
Narrative game · 3D · Unreal Engine 5 · In progress
Flow
漂流
In progressA man killed in the war holds on to a dead branch and drifts down the river, all the way home. One drift through a full turn of the seasons: peace and freedom, love and grief, reunion and farewell.
- Status
- In progress: story, level design, look development
- Role
- Solo project: concept, narrative, game and level design
- Engine
- Unreal Engine 5, 3D, toon-shaded
- Genre
- War · drift · twist narrative · walking simulator · collecting · survival
Overview
Drifting from death back to life
Somewhere in the war, a shell finds Row. When he wakes, he is clinging to a piece of driftwood, adrift on water that goes on forever.
You play as Row on a long drift home. You scavenge for food and call for help from every passing boat, every stranger, even a small bird. Summer, autumn and winter go by. Then, in spring, the current carries him into the river of his hometown. He sees his mother, and finally learns the truth: he never survived the war.
Small interactions along the way plant the clues, so the ending lands as something the player has been drifting toward all along.
- 4
- seasons, four levels
- 4
- ways to survive, one per season
- 3
- narrative lines
- 0
- ways to fail
我飘啊飘啊,顺着河流,直到回到了那棵树下……
“I drift and drift along the river, until I’m back beneath that tree…”
Row, in FlowInspiration
Why water? Why drifting?
The idea came on a walk between classes, shortly after I read the news about new tariffs. Surrounded by strangers and uncertain about the future, I had a distinct sense of drifting.
From that moment came a single image: a grown man, thin as a branch, clinging to a piece of driftwood at sea. The project grew from that image.
Why set the game on water rather than on land?
Because a drift runs in the opposite direction from a journey, it lets the impossible float in, and it makes the ending land harder.
Drifting already feels like a life’s journey. Journey walks from birth toward death; Flow goes the other way. Death is the starting point, and life, home, is where it ends.
On land, every step has to make sense. On water, strange and impossible things can drift into view: a dreamlike animal, a bombed-out window, a crocodile’s mouth. The river lets the story be fantastical and true at once.
Row fights all the way home, only to learn on arrival that he is dead. A mother seeing her son’s body carries far more weight than a telegram.
What I believe a game should be
Games should speak to real problems, not just entertain. They can hold the struggles and feelings people can’t put into words. Each project starts from a social problem or a specific hardship, and aims to offer comfort and support and to draw attention to it.
The player isn’t fighting anyone. The only pressure is the water.
The game is designed as an experience, not a test. If Row goes under, the game goes on, but sound, colour and interaction fade until he comes back up. And in story terms, a man who is already dead can’t die again.
Literature has prose and poetry; film has poetic cinema. Games should have prose games too: no challenge to beat, only something to live through.
References
What I borrowed, and from where
| Work | What it gives Flow |
|---|---|
| 1917 Sam Mendes, 2019 | The visual seed. A soldier clings to a log in a river covered with cherry petals: beautiful scenery against brutal survival. |
| Journey thatgamecompany, 2012 | A life’s journey told without words. Flow runs it in reverse. |
| Flower thatgamecompany, 2009 | Level 4: flowers bloom wherever the driftwood passes; the player only steers. |
| Pause Michal Shoshan, 2020 | Visual research. A generative game after Viktor Frankl’s Man’s Search for Meaning, where the world fills in out of an empty void. |
| Life of Pi | Survival on the water that turns into something fantastical. |
| Swiss Army Man | A body on the water, and an absurd, tender drift home. |
| Sky, Monument Valley | Characters without faces: silhouette, restraint, leaving things out. |
| Cat Museum | How the truth is revealed at the end. |
Reference images
Character
Who Row is, and what he carries
Row is an ordinary infantryman, wounded by a shell during the war. He has no defined face; a single recurring mark, such as his haircut, identifies him across the series. His character card is a white paper cutout in the shape of a gravestone, listing his date of birth and a few words that summarize his life.
He is not a hero, but one of countless ordinary soldiers. That ordinariness is the point: his stubborn drift home could belong to anyone.
What he wants, physically
Survive in the water.
What he wants, emotionally
Make it through the war, go home, and see his mother.
Keepsakes
The current keeps pulling his belongings away. Each time he reaches back for one, a memory returns and his confidence holds; each one he loses makes the water heavier.
| Keepsake | What it holds |
|---|---|
| Family photo | Family |
| Letter from his fiancée | Love |
| Pocket watch | Friendship |
| Paper bird | His dream: a farm, and becoming a bird keeper |
In autumn, these are what he has to give up: to signal the boats he throws his sketchbook, his father’s pocket watch and his mother’s photo.
War · Drift · Twist narrative · Walking simulator · Collecting · Survival
Structure
Four seasons, four ways to survive
Early drafts were rebuilt several times because the drift kept settling into a single rhythm. How do you give a drift depth and escalation?
Split the rhythm by a different way of surviving in each season: first the body, then other people, then the mind, then nothing left to survive.
| Level | Season | Mechanic | Emotion | Way to survive |
|---|---|---|---|---|
| 01 | Summer | Survive + explore | Loneliness, testing | Technical survival. He doesn’t understand what happened; he grabs the driftwood and keeps his balance. |
| 02 | Autumn | Ask others for help | Letting go, courage | Survival in the real world. He calls out to others, and the truth of his death is planted. |
| 03 | Winter | Survive + save himself | Self-redemption, courage | Psychological survival. In despair, he turns to himself; near-death visions come as childhood doodles and diary pages. |
| 04 | Spring | Wander + feel | Recognition, perception | The easiest level: enjoy the view and collect good memories. Then the twist. |

Systems
Drift, pick up, hold on
You steer with the mouse and pick up whatever you bump into. The player appears to collect debris, but is actually using it to climb across the water, assembling an ark from whatever floats by.

The player wakes surrounded by water. With no input, Row slowly sinks and the screen turns gray; a click brings him back up and restores colour. The current carries him faster and faster. Grabbing wreckage and wood steadies his body until he can ride the current. Once he is stable, time slows and the next level begins.
Needs
| Need | In real life | In the game |
|---|---|---|
| Oxygen | Keep your body above water | Alternate left and right clicks to stay afloat and balanced. Sinking drains sound, colour and interaction until oxygen returns. |
| Fresh water | Rain | Refills on its own. No input. |
| Food | Catch fish, scavenge | Steer with the mouse; touch to pick up. |
| Confidence | The will to live | A single value: high, mid, low. Keepsakes and memories raise it; losing them lowers it. |
The confidence loop
Calling for help
Row splashes and throws away pieces of his resolve, his belongings or what he caught along the way, toward passing boats and people. Every attempt fails in some way, because he is already dead.
| Outcome | What happens | What it plants |
|---|---|---|
| 01 | The call works: food and a life ring. | Hope |
| 02 | Through dialogue, they say they can’t take one more person. | A world short of room |
| 03 | They are civilians on the enemy side, afraid of what the authorities will do if they save him. | The war, from the other bank |
| 04 | He gets on a boat and is pushed back off: they realize he is dead. | The truth, too early to understand |
Dialogue is deliberately mismatched: Row speaks as a man who believes he is alive, while others respond to a dead man. He signals for rescue and is handed a bouquet of flowers.
Controls
| Input | Action |
|---|---|
| Mouse direction | Steer through the current |
| Left / right click, alternating | Keep balance; kick back up to the surface |
| Touch | Pick up (range-based, automatic) |
| Mouse direction + Shift | Throw an object to signal (Level 2) |
| Mouse direction + Space | Swap ice floes (Level 3) |
| Camera | Looking up from the water, free to turn left and right. In a storm, the view flips. |
| Screen | No UI at all |
Drafts: concept sketches and diagrams. The game is in development.
1917, 5:45 a.m.
Opening
Into the river
A black screen, which is black river water, swept now and then by searchlights. Gunfire continues. Suddenly the screen shakes hard, as if something was thrown into the water. Every sound goes quiet; the river grows louder. Fish lift their heads. In the flickering light, the black silhouette of a man holding driftwood floats past. The title appears: Flow.
Purpose
Set the war, then take it away. Fast pace into slow.
How it should feel
Noise, a jolt, then a silence that is almost peaceful.
Summer 1917
Level 01
Fall and drift
Row wakes up caught in a tree, puzzled that such a huge tree stands in endless water. A few lines of dialogue set up where he is. The player clicks, the branch snaps, and the drift begins: slow pace into fast.
- Keep your balance and dodge rocks.
- Try to grab three things floating by: a dead body, or a strange, dreamlike animal; a bombed-out window; sometimes even a crocodile’s mouth.
- Catch the belongings that wash out of his clothes, to hold on to his confidence. Different objects are worth different amounts, and connect to the memories of Level 3.
Goal
Ride the current and gather six pieces to lash into your first raft.
How it should feel
Disoriented at first, then a small, stubborn hope. Summer is beautiful, and that is what makes it frightening.
Autumn
Level 02
The ark
Leaves are scattered over open water. A crow tilts its head and stares at him. Three boats come close, one after another, seen first as shadows. To get their attention, the player must throw away the things that keep Row going: his sketchbook, his father’s pocket watch, his mother’s photo.
- Every boat sees that he is dead. None of them saves him.
- The three boats can differ: enemy and ally, a big ship and a small boat, fishermen and soldiers.
- Confidence hits bottom. The crow lands beside him, and the view shifts to the crow’s.
Goal
Throw objects to signal (Shift) and call for help three times.
How it should feel
Hope, and the ache of help that never quite arrives.
Winter
Level 03
The long season
Row keeps hitting ice floes. The crow watches, then flies away. He can no longer move at all, and the inner notebook unlocks: the diary he was made to keep as a child, now written only in his head.
“I don’t know when it started, but my time seems to have stopped. I lost the ability to speak, first in my body, then in my mind. So I began forcing myself to keep a diary in my head. Mom, you know, the kind you made me write when I was little. A person has to find some way to make sure he’s still alive, right?”
- Steer around the ice to stay alive. The odds are low, and the survival play is kept gentle.
- Collect the memories that keep slipping out of him and put them back in his body. Losing memory stands for death and giving up.
- Three objects open three memories: his mother; the daughter he never met; what happened after he died. In them, Row’s three true wishes.
- Swap floes and steer by the angle of each bump, like billiards, against a current that has turned around.
Goal
Find all three wishes; Row slowly moves again. Cross the last floe toward the mirage on the horizon.
How it should feel
Cold, slow and lonely. Just holding on, then remembering why.
Spring 1918
Level 04
Homecoming
The driftwood in Row’s hands sprouts new leaves. Wherever it passes, flowers bloom, and birds fly over in flocks. The player only steers, lighting up flowers in the water, until he reaches the big tree he grew up under. Things from his childhood drift past; bumping into them plays their sounds.
- Life returns, so shouldn’t a value rise? The idea under test: the number that should climb keeps falling. What Row does and what we see, turned against each other.
Goal
Drift home. No way to fail, nothing left to collect.
How it should feel
Warmth and recognition, with something slightly wrong underneath.
Spring
Ending
The truth
Row lies on the bank under the big tree. Toys are tossed into the water one by one and float beside him; click them and you hear children playing on the shore. They are the same toys Row had as a child. “Are these mine?”
A woman’s silhouette appears in the water, wearing the necklace his diary mentions again and again: his mother’s. He can’t speak or hear anymore, but in his inner diary he writes down his joy: I’m home.
A crow pecks at his face and takes his eye. The view switches, and the player now flies as the crow. Suddenly the world has sound. The woman is sobbing over a body on the bank. Row is missing a leg, which is why he could never keep his balance. People murmur: “Poor Row. Looks like a shell threw him in the river, and he floated all the way back.” As the crying goes on, the river turns from white to black. The player flies away.
How it’s shown
A 20 to 30 second montage: fragment, fragment, text.
How it should feel
Recognition, and goodbye.
Narrative design
Three lines, one hint
| Main line | The drift. Survive and get home, in the present. Carried by gameplay and space. |
| Fantasy line | Row to the daughter he never met: childhood memories and imagined scenes that fill in who he is. “The stars swayed right above my face. The world really is endless.” Each fragment ends on a rough sketch; click it, a seagull flies off, and we cut back to the drift. |
| Years later | His daughter’s view, decades on: a film crew digging trenches uncovers a body no one can identify. A note drifts down: “If I make it home, when the war is over, I want to—” One true wish found; confidence +1. Still to be decided. |
The hint that runs through everything
The fact that Row is already dead should be hinted at by one thing, from start to finish. If the setup is weak, the reveal feels like a trick; if it is strong, the player realizes they knew all along.
Row always drifts against the current, a sign of how badly he wants to get home. Barely noticeable at first, then more and more obvious as things get harder. A visual impossibility that feels slightly wrong.
From the first level, a crow keeps taking things from him: a diamond, which is his eye; a pearl necklace, his collarbone. Row is puzzled, since he never owned either. To him the crow is white; in truth it is black, the same object beautified by his perception. The motif carries the emotional core: I keep losing things, and I keep getting them back.
He can never quite keep his balance. The ending explains why.
A dog tag with a name on it goes home in his place, and turns out to be a friend’s: the comrade who helped you get home.
Sound
Every sound has its opposite, and the game cuts between them.
| Fierce battle | Easy jazz |
| Fireworks | Gunfire |
| Children playing | People crying out |
| Running water | A ticking clock |
| Breathing | Wind under a bird’s wings |
Unreal Engine
Early scenes
First passes at the world in Unreal Engine 5: a soft violet palette, fog for depth, and pale light shafts cutting through the trees. These are look-development shots, not final art.

Style tests




Inquiry
Open questions
First person or third?
Looking up at the sky from the water, able to turn left and right. In a storm the view flips upside down.
The answer became a shift between the man and the crow. First person on 3D water is the most immersive but the hardest to read, so I’m testing camera height and how much wreckage stays in view.
2D or 3D?
2D is easier to build and allows richer mechanics; realistic 3D is more immersive, but water and a first-person camera are the hard parts. Is 2D just a compromise?
Decided: 3D, in Unreal Engine 5, with a toon-shaded look.
Does it have to be water?
Water is the hardest thing to build. Could the same story happen somewhere else, say a letter trying to get home, blown across the sky and the land, or carried by a pigeon you control?
The water stays. It is the strongest force in the game and the source of every change; the player’s actions should grow out of how it pushes them.
How much story, how much play?
Feedback on an early draft: it was overwritten and left the player too little agency. A survival game on the water is limited; is this mainly a story, carried by small systems?
Keep the systems small and physical (balance, pick up, throw, swap) and map every value in one table: if this happens, what changes, and what does the player see. Prototyping Level 1 first.
What can Row reach?
Do objects come to him, or does he move to them? Can he swim, or reach out?
Pick-up is range-based: touch it and it’s yours. Showing his hands, bound to the mechanics, marks what is within reach.
Process
How it evolved
| First pitch | A spring opening where you tap fish, birds and leaves, then war breaks into the beautiful scenery. Balance, confidence, calling for help, and the reveal at home. |
| Four-season draft | The one-rhythm problem solved with four ways to survive. Storyboards for every level; the crow and the inner notebook; three narrative lines; sound pairs. |
| Level spec | Each level gets a purpose, controls, a goal and a clear win condition. The final spring moves to 1918. |
| Now | 3D in Unreal Engine 5, toon-shaded; look development and the Level 1 prototype. |
Next
What I’m working on
Write the full script, season by season, and plant the clues for the ending.
Each level’s flow, assets and props, interactions, the player’s path, and the full value table.
Build the summer level in Unreal Engine 5: drifting, picking up, the raft and the confidence meter.
A toon-shaded 3D look; colour and water that change with every season.
Credits
- Project
- Solo project, in progress
- Concept, story & design
- Jingwen Li
- Diagrams & sketches
- Jingwen Li

叙事游戏 · 3D · Unreal Engine 5 · 进行中
漂流
Flow
进行中一个死于战争的人,抱着枯树枝在河水中漂流,最终回到了家乡。一场轮回四季的漂流,关于和平与自由,爱与悲伤,重逢与告别。
- 状态
- 进行中:剧情、关卡设计、视觉开发
- 角色
- 个人项目:概念、叙事、游戏与关卡设计
- 引擎
- Unreal Engine 5,3D,三渲二
- 类型
- 战争 · 漂流 · 反转叙事 · 步行模拟器 · 收集 · 生存
概述
从死亡漂回生命
战争中,Row 被炮弹击中。醒来时,他抱着一块浮木,漂在无边无际的水上。
玩家将扮演 Row,开始一场漫长的归乡漂流:一路找吃的,一路求救,向经过的船只,向遇见的人,甚至向一只小鸟。夏天、秋天、冬天过去了。春天,水流把他带进了家乡的河。他见到了妈妈,也终于知道了真相:自己早已死在了战争里。
一路上的伏笔交互,都在为最后的真相做铺垫。结局揭晓时,玩家其实已经朝它漂流了一整局。
- 4
- 个季节,四个关卡
- 4
- 种求生方式,一季一种
- 3
- 条叙事线
- 0
- 种失败方式
我飘啊飘啊,顺着河流,直到回到了那棵树下……
“I drift and drift along the river, until I’m back beneath that tree…”
Row,《漂流》灵感
为什么在水里?为什么是漂流?
这个想法出现在一次课间的路上。那天我刚读到关税的新闻,身边都是陌生人,对未来也充满不确定,我突然有了一种漂流的感觉。
由此浮现出一个画面:一个瘦得像树枝一样的成年男人,攀附着一块浮木,在海上漂流。这个项目便从这个画面开始。
为什么把游戏放在水上,而不是陆地上?
因为漂流和旅程的方向相反;水面能容纳不可能的事物;而且这样的结局更有力量。
漂流天然有一种人生旅程的感觉。《风之旅人》是从生走向死;《漂流》反过来。死亡是起点,家是终点。
陆地上的逻辑都很坚固,每一步都必须合理。水面上,奇异而不可能的东西却随时可能漂来:梦幻的小动物、炸毁的窗户、鳄鱼的嘴巴。河流让这个故事既奇幻,又真实。
Row 拼尽全力回到家,却在抵达时得知自己已经死去。母亲亲眼看到儿子遗体的冲击,远大于一封电报。
我认为游戏应该是什么样的
游戏应该与现实问题相关,而不是纯粹的娱乐。它关注人们平时无法言表的困境和感受。每个项目都从一个社会问题或具体的生活困境出发,希望提供慰藉与支持,并引起关注。
玩家不与任何人对抗。唯一的压力来自水。
游戏被设计为一段体验,而不是一场考验。Row 沉下去时,游戏继续,但会失去声音、颜色和交互,直到他重新浮上来。从叙事上说,一个已经死去的人,也不会再死一次。
文学有散文和诗歌,电影有诗意电影,游戏也应该有散文游戏:无需挑战,只需经历。
参考
借鉴了什么,从哪里
| 作品 | 给《漂流》的启发 |
|---|---|
| 《1917》 萨姆·门德斯,2019 | 视觉起点。士兵抱着木头,在落满樱花花瓣的河中漂流:美好的景色,与残酷的生存压力。 |
| 《风之旅人》 thatgamecompany,2012 | 一段不用语言讲述的人生旅程。《漂流》把它倒过来。 |
| 《Flower》 thatgamecompany,2009 | 第四关:浮木漂过的地方鲜花绽放,玩家只需要控制方向。 |
| 《Pause》 Michal Shoshan,2020 | 视觉调研。一款受弗兰克尔《活出生命的意义》启发的生成式游戏,世界从一片虚空中逐渐长出细节。 |
| 《少年派的奇幻漂流》 | 水上的求生,最后变成了一段奇幻的故事。 |
| 《瑞士军刀男》 | 水上的一具身体,一段荒诞又温柔的回家之旅。 |
| 《光遇》《纪念碑谷》 | 没有脸的角色:轮廓、留白、减法。 |
| 《猫博物馆》 | 结尾真相揭示的方式。 |
参考图片
角色
Row 是谁,带着什么
Row 是一名普通的步兵,在战争中被炮弹炸伤。他没有具体的面部形象,只以一个贯穿整个系列的固定印记(例如发型)作为辨识。他的角色卡是一张墓碑形状的白色剪纸,写着他的出生年月日,以及概括他一生的几个词。
他不是英雄,只是千千万万普通士兵中的一个。正因为普通,他执意漂流回家的故事,才可能属于每一个人。
物理层面的需求
在水中求生。
心理层面的需求
活下去,战争结束,回家见到妈妈。
随身之物
水流不断把他身上的东西冲走。每追回一件,一段记忆回来,信心也稳住一点;每丢掉一件,水就变得更沉。
| 物品 | 代表 |
|---|---|
| 全家福照片 | 亲情 |
| 未婚妻的信 | 爱情 |
| 怀表 | 友情 |
| 小鸟折纸 | 梦想:农场,原本的人生目标是成为养鸟的人 |
到了秋天,这些就是他必须放弃的东西:为了吸引船只的注意,他要扔出素描本、父亲的怀表和妈妈的照片。
战争 · 漂流 · 反转叙事 · 步行模拟器 · 收集 · 生存
结构
四个季节,四种求生方式
早期版本推翻了多次,因为漂流始终停留在单一的节奏里。怎样让漂流有深度、有递进?
用不同的求生方式划分节奏:先是身体,然后是他人,再然后是内心,最后,什么都不需要再挣扎。
| 关卡 | 设定 | 机制 | 情绪 | 求生方式 |
|---|---|---|---|---|
| 01 | 夏 | 生存 + 探索 | 孤独,试探 | 技术上的生存:没搞明白什么状况,抓住浮木,保持平衡。 |
| 02 | 秋 | 向他人求助 | 放开,勇气 | 现实世界的生存:开始向他人求救,铺垫死亡的真相。 |
| 03 | 冬 | 生存 + 自救 | 自我救赎,勇气 | 心理上的生存:绝望了,开始向自己求救;濒死幻觉以年少时的简笔画、日记本的形式出现。 |
| 04 | 春 | 游览 + 感受 | 认知,感知 | 最简单的关卡:欣赏美景,收集美好的记忆。然后,叙事反转。 |

系统
漂流,拾取,撑住
鼠标控制方向,撞到的东西就会被拾取。玩家表面上在收集漂流物,实际上是借助它们在水面上攀爬前进,并用它们拼出自己的方舟。

玩家醒来时四周都是水。如果不操作,Row 会慢慢下沉,画面变灰;点击后他重新浮出水面,色彩恢复。水流越来越快,抓住残骸和木头能让身体稳定下来,逐渐驾驭水流。足够稳定之后,画面放慢,进入下一关。
需求
| 需求 | 现实中的行为 | 游戏中的操作 |
|---|---|---|
| 氧气 | 身体浮出水面 | 鼠标左右键轮流点击,保持平衡、浮出水面。下沉时失去声音、颜色和交互,直到氧气恢复。 |
| 淡水 | 下雨 | 自动补水,无需操作。 |
| 食物 | 抓鱼,捡物资 | 鼠标控制方向,碰到即拾取。 |
| 信心值 | 活下去的意志 | 一个单纯的数值:高、中、低。看到私人物品、调取回忆会增加;丢失它们会下降。 |
信心值循环
求救
扑腾,扔出自己的决心(身上的物品、漂流中收集的漂流物),向路过的船只、偶尔路过的人求救。但每一次都会以某种方式落空,因为他其实已经死了。
| 结果 | 发生了什么 | 埋下了什么 |
|---|---|---|
| 01 | 求救成功,获得一些吃的和救生圈。 | 希望 |
| 02 | 通过对话透露,他们没办法再多带一个人了。 | 一个没有余地的世界 |
| 03 | 他们是敌军的民众,害怕救了他会受到当局的报复。 | 来自对岸的战争 |
| 04 | 上了船,又被推下来:人们发现他死了。 | 一个来得太早、还看不懂的真相 |
对话刻意错位:Row 以为自己还活着,别人回应的却是一个死人。他发出求救信号,得到的却是一束花。
操作
| 输入 | 动作 |
|---|---|
| 鼠标方向 | 在水流中控制方向 |
| 鼠标左右键轮流点击 | 保持平衡;挣扎着浮出水面 |
| 碰到 | 拾取(范围内自动拾取) |
| 鼠标方向 + Shift | 扔出物品示意(第二关) |
| 鼠标方向 + 空格 | 更换浮冰(第三关) |
| 镜头 | 仰头视角,可以左右查看;遇到暴风雨会反转视角。 |
| 屏幕 | 没有任何 UI |
草稿:概念草图与示意图。游戏仍在开发中。
1917年 上午5:45
开场
掉入河中
黑色的屏幕(黑色的河水)被扫射灯不时划过,战争的炮火声持续着。突然,屏幕剧烈晃动,似乎有什么东西被扔进了水里。声音全部安静下来,河流声越来越大。鱼儿抬头,忽明忽暗中,一个男人抱着浮木的黑色剪影在河里漂过。游戏名出:《漂流》。
目的
交代战争,然后把它拿走。快节奏进入慢节奏。
想要的感受
嘈杂,一次震动,然后是一种几乎平静的安静。
1917 夏
关卡 01
坠落与漂流
Row 醒来,发现自己被挂在一棵树上。他非常奇怪,为什么无边无际的河水中会有这样一棵巨大的树。一些对话交代处境。玩家点击,树枝断裂,漂流开始:慢节奏进入快节奏。
- 保持平衡,躲避障碍物(石头)。
- 在漂流中不断尝试抓住 3 个东西:漂流过来的死人,或美好而梦幻的小动物;炸毁的窗户;有时甚至是鳄鱼的嘴巴。
- 不断抓回从身上漂走的东西,维持信心值。抓到不同的东西,加分不同,并和第三关触发的回忆联系起来。
目标
驾驭水流,拾取 6 件物品,拼成第一只方舟。
想要的感受
一开始茫然,然后是一点小小的、倔强的希望。夏天是美好的,所以才更让人害怕。
秋
关卡 02
方舟
无边无际的水面上,散落着一些叶子。一只乌鸦歪头,呆呆地看着他。3 艘船轮番靠近,先以影子出现。玩家需要抛出身上保持信念值的东西:素描本、父亲的怀表、妈妈的照片,吸引船只的注意。
- 3 艘船都发现他死了,所以没有拯救他。
- 三艘船可以各不相同:敌对的两方,大船和小船,渔民和士兵。
- 信心值降到最低。乌鸦飞到他身边,视角切换为乌鸦的视角。
目标
按 Shift 扔出物品示意,向他人求救三次。
想要的感受
希望,以及帮助总是差一点没有到来的酸楚。
冬
关卡 03
漫长的季节
Row 时不时会撞上浮冰。乌鸦看着他,飞走了。Row 已经彻底失去行动的能力,解锁心理笔记本:小时候被逼着写的日记,现在只能写在脑海里。
“不知道从什么时候开始,我的时间好像停止了。我失去了说话的能力,生理上。但后来,是心理上。我开始强迫自己在脑海里写日记。你知道的,就是小时候你强迫我写的那种。哈……妈妈,一个人总要用点什么方式,来确认自己还活着,不是吗?”
- 控制躲避浮冰,维持生命值。成功率很低,但生存玩法不要太难。
- 点击收集 Row 不断流散出的记忆,放回身体里。人丧失记忆,代表死亡和放弃。
- 3 个物品,各触发一段回忆:妈妈的记忆,素未谋面的女儿的记忆,自己死后的记忆。在回忆中,收集到 Row 生前的 3 个真实愿望。
- 不断更换浮冰,通过撞击的角度移动自己(类似台球),水流变成反方向,给出阻力。
目标
集齐 3 个愿望,Row 的行动能力逐渐恢复。漂过最后一块浮冰,朝远处的海市蜃楼前进。
想要的感受
寒冷、缓慢、孤独,只是撑着;然后想起为什么要撑着。
1918 春
关卡 04
归乡
Row 手里的浮木萌生出新的嫩芽。浮木漂过的地方,沿途鲜花绽放,鸟儿成群飞过。玩家只需要控制方向漂流,不断点亮水中的花朵,直到到达那棵从小长大的大树。童年的东西从身边漂过,撞到它们,就会响起当年的声音。
- 感受到生命力了,数值会不会增加?正在测试的想法:本应上升的数值,却不断下降。行为和视觉呈现的反转。
目标
漂回家。不会失败,也不再需要收集什么。
想要的感受
温暖、相认,底下却有一丝说不出的不对劲。
春
结尾
真相
Row 漂流到大树下,躺在岸边。一只一只玩具被扔到水中,漂浮在他的身边;点击玩具,小孩子在岸边玩耍的声音传来。那些玩具,和 Row 小时候的一样。“这是我的玩具?”
河水中,女人的剪影出现,带着一条项链。那是日记中无数次出现的妈妈的项链。尽管已经无法说话,也听不见声音,但他在心里的日记本上不断写着自己的雀跃。他写下:我回家了。
一只乌鸦向他的脸啄来,叼走了他的眼珠。视角转换,玩家可以控制乌鸦飞行。世界突然有了声音。女人抱着河边的尸体爆哭。Row 失去了一条腿:原来这就是一直保持不好平衡的原因。人们议论着:“可怜的 Row,看样子他是被炸死到河里,一路漂回来的。”河水随着哭泣的声音,逐渐从白色变成黑色。玩家飞走,结束。
呈现方式
20 到 30 秒的蒙太奇混剪:片段 + 片段 + 文字。
想要的感受
相认,然后告别。
叙事设计
三条线,一个暗示
| 主线 | 漂流线。活下去,回家,现实当下的视角。承载游戏行为和空间。 |
| 幻想线 | Row 对素未谋面的女儿说的话:童年的回忆,幻想中的视角,补充 Row 的人物形象。“星星就在脸上面很近的地方摇晃,世界真是无边无际。”每段结束时出现一张简陋的速写;点击,海鸥飞走,画面切回漂流。 |
| 多年之后 | 女儿的视角:人们在电影的拍摄现场挖战壕,看到了一具已无法辨认的尸体。一张字条从天空中飘落:“如果我能回到家乡的话,等战争结束,我想——。”得到真实愿望 1 个,信心值 +1。是否保留,待定。 |
贯穿始终的暗示
他已经死亡的事实,应该有一件事或者一样东西从头到尾都在暗示。铺垫不足,结局会显得像是对玩家的戏弄;铺垫充分,玩家会发现自己其实一直都知道。
Row 一直逆着水流的方向前进,这也是他回家决心的体现。一开始逆流不太明显,越到后面越明显,暗示他遇到的困难越来越严峻。一种视觉上的不合理,令人微微不适。
从第一关开始,乌鸦就在不停叼走他身上的东西:钻石,其实是眼球;珍珠项链,其实是锁骨。Row 很困惑,因为他从未拥有过这些。在他眼中乌鸦是白色的,实际上是黑色的:同一个事物,被他的感知美化了。这个意象承载了情绪核心:我一直在失去,但我一直在找回。
他一直保持不好平衡,结尾揭晓原因。
一枚有名字的军牌,代替他回家,最后发现是朋友的:那个帮助你回家的战友。
声音
每一种声音都有它的反面,游戏在两者之间切换。
| 激烈的战争 | 舒缓的爵士乐 |
| 烟花声 | 炮火声 |
| 孩子们玩闹的声音 | 哭喊的声音 |
| 水流声 | 时钟的声音 |
| 呼吸声 | 鸟飞翔的风声 |
Unreal Engine
早期场景
追问
待解决的问题
第一人称还是第三人称?
仰头的视角,看着天空,可以左右转头看;遇到暴风雨时视角会翻转。
答案变成了人和乌鸦之间的视角转换。在 3D 水面上,第一人称最有沉浸感,但也最难看清,所以我在测试镜头高度,以及画面里保留多少残骸。
2D 还是 3D?
2D 好做,游戏机制更丰富;3D 写实,沉浸感好,但难点在水和第一人称视角。2D 是不是妥协的产物?
最终决定:3D,在 Unreal Engine 5 中制作,采用三渲二的风格。
一定要在水里吗?
水是最难做的。同样的故事,能不能不发生在水里?比如一封信要回家,在天空和陆地上被吹回家,或者由玩家控制的鸽子送回去?
水留下。它是游戏里力量最强、变化最大的起点;玩家的行为应该从水的推动中生长出来。
叙事和玩法的比例?
早期草稿的反馈:写得过满,留给玩家的自由度不足。在水上,玩法是受限的;这是不是一个主要靠叙事、由小系统支撑的游戏?
系统保持小而具体(平衡、拾取、扔出、换冰),并把所有数值整理成一张表:if 怎么样,数值怎么样,视觉结果怎么样。先做第一关的原型。
Row 能够到什么?
物体是被拉向 Row,还是由他移动过去获取?他能否游泳或伸手?
拾取按范围判定:碰到就拾取。画出他的手,并和玩法绑定,用来说明可交互的范围。
过程
迭代记录
| 第一版构想 | 开场是春天,玩家可以点击小鱼、小鸟、小树叶互动;然后,战争闯进这片美好的景色。平衡、信心值、求救,回家后发现真相。 |
| 四季版 | 用四种求生方式解决“一直是一个节奏”的问题。每一关画分镜;加入乌鸦和心理笔记本;三条叙事线;成对的声音。 |
| 关卡规格 | 每一关都有明确的目的、操作、目标和通关条件。最后的春天移到 1918 年。 |
| 现在 | 3D,Unreal Engine 5,三渲二;视觉开发与第一关原型。 |
下一步
正在推进的事
按季节写完整剧本,为结局埋下伏笔。
每一关的流程、资产与道具、交互、玩家路径,以及完整的数值表。
在 Unreal Engine 5 中搭建夏天关卡:漂流、拾取、方舟和信心值。
三渲二的 3D 风格;颜色和水随季节变化。
制作
- 项目
- 个人项目,进行中
- 概念、故事与设计
- Jingwen Li
- 示意图与草图
- Jingwen Li








