Late commitment: virtual story characters that can frame their world

Our long-term aim is to build virtual agents that can partake together with human interactors as characters in a story, which emerges from their interactions wich each other and with the story world (the emergent narrative approach). Improvisational theatre -- as a real-life example -- suggests an extension of the current approach to emergent narrative: the event sequence of a story does not emerge based on a fixed story world setting, but the event sequence and the story world setting underlying it, emerge together. We propose a model of this idea, which we call late commitment, meaning that choices about aspects of the story world setting are delayed until they become useful for story progression. We discuss possibilities and issues concerning the use of this technique in the context of action planning and goal adoption for character agents

The scholarly hunter: a textual analysis of the ways in which Bloodborne’s narrative and environment invites player involvement and initiates critical debate

This thesis discusses Bloodborne's narrative and its ability to make players invested in its narrative through its genres, environmental storytelling, high-intensity gameplay, and the open-ended nature of the narrative. The thesis uses Henry Jenkin’s narrative architecture as a structure to present current academic findings on Bloodborne while also delving into the roles of environmental storytelling, game mechanics, and the action horror genre in relation to player investment and agency. Further on, paratextual narrative co-construction is examined, and this concept carries us into the final chapter of the thesis. Before looking into the co-authoring of a narrative between players and game developers, this thesis will first break down Bloodborne's narrative in its first chapter. In the second chapter, I explore the gameplay and difficulty of Bloodborne in relation to the horror genre and its ability to evoke strong emotions. Finally, the third chapter investigates my claim that Bloodborne’s narrative and cryptic storytelling style have created a lore-hunting culture and community that inspires players to co-construct the narrative and solve unanswered questions. Suggesting that the developer of Bloodborne intentionally creates narratives and worlds in such a way as to sow the seeds for critical debate and discussion surrounding the narrative

Valeur narrative des mécaniques ludiques et corporéité du joueur

Faisant écho aux recherches contemporaines sur la narrativité du jeu vidéo et s’inscrivant au cœur des problématiques du Narrative Design, cet article s’appuie sur un travail de recherche-création pour défendre l’idée d’une valeur narrative de l’expérience corporelle des mécaniques ludiques. Il met plus précisément en lumière les potentiels expressifs de la dissonance et de l’harmonie ludo-narrative, la portée narrative des mécaniques ludiques et l’importance de la corporéité dans la construction du sens de l’expérience.Anchored in contemporary scientific research about video games narrativity and tackling current considerations in the field of Narrative Design, his paper presents a research-creation project that explores the idea of a narrative value of the game mechanics experienced through the body. More precisely, three concepts are discussed: the ludo-narrative dissonance and harmony, the narrative game mechanics and the narrative body experience of the game

Towards a crowdsourced solution for the authoring bottleneck in interactive narratives

Interactive Storytelling research has produced a wealth of technologies that can be employed to create personalised narrative experiences, in which the audience takes a participating rather than observing role. But so far this technology has not led to the production of large scale playable interactive story experiences that realise the ambitions of the field. One main reason for this state of affairs is the difficulty of authoring interactive stories, a task that requires describing a huge amount of story building blocks in a machine friendly fashion. This is not only technically and conceptually more challenging than traditional narrative authoring but also a scalability problem. This thesis examines the authoring bottleneck through a case study and a literature survey and advocates a solution based on crowdsourcing. Prior work has already shown that combining a large number of example stories collected from crowd workers with a system that merges these contributions into a single interactive story can be an effective way to reduce the authorial burden. As a refinement of such an approach, this thesis introduces the novel concept of Crowd Task Adaptation. It argues that in order to maximise the usefulness of the collected stories, a system should dynamically and intelligently analyse the corpus of collected stories and based on this analysis modify the tasks handed out to crowd workers. Two authoring systems, ENIGMA and CROSCAT, which show two radically different approaches of using the Crowd Task Adaptation paradigm have been implemented and are described in this thesis. While ENIGMA adapts tasks through a realtime dialog between crowd workers and the system that is based on what has been learned from previously collected stories, CROSCAT modifies the backstory given to crowd workers in order to optimise the distribution of branching points in the tree structure that combines all collected stories. Two experimental studies of crowdsourced authoring are also presented. They lead to guidelines on how to employ crowdsourced authoring effectively, but more importantly the results of one of the studies demonstrate the effectiveness of the Crowd Task Adaptation approach

The potential of virtual reality (VR) and augmented reality (AR) to engage people with physical activity

Introduction: Sufficient physical activity (PA) reduces the risk of non-communicable diseases (NCDs) and improves physical and psychosocial health. The levels of PA in the UK and elsewhere in the world remain low for all age groups. Novel strategies for engaging people in PA are required to tackle the epidemic of inactivity. Virtual reality (VR) and augmented reality (AR) is computer-generated, interactive 3D environments that offer users unique immersive experiences of PA. / Aims: The aim of this mixed-methods, staged research project (vEngage) was to test the potential of VR and AR to engage people in PA. This work was a Medical Research Council (MRC) funded partnership between academic researchers (UCL, Coventry, and Anglia Ruskin Universities) and an industry partner ‘Six to Start’. / Methods: I surveyed and interviewed the users of the world’s most popular running app Zombies, Run! (ZR) (Studies 1 and 2). I then conducted a scoping review in a form of a qualitative analysis of game reviews on popular VR exercise games (exergames) and described positive and negative features, current players of VR exergames report, as important motivators for exergame playing (Study 3). In parallel, the vEngage team set up a steering committee of adolescents (13-17 years) and their parents and interviewed both groups about PA, VR, AR, and exergaming (Studies 4a and 4b). We used the results from these studies to inform our VR exergame intervention (a game called Walls - Study 5) which we developed together with expert games designers Six to Start. / Results: VR is a promising strategy for engaging adolescents in PA but barriers to use remain, including awareness, availability, affordability, and accessibility. The results showed people have a positive attitude to exergaming, with a preference for narratives (engaging story, role-play). This was particularly supported by both ZR studies, where the narrative was the most motivating factor for engagement in PA for all age groups. VR and AR exergaming can distract people from the negative aspects of performing PA such as pain or repetition. / Conclusions: This research project was the first VR study that used principles of co-design in creating a digital VR exergame intervention for adolescents, by engaging adolescents themselves in the exergame design. AR and VR exergaming has great potential to engage a wide range of people in PA and can be particularly useful as means for PA engagement in a time of world pandemics such as the recent Covid-19 pandemic, where gym and fitness facilities are not accessible for unspecified periods of time

Emotion-driven interactive storytelling.

Interactive storytelling has attracted plenty of research interest in recent years. Most current interactive storytelling systems follow a goal-oriented approach to story representation, i.e. the user is engaged with the story through fulfilling a number of goals rather than empathising with the characters and experiencing anenriched emotional experience (Pizzi and Cavazza 2007). This fails to satisfy potential users who are oriented to traditional media, such as movies (Louchart et al. 2008) and demographic groups who are interested in attractive and challenging stories (Duh et al. 2010). Given this consideration, an emotion-driven interactive storytelling approach is proposed in this research. In contrast to the goal-oriented interactive storytelling approach, emotion-driven interactive storytelling attempts to create an engaging emotional experience, and involve the user’s emotion with the characters. More importantly, the user’s emotions, evoked by empathising with the characters, determine the character’s behaviours and therefore have an impact on the whole storyline. In this sense, emotions, as a driving force, directly and explicitly contribute to storytelling and the user experience. An interactive video was made by re-editing existing TV material to interpret the concept of emotion-driven interactive storytelling. The examination of user experience of playing this interactive video revealed that non-gamers were more likely to be emotionally involved with the interactive video and empathise with the character. Participants in this group also exhibited higher enjoyment and engagement than gamers. In addition, females were found more likely to empathise with the character and satisfy with the storyline. However because the TV material used to make the interactive video was female-oriented, males failed to enjoy and engage themselves as much as females. But it is important to note that in comparison to males’ previous experience of watching TV Ugly Betty, emotion-driven interactive storytelling increased their enjoyment and engagement. Therefore, emotion-driven interactive storytelling enriches the approach to developing interactive storytelling systems and has the potential to provide an engaging user experience to some types of users. Future research possibilities are discussed with respect to a wider population and research where materials suitable for both genders are presented

Directed Emergent Drama

A fully interactive drama, where the player interacts with intelligent Non- Player Characters (NPCs), can revolutionise entertainment, gaming, education, and therapy. Creating such a genuinely interactive drama that is entertaining and gives players a sense of coherency as active participants in the unfolding drama has seen a substantial research effort. Authors have the power to shape dramatised stories for theatre or television at will. Conversely, the authors' ability to shape interactive drama is limited because the drama emerges from players' and NPCs actions during game-play, which significantly limits authoring control. A coherent drama has a recognisable dramatic structure. One philosophy is to use planning algorithms and narrative structures to reduce required authoring. However, planning algorithms are intractable for the large state-spaces intrinsic to interactive dramas, and they have not reduced the authoring problem sufficiently. A more straightforward and computationally feasible method is emergent interactive drama from players' and NPCs' actions. The main difficulty with this approach is maintaining a drama structure and theme, such as a mystery theme or a training scenario, that the player experiences while interacting with the game world. Therefore, it is necessary to impose some form of structure to guide or direct the unfolding drama. The solution introduced in this thesis is to distribute the computation among autonomous actors that are guided by goals and drama structures which a centralised autonomous director agent distributes among the actors, which comprises the following four main elements: a) autonomous rational actor agents that know they are acting and can negotiate dialogues between them to remain realistic while simultaneously progressing the drama, without the player knowing, b) Bayesian network to model the actors reasoning, including beliefs about other actors' mental states c) an autonomous director agent uses "schemas", conceptual structures based on motifs, to guide the actors

Playing the Story: The Emergence of Narrative through the Interaction between Players, Game Mechanics, and Participatory Fan Communities.

If all games are understood as ultimately driven by the operation of their mechanics, then that operation cannot fully exist without the interaction of a player, and by extension the participatory fan community in which that player is situated. This interaction, in turn, can often produce a form of constructed reality known as emergent narrative, leading to this dissertation’s primary question: Do game mechanics inherently produce emergent narrative? Throughout this dissertation, I will argue that game mechanics produce an emergent narrative as an inherent consequence of their interaction with players and the surrounding community. In answering how emergent narrative comes out of the interaction between players, games, and ultimately the surrounding community, I will examine five key issues: player agency, the actual production of emergent narrative, narrative in non-narrative games, the role of participatory fan communities, and the potential use of emergent narrative in applied game design. Each of these areas in turn will be investigated through the lens of a case study on a relevant game. The main underlying idea that this dissertation adds to ongoing research is that the production of emergent narrative is an unavoidable consequence of playing a game. While the degree and direction of emergent narrative may vary considerably depending on the interaction itself, the very act of interacting between the player, their surrounding participatory community, and the game itself always produces some form of emergent narrative. This distinction makes any play experience potentially meaningful, and helps move the academic discussion of narrative in games beyond outdated ludology-versus-narratology models towards a more fluid and accurate theory of emergent narrative in games. This should allow for better games scholarship, better game design, and better application of game elements in applied contexts