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But those worlds feel even more incongruous when the people that inhabit them behave like animatronics and the environments work like Potemkin villages. Incremental improvements in visual fidelity make 3-D worlds seem more and more real. The problem becomes increasingly intractable over time. The inner thoughts and outward behavior of simulated people, for example, beyond the fact of their collision with other objects. Left less explored were the other aspects of realistic, physical environments. To dream of the Holodeck is to dream a complicated dream of the novel. Entire hardware industries developed around the specialized co-processors used to render 3-D scenes. As 3-D first-person games evolved, along with the engines that run them, visual verisimilitude improved more than other features. Those early assumptions vanished quickly into infrastructure, forgotten. The lone, soldier-hero against the Nazis, or the hell spawn, or the aliens. Add a few monsters that a powerful player-dude can vanquish, and the first-person shooter is born. In other words, the first 3-D games were designed to be empty so that they would run.Īn empty space is most easily interpreted as one in which something went terribly wrong. It helped to empty them out as much as possible, with surfaces detailed by simple textures and objects kept to a minimum. Real-time 3-D worlds are harder to create than it seems, especially on the relatively low-powered computers that first ran games like Doom in the early 1990s. But that choice was made less deliberately at the time. In retrospect, it’s easy easy to blame old games like Doom and Duke Nukem for stimulating the fantasy of male adolescent power. Games’ obsession with story obscures more ambitious goals anyway. That’s a problem to be ignored rather than solved. On this measure, alas, the best interactive stories are still worse than even middling books and films. Are the resulting interactive stories really interactive, when all the player does is assemble something from parts? Are they really stories, when they are really environments? And most of all, are they better stories than the more popular and proven ones in the cinema, on television, and in books? And in What Remains of Edith Finch, a new game about a girl piecing together a family curse, narration is accomplished through artifacts discovered in an old house. In the 2007 game BioShock, recorded messages in an elaborate, Art Deco environment provide context for a story of a utopia’s fall. In Disneyland’s Peter Pan’s Flight, for example, dioramas summarize the plot and setting of the film. Think of it as the novel wresting the real-time, first-person, 3-D graphics engine from the hands of the shooter game. Environmental stories invite players to discover and reconstruct a fixed story from the environment itself. One shortcut is an approach called environmental storytelling.
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It’s an almost impossible bar to reach, for cultural reasons as much as technical ones.
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It would be like living in a novel, where the player’s actions would have as much of an influence on the story as they might in the real world. In this hypothetical future, players could interact with computerized characters as round as those in novels or films, making choices that would influence an ever-evolving plot. Sections Show More Follow today More Brands © NBC UNIVERSAL.A longstanding dream: Video games will evolve into interactive stories, like the ones that play out fictionally on the Star Trek Holodeck. Find more information about the following stories featured on TODAY and browse this week's videos.
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