作者：Matt Oztalay (Senior Technical Artist, Epic Games)
There are a lot of guides to switching to Unreal but it’s hard to know who to follow and what’s actually current. Join Epic Games’ Matt Oztalay for a breakdown of core concepts and principles involved in switching to Unreal Engine from other engines, callouts for what you need to know, and best practices in 2025.
有很多关于转用Unreal引擎的指南，但很难知道该跟随谁以及哪些信息是当前有效的。加入Epic Games的Matt Oztalay，他将详细讲解从其他引擎切换到Unreal Engine所需的核心概念和原则，指出你需要了解的关键点，以及2025年的最佳实践。
作者：Levi Pinkert (Lead Designer, The WereCleaner, The WereCleaner)、Cameron Gomez (Lead Engineer, The WereCleaner, The WereCleaner)
From student project to indie success, The WereCleaner was brought to life in just one year. In this session, hear from the game's lead engineer and lead designer about using Unity to implement the game's distinctive core loop – a combination of violent stealth and laidback cleaning. They'll describe the system that generates messes by splattering the blood of innocent NPCs across the environment and the inner workings of the game's satisfying cleaning mechanics.
从学生项目到独立游戏的成功，《The WereCleaner》仅用一年时间便得以实现。在本次会议中，我们将听取游戏的主要工程师和主设计师关于如何使用Unity实现游戏独特的核心循环——暴力潜行与轻松清洁的结合。他们将描述一个系统，该系统通过将无辜NPC的血液溅洒到环境中来生成混乱，并介绍游戏令人满意的清洁机制的内部运作。
链接：https://schedule.gdconf.com/session/a-sabacc-journey-crafting-mini-games-in-star-wars-outlaws/907588
作者：Jean-Baptiste Siraudin (Game Designer, Ubisoft)
Star Wars Outlaws is an action-adventure open-world game immersing players in a lesser-known part of the Star Wars universe, telling stories of the underworld, scoundrels and corruption. While roaming the galaxy, players can take part in various mini-games, which represent an important part of the Scoundrel Fantasy but also are a compelling progression tool.This session explores the creative process and challenges the team at Ubisoft Paris Studio went through to create compelling mini-games in Star Wars Outlaws, focusing on the most famous card game in the galaxy: Sabacc. From creating the ruleset to overcoming to implementing diegetic mini-games in an open-world game, the session will delve in the main steps of development that made this implementation a success.
《星球大战：亡命之徒》是一款动作冒险开放世界游戏，让玩家沉浸在一个鲜为人知的《星球大战》宇宙部分中，讲述地下世界、无赖和腐败的故事。在游戏中漫游银河时，玩家可以参与各种迷你游戏，这些迷你游戏是无赖幻想的重要组成部分，同时也是引人入胜的角色成长工具。本次会议探讨了育碧巴黎工作室团队在开发《星球大战：亡命之徒》中的创意过程和挑战，重点关注银河系中最著名的纸牌游戏：索巴克（Sabacc）。从制定规则集到克服在开放世界游戏中实现叙事性迷你游戏的挑战，本次会议将深入探讨开发过程中的一些关键步骤，这些步骤使这一实施取得了成功。
链接：https://schedule.gdconf.com/session/advanced-physics-in-astro-bot/910487
作者：Takumi Yoshida (Senior Game Programmer, Sony Interactive Entertainment)
This talk will explain the physics technology used in ASTRO BOT. In addition to traditional rigid body simulation, ASTRO BOT uses many advanced physics technologies that utilize the processing power of the PS5. For example, abundance of shiny gems in treasure cave, water flowing along the terrain, and balloons that deform with the weight of the player. Players can interact with these elements and feel delicate haptics feedback. Team ASOBI developed these gimmicks with the aim of creating toy-like interactions that are fun, pleasant, and satisfying just by touching them. This talk will provide implementation details for a large number of physics objects, fluids, soft bodies, cloth, and real-time destruction, as well as gameplay use cases and optimization techniques.
本次演讲将解释《ASTRO BOT》中使用的物理技术。除了传统的刚体模拟外，《ASTRO BOT》还使用了许多利用PS5处理能力的高级物理技术。例如，宝库洞穴中丰富的闪亮宝石、地形上的流水，以及因玩家重量而变形的气球。玩家可以与这些元素互动，并感受到细腻的触觉反馈。ASOBI团队开发了这些机关，旨在创造一种玩具般的互动体验，这种体验仅通过触摸就能带来乐趣、愉悦和满足感。本次演讲将详细介绍大量物理对象、流体、软体、布料以及实时破坏的实现细节，并分享游戏应用案例和优化技术。
Arm Developer Summit: AI Coaching in MOBA Games: A Case Study With Honor of Kings (Presented by Arm)
作者：Wenxi Zhu (Engineering manager, AI Arena Platform, Tencent)
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Arm Developer Summit: Breaking Into AI: Essential Skills for the Next Generation of Game Designers and Industry Leaders (Presented by Arm)
作者：Kai Qin (Product Expert, AI Platform Department, Tencent)
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作者：Angus Mol (Director, Leiden University Centre for Digital Humanities)、Aris Politopoulos (Assistant Professor in Archaeology and Cultural Politics, Leiden University)
Aiming for historical accuracy in games is a trap: history's answer to 'what really happened', is at best a solid theory and at worst a deeply divisive ideological frame. Making games based on historical facts and accurate reconstructions of the past is costly and can generate destructive debates within both developer and player communities.
This presentation by two 'play archaeologists' presents a different approach, knowledge-driven storytelling, rooted in studies of the past, particularly of how people played in and play with the past. The aim of the paper is to provide inspirational insights from the intersections past and present play to create more interesting, diverse, accessible, and inclusive experiences of the past in video games. This paper will combine knowledge about the past and its implementation in video games by focusing on the Royal Game of Ur, a 5000 year old board game, and the development of a video game based on it.
以历史准确性为目标在游戏开发中是一个陷阱：历史对于“究竟发生了什么”的回答，最好的情况是一种可靠的理论，而最坏的情况则是一种极具争议性的意识形态框架。基于历史事实和对过去的精确重建来制作游戏既昂贵又可能在开发者和玩家社区内引发破坏性的辩论。
由两位“游戏考古学家”呈现的不同方法是知识驱动的故事讲述，这种讲述方式根植于对过去的研究，特别是人们对过去如何玩耍和与之互动的研究。本文旨在从过去和现在的游戏交汇处提供启发性的见解，从而在电子游戏中创造更有趣、更多样化、更易访问且更具包容性的历史体验。本文将结合关于过去的知识及其在电子游戏中的应用，重点关注一款拥有5000年历史的棋盘游戏《皇家乌尔游戏》（Royal Game of Ur），并探讨以此为基础开发电子游戏的过程。
作者：Alexa Ray Corriea (Senior Writer, Cliffhanger Games)
We have a tendency to think more academically – perhaps too clinically – about the craft of character creation when there are other extremely compelling places to look. What players want and how they connect to them has changed drastically in the last few years, and the stories we tell must keep up. This talk will turn the developer's gaze to the audience, and how they are speaking among themselves. Observing how fandoms consume stories can provide a pathway to new ways of thinking about centering players with character creation. This session will encourage writers and designers to consider fresh takes on traditional character development techniques that take into account modern audience sensibilities. The content draws from personal experience in interactive storytelling, analysis of popular games from the last few years and observational research of fandoms. Attendees will obtain a new understanding of fresh ways to approach developing characters.
我们往往倾向于从更学术的角度——也许过于临床地——看待角色创建的技艺，而忽略了其他同样引人入胜的视角。近年来，玩家的需求和他们与游戏角色的互动方式发生了巨大变化，我们讲述故事的方式也必须随之更新。这次演讲将把开发者们的目光转向受众，以及他们如何相互交流。观察粉丝群体如何消费故事可以为我们提供一条思考如何以现代观众的敏感度为中心化玩家角色创建的新途径。本节将鼓励编剧和设计师考虑对传统角色发展技巧进行新的、现代化的审视。内容基于个人在互动叙事方面的经验、对过去几年流行游戏的分析以及对粉丝群体的观察性研究。参与者将获得关于如何以新颖方式开发角色的新理解。
作者：Alicia Fortier (Lead Game Designer, Spry Fox, Netflix Games)、Jamie Antonisse (Narrative Lead, Spry Fox, Netflix Games)
Ever wonder how a fully remote team creates a game just as likely to serve a hearty chuckle as it is to pull on your tender heartstrings? Gather by the metaphorical campfire with the team behind Cozy Grove: Camp Spirit as they describe their creative journey blending game design and narrative.
They reveal how they balance big ideas with practical steps all while maintaining the unique tone of the original game. How do you plan out 500 quests over 4 months of daily content yet still leave room for creative inspiration and flair? Attendees see concrete examples on practical documentation, and gain insight into the reasoning behind their decisions, including reflections on their effectiveness.
是否曾好奇一个完全远程的团队是如何开发一款既能让人捧腹大笑，又能触动人心的游戏呢？来围坐在《Cozy Grove: Camp Spirit》开发团队的“篝火”旁，聆听他们描述如何将游戏设计与叙事融合在一起的创意之旅。
他们揭示了如何在保持原作独特风格的同时，平衡宏大构想与实际步骤。如何在四个月内每天规划500个任务，同时仍为创意灵感和特色留出空间？与会者可以看到实际的文档示例，并深入了解他们决策背后的原因，包括对其实效性的反思。
作者：Teng Shao (Principle UX Designer, NetEase Games)
The challenge for any UGC platform is transforming players with no creation experience into content creators who can gradually progress and produce more high-quality content. Currently, "Eggy Party" boasts over 100 million player-created mini-game, and over 26 million creators with the youngest being only five years old. We believe our key to success lies in resolving a contradiction: ensuring that the UGC tools are simple and easy to understand for beginners while also meeting the needs of professional creators for rich features and editing efficiency. Through user experience design, we provide a suitable editing experience for creators of varying skillsets and stages.
任何UGC平台面临的挑战是将没有创作经验的玩家转变为能够逐步进步并产出更多高质量内容的内容创作者。目前，“Eggy Party”拥有超过一亿个玩家创建的小游戏，以及超过两千六百万的创作者，其中最年轻的只有五岁。我们相信我们的成功关键在于解决一个矛盾：确保UGC工具对初学者来说简单易懂，同时也能满足专业创作者对丰富功能和编辑效率的需求。通过用户体验设计，我们为不同技能水平和阶段的创作者提供了合适的编辑体验。
作者：Jetha Chan (Technical Solutions Consultant (AI Developer Relations), Google)、Ju-yeong Ji (AI Developer Relations, Google)、Ishan Sharma (Senior Product Manager, Google Cloud, Google)
Join Google for a deep dive into the future of game development with AI. This session will explore practical applications of Gemini and Gemma, Google's state of the art AI models, and how they can revolutionize your workflows today. Discover how to leverage AI for everything from scaling production to building innovative in-game features.
Expect live demos, actionable takeaways, and insights into how you can build with Google AI as a game developer.
加入Google，深入了解AI在游戏开发领域的未来。本次会议将探索Gemini和Gemma（Google的最先进AI模型）的实际应用，以及它们如何革新你的工作流程。了解如何利用AI从扩大生产规模到构建创新游戏内功能等方面的工作。
期待现场演示、实用收获以及对作为游戏开发者如何使用Google AI进行构建的见解。
作者：Mark Schramm (Director of Engineering, Creature)
Mixed Reality creates a fun backdrop for many experiences, but can this medium support narrative games?
Starship Home is the first feature-length narrative MR game that not only plays out within the player's own four walls, but actively invites the player to take them to new worlds.
In this talk, industry veteran Mark Schramm, who has previously worked on titles such as SUPERHOT VR, explains how the audience can approach Mixed Reality to utilize its strengths and create compelling narrative experiences in an ever changing personal environment that oftentimes competes for the players attention. Learn about the various iterations the game has gone through and how they have evolved as the studio has gained a deeper understanding on blurring the lines between multiple realities.
混合现实为许多体验创造了有趣的背景，但这种媒介能否支持叙事游戏呢？
《星际飞船家园》是第一部时长达到故事片级别的叙事混合现实游戏，它不仅在玩家自己的四面墙内展开，还积极邀请玩家将自己带入新的世界。
在这次演讲中，行业资深人士马克·施拉姆（Mark Schramm），他曾参与过《SUPERHOT VR》等作品的开发，解释了观众如何利用混合现实的优势，在不断变化的个人环境中创造引人入胜的叙事体验，这些环境经常与玩家的注意力竞争。了解游戏经历了哪些不同的迭代过程，以及随着工作室对模糊多个现实界限的理解加深，这些迭代是如何演化的。
链接：https://schedule.gdconf.com/session/comedy-and-games-the-whys-hows-and-huhs/907515
作者：Heather Woodward (Writer, Respawn Entertainment)
Not all games are what you'd call "comedic". Sometimes "comedy" is considered a bad word when it comes to designing dramatic narratives. Sometimes we're just plain old scared to make a joke in case it doesn't get a laugh. But when used well, comedy can make any game feel richer and more lived in without being a distraction. In this talk, veteran comedian Heather Woodward will discuss why any game can benefit from comedy, how to use it within different game design teams, and how the heck to be funny, even if it doesn't come naturally to you.
并非所有游戏都可以称之为“喜剧”类游戏。有时在设计戏剧性叙事时，“喜剧”这个词可能会被认为是一个不好的选择。有时我们只是单纯地害怕开个玩笑却得不到笑声。但当运用得当时，喜剧可以使任何游戏感觉更加丰富和真实，而不会成为一种干扰。在这次演讲中，资深喜剧演员希瑟·伍德沃德将讨论为什么任何游戏都能从喜剧受益，如何在不同的游戏设计团队中运用它，以及即使对你来说幽默并不自然，如何做到风趣。
链接：https://schedule.gdconf.com/session/controlled-chaos-in-the-writers-room-of-1000xresist/910750
作者：Remy Siu (Founder / Creative Director, sunset visitor)
A deep dive into the writing process undertaken to create the indie narrative game, 1000xRESIST. This talk will cover how the developers adapted their previous experience in the experimental performing arts to serve them during game development.
Inspired by TV writer's rooms and contemporary dance rehearsals, the 1000xRESIST team formed a way of working called the "Devised Writer's Room," that allowed them to tackle wide thematic subject matter while also providing mystery and intrigue for the player. These processes foreground flexibility and a closeness to the material, while also drawing out the lived experiences of its participants.
Discover how the "Devised Writer's Room" created an organic storytelling environment...and all the risks that came with it.
深入探讨为创作独立叙事游戏《1000xRESIST》所采用的写作过程。此次分享将涵盖开发者如何将其先前在实验表演艺术领域的经验应用到游戏开发中。
受到电视编剧室和当代舞蹈排练的启发，《1000xRESIST》团队形成了一种称为“创编编剧室”（Devised Writer's Room）的工作方式，使他们能够处理广泛的主题内容，同时为玩家提供神秘和悬念。这些过程强调灵活性和对材料的亲近性，同时也凸显了参与者的生活体验。
了解“创编编剧室”是如何创造出一种有机的叙事环境……以及随之而来的所有风险。
作者：Steve Kniebihly (Cinematic Director, Independent)、Neil Newbon (Actor / Director, Performance Captured Ltd London)
This presentation explores the critical collaboration between directors and actors in performance capture for video games. Led a seasoned director and an acclaimed actor, it emphasizes the importance of actor-director partnership in achieving compelling and complex performances that go beyond just technical accuracy.The presentation will guide the audience through the entire process, from auditions and rehearsals to performance capture sessions and post-production ADR. It will highlight how the challenges of video game development—such as branching narrative paths and non-linear content—require a strong actor-director collaboration to ensure consistency and emotional depth across multiple, often fragmented, performance segments.Drawing from their combined years of experience and collaboration on past projects, the director and actor will provide specific insights, tips, and strategies for improving communication and collaboration. They aim to equip fellow directors, designers, writers and animators with a better understanding of how an actor thinks and the knowledge to better guide them. For producers, the presentation offers a new understanding of how to foster an environment that supports this creative partnership -and saving time and resources in the process.
本次演示探讨了导演和演员在视频游戏动作捕捉中的关键合作。由一位经验丰富的导演和一位备受赞誉的演员共同主导，强调了演员与导演合作的重要性，以实现引人入胜且复杂的表演，而不仅仅是技术上的精确。演示将引导观众从试镜和排练到动作捕捉环节以及后期制作的配音（ADR）的整个过程。它将突出视频游戏开发中的挑战，如分支叙事路径和非线性内容，这些都需要强大的演员与导演合作，以确保在多个、往往碎片化的表演片段中保持一致性和情感深度。
导演和演员将根据他们多年的经验和以往项目中的合作，提供具体的见解、技巧和策略，以改善沟通和协作。他们的目标是让同行的导演、设计师、编剧和动画师更好地理解演员的思维方式，并掌握更好的指导方法。对于制片人来说，本次演示提供了新的理解，即如何营造一种支持这种创造性合作关系的环境——从而节省时间和资源。
链接：https://schedule.gdconf.com/session/creative-sobriety-on-originality-in-game-development/906707
作者：Fawzi Mesmar (Creative Director, Ubisoft)
Creative Sobriety: On Originality in Game Development delves into the heart of creativity, exploring the intricate interplay between conscious and subconscious thought, and how these are influenced by knowledge, intuition, and imagination. The presentation introduces the concept of creative sobriety, which emphasizes understanding one's sources of inspiration to achieve true originality. By examining practical and theoretical approaches, it addresses the challenges of measuring creativity, balancing innovation with practicality, and the significance of both auteurship and collaboration in game development. The session includes real-world examples and offers strategies for pushing the boundaries of innovation, providing valuable insights for game developers, designers, and enthusiasts.
创意清醒：论游戏开发中的原创性 深入探讨创造力的核心，探索意识和潜意识思想之间的复杂互动，以及这些思想如何受到知识、直觉和想象力的影响。演示介绍了“创意清醒”的概念，强调理解灵感来源以实现真正的原创性。通过审视实用和理论方法，它解决了衡量创造力、平衡创新与实用性以及作者身份和合作在游戏开发中的重要性的挑战。会议包括现实世界中的示例，并提供策略以推动创新的边界，为游戏开发者、设计师和爱好者提供了宝贵的见解。
链接：https://schedule.gdconf.com/session/cultural-fusion-in-game-design-a-perspective-from-india/907206
作者：Zainuddeen Fahadh (Studio Owner & Director, Ogre Head Studio)
Welcome to an exploration of the intersection of game development and cultural richness. In this talk, Zain shares insights into how Indian game developers' diverse cultural backgrounds shape design decisions. The discussion explores the integration of cultural experiences into gameplay mechanics, enhancing narrative and player engagement. Using their game "Asura" as a case study, Zain illustrates how Indian mythology influences character design, level architecture, and gameplay. This presentation aims to inspire developers to embrace their cultural heritage as a catalyst for innovation, contributing to a diverse and inclusive gaming industry.
欢迎探索游戏开发与文化丰富性交汇之处。在本次演讲中，Zain 分享了印度游戏开发者多样化的文化背景如何塑造设计决策的见解。讨论探讨了将文化体验融入游戏机制、提升叙事和玩家参与度的过程。通过以他们的游戏《Asura》作为案例研究，Zain 阐明了印度神话如何影响角色设计、关卡架构和游戏玩法。本演讲旨在激励开发者们拥抱自己的文化遗产，作为创新的催化剂，为多元化和包容性的游戏行业做出贡献。
链接：https://schedule.gdconf.com/session/design-strategies-to-support-nurturers/907663
作者：Nina Kim (Senior Game Designer, Rare Ltd.)
Cozy and wholesome games are a growing genre that allow players to enjoy a warm-hearted style of gameplay. These games open opportunities for nurturing players to live out a fantasy of care taking and kind actions. As more games aspire to include these sorts of experiences, we find ourselves searching to expand on these nurturing systems within a wider variety of games. In the current games market, the nurturing population of players is often underserved or overlooked. In this talk, Nina highlights some strategies that can help deepen and create more mature forms of care taking and nurturing, while avoiding reliance on a base of a simplistic, saccharine world.
温馨舒适的游戏是一个日益增长的游戏类型，让玩家能够享受一种温暖的心灵游戏体验。这些游戏为玩家提供了一个实现照顾与善意行为幻想的机会。随着越来越多的游戏希望包含此类体验，我们发现自己正在寻找在更广泛的游戏类型中扩展这些养育系统的途径。在当前的游戏市场中，寻求养育体验的玩家群体往往被服务不足或忽视。在这次演讲中，尼娜强调了一些策略，这些策略可以帮助深化并创造出更加成熟的照顾与养育形式，同时避免依赖于简单化、过分甜腻的世界观。
作者：Elyot Grant (Founder/CEO, Lunarch Studios Inc.)
Islands of Insight was a puzzle MMO released by Lunarch Studios and Behaviour Interactive in February 2024. With over 10,000 handmade puzzles, it was one of the biggest puzzle games ever made.
This talk is a design post-mortem by the director of Islands of Insight. It will cover many of the key learnings from the game's development, on topics such as prototyping new puzzle types, structuring content to avoid sticking points, enhancing accessibility through UI and tutorial design, and balancing puzzle-heavy content for flow and pacing.
It will also detail some of the successful innovations in puzzle creation that were beloved by fans of the game, as well as some of the lessons learned from puzzle types that were never shipped or were less well-received.
《洞察之岛》是一款由Lunarch Studios和Behaviour Interactive在2024年2月发布的益智类大型多人在线游戏（Puzzle MMO）。游戏中包含超过10,000个手工制作的谜题，使其成为有史以来最大的益智游戏之一。
本次演讲是由《洞察之岛》的导演进行的一次设计复盘。它将涵盖游戏开发过程中许多关键的学习点，包括如何对新类型的谜题进行原型设计，如何组织内容以避免卡点，如何通过用户界面（UI）和教程设计增强可访问性，以及如何平衡以谜题为主的内容以确保流畅性和节奏感。
此外，演讲还将详细介绍一些受到玩家喜爱的创新性谜题创作方法，以及一些从未发布或反响不佳的谜题类型所吸取的经验教训。
Designing Endings and Balancing Player Expectations: Illustrated by the Epilogue of 'Cyberpunk 2077: Phantom Liberty'
作者：Moritz Lehr (Senior Quest Designer & Quest Design Coordinator, CD PROJEKT RED)、Pawel Ochocki (Cinematic Design Acting Lead, CD PROJEKT RED)
Attendees will gain a deeper understanding of the challenges and opportunities when designing an ending for a branching interactive narrative, illustrated by the design process behind the endings of Cyberpunk 2077 and Cyberpunk 2077: Phantom Liberty. We will provide the audience with the fundamentals of how to end a narrative in a way that suits genre and story, before showing how to adapt and expand them for modern video games as a unique medium. Attendees will gain practical insights into balancing player expectations with narrative integrity, and learn strategies to create impactful game endings that honor the story's core themes and support each other in meaningful ways. The session will provide concrete examples from the development of Cyberpunk 2077: Phantom Liberty, illustrating how to navigate design challenges, integrate player choices, and maintain narrative coherence.
参会者将更深入地理解在为分支互动叙事设计结局时所面临的挑战和机遇，并通过《赛博朋克2077》和《赛博朋克2077：幻影自由》结局背后的设计过程进行说明。我们将向观众介绍如何以符合类型和故事的方式结束一个叙事的基础知识，然后展示如何将其适应并扩展到视频游戏这一独特的媒介中。参会者将获得关于如何平衡玩家期望与叙事完整性的实用见解，并学习策略以创造具有影响力的结局，这些结局能够呼应故事的核心主题并在有意义的方式下相互支持。本次会议将提供《赛博朋克2077：幻影自由》开发中的具体示例，展示如何应对设计挑战、整合玩家选择并保持叙事连贯性。
作者：Lis Moberly (Lead Game Designer, Disney: 20th Century Games)、Kate Dollarhyde (Lead Narrative Designer, Obsidian Entertainment)
Companions are a fundamental component of any compelling RPG. While focus often lies on a companion's personality, story arc, and visual design, the process of bringing a successful RPG companion to life is a conscious act of design that involves several key decisions and priorities between many departments.
This session will discuss the two most common frameworks for collaborating on successful RPG companions: Party-Based, and Partner-Based design. We will break down the pros and cons of each framework, how they can be mixed and matched, and key factors to consider when collaborating across different departments. This session will also cover traps developers fall into that get in the way of crafting successful companion relationships and how to avoid such pitfalls.
同伴是任何引人入胜的角色扮演游戏中的基本组成部分。虽然焦点通常放在同伴的性格、故事线和视觉设计上，但将一个成功的角色扮演游戏同伴带到游戏中是一个涉及多个部门之间关键决策和优先级的设计行为。
本次会议将讨论合作开发成功角色扮演游戏同伴的两种最常见框架：基于队伍的（Party-Based）和基于伙伴的（Partner-Based）设计。我们将分析每种框架的优点和缺点，如何将它们混合搭配，以及跨不同部门协作时需要考虑的关键因素。本次会议还将涵盖开发者常陷入的阻碍成功塑造同伴关系的陷阱，并介绍如何避免这些陷阱。
链接：https://schedule.gdconf.com/session/designing-for-system-suspense/907796
作者：Alexei Pepers (Technical Systems Designer, Independent)
Have you ever been playing a game that took a sudden swerve so surprising that it left you thinking woah, what is this game even going to do next? Even better, did that feeling linger as you tested new hypotheses and re-evaluated your understanding of how the game worked and what was possible within it? If those experiences stick with you, then you'll be in good company as Alexei Pepers shares the work of likeminded designers to define this feeling we call 'system suspense'. She'll share how we can apply the concepts of suspense and surprise to the way that players build mental models of game systems, and then dig into examples of successful techniques for evoking system suspense in games such as Blaseball, Elden Ring, and Baldur's Gate 3.
你是否曾经玩过一款游戏，在某个瞬间突然发生了如此令人惊讶的转折，让你不禁思考这款游戏接下来会做什么？更棒的是，当你不断测试新的假设并重新评估你对游戏运作方式及其内部可能性的理解时，这种感觉是否一直伴随着你？如果你有过这样的体验，那么你会和亚历克西·佩珀斯（Alexei Pepers）一样感同身受。她将分享志同道合的游戏设计师们的工作，以定义我们所说的“系统悬念”这一感觉。她将分享如何将悬念和惊喜的概念应用到玩家构建游戏系统心理模型的方式上，并深入探讨在《Blaseball》、《Elden Ring》和《Baldur's Gate 3》等游戏中成功引发系统悬念的技术示例。
作者：Shuai Qiao (Senior Designer, NetEase Games)
Compared to previous Diablo games, we introduced the innovative 8-player team Boss raid in Diablo Immortal. This module serves as the core PVE challenge of the game. This presentation will share the design philosophy changes and practical effects of the multiplayer Boss raid in Diablo Immortal, and how we have been able to consistently produce high-quality Bosses in a collaborative development model while pushing creative boundaries.
与之前的《Diablo》游戏相比，我们在《Diablo Immortal》中引入了创新的8人团队Boss挑战副本。这一模块作为游戏的核心PVE挑战内容。本次分享将介绍《Diablo Immortal》中多人Boss挑战的设计理念变化和实际效果，以及在协作开发模式下我们如何持续产出高质量Boss的同时突破创意边界。
链接：https://schedule.gdconf.com/session/doing-it-live-prototyping-in-marvel-snap/907538
作者：Kent-Erik Hagman (Design Director, Second Dinner Studios)
Could we do the impossible, and integrate social mechanics (a mainstay staple of long-running Mobile games) in a head-to-head card battler? We faced this challenge and innovated by rigorously testing with live accounts over multiple months. Discover our journey of iteration using the realest data possible: our live accounts.
我们能否将社交机制（长期运行的移动游戏的主要元素）整合到一款对战卡牌游戏中？我们面对这一挑战，并通过连续数月使用真实账户进行严格测试来实现创新。探索我们利用最真实的数据——即我们的真实账户——进行迭代的过程。
链接：https://schedule.gdconf.com/session/experimental-games-showcase/911131
作者：Liz Ryerson (Independent, ella guro)、Alistair Aitcheson (Developer & Performer, The Incredible Playable Show)、Adam Robinson-Yu (Game Developer, Whippoorwill)、Justin Smith (Developer, Independent)、Patrick Collin Eye (Designer, Et Al Games)、Carol Mertz (Game Designer, Independent)、Arvi Teikari (Game Developer, Hempuli)、Jenny Jiao Hsia (Creative Director, Hexecutable)、AP Thomson (Designer, Hexecutable)、Jonathan West (Designer, Hobbyist)、Chia Amisola (Artist, Independent)、Hanford Lemoore (Creative Director, Graceful Decay, LLC)、Mike Jasoni (Art Director, Graceful Decay, LLC)、Cadence Phoenix (Royal Jester, WATERBOX)、K.K. Dream (Guy Artisan, WATERBOX)、Akuma Kira (Game Designer, KIRA LLC)
Formerly known as The Experimental Gameplay Workshop, which featured games like ‘Baba Is You’, ‘The Longing', ‘Braid', ‘Untitled Goose Game’ and ‘Katamari Damacy’, is now back for its 23rd year at GDC as The Experimental Games Showcase! In this fast-paced, game-packed session, panelists will showcase a selection of surprising and intriguing prototypes 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!
formerly known as The Experimental Gameplay Workshop，它曾展示过像‘Baba Is You’、‘The Longing’、‘Braid’、‘Untitled Goose Game’和‘Katamari Damacy’这样的游戏，现在将在GDC迎来它的第23个年头，更名为《实验游戏展示会》！在这个快节奏、游戏众多的环节中，参与者们将展示一系列由来自世界各地具有创新思维的游戏开发者制作的令人惊喜和着迷的原型作品。通过演示那些挑战常规和传统的游戏，旨在点燃所有游戏创作者的想象力，探索新的游戏类型和创意。来看看实验游戏领域的最新动态，并从中获得灵感吧！
链接：https://schedule.gdconf.com/session/frostpunk-2-speaking-in-systems/907582
作者：Jakub Stokalski (Game Director / Design Director, 11 bit studios)
This talk explores how Frostpunk 2 balances gameplay and narrative. It provides a detailed look at how to integrate gameplay mechanics with storytelling to create a moody narrative experience. It explores practical approaches to managing game complexity and difficulty, illustrating how these elements impact narrative delivery. It also examines how tuning gameplay to accommodate players' human values can enhance the overall narrative. Through concrete examples and design challenges encountered during the development of Frostpunk 2, this talk offers insights into crafting games that aim to tell meaningful stories in a language unique to games.
本次演讲探讨了《 frostpunk 2》如何平衡游戏玩法和叙事。它详细介绍了如何将游戏机制与故事讲述相融合，以创造出一种氛围浓厚的叙事体验。演讲还探索了管理游戏复杂性和难度的实际方法，并说明了这些元素如何影响叙事的传达。此外，演讲还分析了调整游戏玩法以适应玩家的人类价值观如何能增强整体叙事效果。通过分享《frostpunk 2》开发过程中遇到的具体实例和设计挑战，本次演讲提供了关于如何制作旨在用独特的游戏语言讲述有意义故事的游戏的见解。
链接：https://schedule.gdconf.com/session/game-design-workshop-day-1/911058
作者：Marc LeBlanc (Principal Software Engineer, Riot Games)、Eleanor Todd (Founder, Fablegate)、Kellee Santiago (Executive VP, Game Development (PC/Console), E-Line Media)、Geoffrey Marsi (Sr. Manager, Technical Game Design, Riot Games)、Samuel Villanueva (Game Design Consultant, Villains Creative)、Jeb Havens (Game Designer, Brainium)、Stone Librande (Sr. Game Designer, Riot Games)、Andy Ashcraft (Game Designer / Instructor, Giantsdance Games / New York Film Academy)、Frank Lantz (Game Designer, Everybody House Games)、Marcus Montgomery (Design Director, Microsoft)
Dive into a practical, two-day workshop dedicated to honing your game design craft. Working in small groups, you’ll tackle a series of focused design challenges - each exploring a different aspect of creating better games. Using the Mechanics, Dynamics, Aesthetics (MDA) framework as a guide, you’ll brainstorm new concepts, build quick physical prototypes, iterate on your ideas, and evaluate the results together. Expect lively discussions, creative problem-solving, and hands-on experimentation that push you to sharpen your skills and broaden your approach to design.Topics explored include: designing for ludonarrative harmony, capturing play aesthetics in a paper prototype, creating emergent dramatic structure through systems design, and designing games with ethical decision-making.
参加为期两天的实践工作坊，专注于提升你的游戏设计技能。你将和其他人分成小组，逐一攻克一系列有针对性的设计挑战——每个挑战都会探索创造更好游戏的不同方面。以机制、动态、美学（MDA）框架为指导，你将集思广益提出新的概念，快速制作物理原型，对自己的想法进行迭代，并共同评估结果。预计会有热烈的讨论、富有创意的问题解决过程和亲自动手的实验，这些都将推动你提升技能并拓宽你的设计理念。探讨的主题包括：实现玩法与叙事的和谐设计、在纸板原型中捕捉游玩体验、通过系统设计创建涌现的戏剧性结构，以及设计包含道德决策的游戏。
链接：https://schedule.gdconf.com/session/game-design-workshop-day-2/910947
作者：Marc LeBlanc (Principal Software Engineer, Riot Games)、Kellee Santiago (Executive VP, Game Development (PC/Console), E-Line Media)、Geoffrey Marsi (Sr. Manager, Technical Game Design, Riot Games)、Samuel Villanueva (Game Design Consultant, Villains Creative)、Jeb Havens (Game Designer, Brainium)、Stone Librande (Sr. Game Designer, Riot Games)、Andy Ashcraft (Game Designer / Instructor, Giantsdance Games / New York Film Academy)、Frank Lantz (Game Designer, Everybody House Games)、Eleanor Todd (Founder, Fablegate)、Marcus Montgomery (Design Director, Microsoft)
Dive into a practical, two-day workshop dedicated to honing your game design craft. Working in small groups, you’ll tackle a series of focused design challenges - each exploring a different aspect of creating better games. Using the Mechanics, Dynamics, Aesthetics (MDA) framework as a guide, you’ll brainstorm new concepts, build quick physical prototypes, iterate on your ideas, and evaluate the results together. Expect lively discussions, creative problem-solving, and hands-on experimentation that push you to sharpen your skills and broaden your approach to design.Topics explored include: designing for ludonarrative harmony, capturing play aesthetics in a paper prototype, creating emergent dramatic structure through systems design, and designing games with ethical decision-making.
参加为期两天的实践工作坊，专注于提升你的游戏设计技能。你将与其他参与者分成小组，解决一系列有针对性的设计挑战——每个挑战都探索创造更好游戏的不同方面。以机制、动态、美学（MDA）框架为指导，你将进行头脑风暴，构建快速的实体原型，迭代你的想法，并共同评估结果。预计会有热烈的讨论、富有创意的问题解决和亲自动手的实验，这将推动你提升技能并拓宽你的设计理念。探讨的主题包括：为游戏性和叙事性的和谐设计、在纸板原型中捕捉玩法美学、通过系统设计创建涌现式的戏剧结构，以及设计包含伦理决策的游戏。
作者：Richard Dansky (Franchise Narrative Director, Romero Games)
These roundtable sessions are intended to bring together narrative professionals with all levels of experience to share questions, knowledge, best practices and more. Each day's session is devoted to a single topic allowing attendees to focus and deep dive on specifics instead of skimming at a surface level. The moderator will provide starter questions, allowing the conversation to flow from there. The first day's discussion will be focused on Getting and Keeping the Job. It will cover everything from putting together a portfolio to plotting a course for professional advancement to learning techniques for working with other disciplines. The second day will be about Doing the Job. It will focus on actual narrative and writing tips, techniques, best practices and more. From improving your game writing to getting more efficient at producing deliverables, this one is about when it comes time to actually write.
这些圆桌会议旨在汇集具有不同经验水平的故事叙述专业人士，分享问题、知识、最佳实践等。每天的会议都将专注于一个单一主题，使参会者能够集中精力深入探讨具体细节，而不仅仅是浮于表面。主持人将提供一些启动性问题，从而引导讨论的进行。第一天的讨论将集中在如何获得并保持工作。内容将涵盖从构建作品集到规划职业发展路径，再到学习与其他学科合作的技术等各个方面。第二天的讨论则侧重于如何完成工作。它将聚焦于实际的故事叙述和写作技巧、技术、最佳实践等。从提升游戏写作能力到提高交付成果的效率，这一天的内容是关于真正进入写作环节时需要掌握的知识。
链接：https://schedule.gdconf.com/session/game-narrative-roundtable-day-2-doing-the-job/911340
作者：Richard Dansky (Franchise Narrative Director, Romero Games)
These roundtable sessions are intended to bring together narrative professionals with all levels of experience to share questions, knowledge, best practices and more. Each day's session is devoted to a single topic allowing attendees to focus and deep dive on specifics instead of skimming at a surface level. The moderator will provide starter questions, allowing the conversation to flow from there. The first day's discussion will be focused on Getting and Keeping the Job. It will cover everything from putting together a portfolio to plotting a course for professional advancement to learning techniques for working with other disciplines. The second day will be about Doing the Job. It will focus on actual narrative and writing tips, techniques, best practices and more. From improving your game writing to getting more efficient at producing deliverables, this one is about when it comes time to actually write.
这些圆桌会议旨在将具有不同经验水平的故事叙述专业人士聚集在一起，分享问题、知识、最佳实践等。每天的会议都专注于一个单一主题，使与会者能够集中精力深入探讨具体细节，而不仅仅是浮于表面。主持人将提供一些启动问题，以促进对话的展开。第一天的讨论将集中在“获得并保持工作”上。内容将涵盖从制作作品集到规划职业发展路径，再到学习与其他学科合作的技术等方面。第二天将围绕“执行工作”展开。重点关注实际的故事叙述和写作技巧、技术、最佳实践等。从提高游戏写作能力到更高效地完成交付物，这一天的主题是真正开始写作的时候。
链接：https://schedule.gdconf.com/session/grid-topology-vs-game-mechanics-which-grid-for-you/907491
作者：Randy Smith (Game Designer, Waves All Day)
Grids are supposed to make life easier for player and developer alike by quantizing space, but they also introduce questions that must be answered and problems that must be solved. They distort space in ways that can create confusion for your players and your game mechanics. They cause UI/UX friction when your camera, controls, and perspective are not in alignment. And they inform your art style and limit what types of spaces and interactions can be depicted easily and believably. This presentation lists these questions and problems and provides the rationale for their most common solutions.
网格旨在通过量化空间使玩家和开发者的生活更加轻松，但也引入了必须回答的问题和必须解决的问题。它们以可能导致玩家和游戏机制困惑的方式扭曲空间。当摄像机、控制方式和视角不一致时，它们会引起用户界面/用户体验的摩擦。并且，它们还影响艺术风格并限制了哪些类型的场景和互动可以容易且可信地展现。本演示列出了这些问题，并提供了这些常见问题解决方案的理由。
作者：Yuyuan Jiang (Game Producer, Netease Games)
In this session Yuyuan Jiang, game producer on NetEase's first racing game Ace Racer, will walk us through the story of how his design team introduced genre-bending gameplay mechanics and features to successfully increase the game's DAU (Daily Active Users) from 200k to 1M since its launch in 2021.
This session will tell the story of how they achieved and surpassed their goals on Ace Racer by adding non-racing mechanics and features such as: vehicle skills or "Ultimates"; class-based car designs inspired by RPGs; victory conditions based on an ancient Chinese story; MOBA-inspired racing improvements; and UGC tracks. Attendees will be presented with concrete examples, data to show the impact of these changes, as well as the development challenges that these innovations introduced and their solutions.
在本次会议中，网易首款赛车游戏《Ace Racer》的游戏制作人江宇源将带领我们深入了解他的设计团队如何引入跨界游戏机制和功能，从而成功地将游戏的日活跃用户（DAU）从2021年上线时的20万增加到100万。
本次会议将讲述他们如何通过添加非赛车类机制和功能来实现并超越《Ace Racer》的目标，这些机制和功能包括：车辆技能或“终极技能”；受RPG启发的基于职业的汽车设计；基于中国古代故事的胜利条件；MOBA风格的赛车改进；以及用户生成的内容赛道。参会者将获得具体的实例、数据以展示这些改动的影响，以及这些创新所带来的开发挑战及其解决方案。
链接：https://schedule.gdconf.com/session/helldivers-2-capturing-lightning-in-a-bottle/910550
作者：Johan Pilestedt (Chief Creative Officer, Arrowhead Game Studios AB)
This session offers a candid and self-deprecating retrospective on eight years of development at Arrowhead Game Studios. Attendees will look back and learn how leading a studio, designing and developing a smash hit, and later running an innovative live service experience with a game-mastered global narrative presented challenges that required consistency and planning—areas where Arrowhead unfortunately lacked. The session will explore how the team compensated with a non-negotiable philosophy, improvisation, grit, and camaraderie, and how these qualities eventually paved the way for their success. Gain valuable insights into overcoming shortcomings and achieving triumph in the complex world of game development.
本环节将诚实地回顾Arrowhead Game Studios八年的开发历程，带有自嘲的色彩。与会者将回顾并了解领导工作室、设计并开发一款爆款游戏，以及后来通过一款拥有全球叙事的游戏来运营一项创新的持续服务所面临的挑战。这些挑战要求团队具备一致性和规划能力——而这些方面Arrowhead不幸有所欠缺。本环节将探讨团队如何通过一种不可协商的哲学理念、即兴创作、坚韧不拔和团队精神来弥补这些不足，并最终铺就成功之路。深入了解如何在复杂的游戏开发世界中克服缺点并取得胜利，获得宝贵的见解。
作者：Chengnan An (Lead Game Designer, HoYoverse)
Designing a compelling RPG is challenging, but making it accessible to everyone adds a new level of complexity. One year after the launch of Honkai: Star Rail, Chengnan An from HoYoverse will share how this space RPG was designed to be both accessible and deeply engaging.
In this session, Chengnan will discuss the unique combat mechanics and the imaginative universe that make the game stand out. He will also reveal the strategies for keeping the game exciting with regular content updates.
设计一款引人入胜的角色扮演游戏（RPG）已经颇具挑战性，但使其面向所有人容易上手则增加了新的复杂层面。在《崩坏：星穹铁道》发布一周年之际，来自HoYoverse的程楠将分享这款游戏是如何被设计得既易于上手又充满深度吸引力的。
在此次分享中，程楠将讨论那些独特的战斗机制和富有想象力的游戏宇宙，这些元素使游戏脱颖而出。他还将揭示如何通过定期的内容更新保持游戏的新鲜感和吸引力。
链接：https://schedule.gdconf.com/session/how-tabletop-design-helped-shape-ufo-50/911300
作者：Jon Perry (Game Designer, Quibble Media, LLC)
This talk chronicles how Jon Perry drew on his background as a published board game designer in creating 8-bit strategy games for the 2024 indie video game UFO 50. In it, he focuses on some of the collection's most popular and tabletop-influenced games, including Party House and Avianos. He does deep dives on how the designs for those games evolved from paper prototypes to finished video games inside of a larger 50 game collection. Along the way, he explores the advantages and disadvantages of moving between the two mediums. He discusses what video game designers can learn from board games, and general takeaways from his experience working on UFO 50.
本次演讲记录了Jon Perry如何利用他作为出版过的桌面游戏设计师的背景，为2024年独立视频游戏UFO 50创作8位元策略游戏的过程。在演讲中，他重点关注了一些最受欢迎且深受桌面游戏影响的游戏，包括Party House和Avianos。他深入探讨了这些游戏的设计是如何从纸质原型发展成为最终的视频游戏，这些游戏是50款游戏合集中的一部分。在这一过程中，他还探讨了在两种媒介之间转换的优势和劣势。他讨论了视频游戏设计师可以从桌面游戏中学到什么，以及他在UFO 50项目中的总体收获。
链接：https://schedule.gdconf.com/session/how-to-build-a-game-world-with-systems-and-story/907750
作者：Anna Megill (Lead Writer, CD PROJEKT RED)、Emily Short (Freelancer, Independent)、Kaitlin Tremblay (Narrative Director, Soft Rains)
Every story has to start somewhere. Industry veterans Anna Megill, Emily Short, and Kaitlin Tremblay have helped create some of the most memorable story-rich worlds in recent games. With titles such as Fable, CONTROL, Fallen London, Sunless Sea, Watch Dogs: Legion, and A Mortician's Tale under their belts, they know how to make a game world come alive. With examples drawn directly from their own experiences, they'll talk about their different approaches to creating a believable world and demonstrate strategies for aligning story with gameplay and systems. However you start work on your game, this talk will provide you with the tools needed to ensure your world feels holistic, immersive, and rich with story.
每个故事都有一个开始的地方。行业资深人士安娜·梅吉尔、艾米莉·肖特和凯特琳·特伦博耶通过他们参与创作的一些最具代表性的叙事丰富游戏世界，积累了丰富的经验。凭借《神鬼寓言》、《控制》、《坠落伦敦》、《无光之海》、《看门狗：军团》和《殡仪馆的故事》等作品，她们深知如何让游戏世界栩栩如生。基于她们自身的经验，她们将讨论各自构建可信世界的不同方法，并展示如何将故事与游戏玩法和系统相契合的战略。无论你从哪里开始你的游戏开发工作，这次分享都将为你提供必要的工具，确保你的游戏世界显得整体、沉浸且充满故事性。
作者：Guido Rosso (Co-Founder and CEO, Rive)
In most game studios, designers create the UI and then hand it off to developers to make it functional. That handoff is often messy, time-consuming, and riddled with redundant work. Developers might struggle to execute the designer's vision due to their tool or language, or build functional UI with developer tools like HTML or XAML — not design tools.
There is a new, better way to build game UI. With Rive, you design and animate game UI in the Rive Editor, export it to the Rive format, and run your files with the Rive Runtimes in Unity, Unreal, Defold, or your custom game engine.
Rive Co-founder and CEO Guido Rosso will break down how to build a game menu that's both functional and powerful, without sacrificing creativity. He'll also show examples from games using Rive today.
在大多数游戏工作室中，设计师创建用户界面（UI），然后将其移交给开发者使其具备功能性。这个交接过程通常杂乱无章、耗时且充满冗余工作。由于工具或编程语言的限制，开发者可能难以实现设计师的愿景，或者使用HTML或XAML等开发者工具构建功能性UI，而不是设计工具。
现在有一种更好的方式来构建游戏UI。通过Rive，您可以在Rive编辑器中设计和动画化游戏UI，导出为Rive格式，并在Unity、Unreal、Defold或您自定义的游戏引擎中使用Rive运行库运行这些文件。
Rive联合创始人兼首席执行官Guido Rosso将讲解如何构建既实用又强大的游戏菜单，同时不牺牲创意。他还将展示一些目前使用Rive的游戏示例。
作者：Heather De Bernardi (Head of Marketing, Bazooka Tango)
Discover the hidden strategies that top game studios use to create gaming hits. This session unveils insider stories and lessons from industry veterans, showcasing how leading studios refine their processes to stay ahead in the competitive mobile gaming landscape. Through real-world examples, attendees will learn how to harness iterative testing, gather actionable feedback, and navigate the creative and technical challenges of game development. This talk combines practical strategies with engaging stories, offering a comprehensive roadmap for creating games that resonate with players and achieve commercial success. Whether you're an indie developer or part of a AAA studio, this session equips you with the tools to build better games through smarter insights.
发现顶级游戏工作室用来创造游戏爆款的秘密策略。本次分享揭示了业内资深人士的内部故事和经验教训，展示了领先工作室如何完善其流程以在竞争激烈的移动游戏市场中保持领先地位。通过现实世界的例子，与会者将学习如何运用迭代测试、收集可操作的反馈，并应对游戏开发中的创意和技术挑战。此次演讲结合了实用策略和引人入胜的故事，提供了一个全面的路线图，帮助开发者创造出能够引起玩家共鸣并实现商业成功的游戏。无论你是独立开发者还是大型工作室的一员，本课程都将为你提供更聪明的见解，从而帮助你打造更好的游戏。
作者：Dylan Faust (UI Lead, thatgamecompany)
thatgamecompany is known for creating minimalist, emotionally impactful experiences, as seen in their games Journey and Flower. In their latest project, Sky: Children of the Light, they expanded their vision by developing an MMO with deeper mechanics, available on platforms ranging from mobile phone to PC. This presented unique challenges in user interface design, as they aimed to make Sky accessible to a casual audience while maintaining their signature minimalism.
In this talk, Dylan Faust (UI Lead at thatgamecompany) discusses key UI design patterns they developed to deepen players' emotional immersion, while making the game intuitive for a diverse audience. He also explains the practical approaches they use to extend these patterns across various input devices and platforms, despite the small size of their UI team.
thatgamecompany 以其创造极简且情感丰富的体验而闻名，这一点在其游戏《Journey》和《Flower》中得到了体现。在他们的最新项目《Sky: Children of the Light》中，他们通过开发一款具有更深机制的 MMO（大型多人在线）游戏，进一步拓展了他们的视野，该游戏可在从手机到 PC 的各种平台上玩到。这在用户界面设计方面提出了独特的挑战，因为他们旨在使《Sky》对休闲玩家群体保持易用性，同时保持其标志性的极简风格。
在本次演讲中，thatgamecompany 的 UI 领导人 Dylan Faust 讨论了他们为加深玩家情感沉浸感而开发的关键 UI 设计模式，同时也让游戏对多样化受众来说更易于理解。他还解释了他们在扩展这些模式以适应各种输入设备和平台时所采用的实际方法，尽管他们的 UI 团队规模较小。
链接：https://schedule.gdconf.com/session/its-gonna-hurt-metagame-management-in-war-robots/907485
作者：Boris Burangulov (Executive Producer (War Robots), MY.GAMES)
Genshin Impact, Destiny 2, AFK Journey, War Robots – what do these games have in common? They are all GaaS, designed for long-term play. To maintain engagement, they must regularly offer new content: heroes, weapons, robots, etc. However, developers eventually face the question: "Okay, we've already created 100 weapons in our game. Why would players need the 101st?"
At War Robots, we encountered this challenge in the fourth year. Now, eleven years into the game's life, we believe we have found the answer. And it may not please everyone: to maintain players' interest, sometimes you need to force them to engage with different content. For that you have to change the current meta. And this, unfortunately, is always gonna hurt.
We will explore different approaches to balancing content in GaaS, take a look at the analytical "toolbox" that we use for monitoring metagame, and share our best practices for changing it.
原神、命运2、AFK冒险之旅、战争机器人——这些游戏有什么共同点？它们都是游戏即服务（GaaS）模式，旨在为玩家提供长期的游戏体验。为了保持玩家的兴趣，他们必须定期提供新的内容：英雄、武器、机器人等。然而，开发者最终会面临一个问题：“好吧，我们的游戏中已经创建了100种武器。为什么玩家还需要第101种？”
在战争机器人这款游戏进入第四年时，我们也遇到了这个挑战。现在，这款游戏已经运营了十一年，我们认为我们找到了答案。而这个答案可能并不受所有人欢迎：为了维持玩家的兴趣，有时需要强制玩家接触不同的内容。为此，你需要改变当前的主流玩法（meta）。不幸的是，这总是会带来一定的伤害。
我们将探讨不同平衡GaaS内容的方法，看看我们用于监控游戏主流玩法的分析“工具箱”，并分享我们在改变主流玩法方面的最佳实践。
链接：https://schedule.gdconf.com/session/jazz-platforming-in-pennys-big-breakaway/907179
作者：Esteban Fajardo (Senior Game Designer, Evening Star)
Learn how the design team at Evening Star brought their experiences with classic Sonic games into the 3rd dimension with their convention shattering debut title: Penny's Big Breakaway. Can a platformer be fun without collectibles, combat, or camera control? In stripping the genre back down to the roots, Evening Star pushed 3D platformers in a new direction: the Jazz Platformer! This talk will break down how they created gaming's most acrobatic new mascot and the secrets to building levels that celebrate player expression and improvisation.
了解晚星设计团队如何将其在经典索尼克游戏中的经验带入三维空间，并通过其颠覆 convention 的首发作品《Penny's Big Breakaway》实现这一目标。在一个平台游戏中，如果没有收集品、战斗或摄像机控制，游戏还能否有趣？通过将该类型游戏回归到根源，晚星团队推动了3D平台游戏向一个新的方向发展：爵士风格平台游戏！本次演讲将剖析他们是如何创造出游戏史上最富杂技色彩的新角色，并揭秘构建庆祝玩家表现和即兴创作关卡的秘密。
作者：Joshua Sawyer (Design Director, Obsidian Entertainment)
When is a feature "too much" given the scope of your game? When is a feature so "too much" that it wraps around to being incredible? Whether we're talking about custom fonts, rat swarms, or silly physics, sometimes you absolutely, positively need something that makes no sense whatsoever on paper. By looking at the custom fonts and unique text rendering features from 2022's Pentiment and similar moonshot features from other games, we'll explore the virtues of feature excess. You'll learn how to conceptualize ludicrous features, sell them to your team, and develop them without driving a freight train through your development budget.
什么时候一个功能对于你的游戏范围来说是“过多”的？什么时候一个功能如此“过多”以至于变得令人惊叹？无论是自定义字体、鼠群还是滑稽的物理效果，有时你绝对需要一些在纸面上完全说不通的东西。通过分析2022年《pentiment》中的自定义字体和独特的文本渲染功能，以及其他游戏中类似的大胆功能，我们将探讨功能过度使用的优点。你将学习如何构思荒诞的功能，向团队推销这些功能，并在不破坏你的开发预算的情况下进行开发。
作者：Anna Oporska-Szybisz (Senior Level Designer, Bloober Team)
When to say stop when creating a video game based on a well-known and beloved original? How can you tell the difference between what needs to be changed and what shouldn't be touched? Drawing on my experience working on "Silent Hill 2 Remake", participants will dive deep into the world of level creation for one of the most anticipated games of the year. Take a step-by-step look at how we approached level creation, what we looked for during development, and which elements we found most challenging. Get closer to the decision-making and environmental storytelling elements that can elevate your game with this behind-the-scenes presentation.
在基于一个广为人知且深受喜爱的原作创建视频游戏时，什么时候该说“停”？如何判断哪些需要改变，哪些不应该触碰？基于我在《寂静岭2重制版》项目中的经验，参与者将深入探讨这一年最受期待的游戏之一的关卡创作世界。我们将一步步地审视我们是如何进行关卡创作的，开发过程中我们寻找了什么，以及我们发现哪些元素最具挑战性。通过这次幕后展示，深入了解决策过程和环境叙事元素，这些都能提升你的游戏品质。
作者：Cameron Williams (Senior Mission Designer II, Absurd Ventures)
Anyone who has worked on an open world game knows that one of the biggest challenges is getting players to care about your open world. Despite all the proper planning, playtesting and general iteration, player engagement with anything but the story missions are not quite at expectations.This talk by Cameron offers tools to increase player engagement with your open world and turn your 15% activity engagement to 50%. These methods help designers increase content overlap, provide additional structure, and create more applications for varying player types. Attendees will hear real-world examples, review case studies, and dig into a variety of considerations to better communicate progression goals and exploration pillars with their team. Each method will provide problem spaces with examples of solutions. There are strong differences between golden, silver and bronze path content and attendees will dive into getting player's eyes unglued from the gold!
任何参与过开放世界游戏开发的人都知道，最大的挑战之一就是让玩家关心你的开放世界。尽管进行了适当的规划、测试和迭代，但玩家对除故事任务之外的内容的关注度并没有达到预期。Cameron 的演讲提供了工具来提高玩家对开放世界的参与度，将15%的活动参与度提升到50%。这些方法帮助设计师增加内容的重叠性，提供额外的结构，并为不同类型玩家创造更多的应用。与会者将听到真实案例，回顾案例研究，并深入探讨各种考虑因素，以更好地与团队沟通进度目标和探索要点。每种方法都会提供问题空间以及解决方案示例。黄金路径、白银路径和青铜路径的内容之间存在显著差异，与会者将深入了解如何让玩家的目光不再局限于黄金路径！
作者：Nathan Purkeypile (Founder and Game Creator, Just Purkey Games)
How does someone make a giant open world game as a solo indie developer?
Using lessons learned making games such as Fallout 3, Skyrim, Fallout 4, Fallout 76 and Starfield, Nate Purkeypile will discuss how he built The Axis Unseen by himself. This will cover topics such as world map layout and design, procedural generation versus manual, using Unreal 5 to make an open world game, production methods, playtesting, optimization, bug fixing and who should consider being a solo dev.
This will cover all the aspects that people need to know about when making an open world game, either as a small indie or as a AAA developer.
如何让一位独立开发者独自制作一个庞大的开放世界游戏？
基于制作《辐射3》、《天际》、《辐射4》、《辐射76》和《星空》等游戏的经验，内特·普尔基普将讨论他是如何独自构建《无形的轴心》的。这将涵盖诸如世界地图布局与设计、程序生成与手动制作的对比、使用虚幻5引擎制作开放世界游戏的方法、生产流程、测试玩法、优化、漏洞修复以及哪些人应该考虑成为独立开发者等内容。
这将涵盖人们在制作开放世界游戏时需要了解的所有方面，无论是小型独立开发者还是大型AAA级开发者。
作者：Lauryn Ash (Narrative Director, Undead Labs)
In this session, Lauryn Ash (Narrative Director) explores the role of narrative design in game development, emphasizing its importance in bridging the gap between level design, narrative, and art. She will delve into defining the key concepts of Theme and Tone and reframe them as essential game design tools that align the team throughout the development process. We’ll explore the challenges of team dynamics, when disciplines say the same word but mean completely different things, walk through specific games (Far Cry 5, Star Child, and Fallout 4) to understand what and how theme and tone can help us all create engaging and cohesive level design.
在本环节中，Lauryn Ash（叙事总监）将探讨叙事设计在游戏开发中的作用，强调其在弥合关卡设计、叙事和艺术之间差距方面的重要性。她将深入定义主题和氛围这两个关键概念，并重新将其框架为在整个开发过程中对齐团队的重要游戏设计工具。我们将探索团队动态的挑战，当不同学科使用相同词汇却意味着完全不同的事情时，通过具体的游戏（《孤岛惊魂5》、《星之子》和《辐射4》）来了解主题和氛围如何帮助我们共同创造引人入胜且连贯的关卡设计。
作者：Leonard Mah (Lead Level Designer, NaturalMotion)
Leo Mah, lead level designer at NaturalMotion, talks about a year of developing arena maps for Star Wars Hunters, a cross-platform hero shooter.The talk covers the pillars, principles and process that the small team goes through to design maps that support a growing range of Heroes and Hunters, within a multi-modal gameplay approach, while recalling the iconic locations the length and breadth of a galaxy far far away. And doing it to support the cadence of releases and gameplay that a LIVE game requires.
Leo Mah，NaturalMotion的首席关卡设计师，谈论了为《星球大战猎人》这一跨平台英雄射击游戏开发竞技场地图的一年经历。演讲涵盖了小团队在设计支持不断增长的英雄和猎人角色的关卡时所遵循的核心支柱、原则和流程，同时采用了多模式游戏玩法方法，并回顾了遥远星系中的标志性地点。所有这些努力都是为了支持Live游戏所需的发布节奏和游戏体验。
作者：Steve Lee (Lead Level Designer, Half Mermaid)
This talk is about the unique level design process for the indie hit Tactical Breach Wizards - the ways in which the game's development was highly unusual, and things about the game and the approach to development that made making its 100+ levels unusually efficient, straightforward and fun. Steve will discuss some of the key design principles used to design the levels and the game's mechanics; how the entire campaign was designed, written and implemented in sequential order (which is usually a really bad idea), and everything he thinks helped make the game both a critical success, and a great project to work on.
本次演讲将介绍独立游戏《战术破魔巫师》独特的关卡设计过程——游戏开发过程中的一些非同寻常之处，以及使制作超过100个关卡变得异常高效、直接且有趣的游戏设计和开发方法。Steve将讨论用于设计关卡和游戏机制的一些关键设计原则；整个战役如何按照顺序进行设计、编写和实现（这通常是一个非常糟糕的做法），以及他认为哪些因素帮助这款游戏既获得了批评上的成功，也成为了一个很棒的工作项目。
链接：https://schedule.gdconf.com/session/making-collectibles-count/907550
作者：Joe Morrissey (Game Director, The Believer Company)
Collectibles: Feathers in Assassin's Creed, Pigeons in GTA, or Magazines in Mafia II - collectibles like these often bring derision among players and developers alike for being frustrating, lacking in rewards, or simply being nonsensical. Whereas the Sea Shanties in Black Flag, the Backpacks in Marvel's Spider-Man, and the Audio Diaries in Bioshock often bring praise for their world building, gameplay, and rewards.
What is the DNA of a good collectible? How do you get your players to care about collecting? How can you evaluate your current collectibles to see if they are fun or fatiguing?
Joe Morrissey (Ghost of Tsushima, InFamous, City of Heroes, Death Jr.) has spent a career tempting you to search through worlds to find those hidden treasures. This talk outlines the key traits that go into a successful collectible, and how they can drive player agency and engagement.
收集物：《刺客信条》中的羽毛、《GTA》中的鸽子或《黑手党II》中的杂志——这类收集物经常让玩家和开发者感到沮丧，因为它们令人沮丧、缺乏奖励，或者仅仅是毫无意义。而《黑旗》中的海员歌曲、《蜘蛛侠》中的背包和《生化奇景》中的音频日记则因其世界构建、玩法和奖励而受到赞誉。
好的收集物的DNA是什么？如何让你的玩家关心收集？如何评估现有的收集物以查看它们是有趣的还是令人疲劳的？
乔·莫里塞（《对马岛之鬼》、《恶名昭彰》、《英雄城市》、《死亡jr.》）的职业生涯一直在引导你探索世界以寻找那些隐藏的宝藏。本次演讲概述了成功收集物的关键特征，以及它们如何推动玩家的自主性和参与度。
链接：https://schedule.gdconf.com/session/making-games-for-kids-roundtable-day-1/907653
作者：Carla Engelbrecht (Founder & CEO, Betweened)
Children are not just mini versions of adult gamers. Kids' gaming preferences and abilities are affected by their developing cognitive and physical abilities. Session 1 will focus on the design of games for kids, including considering children's development at different ages and the implications for game mechanics, design, and story development. Session 2 will focus on marketing, discovery, and business models. When the target audience is children is always tricky. But it's not impossible!
孩子们不仅仅是成人玩家的迷你版。孩子们的游戏偏好和能力受到他们正在发展的认知和身体能力的影响。第一部分将专注于为儿童设计游戏，包括考虑不同年龄段儿童的发展，并探讨其对游戏机制、设计和故事发展的影响。第二部分将重点放在市场营销、发现渠道和商业模式上。当目标受众是儿童时，总是会遇到一些挑战。但这是完全可能做到的！
链接：https://schedule.gdconf.com/session/making-games-for-kids-roundtable-day-2/911343
作者：Carla Engelbrecht (Founder & CEO, Betweened)
Children are not just mini versions of adult gamers. Kids' gaming preferences and abilities are affected by their developing cognitive and physical abilities. Session 1 will focus on the design of games for kids, including considering children's development at different ages and the implications for game mechanics, design, and story development. Session 2 will focus on marketing, discovery, and business models. When the target audience is children is always tricky. But it's not impossible!
孩子们不仅仅是小型的成人玩家。孩子们的游戏偏好和能力受到他们正在发展的认知和身体能力的影响。第一部分将专注于为儿童设计游戏，包括考虑不同年龄段儿童的发展，并探讨这对游戏机制、设计和故事发展的影响。第二部分将侧重于市场营销、发现渠道和商业模式。当目标受众是儿童时，这总是个挑战。但并非不可能！
作者：Michelle Clough (Game Writer / Narrative Designer, Talespinners)、Souha Al-Samkari (Vice-President, Truant Pixel, LLC)
Whether it’s a favorite romantic interest or a favorite steamy scene, many players are passionate about love, sex, andintimacy in games. How do developers harness that passion - and their own - to create better romances, sex scenes,and thirsty content for everyone? Join a diverse community of developers for a two-day roundtable on romance andsex in games.Roundtable Day 1: Romance in GamesThis session focuses on all things romantic in games, from creating memorable moments to designing swoonworthycharacters to share those moments with. How can games branch out from traditional mechanics and narrativestructures for relationships, and can elements like procedural generation make romance more responsive andinteresting?Roundtable Day 2: Sex in GamesThe second session focuses on crafting sexual content for games. From exploring logistics and implications ofinteractivity during sex scenes to considering the future of digital intimacy coordinators and games for sex education,this roundtable invites informational and sex-positive discussion on where sex in games might go next!
无论是心爱的角色还是激情四溢的场景，许多玩家都对游戏中爱情、性和亲密关系充满热情。开发者如何利用这种热情——以及他们自己的热情——来创造更好的恋爱故事、性爱场面和诱人内容呢？加入一个多元化的开发者社区，参加为期两天的游戏中的浪漫与性话题圆桌会议。
圆桌会议第一天：游戏中的浪漫 本环节聚焦于游戏中的所有浪漫元素，从创造难忘时刻到设计令人倾心的角色以分享这些时刻。游戏如何突破传统的关系机制和叙事结构？像程序生成这样的元素能否使浪漫变得更加动态和有趣？
圆桌会议第二天：游戏中的性 第二环节专注于为游戏创作性内容。从探讨性爱场景互动的后勤和影响，到思考数字亲密协调员的未来以及用于性教育的游戏发展方向，本次圆桌会议邀请信息丰富的、积极正面的讨论，探索游戏中的性可能的发展方向！
作者：Michelle Clough (Game Writer / Narrative Designer, Talespinners)、Souha Al-Samkari (Vice-President, Truant Pixel, LLC)
Whether it’s a favorite romantic interest or a favorite steamy scene, many players are passionate about love, sex, andintimacy in games. How do developers harness that passion - and their own - to create better romances, sex scenes,and thirsty content for everyone? Join a diverse community of developers for a two-day roundtable on romance andsex in games.Roundtable Day 1: Romance in GamesThis session focuses on all things romantic in games, from creating memorable moments to designing swoonworthycharacters to share those moments with. How can games branch out from traditional mechanics and narrativestructures for relationships, and can elements like procedural generation make romance more responsive andinteresting?Roundtable Day 2: Sex in GamesThe second session focuses on crafting sexual content for games. From exploring logistics and implications ofinteractivity during sex scenes to considering the future of digital intimacy coordinators and games for sex education,this roundtable invites informational and sex-positive discussion on where sex in games might go next!
无论是心爱的角色还是激情场景，许多玩家都对游戏中爱情、性与亲密关系充满热情。开发者如何利用这种热情——以及他们自己的热情——来创造更好的浪漫情节、性爱场面和诱人内容呢？加入一个多元化的开发者社区，参加为期两天的游戏中的浪漫与性话题圆桌会议。
第一天：游戏中的浪漫 本环节聚焦于游戏中一切与浪漫相关的内容，从创造难忘时刻到设计让玩家心动的角色，共同分享这些时刻。游戏如何突破传统的关系机制和叙事结构？元素如程序化生成能否使浪漫情节更加生动和有趣？
第二天：游戏中的性 第二环节专注于为游戏创作性内容。从探讨性爱场面中的互动逻辑与影响，到考虑数字亲密协调员的未来以及性教育游戏的发展，本次圆桌会议邀请信息丰富且积极向上的讨论，探索游戏中的性内容未来可能的发展方向！
作者：Ben Schneider (Professor of Practice, Worcester Polytechnic Institute)
Learning and playing have quite a lot in common. They might even be two sides of a single coin! No surprise then that there are plenty of valuable lessons education has to offer the craft of game design. Ben Schneider shares what he's learned about learning from three years as a professor at WPI's IMGD program and what light it shines on his previous twenty as a game designer. This talk lays out the ways that learning factors into games beyond the tutorial, how players actually absorb information and acquire skills, and how we might make game experiences more memorable and meaningful.
学习和玩耍有很多共同之处。它们甚至可能是同一枚硬币的两面！难怪教育能为游戏设计的艺术提供许多宝贵的教训。本·施耐德分享了他在WPI的IMGD项目担任三年教授期间关于学习的经验，并揭示了这如何照亮了他之前二十年作为游戏设计师的经历。这次演讲阐述了学习在游戏中的作用超越教程的方式，玩家如何实际吸收信息和获得技能，以及我们如何使游戏体验更加难忘和有意义。(learning)(games)(IMGD)
作者：Emily Brown (Lead Designer, ustwo games)
Emily's talk will be a journey into making a sequel in the Monument Valley series from a design perspective. The original Monument Valley 1 and 2 were games that featured in museums. Emily will describe the process the team took to understand the impact and strengths of the original games and the team's creative approach to make something just as impactful.The talk will share working practices and creative processes using images of early prototypes, documents, workshops, miros and various artifacts from the journey. Emily will detail the methods for understanding the past in order to create a worthy sequel.
艾米莉的分享将是一场从设计角度探讨制作《纪念碑谷》系列续作之旅。原版《纪念碑谷》1和2都是曾在博物馆展出的游戏。艾米莉将描述团队如何理解原版游戏的影响和优势，并介绍团队创造新作的创意方法，使其同样具有影响力。此次分享将通过早期原型图、文档、研讨会、miros（一个在线协作看板工具）以及旅程中的各种素材，展示工作流程和创意过程。艾米莉还将详细说明如何通过理解过去来创作出一部 worthy（值得的）续作。
作者：Michael Songy (Sr. Director, GeForce Developer Technology, NVIDIA)
Learn how to build psychologically rich AI-powered NPCs and utilize NVIDIA’s inference solutions in combination with other tech for game-changing outcomes.
了解如何构建心理丰富的AI驱动的NPC，并结合其他技术利用NVIDIA的推理解决方案以实现颠覆性的结果。
作者：Seth Rosen (Game Director & Lead Designer, Ironwood Studios)
Pacific Drive is a game that defies description while managing to appeal to a broad audience. At its core, it's a survival-crafting game, but it’s also not, because survival-crafting games don't really exist. Sure, Pacific Drive has survival and crafting, but thanks to sound survival fundamentals and a focus on theme, setting, and player fantasy, it leaves many of the usual trappings of survival games in its dust.In this session, Seth Rosen (Game Director and Lead Designer) will lay out the fundamentals of survival gameplay he learned working on Don’t Starve and dive into how they were applied in designing Pacific Drive’s systems and structure. Through this dense and detailed look at what makes Pacific Drive tick, he will demonstrate how he avoided established formulas, look at how a taxonomy of survival experiences guided the design, and discuss the elements that step outside of traditional survival gameplay to offer a novel experience.
《太平洋驱动》是一款难以用语言形容，却能吸引广泛玩家的游戏。从核心来看，它是一款生存建造类游戏，但又不完全是，因为真正的生存建造类游戏并不存在。当然，《太平洋驱动》包含了生存和建造元素，但由于其坚实的声音生存基础以及对主题、背景和玩家幻想的关注，它超越了许多传统生存游戏的常见套路。在这次分享中，塞斯·罗森（游戏总监兼首席设计师）将介绍他在开发《饥荒》时学到的生存游戏设计基础知识，并深入探讨这些知识如何应用于《太平洋驱动》系统的构建和结构设计。通过这种密集且详细的分析，他将展示如何避免已有的固定模式，探讨了一种生存体验分类法如何指导设计过程，并讨论了那些跳出传统生存游戏玩法的元素，从而提供一种新颖的游戏体验。
作者：Remi Boutin (Senior Game Designer, Ubisoft)
During the prototyping of 'Prince of Persia: The Lost Crown,' one genre became evident when modernizing the gameplay: the metroidvania. However, this type of game is not known for being the most accessible. The team aimed to create a challenging game while opening it to as many players as possible. The question of accessibility and its impact on difficulty arose early on, but there were a lot of challenges for the team, which was smaller than a usual AAA production.
In this talk, Rémi Boutin presents the philosophy and solutions used to achieve the team's vision. He will detail how accessibility can be a strength for discovering innovative core concepts, how to provide a challenging game with a deep combat system while making it accessible, and how to plan and develop accessibility without a dedicated team.
在“波斯王子：失落之冠”原型开发过程中，当现代元素融入 gameplay 时，一个显而易见的游戏类型浮现出来：类银河恶魔城。然而，这类游戏并不以高可玩性著称。团队的目标是创造一款具有挑战性的游戏，同时尽可能让更多玩家能够接触。关于可访问性和其对难度的影响的问题很早就提出来了，但对这个规模小于 typical AAA production 的小团队来说，存在许多挑战。
在这次演讲中，Rémi Boutin 将介绍团队实现愿景所采用的理念和解决方案。他将详细说明可访问性如何成为探索创新核心概念的优势，如何提供一个具有深度战斗系统的具有挑战性的游戏，并使其易于上手，以及如何在没有专门团队的情况下规划和开发可访问性。
链接：https://schedule.gdconf.com/session/rapid-and-creative-gameplay-prototyping-in-astro-bot/910488
作者：Masayuki Yamada (Principal Gameplay Programming Lead, Sony Interactive Entertainment)
Team ASOBI released ASTRO BOT in September 2024, which became a highly acclaimed 3D platformer. In this session, the team's lead gameplay programmer introduces prototyping techniques used during the development of ASTRO BOT. The game features a wide variety of power-ups, gimmicks, enemies, and interactions, each enhanced by unique animations, effects, sounds, and haptics that elevate the interactive experiences. Given the large number of unique elements and the constraints of time and resources, a strong emphasis is placed on prototyping to manage these challenges effectively. The speaker explains the specific methods and processes used to create these prototypes, and how collaboration with game designers and artists helped refine them into production-quality features, showcasing actual examples from the development process.
团队ASOBI于2024年9月发布了《ASTRO BOT》，这款游戏成为了一款备受赞誉的3D平台游戏。在本次会议中，该团队的首席玩法程序员介绍了在《ASTRO BOT》开发过程中使用到的原型设计技术。游戏中包含了大量的各种增益道具、机关、敌人和互动元素，每个元素都通过独特的动画、效果、声音和触觉反馈来提升交互体验。鉴于游戏中存在大量独特的元素以及时间和资源的限制，因此非常重视原型设计以有效应对这些挑战。演讲者解释了用于创建这些原型的具体方法和流程，并说明了与游戏设计师和艺术家合作如何帮助将这些原型完善为制作质量的功能，展示了开发过程中的实际案例。
链接：https://schedule.gdconf.com/session/reimagining-leaders-for-civilization-vii/907764
作者：Chandrahas Tanguturi (Animator, Firaxis Games)、Rue Taylor (Narrative Designer, Firaxis Games)
Leaders have always been a core element of the Civilization series. They are the faces of history who engage with, and react to, the stories players create as they build new empires one turn at a time.
In this session, an interdisciplinary panel will walk through the process by which leaders were created for Sid Meier's Civilization VII. From concept to completion, each stage required close collaboration and communication across many teams in order to strike a consistent balance between history and historically-informed creativity. This talk will explore the unique challenges and triumphs encountered by disciplines while working with historical material, as well as methods of interdepartmental cooperation leveraged to bring Civilization's leaders to life.
领导者一直是文明系列游戏的核心元素。他们是历史的面孔，与玩家创造的故事互动，并对这些故事做出反应，玩家通过一次一回合的方式逐步建立新的帝国。
在本次会议中，一个跨学科的小组将介绍为席德·梅尔的《文明 VII》创建领导者的过程。从概念到完成，每个阶段都需要多个团队之间的紧密协作和沟通，以在历史真实性和基于历史的创意之间保持一致的平衡。此次演讲将探讨不同学科在处理历史材料时遇到的独特挑战和成就，以及为了使文明中的领导者栩栩如生而采用的跨部门合作方法。
作者：Richard Rouse III (Studio Creative Director, FarBridge)、Harvey Smith (Studio Head/Creative Director, Independent)、Alisha Thayer (Design Director, Crystal Dynamics)、Chandana Ekanayake (Creative Director, Outerloop Games)、Carla Engelbrecht (CEO & Founder, Betweened)、Noah Falstein (Founder , The Inspiracy)
Every designer knows that game rules are what create gameplay, but figuring out the rules we use to make games is entirely more difficult. In addition, game design rules are much more open to personal style and preference. The popular Rules of the Game session is a great place to see just how wide-ranging design opinions can be. Returning for 2025, this session brings together a cohort of experienced game designers, each of whom have shipped amazing games. In the session, each designer gets 10 minutes to share a technique they use in the creation of their projects, each exploring a different facet of game design. This fast-paced session will show you detailed, practical, and inspirational design methods that will challenge your thinking and make you a more versatile designer.
每位设计师都知道，游戏规则是创造游戏玩法的关键，但要弄清楚我们用来制作游戏的规则却困难得多。此外，游戏设计规则更加开放于个人风格和偏好。广受欢迎的“游戏规则”研讨会正是一个绝佳的地方，可以一窥设计理念的多样性。该研讨会将在2025年回归，届时将汇集一批经验丰富的游戏设计师，他们各自都推出过令人惊叹的游戏作品。在研讨会上，每位设计师将有10分钟的时间分享他们在项目创作中使用的一种技术，每个设计师探讨游戏设计的不同方面。这一节奏紧凑的研讨会将向您展示详细、实用且充满启发性的设计方法，这些方法将挑战您的思维，使您成为更具多样性的设计师。
作者：Jos (Founder and CEO, Coplay)
In this session, Coplay's team will walk through the creation of a game from scratch using an AI copilot with Unity. They explain how Coplay integrates directly with Unity's Editor to provide a chat interface that eliminates and automates tedious tasks in the engine by leveraging project-wide context and AI.
Real-world case studies reveal how a copilot simplifies workflows that unifies coding, art, and design, allowing teams to rapidly iterate on ideas while working on more fun/meaningful problems.
在本环节中，Coplay团队将展示如何从零开始使用Unity和AI副驾创建一款游戏。他们解释了Coplay如何直接与Unity编辑器集成，提供一个聊天界面，通过利用项目范围的上下文和人工智能来消除和自动化引擎中的繁琐任务。
现实世界中的案例研究揭示了副驾如何简化工作流程，统一编码、美术和设计，从而使团队能够在更有趣或有意义的问题上快速迭代想法。
链接：https://schedule.gdconf.com/session/tabletop-summit-arydia-the-paths-we-dare-tread/910189
作者：Ira Fay (Learning Game Designer, MIT)、Cody Miller (CEO, Far Off Games)
In this talk, Cody and Ira share best practices and pitfalls of their 10-year design and development process of Arydia: The Paths We Dare Tread, including a successful crowdfunding campaign (~$1.4MM and ~10,500 backers). Arydia is an open world, campaign-based, co-operative, fantasy-themed role-playing board game. We strive to maximize Arydia's audience and differentiate it from other games on the market via increased traditional role playing opportunities and fully prepainted miniatures (with interchangeable heads!) included in every copy of the game. Cody, as designer, and Ira, as developer, discuss their roles on the project and the biggest challenges they faced (e.g. what to do when the first manufacturing plan far exceeds the desired budget). They conclude by sharing the "secret sauce" of their successful, multi-year collaboration, outlined in five clear points that any small team can replicate.
在这次演讲中，Cody和Ira分享了他们在开发Arydia: The Paths We Dare Tread（Arydia：我们敢于行走的道路）这10年设计和开发过程中的最佳实践和常见陷阱，包括一次成功的众筹活动（约140万美元和约10,500名支持者）。Arydia是一款开放世界、基于战役、合作型的幻想主题角色扮演游戏。他们致力于通过增加传统角色扮演机会以及每份游戏中包含的完全预涂装的迷你模型（可互换头部！）来最大化Arydia的受众并将其与市场上的其他游戏区分开来。Cody作为设计师，Ira作为开发者，讨论了他们在项目中的角色以及面临的最大挑战（例如，当第一个生产计划远远超出预期预算时该怎么办）。他们最后分享了他们成功多年合作的“秘诀”，总结为五点清晰的要点，任何小团队都可以复制。
作者：Emma Larkins (Board Game Designer, Independent)
As board game designers, publishers, retailers, and players, we don't always have teachability and learnability of games at the forefront of our minds. We see a shiny new idea or game and are excited to engage with it! Our expectations of a smooth onboarding experience are often frustrated, at best creating a barrier to playing the game and at worst ensuring that the game doesn't get played at all. Know that teaching and learning board games is not a "you" problem but an industry-wide issue. Luckily, people across the board game sphere are dedicated to innovating in this space, with lots of exciting tools and techniques slowly being experimented with and adopted.
作为棋盘游戏设计师、出版商、零售商和玩家，我们并不总是将游戏的教学性和可学习性放在首位。我们看到一个闪亮的新想法或游戏时就会兴奋地想要参与！我们对顺畅入门体验的期望往往会被挫败，这最多只会成为玩游戏的一个障碍，最坏的情况下则会导致游戏根本无法进行。要知道，教学和学习棋盘游戏不是“你”的问题，而是整个行业的问题。幸运的是，棋盘游戏领域的各界人士都在致力于在这个领域进行创新，许多令人兴奋的工具和技术正在被逐步试验和采纳。
Tabletop Summit: Bringing 'Survivor' to Game Night: A Case Study in Adapting Film/TV to Mass Market Tabletop
作者：Ian Clayman (Game Designer, Exploding Kittens, Inc.)
How do you define a "good" adaptation? Is it better to bring elements of the original material over whole cloth, or can you create authenticity through feeling and emotion? And how do you make sure that adaptation is engaging to dedicated fans seeking it out AND new players who might stumble upon it in a game shop?
In this case study of Survivor: The Tribe Has Spoken, Ian Clayman will explain how he, show host and producer Jeff Probst, and the team at Exploding Kittens, Inc., tackled these creative challenges through the lens of adaptation theory.
如何定义一个“好的”改编？是整体保留原作元素更好，还是可以通过情感和情绪来创造真实感？并且，如何确保这种改编对那些特意寻找它的忠实粉丝有吸引力，同时也吸引到偶然在游戏店发现它的新玩家？
在这次以《幸存者：部落已发言》为案例的研究中，伊恩·克莱曼将解释他、节目主持人兼制作人杰夫·普罗布斯特以及Exploding Kittens公司团队是如何通过改编理论的角度来应对这些创作挑战的。
作者：Cole Wehrle (Creative Director, Leder Games, Wehrlegig Games)、Josh Yearsley (Editor and Game Developer, Leder Games)
Over the past decade, Leder Games has been developing a new "early access" approach to tabletop game design. This method has built some of the most critically acclaimed and commercially successful games in the hobby tabletop market. In this presentation, creative director Cole Wehrle and editor and game developer Josh Yearsley talk about the studio's history with this approach and how it transformed the games we make. We'll start with a general overview of the unique role of crowdfunding in tabletop and how it built on and professionalized a tradition of community-driven design work. We'll briefly cover the creation of Root and its expansions, then discuss how we scaled up those processes during the development of Oath and how we put these methods to the test with our most ambitious project yet, the newly released science fiction game Arcs.
在过去十年中，Leder Games 一直致力于开发一种新的“抢先体验”方法来设计桌面游戏。这种方法打造了一些在爱好者桌面游戏市场中最受好评和商业上最成功的游戏。在这次演讲中，创意总监科尔·韦尔和编辑兼游戏开发者乔希·耶尔斯利将谈论工作室采用这种做法的历史，以及它如何改变了我们制作游戏的方式。我们将首先概述众筹在桌面游戏中的独特作用，并说明它是如何建立并专业化了一种以社区为主导的设计工作传统。我们将简要介绍《Root》及其扩展包的创作过程，然后讨论在开发《Oath》过程中我们是如何扩大这些流程的，并探讨我们如何通过迄今为止最具雄心的项目——最新发布的科幻游戏《Arcs》来检验这些方法。
作者：Krzysztof Zarczynski (Managing Director, Monster Couch)、Theresa Duringer (CEO, Temple Gates Games)、Scott Martins (President and Founder, Dire Wolf)、Cole Wehrle (Creative Director, Leder Games / Wehrlegig Games)
In this panel, industry leaders Scott Martins (Dire Wolf), Theresa Duringer (Temple Gates Games), Krzysztof Żarczyński (Monster Couch), and Jaye Handel (Handelabra Games) explore the complexities of adapting physical board games into digital formats. Drawing from their experiences with successful games like Dune: Imperium, Dominion, Wingspan, and Spirit Island they discuss the technical, design, and business challenges unique to digital adaptations. The panelists will share insights into maintaining the core experience of the physical game, the role of AI in creating engaging solo experiences, and how digital tools can enhance the board game experience. Moderated by Cole Wehrle (tabletop designer of Root) this panel will explore the design gotchas and windfalls of bringing physical board games to digital.
在这场讨论中，行业领袖Scott Martins（Dire Wolf）、Theresa Duringer（Temple Gates Games）、Krzysztof Żarczyński（Monster Couch）和Jaye Handel（Handelabra Games）探讨了将实体桌游改编为数字格式的复杂性。他们以《Dune: Imperium》、《Dominion》、《Wingspan》和《Spirit Island》等成功游戏为例，讨论了数字改编所特有的技术、设计和商业挑战。与会者将分享如何保持实体游戏的核心体验，AI在创造吸引人的单人游戏体验中的作用，以及数字工具如何增强桌游体验。本场由桌面设计师Cole Wehrle（《Root》的创作者）主持，将探索将实体桌游带到数字平台的设计陷阱和机遇。
作者：Richard Zapp (Game Designer, Wizards of the Coast)
Celebrating its 25th year anniversary, Wizards of the Coasts' 'Duel Masters' continues to be a AAA Physical and Digital Trading Card Game title, fostering a best-in-class competitive environment with tournaments with 4000+ players in attendance. Game designer Richard Zapp takes attendees through the history of the game, introduces core design and development philosophies, and shares lessons learned over decades of work. Duel Masters is a case study on many challenges game designers face in the TCG space, such as supporting an eternal format where 99.9% of cards are legal, and producing a game simple enough for elementary school audiences to learn and enjoy. Any designer motivated to produce a game that can stand the test of time has something to learn from Duel Masters.
庆祝其成立25周年，威世智（Wizards of the Coast）的《决斗大师》（Duel Masters）继续作为一款AAA级实体和数字集换式卡牌游戏（TCG），培养了一流的竞技环境，吸引了超过4000名玩家参赛的赛事。游戏设计师理查德·扎普（Richard Zapp）带领参与者回顾了游戏的历史，介绍了核心设计和开发理念，并分享了几十年工作中积累的经验。《决斗大师》是许多集换式卡牌游戏设计师在面对诸多挑战时的一个案例研究，例如支持一个永恒格式（eternal format），其中99.9%的卡牌都是合法的，以及制作一款足够简单，让小学生也能学习和享受的游戏。任何希望创作出能够经受时间考验的游戏的设计师都能从《决斗大师》中学到东西。
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.
准备好进入社交推理游戏的世界吧，《血染时钟塔》（Blood on the Clocktower）是一款独特且引人入胜的桌面游戏体验，它突破了玩家互动和叙事故事讲述的界限。在这次大师班课程中，《血染时钟塔》的创作者将带你深入了解这款备受赞誉的游戏背后的设计、机制和心理学，为寻求创造各种引人入胜的社交体验的游戏开发者提供宝贵的见解。
作者：Ian Schreiber (Game Designer, Independent)、JC Lau (Senior Advanced Producer, ProbablyMonsters)、Alexander Martin (Game Maker, Droqen)、Rosa Carbo-Mascarell (Design Lead, Improbable)、Theresa Duringer (CEO, Temple Gates Games)、Jurie Horneman (Senior AI Programmer, Half Mermaid Productions)、Rayla Heide (Franchise Narrative Director, Scopely)
Project Polaris is an annual think-tank style conference that invites the industry's top game designers to solve the most difficult problems in games. The conference produces reports on a variety of design-related topics. In this session, representatives from each workgroup present the key ideas, findings, and takeaways that can improve your design skills, your current game projects, and the industry as a whole.
Project Polaris 是一个年度智库风格的会议，邀请了业内顶尖的游戏设计师来解决游戏中最棘手的问题。会议会针对各种设计相关主题发布报告。在此次会议中，每个工作组的代表将展示关键理念、发现和收获，这些都可以帮助提升你的设计技能、当前的游戏项目以及整个行业。
链接：https://schedule.gdconf.com/session/teaching-first-time-level-designers-for-infinity-nikki/911449
作者：Kentaro Tominaga (Sub-Director, Infold Games)
Level design is often viewed as expensive handicraft. For young developers looking for a career in level design, it can be a long, lonely journey. Infold Games originated as a mobile dress-up and romance simulation studio, and had never worked on 3D platformer or openworld games before 'Infinity Nikki'. Within 5 years, the team scaled to near 1,000 at launch. Most designers are young, passionate first-timers and much of its in-game design came from continuous bottom-up inspirations.This talk will share the 3 layers of developer coaching that Kentaro Tominaga implemented at Infold Games and iterated day-to-day: translate, communicate, debate. In light of his methodology, he will present cases behind real-life design decisions.On the surface, these practices may appear basic, can sometimes slow development and are seemingly expensive. However, its application on the 'Infinity Nikki' team has shown to be effective for the training and growth of young designers, underscoring that investment in team coaching is always worth it.
关卡设计通常被视为昂贵的手工艺。对于寻求在关卡设计领域发展的年轻开发者来说，这可能是一条漫长而孤独的道路。Infold Games 最初是一个移动换装和浪漫模拟工作室，在《Infinity Nikki》之前从未涉足过3D平台或开放世界游戏。在不到五年的时间里，团队规模扩大到接近1000人。大多数设计师都是充满激情的新人，许多游戏内的设计灵感来自于持续不断的自下而上的创新。本次演讲将分享Kentaro Tominaga在Infold Games实施并每日迭代的开发者指导三层方法：翻译、沟通、辩论。基于他的方法论，他将展示一些真实设计决策背后的原因。表面上看，这些做法可能显得基础，有时甚至会减缓开发进程，并且似乎成本高昂。然而，在《Infinity Nikki》团队中的应用表明，这对年轻设计师的培训和成长非常有效，强调了对团队指导的投资总是值得的。
链接：https://schedule.gdconf.com/session/teaching-nix-to-behave-in-star-wars-outlaws/907598
作者：Simon Abou Assi (Senior AI Programmer, Massive Entertainment – a Ubisoft Studio)、Sarah Schulze (Senior Gameplay Animator, Massive Entertainment – a Ubisoft Studio)、Juan Miguel Lechuga Pérez (Senior Gameplay Programmer, Massive Entertainment – a Ubisoft Studio)
How can a companion be more useful than a blaster bolt? Welcome to an inside look at the development of Nix, Kay Vess' adorable companion in Star Wars Outlaws. A grounded character in an open world game can bring a set of realization and navigation challenges which are not often tackled in game development. This talk explores some of the requirements, gameplay systems and ideas that were introduced to realize the fully interactive companion you see in the finished game. Join three key members of the gameplay team as they talk about NPC behavior, Navmesh challenges, interaction mechanics and the animation systems that brought Nix to life. Whether you're interested in NPC development, gameplay programming, animation, technical design, or the collaborative efforts between the disciplines, this session provides valuable insights into how a companion became an extension of the player character.
如何让同伴比爆能枪子弹更有用？欢迎了解《星球大战：侠盗》中凯·维斯的可爱同伴尼克斯的发展内幕。在开放世界游戏中，一个脚踏实地的角色会带来一系列实现和导航挑战，这些挑战在游戏开发中并不常见。本次演讲探讨了为了实现最终游戏中完全互动的同伴角色所引入的一些需求、游戏系统和理念。加入游戏团队的三位关键成员，他们将讨论NPC行为、导航网格挑战、交互机制以及使尼克斯栩栩如生的动画系统。无论你对NPC开发、游戏编程、动画、技术设计，还是跨学科之间的协作感兴趣，本环节都将为你提供宝贵的见解，了解如何让同伴成为玩家角色的延伸。
作者：Teruki Endo (Battle Director, Square-Enix)
A detailed account on the challenges involved in designing an innovative battle system for the FINAL FANTASY VII remake project.Learn about the thinking, process, and results of how the formerly turn-based battle system was redesigned to incorporate more action and strategic elements.
关于在最终幻想VII重制项目中设计创新战斗系统的挑战的详细描述。了解从前是回合制的战斗系统如何被重新设计，以融入更多动作和策略元素的过程、思考和结果。
作者：Kenichi Goto (Lead Battle Planner, Atlus)
How has the genre of command battle RPGs, often ridiculed as old-fashioned, been updated into the latest titles? This presentation will cover the twists and turns, decisions made to realize the director's vision into the optimal game system, and the methods of test play conducted to gather data for balance adjustments more reliably and cost-effectively, using the latest work "Metaphor: ReFantazio" as an example.
如何将常被嘲笑为过时的指令战斗RPG类型更新到最新的游戏中？本次演示将介绍从曲折到转折的过程，讨论为了实现导演的愿景而做出的关键决策，以及如何通过最新作品《Metaphor: ReFantazio》进行测试游玩，以更可靠且成本效益更高的方式收集数据来进行平衡调整的方法。
作者：Ian Schreiber (Game Designer, Independent)
Design documentation comes in many forms and can be radically different from one project or company to the next, but there are a few kinds of documentation that are broadly useful in most game projects. This talk will focus on four such documents: the game vision, pillars, loops, and resource flow, with examples from a variety of games. Attendees will learn what these documents are, how to create them in a way that makes them useful and maintainable, and how to use them to make future design tasks on the project much easier.
设计文档有多种形式，并且从一个项目或公司到另一个可能完全不同，但在大多数游戏项目中，有一些类型的文档是非常有用的。本次演讲将重点介绍四种这样的文档：游戏愿景、支柱、循环和资源流，并提供来自各种游戏的示例。与会者将学习这些文档是什么，如何以使其有用且易于维护的方式创建它们，以及如何使用它们使项目中的未来设计任务变得更加容易。
链接：https://schedule.gdconf.com/session/the-game-makers-zodiac-a-team-building-tool/907262
作者：Isaque Sanches (Senior Game Designer, Ubisoft)
Folks in the games industry want to make games for many reasons: not everyone is motivated by the same things.
This lecture takes a look at different types of creators in the industry: not only by job family (code, design, art, audio, production, etc) but by grouping them by personality traits, backgrounds, aesthetic preferences and biases.
From there, a general high-level breakdown is presented: the lecturer proposes 13 archetypes for videogame creators, based on research (cross-referencing literature and collected data), and invites you to explore how these might communicate with one another, what are the strengths and weaknesses of each archetype grouping, and how they can all work in harmony by co-empowering each other.
游戏行业中的从业者想要制作游戏的原因各不相同：并不是每个人都被同样的东西所激励。
本次讲座着眼于行业内不同类型的创作者：不仅按职业类别（编程、设计、美术、音频、制作等）划分，还通过个性特征、背景、审美偏好和偏见来分组。
在此基础上，讲座提出了一个大致的高层次分类：讲师基于研究（交叉引用文献和收集的数据）提出了13种电子游戏创作者的原型，并邀请您探索这些原型之间可能如何交流，每种原型组合的优势和劣势是什么，以及他们如何通过互相赋能实现和谐共处。
链接：https://schedule.gdconf.com/session/the-making-of-astro-bot/910414
作者：Nicolas Doucet (Studio Director, Sony Interactive Entertainment)
This session will take you on a fun and visual journey through 10 principles that shaped team ASOBI's latest game, ASTRO BOT; from the initial concept pitch to how the team works on a day to day basis to create magical moments for all ages.
本环节将带您通过视觉盛宴，了解塑造团队ASOBI最新游戏《ASTRO BOT》的10个原则，从最初的概念提案到团队日复一日的工作，创造适合所有年龄段的神奇时刻。
作者：Ryosuke Horii (Chief Director and Producer, SEGA)、Eiji Hamatsu (Design Manager, 1st Business Unit, SEGA)
The developer himself, who has been involved with the series for a long time from two perspectives - game design and visual design - will explain how the Ryu Ga Gotoku series has been able to continuously develop narrative-driven games in a short period of time.
这位开发者从游戏设计和视觉设计两个方面长期参与了该系列的开发工作，他将解释《如龙》系列是如何在短时间内持续推出注重叙事驱动的游戏。
作者：Oleg Shatulo (Publishing Producer, CD PROJEKT RED)、Bence Hambalkó (CEO, Yigsoft)
The Witcher 3: REDkit is a tool that allows players to create and modify content for The Witcher 3: Wild Hunt. In this session, Bence and Oleg will explain how REDkit was developed, its effects on the player community, and the challenges they faced in updating an engine that had been in use for nearly a decade. They will provide practical examples of the development process and how they addressed various obstacles to deliver a valuable resource for modders.
《巫师3：红-kit》是一款允许玩家为《巫师3：狂猎》创建和修改内容的工具。在本次会议中，Bence 和 Oleg 将解释 REDkit 的开发过程，它对玩家社区的影响，以及他们在更新一个使用了近十年的引擎时所面临的挑战。他们将提供开发过程中的实际案例，并展示他们如何克服各种障碍，为模组制作者提供有价值的资源。
链接：https://schedule.gdconf.com/session/tool-design-roundtable-day-1-design-and-ux/906753
作者：Robin-Yann Storm (Product & UX for Tools, Independent)
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:
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What user experience techniques have you seen best fit for your toolsets?
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Is classical UX applicable in tools, or is it very different?
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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.
这个工具设计圆桌会议是关于内部和外部工具集的用户体验。来参加吧，见面、讨论并了解过去一年大家在工具设计方面都做了些什么。
往年讨论过的话题示例包括：
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你认为哪些用户体验技术最适合你的工具集？
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经典的用户体验是否适用于工具？或者两者非常不同？
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工具服务公司是否有看到他们在工具设计方面有任何差异？
今年的问题可能会有所不同或相似！欢迎加入并提问。
链接：https://schedule.gdconf.com/session/tool-design-roundtable-day-2-production-strategy/911355
作者：Robin-Yann Storm (Product & UX for Tools, Independent)
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.
这个工具设计圆桌会议是关于内部和外部工具集的用户体验。来参加吧，见面、讨论并了解过去一年大家在工具设计方面都做了些什么。往年讨论过的话题示例包括：1. 你认为哪些用户体验技术最适合你的工具集？2. 经典的用户体验是否适用于工具，或者两者非常不同？3. 工具服务公司如果在工具设计方面看到了什么差异？今年的问题可能会有所不同或相似！欢迎加入并提问。
链接：https://schedule.gdconf.com/session/tool-design-roundtable-day-3-user-research/911356
作者：Robin-Yann Storm (Product & UX for Tools, Independent)
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.
本次工具设计圆桌会议是关于内部和外部工具集的用户体验。来参加吧，见面、讨论并了解过去一年大家在工具设计方面都做了些什么。往年讨论过的话题示例包括：1. 您认为哪些用户体验技术最适合您的工具集？2. 经典的用户体验是否适用于工具，或者两者非常不同？3. 工具服务公司是否有观察到其工具设计方面的任何差异？今年的问题可能会有所不同或相似！欢迎加入并提问。
Twisting Terrain and Populating Forests on an Anomalized Olympic Peninsula for Pacific Drive (Presented by Houdini)
作者：Karl Kohlman (Tech Artist, Pacific Drive)、Kendall Wix (Level Designer, Ironwood Studios)
As an indie game studio, Ironwood Studios needed an efficient way to make a massive number of bespoke maps for their game, Pacific Drive, but with only a small team to do so. Utilizing Houdini Engine for Unreal and with the help of a proprietary UE plugin, they created a suite of tools to empower a much smaller team to create and decorate a large library of dense and diverse maps. Karl Kohlman (tech artist) will cover the general methodologies used to refine rough terrain sculpts into shippable landscapes, generating maps for landscape material layers, controllable blending of biomes, road spline incorporation and terrain modification, and foliage scattering based on all of the aforementioned data. Kendall Wix (level designer) will cover the end user experience, how he incorporated the tools into his work flow, as well as the myriad of benefits the tools provided.
作为一家独立游戏工作室，铁木工作室需要一种高效的方法来为他们的游戏《太平洋驱动》制作大量定制地图，但团队规模较小。通过利用Houdini引擎和Unreal引擎，并借助一个专有的UE插件，他们创建了一套工具，使规模更小的团队能够创建并装饰大量的密集且多样的地图。技术艺术家卡尔·科尔曼将介绍用于将粗糙的地形雕塑精炼成可交付的景观的一般方法，生成用于景观材质层的地图、生物群系的可控混合、道路样条线的整合和地形修改，以及基于上述所有数据的植被散布。关卡设计师肯德尔·威克斯将介绍最终用户体验，他如何将这些工具融入到工作流程中，以及这些工具提供了哪些众多的好处。
作者：Jonathan Bieda (Design Lead, Creators, VRChat)
In the ever-changing world of game development, creating a cohesive and engaging user experience across multiple platforms is essential. This talk will explore strategies for achieving cross-platform consistency and simplifying complex game features for the diverse audiences of each platform. The case studies presented will offer valuable insights applicable to various contemporary game development projects.
在不断变化的游戏开发世界中，跨多个平台创建一致且吸引人的用户体验至关重要。本次演讲将探讨实现跨平台一致性以及简化复杂游戏功能的策略，以适应每个平台的多样化受众。展示的案例研究将为各种当代游戏开发项目提供宝贵的见解。
作者：Marie Potel-Saville (Founder and CEO, Amurabi)
In this talk, Marie will explore the evolution from Dark Patterns to Fair Play, focusing on ethical game design solutions that prioritize user experience while maintaining business success. Dark Patterns—deceptive design strategies aimed at manipulating players—have increasingly come under scrutiny, impacting player trust and long-term engagement. By shedding light on these tactics, we will examine how ethical design can create a more transparent, enjoyable, and sustainable gaming environment. Through case studies and practical strategies, she will discuss how developers can balance user engagement with ethical responsibility, ensuring both player satisfaction and brand loyalty. This session will offer actionable insights into transforming manipulative designs into fair, user-centered experiences that foster trust and lasting success in the gaming industry.
在本次演讲中，Marie 将探讨从“暗模式”到“公平游戏”的演变，重点关注优先考虑用户体验同时保持商业成功的伦理游戏设计解决方案。“暗模式”是指旨在操纵玩家的欺骗性设计策略，在近年来受到了越来越多的关注，影响了玩家的信任和长期参与度。通过揭示这些策略，我们将研究伦理设计如何创造一个更加透明、愉快且可持续的游戏环境。通过案例研究和实用策略，她将讨论开发者如何平衡用户参与与伦理责任，确保玩家满意度和品牌忠诚度。本环节将提供可操作的见解，将操纵性的设计转变为以用户为中心的公平体验，从而在游戏行业建立信任并实现持久的成功。
作者：Emilio Jeldrez (Creative Lead for Candy Crush Soda Saga, King)
Emilio Jéldrez is at the forefront of making the mobile gaming industry more inclusive. As Creative Lead for Candy Crush Soda Saga, a game that continually raises the bar for accessibility, he will share a behind-the-scenes look at King's efforts to integrate accessibility. Learn about the collaborative efforts that have led to innovative features in Candy Crush Soda Saga, making it a game that truly everyone can enjoy. Join Emilio as he outlines the process of developing new features, from ideation to execution, and shares his learnings from a decade of experience. As mobile gaming continues to captivate millions, the opportunity to make a positive impact is immense. Discover why efforts to prioritize accessibility can enrich gameplay for everyone.
艾米利奥·杰尔德雷兹（Emilio Jéldrez）在推动移动游戏行业更具包容性方面处于前沿位置。作为《糖果传奇苏打》（Candy Crush Soda Saga）的创意负责人，一款不断设定无障碍标准的游戏，他将分享King公司为整合无障碍功能所做出的努力的幕后情况。了解导致《糖果传奇苏打》中创新功能的合作努力，使这款游戏真正成为每个人都可以享受的游戏。加入艾米利奥，他将概述从理念到执行的新功能开发过程，并分享他十年经验中的心得体会。随着移动游戏继续吸引数百万玩家，创造积极影响的机会是巨大的。探究为什么优先考虑无障碍的努力可以丰富每个人的游戏体验。
作者：Reine Abbas (CEO & Founder, Wixel Studios/SpicaTech)
Discover the hidden psychological forces behind the most addictive games in this eye-opening session. Dive into the darker side of player engagement, where feedback loops, emotional manipulation, and time-based mechanics are designed to keep players hooked, sometimes at a cost. Learn how game design taps into human vulnerabilities, creating compulsive behaviors and emotional dependencies. Using real-world examples from blockbuster titles, the speaker reveals shocking insights into how seemingly fun experiences can become dangerously immersive. This session challenges designers to rethink their approach, offering strategies to create engaging games that captivate players responsibly. Prepare to confront the ethical dilemmas lurking in the shadows of game design!
探索最具吸引力的游戏背后的隐秘心理力量。深入玩家参与的阴暗面，其中反馈循环、情感操控和基于时间的机制被设计用来让玩家上瘾，有时甚至会带来代价。了解游戏设计如何利用人类的弱点，从而创造出强迫性行为和情感依赖。通过使用来自 blockbuster 游戏的真实案例，演讲者揭示了看似有趣的体验如何可能变得危险地具有沉浸感。本场会议挑战设计师重新思考他们的方法，提供策略以负责任地创造吸引玩家的游戏。准备好面对潜伏在游戏设计阴影中的伦理困境吧！
作者：Vanessa Hemovich (Professor of Psychology, Digipen Institute of Technology)
Understanding the science behind player spatial coding systems offers valuable insights for game designers and developers. Research in cognitive science demonstrates how users navigate virtual environments through use of spatial iconicity principles, mental rotation, processing cognitive dsyfluency, and mental mapping schemas. These embodied sybolic representations significantly impact user interaction with game worlds but if not understood can quickly overpower player processing speeds and generate heavy cognitive load - which, in turn, negatively impacts satisfaction and overall experiences.This presentation will explore how incorporating spatial coding schemas into game design can lead to more sophisticated design choices by building on well-established concepts in psychological and cognitive science. Attendees will be provided a variety of practical methods and design choices by evaluating and applying their own cognitive spatial coding systems to better understand visuo-auditory capacities of the human brain. By leveraging insights into cognitive concepts, industry professionals can learn how players perceive and engage with game environments by creating more intuitive and immersive gameplay experiences.
理解玩家空间编码系统背后的科学为游戏设计师和开发者提供了宝贵的见解。认知科学研究表明，用户如何通过使用空间象征性原则、心理旋转、处理认知不流畅以及心理映射方案来导航虚拟环境。这些具身符号表征显著影响用户与游戏世界的互动，但如果缺乏理解，则可能会迅速超越玩家的处理速度并产生沉重的认知负荷——这反过来又会负面影响满意度和整体体验。本演示将探讨如何将空间编码方案融入游戏设计，从而通过利用心理学和认知科学中已建立的概念，做出更复杂的设计选择。与会者将通过评估和应用他们自己的认知空间编码系统，获得多种实用方法和设计选择，以更好地理解人类大脑的视知觉和听觉能力。通过利用对认知概念的洞察，行业专业人士可以学习如何通过创建更具直觉性和沉浸感的游戏玩法体验，使玩家感知和参与游戏环境。
链接：https://schedule.gdconf.com/session/ux-summit-ux-writing-a-newish-craft-in-mobile-games/910065
作者：Patricia Gomez (Associate UX Writing Director, King)
UX Writing is a new discipline at King that creates player-centered content and plans for delivering the right content at the right time. Historically, content such as UI components, error messages, or onboardings were written by game designers or developers. This talk will provide an overview of the new UX Writing craft and how it fits into the game design process. We will show how we introduced it and how we are working with other design crafts like UX, UI, research, game design, and narrative design.
用户体验写作（UX Writing）是King公司新兴的一个学科，专注于创建以玩家为中心的内容，并规划在恰当的时间传递合适的内容。从历史上看，像用户界面组件、错误信息或引导教程等内容通常是由游戏设计师或开发者编写的。本次演讲将概述这一新的用户体验写作技艺及其在游戏设计流程中的定位。我们将展示如何引入这一做法以及我们如何与其他设计领域如用户体验（UX）、用户界面（UI）、研究、游戏设计和叙事设计等合作。
作者：Tabby Rose (UX Director, Mighty Yell Studios)
Virtual reality games, especially when working with a limited budget or team size, are more greatly impacted by barriers to play than regular games. Simply playing a VR game is hindered by a lot of factors: wearing a headset, needing to physically move around, or feeling motion sick. Although players often express this as discomfort, in reality these are accessibility issues, and addressing low mobility, vision loss, hearing loss, and attentional difficulty provides a better experience for every player. This presentation will explore a range of barriers to play that are unique to VR and how they were addressed for the VR title A Knight in the Attic.
虚拟现实游戏，尤其是当预算有限或团队规模较小的情况下，比普通游戏更容易受到游玩障碍的影响。仅仅去玩一款VR游戏就受到了许多因素的阻碍：佩戴头显、需要物理移动，或者感到晕动症。尽管玩家常常将其描述为不适，但实际上这些都是可访问性问题。解决低mobility（行动能力低下）、视力下降、听力下降和注意力困难等问题，能够为每一位玩家提供更好的体验。本演示将探讨一些仅存在于VR中的游玩障碍，以及它们是如何在VR游戏《阁楼里的骑士》中得到解决的。
作者：Benjamin Lavender (Technical Director, Kinetic Games, Kinetic Games)
Join Kinetic Games as they unveil the tech that powers Phasmophobia, the hit multiplatform ghost-hunting game. The team will delve into core mechanics, showcasing code snippets and screenshots to reveal secrets behind the game's atmosphere and immersion. Discover how algorithms create unpredictable ghost behaviour, how Kinetic uses the Unity Engine, and the tools and techniques used to bring the paranormal to life. This is a must-attend for developers and enthusiasts of all things spooky and technical.
加入Kinetic Games，了解支撑《Phasmophobia》——这款热门跨平台捉鬼游戏的技术。团队将深入探讨核心机制，展示代码片段和截图，揭示游戏氛围和沉浸感背后的秘密。了解算法如何创造不可预测的鬼魂行为，Kinetic Games如何使用Unity引擎，以及用于将超自然现象生动呈现的各种工具和技术。这绝对是所有喜欢恐怖和技术的开发者和爱好者必参加的活动。
Unity Developer Summit: Player-First Monetization: How Metacore Balances Engagement & Revenue (Presented by Unity)
作者：Franco Spina (Senior Manager, Game Design & Monetization Consulting, Unity, Unity)、Eric Bolitho (Senior Product Manager, Monetization, Metacore, Metacore)
Discover how Metacore, the studio behind the hit mobile game Merge Mansion, has mastered the art of player-first monetization, seamlessly blending IAP and in-game ads to create a thriving free-to-play mobile experience. In this session, Eric Bolitho (Senior Product Manager, Monetization at Metacore) and Franco Spina (Senior Manager of Game Design & Monetization Consulting at Unity) will share their expertise on designing engaging, player-centric hybrid monetization strategies. They'll explore the challenges and rewards of diversifying revenue streams and discuss best practices for integrating IAP and ads without disrupting the player experience—ensuring engagement and long-term success.
了解Metacore工作室如何掌握以玩家为中心的货币化艺术，该工作室是热门手机游戏《Merge Mansion》的背后推手。他们成功地将应用内购买（IAP）和游戏内广告无缝融合，创造了一个繁荣发展的免费游玩手机游戏体验。在本次会议中，Eric Bolitho（Metacore的产品经理，专注于货币化）和Franco Spina（Unity的游戏设计与货币化咨询高级经理）将分享他们在设计吸引人且以玩家为中心的混合货币化策略方面的专业知识。他们将探讨多元化收入来源的挑战与回报，并讨论最佳实践，以确保在不干扰玩家体验的情况下整合IAP和广告——从而保证玩家参与度和长期成功。
链接：https://schedule.gdconf.com/session/user-generated-compassion-in-sky-children-of-the-light/907520
作者：Kyle Holdwick (Lead Gameplay Engineer, thatgamecompany)
Many studios today want to add User Generated Content systems to their games to help add content, boost player engagement, and improve the social experience in their game worlds. Over the past few years, Lead Gameplay Engineer Kyle Holdwick and the design and engineering teams at thatgamecompany have been doing exactly that by building the technology and refining the designs of UGC systems in Sky: Children of the Light! Follow along with Kyle as he recounts the journey of creating these systems, the questions they had to ask themselves, the struggles they went through developing them, and the lessons that they have learned along the way.
如今，许多工作室希望在其游戏中添加用户生成内容（User Generated Content, UGC）系统，以帮助增加内容、提高玩家参与度，并提升游戏世界中的社交体验。在过去几年里，thatgamecompany的首席游戏工程师凯尔·霍德威克（Kyle Holdwick）以及设计和工程团队一直致力于此，通过构建技术并完善《Sky: Children of the Light》中的UGC系统来实现这一目标。跟随凯尔的脚步，他将回顾创建这些系统的过程，他们必须问自己的问题，他们在开发过程中遇到的挑战，以及他们在此过程中学到的经验教训。
作者：Kelly Tran (Senior Game Designer, The Believer Company)
When playtesting, one group that offers particularly candid and insightful feedback is children. Drawing from extensive experience at companies including Evolved Play and Tuxedo Games and focusing on the project Protostars (Evolved Play), I will share key lessons and best practices learned from playtesting with kids. The talk will cover essential aspects of playtesting with children, noting how their needs differ from adult playtesters. Key points include the importance of preparation, testing with different age groups, interpreting feedback, and examples of iterating with kids’ feedback in mind. Additionally, I will discuss specific playtest setups, such as playtesting with parents present and how to make the most of a virtual playtest session with kids. These strategies can improve playtesting, ensuring more fun for everyone and deeper insights for the development team.
在进行游戏测试时，提供特别坦诚和深刻反馈的一组人是儿童。基于在Evolved Play和Tuxedo Games等公司积累的丰富经验，并专注于Protostars（Evolved Play）项目，我将分享从与儿童进行游戏测试中学到的关键经验和最佳实践。演讲将涵盖与儿童进行游戏测试的重要方面，指出他们的需求与成人游戏测试者有何不同。重点包括准备的重要性、针对不同年龄段的测试、解读反馈，以及在考虑儿童反馈的情况下进行迭代的例子。此外，我还将讨论具体的测试设置，例如在家长在场的情况下进行测试，以及如何充分利用与儿童进行虚拟测试会话。这些策略可以改进游戏测试过程，确保每个人都能获得更多的乐趣，并为开发团队提供更深入的见解。
作者：Heather Storm (Manager, Creator Evangelism, Epic Games)、Josh Grant (Creator Evangelist, Epic Games)
In this session, we'll explore the benefits of building your game with Unreal Editor for Fortnite. Join us to explore what it means to be a developer in the Fortnite ecosystem and discover the wide opportunities for new and experienced game developers in the space.
Swing by to learn all about using current and upcoming features, how to bring over your UE skills, publishing your first game, and monetizing through the creator engagement program.
在本场会议中，我们将探讨使用《堡垒之夜》虚幻编辑器进行游戏开发的各种好处。加入我们，了解成为《堡垒之夜》生态系统中开发者的意义，并探索这个领域为新老游戏开发者提供的广泛机会。
来了解一下如何使用当前和即将推出的功能，如何迁移你的UE技能，发布你的第一款游戏，以及通过创作者参与计划实现盈利。