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The Independent Games Festival China has announced the Main Competition and Student finalists for its third annual awards ceremony celebrating the most innovative indie and student games from throughout the Pan-Pacific area.

This year, the finalists offer an extremely broad range of game types and genres, from action brawlers like Pixel May Cry to mobile arcade titles like Super Sheep Tap, with developers hailing from throughout China and its surrounding regions.

Drawing from a prize pool totaling 45,000 RMB (roughly $7,000), IGF China's Main Competition will give away five distinguished awards, covering Excellence in Audio, Technology, and Visual Arts, as well as the Best Mobile Game and Best Game awards. In addition to the prestige and prizes, winners will also receive two All-Access Passes for the upcoming GDC 2012 in San Francisco.

Alongside IGF China's Main Competition, the ceremony will also host the Student Competition, which honors six of the top regional student games, with teams hailing from DigiPen Singapore, the China Central Academy of Fine Arts, and more.

This part of the competition includes two awards -- for Best Student Game and Excellent Student Winners -- and offers roughly 13,000 RMB (roughly $2,000) in cash prizes.

Winners in both competitions will be chosen by a panel of expert jurors including Kevin Li (CEO, TipCat Interactive), Monte Singman (CEO, Radiance Digital Entertainment), Xubo Yang (director of digital art lab and assistant professor at Shanghai Jiaotong University's School of Software), Haipeng Yu (producer, Tencent Shanghai), and jury chairman Simon Carless, IGF Chairman Emeritus and EVP of the GDC shows and Gamasutra.

This year's IGF China will take place on November 12, 2011 alongside GDC China, which will be held at the Shanghai Convention Center in Shanghai, China.

Here are the finalists for this year's IGF China:

Main Competition

Billy Makin Kid!, by SLAB Games, Indonesia [Website, Video]

Clay's Reverie, by SuperGlueStudio, China [Video]

FTL (Faster than Light), by Matthew Davis & Justin Ma, China [Website]

One Tap Hero, by Coconut Island Studio, China [Video]

Pixel May Cry, by Feng Li, China [Video]

Pocket Warriors, by WitOne Games, China [Website, Video]

Super Sheep Tap, by aBit Games, China [Website, Video]

The Line HD, by Ant Hive Games, China [Website, Video]

In the latest in a series of interviews with notable speakers from this October's GDC Online, BioWare Austin's Georg Zoeller speaks out on the processes and tools his team uses to generate and tune MMO content in Star Wars: The Old Republic.

Originally hailing from Germany, Zoeller moved to Edmonton to join BioWare in 2003, and has since held a number of positions at the company, working on titles such as Neverwinter Nights, Jade Empire, Mass Effect, and Dragon Age: Origins. In 2009, Zoeller moved to BioWare Austin to serve as principal designer on The Old Republic.

Here, Zoeller provides an in-depth look at the BioWare's production processes in anticipation of his talk, "Rapid MMO Content Iteration and Validation with Spatial Analysis in Star Wars: The Old Republic," which will outline the various techniques the studio uses to test and validate the game's content.

What would you say are the biggest challenges facing MMO content generation?

Achieving the required -- and expected -- volume of content without compromising quality. MMO players are pretty unforgiving when it comes to quality - you usually get one shot to get it right. Your launch sets the trajectory of where your game is headed and quality of content, even more than quantity is a major contributing factor to success of failure.

Content wise, these games are insanely large undertakings. For example, in Star Wars: The Old Republic, the Planet Alderaan, which is one of 17 planets in the game, holds more creatures than the entirety of Dragon Age: Origins, a game offering 60-80 hours in a single playthrough that took us almost than 5 years to create.

We have thousands of differently voiced characters in the game, all with dialogs and quests that not only need to be written, recorded, staged, scripted and animated, but also tested and validated -- the most engaging quest isn't going to keep a player around if it fails to work.

In order to make the creation and validation of that much content manageable, you not only need more people, you also need to be a lot smarter in your workflows and tools.

GDC Online has debuted several new sessions within the show's Main Conference, featuring Playdom's Raph Koster on the convergence of games and social media, NCsoft West on making City of Heroes free-to-play, and a panel of notable speakers on the future of cloud gaming.

Taking place Monday, October 10 through Thursday, October 13, 2011 at the Austin Convention Center in Austin, Texas, GDC Online continues as the leading worldwide event dedicated solely to discussing the development and business trends surrounding connected games -- including casual titles, MMOs, virtual worlds, and social networking games.

This year's Main Conference will include tracks on Business & Marketing, Customer Experience, Design, Production, and Programming, as well as a sponsored track on Monetization.

As seen in the event's Schedule Builder, the following lectures are highlights from this year's Main Conference:

- In the Customer Experience track, Playdom's VP of creative design, Raph Koster, will host a lecture dubbed, "It's All Games Now! How Games and Social Media are Converging." Here, Koster will outline the "cross-pollination" between games and online services, explaining what this means for game developers and the future of connected gaming experiences.

- Also in the Customer Experience track, NCsoft's Ross Borden details how the studio turned the subscription-based City of Heroes into a free-to-play game in, "From Spark to Success: How Customer Influence Revolutionized City of Heroes." Along the way, Borden will detail the design and technical challenges involved with introducing a brand new business model to an existing online game.

In the latest in a series of interviews with notable speakers from this October's GDC Online, Eidos Montreal lead writer Mary DeMarle speaks out on the complexities and challenges she faced when working on the critically-acclaimed Deus Ex: Human Revolution.

DeMarle was responsible for the game's storytelling and narrative, and was tasked with crafting a story that could play out in several ways based on a player's actions.

Before joining Eidos Montreal, DeMarle worked on other titles such as Myst III: Exile, Myst IV: Revelation, Homeworld II, Dungeon Siege: Broken Sword, and the a number of titles in the Splinter Cell series.

Here, DeMarle offers a quick look into her writing process in anticipation of her GDC Online talk, "Building the Story-driven Experience of Deus Ex: Human Revolution," which will provide an in-depth look at the robust, branching narrative of the recent cyberpunk shooter.

How did you ensure the game's branching story paths would all coalesce into a cohesive narrative?

Creating a cohesive narrative in a game is never an easy task, especially when you decide to complicate it by enabling player decisions to result in multiple branching paths. The DX:HR production team was able to meet this challenge because of two crucial game design decisions that we made early on.

First, during our conception phase, the core creative team identified "story" as one of the important pillars in a Deus Ex experience. To ensure this pillar received the attention it needed, they then decided to create an in-house narrative design team as an integral part of the game design group. Writers were brought in during conception and present during preproduction to explain the story and cast light on specific story goals for all production departments. They didn't dictate gameplay challenges, artistic or level designs, animations, or scripted events, but they worked with the people who did create these things on a daily basis, to ensure that every aspect of the game presented and/or reflected a cohesive narrative at all times.

The second decision made was to put choice and consequence front and center in the game's design, meaning it had to infuse all aspects of Human Revolution, including its story line. This decision forced us to re-examine our pipelines and ultimately implement some kind of tool that could keep track of branching storylines. Both the tool and the processes we ended up using will be discussed more thoroughly during my GDC Online presentation.

How did you go about writing the game's various story branches? Did you write all the paths first, did you look at player feedback for inspiration, etc?

My approach to writing a game story is to first plot it out conceptually in its entirety, and then break up the story details into varying layers of importance. To do this, I ask myself which details and/or story events are needed to understand the plot in its simplest form, and which details or events can be discovered optionally -- through exploration or via alternate gameplay paths -- to fill out the main plot and make the story richer. Once I know this, I can determine which story-telling vehicle needs to be used to convey each point; be it a forced dialog or cut scene, or a newspaper article or email. I then start writing the story in layers, dealing with all critical path pieces first.

GDC China has revealed the first batch of talks within the show's Global Game Development track, featuring Double Fine's approach to working with Kinect, a quick guide to Agile/Scrum development, and veteran game composer Hitoshi Sakimoto on the business of game audio.

Taking place November 12-14 at the Shanghai Exhibition Center in Shanghai, China, the event will once again serve as the premier game industry event in China, bringing together influential developers from around the world to share ideas, network, and inspire each other to further the game industry in this region.

This year, the show's Main Conference will feature three primary tracks, covering Online Game Development & Business, Global Game Development, and Social Games.

Here are the first talks to be announced so far for the Global Game Development Track:

- In "Rapid Prototyping Techniques for Kinect Game Development," Double Fine Productions' lead technical artist, Drew Skillman, will provide an in-depth look at the studio's approach to implementing motion control in its Kinect-enabled titles. Along the way, Skillman will discuss the company's software setup for rapid prototyping, augmented reality, and some "shader based compositing tricks."

- Elsewhere, Maxwell Peng, senior producer at Taiwanese developer International Games System, will host a session dubbed, "How to Succeed in Game Development With Agile/Scrum," giving developers tips on how to improve and streamline their development pipeline. Peng will outline the challenges and solutions he encountered when using Agile/Scrum, helping developers better understand this approach to game development.

- Finally, Hitoshi Sakimoto, a game audio veteran best known for scoring Final Fantasy Tactics and Final Fantasy XII, will host, "The Business (and Importance!) of Game Audio." Here, Sakimoto will delve into what it takes to make effective game music and sound effects, outlining his experience working in the business of game audio to help developers understand why sound plays a key role in nearly all realms of game development.

As the first in a series of interviews with speakers from this October's GDC Online in Austin, Kabam's VP of product and platform services, Sheridan Hitchens, outlines the benefits of using metrics to guide design decisions for persistent online games.

By analyzing data gathered from its existing games and players, Hitchens says that Kabam can quickly and objectively identify problems and opportunities that arise, allowing the studio to update and develop its games more efficiently.

Prior to joining Kabam (developer of popular social games such as Kingdoms of Camelot and Edgeworld), Hitchens spent four years at casual game developer and publisher PlayFirst, where he oversaw the growth of the company's community, multiplayer, and microtranscation platforms.

Before entering the game industry, he graduated from the University of Cambridge and earned an M.B.A. from the University of California, Berkeley - Walter A. Haas School of Business.

Here, Hitchens provides some insight into Kabam's metrics-focused approach to game development, and offers a glimpse at the topics he will cover in his upcoming GDC Online session, "Data Driven: How Creating a Deeply Analytical Approach Drives Success."

Why does Kabam embrace metrics so heavily? What benefits does this strategy offer?

I think as much as anything it's a cultural norm that's driven from the top; our CEO, COO, CMO, and Chief Product Officer all are very analytical. When you make a pitch, or provide a recommendation, you're expected to have some level of data and analysis to back it up.

But there's more at work than cultural or executive biases. In our view, metrics provide an objective view of performance across a range of functions. Carefully tracking a variety of metrics, enables us to establish measures of success, and alerts us to problems and opportunities quickly. Perhaps just as importantly, it reduces the amount of subjective, "I think/you think" debate that wastes time in meetings and in running a business.

What sort of data do you look at when making internal decisions at the company?

We tend to look at a wide range of data and not just the common acquisition, retention and monetization metrics from marketing and production. We'll spend time looking at customer satisfaction data, ticket volume, even tech ops data to overlay onto our common game metrics to understand problems and identify opportunities.

We also conduct research to understand the continually shifting market; we survey our own players, survey the market, analyze market growth trends and so on.