链接：https://schedule.gdconf.com/session/10-years-in-tamriel-success-of-the-elder-scrolls-online/900277
作者：Matt Firor (Studio Director / President, ZeniMax Online Studios)
The award-winning online roleplaying game, The Elder Scrolls Online (ESO), turns 10 years old—and to celebrate this amazing milestone, ZeniMax Online Studios Director Matt Firor walks through the trials and tribulations of creating and maintaining the massive AAA live service title. With over 40 updates and content launches to date, 26-million players, and no sign of slowing down, Matt shines a spotlight on pivotal moments (from development and beyond) that have led to the game’s critical success—in addition to touching on future plans that will springboard ESO into the next decade.
屡获殊荣的在线角色扮演游戏《上古卷轴在线》（The Elder Scrolls Online，ESO）已经十岁了——为了庆祝这个了不起的里程碑，ZeniMax Online Studios的负责人Matt Firor将详细介绍创建和维护这款大型AAA线上服务游戏的种种艰辛。截至目前已经推出了40多次更新和内容上线，拥有2600万玩家，并且没有任何放缓的迹象，Matt将聚焦于促使游戏取得成功的关键时刻（从开发阶段到现在）—同时也提及未来的计划，将使ESO进入下一个十年。
2D and Tomorrow: How the Developers of ‘Super Mario Bros. Wonder’ Find New Joy in Creating Classic Side-Scrolling Adventures
作者：Shiro Mouri (Director, Entertainment Planning & Development Department, Nintendo Co., Ltd.)、Takashi Tezuka (Executive Officer, Entertainment Planning & Development Department, Nintendo Co., Ltd.)
Following last year’s launch of the Super Mario Bros.TM Wonder game, developers Takashi Tezuka and Shiro Mouri discuss the unique challenge of taking classic side-scrolling Super Mario Bros. gameplay and turning it upside down…literally. The developers explain how the game’s new elements — such as Wonder effects that flip, spin and transform the game’s Flower Kingdom world — draw inspiration from Mario’s 2D past but deliver unexpected new surprises for players to discover. Mr. Tezuka and Mr. Mouri will also share insights on the game’s creative first steps, how they expanded player choice options and the process of adding a new online experience to the game. Wowie Zowie!
去年推出了《超级马里奥兄弟TM：梦幻游戏》，开发者手冢隆和毛利史郎讨论了将经典的侧面卷轴式《超级马里奥兄弟》游戏玩法翻转的独特挑战... 翻转地。开发者解释了游戏的新元素 — 梦幻效果能够翻转、旋转和转变游戏中的梦幻花园世界 — 是如何汲取自马里奥过去的2D元素，但给玩家带来意想不到的新惊喜。手冢先生和毛利先生还将分享游戏创意的最初步骤，他们如何扩展了玩家的选择选项，以及如何为游戏添加新的在线体验的过程。哇哇哇，太出色了！
作者：Jack Wang (CEO & Co-Founder, KIRI Innovations)
AI and Neural Networks have stormed the 3D industry in the last couple of years, introducing us to a myriad of innovative technologies like NeRFs, NeuS, NeuralAngelo, and 3D Gaussian Splatting. These technologies all promise to create photorealistic 3D assets from photos or videos, but are they all they're claimed up to be? Amidst the dazzling social media posts and research papers, actual 3D creators and game developers rarely have the opportunity nor the skills to try them. In this presentation, we'll embark on a journey through these cutting-edge technologies, aiming to demystify 3D Gaussian Splatting and its counterparts. By the end of this session, you'll not only understand the significance of 3D Gaussian Splatting but also appreciate its limitations. Our aim is to equip you with a deeper understanding of these technologies and a glimpse into the exciting future of 3D in the world of game development.
在过去几年里，人工智能（AI）和神经网络（Neural Networks）席卷了3D行业，向我们介绍了许多创新技术，比如NeRFs、NeuS、NeuralAngelo和3D高斯飞溅（3D Gaussian Splatting）。这些技术都承诺可以从照片或视频中创建逼真的3D资源，但它们是否真的达到了宣称的效果？在令人眼花缭乱的社交媒体帖子和研究论文中，实际的3D创作者和游戏开发者很少有机会或技能来尝试它们。在本次演讲中，我们将踏上一段探索这些前沿技术的旅程，旨在揭开3D高斯飞溅及其同类技术的神秘面纱。在本次会议结束时，您不仅将理解3D高斯飞溅的重要性，还将感受到它的局限性。我们的目标是让您深入了解这些技术，并一窥游戏开发世界中3D技术令人振奋的未来。
作者：Derek Mattson (Senior Game Designer, Naughty Dog)
Third-person shooters are a notoriously difficult nut to crack in game design. The decoupling of the camera from the player creates as many problems as ways to solve them. In this session, discover how Naughty Dog improved the gunplay of its predecessor in The Last of Us Part II. Derek Mattson goes over the solutions used in The Last of Us Part II to address common issues with third-person shooters such as camera vs character perception, weapon feel, hit detection, and input delay. In addition, Derek provides a glimpse into how these solutions were tested and verified with in-engine debugging.
第三人称射击游戏在游戏设计中是一个众所周知的难题。摄像头与玩家角色的解耦造成了许多问题，也提出了诸多解决方法。在这次讲座中，我们将探讨 Naughty Dog 如何在《最后生还者2》中改进了其前作的枪战系统。Derek Mattson 将介绍《最后生还者2》中采用的解决方案，以解决第三人称射击游戏中常见的问题，比如摄像头与角色视角的对比、武器感觉、命中检测和输入延迟。此外，Derek 还将提供这些解决方案如何在引擎调试中进行测试和验证的一瞥。
链接：https://schedule.gdconf.com/session/against-the-storm-postmortem/902655
作者：Michał Ogłoziński (Lead, Eremite Games)
More than 10,500 games launched on Steam in 2022, most of them tiny projects made by small indie teams. Everyone from large studios to solo developers, is looking for ways to innovate and find underserved market niches. Michał Ogłoziński tells the story of how 'Against the Storm went from a passion project developed after hours to an indie smash hit, reaching 700k copies sold during the first year of Steam early access alone. Michał describes how Eremite Games approached innovation, mixing genres, and the creative process. He covers their philosophy when it comes to management, business, and compensation. The philosophy, which allowed them to stay sane, healthy, and motivated both during the no-budget phase and when the clock was already ticking.
2022年Steam平台上推出了超过10,500款游戏，其中大多数是由小型独立团队制作的小型项目。无论是大型工作室还是独立开发者，都在寻找创新和未被开发的市场利基。Michał Ogłoziński讲述了 'Against the Storm' 如何从业余项目发展到一个独立的热门游戏的故事，在Steam早期访问阶段仅一年内就售出了70万份。Michał描述了Eremite Games是如何实现创新、融合不同游戏类型以及创意过程的。他还涵盖了他们在管理、商业和报酬方面的理念。这种理念使他们能够在没有预算的阶段以及当时间紧迫时保持理智、健康和动力。
作者：Francisco Souki (Principal Design Manager, Schell Games)
Using footage from the alpha and final builds of the game, I Expect You To Die 3 Design Director Francisco Souki walks attendees through the design work of taking a level from halfway-done to final. "Before-and-after" comparisons illustrate specific solutions, and Francisco shares details on defining and directing the processes used to identify the problems to solve with the alpha build, and how to work with the team to define a plan for solutions.
利用游戏的 alpha 和 final builds 的录像素材，'我期待你死亡 3' 设计总监 Francisco Souki 向与会者展示了将一个关卡从一半完成到最终完成的设计工作。"Before-and-after" 的对比展示了具体解决方案，Francisco 分享了关于如何定义和指导用于识别 alpha build 中需要解决的问题以及如何与团队合作制定解决方案计划的细节。
作者：Avram Lyon (SVP of Core Technology, Monopoly Go!)、Leonardo Benitez (Head of Game Engineering, Monopoly Go!)、Brandon Cuff (Principal Engineer, Monopoly Go!)
Scopelys Monopoly Go! launched in April 2023 and quickly grew to become the world's #1 casual mobile game, surpassing $1B in revenue within the first 6 months. In this session, the architects of Monopoly Go! share architectural and design considerations underpinning the game, the AWS services used to help scale, and lessons learned along the way.
Scopely的《大富翁 Go!》于2023年4月推出，并迅速成为全球第一的休闲手游，首个6个月内收入突破10亿美元。在这个讨论环节中，《大富翁 Go!》的架构师们将分享支撑游戏的架构和设计考虑，使用的AWS服务以帮助扩展规模，以及沿途学到的经验教训。
作者：Michael V. Eppinette (Sr. Concept Artist, NetEase Games)
Creatures are central to Game Design – they are our companions and our bosses, our friends and our enemies. They populate fantasy worlds with wonder, danger, and intrigue. In a market saturated with monsters of every shape and species, how can an artist design competitively original creatures that delight, terrify, and intrigue their audience? How do animals use illusion and motifs to impress, deceive, and surprise each other, and how can a designer implement these strategies to powerful narrative effect? Join former zookeeper and NetEase Sr. Creature Designer Michael V. Eppinette as he explores his journey to understanding these questions over the course of his time designing the Feral Predator for Prey (2022), and as he demonstrates techniques, strategies, and a practical philosophy for symbolism-driven design, inspired by the dramatic weirdness of the animal kingdom.
生物在游戏设计中占据着核心地位-它们是我们的伴侣和boss，我们的朋友和敌人。它们让幻想世界充满了奇迹、危险和神秘。在市场上充斥着各种形态和物种的怪物时，一位艺术家如何能够设计出具有竞争力的原创生物，让观众感到愉悦、恐惧和神秘呢？动物们如何运用幻象和主题来给彼此留下深刻印象、欺骗和惊讶，设计师又该如何将这些策略应用到强大的叙事效果中呢？加入前动物园管理员兼网易资深生物设计师迈克尔·V·埃皮内特(Michael V. Eppinette)的行列，跟随他探索设计《猎物》(2022)中凶猛猎食者(Feral Predator)的过程中理解这些问题的旅程，以及他展示的以象征为驱动的设计技巧、策略和实用理念，灵感来源于动物王国那戏剧性的怪异现象。
作者：Joshua Haun (Expert Environment Artist, Activision)
Synergy, or effectively "the whole is greater than the sum of its parts," is applied to how knowledge of architecture can lead to emergent environments in the virtual world of video games. Design methodologies employed by notable architects paired with structural design principles, are taught as patterns that can be utilized by artist and designers to create virtual worlds where the user feels completely catered to. Realism of space is often seen as the only benefit when following real world architectural design principles, and this talk expands this into patterns that help guide an artist or designer into arranging spaces that subconsciously speak to the end user. It is the combined effect of many conditions that influence the user, and that synergy can be tapped into with games just as well as the real world.
‘协同效应’，或者有效地说“整体大于部分之和”，被应用于建筑知识如何在视频游戏的虚拟世界中引导出新兴环境。著名建筑师采用的设计方法与结构设计原则被教授为模式，可以被艺术家和设计师利用来创建让用户完全满意的虚拟世界。当遵循真实世界的建筑设计原则时，空间的真实感通常被视为唯一的好处，而这段讨论将其扩展为帮助指导艺术家或设计师布置空间，潜意识地传达给最终用户的模式。影响用户的是许多条件的综合效果，这种协同效应可以在游戏中以及现实世界中得到利用。
作者：Chris Pruett (Director of Content Ecosystem, Meta)、Evan Arnold (Technical Director, Sanzaru Games)、Mathew Kraemer (Head of Design, Sanzaru Games)、Jenny Huang (Head of Production - Games, Meta)、Mari Kyle (Senior Game Producer, Oculus Studios)
Asgard’s Wrath 2 is a full-fledged open-world RPG built from the ground up for VR. Players explore an epic, living world in this massive action RPG that IGN called a “10/10 masterpiece." Join Sanzaru Games as the team shares how they developed one of the largest, most complex, and most well-reviewed VR games of all time. Technical, design, and business: this session is a deep dive into what the high end of VR development looks like.
《阿斯加德之怒 2》是一款专为VR打造的完整开放世界RPG。玩家在这款规模宏大的动作RPG中探索一个史诗般的、充满生机的世界，IGN称之为“10/10的杰作”。加入Sanzaru Games 团队，了解他们是如何开发史上最大、最复杂、最好评价的VR游戏之一的。技术、设计和商业：本次活动将深入探讨VR开发的最高水平是怎样的。
作者：Chenyu Cui (Senior analyst, Omdia)
Attendees will get a comprehensive view of the Western market status including PC, console, and mobile and understand the market position of leading companies in each segment. Additionally, they will get key recommendations for how to promote a title in Western markets from the product design phase to promotion campaigns. Asian publishers will receive strategic insight for their marketing activities, and Western companies will recognize both opportunities and threats at a time when Asian publishers are accelerating their overseas exploration.
与会者将获得全面了解西方市场情况，包括PC、游戏机和手机，并了解每个领域领先公司的市场定位。此外，他们将获得关于如何从产品设计阶段到推广运营阶段在西方市场推广游戏的关键建议。亚洲出版商将为他们的营销活动获得战略洞察，而西方公司将在亚洲出版商加速海外探索之际认识到机遇和威胁。
链接：https://schedule.gdconf.com/session/brawl-stars-learnings-from-the-removal-of-loot-boxes/902677
作者：Frank Yan (Senior Game Designer, Brawl Stars, Supercell)、Frank Keienburg (General Manager, Brawl Stars, Supercell)
Frank Keienburg, General Manager for 'Brawl Stars' and Frank Yan, Game Designer of 'Brawl Stars' discusses the process of removing lootboxes from Brawl Stars entirely and how the game became less engaging as a result. They cover what they did in the year since and the subsequent results, speaking to the impact of randomized rewards for the game as well as how they analyze what's right for the game using a combination of community sentiment, data, and designer intuition.
Frank Keienburg，'大乱斗之星'总经理，以及Frank Yan，'大乱斗之星'的游戏设计师，讨论了将抽取箱完全从'大乱斗之星'中移除的过程，以及由此导致游戏变得不那么吸引人。他们讨论了自那时起一年来所做的工作以及随后的结果，谈到了随机奖励对游戏的影响，以及他们如何结合社区情绪、数据和设计师直觉来分析适合游戏的做法。
链接：https://schedule.gdconf.com/session/bringing-a-star-wars-cantina-to-life-in-jedi-survivor/900021
作者：Cole Swany (Narrative Technical Designer, Respawn Entertainment)、Cheyenne Morrin (Senior Game Writer, Respawn Entertainment)
You can't think of Star Wars without the Mos Eisley Cantina. Learn how the narrative team on 'Star Wars: Jedi Survivor' brought Pyloon's Saloon to life, generating hundreds of state-based interactions for its diverse cast of evolving NPCs. Cheyenne and Cole give an overview of the cantina's experiential goals, then dive into the processes that took each character from ideation to implementation. They cover the various approaches Respawn used to apportion narrative content across characters and game states, their diverse casting processes, their character & story breaking techniques, their content pipeline, and more -- all using examples from the game.
在想到《星球大战》时，人们往往会联想到摩斯艾斯利酒吧。了解《星球大战：绝地幸存者》的叙事团队是如何将派龙酒馆栩栩如生地呈现出来的，为不断发展的NPC群体创造了数百种基于状态的互动。Cheyenne和Cole概述了酒吧的体验目标，然后深入介绍了让每个角色从构思到实现的流程。他们涵盖了Respawn用来将叙事内容分配到不同角色和游戏状态的各种方法，他们多样化的选角流程，角色和故事拆解技术，内容流程管线等等 -- 全部以游戏中的例子为依据。
链接：https://schedule.gdconf.com/session/bullet-time-without-bullets-building-el-paso-elsewhere/902746
作者：Xalavier Nelson Jr. (Studio Head, Strange Scaffold)
El Paso, Elsewhere is a throwback third-person shooter that was praised as a "long-lost Remedy game"- all while excluding the most prominent feature of its primary inspiration. Unlike Max Payne, none of your enemies wield guns, making El Paso, Elsewhere a bullet time game... without opposing bullets. In this talk, creative director and Strange Scaffold studio head Xalavier Nelson Jr. walks fellow developers through the decisions and pivot points that allowed El Paso, Elsewhere to echo some of the most beloved titles in games history without being caught in their shadow.
《埃尔帕索：其他地方》是一款被誉为“失落的Remedy游戏”的传统第三人称射击游戏，然而它却排除了主要灵感来源最显著的特征。与《最大佩恩》不同，你的敌人没有人持枪，使得《埃尔帕索：其他地方》成为了一款弹道时间游戏...却没有敌人的子弹在对抗。在这次演讲中，创意总监和Strange Scaffold工作室负责人Xalavier Nelson Jr.将引领其他开发者们理解那些决策和转折点，使《埃尔帕索：其他地方》得以模仿游戏史上一些最受喜爱的作品，而不至于被它们的阴影所束缚。
作者：Cari Watterton (Senior Designer of Accessibility, Rebellion)
Accessibility helps more people play our games, but it also takes an army! So how can you take your passion, and train people across disciplines to make more inclusive choices? This talk will enable you to run your own workshops to boost accessibility in your studio. Accessibility Designer, Cari Watterton, created Inclusive Design Workshops, inspired by Xbox's Inclusive Design Sprints, to train developers at Rebellion to consider accessibility throughout development in a way that is cost effective but still impactful. This awareness across disciplines helps to foster an inclusive design mindset and avoid unintentional barriers in our games. Cari's talk covers the creation and content of the cross-discipline workshops, the feedback and development that Rebellion went through to create an engaging and fun learning experience, and the result and impacts that the training has had on our staff and our workflows.
无障碍设计可以帮助更多的人玩我们的游戏，但这也需要一支强大的团队！那么，你如何能够发挥自己的热情，培训跨学科的人员做出更具包容性的选择呢？这次演讲将使你能够组织自己的工作坊，以提升工作室的无障碍性。无障碍设计师Cari Watterton 创建了《无界设计工作坊》，灵感来源于 Xbox 的《无界设计冲刺》，旨在培训 Rebellion 的开发人员在整个开发过程中考虑无障碍性，以一种既具有效成本又有影响力的方式。这种跨学科的意识有助于培养一个包容性的设计思维，并避免我们游戏中的无意识障碍。Cari 的演讲涵盖了跨学科工作坊的创立和内容，以及 Rebellion 为创造一个引人入胜且有趣的学习体验所经历的反馈和发展过程，以及培训对我们员工和工作流程产生的结果和影响。
作者：Blake Maltby (Technical Director, Larian Studios)、Tristan Greaves (Solutions Architecture Leader, Amazon Web Services)、Kristoffer Frostle (Account Manager, Amazon Web Services)
Baldurs Gate 3 is built upon a deep, intricate, branching storyline heavily affected by the consequences of players' choices. In this session, learn how Larian Studios added AWS to the party to capture different representations of the complex set of state, which describes players' position and flow through their individual story. From the complexities of handling millions of cross-saves uploaded by users through gameplay analytics, learn how these data capture systems are set up to service both the players and developers and scale from the Early Access release through to the highly successful launch 3 years later.
《博德之门 3》是建立在深入、错综复杂的故事情节之上的，这些情节很大程度上受到玩家选择后果的影响。在本节中，您将了解到 Larian Studios 如何将 AWS 添加到游戏中，以捕捉描述玩家位置和个人故事流程的复杂状态集的不同表现形式。从处理用户上传的数百万个跨存档到游戏分析的复杂性，您将了解这些数据捕捉系统是如何设置来为玩家和开发人员提供服务，并在从早期测试版发布到三年后的非常成功发布时进行扩展。
作者：Jaeho Hwang (Director, MINTROCKET)
Dave the Diver is a mash-up of various disparate game systems. In the game, players gradually learn about these systems through interactions with eccentric and quirky characters, mainly at the behest of them. This allows players to explore a unique blend of game systems seamlessly integrated into a single cohesive experience. Throughout the session, Dave the Diver Game Director, Jaeho Hwang, will share his approach to character design and conveyance through several examples of how humor and witty dialogue were used to demystify the complicated in-game systems.
《戴夫潜水员》是一个融合了各种不同的游戏系统的作品。在游戏中，玩家通过与古怪离奇的角色互动逐渐了解这些系统，主要是在他们的要求下。这使玩家能够探索一个独特的游戏系统混合体，无缝地融入到一个统一的体验中。在整个过程中，《戴夫潜水员》的游戏总监Jaeho Hwang将分享他在角色设计和表达方面的方法，通过几个例子展示了如何利用幽默和风趣的对话来揭开游戏内复杂系统的神秘面纱。
链接：https://schedule.gdconf.com/session/classic-game-postmortem-karateka/899233
作者：Jordan Mechner (Author, Independent)
Before Prince of Persia, there was Karateka. Released in 1984, the directorial debut of game creator Jordan Mechner was a worldwide hit, full of groundbreaking innovations in story, cinematics, music, and animation. It was also the work of an unknown teenager looking to break into the game industry. Forty years later, Jordan discusses how he pushed the limits of Apple II technology to create his breakthrough success. Through original design documents, film footage, prototype gameplay, and more, Jordan tells the story of how he developed his craft as an independent game developer and brought the illusion of life to computer screens around the world with Karateka.
在《波斯王子》之前，存在着《空手道家》。1984年发布的，由游戏创作者乔丹·梅克纳执导的处子作，成为了一部全球轰动的作品，充满了在故事、影音、音乐和动画方面的开创性创新。它也是一个年轻无名少年的杰作，他希望打入游戏产业。四十年后，乔丹讨论了他是如何推动Apple II技术的极限来创造突破性成功的。通过原始设计文件、影片素材、原型游戏玩法等，乔丹讲述了他如何作为独立游戏开发者发展自己的技艺，并带着《空手道家》在全世界的电脑屏幕上展现生命的幻象的故事。
链接：https://schedule.gdconf.com/session/classic-game-postmortem-star-wars-tie-fighter/903257
作者：David Wessman (Lecturer, Breda University of Applied Sciences)
Following the success of Star Wars: X-Wing, there was Star Wars: TIE Fighter, the first Star Wars video game putting the player in service of the Empire. Released in 1994, the game was an even more successful worldwide hit, earning numerous “Game of the Year'' awards, including the Honored Developer Award at GDC for its finely-crafted, story-driven, mission-based gameplay. Led by renowned developers Lawrence Holland and Edward Kilham, it was also the sophomore effort of mission builders David Wessman and David Maxwell. With a more advanced engine and tools, the duo created the deeply immersive and challenging missions that expanded the Star Wars universe and put TIE Fighter on several “Best Game of All Time” lists.Thirty years later, David Wessman discusses how he and David Maxwell took the lessons learned in the making of X-Wing to craft a game that was both more accessible and had more expansive and varied gameplay as well as a richer narrative that was supplemented by the official strategy guide that they co-authored with Rusel DeMaria.
在《星球大战：X翼战机》取得成功之后，推出了《星球大战：TIE战斗机》，这是第一款让玩家为帝国效力的星球大战视频游戏。该游戏于1994年推出，取得了更大的全球成功，赢得了诸多“年度游戏”奖项，包括GDC颁发的荣誉开发者奖，以表彰其精心打磨、以故事为驱动、基于任务的游戏玩法。由知名开发者Lawrence Holland和Edward Kilham领导，这也是任务构建者David Wessman和David Maxwell的第二个努力。在拥有更先进引擎和工具的情况下，这对二人创作了沉浸式且富有挑战性的任务，拓展了星球大战宇宙，使得《TIE战斗机》被列入多个“史上最佳游戏”榜单。三十年后，David Wessman讨论了他和David Maxwell如何借鉴制作《X翼战机》时所学到的经验，打造了一款更易上手、玩法更广泛且多样化，配以更丰富叙事的游戏；官方攻略指南则由他们与Rusel DeMaria共同撰写，为游戏增色不少。
链接：https://schedule.gdconf.com/session/classic-game-postmortem-the-elder-scrolls-chapter-i-arena/902611
作者：Ted Peterson (CEO, OnceLost Games)、Julian LeFay (Technical Director, OnceLost Games)
Julian LeFay and Ted Peterson on the 30th anniversary of the first Elder Scrolls game, Arena, discuss its origin, development, and publication from their perspective as creative leads on design and programming. Bethesda Softworks had previously only had success with sports games and its Terminator franchise, but LeFay and Peterson believed they could create a role-playing game based on an original property, a risky proposition. They delve into how the concept had to change radically because of technical hurdles during the course of development, resulting in missing their deadline and a less-than-stellar release. As a flop became a cult hit, and a sequel was warranted, LeFay and Peterson reflect on lessons learned that led to the development of a series which has sold billions of units and received critical acclaim. They conclude on what has brought them together decades later to continue their creative partnership.
朱利安·勒菲和泰德·彼得森在第一款《上古卷轴》系列游戏《竞技场》30周年时讨论了游戏的起源、开发和发布，从他们作为设计和程序负责人的角度出发。Bethesda Softworks此前只在体育游戏和《终结者》系列上取得了成功，但勒菲和彼得森相信他们可以基于原创IP创建一款角色扮演游戏，这是一个冒险性的提议。他们深入探讨了由于开发过程中的技术障碍而导致概念不得不发生根本性变化的原因，最终导致了未能按时完成并发布了一款不那么成功的游戏。而这款失败作品后来却成为了文化现象，并促使了续作的诞生。勒菲和彼得森反思了从中学到的教训，这些教训促成了一个销售了数十亿份并受到广泛好评的系列游戏的发展。最终，他们总结了数十年后仍然将他们带在一起继续创作合作的原因。
链接：https://schedule.gdconf.com/session/converging-game-design-and-ai-new-frontiers-and-pitfalls/898417
作者：Hilary Mason (Co-Founder and CEO, Hidden Door)
Although it's a hot topic now, AI and machine learning have existed in and outside of games for many years! To fully grasp the power of AI to transform game development, we have to understand how it works and where it's best put to use.Hilary Mason, Co-Founder and CEO at Hidden Door, gives attendees a peek behind the hidden door of AI's current integration into game development. In this session, she outlines the current state of AI as a game dev tool and explains its strengths and shortcomings. Hilary then presents potential solutions for common AI challenges—such as filtering out bad outputs and carefully handling the ethics of AI's use of copyrighted material. She then discusses how to assemble the ultimate AI game development dream team, merging the powers of man and machine to create entirely new gaming experiences.
虽然人工智能（AI）和机器学习（Machine Learning）现在是一个热门话题，但它们在游戏内外已存在多年！要充分领会AI改变游戏开发的力量，我们必须了解它的工作原理以及最佳应用领域。Hidden Door的联合创始人兼首席执行官Hilary Mason，向与会者揭开AI目前融入游戏开发的幕后。在本次讲座中，她概述了AI作为游戏开发工具的当前状态，并解释了它的优势和不足之处。Hilary随后提出了解决常见AI挑战的潜在方案——例如过滤掉不良输出以及谨慎处理AI使用受版权保护材料的道德问题。她随后讨论了如何组建终极AI游戏开发梦之队，将人和机器的力量融合在一起，创造全新的游戏体验。
链接：https://schedule.gdconf.com/session/crafting-characters-in-valorant-designing-deadlock/899300
作者：Alexander Mistakidis (Senior Technical Game Designer, Riot Games (VALORANT))、Tiffy Tsay (Product Manager, Riot Games (VALORANT))
VALORANT developers Alexander Mistakidis, Senior Technical Game Designer, and Tiffy Tsay, Product Manager, discuss how Insights and Design disciplines collaborate with the team at Riot Games in to develop gameplay-expanding agents. During this session, Alexander and Tiffy take you through the gameplay evolution of Deadlock, sharing some of the team's key lessons and insights.
VALORANT开发者Alexander Mistakidis，高级技术游戏设计师，以及Tiffy Tsay，产品经理，讨论Insights（见解）和Design（设计）学科如何与Riot Games团队合作，开发扩展游戏玩法的角色。在这个讨论中，Alexander和Tiffy将带你了解《Deadlock》的游戏演变过程，分享团队的一些关键教训和见解。
作者：Jon Paquette (Senior Narrative Director, Insomniac Games)
'Marvel's Spider-Man 2' is the third game in a franchise that has built its own universe of intersecting characters and stories (Earth-1048). How does the story team at Insomniac balance the needs of the story with the ever-changing demands of the audience? In this talk, Senior Narrative Director Jon Paquette takes you through Insomniac's process, and how the team relies on feedback to help drive their storytelling craft.
《漫威蜘蛛侠2》是该系列的第三款游戏，已经构建了一个包含交错角色和故事的宇宙（地球-1048）。Insomniac的故事团队是如何平衡故事需求和观众变化多端的需求的呢？在这个演讲中，资深叙事总监Jon Paquette将带你了解Insomniac的流程，以及团队如何依靠反馈来推动他们的叙事工艺。
作者：Jordan DeVries (Lead UX/UI Designer, Respawn Entertainment)
STAR WARS Jedi: Survivor's lightsaber workbench mechanic is widely praised—both for its depth and ease-of-use—despite being deceptively complex, serving hundreds of colors and parts, and even brand-new-to-canon categories. This talk from the game's UI/UX Lead recounts the journey of the 10 different interface iterations it took, where to improve as a sequel, key trade-offs, and core findings, all backed by player research and testing.
《STAR WARS 绝地：幸存者光剑工作台机制》因其深度和易用性广受好评，尽管机制看似复杂，但却提供了数百种颜色和零件，甚至包括全新的世界观范畴。该游戏的UI/UX负责人在这次讲话中回顾了这一过程中经历的10次不同界面迭代，探讨了如何在续作中进行改进、主要权衡以及核心发现，所有这些都基于玩家研究和测试。
作者：David McClure (Lead Game Designer, Crytek)
DEATHLOOP lets players create their own builds using Trinkets (socketable modifiers) and Weapon Perks (fixed modifiers). These items are designed to give players freedom and choice, and to allow for emergence. This is the story of how the team at Arkane Lyon created the feature together, and the steps they took as they tried to achieve these goals.In this session, David McClure, Lead Game Designer at Crytek, discusses key design decisions, and explains the reasoning behind specific choices. The biggest practical production problems are also covered, alongside their solutions, and ways to avoid difficulties when working on similar features. Finally, the outcome is discussed: Were the goals reached, and could the path have been made any easier?
《DEATHLOOP》让玩家使用特制物品（可镶嵌修饰物）和武器特性（固定修饰物）来打造自己的角色建模。这些物品旨在赋予玩家自由和选择的权利，并促使游戏玩法多样化。本节目将讲述阿尔坎·里昂工作室团队一同创造此功能的故事，以及他们在努力实现这些目标时所采取的步骤。在本次讨论中，由Crytek首席游戏设计师大卫·麦克卢尔介绍了主要设计决策，并解释了特定选择背后的理由。此外，还涵盖了最大的实际制作问题，以及它们的解决方案，以及在开发类似功能时避免困难的方法。最后，将讨论结果：目标是否实现，路径是否能更容易走通？
链接：https://schedule.gdconf.com/session/dark-patterns-shining-a-light-on-unlawful-game-design/900015
作者：Eric Weiss (Attorney (Partner), Perkins Coie LLP)
The Federal Trade Commission is targeting game companies that use so-called "dark patterns." Hundreds of millions of dollars are at stake, and addressing otherwise avoidable litigation is expensive, time consuming, and distracting.Dark patterns are "tricks used in websites and apps that make customers do things that they didn't mean to, like buying or signing up for something." They include interfaces that confuse users, make it difficult to express actual preferences, or manipulate users into taking certain actions they otherwise would not. Understanding dark patterns is critical because game developers may not realize they are designing unlawful interfaces—and game companies can mitigate their litigation risk in part by ensuring that their procedures for obtaining purchasing consent include an affirmative and unambiguous act by the consumer and by providing a cancellation mechanism that is as easy to use as the method used to make the purchase.
美国联邦贸易委员会正在针对使用所谓的“暗模式”（dark patterns）的游戏公司。数亿美元的利益受到威胁，应对本可以避免的诉讼费用巨大、耗时且分散注意力。暗模式是指“网站和应用程序中使用的技巧，使顾客做出他们本不打算做的事情，比如购买或注册”。这些技巧包括混淆用户界面、使用户难以表达实际偏好或操纵用户采取他们本不会采取的某些行动。了解暗模式至关重要，因为游戏开发者可能没有意识到他们正在设计非法界面—游戏公司可以通过确保其获取购买同意的程序包括用户积极且明确的行为，并提供取消机制使其易于使用，从而在一定程度上降低他们的诉讼风险。
作者：Nicolas Oueijan (Senior Technical Game Designer, thatgamecompany)
When bringing together over 10,000 players, the task of creating a coherent—let alone emotionally resonant—shared experience can seem impossible. What does it mean to assemble so many concurrent players, and how do developers design for them? At this scale, even the smallest decisions have colossal repercussions. To create a journey that everyone enjoys, not in spite of but rather thanks to, the presence of thousands beside them, everything from player mechanics to game visuals needs to be reshaped to harmonize when resonating en masse. These were the unprecedented challenges that thatgamecompany faced when creating the record-breaking AURORA concert in Sky: Children of the Light. This talk walks through the design process from conception to ship, highlighting major design challenges, solutions, and learnings that can inform similar large-scale projects.
当汇聚超过10,000名玩家时，创建一个连贯—更不用说是引人共鸣的—共享体验似乎是一项不可能完成的任务。组织这么多同时在线玩家意味着什么？开发者们又是如何为他们设计的呢？在这种规模下，即使是最微小的决定也会产生巨大的影响。为了创造一个每个人都能享受的旅程，而不是尽管有数千人在身边，也要多亏这些人的存在，从玩家机制到游戏视觉，一切都需要重新塑造，以便在大规模共振时保持和谐。这些就是thatgamecompany在开发创纪录的《天空：光的孩子》中AURORA音乐会时面临的前所未有的挑战。本讲座将从概念到发布的设计过程中，重点介绍主要的设计挑战、解决方案和经验教训，以帮助类似的大型项目。
作者：Anton Mukhataev (Game Designer, Nine Rocks Games)
Most people play video games in their native language when they have a choice. To make it possible, developers turn to translators along with localization and LQA services. But with their workloads at all-time highs and their salaries in an unfortunate race to the bottom, translators cannot be expected to reverse-engineer game designs and work around design issues while they are doing their job. Learn 3 approaches to fireproof your game before localization and make the lives of your team, translators, and LQA engineers easier, with a focus on building design vocabularies and writing translation notes that are actually useful, a smart approach to automatic formatting and consistency checks as well as eliminating localization red flags in designs before your game goes into full-blown production.
大多数人在有选择的情况下会选择用自己的母语玩视频游戏。为了实现这一可能，开发人员会寻求翻译人员以及本地化和LQA（Localization Quality Assurance，本地化质量保证）服务。但是由于翻译人员的工作负荷达到了空前的高度，而他们的薪资却不断下跌，不能指望他们在工作时反向设计游戏并解决设计问题。学习三种方法来在本地化之前使游戏免受影响，并让团队、翻译人员和LQA工程师的生活变得更轻松，重点是建立设计词汇和撰写实际有用的翻译注释，采用智能的自动格式设置和一致性检查的方法，以及在游戏进入全面生产之前消除设计中的本地化障碍。
作者：Paweł Sasko (Associate Game Director, CD PROJEKT RED)
During 12 years in CD PROJEKT RED, Paweł has contributed to multiple games, including 3 expansions: Hearts of Stone and Blood and Wine for The Witcher 3, and most recently, Phantom Liberty, for Cyberpunk 2077. The lecture contains lessons learned from designing these games – everything from choosing themes, designing plots, and expanding gameplay features in a way that creates a consistent whole with the base games.
在 CD PROJEKT RED 工作了 12 年的 Paweł 参与了多款游戏的开发，包括 3 个扩展包：'石之心' 和 '血与酒' (Hearts of Stone and Blood and Wine) 为《巫师 3》 ('The Witcher 3')，最近还有《赛博朋克 2077》中的 '幻象自由' (Phantom Liberty)。这次演讲包含了从设计这些游戏中学到的经验教训 - 从选择主题、设计情节，到扩展游戏特性，以一种创造出与基础游戏一致整体的方式。
链接：https://schedule.gdconf.com/session/designing-active-time-lore-for-final-fantasy-xvi/898912
作者：Momoka Aono (Game Designer, Square Enix Co., Ltd.)
For a story-driven game which has heavy and complex lore, players' understanding the in-game world leads to deeper immersion, but the in-game terminology and unique world rules sometimes make players feel that it's hard to grasp the background.
While fantasy games often use glossary and texts to introduce the in-game world's rules, what people's common sense is, or lots of characters and place names that difficult to remember, most players, except the ones who are interested in lore, rarely reads them.
In this session, we will demonstrate how UIs can help players better understand the story of the game through examples of the lore support system called "Active Time Lore", invented for FINAL FANTASY XVI.
Active Time Lore helps players with a selection of lore tips they need "at the moment" by responding to input a player's pausing during a cutscene or gameplay.
在一个故事驱动的游戏中，如果游戏设定有着丰富和复杂的传说，玩家对游戏世界的理解将促使更深度的沉浸，但游戏术语和独特的世界规则有时会让玩家感到难以掌握背景。
虽然幻想游戏经常使用术语表和文本来介绍游戏世界的规则，其中包括人们常识、或者很难记住的许多角色和地名，但除了那些对传说感兴趣的玩家，大多数玩家很少会去阅读它们。
在这个环节中，我们将通过“FINAL FANTASY XVI”中专为游戏打造的传说支持系统“动态传说时间”作为例子，演示UI如何帮助玩家更好地理解游戏故事。
“动态传说时间”通过在玩家在剧情或游戏中暂停时作出回应，为玩家提供他们当前“所需的”传说提示，从而帮助玩家更好地理解游戏的故事。
作者：John Johanas (Game Director, Tango Gameworks)
In this session, Game Director John Johanas shares how the initial concept for Hi-Fi RUSH came to be. From there, he provides in-depth details into the development team's early learnings on approaching this type of rhythm-action title. This required approaching their game design philosophy from a totally different angle than they've done previously, essentially working backwards from their desired result for Hi-Fi RUSH.John goes over specific examples of how the team gained these learnings through gameplay and how this approach affected other core elements of the game - specifically, how defining their mechanics with core pillars solidified a "positive feedback loop" for the user and lowered the barrier to entry to enjoy Hi-Fi RUSH. This session covers how Tango approached combining music and the action game genre, but this approach can be applied to any teams attempting to implement creative ideas outside of their comfort zone.
在这个交流环节中，游戏总监约翰·约翰纳斯分享了《Hi-Fi RUSH》最初概念的形成过程。他深入介绍了开发团队在开发这种节奏动作游戏时的早期经验教训。这要求他们从一个与之前完全不同的角度来考虑他们的游戏设计理念，基本上是通过从他们对《Hi-Fi RUSH》的期望结果开始逆向工作。约翰详细讲解团队是如何通过游戏玩法获得这些经验教训的，以及这种方法如何影响了游戏的其他核心要素 - 具体来说，如何通过将核心支柱定义为游戏机制，为用户建立了一个"正向反馈循环"，并降低了享受《Hi-Fi RUSH》的准入门槛。这个交流中介绍了唐果是如何将音乐和动作游戏类型相结合的，但这种方法可以应用于任何试图在其舒适区之外实现创意想法的团队。
作者：Steven Weitz (Director of Professional Development, The AbleGamers Charity)
"Does X game need an easy mode?" This question, bandied about on social media any time a particularly challenging game is released, is often followed by the response, "What X game needs is to be more accessible!" Confusion results: after all, many games include as a key feature for accessibility, "A variety of difficulty modes." Aren't difficulty modes the same as accessibility options? This talk shows how accessibility in gameplay challenge is much more nuanced than traditional difficulty modes allow, and gives attendees both a better understanding of how to think about accessibility in challenge and some solutions for using difficulty modes as a starting point to create more accessible gameplay experiences.
“是否《X游戏》需要一个简单模式？”这个问题经常在社交媒体上讨论，特别是当一个特别具有挑战性的游戏发布时，通常会有人回应：“《X游戏》需要的是更易接近！” 混淆产生了：毕竟，许多游戏将“各种难度模式”作为一个重要的辅助功能。 难度模式难道不就等同于辅助选项吗？ 这个讲座展示了游戏挑战中的辅助性要远比传统难度模式所允许的更加微妙，并让参与者更好地理解如何考虑挑战中的辅助性，并提供了一些解决方案，从难度模式出发，以创建更加容易接近的游戏体验。
链接：https://schedule.gdconf.com/session/experimental-game-workshop/903403
作者：Jake Weidner (Producer, Independent)、Liz Ryerson (Independent, ella guro)、Jessica Creane (Founder, IKantKoan Play/s)、Mark Lohmann (Once Upon a Jester, Bonte Avond)、Kyon Edelenbosch (Once Upon a Jester, Bonte Avond)、Adam Pype (Cofounder and Lead Dev, Beeswax Games)、Colter Wehmeier (Developer, The Haunted PS1)、Beckett Rowan (Designer, goodbye.monster)、Matthew Wang (Designer, goodbye.monster)、Johnnemann Nordhagen (Creative Director, Dim Bulb Games)、Marceline Leiman (Game Designer / Educator, Roly Poly Games)、Nolen Royalty (Developer/Designer, eieio.games)、Séamus Ó Buadhacháin (Senior Programmer, Failbetter Games)、Emily Short (Narrative Designer, Independent)、Alexander Martin (Founder, droqen)、Kevin Du (Designer, Independent)、Max Kreminski (Research Scientist, Midjourney)、Taj Hughes (Founder, Terrifying Jellyfish)
The Experimental Game Workshop, which has featured games like Baba Is You, Braid, Untitled Goose Game, and Card Shark is back for its 22nd year at GDC.In this fast-paced, game-packed session, panelists will showcase a selection of surprising and intriguing games made by innovation-minded game developers from all over the world. By demonstrating games that defy conventions and traditions in search of new genres and ideas, this session aims to ignite the imagination of all game makers. Come see what's happening in the world of Experimental Games, and be inspired!
《实验性游戏研讨会》（Experimental Game Workshop），曾展示过像《Baba Is You》、《Braid》、《Untitled Goose Game》和《Card Shark》等游戏，已经在GDC迎来了它的第22个年头。在这个快节奏、充满游戏的研讨会中，与会者们将展示一系列由全球创新型游戏开发者制作的令人惊喜和引人入胜的游戏。通过展示那些超越传统规范和传统的游戏，寻求新的类型和创意，本次研讨会旨在激发所有游戏开发者的想象力。快来看看实验性游戏领域正在发生什么，并获得灵感吧！
作者：Jonathan Bieda (Director of UX Design, Super Evil Megacorp)
UX design has a greater scope than most people know. This talk is meant to enlighten studios on how UX designers can add value across multiple game development disciplines, and encourage UX designers themselves to push into/grow their skill set within these disciplines.
用户体验设计（UX design）的范围比大多数人所知道的要广阔。这个讨论旨在启发工作室，让他们了解用户体验设计师如何能够在多个游戏开发领域中增加价值，并鼓励用户体验设计师自己不断拓展/发展他们在这些领域内的技能。
作者：Stephen Dona (Senior Technical Designer, Avalanche Software)
The Wizarding World has one of the largest and most devoted fanbase in the world but most have only experienced the world through non-interactive media (books and movies). With Hogwarts Legacy, we are inviting many new players to PC and console gaming, as well as inviting gamers to delve into the Wizarding World for the first time. Our unique challenge became "How do we create an open-world RPG in this franchise that appeals to new gamers and seasoned gamers alike?". Many of the RPG game design features fight against what new players or players who usually consume more passive media would expect. Learn the design decisions and process in which the Hogwarts Legacy design team struck this balance.
魔法世界拥有着全球最大且最忠实的粉丝群体之一，但大多数人只通过非互动媒体（书籍和电影）来体验这个世界。通过《霍格沃茨传承》，我们邀请了许多新玩家进入PC和主机游戏领域，同时也邀请了游戏玩家们首次深入探索魔法世界。我们面临的独特挑战是“我们如何在这个特许经营品牌中创造出一个吸引新玩家和老玩家的开放世界RPG？”。很多RPG游戏设计特点与新玩家或通常更倾向于被动媒体的玩家所期望的不尽相符。了解霍格沃茨传承设计团队在寻求平衡时做出的设计决策和过程。
作者：Joe Weinhoffer (Game Director, Firaxis Games)
The superheroes of Marvel’s Midnight Suns are very different from the soldiers of XCOM. Heroes don’t hide behind defensive cover in battle, they aren’t hindered by movement restrictions, and they certainly don’t miss 95% chance-to-hit shots!Join Joe Weinhoffer, Lead Designer of Marvel’s Midnight Suns, for an examination of the core design principles the team at Firaxis Games used to forget everything they thought they knew about designing tactical strategy games and build something totally new and different.In this talk Joe explores the origin story of Marvel’s Midnight Suns as a project and deep dives into the iterative prototyping and development of the core tactical combat systems, with a focus on using cards to represent hero abilities, handling movement and positioning for superheroes, and balancing the management of tactical resources.
《午夜太阳的漫威超级英雄》中的超级英雄与《XCOM》中的士兵截然不同。英雄们在战斗中不会藏在防御掩体后面，也不受移动限制，当然也不会错过95%的命中率！加入《午夜太阳的漫威超级英雄》首席设计师乔·温霍夫，他将介绍Firaxis Games团队用来忘记他们对设计战术策略游戏的传统认识，打造全新和独特作品所使用的核心设计原则。在这场演讲中，乔探索了《午夜太阳的漫威超级英雄》作为一个项目的起源故事，并深入研究了核心战术战斗系统的迭代原型制作和开发过程，重点关注使用卡牌代表英雄能力、处理超级英雄的移动和站位，以及平衡战术资源管理。
链接：https://schedule.gdconf.com/session/game-design-workshop-day-1/903049
作者：Marc LeBlanc (Senior R&D Software Engineer, Riot Games)
This intensive two-day workshop will explore the day-to-day craft of game design through hands-on activities, group discussion, analysis, and critique. Attendees will immerse themselves in the iterative process game design and discover design concepts that will help them think more clearly about their designs and make better games.Working in small groups, attendees will work on two design exercises each day. Each exercise will require the group to work iteratively to modify an existing game design to meet some new goal. An exercise might involve adding a new feature, accommodating a requirement, or fixing a design flaw. Attendees will learn how to apply the Mechanics-Dynamics-Aesthetics (MDA) framework to their design process. The exercises will challenge attendees to analyze and identify the design principles at work in a game, and to think flexibly and creatively while working within design constraints. They will serve as a starting point for discussing how the framework applies to games in digital and non-digital media. Attendees will gain practical experience working with the MDA framework brainstorming, critical analysis, and discussion.
这个为期两天的密集研讨会将通过实践活动、小组讨论、分析和批评来探索游戏设计的日常工艺。参与者将沉浸在游戏设计的迭代过程中，发现设计概念，帮助他们更清晰地思考自己的设计并制作更好的游戏。参与者将分成小组，每天将进行两个设计练习。每个练习都要求小组进行迭代工作，修改现有游戏设计以达到某个新目标。一个练习可能涉及添加新功能、满足需求或修复设计缺陷。参与者将学习如何将“机械-动态-美学”（MDA）框架应用于他们的设计过程。这些练习将挑战参与者分析和识别游戏中正在发挥作用的设计原则，并在设计约束条件下灵活和富于创造性地思考。它们将作为讨论该框架如何适用于数字和非数字媒体游戏的起点。参与者将通过使用MDA框架进行头脑风暴、批判性分析和讨论来获得实际经验。
链接：https://schedule.gdconf.com/session/game-design-workshop-day-2/903050
作者：Marc LeBlanc (Senior R&D Software Engineer, Riot Games)
This intensive two-day workshop will explore the day-to-day craft of game design through hands-on activities, group discussion, analysis, and critique. Attendees will immerse themselves in the iterative process game design and discover design concepts that will help them think more clearly about their designs and make better games.Working in small groups, attendees will work on two design exercises each day. Each exercise will require the group to work iteratively to modify an existing game design to meet some new goal. An exercise might involve adding a new feature, accommodating a requirement, or fixing a design flaw. Attendees will learn how to apply the Mechanics-Dynamics-Aesthetics (MDA) framework to their design process. The exercises will challenge attendees to analyze and identify the design principles at work in a game, and to think flexibly and creatively while working within design constraints. They will serve as a starting point for discussing how the framework applies to games in digital and non-digital media. Attendees will gain practical experience working with the MDA framework brainstorming, critical analysis, and discussion.
这个为期两天的密集研讨会将通过实践活动、小组讨论、分析和批评探索游戏设计的日常工艺。参与者将沉浸在游戏设计的迭代过程中，发掘设计概念，这些概念将帮助他们更清晰地思考他们的设计并制作出更好的游戏。参与者将分成小组，每天将进行两个设计练习。每个练习将要求小组进行迭代工作，修改现有的游戏设计以达到一些新目标。练习可能涉及添加新功能、符合需求或修复设计缺陷。参与者将学习如何将“Mechanics-Dynamics-Aesthetics (MDA)”框架应用到他们的设计过程中。这些练习将挑战参与者分析游戏中起作用的设计原则，并在设计约束条件下灵活创造性地思考。它们将作为讨论这个框架如何应用于数字和非数字媒体游戏的起点。参与者将获得在MDA框架下进行头脑风暴、批判性分析和讨论的实践经验。
链接：https://schedule.gdconf.com/session/game-narrative-roundtable-day-1-professional/898984
作者：Richard Dansky (Franchise Narrative Director, Crytek)
The purpose of these roundtables is to provide a safe and welcoming space to discuss matters of concern to the game narrative community. The roundtables will be broken up into three sections: Professional (the business and employment aspects of the role), Technique (artistic and compositional concerns and best practices) and Future (exploring new challenges facing game narrative).
这些圆桌讨论的目的是为游戏叙事社区提供一个安全和友好的空间，讨论相关问题。圆桌讨论将分为三个部分：专业（角色的商业和职业方面）、技术（艺术和构图方面的问题和最佳实践）和未来（探索游戏叙事面临的新挑战）。 (Game Narrative)
链接：https://schedule.gdconf.com/session/game-narrative-roundtable-day-2-conceptual/903300
作者：Richard Dansky (Franchise Narrative Director, Crytek)
The purpose of these round tables is to provide a safe and welcoming space to discuss matters of concern to the game narrative community. The round tables are broken up into three sections: Professional (the business and employment aspects of the role), Technique (artistic and compositional concerns and best practices) and Future (exploring new challenges facing game narrative).
这些圆桌讨论的目的是为游戏叙事社区提供一个安全而欢迎的讨论空间，讨论关乎游戏叙事社区关心的事项。圆桌讨论分为三部分：专业（角色的业务和就业方面）、技术（艺术和构图问题以及最佳实践）和未来（探讨面临游戏叙事领域的新挑战）。
作者：Sam Cole (CEO & Co-founder, FitXR)、James Senior (Head of Product, VR & AR Experiences, Meta)
Mixed reality is changing the way we live, work and play, and has the potential to revolutionize all aspects of health and wellness. We are currently witnessing an exciting shift towards sports and fitness MR/VR applications, emerging as the second most popular use case on platforms like the Meta Quest. During this panel, developers will hear from industry leaders in virtual reality, FitXR co-founder & CEO, Sam Cole and James Senior, Head of Product, VR & AR Experiences at Meta, to discuss the dynamic opportunities unfolding in this growing sector, offering a unique perspective on what's next in MR, haptics, biotracking, and more within sports and fitness games.
混合现实（Mixed Reality）正在改变我们生活、工作和娱乐的方式，并有潜力彻底革新健康和健康的各个方面。我们目前正目睹一个令人兴奋的转变，向运动和健身MR/VR应用程序迈进，成为如Meta Quest等平台上第二受欢迎的用例。在这个讨论环节中，开发者将听取虚拟现实行业领袖FitXR联合创始人兼首席执行官Sam Cole以及Meta公司VR & AR体验产品负责人James Senior的发言，探讨这一不断增长的领域中正在展开的动态机遇，提供对于体育和健身游戏领域中混合现实、触觉反馈、生物追踪等未来发展的独特视角。
链接：https://schedule.gdconf.com/session/hogwarts-legacy-evolving-your-design-into-aaa/902751
作者：Kelly Murphy (Lead Game Designer, Avalanche Software)
The transition to AAA open-world development brings about new problems a team must overcome in order to hit a higher quality bar demanded by the target audience. In this talk, you hear about some of the problems and roadblocks the designers and team leadership encountered along the way and the various methods we adopted to overcome them.
转向AAA开放世界开发会带来一些新问题，团队必须克服这些问题，以达到目标受众所需的更高质量水准。在这次讲座中，你将听到设计师和团队领导在这个过程中遇到的一些问题和障碍，以及我们采用的各种方法来克服它们。
作者：Robin-Yann Storm (Tool UX & Workflow Designer, Independent)
When we make game development tools it is very easy to pick what we think is a 'sensible default', and have all users deal with it. We think those defaults makes sense, and work for most users. However, even a cursory look at DCCs such as Unity, Unreal, 3dsMax, Maya, and Blender shows us that this is wrong. Unity, Max, and Maya have the hierarchy on the left side of the screen, while Unreal and Blender have the hierarchy on the right side of the screen. The same differences can be found between all of them when it comes to toolbars, the 3D view, the property panel, and the asset browser. There is no 'sensible default' for any of those panels in the UI, yet we often hear they 'should' be on the left or 'should' be on the right.
What do we have to unlearn, to improve the UX of our tools?
在开发游戏工具时，很容易选择我们认为是‘合理默认值’，让所有用户去适应。我们认为这些默认设置是合理的，并适用于大多数用户。然而，对于诸如Unity、Unreal、3dsMax、Maya和Blender等DCC软件的简单查看就告诉我们这是错误的。Unity、Max和Maya在屏幕左侧拥有层次结构，而Unreal和Blender则在屏幕右侧拥有层次结构。当涉及到工具栏、3D视图、属性面板和资源浏览器时，它们之间存在相同的差异。在界面中，这些面板没有任何‘合理默认值’，但我们经常听到它们‘应该’在左侧或者‘应该’在右侧。
为了改进我们工具的用户体验，我们需要忘掉什么？
链接：https://schedule.gdconf.com/session/it-takes-a-village-cultivating-social-coziness-in-palia/899488
作者：Eileen Shiue (Design Director, Singularity6)
Until recently, games that feel cozy, and games that feel deeply social, have felt mutually exclusive. Competitive games can tell inspiring stories of friendship and triumph, yet are generally guaranteed to have many examples of player frustration escalating into disruptive behavior, while many cozy games have either focused on single player experiences, or limited multiplayer experiences which range between one-off interactions with strangers that don't lead to creating connections and deeper persistent experiences with existing friends. With Palia, the team aimed to break into the unsolved "Cozy MMO" space, leveraging the Community Sim genre that gives a clear foundation and demographic that already recognizes the value of a cozy space, and building it into a social experience that can scale into the future. In this talk, explore the approach taken, lessons learned along the way, and hopes the team has for the future.
直到最近，那些让人感到舒适的游戏和那些让人感到深度社交的游戏一直被视为互相排斥。竞技游戏可以讲述友谊和胜利的励志故事，但通常会出现很多玩家受挫而产生破坏性行为的例子，而许多舒适的游戏要么专注于单人体验，要么是有限的多人体验，这些体验在与陌生人的一次性互动之间，无法建立联系和与现有朋友进行更深层持续体验之间摇摆。通过Palia，团队旨在打入未解决的“舒适MMO”空间，利用社区模拟（Community Sim）类型，建立了一个具有明确基础和已认识到舒适空间价值的人群，并将其构建成一个可以面向未来扩展的社交体验。在本次讲话中，探讨所采取的方法、沿途所学到的经验教训以及团队对未来的期望。
作者：Arthur Décamp (Game Director, Evil Empire)
Six years after its early access release, Dead Cells has never really left this format. After a great launch by Motion Twin, the team at Evil Empire kept working on it for years. In the process, they found out that the early access approach to developing content applies really well to "content-heavy" games.As a game designer and game director, Arthur focuses on the creative part of the discussion and see how this process can actually help you design fresh new and interesting content to keep player entertained and invested. He also addresses the flexibility and speed it gives, making it the perfect fit for a dense annual update planning.
六年前，《Dead Cells（死细胞）》早期版本发布后，游戏从未真正摆脱这种模式。在Motion Twin团队成功推出后，Evil Empire团队继续在此基础上多年进行改进。在这个过程中，他们发现早期版本发布方法在开发内容丰富的游戏中非常适用。作为游戏设计师和游戏总监，Arthur专注于讨论中的创意部分，并看到这一过程实际上如何帮助你设计新鲜有趣的内容，以保持玩家的娱乐和投入。他还提到这种方法带来的灵活性和速度，使其成为密集的年度更新计划的完美选择。
Level Design Summit: Building Before 'Blockout': Better Communicating Your Design Before Placing Blocks
作者：Luis Brito (Senior Designer, Bungie)
This session will cover techniques that designers can use to improve how they communicate their designs.
The session will begin with a brief introduction to the speaker, a few situations a designer might find themselves in, and a touch on how all design, including level design, is the ability to communicate ideas to an audience.
We'll then dive into a short description of how the speaker has developed their own personal list of materials they use to better communicate their ideas.
Each material will be presented with a problem space to solve, the visuals and/or text that a designer can utilize to solve it, and applications of said visuals or text.
Once all materials are covered, an example level will be shown that was built using the techniques shared.
The speaker will close the session with questions.
这个讲座将涵盖设计师可以使用的技术，以改善他们传达设计的能力。
讲座将以简短介绍发言人开始，列举设计师可能会遇到的一些情况，并简要介绍所有设计，包括关卡设计，都是向受众传达想法的能力。
然后，我们将简要描述发言人是如何开发他们自己的用于更好传达想法的材料清单的。
每种材料都将展示一个需要解决的问题空间，以及设计师可以利用的视觉和/或文本来解决问题，以及这些视觉或文本的应用。
在涵盖了所有材料之后，将展示一个使用分享的技巧构建的示例关卡。
发言人将在回答问题的环节结束讲座。
作者：Christopher Totten (Program Coordinator and Founder, Kent State University & Pie for Breakfast Studios)
Ask anyone who has trained a new level designer or taught level design students, and they will tell you that a major challenge is balancing training for the technical aspects of the job while also teaching them "good" level design. In the studio environment, you also have to teach communication, documentation, designing for specific types of gameplay, or the elements of your studio's "style." How can we effectively mentor newcomers without taking time away from other ongoing design work?
This talk by a level designer and educator with 13+ years of experience examines processes that studios can use to onboard new designers in productive and accessible ways. It does so through topics such as setting "learning goals", assigning quick-but-usable level design exercises, incorporating "style" into task specifications, and how to structure feedback. This talk incorporates both on-the-job knowledge and examples collected from education to build a roadmap for effective mentorship.
请问任何曾经培训过新关卡设计师或教授关卡设计学生的人，他们都会告诉你，在平衡技术工作的培训同时传授“好”的关卡设计时会面临很大的挑战。在工作室的环境中，你还需要教授沟通、文档编写、针对特定游戏玩法设计，或者工作室“风格”的元素。我们如何能够有效地指导新人，而不会占用其他正在进行的设计工作时间呢？
这场由一位拥有13年以上经验的关卡设计师和教育工作者主持的讲座，探讨了工作室可以采用的流程，以实现以高效且易接受的方式引入新设计师。这一过程涉及到设置“学习目标”、分配快速但实用的关卡设计练习、将“风格”融入任务规范以及如何构建反馈结构等课题。这场讲座既融合了职场知识，又搜集了来自教育领域的例证，为有效的指导工作提供了一份指南。
作者：Ankit Kaushal (Level Designer, SuperGaming)
The shortcomings and challenges of modular workflow for large-scale map production are often overlooked in favor of its alluring ease of execution and in-built optimization. This session aims to highlight the difficulties of adopting a modular workflow for relatively smaller and inexperienced teams and demystify some of the unrealistic expectations that come with it.
Investing a significant amount of time into engine tooling, runtime optimizations, and project maintenance utilities, the returns aren't always justifiable for the resources put into it.
大规模地图制作中模块化工作流程的缺点和挑战往往被忽视，而人们更倾向于其吸引人的执行便利性和内置优化。本次讨论旨在突出采用模块化工作流程对规模较小和经验不足团队的困难，并揭开一些不切实际的期望。
投入大量时间到引擎工具、运行时优化和项目维护工具中，回报未必总是能够补偿投入的资源。
作者：Will Shen (Lead Content Designer, Something Wicked Games)、Daryl Brigner (World Director, Soft Rains)
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.
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。
作者：Blake Rebouche (Principal Designer, Guerrilla)、Harvey Smith (Studio Director, Arkane Austin)、Chance Ivey (Associate Design Director, Epic Games)、Joel Burgess (Co-Founder, Soft Rains)、Steve Lee (Lead Level Design Freelancer, Double Function)、Seth Marinello (Lead Designer, Double Fine)
Attend a panel of experienced game developers whose experience includes Level Design work. This group discusses their journeys and the paths they took to a variety of unique roles. There are the many paths that a level design career can take, leading to and from other roles, such as other design, studio leadership, marketing, and more. Attendees can expect lively discussion about how level design skills can come into play as part of a broader career.
参加一场由经验丰富的游戏开发者组成的专家小组，其中包括关卡设计工作经验。这个小组将讨论他们的经历以及他们走向各种独特角色的道路。关卡设计职业可以通往其他角色，并从其他角色通往关卡设计职业的很多道路，比如其他设计、工作室领导、营销等。参与者可以期待关于如何将关卡设计技能作为更广泛职业的一部分的热烈讨论。
作者：Donald Barrett (Advanced Designer, Insomniac Games)
In this GDC Level Design Summit talk, Donald is discussing how 'The Flame' side quest arc was developed from its rough, early iterations to its epic completion. 'The Flame' was developed into a massive quest arc that involved an entirely new enemy faction, an ally npc and a boss npc that were fully supported by all departments. Donald describes the pitch process at Insomniac Games and the importance of working closely with asset teams and writers. He also dives into the realities of team building and supporting each team member through the highs and lows of development, and ultimately bring the content to completion with a high level of polish.
在这场GDC关卡设计峰会的演讲中，Donald正在讨论《火焰》支线任务如何从最初的草稿版本发展到壮丽的完成。《火焰》被扩展成一个庞大的任务支线，涉及全新的敌对派系、一个盟友NPC和一个Boss NPC，这些都得到了所有部门的充分支持。Donald描述了在Insomniac Games进行的提案过程，以及与资产团队和作家密切合作的重要性。他还深入探讨了团队建设的现实情况，支持每位团队成员度过开发过程中的高潮和低谷，并最终以高度的精益求精完成内容。
作者：Anne-Marie Grönroos (Lead Level Designer, Remedy Entertainment)
Alan Wake 2 is a survival horror game with a weird, complex story featuring two worlds and protagonists. This session covers how the mission structures evolved during development and what can go wrong when you combine puzzles, narrative, combat, and dream logic. Using the Proof of Concept missions as a case study, the talk shows how we structured the missions into various kinds of loops, the many failed attempts at designing dream logic, and how bringing the two protagonists closer helped us escape the nightmare New York.
《艾伦·韦克 2》是一款带有奇怪复杂故事情节的生存恐怖游戏，涵盖了两个世界和两名主角。本次讨论内容包括在开发过程中任务结构的演变以及当你将谜题、叙事、战斗和梦境逻辑结合时可能出现的问题。以概念验证任务作为案例研究，本次演讲展示了我们如何将任务组织成各种环路，设计梦境逻辑时的诸多失败尝试，以及如何使两位主角更加紧密接近帮助我们逃离噩梦般的纽约。
链接：https://schedule.gdconf.com/session/level-design-summit-urban-planning-in-games/902010
作者：Ania Bulavina (Senior Environment Artist, CD Projekt RED)
This session goes through all the basic steps of city creation. It explains why urban planning is important for game environments and how it can be useful for creating readable and distinguished urban space. The talk also helps to understand how to transfer from a real city to a game city, whether this is a realistic city or a fictional one. Everything that is said in this talk works both for big open world cities in AAA projects and smaller non-open world cities with linear gameplay.
本次内容将介绍城市创建的所有基本步骤。它解释了为什么城市规划对于游戏环境至关重要，以及如何利用它来创建清晰可识别的城市空间。讨论还有助于理解如何将真实城市转变为游戏城市，无论是一个现实的城市还是一个虚构的城市。这次讲话中提到的所有内容都适用于AAA项目中的大型开放世界城市和具有线性游戏玩法的较小非开放世界城市。
作者：Carla Engelbrecht (Founder & CEO, Betweened)
Children have unique intellectual and physical needs that designers must take into account in order to create engaging gaming experiences. This session aims to help developers build a foundation of knowledge by uncovering existing research on children and technology from a variety of fields, including child developmental psychology, human computer interaction, television, and market research. The discussion will provide information on developmental psychology specific to games, UI design and input control considerations, co-play, and age-appropriate storytelling. While some guidelines will be device-specific, most recommendations provided can be easily applied to any children's game design product, regardless of platform.
孩子们有独特的智力和身体需求，设计者必须考虑这些需求，才能创造引人入胜的游戏体验。本场专题旨在通过揭示来自多个领域的关于儿童和技术的研究，包括儿童发展心理学、人机交互、电视和市场研究，帮助开发者建立知识基础。讨论将提供关于游戏开发中儿童发展心理学、UI设计和输入控制考虑、共同游玩以及适合不同年龄的叙事等方面的信息。尽管有些指南是针对特定设备的，但大多数推荐可以轻松应用到任何儿童游戏设计产品上，无论平台如何。
作者：Abhi (Creative Director, Visai Games)
When players are unfamiliar with a culture, how do we tell a story that's rooted in it? It's a responsibility to ensure players who play the game leave with a deeper understanding of the culture, society, heritage and traditions we're showcasing. But the game we make has its own story to tell, and there might not be the space to be educating all players. It might also be tempting to explain and point out every aspect of the culture to ensure a player misses nothing, but this can do more harm than good. Thankfully, "Lore" is a very powerful tool that video games are great at that we can leverage to solve this problem. In this talk, Creative Director Abhi outlines various techniques used to follow a "Lore, don't tell" approach that let him not only be laser focused on the story he wanted to tell in Venba but also helped him shine a light on the culture he loves with all its details
当玩家对某个文化陌生时，我们如何讲述一个植根于该文化的故事呢？确保玩家在游戏结束时对我们展示的文化、社会、传统和遗产有更深刻的了解是一种责任。但我们制作的游戏有自己要讲述的故事，并且可能无法为所有玩家提供教育的空间。也许诱人的做法是解释并指出文化的每一个方面，以确保玩家不会错过任何细节，但这可能弊大于利。幸运的是，“传统”是一种非常强大的工具，而视频游戏擅长利用它来解决这个问题。在这次演讲中，创意总监阿比概述了各种采用“传统而非告知”方法的技巧，这让他不仅可以专注于他想要在《Venba》中讲述的故事，还帮助他揭示他热爱的文化及其所有细节。
链接：https://schedule.gdconf.com/session/lost-the-plot-writing-story-for-storyless-games/899138
作者：Ashley Reed (Lead Writer, Respawn Entertainment)
Conventional wisdom says video game stories come in two flavors—elaborate cinematic experiences, or collections of barks and item descriptions glued together six months before launch. It's no surprise that game writers gravitate toward the first, but the truth is that there's space for narrative in even the sleekest platformer or most fast-paced shooter. In this talk, you will learn five key practices to create a story for your non-narrative game that feels meaningful, authentic, and satisfying—without a single cutscene or grenade bark in sight.
传统看法认为视频游戏的故事有两种风格——复杂的电影式体验，或是在上市前六个月将各类叫声和物品描述粘在一起。游戏编剧更倾向于前者并不奇怪，但事实是即使是最流畅的平台游戏或最快节奏的射击游戏中也有叙事的空间。在这个讨论中，你将学到五个关键实践，为你的非叙事游戏创造一个感觉有意义、真实和令人满意的故事——在没有任何过场动画或手榴弹叫声的情况下。
链接：https://schedule.gdconf.com/session/marvel-snap-building-a-ccg-without-booster-packs/899129
作者：Stephen Jarrett (Senior Director of Product & Strategy, Second Dinner)
Come soak in 15 years of live service meta progression and economic systems as Stephen Jarrett (Fortnite, MARVEL SNAP, Diablo, Madden NFL) storms through frameworks and learnings from MARVEL SNAP and more.Everyone knows MARVEL SNAP has super powered three-minute battles and 8 cube awesome gameplay, but what about the rest of the game? Pulling in ingredients from other hit games and a deep desire to make cosmetics the core progression loop of a game, come learn how Second Dinner assembled MARVEL SNAP's meta progression systems. Every good superhero story has moments of triumph and adversity, and MARVEL SNAP is no different. Stay awhile and listen as Stephen shares his experiences designing meta progression systems across a variety of games and genres, and how those frameworks can be applied to your game.
来吸收15年的现场服务元素发展和经济系统经验，Stephen Jarrett（Fortnite，MARVEL SNAP，Diablo，Madden NFL）将带领您穿越从MARVEL SNAP等游戏中获得的框架和经验。大家都知道MARVEL SNAP拥有超级力量的三分钟战斗和8个立方体的精彩游戏玩法，但游戏的其他方面呢？汲取其他热门游戏的元素，并怀着使化妆品成为游戏核心发展循环的愿望，一起来了解Second Dinner是如何组建MARVEL SNAP的元素发展系统的。每个优秀的超级英雄故事都有胜利和逆境时刻，MARVEL SNAP也不例外。请多留一会儿，倾听Stephen分享他在设计各种游戏和类型中的元素进化系统方面的经验，以及这些框架如何适用于您的游戏。
作者：Magdalena Zych (Senior Writer, Story Coordinator, CD Projekt Red)
Learn about a writer's role, the tech, and the philosophy behind CD PROJEKT RED's unique dialogue system and discover the pros and cons of this approach. The presentation focuses on technical aspects as well as artistic choices made while designing a branching plot for an open-world AAA game. Attendees see how the video game medium requires a very specific way of thinking about dialogues and scenes.
了解作家在CD PROJEKT RED独特对话系统背后的角色、技术和哲学，并发现这种方法的优缺点。该演示专注于在设计开放世界AAA游戏的分支情节时所做的技术层面和艺术选择。与会者将看到视频游戏媒体对话和场景需要一种非常特定的思考方式。
作者：Olivier Palmieri (Game Director, Ubisoft Montreal)
Virtual Reality allows an amazing level of immersion in virtual worlds. But when it comes to locomotion, the ability to travel into these worlds may involve various degrees of discomfort, from fatigue to kinetosis (motion sickness). In Assassin's Creed Nexus VR, the open worlds of the game provide great opportunities for players to explore, parkour, climb, fight or go stealth, all of which presented unique challenges when designing a comfortable and accessible experience. The team presents the journey and share our experience working for several years on designing and building various features and presets to make the game comfortable and accessible for players. To conclude, the team presents features to help with potential fear of height, as players in Assassin's Creed Nexus VR will be able to parkour, climb and reach elevated heights, and can decide to experience the game's iconic leap of faith.
虚拟现实（Virtual Reality，VR）技术让人能够沉浸在虚拟世界中。但当涉及到运动时，进入这些虚拟世界可能会引起各种程度的不适，从疲劳到运动病（运动晕动病，kinetosis）。在'刺客信条：尼克斯 VR'中，游戏的开放世界为玩家提供了探索、跑酷、攀爬、战斗或潜行等许多机会，所有这些在设计舒适和易接近的体验时都带来了独特的挑战。团队展示了这一旅程，并分享了多年来致力于设计和构建各种功能和预设，以使游戏对玩家舒适且易接近的经验。最后，团队还提出了帮助玩家克服高处恐惧的功能，因为在'刺客信条：尼克斯 VR'中，玩家将能够通过跑酷、攀爬和抵达高处，选择是否体验游戏中标志性的信念之跃。
作者：Simon Wasselin (Lead Narrative Designer, Remedy Entertainment Oy)、Molly Maloney (Principal Narrative Designer, Remedy Entertainment)
Remedy has never shied away from complex stories and characters, and Alan Wake 2 features some of our most ambitious protagonists to date. When it came to putting players in the minds of both a talented FBI detective piecing together a supernatural mystery, and a tortured author attempting to write his way out of a web of darkness, Lead Narrative Designer Simon Wasselin (Quantic Dream) Principal Narrative Designer Molly Maloney (Telltale Games) had to tackle some big questions: How do we give players a satisfying interactive experience within the confines of a linear story that can't budge? How do we allow for player expression when the protagonists are locked into specific roles? How can we leverage interactivity to incept complex, multilayered exposition into the minds of our audience?This talk focuses on the design of the narrative mechanics used to convey exposition in Alan Wake 2. Join us as we discuss the challenges of agency vs expression, linear vs branching storytelling, and how by involving Narrative Design in gameplay we can create more powerful story experiences in AAA games.
Remedy从未回避复杂的故事和角色，而《失落之城2》则展示了我们迄今为止最雄心勃勃的主角之一。面对让玩家扮演一位聪明的FBI侦探拼凑超自然之谜，以及一位备受折磨的作家试图以文字摆脱黑暗困境的双重角色，首席叙事设计师西蒙·沃塞林（Quantic Dream）和首席叙事设计师莫莉·马隆尼（Telltale Games）必须解决一些重要的问题：在无法改变的线性故事情节中，我们如何让玩家获得令人满意的互动体验？当主角被锁定在特定角色中时，我们如何允许玩家表达自己？我们如何利用互动来向观众灌输复杂、多层次的叙述？本次讨论着重探讨了在《失落之城2》中使用的叙事机制设计。加入我们，讨论代理与表达、线性与分支叙事之间的挑战，以及通过将叙事设计纳入游戏玩法中如何在AAA游戏中创造更有力的故事体验。
链接：https://schedule.gdconf.com/session/meshcapade-demo-presented-by-meshcapade/903070
作者：Talha Zaman (CTO, Meshcapade GmbH)、Nathan Bajandas (3D Graphics Engineer, Meshcapade GmbH)
Dive into the future of digital human creation with Meshcapade. Join us as we unveil our groundbreaking platform, meshcapade.me, empowering game developers & artists to craft lifelike digital humans seamlessly. Witness the magic of transforming 2D images, 3D scans, and videos into dynamic, customizable digital humans. Our latest feature steals the spotlight - motion from videos. Learn how you can effortlessly apply these motions to any of your characters in Unreal Engine, revolutionizing the creation process. Don't miss this opportunity to elevate your game development and artistic endeavors. Swing by our booth (P1821) for an exclusive hands-on experience and dive into the future of character creation & animation at meshcapade.me.
深入探索数字人类创作的未来，与 Meshcapade 一同前行。加入我们，揭开我们具有突破性的平台 meshcapade.me，赋予游戏开发者和艺术家们制作逼真数字人类的能力。见证将2D图像、3D扫描和视频转变为动态、可定制的数字人类的神奇过程。我们最新的功能成为焦点 - 从视频中提取动作。了解如何将这些动作轻松应用于虚幻引擎中的任何角色，彻底改变创作过程。不要错过提升游戏开发和艺术探索的机会。来我们的展台（P1821）亲身体验，并一同探索 meshcapade.me 上的角色创作与动画的未来。
Meta Developer Summit: Maximum Fun: How to Build More Playful Experiences in Meta Horizon Worlds (Presented by Meta)
作者：Averie Chávez (Producer, Meta)、Caio Fernandes (Producer, Kluge Interactive)、Ginger Larsen (Game Producer, Meta)、Sol Rogers (Global Director of Innovation, Magnopus)
Discover how the latest developments in Meta Horizon Worlds have made it easier to create compelling experiences, to share unique social moments with friends, and to have fun. From interactive experiences based on pop culture, to social gaming adventures, learn more about the process of designing social VR worlds from Developer Studios and Meta Producers. This panel will discuss the advantages, challenges, trends and strategies for building immersive experiences in Meta Horizon Worlds that spark joy, and keep users coming back for more.
了解最新的 Meta Horizon Worlds 领域发展如何使创造引人入胜的体验，与朋友分享独特社交时刻，以及享受乐趣变得更加容易。从基于流行文化的互动体验到社交游戏冒险，通过开发者工作室和 Meta 制作人了解更多关于设计社交虚拟现实世界过程。本专题讨论建立在 Meta Horizon Worlds 中激发乐趣、让用户回流的沉浸式体验的优势、挑战、趋势和策略。
Meta Developver Summit: Your Room is the Level: Mixing Realities in Meta's 'First Encounters' (Presented by Meta)
作者：Alexander Dawson (Software Engineer, Meta)、Zack Dawson (Game Designer, Meta)
When building a mixed-reality game, crafting and harmoniously blending two worlds into a single space is a fundamental challenge. Designing a game that incorporates the player's room as part of the level means losing out on a lot of control that fully pre-authored level design grants developers.
As a pack-in launch title for the Quest 3, Meta's First Encounters wowed players by smashing apart and opening their rooms to another world. Learn how the game was designed to make careful & considered use of the player's space as a core element of the game's design. Discover how the development team approached interactively transforming the player's space through a mixture of scene understanding & at-runtime procedural generation.
Game Designer Zachary Dawson and Game Programmer Alexander Dawson discuss the design, technical challenges, and solutions developed for turning every player's room into their own game world.
在开发混合现实游戏时，将两个世界巧妙地融合到一个单一空间中是一个基本挑战。设计一个游戏，将玩家的房间作为关卡的一部分意味着失去了完全预先设计的关卡所赋予开发者的许多控制。
作为奎斯特3的附赠首发游戏，《第一次相遇》通过将玩家的房间粉碎并打开到另一个世界，令玩家们惊叹不已。了解游戏是如何设计的，以便在核心设计中小心考虑并充分利用玩家的空间。了解开发团队如何通过一种混合的场景理解和运行时程序生成的方式来实现交互地转换玩家的空间。
游戏设计师扎卡里·道森和游戏程序员亚历山大·道森讨论了为了将每个玩家的房间转变为他们自己的游戏世界而开发的设计、技术挑战和解决方案。
作者：Ben Wilson (Creative Producer, Die Gute Fabrik)、Daria Radu (Game Programmer, Die Gute Fabrik, modl.ai)
Videogames often contain minigames or sub-systems (e.g. fishing, gambling) that allow the player to blow off steam and take a break from the main gameplay. But we can get even more ambitious in how those sub-systems serve the main story or worldbuilding. In this talk, two designers on story-driven adventure game Saltsea Chronicles recount the development of a trick-taking card game, Spoils, that was created for the project. In the fictional world of Saltsea Chronicles, each island community plays Spoils, but with their own house rules. First, this talk describes how the core Spoils mechanic was inspired by both the politics and history of the fictional world. Second, the talk explains how the rules variations were used to deepen the sense of place of each in-game locale. Games inevitably reflect their cultural context, and we can use that dynamic to heighten the meaning of minigames in larger videogame worlds.
电子游戏经常包含小游戏或子系统（例如钓鱼，赌博），使玩家能够释放压力，暂时脱离主要游戏玩法。但是我们可以在这些子系统如何为主要故事或世界构建作更有野心。在这次讲座中，《盐海编年史（Saltsea Chronicles）》叙述了以故事为驱动的冒险游戏中，两名设计师回顾了为项目创作的拖把牌游戏《战利品（Spoils）》的开发过程。在《盐海编年史》的虚构世界中，每个岛屿社区都玩《战利品》，但会遵循各自的规则。首先，这次讲座描述了核心《战利品》机制是如何受到虚构世界政治和历史的启发。其次，讲座解释了如何利用规则变化来加深每个游戏地点的氛围。游戏必然反映出其文化背景，我们可以利用这一动态来提升小游戏在更大电子游戏世界中的意义。
链接：https://schedule.gdconf.com/session/player-mythologies/902656
作者：Alex Jaffe (Game Design Manager, Riot Games)
Designers build games around player fantasies. These typically concern something the player "pretends" to be inside a game. But another kind of fantasy is often overlooked: "Player Mythologies". These are the narratives through which players view themselves as players. Explorer, spy, collector, artist - these archetypes don't just describe a character in a game. Remarkably, they sometimes describe the actual players, and how a specific game or genre fits into players' lives. By understanding these narratives, designers can gain profound insight into their players' mindset and motivation, reshaping traditional ideas of "good" and "bad" design.
In this talk, Alex Jaffe introduces player mythologies, showing their impact and their root causes in subtle design choices. He then presents a case study on the player mythology of fighting games. He shows how this lens unlocked his work on Riot Games' Project L, and illuminates the beauty of the genre along the way.
设计师围绕玩家幻想构建游戏。这些幻想通常涉及玩家在游戏中所“假扮”的角色。但另一种常被忽视的幻想是：“玩家神话”。这些是玩家通过这些叙事视自己为玩家的方式。探险家、间谍、收集者、艺术家 - 这些原型不仅仅描述游戏中的角色。值得注意的是，有时候它们实际上描述的是玩家自身，以及特定游戏或流派如何融入玩家生活。通过理解这些叙事，设计师可以深刻洞察玩家的心态和动机，重塑“好”和“坏”设计的传统概念。
在这次演讲中，Alex Jaffe介绍了玩家神话，展示了它们在微妙设计选择中的影响和根源。然后，他提出了一个关于格斗游戏玩家神话的案例研究。他展示了这种视角如何解锁了他在Riot Games的“L计划”上的工作，并在此过程中阐明了这个流派的美丽。
作者：Mei Cheng (Game Designer, Independent)
In this talk, I will present a tech demo that pushes the limit of Figma's new features, including variables, logic, and formulas. With Figma's new features, we will essentially be using Figma like a more powerful Twine. Prototypes can be easily strung together into a series of mockups that animate, follow logic, and imitate real-time interactions. This is especially useful for artists who want to design games, since the software is a lot like Photoshop or Illustrator.
在这次讲话中，我将展示一个技术演示，突显 Figma 新功能的极限，包括变量、逻辑和公式。借助 Figma 的新功能，我们实际上会将 Figma 用作更强大的 Twine。原型可以轻松地串联在一起，形成一系列的模拟，具有动画效果，遵循逻辑，并模拟实时交互。这对于想设计游戏的艺术家特别有用，因为这款软件非常类似于 Photoshop 或 Illustrator。
作者：Miles Perkins (Director, Client & Industry Relations, M&E, Epic Games)
Join us as we discuss how the latest in Unreal Engine's realtime technology enables AAA creators to bring photorealism to their graphics simulation and animation.
加入我们讨论最新的虚幻引擎实时技术如何帮助 AAA 创作者在图形模拟和动画中实现照片般的逼真效果。 (Unreal Engine's realtime technology)
链接：https://schedule.gdconf.com/session/rebuilding-the-open-world-loop-in-marvels-spider-man-2/899311
作者：Josue Benavidez (Design Director, Insomniac Games)
This talk breaks down Marvel's Spider-Man 2's open world gameplay loop design, and why major changes were necessary to provide the best possible player experience. Josue dives into the details of why certain elements of open world design work well in other games and how the unique challenges of playing as Spider-Man required a shift in the presentation of open world content. He describes how player behavior was guided through the control and withholding of information to create a more balanced experience.
这次讨论将分解《漫威蜘蛛侠2》的开放世界游戏循环设计，以及为什么必须进行重大更改以提供最佳玩家体验。Josue深入探讨了为什么开放世界设计的某些元素在其他游戏中表现良好，以及作为蜘蛛侠玩家所面临的独特挑战如何需要改变开放世界内容的呈现方式。他描述了如何通过控制和保留信息来引导玩家行为，从而创造更加平衡的游戏体验。
链接：https://schedule.gdconf.com/session/refining-player-traversal-in-star-wars-jedi-survivor/898699
作者：Chris McEntee (Game Design Director, Studio MDHR)
In 2019, Star Wars Jedi: Fallen Order established a traversal system that allowed Jedi Cal Kestis to creatively maneuver his way through lush alien worlds and imposing imperial bases. Throughout the production of 2023's Star Wars Jedi: Survivor, the team sought to refine and expand upon this foundation to not only provide players with new tools to explore its varied game worlds, but make both new and existing gameplay more refined, satisfying, fluid and fun. In this talk, Chris McEntee (Principal Game Designer on Star Wars Jedi: Survivor) will explore a series of concrete examples from the game, where they started, what was missing, and how the team developed player traversal to have more satisfying game feel across the board. Topics that will be touched on include embracing level design intent, expanding traversal opportunities for level designers and players, fluidity in motion, as well as simplification and general approachability.
在2019年，《星球大战绝地：陨落的秩序》建立了一个穿越系统，允许绝地武士卡尔·凯斯蒂斯在郁郁葱葱的外星世界和庞大的帝国基地中创造性地操纵自己的行进方式。在2023年的《星球大战绝地：幸存者》的制作过程中，团队致力于完善并扩展这一基础，不仅为玩家提供探索各种游戏世界的新工具，而且使新的和现有的游戏玩法更加精致、令人满足、流畅和有趣。在本次讲话中，克里斯·麦肯蒂（《星球大战绝地：幸存者》首席游戏设计师）将探讨游戏中一系列具体例子，包括起点、缺失之处以及团队如何发展玩家的穿越系统，以使整体游戏体验更加令人满意。涉及的主题包括拥抱关卡设计意图、为关卡设计师和玩家拓展穿越机会、动作的流畅性，以及简化和通用方法。
作者：Adam Noonchester (Associate Game Director, Insomniac Games)
Boss fights with Spider-Man's rogues gallery are a key part of the fantasy, and delivering on them is a key component to the Marvel’s Spider-Man series. For the team, improving our boss-fights for Marvel’s Spider-Man 2 meant leaning into core combat. This required making a lot of fundamental changes to how we designed and implemented bosses. This talk reveals design, programming and production lessons we learned as we went through this process. The attendees learn how we made unique, epic and memorable fights that achieved spectacle through core combat instead of via one-off, lock-and-key mechanics and disabling player abilities.
蜘蛛侠的反派大Boss对战是游戏中的重要组成部分，成功呈现这些对决是《漫威蜘蛛侠》系列的关键要素之一。为了给《漫威蜘蛛侠2》改进我们的Boss战，团队不得不深入探讨核心战斗。这需要我们对设计和实现Boss进行大量基础性改变。本次演讲将揭示我们在这一过程中所学到的设计、编程和制作经验。与会者将了解我们如何设计独特、史诗和难忘的对决，通过核心战斗来实现壮观，而非通过一次性机制和禁用玩家能力来达成。
作者：Daniel Wewerinke (Senior Game Designer, Guerrilla)
Horizon Forbidden West takes place in a massive open world filled with mysterious activities for players to encounter. Among such activities are the Relic Ruins: environmental puzzle spaces set in Horizon's ruins of the Old World, meant to challenge players to solve its mysteries. Senior Game Designer Daniel Wewerinke guides us through the design process for the Relic Ruins that players can find in Horizon Forbidden West as well as its DLC Burning Shores; from concept to block-outs, interdisciplinary work, playtesting, and iteration. He discusses both design challenges and lessons learned while aiming to create interesting, unique, and surprising puzzle spaces for the players.
《地平线：禁忌西域》发生在一个巨大的开放世界中，充满了神秘活动等待玩家探索。这些活动包括遗迹废墟：一种环境谜题空间，位于《地平线》中旧世界的废墟中，旨在挑战玩家解开其中的谜团。资深游戏设计师Daniel Wewerinke向我们介绍了面向《地平线：禁忌西域》及其DLC《燃烧之岸》中玩家可以找到的遗迹废墟的设计过程；从概念到初步设计、跨学科工作、游戏测试和迭代。他讨论了设计过程中遇到的挑战和吸取的教训，力求为玩家创造出有趣、独特且令人惊喜的谜题空间。
链接：https://schedule.gdconf.com/session/revisiting-fun-20-years-of-a-theory-of-fun/899895
作者：Raph Koster (CEO, Playable Worlds)
A Theory of Fun for Game Design was first published twenty years ago. Today, it's required reading in game design programs all over the world. But times have changed! Our craft knowledge has evolved!
This talk will give an update on the latest science, discuss the impact of the book, and explore unexpected ways in which the original core idea continues to affect how we make games. Most importantly, it will give you new tools to tackle what is still the hardest problem in game design: making things fun.
《游戏设计之乐》（A Theory of Fun for Game Design）首次出版已有二十年。如今，它已成为全球游戏设计课程中必读的教材。然而，时代在变！我们的专业知识已经发展进步！
本次演讲将更新最新科学进展，探讨该书对游戏设计产生的影响，并探索最初核心理念继续影响我们制作游戏的意想不到的方式。最重要的是，它将为您提供新工具，帮助您应对游戏设计中仍然最困难的问题：如何使事物变得有趣。
链接：https://schedule.gdconf.com/session/ruin-or-redemption-the-making-of-darkest-dungeon-ii/899219
作者：Chris Bourassa (Co-Founder, Creative Director, Red Hook Studios, Inc.)、Tyler Sigman (Co-Founder, Design Director, Red Hook Studios, Inc)
Darkest Dungeon II is a striking departure from the original, by design. Defying conventional wisdom, we risked everything to create a tonally and mechanically different sequel. Being a boutique independent developer meant the stakes were extremely high. We remained committed to our vision as we traversed the rocky road of logistical, technical, and creative challenges over the game's 4+ year development cycle. This talk outlines the journey we took in designing our sophomore effort, unpacking our process, our fears, and our failures with candor and honesty. It was not an easy undertaking, but nothing worth doing ever is.
《黑暗地牢II》是一次从原作中引人瞩目的改变，这是经过精心设计的。我们打破了常规的智慧，冒险一搏，创造了一部在氛围和机制上截然不同的续作。作为一家精品独立开发者，风险极高。在整个游戏的四年多开发周期中，我们始终坚守自己的愿景，克服了物流、技术和创意挑战的坎坷道路。这次讨论将梳理我们在设计第二作中走过的路程，揭示我们的流程、恐惧和失败，坦诚和诚实。这并非易事，但任何值得做的事情都不会轻而易举。
Start Right, Start Fun: Unveiling the Theory to Crafting the Onboarding Path for F2P Player (Presented by Tencent Games)
作者：Fan Yi (Senior Game UX Researcher, Market & User Research, Tencent)、Xingyu Zhang (Game UX Researcher, Market & User Research, Tencent Games)
This session presents insights gathered from user research and product development practices across 100+ F2P mobile games spanning various categories and regions over the last eight years.
The team will share their methodology and user insights on game onboarding research, highlighting the "A-G-E" Model. The "A" represents "Attraction," driving player engagement, "G" signifies "Goal," guiding player motivation, and "E" measures the "Effectiveness" of tutorials. By drawing on practical project experience, the session will showcase how the AGE model enhances onboarding experiences in F2P games.
本次会议展示了过去八年来在100多款涵盖各种类别和地区的 F2P 手机游戏中收集的用户研究和产品开发实践所得的见解。
团队将分享他们在游戏引导研究中的方法论和用户见解，重点介绍“A-G-E” 模型。其中，“A” 代表“吸引”，推动玩家参与，“G” 表示“目标”，引导玩家动机，“E” 用于衡量教程的“有效性”。通过借鉴实际项目经验，本次会议将展示 AGE 模型如何增强 F2P 游戏中的引导体验。
作者：Aevee Bee (Narrative Designer, Future Club)
Writing is hard enough; but the even harder part is figuring out where all the writing is supposed to fit! Are you working on a fast-paced game, squeezing all the story you can in the tiny cracks between gameplay? Or are you building a massive, branching narrative and living in fear of it collapsing into a spaghetti mess and spilling all over your freshly-waxed kitchen floor, which I guess symbolizes budget and/or scope at this point? This talk will cover how to plan a narrative that won't become as unwieldy as the metaphor in the previous sentence. We will cover techniques for structuring a story manageable for audiences to read and for writers to write, as well as how to apply these narrative design principles to both design-centric and narrative-centric projects.
写作本身已经够难了；更困难的部分是弄清楚所有写作应该放在哪里！你是在忙于开发一个节奏快速的游戏，把所有故事都挤进游戏玩法之间的狭缝吗？还是在构建一个庞大的、分支式叙事，生怕它会崩溃成一团乱麻，溢出并弄脏刚打蜡的厨房地板，我猜这可能象征着在这一点上的预算和/或范围？本次讨论将涵盖如何规划一个故事，使其不会像前一句比喻那样难以控制。我们将介绍结构故事的技巧，使其易于观众阅读和作者书写，以及如何将这些叙事设计原则应用于以设计为中心或以叙事为中心的项目。
链接：https://schedule.gdconf.com/session/storyteller-turning-stories-into-gameplay/902752
作者：Daniel Benmergui (Director, Storyteller)
Storyteller is a puzzle game about building stories. But it turns out people have a lot of expectations about how stories are supposed to work, so how do you design a game that accomodates a soft skill that is shaped differently across cultures, game literacy and even age? This talk is a distillation of everything we learned in the 15 years it took to reach a satisfying design for a game that allows people to play with stories instead of passively consuming them.
《故事讲述者》是一款关于构建故事的益智游戏。但事实证明，人们对故事应如何运作有许多期待。那么，您要如何设计一个游戏来适应一个在不同文化、游戏素养甚至年龄中呈现不同形态的软技能？这个讲座是我们在15年时间内学到的一切的凝练，以获得一款游戏的令人满意的设计，让人们可以玩弄故事，而不是被动消费它们。
Sugary Statistics: What We Have Learned About 'Candy Crush' Content After 10 Years and Over 15,000 Levels
作者：Jan Wedekind (Head of Central Insights, King)、Xavier Guardiola (Data Science Director , King)
Jan Wedekind, the Head of Central Insights, introduces what King has learned about content in Candy Crush after 10 years+ and shipping over 15,000 levels. Xavier Guardiola, King's Director of Data Science, introduces how a genre-agnostic model based in theoretical physics has helped King to characterize "true" engagement for all those levels and optimize the player progression experience. They also show the importance of considering the whole game progression when tweaking or fixing any individual level. Finally, the presentation shows how the physics of Data Scientists and the magic of Level Designers work hand-in-hand together to improve the game.
Jan Wedekind，中心洞察负责人，介绍了金币公司在《糖果传奇》开发超过10年并发布超过15,000个关卡后对游戏内容的领悟。Xavier Guardiola，金币公司数据科学总监，介绍了一种基于理论物理学的流派无关模型是如何帮助金币公司对所有这些关卡的"真实"参与度进行表征，并优化玩家的游戏体验。他们还展示了在调整或修复任何单独关卡时考虑整个游戏过程的重要性。最后，演示展示了数据科学家的物理学原理和关卡设计师的魔法是如何共同努力来改进游戏的。
作者：Terry Li (Senior Level Designer, miHoYo Co., Ltd.)
Designing open worlds is one thing, designing them for time-limited events is another. The latter requires designers to use core elements of the event format, such as time-limitedness and event phases to deliver unique exploration experiences to players.
In this session, Terry Li introduces the creative workings of Genshin Impact's highly anticipated summer event maps which have been ongoing since 2021.
By analyzing some examples over the past three years, Terry aims to equip attendees with a set of design tips that are critical to creating memorable event maps, a task and challenge that could be faced by most live-op games. He will dive deeper into the techniques applied to time-limiting theme quests, creatively and naturally revealing new regions, and aligning activities with the open-world exploration experience.
设计开放世界是一回事，为限时活动设计开放世界则是另一回事。后者要求设计师运用活动形式的核心元素，比如限时性和活动阶段，以向玩家提供独特的探索体验。
在这个讨论中，Terry Li介绍了备受期待的《原神》自2021年以来持续举办的夏季活动地图的创意设计。
通过分析过去三年的一些示例，Terry旨在为与会者提供一套关键的设计技巧，这些技巧对于创建令人难忘的活动地图至关重要，这是大多数在线运营游戏可能面临的任务和挑战。他将深入探讨应用于限时主题任务的技术，创造性而自然地揭示新区域，并将活动与开放世界探索体验相匹配。
链接：https://schedule.gdconf.com/session/system-centric-puzzle-design-in-patricks-parabox/899968
作者：Patrick Traynor (Game Developer, Independent)
The designer of the IGF award-winning puzzle game Patrick's Parabox shares a collection of puzzle game design techniques used and learned during its development. These include: heuristics for iterating on mechanics, strategies for creating puzzle levels, and things to look out for when playtesting. These techniques are illustrated with examples from the development of Patrick's Parabox, and are also tied into the core design pillar of the game: showcasing the recursive puzzle system. The talk is framed as a mini-postmortem of the game, focusing just on its design.
获得IGF奖的解谜游戏《Patrick's Parabox》的设计师分享了在开发过程中使用和学到的一系列解谜游戏设计技巧。这些技巧包括：迭代机制的启发式，创建解谜关卡的策略，以及在游戏测试中需要注意的事项。这些技巧通过《Patrick's Parabox》的开发实例进行了阐述，并与游戏的核心设计支柱联系在一起：展示递归解谜系统。这次讲话被构想为游戏的迷你总结，重点放在了游戏设计上。
Tabletop Summit: 15 Years of Insight: The Evolution of China's Board Game Market Across Two Generations
作者：Keyu Wu (Senior User Experience Researcher, Thunderfire UX)、Xinhui Yang (Senior Project Manager, NetEase)
Through this speech, the attendee gains a comprehensive overview of the 15-year development journey of the board game market in China. From the initial lack of awareness about board games to the growth of millions of offline players, the flourishing of online platforms, and the transformation path faced with the impact of mobile games. Attendees hear inspiration on these topics, including:1. How to quickly introduce more players to "what is board games"? How to design an enlightening board game that better suits local players?2. How to develop from a small-scale board game experience to a club model?3. The challenges and solutions of the board game club model, how to transform board games into a broader operational model and contribute to the development of board game design?4. Design characteristics of Chinese board game experience stores.
通过这次演讲，与会者将全面了解中国棋盘游戏市场15年的发展历程。从最初对棋盘游戏缺乏认识，到线下玩家数量的增长，线上平台的兴盛，以及面对移动游戏影响时所面临的转型路径。与会者将在以下主题上获得启发：1. 如何快速向更多玩家介绍“棋盘游戏是什么”？如何设计一个更适合本地玩家的启蒙性棋盘游戏？2. 如何从小规模棋盘游戏体验发展到俱乐部模式？3. 棋盘游戏俱乐部模式的挑战和解决方案，如何将棋盘游戏转变为更广泛的运营模式并为棋盘游戏设计的发展做出贡献？4. 中国棋盘游戏体验店的设计特点。
作者：Karel Crombecq (Lead Developer, Briganti)
In 2021, artist Wim De Hert proposed a wild idea to a friend: "What if we do Townscaper, but for Dungeon Masters? What if we use procedural generation technology so anyone can easily make high-quality fantasy maps to use in their tabletop RPGs, and they can do this in minutes instead of hours?"In this talk, the lead developer of Dungeon Alchemist takes you on the journey that started with this simple idea and resulted in one of the most successful Kickstarters of all time (> $3M raised) and in an Overwhelmingly Positive rating on Steam with continuously high sales and a vibrant, positive community. It's the story of how combining digital technology with tabletop RPGs changed the way people play and make games.
在2021年，艺术家Wim De Hert向一个朋友提出了一个疯狂的想法：“如果我们为地牢主们做一个类似Townscaper的游戏呢？我们利用程序生成技术，让任何人都能轻松制作高质量的幻想地图，用于他们的桌面角色扮演游戏，而且他们可以在几分钟内完成，而不是几个小时。”在这个讲座中，Dungeon Alchemist的首席开发者带领你探索了从这个简单想法开始的旅程，最终成为有史以来最成功的Kickstarter之一（筹集超过300万美元），在Steam上获得了“极度正面”的评价，持续高销量，并拥有一个充满活力和正能量的社区。这是一个数字技术与桌面角色扮演游戏相结合如何改变人们玩游戏和制作游戏的故事。
作者：James Sheahan (Senior Game Designer, The Multiplayer Group)
Converting a videogame to a tabletop game should be simple - it provides a setting, game mechanics, and an existing audience. But how much should it be like the videogame and/or other games? If it's too similar, players won't need it. If it's too different, players won't like it.
Formed over 4 years of designing Fallout: Wasteland Warfare and all of its expansions, campaigns, AI and RPG (plus 20+ years of game design experience), this talk examines how Bethesda's award-winning Fallout videogame series was converted to the tabletop game of Fallout: Wasteland Warfare.
Using examples, this talk looks at the problems of the task and the methods used to solve them. Plus, the talk examines the deeper, ever-present question during this type of development: When to be the same and when to be different, in terms of the game mechanics, the setting and the competition.
将视频游戏转换为桌面游戏本应该很简单 - 它提供了一个背景设定、游戏机制和一个现有的受众群体。但它到底应该有多少像视频游戏和/或其他游戏呢？如果太相似，玩家就不需要它。如果太不同，玩家就不会喜欢它。
经过4年时间设计《辐射：荒野战争》及其所有扩展、战役、人工智能和角色扮演（以及20年以上的游戏设计经验），本次演讲探讨了Bethesda屡获殊荣的《辐射》视频游戏系列是如何被转换为桌面游戏《辐射：荒野战争》。
通过案例，本次演讲讨论了这一任务的问题和解决方法。此外，演讲探讨了在这种类型的开发中始终存在的更深层次问题：何时保持一致，何时有所不同，无论是在游戏机制、背景设定还是竞争方面。
链接：https://schedule.gdconf.com/session/tabletop-summit-the-elements-of-ttrpgs-a-starting-point/901174
作者：Pamela Punzalan (Executive Director, Dames Making Games Toronto)、Indrani Ganguly (Studio Head / Game Designer, Duronto Games)
If film, video games, and fiction can have elements, what are the elements of tabletop roleplaying games? This panel presents a rubric for general elements that can be found in most, if not all, tabletop roleplaying games. It is less about establishing universal principles that will make a tabletop roleplaying game "bad" or "good," and more about starting a discussion about tabletop games that players and designers can both benefit from. Any kind of review or critical discussion about a games medium cannot start without definitions. By dissecting these nine elements —Fantasy, World, Body, Tension, Design, Principles, Form, Touch, and Intent—the panel presents important questions that designers may ask themselves during the practice of their art. And, through providing starting definitions and presenting examples of tabletop games themselves, create critical scaffolding for tabletop roleplaying games as a vehicle for storytelling.
如果电影、电子游戏和小说可以有要素，那桌面角色扮演游戏有哪些要素呢？本专题提供了一个用于概括绝大多数，如果不是全部，桌面角色扮演游戏中可找到的一般要素的分类表。这并不是要建立一套能让一个桌面角色扮演游戏变得“糟糕”或“优秀”的通用原则，而更多的是要启动一场关于桌面游戏的讨论，让玩家和设计师都能从中受益。任何有关对游戏媒介的评论或批评性讨论，在没有定义的情况下就无从开始。通过剖析这九个要素——幻想（Fantasy）、世界（World）、身体（Body）、紧张（Tension）、设计（Design）、原则（Principles）、形态（Form）、感受（Touch）和意图（Intent）——这专题提出了设计师在实践艺术过程中可能会问自己的重要问题。而且，通过提供初始定义并展示桌面游戏的例子，为桌面角色扮演游戏作为讲故事手段构建了批评性的脚手架。
链接：https://schedule.gdconf.com/session/tabletop-summit-ux-and-ui-in-tabletop-games/901792
作者：Tyler Lipchen (Senior Project Manager / Prepress Specialist, Panda Game Manufacturing)
Panda Game Manufacturing is the industry-leading manufacturer of hobby tabletop games, and their international team of Project Managers are experts in all of the materials and processes involved in making the best games in the industry, including Wingspan, Pandemic, Root, Eclipse, Unmatched, Mechs vs Minions and many more. In this presentation, concepts of UX and UI design in tabletop games are introduced, and the major barriers to entry that plague analogue games are confronted, including:Learning/Teaching the game rules, remembering/reinforcing the game rules, reducing set up/take down timeBoth modern and classical concepts and theories on game design will be presented as they relate specifically to the tabletop space, including interaction, engagement, and player agency. We'll also elaborate on the specific strengths of analogue games compared to digital:The Physical/Tactile nature of Tabletop GamesAccess to information from the 6 Zones of Play.Finally, we get right down to the table and describe in detail how to utilize each major component type to maximize UX/UI:Cards, Dice, Boxes/Storage, Game Boards, Player Boards, Tokens/Dials/Tracks, Pawns/Standees/MiniaturesThroughout the presentation, personal stories are shared, real-world examples and practical advice on how to think outside the box about what goes in the box.
熊猫游戏制造公司（Panda Game Manufacturing）是业内领先的休闲桌面游戏制造商，他们的国际项目经理团队是行业内所有材料和制作过程方面的专家，制作了众多顶尖游戏，包括"翼展"（Wingspan）、"大流行"（Pandemic）、"根源"（Root）、"日食"（Eclipse）、"无敌"（Unmatched）、"机甲大冲锋"（Mechs vs Minions）等等。在本次演讲中，介绍了桌面游戏中UX和UI设计的概念，并探讨了困扰模拟游戏的主要准入障碍，包括：学习/教授游戏规则、记忆/强化游戏规则、减少设置/拆卸时间。将介绍现代和经典游戏设计理论与概念，特别是它们如何与桌面空间相关联，包括互动、参与度和玩家代理。我们还将详细阐述与数字化相比，模拟游戏的特定优势：桌面游戏的物理/触感特性以及可以从游戏的六大区域获取信息。最后，我们将深入探讨如何利用每种主要组件类型来最大程度地优化UX/UI：卡牌、骰子、盒子/存储、游戏板、玩家板、记分牌/刻度盘、棋子/立牌/小型模型。在整个演示过程中，我们将分享个人故事，提供现实世界的例子和关于如何超越传统的实用建议，思考游戏盒内盒外的设计。
作者：Steven Medway (CEO / Game Designer / Art Director, The Pandemonium Institute)
Prepare to delve into the world of social deduction gaming with "Blood on the Clocktower," a unique and captivating tabletop experience that pushes the boundaries of player interaction and narrative storytelling. In this masterclass session, the creator of "Blood on the Clocktower" will take you on a journey through the design, mechanics, and psychology behind this acclaimed game, providing valuable insights for game developers seeking to create compelling social experiences of all types.
准备好深入探索社交推理游戏的世界，体验一场独特吸引人的桌游体验——《Blood on the Clocktower》，这款游戏推动着玩家互动和叙事讲述的边界。在这堂大师课上，《Blood on the Clocktower》的创作者将带领你穿越这款备受推崇的游戏背后的设计、机制和心理，为寻求打造各类引人入胜的社交体验的游戏开发者提供宝贵的见解。
作者：Carol Mertz (Senior Game Designer, Exploding Kittens)、Ian Clayman (Game Designer, Exploding Kittens)
How do you design and test a game where every one of its 150 cards is its own self-contained game? In a case study around Exploding Kittens' recently-released game Without Fail, we take a deep look at the development pipeline for this mass-market tabletop game, and demonstrate how other game designers and publishers can utilize these practices to manage their own large-scope game pipelines, while remaining both approachable and accessible to a broad audience.
你如何设计和测试一款每张卡牌都是一个独立游戏的游戏？在围绕《爆炸小猫》最近发布的《不爆猫》，我们深入研究了这款大众桌游的开发流程，并展示了其他游戏设计师和发行商如何利用这些实践来管理自己的大规模游戏项目，同时保持对广大玩家群体的友好和易接近性。
作者：Marc Ballart Germà (UX Designer, Ubisoft Barcelona)
Rainbow Six Siege is an extremely complex, ever-changing live game that if it wants to keep increasing and maintaining its community in the future, it requires to welcome correctly their new players to the game. This keynote aims to comprise what was needed to be done in terms of onboarding and early player journey to cover the needs of a newcomer while starting to play, the skills that were required to develop to become competent and how to retain them while doing so.
《彩虹六号：围攻》是一款极其复杂、不断变化的在线游戏，如果想要在未来继续扩大并保持其社区，就需要正确地欢迎新玩家加入游戏。本主题旨在涵盖新玩家入门和游戏初期旅程所需的内容，包括新手开始玩游戏时需要的技能、如何发展这些技能以成为优秀玩家，并且如何在此过程中保持他们的激情。
作者：Taylor Field-Draper (Lead Producer for Special Projects, Gamefam)
In this session, Taylor shares best practices for creating the ultimate first-time user experience (FTUE) specific to Roblox experiences we follow at Gamefam, outline critical distinctions on the differences between ideal Roblox FTUEs that lead to higher conversion rates and player retention and traditional FTUEs on multiplatform title and F2P mobile games most devs are already familiar with. He shares findings on the impact of Roblox UGC creator and player culture on game design when it comes to UI/UX, and key learnings following the launch of 3 of the top 5 highest Roblox player-rated concert experiences. He also includes practical examples of Roblox-specific design choices used for the most popular and played branded titles on Roblox, including Sonic Speed Simulator (798M visits), Hot Wheels Open World (55.99M visits) and how to retain and grow an active player base and enthusiastic community following a successful 'hook' with the all important Roblox FTUE.
在这个讨论中，Taylor分享了在Gamefam遵循的关于创造终极首次用户体验(FTUE)的最佳实践，详细介绍了理想的Roblox FTUE与传统多平台标题和免费移动游戏中导致更高转化率和玩家留存的Roblox FTUE之间的关键区别。他分享了关于RobloxUGC创作者和玩家文化对UI/UX在游戏设计中的影响，并在发布了排名前5的Roblox玩家评分最高的三个音乐会体验后的关键发现。他还包含了在Roblox上最受欢迎和被玩的品牌作品中使用的Roblox特定设计选择的实际示例，包括'索尼克速度模拟器'(7.98亿次访问)，'热轮开放世界'(5.599千万次访问)，以及如何在成功“hook”之后保留和发展活跃玩家群以及热情社区在Roblox FTUE中至关重要的所有重要方面。
作者：Chelsea Howe (Chief Product Officer, Sunblink)、Desiree Cifre (Narrative Director, Studio Drydock)
Join Chelsea Howe (Hello Kitty Island Adventure) and Desiree Cifre (Wylde Flowers) as they discuss the secrets behind the most satisfying cozy games, what might surprise you about cozy content and gameplay, and why exactly cozy games are trending - with no end in sight. Topics include avatars, inventory, live services, economy tuning, narrative, randomness, content planning, preserving intrinsic motivation, and broader context for cozy games within the overall ecosystem.
请与切尔西·豪（《凯蒂猫岛探险》）和德西蕾·西弗雷（《蛮荒之花》）一起讨论最令人满足的舒适游戏背后的秘密，关于舒适内容和玩法可能会让你感到惊讶的内容，以及舒适游戏为何如此流行 - 而且看起来没有停止的迹象。讨论的主题包括角色扮演（Avatars）、库存（Inventory）、在线服务（Live services）、经济调节（Economy tuning）、叙事（Narrative）、随机性（Randomness）、内容规划（Content planning）、保持内在动机（Preserving intrinsic motivation），以及舒适游戏在整个生态系统中的更广泛背景。
The Future of MR Experiences: Everything You Ever Wanted to Know about Building for Mixed Reality (Presented by Meta)
作者：Jesse Schell (CEO, Schell Games)
Mixed Reality is the next frontier of immersive simulation technology. But it is so new, there are many questions about it: How is it different from VR? What are its strengths and weaknesses? Who will use it, and why? What can MR do now, and what will it be able to do in the future? In this talk, game industry veteran Jesse Schell uses his thirty years of VR and AR experience to illustrate where this technology is now, where it is headed, and how by understanding the psychology of mixed reality you can successfully avoid pitfalls and invent the future of gaming.
'混合现实（Mixed Reality）是沉浸式模拟技术的下一个前沿。但它非常新颖，人们对它有很多疑问：它与虚拟现实（VR）有何不同？它的优势和劣势是什么？谁会使用它，以及为什么？MR现在能做什么，未来又会有什么能力？在这个讲座中，游戏行业资深人士Jesse Schell运用自己在虚拟现实（VR）和增强现实（AR）方面的经验，阐述了这项技术目前的发展状况、未来的发展方向，以及通过了解混合现实的心理学，您可以成功避免陷阱并开创游戏未来。'
The PM's Dilemma - Striking a Healthy Balance when Managing Live Games (Presented by CleverTap Gaming)
作者：Solomon Ruiz-Lichter (Senior Director, Global Gaming, CleverTap)、Tim Hong (Head of BD - Live Service Game, AWS for Games)
In today’s games market, Product Managers need to be more efficient than ever in how they deploy resources and spend their time. Managing Live Games requires a balance of retaining mature players with evergreen content and personalized offers, but also attracting new players and getting them into your core loop as fast as possible. It’s not easy. Join CleverTap Gaming for an objective analysis on the various approaches game teams can take when choosing how to power LiveOps and manage their games.
在当今的游戏市场中，产品经理需要比以往更高效地部署资源和利用时间。管理'实时游戏（Live Games）' 需要在保留老玩家的同时提供长青内容和个性化优惠，同时吸引新玩家并尽快将他们吸引到核心游戏环节中。这并不容易。加入 CleverTap Gaming，客观分析游戏团队在选择如何推动实时运营和管理游戏时可以采取的各种方法。
作者：Cabel Sasser (Co-Founder, Panic)
Imagine a company that has only ever made easily-downloadable computer software deciding to suddenly jump into an entirely new world of creation: hardware. A company that’s used to almost any problem being solved by hitting a breakpoint and entering a debugger, suddenly facing a universe of atoms, and physics, and far-away factories with lots (and lots) of uncontrollable variables, not to mention shipping companies.Ridiculous? Yes. (Ultimately) successful? Also yes!The journey of creating Playdate, our indie bright-yellow handheld video game system (and now, platform!) was fulfilling, but also challenging, but also really fulfilling. And if you some time to spare, I’d love to share with you a collection of stories about the ups, downs, and inside-outs of hardware development, some key learning moments we had along the way, and maybe even some thoughts about just, you know, running a business in general. Let’s have some fun!
想象一家只生产易于下载的计算机软件的公司，突然决定跳入一个全新的创作世界：硬件。一个习惯于几乎任何问题都能通过击中断点并进入调试器来解决的公司，突然面对一个由原子、物理和遥远的工厂以及无法控制的很多（非常多）变量组成的宇宙，更不用说运输公司了。荒谬？是的。最终成功？同样是！创造《Playdate》，我们那款明亮的黄色独立手持式视频游戏系统（现在还是一个平台！）的旅程是充满成就感的，但也充满挑战，同时也真正充实。如果你有一些空闲时间，我很乐意与你分享一系列关于硬件开发过程中坎坷、挑战和内外的故事，我们沿途学到的一些关键经验，甚至也许一些关于经营企业的思考。让我们玩得开心吧！
作者：Brett Taylor (Solo Developer, My Dog Zorro)
While puzzles should often be confounding, talking about puzzles should NOT be. Have you ever thought "Wow, this puzzle is really fun and elegant!", but couldn't quite articulate why? What about "This puzzle I've made is beautiful, but play testers don't like it, and I don't know what to change." Or maybe you've just started out making puzzles and want to understand what the heck goes into the design process. This talk has you covered!This session is about the words and concepts we can use, not just to describe, but to THINK about our puzzles and design process. There are many, many axes to puzzle design, and the more clarity and vocabulary we have about what we're doing, the easier it is to make-- and talk about-- great puzzles.
拼图游戏常常应当是复杂的，但讨论拼图不应如此。你是否曾想过：“哇，这个拼图真的很有趣而且优雅！”却无法准确表达原因？又或者是：“我设计的这个拼图很精美，但试玩者不喜欢，我不知道该如何改进。”或许你刚开始制作拼图游戏，想要了解设计过程中的奥秘。本讲座正是为你而准备的！这个环节关于我们可以使用的单词和概念，不仅是用来描述，而是用来思考我们的拼图和设计过程。拼图设计有许多方面，如果我们对自己正在做的事情有更清晰与丰富的词汇和概念，那么制作出优秀的拼图——以及谈论它们——就会更容易。
链接：https://schedule.gdconf.com/session/the-secrets-of-baldurs-gate-3/902747
作者：Swen Vincke (CEO & Founder, Larian Studios)
A behind the scenes look at the key development and market challenges encountered while making Baldur's Gate 3, how the team tried to deal with them, what lessons they learned and why Larian was uniquely placed to make this game successful.
一次深入了解制作《巴尔德之门3》过程中遇到的关键开发和市场挑战，团队是如何尝试解决这些挑战的，他们学到了哪些教训以及为什么拉里安有独特的优势使这款游戏成功。
The Strange Within the Familiar—— How Once Human Designed its Supernatural Open World (Presented by NetEase Games)
作者：Peng Sun (Senior Copywriting and Planning Specialist, NetEase Games)
Once Human received positive reviews in the beta test that ended in January, thanks to its unique art style for monsters and scenes. The most talked-about aspect of the game is the unique design of the "living machines" monsters and abnormal environment. This presentation will break down the design process of some most popular monsters and points of interest in Once Human, and elaborate on how we use the "familiar + strange" design approach to systematically and agilely move forward with the design process, and portray the high-level world and narrative design through visual and interactive experiences. Additionally, we will showcase specific examples of incorporating player suggestions into the game content and discuss the importance of the "collaborative design" in game development.
一旦《Once Human》在1月结束的测试阶段收到了积极的评价，这要归功于其独特的怪物和场景艺术风格。这款游戏中最受关注的方面是“活物机器”怪物和异常环境的独特设计。本次演示将分解《Once Human》中一些最受欢迎的怪物和趣点的设计过程，并详细说明我们如何运用“熟悉 + 陌生”的设计方法系统地、敏捷地推进设计过程，并通过视觉和互动体验描绘高水准的世界和叙事设计。此外，我们将展示如何将玩家建议融入游戏内容的具体例子，并讨论“协同设计”在游戏开发中的重要性。
作者：Harrison Pink (Senior Quest Designer II, Blizzard Entertainment)
How do you get players invested in stories told from an isometric camera 90 feet overhead? How do you balance the role of quests in supporting the greater worldbuilding while creating a deeply personal story that keeps the players engaged?In this talk, Harrison describes the process and the strategies used to create emotionally compelling quest content for the ARPG Diablo IV, as well as how the team's quest designers meet the unique challenges of the genre. From paper design through implementation, Harrison shows examples taken from Diablo IV to highlight what the team has learned during its development and share insight into what makes a compelling narrative experience.
你如何让玩家对使用俯视角摄影机讲述的故事产生兴趣？如何在支持更广阔的世界建设过程中平衡任务的作用，同时创造一个让玩家投入的深刻个人故事？在这次讲座中，Harrison描述了用于为动作角色扮演游戏《暗黑破坏神 IV》创建情感吸引力任务内容的过程和策略，以及团队的任务设计师是如何应对该类游戏独特挑战的。从纸面设计到实现，Harrison展示了从《暗黑破坏神 IV》中提取的示例，以突出团队在开发过程中学到的东西，并分享使得吸引人叙事体验的见解。
链接：https://schedule.gdconf.com/session/tools-design-roundtable-day-1-design-ux/898307
作者：Robin-Yann Storm (Tool UX and Workflow Designer, Independent)
For Day 1:This Tool Design roundtable is about the UX of in-house and external toolsets. Come and meet, discuss, and find out what everyone has been doing with Tool Design in the last year.Examples of topics discussed in previous years are:1. What user experience techniques have you seen best fit for your toolsets?2. Is classical UX applicable in tools, or is it very different?3. What differences, if any, have tool service companies seen with their tool designs?This years' questions may be different, or similar! Feel free to join, and ask.
对于第一天：本工具设计圆桌讨论会将讨论公司内部和外部工具集的用户体验。来参加，交流讨论，并了解每个人在过去一年里在工具设计方面的实践。之前讨论过的主题包括：1. 你认为哪些用户体验技术最适合你的工具集？2. 经典用户体验是否适用于工具，还是有很大不同？3. 工具服务公司在工具设计方面有哪些不同之处？今年的问题可能会有所不同，或者类似！欢迎加入讨论，提出问题。
链接：https://schedule.gdconf.com/session/tools-design-roundtable-day-2-production-strategy/903346
作者：Robin-Yann Storm (Tool UX and Workflow Designer, Independent)
For Day 2:This Tool Design roundtable is about the UX of in-house and external toolsets. Come and meet, discuss, and find out what everyone has been doing with Tool Design in the last year.Examples of topics discussed in previous years are:1. What communication channels do you use to inform users about new tool features? E-mail? Meetings? Videos? Gifs?2. What is a ticketing request pipeline that works really well for you?3. In what size team did your tool request/ticket pipeline work best?This years' questions may be different, or similar! Feel free to join, and ask.
第二天议程：这个工具设计圆桌讨论的主题是关于内部和外部工具集的用户体验。来参加，交流讨论，了解每个人在过去一年中在工具设计方面做了什么。以往讨论的话题示例包括：1. 你使用哪些通信渠道来告知用户新工具功能？电子邮件？会议？视频？GIF？2. 对你来说，哪种工单请求流程效果非常好？3. 在什么规模的团队中，你的工具请求/工单流程运作得最好？今年的问题可能会有所不同，或者类似！欢迎加入并提问。
链接：https://schedule.gdconf.com/session/tools-design-roundtable-day-3-user-research/903347
作者：Robin-Yann Storm (Tool UX and Workflow Designer, Independent)
For Day 3:This Tool Design roundtable is about the UX of in-house and external tool sets. Come and meet, discuss, and find out what everyone has been doing with Tool Design in the last year.Examples of topics are:1. What user research methods do you use?2. Do you have a dedicated user researcher on your team?3. What surprises has your research uncovered in the last year?This years' questions may be different, or similar! Feel free to join, and ask.
第三天活动：本次工具设计圆桌讨论关于内部和外部工具集的用户体验。来和大家见面，讨论，并发现在过去一年中每个人在工具设计方面都做了什么。话题示例包括：1. 你使用哪些用户调研方法？2. 你的团队中是否有专门的用户研究员？3. 在过去一年中，你的研究揭示了哪些意外发现？今年的问题可能会有所不同，或者相似！欢迎加入并提问。 (Tool Design)
作者：Tina Chan (Sr. User Experience Researcher, Respawn Entertainment)
Live games often move quickly, and it is common for different features to have independent roadmaps and develop at different speeds. This system's flexibility enables teams to deliver quality content at meaningful times. By purposefully becoming embedded in this Agile process, user research teams could improve insight impact with timely deliveries and also gain influence among partners. This talk walks through examples of embedded workflows used by the user experience research team of Apex Legends, a free-to-play hero shooter game by Respawn Entertainment - and how it has unblocked development in timely & impactful ways. Examples include supporting a multiple features from pre-concept to polishing with just-in-time insight delivery, and triangulating or re-contextualizing findings of prior or partner research for new insights, and socializing research to facilitate design discussions.
实况游戏通常进行迅速推进，不同功能往往拥有独立的路线图并以不同速度发展。这种系统的灵活性使团队能够在有意义的时机交付高质量内容。通过有意识地融入敏捷过程，用户研究团队可以通过及时交付改善洞察力，并在合作伙伴中获得影响力。这次讨论将介绍《'Apex Legends'》中Respawn Entertainment的免费英雄射击游戏中用户体验研究团队使用的嵌入式工作流程示例，以及它如何及时而有影响力地解决了开发中的障碍。示例包括支持从前期概念到优化的多项功能，并通过及时提供洞察力、三角形调查或重新背景化以往或合作伙伴研究的发现，以及促进设计讨论的社交化研究。
作者：Daanish Syed (Art Director, Bit Reactor)
Whether it's swapping out parts of a fully customizable lightsaber or unlocking skills via mystical floating monoliths, Star Wars Jedi: Survivor's immersive and responsive user interface is lauded by players and critics alike. Walk through the design philosophy and implementation steps it took to achieve a seamless, diegetic interface with Jedi Survivor's Principal UI Visual Designer.
不管是更换可完全自定义光剑的部件，还是通过神秘飘浮的石碑解锁技能，玩家和评论家都赞扬《星球大战绝地生还者》引人入胜且响应迅速的用户界面。请跟随《绝地生还者》首席UI可视设计师一起，走进设计哲学和实现步骤，探讨如何实现一种无缝的、生物共生的界面。
链接：https://schedule.gdconf.com/session/ux-summit-difficult-games-by-data-and-design/901575
作者：Sebastian Long (Managing Director, Player Research)、Lanie Dixon (Director of Insights, Ubisoft Montreal)
Deciding your games difficulty is, ironically, difficult
Finding 'Goldilocks' frustration — not too hard, not too easy — is perilously tough. Player feedback is essential in the search for 'just right': finding players' 'flow' by controlling the many variables, and examining the experiential outcomes.
Capturing player data on difficulty offers clarity, but also potential ruin. There are many approaches to game balancing through feedback: internal play sessions, analytics, user research, QA and more… In isolation each is a flawed and biased picture of 'difficulty'. Only in combination can these approaches paint the full picture, directing teams to make confident and effective adjustments to difficulty balance.
This talk presents practical, player-centric, tried-and-tested approaches to capture feedback on game difficulty from players and peers, bringing together lessons from multiple genres. Attendees will leave with a clear strategy on how to define difficulty, and how player feedback can make it easier to make the game harder.
确定游戏的难度，具有讽刺意味，是困难的
找到“金发姑娘”式的挑战，既不太难也不太容易，是非常困难的。玩家反馈在寻找“恰到好处”的过程中至关重要：通过控制许多变量，并检查体验结果来找到玩家的“心流”。
收集有关难度的玩家数据可以提供清晰度，但也可能导致破坏。通过反馈有许多游戏平衡的方法：内部游戏测试会话、分析、用户研究、质量保证等等…每种方法单独看都是“难度”的一个受缺陷和有偏见的图像。只有结合这些方法，才能描绘出全貌，从而指导团队进行自信和有效的难度平衡调整。
这篇演讲介绍了实用、以玩家为中心、经得住考验的方法，旨在收集来自玩家和同行对游戏难度的反馈，汇集了多种类型的经验教训。与会者将学会如何明确定义难度，并了解玩家反馈如何能够使游戏更加容易使游戏更加困难。
作者：Sweta Mohapatra (UX Designer, Riot Games)
Many games have added accessibility features after launch, but what happens if you try to add a feature that directly impacts gameplay to a live service game? This talk covers the story of how devs on the Legends of Runeterra team explored what it would take to add keyboard mapping to the game. From scoping the work it would take, to evaluating the design and gameplay impact, to creating a proof of concept, attendees learn about how the team tackled this challenge and what we learned about retrofitting accessibility along the way.
许多游戏在发布后增加了辅助功能，但如果您尝试在现有服务的游戏中添加直接影响游戏玩法的功能会发生什么呢？这次讨论探讨了《传说对决》团队开发人员是如何探索为游戏添加键盘映射功能所需的过程。从确定所需工作量，评估设计和游戏影响，到创建概念验证，与会者了解团队是如何应对这一挑战以及我们如何通过这一过程学到了关于更新辅助功能的经验。
作者：Jazmin Cano (Accessibility Product Manager, Owlchemy Labs)、Peter Galbraith (Senior Accessibility Engineer, Owlchemy Labs)
In this session, Owlchemy Labs' Accessibility Product Manager Jazmin Cano and Senior Accessibility Engineer Peter Galbraith describe the approach they took adding blind and low vision accessibility to Owlchemy Labs' most recently released game, Cosmonious High. They share what they learned throughout this process, from early research and development to the feedback received after release. Audience members gain an understanding of what is required to create helpful accessibility features for complex and immersive virtual environments.
在这个讲座中，Owlchemy Labs 的可访问性产品经理 Jazmin Cano 和高级可访问性工程师 Peter Galbraith 描述了他们在 Owlchemy Labs 最新发布的游戏《Cosmonious High》中增加盲人和低视力可访问性时所采取的方法。 他们分享了在此过程中所学到的知识，从早期研究和开发到发布后收到的反馈。听众将了解在复杂和沉浸式虚拟环境中创建有帮助的可访问性功能所需的条件。
作者：TBA . (TBA, Unity)
Discover how you can easily customize and extend your rendering with the latest version of Unity. In this session, we show how Render Graph and new APIs allow graphics programmers to get even more control on their custom passes, procedural geometries, and ray tracing effects. And we also demonstrate how technical artists can create advanced effects using Shader Graph and by modifying VFX Graph with custom HLSL blocks.
在这个会话中，我们将展示如何利用最新版本的Unity轻松定制和扩展渲染。通过Render Graph和新的API，图形程序员可以更好地控制自定义通道、程序几何和光线追踪效果。同时，我们还将演示技术美术如何利用Shader Graph和通过修改VFX Graph使用自定义HLSL块来创建高级效果。
Unity Developer Summit: High-Fidelity Graphics on Mobile, VR, PC, and Consoles with Unity 6 (Presented by Unity)
作者：TBA . (TBA, Unity)
Discover the latest advancements in rendering, lighting, and VFX technologies in Unity 6. Learn how the new GPU Lightmapper and Adaptive Probe Volumes allow you to scale global illumination from mobile to high-end PCs with fast iterations and high visual fidelity. Also, see our artist tools updates for materials, shaders, and VFX, making them easier to use and enabling you to create effects that would have been hard to achieve before.
探索 Unity 6 中渲染、光照和视觉特效技术的最新进展。了解新的 GPU 光照贴图器和自适应探针体积是如何让你能够在移动设备到高端 PC 之间实现全局光照的快速迭代和高视觉保真度。另外，了解我们艺术家工具更新的材质、着色器和视觉特效，使它们更易于使用，使你能够创建以前难以实现的效果。
Unity Developer Summit: Unity Muse: Accelerating Prototyping in the Unity Editor with AI (Presented by Unity)
作者：TBA . (TBA, Unity)
In this session, learn how Unity Muse – a collection of AI-powered capabilities – helps make creating in the Unity Editor faster, less complex, and more flexible. With natural-language prompts, you can chat to produce usable code, troubleshoot issues, and enhance your scenes with generative art, textures, animations, and much more. Get ready to enhance your current workflows and speed prototyping with Unity Muse directly in the Unity Editor.
在这个会话中，了解Unity Muse是如何帮助在Unity编辑器中创建变得更快、更简单、更灵活的 - 它是一组AI驱动的功能集。通过自然语言提示，您可以进行对话以生成可用代码、解决问题，并使用生成艺术、纹理、动画等增强场景。准备好直接在Unity编辑器中使用Unity Muse来增强当前的工作流程，并加快原型设计速度。
链接：https://schedule.gdconf.com/session/unlocking-the-power-of-micro-iteration/899844
作者：Nathaniel Chapman (Lead Designer, Timberline Studio)
Micro-Iteration is a process that allows for rapid improvement of specific content by pairing playtesters and developers. This technique has led to great success across many games, but was most striking on the World of Warcraft Encounter Design Team. However, this process requires substantial effort and organization - in structuring the team to make that time effective, in developing technology and tools to make the best use of rapid iteration time, and in developing relationships between developers and testers to ensure frank and honest feedback. This talk will both provide a case study in effective rapid iteration as well as a pathway for your technology and tools to unlock the power of rapid iteration for your game.
微迭代是一种通过将游戏试玩者与开发者配对来迅速改进特定内容的过程。这种技术在许多游戏中取得了巨大成功，但在《魔兽世界》遭遇设计团队上表现最为显著。然而，这一过程需要大量的努力和组织——团队的构建要使时间更为有效，开发技术和工具以最大程度利用快速迭代时间，并发展开发者与测试者之间的关系，以确保得到坦诚和诚实的反馈。这次讲话将提供一个有效快速迭代的案例研究，同时为您的技术和工具提供一条路径，解锁游戏快速迭代的潜能。
链接：https://schedule.gdconf.com/session/using-uefn-to-build-new-genres-presented-by-epic-games/903273
作者：Josh Grant (Creator Evangelist, Epic Games)、Matt Berner (Senior Design Lean, Creative Experiences, Epic Games)
Join us as we discuss building new genres in Fortnite by leveraging UEFN features to expand the Fortnite Ecosystem. Explore new and upcoming tools through sample projects and community highlights. Leave feeling inspired to build games that look and feel unique.
加入我们，讨论如何通过利用UEFN功能在Fortnite中构建新的游戏类型，以扩展Fortnite生态系统。通过示例项目和社区亮点来探索新的即将推出的工具。离开时会感到受到启发，想要打造看起来和感觉独特的游戏。
We Built This City on Bits 'n Maps: Four Design Techniques for Simulating Cities in 'Simcity' and 'Cityscapes: Sim Builder'
作者：Guillaume Pierre (Senior Game Designer, Magic Fuel Games)
City simulation games are both notoriously difficult and also incredibly rewarding to make.
But what kind of design techniques are needed to create responsive simulations so players can fulfill their goal of making the biggest and happiest cities?
In this lecture, Guillaume Pierre will go over four of these techniques, which he used when building the simulation in SimCity, and again when designing Cityscapes: Sim Builder, a #1 Apple Arcade title: Maps, Networks & Globals, Agents, and Building-to-Building Connections.
With these techniques, you will learn to create intricate simulation systems such as beauty, water supply, crime, fire, work shifts, and even parking lots.
城市模拟游戏既出了名地难度极高，也是非常有成就感的。
但是，为了创造响应灵敏的模拟，让玩家能够实现建造最大最幸福城市的目标，需要哪些设计技巧呢？
在这个讲座中，Guillaume Pierre 将介绍其中的四种技术，他在《模拟城市》中建造模拟时使用过，后来又在设计《城市风景：模拟建造者》这款苹果街机平台的热门游戏中使用过：地图，网络与全局，代理系统，建筑之间的连接。
通过这些技术，你将学会创建复杂的模拟系统，如美观度、供水、犯罪、火灾、工作轮班，甚至停车场。
作者：Sarah Gruemmer (Acting Lead Quest Designer, CD Projekt RED)
Learn about the narrative systems of REDengine 4, the engine used to create Cyberpunk 2077. This session will showcase changes and improvements made to the engine based on previous systems, and how the simple wish to create everything a designer can dream of influenced the tools design for the narrative department. The presentation will illustrate the advantages and disadvantages of complex visual scripting tools based on different engine and tool iterations, and provide tips and guidance when creating your own narrative engine setup for your games.
学习关于 REDengine 4 的叙事系统，这是用于创作《赛博朋克2077》的引擎。此次研讨将展示基于以往系统所做的变化和改进，以及如何基于设计师梦想创造一切的简单愿望影响了叙事部门工具的设计。该演示将说明基于不同引擎和工具迭代的复杂可视化脚本工具的优缺点，并在为你的游戏创建自己的叙事引擎设置时提供技巧和指导。