• RPG Session
  • SLG Session
  • ACT Session
  • Casual Game Session
  • Indie Game Session
  • Technique Session
  • Game Operating Session
Li Tian
AimSound Studio
Kaihong Wu
CRI Middleware China Co., Ltd.
Jiawei Lu
Pathea CO., LTD.
Aaron Deng
Chengdu Studio, Ubisoft China
Robert Tsao
Wuhan Wangxian Information Technology Co...
Yang Zhu
Crossing Star Studio
Yin Li
Canlin Liu
Shanghai Zorro Network Technology Co., L...
Yaozong Zhao
YOOZOO Interactive Co., Ltd.
Haibo Wang
Lightbulb Crew, LBC
Anders Larsson
Hangzhou Flow Entertainment Network Tech...
Yu Chen
Stove Studio
Youjia Dai
Screambox Studio
Xing Guo
Riot Games
Michael Chow
Riot Games
BANDAI NAMCO Entertainment Europe S.A.S.
Lucas Roussel
Tencent Holdings Limited
Daiweian Su
NExT Studios
Xin Zhang
Capcom Co., Ltd
Yasunori Ichinose
Guangzhou Duoyi Network
Luo Chaofan
Super Spin Digital
Dave Curro
Yang Du
Doublehit Games
Gabriel Oliveira
Boke Technology Co., Ltd.
Sherlock Xue
Jingqi Yin
Xiamen Heimai Network Technology Co., Lt...
Guofeng Ma
Wang Tianbai
COTTONGAME Network Technology Co., Ltd.
Guangzhou Bahuangtianpo Information Tech...
Kenan Wu
Aluba studio
Xun Jiang
rct AI
Yuheng Chen
Cytoid HQ
Tiger Tang
Cytoid HQ
Zhixing Zhang
XD Inc
Cliff Chiu
Jie Yao
Unity Technologies
Dong Yang
Tencent (Shenzhen)Limited
Lin Koon Wing Mac
NVIDIA Semiconductor Technology Shanghai
Calvin Lin
Virtuos Shanghai Studio
Huiliang Shen
Audiokinetic Shanghai
Chenzhong Hou
Fangchen Yang
Intel Asia Pacific R&D Center
Yaru Du
Devolver Digital, Inc.
Simon Chang
Shaoman Lei
Abby Ji
Kevin Zhang
Keywords Studios
Mathieu Lachance
Keywords studio
James Gallagher
QTC Care
Xincheng Zhang
Elena Lobova
Media Partners
Concurrent Events
Main Designer
Li Tian

After graduation, I worked in netease and participated in the research and development and operation of card projects "Divine Magic", MMORPG "Jiuzhou · Sea Shepard Cloud Story" and " All About Jianghu". Now I am the chief strategy of " All About Jianghu " and in charge of the online operation of this product.

Kaihong Wu

Joined KONAMI Shanghai in 2001, I have served as sound designer in multiple international award winning tiles including Castlevania Curse of Darkness (XBOX)、Silent Hill 4 The Room (XBOX)、YS vi The Ark of Napishtim (PS2). After the inception of AimSoundStudio in 2009, we have experienced a rapid growth over a period of the last 12 years. As the leading game sound and music studio approved by domestic and international clients, we have provided our experience in crafting and designing high quality game assets shipped by the some of the best sellers up to date. in addition to our assets deployment portfolio, we also provided consultation to many studios to enhance the overall audio design paradigm to fit various needs.


On game audio design and implementation in a fast-paced MMORPG. A brief overview of how audio assets are deployed in games.

Adx2 middleware product specialist
Jiawei Lu

Music co-producer:Slim Thug, New York City Queens, Gary-Michael Dahl Band, The Ziggy Band.


On game audio design and implementation in a fast-paced MMORPG. A brief overview of how audio assets are deployed in games.

Vice President
Aaron Deng

Joined in 2015, now as the Vice President of Pathea Games, Aaron Deng is responsible of Marketing, Publishing, Operating, Business etc. Under his lead, the marketing team achieved a 2-million-sale success of My Time at Portia. And 70% of the Portia sales are coming from outside of China, this is one of the best answers a Chinese single player game can give at this moment.


Overlay Design is not new for game developers, every game has it. But the approach to the design is different from every title. This speech will take an example of My Time at Sandrock, talk about how we make missions, stories, environments and even items using the Overlay Design.

Associate Producer
Robert Tsao

Robert Tsao has been in the video game industry for more than 10 years and has been at Ubisoft since 2013.His experience in writing and literature, fluency in both English and Chinese, and cultural diaspora background has equipped Robert with unique set of skills that make him a valuable contributor to DLC China.

In 2009, he started working as a Writer/Narrative Designer on Warrior Epic. In 2011, he served as a Game Designer on Car Town Streets, and then as a Game Designer on Hasbro Game Channel in 2013, followed by Scrabble in 2014. Next, he worked as Associate Lead Game Designer on UNO in 2015, and as a Game Designer on Skull and Bones from 2016 to 2019. Recently, he has served as Production Manager on Immortals: Fenyx Rising and is currently Associate Producer on Immortals: Fenyx Rising China DLC.


Immortals Fenyx Rising: Myths of the Eastern Realm was a DLC project that offered unique opportunities to adapt Chinese mythology in a AAA open-world space but also unique challenges on bringing a brand-new setting, characters, and myths to a worldwide audience in the context of a Western AAA brand. Namely, what myths would be suitable for returning players? How would the story be told within the scope limitations of a DLC in a meaningful manner? And how would the DLC tell its own story while respecting the identity established by the main game?

In this talk, Associate Producer Robert Tsao will cover the steps Ubisoft Chengdu took to bring the script and story to life as well as some of the challenges and key learnings the team picked up on process and production for pushing a story in an open-world game from conception to closing.

Yang Zhu

Joined 'JiangHuYouYou' project in 2019, as the story leader, responsible for the overall story quality and narrative style.


In general Wuxia games, we often experience similar plots: a teenager falls from a cliff but survived, even discovers a secret magical book by chance, and then becomes a legend; the protagonist often burdens with bloody vengeance and on a challenging mission, as if the whole world is concentrated on him/her; the villain always died of wasting time on talking too much, a good person’s fate is destined to be rough; the main topic is always the conflicts and fights between people; mostly non-player characters are formulaic, and the story can be indicated how it will go on just by experiencing the beginning.

It seems it is difficult for Wuxia games to avoid web-literature and stereotype, and the creator's narrative oscillates between catering to players and expressing self. If the perspective can be focused on ordinary people, such as describing an alcoholic, a shopkeeper, a captor, or a blind girl waiting for someone to return. Could we express their joy and sorrow, and present an unlike the previous and a more vivid game world? In 'JianHuYouYou', we boldly made an attempt.

Yin Li

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

The Producer of 'Helix Waltz' series.


How should we approach and handle game writing in commercial game projects? How should we package and present our project when we are working with limited resources? Should we hire in-house script writers? What is the best way to utilize an external professional writing team?

In this presentation, I will try to answer these questions from a developer's perspective. I will discuss design methodology, management/communication models and operational tools associated with game writing and project packaging. For those future game writers and game designers who are still unfamiliar with the industry’s inner workings, this presentation will also provide a glimpse into the working life of industry professionals.

Canlin Liu

2014, dropped out from post-graduate course and devoted into game development, having the first game 'THE VAGRANT' released on Steam in July 2018. Starting the second game 'Detained: Too Good for School' from March 2019 and still working on it.


1. Making

2. Game mechanic design of

3. Art style dispute: Rip-off or tribute? Why did we follow Vanillaware’s art-style

4. Is it still worth to invest in traditional 2D animation today? 2D animation tool VS traditional frame-by-frame hand drawn animation

5. Can you pull your project off? Going big or play safe

6. How much do game setting, story plot and game genre affect your game in every aspect.

7. Making the most out of your limited budget and resource

8. Find your community or let the community find your game. Why you should running your project early on?

CEO of Zorro & Game Producer
Yaozong Zhao

Sep, 2008   Joined Pole To Win(Shanghai) Information Technology Co., Ltd.(Pole To Win International)mobile game development department focused on the development of Japanese IP mobile games

Dec, 2011   Started up Shanghai Youbang Network Co., Ltd.(Shanghai Xiayu Network Co., Ltd. )as product director with colleagues from PTW

Apr, 2016   Set up the independent game development company Shanghai Zorro Network Technology Co., Ltd. as general manager with core members from Youbang

Product development experiences:

Original Action Mobile Game 'Street Fighter of Three Kingdoms'

Japanese IP authorized Match-3 Mobile Game Elimination 'Ultraman'

Japanese IP authorized Action Mobile Game 'Inuyasha'

Japanese IP authorized Connection Elimination Mobile Game 'Hello Kitty’s Journey around the World'

Original Simulation Game 'Komori Life'


The game type of Komori Life is a big category, but Komori Life is so small category that no one has ever made in the domestic market before. We are the first to eat crabs. From the doubts about the market, the operation and the direction of the game at the beginning, we gradually found the users, the market and the direction of the game, and experienced many impressive and interesting stories.

Senior Technical Director
Haibo Wang

Join YOOZOO since 2012, developed ‘DJJ’, ‘Three body’, ‘GOT’, ‘Project X’.

Start to learn Akka from 2017, use Akka as back end engine from ‘GOT’.

Participates in the project ‘Infinity Kingdom’ development as a senior technical consultant. ‘Infinity Kingdom’ project established in 2019. The back-end uses the Akka framework.


1. Actor model

1.1 How actor model solve high concurrency problem

1.2 state, mailbox, location transparency

2. Akka used in YOOZOO

2.1 36JI

2.2 GOT

2.3 IK

2.4 new products

3. Akka

3.1 Akka Routor

3.2 Akka Cluster

4. How to use actor model in game product

4.1 how to define actor

4.2 how to deal with business

4.3 how actors interact

5. The subsequent evolution direction of the server engine

5.1 How to improve development efficiency

5.2 How to improve engineering quality

5.3 How to meet higher load, lower latency

6. Roadmap of the YooZoo technology

Founder & CEO
Anders Larsson

Anders started Lightbulb Crew in 2013 together with his co-founder, 16 years after initially having dreamt about it in university. Since 2013 LBC has released two games, Othercide in 2017 and Games of Glory in 2017, my role in both projects was as creative director/Game director, where I worked on both game design and world building.


Anders describes the process of developing the horror inspired tactical game Othercide from initial idea, game pillars and the unyielding reality of the budget. The initial idea to the game arose in 2016 during the development of Games of Glory. The fundamental thought was simple, the key game in the genre XCOM was a great game, but would have been a pretty terrible action movie… How could we make a turn-based game that captures the intense action of such a movie? We also wanted each character to have its own personality.

Through a painful pre-production process we further had to fundamentally adapt the game through the limitations given by the budget, modifying the setting significantly. During the process the team kept a few concepts firmly in mind:

1)      As an indie game, each aspect of the game has to be a reason to buy it

2)      Art, game design and story need to fit together. We have no mechanics just as mechanics, everything needs to tie back to the fundamental story and lore.

Anders talks both about the good decisions as well as some of the mistakes he made as game director.

CEO & Head of Reflex Fox Studio
Yu Chen

With my team,I founded Hangzhou Flow Entertainment Network Technology Co., Ltd. in 2016. In the same year, Reflex Fox Studio was established. Before that, I worked at several top tier firms such as Bain & Company, Bain Capital and CMC Capital. In CMC, I was in charge of investment in the entertainment and games industries, where I’ve led or participated in a number of financing deals of the well-known companies in the global mobile game industry.

During the last 5 years, I’ve led the development of several mobile games including Legend of Warring States Period and Figure Story, as the producer, I was in charge of the product positioning, development and has participated deeply in the publishing and operation of these products. Launched in late 2020, Our flagship title Figure Story has achieved outstanding results in several global markets and had won several industry awards.


As a team, we always tried to present the best game contents through out-of-box imagination and down-to-earth development. As the first “Figure” themed mobile game, Figure Story is a product where we’ve put tremendous efforts and enthusiasm into throughout the process from R&D to publishing, we kept exploring and innovating so that we could provide the best experiences to the players. Along the way, we’ve accumulated lots of experiences and learned valuable lessons around how to position and develop a unique and high quality strategy RPG game, which is also the topic that I’d like to share on the speech.

Producer & Artist
Youjia Dai
Xing Guo
Guo Xing is a video game designer and programmer, who founded Screambox Games in 2012. Guo’s representative works include independent video games AngerForce Series(2014-2017) and Ancient Abyss (2021) in China. Currently he is working on a Real-time Physics-based tactic game: Extremely Realistic Siege Warfare Simulator.
Executive producer of League of Legends: Wild Rift
Michael Chow
Michael Chow is the executive producer of League of Legends: Wild Rift, the mobile and console version of League of Legends. Michael’s role involves setting overall direction for the game and turbocharging the awesomeness of the Wild Rift team. The core of the Wild Rift mission is honoring the legacy of League, sharing its magic with more players across the world, and to deliver unforgettable experiences that are worthy of players’ time and investment.

Michael has been making games for nearly 13 years, and describes Wild Rift as “the best game [he’s] ever had on his phone”.

In 2008, Michael co-founded NewToy (later Zynga With Friends), developers of the Games With Friends series, followed by becoming Zynga’s Chief of Staff to the CEO. After this, he became CEO of development studio Jolly Company, which was acquired by Riot Games in 2016.

Game Director of League of Legends: Wild Rift

ALAN MOORE (RIOT MIRROSS) - Game Director, League of Legends: Wild RiftAlan Moore is the game director for League of Legends: Wild Rift. He works across game teams to set product strategy, build a content and feature roadmap, and improve the game every patch. Previously, Alan has worked on League of Legends PC and other PC and console video games since starting in the industry in 2004.

Art Director and Product Lead, Personalization

CHRISTINA WUN (OBIWUNKENOBI) - Art Director and Product Lead, Personalization, League of Legends: Wild RiftAs Art Director and Product Lead, Christina Wun leads both creative direction and content production for League of Legends: Wild Rift. Christina previously led Riot Games’ global art department as Art Operations Director after her career as a VFX artist for consoles. She now serves on the board of directors for Mental Health America of Los Angeles.

Product Lead, In-Game

DAVID XU (PAPA SMOOTHIE) - Product Lead, In-Game, League of Legends: Wild RiftDavid Xu leads the in-game initiative for League of Legends: Wild Rift. His teams are focused on the player experience within the game, including areas such as Champions, Balance, Systems, and Maps & Modes. Previously, David has worked on League of Legends PC, focused on understanding player needs in emergent regions.

Senior Producer
Lucas Roussel

I’ve been working in the game for the last 15 years. I started as Localization and QA working on licenses such as Ace Combat, Tales of, Tekken, Soul Calibur, etc. Then I moved to Production to work on Project Cars and Little Nightmares. Involved in Little Nightmares since the origin of the project, I became more and more focused on developing contents for the franchise which became of the most successful new IP for Bandai Namco group created outside of Japan.


In April 2017, Bandai Namco Entertainment Europe releases ‘Little Nightmares’, a game developed by Tarsier Studios and formerly known as ‘Hunger’.

In February 2021, the same duo comes back with ‘Little Nightmares II’showing up a clear step-up from a franchise perspective and the studio’s ability to deliver a AA game experience. This presentation explains how Little Nightmares II has been envisioned, what have been the challenges during production and the solutions to solve them.

Senior Audio Coordinator
Daiweian Su

Joined Tencent Lightspeed & Quantum Studios - Audio team as audio coordinator since 2016. Collaborates with multiple projects to create and execute audio requirements (i.e. music, sound effect, voice over, post production, etc.) with oversea vendors. Experienced in requirement creating, business communication, copyright negotiation, cross-culture communication, release album and promote music on streaming service platforms, etc.


1. Introduce the audio team

2. Oversea cooperation process - cooperation mode, copyright negotiation

3. Cross-culture communication experience

4. Cases

Audio Designer
Xin Zhang

Ubisoft Shanghai, 9 years, Audio designer;

NExT Studios, 3 years, Audio designer.


Biped is a coop action adventure game with a strong focus on moment-to-moment collaboration between 2 players. The most charming part of this game is that players need to walk by controlling the leg of robots individually. one joystick only controls one leg . it simulates the true way of walking. The special control makes the audio design and realization of this game a big challenge. In this presentation, we will focus on the design and realization of the robots’ voice. We may have a touch on the music design if time permitted.

CEO & Game Producer

Founder and CEO of S-Game,creator of Phantom Blade series. Mr Liang finished his first indie work, Rainblood, in his collage dormitory, and then developed it into an original IP with more than 20 million players in the following 10 years.


An "Auteur" game has more budget and commercial goals than an “Indie”one,and more stylish than an “AAA”. The term "Auteur" is originally used on filmmakers who applies highly centralized and subjective control to a film, such as Alfred Hitchcock, Quentin Tarantino, and Christopher Nolan.

S-Game has developed from an indie studio to a successful mobile game developer through its Phantom Blade trilogy on mobile platform, but it is still exploring its own position in the industry. In this lecture, Soulframe, the founder of S-Game will share the story from the drawing of the first scratch of the series in his school dormitory to the recent success of Phantom Blade 3. The lecturer will conclude the gains and losses, and discuss S-Game's goals for the next decade around the topic of "Auteur Games".

Director, Monster Hunter Rise
Yasunori Ichinose

Having built up experience as a planner on arcade games at Capcom, Yasunori Ichinose moved to consumer game development. After working on titles such as Resident Evil Outbreak, he became director of the Monster Hunter Portable (Monster Hunter Freedom) series and on Monster Hunter Cross (Monster Hunter Generations), continuing as director on Monster Hunter Rise.

Monster Hunter Rise delighted fans old and new when it thundered onto Nintendo Switch in March 2021. In this exclusive panel hosted by IGN Japan, director Yasunori Ichinose and members from his team at Capcom will reveal development secrets behind the highly acclaimed action game.

Find out how they used Capcom’s proprietary RE ENGINE and cutting-edge development techniques to make sandbox maps and a variety of monsters look and feel incredible on Nintendo Switch. The team will also offer an insight into the multi-step monster design process that can take 15 months or more, how new mechanics such as the Wirebug and new modes such as The Rampage were introduced, and Ichinose’s advice for young developers who want to get into making action games.

Operation Director of Guangzhou Duoyi Network
Luo Chaofan

Luo Chaofan, operation director of Guangzhou Duoyi Network, is in full charge of Duoyi Network’s game product 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.

Take Gunfire Reborn, which still remains 93% positive reviews in Steam and has sold over 1.5 million copies, as an example, this speech will analyze the game from gameplay elements (FPS+Roguelite) and art style selection (Lowpoly) to the story behind Gunfire Reborn and its development team.
1. How was Gunfire Reborn considered in the phase of project approval, including target users, gameplay, art style, etc.
2. How does Gunfire Reborn operate in the long run?

Dave Curro

Super Spin Digital (SSD) is an independent game developer based in Melbourne, Australia, dedicated to bringing the golden age of gaming fun into the future.

Formed from Super Entertainment developers Steve and Shath who first met at Halfbrick Studios working together in "The Ninja Pack" - the creators of Fruit Ninja and Jetpack Joyride, SSD has brought together a small team of talent from across Australia to produce our dream rhythm game.

We are huge fans of Dance Dance Revolution and Rock Band, and want Spin Rhythm to bring that sense of performance, mastery and musical discovery to a new generation of players with a contemporary aesthetic and soundtrack.

‍Grab your DJ controller, phone, mouse or controller and join the rhythm revolution.


Join Super Spin Digital co-founder and developer Dave Curro as he runs through the journey of bringing Spin Rhythm XD from a simple concept of moving a wheel to match colours and beats to a fully realised revolutionary rhythm game. In this talk we will cover

- How SRXD came to be

- The core game design of music and motion

- Controller options including MIDI

- Designing the levels and difficulty curve

- The in-built level editor

- The backgrounds and ship motion

- Our approach to accessibility

- Music licensing (legal issues)

- Early access experience (tips for launching games)

Yang Du

Joined the game industry in 2009 and participated in the development of games for consoles, PCs, and web games.

Joined Tencent in 2011 and participated in the development of the FPS terminal game “AssaultFire” and the FPS mobile game “CrossFire Mobile”. Served as the level designer of Tianmei J3 studio, the head of gameplay, and the game designer expert of Tencent IEG.

Joined iDreamsky in 2019 as a producer, manage the team of “DreamWorks Adventure” and “Super Animal Royale” and responsible for the game design.


1. Self-introduction.

2. Definition of Casual Competitive Games.

3. Analysis for how to design Midcore Games from “Super Animal Royale” ---Gameplay

4. Analysis for how to design Midcore Games from “Super Animal Royale” --- Retention

5. Analysis for how to design Midcore Games from “Super Animal Royale” ---Content Delivery

6. From “Super Animal Royale” to Metaverse.

Audio Director
Gabriel Oliveira

Gabriel Oliveira is graduated in Music Degree and currently studying App Development. Started working with audio for games in 2015, gaining experience in many areas of audio for game, from sound design, composition to audio implementation working in the Onloop at his University.

Gabriel Oliveira directed many composers and sound designers at Onloop in many different projects and at worked also in Trítonos, in many mobiles titles, working as Composer and Sound Designer.

Beyond working with audio for games, Gabriel Oliveira also has experience teaching courses of Game Audio, giving lectures and Workshops in Universities and Game Events.

Gabriel Oliveira is currently working at Doublehit Games as Audio Director and in the Dungeon Drafters from Manalith Studios as Sound Designer.


There are many ways to tell an emotional story in your game. On Eternal Hope the team had the challenge to touch their players hearts in the first few minutes of gameplay. They needed to present the world and the story and also make players feel a connection with the characters. As they are just a small team they couldn't afford to spend a big chunk of the game to just introduce the story. By exploring techniques often used in games and movies they were able to set the mood of the world, which allowed them to introduce the story and present their main character with all his struggles and challenges. The presentation will cover every step taken on Eternal Hope and how a 10 minutes demo was able to bring tears to people's eyes and also receive from IGN the award of best brazillian game of 2019. It will approach techniques of storytelling, art composition, music and sound effects all focused on bringing emotions to people's hearts. With the right approach it is possible to create something unique in a short amount of time and give life and meaning to the world of your game. You don't need much to start creating your own story.

Game Producer
Sherlock Xue

Boke Tech: 'Kungfu restaurant' 'Million Dungeon' , Producer

Newbility Games: 'Jungle Force', Producer

Virtuos: 'Rex the Generator', Scrum master, Technical designer

Virtuos: 'Epic Mickey' Level designer


In the design process of 'Kungfu restaurant'

1. why we chose the core point of "less playtime”

2. how we designed the mobile game around the "less playtime”l

3. review the benefits and drawbacks of doing so

Jingqi Yin

Twelve years of Internet game experience, participated in the research and development of mainframe, page game and mobile game.

In 2010, I joined Shanda as the main engineer and participated in the research and development of ‘Champion Football Manager’.

In 2014, I joined Trex as the technical director and participated in the research and development of 360xbox host game ‘Journey to the West’.

In 2016, I joined Huohun as the technical director and participated in the research and development of mobile game ‘Magic Baby’.

In 2021, I founded RANZI network.


1、 Team Introduction + why do we choose to make casual games

2、 Share the production ideas of 3D find fault

3、 After the online test of the game, the idea of fast version iteration

4、 Future development plan and goal of start up team

Main Designer & Programmer
Guofeng Ma

Because I like games that can bring me into worlds full of wild imaginations, I chose computer science as my college major and taught myself game development related knowledge during college.

In 2017, I was fortunate to meet a partner at Heimai. Led by the company’s seniors, I spent my spare time working as the main programmer of 'Blade Heart' and participated in the game design. This was also the very first game I officially developed, which received players positive reviews and reported more than 14 million accumulated downloads.

We are currently developing 'Blade Heart 2', In which I acted as the main designer and programmer.


‘Blade Heart 2’ is an ink-and-wash national style game in combination with elements of idle, battle and parkour at the same time. In the game, players can not only perform their smooth operation in the parkour battle, experiencing the excitement of walking on the wall, but also find joy in the idle collection elements and cultivating character. In addition, you can experience casual play modes like fishing, fish-farming and mind-cultivation in your leisure time.

This sharing session is mainly about sharing with you some of the problems and experiences encountered in the development of the Blade Heart 2, including but not limited to:

1.How to properly adjust the difficulty of the core play mode when getting started

2.Opinions on the amount of information acceptable to players in the early stage of the game

3. Ideas and thoughts when designing the gameplay patterns or functional systems

4. Display and sharing of some gameplay and systems in Blade Heart 2

5. Some experience in developing parkour games

CEO & Founder
Wang Tianbai

He has 10 years of entrepreneurial experience and 21 years of heavy card board game enthusiasts. In 2011, he founded the YingDi website, which has been deeply involved in the field of card games and board games for 10 years. From a personal site, the iyingdi.com has gradually developed to a comprehensive platform for players. It provides users with news, strategies, tools and event information. Up to now, with its unique community culture and professional content, the platform has gathered a large group of highly active card game and board game players. It holds nearly a thousand related online and offline events every year, and has information of most of the board games and card games in the world. This enable it to have a strong influence over this industry.

In recent years, the Chinese card game and board game industry have developed rapidly, and many giant companies have turned their attention to this emerging market. The domestically produced board games and collectible card games derived from IP continue to be prosperous. The domestic market for game card trading has gradually become more and more formalized. With Hero Battle: Ultraman, Yu-Gi-Oh, Magic: The Gathering and various celebrity cards have become familiar to the public. Casual board games have also become a new leisure direction for everyone. This presentation will take the "Aotu World" board game as an example to share the design and digitization of a casual board game, and how to maintain the game community around it.

Game Producer

Graduated from Sichuan Academy of fine arts, majoring in game design, and engaged in game industry for 7 years. As the project ‘one way’ art, story script, game design and other work. As the game producer of project ‘SunsetHills’.


1. Introduction of the origin of Sunset Hills, which is from a draft drawing to a complete world.

2. A summary of the plot: Nico, a war veteran, goes on a long journey, seeing how people live in a post-war world, and re-discovering his past.

3.Demonstration of the arts, technical details, puzzles and gameplay, plus some cultural references and Eastern Eggs.

4. CG footage from the game.

CEO & Game Producer
Kenan Wu

I entered the game industry in 2011 and have worked on a number of mobile products such as ARPG role-playing, placement cards and SLG, including a number of successful commercial projects. During this period, I have been involved in a production team of 100 people and managed a team and company of over 40 people. In 2020, I started to produce a single-player game "LIUYIN OR CHINGLI", which focuses on multi-threaded interactive plot.


Development Ideas (indie-oriented)

1. How to plan a multi-threaded worldview without the need for a costly linear show.

2. How to design more AI mechanics for the NPCs to give more relevance to the interactive ecosystem.

3. How to design the physical decryption of elements whose solution is not unique.

Technical solutions (for in-game design)

4. How to define elements and implement simple elemental physics interactions.

5. The relevance of element interactions to in-game characters.

6. Using random variables and conditional constraints to accomplish random AI behavior and associative behavior of NPCs.

Development trade-offs and self-promotion (independent to personal view)

7. How does independent game development address the common problems of mid-term R&D planning, art and technology?

8. What is the relationship between Independent development teams and game release?

9. How to build the most direct bridge with players and enhance communication and trust?

Producer of 'Cyber Manhunt'
Xun Jiang

In 2010, I got down to join in the research and development of mobile games, and hold the position from tester, planner, project manager, to producer;

In 2018, I developed independent games on a trial basis, and my work won the Best Creative Award in the GWB Creative Game Competition;

In 2019, I founded Aluba studio in Qingdao and produced an independent game "Cyber Manhunt" that reflects social reality.

In 2020, "Cyber Manhunt" won the PC Gold Award in the GWB Creative Game Contest and was shortlisted for two nominations in the China Independent Game Contest.


1.Will reality-inspired games win over gamers?

What is reality-inspired games?

Successful cases

Why we chose this subject

2.The problems with Cyber Manhunt development.

How should gameplay and story be weighted

How to assign members

Choosing innovation requires trial and error costs

The wrong judgment on the hot topic of current affairs

3.Keys to success for reality-inspired games.

Ensure topicality and appropriate scale

Don't reason with the player, give them the space to think and judge

The Conception shall have the correct sense of social responsibility and values

Immersion and emotional resonance

4.The risk of failure.

Controlling sensitive topics

Positive guide public opinion

5.About game promotion.

Various game conferences

Various independent game competitions

Various game media

Game live broadcast platform

Player community promotion

Yuheng Chen

Full-stack engineer with experience in NLP and Data Mining.

Former COO at RavenTech and Head of RavenLab—in charge of all project management and operations. Winner of multiple hackathons in China between 2015—2016


1、 From confrontation to interaction, the role played by AI in the game has changed dramatically

l  Games: excellent scenarios for AI to be applied (knowledge volume and understanding, player expectation and satisfaction, data-driven and optimization)

l  In the past: AI's intelligence was demonstrated by continuous learning and evolution and eventually defeating humans (Pong, Go, MOBA, FPS, SLG, etc.)

l  Now: AI's intelligence is manifested in interacting with humans and participating in virtual world experiences (RPG, open world, cultivation, simulation, etc.)

2、 From decision trees to Chaos Box, AI provides richer interaction possibilities for games

l  Decision Trees: The free interaction in Dungeons & Dragons is approximated by pre-setting large and complex scripts

.  GTA 5 used a team of over 1,000 people and took 5 years to complete a limited number of dialogue and behavior scripts for each virtual character

.  Even with limited options for dialogue or plot interactions, it took the developers exponentially longer to complete development and production

l  Chaos Box: No scripting required, just set the rules and characteristics of the objects and characters involved in the scene to generate personalized dynamic interactions in real time

.  The Extractors: Completely AI-generated NPC dialogue and behavior, providing players with a personalized narrative experience that is different every time

.  Baby Not Bad: Based on simple rules, the AI generates emergent gameplay to create a dynamic interaction experience for players

3、 From manual production to intelligent generation, AI began to co-create digital content with people

l  Core contradiction: the rate of consumption of digital content by users is much greater than the rate of production of digital content (production tools, production process, etc.)

l  Basic logic: four stages of development of digital content (PGC, UGC, AI-assisted GC, AIGC)

l  Data-driven: players' demand for personalized experience is gradually rising, and only AI can achieve massive real-time content generation

l  Industry upgrade: AI is used to enhance the industrialization and democratization of content creation and help more creators unleash their creativity

4、 Use AIGC to co-create Metaverse with developers around the world

l  Metaverse consists of a broad set of protocols, technologies, experiences and interactions

l  AIGC can meet the needs of mega users online at the same time, and meet the personalized content experience of each user

Tiger Tang

Undergraduate student in Computer Science at Purdue University. Developed and operated the community-driven rhythm game Cytoid since 2017. Currently, Tiger organizes community events and develops the client of Cytoid while interning at Microsoft.


How did Cytoid, originally a niche fanmade simulator of the popular rhythm game Cytus, got rid of the label of a “copycat” and evolved into an indie rhythm game recognized by players in and out of the rhythm game community, with 6k+ user levels and 200k+ MAU? What is a UGC (User-generated content) game? How can UGC games attract high-value users and sustainably grow? What is DMCA (Digital Millennium Copyright Act) and why is it essential to tackling copyright issues faced by UGC games? How to pursue the indie game dream as a student or employee with little free time to develop games? The first half of our talk focuses on the above topics while briefly introduces Cytoid’s client-side challenges, including how we addressed the audio delay issue.

Platform Architect
Zhixing Zhang

Graduated with a B.S. in Computer Science from Purdue University. Involved in both front and back-end development of the community-driven rhythm game Cytoid since 2019. Currently dedicated to researching rendering techniques for high-precision voxel games.


As a free-to-play game without any IAP or ads, our operation purely relies on player donations; therefore, reducing the operating cost is a prerequisite for Cytoid’s sustainable development. The second half of our talk focuses on how to maximize the efficiency of community operations under a limited budget from a technical perspective, and we describe some of the techniques and methods we employ to enhance user engagement and sense of belonging in the community, such as integrating with Discord and Patreon. We also explain how we utilize community resources to assist our development, including localization, testing, and managing content platforms.

Executive Game Designer
Cliff Chiu

Cliff Chiu has been working in the Video Games Industry for more than a decade with over a dozen different titles. Originally from Hong Kong and then immigrated to Canada, he has been dreaming of working as a game designer at a young age. His previous titles includes Game Designer, Level Designer and Game Content Manager while working at companies like Ubisoft, Crytek, and Virtuos. He currently works at XD Inc as an Executive Game Designer. He also teaches Level Design and Game Design at the Shanghai Vancouver Film School as a part-time instructor. He cares about crafting meaningful player experiences to people.


For the video games industry in China, there are many challenges that are unique especially in recruitment and training developers to create fun and innovative games. In this talk, I will share my experience of teaching, training and mentoring game and level design in schools and internally at my former company. Hopefully this can help developers and studio leaders apply what they learn to their own studios.

Jie Yao

Responsible for application software development in the company before 2017

In 2017, I left and founded Beijing cyberpunk Technology Co., Ltd. to become a full-time indie game producer

From 2017 to 2018, I independently developed several games, launched on Steam:

Exercisebook Epic

Cat Inside

Neet Simulator

In 2019, I developed LegionCraft with Way, and launched on Steam.

In 2020, I developed Monster Hunters Under Heaven and plan to launch in the third quarter of 2021.


1. Game definition changes with the times. From the early game was defined as the simulation activities of young animals to improve their survival skills, to the present simulation activities with the main purpose of obtaining pleasure.

2. How to satisfy people's food and clothing and how to satisfy players' spiritual needs in the high-level state of Maslow's needs.

3. How to get real happiness from the virtual game, that is, to meet the game elements of different types of personality pursuit, to explore the differences between players.

4. List the needs of different pursuers and corresponding elements, and classify them based on the pursuits of the players themselves rather than the commercial portraits of the players.

5. Summarize the full text and expound the important role of games in human spiritual life in the future.

Indie Developer
Linjiang Cao

After working for years, I gradually realize that I’m uncomfortable if I don’t release my creativity.

I suddenly changed my job to become an indie game developer and founded SUPERNATURE studio after quitting my job about web architecture.

It took an eagerly 3.5 months to make the test mobile game Dark Zone Defense, and after 2 months of updating, it has become hot on many Android App platforms. In the meantime, I got a lot of help from friends and my current partner. During the outbreak of COVID-19 in 2020, I co-created the melancholic game Squad 19 with my partner.

We have also participated in some Game Jam: Global Game Jam 2021 - Burial and Taptap 4th Independent Camp.

We are still a mini studio for now and we are making the new game "Lost In Fantaland".


Dark Zone Defense is a dark vision shooting mobile game with high difficulty. This is my first game that I independently developed and released.

Most of the game screen is covered by darkness. You need to focus on the illuminated area and use your hearing to defend against enemies from all directions.

The content of this speech is mainly about the design and explanation of this game, and supplementing some of the design of the game Squad 19.

Why creating such a mobile game with high operational requirements and high difficulty?

Do a good job in the design selection process of such a lightweight shooting game.

How are those fascinating enemies made?

Insights into replay value and addiction.

Hard games also need something easy.

Why do we create the project "Squad 19"? What is the meaning of the weird story and the weird gameplay setting?

After the release, in the face of various doubts and complaints, what to insist on and what not to insist on.

Regrets, frustrations and new ideas

Game Artist
Yongchang Yuan

As a student of PolyU's Multimedia and Entertainment Technology program,he won the special award in Hong Kong Global Game Jam 2017. Participated in the art design of the casual parkour game "Kreator", which has accumulated more than three million downloads. Currently, he is fully involved in the art development of "Trootopia".


The sharing will start out in particular from the aspect of art design as a subset of game development. Taking “Trootopia” as a case to study, we aim to shed light on the creation and polishing of pixel art, with equal focus placed on the aspect of animation, environment design, and the optimisation of both artistic materials and overall gaming effects. For the other end of the spectrum, we also practically consider working efficiency and its balance with artistic standards. The enhancement of efficiency, on a broad note, will be discussed centering around the utilisation of limited pixels through means such as frame interpolation and shader.

Technical Artist
Yijun Huang

Master of Science in MET(Multimedia and Entertainment Technology) from HK PolyU. As a student, he participated in the game development competitions of first and third Indie Camp, Ludum Dare 46/47 as an artist and developer respectively. After graduating with a Master's degree, he joined Lucida Games and participated in the development of Trootopia. He is mainly responsible for the animation development and technical artist work of coordinating the optimization of art performance.


The sharing will start out in particular from the aspect of art design as a subset of game development. Taking 'Trootopia' as a case to study, we aim to shed light on the creation and polishing of pixel art, with equal focus placed on the aspect of animation, environment design, and the optimisation of both artistic materials and overall gaming effects. For the other end of the spectrum, we also practically consider working efficiency and its balance with artistic standards. The enhancement of efficiency, on a broad note, will be discussed centering around the utilisation of limited pixels through means such as frame interpolation and shader.

Game Designer

I’ve been working in game industry since 2010, I started as a copywrite designer for commercial games. Then I moved to Operation to work on vitual idol Vocaliod. I joined indie game in 2017, and has worked on AVG game ‘Change’, ‘Wuxia Archive’ and participated in designed a RPG game.

Established a column ‘ Maid Library’ on Zhihu, in order to share opinion and experience about ACG culture.


The plot is very important for a RPG game, and it is also the key point that players usually use to judge whether an RPG game is well designed or not. Nowadays, domestic creators pay more and more attention to the plot, and make great efforts in character setting, role motivation and the core of the plot. The design of specific lines is as important as these 3 points above. They can be truly conveyed only when the lines design is attractive enough. However, most of the developers usually ignore the lines, and simply design the dialogue only for passing along information, and reading the plot dialogue becomes very bored.

In this speech, I will show you how to make ‘reading’ much more fun, with a tip I often use when designing the lines.

Fred Da

King kong game , cofounder & Chief designer

Anansi mobile , cofounder & Chief designer

Yoller game , Vice President & producer

Pbutton , Founder & producer


The popularity of Random Dice has given tower defense a new way of thinking. But the game essentially corresponds to a light casual audience, as well as an overall heavy gaming market in China. With six developers and a six-month development cycle, Animal Defense VS attempts to address many of the problems facing SynthetTower Defense in an unprecedented direction.

Indie game producer
Qiming Zeng

Comics <冥界你不知道的事>, Mobile Game <山海三国传>


As a single-player developer, the tone and style of the game can be highly unified, and the logic of personal game creation is mainly to integrate my favorite content and show it to everyone.

1. Why do you want to play games.

2. The idea of making the game.

1. Determine the type of game.

Many players have the urge to make games, and this urge generally stems from the games they are in contact with. Choose the range of performance within my own ability. For the rabbit, frame animation is my area of expertise, and the 2d horizontal version of the game is also the area of the awakening engine.

2. The plot and art style of the game

Determine the art style according to the plot. At the beginning of the game, there is no need for too many plot details, only a main line and the tone of the story need to be guaranteed.

3. Refine the mechanism you like.

Such as the attack and block of "Wolf",

The main battle logic of humanoid bosses is to reduce the enemy's posture bar by fighting knives and bullets to make the enemy stiff and cause damage.

Such as

Contend with huge bosses, usually unstoppable and reflexive moves must rely on flexible rolls to dodge. A large amount of damage in a short period of time will also make the behemoth fall to the ground hard


And match different gameplay through props.

Third, face comments.

1. Views on "Game Tailor" and Stitching Monsters.

What is plagiarism and what is the power that we should really maintain.

Unity Technology Director(Greater China)
Dong Yang

Yang Dong 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.


In this presentation, you will learn the latest technologies for implementing Real Time Ray Tracing technologies with Unity. The following contents included:

1. Showcasing Made with Unity Real Time Ray Tracing projects

2. Unity High Definition Render Pipeline introduction

3. Unity Real Time Ray Tracing technologies explained with real project

Lin Koon Wing Mac

Mac Lin with nearly 20 years of independent R & D experience in game engine, he is now an Expert Engineer (T12) and rendering engine technology expert in Tencent (Shenzhen) Ltd.

He was the Technical director of game development of iDreamSky (Shenzhen) Technology   Ltd., and led the Technical teams such as GardenScape, Fruit Ninja, Temple Run, Subway Surfer, Angry Birds, etc.

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

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


Path Tracing is one of approach for photo-realistic Rendering. It is different from traditional Rasterization method because Path Tracing has already considered illumination globally. However, there is an efficiency problem in Path Tracing. It is especially inefficient when a high samples count per pixel is need.(e.g. 256 spp to 1024 spp). Recently, Hardware accelerated graphics device started to support path tracing application.

The speech is an introduction application of path tracing in super low sampling rate(e.g. real time rendering) and to improve rendering quality. This technique has been applied one of my Rendering Engine Project of Shenzhen Municipal Science and Technology Innovation Commission(重:20150076)  

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.


As real-time ray tracing is widely used in game rendering, game developers have put forward higher demands on the visual scenarios and performance of ray traced effects. This lecture will combine a variety of games that features ray tracing techniques to describe a series of ray tracing regimes and the corresponding optimization skills, including: practical usage of reflection effects, functional limitations and adjustment techniques; multi-layer transparency and refractions, showing several implementations of the effect, and comparing the image quality and performance of each scheme; a couple of real-time global illumination approaches based on ray tracing, introducing their usages in actual games and how to avoid some artifacts; the water caustics and mesh caustics (metal and glass, etc.), explaining the parameter settings and performance tuning in detail.

Expert Engineering Director
Huiliang Shen

Shen Huiliang, joined Virtuos in 2007, currently is the Expert Engineering Director at Virtuos Shanghai Studio. He is mainly responsible for supervising and leading the team to participate in game development and adaptation projects on Nintendo Switch. In recent years, his work includes XCOM 2 collection, Starlink: Battle for Atlas, Final Fantasy XII The Zodiac Age, and LA Noire all have achieved good results.


The game team of Shanghai Virtuos Studio has been deeply engaged in the Nintendo Switch platform in recent years, by participating in and leading adaptation and co-development of many famous 3A games on the Nintendo Switch. How to effectively and reasonably optimize the performance of CPU and GPU to ensure the game run smoothly and improve the overall performance is one of the most important components during the adaptation process. Since 2017, the technical team of Virtuos has been continuously exploring and has accumulated rich practical experiences and systematic solutions in this field. In this presentation, Expert Engineering Director Shen Huiliang will introduce and analyze various aspects of CPU and GPU performance optimization based on some of his and his team's best practices in recent projects and share his experience in core optimization techniques including multi-threaded rendering optimization, mainline parallel optimization, shader optimization, and so on.

Product Expert
Chenzhong Hou

Audiokinetic       Product Expert       2019-Now

Unisoft Shanghai Studio       Audio Designer       2016-2019

Lilith Games       Audio Designer       2016

Yoozoo Games       Audio Designer       2015


1, Object-based audio pipeline

2, Spatial audio improvements

3, Optimization of spatial audio authoring workflow

4, Physical sound synthesis

5, Wwise Unity Addressables

6, WAQL - Wwise Authoring Tool Query Language

7, Other improvements

GPU Developer Technology Engineer
Fangchen Yang

Worked inside the core engine team of Autodesk SketchBook, focused on GPU/CPU based graphics tech R&D and optimization

As a tech lead of GPU based off-line photorealistic renderer development

Independently developed Vulkan based hardware raytracing graphics engine


Introduce the technology about new FidelityFX Super Resolution from AMD

FSR is our brand new, open source, high-quality solution for producing high resolution frames from lower resolution inputs.

It uses a collection of cutting-edge algorithms with a particular emphasis on creating high-quality edges, giving large performance improvements compared to rendering at native resolution directly.

FSR enables “practical performance” for costly render operations, such as hardware ray tracing.

Senior AI Application Engineer
Yaru Du

I am graduated from East China Normal University with a master's degree. Currently I am working as a senior AI application engineer in Intel Asia Pacific R&D Center, engaged in AI research for game landing cases, as well as providing Intel technology consulting, training and support for AI deployment optimization.


·Introduction of Artificial Intelligence in Games

·Introduction of Intel® OpenVINOTM Toolkit

·AI use cases based on Intel® OpenVINOTM + Unity Game Engine

Vice President, Asia Pacific
Simon Chang

Chang founded his first video game studio in 1993.  In his 28 years of video game career, Chang works in game development, publishing, operation in various platforms or genres - DOS, Windows, console, handheld, mobile, MMOG, e-sports, social games, etc.  Chang is also an associate professor/industry instructor at the School of Software and Microelectronics of Peking University. He has been teaching the "Game Design" course for 14 years.   Chang joined Devolver Digital in 2017 and built up the company's Asian team from scratch. He is responsible for all aspects of the company's business, from brand building, government relations, academic relations, industry relations, publishing, and distribution business.


Devolver Digital, a leading indie game publisher, has published nearly 100 video games.  How did Devolver develop such a unique game portfolio? Why are the indie games it publishes so widely loved by gamers around the world? What is the secret of this?

How does Devolver select or evaluate a game to determine if it fits Devolver's "style"?  What kind of inspiration does the booming indie game market bring to the game industry, and what are Devolver's thoughts on China market as it has come out of its way along with the rapid development of indie games?

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.

ironSource GCR Sales VP
Abby Ji

Abby Ji is experienced in the Internet Industry, used to work in leading global companies. She has rich case studies with top gaming publishers on how to get success in the global market, grounded in her deep diving into Mobile Ads and Gaming industry, and well knowledge of Overseas market, users and products. Based on the leading technology, creative products, various data and diversified marketing resources of ironSource, Abby would like to achieve business growth and success with more Chinese developers in the global market in a full growth loop from A to Z.

Kevin Zhang

From 2009 to 2015, I worked at ChangYou.com. Responsible for the technical support of terminal game, page game and mobile game.

From 2015 to 2017, I worked at Baidu. Responsible for mobile game related technical support work.

From 2017 to 2019, I started my own business and served as the CTO of Y2GAME, responsible for all technical work of the company.

I joined the game business of Xiaomi in 2020 and was responsible for all technical support of the mobile game publishing business (Including but not limited to SDK, operation platform, data warehouse, quality management, project management, etc.)and data analysis of the game combined transportation business.

List of mobile game released projects in career experience: more than 30 mobile game projects, such as Dragon Eight 3D, Legend of Chinese Paladin 5 Prequel, Legend of Chinese Paladin Magic Glass Mirror, Three Kingdoms War M, Hungry Dragon, Caravan War, etc.


This sharing is mainly from a technical perspective, to discuss how to build a comprehensive support system, to escort the mobile game publishing business.

It mainly focuses on how to build a technical support system in the launch business of mobile games.By explaining the three dimensions: 1) technical system construction, 2) quality system standard formulation, and 3) data system solution, this paper expounds how to effectively connect upstream and downstream (CP& channel) through technical system. How to help the game reduce known risks through mature quality standards, provide high-quality and efficient data analysis capabilities through the standardization of data purchase and warehouse, and feedback the business to make important decisions and product improvements.

The entire support system solution allows the operations and marketing business to focus on the content itself, as well as on promotion and customer acquisition. Increase the efficiency and success rate of your game publish.

Testing Service Line Director
Mathieu Lachance

•17 years of experience in the game industry.

•Directly worked on more than 400 games, most being AAA.

•From a team of 150 game testing employees in one studio, built up a team with now more than 3,000 game testing employees in 11 studios worldwide.

•Started as a game tester, now in charge of the biggest game testing organization in the world.

•Published expert and writer in game publications such as Develop magazine, MCV, Gamasutra.

•Featured speaker at game talks such as EA's XDS, Oculus Connect, Game Global Forum, MIGS, Nasscom's GDC, IQPC's QA & Loc.

•Featured expert and speaker at HEC Montreal University.




For more than 20 years, international MMORPG developer and publisher ArenaNet has made acclaimed games infused with innovation, hand-crafted detail and creative passion.

ArenaNet faced the sudden and unexpected business closure of its main QA provider. The vendor’s employees had extensive and irreplaceable experience of ArenaNet’s flagship titles, the hugely successful Guild Wars series.

ArenaNet’s release plan, forecasted revenues and reputation were at risk of being adversely affected.

Solution #1: Keywords acquiring QA Provider

ArenaNet approached Keywords Studios for a solutions. Keywords suggested the acquisition of the relevant vendor company’s studios, teams, hardware and tools.

By working together, the teams concluded all of the acquisition steps in less than a month, retained all employees but one during the transition, and no downtime or breaks occurred in work progression and delivery.

Solution #2: ArenaNet acquiring QA Team

Instead of letting go of the staff, ArenaNet and Keywords worked together to put the employees first and save the team, by simply transferring the employees directly to ArenaNet.

Result: Saving the team. Saving the games.

The transfer was completed successfully. By working together, the team was saved and, to this day, still working on ArenaNet’s titles. We can continue to enjoy their great games.

Senior Social Media Manager
James Gallagher

James takes care of Keywords Player Support Community Management services.

He has been a Community Manager in gaming for over 12 years, including spells at PlayStation and Rockstar Games.

He enjoys working with clients and his teams of community managers to come up with creative ways to support gaming communities.



For more than 20 years, international MMORPG developer and publisher ArenaNet has made acclaimed games infused with innovation, hand-crafted detail and creative passion.

ArenaNet faced the sudden and unexpected business closure of its main QA provider. The vendor’s employees had extensive and irreplaceable experience of ArenaNet’s flagship titles, the hugely successful Guild Wars series.

ArenaNet’s release plan, forecasted revenues and reputation were at risk of being adversely affected.

Solution #1: Keywords acquiring QA Provider

ArenaNet approached Keywords Studios for a solutions. Keywords suggested the acquisition of the relevant vendor company’s studios, teams, hardware and tools.

By working together, the teams concluded all of the acquisition steps in less than a month, retained all employees but one during the transition, and no downtime or breaks occurred in work progression and delivery.

Solution #2: ArenaNet acquiring QA Team

Instead of letting go of the staff, ArenaNet and Keywords worked together to put the employees first and save the team, by simply transferring the employees directly to ArenaNet.

Result: Saving the team. Saving the games.

The transfer was completed successfully. By working together, the team was saved and, to this day, still working on ArenaNet’s titles. We can continue to enjoy their great games.

Xincheng Zhang

Xincheng received his master degree from Stanford University Computer Science Department. He was one of the key members in the development team of the Assistant in Google. He is experienced in personalized search, recommendation and system security.

Xincheng co-founded QTC Care with Yi Lu in 2014. QTC Care developed one of the largest global online second opinion platform for cancer patients and an internet hospital. Besides that, QTC developed a digital health platform with gamification features to engage users in personalized health plan, aiming for helping them with quantifiable health improvement outcomes. These solutions can be applied to insurance and pharmaceutical companies for their customer education and user engagement purposes.


DTx(Digital Therapeutics) is a type of software centered treatment. Currently multiple countries are approving different types of DTx. EndeavorRx which raised 100M USD is actually a video game that was approved from FDA to be used as a complement treatment for ADHD. Using games as treatment not only has huge potential in capital market, it will also tremendously increase impact of game industry.

There is direct connection between the DTx mechanism to core gameplay. 1: EndeavorRx is actually an action game. By setting the monster position and appearing timing properly, it can train player eye rolling and reaction in order to treat ADHD. 2: In music game, the beat player play can be used to build statistical relation to clinical reaction index, which is called the digital bio-marker, the key to develop DTx. 3: EEG devices (e.g.:Neurosky) can be used in shooting game to implement the concentration real time measurement and adjustment. 4: Motion sensing game like the Ring adventure. If the training content are structured under physical therapy guideline. It can be proved in clinical the player’s cardiovascular function can be improved significantly and they can build a good lifestyle. This type of DTx has been approved in China.

The game company can cooperate with us to evaluate feasibility to adapt the game to be a DTx. Or Pick up existed treatment mechanism and develop the gamification part.

Elena Lobova

Elena Lobova is a founder of ACHIEVERS HUB, a platform that unites indie developers with investors, publishers, services and mentors from all around the world.

During her 10 years of experience in game development, Elena has managed a game development outsourcing company iLogos as COO and then CEO, founded and organized a game developers conference Get IT in Ukraine, consulted and advised various companies on business development, strategy, negotiations and pitching.

Elena enjoys traveling, networking, sharing and connecting people with great ideas.


Does mentorship in game development work? Do I need a mentor? How he/she can help (or harm) my project? Who can be a mentor and why would they want to help me? Good case practices and bad case practices of mentorship. Tips, success stories and advice on how to benefit the most from working with a mentor.

NieR series producer
Yosuke Saito

Join the NieR series development team for a special interview session hosted by IGN JAPAN, filmed in Tokyo for CGDC. The panel includes the following developers: Yosuke Saito, NieR series producer at Square Enix; Yoko Taro, NieR series creative director at Bukkoro; Saki Ito, director of NieR Replicant ver.1.22 at Toylogic; and Daichi Matsukawa, director of NieR Re[in]carnation at Applibot.

NieR series creative director
Yoko Taro

Join the NieR series development team for a special interview session hosted by IGN JAPAN, filmed in Tokyo for CGDC. The panel includes the following developers: Yosuke Saito, NieR series producer at Square Enix; Yoko Taro, NieR series creative director at Bukkoro; Saki Ito, director of NieR Replicant ver.1.22 at Toylogic; and Daichi Matsukawa, director of NieR Re[in]carnation at Applibot.

Director of NieR Replicant ver.1.22
Saki Ito
Join the NieR series development team for a special interview session hosted by IGN JAPAN, filmed in Tokyo for CGDC. The panel includes the following developers: Yosuke Saito, NieR series producer at Square Enix; Yoko Taro, NieR series creative director at Bukkoro; Saki Ito, director of NieR Replicant ver.1.22 at Toylogic; and Daichi Matsukawa, director of NieR Re[in]carnation at Applibot.
Director of NieR Re[in]carnation
Daichi Matsukawa

Join the NieR series development team for a special interview session hosted by IGN JAPAN, filmed in Tokyo for CGDC. The panel includes the following developers: Yosuke Saito, NieR series producer at Square Enix; Yoko Taro, NieR series creative director at Bukkoro; Saki Ito, director of NieR Replicant ver.1.22 at Toylogic; and Daichi Matsukawa, director of NieR Re[in]carnation at Applibot.

Primary sound designer
Loic Couther
I am a passionate French sound designer with 12 years of experience in games, including over 9 years designing audio for Microsoft and Sony.

My expertise includes a wide range of game genres, platforms and cutting edge technologies, from consoles to virtual reality, from surround to object-based audio.

Currently Supervising Sound Designer at Sony PlayStation Europe (London), my role is to ensure our games sound the most fantastic, immersive and satisfying for the Players, and to guarantee success of the titles with bespoke, researched-based audio visions which can scale to studios' budgets and timelines.

I am working within the Audio department of PlayStation Studios CSG.

Since the PS4/PSVR generation, a major part of our audio team's work has been to pioneer, explore and push the boundaries of 3D Audio and VR development.

With Sony promoting 3D Audio as one of the core features for the PS5 generation, I am excited to be part of this advancement in the games industry.