In a small side hall of the Beilin Museum in Xi’an, China, Sword of Justice’s narrative designer Qiangqiang looked up and felt a strange sense of destiny.

There in the thick of a massive family tree is a name she instantly recognises: Lyu Qianrong. In life, she was a gifted member of the Northern Song Dynasty’s scholarly Lyu House of Lantian. And in the game, she’s a central figure in the Eternal Imprint quest, protecting national treasures alongside players.

Qiangqiang had spent months digging through historical archives to write Lyu’s storyline, getting to know her intimately. Later, while visiting Xi’an after the project ended, she was stunned to see that familiar name again.

In this App Store exclusive, Qiangqiang shares how she weaves

App Store Editors: Sword of Justice is known for its storytelling, and you’ve been in charge of the game narrative since the project began. Could you share one story that left a deep impression on you?

Qiangqiang: Butterfly and Dust is probably the storyline we spent the longest time developing. It’s about a girl protecting her younger sister from a grave injustice.

During our research, we discovered that the protection of young girls was codified into law for the first time in Chinese history during the Song Dynasty. We based Butterfly and Dust on a court case from that time period, and the team looked long and hard for the right visual tone, one that reflects the inner world of the girl, Guyu.

The entire team felt a deep connection to this arc. It’s a story of people coming together in a collective metamorphosis; ordinary people who become heroes who change history. After the quest went live, players caught on to this meaning, diving into the symbolism of the butterflies in the end scene and even learning about Song Dynasty legislation. That truly moved me.

App Store Editor: Butterfly and Dust is indeed a classic quest, known for its multiple branching endings. What do you think is the key element when crafting these stories?

Qiangqiang: It’s immersion. Since everything is experienced through the player’s perspective, immersion is paramount. That’s why we’ve built so many narrative branches. Players can even use the Dreaming system to revisit and change their choices. We wanted to create a world that breathes, one that is shaped by butterfly effects. You might persuade a wandering soul to return home, guide a femme fatale towards a different fate or even decide whether key characters live or die. You’re not just watching a story – you actually get to live it.

In real life, you may never know if your kindness makes a difference when you help a stranger. But in the game, we want players to feel their impact, to see change ripple from their choices. Every player leaves their mark in this world.

App Store Editor: Sword of Justice is packed with historical detail, and it’s obvious that a lot of care went into the writing. How does it feel to bring history to life through a game?

Qiangqiang: A while ago, we created Eternal Imprint, a story about the preservation of historical relics. In it, we referenced the Lyu House of Lantian, known for its archaeological expertise, and featured the descendants of the Lyu family in the plot. One of them is Lyu Qianrong, a real woman who lived and whose epitaph has survived to this day. Shortly after finishing that story, I visited the Beilin Museum in Xi’an, where I stumbled upon a special exhibition dedicated to the Lyu family in a side hall.

Everything in that room felt so familiar. It was like walking into the home of a relative. At the very back, there was a wall displaying the family tree that we had mapped out for the game. And there she was, the person that I had gotten to know so well. It felt like it was meant to be, bringing her name back to life and sharing her story with the world.

App Store Editor: Did it feel like history and game becoming one?

Qiangqiang: Yes, absolutely, and it’s happened more than once. For every region featured in Sword of Justice, we do in-depth research of its local customs before putting them in the game. After finishing certain story arcs, I often visit those places myself. The sense of familiarity is overwhelming, like meeting an old friend or returning to a past life. Many players have told me they’ve felt the same.

Take the Dawnless Bazaar of Azure Haven storyline – it features folk traditions from Southern Fujian and Chaoshan, such as Nuo masks and the heroic Yingge dance. After it launched, the most rewarding feedback came from two groups: first, local players who felt a surge of pride and surprise at seeing their own dialects and festivals in the game; second, players unfamiliar with those traditions who were so intrigued that they wanted to experience the culture in real life.

App Store Editor: When you hit writer’s block, how do you get yourself back into the creative flow?

Qiangqiang: I always start with music. I’ll find a piece that captures exactly the mood I’m trying to express, and then the writing flows. Whenever I want to evoke a sense of warmth and beauty, for instance, I find myself returning to “Life’s Bright”, which has become an iconic anthem to the game’s community.

Writing these stories is a massive undertaking. We might have more than a hundred characters and dozens of branching scenarios to track. Yet when I see players returning to those scenes or songs, leaving comments about the joy and inspiration they’ve discovered, it feels like sharing a genuine moment with our players. That connection is so heartwarming, and I’m truly grateful to our community.

App Store Editor: What can players look forward to in future updates of Sword of Justice?

Qiangqiang: Setting foot on the actual Silk Road in the upcoming Loulan’s Echo update. There will be a brand-new combat style to master and a final showdown with an old enemy. Many legendary figures from Silk Road history will also make an appearance. We hope it becomes not just an exciting adventure, but a journey through a thousand years of living culture.