探索游戏引擎架构：设计与实践指南

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《游戏引擎架构》（Game Engine Architecture）是由Jason Gregory撰写的一本专业书籍，由AK Peters/Ltd. 出版，隶属于美国Taylor & Francis Group，在其Wellesley, Massachusetts的分部发行。这本书是AK Peters/CRC Press系列的一部分，旨在深入探讨游戏开发的核心技术之一——游戏引擎的设计与实现。游戏引擎架构是一个复杂且至关重要的概念，它构成了现代电子游戏的基础，负责处理图形渲染、物理模拟、音频管理、网络通信、资源管理等核心功能。作者通过本书向读者展示了如何构建一个高效、可扩展的游戏开发平台，以便开发者可以专注于创作游戏内容，而不是底层技术细节。书中涵盖了以下几个关键知识点： 1. **引擎设计原则**：介绍了游戏引擎设计的基本原则，如模块化、可扩展性和复用性，以及如何确保引擎的稳定性和性能优化。 2. **图形渲染管线**：详细讲解了图形渲染的各个阶段，包括光照、纹理贴图、着色器编程、场景构建和渲染流水线等，帮助读者理解如何创建逼真的视觉效果。 3. **物理引擎**：讨论了如何利用现成的或自定义的物理引擎来模拟游戏世界的交互和物体运动，包括碰撞检测、动力学模拟和刚体系统。 4. **音频处理**：介绍了音频引擎的工作原理，包括声音合成、混音、空间定位和音频流管理，以及如何实现沉浸式音频体验。 5. **AI和行为树**：探讨了人工智能在游戏中的应用，如路径finding、决策制定和角色行为控制，以及行为树的构建和优化。 6. **网络通信与多人游戏**：涉及如何设计和实现在线游戏的服务器架构，包括同步、异步通信和网络代码设计，确保多玩家游戏的顺畅运行。 7. **内存管理和性能优化**：强调了内存管理的重要性，以及如何通过各种技术和策略提高游戏引擎的性能，包括内存泄漏检测和避免、资源加载优化等。 8. **跨平台支持**：讨论了如何设计适应不同硬件平台的游戏引擎，包括PC、移动设备和游戏机。在版权方面，作者和出版商尊重所有被复制材料的版权，已尽最大努力获得许可，但仍可能存在遗漏。任何未得到确认的版权材料，如果读者发现，请与出版社联系，以便于后续版本的修正。《Game Engine Architecture》是一本深入剖析游戏开发核心技术的实用指南，对于游戏开发者、引擎设计师以及高级程序员来说，是提升专业技能、理解和构建高性能游戏引擎的宝贵资源。

xiv Foreword

The recent explosion of downloadable and casual games has added even

more complexity to the diverse world of commercial video games. Even so,

big games are still big business. The incredible computing power available

on today’s complicated platforms has made room for increased complexity in

the so ware. Naturally, all this advanced so ware has to be created by some-

one, and that has driven up the size of development teams—not to mention

development costs. As the industry matures, we’re always looking for be er,

more eﬃ cient ways to build our products, and development teams have be-

gun compensating for the increased complexity by taking advantage of things

like reusable so ware and middleware.

With so many diﬀ erent styles of game on such a wide array of platforms,

there cannot be any single ideal so ware solution. However, certain pa erns

have developed, and there is a vast menu of potential solutions out there. The

problem today is choosing the right solution to ﬁ t the needs of the particular

project. Going deeper, a development team must consider all the diﬀ erent as-

pects of a project and how they ﬁ t together. It is rare to ﬁ nd any one so ware

package that perfectly suits every aspect of a new game design.

Those of us who are now veterans of the industry found ourselves pio-

neering unknown territory. Few programmers of our generation have Com-

puter Science degrees (Ma ’s is in Aeronautical Engineering, and Jason’s is

in Systems Design Engineering), but these days many colleges are starting to

programs and degrees in video games. The students and developers of today

need a good place to turn to for solid game-development information. For

pure high-end graphics, there are a lot of sources of very good information

from research to practical jewels of knowledge. However, these sources are

o en not directly applicable to production game environments or suﬀ er from

not having actual production-quality implementations. For the rest of game

development, there are so-called beginner books that so gloss over the details

and act as if they invented everything without giving references that they are

just not useful or o en even accurate. Then there are high-end specialty books

for various niches like physics, collision, AI, etc. But these can be needlessly

obtuse or too high level to be understood by all, or the piecemeal approach just

doesn’t all ﬁ t together. Many are even so directly tied to a particular piece of

technology as to become rapidly dated as the hardware and so ware change.

Then there is the Internet, which is an excellent supplementary tool for

knowledge gathering. However, broken links, widely inaccurate data, and

variable-to-poor quality o en make it not useful at all unless you know ex-

actly what you are a er.

Enter Jason Gregory, himself an industry veteran with experience at

Naughty Dog—one of the most highly regarded video game studios in the

xviii Preface

play programming, including player mechanics, cameras, and AI. However,

by necessity, the scope of these discussions will be limited mainly to the ways

in which gameplay systems interface with the engine.

This book is intended to be used as a course text for a two- or three-course

college-level series in intermediate game programming. Of course, it can also

be used by amateur so ware engineers, hobbyists, self-taught game program-

mers, and existing members of the game industry alike. Junior engineers can

use this text to solidify their understanding of game mathematics, engine ar-

chitecture, and game technology. And some senior engineers who have de-

voted their careers to one particular specialty may beneﬁ t from the bigger

picture presented in these pages, as well.

To get the most out of this book, you should have a working knowledge

of basic object-oriented programming concepts and at least some experience

programming in C++. Although a host of new and exciting languages are be-

ginning to take hold within the game industry, industrial-strength 3D game

engines are still wri en primarily in C or C++, and any serious game pro-

grammer needs to know C++. We’ll review the basic tenets of object-oriented

programming in Chapter 3, and you will no doubt pick up a few new C++

tricks as you read this book, but a solid foundation in the C++ language is best

obtained from [39], [31], and [32]. If your C++ is a bit rusty, I recommend you

refer to these or similar books to refresh your knowledge as you read this text.

If you have no prior C++ experience, you may want to consider reading at least

the ﬁ rst few chapters of [39], or working through a few C++ tutorials online,

before diving into this book.

The best way to learn computer programming of any kind is to actually

write some code. As you read through this book, I strongly encourage you to

select a few topic areas that are of particular interest to you and come up with

some projects for yourself in those areas. For example, if you ﬁ nd character

animation interesting, you could start by installing Ogre3D and exploring its

skinned animation demo. Then you could try to implement some of the anima-

tion blending techniques described in this book, using Ogre. Next you might

decide to implement a simple joypad-controlled animated character that can

run around on a ﬂ at plane. Once you have something relatively simple work-

ing, expand upon it! Then move on to another area of game technology. Rinse

and repeat. It doesn’t particularly ma er what the projects are, as long as

you’re practicing the art of game programming, not just reading about it.

Game technology is a living, breathing thing that can never be entirely

captured within the pages of a book. As such, additional resources, errata,

updates, sample code, and project ideas will be posted from time to time on

this book’s website at h p://gameenginebook.com.

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