Tried to create computer games, and once started with a board role-playing game, but all failed.
Co-founded "Wangxian Game", responsible for "JiangHuYouYou" in 2018-2021.
People usually say, “There is no more WuXia after Jin Yong and Gu Long”. The XuanHuan and XianXia novels are popular among young people, but they have not become important cultural symbols in our minds. Could we create better and more impressive WuXia stories?
In my opinion, all artistic creation should have roots!
What is the root of WuXia? Beauty, invincible talents, love and resentment? I do not think so. If a story only includes these elements without other impressive features or profound thoughts, then I would regard it as a plain and mindless one that can only provide entertainment for readers. Nowadays many novels just present the satisfaction of self-desire, which shows a kind of strong egoistic value.
I truly hope everyone can feel the five thousand years history of our homeland, and the suffering it had experienced. When people fight against suffering, the goodness exuded by human nature is what we praised. However, our strength is so small, then this kind of goodness has become an ideal hope, and that is what we called Xia.
Jin Yong said in Heavenly Sword Dragon Slaying Saber: celebrate not your being, for it will suffer; fear not your dying, for it will not hurt. Have mercy on the people, for there are so many sorrows and troubles.
This is true compassion, and the core of Xia is compassion. Compassion means loving others, loving our homeland. That is what I considered as the root of WuXia.
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.
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.
Working as mobile game designer from the age of Nokia。Has worked in rekoo, netease, then created CrossingStarStudio with friends.
The Producer of
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.
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.
Mr. Gao YunZheng (Bobby) is a serial startup entrepreneur whose businesses span Industrial and Consumption Internet. More than a technical expert, Bobby is also an excellent product manager, game producer and enterprise manager. He has successively worked for CITRIX Systems, IBM and 360. With passion and keen insights into the game industry, Bobby founded NebulaJoy in 2013.
2015：NebulaJoy was listed on New OTC Stock Market
2016：Blackstone Award: Top Ten New CEOs of the Year
2018：Gold List Award: The Most Valuable Enterprise in the Game Industry of the Year (by Tencent)
2019：Blackstone Award: Hardcore Industry Leader of the Year
2020：Strategic invested by Tencent
Improvements and customizations made using Unity's powerful performance and flexibility in customization to bring console-level ACT gameplay to mobile devices. A powerhouse built using Unity, this game breaks the "jumping" barrier, provided the Z-axis combat, and brings beautiful composite scenes made for 3D; all three elements gave this IP a perfect transfer from consoles to mobile platforms. The content creation includes characters with realistic emotions, actions, various levels, different scenes, AI development and implementation, with more under development.
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.
It was 2013 when I first entered the game industry. Then in 2017,I joined YOKA and began production of "Werewolf Untamed" in the same year; I admire those games with innovative gameplay, and my dream is make an original strategy card game which is fun and playable.
③Market feedback:“Werewolf untamed” was launched in May and has received good reviews from many quality channels. One of the main concerns is the Gameplay innovation, which is also the content of this sharing.
2.Creative inspiration and opportunity：
①Inspiration: The prevalence of “Werewolf”
With the popularity of “Werewolf”, we hope to combine our own advantages to make an innovative game that is different from all the werewolf killing games in the market.
②Challenge: How to combine the features of“Werewolf”and card games, and still innovate in the mature trading card market
3.Share the process of realizing inspiration:
①Analysis: How to extract and disassemble the core elements of the “Werewolf”gameplay system.
②Remolding: How to integrate and improve key elements and to create a highly playable card mechani.
③Iteration: How to test and optimize over a large amount of time to achieve a balance between rules and policies.
④·Content co-creation: How to build a community of players, motivate players to create.
①How to get board game users to enjoy innovative gameplay
②In the face of market test, how to stand a foot in the innovative card track
From inspiration to popularity, The “Werewolf untamed”proved that the core competency of a game is a unique experience. In the future, we will continue to insist on and try innovative categories and actively incubate original game play.
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.
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
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
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？
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.
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?
•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.
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.