├── 2024
├── audio.md
├── design.md
├── game-narrative.md
├── independent-games.md
├── production.md
├── programming.md
├── visual-arts.md
└── vr-ar.md
├── 2025
├── audio.md
├── business.md
├── design.md
├── game-narrative.md
├── independent-games.md
├── production.md
├── programming.md
├── visual-arts.md
└── vr-ar.md
├── README.md
└── assets
├── 2024.png
└── 2025.png
/2024/game-narrative.md:
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1 | ## Animation Summit: Make a Choice: Performance Direction in 'Baldur's Gate 3'
2 |
3 | 链接：https://schedule.gdconf.com/session/animation-summit-make-a-choice-performance-direction-in-baldurs-gate-3/901806
4 |
5 | 作者：Greg Lidstone (Performance Director, Larian Studios)
6 |
7 | Mocap and Performance direction have become an increasingly important part of narrative video game development over the past 20 years while players have steadily grown more discerning about digital acting. Larian invests heavily in character performance, and their recent blockbuster 'Baldur's Gate 3' has received rave reviews for the effort. But how did Larian arrive at those performances? How do performance directors help actors make choices when crafting the personality and physical behaviour of characters? How do they redirect and adjust when things aren't going well; inspire and encourage when they are. How do we inform, but not overwhelm and collaborate to build character with our actors? In this session, Larian's Performance Director speaks about techniques and approaches used on 'Baldur's Gate 3' (and built up over 20 years of directing) to prepare and work with actors for memorable performances.
8 |
9 | Mocap（动作捕捉）和Performance direction（表演指导）在过去20年中已成为叙事性视频游戏开发中越来越重要的一部分，而玩家在数字表演方面也变得越来越挑剔。Larian公司在角色表现上投入了大量精力，他们最近的大作《Baldur's Gate 3》因此获得了赞誉。但是，Larian是如何达到这些表现的呢？在打造角色的个性和行为时，表演指导是如何帮助演员做出选择的？当情况不顺利时，他们如何重新指导和调整；当情况良好时，又如何激励和鼓励？我们如何告知，而不是压倒性地介入，以及如何与演员合作打造角色？在这个环节中，Larian的表演指导将谈到在《Baldur's Gate 3》（以及在20年的指导工作中积累的经验）中使用的技术和方法，以准备和与演员一起创造令人难忘的表演。
10 |
11 | ## Game Narrative Summit: Branching On A Budget: Creating Agency Without Wrecking Scope
12 |
13 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-branching-on-a-budget-creating-agency-without-wrecking-scope/901989
14 |
15 | 作者：Nessa Cannon (Game Writer/Narrative Designer, Independent)
16 |
17 | Do you ever feel that your linear narrative is missing a little something? When your characters speak to each other, do you wish they could say two things at once? We often think of video game stories as either being linear or nonlinear, but there is a spectrum between the two!
18 |
19 |
20 | Nessa Cannon (Freelance, Star Trucker, Endoparasitic, OnlyCans, Jagged Bone) will teach you how to add small branches to your game's dialogue that tie seamlessly into a linear story to signal different emotional beats, create a sense of character definition from the player, and help the player really connect to your themes - not just see them at a surface level.
21 |
22 | 你是否有时觉得你的线性叙事缺少一点东西？当你的角色彼此交谈时，你是否希望他们能同时说两件事？我们通常将电子游戏故事看作是线性的或非线性的，但实际上两者之间存在一个光谱！
23 |
24 | Nessa Cannon（自由职业者，星际卡车手，内寄生虫，OnlyCans，锯齿骨）将教会你如何在游戏对话中添加一些小支线，使其无缝连接到线性故事中，以表达不同的情感节奏，塑造玩家对角色的定义感，并帮助玩家真正与你的主题产生连接，而不仅仅是表面上看到它们。
25 |
26 | ## Game Narrative Summit: Build-A-Bae Workshop: Crafting Creative Love Interests
27 |
28 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-build-a-bae-workshop-crafting-creative-love-interests/901837
29 |
30 | 作者：Adanna Nedd (Games Writer and Narrative Designer, Independent)
31 |
32 | Love interests - whether they are flirty vampires, depressed elves, or struggling novelists - are as varied as the games that they are in. Where do you start when creating them? What is a love interest? How do you create one that fits your game and will be enjoyable to players? Games Writer and Narrative Designer Adanna Nedd has written and developed love interests for two years. In this talk, she will discuss the ins and outs of love interests - what they are, who they are, and how they can enhance the game's experience! She will also discuss how she crafted love interests for Spirit Swap and Kiss U and the challenges and constraints that she faced.
33 |
34 | 爱情兴趣角色 - 无论是轻浪漫的吸血鬼、忧郁的精灵还是奋斗的小说家 - 和她们出现在的游戏一样多种多样。在创建她们时应该从何着手？何为爱情兴趣角色？如何打造一个符合你的游戏并且能给玩家带来乐趣的角色？游戏作家兼叙事设计师Adanna Nedd已经撰写和开发了两年的爱情兴趣角色。在这次讲座中，她将探讨爱情兴趣角色的方方面面 - 它们究竟是什么，她们是谁，以及如何增强游戏体验！她还将讨论她是如何为《灵魂互换》和《Kiss U》创作爱情兴趣角色的，以及她所面临的挑战和限制。
35 |
36 | ## Game Narrative Summit: Casting Light on the Black Box
37 |
38 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-casting-light-on-the-black-box/902002
39 |
40 | 作者：Phillipe Bosher (Actor and Director, Independent)、Jolie Menzel (Senior Game Designer, Night School: A Netflix Game Studio)
41 |
42 | Actors spend a lifetime perfecting their craft - but they only spend a small fraction of that time with your game. Much of the success of a performance across mechanics, story, multiple languages and beyond depends not only on expert direction; but, also, key details about the game’s creative vision. Actor/director Phillipe Bosher and veteran designer Jolie Menzel have worked with dozens of performers on indie to AAA games and will share how they crack open the ‘black box’ so that talented actors deliver brilliant performances. In addition, they will share how teams can capture and deliver these details in a development pipeline that serves both the narrative team and the actors who perform the dialogue.
43 |
44 | 演员们花费一生来完善他们的技艺 - 但他们只会花很少一部分时间在您的游戏中。表现的成功很大程度取决于专业的指导，以及关于游戏创意愿景的关键细节，跨越机械性、故事、多种语言等方面。演员/导演菲利普·波什和资深设计师乔丽·门泽曾与数十位表演者合作，参与从独立游戏到AAA游戏的制作，他们将分享如何揭开游戏中的"黑匣子"，以便才华横溢的演员能够呈现出优秀的表演。此外，他们还将分享团队如何能够捕捉和传递这些细节，在一个既能满足叙事团队又能服务表演对话的演员的开发流程中。
45 |
46 | ## Game Narrative Summit: Cinematics and Interactivity in 'Cyberpunk 2077': Two Sides of the Same Coin?
47 |
48 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-cinematics-and-interactivity-in-cyberpunk-2077-two-sides-of-the-same-coin/902206
49 |
50 | 作者：Kajetan Kasprowicz (Cinematic Designer, CD PROJEKT RED)
51 |
52 | Cyberpunk 2077 and its expansion Phantom Liberty have an immersive approach to cinematics never before seen in a triple-A RPG title. Told from the perspective of the Cinematic team, this talk will take you through the process of designing scenes for the expansion, focusing on open-world gigs, and the specific challenges that the design paradigms presented.
53 |
54 | 《赛博朋克2077》及其扩展包《幻影自由》以前所未有的方式在三A级RPG游戏中实现了身临其境的影像效果。本次讲话将从影像团队的角度出发，带领大家了解为扩展包设计场景的过程，重点是开放世界任务和设计范式带来的具体挑战。 (Cinematics，RPG)
55 |
56 | ## Game Narrative Summit: Comics to Games: Great Adaptations
57 |
58 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-comics-to-games-great-adaptations/900780
59 |
60 | 作者：Jill Murray (Creative Director, Discoglobe Interactive)、Evan Narcisse (Senior Writer, Brass Lion Entertainment)、Kim Belair (CEO, Sweet Baby Inc)、Son M. (Creative Director, Narrative Designer, Perfect Garbage Studios)、Mike Rogers (Creative Director, Franchise, Skybound Entertainment)
61 |
62 | Action-oriented, visual, collaborative, and multi-disciplinary, comics and games are natural allies, and adaptations of comic book IPs into video games multiply every year.
63 |
64 |
65 | In 5 bite-size, nutritious microtalks, a panel of pros from both disciplines gather to share practical tips and knowledge to inspire, and inform game devs of all stripes about:
66 |
67 |
68 | Adapting a comic book IP into a game, from conception to release.
69 |
70 | "The canon" and how to approach it-- especially when dealing with marginalized characters whose portrayal must evolve even while the "rules" don't.
71 |
72 | What publishers and licensors need from story teams, and what makes the best IP collaborations work
73 |
74 | Techniques comics can lend to making better games
75 |
76 | How to build indie game stories from the ground up, so they have the potential to be adapted into other forms
77 |
78 | 以行动为导向、视觉化、协作性强、跨学科性的特点，漫画和游戏是天然的盟友，每年都有更多漫画IP被改编成视频游戏。
79 |
80 | 在 5 个简洁且有营养的微讲中，来自两个领域的专家团队将分享实用的建议和知识，以启发和告知各类游戏开发者，内容涉及：
81 |
82 | 从概念到发布，将漫画IP改编成游戏的过程。
83 |
84 | "正典"及如何处理它——特别是在处理被边缘化角色时，即使"规则"没有变化，他们的形象必须发展。
85 |
86 | 出版商和许可方需要故事团队做什么，以及什么让最佳IP合作生效。
87 |
88 | 漫画可以提供给游戏制作的技巧。
89 |
90 | 如何从零开始构建独立游戏故事，使其有潜力被改编成其他形式。
91 |
92 | ## Game Narrative Summit: Cooking with Chemistry: Recipes for Attraction in Narrative Design
93 |
94 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-cooking-with-chemistry-recipes-for-attraction-in-narrative-design/901735
95 |
96 | 作者：Michelle Clough (Game Writer / Narrative Designer, Talespinners)
97 |
98 | In real life, true love (or lust) does not only happen during a handful of pre-scripted story beats and conversations, but in a hundred shared moments that build affection and attraction. So it can be with game romance, mechanics, and narrative design! Expanding on 2022's talk on "kindness coins," "chemistry card towers," and "chemistry casinos," this session digs into the building blocks of those dynamics and discusses how to use them in crafting unique and compelling chemistry between characters, not just in terms of writing but in moment-to-moment gameplay. We'll look at how both cutscenes and game mechanics can express or build character-specific attraction and interest, and seek out nuanced alternatives to the "approval = attraction" dynamic. From come-hither character cosmetics to deckbuilding for desire, from eye contact to body contact, let's talk about how narrative design can add a little steam and sweetness to game sex and romance!
99 |
100 | 在现实生活中，真爱（或欲望）并不仅限于在少数预设的故事情节和对话中发生，而是在建立感情和吸引力的无数共享时刻中产生。游戏中的浪漫、机制和叙事设计也可以如此！延续2022年有关"善意硬币"、"化学卡牌塔"和"化学赌场"的讨论，本场次将探讨这些动态的基本构成部分，并讨论如何在创作角色之间独特且引人入胜的化学反应方面运用它们，不仅仅是在书写上，还包括在每一刻的游戏玩法中。我们将探讨剧情过场和游戏机制如何表达或建立特定角色的吸引力和兴趣，寻找"认可=吸引力"动态的微妙替代方案。从性感的角色装扮到为欲望构建卡组，从眼神交流到身体接触，让我们讨论叙事设计如何为游戏的性爱和浪漫增添一点火辣和甜蜜！
101 |
102 | ## Game Narrative Summit: Creating Diverse Characters: Writing What you Know and Don't
103 |
104 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-creating-diverse-characters-writing-what-you-know-and-dont/901734
105 |
106 | 作者：Christal Rose Hazelton (Writer, Respawn Entertainment)、Jaclyn Seto (Writer, Respawn Entertainment)
107 |
108 | This lecture looks at character story and representation as a spectrum with two ends: writing a storyline that directly addresses an aspect of a character's identity and having a character who merely is an identity, and how to navigate writing for both as well as the world they inhabit. Examples are provided and terms are defined. The lecture also covers different methods of support (consultants, reader groups, etc.) one can look to in order to ensure representation is done respectfully and authentically, and the successes and pain-points of writing to one's own identity. There is a question/answer portion.
109 |
110 | 这个讲座将角色故事和表现视为一个光谱，两端分别是直接涉及角色身份某个方面的故事情节创作，以及将角色塑造为一种身份的情形。讲座探讨了如何同时为两者以及他们所处的世界进行创作。讲座提供了示例并定义了相关术语。内容还涵盖了不同支持方法（顾问、读者群等），以确保描绘的形象在文学作品中得到尊重和真实呈现，同时还讨论了针对个人身份进行创作的成功和痛点。讲座还包含了问答环节。
111 |
112 | ## Game Narrative Summit: Effective Feedback for Game Writers, Narrative Designers, and Collaborators, Part 2
113 |
114 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-effective-feedback-for-game-writers-narrative-designers-and-collaborators-part-2/901500
115 |
116 | 作者：Alexa Ray Corriea (Senior Narrative Designer, Cliffhanger Games)、Lis Moberly (Senior Narrative Designer, Independent)
117 |
118 | Meaningful and effective feedback is necessary for any team-based project and high levels of interdisciplinary collaboration is required to achieve it. Yet we often meet with road bumps as different departments struggle to communicate their needs, expertise, and possible solutions. Narrative often experiences friction in this process, much to the frustration of themselves and those who work with them.
119 |
120 |
121 | This session will discuss common problems in giving and receiving feedback between narrative and other departments, and how to prevent and remedy those problems. We will discuss why feedback breaks down between departments, particularly in relation to narrative. We will cover scholarly and industry research surrounding interdisciplinary collaboration, and show how approaching feedback with a different perspective is vital to improving this relationship.
122 |
123 |
124 | The intended results of improving interdisciplinary collaboration and feedback are:
125 |
126 |
127 | A faster, more creative iteration process
128 |
129 | Increased trust and collaboration between departments
130 |
131 | Healthier teams across leadership and staff
132 |
133 | 有意义和有效的反馈对于任何基于团队的项目都是必要的，要实现这一点需要高水平的跨学科合作。然而，我们经常遇到障碍，因为不同部门在沟通他们的需求、专业知识和可能的解决方案时会出现困难。叙事往往在这个过程中经历摩擦，这让他们自己和与他们合作的人感到沮丧。
134 |
135 | 这个环节将讨论叙事部门与其他部门之间给予和接受反馈常见问题，以及如何预防和解决这些问题。我们将讨论为什么反馈在部门之间会出现问题，特别是与叙事相关的部门。我们将涵盖围绕跨学科协作的学术和行业研究，并展示用不同视角处理反馈对于改善这种关系至关重要。
136 |
137 | 提高跨学科协作和反馈的预期成果包括：
138 |
139 | - 更快，更有创造力的迭代过程
140 | - 部门之间增加信任和合作
141 | - 在领导和员工之间形成更健康的团队
142 |
143 | ## Game Narrative Summit: How Interactive Should My Game Story Be?
144 |
145 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-how-interactive-should-my-game-story-be/901766
146 |
147 | 作者：Richard Rouse III (Studio Creative Director, FarBridge)
148 |
149 | People play games for their interactivity, but we as game writers may struggle with making our stories interactive too. How do we take a writing craft honed on linear stories for hundreds of years and make it interactive? Some argue this is essential to making a great game story, while others say that it is a distraction and even a hindrance from placing players a great tale. This talk argues that it all depends on the project. We will survey different types of interactivity in game stories and across different game genres, with an analysis of the costs and benefits and pitfalls of each. Then we'll provide the audience with tools to analyze their own games to see what sort of story would help them land on just the right amount of interactivity.
150 |
151 | 人们玩游戏是为了互动性，但作为游戏编剧，我们可能会在让故事也变得互动方面遇到困难。我们该如何将几百年来专注于线性故事的写作技艺变得互动起来呢？有人认为这对于打造一个出色的游戏故事至关重要，而另一些人则认为这是一种分散注意力甚至妨碍玩家体验一个精彩故事的因素。本讲话论述了这一切取决于项目。我们将调查游戏故事中不同类型的互动性以及跨不同游戏类型，分析每种互动方式的成本、收益和潜在风险。然后，我们将为观众提供工具，帮助他们分析自己的游戏，看看怎样的故事类型能帮助他们实现恰到好处的互动性水平。
152 |
153 | ## Game Narrative Summit: Is. Sequel. Possible?: The Making of 'OXENFREE II: Lost Signals'
154 |
155 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-is-sequel-possible-the-making-of-oxenfree-ii-lost-signals/901889
156 |
157 | 作者：Bryant Cannon (OXENFREE II Game Director, Night School Studio)、Adam Douglas (Senior Writer, Night School Studio)
158 |
159 | OXENFREE II: Lost Signals released in July 2023, expands the world of the mind-bending original, OXENFREE. As a breakthrough hit in 2016, the original quickly became beloved and played by millions of players. But with a game set in a time-looping, multiverse-style universe with powerful themes of loss and defining yourself: how do you create a sequel that is more than just a continuation of the story? Game director Bryant Cannon and senior writer Adam Esquenazi Douglas will break down the key challenges of creating a new, refreshing narrative game experience for OXENFREE fans and newcomers alike.
160 |
161 | 《OXENFREE II: Lost Signals》于2023年7月发布，扩展了令人惊叹的原作《OXENFREE》的世界。作为2016年的一大突破，原作很快就被无数玩家所喜爱并玩过。但是在一个设定在时间循环、多元宇宙风格的宇宙中，包含着强烈的失落和自我定义主题的游戏里，你如何创作一个不仅仅是故事延续的续作呢？游戏导演布莱恩特·坎农（Bryant Cannon）和高级编剧亚当·埃斯奎纳西·道格拉斯（Adam Esquenazi Douglas）将分解制作一个新的、令人耳目一新的叙事游戏体验所面临的关键挑战，以满足《OXENFREE》的老玩家以及新玩家们的期待。
162 |
163 | ## Game Narrative Summit: It's All in the Ending: Storytelling and Design Strategies in 'Jedi: Survivor'
164 |
165 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-its-all-in-the-ending-storytelling-and-design-strategies-in-jedi-survivor/901608
166 |
167 | 作者：Daniel Homan (Lead Writer - Jedi Survivor, Respawn Entertainment)、Patrick Wren (Senior Encounter Designer, Respawn Entertainment)
168 |
169 | While a good story can pull you through a game like no other, game writers have a lot of other responsibilities that are crucial to player experience. Contextualizing new mechanics to make a player's actions more impactful. Introducing player fantasies to keep players invested until the game's end. And if your players make it through to the end, how do you honor their investment in the game's characters and world after the credits have rolled? Using the final hours of Star Wars Jedi - Survivor, lead writer Danny Homan and Senior Encounter Designer Patrick Wren examine the importance of contextualizing mechanics, introducing new player fantasies, and engaging players through end-game content.
170 |
171 | 在游戏中，一个好故事可以让你沉浸其中，而游戏编剧还有许多其他责任至关重要，关乎玩家体验。将新机制置于合适背景中，使玩家行为更有影响力。引入玩家幻想，保持他们投入直至游戏结束。当玩家闯关至终局，如何尊重他们对游戏角色和世界的投入，让玩家在游戏结束后仍然感到满足？在《星球大战：绝地生还者》的最后几小时中，首席编剧丹尼·霍曼（Danny Homan）以及高级遭遇设计师帕特里克·雷恩（Patrick Wren）探讨了将机制置于合适背景中、引入新玩家幻想，并通过游戏末期内容与玩家互动的重要性。
172 |
173 | ## Game Narrative Summit: It's Not in the Writer's Manual: A Q&A Session for New Writers
174 |
175 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-its-not-in-the-writers-manual-a-qa-session-for-new-writers/902060
176 |
177 | 作者：Toiya Kristen Finley (Game/Narrative Designer and Consultant, Schnoodle Media, LLC)、Emily Short (-)、Nessa Cannon (Narrative Designer, Freelance)、Adanna Nedd (Games Writer and Narrative Designer, Independent)、Evan Narcisse (Senior Writer, Brass Lion Entertainment)、Michelle Clough (-)
178 |
179 | 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"? 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.
180 |
181 | 新手作家如何融入游戏设计和叙事设计团队？来自电影和漫画领域的作家是否比散文作家更容易找到工作机会？做自由职业者还是员工更容易？你是否具备在这个行业当作家所需的技能？如何判断自己是否已经‘成功’？特别是对于经验较少的个人和那些希望进入这个领域的人，本次讨论鼓励参与者向资深作家和叙事设计师提出没有确定答案的问题。鼓励一切与作家合作的人参加。无论是寻找合适的工作、领导作家并改善团队动态，还是制定收费标准，有关游戏写作业务的任何问题都将得到讨论。
182 |
183 | ## Game Narrative Summit: The Playable Series: Writing Seasonal Narratives for Live Games
184 |
185 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-the-playable-series-writing-seasonal-narratives-for-live-games/900544
186 |
187 | 作者：Valentina Tamer (Senior Narrative Designer, Ubisoft Paris Mobile)
188 |
189 | Live games have the ambition to go on for as long as they remain profitable. This means that any narrative needs to be written in a way that could potentially go on forever, too. Videogames aren't the first medium to try this, and specifically television shows can serve as means to understand how to pull it off. But due to their interactive nature, games have narrative potential and tools that are entirely unique to the medium, such as non-linear narrative, emergent storytelling, time-limited events, and using narrative design to convey a story beyond plot. This talk will dive into the manifold narrative opportunities of live games, how to structure seasonal plot with inspiration from TV shows, and how to keep a long-running story interesting for many years to come.
190 |
191 | 现场游戏（Live games）的雄心壮志是在它们保持盈利的同时继续进行。这意味着任何叙事都需要以可能永无止境的方式来书写。视频游戏并非第一个尝试这种方式的媒体，特别是电视节目可作为了解如何实现这一目标的手段。但由于游戏互动性的特质，游戏具备叙事潜力和工具，这些工具完全独特于该媒介，比如非线性叙事、新生性叙事、时限事件，以及使用叙事设计来传达超越情节的故事。本次演讲将深入探讨现场游戏的多重叙事机会，如何借鉴电视节目的灵感来构建季节性情节，并如何使长期运行的故事在未来多年仍然能保持趣味。
192 |
193 | ## Game Narrative Summit: Writing A Story Treatment ('Stranger Things' Style)
194 |
195 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-writing-a-story-treatment-stranger-things-style/900440
196 |
197 | 作者：Joe Morrissey (Narrative Director, Believer)
198 |
199 | How do you introduce your game world to others on your team? Is there a good method for onboarding people into your narrative while also focusing on writing what matters for the game? When the Duffer Brothers were concepting the Stranger Things TV show, they built a Story Treatment of their world, characters, and narrative. This treatment is short, powerful, and visually interesting for anyone who comes across it. The session covers building a similar story treatment for your game.This talk dissects their story treatment in great detail and how it can apply to early narrative development for games. The goal is to create an easy to read, concise document that speaks directly to other developers and potential partners looking to be informed, inspired, able to take action in their core disciplines.
200 |
201 | 你是如何向团队中的其他人介绍你的游戏世界的？有没有一种很好的方法可以帮助新人融入叙事，同时专注于编写对游戏至关重要的内容？当达弗兄弟构思《怪奇物语》电视剧时，他们建立了一个关于他们的世界、角色和叙事的故事处理方案。这个处理方案简短、有力，对任何看到它的人都具有视觉上的吸引力。本次讲座涵盖了如何为你的游戏建立类似的故事处理方案。本次讲座将详细解析他们的故事处理方案，以及如何将其应用于游戏的早期叙事开发。其目标是创建一份易于阅读、简洁明了的文件，直接与其他开发人员和潜在合作伙伴沟通，让其获得启发，能够在自己的核心领域采取行动。
202 |
203 | ## Game Narrative Summit: Writing Cyberpunk without Cyborgs, Gun, Cops, or Cyborg Gun Cops
204 |
205 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-writing-cyberpunk-without-cyborgs-gun-cops-or-cyborg-gun-cops/901410
206 |
207 | 作者：Thomas Welsh (Narrative Director, Ion Lands)
208 |
209 | "Wake the f**k up, Samurai! We have… a package to deliver?"
210 |
211 |
212 | Cloudpunk, tells the story of Rania, a woman of color, a refugee and an outsider trying to make her way as a delivery driver in a cyberpunk city filled with flying cars and voxels. In 2020 Cloudpunk was the "other" cyberpunk game. Cloudpunk had a very limited narrative toolkit, but the developers wanted to present a non-violent approach to conflict resolution, even when it seemed easier to just add guns, robots, and robots with guns.
213 |
214 |
215 | This talk will show the design for Cloudpunk, with screenshots, design notes, chat logs and concept art. The talk will focus on the messy and loose writing process, emphasizing the tough choices and disagreements the team had along the way. The speaker will show their limited their narrative toolset, and how they achieved drama, comedy and peril with no on-screen action beyond walking and flying.
216 |
217 | "醒醒吧，武士！我们有...一个包裹要送吗？"
218 |
219 | 《Cloudpunk》讲述了一个有色人种、难民以及局外人的故事，主人公Rania试图在一个充满飞车和像素的赛博朋克城市中谋生，成为一名快递司机。在2020年，《Cloudpunk》是另类赛博朋克游戏。游戏的叙事工具非常有限，但开发者希望呈现一种非暴力的冲突解决方式，即使看似只需添加枪支、机器人和配备枪支的机器人更容易。
220 |
221 | 本次讲座将展示《Cloudpunk》的设计，包括截图、设计说明、聊天记录和概念艺术。讲座将专注于混乱而灵活的写作过程，强调团队在路上遇到的艰难选择和分歧。演讲者将展示他们有限的叙事工具集以及他们如何在屏幕上只有行走和飞行的情况下实现戏剧效果、喜剧和危险。
222 |
223 | ## Level Design Summit: Level and Quest Design Collaboration from 'Skyrim' to 'Starfield'
224 |
225 | 链接：https://schedule.gdconf.com/session/level-design-summit-level-and-quest-design-collaboration-from-skyrim-to-starfield/902749
226 |
227 | 作者：Will Shen (Lead Content Designer, Something Wicked Games)、Daryl Brigner (World Director, Soft Rains)
228 |
229 | Open world games and roleplaying games present iteration and communication challenges to design teams that are increasingly specialized. Daryl Brigner and Will Shen discuss their time collaborating on Skyrim, Fallout 4, Fallout 4: Far Harbor, Fallout 76, and Starfield. Learn how Level and Quest/Narrative Design teams can work together to create memorable experiences. We'll be discussing the power of being able to "flex" outside designated roles, how formal processes can inhibit this flexing, how to deal with department silos and territory disputes, and how to handle scaling problems as your team grows.
230 |
231 | 开放世界游戏（Open world games）和角色扮演游戏（roleplaying games）给设计团队带来了越来越专业化的迭代和沟通挑战。达里尔·布里格纳（Daryl Brigner）和威尔·沈（Will Shen）讨论了他们在《上古卷轴5：天际》（Skyrim）、《辐射4》（Fallout 4）、《辐射4：远港》（Fallout 4: Far Harbor）、《辐射76》（Fallout 76）和《星田地》（Starfield）上的合作经历。了解水平设计团队和任务/叙事设计团队如何共同努力创造令人难忘的体验。我们将讨论有能力在指定角色之外“灵活”运作的能力，正式流程如何阻碍这种灵活性，如何处理部门隔离和领土纠纷，以及如何在团队扩大规模时处理扩展问题。
232 |
233 | ## Storytelling Fundamentals Workshop
234 |
235 | 链接：https://schedule.gdconf.com/session/storytelling-fundamentals-workshop/903048
236 |
237 | 作者：Evan Skolnick (Game Writer and Narrative Designer, Independent)
238 |
239 | 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 perennial workshop (a broad mix of designers, artists, engineers, producers, and writers) have called it "engaging", "informative", and "absolutely amazing."
240 |
241 | 这个动态而引人入胜的关于故事发展基础的演讲，旨在帮助所有对提高游戏叙事质量感兴趣的人。由漫威和Telltale的资深编剧Evan Skolnick主持，这个全面的教程涵盖了叙事结构、生动角色发展、叙事最佳实践等内容。几乎开发团队的每个成员最终都会对游戏叙事的实施做出贡献，因此，每个成员在某种程度上都成为了一个讲故事者。但是，如果没有所有团队成员都能说出的共同故事语言，那么一个毫无焦点的叙事结果几乎是不可避免的。这个课程旨在提供这种共同的参照框架，以便团队中的每个人都在同一个方向推动游戏故事的发展。之前参加过这个长期工作坊（其中包括设计师、艺术家、工程师、制作人和作家等）的与会者称其为“引人入胜”、“信息量大”和“绝对惊艳”。
242 |
243 |
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1 | ## Independent Games Summit: 'Atuel': How We Made a Surrealist Documentary Videogame
2 |
3 | 链接：https://schedule.gdconf.com/session/independent-games-summit-atuel-how-we-made-a-surrealist-documentary-videogame/901843
4 |
5 | 作者：Pablo Quarta (Narrative Designer and Producer, Matajuegos)
6 |
7 | Atuel is a surrealist documentary videogame about a river that flows across Argentina's Cuyo Desert and how the global climate crisis is threatening its historical ecosystem. Created in collaboration with a team of documentarians, featuring real-world interviews with experts, and focusing on dreamlike portrayals of native species and iconic topography, Atuel is a poetic and meditative game that has gone on to win IndieCade's "Innovation in Experience Design Award" and has been exhibited at documentary festivals, art exhibits, and design museums across the world.
8 |
9 |
10 | Matajuegos, the game workers' co-op behind the development of Atuel, break down the game's production process, dig into their approach to the documentary genre, and explain the art and design philosophies that made such a hyperlocal Latin American story stand out globally.
11 |
12 | Atuel 是一款关于阿根廷库约沙漠中一条流过的河流的超现实主义纪录片视频游戏，探讨全球气候危机对其历史生态系统的威胁。与一支纪录片团队合作打造，采访了真实世界的专家，侧重展现了梦幻般的原生物种和标志性地形，Atuel 是一款富有诗意和沉思的游戏，赢得了IndieCade的“体验设计创新奖”，并在世界各地的纪录片节、艺术展览和设计博物馆展出。
13 |
14 | Matajuegos，Atuel 开发背后的游戏工作者合作社，解析了游戏的制作过程，深入探讨了他们对纪录片类型的处理方式，并解释了使这样一个高度本土化的拉丁美洲故事在全球脱颖而出的艺术和设计哲学。
15 |
16 | ## Independent Games Summit: 'Bunburrows': How to break out of the Puzzle Niche
17 |
18 | 链接：https://schedule.gdconf.com/session/independent-games-summit-bunburrows-how-to-break-out-of-the-puzzle-niche/901563
19 |
20 | 作者：Lenophie Leuliet (Game Designer, Bunstack)
21 |
22 | Lots of young indie game devs daydream about making puzzle games despite it being one of the least popular genre among gamers. Let's make that puzzle game actually profitable! This talk covers ways to turn your puzzle game into a gem and reach audiences outside the puzzle niche from a joint design and marketing perspective: From improving the game's overall presentation to correctly teasing its most hidden (and exciting!) mechanics, this talk also tackles ways to facilitate content creators' job of showcasing your puzzle game, a genre most usually avoid. This talk will delve into examples from Pâquerette Down the Bunburrows as well as tricks used by other successful puzzle games such Baba is You, The Witness or Viewfinder.
23 |
24 | 许多年轻的独立游戏开发者都幻想制作益智游戏，尽管这是玩家中最不受欢迎的游戏类型之一。让我们确保那款益智游戏真的能够盈利！这次讲座将从联合设计和营销的角度讨论如何将您的益智游戏打造成一款珍品，并吸引到益智游戏以外的受众：从提升游戏整体呈现到正确揭示其最隐藏（和令人兴奋的！）机制，这次讲座还会探讨如何简化内容创作者展示您的益智游戏，这是大多数人通常回避的一类游戏。本次讲座将深入探讨《帕奎丽特穿越邦伯罗斯》以及其他成功益智游戏如《Baba is You》、《见证者》或《视窗者》所使用的技巧。
25 |
26 | ## Independent Games Summit: 'Saturnalia' Postmortem
27 |
28 | 链接：https://schedule.gdconf.com/session/independent-games-summit-saturnalia-postmortem/901142
29 |
30 | 作者：Pietro Righi Riva (Studio Director, Santa Ragione)
31 |
32 | In this talk, the game director of third person survival horror Saturnalia tells the story of its overly ambitious and troubled six-year development, outlining the radical changes in scope, design and looks that allowed the team to fund the game and eventually ship it.
33 |
34 |
35 | A rendering style change inspired by a tweet, a mid-development shift from first to third-person, three years of pitching to more than ninety publishers, and the design challenges of a multi-character proc-narrative rogue-lite exploration-driven title inspired by the folklore of Sardinia, Italy. In short, the ups and downs of making a game that was a grand prize finalist at IndieCade and A MAZE, and an IGF Seumas McNally Grand Prize Honorable Mention.
36 |
37 | 在这个讲话中，第三人称生存恐怖游戏《Saturnalia》的游戏总监讲述了其六年的过度雄心勃勃且饱受困扰的开发历程，概述了在范围、设计和外观上进行的彻底改变，使团队能够筹集资金开发游戏并最终发布。
38 |
39 | 受推特启发而进行的渲染风格改变，从第一人称到第三人称的中期开发变化，持续三年向九十多家发行商推销的经历，以及从意大利撒丁岛民间传说灵感而来的多角色进程故事魔幻风格探险游戏的设计挑战。简而言之，游戏制作的起起落落，成为IndieCade和A MAZE大奖决赛入围者，以及IGF Seumas McNally大奖荣誉提名游戏。
40 |
41 | ## Independent Games Summit: 'Valheim': Vikings, Roadmaps & Buying a Horse During Early Access
42 |
43 | 链接：https://schedule.gdconf.com/session/independent-games-summit-valheim-vikings-roadmaps-buying-a-horse-during-early-access/901757
44 |
45 | 作者：Jonathan Smårs (Lead Engineer and Designer on Valheim, Iron Gate Studio)
46 |
47 | Valheim is a viking survival game that went viral when it was released on Early Access in 2021 reaching a million units in the first month and reaching 10 million in 6 months and has since then been released on xbox game pass.
48 |
49 |
50 | Jonathan is working as the lead engineer and game designer on Valheim. In this talk he will share insight into the Valheim development journey so far through a patch-by-patch breakdown and managing player expectations spanning multiple years of development during early access and lessons learned along the way, both internal and external challenges that have emerged, and oh - and they bought a horse.
51 |
52 |
53 | He will also cover how they hope to leave early access in the best possible way so that Valheim can be remembered as an example of early access done right and be a game that can be played for many years to come.
54 |
55 | 《瓦尔海姆》是一款北欧维京人生存游戏，2021年在抢先体验版发布后迅速走红，第一个月销量达到一百万份，在六个月时达到一千万份，并于后来登陆Xbox Game Pass。乔纳森是《瓦尔海姆》的首席工程师和游戏设计师。在本次讲话中，他将透过分阶段的补丁分析和管理玩家期望，分享《瓦尔海姆》迄今为止的开发历程，跨越了多年的抢先体验开发以及经验教训，包括内外部出现的挑战，噢，他们还买了匹马。
56 | 他还将讨论他们希望以最好的方式退出抢先体验，使《瓦尔海姆》能够被记住为一个成功的抢先体验示范，并成为一个可以玩很多年的游戏。
57 |
58 | ## Independent Games Summit: 'Venba': An Intimate Journey Through Sound
59 |
60 | 链接：https://schedule.gdconf.com/session/independent-games-summit-venba-an-intimate-journey-through-sound/901387
61 |
62 | 作者：Neha Patel (Composer/Sound Designer, Independent)
63 |
64 | The sound of Venba was aimed with one thought in mind: ''Hear the sounds of my Indian home''. Neha's motto for creating the soundscape for the game was that it had to be authentic to the culture the game represents. This meant understanding the history, the culture, and of course the cooking methods. Neha will explain the recording process for the variety of foods, using the appropriate kitchenware and being aware of how to best represent the subtilties that are part of everyday life in a South Asian household. A variety of videos demonstrating the recording process as well as their in-game usage will be demonstrated.
65 |
66 | Venba 的音效创作以一个念头为目标：''聆听我印度家园的声音''。 Neha 创作游戏音效的座右铭是，音效必须忠实于游戏所代表的文化。这意味着理解历史、文化，当然还有烹饪方法。 Neha 将会解释各种食物的录制过程，使用适当的厨具，并且要了解如何最好地展现南亚家庭日常生活中的细微差别。将展示一系列视频，演示录制过程以及它们在游戏中的应用。
67 |
68 | ## Independent Games Summit: A Case for Making Your Own Engine
69 |
70 | 链接：https://schedule.gdconf.com/session/independent-games-summit-a-case-for-making-your-own-engine/901862
71 |
72 | 作者：Rez Graham (Creative / Technical Director, Independent)
73 |
74 | There are a nearly endless set of engines to choose from out from massive AAA behemoths like Unreal to much smaller engines like Godot or even RenPy. Each of these engines offers a starting point, but they all come at a cost. Some of that cost is financial, but much of the cost is in the form of constraints on the game design or even the technical feasibility of a project. The alternative is to build an engine from scratch, which is often seen as completely untenable.
75 |
76 |
77 | This session will discuss when and why one might consider building their own game engine. It will walk through the various considerations and break down the cost/benefit analysis. Attendees will gain a value insight into what it would really take to build something simple and usable.
78 |
79 | 在游戏开发领域可以选择的引擎几乎无穷无尽，从庞大的 AAA 级引擎如虚幻引擎到更小型的引擎如 Godot 或者 RenPy。每个引擎都提供了一个起点，但它们都是有代价的。其中一部分成本是财务成本，但更多的成本体现在对游戏设计的限制，甚至对项目技术可行性的约束上。另一种选择是从零开始构建一个引擎，但这通常被认为是完全不可行的。
80 |
81 | 这个讨论会探讨在何时以及为什么应考虑构建自己的游戏引擎。它将详细讨论各种考虑因素，并分析成本/收益关系。与会者将深入了解构建一个简单可用的引擎实际需要付出的努力。
82 |
83 | ## Independent Games Summit: A Decade Unveiled: The Brazilian Indie Game Scene's Transformative Journey
84 |
85 | 链接：https://schedule.gdconf.com/session/independent-games-summit-a-decade-unveiled-the-brazilian-indie-game-scenes-transformative-journey/901445
86 |
87 | 作者：Arthur Protasio (Founder & CEO, Fableware)、Bruno Campagnolo de Paula (Course Coordinator, PUC-PR)、Ana Ribeiro (Game Director, Arvore Immersive Experiences)、Thais Weiller (Game Designer and Producer, JoyMasher)、Sandro Manfredini (Business Development Director, Epic Games)
88 |
89 | Five diverse game devs come together to share their stories and how they all originated from the same ecosystem: the Brazilian Indie Scene.
90 |
91 |
92 | Over the past 10 years, Brazil has seen nearly a tenfold increase in the number of game development companies. From 133 incorporated studios, there are now over 1000, with an estimated 10,000 workers in the industry. We revealed this budding indie game industry back at a GDC talk in 2014 and, now, we have come full circle, with an understanding of the reasons why the Brazilian community has experienced this growth. It's been driven by the strength of regional developer communities as well as individual actions that have infused regional DNA into various globally successful games.
93 |
94 |
95 | Game developers from titles like Horizon Chase, Pixel Rift, Blazing Chrome, and Sword Legacy: Omen will discuss how they learned to deal with this scenario and came out victorious from it. They'll explain how certain definitions of success don't translate equally across the world, highlight diverse cultural, economic, social landscapes that shaped individual achievements, and inspire you to do the same.
96 |
97 | 五位不同背景的游戏开发者聚在一起分享他们的故事，以及他们是如何源于同一个生态系统：巴西独立游戏圈。
98 |
99 |
100 | 在过去的10年里，巴西的游戏开发公司数量几乎增长了十倍。从133家注册工作室，现在已经超过1000家，该行业估计有1万名员工。我们在2014年的GDC演讲中揭示了这个新兴的独立游戏行业，现在，我们已经全面了解了巴西社区为何会经历这种增长。这种增长受到了地区开发者社区的力量驱动，以及注入地区DNA到各种在全球取得成功的游戏中的个人行动。
101 |
102 |
103 | 来自《地平线追逐》、《像素裂缝》、《烈焰铬合金》和《剑之传承：厄运》等游戏开发者将讨论他们是如何学会应对这种情况，并从中成功脱颖而出的。他们将解释成功的某些定义在世界各地并不一致，突出多样化的文化、经济、社会景观如何塑造了个人成就，并激励你做同样的事情。
104 |
105 | ## Independent Games Summit: CSharpify your Engine: A Guide to Embedding C#
106 |
107 | 链接：https://schedule.gdconf.com/session/independent-games-summit-csharpify-your-engine-a-guide-to-embedding-c/902164
108 |
109 | 作者：Andreia Gaita (CEO, Principal Tech Lead, Spoiled Cat)
110 |
111 | C# is a very popular language, and there are a lot of C# developers out there. There is a constant desire for these C# skills to be transferable across game engines, and this is especially true given the recent events surrounding Unity, and the increasing popularity of alternative engines targeting the indie dev market.
112 |
113 |
114 | But how transferable are C# skills from engine to engine? How do you evaluate the viability of the C# support on an engine you don't know? AOT, JIT, Mono, what are all of these words? You want to embed C# in your engine, how do you do that?
115 |
116 |
117 | This talk will cover what you need to know about C# and the .NET ecosystem in the games industry, clarifying the jargon, going over existing engine support, explaining platform constraints, portability, and providing pratical examples of how to embed C# in a game engine, as well as relevant online resources.
118 |
119 | C# 是一种非常流行的编程语言，世界上有很多C#开发人员。人们一直希望这些C#技能可以在不同的游戏引擎之间转换，尤其是考虑到围绕Unity发生的最近事件，以及针对独立开发者市场的另类引擎日益增长的受欢迎程度。
120 |
121 | 但是，C#技能在不同引擎之间到底有多容易转换？你如何评估在未知引擎上的C#支持的可行性？AOT、JIT、Mono，所有这些词是什么意思？如果你想要将C#嵌入到你的引擎中，该如何做呢？
122 |
123 | 本次交流将涵盖你在游戏行业中需要了解的有关C#和.NET生态系统的知识，澄清术语，介绍现有引擎的支持情况，解释平台约束，可移植性，并提供如何在游戏引擎中嵌入C#的实际示例，以及相关的在线资源。
124 |
125 | ## Independent Games Summit: Challenging or Approachable? Pick Two
126 |
127 | 链接：https://schedule.gdconf.com/session/independent-games-summit-challenging-or-approachable-pick-two/902332
128 |
129 | 作者：John Austin (Founder, Pontoco)
130 |
131 | You've probably heard this debate before. It's a common belief that challenge and approachability are incompatible – that making a game more challenging inherently makes a game less approachable. And yet, we *can* have both! In fact, many recent indie hits are successful precisely because they thread this needle. In this talk, John Austin will break this problem down on a (not too) theoretical level and build a framework we can use to talk about difficulty in games. In the second half, he will explore concrete strategies and case studies from recent indie games that we can leverage to adjust approachability in our games – without compromising on challenge or the inherent vision of the game.
132 |
133 | 你可能之前听过这场辩论。一种普遍观念认为挑战和易接近性是不相容的 - 认为使游戏更具挑战性会使游戏变得不易接近。但是，我们*可以*两者兼得！事实上，许多最近的独立游戏作品之所以成功，正是因为它们成功地平衡了这一点。在这次讲座中，约翰·奥斯汀将会将这个问题拆解到一个（不太）理论层面，并建立一个框架，让我们能够讨论游戏难度。在后半部分，他将探讨最近独立游戏中的具体策略和案例研究，我们可以借鉴这些内容来调整我们游戏中的易接近性 - 而不会牺牲挑战性或游戏的固有愿景。
134 |
135 | ## Independent Games Summit: Connection Over Purrfection: A 'Calico' Postmortem
136 |
137 | 链接：https://schedule.gdconf.com/session/independent-games-summit-connection-over-purrfection-a-calico-postmortem/901519
138 |
139 | 作者：Kells Tate (CEO, Peachy Keen Games)
140 |
141 | Despite a failed first Kickstarter, a very tiny game budget, a duo making a game for the first time, and a global pandemic, Peachy Keen Games' debut game Calico outsold all expectations and even rose to top 10 best sellers on Switch's store front for a week at launch! But how did that happen? Cozy games are on the rise, but it's getting harder to stand out in the niche. Kells Tate will go over the story of what went into the success of a cozy game, and how to reach players as a small team by prioritizing emotional connection.
142 |
143 | 尽管第一次的Kickstarter众筹失败了，游戏预算很少，一对第一次制作游戏的团队，全球大流行的流感肆虐，但 Peachy Keen Games 的首款游戏《Calico》却超出了所有人的期望，甚至在上市当周登顶了Switch商店的畅销榜前十！但是这是如何发生的呢？舒适类游戏正在兴起，但在这一细分市场脱颖而出越来越困难。Kells Tate 将介绍《Calico》成功背后的故事，以及如何通过优先考虑情感联系来吸引玩家，从而作为一支小团队取得成功。
144 |
145 | ## Independent Games Summit: Critical! Combat Presentation Tools for 'Darkest Dungeon II'
146 |
147 | 链接：https://schedule.gdconf.com/session/independent-games-summit-critical-combat-presentation-tools-for-darkest-dungeon-ii/901432
148 |
149 | 作者：Galen Ryder (Software Engineer, Red Hook Studios)
150 |
151 | Darkest Dungeon cast an intimidatingly large shadow over it's sequel with it's signature presentation style and strong visual identity. Darkest Dungeon II transitioned the series from 2D to 3D with the goal of maintaining the same distinctive visual style and presentation but pushing the bar as high as we could go. This talk will cover, in detail, the approaches, challenges, and trade-offs made in pursuing this goal. In particular, the challenge of achieving a robust presentation pipeline as one programmer with many artists to support.
152 |
153 |
154 | Discover how the visual communication of features was gravely important for keeping everyone on the same page. How rapid previsualization influenced the way tools were built for sequencing animations and visual effects. Missteps that caused wasted time and lessons learned.
155 |
156 |
157 | Aspiration unites the hopeful!
158 |
159 | 《最黑暗的地牢》以其独特的呈现风格和强烈的视觉识别覆盖了它的续作，投下了一道庞大的阴影。《最黑暗的地牢II》将系列从2D转变为3D，旨在保持相同独特的视觉风格和呈现方式，同时将标准提高到极致。本次讨论将详细探讨在追求这一目标过程中采取的方法、挑战和权衡。特别是，在一名程序员与众多艺术家共同支持的情况下，实现强大的呈现流程的挑战。
160 |
161 |
162 | 发现视觉传达功能对于让每个人保持一致非常重要。快速预览如何影响了为动画序列和视觉效果构建工具的方式。导致浪费时间的错误和吸取的教训。
163 |
164 |
165 | 志向团结希望！
166 |
167 | ## Independent Games Summit: Cult of the Twitch: How 'Cult of the Lamb' Used Twitch Integration to Reach a Massive Audience
168 |
169 | 链接：https://schedule.gdconf.com/session/independent-games-summit-cult-of-the-twitch-how-cult-of-the-lamb-used-twitch-integration-to-reach-a-massive-audience/901729
170 |
171 | 作者：Harrison Gibbins (Lead Gameplay Developer, Massive Monster)、Thomas Tuts (Founder, Streaming Toolsmith)
172 |
173 | Cult of the Lamb was one of the biggest independent games of 2022, selling over 1 million copies in the first week and reaching over 140 thousand concurrent viewers on Twitch on the day of release. Was Cult of the Lamb having Twitch Integration a major part of its success?
174 |
175 |
176 | Join Cult of the Lamb's Lead Gameplay Developer, Harrison Gibbins and Twitch Integration Developer, Thomas Tuts, as they give an in-depth look at how the integration was designed and developed, the hurdles that were faced as well as an in-depth look at how well Cult of the Lamb performed on Twitch.
177 |
178 | 《羊之教》是2022年最重要的独立游戏之一，在首周售出超过100万份，发布当日在Twitch上同时观看人数达到了14万。《羊之教》之所以取得成功，Twitch整合是否是其中一个重要因素呢？
179 |
180 | 加入《羊之教》主要游戏开发者Harrison Gibbins和Twitch整合开发者Thomas Tuts，他们将深度探讨这一整合的设计与开发过程，所面临的困难，以及《羊之教》在Twitch上表现的深入分析。
181 |
182 | ## Independent Games Summit: Good Enough is Better than Good: A Postmortem of 'Venba'
183 |
184 | 链接：https://schedule.gdconf.com/session/independent-games-summit-good-enough-is-better-than-good-a-postmortem-of-venba/901533
185 |
186 | 作者：Abhi Swami (Creative Director, Visai Games)
187 |
188 | Venba is a pretty different game in it's story, setting and gameplay. As a result the development process for the game was also equally unique and faced a variety of different challenges. Creative Director Abhi will talk about what it was like to take Venba from concept to release, finding funding and an audience while the team worked other full-time jobs for most of it's development. Abhi will also cover the challenges in adapting real world recipes without compromising on cultural authenticity.
189 |
190 | Venba 是一款在故事、背景和玩法上都非常不同的游戏。因此，这款游戏的开发过程也同样独特，并面临着各种不同的挑战。创意总监 Abhi 将会谈论将 Venba 从概念到发布是怎样的经历，他们是如何在团队大部分成员全职工作的情况下寻找资金和观众。Abhi 还将讨论在不影响文化真实性的前提下，如何挑战着将现实世界的食谱融入游戏中。
191 |
192 | ## Independent Games Summit: Growing a Studio in a Post-Indie Industry
193 |
194 | 链接：https://schedule.gdconf.com/session/independent-games-summit-growing-a-studio-in-a-post-indie-industry/901262
195 |
196 | 作者：Joe Mirabello (Founder and Director, Terrible Posture Games)
197 |
198 | So you've released that Indie-Game you've been working on for five years and now you're wondering... what's next? You've refined your pipeline, honed your skills, and spent years building up a great team and studio to work at, but unless you find yourself in a runaway hit situation, it's time to get serious. You're not AAA, but you're no longer a spare-time Indie... you're Post Indie. In this deep dive into a small studios' ten year history, we examine the blurry line between "hobby studio" and "career", between niche products and AAA brands, and between staying scrappy and being professional, all while building a reputation, surviving a bleak landscape, and, above all, being a steward for the livelihoods your team has entrusted to your leadership.
199 |
200 | 你已经发布了那款你花了五年时间开发的独立游戏，现在你可能在思考接下来该做什么了。你已经完善了你的开发流程，磨练了自己的技能，花了数年时间建立了一个优秀的团队和工作室，但除非你的游戏成为了一款十分成功的作品，否则就是时候要认真面对现实了。你并不是AAA游戏，但也不再是一个业余独立开发者... 你是“后独立”了。在这个深入探讨小工作室十年历史的故事中，我们将探讨“业余工作室”和“职业工作室”之间模糊的界限，探究小众产品和AAA品牌之间的差距，以及在保持灵活与专业之间的平衡，一边建立声誉，一边在艰难的行业中生存，最重要的是，如何成为团队生计的守护者，因为他们已经把领导权委托给了你。
201 |
202 | ## Independent Games Summit: How Poetry Can Help Us Make Better Games
203 |
204 | 链接：https://schedule.gdconf.com/session/independent-games-summit-how-poetry-can-help-us-make-better-games/901856
205 |
206 | 作者：Jordan Magnuson (Independent Game Maker, NecessaryGames.com)
207 |
208 | In "Designing for Difficult Topics and Complex Emotions: How Poetry Can Help Us Make Better Games," Jordan Magnuson explores the intersection of lyric poetry and game design. Challenging traditional frameworks, they demonstrate how poetic principles offer fresh insights into crafting meaningful gaming experiences. Drawing on many years of experimental game making experience and insights from their recent book, "Game Poems: Videogame Design as Lyric Practice," they present practical strategies for using poetic devices in games. Using examples from both well-known games as well as their own portfolio, Jordan reveals how embracing lyric poetry can help game designers evoke complex emotions and navigate difficult topics. This talk is ideal for game designers seeking innovative approaches to deepen narrative engagement and emotional resonance in their games.
209 |
210 | 在《'Designing for Difficult Topics and Complex Emotions: How Poetry Can Help Us Make Better Games'》中，Jordan Magnuson 探讨了抒情诗与游戏设计的交汇点。挑战传统框架，他们展示了诗歌原则如何为打造意义深远的游戏体验提供新的见解。凭借多年的实验性游戏制作经验和最近著作《Game Poems: Videogame Design as Lyric Practice》中的见解，他们提出了在游戏中使用诗歌设备的实用策略。通过介绍知名游戏以及他们自己的作品集，Jordan揭示了 embracing lyric poetry 如何帮助游戏设计者唤起复杂情感并应对困难议题。这个讨论对于寻求创新方法深化叙事参与度和情感共鸣的游戏设计师而言非常理想。
211 |
212 | ## Independent Games Summit: How to Make Things "POP" with Audio and Color
213 |
214 | 链接：https://schedule.gdconf.com/session/independent-games-summit-how-to-make-things-pop-with-audio-and-color/902171
215 |
216 | 作者：Inna Hansen (Art Director, Triple Topping)、Martin Kvale (Audio Director, Noknok Audio)
217 |
218 | This lecture takes a dive into the process of color design as part of art in video games and compares it to the process of finding and executing the same effects in audio. It is about finding the feel, direction, storytelling and building associations to make a stronger impact with what the game is trying to do. If you ever wanted to describe what and sound you want to a sound designer only by using color, we got you covered. Inna Hansen(Art director of TripleTopping) and Martin Kvale (sound designer for Keeper, Manifold Garden and GoNNER) will provide comparisons, similarities and in working with color in audio and art for games using
219 |
220 | 这次讲座深入探讨了在视频游戏中的艺术中的色彩设计过程，并将其与在音频中找到并执行相同效果的过程进行比较。它关于寻找感觉、方向、叙事和建立关联，以使游戏所试图做的事情产生更强烈的影响。如果你想要仅通过使用颜色向声音设计师描述想要的声音和感觉，我们已经为你准备好了。Inna Hansen (TripleTopping的艺术总监) 和Martin Kvale（《守护者》、《无尽花园》和《枪纳》的声音设计师）将提供比较、类似之处以及在使用颜色来处理游戏中的音频和艺术方面的工作。
221 |
222 | ## Independent Games Summit: I Am Fandom (And So Can You!)
223 |
224 | 链接：https://schedule.gdconf.com/session/independent-games-summit-i-am-fandom-and-so-can-you/901967
225 |
226 | 作者：Lindsay Ishihiro (Writer, Artist, Product Developer, Independent)
227 |
228 | How do you do, fellow kids? Join writer, artist, and product developer Lindsay Ishihiro as they demystify the untameable beast known as transformative fandom: fanfic, fanart, cosplay, memes, and more. In this session, they talk about fandom's history, why it forms, and how you can (and why you should!) interact with it, nurture it, and use it to your advantage to organically promote your game in ways money can't buy... without sounding like a dweeb.From the product development standpoint, they go over how to tap into your fandom to create merchandise that people actually want to purchase, and how to develop fanwork policies that protect your IP while also honoring the magnificent, untamed creativity of your fans.
229 |
230 | 请问各位小伙伴们好！加入作家、艺术家和产品开发者Lindsay Ishihiro，让他们揭开转变性 fandom（变革性粉丝社区）这个难以驯服的巨兽的面纱：包括同人小说、同人绘画、角色扮演、模因等等。在这个环节中，他们会讨论 fandom 的历史，以及它为何形成，以及你如何可以（以及为何应该！）与之互动，培养它，并利用它来有机地促进你的游戏，这是金钱无法购买的...而且不会让你听起来像个怪胎。从产品开发的角度出发，他们将介绍如何利用你的 fandom 制作人们真正想购买的商品，以及如何制定粉丝作品政策来保护你的知识产权，同时也尊重你的粉丝们那个伟大而不受拘束的创造力。
231 |
232 | ## Independent Games Summit: Indie Soapbox
233 |
234 | 链接：https://schedule.gdconf.com/session/independent-games-summit-indie-soapbox/902911
235 |
236 | 作者：Lucas Johnson (Studio Director, Silverstring Media Inc.)、Gerben Grave (Narrative Designer, Multiverse Narratives)、Bahiyya Khan (Game Designer, Writer and Filmmaker, Independent)、Tanya Kan (Director and Executive Producer, Vivid Foundry Corp.)、Kara Stone (Designer, Independent)
237 |
238 | Indie Soapbox is the chance for indie devs from diverse backgrounds and projects to come together to share their thoughts, lessons and provocations about indie game dev in this long-standing micro talk format. Attendees enjoy a rich and varied set of themes and topics, all in a punchy format that has something for everyone.
239 |
240 | Indie Soapbox 是独立开发者们从不同背景和项目汇聚一堂，分享他们对于独立游戏开发的想法、经验和挑战的机会，采用长期存在的微型演讲形式。参与者可以在简洁的形式中享受丰富多样的主题和话题，内容丰富，适合所有人。
241 |
242 | ## Independent Games Summit: It's About Time(lines): Marketing Your Game From Finish to Start
243 |
244 | 链接：https://schedule.gdconf.com/session/independent-games-summit-its-about-timelines-marketing-your-game-from-finish-to-start/902086
245 |
246 | 作者：Dana Trebella (Founder, Spoke & Wheel Strategy)、Derek Lieu (Trailer Editor/Founder, Derek Lieu, LLC)
247 |
248 | A well planned marketing timeline is an essential but often overlooked part of game production that is crucial for visibility and preparedness. Learn step-by-step instructions to plan the 6-18 month timeline starting with pre-announcement and ending with the game's launch (spoiler alert: it's by working backwards from your launch to your initial announcement). This talk will show the market research necessary to create your timeline, and how to integrate it with the production schedule, public marketing beats, and internal milestones.
249 |
250 |
251 | You'll also learn common mistakes which can needlessly hurt your game's visibility or lead to crunch. We will share examples from real marketing timelines and mistakes from our projects and you will walk away with a holistic view of marketing and realistic expectations of what you need to plan effectively.
252 |
253 | 一个精心规划的营销时间表是游戏制作中至关重要但经常被忽视的一部分，对于可见度和准备工作来说至关重要。学习逐步指导，从预告片开始，结束于游戏发布之前6-18个月的时间表规划（剧透警告：通过从发布日期逆向规划到初始公告来实现）。这次讨论将展示必要的市场调研，以创建您的时间表，并如何将其与制作进度、公开营销节奏和内部里程碑相结合。
254 |
255 | 您还将学习到可能会不必要地损害游戏可见度或导致繁忙计划的常见错误。我们将分享真实营销时间表和我们项目中的错误示例，您将全面了解营销和创建有效计划所需的现实期望。
256 |
257 | ## Independent Games Summit: Making Accessible Games with Indie Resources
258 |
259 | 链接：https://schedule.gdconf.com/session/independent-games-summit-making-accessible-games-with-indie-resources/902373
260 |
261 | 作者：Matt MacLean (CEO / Designer, Generic Lake Monster)
262 |
263 | People might disagree on how much challenge is the perfect amount, but even fans of masochistically difficult games will agree: losing because you made the wrong decision has the potential to be fun, but losing because you're in a struggle with the controller or the interface is the stuff of rage-quitting. Thinking about players with hands, eyes, minds, schedules, and distractions different than your own is neither free, nor easy, but with less demands to cater to the common denominators, independent game studios are best positioned to serve these players. Drawing from four years of success and setbacks making Quarterstaff, an accessibility-focused game, this talk is about using accessibility as a baseline of success and a core design constraint, as well as best practices for making sure usability is an ongoing component of development that makes your game stand out, and not a costly last-minute addition.
264 |
265 | 人们对于游戏挑战的程度可能存在分歧，但即使对 masochistically 困难游戏的粉丝也会认同：因为做出了错误决策而失败有可能会带来乐趣，但因为与控制器或界面的斗争而失败会导致怒气冲冲地退出游戏。考虑到玩家手部、眼睛、思维、时间表以及其他个人差异，这既不是免费的，也不容易，但独立游戏工作室在服务这些玩家方面处于最佳位置，因为他们没有受制于通用要求。借鉴四年来为以无障碍为重点的游戏《Quarterstaff》取得的成功和挫折，本次讨论是关于将无障碍性作为成功的基准和核心设计约束，以及确保可用性是持续开发的最佳实践，使您的游戏脱颖而出，而不是一个昂贵的临时增加物。
266 |
267 | ## Independent Games Summit: Pitching from the Indie Dev Perspective
268 |
269 | 链接：https://schedule.gdconf.com/session/independent-games-summit-pitching-from-the-indie-dev-perspective/903200
270 |
271 | 作者：Jennifer Scheidereit (Creative Director, Nyamyam)、Son M. (Creative Director, Narrative Designer, Perfect Garbage Studios)、Kenny Sun (Game Developer, Independent)
272 |
273 | What’s an indie game dev to do when the market for project funding appears upside down compared to a mere 12 months ago? Pitching and securing funding is a slog and not for the faint of heart. But it gets easier when you can walk in knowing what to expect from the process, are prepared for the inevitable curveballs thrown your way, and are informed of what NOT to do when it comes to lining up funding for your projects. Developers from across the indie dev landscape share their tales from the pitching and funding trenches to help you better navigate the often rocky road to project funding.
274 |
275 | 当相比仅仅12个月前，项目资金市场似乎出现颠倒时，独立游戏开发者该怎么办呢？推销和获得资金是一项艰难的工作，不适合胆小怕事的人。但当你了解整个过程中会遇到什么，做好迎接可能出现的意外情况的准备，并知道在为项目筹集资金时不应该做些什么时，情况就会好些。来自各种独立开发者中的开发者分享他们在推销和筹集资金过程中的故事，帮助你更好地应对通往项目资金的这条常常崎岖的道路。
276 |
277 | ## Independent Games Summit: Protecting Your Team: Founding Your Studio on People Not Product
278 |
279 | 链接：https://schedule.gdconf.com/session/independent-games-summit-protecting-your-team-founding-your-studio-on-people-not-product/902391
280 |
281 | 作者：Dr. Jennifer Killham (People Strategy Consultant, TVETM)、Trento von Lindenberg (CEO, Mouldbreaker Interactive)、Don Daglow (Video Games Designer, Don Daglow)、Julien Schillinger (CEO, PandaBee Studios UG (haftungsbeschränkt))、James Laird (Product Lead, Series AI)、Adinda van Oosten (Game Journalist and Educator, Acreates)
282 |
283 | Industry has been wracked with studio closure after closure, an increased lack of support, and an ever-tightening job market, leaving many developers feeling frustrated and devalued. But before you resign…. have you thought about starting your own studio to make that change yourself?
284 |
285 | To accomplish that, our speakers will provide actionable resources, tools, and best practices to help you embody a developer-centered culture. Topics will specifically speak to the process of building a studio, and address the following questions: What inspired your studio to take a people-first philosophy? How do you walk the walk, and what are the stumbling blocks you've found along the route? With this shift, what worked, what had to change, and why is that unique to this perspective? How has this belief enabled you to recruit and retain diverse employees?
286 |
287 | The road to making a better industry is challenging, but the value of making a safe space for developers to thrive in is worth it. The speakers in these talks will share their experiences transparently, believing that each new successful people-first studio will build towards a more sustainable future for independent developers and industry as a whole.
288 |
289 | 游戏开发领域已经遭受了一波接一波的工作室倒闭，支持不足的困境以及日益紧张的就业市场，让许多开发者感到沮丧和被低估。但在你选择放弃之前，你有没有考虑过自己开设一个工作室，来做出改变呢？
290 |
291 | 为了实现这一目标，我们的演讲嘉宾将提供可操作的资源、工具和最佳实践，帮助你营造一个以开发者为中心的文化。演讲主题将具体涉及建立工作室的过程，并解答以下问题：是什么激发了你们的工作室采取以人为本的理念？你们是如何践行这一理念的，以及在前进的道路上遇到了哪些阻碍？随着这种转变，哪些做法奏效了，哪些不得不改变，而这种独特的观点又为何被启用？这种信念如何帮助你们吸引和留住多样化的员工？
292 |
293 | 通往创造一个更好工业的道路充满挑战，但为开发者提供一个安全成长空间的价值是不言而喻的。这些演讲者将公开分享他们的经验，相信每一个成功的以人为本的工作室都将有助于为独立开发者和整个产业构建更加可持续的未来。
294 |
295 | ## Independent Games Summit: Releasing an "Evolving Demo": A Postmortem for 'Bulwark: Falconeer Chronicles'
296 |
297 | 链接：https://schedule.gdconf.com/session/independent-games-summit-releasing-an-evolving-demo-a-postmortem-for-bulwark-falconeer-chronicles/900729
298 |
299 | 作者：Tomas Sala (Creator, Tomas Sala)
300 |
301 | "Why launching an evolving demo is a good idea, but not always" In this talk, solo developer Tomas Sala will do a brief post-mortem on the evolving demo he launched for The Falconeer: Bulwark.
302 |
303 |
304 | He'll explain the difference between doing an evolving demo (a free experience that is updated and improved publicly) and a paid Early Access release, Sala will discuss pro's and cons of both scenario's and what motivated him to do this open development thru a steam demo.
305 |
306 |
307 | He will discuss why the evolving demo worked great for his latest game, but why it might not be the best option for every game or even for every phase of development. Other developers can use his valuable insights to choose the best option for the game they are working on.
308 |
309 | "为什么推出一个不断发展的演示版是一个好主意，但并非总是" 在这次讲演中，独立开发者Tomas Sala将简要总结他为《猎鹰手：堡垒》推出的不断发展的演示版。
310 |
311 |
312 | 他将解释进行不断发展的演示版（一个公开更新和改进的免费体验）与付费的抢先体验版本之间的区别。Sala将讨论两种情况的利弊，并解释他做出通过Steam演示进行开放式开发的动机。
313 |
314 |
315 | 他将讨论为什么不断发展的演示版对他最新游戏效果很好，但为什么它可能并非对每款游戏或甚至每个开发阶段都是最佳选择。其他开发者可以借鉴他宝贵的见解，选择最适合他们正在开发的游戏的最佳方案。
316 |
317 | ## Independent Games Summit: Saunas, Buses, and Tandem Bikes: Stories of Finnish Game Jams
318 |
319 | 链接：https://schedule.gdconf.com/session/independent-games-summit-saunas-buses-and-tandem-bikes-stories-of-finnish-game-jams/902096
320 |
321 | 作者：Annakaisa Kultima (Founder, Finnish Game Jam)
322 |
323 | In this talk, I will take you through some of the quirkiest, heartwarming, creative, and inspiring stories from Finnish game jams. While Finland is officially hailed as 'the happiest country in the world,' it harbors a unique secret: we create games in the most unconventional places. While saunas are a common feature of Finnish game jams, our more exotic adventures have taken place in a wintry cottage, a Sami tent (teepee), planetariums, alongside quantum computers, aboard a Ferris wheel, and even on a tandem bike. When playfully brainstorming new game jam ideas in Finland, you must be cautious because they might just become a reality. Although it's challenging to surpass the rich history of Finnish game jams, the purpose of this presentation is to inspire you to elevate your own game jams. Who knows, one day, someone might organize a game jam at the International Space Station.
324 |
325 | 在这次讲话中，我将带领大家了解一些来自芬兰游戏开发马拉松的最古怪、最暖心、最有创意和最鼓舞人心的故事。虽然芬兰正式被誉为“世界上最幸福的国家”，但它隐藏着一个独特的秘密：我们在最不寻常的地方创造游戏。尽管在芬兰游戏开发马拉松中桑拿是一种常见元素，但我们更加奇特的冒险发生在冬季小屋、萨米人帐篷（圆锥形帐篷）、天文馆、量子计算机旁边、摩天轮上，甚至是骑在双人自行车上。在芬兰轻松愉快地头脑风暴新的游戏开发马拉松创意时，你必须小心，因为它们可能会变成现实。虽然要超越芬兰游戏开发马拉松丰富的历史是具有挑战性的，但这次演讲的目的是激励你提升自己的游戏开发马拉松。谁知道，也许有一天，有人会在国际空间站组织一个游戏开发马拉松。
326 |
327 | ## Independent Games Summit: Sensitive, Emotional & Intimate: Working with Challenging Themes in 'The Quiet Things'
328 |
329 | 链接：https://schedule.gdconf.com/session/independent-games-summit-sensitive-emotional-intimate-working-with-challenging-themes-in-the-quiet-things/901993
330 |
331 | 作者：Kirsty Gillmore (Voice, Performance and Casting Director, Sounds Wilde)
332 |
333 | How do we tell stories which are based around sensitive and heavy themes? And how do we endeavor to portray an emotionally challenging, intimate narrative, as unflinchingly as possible, without causing trauma to a development team? Voice & Casting Director Kirsty Gillmore explores how Silver Script Games approached the creation of autobiographical narrative game The Quiet Things, which tells the story of Alice from childhood to late teens and her experiences with child abuse, mental health and trauma, with a deep focus on storytelling through audio. CW: this talk will include reference to themes of childhood abuse, self-harm, mental health, attempted suicide, grooming and sexual abuse.
334 |
335 | 我们如何讲述围绕敏感和沉重主题的故事？我们如何努力以尽可能坦率的方式呈现令人情感挑战的亲密叙事，而不会给开发团队造成创伤？配音与选角总监 Kirsty Gillmore 探讨了 Silver Script Games 如何着手创作自传故事游戏《The Quiet Things》，该游戏讲述了从童年到青少年时期的爱丽丝（Alice）的故事，以及她经历的童年虐待、心理健康和创伤，着重通过音频进行叙事。注意：这次讲座将涉及到童年虐待、自我伤害、心理健康、自杀未遂、慕赞和性虐待等主题。
336 |
337 | ## Independent Games Summit: The Black Gamic Language
338 |
339 | 链接：https://schedule.gdconf.com/session/independent-games-summit-the-black-gamic-language/902585
340 |
341 | 作者：Spencer Garland (CEO/Creative Director, BRENDA ARTS, LLC.)
342 |
343 | Hype Williams, but for Video Games?!?
344 |
345 |
346 | This presentation speaks to the newfound formation of a Black Gamic Language. In a similar way that Gordon Parks, Marvin Van Peebles, Spike Lee, John Singleton, The Wayans Brothers, Ava DuVernay, Cheryl Dunye, Boots Riley, and Terrance Nance developed what Black TV and movies can be, Spencer Garland, along with other developers, are adding their ideas into what Black games can be. What new inherently Black genres can be added to the medium of video games? What characters or worlds can be created? To reference Andrew Benjamin, "Black game devs have something to say!"
347 |
348 |
349 | This presentation will go over the history of Black life represented in games, understanding media literacy surrounding stereotypical depictions of BIPOC people in games, the history of BIPOC game devs, and who is actively working to dismantle the systems that exclude Black life/joy in the medium. Discourse about BIPOC aesthetics from film and how they can be translated into a gamic medium will also be expressed.
350 |
351 | 这段内容探讨了关于全新形成的黑人游戏语言。类似于 Gordon Parks, Marvin Van Peebles, Spike Lee, John Singleton, The Wayans Brothers, Ava DuVernay, Cheryl Dunye, Boots Riley, 和 Terrance Nance 塑造了黑人电视和电影的形象一样，Spencer Garland 和其他开发者致力于探索黑人游戏的可能性。在视频游戏这个媒介中，可以加入哪些新的充满黑人特色的游戏类型？可以创造哪些新的角色或世界？用 Andrew Benjamin 的话来说，"黑人游戏开发者有话要说！"
352 |
353 | 这个演示将讨论黑人生活在游戏中的历史，理解游戏中关于BIPOC人群的刻板印象，探讨BIPOC游戏开发者的历史，以及谁正在积极努力解体排斥黑人生活/欢乐的体制。此外，还将探讨关于来自电影中的BIPOC美学，以及如何将其转化为游戏媒介的讨论。
354 |
355 | ## Independent Games Summit: The Flash Games Postmortem, Vol 2
356 |
357 | 链接：https://schedule.gdconf.com/session/independent-games-summit-the-flash-games-postmortem-vol-2/900655
358 |
359 | 作者：John Cooney (Game Developer, Wonderful Elephant)
360 |
361 | Its been five years since The Flash Games Postmortem and the impact of Flash continues to be critical to our understanding of the modern indie game scene. The indie spirit of Flash games provides many lessons in the modern game space through its developer experiences, accomplishments, preservation, and relationships with platforms. In this talk we explore how Flash's historical impact beyond the "Death of Flash" provides modern lessons to developers and how we can best prepare ourselves for the ephemeral and existential concerns of our industry (and our place in it).
362 |
363 | 自从《The Flash Games Postmortem》已经过去了五年，Flash 的影响力仍然对我们理解现代独立游戏领域至关重要。Flash 游戏中所体现的独立精神为我们提供了许多关于现代游戏领域的经验教训，包括开发者经历、成就、保存以及与平台的关系。在这次演讲中，我们探讨了Flash 的历史影响如何超越“Flash 的消亡”，为开发者提供现代经验教训，并且如何最好地为我们行业的转瞬即逝和存在的担忧做好准备（以及我们在其中的位置）。
364 |
365 | ## Independent Games Summit: The Four-Day Workweek: Advantages and Complications
366 |
367 | 链接：https://schedule.gdconf.com/session/independent-games-summit-the-four-day-workweek-advantages-and-complications/902625
368 |
369 | 作者：Tanya X. Short (Captain, Kitfox Games)
370 |
371 | Kitfox is in its third year of a 4-day workweek, only 8 hours per day. It's a massively popular policy at the studio, such that 50% of their staff said in a survey that if they had to change jobs, they would need double their salary to return to 5-days per week, and 30% said they "probably could not be persuaded" to return to 5 days at all. Their Captain and co-founder Tanya X. Short steps up to delve into the details of their implementation, in all its snaggy, hiccupy glory. How do you account for federal holidays, or taxes, or contractors, or employee resilience? And the million-dollar question, she'll even dare to answer "Is it as productive?", with as much evidence as she can muster.
372 |
373 | Kitfox正在进行每周4天，每天8小时的工作制，这已经是他们的第三个年头。这一政策在工作室非常受欢迎，以至于在一项调查中有50%的员工表示，如果他们不得不换工作，他们需要双倍的薪水来回到每周5天的工作制，30%的员工表示“可能无法说服他们”回到每周5天的工作制。他们的队长兼联合创始人Tanya X. Short挺身而出，深入探讨他们的实施细节，以所有棘手、困难的光辉。如何考虑联邦假日、税收、承包商或员工的反弹力？而那个价值百万美元的问题，她甚至敢于回答“这样是否有效率”，并提供尽可能多的证据。
374 |
375 | ## Independent Games Summit: The Steam Secrets Nobody Tells You...Until Now
376 |
377 | 链接：https://schedule.gdconf.com/session/independent-games-summit-the-steam-secrets-nobody-tells-youuntil-now/902359
378 |
379 | 作者：Chris Zukowski (Marketing Consultant & Strategist, How To Market A Game)
380 |
381 | Best selling, experienced developers, and big publishers have figured out a number of tricks to the Steam Algorithm that allows them to get more visibility on their games. Unfortunately, these tricks are usually only shared among experienced devs or by high-paid consultants. In this talk I will expose these weak points so everyone has a chance to get the most possible visibility for their game.
382 |
383 | 畅销、经验丰富的开发者和大型发行商已经掌握了一些可以利用 Steam 算法的技巧，让他们的游戏获得更多曝光。不幸的是，这些技巧通常只在经验丰富的开发者之间分享，或者由高薪顾问传授。在这次讲话中，我将揭示这些弱点，让每个人都有机会为他们的游戏获得尽可能多的曝光。
384 |
385 | ## Independent Games Summit: Type Matters: Crafting Meaningful Typography for Indie Games
386 |
387 | 链接：https://schedule.gdconf.com/session/independent-games-summit-type-matters-crafting-meaningful-typography-for-indie-games/902755
388 |
389 | 作者：Jessica Shipard (Co-founder & Creative Director, Studio Folly)
390 |
391 | Typography is often overlooked in game development, but it can play a vital role in creating exciting and memorable experiences for players. Using her hit new game Gubbins as a case study, Jessica Shipard will share how her discipline as a graphic designer informed the creation of her word game and how she balances the needs for clarity and creative flair in videogames. She'll unravel practical strategies for selecting typefaces and refining designs, for captivating and even humorous game designs. Delving into the unexplored realms of the typographic universe, Jessica will unveil the exciting possibilities yet to be harnessed in the game world.
392 |
393 | 排版设计在游戏开发中经常被忽视，但它在为玩家创造令人兴奋和难忘的体验中发挥着至关重要的作用。通过她的热门新作《Gubbins》作为案例，Jessica Shipard将分享她作为一名平面设计师的专业知识如何影响了她的文字游戏的创作，以及如何在视频游戏中平衡清晰度和创意风格的需求。她将揭示如何选择字体和优化设计，以制作引人入胜甚至幽默的游戏设计的实用策略。深入探索排版世界中尚未开发的领域，Jessica将揭示游戏世界中尚未被发掘的令人兴奋的可能性。
394 |
395 | ## Independent GamesSummit: Make the Trailer Before the Game: A Marketing First Way to Prototype
396 |
397 | 链接：https://schedule.gdconf.com/session/independent-gamessummit-make-the-trailer-before-the-game-a-marketing-first-way-to-prototype/900472
398 |
399 | 作者：Derek Lieu (Trailer Editor, Derek Lieu)
400 |
401 | Why wait until the game is deep in production before you think of its first trailer? Thinking about what a trailer for your game will look like when you're at the prototyping phase can be an effective lens through which you can assess the appeal and viability of a game idea and show it to collaborators and business partners. Prolific game trailer editor Derek Lieu will share step-by-step instructions and best practices for conceiving game ideas via mockup trailers. More than just speculation, the talk will feature insight and hands-on knowledge from game developers who've used a trailer-first method of prototyping ideas and how it helped them make and market their games.
402 |
403 | 为什么要等到游戏进入深度制作阶段之后才考虑第一支预告片呢？在原型阶段思考游戏预告片的展示效果，可以有效地帮助您评估游戏创意的吸引力和可行性，并展示给合作者和商业伙伴。资深游戏预告片编辑 Derek Lieu 将分享逐步指导和最佳实践，通过虚拟预告片构思游戏创意。这不仅仅是空想，分享中还会包含那些使用预告片优先方法进行创意原型制作的游戏开发者的见解和实战知识，以及这种方法如何帮助他们制作和推广游戏。
404 |
405 |
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/2024/vr-ar.md:
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1 | ## Future Realities Summit: 'Grokit' Postmortem: Multiplayer with Physics & Hand Tracking & MR? Oh My!
2 |
3 | 链接：https://schedule.gdconf.com/session/future-realities-summit-grokit-postmortem-multiplayer-with-physics-hand-tracking-mr-oh-my/901936
4 |
5 | 作者：Robin Moulder (CEO, 3lb Games)、Cordelia Wolf (Creative Director, 3lb Games)
6 |
7 | 3lb Games set out to create a multiplayer mixed reality game where players could pick up the game quickly with limited gameplay instruction. Don't think. Just do.
8 |
9 |
10 | At the onset of the development for Grokit the team set forth a design philosophy for keeping the audience immersed while reducing the cognitive load of learning mechanics through natural hand gestures via hand tracking. Mixed reality and spatial interaction are key to gaining mass adoption because users are more at ease when they can see and interact with the real world. Headset manufacturers are now providing the cutting edge technology to make this a reality.
11 |
12 |
13 | This postmortem gives a broad view of the development of Grokit and dives deeper into the technical challenges of multiplayer, spatial interactions, and scene understanding.
14 |
15 | 3lb Games旨在创建一款多人混合现实游戏，玩家能够在有限的游戏说明下迅速上手。别想太多，只管动手做。
16 |
17 | 在着手开发《Grokit》之初，团队制定了一个设计理念，即让受众沉浸其中同时通过手部追踪的自然手势减少学习游戏机制的认知负荷。混合现实和空间交互是获得大规模接受的关键，因为用户在能看到并与真实世界交互时更加放松。头戴式设备制造商现在提供最尖端技术，使这成为现实。
18 |
19 | 这篇事后总结为您提供了《Grokit》的开发整体情况，并深入探讨了多人游戏、空间交互和场景理解的技术挑战。
20 |
21 | ## Future Realities Summit: 'The Foglands': Developing Hybrid VR/FPS is Hard and So Can You!
22 |
23 | 链接：https://schedule.gdconf.com/session/future-realities-summit-the-foglands-developing-hybrid-vrfps-is-hard-and-so-can-you/900512
24 |
25 | 作者：Samuel Warner (CEO, Well Told Entertainment)
26 |
27 | Have you ever wanted to make a VR game that isn't in VR? How about a high-end console experience that runs on a phone? If you answered 'no' to either of those questions, good job, you're doing game development correctly! The team at Well Told Entertainment answered YES to both of these questions and are excited to share the learning, successes and failures across the entire spectrum of hybrid VR game development gained while developing The Foglands for PSVR2, PS5, and Quest 2. Join us for an hour-long session diving into the complex design decisions of verbs spanning VR and FPS, optimization for high and low end platforms, and how to organize your project, processes and team to best prepare for the experience.
28 |
29 | 你是否曾想过开发一个不是真正VR的VR游戏？又或者是希望在手机上运行的高端游戏主机体验？如果你对以上任一问题的回答都是'不'，那么干得好，你正在正确进行游戏开发！Well Told Entertainment团队对这两个问题都回答了肯定，并且很高兴地分享他们在为PSVR2、PS5和Quest 2开发《The Foglands》时所获得的涵盖混合VR游戏开发整个领域的经验、成功和失败。加入我们一个小时的讨论，深入探讨涉及VR和FPS的复杂设计决策、针对高端和低端平台的优化，以及如何组织项目、流程和团队，最好地为这一体验做好准备。
30 |
31 | ## Future Realities Summit: 11 Things I Wish I'd Known About VR Porting
32 |
33 | 链接：https://schedule.gdconf.com/session/future-realities-summit-11-things-i-wish-id-known-about-vr-porting/902148
34 |
35 | 作者：Matt Blair (Co-Founder, Pontoco)
36 |
37 | VR developers now have Meta Quest, SteamVR, HTC Vive, PlayStation VR 2, Pico, and other platforms to choose from when publishing their titles. These platforms vary wildly in form factor, processing power, input affordances, and audience type. SteamVR itself represents a huge range of PC hardware as well as numerous headsets and even includes a "sub-platform" in the form of Virtual Desktop. The landscape for VR porting is huge, and this talk aims to gather a lot of general pieces of hard-won wisdom from porting The Last Clockwinder, in hopes of making the journey easier for other developers considering ports.
38 |
39 | VR开发者现在可以在发布他们的游戏时选择Meta Quest、SteamVR、HTC Vive、PlayStation VR 2、Pico等平台。这些平台在外形、处理能力、输入设备和受众类型上差异巨大。SteamVR本身代表了各种PC硬件以及众多头显设备，甚至还包括了一个名为“Virtual Desktop”的“子平台”。VR移植领域的可能性巨大，本讲话旨在从移植《The Last Clockwinder》中得到的宝贵经验中积累许多通用的智慧，希望能够让其他正在考虑移植的开发者的旅程更加轻松。
40 |
41 | ## Future Realities Summit: A VR Comfortable Car Chase? Motion Comfort in 'IEYTD3'
42 |
43 | 链接：https://schedule.gdconf.com/session/future-realities-summit-a-vr-comfortable-car-chase-motion-comfort-in-ieytd3/902023
44 |
45 | 作者：Chance Lytle (Advanced Game Designer, Schell Games)
46 |
47 | Virtual reality games with player motion are getting more and more popular. Meanwhile, the I Expect You To Die franchise has been a staple of seated, comfortable VR since 2016. The three-quel IEYTD3 bridges this gap with action-packed set pieces players expect from spy stories. This talk details how the team at Schell Games fulfills the fantasy of a car chase without alienating their core players—or worse, making them motion sick. It walks through challenges and assumptions of motion comfort in alpha, corresponding solutions in beta, and describes best practices found along the way.
48 |
49 | 带有玩家动作的虚拟现实游戏变得越来越受欢迎。与此同时，《我期待你死》系列自2016年以来一直是稳定的靠山，打造了一个舒适的坐姿虚拟现实体验。第三部作品《IEYTD3》通过充满动作的场景桥段，带给玩家间谍故事中所期待的体验。这个讲座详细说明了Schell Games团队如何实现了汽车追逐的幻想，同时又不会疏远他们的核心玩家，更不会让他们感到晕动病。它介绍了在 alpha 阶段运动舒适度方面面临的挑战和假设，对应的解决方案在 beta 阶段如何落实，并描述了沿途发现的最佳实践。
50 |
51 | ## Future Realities Summit: Art Directing Mixed Reality: The Art of Starship Home
52 |
53 | 链接：https://schedule.gdconf.com/session/future-realities-summit-art-directing-mixed-reality-the-art-of-starship-home/900520
54 |
55 | 作者：Ashley Pinnick (Art Director, Creature)
56 |
57 | Art direction for mixed reality games comes with its own set of unique challenges. While there is significant overlap with VR experiences, the introduction of a Player's physical space as part of the game world creates a new collection of constraints and opportunities. Adapted from excerpts from the style guide used for the development of Starship Home, this talk will share how we approached creating a visually striking, creatively enriching game tailored to mixed reality's best qualities. Whether you're an art director or game artist working on your first MR title or simply interested in the intersection of art and emerging technology, you will gain practical insights and inspiration to apply to your own projects.
58 |
59 | 混合现实游戏的艺术指导面临着独特的挑战。虽然与虚拟现实体验存在重叠，但将玩家的真实空间作为游戏世界的一部分引入，创造了一系列新的限制和机遇。本次讲座摘自为开发《‘星际之家’》使用的风格指南，将分享我们如何着手打造一个视觉引人注目、富有创意的游戏，以迎合混合现实的最佳特性。无论你是初次为MR标题工作的艺术总监或游戏艺术家，还是仅对艺术与新兴技术的交汇感兴趣，你都将获得实用的见解和灵感，可应用于自己的项目中。
60 |
61 | ## Future Realities Summit: Creating for the Physical and the Virtual: Learnings from Mixed Reality at Meta
62 |
63 | 链接：https://schedule.gdconf.com/session/future-realities-summit-creating-for-the-physical-and-the-virtual-learnings-from-mixed-reality-at-meta/901845
64 |
65 | 作者：Yağız Mungan (Software Engineer / Tech Lead, Meta)
66 |
67 | Come join us for a session about best practices, dos and don'ts, tips and tricks about creating Mixed Reality experiences from our learnings as an internal game development team, who spearheaded exploring what is possible and what is fun in Mixed Reality at Meta.
68 |
69 |
70 | The talk will start with discussing the double-edged nature of having no direct control on the game level vs expanding player's physical spaces, and then expand into the "simple" challenge of creating a fun, interesting, balanced, replayable game in everyone's homes.
71 |
72 |
73 | Other key points of learning will be how to make sure the virtual and the physical realities mix well, and what does multiplayer and safety even means in MR; and of course, how to make sure all the magic fits into the computational budget of the available hardware.
74 |
75 | 我们诚邀您参加我们的一次研讨会，内容涵盖了关于创作混合现实体验的最佳实践、注意事项、技巧和窍门，这些内容基于我们作为 Meta 内部游戏开发团队的经验总结，我们率先探索了混合现实中可能性和乐趣。
76 |
77 | 演讲将首先讨论在游戏层面上没有直接控制和扩展玩家物理空间之间的双刃之性，然后进一步深入探讨在每个家庭中创建一个有趣、有趣、平衡、可重玩的游戏的“简单”挑战。
78 |
79 | 其他学习的关键点将包括如何确保虚拟与物理现实很好地融合，以及多人游戏和安全在混合现实中的含义；当然，还有如何确保所有的魔法都符合可用硬件的计算预算。
80 |
81 | ## Future Realities Summit: Developing Action-Packed Multiplayer Gameplay for Mobile AR
82 |
83 | 链接：https://schedule.gdconf.com/session/future-realities-summit-developing-action-packed-multiplayer-gameplay-for-mobile-ar/902100
84 |
85 | 作者：Sarah Huth (Director of Gameplay Engineering, Jadu AR)
86 |
87 | Ask any gameplay programmer and most will agree that multiplayer games are the most difficult to develop. So why not build a multiplayer game that adds the additional technical challenge of augmented reality? What could possibly go wrong? A lot, it turns out.
88 |
89 |
90 | The combined challenges of networking a competitive fighting game, syncing game data across two real-world spaces, the performance limitations of mobile, all with no control over the player camera and environment create a recipe for game development chaos. This talk will dive into the solutions the Jadu team developed to overcome the chaos and ship a first-of-its-kind multiplayer augmented reality fighting game.
91 |
92 | 请问任何游戏玩法程序员，大多数人都会同意多人游戏是最难开发的。那么为什么不开发一个加入增强现实技术的多人游戏，增加额外的技术挑战呢？会出什么问题呢？事实证明，很多问题。
93 |
94 |
95 | 将网络功能整合到竞技格斗游戏中、在两个现实世界空间中同步游戏数据、移动设备性能的限制，再加上对玩家摄像头和环境没有控制权，这些组合构成了一场游戏开发混乱的源头。这次讲话将深入探讨 Jadu 团队开发的解决方案，以克服这种混乱，并发布首款多人增强现实格斗游戏。
96 |
97 | ## Future Realities Summit: Identity and Involvement: What Players Really Want from AR Games
98 |
99 | 链接：https://schedule.gdconf.com/session/future-realities-summit-identity-and-involvement-what-players-really-want-from-ar-games/901175
100 |
101 | 作者：Matthew Lee (Chair, IGDA Serious Games SIG)
102 |
103 | Seven years after the launch of Pokémon GO, most attempts to claim part of the AR pie have been cancelled, shut down only a short time after launch, or are limping along with revenue far below what one might expect from their technological sophistication and being based on competitive IPs. This lecture presents the results of a years-long study into AR games and their communities to address this by pointing out what players of AR games are actually looking for, what gets them to spend, and what keeps them playing despite constraints such as costs, distance, or a global pandemic. To put it simply, its not the technology they care about, but involvement and identity!
104 |
105 | 在《精灵宝可梦GO》推出七年后，大多数试图分一杯增强现实蛋糕的努力都已被取消，仅仅在推出后不久就被关闭，或是收入远远低于人们对其技术复杂性和基于竞争性IP的预期。本讲座介绍了对增强现实游戏及其社区进行的多年研究结果，旨在通过指出增强现实游戏玩家实际追求的内容、如何吸引他们消费以及是什么让他们继续游戏，尽管会遇到成本、距离或全球大流行等约束。简而言之，玩家关心的不是技术，而是参与感和身份认同！
106 |
107 | ## Future Realities Summit: Learning From Gender Exploration in VR to Design Better Social VR
108 |
109 | 链接：https://schedule.gdconf.com/session/future-realities-summit-learning-from-gender-exploration-in-vr-to-design-better-social-vr/900573
110 |
111 | 作者：Zach Deocadiz (Senior VR Designer, Wave)
112 |
113 | The feeling of physical embodiment and the ability to find community internationally are powerful drivers in the influence of VR on its users. A subset of the wider VR player base have used these benefits of VR to explore their gender identity and expression inside of social VR spaces, utilizing VR to explore powerful forms of self actualization. While this is a niche user group, we can learn a lot about how they have used existing VR social systems to their benefit because their experiences are more amplified versions of the general impact of VR on the general population. In this talk, an experienced VR designer explores how we may be able to learn from these users and their specific needs in order to design better VR experiences.
114 |
115 | 在虚拟现实（VR）对其用户产生影响方面，身体存在感和能够在国际范围内找到社区的能力是强大的推动因素。更广泛的虚拟现实玩家群体中的一个子集已经利用了虚拟现实的这些好处，来探索其社交虚拟现实空间内的性别认同和表达，利用虚拟现实来探索强大的自我实现形式。虽然这是一个小众用户群体，但我们可以从中学到很多东西，因为他们使用现有的虚拟现实社交系统的方式会更加凸显虚拟现实对一般大众产生的影响。在这次讲话中，一位经验丰富的虚拟现实设计师探讨了如何从这些用户及其特定需求中学习，以便设计更好的虚拟现实体验。
116 |
117 | ## Future Realities Summit: Next-Gen VR Development: PSVR 2, Quest 3 and Beyond
118 |
119 | 链接：https://schedule.gdconf.com/session/future-realities-summit-next-gen-vr-development-psvr-2-quest-3-and-beyond/902407
120 |
121 | 作者：Peter Akemann (Chief Technologist, Skydance Interactive)
122 |
123 | As game development cycles get longer, and given the pace of VR evolution, developers need to ship on multiple generations of VR hardware. This means building games for scale to take advantage of the latest and greatest on high end and emerging platforms.
124 |
125 |
126 | Come and learn from one of the top independent VR studios in a talk that takes a hard look at the research, process and results of bringing The Walking Dead: Saints & Sinners games built on Unreal Engine 4 to next gen hardware, including PSVR2 and Quest 3.
127 |
128 | 随着游戏开发周期的延长，考虑到虚拟现实技术的发展速度，开发者需要将游戏发布在多代虚拟现实硬件上。这意味着构建能够充分利用高端和新兴平台最新技术的规模化游戏。
129 |
130 | 来参加一场由顶尖独立虚拟现实工作室提供的讲座，深入探讨将建立在Unreal Engine 4上的《行尸走肉：圣者与罪人》游戏引入下一代硬件的研究、过程和结果，包括PSVR2和Quest 3。
131 |
132 | ## Future Realities Summit: Operation: Spectacle: Designing the VR Cinematics of 'I Expect You to Die 3'
133 |
134 | 链接：https://schedule.gdconf.com/session/future-realities-summit-operation-spectacle-designing-the-vr-cinematics-of-i-expect-you-to-die-3/902451
135 |
136 | 作者：Joey Ziolkowski (Advanced Designer, Schell Games)
137 |
138 | Between its elaborate death traps and clever super-spy puzzles, each installment of Schell Games' 'I Expect You to Die' series has pushed VR design to new heights. Delve into the design process of 'I Expect You to Die 3: Cog in the Machine', where designers crafted immersive cinematic moments steeped in classic spy tropes that cast players as the star of their own secret agent adventure. Journey alongside Joey Ziolkowski, a Level Lead from the game's development team, on a mission to uncover the secrets of crafting captivating set pieces in virtual reality. Uncover techniques to balance high stakes without creating frustrating challenges, and find out how designers lead players to cleverness during climatic story moments. A word of caution, Agent: This presentation contains spoilers!
139 |
140 | 在 Schell Games 的 'I Expect You to Die' 系列中，每一部作品都通过精心设计的致命陷阱和巧妙的超级间谍谜题将 VR 设计推向了新的高度。深入了解 'I Expect You to Die 3: Cog in the Machine' 的设计过程，在这个作品中，设计师们打造了沉浸式的经典间谍主题场景，让玩家扮演自己秘密特工冒险剧的主角。跟随游戏开发团队的级别领队 Joey Ziolkowski 一起展开任务，揭开虚拟现实环境中打造引人入胜的场景秘密的面纱。探寻在保持高度紧张感的同时避免制造令人沮丧的挑战的技巧，了解设计师们如何在紧张的故事时刻引导玩家展现智慧。特工们，请注意：本次演示含有剧透内容！
141 |
142 | ## Future Realities Summit: Somatic Design: Putting The Body First in XR
143 |
144 | 链接：https://schedule.gdconf.com/session/future-realities-summit-somatic-design-putting-the-body-first-in-xr/900451
145 |
146 | 作者：Katharina Tillmanns (Senior Researcher, Cologne Game Lab at TH Koeln)
147 |
148 | For many, the dream of fully incorporating the player's whole physical self into XR has been deferred, awaiting the introduction of technological advancements like wearable sensors into the mass markets.
149 |
150 |
151 | As designers, however, we do not have to wait for technological advances to shape our medium and access its full potential. By means of revisiting and adjusting our design approaches we can unlock our medium´s true potential of bringing together mind and body like no medium has ever before.
152 |
153 |
154 | By putting the body first in XR this session will introduce attendees to strategies for meaningful physical design.
155 |
156 |
157 | With insights borrowed from neurobiology, attendees will gain a profound understanding of how sensations and emotions are physically orchestrated by our limbic system. We will also journey into the realms of body-centric performing arts, exploring how these creative fields traditionally champion the body as the ultimate design canvas.
158 |
159 | 对于许多人来说，将玩家的整个身体完全融入 XR 的梦想一直被搁置，等待着像可穿戴传感器这样的技术进步进入大众市场。
160 |
161 | 然而，作为设计师，我们不必等待技术的进步来塑造我们的媒介和发挥其全部潜力。通过重新审视和调整我们的设计方法，我们可以揭示我们媒介真正的潜力，将思想和身体融合在一起，这是任何其他媒介都无法做到的。
162 |
163 | 通过在 XR 中优先考虑身体，本课程将向与会者介绍关于有意义的物理设计策略。
164 |
165 | 借鉴于神经生物学的见解，与会者将深刻了解感觉和情感是如何由我们的边缘系统物理协调的。我们还将探索以身体为中心的表演艺术领域，探究这些创作领域是如何传统上推崇身体为终极设计画布的。
166 |
167 | ## Future Realities Summit: Techniques for Efficient Development of VR Games Using Unreal Engine 5
168 |
169 | 链接：https://schedule.gdconf.com/session/future-realities-summit-techniques-for-efficient-development-of-vr-games-using-unreal-engine-5/901976
170 |
171 | 作者：Alexander Silkin (Founder & CTO, Survios)
172 |
173 | The presentation covers current Survios recommendations for system implementation and development practices when making modern Unreal Engine 5 VR games. Survios is utilizing these techniques to develop an upcoming VR game based on the Alien franchise.
174 |
175 |
176 | Alex Silkin shares details of how Survios has evolved their practices over the development of shipped Unreal Engine 4 VR games such as Raw Data, Sprint Vector, Creed: Rise to Glory and Walking Dead Onslaught. The session describes solutions to the problems Survios has encountered during the production of these first generation VR titles. Alex also shares how Survios has adapted its codebase to new frameworks in Unreal Engine 5, such as Gameplay Ability System and Enhanced Input.
177 |
178 | 这篇介绍涵盖了Survios目前对于制作现代Unreal Engine 5 VR游戏时系统实施和开发实践的建议。Survios正在利用这些技术来开发基于《异形》系列的关于即将发布的VR游戏。
179 |
180 | Alex Silkin分享了Survios在开发已发行的Unreal Engine 4 VR游戏（如《原始数据》，《疾速矢量》，《奋力之路：荣耀的崛起》和《行尸走肉：重创》）的过程中如何演变他们的实践。这场会议描述了Survios在制作这些第一代VR游戏时遇到的问题的解决方案。Alex还分享了Survios如何将其代码库调整为Unreal Engine 5中的新框架，例如Gameplay Ability System和Enhanced Input。
181 |
182 | ## Future Realities Summit: Using Physics Constraints to Make Intuitive VR Interactions
183 |
184 | 链接：https://schedule.gdconf.com/session/future-realities-summit-using-physics-constraints-to-make-intuitive-vr-interactions/901636
185 |
186 | 作者：Antony Stevens (Senior Game Designer, Greensky Games)
187 |
188 | Virtual reality physics are fun, and it doesn't stop at simulating gravity. This talk teaches the fundamentals of how to use a core component of game engine physics systems — the physics constraint — to create a variety of quick and intuitive VR interactions. From sliders and dials to buttons and hinges, physics constraints can help marry the fun of physical interactions with broad design possibilities. Learn how VR developers can use physics constraints in Unreal Engine to produce a variety of modular and shippable hand-tracked interactions for major VR platforms.
189 |
190 | 虚拟现实物理学很有趣，而且不仅仅局限于模拟重力。本次讲座将教授如何使用游戏引擎物理系统的核心组件 —— 物理约束 —— 来创建各种快速直观的虚拟现实交互。从滑块和旋钮到按钮和铰链，物理约束可以帮助将物理交互的乐趣与广泛的设计可能性结合起来。了解虚拟现实开发人员如何在虚幻引擎中使用物理约束，以为各大虚拟现实平台制作各种模块化且可交付的手部追踪交互。
191 |
192 | ## Unity Developer Summit: Dive in with Apple Vision Pro and Unity (Presented by Unity)
193 |
194 | 链接：https://schedule.gdconf.com/session/unity-developer-summit-dive-in-with-apple-vision-pro-and-unity-presented-by-unity/903619
195 |
196 | 作者：TBD . (TBD, TBD)
197 |
198 | Now that Unity support for visionOS is here, join this session for a technical exploration of applying Unity's familiar authoring tools and workflows in the development of spatial games and apps for this exciting new device. We dive right into the Unity Editor and demonstrate key features and best practices to get you started building or porting games for Apple Vision Pro.
199 |
200 | 现在Unity对visionOS的支持已经到位，加入这个会话，进行技术探索，学习如何在开发空间游戏和应用程序时应用Unity熟悉的创作工具和工作流程。我们将深入探讨Unity编辑器，并演示关键功能和最佳实践，帮助您开始构建或移植游戏到苹果Vision Pro设备中。
201 |
202 |
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1 | ## AI-Generated 3D Assets: No Joke, They're (Getting) Production-Ready (Presented by Meshy)
2 |
3 | 链接：https://schedule.gdconf.com/session/ai-generated-3d-assets-no-joke-theyre-getting-production-ready-presented-by-meshy/911332
4 |
5 | 作者：Ethan Hu (CEO, Meshy)、Josh Loveridge (Managing Director, Stratton Studios)、Mike Ull (Indie Developer, PhantyForge)
6 |
7 | 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.
8 |
9 | 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。
10 |
11 | ## Game Narrative Summit: #Goals: Mission Writing in #BLUD
12 |
13 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-goals-mission-writing-in-blud/908973
14 |
15 | 作者：Gregory Lane (Narrative Designer, Tin Heart Interactive)
16 |
17 | 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
18 |
19 | 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
20 |
21 | ## Game Narrative Summit: Black Centered Stories for Everyone
22 |
23 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-black-centered-stories-for-everyone/910232
24 |
25 | 作者：Charles Beacham (Narrative Director, Afrime Studios)
26 |
27 | 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.
28 |
29 | 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。
30 |
31 | ## Game Narrative Summit: Built in Layers: (Re)Creating History with the Narrative System in 'Civilization VII'
32 |
33 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-built-in-layers-recreating-history-with-the-narrative-system-in-civilization-vii/909636
34 |
35 | 作者：Cat Manning (Narrative Director, Firaxis)、Rue Taylor (Narrative Designer, Firaxis)、Nell Raban (Senior Narrative Designer, Firaxis)、Andrew Johnson (Senior Historian, Firaxis)
36 |
37 | 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.
38 |
39 |
40 | 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.
41 |
42 | 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。
43 |
44 | 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。
45 |
46 | ## Game Narrative Summit: Burning Bright: Keeping Narrative Creative Momentum in Intense Production Cycles
47 |
48 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-burning-bright-keeping-narrative-creative-momentum-in-intense-production-cycles/908458
49 |
50 | 作者：Olga Kellner (Narrative Lead, Owlcat Games)
51 |
52 | 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.
53 |
54 | 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。
55 |
56 | ## Game Narrative Summit: By Any Other Name: A Linguist's Approach to Namecraft
57 |
58 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-by-any-other-name-a-linguists-approach-to-namecraft/910045
59 |
60 | 作者：Gerben Grave (Narrative Designer, Multiverse Narratives)
61 |
62 | 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.
63 |
64 |
65 | 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.
66 |
67 |
68 | He details how names can perform functionally by covering the domains of User Experience, Technical Limitations, and Immersion.
69 |
70 |
71 | Then, he demonstrates how to manipulate the principles of linguistics by teaching writers about the effects of phonetics, semantics, and culture.
72 |
73 |
74 | Combined, they provide a reliable approach for endless creative name giving and crafting.
75 |
76 | 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。
77 |
78 | 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。
79 |
80 | 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。
81 |
82 | 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。
83 |
84 | 结合这两点，它们提供了一种可靠的无尽创意命名方法。
85 |
86 | ## Game Narrative Summit: Creating Playable Stories: Approaches for Integrating Mechanics and Narrative
87 |
88 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-creating-playable-stories-approaches-for-integrating-mechanics-and-narrative/908816
89 |
90 | 作者：Lauren Bond (Senior Narrative Designer, Wizards of the Coast)
91 |
92 | 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.
93 |
94 | 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。
95 |
96 | ## Game Narrative Summit: Game Narrative Review Competition Winners: Poster Analysis
97 |
98 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-game-narrative-review-competition-winners-poster-analysis/911751
99 |
100 | 作者：
101 |
102 | 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 -)
103 |
104 | 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。
105 |
106 | 我们很荣幸地宣布，今年的获奖者是：
107 |
108 | **白金奖**
109 | - 邱仁秀（邱仁秀），迪吉彭理工学院（PUBG）
110 | - 沃恩（Reagan Wang），南加州大学（Citizen Sleeper）
111 | - 本·余（Ben Yu），南加州大学（Tunic）
112 |
113 | **金奖**
114 | - 奥利弗·金（Oliver Kim），德雷塞尔大学（Gris）
115 | - 田洋（Tian Yang），南加州大学（Getting Over It With Bennett Foddy）
116 | - 诺亚·克里斯西（Noah Crissey），迪吉彭理工学院（Pentiment）
117 | - 阿兰·勒梅朗德（Alan Lemerande），南方卫理公会大学（Signalis）
118 | - 基亚娜·马洛特（Keana Malolot），硅谷大学（赛博朋克2077）
119 | - 王宝泽（Baoze Wang），南方卫理公会大学（女神异闻录5皇家版）
120 | - 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）
121 | - 桑德拉·杨（Serena Yang），东北大学（Eliza）
122 | - 陈燕飞（Yanfei Chen），谢里丹学院（Sanitarium）
123 | - 扎克·米勒曼（Zach Millman），德雷塞尔大学（Slay the Princess）
124 | - 雅典娜迪斯·罗伯茨（Athenadis Roberts），南加州大学（Slay the Princess: The Pristine Cut）
125 | - 阿里亚·阿查里亚（Ariya Acharya），南加州大学（Wandersong）
126 | - 克尔·巴尔茨泽尔（Kirk Baltzell），南方卫理公会大学（博德之门3）
127 | - 奥利维亚·普莱瑟（Olivia Presser），东北大学（猎天使魔女）
128 | - 阿比盖尔·谢德尔（Abigail Scheidler），迪吉彭理工学院（Sennaar的颂歌）
129 | - 曹丽娜（Cathelina Zhan），南加州大学（Sennaar的颂歌）
130 | - 布莱斯·沃森（Blythe Watson），谢里丹学院（纪念碑谷）
131 | - 菲利普·范（Kelsey Pham），硅谷大学（Nine Sols）
132 | - 何浩（Josh Hao），迪吉彭理工学院（Sky：Children of the Light）
133 | - 康纳·鲁尼（Connor Runyon），迪吉彭理工学院（月姬 - 蓝色玻璃之月 -）
134 |
135 | ## Game Narrative Summit: Get Serious About Writing Tools
136 |
137 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-get-serious-about-writing-tools/909955
138 |
139 | 作者：Jurie Horneman (Senior AI Programmer, Half Mermaid Productions)
140 |
141 | 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?
142 |
143 |
144 | Narrative pipelines are not that complicated, but basic knowledge is sometimes missing.
145 |
146 |
147 | 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?
148 |
149 |
150 | This talk will answer those questions.
151 |
152 | 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？
153 |
154 | 叙事流程并不是那么复杂，但有时基础知识会缺失。
155 |
156 | 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？
157 |
158 | 这次演讲将回答这些问题。
159 |
160 | ## Game Narrative Summit: Ghosts on the Airwaves: Caring About Unseen Characters in 'Pacific Drive'
161 |
162 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-ghosts-on-the-airwaves-caring-about-unseen-characters-in-pacific-drive/910208
163 |
164 | 作者：Karrie Shirou Shao (Lead Narrative Designer & Lead Writer, Pacific Drive / Ironwood Studios)
165 |
166 | 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.
167 |
168 | 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。
169 |
170 | ## Game Narrative Summit: Heartthrobs and Heartaches: Creating Truly Irresistible Love Interests
171 |
172 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-heartthrobs-and-heartaches-creating-truly-irresistible-love-interests/909167
173 |
174 | 作者：Andrew Shvarts (Head of Design, Candlelight Games)、Megan Schwarz (Head of Narrative, Candlelight Games)
175 |
176 | 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.
177 |
178 | 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。
179 |
180 | ## Game Narrative Summit: It's Not in the Writer's Manual: A Q&A Session for New Writers
181 |
182 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-its-not-in-the-writers-manual-a-qa-session-for-new-writers/909111
183 |
184 | 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)
185 |
186 | 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.
187 |
188 | 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。
189 |
190 | ## Game Narrative Summit: Labor of Love: The Story of "Date Night" in 'Star Wars: The Old Republic'
191 |
192 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-labor-of-love-the-story-of-date-night-in-star-wars-the-old-republic/910267
193 |
194 | 作者：Ashley Ruhl (Narrative Director, Broadsword Online Games)
195 |
196 | 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.
197 |
198 | 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。
199 |
200 | ## Game Narrative Summit: My OC Writes IP: How Fanfiction Primes Us for Established Franchises
201 |
202 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-my-oc-writes-ip-how-fanfiction-primes-us-for-established-franchises/909458
203 |
204 | 作者：Emma Kidwell (Writer, Firaxis)
205 |
206 | 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.
207 |
208 | 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。
209 |
210 | ## Game Narrative Summit: Prepare Recording Scripts like a Pro
211 |
212 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-prepare-recording-scripts-like-a-pro/908102
213 |
214 | 作者：Ayesha Khan (Lead Narrative Designer, Ubisoft Reflections)
215 |
216 | 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.)
217 |
218 | 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。）
219 |
220 | ## Game Narrative Summit: Sex Or Death: Achieving Satisfying Midpoints in Interactive Narratives
221 |
222 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-sex-or-death-achieving-satisfying-midpoints-in-interactive-narratives/910175
223 |
224 | 作者：Amy-Leigh Shaw (Writer & Narrative Designer, Sweet Baby Inc)
225 |
226 | 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.
227 |
228 | 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。
229 |
230 | ## Game Narrative Summit: Skip the Filler, Hit the Thrillers: Crafting Compelling Characters in Linear Narrative of 'Evil West'
231 |
232 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-skip-the-filler-hit-the-thrillers-crafting-compelling-characters-in-linear-narrative-of-evil-west/909350
233 |
234 | 作者：Maria Borys-Piatkowska (Lead Narrative Designer/Writer, Flying Wild Hog)
235 |
236 | 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.
237 |
238 |
239 | 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.
240 |
241 | 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。
242 |
243 | 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。
244 |
245 | ## Game Narrative Summit: Storytelling Through Systems: A Narrative Designer's Approach
246 |
247 | 链接：https://schedule.gdconf.com/session/game-narrative-summit-storytelling-through-systems-a-narrative-designers-approach/908429
248 |
249 | 作者：Adam Dolin (Writer/Narrative Designer, Independent)
250 |
251 | 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.
252 |
253 | 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。
254 |
255 | ## Insights on Implementing Game Agents to Deliver Value in Commercial Games (Presented by Parametrix.ai)
256 |
257 | 链接：https://schedule.gdconf.com/session/insights-on-implementing-game-agents-to-deliver-value-in-commercial-games-presented-by-parametrixai/911333
258 |
259 | 作者：Jiaxin Chen (Senior Reinforcement Learning Researcher, Parametrix.ai)
260 |
261 | 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.
262 |
263 | 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。
264 |
265 | ## Storytelling Fundamentals Workshop
266 |
267 | 链接：https://schedule.gdconf.com/session/storytelling-fundamentals-workshop/911122
268 |
269 | 作者：Evan Skolnick (Game Writer / Narrative Designer, Independent)
270 |
271 | 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.
272 |
273 |
274 | 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.
275 |
276 |
277 | 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”.
278 |
279 | 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。
280 |
281 | 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。
282 |
283 | 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”。
284 |
285 |
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1 | ## A Bloody Mess: The Implementation of Cleaning in The WereCleaner (Presented by Unity)
2 |
3 | 链接：https://schedule.gdconf.com/session/a-bloody-mess-the-implementation-of-cleaning-in-the-werecleaner-presented-by-unity/911622
4 |
5 | 作者：Levi Pinkert (Lead Designer, The WereCleaner, The WereCleaner)、Cameron Gomez (Lead Engineer, The WereCleaner, The WereCleaner)
6 |
7 | From student project to indie success, The WereCleaner was brought to life in just one year. In this session, hear from the game's lead engineer and lead designer about using Unity to implement the game's distinctive core loop – a combination of violent stealth and laidback cleaning. They'll describe the system that generates messes by splattering the blood of innocent NPCs across the environment and the inner workings of the game's satisfying cleaning mechanics.
8 |
9 | 从学生项目到独立游戏的成功，《The WereCleaner》仅用一年时间就得以面世。在这次分享中，我们将听到游戏的主要工程师和主设计师讲述如何使用Unity来实现游戏独特的核心循环——暴力潜行与轻松清洁的结合。他们将描述一种系统，该系统通过将无辜NPC的血液溅洒在环境中来生成混乱，并详细介绍游戏中令人满意的清洁机制的内部运作。
10 |
11 | ## Independent Games Summit: 'Bird': Developing a Game from Both Sides of a Prison Wall
12 |
13 | 链接：https://schedule.gdconf.com/session/independent-games-summit-bird-developing-a-game-from-both-sides-of-a-prison-wall/908335
14 |
15 | 作者：Spencer Bambrick (Composer/Designer, A Sole Proprietorship)
16 |
17 | This session will be a deep dive into the design, development, and social impact of Bird, an interactive documentary about mass incarceration in the U.S. Bird was developed in collaboration with artist and activist Darrell Fair, who has served thirty years of a fifty year sentence in StatevilleCorrectional. Bird features hand-drawn artwork and recorded interviews of Darrell and his family, presented as “artifacts” (or memories) that players interact with. These artifacts pull players into the story of his arrest, coerced confession, his treatment in prison and its impact on his loved ones. Attendees will walk away with an inspirational look at the unique and moving development of Bird, practical advice on developing an experimental game design practice, and an understanding of the power that interactive storytelling has to make a lasting impact on players.
18 |
19 | 本次会议将深入探讨《Bird》的设计、开发及其在美国大规模监禁这一社会议题上的影响。《Bird》是由艺术家兼活动家达雷尔·费尔与开发团队合作完成的，他因在州立农场矫正中心服刑五十年中的三十年而深有体会。《Bird》采用了手绘艺术作品和对达雷尔及其家人的录音访谈，这些内容以“文物”（或记忆）的形式呈现，供玩家互动。这些文物将玩家引入到他的被捕经历、被迫认罪、监狱中的待遇以及这些事件对其亲人的影响的故事中。参会者将从这次会议中获得关于《Bird》独特且感人的开发过程的启发，获取关于如何开发实验性游戏设计实践的实用建议，并理解交互式叙事如何能够对玩家产生持久的影响。
20 |
21 | ## Independent Games Summit: 'The Crush House': Fresh Gameplay Inspired By The Real World
22 |
23 | 链接：https://schedule.gdconf.com/session/independent-games-summit-the-crush-house-fresh-gameplay-inspired-by-the-real-world/909460
24 |
25 | 作者：Nicole He (Creative Director, Independent)
26 |
27 | Stories in video games are often based on the real world. But what about ~mechanics~ in video games being based on The Real World? The Crush House is a game about being the producer of a reality TV show. It's not quite a management sim, or a visual novel, or a first-person shooter - in fact, it is a "thirst-person shooter," where you film things to satisfy audiences while uncovering a mystery. Rather than following the conventional path of taking a tried-and-true genre and mechanic and adding a twist on top, The Crush House's unusual gameplay comes from iterating on capturing a specific fantasy from real life - being behind the scenes of a reality show. Nicole He, the game's creative director, will talk about the challenges and rewards of making innovative gameplay by looking for inspiration from outside of familiar game design formulas.
28 |
29 | 视频游戏中经常采用现实世界的故事。但视频游戏中的~机制~能否基于真实世界呢？《The Crush House》是一款关于成为一档真人秀节目的制作人的游戏。它不仅仅是一款管理模拟游戏、视觉小说或第一人称射击游戏——实际上，它是一款“渴求人称射击”游戏，在这里你需要拍摄各种事物来满足观众的需求，同时揭开一个谜团。与遵循传统的做法不同，即在已有的成熟类型和机制上添加一些创新元素，《The Crush House》独特的游戏玩法来自于对捕捉现实生活中的特定幻想进行迭代——置身于真人秀节目幕后。该作的创意总监妮可·何（Nicole He）将讨论通过从熟悉的游戏设计公式之外寻找灵感来创造创新游戏体验所面临的挑战和收获。
30 |
31 | ## Independent Games Summit: Comedy Through Patterns (How to Structure a Funny Video Game)
32 |
33 | 链接：https://schedule.gdconf.com/session/independent-games-summit-comedy-through-patterns-how-to-structure-a-funny-video-game/908323
34 |
35 | 作者：Tanat Boozayaangool (Independent Game Developer, Tan Ant Games)
36 |
37 | Have you ever wondered what makes a video game funny? (Spoiler: it's not puns).In this talk, the developer behind Building Relationships dissects humor through an analytical lens to explain comedy fundamentals and demonstrate how they're applied throughout the game. The speaker argues that comedy doesn't just come from writing, but also from the structure it exists in. The talk examines the approach behind Building Relationships and presents case studies of other games to explore how comedy is supported by various disciplines (i.e. level design, music, narrative design, etc.).Building Relationships is a silly adventure game where players take the role of a house that's on a date with a building. Described as "A Short Hike, but stupid", this game is a barrage of absurdist comedy fueled by improv sensibilities. Hidden behind its comedic facade, the game conveys a heartfelt story about what it takes to stay alive.
38 |
39 | 你是否曾好奇是什么让电子游戏变得有趣？（提示：不仅仅是文字游戏）。在这次演讲中，开发了《建立关系》这款游戏的开发者将通过分析的方法来解构幽默，解释喜剧的基本原理，并展示它们在游戏中是如何应用的。演讲者认为，喜剧不仅来源于写作，还来源于它所存在的结构。本次演讲将审视《建立关系》背后的设计思路，并通过其他游戏的案例研究，探讨不同学科（如关卡设计、音乐、叙事设计等）如何支持喜剧效果。
40 |
41 | 《建立关系》是一款充满欢笑的冒险游戏，在这款游戏中玩家将扮演一栋房子，这栋房子正在与另一栋建筑约会。这款游戏被描述为“一个简短的攀登，但很愚蠢”，其核心是充满荒诞幽默的游戏内容，这些幽默感源于即兴创作的理念。尽管游戏表面充满了喜剧元素，但它也讲述了一个关于生存的故事，传递出一种真挚的情感。
42 |
43 | ## Independent Games Summit: Content-Ready Game Development
44 |
45 | 链接：https://schedule.gdconf.com/session/independent-games-summit-content-ready-game-development/909386
46 |
47 | 作者：Matt Hackett (Game Developer, Valadria)
48 |
49 | Making great games isn’t enough anymore. For our games to be successful, we also need to spread the word about them. In 2025 that means creating content, especially for online stores and social media platforms.To do this, we need loads of screenshots and video!This talk discusses making changes directly to your game to ease this process. We’ll rapidly load up the exact content you need to capture, and make tools to generate screenshots from within your game. We’ll cover screenshot best practices (like when to show or hide UI elements) and videos too (like muting music but playing sound effects).This process should be streamlined, so that we stay in the flow of work, retaining concentration and productivity. By the end of this talk you’ll be empowered to quickly generate any content you need, in any format or resolution. Let’s make screenshots and video easy to capture!
50 |
51 | 制作出色的游戏已经不够了。为了让我们的游戏获得成功，我们还需要宣传它们。到2025年，这意味着要为在线商店和社交媒体平台创造内容。为此，我们需要大量的截图和视频！这次演讲将讨论如何直接对游戏进行修改，以简化这一过程。我们将快速加载你需要捕获的确切内容，并在游戏中制作工具来自动生成截图。我们将涵盖截图的最佳实践（如何时显示或隐藏UI元素）以及视频方面的最佳实践（如静音音乐但播放音效）。这个过程应该被优化，以便我们保持工作的流畅性，保持专注和提高生产力。通过这次演讲，你将有能力快速生成任何你需要的内容，无论是哪种格式或分辨率。让我们使截图和视频的捕捉变得简单易行！
52 |
53 | ## Independent Games Summit: Creating a Handcrafted Game: 'Harold Halibut' Postmortem
54 |
55 | 链接：https://schedule.gdconf.com/session/independent-games-summit-creating-a-handcrafted-game-harold-halibut-postmortem/908767
56 |
57 | 作者：Onat Hekimoglu (Co-Founder, Director, Composer, Slow Bros. GmbH)、Ole Tillmann (Co-Founder, Art Director, Slow Bros. GmbH)
58 |
59 | SLOW BROS., has worked on their debut title, Harold Halibut for more than a decade.The game consists entirely of physically made models that are 3D scanned and put together in the Unity engine.The result is a wholly unique stop motion-like visual quality that is deeply immersive through its carefully crafted interactivity.This presentation will explore the studio's bumpy yet fortunate journey, showcasing its unconventional asset creation and development pipeline, as well as the experimental and iterative processes that led to this approach.
60 |
61 | SLOW BROS.公司为其首部作品《哈罗德·哈利伯特》投入了超过十年的时间。这款游戏完全采用了实体模型，这些模型经过3D扫描并在Unity引擎中组装。结果是一种完全独特的定格动画般的视觉效果，通过精心设计的互动性使其沉浸感极强。本次展示将探索该工作室坎坷但幸运的旅程，展示其非常规的资产创建和开发流程，以及引领至这种制作方法的实验性和迭代性过程。
62 |
63 | ## Independent Games Summit: Developing at 5mb per Year: The Making of 'Animal Well'
64 |
65 | 链接：https://schedule.gdconf.com/session/independent-games-summit-developing-at-5mb-per-year-the-making-of-animal-well/909781
66 |
67 | 作者：Billy Basso (Game Developer, Shared Memory)
68 |
69 | Billy Basso developed his game, Animal Well, completely from scratch over the course of 7 years. Weighing in at only 33mb, Animal Well has been lauded by critics and fans for both its elegant design and technical sophistication. Billy Basso will share some of the techniques he used to achieve the look and sound of the game, his approach to design, and how he managed to maintain the discipline to keep at the project for so long.
70 |
71 | Billy Basso 花费7年时间完全从零开始开发了他的游戏《动物之井》。《动物之井》体积仅有33MB，凭借其优雅的设计和高超的技术水平，该游戏受到了评论家和玩家的一致好评。Billy Basso 将分享他用来实现游戏画面和声音效果的一些技术，他的设计理念，以及他是如何保持毅力，坚持如此长时间的开发工作的。
72 |
73 | ## Independent Games Summit: Fostering a Culture of Clear Communication in Game Dev
74 |
75 | 链接：https://schedule.gdconf.com/session/independent-games-summit-fostering-a-culture-of-clear-communication-in-game-dev/909395
76 |
77 | 作者：Akash Thakkar (Sound Designer, Thakkar Audio LLC)、Ryan Ike (Composer, Independent)、Charlie Harper (Producer/Designer, Galvanic Games Inc / Co-op Kitchen / Lucky Tree Studios)、Jess Erion (Writer & Game Designer, Lucky Tree Studio / Independent)、Ziyad Duron (Advanced Game Designer / Lead Game Designer, Schell Games / Co-op Kitchen)
78 |
79 | What separates a good studio from a great one? In this panel, industry veterans Akash Thakkar, Jess Erion, Ryan Ike, Ziyad Duron, and Charlie Harper explore the deceptively complex answer to this question: communication. They demonstrate techniques for clear cross-disciplinary dialogue, avoiding jargon, and leveraging audio/visual examples for enhanced understanding. The panelists highlight the pivotal role of producers and share compelling stories of communication successes and failures. Attendees learn to build a supportive and enthusiastic studio dynamic, where motivation is high and creative spirals are a thing of the past. Through practical insights and engaging anecdotes, this panel equips developers with tools to bridge communication gaps, ultimately enhancing team collaboration and productivity. This session is essential for anyone looking to improve their project's communication dynamics and overall efficiency.
80 |
81 | 什么使一家优秀的游戏工作室成为卓越的工作室？在这个小组讨论中，行业资深人士Akash Thakkar、Jess Erion、Ryan Ike、Ziyad Duron和Charlie Harper探讨了这个问题看似简单但复杂的答案：沟通。他们演示了清晰的跨学科对话技巧，避免使用行话，并利用音频/视觉示例来增强理解。小组成员强调制作人的重要作用，并分享了关于沟通成功与失败的引人入胜的故事。参会者学习如何建立一个支持性和热情高涨的工作室氛围，在这种氛围下，士气高昂且创意障碍成为过去。通过实用的见解和生动的轶事，该小组为开发者提供了工具，以弥合沟通差距，最终提升团队协作和生产力。对于希望提高项目沟通动态和整体效率的人来说，这次研讨会是必不可少的。
82 |
83 | ## Independent Games Summit: Free During Development: The Unusual Marketing and Development Strategy of 'Cosmoteer'
84 |
85 | 链接：https://schedule.gdconf.com/session/independent-games-summit-free-during-development-the-unusual-marketing-and-development-strategy-of-cosmoteer/908137
86 |
87 | 作者：Walt Destler (CEO, Walternate Realities)
88 |
89 | In October 2022, "Cosmoteer: Starship Architect & Commander" launched on Steam Early Access and became an instant indie hit, selling nearly 200k units in its first month and over 450k units to date. But that success didn't come out of nowhere; it was the clear result of the unusual decision to let the world play Cosmoteer for free during most of its development. This talk will explain why that decision was made, the results of that decision, this strategy's general pros and cons, and why many game developers should consider doing the same.
90 |
91 | 2022年10月，“Cosmoteer: Starship Architect & Commander”在Steam抢先体验阶段发布，并迅速成为独立游戏的热门作品，在第一个月内售出了近20万份，至今已售出超过45万份。但这一成功并非偶然；它是早期决定在大部分开发期间让玩家免费游玩Cosmoteer这一不寻常决策的直接结果。本次演讲将解释为何做出这一决定、该决策的结果、这一策略的一般优缺点，以及为什么许多游戏开发者应该考虑采取类似的策略。
92 |
93 | ## Independent Games Summit: Funding a Sustainable Cooperative Indie Studio in the Apocalypse
94 |
95 | 链接：https://schedule.gdconf.com/session/independent-games-summit-funding-a-sustainable-cooperative-indie-studio-in-the-apocalypse/910309
96 |
97 | 作者：Ty Underwood (Department Chair, Lake Washington Institute of Technology)、D. Squinkifer (Co-Founder, Soft Chaos)、Jess Rowan Marcotte (Co-Founder, Designer, Writer; Community Organizer, Soft Chaos Cooperative; QGCon)
98 |
99 | How can worker-owned game studios weather the unpredictable nature of the games industry while avoiding burnout and remaining viable- in all senses of the word? Soft Chaos Cooperative will start by presenting a case study of individual studio practices for cooperative studio sustainability. Comradery Cooperative will follow with a discussion of federated structures, navigating the secret world of "fintech" funding, and how cooperatives can come together to build structures that last. This talk will discuss practices at both the individual and collective levels that can help create resilient, equitable, and sustainable structures within the industry.
100 |
101 | 如何让工人所有的游戏工作室在游戏行业的不可预测性中生存下来，同时避免过度劳累并保持可行——从字面上讲？Soft Chaos Cooperative 将首先介绍一个关于个别工作室实践以实现合作工作室可持续性的案例研究。Comradery Cooperative 随后将讨论联邦结构，探索“金融科技”资金的秘密世界，以及合作社如何共同构建持久的结构。此次演讲将讨论在个人和集体层面上的实践，这些实践有助于在行业内创建具有韧性、公平和可持续性的结构。
102 |
103 | ## Independent Games Summit: Fundraising Bootcamp: Legal and Business Considerations
104 |
105 | 链接：https://schedule.gdconf.com/session/independent-games-summit-fundraising-bootcamp-legal-and-business-considerations/910257
106 |
107 | 作者：Jon Loiterman (Of Counsel, Foundation Law Group LLP)、Steven Lee (Partner, Foundation Law Group, LLP)
108 |
109 | Raising funds for gaming companies can be daunting, especially when developers lack insight into the diverse expectations of different investors. This session demystifies the key funding models available, offering a legal and strategic roadmap for navigating options like publisher financing, venture capital, private equity, angel investment, crowdfunding, and more. Attendees will explore the risks, benefits, and investor dynamics that can make or break a project. With real-world examples and practical advice, this talk empowers developers to make informed financial decisions, align their funding approach with their goals, and avoid costly missteps that could jeopardize their company’s success.
110 |
111 | 为游戏公司筹集资金可能会令人望而生畏，尤其是当开发者缺乏对不同投资者多样期望的洞察时。本场会议将揭秘可用的关键融资模式，提供法律和战略路线图，以导航诸如发行商融资、风险投资、私募股权、天使投资、众筹等选项。与会者将探讨可能成就或毁掉一个项目的风险、收益以及投资者动态。通过现实世界中的案例和实用建议，本演讲赋予开发者做出明智财务决策的能力，使其融资策略与目标相匹配，并避免可能导致其公司成功受阻的 costly missteps（成本高昂的失误）。
112 |
113 | ## Independent Games Summit: Gameplay System Design for Indies Microtalks: A Soapbox
114 |
115 | 链接：https://schedule.gdconf.com/session/independent-games-summit-gameplay-system-design-for-indies-microtalks-a-soapbox/909660
116 |
117 | 作者：Monica Fan (Game Designer, Pipeworks Studios)、Damien Crawford (Head of Operations, Cannibal Interactive)、Jakub Kasztalski (Founder & Creative Director , Unbound Creations)、Scott Fine (Senior Systems Designer, Skydance Interactive)、Nat Loh (Design Consultant, Independent)、Joe Quadara (Indie Dev Consultant, Studio Director, Recurver Consulting, Lunar Lunchbox)
118 |
119 | A well-designed gameplay system is essential to creating an engaging experience, and even minor adjustments can lead to significant improvements. However, for many first-time indie game developers, system design can seem daunting and complex. It is commonly seen as "the overwhelming part of design" and is often overlooked until it is too late.
120 |
121 | In this talk, we bring together a diverse group of game designers with varying levels of experience to share their insights in a series of microtalks. Our aim is to demystify the role of system designers and showcase how the role exists within games with different scope from solo dev projects to III indie.
122 |
123 | We will give a big-picture overview of what systemic design is, with specific examples such as combat mechanics, fire propagation, and more!
124 |
125 | 一个设计良好的游戏系统对于创造令人沉浸的游戏体验至关重要，即使是微小的调整也可能带来显著的改进。然而，对于许多初次尝试的独立游戏开发者来说，系统设计似乎既令人生畏又复杂。它通常被视为“设计中最繁重的部分”，并且往往直到为时已晚才被重视。
126 |
127 | 在本次讨论中，我们将汇集一群具有不同经验水平的游戏设计师，通过一系列微型演讲分享他们的见解。我们的目标是揭开系统设计师角色的神秘面纱，并展示这一角色如何存在于从个人开发者项目到大型独立游戏的各种规模游戏中。
128 |
129 | 我们将概述系统设计的大致内容，并通过具体的例子如战斗机制、火焰传播等进行说明！
130 |
131 | ## Independent Games Summit: Hitting the Bullseye: Crafting a Winning Strategy for Targeting Creators and Press
132 |
133 | 链接：https://schedule.gdconf.com/session/independent-games-summit-hitting-the-bullseye-crafting-a-winning-strategy-for-targeting-creators-and-press/910117
134 |
135 | 作者：Jenny Windom (Communications Director, Ivy Road)、Dana Trebella (Founder, Spoke & Wheel Strategy)
136 |
137 | With renowned, long-term game media outlets like Waypoint and Game Informer shuttering over the past year, and the proliferation of influencers in the space, studios and publishers need to adjust their marketing strategies to fit the ever-changing media environment.
138 |
139 |
140 | This rapidly changing landscape has led to misconceptions ("If this streamer plays my game, I'll get this many sales!") and challenges in determining the strongest ways to maximize the impact of outreach, assets, and announcements. In this talk, Dana and Jenny will combine their years of experience working in marketing, content creation, brand strategy, and PR to detail how studios and publishers can make sense of what's available to them. They'll first do this by sharing strategies for running a competitive analysis, then model how teams can use that information to determine the best timing, audience, and outreach for traditional media and influencers, creating impactful activations for their title's marketing lifecycle.
141 |
142 | 随着知名的游戏媒体机构如Waypoint和Game Informer在过去一年的关闭，以及影响力人物在这一领域的增多，工作室和发行商需要调整其营销策略以适应不断变化的媒体环境。
143 |
144 | 这个快速变化的格局导致了一些误解（“如果这位主播玩我的游戏，我就能获得这么多销量！”）和挑战，即如何确定最有效的方法来最大化推广、资产和公告的影响。在这次演讲中，Dana和Jenny将结合他们在市场营销、内容创作、品牌战略和公关方面的多年经验，详细说明工作室和发行商如何理解他们可用的各种资源。他们首先会分享进行竞争分析的战略，然后展示团队如何利用这些信息来确定传统媒体和影响力人物的最佳时机、受众和推广方式，从而为游戏的市场生命周期创造有影响力的活动。
145 |
146 | ## Independent Games Summit: How to Plan for Audio as a Developer
147 |
148 | 链接：https://schedule.gdconf.com/session/independent-games-summit-how-to-plan-for-audio-as-a-developer/908950
149 |
150 | 作者：Em Halberstadt (Creative Director, A Shell in the Pit)
151 |
152 | Never panic again about your game audio at the last minute! In this talk you will gain knowledge about the entire process of sound design for games from start to finish. The session will cover coming up with references, how different design techniques can affect your game, what to listen for, and how the implementation and mixing processes work. Em shares ideas on how sound can add a unique voice to your game, and how to communicate what feelings you'd like to evoke, as well as how to start thinking about it right from the beginning of your project.
153 |
154 | 再也不用担心游戏音频在最后一刻出现问题！在这次演讲中，你将了解游戏声音设计整个流程的知识，从开始到结束。本次会议将涵盖如何提出参考意见、不同的设计技术如何影响你的游戏、应该注意什么，以及实施和混音过程的工作方式。Em 分享了关于声音如何为你的游戏增添独特声音的想法，以及如何传达你希望唤起的情感，甚至是如何从项目一开始就考虑这些问题。
155 |
156 | ## Independent Games Summit: Marketing Your Game Under the New Steam Rules
157 |
158 | 链接：https://schedule.gdconf.com/session/independent-games-summit-marketing-your-game-under-the-new-steam-rules/909668
159 |
160 | 作者：Chris Zukowski (Game Marketing Strategist, How To Market A Game)
161 |
162 | 2024 was the year Valve made major changes on how games and their demos gain visibility. In this talk, game marketing researcher Chris Zukowski will list the changes and show you how successful developers have adapted to them.
163 |
164 | 2024年是Valve对游戏及其演示版如何获得曝光方式进行重大改变的一年。在本次演讲中，游戏营销研究员克里斯·祖科夫斯基（Chris Zukowski）将列举这些变化，并展示成功的开发者们是如何适应这些变化的。
165 |
166 | ## Independent Games Summit: Meetings Make Games! Fostering Empathy and Focus in Collaborative Discussion
167 |
168 | 链接：https://schedule.gdconf.com/session/independent-games-summit-meetings-make-games-fostering-empathy-and-focus-in-collaborative-discussion/909834
169 |
170 | 作者：Michelle Olson (Mission Designer, Lightspeed LA)
171 |
172 | Creative meetings are wonderful yet delicate things - they can be exhilarating… but if not run with intention, can become exasperating. Sometimes a single voice dominates the room. Sometimes no one feels empowered to speak. Worst of all, a poorly run design meeting can make attendees feel like it was all a waste of time. With indie development, every minute is precious - What can we do to consistently boost the energy, productivity, and magic of these meetings? How can we get the most out of our designers and foster an environment of creativity, camaraderie, and focus? In this talk, game designer and former game director Michelle Olson will introduce and discuss the importance of psychological safety, and how meeting structure, communication style, and a whole lot of empathy can assist with making your meetings energizing, efficient, and empowering.
173 |
174 | 创意会议是美妙而微妙的事情——它们可以令人振奋……但如果缺乏明确的目的性，就会变得令人沮丧。有时一个声音会主导整个房间。有时又没有人觉得自己有足够的权力发言。最糟糕的是，一场组织不当的设计会议可能会让与会者觉得这完全是在浪费时间。对于独立游戏开发来说，每一分钟都弥足珍贵——我们能做些什么来持续提升这些会议的能量、生产力和魔力呢？我们如何才能最大限度地发挥设计师的作用，并营造一种充满创造力、友谊和专注的环境？在这次演讲中，游戏设计师兼前游戏总监米歇尔·奥尔森将介绍并讨论心理安全感的重要性，以及会议结构、沟通方式和大量的同理心如何能够帮助使会议充满活力、高效且具有赋能性。
175 |
176 | ## Independent Games Summit: Microtalks: Solving Production Problems
177 |
178 | 链接：https://schedule.gdconf.com/session/independent-games-summit-microtalks-solving-production-problems/910936
179 |
180 | 作者：Jen Costa (Director of Production, Uken Games)、Shahrin Khan (Lead Producer, Visai Games)、Kaitlin Smith (Senior Producer, Capybara Games)
181 |
182 | The role of a Producer in game development is fraught with challenges that demand a fine balance of strategic foresight, people management, and operational agility. Additionally, a solution that works for one company/team might not work for another.In this microtalk session about Solving Production Problems, we'll dig into a few different classic Production issues and offer an opportunity for experienced Producers to share how they resolved (or survived) some of the most challenging hurdles they face in their roles and on their projects as well as what worked or didn't work for their teams.
183 |
184 | 游戏开发中制作人的角色充满了挑战，需要在战略远见、人员管理以及运营灵活性之间保持微妙的平衡。此外，一种适用于某个公司或团队的解决方案可能不适用于另一个公司或团队。在此次名为“解决生产问题”的微讲座中，我们将深入探讨一些不同的经典生产问题，并为经验丰富的制作人提供一个分享他们如何解决（或应对）在工作中和项目中遇到的一些最具挑战性的障碍的机会，以及这些方法对他们的团队是有效还是无效。
185 |
186 | ## Independent Games Summit: Sex Sells! Or Does It? Making Top Quality Adult Games
187 |
188 | 链接：https://schedule.gdconf.com/session/independent-games-summit-sex-sells-or-does-it-making-top-quality-adult-games/908974
189 |
190 | 作者：HotPink (Game Design Director and Producer, HotPink Games)
191 |
192 | Everyone knows sex sells! Even better if your game has actual sex in it, right? It’s like easy mode! But is it really that easy these days? The games market as a whole has become highly saturated, and the quality of NSFW games varies wildly. But, we have hope for a better future!In this session, discover how Critical Bliss, one of the top lewd game publishers, is raising the bar in adult games. Also, steal some tips from HotPink Games, who’s reached 6 million game downloads by intrinsically mixing their game design with sexual content. And, leave with actionable ideas on how you too can make your game more pleasurable– even if it’s fully SFW.This session contains mature themes and may not be suitable for all audiences. Be advised that graphic language and explicit images sexual in nature may be used.
193 |
194 | 大家都知道性是可以促进销售的！如果游戏中真的有性内容，那就更好了，对吧？这就像开启了简单模式一样！但如今真的那么简单吗？整个游戏市场已经变得高度饱和，而不适宜工作场所观看（NSFW）的游戏质量参差不齐。但我们对未来抱有希望！在这次分享中，我们将了解顶级色情游戏发行商之一Critical Bliss是如何提升成人游戏的标准的。此外，我们还将从HotPink Games那里偷学一些技巧，他们的游戏下载量已达到600万次，通过将游戏设计与性内容内在结合，实现了这一成就。并且，你将带着可行的想法离开，如何让你的游戏也变得更加吸引人——即使它完全是适宜工作场所观看（SFW）的内容。本次分享包含成熟主题，可能不适合所有观众。请注意，可能会使用具有图形语言和露骨的性内容图片。
195 |
196 | ## Independent Games Summit: The Intricate Web of Relationships: Indigenous-Centered Design
197 |
198 | 链接：https://schedule.gdconf.com/session/independent-games-summit-the-intricate-web-of-relationships-indigenous-centered-design/908951
199 |
200 | 作者：Mary (waabishkiimiigwan) Hermes (Director, Grassroots Indigenous Multimedia)、Anangookwe Hermes-Roach (Lead Designer and Backend Dev, Grassroots Indigenous Multimedia)、Renee Nejo (Art Director, GIM)、Joshua Herron (Character Art and Animation Director, Grassroots Indigenous Multimedia)、Steve Zimmerman (VP, Eline Media)、Jennifer Estaris (Game Director, ustwo games)
201 |
202 | How have we as game makers dedicated to social justice and indigenous-centered design navigated this process? Producers, writers and creatives from three different games: Reclaim!, Never Alone, and Monument Valley 3, will discuss our different approaches to relationship building, oral traditions/storytelling and indigenous languages and sustainability. While aware of stereotypes and erasures in popular culture, we tell of our own missteps and innovations and why the journey is worth it.
203 |
204 | 作为致力于社会正义和以原住民为中心设计的游戏开发者，我们是如何应对这一过程的？来自三款不同游戏《Reclaim!》、《Never Alone》和《Monument Valley 3》的制作人、编剧和创作者们将讨论我们在关系构建、口述传统/故事讲述以及原住民语言和可持续性方面的不同方法。尽管我们意识到流行文化中的刻板印象和抹去，我们将分享我们自己的失误与创新，并解释为什么这段旅程是值得的。
205 |
206 | ## Independent Games Summit: The Show Must Go On: Maximizing Your Game's Visibility with Online Festivals
207 |
208 | 链接：https://schedule.gdconf.com/session/independent-games-summit-the-show-must-go-on-maximizing-your-games-visibility-with-online-festivals/909538
209 |
210 | 作者：Dana Trebella (Founder, Spoke & Wheel Strategy)、Derek Leiu (Creative Director, Derek Lieu Creative)
211 |
212 | This talk will cover the importance of festivals and showcases as a part of your marketing campaign, how to choose the right festival for you, and how to plan your marketing beats and assets to maximize your chances of getting in. We'll share some marketing timing tips to both help you get in to your desired festival(s) and optimize your visibility if you do. We'll also walk through the importance of considering festivals when planning out your marketing cadence and beats from the beginning, and how to do this effectively.
213 |
214 |
215 | Talking with organizers of some of the game industry's key festivals, we'll provide insights and tips to make your application stand out. We'll also walk through what makes a compelling showcase trailer, how to prep for the showcase, and how to maximize the opportunity.
216 |
217 | 本次演讲将涵盖节日和展示会在营销活动中的重要性，如何选择最适合您的节日，以及如何规划您的营销节奏和资源以最大化入选的机会。我们将分享一些营销时机的技巧，以帮助您进入心仪的节日，并优化您的可见度。我们还将讨论在规划营销节奏和活动时考虑节日的重要性，以及如何有效地做到这一点。
218 |
219 | 通过与一些游戏行业关键节日的组织者交流，我们将提供见解和技巧，使您的申请脱颖而出。我们还将详细介绍引人注目的展示预告片的特点、如何为展示做准备，以及如何充分利用这个机会。
220 |
221 | ## Independent Games Summit: What Even is 1.0?: Indefinite Early Access and Live Development
222 |
223 | 链接：https://schedule.gdconf.com/session/independent-games-summit-what-even-is-10-indefinite-early-access-and-live-development/909778
224 |
225 | 作者：Tanya X. Short (Captain, Kitfox Games)、Tarn Adams (Toady One, Bay 12 Games)、Jason Grinblat (Creative Director, Freehold Games)、Alexandra Orlando (Community Director, Kitfox Games)、Daniel Fedor (Director, Blue Bottle Games)
226 |
227 | Every game has a different struggle to face when it comes to live development, inviting players to participate in the evolution of a concept from a seedling to a full-fledged product. However, even if we limit the conversation by genre and platform (sandbox simulations on Steam), we can still see different teams use different methods and philosophies to pursue their goals and grow their game. Some tiptoe stealthily into Early Access, some launch into it with a bang, some bypass Early Access altogether. Some save up giant patches for years and others patch weekly. Four different teams will share their approach and the pros and cons they've observed in their results.
228 |
229 | 每款游戏在直播开发过程中都面临着不同的挑战，邀请玩家参与到从萌芽到成熟产品的概念进化中。然而，即使我们将讨论限制在特定的类型和平台（如Steam上的沙盒模拟游戏）内，我们仍然可以看到不同的团队使用不同的方法和理念来追求他们的目标并发展他们的游戏。有些团队小心翼翼地悄悄进入抢先体验阶段，有些则以轰动的方式进入，有些则完全绕过了抢先体验阶段。有些团队积攒大型更新补丁多年才发布，而有些则是每周进行更新。四个不同的团队将分享他们各自的方法以及他们在结果中观察到的优点和缺点。
230 |
231 | ## Unity Developer Summit: Building Fear: The Tech Behind Phasmophobia (Presented by Unity)
232 |
233 | 链接：https://schedule.gdconf.com/session/unity-developer-summit-building-fear-the-tech-behind-phasmophobia-presented-by-unity/911621
234 |
235 | 作者：Benjamin Lavender (Technical Director, Kinetic Games, Kinetic Games)
236 |
237 | Join Kinetic Games as they unveil the tech that powers Phasmophobia, the hit multiplatform ghost-hunting game. The team will delve into core mechanics, showcasing code snippets and screenshots to reveal secrets behind the game's atmosphere and immersion. Discover how algorithms create unpredictable ghost behaviour, how Kinetic uses the Unity Engine, and the tools and techniques used to bring the paranormal to life. This is a must-attend for developers and enthusiasts of all things spooky and technical.
238 |
239 | 加入Kinetic Games，他们将揭晓支撑《Phasmophobia》的技术，这是一款热门的多平台捉鬼游戏。团队将深入探讨核心机制，并展示代码片段和截图，以揭示游戏氛围和沉浸感背后的秘密。了解算法如何创造不可预测的鬼魂行为，Kinetic如何使用Unity引擎，以及用于将超自然现象生动呈现的各种工具和技术。这对所有喜欢恐怖和技术的开发者和爱好者来说是一场不容错过的活动。
240 |
241 |
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1 | ## Amplifying Player Voices with LLMs in Game Development
2 |
3 | 链接：https://schedule.gdconf.com/session/amplifying-player-voices-with-llms-in-game-development/907458
4 |
5 | 作者：Joshua Koen (Manager, User Research, Blizzard Entertainment)、Ian Livingston (Director, User Research, Blizzard Entertainment)
6 |
7 | Our players dedicate tens, hundreds, or even thousands of hours to the experiences that we craft for them. Players have valuable feedback about how we can improve those experiences, but it can be challenging for developers to quickly parse vast amounts of feedback and identify ways to improve experiences. The presenters will explore the benefits and risks of using Large Language Models (LLMs) for analyzing player feedback. LLMs offer a way to efficiently analyze feedback at depth and scale that has not been previously possible. However, there are dangers of producing incorrect outcomes that are easy to overlook without a careful approach. Prompt structure, game terminology, and data complexity can easily trip up LLMs. The session will present ways that Blizzard has been validating the use of LLMs for this type of analysis. We will illustrate workflows for using LLMs to enhance processes for analyzing feedback from players.
8 |
9 | 我们的玩家投入数十、数百甚至数千小时来体验我们为他们打造的游戏内容。玩家对于如何改进这些体验有着宝贵的反馈意见，但对于开发者来说，快速解析大量的反馈并找出改进的方法可能会颇具挑战性。演讲者将探讨使用大型语言模型（LLMs）分析玩家反馈的好处和风险。LLMs提供了一种高效且以前无法实现的深度和规模的反馈分析方式。然而，在没有仔细处理的情况下，很容易忽视可能导致错误结果的危险。提示结构、游戏术语和数据复杂性都可能使LLMs陷入困境。本次会议将展示暴雪公司验证使用LLMs进行此类分析的方法。我们将展示如何利用LLMs增强分析玩家反馈的过程。
10 |
11 | ## 'Avowed' Branching Narratives: Shifting from QA Testing to Analyzing
12 |
13 | 链接：https://schedule.gdconf.com/session/avowed-branching-narratives-shifting-from-qa-testing-to-analyzing/907172
14 |
15 | 作者：David Benefield (QA Lead, Obsidian Entertainment)
16 |
17 | The Quality Assurance department at Obsidian have taken great strides in shifting the perception and use case of QA Analysts on Avowed from being 'testers' who spend the majority of their work hours playing the game and reporting obvious bugs, to being 'analysts' who spend most of their time outside the game client to find, correct, and prevent defects.
18 |
19 |
20 | This talk focuses on how QA put this philosophy into practice for Quests in Avowed. Attendees will see each step leading up to the 'Joint Analysis Sessions' that leveraged Area Designer and Quality Assurance Analysts to fix bugs before they were even reported.
21 |
22 | Obsidian 的质量保证部门在转变《Avowed》中质量保证分析师的角色认知方面取得了显著进展，从被视为主要通过玩游戏和报告显而易见的漏洞的“测试者”，转变为更多地在游戏客户端外部工作的“分析师”，以发现、纠正和预防缺陷。
23 |
24 | 本次演讲重点介绍了质量保证团队如何在《Avowed》的任务系统中实践这一理念。与会者将看到从开始到“联合分析会议”的每一步骤，这些会议利用区域设计师和质量保证分析师在问题被报告之前就修复漏洞。
25 |
26 | ## Building Big Impact, One Brick at a Time: Marginal Gains in 'LEGO Horizon Adventures'
27 |
28 | 链接：https://schedule.gdconf.com/session/building-big-impact-one-brick-at-a-time-marginal-gains-in-lego-horizon-adventures/907567
29 |
30 | 作者：Adam Russell (Lead Designer, Studio Gobo)
31 |
32 | If you break down everything that goes into making a game, and improve each thing by just one percent, you'll have a significant improvement when you put them all together.
33 |
34 |
35 | This talk from Studio Gobo's Lead Designer Adam Russell will go into detail about how to build marginal gains into your team's development process, and create a mindset that empowers individual team members to identify and action micro-improvements that, when combined, compound to create improvements that benefit everyone all the way from our dev team to our players.
36 |
37 |
38 | Using examples from LEGO Horizon Adventures, Adam will discuss how marginal gains has become a development mantra at Studio Gobo. Including how to build this into your teams at a process and features level, the benefits of doing this all the way through development, and how to overcome some of the challenges you may face.
39 |
40 | 如果你将制作游戏所需的一切拆解开来，并且在每一方面都提高百分之一，那么当你把这些提升综合在一起时，就会取得显著的进步。
41 |
42 | Studio Gobo首席设计师亚当·拉塞尔的演讲将详细探讨如何在团队的开发过程中构建微小的优势，并培养一种心态，使团队成员能够识别并实施微小改进，而这些改进累积起来会形成从开发团队到玩家都能受益的提升。
43 |
44 | 通过《乐高无限冒险》的例子，亚当将讨论微小优势如何成为Studio Gobo的开发信条。包括如何在流程和功能层面将这一点融入你的团队，这样做从头到尾进行开发的好处，以及如何克服可能遇到的一些挑战。
45 |
46 | ## Collaboration and Creativity: Building Original game IP at LIGHTSPEED STUDIOS (Presented by LIGHTSPEED STUDIOS )
47 |
48 | 链接：https://schedule.gdconf.com/session/collaboration-and-creativity-building-original-game-ip-at-lightspeed-studios-presented-by-lightspeed-studios-/911307
49 |
50 | 作者：Steve C. Martin (Vice President, LIGHTSPEED STUDIOS)、Hideaki Itsuno (Head of LIGHTSPEED JAPAN STUDIO, LIGHTSPEED STUDIOS)
51 |
52 | Discover the keys to building to building a world-class AAA studio dedicated to original game IP. In this unprecedented panel discussion, LIGHTSPEED STUDIOS brings together Steve Martin (Vice President, LIGHTSPEED STUDIOS) and Hideaki Itsuno (Head of LIGHTSPEED JAPAN STUDIO) for an exclusive conversation on their unique approaches to game development. Learn from their invaluable experience – representing the best of both East and West gaming cultures – as they share insights into fostering creativity, managing resources, building high-performing teams, and the journey of overcoming challenges from an initial concept to a successful AAA launch. This is an invaluable opportunity to gain a truly global perspective on the future of game development.
53 |
54 | 探索打造世界一流AAA工作室的关键，该工作室专注于原创游戏IP。在这次前所未有的小组讨论中，LIGHTSPEED STUDIOS邀请了Steve Martin（LIGHTSPEED STUDIOS副总裁）和Hideaki Itsuno（LIGHTSPEED JAPAN STUDIO负责人），进行一次独家对话，分享他们独特的游戏开发方法。从他们的宝贵经验中学习——代表着东西方游戏文化的精华——他们将分享如何激发创造力、管理资源、组建高性能团队，以及从最初的概念到成功推出AAA级游戏所经历的挑战旅程。这是一次无价的机会，让你获得真正全球视角的游戏开发未来展望。
55 |
56 | ## Company Building: Top 10 Learnings from Becoming a Cross Platform Studio
57 |
58 | 链接：https://schedule.gdconf.com/session/company-building-top-10-learnings-from-becoming-a-cross-platform-studio/907532
59 |
60 | 作者：Ian Fielding (Studio Head, Super Evil Megacorp)
61 |
62 | This 30 minute lecture from Super Evil Megacorp shares lessons from the evolution from a mobile first gaming company to a cross-platform developer and publisher. Studio Head Ian Fielding will discuss candid lessons from the evolution, and concrete examples of key decisions around talent, tech, marketing, and more made to set the team up for success with this transition. Fielding will also dive into how Super Evil Megacorp was able to methodically build up their capabilities in a sustainable way towards becoming a cross-platform studio, while continuing to play to their strengths around mobile development. Lastly, he will discuss some of the longer term studio goals and thinking around potential future cross-platform opportunities.
63 |
64 | 本次由Super Evil Megacorp提供的30分钟讲座分享了从专注于移动游戏的公司转变为跨平台开发商和发行商过程中的经验教训。工作室负责人Ian Fielding将诚实地讨论这一演变中的经验教训，并具体举例说明为确保团队成功转型而在人才、技术、市场营销等方面做出的关键决策。Fielding还将深入探讨Super Evil Megacorp是如何系统地建立起可持续发展的能力，从而成为一家跨平台工作室，同时继续发挥他们在移动开发方面的优势。最后，他将讨论一些长期的工作室目标以及对未来可能的跨平台机会的思考。
65 |
66 | ## Demystifying VO in Games
67 |
68 | 链接：https://schedule.gdconf.com/session/demystifying-vo-in-games/910754
69 |
70 | 作者：Sini Downing (Creative Director, Side)
71 |
72 | Any developer tasked with the voiceover side of their game may feel out of their depth if they haven't dealt with audio production before. Let a VO veteran guide your way with practical advice on how to get a useful quote for budgeting, set up timelines, get great actors cast, and prepare for recordings so that you have fantastic files to implement straight into your game.With Side’s experience casting, directing, recording, doing post production and mastering on games -- from the diminutive casts of It Takes Two and Returnal, to the mammoth recording journey of Final Fantasy XVI and trans-Atlantic production for Cyberpunk 2077 -- Side's Creative Director, Sini Downing, has insights to help any producer prepare for VO production.
73 |
74 | 任何负责游戏配音工作的开发者，如果之前没有处理过音频制作，可能会觉得自己力不从心。让一位资深配音指导带你深入了解如何为预算制定获取有用的报价、设置时间表、挑选优秀的演员，以及准备录音，以便你能够获得可以直接导入游戏中的出色配音文件。凭借Side公司在从《双人成行》和《死亡回归》这样阵容较小的游戏到《最终幻想XVI》这样庞大的录音旅程，以及《赛博朋克2077》跨国制作的配音方面的选角、导演、录音、后期制作和母带制作的经验，Side公司的创意总监Sini Downing拥有帮助任何制片人准备配音制作的见解。
75 |
76 | ## Find Your Bugs and Squash Them: Using Multi-Modal Models and Retrieval Augmented Generation to Address Bugs in Games (Presented by NVIDIA)
77 |
78 | 链接：https://schedule.gdconf.com/session/find-your-bugs-and-squash-them-using-multi-modal-models-and-retrieval-augmented-generation-to-address-bugs-in-games-presented-by-nvidia/911192
79 |
80 | 作者：Logan Herche (Principal Engineer, NVIDIA)、Rick Grandy (Principal Solutions Architect, NVIDIA)
81 |
82 | As games grow increasingly complex, they present significant challenges in QA and data parsing throughout development and post-release. This talk highlights two critical solutions within the development pipeline. First, we explore how Visual Language Models (VLMs) can efficiently detect bugs in expansive open-world games, where manual inspection becomes impractical. Next, we discuss how Retrieval Augmented Generation (RAG) with Large Language Models (LLMs) can summarize the vast amounts of data generated by these systems, enabling developers to quickly identify key insights and address the most urgent issues in their games.
83 |
84 | 随着游戏变得越来越复杂，在开发和发布后整个过程中，它们在质量保证（QA）和数据解析方面提出了显著挑战。本次演讲强调了开发流程中的两个关键解决方案。首先，我们将探索视觉语言模型（VLMs）如何高效地检测开放世界游戏中的bug，因为在这些游戏中手动检查变得不切实际。接下来，我们将讨论大型语言模型（LLMs）结合检索增强生成（RAG）如何总结这些系统产生的大量数据，使开发者能够快速识别关键见解，并解决游戏中最紧迫的问题。
85 |
86 | ## From Players to Creators: A Guide to User-Generated Content Success in 'Arma Reforger'
87 |
88 | 链接：https://schedule.gdconf.com/session/from-players-to-creators-a-guide-to-user-generated-content-success-in-arma-reforger/907378
89 |
90 | 作者：Natalia Agafonova (Executive Producer, Bohemia Interactive)
91 |
92 | In Arma's vast, open world, the path from player to creator is more than just a journey—it's a transformation that reshapes our very approach to game development and community building. This session is set to illuminate the crucial role of user-generated content (UGC) in pushing the boundaries of Arma, underlining its invaluable impact on fostering a robust community, the marvels of modularity, and ensuring the game's persistent charm.The speakers navigate the intricate process of how UGC morphs ordinary players into architects of their own adventures. You'll get an insider look at how we craft Arma's expansive sandbox tool set and tackle the unique challenges that emerge when players tinker and toy, modding the game into uncharted territories. The goal? So that you can learn from our playbook of trials, and construct your own Lego empire for your players.
93 |
94 | 在Arma广阔开放的世界中，从玩家到创造者的道路不仅仅是一段旅程——它是一种转变，重塑了我们对游戏开发和社区建设的方法。本次会议旨在阐明用户生成内容（UGC）在推动Arma边界方面的重要作用，强调其在培养强大社区、展示模块化魅力以及确保游戏持久吸引力方面的不可估量的影响。演讲者将引导大家深入了解如何通过UGC将普通玩家转变为他们自己冒险的建筑师。您将获得内部视角，了解我们如何打造Arma的扩展沙盒工具集，并应对当玩家进行修改和创作时出现的独特挑战。目标是让您能够从我们的试验手册中学习，并为您的玩家构建自己的乐高帝国。
95 |
96 | ## Funding Futures Series: Chasing Unicorns: How Venture Funding Really Works
97 |
98 | 链接：https://schedule.gdconf.com/session/funding-futures-series-chasing-unicorns-how-venture-funding-really-works/911239
99 |
100 | 作者：Jason Della Rocca (Co-Founder, Execution Labs)、Sigurlina Ingvarsdottir (Founding Partner, Behold Ventures)、Kelly Wallick (Partner & Community Builder, 1Up Ventures)、Jonathan Lai (General Partner, Andreessen Horowitz/a16z)、Are Mack Growen (General Partner, London Venture Partners)
101 |
102 | The session will focus on how venture capital funding (broadly) and VC funds (specifically) operate and how they are completely different from publishers and other sources of project funding. We'll explore the logic behind “VC math” and why they primarily invest in GaaS+F2P, and studios that are on a path to scale to unicorn valuations (ie, $1billion). This will also uncover why chasing VCs is usually a waste of time for game developers… as we better understand what they actually look for in a potential deal. We will also examine how things are evolving since the pandemic, particularly at early stages and the need for more evidence.
103 |
104 | 本次会议将重点关注风险资本融资（广义）和风险投资基金（具体）的运作方式，以及它们与发行商和其他项目资金来源之间的根本区别。我们将探讨“风投数学”的逻辑，以及为什么他们主要投资于GaaS（游戏即服务）+F2P（免费玩）模式，并且关注那些有望达到独角兽估值（即10亿美元）的工作室。这也将揭示为什么游戏开发者追逐风投通常是一种时间浪费……随着我们更好地理解风投在潜在交易中实际寻求的内容。我们还将分析自疫情以来情况如何演变，特别是在早期阶段以及需要更多证据的需求。
105 |
106 | ## Funding Futures Series: Inception Publishing: The Shift to Indie Self-Publishing
107 |
108 | 链接：https://schedule.gdconf.com/session/funding-futures-series-inception-publishing-the-shift-to-indie-self-publishing/911240
109 |
110 | 作者：Jason Della Rocca (Co-Founder, Execution Labs)、Victoria Tran (Community Director, Innersloth)、Genevieve St-Onge (CEO & Co-Founder, popagenda)、Kirsten-Lee Naidoo (Head of Publishing, Landfall)、Soren Lundgaard (CEO, Ghost Ship Games)
111 |
112 | With the sober reality that only a fraction of games that are pitched to publishers actually get signed, this panel will discuss the logic and justification for self-publishing. This includes the need to do marketing at the earliest phases (and what that actually looks like). The session will also explore the various pieces that are needed to make self-publishing work, like dedicated project funds and paid-for publishing services. We'll examine how the landscape is evolving to enable more self-publishing to happen successfully.
113 |
114 | 鉴于只有少数向发行商提交的游戏最终能够签约这一严峻现实，本次圆桌会议将讨论自我发行的逻辑和合理性。这包括在项目初期就需要进行市场营销（并且实际操作是怎样的）。会议还将探讨实现自我发行所需的各个要素，如专门的项目资金和付费出版服务。我们将分析市场环境如何演变以支持更多成功的自我发行。
115 |
116 | ## Funding Futures Series: The Evolving Role of Publishers
117 |
118 | 链接：https://schedule.gdconf.com/session/funding-futures-series-the-evolving-role-of-publishers/911238
119 |
120 | 作者：Jason Della Rocca (Co-Founder, Execution Labs)、Snow Rui (President & CFO, Hooded Horse)、John Buckley (Communications Director / Publishing Manager, Pocketpair)、Steve Escalante (CEO, Digital Bandidos)、Matt Charles (Chief Product Officer / Co-Founder, Cooldown Games)
121 |
122 | This panel will explore the evolving role of publishers as the game business landscape continues to shift under our feet. Traditional publishing deals seem harder to score, with more burden to prove market demand placed on developers. Let's dig in on what publishers are looking for today, and how they determine if something actually has a chance to succeed in the market. We'll also examine how business models are evolving, and what other changes are to come in the future. Let's investigate the true value of publishers and how they can best enable developers to prosper.
123 |
124 | 本场讨论会将探讨随着游戏行业格局持续变化，发行商角色如何演变。传统的发行交易似乎越来越难以达成，开发商需要承担更多的证明市场需求的责任。我们将深入探讨当今发行商寻求什么，以及他们如何判断某个产品是否有机会在市场上取得成功。我们还将审视商业模式如何演变，以及未来可能出现的其他变化。让我们探究发行商的真实价值，以及他们如何最好地助力开发者繁荣发展。
125 |
126 | ## Game Intelligence: Bringing the Player Voice to the Developers
127 |
128 | 链接：https://schedule.gdconf.com/session/game-intelligence-bringing-the-player-voice-to-the-developers/907646
129 |
130 | 作者：Louise Jackson (Associate Producer, Massive Entertainment – a Ubisoft Studio)
131 |
132 | Building AAA projects has never been more complex and player expectations are higher than ever - how can you ensure that you are correctly gauging those expectations and providing that data to developers so they can make informed decisions? In this talk, we will discuss how we at Massive Entertainment developed a team whose goal is to provide developers necessary/valuable player insights at every stage of the production process. We will cover what a Game Intelligence team is, how we operate, why trust is the foundation of everything we do and what impact our team has had on recent projects.
133 |
134 | 开发AAA项目从未如此复杂，玩家的期望也从未如此之高——你如何确保正确评估这些期望，并将这些数据提供给开发者，以便他们做出明智的决策？在本次演讲中，我们将讨论我们在Massive Entertainment是如何组建一个团队，其目标是在制作过程的每个阶段为开发者提供必要的/有价值的游戏洞察。我们将介绍什么是游戏情报团队，我们的运作方式，为什么信任是我们所做一切的基础，以及我们团队对近期项目的影响。
135 |
136 | ## Game Studio Principles: A Case Study
137 |
138 | 链接：https://schedule.gdconf.com/session/game-studio-principles-a-case-study/907689
139 |
140 | 作者：Jesse Schell (CEO, Schell Games LLC)
141 |
142 | Every game studio is driven by core principles, but those principles are not always clearly stated, often because leaders are afraid they will seem like corporate doublespeak or inauthentic cheerleading. But clearly stated principles can strengthen a studio by creating clear communication about what is actually important. In this talk, Jesse Schell, the author of The Art of Game Design, will show the benefits you can gain by clearly defining your mission statement, core values, key principles, and top priority. As examples, the 18 principles that have helped Schell Games thrive for over twenty years will be revealed and discussed for the first time.
143 |
144 | 每个游戏工作室都有其核心原则，但这些原则并不总是被明确陈述，往往是因为领导者担心它们会显得像是企业套话或不真诚的鼓动。但明确表述的原则可以通过清晰地传达真正重要的内容来增强工作室的实力。在这次演讲中，游戏设计著作《游戏设计的艺术》的作者杰西·谢尔将展示通过明确界定使命宣言、核心价值观、关键原则和首要任务所能获得的好处。作为例子，谢尔游戏公司二十多年来一直受益的18项原则将首次被揭示和讨论。
145 |
146 | ## Going Beyond Traditional Leadership: Embracing the Modern Team Landscape
147 |
148 | 链接：https://schedule.gdconf.com/session/going-beyond-traditional-leadership-embracing-the-modern-team-landscape/907087
149 |
150 | 作者：Cristina Vega (Senior Technical Executive Producer, IO Interactive)
151 |
152 | In the dynamic and rapidly evolving landscape of game development in nowadays globalized world, leadership approaches must evolve to effectively harness the diverse talents from different backgrounds, cultures and perspectives present in today's workforce. Traditional leadership models, which predominantly emerged in industrial America in the 60s or derive from those, were designed for a more homogeneous workforce and often fail to address the complexities of modern teams. Join me for a session where we critically examine the limitations of some of the most common leadership theories in the context of contemporary game development and how to address this shortcoming, as well as some useful takeaways to make us more effective leaders. This session will explore how these traditional models fall short in addressing the unique needs and contributions of a diverse workforce, which includes individuals from various cultural, educational, and professional backgrounds, and how to overcome them. Drawing from personal experiences at including IO Interactive, where our team comprises nationalities from over 40 different countries, we will delve into practical insights and strategies for effective leadership.
153 |
154 | 在当今全球化的世界中，游戏开发领域的动态和快速演变进程中，领导方式必须进化，以便有效利用来自不同背景、文化和视角的多样化人才。传统的领导模式大多起源于20世纪60年代的美国工业界或由此衍生，这些模型是为更加同质化的员工队伍设计的，往往无法应对现代团队的复杂性。加入我，我们将深入探讨一些最常见的领导理论在当代游戏开发背景下的局限性，以及如何解决这一不足，并提供一些有用的见解以使我们成为更有效的领导者。本session将探索这些传统模型如何在满足多元化员工队伍的独特需求和贡献方面显得不足，该队伍包括来自各种文化、教育和职业背景的个人，并探讨如何克服这些不足。基于我在包括IO Interactive等公司的工作经验，我们的团队成员来自超过40个不同的国家，我们将深入探讨实用的见解和有效的领导策略。
155 |
156 | ## How Managing Dependencies for 'Cyberpunk 2077: Phantom Liberty' Led to Smooth Production and a Successful Release
157 |
158 | 链接：https://schedule.gdconf.com/session/how-managing-dependencies-for-cyberpunk-2077-phantom-liberty-led-to-smooth-production-and-a-successful-release/907369
159 |
160 | 作者：Konrad Grzegory (Transformation Director, CD PROJEKT RED)
161 |
162 | Konrad will present the challenges and strategies of managing dependencies between teams in complex technological projects, drawing on his experience from the production of Cyberpunk 2077: Phantom Liberty. The talk will focus on how Dependency Qube can turn chaos into structured, multidimensional, product-focused collaboration. You can expect many real-life examples and tips on how to easily use it yourself. The talk will also touch upon the barriers and challenges that need to be addressed in an organization before it can be used.
163 |
164 | Konrad 将介绍在复杂技术项目中管理团队间依赖关系的挑战和策略，他将基于在《赛博朋克2077：幻影自由》制作中的经验进行分享。演讲将重点讨论Dependency Qube如何将混乱转化为结构化、多维度的产品导向协作。你可以期待许多真实案例和使用技巧。演讲还将涉及在组织中采用之前需要解决的障碍和挑战。
165 |
166 | ## Hybrid and Remote Work Roundtable Day 1
167 |
168 | 链接：https://schedule.gdconf.com/session/hybrid-and-remote-work-roundtable-day-1/907065
169 |
170 | 作者：Jessica Damerst (Release Manager, Unknown Worlds Entertainment)、Amanda Sweaton (Lead Creative Producer, Epic Games)
171 |
172 | What does it take to build and nurture a hybrid and/or remote working environment? What are the challenges of working and coordinating teams across the globe? How can we foster a sense of belonging and inclusion across cultures and timezones? What are the challenges to hiring for and leading a hybrid team?
173 |
174 |
175 | During the pandemic, teams switched to working together remotely. As employees return to work, many companies are consciously offering a hybrid work environment, allowing for on-site and remote work. With globalization leading to faster and more reliable access to internet, hybrid development environments are becoming more feasible with each passing year. Yet they present their own unique challenges.
176 |
177 |
178 | Engage with other industry professionals on the topic of hybrid working arrangements—including hiring, team leadership, office spaces, company events, IT solutions, and more. Challenge the status quo of working a 9-to-5 office job with this collaborative and innovative approach development.
179 |
180 | 建立和维护混合和/或远程工作环境需要什么？在全球范围内协作和协调团队面临哪些挑战？我们如何在不同的文化和时区中培养归属感和包容性？为混合团队招聘和领导面临的挑战有哪些？
181 |
182 | 在疫情期间，团队转向了远程协作。随着员工返回工作岗位，许多公司有意提供混合工作环境，允许现场办公和远程办公并存。随着全球化的发展，互联网访问变得越来越快且可靠，混合开发环境每年都在变得更加可行。然而，它们也带来了独特的挑战。
183 |
184 | 与其他行业专业人士就混合工作安排的主题进行交流，包括招聘、团队领导、办公空间、公司活动、IT解决方案等。通过这种协作和创新的方法来开发，挑战传统的朝九晚五办公室工作模式。
185 |
186 | ## Hybrid and Remote Work Roundtable Day 2
187 |
188 | 链接：https://schedule.gdconf.com/session/hybrid-and-remote-work-roundtable-day-2/911341
189 |
190 | 作者：Jessica Damerst (Release Manager, Unknown Worlds Entertainment)、Amanda Sweaton (Lead Creative Producer, Epic Games)
191 |
192 | What does it take to build and nurture a hybrid and/or remote working environment? What are the challenges of working and coordinating teams across the globe? How can we foster a sense of belonging and inclusion across cultures and timezones? What are the challenges to hiring for and leading a hybrid team?During the pandemic, teams switched to working together remotely. As employees return to work, many companies are consciously offering a hybrid work environment, allowing for on-site and remote work. With globalization leading to faster and more reliable access to internet, hybrid development environments are becoming more feasible with each passing year. Yet they present their own unique challenges.Engage with other industry professionals on the topic of hybrid working arrangements—including hiring, team leadership, office spaces, company events, IT solutions, and more. Challenge the status quo of working a 9-to-5 office job with this collaborative and innovative approach development.
193 |
194 | 构建和维护混合和/或远程工作环境需要什么？在全球范围内协作和协调团队面临哪些挑战？我们如何在不同文化和时区之间培养归属感和包容性？为混合团队招聘和领导面临哪些挑战？疫情期间，团队转向远程合作。随着员工重返工作岗位，许多公司有意提供混合工作环境，允许现场和远程工作。随着全球化加速了互联网的更快和更可靠访问，混合开发环境每年变得越来越可行。然而，它们也带来了独特的挑战。
195 |
196 | 与业内其他专业人士就混合工作安排的主题进行交流，包括招聘、团队领导、办公空间、公司活动、IT解决方案等。通过这种协作和创新的方法来开发，挑战传统的朝九晚五办公室工作模式。
197 |
198 | ## Leaders Working at the Heart of the Team 2025
199 |
200 | 链接：https://schedule.gdconf.com/session/leaders-working-at-the-heart-of-the-team-2025/910512
201 |
202 | 作者：Grant Shonkwiler (Commander & Shonk, Shonkventures)、Yash Kulkarni (Director of Production & Narrative Designer, Mighty Yell Studios Inc.)、Lulu LaMer (Production Director, Gravity Well)、Trent Kusters (Co-founder & Studio Director, League of Geeks)、Gina Hope (Senior Director, Engineering TeamFight Tactics, Riot Games)
203 |
204 | There is a critical facet of game development that needs exploring: the emotional and elusive feel of being a great leader. In order to maintain the health of a project the leader must have their finger firmly on the pulse of the team and be able to diagnose situations that often call for drastically different solutions. In this session we will investigate facets of soft skills and share specific situations that we have encountered throughout our careers and how soft skills have saved the team and shipped awesome games. Topics include: leadership without authority, leadership lessons from 10+ years of League of Geeks, Jugaad: the art of frugal innovation, and how leaders can foster resilience in themselves and their teams.
205 |
206 | 游戏开发领域有一个关键方面需要探讨：成为一个伟大领导者的情感和难以捉摸的感觉。为了保持项目的健康，领导者必须准确掌握团队的脉搏，并能够诊断出往往需要完全不同解决方案的情况。在本次会议中，我们将研究软技能的各个方面，并分享我们在职业生涯中遇到的具体情况，以及软技能如何拯救团队并推出优秀的游戏。主题包括：无权威的领导力、《League of Geeks》（联盟怪才）10多年来的领导力经验、Jugaad：节俭创新的艺术，以及领导者如何在自身及其团队中培养韧性。
207 |
208 | ## Leveling Up: How to Spec for Technical Leadership
209 |
210 | 链接：https://schedule.gdconf.com/session/leveling-up-how-to-spec-for-technical-leadership/907873
211 |
212 | 作者：Zacariah Litton (VP of Engineering, The Believer Company)
213 |
214 | This presentation focuses deeply on growing technical leaders in a games organization. It talks about how to discover and nurture talent in yourself and your team, as well as finding ways to improve your larger organization as it scales. Rather than a theoretical discussion, it focuses on practical steps and common ways to break through an often difficult transition.
215 |
216 | 本次演讲深入探讨了在游戏组织中培养技术领导者的议题。演讲内容涉及如何在你自己和你的团队中发现并培养人才，以及寻找方法来提升组织在规模化过程中的整体表现。演讲重点不在于理论讨论，而是关注实际操作步骤和常见的突破方法，以应对通常较为艰难的转型过程。
217 |
218 | ## LoG's Leadership Shortcut: A Decade of Hard-Won Lessons in Creative Leadership
219 |
220 | 链接：https://schedule.gdconf.com/session/logs-leadership-shortcut-a-decade-of-hard-won-lessons-in-creative-leadership/911142
221 |
222 | 作者：Trent Kusters (Co-Founder & Studio Director, League of Geeks)
223 |
224 | After 15 years of running and scaling our independent studio, Leaugue of Geeks is distilling our hard-earned leadership wisdom into concise, immediately actionable takeaways - and giving them all to you! In this session, Trent will reveal essential strategies for fostering high-trust environments, answer impossible questions around hiring and firing, teach my one-size-fits-all hack for leveling up your leaders, and share the feedback framework that empowered unimaginable outcomes at LoG. You’ll learn how to design meaningful benefits, build steadfast culture and community, implement a profit-sharing model that truly motivates, and even walk away with nitty-gritty governance hacks guaranteed to reduce friction and boost autonomy.Every lesson is backed by stories of what worked, what didn’t, and why. This isn’t just a post-mortem — it’s a survival guide for leaders striving to build and scale studios that are efficient, productive, and genuinely loved by their teams. You’ll walk away with practical, immediately applicable insights that will help you avoid the mistakes we made while adopting the strategies that drove our success, even as we faced the hardest challenges of our journey.
225 |
226 | 在运营和扩展我们的独立工作室“League of Geeks”长达15年后，我们将通过浓缩我们所获得的领导智慧，提炼出简洁且立即可执行的经验教训，并全部分享给你！在这次分享中，Trent 将揭示培养高信任环境的关键策略，解答关于招聘和解雇方面的棘手问题，传授我适用于所有人的技巧来提升领导者的能力，并分享我们在LoG中采用的反馈框架，该框架促成了难以置信的结果。你将学习如何设计有意义的福利，建立坚定的文化和社区，实施真正具有激励作用的利润共享模式，甚至带走一些细枝末节的治理技巧，这些技巧保证能减少摩擦并增强自主性。每个经验都基于哪些有效、哪些无效以及背后原因的故事。这不仅是一次总结——它是一本生存指南，旨在帮助那些努力构建和扩展工作室的领导者们，使他们的工作室高效、多产，并且真正被团队所热爱。你将带着实用且立即可应用的见解离开，这些见解将帮助你避免我们在采纳推动成功策略时所犯的错误，即使我们面临了旅程中最艰难的挑战。
227 |
228 | ## Making Player Data Work in Post-Launch Roundtable Day 3
229 |
230 | 链接：https://schedule.gdconf.com/session/making-player-data-work-in-post-launch-roundtable-day-3/910623
231 |
232 | 作者：Seb Long (Managing Director, Player Research)
233 |
234 | The role of player feedback in game development can be divisive and complex. Some studios totally embrace players' engagement in design through early access, open development, routine user research, and community engagement. Other studios limit player feedback to just post-launch, or perhaps dismiss feedback completely.How can teams use the 'voice of the player' rationally, effectively and deliberately?Are there challenges you face that player feedback could overcome?Can you make a greater success of the feedback you already have?How does the 'voice' of player data change through development?These three roundtables present a valuable opportunity to surface your challenges, viewpoints and experience on the use of player feedback to inform game design. Learn from the experiences of fellow designers, researchers, data scientists, community and player champions, and take away new ideas and perspectives on the value of players' voice in design decision-making.
235 |
236 | 玩家反馈在游戏开发中的作用可能具有争议且复杂。一些工作室通过抢先体验、开放开发、常规用户研究和社区参与等方式完全接纳玩家在设计中的参与。而其他工作室则仅将玩家反馈限制在游戏发布后，或者甚至完全忽略反馈。团队如何理性、有效地并有目的地利用“玩家的声音”？你面临的问题中有哪些是玩家反馈可以帮助克服的？你能更成功地利用你已经拥有的反馈吗？在开发过程中，“玩家数据的声音”是如何变化的？这三个圆桌会议提供了宝贵的契机，让你能够提出你在使用玩家反馈指导游戏设计时所面临的挑战、观点和经验。从同行设计师、研究人员、数据科学家、社区和玩家大使的经验中学习，并带走关于玩家声音在设计决策中价值的新想法和新视角。
237 |
238 | ## Making Player Data Work in Pre-Production Roundtable Day 1
239 |
240 | 链接：https://schedule.gdconf.com/session/making-player-data-work-in-pre-production-roundtable-day-1/906654
241 |
242 | 作者：Seb Long (Managing Director, Player Research)
243 |
244 | The role of player feedback in game development can be divisive and complex. Some studios totally embrace players' engagement in design through early access, open development, routine user research, and community engagement. Other studios limit player feedback to just post-launch, or perhaps dismiss feedback completely.
245 |
246 |
247 | How can teams use the 'voice of the player' rationally, effectively and deliberately?
248 |
249 |
250 | Are there challenges you face that player feedback could overcome?
251 |
252 |
253 | Can you make a greater success of the feedback you already have?
254 |
255 |
256 | How does the 'voice' of player data change through development?
257 |
258 |
259 | These three roundtables present a valuable opportunity to surface your challenges, viewpoints and experience on the use of player feedback to inform game design. Learn from the experiences of fellow designers, researchers, data scientists, community and player champions, and take away new ideas and perspectives on the value of players' voice in design decision-making.
260 |
261 | 玩家反馈在游戏开发中的作用可能具有争议性和复杂性。一些工作室通过早期访问、开放开发、常规用户研究和社区参与等方式完全接纳玩家在设计中的参与。而其他工作室则仅将玩家反馈限制在游戏发布后，甚至可能完全忽略反馈。
262 |
263 | 团队如何理性、有效地且有目的地利用“玩家的声音”？
264 |
265 | 你面临哪些挑战可以通过玩家反馈来克服？
266 |
267 | 你能更成功地利用已有的反馈吗？
268 |
269 | 玩家数据的“声音”在整个开发过程中是如何变化的？
270 |
271 | 这三个圆桌会议提供了宝贵的机会，让你提出关于使用玩家反馈来指导游戏设计的挑战、观点和经验。从同行设计师、研究人员、数据科学家、社区和玩家倡导者的经验中学习，并带走关于玩家声音在设计决策中价值的新想法和视角。
272 |
273 | ## Making Player Data Work in Production Roundtable Day 2
274 |
275 | 链接：https://schedule.gdconf.com/session/making-player-data-work-in-production-roundtable-day-2/910622
276 |
277 | 作者：Seb Long (Managing Director, Player Research)
278 |
279 | The role of player feedback in game development can be divisive and complex. Some studios totally embrace players' engagement in design through early access, open development, routine user research, and community engagement. Other studios limit player feedback to just post-launch, or perhaps dismiss feedback completely.How can teams use the 'voice of the player' rationally, effectively and deliberately?Are there challenges you face that player feedback could overcome?Can you make a greater success of the feedback you already have?How does the 'voice' of player data change through development?These three roundtables present a valuable opportunity to surface your challenges, viewpoints and experience on the use of player feedback to inform game design. Learn from the experiences of fellow designers, researchers, data scientists, community and player champions, and take away new ideas and perspectives on the value of players' voice in design decision-making.
280 |
281 | 玩家反馈在游戏开发中的作用可能是分裂且复杂的。一些工作室完全通过抢先体验、开放开发、常规用户研究和社区参与来拥抱玩家在设计中的参与。而其他工作室则将玩家反馈限制在游戏发布后，或者甚至完全忽略反馈。团队如何理性、有效地并有目的地利用“玩家的声音”？你面临的问题中有哪些是玩家反馈可能解决的？你能更成功地利用你已经拥有的反馈吗？“玩家数据的声音”在整个开发过程中是如何变化的？这三个圆桌会议提供了一个宝贵的契机，让你能够提出你在使用玩家反馈指导游戏设计时所面临的挑战、观点和经验。从同行设计师、研究人员、数据科学家、社区和玩家倡导者的经验中学习，并带走关于玩家声音在设计决策中价值的新想法和新视角。
282 |
283 | ## Multiclassing: Switching from Lead Designer to Executive Producer
284 |
285 | 链接：https://schedule.gdconf.com/session/multiclassing-switching-from-lead-designer-to-executive-producer/907325
286 |
287 | 作者：Brett Norton (Executive Producer, Oxide Interactive)
288 |
289 | Transitioning from a Design role to a Production role can be tough, especially when it's at one of the highest levels of team operations. Where should your focus be? How much time is spent on your internal operations vs. external operations? When you can focus on anything, the challenge becomes focusing on the best thing for the project and team.In this presentation, we'll explore the transition into a leading production role, the responsibilities of the new job, and most importantly, how those responsibilities change over the course of years as the team changes. This will be an honest look at stark realities that producers often have to deal with, such as staff resigning, shifting project goals, and other circumstances beyond your direct control.
290 |
291 | 从设计角色转型到制作角色可能颇具挑战性，尤其是在团队运营的最高级别。你的关注点应该放在哪里？你应该花多少时间在内部运营和外部运营上？当你能够专注于任何事情时，挑战就变成了专注于对项目和团队最有利的事情。在本次演讲中，我们将探讨进入领导级制作角色的过渡过程、新职位的责任，以及最重要的是，随着团队的变化，这些责任如何随着时间的推移而变化。这将是一次坦诚地审视制作人通常不得不处理的严酷现实的机会，比如员工辞职、项目目标变动以及其他超出你直接控制范围的情况。
292 |
293 | ## Process Lite: Less Time on Process, More Time on Development
294 |
295 | 链接：https://schedule.gdconf.com/session/process-lite-less-time-on-process-more-time-on-development/907839
296 |
297 | 作者：Anna Nguyen (Senior Producer, Blind Squirrel Games)
298 |
299 | There is a delicate balance to how much process helps development run smoothly and it feeling like processes are getting in the way of the work itself. This talk is about advice and actionable steps for teams that are feeling overburdened by process and producers feeling overwhelmed with the time commitments needed to maintain those processes. How to avoid falling into the trap of adding more heavy-handed and time-consuming processes to "fix" development workflows. Discuss how to have the conversations on scaling back on the level of process.Delve into what the right ratio of producers for a project is and how that ratio needs to scale based on a number of factors including the layers of process being usedFinding the right balance of process for your team, what areas to really focus on, and how much bandwidth is needed to maintain those processes.
300 |
301 | 过程的多少如何才能既有助于开发顺畅进行，又不至于让流程本身成为工作的障碍，这是一个微妙的平衡。本次演讲将为那些因流程而感到负担过重的团队以及那些因维护这些流程所需的时间承诺而感到不堪重负的制作人提供一些实用建议和步骤。讨论如何避免陷入增加更多繁琐且耗时的流程以“改进”开发工作流程的陷阱。探讨如何就减少流程级别进行对话。深入探讨一个项目所需的制作人比例及其根据多种因素（包括所使用的流程层次）需要如何进行调整。找到适合您团队的最佳流程平衡点，重点关注哪些领域，以及维持这些流程需要多少资源。
302 |
303 | ## Production Traps: How Producers and Leaders Get Stuck
304 |
305 | 链接：https://schedule.gdconf.com/session/production-traps-how-producers-and-leaders-get-stuck/907428
306 |
307 | 作者：Benjamin Carcich (CEO/Founder, Valarin, Inc., Building Better Games)
308 |
309 | In this talk, Ben identifies the traps that keep producers from being as effective as they could be. He also explains how to escape these “production traps” and what producers and leaders should be doing instead.We are solving the wrong problems in game dev. While our teams struggle with morale, face unrealistic expectations, and have little connection to the vision of the game, too often producers are tweaking the team's process and making sure to send the sprint report on time.We can have a much larger positive impact. It's time to reframe our role as producers and leaders and start helping our teams build better games.
310 |
311 | 在这次演讲中，本指出了阻碍制作人发挥最大效能的陷阱。他还解释了如何摆脱这些“生产陷阱”，以及制作人和领导者应该做些什么。我们在游戏开发中解决的是错误的问题。当我们的团队在士气上挣扎、面临不切实际的期望，并且与游戏愿景几乎没有联系时，制作人往往在调整团队的工作流程并确保按时发送冲刺报告。我们可以产生更大的积极影响。是时候重新定义我们作为制作人和领导者的角色，开始帮助团队制作更好的游戏。
312 |
313 | ## Production Workshop: An In Depth Guide to Solving Tough, Real World Production Problems
314 |
315 | 链接：https://schedule.gdconf.com/session/production-workshop-an-in-depth-guide-to-solving-tough-real-world-production-problems/911117
316 |
317 | 作者：Charu Desodt (Studio Head, Interior Night)、Dave Ranyard (CEO, Dream Reality Interactive)、Fleur Marty (Executive Producer, Fang & Claw)
318 |
319 | This workshop is a deep dive into solving tricky real world problems. It is a full day of talks and exercises in a round table setting. As well as exercises, participants can discuss and work on some of their past and current challenges with the help of the facilitators and other participants. There will be a panel of industry experts from production, code & art to help with suggestions and solutions.As well as exercises, participants can discuss and work on some of their past and current challenges with the help of the facilitators and other participants. There will be a panel of industry experts from production, code & art to help with suggestions and solutions.
320 |
321 |
322 | Producers, senior producers, executive producers all have the toughest problems laid at their feet - how do they navigate these and come up with ways to move forward, negotiating with many disciples and other leaders in their projects & organisations. How do they make tough decisions which do not benefit all? We will learn from industry leaders.
323 |
324 |
325 | In addition we will look at the core principles of production as well as a deep dive into stakeholder management and big project changes. Hosted by Charu Desodt & Dave Ranyard, former PlayStation, Microsoft and now both running indie studios and including top leadership from AAA studios, this is a session for Production at all levels.
326 |
327 | 这个研讨会深入探讨解决棘手的实际问题。这是一整天在圆桌会议环境中进行的演讲和练习。除了练习外，参与者可以在推动者和其他参与者的帮助下讨论并解决他们过去和当前的一些挑战。还将有一组来自制作、编程与艺术领域的行业专家提供意见和解决方案。除了练习外，参与者可以在推动者和其他参与者的帮助下讨论并解决他们过去和当前的一些挑战。还将有一组来自制作、编程与艺术领域的行业专家提供意见和解决方案。
328 |
329 | 制片人、高级制片人、执行制片人都面临着最棘手的问题——他们如何应对这些问题，并找到前进的方法，与项目和组织中的多个学科和其他领导者进行谈判。他们如何做出对所有人都不利的艰难决定？我们将向行业领袖学习。
330 |
331 | 此外，我们还将探讨制作的核心原则以及利益相关者管理和大型项目变更的深入分析。由Charu Desodt和Dave Ranyard主持，他们曾分别在PlayStation和Microsoft工作，现在各自运营独立工作室，并包括来自AAA级工作室的顶级领导层，这是一场面向各个层级制作人的研讨会。
332 |
333 | ## Quality of Life in 'Call of Duty: Warzone': New Framework to Champion Players
334 |
335 | 链接：https://schedule.gdconf.com/session/quality-of-life-in-call-of-duty-warzone-new-framework-to-champion-players/906652
336 |
337 | 作者：Francesco Galletti (Senior Software Engineer, Raven Software)、Karl Beauregard (Assistant Creative Director, Beenox)
338 |
339 | Retaining players in a live service game isn't just about adding content, but also about improving existing features by addressing player feedback and generating positive community sentiment. With hundreds of thousands of monthly mentions on social channels and millions of active players, Call of Duty: Warzone faces this challenge globally. To navigate this, the team developed the LISTEN pipeline, a six-step process to identify critical feedback and implement strategic Quality of Life improvements. Attendees gain expert insight on how to leverage sentiment data, engage domain experts, and garner internal support to scale implementation of this pipeline across projects, teams, or even studios. Lessons learned throughout years of development make this talk valuable for game developers and team leaders looking for a framework to enhance their live service practices.
340 |
341 | 保留活服务游戏中的玩家不仅仅在于添加内容，还在于通过解决玩家反馈来改进现有功能，并产生积极的社区情绪。《使命召唤：战区》在全球范围内每月在社交媒体渠道上有数十万次提及，拥有数百万活跃玩家，面临着这一挑战。为应对这一挑战，团队开发了LISTEN管道，这是一种六步流程，用于识别关键反馈并实施战略性的生活质量改进。与会者可以获得如何利用情感数据、吸引领域专家以及获得内部支持以在各个项目、团队甚至工作室中扩展此管道实施的专业见解。多年来积累的经验教训使这次演讲对于寻求增强其活服务实践框架的游戏开发者和团队领导非常有价值。
342 |
343 | ## Six Pillars of Impactful Onboarding
344 |
345 | 链接：https://schedule.gdconf.com/session/six-pillars-of-impactful-onboarding/907056
346 |
347 | 作者：Lindsay Thacker (Manager, Program Management, Riot Games)
348 |
349 | Joining a new team or studio can be a difficult and painful experience for a new teammate. We can all relate to the sinking feeling of being left alone at a desk and wondering what we're supposed to do next in our new job. During this session, Lindsay Thacker will share the knowledge she's gained in her ten years of experience onboarding over 200 people across multiple studios and highlight key things you can start doing right now to create a more impactful onboarding experience for new people joining your team.
350 |
351 | 加入一个新的团队或工作室对新同事来说可能是一次艰难而痛苦的经历。我们都能感同身受那种独自坐在桌前，不知下一步该做什么的失落感。在这次活动中，Lindsay Thacker 将分享她在多个工作室入职超过200人、拥有十年经验中所获得的知识，并强调你可以立即开始采取的一些关键措施，以创造一个对新成员更有影响力的入职体验。
352 |
353 | ## Small Teams, Big Ambitions
354 |
355 | 链接：https://schedule.gdconf.com/session/small-teams-big-ambitions/907790
356 |
357 | 作者：Nadia Thorne (CEO, Producer, Black Salt Games)
358 |
359 | Join Nadia Thorne, Co-Founder and CEO of Black Salt Games, as she dives into the strategic approach that turned a small, first-title studio into a success story with the critically acclaimed and award-winning game, DREDGE. This session comprehensively covers the complete development process, from ideation and prototyping to playtesting, market research, and pitching to publishers. Using data and insights from DREDGE, Nadia will offer a clear and practical guide for small studios aiming to launch their first title, sharing actionable strategies that can help other indie developers stack the odds in their favor for a successful first game release.
360 |
361 | 加入纳迪亚·索恩，Black Salt Games的联合创始人兼首席执行官，她将深入探讨一种战略方法，该方法将一家小型初次制作的游戏工作室转变为一个成功的故事，其代表作是备受好评并获奖的游戏《DREDGE》。本次会议全面涵盖了从概念形成、原型设计到测试、市场调研以及向发行商推介的完整开发过程。纳迪亚将利用《DREDGE》的数据和见解，为小型工作室提供一个清晰且实用的指南，帮助他们推出自己的第一款游戏。她将分享一些可操作的战略，这些策略可以帮助其他独立开发者增加首次游戏发布成功的几率。
362 |
363 | ## So You Have a Fandom: Respecting and Understanding Fan Communities
364 |
365 | 链接：https://schedule.gdconf.com/session/so-you-have-a-fandom-respecting-and-understanding-fan-communities/907059
366 |
367 | 作者：Megan Roche (Product Manager, Pocket Gems)
368 |
369 | Everyone’s a fan of something, and finding ways to connect over shared love – or shared hate – is a tale as old as time. But what happens when the thing a bunch of people are loving, hating, and talking about is… your game?Using Episode, a mobile storytelling platform, as a case study, this session will work to provide a look at developing and maintaining a successful game with an active fandom.This talk dives deep into modern fandoms, including why they're worth fostering and respecting and how a healthy fandom can be a product resource for your game. Beginning with an overview of what fandoms are and how they function, the session explores strategies for productive engagement and the impact fandoms can have on games.
370 |
371 | 每个人都有自己的兴趣所在，而找到方法通过共同的热爱——或者共同的厌恶——来建立联系，这自古以来就是一个永恒的话题。但是，当有一大批人热衷、厌恶并谈论的是……你的游戏时，会发生什么呢？
372 |
373 | 以Episode（一款移动故事平台）作为案例研究，本次会议将致力于提供关于如何开发和维护一款拥有活跃粉丝群体的成功游戏的见解。本次演讲深入探讨了现代粉丝文化，包括为什么这些粉丝文化值得培养和尊重，以及一个健康的粉丝群体如何成为你游戏的产品资源。从粉丝文化的概述及其运作方式开始，本次会议探索了有效的粉丝互动策略以及粉丝群体对游戏可能产生的影响。
374 |
375 | ## Streamlining Game Development: Building a Scalable Pipeline for Multiple Titles (Presented by LIGHTSPEED STUDIOS)
376 |
377 | 链接：https://schedule.gdconf.com/session/streamlining-game-development-building-a-scalable-pipeline-for-multiple-titles-presented-by-lightspeed-studios/911366
378 |
379 | 作者：Calvin Gu (Game Programmer, LIGHTSPEED STUDIOS)
380 |
381 | Learn how to build a robust, scalable 3D content production pipeline for large-scale game studios. LightSpeed Studios' Calvin Gu will share practical, real-world strategies for supporting diverse game projects, moving beyond turnkey solutions to deliver powerful middleware.
382 |
383 |
384 | This session delves into standardized 3D content conventions, data exchange protocols, and best practices for integrating cutting-edge technologies like OpenUSD and scriptable tools. Discover how LIGHTSPEED STUDIOS organically integrates these elements into its pipeline for efficient, high-quality production across multiple game titles.
385 |
386 | 了解如何为大型游戏工作室构建稳健且可扩展的3D内容制作管线。光子工作室的Calvin Gu将分享实用的、面向现实世界的策略，以支持多样化的游戏项目，超越即插即用的解决方案，提供强大的中间件。
387 |
388 | 本 session 深入探讨标准化的3D内容规范、数据交换协议以及整合尖端技术（如OpenUSD）和可脚本化工具的最佳实践。发现光子工作室是如何将这些元素有机地融入其管线中，从而在多款游戏标题的高效高质量生产中发挥作用。
389 |
390 | ## The First Descendant: Persevering Through a 57 Metacritic as a Live Service Game (Presented by NEXON)
391 |
392 | 链接：https://schedule.gdconf.com/session/the-first-descendant-persevering-through-a-57-metacritic-as-a-live-service-game-presented-by-nexon/911126
393 |
394 | 作者：Beom-jun Lee (Producer, NEXON Games)
395 |
396 | NEXON’s The First Descendant achieved a remarkable success at launch, topping Steam’s Top Sellers list despite receiving a low Metacritic score of 57. The team faced significant challenges but worked tirelessly to resolve issues, steadily earning the game growing support from its player community. This session explores the obstacles The First Descendant faces as a live-service game, the strategies the team employs to overcome these challenges, and the methods it uses to re-engage players and rebuild lasting trust. It also highlights the team’s vision for the game’s exciting future and shares key lessons for fostering sustainable growth and long-term player satisfaction.
397 |
398 | NEXON的《The First Descendant》在发布时取得了显著的成功，尽管Metacritic评分仅为57分，但它还是登上了Steam畅销榜的榜首。团队面临了重大挑战，但不懈努力解决问题，逐渐赢得了玩家社区的支持。本次会议探讨了《The First Descendant》作为一款服务型游戏所面临的障碍、团队采用的克服这些挑战的策略以及重新吸引玩家和重建持久信任的方法。同时，它还强调了团队对游戏激动人心的未来愿景，并分享了培养可持续增长和长期玩家满意度的关键经验。
399 |
400 | ## The Game Maker's Zodiac: A Team-Building Tool
401 |
402 | 链接：https://schedule.gdconf.com/session/the-game-makers-zodiac-a-team-building-tool/907262
403 |
404 | 作者：Isaque Sanches (Senior Game Designer, Ubisoft)
405 |
406 | Folks in the games industry want to make games for many reasons: not everyone is motivated by the same things.
407 |
408 |
409 | This lecture takes a look at different types of creators in the industry: not only by job family (code, design, art, audio, production, etc) but by grouping them by personality traits, backgrounds, aesthetic preferences and biases.
410 |
411 |
412 | From there, a general high-level breakdown is presented: the lecturer proposes 13 archetypes for videogame creators, based on research (cross-referencing literature and collected data), and invites you to explore how these might communicate with one another, what are the strengths and weaknesses of each archetype grouping, and how they can all work in harmony by co-empowering each other.
413 |
414 | 游戏行业中的人都想出于各种原因制作游戏：并非每个人被同样的东西所激励。
415 |
416 | 本讲座探讨了行业内不同类型的创作者：不仅按职业类别（编程、设计、美术、音频、制作等）划分，还通过个性特征、背景、审美偏好和偏见对他们进行分组。
417 |
418 | 在此基础上，提出了一个大致的高层次分类：讲师基于研究（交叉引用文献和收集的数据）提出了13种电子游戏创作者的原型，并邀请您探索这些原型之间如何沟通交流，每种原型群体的优势和劣势是什么，以及他们如何通过互相赋能而和谐共事。
419 |
420 | ## The Impact of Implementing Core Values
421 |
422 | 链接：https://schedule.gdconf.com/session/the-impact-of-implementing-core-values/907666
423 |
424 | 作者：Colin Walder (Engineering Director, Management and Audio, CD PROJEKT RED)、Marta Wozniak (HR Partner, CD PROJEKT RED)
425 |
426 | In this talk, Colin Walder and Marta Wozniak describe the role that core values play in building organizational health and why it is vital that managers and executives pay attention to them. When given proper attention, they can be the glue that holds your teams together, even as they grow. When ignored and left untended, they can pull your teams apart. Colin and Marta describe the different types of values that managers should keep in mind and the process used by the Tech team at CD PROJEKT RED to find and refine their core values. Each of the five core values is presented along with examples of how they connect to the "real world". Finally, Colin and Marta outline what managers and HR must do in practice, and how they must work together, in order to implement and establish the values they have found.
427 |
428 | 在本次演讲中，Colin Walder 和 Marta Wozniak 描述了核心价值观在构建组织健康方面所起的作用，以及为什么管理者和高管必须重视这些价值观至关重要。当给予适当的关注时，它们可以成为将团队凝聚在一起的粘合剂，即使团队在不断壮大。而忽视并放任不管时，它们可能会导致团队分裂。Colin 和 Marta 描述了管理者应该牢记的不同类型的价值观，以及 CD PROJEKT RED 技术团队寻找和精炼其核心价值观的过程。每个核心价值观都进行了介绍，并举例说明了它们如何与“现实世界”相联系。最后，Colin 和 Marta 概述了管理者和人力资源部门在实践中必须做什么，以及他们必须如何合作，以实施和确立他们所发现的价值观。
429 |
430 | ## The Making of 'ASTRO BOT'
431 |
432 | 链接：https://schedule.gdconf.com/session/the-making-of-astro-bot/910414
433 |
434 | 作者：Nicolas Doucet (Studio Director, Sony Interactive Entertainment)
435 |
436 | This session will take you on a fun and visual journey through 10 principles that shaped team ASOBI's latest game, ASTRO BOT; from the initial concept pitch to how the team works on a day to day basis to create magical moments for all ages.
437 |
438 | 本环节将带您通过视觉之旅，了解塑造团队ASOBI最新游戏《ASTRO BOT》的10个原则，从最初的构思Pitch到团队如何日复一日地创造适合所有年龄段的神奇时刻。
439 |
440 | ## The Secret to Narrative-Driven and Short-Term Development in 'Like a Dragon'
441 |
442 | 链接：https://schedule.gdconf.com/session/the-secret-to-narrative-driven-and-short-term-development-in-like-a-dragon/911430
443 |
444 | 作者：Ryosuke Horii (Chief Director and Producer, SEGA)、Eiji Hamatsu (Design Manager, 1st Business Unit, SEGA)
445 |
446 | The developer himself, who has been involved with the series for a long time from two perspectives - game design and visual design - will explain how the Ryu Ga Gotoku series has been able to continuously develop narrative-driven games in a short period of time.
447 |
448 | 这位开发者从游戏设计和视觉设计两个方面长期参与了该系列的工作，他将解释《如龙》系列是如何在短时间内连续推出叙事驱动游戏的。
449 |
450 | ## Three Mindset Shifts to Lead a World-Class Team
451 |
452 | 链接：https://schedule.gdconf.com/session/three-mindset-shifts-to-lead-a-world-class-team/906821
453 |
454 | 作者：Kristie Fisher (Sr. Director of Global User Research, PlayStation Studios)
455 |
456 | People are often put in charge of projects because they mastered a core discipline like art or game design, but leadership is its own skill. People are complicated, and when people are working in a group to do something highly complex and novel, like make a video game, the people-complication puzzle expands exponentially. Project and people leaders can often feel at a loss to understand why their team isn't collaborating effectively or why a project seems stuck in an endless churn loop. In this talk, I will provide three "mindset shifts" that I have seen work time and again at multiple companies to increase team velocity and drive collaborative creativity. These mindset shifts have been derived from my extensive personal experience, reading, and leadership training.
457 |
458 | 人们常常因为掌握了艺术或游戏设计等核心学科而被委以项目负责人的重任，但领导力本身也是一种技能。人在群体中工作，尤其是从事像制作视频游戏这样高度复杂且新颖的工作时，人员管理的复杂性会呈指数级增长。项目负责人和团队领导者经常会感到困惑，不明白为什么他们的团队不能有效地协作，或者为什么项目似乎陷入了无休止的反复修改循环。在本次演讲中，我将分享三种“思维模式转变”，这些转变我在多家公司中多次见证，它们能够提升团队的工作效率并促进协作创新。这些思维模式的转变来源于我个人的丰富经验、阅读以及领导力培训。
459 |
460 | ## Thriving Remotely: Growing a Successful Video Game Studio in a Virtual World
461 |
462 | 链接：https://schedule.gdconf.com/session/thriving-remotely-growing-a-successful-video-game-studio-in-a-virtual-world/907524
463 |
464 | 作者：Trisha Stouffer (CEO, Stoic)
465 |
466 | Since joining Stoic on March 16, 2020, Trisha Stouffer expanded the studio from 20 to 100 employees in under 4.5 years, all during COVID and an industry downturn. The studio became permanently remote in 2020, challenging the notion that a remote-only setup cannot be successful. This talk offers valuable insights for game developers and studios exploring remote work, emphasizing its timeliness and relevance post-pandemic. Attendees will gain practical advice on managing remote teams, overcoming communication and collaboration challenges, and leveraging technology. The talk highlights the benefits of diverse perspectives by accessing global talent and includes real-world examples and personal anecdotes for relatability.
467 |
468 | 自2020年3月16日加入Stoic以来，特里莎·斯陶弗在不到4.5年的时间内将工作室员工从20人扩展到了100人，期间还经历了COVID-19疫情和行业低迷期。该工作室在2020年永久性地实行远程工作模式，挑战了只有办公室才能成功的观念。此次演讲为探索远程工作的游戏开发者和工作室提供了宝贵的见解，强调了其在后疫情时代的时效性和相关性。与会者将获得关于管理远程团队、克服沟通和协作挑战以及利用技术的实际建议。演讲突出了通过接触全球人才带来的多元视角的好处，并包括了现实中的例子和个人趣闻以增强共鸣。
469 |
470 | ## Translating Between Business and Creativity as a Games Producer
471 |
472 | 链接：https://schedule.gdconf.com/session/translating-between-business-and-creativity-as-a-games-producer/907477
473 |
474 | 作者：John Lau (Lead Producer, ustwo games)
475 |
476 | A game producer's role is an ill-defined thing: Is it operational? Is it commercial? Is it creative? Is it organizational? Is it facilitation? Is it all of the above? Drawing on a 17-year career ranging from work-for-hire production, game design and indie games, Ustwo games Lead Producer John Lau sketches out a way of understanding the producer's role not just as an organizer, but as a translator between two uneasy allies: the creativity of a game team, and the logistical realities of the businesses that employ them.Talking through some hypothetical negotiations, he will finish by suggesting ways to set up key project tools so that a producer is better equipped to navigate those conversations.
477 |
478 | 游戏制作人的角色是一个界定不清的概念：它是运营性的吗？它是商业性的吗？它是创造性的吗？它是组织性的吗？它是协调性的吗？还是以上所有？基于长达17年的职业生涯，涵盖了外包制作、游戏设计和独立游戏开发，Ustwo Games的首席制作人John Lau描绘了一种理解制作人角色的方式，不仅将其视为组织者，还将其视为两个不安盟友之间的翻译者：游戏团队的创造力与雇佣他们的企业的后勤现实。通过讨论一些假设的谈判，他最后将提出一些设置关键项目工具的方法，以便使制作人更好地装备自己以应对这些对话。
479 |
480 | ## Turning Around a Playerbase in Crisis: A 'Destiny 2' Case Study
481 |
482 | 链接：https://schedule.gdconf.com/session/turning-around-a-playerbase-in-crisis-a-destiny-2-case-study/906996
483 |
484 | 作者：Alan Blaine (Principal Designer, Bungie)
485 |
486 | Even in the most successful live service game, there will inevitably be doldrums - player sentiment will be slowly dropping, or player population will be. These can usually be dealt with using one-off measures without harming the ongoing development of the next release(s). When both happen at the same time - you have a major problem that can kill your game if not dealt with swiftly! But you cannot derail development for the future either without jeopardizing your revenue streams.
487 |
488 |
489 | Destiny 2 has encountered this kind of crisis point a handful of times over the past 7 years and have developed a framework for addressing player concerns without disrupting the dev cycle - The Player Retention Strike Team.
490 |
491 |
492 | In this session, Alan Blaine (Principal Designer) walks the audience through lessons learned in one of these crises - how to know when you are approaching this kind of crisis, how to set up a strike team to deal with it, and the inner workings of that team itself.
493 |
494 | 即使是最成功的直播服务类游戏，也难免会遇到低谷期——玩家的情绪可能会逐渐下滑，或者玩家数量可能会减少。这些问题通常可以通过一次性措施来解决，而不会影响下一版本的持续开发。但当这两种情况同时发生时，你就会面临一个可能导致游戏失败的重大问题！然而，你也不能为了应对当前问题而偏离未来的开发轨道，否则会危及你的收入来源。
495 |
496 | 《命运2》在过去7年中曾多次遭遇这种危机，并且已经发展出一套框架来处理玩家关切而不干扰开发周期——即“玩家留存打击小组”。
497 |
498 | 在这次讲座中，艾伦·布莱恩（首席设计师）向观众介绍了他在其中一次危机中学到的经验——如何知道你正在接近这种危机，如何组建一个打击小组来应对它，以及该小组本身的运作机制。
499 |
500 | ## Unity Developer Summit: Stumbling into New Platforms: Taking 'Stumble Guys' to Console (Presented by Unity)
501 |
502 | 链接：https://schedule.gdconf.com/session/unity-developer-summit-stumbling-into-new-platforms-taking-stumble-guys-to-console-presented-by-unity/911620
503 |
504 | 作者：Jorge Martinez Vargas (Staff Engineer, Scopely, Scopely)
505 |
506 | In this session, attendees will learn how Stumble Guys – the mobile sensation party battle royale game – expanded to new platforms, becoming one of the top F2P console games released in 2024 while keeping an active release schedule on existing platforms.
507 |
508 |
509 | This session gives an overview of the project and goals for platform expansion, then dives into two main focus areas. First, it addresses the decisions and trade-offs made to port the game while maintaining releases on existing platforms, followed by a discussion of the technical challenges faced and lessons learned bringing the game from mobile and Steam to WebGL and consoles.
510 |
511 | 在本次会议中，与会者将了解《Stumble Guys》——这款移动平台上热门的派对大逃杀游戏，是如何扩展到新平台的，并成为2024年发布的一款顶级免费玩（F2P）主机游戏，同时在现有平台上保持了活跃的更新发布节奏。
512 |
513 | 本次会议概述了该项目及其扩展平台的目标，然后深入探讨了两个主要关注点。首先，会议将讨论为了将游戏移植到新平台的同时还在现有平台上保持发布所做出的决策和权衡；随后，会议将讨论从移动设备和Steam平台移植到WebGL和主机平台过程中遇到的技术挑战及所获得的经验教训。
514 |
515 |
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/2025/vr-ar.md:
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1 | ## Future Realities Summit: A New Kind of 'House Party': Designing for Multiplayer MR
2 |
3 | 链接：https://schedule.gdconf.com/session/future-realities-summit-a-new-kind-of-house-party-designing-for-multiplayer-mr/908074
4 |
5 | 作者：Joey Ziolkowski (Advanced Designer, Schell Games)、María Laura Mirabelli Jimenez (XR Developer, Gensler)
6 |
7 | As developers, keeping up with all of the new technologies, hardware, and gameplay innovations can be overwhelming. When designing a game on the cutting edge, how can we effectively teach players these new concepts without overwhelming them?
8 |
9 |
10 | Join the development team behind Party Versus, a groundbreaking multiplayer Mixed Reality game from Schell Games and Oculus Studios where living rooms are connected across the world for the ultimate house party. María and Joey share their experience uncovering a brand new design space, understanding its potential, and designing interactive features that teach players about these new concepts in a fun and concise way. Discover approaches to "find the fun" in emerging technologies, and unlock design tips to help communicate these ideas effectively to players.
11 |
12 | 作为开发者，紧跟所有新技术、硬件以及游戏玩法创新可能会让人感到不堪重负。当设计一款走在前沿的游戏时，我们如何才能有效地教授玩家这些新概念而不让他们感到不知所措？
13 |
14 | 加入《Party Versus》的开发团队，这是一款来自Schell Games和Oculus Studios的开创性多人混合现实游戏，在这款游戏中，全世界的客厅被连接起来，为玩家带来终极的居家派对体验。María和Joey分享了他们探索全新设计空间、理解其潜力，并设计互动功能的经验，这些功能以有趣且简洁的方式向玩家传授新概念。发现针对新兴技术“寻找乐趣”的方法，并解锁设计技巧，以帮助有效向玩家传达这些理念。
15 |
16 | ## Future Realities Summit: Coming Home in Mixed Reality: Arguments At Our Dinner Table
17 |
18 | 链接：https://schedule.gdconf.com/session/future-realities-summit-coming-home-in-mixed-reality-arguments-at-our-dinner-table/909389
19 |
20 | 作者：Bernard Yee (CEO/Executive Producer, Windup Minds)、Austin Grossman (Principal Desginer, Windup Minds)、Benjamin Vance (CTO, Windup Minds)、Jonathan Hamel (Design DIrector, Another Axiom)、Laura Warner (Associate Creative Director , Nerd Ninjas)
21 |
22 | Mixed Reality is a step function for XR devices - a more accessible, human centric UX. Both Apple and Meta are investing heavily in these platforms, and this represents the opportunity to build new types of games - and reach new audiences - that VR hasn't tapped. This panel will replicate the real world dynamics of a product owner tasking multiple disciplines - with their biases - to tackle the sorts of challenges whispered at companies like Meta, Magic Leap and EA.s Watch what sorts of design paradigms can be used and advocated in the face of counterpoints - and could thrive from console, PC, mobile; gain insight into the sorts of hypotheses that were explored from the people who worked them inside AR product organizations,and teams actually building MR content. VR has its own lessons - what sorting of things like locomotion solutions can we make now?
23 |
24 | 混合现实是对XR设备的一个飞跃——这是一种更易于访问、以人类为中心的用户体验。苹果和Meta都在这些平台上投入了大量资金，这代表着有机会构建新型的游戏——并触及新的受众——这是VR尚未涉足的领域。这个小组将模拟产品负责人指派给多个学科（带有各自偏见）来解决像Meta、Magic Leap和EA这样的公司内部热议的各种挑战。观察在面对不同观点时可以使用和倡导什么样的设计范式——并在游戏主机、PC、移动平台等环境中蓬勃发展；从AR产品组织内参与其中的人那里获得见解，了解他们探索了哪些假设，并且实际构建混合现实内容的团队也从中获得了哪些经验。VR也有其自身的教训——我们现在可以开发出什么样的移动解决方案？
25 |
26 | ## Future Realities Summit: Constructing the World of Purdan in 'Alien: Rogue Incursion'
27 |
28 | 链接：https://schedule.gdconf.com/session/future-realities-summit-constructing-the-world-of-purdan-in-alien-rogue-incursion/909362
29 |
30 | 作者：Alexander Silkin (Founder & CTO, Survios)
31 |
32 | Join they speakers as they unpack the development journey of Alien: Rogue Incursion, Survios' most ambitious VR title. This session will cover the creation of a semi-open world on the planet Purdan, highlighting our approach to balancing player freedom, narrative guidance, and resource management. They'll dive into the technical details behind our save systems. Additionally, they explore our development process, the pitfalls we encountered, and how the project evolved to its final form. Whether you're interested in game design, storytelling, or VR tech, this talk offers a comprehensive look at building a complex VR experience.
33 |
34 | 加入演讲者们，一起探讨《异形： rogue突袭》（Alien: Rogue Incursion）的开发历程，这是Survios迄今为止最具雄心的VR作品。本次会议将涵盖在普尔丹星球上创建半开放世界的过程，重点介绍我们如何平衡玩家自由、叙事引导和资源管理。他们还将深入探讨我们的存档系统背后的技术细节。此外，他们还将探索我们的开发过程、遇到的陷阱以及项目是如何演变成最终形态的。无论你是对游戏设计、叙事还是VR技术感兴趣，这次讲座都将为你提供一个全面了解构建复杂VR体验的机会。
35 |
36 | ## Future Realities Summit: Creating a Martial Art in VR: The 'Broken Edge' Case
37 |
38 | 链接：https://schedule.gdconf.com/session/future-realities-summit-creating-a-martial-art-in-vr-the-broken-edge-case/909519
39 |
40 | 作者：Guillaume Perreault Roy (Creative Director / Game Designer, TREBUCHET)
41 |
42 | Going head-to-head armed with a sword in VR, what could go wrong? While being an attractive genre, most attempts of PvP melee combat in VR have been mitigated by the medium's limitations.
43 |
44 |
45 | This lecture is a postmortem of Broken Edge, a sword fighting VR game with a niche but healthy player base. It will present a singular approach to VR issues such as the lack of physical feedback and the coherency to virtual and real space. It's a study case of identifying and using VR potentials to work around its limitations.
46 |
47 |
48 | This talk will focus on biomechanics, skill-based mechanics and positive reinforcement. We will illustrate how those elements lead to the growth of a competitive community and the emergence of a vast array of techniques and we will reflect on a significant milestone: the realization that gameplay characteristics unique to Broken Edge are, in fact, common to all martial arts.
49 |
50 | 手持剑具在VR中进行一对一战斗，可能会出现什么问题？尽管这是一个吸引人的题材，但在VR中的大多数PvP近战尝试都受到媒介局限性的制约。
51 |
52 | 本次讲座是对《Broken Edge》这款VR剑斗游戏的回顾分析，该游戏拥有一个虽然小众但健康的玩家群体。它将展示一种独特的解决VR问题的方法，例如缺乏物理反馈以及虚拟空间与现实空间的一致性问题。这是一次识别并利用VR潜力以克服其局限性的案例研究。
53 |
54 | 本次演讲将重点关注生物力学、基于技能的机制和积极强化。我们将说明这些元素如何引导竞争社区的成长，并催生出各种技术的涌现。我们还将反思一个重要里程碑：即意识到《Broken Edge》特有的游戏特性实际上是所有武术共有的。
55 |
56 | ## Future Realities Summit: Entering the Omniverse: The 'Dimensional Double Shift' Postmortem
57 |
58 | 链接：https://schedule.gdconf.com/session/future-realities-summit-entering-the-omniverse-the-dimensional-double-shift-postmortem/908960
59 |
60 | 作者：Andrew Eiche (CEOwl, Owlchemy Labs Inc)
61 |
62 | Owlchemy Labs could have rested on their laurels — content in updating their existing titles and continuing down the niche they built for themselves as a single player VR developer.Instead, they chose a bolder path.Join Andrew Eiche CEOwl of Owlchemy Labs as he discusses the company's latest title "Dimensional Double Shift." In this talk, he will discuss the choice to develop a hand tracked cooperative multiplayer VR game. He will cover the research and development that went into the game, providing deep insight into the innovation that drove the development of the title.This talk will be an honest look into how a mid-sized VR studio approached releasing a new IP. Where the title succeeds, where it could have been better, and ultimately where the title is heading.
63 |
64 | Owlchemy Labs本可以满足于现有的成就——满足于更新他们现有的游戏并继续作为单人VR游戏开发商的道路。相反，他们选择了一条更为大胆的道路。加入Owlchemy Labs的首席执行官Andrew Eiche，一起探讨公司的最新作品“Dimensional Double Shift”。在本次演讲中，他将讨论为何决定开发一款支持手部追踪的多人合作VR游戏。他还将涵盖游戏研发过程中所进行的研究和开发工作，深入剖析推动该作品创新的驱动力。本次演讲将诚实地展示一个中型VR工作室如何推出新的IP。我们将看到这款游戏的成功之处、可以改进的地方，以及最终这款作品的发展方向。
65 |
66 | ## Future Realities Summit: VR Multiplayer Mayhem: Unique Solutions to Challenges at VRCAVE
67 |
68 | 链接：https://schedule.gdconf.com/session/future-realities-summit-vr-multiplayer-mayhem-unique-solutions-to-challenges-at-vrcave/909508
69 |
70 | 作者：Nathaniel Rossol (Co-founder and CTO, VRCAVE)
71 |
72 | The VRCAVE Library is a collection of mostly VR Escape Rooms and short arcade games. Central to its design is its mandatory multiplayer where anywhere between 2 to 6 players must work together in order to complete all the puzzles, defeat bosses, and beat the games.In this session, Nathaniel Rossol will walk through the design challenges and technical challenges the team at VRCave had to overcome to bring these games to the market. He will delve into the design challenges that came up that were unique to multiplayer VR games, including problems with VR multiplayer cutscenes, player engagement, and missed vital cues. He will then walk through some of the more technical challenges their team had to overcome, including network latency problems with fast moving objects and performance problems with high numbers of players.
73 |
74 | VRCAVE图书馆主要收录了VR逃脱房间和短小的街机游戏。其设计的核心在于强制性的多人游戏模式，要求2到6名玩家必须合作才能完成所有谜题、击败Boss并通关游戏。在本次会议中，Nathaniel Rossol将介绍VRCave团队在将这些游戏推向市场过程中所面临的各种设计挑战和技术挑战。他将深入探讨那些仅限于多人VR游戏的独特设计挑战，包括VR多人过场动画的问题、玩家参与度以及错过关键提示等问题。随后，他还将介绍团队在技术层面遇到的一些挑战，例如快速移动物体的网络延迟问题以及大量玩家时的性能问题。
75 |
76 | ## Future Realities Summit: XR for All: Accessibility Insights from 'Walkabout Mini Golf' and 'Dimensional Double Shift'
77 |
78 | 链接：https://schedule.gdconf.com/session/future-realities-summit-xr-for-all-accessibility-insights-from-walkabout-mini-golf-and-dimensional-double-shift/910933
79 |
80 | 作者：Colby Morgan (Technical Director, Mighty Coconut)、Jazmin Cano (Senior Accessibility Product Manager, Owlchemy Labs)
81 |
82 | In this session, Colby Morgan, Technical Director at Mighty Coconut, and Jazmin, Senior Accessibility Product Manager at Owlchemy Labs, share their experiences designing and developing accessible VR games. They showcase key accessibility features from Walkabout Mini Golf and Dimensional Double Shift, including customizable player height, one-handed play, visual aids, and motion adjustments. The discussion emphasizes designing with accessibility from day one, integrating user feedback through ongoing playtesting, and overcoming technical challenges to deliver inclusive gameplay experiences. Attendees will gain insights into balancing performance with accessibility, simplifying complex interactions, and implementing intuitive guidance systems. This session highlights the importance of accessibility as a continual process, demonstrating how both games have evolved to meet the needs of players with disabilities, offering practical takeaways for building more inclusive VR experiences.
83 |
84 | 在本次会议中，Mighty Coconut 的技术总监 Colby Morgan 和 Owlchemy Labs 的高级无障碍产品经理 Jazmin 分享了他们设计和开发无障碍 VR 游戏的经验。他们展示了《Walkabout Mini Golf》和《Dimensional Double Shift》中的关键无障碍功能，包括可自定义的玩家身高、单手操作、视觉辅助和动作调整。讨论重点在于从第一天开始就考虑无障碍设计，通过持续的游戏测试整合用户反馈，并克服技术挑战以提供包容性的游戏体验。参会者将获得关于如何平衡性能与无障碍性、简化复杂交互以及实施直观引导系统等方面的见解。本次会议强调了无障碍性作为持续过程的重要性，展示了这两款游戏是如何演进以满足残疾玩家的需求，为构建更包容的 VR 体验提供了实用的收获。
85 |
86 | ## Future Realities Summit:Solving VR Gaming's Visibility Crisis: Strategies for Reaching Mainstream Audiences
87 |
88 | 链接：https://schedule.gdconf.com/session/future-realities-summitsolving-vr-gamings-visibility-crisis-strategies-for-reaching-mainstream-audiences/909372
89 |
90 | 作者：Jim Squires (Public Relations, Freelance)、Ryan McCaffrey (Executive Editor, IGN)、Maeva Sponbergs (Chief Marketing Officer + Head of Publishing, Beyond Frames Entertainment)、Stephanie Greenall (Head of Communications, Cake or Death)、Amy Pantea (Product Marketing, Polyarc)
91 |
92 | VR marketing and communications is trapped in an echo chamber of its own making. Studios can only make sales if they're targeting headset owners — but in failing to prioritize other audiences, the growth of the overall market is poised to stagnate. In this panel, VR marketing and comms experts will be joined by media to explore ways of reaching new audiences, and to solve the riddle that has confounded VR studios for a decade: why aren't mainstream games outlets interested in covering VR games, and what can we do to change that? Featuring Ryan McCaffrey (IGN), Amy Pantea (Polyarc), Maeva Sponbergs (Beyond Frames Entertainment), Stephanie Greenall (Cake or Death), and moderated by XR games consultant Jim Squires.
93 |
94 | VR营销和传播被困在其自身营造的回声室中。工作室只有在针对头显拥有者时才能实现销售——但由于未能优先考虑其他受众群体，整个市场的增长可能会停滞不前。在本次小组讨论中，VR营销和传播专家将与媒体共同探讨触及新受众群体的方法，并解决困扰VR工作室十年之久的难题：为什么主流游戏平台对VR游戏缺乏兴趣，以及我们能做些什么来改变这一状况？参与此次讨论的嘉宾包括Ryan McCaffrey（IGN）、Amy Pantea（Polyarc）、Maeva Sponbergs（Beyond Frames Entertainment）和Stephanie Greenall（Cake or Death），由XR游戏顾问Jim Squires主持。
95 |
96 | ## Unity Developer Summit: Graphics Rendering: Getting the Best Performance with Unity 6.1 (Presented by Unity)
97 |
98 | 链接：https://schedule.gdconf.com/session/unity-developer-summit-graphics-rendering-getting-the-best-performance-with-unity-61-presented-by-unity/911611
99 |
100 | 作者：Elad Damian Nachman (Senior Technical Product Manager, Unity, Unity)、Mathieu Muller (Lead Product Manager for Graphics, Unity, Unity)
101 |
102 | Ready to take your game's performance to the next level across mobile, desktop, and console platforms? This session introduces the powerful graphics optimizations and tools in Unity 6.1 that can help minimize CPU and GPU rendering overhead. Learn how to increase frame rate, extend mobile battery life, and push visual fidelity further.
103 |
104 | 准备好提升你在移动、桌面和游戏机平台上的游戏性能了吗？本session介绍了Unity 6.1中强大的图形优化和工具，这些可以帮助减少CPU和GPU的渲染开销。了解如何提高帧率，延长移动设备的电池寿命，并进一步提升视觉质量。
105 |
106 | ## Unity Developer Summit: Immersive Experiences: Building Cross-Platform Mixed Reality (Presented by Unity)
107 |
108 | 链接：https://schedule.gdconf.com/session/unity-developer-summit-immersive-experiences-building-cross-platform-mixed-reality-presented-by-unity/911614
109 |
110 | 作者：Andy Biar (Senior Software Engineer, Unity, Unity)、Matt Schoen (Staff Software Engineer, Unity, Unity)
111 |
112 | 2025 promises exciting advancements in XR with new devices and enhanced spatial capabilities. Discover Unity's latest cross-platform development tools in Unity 6, designed to help you create innovative and immersive experiences. Build for leading XR platforms with tools that empower creators to push the boundaries of what's possible.
113 |
114 | 2025年有望在XR领域带来令人兴奋的技术进步，包括新的设备和增强的空间计算能力。探索Unity 6中的最新跨平台开发工具，这些工具旨在帮助您创建创新且沉浸式的游戏体验。使用能够助力创作者突破可能性界限的工具，为领先的XR平台构建内容。
115 |
116 |
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/README.md:
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1 | # GDC-Index
2 |
3 | The Game Developers Conference (GDC) summaries in English and Chinese, which do not include sessions in all tracks. The Chinese part is translated by `gpt-3.5-turbo` / `qwen-turbo`.
4 |
5 | 游戏开发者大会（GDC）摘要中英文对照，并不覆盖所有方向话题。中文部分由 `gpt-3.5-turbo` / `qwen-turbo` 完成翻译。
6 |
7 | ## GDC 2025
8 |
9 | 
10 |
11 | - [Audio 游戏音频](./2025/audio.md)
12 |
13 | - [Business & Marketing 商业与市场](./2025/business.md)
14 |
15 | - [Design 游戏设计](./2025/design.md)
16 |
17 | - [Game Narrative 游戏叙事](./2025/game-narrative.md)
18 |
19 | - [Independent Games 独立游戏](./2025/independent-games.md)
20 |
21 | - [Production & Team Leadership 游戏制作与团队领导力](./2025/production.md)
22 |
23 | - [Programming 游戏程序](./2025/programming.md)
24 |
25 | - [Visual Arts 游戏视觉艺术](./2025/visual-arts.md)
26 |
27 | - [VR / AR 虚拟现实与增强现实](./2025/vr-ar.md)
28 |
29 | ## GDC 2024
30 |
31 | 
32 |
33 | - [Audio 游戏音频](./2024/audio.md)
34 |
35 | - [Design 游戏设计](./2024/design.md)
36 |
37 | - [Game Narrative 游戏叙事](./2024/game-narrative.md)
38 |
39 | - [Independent Games 独立游戏](./2024/independent-games.md)
40 |
41 | - [Production & Team Leadership 游戏制作与团队领导力](./2024/production.md)
42 |
43 | - [Programming 游戏程序](./2024/programming.md)
44 |
45 | - [Visual Arts 游戏视觉艺术](./2024/visual-arts.md)
46 |
47 | - [VR / AR 虚拟现实与增强现实](./2024/vr-ar.md)
48 |
49 |
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