Creating emotionally resonant content for a global audience in Sky: Children of Light

The Yangsian LU is a material producer at the Thegammumpni, where she guide the game event/season preparation and cultural localization for Sky: Children of Light. Its work is focused on emotionally resonant, globally added materials. Earlier, he had led interactive campaigns at JD.com, and his work was also widely covered by media outlets in China.

In today’s global sports industry, success is not just about going internationals – it’s about making players feel emotionally connected everywhere. As Sky Games: Children of Light Rich mass global audience, we face a creative challenge: How do we feel really meaningful for people with different cultures, languages ​​and life experiences?

Free studios behind the journey, flowers and the sky, they are known for their emotionally full, artistic sports that emphasize human communication on competition. Sky Since its inception, there has been a critical definition, including winning the Games for Impact Award in Games Commerce 2023, and continues its modern social gameplay and emotional depth.

The game has now crossed 270 million downloads globally, with up to 8 million daily active users in China – a market that I closely support. After joining this gaming as a material producer on Sky in 2022, I have guided the preparation of several major games and season content, and worked to naive emotional experiences in the ways that resonate with Chinese players.

My skills have helped to bridge cultural expectations, reduce misunderstandings in teams, and bring more comprehensive, emotionally resonant content in one of the largest and most active players’ bases in Sky.

Guidance with emotions, rocking in cultures

Our creative director is created on the basic philosophy of Sky, which is shaped by Genova Chen. Players appear as ‘Sky Kids’, without any gender, age, or race. The choice of this design resolves level differences, which allow people to equalize and equalize it. It is a place of calm beauty and shared humanity.

The same philosophy guides the design of our content. In TagameCompany, we do not start with features, we start with feelings. The first question that we say for every new event or season is: “How do we want the player to feel?” Should this be a pleasure? Sincerity? Peace?

It becomes an emotional target. And since emotions are beyond language and borders, they are a powerful tool that we have to develop comprehensive experiences.

“Since emotions are beyond language and borders, they are one of the most powerful tools we have”

This approach does not simplify the creation of content, but it makes it honest. I have accepted this process in each project, whether to create an event mode, adjust the prize packing to align with emotional beats, or recommend adjustment of content based on cultural sensitivity.

Next, I want to share some solid examples about how this philosophy comes into our work.

A story of two events: global design with local meaning

One of my favorite examples is the Day of Moonlight, which is the game in 2024. It began as a quiet counterpart of the living day of our sunlight program. During the brain storm, someone asked: “What will the moonlight represent if the sunlight represents energy and activity?”

As a Chinese content producer, I immediately thought of mid -fall festivals, re -unity, time to see and reflect. This is a beloved tradition where families come together, admire the whole moon, and eat monackery. I grew up celebrating it. It felt like a perfect emotional anchor for the event.

So when the global players watched the moonlight as a poetic seasonal celebration, the Chinese players personally recognized something else: the cultural verification within the game they liked. This dual meaning made the event a global accessible, but locally resonant.

The answer was very positive: players shared screenshots of moonlight gatherings, write stories of the theme, and praised the emotional and dynamic of emotional accent. It became one of the most discussed events on Chinese social media during his race.

We also included a puzzle writing feature, which creates and guessing players from each other. In fact, we intended to reward the players for the right answers, but the complexity of the language quickly realized that it made unfair. So we moved the mechanic instead to award the participation. There was fun, there was no stress.

Not every idea goes down. In a summer, we introduced a Marshmlo roasting prop, which is complete with a firepot, roasted rod, and visual feedback. In the West, it gave birth to old memories and memories of camping.

But in China, where the roasted marshmloz is not a common tradition, this moment felt far. He taught us that emotional reference is not always as universal as we think – and why listening makes a difference.

Burjing Worlds: Production as Cultural Arbitration

Sky’s success in China not only depends on our content, but also how we work behind the curtains.

I always try to think a few steps ahead: the potential difference of information before their problems, before their problems, and permanently keeping the needs of our publishing partner. Understanding what they care about helps me in detail the level details that they may have to ask otherwise, and ensures that we are not only output, but also on priorities.

One of my major responsibility is to manage communication between our global development team and our Chinese publishing partner.

Before I join, we sometimes have problems with the preparation of materials and wrong expectations, which are often caused by the difference of the time zone and the obstacles of language. The 12 -hour time difference can turn a decision into a three -day exchange. The misunderstanding is not just hurt – it can directly affect the player’s experience.

We use a hybrid communication model to smooth cooperation and reduce expensive misunderstandings, connecting contradictory documents with real -time feedback loop. We also used tools such as silk boats to automatically make notifications and reminders, which helped maintain alignment in the time zone and delayed the delay in avoiding capable.

“12 hours time difference can turn a decision into a three -day exchange”

Another ongoing consideration is to run large holidays from both sides. For example, we have to adjust to production timelines around Christmas and Lunar New Year, which are the most important holidays in the United States and China, respectively.

This often means that it is flexible to respond immediately when planning the content windows, moving the internal milestone, or immediately when the projects change on short notice. It is very important to maintain confidence and speed in this type of housing areas.

In addition, we need a permanent factor in local rules and regulations. For example, there are strict playtings for China’s minor, which directly affects how we approach scheduling, packing content, and even the reward structure.

If the team lacks regional awareness, the details of these policy can be ignored, so part of my role is to keep them visible throughout the design process.

This setup has helped reduce the incidence of capable and have created strong confidence among the teams. For a producer, communication is not just operational – it’s cultural infrastructure. When your game lives in many areas, your team has to think within these limits.

Looking forward: represented behind the curtain

In the industry, we often talk about diversity in character design. But we also need diversity in decision -making, in the rooms where creative calls are made, a deadline is fixed, and trade agreements are considered in the rooms where creative calls are made.

Being a Chinese producer working on a global beloved game has helped me see things that can ignore others. The expectations of the players, the emotional indicators, even the sensitivity about time or symbol.

I’m not just doing this, but I know my point of view. The reason for this is that the content made for everyone starts with teams that reflect everyone.