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The Play's the Thing

机译：剧本之物

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摘要

Given the recent focus on next-generation game consoles, with their graphics, processing, and networking improvements, it's clear that gaming hardware is progressing at an impressive rate. But is the software—the games themselves— advancing as rapidly? At first glance, it appears not, but that may be because the improvements are less obvious and the problems are more complex. To examine this notion, consider one of the grand challenges of game programming: creating sophisticated interactive narratives, that is, stories that adapt and unfold in real time according to the player's direction. What is often regarded as the ultimate form of this concept, as Star Trek fans know well, are the personalized, interactive dramas that occur on the starship Enterprise's holodeck. In this empty black cube crisscrossed with white grid lines, the ship's computer uses force fields and energy-to-matter converters to create realistic holographic environments and characters. It then continuously adapts the behavior of the world according to the actions of the player immersed in the story to create an intense, interactive play that remains true to a powerful narrative theme.
机译：考虑到最近对下一代游戏机的关注，以及对图形，处理和网络功能的改进，很明显，游戏硬件的发展速度令人瞩目。但是，软件（游戏本身）是否在快速发展？乍一看似乎不是，但这可能是因为改进不太明显，问题更加复杂。要研究这个概念，请考虑游戏编程的一大挑战：创建复杂的交互式叙述，即根据玩家的指示实时适应和展开故事。正如《星际迷航》的粉丝所熟知的那样，通常被认为是该概念的最终形式，是出现在星际飞船Enterprise机舱的个性化，互动式戏剧。船上的计算机在这个交错着白色网格线的空的黑色立方体中，使用力场和能量-物质转换器来创建逼真的全息环境和字符。然后，它会根据沉浸在故事中的玩家的行为来不断适应世界的行为，以创建一种激烈的，互动的剧本，而这对于强大的叙事主题仍然是真实的。

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