About My Internship
Narrative Designer
Internship from 2025.5 to 2025.9
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Designed and developed operator backstories and narrative foundations for new/existing characters.
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Wrote dialogue and voice-over scripts for characters and AI Enemies.
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Created skin background stories, keeping depth and narrative justification to commercial content.
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Contributed to worldbuilding and live event copywriting, aligning lore and in-game activities with overarching themes.
Here's my work in summary:
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2 main narrative projects
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30+ narrative documents
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Live event content reaching 500K+ players
MY CONTRIBUTION
During my internship in Delta Force, I worked primarily on character narratives and live-event storytelling.
I was responsible for two major narrative projects and also contributed to a variety of smaller tasks across the team.
Operator Narrative
Vlinder
Operator Trailer Released on 2026/1/24
Vlinder is the 14th Playable Operator in Delta Force. During my internship, I was responsible for designing the character's narrative, including her background story, character profile, and in-universe texts.
When working on this operator, I realized that the original character concept didn’t fully align with the tactical tone of Delta Force.
At the same time, I was expected to create a character who felt realistic and believable within a military setting.
Rather than adjusting her visual design, I chose to rethink her story from an emotional angle.
I began with her childhood experience.
By giving her a difficult and tragic past, I tried to build a clear emotional logic behind her decision to become a medic and help the weak.
Her motivation to save others was not framed as heroism, but as a personal response to loss and helplessness.
Delta Force already has a well-established worldbuilding system. My goal was to make her feel emotionally accessible to players, while making sure her story felt consistent with the tone and lore of the game.
Watch the Operator Trailer on Youtube:
Operator Cover, Released on 2026.1
Early Concept Art/ Early Narrative Design
In Game Display
Narrative Design Document
Narrative Design
Anniversary Event
Event Released Between 2025/9/26 - 2025/10/06
The second project I worked on was the narrative design for a live anniversary event.
The idea was to let operators “talk” to each other through in-universe blog posts, creating the feeling that they exist beyond the battlefield.
I wrote around 60 blog entries for 12 operators and helped shape the overall narrative flow of the event.
While writing, I tried to make each operator sound distinct, so players could recognize their personalities through their voices and interactions.
Seeing how players reacted to these stories was especially rewarding.
One video of this event reached over 500K viewers, which showed me how narrative can directly influence player engagement in a live service game.
Watch the video of this event on Bilibili:
Additional Project:
DF Timeline
Screenshot of an early timeline
This was the first project I took on during the internship.
The goal was straightforward: the game already had a lot of worldbuilding pieces — major factions, operators, and scattered story beats — but they were spread across different documents and sources. My job was to pull everything together into one structured timeline, so the team could clearly see how the world evolved over time.
To do this, I mapped key narrative milestones in chronological order and connected them with the relevant factions and operators. The timeline format made it much easier to spot missing links, unclear motivations, or potential contradictions.
In the end, this became an important internal reference that the team could rely on. It also provided a stable framework for future narrative writing and localization work — keeping the tone consistent and reducing the risk of lore conflicts as new content gets added.
Other Projects
Besides the two main projects, I also worked on a range of smaller tasks.
What I Learned
Working on a live game felt very different from working on school projects.
In a campus project, I usually start in a more “author-driven” way. The process is slower, but it’s also more personal: I can follow a concept, iterate, and learn through trial and error.
In a shipped game, the mindset shifts. You’re not designing for “what I want to express,” but for “what actually works for players.” Player feedback, community reactions, and live metrics turn into real design pressure — sometimes a “cool narrative idea” simply doesn’t survive production constraints.
This internship helped me grow a lot as a narrative designer. I started paying more attention to how narrative supports the player experience. I also learned how to build stories that can scale: writing in a way that stays consistent across operators, events, and future updates, while still leaving room for the team to expand the universe over time.