Interacting with virtual characters in interactive storytelling

Cavazza, Marc; Charles, Fred; Mead, Steven J.

doi:10.1145/544818.544819

Cited by 46 publications

(53 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…In Goal based applications [6,21], a goal event or events are established as the final outcome of the story. From a set of initial conditions, a story is unfolded by the sequence of events that are needed to reach such goal event or events.…”

Section: Related Workmentioning

confidence: 99%

See 1 more Smart Citation

ISRST: An Interest Based Storytelling Model Using Rhetorical Relations

Nakasone

Ishizuka

2007

Technologies for E-Learning and Digital Entertainment

View full text Add to dashboard Cite

Abstract. Most storytelling model approaches consider stories formed by sequences of a particular type of event. These sequences are mostly constructed using the inherent temporal characteristic of each linked event and this limitation makes it difficult to adapt the models to other kinds of events. In order to develop a more generic model to create storytelling applications, we need to organize events using not only temporal relations, but also relations determined by the rhetorical context of those events. In this paper, we present ISRST, our proposal for a generic storytelling ontology model based on the organization of events using a subset of relations proposed by the Rhetorical Structure Theory and how narrative principles and user interest are applied to these relations to generate coherent stories.

show abstract

Section: Related Workmentioning

confidence: 99%

“…Even though some models do not deal with interactivity at all [1,23,11,19], most models deal with several kinds of intrusive interaction that goes from parameter specification [5,10], and menu selection and interruptions [29,27,13,7] to full user action multimedia processing [21,28,6,18,15].…”

Section: Related Workmentioning

confidence: 99%

ISRST: An Interest Based Storytelling Model Using Rhetorical Relations

Nakasone

Ishizuka

2007

Technologies for E-Learning and Digital Entertainment

View full text Add to dashboard Cite

show abstract

“…Since the advent of digital media, character-based, narrative forms of communication have become commonplace in human-computer interaction, including user interfaces, entertainment, and education [1,2,3,4,5]. The need for autonomous behavior required by these applications has led scholars to adopt the agent techniques developed in artificial intelligence research to define and implement the virtual characters [6].…”

Section: Motivationsmentioning

confidence: 99%

Formal Encoding of Drama Ontology

Damiano¹,

Lombardo²,

Pizzo³

2005

Lecture Notes in Computer Science

View full text Add to dashboard Cite

Abstract. The goal of this research is to lay the foundations for a formal theory of drama, that abstracts from the procedural and interactive aspects involved in the generation of dramatic content. Based on the structural accounts provided from traditional drama analysis, the theory proposed in this paper exploits an agent-based perspective on characters to provide a goal-based characterization of dramatic qualities. MotivationsSince the advent of digital media, character-based, narrative forms of communication have become commonplace in human-computer interaction, including user interfaces, entertainment, and education [1,2,3,4,5]. The need for autonomous behavior required by these applications has led scholars to adopt the agent techniques developed in artificial intelligence research to define and implement the virtual characters [6]. As applications have evolved into multi-character, interactive systems, the need for a centralized management of the plot execution has been realized by AI techniques for multi-agent coordination and cooperation [7,8].While the main effort of system developers has addressed the use of AI techniques in the production of interactive storytelling applications, designers have relied upon the widely acknowledged corpus of drama studies -from Aristotle's investigations to structuralist approaches -to characterize the dramatic qualities of virtual narratives. However, there is still lack for computational theory that exploits the conceptual tools of AI to characterize the principles of drama. The aim of this paper is to lay the foundations of a formal theory that systematizes the basic aspects of drama in a direct and explicit model, with an immediate integration with agent-based theories. The theory, called Drammar, abstracts from the procedural aspects of drama generation, and is intended as the starting point for specifying, implementing and evaluating practical storytelling systems in a principled way.Drammar is structured into two levels (see Figure 1). The actional level models the intentional behaviour of the characters in a plot by enforcing a BDI perspective on characters as intelligent, goal-directed agents: following Bratman's theory of practical reasoning [9], belief-desire-intention (BDI) agents form goals to pursue their desires, and, given their beliefs about the world, devise plans to achieve them. This level is augmented with a representation of emotions as provided by the OCC model [10]. The directional level accounts for the realization of a direction through the plot, by abstracting from the intentionality of the characters through the use of attributes that model the effect of plot incidents onto the characters' (i.e. agents') mental and emotional state.

show abstract

“…Typical applications span from artificial characters for entertainment and instruction, to interactive systems for storytelling and drama [1,2,3]. The aim of this paper is to lay the foundations of a formal theory that systematizes the basic aspects of drama in a direct and explicit model, with an immediate integration with agent-based theories.…”

Section: Motivations and Formalizationmentioning

confidence: 99%

Laying the Foundations for a Formal Theory of Drama

Damiano¹,

Lombardo²,

Pizzo³

2005

Lecture Notes in Computer Science

View full text Add to dashboard Cite

Abstract. The goal of this research is to lay the foundations for a formal theory of drama, that abstracts from the procedural and interactive aspects involved in the generation of dramatic content. The theory characterizes dramatic qualities by reconciling the structural accounts provided by traditional drama analysis with an agent-based perspective on characters. Motivations and FormalizationIn the design of AI systems for communication and entertainment, much attention has been devoted to the dramatic qualities exhibited by interactive applications. Typical applications span from artificial characters for entertainment and instruction, to interactive systems for storytelling and drama [1,2,3]. The aim of this paper is to lay the foundations of a formal theory that systematizes the basic aspects of drama in a direct and explicit model, with an immediate integration with agent-based theories. The theory, called Drammar, abstracts from the interactive and procedural aspects of drama generation, and is intended as the starting point for specifying, implementing and evaluating practical storytelling systems in a principled way.The notions of direction, character and plot, pervasive throughout the literature on drama analysis since Aristotle, are the three main components of the drama ontology incorporated in Drammar. The goal of a drama is to make audience perceive what is intuitively called a "story" by displaying the actions of some characters in conflict; actions are organized in a plot; the plot moves toward a direction. Concerning the structure of drama, it has been a well known convention to segment the list of actions that form a drama into a number of units or sections [6]. Such units, despite terminological disparities, are of the same nature, so that some authors define drama as a recursive or "fractal" structure [7].Drammar is structured in two levels: the actional level models the intentional behaviour of the characters in a plot as intelligent, goal-directed agents. The directional level accounts for dramatic meaning, abstracting from the intentionality of the characters through the use of attributes that model the effect of plot incidents onto the characters' rational and emotional state. The drama direction is a change function that transforms the rational and emotional state of a character into a different state [4]. Such states are defined through values assigned to a number of attributes of the characters (or dramatis personae), defined as a set of attributes. The set of attributes defining a character combines a rational, BDI perspective with an emotional component.

show abstract

Interacting with virtual characters in interactive storytelling

Cited by 46 publications

References 0 publications

ISRST: An Interest Based Storytelling Model Using Rhetorical Relations

ISRST: An Interest Based Storytelling Model Using Rhetorical Relations

Formal Encoding of Drama Ontology

Laying the Foundations for a Formal Theory of Drama

Contact Info

Product

Resources

About