People familiar with Hollywood film industry must know that Hollywood three-stage story structure is one of the common narrative routines in many types of movies. Galgame scripts are similar to movies (the similarities and differences between Galgame and movies will be discussed in the second part of this article). Many Galgame scripts adopt this structure and achieve good results. So let me introduce this theory first, and analyze it with examples in combination with the existing Galgame.

1, the definition of syllogism

Hollywood syllogism means that the main part of a story can be divided into three paragraphs: the beginning, the middle and the end, and the length of the three paragraphs is maintained at the ratio of about 1: 2: 1. But when it comes to how these three paragraphs are defined and what the main points are, many people may not be very clear. In fact, according to my popular understanding, the three-stage structure can basically be equivalent to what we often call the "connection" structure. Someone must ask, "from beginning to end" is obviously four words, how is it a three-stage form? In fact, this is the relationship between points and lines. Four key turning points divide the main part of the story into three paragraphs. Start-bearing is the first stage, bearing-rotation is the second stage, and rotation-rotation is the third stage. Hollywood syllogism is also about four key turning points in the story.

2, the key content of the turning point

The four turns in From the beginning to the end are very particular. "Ascension" is the key point at the beginning of the story, which allows the protagonist to get in touch with the main line of the story for the first time, but at this time, if the protagonist wants to stop, he can still go back to his daily life. The occurrence of "Cheng" cut off the protagonist's retreat, and the protagonist can only move forward from now on, and can no longer think about quitting at any time. "Turn" is a negative turning point, where the protagonist meets the biggest dilemma in the story. The audience will think that the protagonist is dying, and they will want to know how it ends. The final "combination" is the most positive turning point, in which the story ushered in the final climax and ending.

3. Additional contents of transfer.

It is not enough to do the above. There are some important additional contents in the three-stage structure, which can get twice the result with half the effort if properly arranged. First of all, the "beginning" part of the story usually lets the protagonist and audience know what the main goal of the story is and have a preliminary concept of the obstacles that may be encountered. Success can cause some changes. If it is daily before this, then we can introduce non-daily plot after "success", and let the protagonist's psychological expectation rise to a high point through this event, so as to prepare for the huge gap that will turn sharply afterwards. The "turning point" part is the best time to arrange for the protagonist to know the core secret. On the other hand, knowing the core secret makes the protagonist feel greatly frustrated, which is also a very common means of "turning". As mentioned earlier, the protagonist encountered seemingly insurmountable difficulties in the process of "turning". In order to make the reversal of "He" not abrupt, we should bury the foreshadowing and reveal it in the part of "He" to help the protagonist achieve a smooth reversal. Usually, the most suitable paving position should not be later than "bearing", otherwise it will easily make the audience feel that the final turning point is abrupt and blunt.

4. Preface and conclusion

It should be noted that the "main story line" adopts a three-stage structure and does not require the story to enter the first paragraph from the beginning. At the beginning and end, you can arrange a "prologue" and "epilogue" to explain other aspects of the story. Take Galgame as an example, the common lines at the beginning can be prologue, and the first paragraph of "Qi" can be started after entering the personal line, or "Qi" can be included in the common lines, and "Cheng" can be used as the branch point of the personal line.

5. Emotional development

When it comes to Galgame, the emotional development between the hero and heroine is usually an essential element. This kind of story can be mainly divided into two kinds, one is a pure love story, and the main content of the story is the love and contract between the hero and heroine, so such a story can be said to have only one main line. The other is that the initial goal of the hero and heroine is not to fall in love, but to gradually develop feelings in the process of getting along and working together. Then this story has two intertwined story lines, one is the main line and the other is the emotional line. When arranging the plot development of such a story, two lines should be taken into account. The two lines develop synchronously in three stages. At the time of "commitment", career development does not go back, and emotional development is also in full swing; The "turning point" has come, the cause has been hit and the feelings have been in crisis. In this way, when we finally "approach", we can not only break through the resistance, but also resolve the crisis, and both of them can achieve their goals at the same time, which can make people feel greatly moved.

6. Psychological gap

There should be more than one four turning points of "connecting the past with the future". Take the love story as an example. It is a positive turning point that two strangers meet and fall in love. The psychological gap of the negative turning point of "turning" to break up is actually higher than being a stranger again. If you lose your memory or become a stranger again, you may meet again, but when you break up, you usually deliberately avoid each other. Even strangers are not as good as enemies. Then if the final "combination" is just a change of heart and reconciliation, it is not enough. It must end with a climax higher than all previous psychological gaps, otherwise it will make the audience feel anticlimactic.

7. Summary and case analysis

Simply put, the three-stage structure is: "Qi" opens the way for the protagonist and defines the goal; "bearing" should cut off the back road and produce changes, and the foreshadowing should not be later than this; "Turn" makes the hero suffer the biggest setback and know the core secret; "He" faced the final challenge, uncovered the foreshadowing and ushered in the final climax and ending.

Let's start with an example analysis.

Rainbow melody

Rainbow melody

Domestic PC games have four story lines. Lin Ning Line is the only line with three-stage structure, and it has the highest comprehensive evaluation. The Lin Ning Line is a love story with a single main line, and its main content is love. Lin Ning and the male host are teachers and students, and the common lines in front are the prelude. The main line of the story is a standard three-stage structure, which begins after entering the personal line.

"Up" means that the man and Lin Ning go to a bar to drink, and then the man stays at Linning's house for the night. This basically belongs to their first date, and their feelings began to sprout. "Cheng" is the man and he are making cakes at home, but the power is out and they are kissing. Kissing is a very clear signal. From then on, the two confirmed their love relationship and could not turn back. The cake that was not eaten because of the power failure has been in the refrigerator for a long time, which is a foreshadowing. "Turn" is the follow-up part of playing basketball, where the man learned the core secret of Lin Ning's long-planned going abroad. Lin Ning said that she was using the man to stimulate Lan Ruo, and then Lin Ning suddenly moved away and cut off contact. The man's mood fell to the bottom, and this love encountered the biggest crisis. The foreshadowing of "He" cake was uncovered, which actually contained the time and flight number of Lin Ning going abroad. The man rushed to the airport, struggled with the traffic jam and rushed into the security checkpoint, which ushered in the final climax and ending.

In this story, the core secret of Lin Ning's going abroad is the biggest reason for their emotional crisis. The bedding of the cake can be said to have a decisive role. Imagine that if the male host finally got Lin Ning's information through other means, the audience would definitely feel stiff and abrupt.

Lan Ruo Line and Xiyue Line, by the way, the main goal of Lanre Line is to find the family members of patients who died in the past because of donating blood to her. Cherish the moon line is to help her repair the relationship with her father, which belongs to the type of dual-track development of career and emotion. However, the relationship between career line and emotion line is not close enough, and the main goal is almost irrelevant to the man himself, so achieving the goal can not improve the feelings of the characters.

Blue memory

Blue memory

This is the Galgame of mobile phone Saipan system, and it is the originator of mobile phone Galgame. This game has only one heroine, a single love line.

"Strange" means that the hero asked his girlfriend to go to the seaside for a holiday, and her girlfriend stood him up, but he met the local heroine. The heroine told him a legend that if he could swim to an island in the sea, Poseidon would realize one of his wishes, which was a foreshadowing. "Cheng" is the official breakup of the man's original girlfriend, and the man also left a photo with the heroine. Since then, the two have established a love relationship and will not go back. At the time of "turning", the man learned the core secret, and the woman was already terminally ill and hospitalized for surgery. Men's mood has fallen to the bottom. "He" means that the man remembered the previous legend and bravely swam to the island to make a wish to Poseidon, thus ending. Then came the "ending" of the story, and a year later, the woman recovered and returned.

This story also takes the core secret as the main reason for the "turning point". The foreshadowing arranged at the beginning also played an important role. If the legend of swimming to the island and wishing is finally known to the male host, it will definitely make the audience puzzled as the ending.

The wings of a dream

The wings of a dream

This game is also a Galgame on Saipan system, belonging to the same game series as Blue Memory, and also a single heroine, but this story belongs to the type where career and feelings go hand in hand.

Qi is a temporary assistant who works in a cafe and has been appointed as an international supermodel. There is an abandoned stage in the cafe, where the hostess used to sing before becoming a model. This is a foreshadowing. "Success" means that both men and women talk about their dreams at the top of the mountain and their feelings go further. The man decided to help the woman realize her musical dream and privately promised to find a music agent to make a record for her. When the man learned the core secret, the music agent was the woman's ex-boyfriend. He just used the woman's hype and released the scandal of the man and the woman living together. Since then, the woman has avoided seeing the man, and their careers and feelings have been dealt a double blow. "He" male host found the female host at the top of the mountain and held a press conference in the cafe to expose the story of the female host's ex-boyfriend. The female host once again boarded the abandoned stage of the cafe to show her voice.

It can be seen that the core secret of "turn" directly hit the career line and also caused the crisis of emotional line. The appearance of the final stage has been foreshadowed at the beginning and will not appear abrupt.

Folk song 2

Narration 2

Galgame on Apple's iOS system has two story lines, both of which adopt a three-stage structure, and both stories are unfolded in a career and emotional way.

The "beginning" of the Yaoxing line was that the man learned that Yao Xing was going to hold an open day of the Observatory to prevent the observatory, which was loved by children, from being demolished. "Cheng" is the person who helped her successfully hold the Observatory Open Day. The abandoned galaxy train here is a foreshadowing. After that, the outing plot was inserted, which broke away from daily life and deepened their feelings. When the "turning point" happened, this man knew the core secret, and Yao Xing was terminally ill. Dismantling the Observatory can get compensation for treating Yao Xing. At this time, the career line represented by the Observatory and the emotional line represented by Yao Xing's illness had a contradiction and fell into a dilemma. "He" found Yao Xing in the observatory that was about to be demolished by blasting, and understood that Yao Xing itself was not the true meaning of the observatory loved by children. When the old Galaxy train was bombed at the Observatory, the two of them managed to escape.

Different from other examples, the core secret revealed by the "turning point" in this story has caused the seemingly incompatible contradiction between career line and emotional line. This difficult setting can be said to be very clever

The "rise" of Minmei Line is that the male owner joined Minmei's relativistic visualization project group, which explained the ultimate goal, showed the obstacles of school proofreading project, and laid the foundation for the lens in the book. "Cheng" is the plot of an outing after the opening report of the project team, where the man kissed Minmei for the first time to establish a love relationship. As soon as I turned around, I knew the core secret of Minmei and Dementia Brother. This project touched the interests of the school, which led to my brother being poisoned and framed. Minmei decided to dissolve the project team and drop out of school to avoid repeating the same mistakes, which dealt a double blow to men's career and feelings. The foreshadowing of "combination" is exposed. The lens is the research result of the murdered brother that year. The man resisted the pressure of the school and announced the result. Minmei also changed her mind and reunited with the male host at the venue.

In these two stories, it is extremely important to bury the foreshadowing of "Cheng". Imagine if the small train used by Yaoxing Line to escape was not explained before, or the lens of Minmei Line was not discovered until the last minute. What kind of feeling would this result bring to people?

If the story ends in tragedy, then the arrangement of inheritance and integration should be the same as normal. Beginning and inheritance are two positive turning points, the turning point is a negative turning point, and the merger is the most positive turning point, which leads to a climax, but only in the ending, the protagonist falls short, or is defeated or doomed to destruction. The foreshadowing arranged in front can be the embedded reason for the protagonist's final failure. We can't take tragedy as the main goal of the story just because the ending is a tragedy, and directly reverse the enthusiasm and negativity of the four turning points of "connecting the past with the future".

Once

"once"

As a negative example, this story is a tragedy, and the structure is also a three-stage transition, but the enthusiasm of the transition is directly reversed, as if the purpose of this story is to make the hero and heroine break up successfully.

This story is divided into junior high school and senior high school. The junior high school chapter is equivalent to the preface, which shows that the male owner originally had a sister post. High school article "Qi" means that the male host is promoted to high school, and the female host is in the next class, and occasionally meets. At this time, if you break enough, you can return to the normal love story. "Cheng" is a free class. When the man got depressed, he fell in the Internet cafe, but he even avoided the woman. From then on, the man turned back hopelessly and went to tragedy smoothly. When the "turning point" happened, the plot suddenly took a sharp turn. The Chinese teacher lets the female host and the male host reunite, and the female host helps the male host make up lessons every day. Seeing that their feelings are getting deeper and deeper, this tragedy has ushered in the biggest crisis. After he got his first kiss at Christmas, he fled at the speed of light. Since then, he has cut off contact with her and lived alone for life.

Tragedy destroys the valuable things in life for people to see, and comedy tears up the worthless things for people to see. A tragedy should first create positive value with normal connections and then destroy it at the end. "Zeng" created a worthless hero image, which produced a comedy effect when the ending was self-destructive, making people laugh and give generously.

Second, the similarities and differences between Galgame scripts and movies, plays and novels

Compared with movies, plays and novels, Galgame belongs to a relatively new genre, and the relevant theories about Galgame scripts are relatively immature. Recently, people often ask about the similarities and differences between Galgame scripts and movies, plays and novels. I intend to make a brief analysis with my own understanding.

1, the overall structure is similar to a movie.

Galgame, film and drama are all multimedia audio-visual languages, but the story-telling method of Galgame is the closest to the film in time and space. Galgame's time-space transformation is almost unlimited and can be transformed into any scene at any time. Whether it is inserting flashbacks or grafting time and space with montage, it will not cause any obstacles, and the story can be transformed into various bridges in one go. As can be seen from the last part of this paper, many stories of Galgame directly adopt the three-stage structure of the film, which is caused by these similarities between Galgame and the film. Drama cannot do this. The play is performed on the stage. You can't suddenly insert memories into a scene, and you can't change the time and space background of the stage at will in the process of telling stories. The time and space of each play must be switched by the screen. Therefore, the overall structure of Galgame script should conform to the film.

2, the details are similar to drama.

Although Galgame can switch time and space at will like a movie in the big structure, it can't switch the lens angle at will in the details. Galgame can only use a fixed head-up perspective most of the time, each character is displayed in front of the audience as a vertical portrait of a bust, and the background scene is also a limited number of still images. Only special plots can be inserted into CG for close-up, but it is also fixed the picture. These situations are very similar to stage plays with fixed audience position and fixed background, and they are not good at expressing the complex movements of characters. Movies mainly rely on the actions of the characters to express the plot. Early silent films can be completely without lines, and people can watch them with relish only by the actions of actors. But drama can't. Most plays mainly rely on characters' lines to express stories. So is Galgame. Telling stories through dialogue rather than action is the most common way. It's hard to imagine Galgame without dialogue lines.

Galgame should also be close to the plot in length. Movies contain many dynamic pictures, and the length is usually around 1 to 2 hours. If you watch it for three hours, you will feel tired. But the play doesn't have that much dynamic content. A play is short in less than 2 hours. There are many famous plays with a length of 4-8 hours that you can sit in the theater and watch for a day. So is the length of Galgame. Two hours is only a small work. Sitting in front of the computer for four hours is like a common occurrence, and it won't take long to write a story line in eight hours.

3. Psychological description is similar to novels.

The place where Galgame is closest to novels and dislikes movies and dramas the least is its psychological description. Galgame mainly shows the story from the first-person perspective, so it is very necessary to describe the protagonist directly, which can only be done by novels. The film almost never adopts the first-person perspective, and even if it does, there is no way to directly express the psychological activities of the protagonist. Using subtitles or psychological narration is the best policy for movies. If you want to express a person's inner tension in the film, you may use camera language such as sweating forehead and trembling fingers. It is even more impossible for drama to adopt a first-person perspective, and it is impossible to arrange close-ups like movies. If you want to express the inner thoughts of the characters, you will usually let the characters talk to themselves and tell the audience their thoughts directly. Galgame, like the first-person novel, adds the psychological description of the protagonist, which can not only deeply depict the characters, but also greatly enhance the audience's sense of substitution.

Third, the different responsibilities of screenwriters and directors.

The script written by the screenwriter is pure text, while Galgame is a multimedia audio-visual language. It should be the director's job to turn the script into audio-visual language, not the screenwriter's responsibility. This? One thing Galgame is the same as movies and plays. However, in some Galgame production teams, it is not uncommon for the director to concurrently serve as a screenwriter, so I intend to discuss the part that the director is responsible for together.

1, narration and lyrics

The information that Galgame conveys to the audience can be mainly divided into narrative information and lyric information. In many cases, a plot often contains both. For example, in Ballad 2, the hero and heroine chat at the seaside at night, and the characters and lines mainly play a narrative role, while the background at night and the seaside is accompanied by soothing music and sound effects of the waves, which has a lyrical effect. Therefore, we can get an important rule in the arrangement of Galgame audio-visual language: narration mainly depends on lines and characters, and lyricism mainly depends on scenes and music sound effects.

This is because, psychologically speaking, human beings often have psychological resistance to superficial and obvious things. For example, in a third-rate movie, the actor cries on the screen, and the audience will never cry, but may find it funny. Therefore, if you think that a Galgame, by extension, even an animation or even a movie, lacks artistic appeal in a certain scene, then if it is not a plot, then you must find the problem of the scene and music sound effects. Please note that it is the director's job to arrange images and sounds. If the screenwriter is not a director at the same time, don't directly add descriptions such as "insert music here" and "switch CG at this time" to the script.

At this point, we can draw a conclusion: the screenwriter is mainly responsible for narrative information, followed by lyric information; The director is mainly responsible for lyric information, followed by narrative information. If a screenwriter is also a director, then he should always know his current role, whether to do his own screenwriter work or arrange work for the director. The two should not be confused.

2, the director's position and role

"A clever woman can't cook without rice", the director's role is equivalent to "a clever woman", and materials such as scripts, videos, music and sound effects are all "meals". On the one hand, the script is not good, no matter what the director does, it is also a pot of bad rice; On the other hand, if the director is not good, it will also waste a good script.

The starting point of audio-visual language is the script, and the director's arrangement is closely related to the script. When creating audio-visual language, directors should not stick to the original script, because Galgame has its special norms. For a team just engaged in Galgame, there is often a huge gap between scripts, scenes, characters, music, sound effects and even program interfaces-how can it look good alone and be so strange together? This kind of estrangement is difficult to be resolved through consultation, which will make it inefficient and most of the decisions made are one-sided. This situation must be judged by the director alone, and one party must be adjusted to suit the other. If the director has this ability, then the result of adjustment will naturally be recognized by others; Otherwise, neither can negotiations solve problems that cannot be solved by dictatorship. From the cost point of view, for the overall structure, we should first consider adjusting various artistic materials to adapt to the script, rather than changing the script structure at will; For a single plot, we should first consider modifying the script to adapt it to other artistic materials, rather than changing the image and music. Adapted into a script.

3. Adjustment of script rhythm

Now suppose that the script we are facing has reached a sufficient level in the big structure. In other words, only a single plot needs to be adjusted. Logically speaking, the director has only two choices when dealing with a single plot:

1. When a single plot is reasonable, "maximize" it.

In this case, the director can maximize the plot by scheduling audio-visual means without changing the script at all. Note that, as mentioned above, the screenwriter should not instruct the switching of portraits, CG, music and other materials, which are arranged by the director.

Take "Rainbow Melody" as the negative textbook. The hero came to the school for the first time to prepare for registration and looked at the plot of the publicity column. The material design is very suitable. You can see the campus publicity column on the scene map at the main entrance of the school, so when the protagonist walks from the gate to the publicity column, he should directly switch the panorama to the local map that only shows the publicity column, resulting in the appearance close to the publicity column. The same is true of the plot of the hero's home cooking. The living room and dining room of the protagonist's house are also in the same scene. Just switch the background to the local map focusing on the dining table, and the audience will not have the illusion that the protagonist is standing in the living room cooking.

There are several points that need special mention:

A) the switching between audio and video and the change of audience's mood

Whether the sound and the picture enter at the same time depends on how quickly you plan to push the audience's emotions up, or change them in a few seconds to ten seconds. If you want a sudden change of mood, sound and picture should enter at the same time, such as scene change and music coming in and out at the same time. Otherwise, you can take into account the sound and picture through dislocation, such as the sound effect of music and even the advanced voice of the character, and then change the background to draw the foreground character vertically. The dislocation of voice before narration must not be used too much, otherwise it will easily make the audience feel that the plot is dragging on.

Taking Rainbow Melody as a negative textbook, for most daily parts, some simple sound effects should be cut in at the same time as the words, and the misplacement of sounds and words can only be used in unexpected situations, such as thunder, sudden power failure, and unprepared phone calls. , giving people a situational feeling after hearing the sound first; In important paragraphs such as climax and psychological changes, screen performance, you can set the waiting time of sound effects not to fast forward or skip, such as crossing the road and braking suddenly, basketball games, etc.

B) Adaptability of characters, vertical figures and backgrounds, and the principle of "simplification"

When a character makes an action that can't be expressed by the vertical picture, it is better to cut off the vertical picture of the character than to keep the wrong vertical picture of the character.

Or take "Rainbow Melody" as a negative example, and the protagonist is a guest of Lanruo's family. In the process of dialogue with the protagonist, if Lan Ruo turns his back on his parents outside the picture, he should temporarily cancel the vertical painting. Although the vertical painting didn't call back this action, it made people naturally make up this picture at the moment of disappearance. Similarly, when playing basketball on the Lin Ning line, the characters on the field are fiercely opposed, and the portraits of the characters should not stand with their arms in that way. The temporarily disappeared portraits are more suitable for people to imagine the game scenes, and can be displayed again during the intermission of the game to achieve better performance results.

2. When a single plot is unreasonable, either "compress" it or "expand" it, and never compromise.

Galgame is an art form based on timeline, similar to movies, plays and novels. Its essence is to control the rhythm. No matter how good a screenwriter is, it is impossible to write thousands of words in one breath without rhythm problems. This is because writing is slower than reading, writers are slow to type, and players read words quickly. Often writers feel that they have written for a long time, but they don't read long. So generally speaking, the original script is not particularly detailed and needs to be expanded appropriately. When dubbing the role dialogue, because the voice actor speaks slower than the reading speed, the dubbing dialogue will slow down the rhythm of this paragraph. To make matters more complicated, it will become more difficult to control the rhythm when the hero often has no voice, only the heroine and other supporting actors have voices. If you don't make the whole game first (including dubbing), no one can predict the rhythm of this place just by reading the script.

Therefore, after the dubbing of the game is completed, it is the most important stage for the director to modify the game rhythm! Dubbed sentences cannot be easily modified (of course, they need to be re-recorded if necessary). Then read through the dubbing version of the game, adjust the narration and psychological description, and modify what the silent hero said, which will play a role in regulating the rhythm.

A) examples of "compression"

Rainbow Melody is the negative textbook of story procrastination. The amount of information explained in the script is not very large. I guess the first version of the script is relatively simple, but it was too hard or used in the wrong direction, and a lot of daily paragraphs and narration were lengthy. It is also a way to expand the script to the maximum at the beginning, and then reduce it appropriately after all the materials (including dubbing) are finished, and restore the normal rhythm through "compression", but it is a little tiring to do it in the early stage and easy to do more useless work. However, after dubbing, the reading rhythm slowed down, and a large number of protracted plots were unwilling to be compressed. It must be the director's fault.

Galgame is very similar to movies in this respect. There must be more material in the film than in the final film, but through reasonable editing and deleting unnecessary plots, what is finally presented to the audience is the release version with the most appropriate length and rhythm. Galgame should also imitate the practice of film "editing" and should not skip the step of "compression".

B) the skill of "expansion"

① Psychological description

All the characters in the story have a history. When the protagonist meets something, his mind can't be blank, and he will definitely think something. When unfolding a plot paragraph, we should substitute ourselves into the characters with full empathy and give priority to describing the psychological activities of the protagonist. It is easy to make the audience feel verbose if you add daily conversations without nutrition, but a lot of psychological descriptions will not make people feel procrastinating, but will enhance the audience's sense of substitution.

Take "once" as an example. The hero is a depressive. The script of 1 10000 has only 800 dubbing dialogues. Many scripts are the psychological activities of the protagonist, but they don't make people feel slow. However, in Rainbow Melody, the plot expansion uses a lot of useless action descriptions and daily conversations, such as eating a watermelon, finding a plate and a knife, taking a photo, and describing in detail how to set up a camera and how to take a selfie. When camping, we say who will take the big bag and who will take the small bag. When shopping, we discuss where you will go first and then where I will go. However, the psychological description of the protagonist is not much, which belongs to the wrong place. The producer wrote very hard, and the voice actor added a lot of nutritious conversations, which made the audience more depressed.

② Description of background setting.

Explaining the background setting must have other purposes at the same time.

Or take the rainbow melody as an example. At first, the hero came home from the airport, explained the setting of the city by the way, and showed the hero's family, which paved the way for Su Lan Ruo to look after the hero's room, and finally paved the way for the future. This is a more suitable background setting. But the first time I took the bus, I explained the layout of the city's bus lines in detail with a long narration. From the first ring to the seventh ring, the direction of each branch is puzzling, giving people the illusion of suddenly crossing into detective mystery novels. In the later plot, these seven city loops are completely useless, and it is redundant to describe in detail which bus the protagonist takes.

③ Set breakpoints

For technical and artistic reasons, in some plots of Galgame, audio-visual means can artificially add breakpoints, such as music sound effects, empty black and white screens and so on.

When a character utters two or three sentences of thirty or forty words in one breath, it should not be displayed in one breath unless it shows that the character is making a long speech. The voice file should also be divided into sentences, and a breakpoint should be inserted in the middle of the sentence. Because the audience can read ordinary words faster than the speaker can speak, displaying three or four lines of words at the same time with voice will make the audience's eyes feel at a loss.

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