On the job market, a growing number of games and cartoon companies have started to add “AI editors” or to clearly list AI skills in their regular job requirements. Behind this is not only the spread of tools, but also the profound transformation of the industry ‘ s work stream.
According to a number of senior practitioners, the application of AI has gone beyond “subsidiary” and is directly involved in the construction of the world view and the human being, touching on the creative core of content creation.
This is a question of whether the deep involvement of AI is replacing manpower or redefining the boundaries of creation. Perhaps the key to explaining this is not to worry about “replace”, but to clarify what fundamental changes AI has made to the creative ecology.
Worldview and Man: How does AI write?
“The greatest advantage of AI is that it’s not going to collapse.” The head of an amphibious copyright operator in Beijing (alias) pointed out that many games and cartoons were being updated in the long term and faced problems of the drama and the gradual collapse of human creation.
There are multiple reasons behind this problem. On the one hand, the long-term serialization can be a source of inspiration for the creators, and the original character of the person is slowly moving away. – For example, the pre-scientific and rational protagonists, who suddenly become imprudent, and the reader sees a mist; on the other hand, the rapid pace of the industry-wide pressure to update, such as comic-weeks, and the frequent intermingling of game versions, makes it difficult for teams to cross-check the details of the prescient, which leads to a logical loophole. Typical examples include “rebel undercover” ambushes, where they are forgotten and end up with nothing more.
And AI’s involvement is changing the situation. Many games and animation companies now write a character description about 300 words, then enter it into AI, and use keywords and requirements to generate a person ‘ s growth background and future experience.
“AI can produce dozens of versions of stories about this person, and only the editors or planners need to select those stories and combine them into a profile.” A game collaborator, for example, who, in optimising the mix of a game, enters a key set for AI: “The inn-keeper, who has a large surface, is actually an absconding killer who is afraid of blood but is good at poison”.
In just one week, AI gave a 28-page story, even a nuanced picture of the full life of the role from 1 to 80. Among the elements that emerged were the fact that she had been hunted down for having saved a decent man, and the version that described her opting out to protect her brother.
In the end, if the team did not choose the version of “Driven to save the poisoned master, recanted by a mistake of killing a good man”, it would not only be a complete background, but would also leave a pen open for subsequent players.
However, to achieve direct operational effects, there are multiple rounds of screening and feeding. “Ai, for example, wrote that the role was `never kill with poison’, but it was paradoxical to mention that she had killed a good man by mistake, and that we had to add `the need to respond to the memory of a good man, reflecting her guilt’ to the key words, to allow AI to produce several versions of the story, and eventually to get the most logical version from the real person.”
Even at this stage AI needs a real person to control it, but it would seem that the progress of AI has been significant compared to the fact that it was used only a few years ago to generate conceptual maps and videos. This “fixed-to-the-Ai generation” model is emerging as a new way for industry to avoid a collapse of creation.
In this case, the senior comic editor had a deep sense of good night. She has repeatedly called for the closure of a number of projects that are difficult to continue because of their design or the collapse of the story. “Some authors are forced to do so by the end. In the light of good night ’cause comics are based both on the individual inspiration of the creator and on the high-intensity, up-to-date pace of the industry, and they can easily get caught up ‘ To update and update ‘the passive situation ‘ , AI may complement this with a new opportunity to help the industry out of this “passive remedy” dilemma.
AI is always a tool.
Even though many games and cartoons have begun to build a world view with AI, to complement the drama and to perfect it, in the eyes of several senior practitioners, AI has never been a “creative character” but a more efficient tool.
“Ai seems to me to be no different from the computer, Maya, a tool to save people from the trifling work, to move their energy to the core of their creation. – You can’t say “no one in this case” with a computer, or “no artist’s design with Maya.” He further argued that when computers and Maya were just born, there was a similar concern about mass unemployment, “Is technology stagnating because of a fear of unemployment?”
If that view was not entirely unreasonable, he recalled that when Maya had become popular in the animation industry a decade earlier, many traditional painters had been afraid of being replaced, with the result that the industry had not reduced the number of hand-drawing jobs, but had been replaced by “triple-dimensional animators” and had even given birth to a three-dimensional, technocratic fund such as “The Devil of the World”.
“It is never technology that can be eliminated, but rather people who do not progress, and it is natural for the creator to be eliminated.” If AI is not convinced that it is repeating a similar path: it can quickly complete the time-consuming basic work of writing a first draft of the 20 editions, “Checking the first 500 scripts”, thus freeing creative authors to focus on the core issues of “how to make the guilt of the hostess more real” and “how to make the player feel more alive when he unlocks the feeder.” “I don’t think this is a job to rob, to free people from ‘manual work’ and to do what only one can do.”
In practice, AI does significantly improve the efficiency of creativity. In the past, it may take years for animated or game teams to sort out information and build a world view, and now, using AI to combe the core set into a framework, the team can save more time and focus more on the optimization of play design and experience, saving both time and money.
Just like the grand narrative of the Animated Circle a few years ago, “Oriental Fantasy + Disgusting + Twisting” , there was a team that spent a year collating the “geometric relations” set-up and writing tens of thousands of words about the world. Now, with the core words of “humans, demons, the Stylists, people living side by side, people relying on technology, demons with talent, the Stylists with nature” and so on, the world view will be written in a few days, and AI will automatically mark “the potential conflict point of the tri-ethnic struggle for resources” to make it better.
For small and medium-sized players with limited resources, it is the “direct beneficiaries” of AI. Instead of telling the bone, even a simple pixel risk game, when you used to play a small program, five people spent two weeks checking the logical connection between the main-line drama and the secondary-line mission, avoiding loopholes such as “the main-line NPC still sends out obsolete tasks after the player has completed the feeder”.
But now, all the scripts are fed to AI, with keywords such as “logical self-conformity” and “volunteer response”, and AI is able to mark all the contradictions within three days and make suggestions for changes.” A small program game is a mass and a fast rhythm, and the player is easily lost, so it’s very fast to update.” If not supplemented, some small program games can now add two or three hidden interactions more quickly to enhance player stickyness.
Whether it is through AI to build a world view, to fill a gap in the story or to improve role-setting, it is in essence AI to help creators “clean up the obstacles” rather than “take over the creation”. As Kiri said, what was really remembered by the player was never “this is done by AI or by the real person”, but “this story, this role, reminds me of myself”.
Today, there is no debate in the industry as to whether AI can replace people, but rather a focus on how to use AI to make creativity more powerful. It’s like a pen that’s getting smarter — it’s faster, more stable, less mistakes, but what’s done, what’s expressed, what’s passed, ultimately depends on the man who holds the pen.
