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In the latest in a series of interviews with speakers from this August's GDC Europe, online specialist Teut Weidemann of Ubisoft's Bluebyte Germany (The Settlers Online) discusses the essentials of community management on social networks.

Weidemann has worked in the industry for over 25 years, and began his career as a producer and development director for Amiga titles such as Turrican. He later founded Panzer Elite developer Wings Simulations, and in 2005 served as CTO of Panzer Tactics DS publisher CDV Software Entertainment.

In 2007 Weidemann entered the online games market, consulting with various companies before finally landing at Ubisoft's Bluebyte to work on the acclaimed browser based title The Settlers Online.

Drawing from his experience working in online games, Weidemann will host two talks at this year's GDC Europe: A Production track lecture on supporting free-to-play games dubbed, "f2p Online Games: The Game Is Not Enough," and a Community Management Summit talk titled, "Community Management in The Settlers Online."

With GDC Europe just over a month away, Weidemann particularly discussed his upcoming Community Management Summit talk, and outlined the importance of regular developer-to-player interaction, as well as the differences between Facebook and other social channels.

In your experience, what are the best ways to foster the growth of an online game community?

The most important thing is service. If your community perceives that you care about them, they stay. Players love the attention, and they'll recommend the service to their friends. It's the best way to grow a game because it's free. Marketing is growing the community fastest, but that growth is meaningless if you don't manage to keep the new users.

Did you or your team learn any hard lessons when managing the community for The Settlers Online?

We are still learning. We approached the community for the game with years of experience in community management, and we still had problems satisfying players' needs.

We established an open communication strategy, but we underestimated the frequency of interaction the users demanded. The internet is moving faster than ever, which means that we need community managers constantly online and talking to users.

The organizers of the Game Developers Conference - the world's longest running and largest professionals-only event dedicated to game development - have announced the debut of a new onsite opportunity for emerging and independent developers to showcase their games at Game Developers Conferences worldwide.

This week, the GDC Vault has released free lecture videos from multiple Independent Games Summits, featuring the making of Osmos, a talk on 'turning depression into inspiration', and a rambunctious Super Meat Boy postmortem.

These talks join the many other free talks available on the GDC Vault, which include recently-released talks from Valve Software, GDC 2011's classic postmortem series, and a slew of other sessions from throughout the history of the Game Developers Conference.

The following free video lectures, newly available, are highlights from GDC's Independent Game Summits from 2010 and 2011.

- Firstly, Hemisphere Games' Andy Nealen and Eddy Boxerman host a 2010 Independent Games Summit talk dubbed, "Minimalist Game Design: Growing Osmos." Reflecting on the development of the ambient, physics based IGF finalist puzzle game, the two explain the evolution of Osmos' core mechanics, and the how the team discovered the benefits of minimalist game design.

- In an acclaimed Independent Games Summit 2011 talk "Turning Depression into Inspiration," game developer Michael Todd from Spyeart.com explains how developers can cope with the immense pressure of game development, and successfully "design and develop games while depressed." Drawing from his own experience, Todd outlines a number of ways to manage stress and use depression as a source of creative inspiration.

In the latest in a series of interviews with speakers from this August's GDC Europe, David Press, technical director at EVE Online
developer CCP Games, discusses the importance of automated testing in
MMOs, and why implementing such a system became a "now-or-never
decision" for the company.

Before joining CCP, Press worked at EA Chicago as a graphics programmer on Def Jam: ICON
and an unreleased fighting title. In 2007, he left for Atlanta, Georgia
to work at CCP as a graphics programmer, and then moved on to become a
systems programmer, and later a technical director.

In anticipation of his GDC Europe talk, "Orchestrator: A Postmortem on an Automated MMO Testing Framework,"
Press explains the various game elements an automated testing system
should or should not test, and how CCP implemented such a system for its
World of Darkness MMO.

What are some of the advantages of automated MMO testing?

Most MMOs are very large projects with numerous interacting game
systems, and it is simply infeasible to have manual testers constantly
testing every nook and cranny of the game. Automated tests allow
developers to get wide test coverage before they even check in their
changes and they can be run on a changelist-by-changelist basis so that
narrowing down bugs is trivial.

At what point did CCP realize that automated testing was necessary? What were the driving actors behind the decision?

For the World of Darkness project, we started unit testing
within the first year of active development, and system testing came in
during the next year. We knew that it is nigh impossible to bolt
automated testing onto code that wasn't written with it in mind, so it
was a now-or-never decision.

[Following
the announcement of the 2012 Independent Games Festival competition,
IGF Chairman Brandon Boyer goes in-depth on the changes made for this year's Festival, examining the ethos for the competition and the shifts in policy and rules for this year's 14th annual IGF experience.]

Well, we made it unscathed through that lucky-13th, and here we are
again, back where we started, with the opening of the 14th year of the
Independent Games Festival. Last year's festival was a landmark one on a
number of levels.

It was the first that folded the IGF Mobile into the main
competition, the first where one of the entrants (and the eventual Grand
Prize winner) surprised everyone (the developers included!) by selling
several hundred thousand copies of their game before judging had even
begun, our first with a new two-tier judge and jury system, and,
obviously, my first year as chairman.

I learned a lot about the festival and how it operates and how it
could better be improved over the past year. So I'm here now to outline
some of the changes we'll be implementing this year, as the IGF, its
role in the community, and the community itself grows and evolves. But
we'll start with one aspect of the festival that we won't be changing:

The IGF will continue to utilize its two-tier judge and jury system.

From
the conversations I've had over the past several months, nearly
everyone involved -- from the judges and jurors themselves to the
individual entrants to those of us organizing the festival -- felt like
the change to this system was an incredibly important and positive
change.

The two-tier system - with our 150-200 judges recommending games in
certain categories, and discipline-specific juries of 8-10 subject
matter experts assigned to each award, ensured that all games in the
festival got an equal chance at making it into the finalist round.

With more eyes than ever on each entry, and each jurist chosen for their specific professional merits for each category (our list of 2011 jurors is available here), experts were able to make a strong case for any game, whether it gathered an initial popular vote or not.

It also meant that our finalist and winner selection was less of a
binary process, and more of a conversation about the deeper merits of
the games and their place and legacy in the independent game community.
Those intimate conversations were a passionate, productive, valuable
look at the pulse of professional indie developers, as you can read in
our Nuovo jury comments and Main Competition jury statements, and we're looking forward to those conversations again this year.

This week, the GDC Vault has debuted a special selection of free lectures from Portal and Half-Life creator Valve Software, with topics including the studio's use of biofeedback, a look at Left 4 Dead's development, and the design philosophy behind Half-Life 2.

These talks join the recently released free videos on the GDC Vault, which include the GDC 2011's classic postmortem series, as well as lectures and panels from speakers such as Playdom's Raph Koster, GDC founder Chris Crawford, and more.

The following free lectures include video, audio and slide-based highlights from Valve Software's sessions at a handful of different Game Developers Conferences, with talks dating from 2011 back to 2004.

The first lecture offered for free in video form is a GDC 2011 session from Valve veteran and experimental psychologist Mike Ambinder, titled, "Biofeedback in Gameplay: How Valve Measures Physiology to Enhance Gaming Experience." This session examines how information regarding a player's physiological states can help developers "explore new avenues of gameplay and to improve in-house playtesting processes."

Using Valve's own Portal 2, Left 4 Dead 2, and Alien Swarm as examples, Ambinder explains how the studio measured players' skin conductance response, heart rate, and eye movements to design titles that effectively toy with player's psychological limits.

Next, a newly free GDC 2009 talk video, "From Counter-Strike to Left 4 Dead: Creating Replayable Cooperative Experiences" features Turtle Rock founder and Valve designer Michael Booth on the high-level design of the studio's cooperative zombie shooter.

Booth provides some background on the game, and explains "how it evolved from Counter-Strike, and the importance of procedural systems such as the AI Director in creating replayable and compelling cooperative experiences."

In the latest of a series of interviews with speakers from this August's GDC Europe, game designer Ernest Adams discusses why "in most persistent worlds, the player cannot change the world permanently" -- and why that needs to change.

Adams has worked in the game industry since 1989, and has worked as a
game developer, professor, and more. He previously served as an audio
and video producer on the Madden NFL franchise for Electronic Arts, and later worked at Bullfrog Productions as a lead producer on the Dungeon Keeper series.

In addition, Adams has written several books on game development, and is the founder of the International Game Developers' Association.

With his GDC Europe talk, "Making MMOGs More Storylike"
drawing ever closer, Adams discussed the flaws of modern online games,
and explained how they should change to make the game world more
dramatic and believable.

With MMOs and similar online games, players share a single,
persistent world. How does this sort of design hinder a developer's
ability to tell a story?

All stories are about change. Either the protagonist changes the
world, or the world changes the protagonist, or both. But in most
persistent worlds, the player cannot change the world permanently. Any
creature you kill respawns in a few minutes, leaving you wondering why
you bothered. This impairs the dramatic impact of events in the world,
because nothing really changes.

How do you suggest online games change to better accommodate an in-game story?

To feel as if they are really part of a story, players need to be
able to make permanent, meaningful changes to the world they inhabit. I
also feel that they need to drop the "Hero's Journey" story form. It
works well for adventure games and single-player RPGs, but it's a bit
ridiculous when hundreds of thousands of people are all trying to have
the same heroic experience.