Summary of Key Points
This interview features insights from Zhu Feng, the head of IP creative development at Tencent Photon Studio, who has nearly 30 years of experience in IP creation and has worked on projects such as "Star Wars," "Transformers," and "Dead Space." He discusses topics including "the essence of an IP," "how to create a soulful IP," the current state of domestic game IPs, "creation in the AI era," and advice for young people, providing guidance from theory to practice for professionals and creators.
1. An IP is not a "finished product" but an "empty box" that needs to be filled
Zhu Feng emphasizes that many mature IPs (like "Transformers") are essentially empty boxes—the IP owners (such as Hasbro) provide the overall framework (e.g., toys), but the specific story direction, world-building details, and player/user experience are determined by the creative team.
- Differences between game and film IPs: In films, the director controls everything (every frame is decided by them), while in games, players control their own experience (they can wander around or exit at any time). Therefore, games require more effort to "retain players"—for example, by refining every detail and using narrative, lighting, and music to guide players further.
- The underlying logic of a successful IP: It's not about setting complex rules but about making it simple enough for people of all ages to enjoy. For instance, "Star Wars" may seem science fiction, but it's actually a fantasy story wrapped in a sci-fi context, with entertainment as its core, allowing new stories to be told even decades later.
2. Creating a soulful IP: 90% reality + 10% originality
Zhu Feng suggests a practical approach: use 90% of real-world references and 10% of original elements to ensure the IP is both feasible and unique.
- Why this ratio? All-original content can easily get out of control. For example, creating a future sci-fi world requires designing every detail (beds, cars, weapons) from scratch, which can lead to the project going off track. However, using real-world references (e.g., medieval history) and adding just 10% of original elements (like suddenly introducing a dragon) allows for natural storytelling extensions (how do people respond to the dragon? Do the weapons need to be changed?).
- Team size: The prototype phase (when determining the direction) should have no more than 7 people to facilitate quick communication and experimentation. A large team with many meetings can slow down progress and miss the best creative period.
3. Domestic game IPs: Play-oriented vs. content-oriented
Zhu Feng distinguishes two types of domestic game IPs:
- Play-oriented games: The majority, focusing on gameplay and operations, without a need for a complete world-building (many mobile games).
- Content-oriented games: Still in their early stages and lagging behind overseas counterparts, which have learned narrative and world-building techniques from the film industry. However, 2D game teams (with mature scriptwriting and character design processes) are doing well, and realistic themes (like "Black Myth:悟空") represent a good starting point.
- Problems with previous IP trends: The hype around IPs often stemmed from investment and speculation, leading to inexperienced developers taking over projects or drastically altering the original content, failing to establish a new world-building.
- Opportunities: There are many opportunities in domestic themes like history and culture (superheroes, spy stories are common abroad but almost non-existent in China). As player demand for quality content grows, teams with genuine passion and knowledge of IPs can create great works.
4. AI is a tool; young people should "invest in themselves"
Zhu Feng offers practical advice on AI and personal development:
- The role of AI: AI acts as a multiplier, helping to streamline tasks (e.g., rapid art creation or scriptwriting), but it cannot generate ideas from scratch. For example, successful AI-generated content relies on creators knowing what they want to convey; AI merely assists in filling in the gaps.
- How young people can grow: Avoid focusing solely on money; instead, invest in personal growth (watch classic movies and games, observe the real world, learn new skills). Spend your salary on things that will help you develop, not on luxury items. Only those with a solid foundation will be able to seize opportunities.
- The challenge of content creation in games: While AI can improve efficiency, it cannot completely replace human creativity. UGC (user-generated content) can be useful—games like "Fortnite" allow players to create maps that are even better than the official ones, but this requires design flexibility from the beginning.
Conclusion
Zhu Feng's main message is that the soul of an IP lies in the user experience, not in complex settings. Creating an IP requires innovation based on real-world foundations. There are significant opportunities for domestic content-oriented games, but teams need to be dedicated and patient. AI is a tool; true creators must rely on their own skills and passion. These insights provide practical guidance for anyone interested in developing IPs or creating meaningful content.