构建实时3D应用：3D游戏引擎架构解析

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"3D游戏引擎架构：利用WildMagic构建实时应用" 3D游戏引擎架构是计算机技术领域中一个至关重要的主题，它涉及到游戏开发、图形学、算法、工具和软件工程等多个方面。随着个人电脑、周边硬件以及游戏主机性能的不断提升，对高质量3D游戏的需求也随之增长。为了满足这种需求并提升游戏开发的专业水平，诞生了《摩根·考夫曼交互式3D技术系列》。这个系列的目标是为游戏开发者提供由业界专家和学术研究人员撰写的最新实践和理论知识，以帮助他们掌握实时3D领域的前沿技术。《3D游戏引擎架构：工程化实时应用》这本书，作为该系列的一部分，专注于3D游戏引擎的构建，强调实用的工作解决方案和坚实的软件工程原则。作者通过讲解WildMagic库的使用，让开发者能够理解和实现实时3D系统，不仅限于游戏，也适用于其他需要3D图形处理的应用。在3D游戏引擎的架构中，有几个核心知识点不容忽视： 1. **图形管道**：这是3D图形渲染的基础，包括模型加载、顶点变换、投影、裁剪、屏幕映射等步骤，这些过程都是游戏引擎中的关键部分。 2. **物理引擎**：负责模拟游戏世界中的物理规则，如重力、碰撞检测、刚体动力学等，使得游戏世界更加真实。 3. **脚本系统**：游戏逻辑的控制通常由脚本语言实现，允许非程序员进行游戏行为的编程和调整。 4. **资源管理**：包括纹理、模型、音频等资源的加载、存储和优化，确保高效利用内存和计算资源。 5. **人工智能（AI）**：游戏中的角色或敌人智能行为的设计，如路径规划、决策制定等。 6. **网络同步**：多人在线游戏需要解决玩家之间的交互同步问题，确保游戏体验的一致性。 7. **渲染技术**：包括光照、阴影、粒子效果、后期处理等，它们极大地增强了游戏的视觉效果。 8. **性能优化**：通过多线程、数据结构优化、GPU计算等方式提高引擎的运行效率。 9. **用户界面（UI）**：提供与玩家交互的界面设计，包括菜单、设置、提示等。 10. **内容编辑器**：为了便于内容创建，游戏引擎通常包含一套工具，允许设计师和艺术家创建和编辑游戏内容。理解并掌握这些知识点，对于构建一款高效、功能强大的3D游戏引擎至关重要。通过学习《3D Game Engine Architecture》，开发者能够深入理解这些技术，并将其实现到自己的项目中，从而推动游戏开发技术的持续进步。

xiv Preface

thoughts as much as possible on the software engineering and computer science as-

pects of the engine. The focus on mathematics is as minimal as I could make it (and

there was much rejoicing!), but there is still some mathematics—enough to motivate

why I built the interfaces for those classes that provide mathematical support for the

engine.

The engine source code, applications, and some of the tools are of my own

doing. However, the 3DS importer and Maya exporter are the contributions of Nolan

Walker, a contractor who has helped me with various engine components over the

years. His was a more formidable task than mine—ﬁguring out how to convert the

data from modeling packages to the scene graph format of Wild Magic. This is a

nontrivial task, especially when the information on data layout for various packages

is difﬁcult to locate. My thanks go to him for producing these tools. I wish to thank

Jeremiah Washburn, an NDL artist, who created much of the ﬁne artwork that you

will see on the CD-ROM. You can visit his Web site, www.bloodyart.com, for other

samples of his artwork. Finally, I can retire a lot of the cheesy-looking engineer’s

artwork that I have been using in my books. I also wish to thank Chris Moak, an artist

who constructed the castle data set that you will see in one of the sample applications.

He built the data set in 2001; I have only now gotten around to making it available.

You can visit his Web site, home.nc.rr.com/krynshaw/index.html, for other samples of

his artwork.

My long-term relationship with Morgan Kaufmann Publishers (MKP), now

spanning four books and a series editorship, has been a fruitful one. A book project

always begins with an editor prodding a potential author to write a book and then

continues with more prodding to keep the author writing. My friend and senior ed-

itor, Tim Cox, has been quite good at this! When he is busy on other projects, his

editorial assistant, Rick Camp, assumes the role and reminds me to deliver various

book-related materials. Both Tim and Rick have the uncanny ability to prod at just

the right time—when I have a dozen other items to attend to. Once the project be-

gins, my job is simple: Write the book and deliver a draft with supporting ﬁgures and

screen-captured images. Once delivered, the hard part of the process commences—

the actual book production. Fortunately, all of my books published through MKP

have had the same project manager, Elisabeth Beller. Her superb abilities to schedule

the workload and keep a team of people on track are amazing. I consider it a modern

miracle that she and her team can take my crude drafts and produce from them such

ﬁne-quality books! My thanks go to the talented people at MKP for producing yet

again another of my works.

On a ﬁnal note: In case you were wondering about why I chose the name Wild

Magic, here is a quote from the release notes that shipped with version 0.1 of the

engine:

I am not a fan of fancy names, but I guess it is about time to do some branding.

So I have given the engine a name. That name, Wild Magic, while sharing part

of the company name, is also a reference to the Thomas Covenant novels written

by Stephen R. Donaldson. In my opinion he is the best fantasy writer ever. I have

TeamLRN sPeCiAL

2 Chapter 1 Introduction

years it has been ported to run on PCs with Direct3D, on PCs with Linux, on Macin-

toshes with OS X, and on Unix workstations that have OpenGL support. The engine

has evolved to include many more features, namely, high-level rendering effects and

shaders. I have received innumerable emails asking how to use the engine, how to ex-

tend the engine, and how to write tools for the engine. Naturally, to understand the

answers to these questions you must understand how the engine is architected. This

book is about the Wild Magic architecture, a case study for understanding the issues

of constructing an engine that you would see in a commercial environment.

The issues are many, each relatively easy to understand in isolation from the

others. However, putting all the pieces together is a formidable task to get right. But

what does “right” mean? An engine is a large library and is subject to the software

engineering principles that govern how such a large package evolves. Certainly you

(or your customers) will want to customize the engine to support new features.

But unfortunately, simplicity of maintenance does not come trivially. The various

abstract subsystems of the library must be architected so that they integrate easily

among themselves, and, as many customers of middleware have found out, they

must integrate easily with packages provided by others. Talk to any game company

that has had to combine a graphics engine, a physics engine, a networking engine,

and an AI engine together into a single game—you will hear the war stories about

the difﬁculties of making that happen. The promise of this book is not that you will

architect a system that will just simply plug into everyone else’s system, but rather that

you will learn how to minimize the pain of doing so. You need to ask a lot of questions

about your architecture and many times decide on various trade-offs. Sometimes you

will make a decision and go with it, only to ﬁnd out later that you have to redesign

and rebuild. This is a natural part of the process for any large library construction,

but your goal is to anticipate where the problems will occur and design to facilitate

solving those problems without having to rewrite from scratch.

The next three sections present a couple of complete applications that compile

and run. The idea is to show you what systems come into play to get a working ap-

plication. The last section is a discussion of encapsulation of abstract systems whose

implementations depend on the platform (operating system, windowing system, ren-

derer creation, and use). More complicated applications show that you also need to

identify systems that allow you to factor code for reusability. Although some games

are written as throwaway code, from a company’s perspective it is better to write li-

braries that can be reused in other similar games. The last section also provides brief

descriptions of the remaining chapters in the book.

1.1 Drawing a Triangle

In this section I discuss the graphics equivalent of the “Hello, world” introductory

programming assignment—drawing a single triangle on the screen. The triangle ver-

tices are assigned colors, and the graphics system will interpolate these to create colors

TeamLRN sPeCiAL

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