Overview
Keynote
  • RPG Session
  • SLG Session
  • ACT Session
  • Casual Game Session
  • Indie Game Session
  • Technique Session
  • Game Operating Session
Aurora Studio, Tencent
Stella Gu
Aurogon Info&Tech (Shanghai) Co.,Ltd.
Xiaoxiao Ma
Virtuos China Ltd
Chengwei Zhang
X.D. Network Inc.
le Zhang
LINE Games Re:G Studio
Se Min Lee
Ubisoft Mainz
Andrea Fricke
Ubisoft Mainz
Bastian Thun
Ironhide
Gerson Da Silva
Duoyi Network
Chaofan Luo
Shiny Shoe
Mark Cooke
SavySoda
Xin Zhao
Moon Studios
Chris McEntee
Ubisoft China Shanghai Studio
Laurent Erignoux
Ubisoft China Shanghai Studio
Kaihang Gu
Improbable
John Wasilczyk
Improbable
Bo Bao
Shengqu Games
Yijie Chen
Shanghai Meowpaw Information Technology
Zick
Grasshopper
SUDA51
Ubisoft China – Chengdu Studio
Juenyeow Mak
Ubisoft China – Chengdu Studio
Yang Zou
Xiamen So Funny Technology
Xin Huang
ZeptoLab UK Limited
Kristina Truvaleva
Nimbe Giant Entertainment
Balthazar Auger
Mighty Kingdom
Philip Mayes
Hipster Whale
Jared Oats
Geisha Tokyo
Taisei Tanaka
ChillyRoom
Zeyang Li
LANTERN STUDIO LTD
Fox Zhuang
Cotton Game
Xiangyu Che
Unlimited Fly
Ruonan Zhao
Veewo Games
Yop
BigYu
Jin Yu
Nela System
Zack Zhang
Pathea Games
Bin Yang
Parametrix technology (Shenzhen)
Leon
Intel
Kai Wang
Tencent
Shunlei Tang
Unity Technologies
Dong Yang
NVIDIA Semiconductor Technology Shanghai
Calvin Lin
Audiokinetic Shanghai
Chenzhong Hou
CRI Middleware China
Sean Lu
CRI Middleware China
Roc Diao
TapTap
Shaoman Lei
Hangzhou Shunwang Technology Co., ltd.
Bin Xu
Volcano Engine
Michael Gu
TalkingData
Song Liu
ACHIEVERS HUB
Elena Lobova
HyperBeard, Inc.
Alex Kozachenko
Sponsorship
Media Partners
Concurrent Events
Chief Architect of the IP Mooblight Blade
Stella Gu

Obtained Philosophy/Religious Studies Bachelor/ Master Degrees from Renmin University of China and the University of Hong Kong; Stella successively served in CMFU, Pepsi, etc.; published several novels on martial arts or ancient romance. Joined Tencent in 2009 and became the first batch of professional planning in the field of Internet interactive marketing. Since 2012, Stella joined the Moonlight Blade team and responsible for issues related to the contents and IP developments till now.

Abstract: From three perspectives of aesthetics, psychology, and hermeneutics, to explain the important role and significance of "character setting" in MMORPG creation. It contains not only part of my own creation theory, but also some minor philosophical elements. This sharing may not directly guide the creation of the framework of online games, but I think that as a "god" in the creative field, creators should always maintain a strong curiosity in all kinds of diverse forays to find sparks that are helpful to creation as much as possible.


Game Designer
Xiaoxiao Ma

Working as a game designer in “Gujian Online: Swords of Legends” at Aurogon Info&Tech (Shanghai) Co., Ltd. since 2017.

Abstract: This speech will share the development process of the housing system in “Gujian Online: Swords of Legends”. How the DEV team manage to pre-arrange the plan, determine the risk points, analyze the priority / cost performance, arrange personnel reasonably and make auxiliary tools in different development stages to carry out maximum efficiency.

It mainly includes four parts:

1. Determine the core gameplay in the early stage of development, quickly make prototype and verify the feasibility;

2. Extract the repeated parts in the workflow during the middle stage of development, use tools to efficiently produce content and resources to ensure that it can be quickly iterated;

3. In the late development period, based on the feedback of players and the actual situation to optimize existing functions in a limited time;

4. How to arrange operation activities and the development of the functions of subsequent versions after going online.


Senior Game Producer
Chengwei Zhang

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.

Abstract: Virtuos has worked on the adaptation of BioShock: The Collection for the Nintendo Switch from 2019 to early-2020. In this talk, we will be sharing some anecdotes that occurred during the course of its development and a few of the tools and processes we used in the project. This will also be accompanied by a brief rundown of the noteworthy experiences and challenges encountered, and the decisions and actions that were taken in order to overcome them. The adaptation of BioShock: The Collection has proved to be a very successful product, deeply loved and held in high regard by fans of the series. We hope that the sharing of our experience can provide a reference point for other developers, especially for those who are interested in adapting AAA games and developing on the Nintendo Switch.

Lead artist
le Zhang

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.  

Abstract: A video game cannot succeed without good characterization. The reason why successful characters appeal to you is that the game developers augmented and reshaped the reality so as to collect, retain and concentrate on the most touching parts in it. Every game developer has been dreaming of creating a unique game character. But unlike other art forms, game art design has its restriction. The platform, the genre, and the gameplay can bring about various degrees of limitations. However, these limitations in turn help us find our own artistic merits. And we contrive to develop our unique artistic style upon these merits.

Game Designer
Andrea Fricke

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 strategy- or story-oriented video games, watch movies and go see the world.

Abstract:

How can you make your players become stakeholders of your game production?
With Anno 1800, the team at Ubisoft Mainz transformed their entire development process to allow gamers to have a say in the latest installment of one of the longest-running PC strategy franchises. In this talk, Game Designer Andrea Fricke and Communications Manager Bastian Thun demonstrate how even AAA developers can evolve their game production to react to player feedback while still achieving milestone targets.
We will demonstrate how we improved Anno 1800’s game design by gathering data from individual player studies which allowed us to identify the players’ progress and behavior. Together with broad community engagement, we got a deep understanding of how they experience our game, which allowed us to continuously implement new content tailored to our players’ needs.
Thanks to that collaboration between developers and players, Anno 1800 became not only the fastest selling game in the history of the series but also a great global success.


Communications Manager
Bastian Thun

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.

Abstract:

How can you make your players become stakeholders of your game production?
With Anno 1800, the team at Ubisoft Mainz transformed their entire development process to allow gamers to have a say in the latest installment of one of the longest-running PC strategy franchises. In this talk, Game Designer Andrea Fricke and Communications Manager Bastian Thun demonstrate how even AAA developers can evolve their game production to react to player feedback while still achieving milestone targets.
We will demonstrate how we improved Anno 1800’s game design by gathering data from individual player studies which allowed us to identify the players’ progress and behavior. Together with broad community engagement, we got a deep understanding of how they experience our game, which allowed us to continuously implement new content tailored to our players’ needs.
Thanks to that collaboration between developers and players, Anno 1800 became not only the fastest selling game in the history of the series but also a great global success.



Lead Game Designer & Project Manager
Gerson Da Silva

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.

Abstract:

Analysis of the problems and challenges of adapting the real-time strategy genre to mobile devices. Even as this genre has a long and brilliant history on desktop computers, RTS success stories on mobile devices are rare. Iron Marines stands on the premise of seeking at all times to give the player the strategic gaming experience he is looking for.

The presentation tackles a wide range of challenges we face during the Iron Marines development. From the controls and classic elements of the genre to the balance and the number of units on the screen. From the new mechanics and dynamics to how to adapt the gameplay expected by fans of the genre on PC. The balance between the hardcore perception of the genre and access to the most casual players on the mobile platform. In each case, the consequences and other considered alternatives are explained, delving into the solutions found, and their impact on the game.

The talk is arranged in order to present a challenge and analyze how it affected the game and its development. Each problem is presented along with the various tests or alternatives for its approach to allow the assistant to better understand the context. Next, is presented a theoretical framework or a game design pillar we used as a tool or axis to determine the way forward. Finally, the solution, the result obtained and a summary of what we capitalize as learning in the process are detailed.


Operation Director
Chaofan Luo

Luo is in full charge of Duoyi Network’s game product and platform operation works. Insisting on casting quality games, which is Duoyi Network’s elaborate philosophy, Luo leads his team to cultivate the long-term operation of competitive products’ IP, and Duoyi Network has multiple programs regarded as the whole industry’s front-runner and long-term operation’s classic. Meanwhile, Luo insists on profound intersections between game and culture, and the construction of “game+” ecosystem, IP as its bound, aiming at excavating the positive values and broadening the enterprise horizon of games, thus improving the global influence of Chinese excellent traditional culture.

Abstract:

Duoyi Network’s “Shenwu” series came out in 2010 and has been insisting on long-termed IP researches and operating strategies since then.With personal and team development, the latter including gangs’ and fixed teams’ development, as its mainstream, “Shenwu” keeps on innovating and constructs a marvelous Sim Social ecology to grow with ten millions of players.

In this speech, we will highlight long-term development and operation experience of “Shenwu” accumulated for over ten years.


CEO
Mark Cooke

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.

Abstract:

This talk will cover the entirety of the development timeline for Monster Train, starting from our initial prototype in September 2018 up to our launch in May 2020. Monster Train is Shiny Shoe’s deckbuilding strategy card game and currently holds an “Overwhelmingly Positive” rating on Steam from players, an 85 on Metacritic, and reached number one on the Steam global top sellers.

The talk will focus on the details of our process and our tools which we believe were instrumental to creating a successful game. After covering the prototyping process, key changes to our initial game design will be discussed. From there Shiny Shoe’s feedback-focused culture will be introduced and we will talk about specific tools that were used to facilitate frequent team feedback and collaboration.

Then we’ll cover the publisher pitch process where we raised funding to build the remainder of the game, the highly iterative production process that allowed us to pivot our development resources to the most important features dynamically, and how we managed the quality of the game on an ongoing basis with a small team.

Lastly, we will cover how we organized our community via Discord and got their help and input to make the best game possible as we prepared for our official launch.


CEO
Xin Zhao

I’m the studio Director of SavySoda based in Melbourne Australia. We're an indie game studio focused on mobile strategy games. We are behind the hit mobile game Pixel Starships.

Abstract:

I will share some of the knowledge learned during the journey of Pixel Starships. In particular, I will discuss a few key game design topics that have made Pixel Starships a successful long term title. I will also share some strategies we used to achieve success with the limitations of indie studio budget and resources.

Lead Designer
Chris McEntee

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.

Abstract:

In this talk, I will break down the approach the design team at Moon Studios took for crafting the metroidvania style world of Ori and the Will of the Wisps. I will share insights into what the team did to evolve the design philosophy from the game’s predecessor, Ori and the Blind Forest, along with general game and level design insights that were gained over the course of the 4 years it took to craft the game. I will also outline lessons learned as well as potential pitfalls that not only we encountered, but others might typically encounter in their own level design, and provide examples of collaboration between art, story and design that came together to make for a better paced, more memorable overall experience.


Tools Programming Lead
Laurent Erignoux

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.

Abstract:

Over recent years, Ubisoft Shanghai has developed a strong Worldlife expertise from co-developing the Far Cry franchise – building highly complex and diverse life ecosystems that deliver immersive experience to players. An important part of the gameplay, various life forms in our game engine act on their own agendas in player’s game world and their very existence light up the landscape, amazing the players with believability. Kaihang Gu, our game producer will demonstrate our Worldlife ecosystems, share our design methodologies, and our tools and best practices in efficiently achieving the ecosystem’s diversity and complexity. The audience will see our efforts invested on the companion animals in Far Cry 5, to whom many players have even developed emotional attachment.

We will also share our tech solution that tackles a big challenge we faced during our mandate transformation from wildlife support to mass production required for Worldlife ecosystem construction – a dedicated tech team. By sharing, reusing and centralizing techs and tools, this team works as a service provider to support different projects to streamline the design, production, QC and animation process, by leveraging automation to develop and continue to optimize various tools, e.g. auto testing tool. Laurent Erignoux, the team leader will share how they achieve this while facing the challenge of working on multiple projects and different engines in parallel.

Finally, we will share the initiatives we are working on to improve the production pipeline and our vision for Worldlife creation in the future.


Producer
Kaihang Gu

Starting at Ubisoft Shanghai in 2010 as associate producer for mobile games, Gu Kai Hang was later promoted to the position of Producer, responsible for Far Cry co-dev projects. He has worked on four Far Cry projects so far.

By understanding well the lead studio’s vision and objectives, and coordinating efficiently among various production functions, he led the team to successfully deliver immersive worlds and life ecosystems that have been highly recognized by the players, for example the famous Far Cry 5. Prior to Ubisoft, he worked for two years as game designer at Gameloft.

Abstract:

Over recent years, Ubisoft Shanghai has developed a strong Worldlife expertise from co-developing the Far Cry franchise – building highly complex and diverse life ecosystems that deliver immersive experience to players. An important part of the gameplay, various life forms in our game engine act on their own agendas in player’s game world and their very existence light up the landscape, amazing the players with believability. Kaihang Gu, our producer will demonstrate our Worldlife ecosystems, share our design methodologies, and our tools and best practices in efficiently achieving the ecosystem’s diversity and complexity. The audience will see our efforts invested on the companion animals in Far Cry 5, to whom many players have even developed emotional attachment.

We will also share our tech solution that tackles a big challenge we faced during our mandate transformation from wildlife support to mass production required for Worldlife ecosystem construction – a dedicated tech team. By sharing, reusing and centralizing techs and tools, this team works as a service provider to support different projects to streamline the design, production, QC and animation process, by leveraging automation to develop and continue to optimize various tools, e.g. auto testing tool. Laurent Erignoux, the team leader will share how they achieve this while facing the challenge of working on multiple projects and different engines in parallel.

Finally, we will share the initiatives we are working on to improve the production pipeline and our vision for Worldlife creation in the future.


VP of Games Studio
John Wasilczyk

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.

Production Director
Bo Bao

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.

His past work includes: Sid Meier's Pirates, FFX/FFX-2, Fable Anniversary, Assassin's Creed The Ezio Collection, Dark Souls – Remaster, Homeworld, Shadow of the Tomb Raider

He has deep understanding in project management, technology application and trends as well as the gaming industry forecasting.


Leader of Animation Department
Yijie Chen

Yijie Chen graduated from director department of Beijing Film Academy in 2007 and has worked in the film and television industry for ten years. During the early stages of her career, Chen was involved in the planning and production of film projects and worked in Times China Media as film director, producer, project director, etc. After that, she moved on to focus on film project operations investment analysis and cooperation projects.

Joined Shengqu Games in 2017, Chen devoted herself to the creative production of In-Game Animation, launched and continuously improved the high-expressive animation business with the goal of combining film with games over the process. As a director of In-Game Animation and innovative game PV, she has served several famous game projects such as "Dragon Nest 2", "Qing Yu Nian", etc.

Abstract:

part1

1 Analysis of excellent In-Game Animation

2 Present and analyze In-Game Animation of Dragon Nest 2

Part2: Share the whole process of one In-Game Animation project

Part3: Added value of In-Game Animation

Part4: Discuss the future of In-Game Animation

CEO & GM
Zick

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.

Abstract: Sharing the development process of the lightweight action adventure game "Jiu Xiao": the difficulties and challenges faced by the small and medium-sized game R & D team in the process of exploring the "3I" game road of Chinese mode. What are the conditions for the team to challenge action games? What are the difficulties of action games? How to get rid of the stereotype of Xianxia game and make the cultural game of Xianxia with Chinese characteristics?

CEO
SUDA51

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”.

Abstract: Suda51 is one of Japan’s most celebrated game developers, and his studio Grasshopper Manufacture’s commitment to making ultra-cool action games has earned a worldwide fan base for the beloved franchise No More Heroes. In this talk, Suda51 will tell IGN JAPAN Chief Editor Daniel Robson how he and his team strive for that essential Grasshopper play-feel in their games, some of the development tricks and tips he has used to achieve addictive gameplay, and what gamers can expect for the series’ otaku assassin protagonist Travis Touchdown when his latest game No More Heroes 3 hits Nintendo Switch.


Sound Designer
Merle Chen

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

Abstract: Call of Duty Mobile is a global distributed franchise mobile version of Call of Duty game, which is developed by TIMI Studios Group. It rose to the top position of the AppStore list in many countries after launch. To transplante such a famous franchise with a complex sound system to a mobile phone platform, the sound design has been challenging. In this event, we will focus on the gun sound design , introduce how did we find a suitable gun sound playback mechanism in a limited performance budget, and in the FPS game, how do we simulate the sound occlusion and obstruction to give players a better sense of space. We hope this event could bring you some help and inspiration of audio in FPS game.

Audio Programmer
Kai Xu

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.

Abstract: Call of Duty Mobile is a global distributed franchise mobile version of Call of Duty game, which is developed by TIMI Studios Group. It rose to the top position of the AppStore list in many countries after launch. To transplante such a famous franchise with a complex sound system to a mobile phone platform, the sound design has been challenging. In this event, we will focus on the gun sound design , introduce how did we find a suitable gun sound playback mechanism in a limited performance budget, and in the FPS game, how do we simulate the sound occlusion and obstruction to give players a better sense of space. We hope this event could bring you some help and inspiration of audio in FPS game.

Lead Game Designer
Juenyeow Mak

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.

Abstract: In their speech, Zou Yang and Mak aim to share how their team created the Rabbids casual game around three key elements: "Chinese Family", "Party casual" and "Quality". They will discuss how the development and production process relied on multiple aspects such as integration of Chinese and Western cultures, teamwork, IP selection, localization of concepts, polish and requirement verification.

Producer
Yang Zou

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.

Abstract: In their speech, Zou Yang and Mak aim to share how their team created the Rabbids casual game around three key elements: "Chinese Family", "Party casual" and "Quality". They will discuss how the development and production process relied on multiple aspects such as integration of Chinese and Western cultures, teamwork, IP selection, localization of concepts, polish and requirement verification.

Producer
Xin Huang

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:, ,

The mobile game I involved from 2016 to now:, < Ulala >


Abstract:

Ulala:Idle Adventure is a social, mobile idle game which was developed by So Funny company and released on 2019 all over the world. As the game producer, I accompanied with Ulala through the whole process of developing and operating. I am here to share why we want to create Ulala and how Ulala developed step by step from scratch.

Through this product, we have seen player’s love toward our game. Combining with the willing and mission of So Funny and as the developers of this game, we will do our best to develop more high-quality contents to sever our players.


Head of Business Development
Kristina Truvaleva

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.  

Abstract:

As a mobile gaming company at its core, ZeptoLab's focus has always been on developing cool and innovative games which ride the momentum of the growing, global game industry.

For this talk I’ll share the origin story of Zeptolab and Cut the Rope a cute, little experimental puzzle physics game which grew into an Evergreen mobile title and cross media global brand.

I’ll share how the company's strategy adapted to Cut the Rope’s meteoric growth. The quick, big changes we had to make with the success of the game as well as the structural changes required to manage a brand—something few game studios are built or prepared for in their early days. Thanks to this work over the past 10 years, Zeptolab and the Cut the Rope franchise are universally known and respected for quality and innovation inside and outside games.

The talk will explain how these past efforts laid the groundwork and culminated in Zeptolab Green. Zeptolab Green is a significant, concerted investment from Zeptolab focused solely the Cut the Rope Franchise which brings together a team of high experienced experts in product, analytics, monetization, business development, and more to catalyze franchise growth into the far corners of the earth. Based on ZeptoLab’s experience I’ll share insights about the difficulties we faced while executing this, how a brand affects - in ways good and challenging - the game development business, and multiple initiatives which we tried along the way to success.


Lead Game Designer
Balthazar Auger

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.

Abstract:

The purpose of this talk is to demystify the function of the Design director, many times perceived as part of vertical and sometimes authoritarian structure. Focused on the design of an innovative product such as Quantum League, a multiplayer FPS with Time travel mechanics we will try to provide the attendance with concrete tools to help innovative teams lead themselves in a creative and decentralized manner.


CEO & Founder
Philip Mayes

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.

Abstract:

The lines between platforms are blurring. Games that were once considered to be only possible on PC are now finding success on mobile, and many of the top mobile games are finding new success on PC. Customers increasingly expect to be able to play their favorite games on whatever device they choose

We don’t have to look far to find products that are already delivering on this promise. Fortnite and PUBG have changed our understanding of what is possible on mobile devices, and we are seeing other games and genres starting to follow. We have also seen games launch first on mobile and then move to PC/Console with much success.

With new consoles on the horizon and new phones released every week, the number of platforms is only growing. The successful game developers of the future will be the ones that can adapt to this ever-changing landscape, and consistently deliver high quality content across multiple platforms.

Beyond the technical challenges, how can you ensure your business is set up to capitalize on this trend? How do you consistently deliver high quality content when the number of platforms is always expanding?

In this talk I will look to answer these questions and more, by looking at the business practices and processes that are required to support the design and delivery of cross-platform products.


Chief Product Officer
Jared Oats

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.

Abstract:

While creativity is essential to making a successful mobile game, there are additional business components that are equally as necessary, but often overlooked. A casual mobile game will usually rely heavily on advertising for monetization. This means finding the right ad networks and mediation platform, as well as a thoughtful implementation of spaces and incentives to watch ads in your game. An understanding of paid user acquisition is necessary to soft launch your game for testing, therefore it is important to learn the basics of what platform to trial ads for your game on. Having analytics in your game is important in order to understand player behaviour and the impact of game changes you make. During this talk Jared will offer some practical tips on all these considerations based on first-hand experience. You’ll learn how advertising and user acquisition come together as part of a growth loop, and have an understanding of how to measure your game’s success and potential in practical ways.

CEO
Taisei Tanaka

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.

Abstract:

Game development often depends on the creative ability of talented individuals to generate hits that will be well received by a large number of players. However, the likelihood of commercial success is hard to predict in advance, thus introducing a large amount of risk in the business.

As a countermeasure, game studios can use planning and development methods that rely heavily on marketing and data analytics. The downside is that the resulting games are frequently similar to titles that already exist on the market.
Geisha Tokyo has adopted a method for developing casual games that is strongly driven by market and user data analytics while at the same time making the most of each person's creativity as part of a team.

In this talk, I would like to present the cases of both successful and failed attempts at creating original and interesting hit games while developing a process that avoids a dichotomy between creativity and analytics, and rather creates a powerful fusion of both.

CEO & Co-founder
Zeyang Li

ChillyRoom CEO & Co-founder.

Abstract: This talk is about the design and production of the game

Producer
Fox Zhuang

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.

Abstract:

Without using any text or dialog, how can a game be understood and connect with players all over the world?

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.

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.

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?


Creative Director and Team Lead
Xiangyu Che

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.

Abstract:

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.

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.


Founder
Ruonan Zhao

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 and . He came back to China in 2012 and made two famous Chinese title and . For now, He start his own studio and works on PSVR title and 2D platform Game .

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 .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.

Game Designer
Yop

Co-Founder of Veewo Games Chief Game Designer of 《Super Phantom Cat》 Chief Game Designer of 《Neon Abyss》

Abstract:

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.

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.


Developer
Jin Yu

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)

Abstract:

I would feel really terrible if I not having to create some stuff.

Four or five years ago, I tried to start making my own game, however, as the limit of my development ability, I can do nothing but coding, so in a long time, I have no idea what kind game I could make.

At that time, I keep searching Steam , keep searching the games which price is lower than 10 RMB, I was trying to find a game with a low-tech specification, so that I could follow.

Now, after years of constant effort, I finally finished the game.

Here to share some experience from start to now, with some easy-to-understand techniques and tricks if possible.

Creator
Zack Zhang

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.

Aabstract:

Looking back on the 5 years process of making Signal Decay, a co-op stealth roguelike, analyze the major design decisions and share the lessons learned. During its development, Signal Decay was nominated by SXSW Gamer’s Voice 2020, and won Most Innovative Game award at IndiePlay 2016. Signal Decay has been shown at various events such as WePlay, PAX, Casual Connect, from which real-world experience and insights were gained.

It is a top-down approach to design game mechanics for an abstract experience. This talk shares the process and how it worked out in this project, including the original vision, difficulties that were met in each phase and the compromises being made; and examines the risks of targeting an abstract experience. At the end of the talk, I would love to share my personal view on how to be with oneself in the indie apocalypse as an enthusiast of novel experience and forms.


《Ever Forward》 Producer
Bin Yang

2015-2016 《Planet explorer》

2016-now 《Ever Forward》 designer,Producer

Abstract:

we don’t want to make a portal 3 Or The Witness 2, we just want to do Ever Forward during the development process.

The puzzle design did not go smoothly at the beginning, because our designer (it's me) had never designed a puzzle. It may have been nearly two months before I designed a puzzle that satisfied myself. I don’t believe in “inspiration”. In this concept, I believe that the so-called "inspiration" is the accumulation of thinking, which may be the thinking during this period of time let me know how the puzzle is designed;

I will list all the elements in the game, make a matrix table, and see what effect the combination between them has. After picking out a good one, imagine if the player is also aware of this combination, how will he use this mechanism to solve the mystery Design the puzzle-solving process first, and then introduce the puzzle itself. This is my experience when designing the puzzle; after a certain degree, we will design some new elements to enrich the puzzle; after Prologue, we will also Introduce moving round bots, teleportation devices and even gravity to design puzzles.

In the development of Protoform, we feel think we have designed puzzles that are interesting enough, but the puzzles are not looks well . We hope that a better artistic style and a better story can attract more people. Experience the fun of solving puzzles, so we made such a change.


CEO
Xinyu Wei

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 an AI Scientist and has worked for Disney Research. Xinyu has a PhD in AI but his interest always lies in indie games.

Abstract:

1.Behind the scene:The Rewinder

2.How to efficiently manage a team with limited funding

3.What I learned from choosing the genre and topic of my first game

4.Will games with traditional Chinese style have its place in western market


Producer
Baosen Han

A new game developer, made Juicy Realm.

Abstract: Analyze from the core of several classic games and compare the experience differences under different designs. Review the update content of Juicy Realm over a year, compared the feedback received from players, discussed how to make the core of a game.

Founder
Kai

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.

Abstract:

personal experience

technical point:seamless exploring & interactive environment;self developed auxiliary software:rendering & 3D facial expression sampling

《Light Tracer 2》postscript

Producer
Yonghe Wong

 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.

Abstract: PollardStudio was founded in 2018. Most of the team members have worked for AAA R&D teams in the industry. From the people to the projects, the studio keeps the "Narrative Experience" as its core goal. Every member of the team has experience and skills in developing narrative games in different fields. The team's long-term goal is to bring players a "Unique" and "Deep" narrative gaming experience. Currently,our studio is working on two "Indie" and "2A" level narrative works.《KARMA》is the first piece in PollardStudio's IP“MOTHER”trilogy.《KARMA》 takes players on a dark journey through a paradoxical "Anti-Utopia". It contained in the story will become the index of the story.In different "Time" and "Space", the player needs to find the story(The source of everything),an escape from the endless "Cycle". This time our studio's game producer will share the studio's approach to content "Inception", "Story creation" and "Game Experience". Technical Leaders will share "Character Scanning", "Facial Binding/Motion Capture", "Realistic Facial Technology Pipeline Process".



Game Producer
Leon Xia

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’.

Abstract:

Review the two years of development of ‘The Rule of Land: Pioneers’. Describe the development process adopted in each development stage, the difficulties encountered and how to deal with them.

Analyzes the current dilemma of indie games and the reasons for its emergence, as well as how we indie game developers improve ourselves and break the dilemma.

Senior R&D Director
Leon

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.

Abstract: In 2016, AlphaGo defeated the world champion in the game of Go. Recently, in the imperfect information games such as six-player no-limit Texas hold’em poker and Mahjong, Pluribus and Suphx also demonstrated stronger performance than most top human players. Moreover, both AlphaStar and OpenAI Five achieved the same level in the real time strategy games Starcrarf II and DOTA2. However, it is more challenge to design AI for 3D games. In this speech, I will introduce the recent progress of “Orion α”in the 3D game with a very large map and 100 players online. I will also explain how to apply deep learning and reinforcement learning technologies to improve experience in the modern business games.


Senior Application Engineer
Kai Wang

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.

Abstract: Display resolutions at 1080p and above are common, and we also have a strong need for higher precision HDR formats. However, the pixel execution throughput of the GPU is not always able to keep up with these requirements. As an important member of a class of rendering techniques, Variable Rate Shading (VRS) gives us a software and hardware solution which allows us to control the pixel shading rate to achieve a balance between performance and visual fidelity. By controlling the pixel shading rates selectively for the scene, we can reduce the pixel shading invocations and keep the quality of the final image. In this session, by using theory to practice approach, we will deep dive into the key points of VRS, game engine integration, use cases, performance analysis, and successful applications.

Game Client Development Engineer
Shunlei Tang

Shunlei Tang is a Game Client Development Engineer from Aurora Studios, Tencent. He joined the Ring of Elysium (ROE) team in 2017, participated in the development of the QuickSilver engine, as well as the development of ROE client during the develop and publish phases. He participates in many aspects of ROE development, such as game physics, rendering, visual effects, performance profiling and optimization. During his career, he pursues the combination of advanced game development technology and high-quality game products, and is committed to providing players with a more realistic game picture and a smoother game experience.

Abstract: Display resolutions at 1080p and above are common, and we also have a strong need for higher precision HDR formats. However, the pixel execution throughput of the GPU is not always able to keep up with these requirements. As an important member of a class of rendering techniques, Variable Rate Shading (VRS) gives us a software and hardware solution which allows us to control the pixel shading rate to achieve a balance between performance and visual fidelity. By controlling the pixel shading rates selectively for the scene, we can reduce the pixel shading invocations and keep the quality of the final image. In this session, by using theory to practice approach, we will deep dive into the key points of VRS, game engine integration, use cases, performance analysis, and successful applications.

Technology Director (Greater China)
Dong Yang

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.

Abstract:

With the advancement of real-time rendering technologies, game engines’rendering capabilities are fast approaching the quality bar once set by the offline renderers. Since the audiences can interact with the real-time generated contents, real-time contents can be used in many more areas than traditional offline rendered contents.

The latest digital human technologies will enable more and more real-time content developers to create projects such as real-time interactable virtual characters, develop high quality VR applications which contains digital human characters, etc.

As a leading real-time rendering engine developer, Unity created its own digital human solution via their tech demo “The Heretic”. Unity also provided the digital human assets for free to all Unity developers so everyone can have a chance to learn the technologies behind it (You can find the asset in Unity Asset Store by searching with keyword “Heretic”).

This presentation will explain all the related technologies behind Unity’s digital human solution by using the character asset from “The Heretic”and also shows the audiences how to apply the technologies in their own projects.


Senior Manager of Content Technology, China
Calvin Lin

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.

Abstract:

Driven by the widely adopted DirectX Raytracing standard and the mainstream supports for ray tracing GPUs in the recent years, real-time ray traced effects, such as reflection, shadows and ambient occlusion, has been featured in many games. Meanwhile, a variety of compute-intensive cinematic effects have entered real-time territory, including global illumination, caustics, and multi-layered transparency, which are being integrated into commercial game engines now. Previously, these effects require onerous pre-baking process or manipulations by artists, and are difficult to apply for dynamic scenes. By the latest GPU ray tracing technology, we can already achieve high frame rate under high resolution for rendering these effects.

This presentation will give brief introductions of three advanced effects using GPU ray tracing: real-time global illumination, based on two solutions of path tracing and light probes; real-time caustics, based on the technique of fast photon mapping; multi-layered transparency, focusing on a series of enhancements for transmission, refraction, and shadowing. For each effect, we will also show the usages in mainstream engines, and demonstrate the results in actual games.


Product Expert
Chenzhong Hou

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.

Abstract: Introduce the new features in Wwise 2019.2 and demonstrate the improvements of Wwise functionality that have worked since 2017 Changes brought about.

1, better performance analysis tools - more powerful visual aids and filtering tools that enable sound designers to take on more complex sound design tasks and easily locate the cause when they encounter problems.

2, Significant improvements in spatial audio performance and usability - Wwise now allows Spatial Audio to be configured directly in the authoring tool, giving designers greater creative freedom, while we have improved the efficiency of the spatial audio engine.

3. Dynamic memory allocation and category management - replacing fixed-sized memory pools with "memory categories", simplifying memory management and optimizing the analysis experience.

4, Significantly improved workflow - EBP, WAAPI, Wwise Console;

5, others - GME, and more.

6, Future: procedural audio - demo of impact2 and Portal Generator tool still in development, EBP for Unity.

7, About Community: Bug Reporter, Community Reported Fixes, Audiokinetic Public, Localization of Tutorials, Wwise Bootcamp and Certified Instructor Program.

Senior Audio Technician
Sean Lu

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.

Abstract:

1. Briefly introduce the process of game audio production

1) You need a huge sound source library (recommend several manufacturers)

2) The requirements are as detailed as possible and clear design ideas

3) Tips for framing

2. Comparison of traditional practices and the use of audio middleware (efficiency and performance)

1) The effect of traditional compressed audio technology is not ideal, and it may not be able to get good performance

2) Use middleware to improve performance and reduce storage

3) Low latency is no longer a problem

3. Production of continuous gunfire in shooting games

1) Commonly used gun sound production methods

2) Problems caused by the usual production methods

3) CRIWARE's solution

4. Production of car engine sound

1) General solution for car engine sounds

2) Principle of engine sound synthesis

3) CRIWARE's real-time engine sound generation solution

Audio director
Roc Diao

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.

Abstract:

1. Briefly introduce the process of game audio production

1) You need a huge sound source library (recommend several manufacturers)

2) The requirements are as detailed as possible and clear design ideas

3) Tips for framing

2. Comparison of traditional practices and the use of audio middleware (efficiency and performance)

1) The effect of traditional compressed audio technology is not ideal, and it may not be able to get good performance

2) Use middleware to improve performance and reduce storage

3) Low latency is no longer a problem

3. Production of continuous gunfire in shooting games

1) Commonly used gun sound production methods

2) Problems caused by the usual production methods

3) CRIWARE's solution

4. Production of car engine sound

1) General solution for car engine sounds

2) Principle of engine sound synthesis

3) CRIWARE's real-time engine sound generation solution

Client Director for China
Li Tang

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.

Abstract:

Exporting Chinese games across the world requires care and collaboration, in order to share Chinese cultural values and creative products with the world.

This session covers two essential aspects of global entertainment: the players, and the content.

Designing games that appeal to a global audience means first agreeing who our audience are. Game designers must be able to imagine their players: “Who are they? How are they different to us?”. If there is no agreement on who our players are, or what they consider ‘high quality’, then how do we make good creative decisions every day? This is a difficult task, but if creatives and studio leadership don’t know where they’re going, then every road will take them there. Sebastian Long shares tools and approaches to help studios agree: “what does high-quality game design look like to our players?”.

Deploying games to unique regions requires local knowledge, and operations that understand the meaning of ‘high quality’ in that region. Keywords Client Director for China, Li Tang, shares learnings from the international success of Chinese games like Dragon Blood in Japan. Each features an in-depth approach to culture, for example in Voice Over through a careful selection of voice actors, and culture-relevant delivery of voice performance.

Two veterans in the videogame industry will take the audience through this journey: Li Tang, Client Director for China at Keywords Studios China, and Sebastian Long GM of Player Research, a Keywords Studio.


GM of Player Research
Sebastian Long

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.

Abstract:

Exporting Chinese games across the world requires care and collaboration, in order to share Chinese cultural values and creative products with the world.

This session covers two essential aspects of global entertainment: the players, and the content.

Designing games that appeal to a global audience means first agreeing who our audience are. Game designers must be able to imagine their players: “Who are they? How are they different to us?”. If there is no agreement on who our players are, or what they consider ‘high quality’, then how do we make good creative decisions every day? This is a difficult task, but if creatives and studio leadership don’t know where they’re going, then every road will take them there. Sebastian Long shares tools and approaches to help studios agree: “what does high-quality game design look like to our players?”.

Deploying games to unique regions requires local knowledge, and operations that understand the meaning of ‘high quality’ in that region. Keywords Client Director for China, Li Tang, shares learnings from the international success of Chinese games like Dragon Blood in Japan. Each features an in-depth approach to culture, for example in Voice Over through a careful selection of voice actors, and culture-relevant delivery of voice performance.

Two veterans in the videogame industry will take the audience through this journey: Li Tang, Client Director for China at Keywords Studios China, and Sebastian Long GM of Player Research, a Keywords Studio.

Substance Country Manager GC & Substance specialis
Meizi Yan

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.

Abstract:

Over 90% of AAA game studios use Substance in their production pipelines, making it the industry standard for PBR material authoring. Substance is allowing a growing number of artists and designers to harness the power of rapid, efficient texturing and material authoring. For Asian game developers, how to combine Substance tools and content to quickly iterate on multi-platform games.

1) Substance Source | Stylized smart material hands on

2) Substance suite news:

• Substance Painter | 3D texture production

• Substance Designer | Intelligent Parametric Material Production

• Substance Alchemist | Latest AI intelligent material production

• Substance Automation Toolkit | Accelerates project operation, ensures quality, and improves efficiency.

3) Substance ecosystem and plugins

4)Asia games case study

5) Substance road map

Vice President
Shaoman Lei

2010-join Youndong Network and develop many new games as programmer,then focus on the Business Development part of Youdong,make the cooperation on 《Train Town》 with QQzone successfully. Millions of the daily active units  it achieved and succeed in being online in Taiwan, Japan and related area.

2011- join Hoolai Game,work on developing and distribution of 《Hoolai Warring States》as game producer,then promote to general manager of Strategy Development Department, focus on the import of new product, investment and the cooperation on IP.

2017- join TapTap.


Project Director
Bin Xu

In charge of product construction, platform operation and developer ecological construction of cloud game business.

Abstract: Showing the product performace and explaing the positon of Shunwang in Cloud games, and as to help enterprises to provide a complete set of design solutions.

Head of DataRangers
Michael Gu

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.  

Abstract:

As the mobile gaming market continues to grow, game developers have been facing a brutal competition. A great game planning is just a beginning, however, questions in all aspects of the game life cycle need to be answered by developers as well, such as“ How to select the best place to advertise? “,”How to optimize user retention and conversion rate?“,” How to identify users with high loss risk as early as possible and intervene in time?“ and “How to evaluate the user’s lifetime value and improve ROI?” Behind all those questions, data is the key.

Today we are glad to bring DataPlayer to this conference and talk about how we can leverage data to drive business forward and grow in the game industry with our one-stop solution.


East China Industry Development Director
Song Liu

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.

Abstract: Based on the developing trends of mobile games in 2020, we are about to jointly release the 2020 Game Industry White Paper with 17173.com. The report will present you with in-depth analysis on the mobile game lifecycle curve, must have features in mobile game marketing, exclusive interview on the most popular game genres in 2020, and more.

Founder
Elena Lobova

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.

Abstract:

How can publishers help developers and what they expect to get in exchange?

Where to find a publisher and how to prepare for the pitch?

What should be included in the pitch deck?

Which terms would be fair?

These and many more questions will be covered in the talk.


CEO
Alex Kozachenko

I started my career in gaming in the ad tech industry, helping monetize apps and games on Facebook and mobile. From there I joined a development consulting company where we helped build apps and websites for startups. Through that company I found my passion in gaming and met Antonio Uribe, cofounder and former Managing Director of HyperBeard. Together we built HyperBeard into the biggest mobile game developer and publisher in Mexico with over 50M downloads globally and massive organic hits like KleptoCats, Tsuki Adventure & Adorable Home.

Abstract:

Are you making a mobile game? Do you want to be successful financially? Should you use a publisher or publish on your own? These are all important questions to ask yourself as an indie developer. If you’ve invested a lot of your time (and money) and built a great game, then there is generally an optimal channel to bring your game to market. And if you haven’t published a game before, it’s usually not publishing on your own.

But which publisher should you go with?! There are is one major distinction between publishers (or at least, publishing deals): organic vs. paid marketing. Generally speaking, paid marketing is reserved for games with big budgets or great metrics (which most indie developers don’t really know) and usually come with a marketing recoup to cover the costs of user acquisition itself.

At HyperBeard, we specialize in organic marketing, often called “free” marketing. This type of marketing is available to everyone, in theory, but not as easily attainable as some publishers make it seem. HyperBeard has had tremendous success over the last few years from our first major hit, KleptoCats, which we built and published ourselves, to published titles, Tsuki Adventure (made in Singaore) & Adorable Home (made in China). Each game has achieved over 5M downloads and $1M USD in revenue without spending $1 on paid marketing.

In this talk, I’ll walk you through the tips & tricks of organic marketing so you can make an informed decision about publishing and give you the best chance of financial success with your game.


Deputy General Manager of Fantasy division
Archon

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"

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.


Executive Producer of VALORANT
Anna Dolon

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.

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.

Now the development team of VALORANT will share the story behind the scene.


Game Director of VALORANT
Joe Ziegler

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.

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.

Now the development team of VALORANT will share the story behind the scene.

Technical Engineering Lead of VALORANT
David Straily

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).

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.

Now the development team of VALORANT will share the story behind the scene.

Anti-Cheat Lead of VALORANT
Paul Chamberlain

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.

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.

Now the development team of VALORANT will share the story behind the scene.