作者：Ethan Hu (CEO, Meshy)、Josh Loveridge (Managing Director, Stratton Studios)、Mike Ull (Indie Developer, PhantyForge)
Presented by Meshy.ai CEO Ethan, this session explores the current state of AI-generated 3D models in game production. Drawing from his extensive interactions with users, Ethan will provide a candid assessment of what works and what doesn't when using 3D generative AI as your game development copilot. He will showcase a few common workflows leveraging AI and will be joined by two game developers, who will share their real-world experiences with 3D generative AI in their production pipelines. Ethan will also share thoughts on the future roadmap of AI-generated 3D assets, aiming to help you consider the right time to adopt this technology for your next game project.
由Meshy.ai首席执行官Ethan呈现，本次会议探讨了当前AI生成的3D模型在游戏制作中的现状。基于与用户的广泛互动，Ethan将诚实地评估在使用3D生成式AI作为游戏开发副驾驶时，什么有效，什么无效。他将展示一些利用AI的常见工作流程，并将有两位游戏开发者加入，分享他们在生产管线中使用3D生成式AI的真实经验。Ethan还将分享关于AI生成的3D资产未来路线图的想法，旨在帮助您考虑何时采用这项技术以应用于您的下一个游戏项目。
链接：https://schedule.gdconf.com/session/game-narrative-summit-goals-mission-writing-in-blud/908973
作者：Gregory Lane (Narrative Designer, Tin Heart Interactive)
Trying to get your in-game social media site #LitAF? Having a fake social media in your game may be more and more likely as we fully integrate and accept it as part of the shared agreement of our society. Come listen to writer Gregory Lane on how Exit 73 Games used their fake social media site "Perch" to run the mission system, build characters, and provide enjoyable player interaction through the selfie system in the game #BLUD. The dialog included there allowed #BLUD to deliver on several key things including: worldbuilding, crafting unique character voices, comedy writing, and mission planning + player guidance. #CallToAction #GameWriting #Missions #Winning
想在游戏中实现#LitAF的社交媒体网站吗？随着我们逐渐将其融入并接受为社会共识的一部分，游戏中存在虚假社交媒体的可能性可能会越来越大。来听听作家格雷戈里·莱恩的分享，Exit 73 Games是如何使用他们的虚假社交媒体网站“Perch”来运行任务系统、塑造角色，并通过游戏中的自拍系统提供有趣的玩家互动。在#BLUD这款游戏里，这些对话使得游戏能够实现多个关键目标，包括：构建世界观、塑造独特的角色声音、撰写喜剧内容以及规划任务和引导玩家。#CallToAction #GameWriting #任务 #胜利
链接：https://schedule.gdconf.com/session/game-narrative-summit-black-centered-stories-for-everyone/910232
作者：Charles Beacham (Narrative Director, Afrime Studios)
Charles Beacham, Narrative Director of the upcoming game Unyverse and formerly of Destiny 2 and Marvel Comics talks about the industry's history of creating immersive and incredible RPGs and his approach to bringing authentic black characters, themes, mythology and story structures to life in a medium that historically underserves this community, and doing so in a way that these themes are accessible to everyone.
查尔斯·比彻姆，即将推出的《Unyverse》的游戏叙事总监，曾任《命运2》和《漫威漫画》的叙事导演，他谈论了游戏行业在创造沉浸式且令人惊叹的角色扮演游戏方面的历史，并分享了他如何以一种真实的方式呈现非裔角色、主题、神话和故事结构，尤其是在一个历来未能充分服务这一社区的媒介中，同时确保这些主题对所有人都是可访问的。
Game Narrative Summit: Built in Layers: (Re)Creating History with the Narrative System in 'Civilization VII'
作者：Cat Manning (Narrative Director, Firaxis)、Rue Taylor (Narrative Designer, Firaxis)、Nell Raban (Senior Narrative Designer, Firaxis)、Andrew Johnson (Senior Historian, Firaxis)
Recently, many successful strategy games have adopted emergent narrative events that respond to player actions. These systems listen to the world state and offer players a piece of a story that elaborates on, complicates, or otherwise deepens their experience. Firaxis' narrative system for Civilization VII is designed flexibly in order to navigate the line between history and gameplay in an effort to both entertain and educate its audience.
In this session, a panel of historians and narrative designers will discuss the narrative event system created for Sid Meier's Civilization VII. The talk will provide a high-level explanation of how the system works, while gesturing to some of the unique challenges faced while designing the system. The panelists will discuss how their approach to telling historically-informed stories intersects with the game's mechanics. Questions around sensitivity to historical fact while also accommodating (and encouraging) historical fictions and alternative histories will also be addressed.
最近，许多成功的策略游戏开始采用响应玩家行为的涌现式叙事事件。这些系统会监听世界状态，并向玩家提供一段故事，以深化、复杂化或以其他方式丰富他们的游戏体验。Firaxis为文明 VII（Civilization VII）设计的叙事系统具有很高的灵活性，旨在游走于历史与游戏性之间，既娱乐又教育观众。
在本次会议中，一群历史学家和叙事设计师将讨论为席德梅尔的文明 VII（Sid Meier's Civilization VII）所创建的叙事事件系统。演讲将提供该系统工作原理的高层次解释，并指出在设计过程中遇到的一些独特挑战。小组成员将讨论他们讲述基于历史的故事的方法如何与游戏机制相交。同时，还将探讨如何在尊重历史事实的同时，包容（并鼓励）历史虚构和替代历史的问题。
Game Narrative Summit: Burning Bright: Keeping Narrative Creative Momentum in Intense Production Cycles
作者：Olga Kellner (Narrative Lead, Owlcat Games)
The game development industry is notoriously high-intensity, often characterized by extended periods of crunch time and a high risk of burnout. This environment demands not only peak productivity but also sustained creativity, which can be incredibly challenging. Owlcat Games has been producing narrative-centered games for more than 7 years, releasing enormous adventures like Pathfinder: Kingmaker, Pathfinder: Wrath of the Righteous, and Warhammer 40,000: Rogue Trader. The constant growth, development, improvement, and diversification of these projects offers many opportunities for professional growth but also places a great deal of stress on the narrative designers, who need to stay creative and inventive in their work. This talk aims to provide valuable insights and practical points on how to keep your narrative team focused and productive without succumbing to terminal burnout.
游戏开发行业以高强度著称，经常伴随着长时间的加班（crunch time）和高风险的职业倦怠（burnout）。这种环境不仅要求达到最高的生产力，还需要持续的创造力，这无疑是非常具有挑战性的。Owlcat Games 已经有超过7年的历史，专注于叙事驱动型游戏的开发，发布了诸如《Pathfinder: Kingmaker》、《Pathfinder: Wrath of the Righteous》和《Warhammer 40,000: Rogue Trader》等大型冒险游戏。这些项目的不断增长、发展、改进和多样化为职业成长提供了许多机会，但同时也给叙事设计师带来了巨大的压力，他们需要在工作中保持创造力和创新性。本次演讲旨在提供有价值的见解和实用要点，帮助叙事团队保持专注和高效，同时避免陷入职业倦怠。
作者：Gerben Grave (Narrative Designer, Multiverse Narratives)
Whether you're trying to come up with that one perfect name for your game's main character, or needing to create lists of thousands of names for fictional factions, finding or making names can be a daunting task.
Narrative Designer and Game Writer Gerben Grave is passionate about names. He has had to come up with countless names for games such as Age of Wonders 4 and We Were Here Forever. In this talk, he eagerly offers two perspectives on finding and creating better names for your game characters.
He details how names can perform functionally by covering the domains of User Experience, Technical Limitations, and Immersion.
Then, he demonstrates how to manipulate the principles of linguistics by teaching writers about the effects of phonetics, semantics, and culture.
Combined, they provide a reliable approach for endless creative name giving and crafting.
无论是为你的游戏主角想出那个完美的名字，还是需要为虚构的派系创建数千个名字列表，找到或创造名字都可能是一项艰巨的任务。
叙事设计师兼游戏编剧Gerben Grave对名字充满热情。他曾为《Age of Wonders 4》和《We Were Here Forever》等游戏创作了无数名字。在这次演讲中，他热切地提供了两个视角，帮助你为游戏角色找到和创造更好的名字。
他详细介绍了名字如何通过用户体验、技术限制和沉浸感这些功能领域发挥作用。
然后，他通过教授写作者语音学、语义学和文化的影响来演示如何操控语言学原理。
结合这两点，它们提供了一种可靠的无尽创意命名方法。
Game Narrative Summit: Creating Playable Stories: Approaches for Integrating Mechanics and Narrative
作者：Lauren Bond (Senior Narrative Designer, Wizards of the Coast)
For narrative designers, it can be daunting to create truly playable stories. How can they effectively combine seemingly disparate game mechanics and story into a cohesive whole? How can they make it feel that the narrative and the mechanics could not exist without each other?This presentation will establish a framework for narrative designers to consider the relationship between narrative and game mechanics. It will outline four strategies narrative designers can utilize in their design process to create immersive interactive experiences. Each strategy will cover examples from a wide spectrum of games, and provide concrete actions narrative designers can take to effectively collaborate with game designers.
对于叙事设计师来说，创作真正可玩的故事可能会让人望而生畏。他们如何有效地将看似不相关的游戏机制和故事结合成一个有机的整体？他们又如何让玩家感受到叙事和机制彼此不可或缺？本演示将为叙事设计师建立一个框架，以考虑叙事与游戏机制之间的关系。它将概述四种策略，叙事设计师可以在设计过程中利用这些策略来创造沉浸式的互动体验。每种策略都将涵盖从广泛的游戏类型中选取的例子，并提供具体的行动步骤，以便叙事设计师能够有效地与游戏设计师合作。
作者：
Every year, students at leading game design programs conduct a detailed analysis of the narrative elements of a game title of their choice as part of the Game Narrative Review Competition. The resulting papers are submitted to the GDC writing board for review, and the submitters with the most promising entries are then invited to create a digital poster as a visual synopsis of their review.Successful digital poster submissions are declared winners and exhibited at the GDC. Each winner will be given 5 minutes on stage to discuss their project in front of a live GDC audience.This year’s winners have explored everything from big-budget blockbusters to smaller, critically acclaimed indie titles—presenting complex and detailed analyses that foreshadow the contributions they will likely make to the field of game narrative over the course of their careers.We’re proud to announce that this year’s winners are:Platinum WinnersQui Ren Soo, DigiPen (PUBG)Reagan Wang, USC (Citizen Sleeper)Ben Yu, USC (Tunic)Gold WinnersOliver Kim, Drexel (Gris)Tian Yang, USC (Getting Over It With Bennett Foddy)Noah Crissey, DigiPen (Pentiment)Alan Lemerande, SMU (Signalis)Keana Malolot, University of Silicon Valley C(yberpunk 2077)Baoze Wang, SMU (Persona 5 Royal)Andres Valbuena, George Mason (Vampire the Masquerade: Bloodlines)Serena Yang, Northeastern (Eliza)Yanfei Chen, Sheridan (Sanitarium)Zach Millman, Drexel (Slay the Princess) Athenadis Roberts, USC (Slay the Princess: The Pristine Cut)Ariya Acharya, USC (Wandersong)Kirk Baltzell, SMU (Baldur's Gate 3)Olivia Presser, Northeastern (Bayonetta)Abigail Scheidler, DigiPen (Chants of Sennaar)Cathelina Zhan, USC (Chants of Sennaar)Blythe Watson, Sheridan (Monument Valley)Kelsey Pham, University of Silicon Valley (Nine Sols)Josh Hao, DigiPen (Sky: Children of the Light)Connor Runyon, DigiPen (Tsukihime - a piece of blue glass moon -)
每年，顶尖游戏设计项目的学生们会挑选一款游戏进行详细分析，作为游戏叙事评审竞赛的一部分。这些分析报告会被提交给GDC（游戏开发者大会）写作委员会审核，而那些被认为最有潜力的提交者会被邀请制作数字海报，作为他们评审内容的视觉摘要。成功的数字海报提交者将被宣布为获胜者，并在GDC上展出。每位获胜者将在舞台上获得5分钟的时间，向现场的GDC观众介绍他们的项目。今年的获奖者探讨了从大预算的商业大片到较小但备受好评的独立游戏的各种作品——提出了复杂且详尽的分析，预示着他们在游戏叙事领域的职业生涯中可能做出的贡献。
我们很荣幸地宣布，今年的获奖者是：
白金奖
- 邱仁秀（邱仁秀），迪吉彭理工学院（PUBG）
- 沃恩（Reagan Wang），南加州大学（Citizen Sleeper）
- 本·余（Ben Yu），南加州大学（Tunic）
金奖
- 奥利弗·金（Oliver Kim），德雷塞尔大学（Gris）
- 田洋（Tian Yang），南加州大学（Getting Over It With Bennett Foddy）
- 诺亚·克里斯西（Noah Crissey），迪吉彭理工学院（Pentiment）
- 阿兰·勒梅朗德（Alan Lemerande），南方卫理公会大学（Signalis）
- 基亚娜·马洛特（Keana Malolot），硅谷大学（赛博朋克2077）
- 王宝泽（Baoze Wang），南方卫理公会大学（女神异闻录5皇家版）
- 安德烈斯·瓦尔布埃纳（Andres Valbuena），乔治梅森大学（吸血鬼避世：血族传奇）
- 桑德拉·杨（Serena Yang），东北大学（Eliza）
- 陈燕飞（Yanfei Chen），谢里丹学院（Sanitarium）
- 扎克·米勒曼（Zach Millman），德雷塞尔大学（Slay the Princess）
- 雅典娜迪斯·罗伯茨（Athenadis Roberts），南加州大学（Slay the Princess: The Pristine Cut）
- 阿里亚·阿查里亚（Ariya Acharya），南加州大学（Wandersong）
- 克尔·巴尔茨泽尔（Kirk Baltzell），南方卫理公会大学（博德之门3）
- 奥利维亚·普莱瑟（Olivia Presser），东北大学（猎天使魔女）
- 阿比盖尔·谢德尔（Abigail Scheidler），迪吉彭理工学院（Sennaar的颂歌）
- 曹丽娜（Cathelina Zhan），南加州大学（Sennaar的颂歌）
- 布莱斯·沃森（Blythe Watson），谢里丹学院（纪念碑谷）
- 菲利普·范（Kelsey Pham），硅谷大学（Nine Sols）
- 何浩（Josh Hao），迪吉彭理工学院（Sky：Children of the Light）
- 康纳·鲁尼（Connor Runyon），迪吉彭理工学院（月姬 - 蓝色玻璃之月 -）
链接：https://schedule.gdconf.com/session/game-narrative-summit-get-serious-about-writing-tools/909955
作者：Jurie Horneman (Senior AI Programmer, Half Mermaid Productions)
Do you want your studio to buy, build, or improve existing writing tools? How do you talk to technical people and managers about this? What kind of objections might you run into? What is hard, and what is not?
Narrative pipelines are not that complicated, but basic knowledge is sometimes missing.
What are different approaches to writing tools? Is it better to build a tool, or to buy one? How do you make sure a given commercial tool is right for you? Why are some things you ask for hard? How do writing tools interact with VO and localization workflows?
This talk will answer those questions.
你想让你的工作室购买、构建还是改进现有的写作工具？你如何和技术人员和管理者讨论这个问题？你可能会遇到什么样的反对意见？什么是有难度的，什么是不难的？
叙事流程并不是那么复杂，但有时基础知识会缺失。
有哪些不同的写作工具方法？构建一个工具是否比购买一个更好？你如何确保某个商用工具适合你？为什么有些你要求的东西很难实现？写作工具是如何与配音（VO）和本地化工作流程相互作用的？
这次演讲将回答这些问题。
作者：Karrie Shirou Shao (Lead Narrative Designer & Lead Writer, Pacific Drive / Ironwood Studios)
How do you make players care about NPCs they'll never see? Why should they care about story when the game asks them to loot, craft, and outrun a Category Five storm in a taped-together station wagon?Pacific Drive's Lead Narrative Designer & Lead Writer Karrie Shirou Shao shares how the game's creative pillars and gameplay shaped its deeply emotional story—told entirely through characters heard over a decrepit car radio. With the player's attention focused on navigating a voiceless character and poring over its detailed mechanics, Pacific Drive navigated numerous narrative challenges to present a story that bonds players with its characters.This session will walk through how to conceive emotional stories in a gameplay-first genre and narrative techniques to get players invested in faceless characters. It will highlight how decisions on character embodiment can affect everything from the game's plot, its emotional impact, and even the sentence-level execution of the story.
如何让玩家关心那些他们永远不会见到的NPC？为什么玩家应该在乎故事，当游戏要求他们在一辆用胶带绑在一起的旅行车里搜刮物资、制作道具，并躲避五级风暴？《Pacific Drive》的首席叙事设计师及首席编剧邵嘉蕾分享了游戏的核心创意支柱和玩法是如何塑造了一个通过破旧汽车收音机中听到的角色来讲述的深深打动人心的故事。在这个过程中，玩家的关注点集中在操控一个没有配音的角色，并深入研究其复杂的机制上。《Pacific Drive》克服了许多叙事挑战，呈现了一个能够让玩家与角色产生情感联系的故事。本次讲座将探讨如何在一个以玩法为主的类型中构思情感丰富的故事情节，以及如何运用叙事技巧使玩家对无面部特征的角色产生兴趣。它还将强调角色具象化决策如何影响游戏的情节、情感冲击，甚至故事在句子层面的执行。
作者：Andrew Shvarts (Head of Design, Candlelight Games)、Megan Schwarz (Head of Narrative, Candlelight Games)
When it comes to interactive romance, the love interest isn't just a character; they're the heartbeat of the story and the key to engaging players. In this talk, Megan Schwarz and Andrew Shvarts will draw upon their combined 25 years experience leading narrative on megahit romance titles like Choices: Stories You Play and High School Story to break down how to create love interests that players can't get enough of. By breaking down popular love interests we've created, we'll cover topics like understanding audience fantasies, crafting complex flawed characters, creating relationships that feel alive, and common pitfalls in interactive romance.
谈到互动式浪漫时，恋爱对象不仅仅是一个角色；他们是故事的心跳，也是吸引玩家的关键。在这次演讲中，梅根·施瓦茨和安德鲁·什瓦茨将结合他们在诸如《Choices: Stories You Play》和《High School Story》等热门浪漫游戏系列中领导叙事的25年经验，剖析如何创造出让玩家爱不释手的恋爱对象。通过分析我们创造的一些受欢迎的恋爱对象，我们将讨论理解受众幻想、塑造复杂有缺陷的角色、创建生动逼真的关系以及互动式浪漫中的常见陷阱等话题。
作者：Toiya Kristen Finley (Game and Narrative Designer, Game Writer, Editor, Schnoodle Media, LLC)、Nessa Cannon (Narrative Designer, Freelance)、Michelle Clough (Game Writer / Narrative Designer, Talespinners)、Emily Short (Freelance, Independent)、Ashley Ruhl (Narrative Director, Broadsword Online Games)、Adanna Nedd (Games Writer & Narrative Designer, Independent)
How do newer writers fit into game design and narrative design teams? Do writers coming from the worlds of film and comics have advantages getting work over prose writers? Is it easier to be a freelancer or employee? Do you have the skills to be a writer in this industry? How do you know when you've "made it"? How do you put a writing team together? Especially for individuals with little experience and those looking to break in, this session encourages participants to ask veteran writers and narrative designers questions without definitive answers. Anyone working with writers is also encouraged to attend. Whether it's finding the right job, leading writers and improving team dynamics, or establishing rates, no question about the business of game writing is off limits.
新晋作家如何融入游戏设计和叙事设计团队？从电影和漫画界来的作家相比小说作家是否有优势？成为自由职业者比成为雇员更容易吗？你是否具备进入这个行业成为作家所需的技能？你怎么知道你已经“成功”了？你如何组建一个写作团队？特别是对于经验不足的人和那些想入门的人来说，本次会议鼓励参与者向资深作家和叙事设计师提问，这些问题往往没有明确的答案。任何与作家合作的人都被鼓励参加。无论是寻找合适的工作，领导作家并改善团队氛围，还是确定费率，关于游戏写作行业的任何问题都在讨论范围内。
作者：Ashley Ruhl (Narrative Director, Broadsword Online Games)
Since its launch in 2011, Star Wars: The Old Republic (SWTOR) continues to deliver high quality narrative content to players, with regular updates that include cinematic storytelling and new game features. The game offers many role play opportunities for players within the Star Wars galaxy, including romance with player companions. Narrative Director Ashley Ruhl discusses a new feature in SWTOR called Date Night, which exists largely because of unrelenting enthusiasm from both developers and players for a thing like this to exist. Ashley details the gifts and pitfalls of getting a passion-project into your game, and how Date Night's path from internal game jam to live feature was truly a labor of love.
自2011年发布以来，《星球大战：旧共和国》（SWTOR）一直为玩家提供高质量的故事内容，定期更新包括电影化叙事和新游戏功能。游戏中提供了许多角色扮演的机会，让玩家可以在《星球大战》的银河系中体验，包括与玩家同伴之间的浪漫。叙事总监Ashley Ruhl讨论了SWTOR中的一个新功能“约会之夜”，这一功能的出现很大程度上是由于开发人员和玩家对于此类内容的热烈期待。Ashley详细介绍了将一个充满热情的项目融入游戏中的礼物和陷阱，并且讲述了“约会之夜”从内部游戏马拉松发展成为正式游戏功能的过程，这真是充满了爱的劳动成果。
作者：Emma Kidwell (Writer, Firaxis)
This talk looks at writing games tied to an intellectual property (IP) through the lens of fanfiction, and how to navigate writing for an established franchise while creating space to tell an original story. The talk also defines fanfiction and dives into its history, and covers how it primes writers to research and respect source material when it comes to established characters and worlds. To provide a real-world example, the talk will look at how Deadpool and Storm were adapted for Marvel's Midnight Suns DLC.
本次演讲通过同人小说（fanfiction）的角度探讨了基于知识产权（IP）撰写游戏的方法，并讨论了如何在创作原创故事的同时驾驭已建立的特许经营权。演讲还定义了同人小说并深入探讨其历史，涵盖了如何使作者研究和尊重既有角色和世界观的来源材料。为了提供一个现实世界的例子，演讲还将分析死侍和暴风女是如何被改编为《午夜之子》DLC的。
作者：Ayesha Khan (Lead Narrative Designer, Ubisoft Reflections)
Make Actors Yell GoodWhen the script sounds right in your head, but you aren't getting what you wanted from the voiceover performance, the culprit might be what you included or didn't on the page.Industry veteran Khan offers a deep dive into how recording scripts can enable or derail getting voiceover performances which match your vision. She covers what information to include or not and why, which grammar or formatting decisions matter and which don't, and how to avoid accidentally confusing your actors while giving them space to surprise and delight you.(A genteel rant about written-out dialects is included free of charge.)
让演员们大声喊出好的台词当剧本在你的脑海中听起来很合适，但你从配音表演中没有得到预期的效果时，问题可能出在你写在纸上的内容或没有写的内容。行业资深人士Khan深入探讨了如何通过录制脚本来实现或破坏与你的愿景相符的配音表演。她涵盖了应包括或不应包括的信息及其原因，哪些语法或格式决策是重要的，哪些不重要，以及如何避免无意中混淆演员，同时给他们空间来给你惊喜和愉悦。（附赠一篇关于写出来的方言的文雅的抱怨。）
作者：Amy-Leigh Shaw (Writer & Narrative Designer, Sweet Baby Inc)
Wherever you can find a great narrative midpoint, you'll probably also find either sex or death. They're a great measure of the highest heights of storytelling arcs, but we often find ourselves engaging with them through the narrow confines of traditional storytelling frameworks: it's hard to apply a five act structure to a video game in the same way you might apply it to a blockbuster film... but why would we want to? This session will investigate more effective ways of engaging players in deep emotional arcs, that better reflect the strengths and innovations in storytelling that the medium of gameplay provides.
无论你在哪里能找到一个出色的故事转折点，你很可能也会在那里找到性和死亡。它们是衡量叙事弧线最高点的一个很好的标准，但我们经常发现自己通过传统的叙事框架来体验它们：很难像在商业大片中那样用五幕结构来应用到视频游戏中……但我们为什么非要这样做呢？本次会议将探讨更有效的与玩家互动的方法，以深入的情感剧情吸引他们，这更能反映游戏媒介在叙事上的优势和创新。
Game Narrative Summit: Skip the Filler, Hit the Thrillers: Crafting Compelling Characters in Linear Narrative of 'Evil West'
作者：Maria Borys-Piatkowska (Lead Narrative Designer/Writer, Flying Wild Hog)
In today's fast-paced action games, from Evil West to countless others, narrative designers are increasingly tasked with building compelling characters despite severe limitations on screen time, a challenge far removed from the expansive storytelling opportunities in RPGs like Baldur's Gate 3. This speech emphasizes that limited time doesn't mean limited impact—by focusing on essential character traits, leveraging high-intensity moments, and cutting unnecessary exposition, designers can create memorable, engaging characters that resonate with players. In the face of these constraints, characters must become storytelling tools themselves, propelling the plot and shaping player investment through every interaction.
Drawing from my experience on Evil West, this session will offer insights into balancing intense action with meaningful character development. I'll highlight key strategies for making protagonists, antagonists, and supporting characters stand out in condensed narratives, where the room for extended character arcs is limited. We'll discuss how to effectively use key traits that bring characters to life, as well as the areas where we fell short due to the fast pace of the game.
在当今快节奏的动作游戏中，从《恶灵猎杀》到无数其他游戏，叙事设计师面临着在有限的屏幕时间下构建引人入胜的角色的挑战，这与像《博德之门3》这样的角色扮演游戏所提供的广阔叙事机会相去甚远。本次演讲强调，有限的时间并不意味着有限的影响——通过专注于角色的关键特质，利用高强度的时刻，并削减不必要的铺垫，设计师可以创造出令人难忘且引人入胜的角色，从而与玩家产生共鸣。面对这些限制，角色本身必须成为讲故事的工具，通过每一次互动推动剧情发展并塑造玩家的投入感。
基于我在《恶灵猎杀》项目中的经验，本场分享将提供关于如何平衡紧张刺激的动作场面与有意义的角色发展的见解。我将重点介绍一些关键策略，使主角、反派和配角在浓缩的故事线中脱颖而出，在这种情况下，扩展的角色弧线空间是有限的。我们将讨论如何有效地使用能够生动展现角色的关键特质，以及由于游戏节奏较快而未能充分实现的方面。
作者：Adam Dolin (Writer/Narrative Designer, Independent)
Agency and interactivity are at the heart of storytelling in video games, but how do these principles translate into actionable techniques for crafting compelling narratives? How can writers, narrative designers, and systems designers leverage the unique power of games to tell stories that wouldn’t work in any other medium?In this session, award-winning writer and narrative designer Adam Dolin (God of War, Horizon: Forbidden West, God of War: Ragnarok) explores the intersection of storytelling and systems design. Through detailed case studies, attendees will learn how themes, plot, and character arcs can be woven into gameplay mechanics to shape player behavior, evoke emotion, and create lasting memories. Whether you’re a writer looking to collaborate more effectively with systems teams or a designer curious about integrating narrative hooks into mechanics, this talk offers practical insights and actionable takeaways to help you craft stories that resonate.
代理性和互动性是视频游戏中叙事的核心，但这些原则如何转化为实际的技术，以创造引人入胜的故事呢？编剧、叙事设计师和系统设计师如何利用游戏的独特优势来讲述在其他任何媒介中都无法实现的故事？在这次讲座中，获奖编剧兼叙事设计师亚当·多林（《战神》、《地平线：禁忌西部》、《战神：诸神黄昏》）探讨了叙事与系统设计的交集。通过详细的案例研究，参与者将学习如何将主题、情节和角色弧线编织到游戏机制中，以塑造玩家行为、引发情感并创造持久的记忆。无论你是希望更有效地与系统团队合作的编剧，还是对在游戏中融入叙事元素感兴趣的设计师，这次演讲都将提供实用的见解和可操作的收获，帮助你创作出能够引起共鸣的故事。
Insights on Implementing Game Agents to Deliver Value in Commercial Games (Presented by Parametrix.ai)
作者：Jiaxin Chen (Senior Reinforcement Learning Researcher, Parametrix.ai)
We will explore the evolution of game agents, from AI-powered PvP FPS bots driven by Reinforcement Learning (RL) to the next generation of intelligent NPCs, AI teammates, and copilots, enhanced by both RL and Large Language Models (LLMs). We will examine the technical advancements that have made these developments possible, focusing on high-performance distributed training platforms that support large-scale training and global deployment. These platforms enable efficient, real-time execution of AI agents in massive commercial games. Additionally, we will demonstrate the real-world impact of these technologies on user experience, highlighting how AI-driven agents enhance dynamic, engaging, and personalized gameplay. These innovations significantly improve player interaction and immersion, driving better commercial outcomes for game developers and operators. We will showcase live demos of our game agents, allowing attendees to experience them. We will also include case studies from our collaborations with leading game companies such as Tencent, miHoYo, Garena, and more.
我们将探讨游戏角色从强化学习（RL）驱动的AI支持的PvP FPS机器人到下一代智能NPC、AI队友和副驾驶员的演变，这些角色通过强化学习和大型语言模型（LLM）得到增强。我们将研究使这些发展成为可能的技术进步，重点关注支持大规模训练和全球部署的高性能分布式训练平台。这些平台使得AI角色在大型商业游戏中能够高效地实现实时执行。此外，我们将展示这些技术对用户体验的实际影响，突出AI驱动的角色如何提升动态、互动和个性化的游戏体验。这些创新显著改善了玩家的互动和沉浸感，为游戏开发者和运营商带来了更好的商业成果。我们将展示我们的游戏角色的实时演示，让与会者亲身体验。我们还将包括与腾讯、米哈游、Garena等领先游戏公司合作的案例研究。
链接：https://schedule.gdconf.com/session/storytelling-fundamentals-workshop/911122
作者：Evan Skolnick (Game Writer / Narrative Designer, Independent)
This dynamic, engaging presentation on the fundamentals of story development is designed for anyone and everyone interested in improving the narrative quality of their games. Hosted by Marvel and Telltale writing veteran Evan Skolnick, the comprehensive tutorial covers narrative structure, vibrant character development, storytelling best practices, and more.
Nearly every member of a development team ultimately contributes to the implementation of the game’s narrative, and so becomes, to one degree or another, a storyteller. But without a shared language of story spoken by all team members, an unfocused narrative result is almost inevitable. This session is designed to provide that common frame of reference, so that everyone on the team is driving the game story in the same direction.
Previous attendees of this long-running workshop (a broad mix of designers, artists, engineers, producers and writers) have called it “engaging”, “informative”, and “absolutely amazing”.
这段关于故事开发基础知识的动态、吸引人的介绍是为任何希望提升游戏叙事质量的人设计的。由Marvel和Telltale的资深编剧Evan Skolnick主持，这个全面的教程涵盖了叙事结构、生动的角色发展、最佳叙事实践等内容。
几乎开发团队中的每一个成员最终都会对游戏叙事的实现有所贡献，因此在某种程度上都成为了讲故事的人。但是，如果没有所有团队成员都能使用的叙事语言，不集中的叙事结果几乎是不可避免的。这次研讨会旨在提供一个共同的参考框架，使得团队中的每一个成员都能朝着同一个方向推动游戏的故事发展。
此前参加过这个长期举办的研讨会的成员（包括设计师、艺术家、工程师、制作人和作家）称其为“引人入胜”、“信息丰富”和“绝对精彩”。