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传世的fy119游戏形式是尤为特殊的

时间:2017/6/18 18:31:50 点击:

  核心提示: 在近日举办的WWDC大会上,苹果除了出人意料的亮出传世、AR项目之外,它们还在最新的产品介绍里公布了《传世2》上线的消息。最近一次享受此等待遇的APP还是宫本茂站台的《传世》,可见苹果对这款作品...

传世的fy119游戏形式是尤为特殊的

在近日举办的WWDC大会上,苹果除了出人意料的亮出传世、AR项目之外,它们还在最新的产品介绍里公布了《传世2》上线的消息。最近一次享受此等待遇的APP还是宫本茂站台的《传世》,可见苹果对这款作品的重视程度。

In today's view, "handed down" form of the game is very special, game player need to form in a variety of geometric objects in space, the use of conformal projection, visual error, etc. the characters of physics paradox led to the end point. Exquisite print art, as well as novel level design, also made the work quickly spread all over the world, and its application downloads in two years to break through 26 million.以今天的眼光来看,《传世》的游戏形式是尤为特殊的,玩家需要在各种几何物体组成的空间里,利用等角投影、视觉错误、物理悖论等方式将人物引导到终点。精致的版画艺术以及新奇的关卡设计也使得这款作品迅速风靡全球,它的应用下载量在两年之内就突破了2600万。

However, developers for spatial development ideas is not completely original, behind it involves a well-known Holland artists - Moritz Cornelis Escher.
Compared to Escher's fine arts achievement of his paintings, more inspired about mathematics and physics, which may be due to the father for perspective of strong ability to control, in 1935 produced the "handheld" prints in the spherical mirror you can see some signs. Another example is in no Escher mathematical knowledge background, also completed the Hungarian mathematician Polya's achievements, proved that the planar symmetry group has a total of 17.
不过,开发者针对空间拓展的各种奇思妙想并非完全独创,其背后牵扯到一位知名的荷兰版画艺术家——莫里茨·科内利斯·埃舍尔。

相比埃舍尔的美术成就,他的画作对于数学和物理学界的启发更大,这可能要得益于老爷子对于透视极强的把控能力,在1935年出品的《手持球面镜》版画中你也能看出一些苗头。另一个例子是,埃舍尔在完全没有数学知识的背景下,同样完成了匈牙利数学家波利亚的成就,证明了平面对称群共有17种。

This talent, but also for his works often show "circulation, eternal, paradox" image in daily life can not imagine, even the "Penrose paradox ladder", the geometry and topology structure of "mobius". It is not difficult to find that although this structure can not be realized in the physical world, it is entirely possible in the virtual world.这个天赋,也让他的作品中经常表现出“循环、永恒、悖论”等日常中无法想象的意象,甚至还包括几何学悖论“彭罗斯阶梯”,以及拓扑学结构“莫比乌斯带”。不难发现,这种结构虽然在物理世界中无法实现,但在虚拟世界中却是完全有可能构造的。

传世的fy119游戏形式是尤为特殊的

"Theory of relativity", lithograph, 1953《相对论》,石版画,1953

传世的fy119游戏形式是尤为特殊的

传世》,石版画,1960

传世的fy119游戏形式是尤为特殊的

"Waterfall", lithograph, 1961
In order to make the actual scene narrow, handed down a huge content of space, there are about two kinds of common solutions: one is through a pile of infinite physical space cost tracking (including treadmills and other equipment), the second is the use of "displacement transfer" in the form of a virtual character to ensure mobile. The advantages and disadvantages of them are obvious, although the former will be able to experience the sense of immersion is maximized, but difficult to spread in the consumer side, although the latter not what cost, but also make the overall impression not handed down.
The same with Escher concept, there are also some developers began to expand the virtual space from the "illusion". University of Tokyo guanglai Valley Sichuan, Narumi laboratory and Unity Kuse Yohei, with a diameter of 5 meters and the radian of delicate round wall, the shape of a straight path and experience the unlimited extension of the actual wall around.
传世》,石版画,1961

为了让狭小的实际场景匹配传世内容巨大的空间,目前大致有两种常见的解决方式:其一是通过堆砌成本无限延伸物理追踪空间(包括跑步机等设备),其二是利用“传送位移”的形式确保虚拟角色移动。它们的优势和缺点都很明显,前者虽然能够将体验者的沉浸感最大化,但难以在消费端普及,后者尽管不要什么成本,但又让传世的整体观感大打折扣。

与埃舍尔的理念相同,目前也有一些传世开发者开始利用“错觉”来拓展虚拟空间。东京大学的广濑·谷川·鸣海研究室与Unity的筑濑洋平,就利用一个直径5米并且弧度微妙的圆形墙壁,塑造了一条无限延伸的直线道路——而体验者实际在围着墙壁打转。

传世的fy119游戏形式是尤为特殊的

Interestingly, the physical model of the name of "infinite corridor", and on the PS3 of a game, which uses the same viewpoint and illusion techniques to guide space, even SONY alone for this work to carry out a "space creation contest". From this point of view, this technique has many places to dig in the field of constructing virtual space.有趣的是,该物理模型的名字“无限回廊”,恰恰和PS3上的一款游戏相同,后者同样采用了视点和错觉的手法引导空间,索尼甚至单独为这款作品开展了一次“空间创作比赛”。由此来看,这种手法在构造虚拟空间的领域,还有很多可以挖掘的地方。


"The hardware can not meet the demand for the content of ancient" is a more mainstream view, although this view has some truth, but not the decisive content developers lack of creativity. Fortunately, some of the developers did not complain about the limitations of the hardware, instead began to use the "track movement", "third person" and other retro ways to try to expand the virtual space. Maybe like watching Escher like paintings, why don't we change an angle to see?“传世硬件无法满足内容的需求”是一个比较主流的说法,虽然这种观点有一定的道理,但决绝不是内容开发者创意匮乏的借口。值得庆幸的是,一部分传世开发者并没有抱怨硬件的限制,转而开始利用“轨道移动”、“第三人称”等复古的办法去尝试拓展虚拟空间。也许就像观赏埃舍尔的画作一样,我们何不换一个角度来看看呢?

作者:不详 来源:网络
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