作者：Greg Lidstone (Performance Director, Larian Studios)
Mocap and Performance direction have become an increasingly important part of narrative video game development over the past 20 years while players have steadily grown more discerning about digital acting. Larian invests heavily in character performance, and their recent blockbuster 'Baldur's Gate 3' has received rave reviews for the effort. But how did Larian arrive at those performances? How do performance directors help actors make choices when crafting the personality and physical behaviour of characters? How do they redirect and adjust when things aren't going well; inspire and encourage when they are. How do we inform, but not overwhelm and collaborate to build character with our actors? In this session, Larian's Performance Director speaks about techniques and approaches used on 'Baldur's Gate 3' (and built up over 20 years of directing) to prepare and work with actors for memorable performances.
Mocap（动作捕捉）和Performance direction（表演指导）在过去20年中已成为叙事性视频游戏开发中越来越重要的一部分，而玩家在数字表演方面也变得越来越挑剔。Larian公司在角色表现上投入了大量精力，他们最近的大作《Baldur's Gate 3》因此获得了赞誉。但是，Larian是如何达到这些表现的呢？在打造角色的个性和行为时，表演指导是如何帮助演员做出选择的？当情况不顺利时，他们如何重新指导和调整；当情况良好时，又如何激励和鼓励？我们如何告知，而不是压倒性地介入，以及如何与演员合作打造角色？在这个环节中，Larian的表演指导将谈到在《Baldur's Gate 3》（以及在20年的指导工作中积累的经验）中使用的技术和方法，以准备和与演员一起创造令人难忘的表演。
作者：Nessa Cannon (Game Writer/Narrative Designer, Independent)
Do you ever feel that your linear narrative is missing a little something? When your characters speak to each other, do you wish they could say two things at once? We often think of video game stories as either being linear or nonlinear, but there is a spectrum between the two!
Nessa Cannon (Freelance, Star Trucker, Endoparasitic, OnlyCans, Jagged Bone) will teach you how to add small branches to your game's dialogue that tie seamlessly into a linear story to signal different emotional beats, create a sense of character definition from the player, and help the player really connect to your themes - not just see them at a surface level.
你是否有时觉得你的线性叙事缺少一点东西？当你的角色彼此交谈时，你是否希望他们能同时说两件事？我们通常将电子游戏故事看作是线性的或非线性的，但实际上两者之间存在一个光谱！
Nessa Cannon（自由职业者，星际卡车手，内寄生虫，OnlyCans，锯齿骨）将教会你如何在游戏对话中添加一些小支线，使其无缝连接到线性故事中，以表达不同的情感节奏，塑造玩家对角色的定义感，并帮助玩家真正与你的主题产生连接，而不仅仅是表面上看到它们。
作者：Adanna Nedd (Games Writer and Narrative Designer, Independent)
Love interests - whether they are flirty vampires, depressed elves, or struggling novelists - are as varied as the games that they are in. Where do you start when creating them? What is a love interest? How do you create one that fits your game and will be enjoyable to players? Games Writer and Narrative Designer Adanna Nedd has written and developed love interests for two years. In this talk, she will discuss the ins and outs of love interests - what they are, who they are, and how they can enhance the game's experience! She will also discuss how she crafted love interests for Spirit Swap and Kiss U and the challenges and constraints that she faced.
爱情兴趣角色 - 无论是轻浪漫的吸血鬼、忧郁的精灵还是奋斗的小说家 - 和她们出现在的游戏一样多种多样。在创建她们时应该从何着手？何为爱情兴趣角色？如何打造一个符合你的游戏并且能给玩家带来乐趣的角色？游戏作家兼叙事设计师Adanna Nedd已经撰写和开发了两年的爱情兴趣角色。在这次讲座中，她将探讨爱情兴趣角色的方方面面 - 它们究竟是什么，她们是谁，以及如何增强游戏体验！她还将讨论她是如何为《灵魂互换》和《Kiss U》创作爱情兴趣角色的，以及她所面临的挑战和限制。
链接：https://schedule.gdconf.com/session/game-narrative-summit-casting-light-on-the-black-box/902002
作者：Phillipe Bosher (Actor and Director, Independent)、Jolie Menzel (Senior Game Designer, Night School: A Netflix Game Studio)
Actors spend a lifetime perfecting their craft - but they only spend a small fraction of that time with your game. Much of the success of a performance across mechanics, story, multiple languages and beyond depends not only on expert direction; but, also, key details about the game’s creative vision. Actor/director Phillipe Bosher and veteran designer Jolie Menzel have worked with dozens of performers on indie to AAA games and will share how they crack open the ‘black box’ so that talented actors deliver brilliant performances. In addition, they will share how teams can capture and deliver these details in a development pipeline that serves both the narrative team and the actors who perform the dialogue.
演员们花费一生来完善他们的技艺 - 但他们只会花很少一部分时间在您的游戏中。表现的成功很大程度取决于专业的指导，以及关于游戏创意愿景的关键细节，跨越机械性、故事、多种语言等方面。演员/导演菲利普·波什和资深设计师乔丽·门泽曾与数十位表演者合作，参与从独立游戏到AAA游戏的制作，他们将分享如何揭开游戏中的"黑匣子"，以便才华横溢的演员能够呈现出优秀的表演。此外，他们还将分享团队如何能够捕捉和传递这些细节，在一个既能满足叙事团队又能服务表演对话的演员的开发流程中。
Game Narrative Summit: Cinematics and Interactivity in 'Cyberpunk 2077': Two Sides of the Same Coin?
作者：Kajetan Kasprowicz (Cinematic Designer, CD PROJEKT RED)
Cyberpunk 2077 and its expansion Phantom Liberty have an immersive approach to cinematics never before seen in a triple-A RPG title. Told from the perspective of the Cinematic team, this talk will take you through the process of designing scenes for the expansion, focusing on open-world gigs, and the specific challenges that the design paradigms presented.
《赛博朋克2077》及其扩展包《幻影自由》以前所未有的方式在三A级RPG游戏中实现了身临其境的影像效果。本次讲话将从影像团队的角度出发，带领大家了解为扩展包设计场景的过程，重点是开放世界任务和设计范式带来的具体挑战。 (Cinematics，RPG)
链接：https://schedule.gdconf.com/session/game-narrative-summit-comics-to-games-great-adaptations/900780
作者：Jill Murray (Creative Director, Discoglobe Interactive)、Evan Narcisse (Senior Writer, Brass Lion Entertainment)、Kim Belair (CEO, Sweet Baby Inc)、Son M. (Creative Director, Narrative Designer, Perfect Garbage Studios)、Mike Rogers (Creative Director, Franchise, Skybound Entertainment)
Action-oriented, visual, collaborative, and multi-disciplinary, comics and games are natural allies, and adaptations of comic book IPs into video games multiply every year.
In 5 bite-size, nutritious microtalks, a panel of pros from both disciplines gather to share practical tips and knowledge to inspire, and inform game devs of all stripes about:
Adapting a comic book IP into a game, from conception to release.
"The canon" and how to approach it-- especially when dealing with marginalized characters whose portrayal must evolve even while the "rules" don't.
What publishers and licensors need from story teams, and what makes the best IP collaborations work
Techniques comics can lend to making better games
How to build indie game stories from the ground up, so they have the potential to be adapted into other forms
以行动为导向、视觉化、协作性强、跨学科性的特点，漫画和游戏是天然的盟友，每年都有更多漫画IP被改编成视频游戏。
在 5 个简洁且有营养的微讲中，来自两个领域的专家团队将分享实用的建议和知识，以启发和告知各类游戏开发者，内容涉及：
从概念到发布，将漫画IP改编成游戏的过程。
"正典"及如何处理它——特别是在处理被边缘化角色时，即使"规则"没有变化，他们的形象必须发展。
出版商和许可方需要故事团队做什么，以及什么让最佳IP合作生效。
漫画可以提供给游戏制作的技巧。
如何从零开始构建独立游戏故事，使其有潜力被改编成其他形式。
作者：Michelle Clough (Game Writer / Narrative Designer, Talespinners)
In real life, true love (or lust) does not only happen during a handful of pre-scripted story beats and conversations, but in a hundred shared moments that build affection and attraction. So it can be with game romance, mechanics, and narrative design! Expanding on 2022's talk on "kindness coins," "chemistry card towers," and "chemistry casinos," this session digs into the building blocks of those dynamics and discusses how to use them in crafting unique and compelling chemistry between characters, not just in terms of writing but in moment-to-moment gameplay. We'll look at how both cutscenes and game mechanics can express or build character-specific attraction and interest, and seek out nuanced alternatives to the "approval = attraction" dynamic. From come-hither character cosmetics to deckbuilding for desire, from eye contact to body contact, let's talk about how narrative design can add a little steam and sweetness to game sex and romance!
在现实生活中，真爱（或欲望）并不仅限于在少数预设的故事情节和对话中发生，而是在建立感情和吸引力的无数共享时刻中产生。游戏中的浪漫、机制和叙事设计也可以如此！延续2022年有关"善意硬币"、"化学卡牌塔"和"化学赌场"的讨论，本场次将探讨这些动态的基本构成部分，并讨论如何在创作角色之间独特且引人入胜的化学反应方面运用它们，不仅仅是在书写上，还包括在每一刻的游戏玩法中。我们将探讨剧情过场和游戏机制如何表达或建立特定角色的吸引力和兴趣，寻找"认可=吸引力"动态的微妙替代方案。从性感的角色装扮到为欲望构建卡组，从眼神交流到身体接触，让我们讨论叙事设计如何为游戏的性爱和浪漫增添一点火辣和甜蜜！
作者：Christal Rose Hazelton (Writer, Respawn Entertainment)、Jaclyn Seto (Writer, Respawn Entertainment)
This lecture looks at character story and representation as a spectrum with two ends: writing a storyline that directly addresses an aspect of a character's identity and having a character who merely is an identity, and how to navigate writing for both as well as the world they inhabit. Examples are provided and terms are defined. The lecture also covers different methods of support (consultants, reader groups, etc.) one can look to in order to ensure representation is done respectfully and authentically, and the successes and pain-points of writing to one's own identity. There is a question/answer portion.
这个讲座将角色故事和表现视为一个光谱，两端分别是直接涉及角色身份某个方面的故事情节创作，以及将角色塑造为一种身份的情形。讲座探讨了如何同时为两者以及他们所处的世界进行创作。讲座提供了示例并定义了相关术语。内容还涵盖了不同支持方法（顾问、读者群等），以确保描绘的形象在文学作品中得到尊重和真实呈现，同时还讨论了针对个人身份进行创作的成功和痛点。讲座还包含了问答环节。
Game Narrative Summit: Effective Feedback for Game Writers, Narrative Designers, and Collaborators, Part 2
作者：Alexa Ray Corriea (Senior Narrative Designer, Cliffhanger Games)、Lis Moberly (Senior Narrative Designer, Independent)
Meaningful and effective feedback is necessary for any team-based project and high levels of interdisciplinary collaboration is required to achieve it. Yet we often meet with road bumps as different departments struggle to communicate their needs, expertise, and possible solutions. Narrative often experiences friction in this process, much to the frustration of themselves and those who work with them.
This session will discuss common problems in giving and receiving feedback between narrative and other departments, and how to prevent and remedy those problems. We will discuss why feedback breaks down between departments, particularly in relation to narrative. We will cover scholarly and industry research surrounding interdisciplinary collaboration, and show how approaching feedback with a different perspective is vital to improving this relationship.
The intended results of improving interdisciplinary collaboration and feedback are:
A faster, more creative iteration process
Increased trust and collaboration between departments
Healthier teams across leadership and staff
有意义和有效的反馈对于任何基于团队的项目都是必要的，要实现这一点需要高水平的跨学科合作。然而，我们经常遇到障碍，因为不同部门在沟通他们的需求、专业知识和可能的解决方案时会出现困难。叙事往往在这个过程中经历摩擦，这让他们自己和与他们合作的人感到沮丧。
这个环节将讨论叙事部门与其他部门之间给予和接受反馈常见问题，以及如何预防和解决这些问题。我们将讨论为什么反馈在部门之间会出现问题，特别是与叙事相关的部门。我们将涵盖围绕跨学科协作的学术和行业研究，并展示用不同视角处理反馈对于改善这种关系至关重要。
提高跨学科协作和反馈的预期成果包括：
- 更快，更有创造力的迭代过程
- 部门之间增加信任和合作
- 在领导和员工之间形成更健康的团队
作者：Richard Rouse III (Studio Creative Director, FarBridge)
People play games for their interactivity, but we as game writers may struggle with making our stories interactive too. How do we take a writing craft honed on linear stories for hundreds of years and make it interactive? Some argue this is essential to making a great game story, while others say that it is a distraction and even a hindrance from placing players a great tale. This talk argues that it all depends on the project. We will survey different types of interactivity in game stories and across different game genres, with an analysis of the costs and benefits and pitfalls of each. Then we'll provide the audience with tools to analyze their own games to see what sort of story would help them land on just the right amount of interactivity.
人们玩游戏是为了互动性，但作为游戏编剧，我们可能会在让故事也变得互动方面遇到困难。我们该如何将几百年来专注于线性故事的写作技艺变得互动起来呢？有人认为这对于打造一个出色的游戏故事至关重要，而另一些人则认为这是一种分散注意力甚至妨碍玩家体验一个精彩故事的因素。本讲话论述了这一切取决于项目。我们将调查游戏故事中不同类型的互动性以及跨不同游戏类型，分析每种互动方式的成本、收益和潜在风险。然后，我们将为观众提供工具，帮助他们分析自己的游戏，看看怎样的故事类型能帮助他们实现恰到好处的互动性水平。
作者：Bryant Cannon (OXENFREE II Game Director, Night School Studio)、Adam Douglas (Senior Writer, Night School Studio)
OXENFREE II: Lost Signals released in July 2023, expands the world of the mind-bending original, OXENFREE. As a breakthrough hit in 2016, the original quickly became beloved and played by millions of players. But with a game set in a time-looping, multiverse-style universe with powerful themes of loss and defining yourself: how do you create a sequel that is more than just a continuation of the story? Game director Bryant Cannon and senior writer Adam Esquenazi Douglas will break down the key challenges of creating a new, refreshing narrative game experience for OXENFREE fans and newcomers alike.
《OXENFREE II: Lost Signals》于2023年7月发布，扩展了令人惊叹的原作《OXENFREE》的世界。作为2016年的一大突破，原作很快就被无数玩家所喜爱并玩过。但是在一个设定在时间循环、多元宇宙风格的宇宙中，包含着强烈的失落和自我定义主题的游戏里，你如何创作一个不仅仅是故事延续的续作呢？游戏导演布莱恩特·坎农（Bryant Cannon）和高级编剧亚当·埃斯奎纳西·道格拉斯（Adam Esquenazi Douglas）将分解制作一个新的、令人耳目一新的叙事游戏体验所面临的关键挑战，以满足《OXENFREE》的老玩家以及新玩家们的期待。
Game Narrative Summit: It's All in the Ending: Storytelling and Design Strategies in 'Jedi: Survivor'
作者：Daniel Homan (Lead Writer - Jedi Survivor, Respawn Entertainment)、Patrick Wren (Senior Encounter Designer, Respawn Entertainment)
While a good story can pull you through a game like no other, game writers have a lot of other responsibilities that are crucial to player experience. Contextualizing new mechanics to make a player's actions more impactful. Introducing player fantasies to keep players invested until the game's end. And if your players make it through to the end, how do you honor their investment in the game's characters and world after the credits have rolled? Using the final hours of Star Wars Jedi - Survivor, lead writer Danny Homan and Senior Encounter Designer Patrick Wren examine the importance of contextualizing mechanics, introducing new player fantasies, and engaging players through end-game content.
在游戏中，一个好故事可以让你沉浸其中，而游戏编剧还有许多其他责任至关重要，关乎玩家体验。将新机制置于合适背景中，使玩家行为更有影响力。引入玩家幻想，保持他们投入直至游戏结束。当玩家闯关至终局，如何尊重他们对游戏角色和世界的投入，让玩家在游戏结束后仍然感到满足？在《星球大战：绝地生还者》的最后几小时中，首席编剧丹尼·霍曼（Danny Homan）以及高级遭遇设计师帕特里克·雷恩（Patrick Wren）探讨了将机制置于合适背景中、引入新玩家幻想，并通过游戏末期内容与玩家互动的重要性。
作者：Toiya Kristen Finley (Game/Narrative Designer and Consultant, Schnoodle Media, LLC)、Emily Short (-)、Nessa Cannon (Narrative Designer, Freelance)、Adanna Nedd (Games Writer and Narrative Designer, Independent)、Evan Narcisse (Senior Writer, Brass Lion Entertainment)、Michelle Clough (-)
How do newer writers fit into game design and narrative design teams? Do writers coming from the worlds of film and comics have advantages getting work over prose writers? Is it easier to be a freelancer or employee? Do you have the skills to be a writer in this industry? How do you know when you've "made it"? Especially for individuals with little experience and those looking to break in, this session encourages participants to ask veteran writers and narrative designers questions without definitive answers. Anyone working with writers is also encouraged to attend. Whether it's finding the right job, leading writers and improving team dynamics, or establishing rates, no question about the business of game writing is off limits.
新手作家如何融入游戏设计和叙事设计团队？来自电影和漫画领域的作家是否比散文作家更容易找到工作机会？做自由职业者还是员工更容易？你是否具备在这个行业当作家所需的技能？如何判断自己是否已经‘成功’？特别是对于经验较少的个人和那些希望进入这个领域的人，本次讨论鼓励参与者向资深作家和叙事设计师提出没有确定答案的问题。鼓励一切与作家合作的人参加。无论是寻找合适的工作、领导作家并改善团队动态，还是制定收费标准，有关游戏写作业务的任何问题都将得到讨论。
作者：Valentina Tamer (Senior Narrative Designer, Ubisoft Paris Mobile)
Live games have the ambition to go on for as long as they remain profitable. This means that any narrative needs to be written in a way that could potentially go on forever, too. Videogames aren't the first medium to try this, and specifically television shows can serve as means to understand how to pull it off. But due to their interactive nature, games have narrative potential and tools that are entirely unique to the medium, such as non-linear narrative, emergent storytelling, time-limited events, and using narrative design to convey a story beyond plot. This talk will dive into the manifold narrative opportunities of live games, how to structure seasonal plot with inspiration from TV shows, and how to keep a long-running story interesting for many years to come.
现场游戏（Live games）的雄心壮志是在它们保持盈利的同时继续进行。这意味着任何叙事都需要以可能永无止境的方式来书写。视频游戏并非第一个尝试这种方式的媒体，特别是电视节目可作为了解如何实现这一目标的手段。但由于游戏互动性的特质，游戏具备叙事潜力和工具，这些工具完全独特于该媒介，比如非线性叙事、新生性叙事、时限事件，以及使用叙事设计来传达超越情节的故事。本次演讲将深入探讨现场游戏的多重叙事机会，如何借鉴电视节目的灵感来构建季节性情节，并如何使长期运行的故事在未来多年仍然能保持趣味。
作者：Joe Morrissey (Narrative Director, Believer)
How do you introduce your game world to others on your team? Is there a good method for onboarding people into your narrative while also focusing on writing what matters for the game? When the Duffer Brothers were concepting the Stranger Things TV show, they built a Story Treatment of their world, characters, and narrative. This treatment is short, powerful, and visually interesting for anyone who comes across it. The session covers building a similar story treatment for your game.This talk dissects their story treatment in great detail and how it can apply to early narrative development for games. The goal is to create an easy to read, concise document that speaks directly to other developers and potential partners looking to be informed, inspired, able to take action in their core disciplines.
你是如何向团队中的其他人介绍你的游戏世界的？有没有一种很好的方法可以帮助新人融入叙事，同时专注于编写对游戏至关重要的内容？当达弗兄弟构思《怪奇物语》电视剧时，他们建立了一个关于他们的世界、角色和叙事的故事处理方案。这个处理方案简短、有力，对任何看到它的人都具有视觉上的吸引力。本次讲座涵盖了如何为你的游戏建立类似的故事处理方案。本次讲座将详细解析他们的故事处理方案，以及如何将其应用于游戏的早期叙事开发。其目标是创建一份易于阅读、简洁明了的文件，直接与其他开发人员和潜在合作伙伴沟通，让其获得启发，能够在自己的核心领域采取行动。
作者：Thomas Welsh (Narrative Director, Ion Lands)
"Wake the f**k up, Samurai! We have… a package to deliver?"
Cloudpunk, tells the story of Rania, a woman of color, a refugee and an outsider trying to make her way as a delivery driver in a cyberpunk city filled with flying cars and voxels. In 2020 Cloudpunk was the "other" cyberpunk game. Cloudpunk had a very limited narrative toolkit, but the developers wanted to present a non-violent approach to conflict resolution, even when it seemed easier to just add guns, robots, and robots with guns.
This talk will show the design for Cloudpunk, with screenshots, design notes, chat logs and concept art. The talk will focus on the messy and loose writing process, emphasizing the tough choices and disagreements the team had along the way. The speaker will show their limited their narrative toolset, and how they achieved drama, comedy and peril with no on-screen action beyond walking and flying.
"醒醒吧，武士！我们有...一个包裹要送吗？"
《Cloudpunk》讲述了一个有色人种、难民以及局外人的故事，主人公Rania试图在一个充满飞车和像素的赛博朋克城市中谋生，成为一名快递司机。在2020年，《Cloudpunk》是另类赛博朋克游戏。游戏的叙事工具非常有限，但开发者希望呈现一种非暴力的冲突解决方式，即使看似只需添加枪支、机器人和配备枪支的机器人更容易。
本次讲座将展示《Cloudpunk》的设计，包括截图、设计说明、聊天记录和概念艺术。讲座将专注于混乱而灵活的写作过程，强调团队在路上遇到的艰难选择和分歧。演讲者将展示他们有限的叙事工具集以及他们如何在屏幕上只有行走和飞行的情况下实现戏剧效果、喜剧和危险。
作者：Will Shen (Lead Content Designer, Something Wicked Games)、Daryl Brigner (World Director, Soft Rains)
Open world games and roleplaying games present iteration and communication challenges to design teams that are increasingly specialized. Daryl Brigner and Will Shen discuss their time collaborating on Skyrim, Fallout 4, Fallout 4: Far Harbor, Fallout 76, and Starfield. Learn how Level and Quest/Narrative Design teams can work together to create memorable experiences. We'll be discussing the power of being able to "flex" outside designated roles, how formal processes can inhibit this flexing, how to deal with department silos and territory disputes, and how to handle scaling problems as your team grows.
开放世界游戏（Open world games）和角色扮演游戏（roleplaying games）给设计团队带来了越来越专业化的迭代和沟通挑战。达里尔·布里格纳（Daryl Brigner）和威尔·沈（Will Shen）讨论了他们在《上古卷轴5：天际》（Skyrim）、《辐射4》（Fallout 4）、《辐射4：远港》（Fallout 4: Far Harbor）、《辐射76》（Fallout 76）和《星田地》（Starfield）上的合作经历。了解水平设计团队和任务/叙事设计团队如何共同努力创造令人难忘的体验。我们将讨论有能力在指定角色之外“灵活”运作的能力，正式流程如何阻碍这种灵活性，如何处理部门隔离和领土纠纷，以及如何在团队扩大规模时处理扩展问题。
链接：https://schedule.gdconf.com/session/storytelling-fundamentals-workshop/903048
作者：Evan Skolnick (Game Writer and Narrative Designer, Independent)
This dynamic, engaging presentation on the fundamentals of story development is designed for anyone and everyone interested in improving the narrative quality of their games. Hosted by Marvel and Telltale writing veteran Evan Skolnick, the comprehensive tutorial covers narrative structure, vibrant character development, storytelling best practices, and more.Nearly every member of a development team ultimately contributes to the implementation of the game's narrative, and so becomes, to one degree or another, a storyteller. But without a shared language of story spoken by all team members, an unfocused narrative result is almost inevitable. This session is designed to provide that common frame of reference so that everyone on the team is driving the game story in the same direction.Previous attendees of this perennial workshop (a broad mix of designers, artists, engineers, producers, and writers) have called it "engaging", "informative", and "absolutely amazing."
这个动态而引人入胜的关于故事发展基础的演讲，旨在帮助所有对提高游戏叙事质量感兴趣的人。由漫威和Telltale的资深编剧Evan Skolnick主持，这个全面的教程涵盖了叙事结构、生动角色发展、叙事最佳实践等内容。几乎开发团队的每个成员最终都会对游戏叙事的实施做出贡献，因此，每个成员在某种程度上都成为了一个讲故事者。但是，如果没有所有团队成员都能说出的共同故事语言，那么一个毫无焦点的叙事结果几乎是不可避免的。这个课程旨在提供这种共同的参照框架，以便团队中的每个人都在同一个方向推动游戏故事的发展。之前参加过这个长期工作坊（其中包括设计师、艺术家、工程师、制作人和作家等）的与会者称其为“引人入胜”、“信息量大”和“绝对惊艳”。