电脑游戏算法与网络技术详解：2017最新版

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《电脑游戏算法与网络：第二版》是一本由Jouni Smed和Harri Hakonen合著的经典英文书籍，于2017年首次出版。本书隶属于"Comput"类别，专为计算机游戏开发者和爱好者提供深入的理论知识和技术指导。作者在版权声明中强调了他们的署名权，并遵循法律要求。该电子书详细探讨了在游戏设计过程中不可或缺的算法和网络技术。它涵盖了广泛的主题，包括但不限于： 1. **游戏算法**：书中深入解析了游戏中的核心算法，如搜索算法（如A*搜索、Dijkstra算法等）在路径finding中的应用，以及动态规划、遗传算法等优化策略在游戏AI中的角色。玩家行为预测、游戏平衡设计和游戏策略也得到了讨论。 2. **网络编程**：针对多人在线游戏，章节探讨了TCP/IP协议、网络架构、数据包处理、延迟补偿和网络安全等相关话题。读者可以了解到如何构建高效、稳定的网络连接，确保游戏体验的流畅性。 3. **性能优化**：对于游戏性能瓶颈，本书可能涉及内存管理、图形优化、并发处理等技术，帮助开发者提升游戏运行效率。 4. **最新技术和趋势**：作为最新版本，本书还包含了近年来在游戏开发领域新兴的技术，如实时渲染技术、云计算在游戏服务中的应用、以及虚拟现实和增强现实游戏的设计方法。 5. **版权和许可**：书中还附有关于如何合法获取和使用第三方资源的指导，确保尊重知识产权。 6. **全球发行与支持**：John Wiley & Sons出版社的信息，包括全球编辑办公室地址，表明了这是一本国际化的专业资源，为读者提供了多渠道获取和服务。《Algorithms and Networking for Computer Games》第二版是一本实用且权威的教材，对希望在游戏开发领域深耕的人员，无论是初学者还是经验丰富的开发者，都具有很高的参考价值。通过学习这本书，读者将能够理解和掌握在设计和实现高质量电脑游戏时所需的关键技术和策略。

xix

Preface

When students at MIT competed against each other in the rst real-time graphical com-

puter game Spacewar in 1962 (Graetz 1981), probably none of them could have dreamt

how realistic and complex computer games would develop in ve decades and how large

a business would grow around them. Commercial arcade games such as Pong and Space

Invaders arrived in the 1970s, and home computers brought computer games within

the reach of all enthusiasts in the 1980s. Since then game development has grown from

small amateur enterprises into an industry, which is now – in spite of popular claims –

the second largest branch of the entertainment industry, steadily narrowing the lead of

the lm industry (Newzoo 2014; Statista 2016).

Games are also becoming ever more pervasive in our lives. Smartphones and mobile

gaming are a handy pastime in almost any situation, and technological advances in aug-

mented and virtual reality along with internet of things are pushing forward the fron-

tiers of gaming. This has coincided with a change in the ecosystem for game distribution

from bricks-and-mortar stores into digital online stores and new monetization meth-

ods. Single-player mode – which is an anomaly in the known 5000-year history of games

starting from the Egyptian Senet and the Sumerian Royal Game of Ur – is no longer the

standard playmode, and networking can now bring massive numbers of players together

to participate in the same game. We have witnessed the rise of gamication and applica-

tion areas outside of pure entertainment to assist, guide, rehabilitate and teach children,

youngsters, adults and elders alike. Game development has also become more democ-

ratized, because the development platforms make it easy and quick for everyone to cre-

ate digital games. Finally, there is more knowledge and research on various aspects of

games from design to productization, and modern game developers are more educated

and aware of the possibilities of their medium. Behind the seven established forms of

art (Canudo, 1988a,b; Hegel 1975), games are truly emerging as the eighth art form.

The rst edition of this book was published ten years ago in 2006. It was a time

before smartphones, tablets, digital distribution and social networks. Massive multi-

player games such as World of Warcraft and Eve Online hadjustbeenreleasedandwere

gathering momentum, the social media of today were still in their infancy, and the verb

‘to google’ had just been added to the Oxford English Dictionary. The single-player PC

games delivered in DVDs were the top of the line, and mobile games resembled simple

games from the early 1980s. If we were back then careful in asserting that computer

games are a valid topic for academic research, there is today no argument as to their

importance.

xx Preface

Despite the changes, something still remains the same: the algorithms and networking

making it all possible. Game programming is not an isolated eld of study but intersects

many essential research areas of ‘traditional’ computer science. Solving an algorithmic

or networking problem is always more than just getting it done as quickly as possible; it

is about analysing what is behind the problem and what possibilities there are to solve it.

This is the the motivation for this book, and our intention – right from the beginning –

has been to provide the reader with a glance into the world of computer games as seen

from the perspective of a computer scientist.

We assume that the reader is familiar with the fundamentals of algorithms and data

structures (e.g. complexity analysis and graph theory). In a case of uncertainty, the reader

can consult basic textbooks such as Introduction to Algorithms (Cormen et al. 2001) and,

of course, the ever inspirational The Art of Computer Programming (Knuth 1998a,b,c,

2011). We describe classical game algorithms and review problems encountered in com-

mercial computer games. Thus, in selecting material for this book we have walked a

tight-rope between these two worlds. The current selection may seem a bit of a ragbag,

but the common factor in the choice of the topics has been a combination of algorithmic

and practical interest.

Going through the original L

X les of the rst edition, we were pleasantly surprised

how fresh many of the ideas have remained. Hardly anything was outdated; rather the

problems the developers are facing today are still the same. It also inspired us to continue

and expand the work with a similar mindset. We have tried again to pick relevant topics

from both academic literature and trade journals, forum posts and blogs to squeeze out

their essence. We have still refrained from tying our hands with a particular platform (of

which there have been many throughout the past decade) and programming language

(of which there have been equally many). We are aware that that has been a common

critique over the years, but we have strived to unlock the timeless beauty that many of the

ideas conceal. Granted, there are many things that escape our grasp or which we could

only briey introduce, which is why we provide references to the works of the wiser and

better informed. Also, the exercises at the end of each chapter hide many gold nuggets

and possibilities for expanding one’s thoughts and even venturing into uncharted waters.

Revising and expanding this book has been a fun process, and a hard process – a task

one gladly undertakes once a decade.

Acknowledgements

First of all, we acknowledge our dear friend Dr Timo Kaukoranta’s role in gathering

and analysing the topics which formed the basis for the rst edition of this book. His

untimely death was a wake-up call to realize in written form the ideas we had been toss-

ing around for several years. Timo’s spirit is still present throughout this book.

Many people have guided us on our journey to view the world as computer scientists.

Professor Olli Nevalainen’s pivotal role in steering us to the world of algorithms as well as

the support from the late Professor Timo Raita have been both inspiring and invaluable

to us.

We would like to thank our colleagues and co-authors over the years – of whom

we would like to mention here (alphabetically) Andy Best, Sami Hyrynsalmi, Antero

Preface xxi

arvi, Kai Kimppa, Timo Knuutila, Ville Lepp

anen and Tomi ‘bgt’ Suovuo – for widen-

ing our perspectives and sharpening our thoughts. We are also grateful for the feedback

we have received from the students who have taken part in our various game-related

projects, courses and seminars in the Department of Information Technology, Univer-

sity of Turku and Turku Centre for Computer Science during 2001–2016.

It has again been a pleasure to work with the people at Wiley. We thank Tiina Wigley

for initiating this opportunity to write a second edition, and Sandra Grayson and Preethi

Belkese for giving us the freedom to enjoy this treat – it has tasted as sweet as the rst

one.

Jouni. First and foremost, I am grateful to Professor Erkki Sutinen for his most posi-

tive and encouraging attitude towards this endeavour. I am also in debt to my doctoral

students Jussi Laasonen and Tapani Liukkonen as well as my master’s students Ilmari

Lahti, Eero Itkonen and Juhani Kyrki for their valuable insights. Over the years collab-

oration with the local game scene has been priceless to me and I would like to thank:

Turku Game Lab (Adjunct Professor Mika Luimula, Taisto Suominen, Nata

sa Bulatovi

Trygg and the rest of the lab sta), TEPE Research Group on Health Games (Professor

Sanna Salanter

a, Heidi Parisod and Anni Pakarinen), Game Turku and Turku Science

Park (Patrik Uhinki and Marko Puhtila), Up Your Game Network (Aki Koponen and

Jukka Vahlo), and IGDA Finland Turku Hub. As always, it was good to team up again

with Harri to play a little Lennon–McCartney as this project also marked the twenti-

eth anniversary of co-authoring with him (which is always a pleasure). Finally, Lilia and

Julian, thank you for being wonderful, amazing little creatures with your own view of

the world – and for inviting Dad to take part in your games. And Iris, my words cannot

express my gratitude for all the love, care, wit, warmth and understanding.

Harri. Thank you to all my friends for your benevolence, encouragement, support,

inspiration, and the warm hugs. To my colleagues at Oy LM Ericsson Ab for allowing me

to be part of a small and hard-working team of experienced specialists; I am still learn-

ing a lot from you all, you gracious kuomat! To Jouni, when my writing deep-dived into

the tar pit you said ‘Do not worry, we’ll gure it out, it’ll turn out OK as always’, and you

were right again. To my son Pyry for having the patience to test-read the scribbles and

drafts, and then give honest feedback; love has wonderfully numerous manifestations.

As dear emo has evinced. In the kind of environment that you radiate it has been fun to

linearize the wrinkles of my thoughts, I am so lucky to have you!

Turku , Fin land Jouni Smed

June 2016 Harri Hakonen



Introduction

Let us play a little thought game. Get a pen and paper. Choose any game you know, and

think about the elements required to make it work. Write down a list of these elements.

Be as specic or indiscriminate as you want. Once you have nished, choose another

game and think about it. Try to nd items in the list of the rst game that correspond to

the second game and mark them. If there are features in the second game that the rst

one does not have, add them to the list. Repeat this procedure for two or three more

games. Next, take the ve most common items in your list and compare them to the

following list. For each corresponding item you get one point.

The key elements of a game are:

players who are willing to participate in the game;

rules which dene the limits of the game;

goals which the players try to achieve during the game;

opponents or opposing forces which prevent the player from achieving the goals;

a representation of the game in the real world.

How many points did you score?

The ve components we have listed seem to be present in every game, and the rela-

tionships between them form three aspects of a game, which are illustrated in Figure 1.1

(Smed and Hakonen 2003, 2005b):

(i) Challenge. Rules dene the game and, consequently, the goal of the game. When

players decide to participate in the game, they agree to follow the rules. The goal

motivates the players and drives the game forward, because achieving a goal in the

game gives the players enjoyment.

(ii) Conict. The opponent (which can include unpredictable humans and random pro-

cesses) obstructs the players from achieving the goal. Because the players do not

have a comprehensive knowledge of the opponent, they cannot determine precisely

the opponent’s eect on the game.

(iii) Play. The rules are abstract but they correspond to real-world objects. This repre-

sentation concretizes the game to the players.

The challenge aspect alone is not enough for a denition of a game, because games

are also about conict. For example, a crossword puzzle may be a challenge in its own

right but there is hardly any conict in solving it – unless someone erases the letters

or changes the hints or keeps a record of the time to solve the puzzle. Obviously, the

Algorithms and Networking for Computer Games, Second Edition. Jouni Smed and Harri Hakonen.

 Algorithms and Networking for Computer Games

motivation

Representation

Player

GoalRules

Opponent

CHALLENGE

CONFLICTPLAY

concretization

indeterminism

denition

obstruction

correspondence

agreement

Figure . Components, relationships, and aspects of a game.

conict arises from the presence of an opponent, which aims to obstruct the player from

achieving the goal. The opponent does not have to be a human but it can be some ran-

dom process (e.g. throw of dice or shuing of the deck of cards). The main feature of

the opponent is that it is non-deterministic to the player: because the player cannot

predict exactly what another human being or a random process will do, outwitting or

outguessing the opponent becomes an important part of the game.

Challenge and conict aspects are enough for dening a game in an abstract sense.

However, in order to be played the game needs to be concretized into a representation.

This representation can be a board and plastic pieces as well as non-tactile words or

three-dimensional graphics rendered on a computer screen. Even the players themselves

can be the representation, as in the children’s game of tag. Regardless of the representa-

tion there must exist a clear correspondence to the rules of the game.

Let us take the game of poker as an example. The players agree to follow the rules,

which state (among other things) what cards there are in a deck, how many cards one

can change, and how the hands are ranked. The rules also dene the goal, having as good

a hand as possible when the cards are laid on the table, which is the player’s motivation.

The other players are opponents, because they try to achieve a better hand to win –

or, at least, to give such an impression. Also, the randomness of the deck caused by

shuing opposes the player, who cannot determine what cards will be dealt next. The

game takes a concrete form in a deck of plastic-coated cards (or pixels on the screen),

which represent the abstractions used in the rules.

One of the earliest written collection of games, Libro de los juegos (‘Book of games’),

commissioned by King Alfonso X of Castile, Le

on and Galicia and completed in Toledo

1283, divides the games into three groups: games of skill (e.g. chess), games of chance

(e.g. dice games) and games combining skill and chance (e.g. backgammon). This divi-

sion reects the conict aspect and the type of the opponent.

Huizinga’s denition of play from his classical work Homo Ludens,theplayfulhuman,

captures most of the features we listed earlier:

[Play] is an activity which proceeds within certain limits of time and space, in a

visible order, according to rules freely accepted, and outside the sphere of neces-

sity or material utility. The play-mood is one of rapture and enthusiasm, and is

sacred or festive in accordance with the occasion. A feeling of exaltation and ten-

sion accompanies the action, mirth and relaxation follow. (Huizinga 1955, p. 132)

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