Game AI as Storytelling

Riedl, Mark O.; Thue, David; Bulitko, Vadim

doi:10.1007/978-1-4419-8188-2_6

Cited by 25 publications

(18 citation statements)

References 28 publications

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“…ROGUE, MINECRAFT) [7]; and the later through the concepts of experience and drama management (e.g. PASSAGE, LEFT 4 DEAD) [8], [9]. Doran and Parberry [2] describe a system capable of procedurally generating stories or quests for computer role-playing games.…”

Section: Procedural Map Generationmentioning

confidence: 99%

“…Our plot point representation is based on those used in planning-based story generation systems, such as ASD [8]. It is extended in order to allow the use of story quality evaluation functions, such as those developed by Weyhrauch for MOE [17].…”

Section: Story-based Map Generationmentioning

confidence: 99%

“…It is extended in order to allow the use of story quality evaluation functions, such as those developed by Weyhrauch for MOE [17]. Additionally, we take as input a set of author goals that stories need to accomplish [8]. Specifically, the input of our system is a tuple �S, L, player, I, G, P �, where:…”

Section: Story-based Map Generationmentioning

confidence: 99%

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Towards story-based content generation: From plot-points to maps

Valls-Vargas

Ontañón

Zhu

2013

2013 IEEE Conference on Computational Inteligence in Games (CIG)

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Abstract-Some computer game genres require meaningful stories and complex worlds in order to successfully engage players. In this paper we look at a procedural approach to storybased map generation focusing on the tight relationship between stories and the virtual worlds where those stories will unfold. Our long term goal is to develop procedural content generation techniques that can produce maps supporting multiple stories. We present an approach that takes, as input, the specification of a story space as a collection of plot points. Causal relations between these plot points and spatial relationships between locations define different story and spatial structures. Our system generates multiple configurations of a map, determines the stories that are actually supported in each map, and evaluates their quality, in order to find maps that support high quality stories from a storytelling perspective.

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Section: Procedural Map Generationmentioning

confidence: 99%

Section: Story-based Map Generationmentioning

confidence: 99%

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Towards story-based content generation: From plot-points to maps

Valls-Vargas

Ontañón

Zhu

2013

2013 IEEE Conference on Computational Inteligence in Games (CIG)

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“…The field of interactive storytelling covers a wide range of technologies and models. We refer the reader to [87] for an overview of literature.…”

Section: Narrative Adaptationmentioning

confidence: 99%

Personalised gaming

Bakkes

Tan

Pisan

2012

Proceedings of the 8th Australasian Conference on Interactive Entertainment: Playing the System

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This article focuses on personalised games, which we define as games that utilise player models for the purpose of tailoring the game experience to the individual player. The main contribution of the article is a motivation for personalised gaming, supported by an extensive overview of scientific literature. The motivatin concerns (a) the psychological foundation, (b) the effect on player satisfaction, (c) the contribution to game development, and (d) the requirement for achieving ambitions. The provided overview of scientific literature goes into the subject of player modelling, as well as eight adaptive components: (1) space adaptation, (2) mission / task adaptation, (3) character adaptation, (4) game mechanics adaptation, (5) narrative adaptation, (6) music / sound adaptation, (7) player matching (multiplayer), and (8) difficulty scaling. In the concluding sections, the relationship to procedural content generation is discussed, as well as the generalisation to other domains.

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“…Previous narrative game studies mainly focus on the architecture and life-like characters of games such as the theory of contemporary architecture, to create spatial narrative games [8]; an artificial intelligence character, which is also called as non-playing character [9]; the narrative time and space [10]; and the combination of storytelling, game and learning context to build exciting, adaptive and intelligent learning environments [11]. There are also guides for school children to develop narrative games based on existing three-dimensional (3D) storytelling software [12].…”

Section: Introductionmentioning

confidence: 99%

Conceptual Model of Game Aesthetics for Perceived Learning in Narrative Games

Abubakar¹,

Ahmad²,

Zulkifli³

et al. 2017

International Journal on Advanced Science, Engineering and Information Technology

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Narrative games may offer reasoning on players' behaviour or make-believe on players' personation as a pursuit to achieve specific goals. One of the goals is probably the intention to instil learning, which subconsciously provides information on the content of the game. However, there is a lack of studies on the contribution of game aesthetics towards player's perceived learning. By means of expert review, this article reports on a conceptual model of game aesthetics towards perceived learning and the degree of importance of each attribute in perceived learning. Findings reveal that all experts agreed on the contribution of game aesthetics towards perceived learning. In addition, the expert recommends three other factors that may contribute to learning: player's motivation, learning content, and gameplay. Future work will continue to design and develop the game prototype and to investigate the relationship between game aesthetics and perceived learning.

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Game AI as Storytelling

Cited by 25 publications

References 28 publications

Towards story-based content generation: From plot-points to maps

Towards story-based content generation: From plot-points to maps

Personalised gaming

Conceptual Model of Game Aesthetics for Perceived Learning in Narrative Games

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