-breaking, competitive PC game - JZ leads multiple development teams on the design and implementation of all game features, as well as supporting Executive Producer, Anna Donlon, in the management of daily operations of the popular online multiplayer game.</strong></p><p style="white-space: normal;">Abstract: VALORANT by Riot Games, which released in June 2020, is a brand new 5v5 first-person tactical shooter. VALORANT Beta hit 1.7 million concurrent viewers on Twitch, becoming one of the most popular games viewed on the site before it was technically even been released. When VALORANT officially launches, it rapidly gained massive attention and interest from global core FPS players. Riot Games aims to develop a game that satisfies the core needs of all the FPS players and preserve the fairness of the game. To achieve this goal, we will continuously work and improve on our design, product, techniques and network frameworks to insure competitive integrity of this game.</p><p style="white-space: normal;">Now the development team of VALORANT will share the story behind the scene.</p>
<p><strong>David joined the Riot Games development team in 2016 to work solely on VALORANT - the new character-based, tactical shooter video game. Bringing more than eight years’ experience working on titles such as Halo, Titanfall, and Evolve, David’s passion for the first-person-shooter genre has been instrumental to Riot’s first foray into the genre.
Prior to his time at Riot, David was a network and online engineer for Microsoft. He built out the Xbox One’s multiplayer system and ran the first ever online session on the hardware. This role also included working with several studios to get their titles online (including Titanfall, Evolve, Halo: The Master Chief Collection and Forza Motorsport 5).</strong></p><p style="white-space: normal;">Abstract: VALORANT by Riot Games, which released in June 2020, is a brand new 5v5 first-person tactical shooter. VALORANT Beta hit 1.7 million concurrent viewers on Twitch, becoming one of the most popular games viewed on the site before it was technically even been released. When VALORANT officially launches, it rapidly gained massive attention and interest from global core FPS players. Riot Games aims to develop a game that satisfies the core needs of all the FPS players and preserve the fairness of the game. To achieve this goal, we will continuously work and improve on our design, product, techniques and network frameworks to insure competitive integrity of this game.</p><p style="white-space: normal;">Now the development team of VALORANT will share the story behind the scene.</p>
<p><strong>Paul Chamberlain is the Anti-cheat lead for Riot Game’s latest competitive tactical shooter, VALORANT, spearheading the efforts against in-game cheating. Joining Riot Games in 2013, Paul spent his first years at Riot working on the information security team, where he shipped Riot’s first anti-cheat system: the League of Legends Client Security.
In early 2015, Paul joined the then nascent VALORANT team to develop a security system strategy and eventually an anti-cheat system. In tandem with the development of the game, Paul built the proprietary anti-cheat system now known as Vanguard.</strong></p><p style="white-space: normal;">Abstract: VALORANT by Riot Games, which released in June 2020, is a brand new 5v5 first-person tactical shooter. VALORANT Beta hit 1.7 million concurrent viewers on Twitch, becoming one of the most popular games viewed on the site before it was technically even been released. When VALORANT officially launches, it rapidly gained massive attention and interest from global core FPS players. Riot Games aims to develop a game that satisfies the core needs of all the FPS players and preserve the fairness of the game. To achieve this goal, we will continuously work and improve on our design, product, techniques and network frameworks to insure competitive integrity of this game.</p><p style="white-space: normal;">Now the development team of VALORANT will share the story behind the scene.</p>