DM: "The stranger in the tavern tells you of a ruin full of treasures to the north of town. What do you do?"
Players: "We go south!"

One of the developments in modern MMORPGs was the idea that the player should always be on a quest, or several, so he would never be lost for ideas on where to go next. Dungeons & Dragons 4th edition introduced that idea into D&D rules, but most of the official adventures I've seem don't actually use the concept. That is probably because those adventures are very linear already, and if you have a dungeon full of monsters you don't really need a quest to tell players what to do.

Ein Spiel braucht interaktive Momente, um seiner Definition gerecht zu werden. Die Erzeugung eines Spielsystems aber, eines Agierens in mathematischen Möglichkeiten also, ist eine sehr abstrakte Angelegenheit. Um die Einstiegshürden zu senken, die Befremdnis zu verringern und damit massenkompatibler zu werden, muss es sich an bekannte Medien anschmiegen und Gekanntes, Geschätztes und Verstandenes übernehmen. Was liegt da näher, als das Medium Film in das Computerspiel einzubauen. Leider verträgt sich die sekündlich getimte und perspektivisch eingeschränkte Form des Filmes nicht sonderlich gut mit dem auf Freiheit und interaktiver Errechnung scheinbar zufälliger Ereignisse getrimmten Wesen eines Spieles.

While computers have provided us with an amazing array of game titles that have grown and improved over the decades since the game industry’s inception, even today no computer program can compare to the creativity and the level of interactivity of a human dungeon master.

But Watson has opened up a new frontier for computers, a frontier that has the ability to understand situations and create environments that respond as a human dungeon master would. Watson’s successors have the potential to provide the kind of computing that game designers have always dreamed of, a computer that can understand what players are trying to do and play along with them.