Good Moods: Outlook, Affect and Mood in Dynemotion and the Mind Module

In this article we describe two systems for autonomous characters intended to simulate the minds of characters in virtual game worlds. These systems, the Dynemotion People Engine (DPE) and the Mind Module (MM), are here presented with special focus placed on the design and implementation of the parts of the architecture that simulate what is colloquially called mood. The mood feature is presented to the user in both applications as a fine-grained matrix that summarizes the character's state of mind, typically a complex state. Thus in both systems the mood feature functions as a qualitative guide describing the affordances for the interaction with one's own avatar or another character at a given moment. This simplifies the design and balancing of game design in terms of authorial affordances and provides a more familiar context for user-character interactions

Engagement in independent video games through narrative and character development

Independent videogames (also known as “indie games”) have experienced an increasingly prominent role in the videogame industry. In the last decade, this particular genre has seen an exponential growth, filling its own niche in the market. Furthermore, the low level of investment required by this genre (both in terms of economical and human resources) makes it a favoured path for small companies to start producing videogames. This paradigm of low resources, allied with the technological limitations of mobile devices (this genre's most common platform) defines the “indie game's” playability and visual/narrative aesthetics; the result being a peculiar creative simplicity. We believe this simplicity to be the source of the independent videogames' appeal to the general playerbase. In other words, these videogames engage the player by presenting him/her with a simple yet rich storytelling experience, where complex elements such as long cinematics are eschewed in favor of a more primal and direct experience. Simply put, by investing on a solid narrative and fleshing out interesting, relatable characters, an independent videogame manages to achieve the engagement potential of its commercial counterparts, while doing so with a fraction of the cost. In this dissertation we aim to understand exactly how independent videogames achieve this phenomenon of player engagement through their narrative and characters. We will do so by allying theoretical research on these two creative resources with a the practical exercise of developing our own videogame concept (as a part of our Master's Degree project). Strictly speaking, we will study tools and techniques relating to achieving engagement through narrative and character development, subsequently testing them out in our own project and drawing conclusions on their effectiveness in the process

Attack on the clones: managing player perceptions of visual variety and believability in video game crowds

Crowds of non-player characters are increasingly common in contemporary video games. It is often the case that individual models are re-used, lowering visual variety in the crowd and potentially affecting realism and believability. This paper explores a number of approaches to increase visual diversity in large game crowds, and discusses a procedural solution for generating diverse non-player character models. This is evaluated using mixed methods, including a “clone spotting” activity and measurement of impact on computational overheads, in order to present a multi-faceted and adjustable solution to increase believability and variety in video game crowds

As cinemáticas e narrativas de jogos digitais: implicações para o design de jogos

Game cinematics integrating filming techniques, cutscenes, and animations are likely to have a pivotal role in the player experience, emotional attachment, and relatedness to the game narrative content. In recent years, the avoidance of cuts to generate a seamless and connected game experience has challenged older patterns on storytelling in games and find new ways of intertwining gameplay with the narrative. However, a one-size-fits-all strategy may not be applied when considering different storytelling purposes, structures, and language used in diversified game genres. The purpose of this research is to examine the contributions of cinematics to affect game story comprehension, especially in young adults. A multi-stage development research method is applied, encompassing the following activities: (1) identification of requirements to develop game cinematics based on the literature review and interviews with 16 scholars and industry professionals in Game UX, and cinematic development; (2) Development of a Game Cinematics experiment for the game Mutation Madness, using first- and third- perspectives; and a (3) Comparative evaluation of game cinematics in terms of experience and narrative comprehension. The cinematics developed are tested with 46 young adults to assess the effect of the Point Of View (POV) camera on visual attention and story comprehension in Mutation Madness, using an eye- tracking experiment. The results suggest that third- perspective in game cinematics constitute omniscient knowledge of the story, evoking the sense of time and focusing on the story agents, while first- perspective visually guides the player to the game events happening in the time of gameplay. This research contributes to the Communication Sciences and Technologies field by presenting a set of best practices developing game cinematics.As cinemáticas de jogos que integram técnicas de filmagem, cutscenes, e animações, tendem a ter um papel central na experiência do jogador, envolvimento emocional, e relação com a narrativa. Nos últimos anos, os padrões mais antigos inerentes ao processo de contar histórias nos jogos têm sido desafiados pela ausência de cortes e interrupções na experiência, de modo a garantir a interconexão e o entrelaçar da jogabilidade com a narrativa. No entanto, a adoção de uma estratégia de dimensão única pode não atender a diferentes propósitos da narrativa, estruturas e linguagem utilizadas em diferentes géneros de jogos. O objetivo desta investigação é compreender o modo como as cinemáticas podem afetar a compreensão de histórias de jogos, especialmente em jovens adultos. O método de investigação de desenvolvimento é aplicado, subdividido nas seguintes etapas: (1) Identificação de requisitos para desenvolver cinemáticas de jogos com base na revisão da literatura e entrevista a 16 académicos e profissionais da indústria em experiência de jogo, e desenvolvimento de cinemáticas; (2) Desenvolvimento de cinemáticas do jogo Mutation Madness, com recurso à primeira e terceira perspetiva; e (3) Avaliação comparativa das cinemáticas de jogo em termos de experiência e compreensão da narrativa. As cinemáticas desenvolvidas são testadas por 46 jovens adultos, recorrendo à metodologia eye-tracking, para avaliar o efeito da perspetiva da câmara [Point Of View (POV)] na atenção visual e na compreensão da narrativa do jogo Mutation Madness. Os resultados sugerem que a cinemática em que é adotada a terceira perspetiva no jogo proposto contribui para um conhecimento omnisciente da história, evocando o sentido do tempo e concentrando-se nos agentes da história, enquanto a primeira perspetiva orienta visualmente o jogador para os eventos do jogo que acontecem no tempo da jogabilidade. Esta investigação contribui para a área das Ciências da Tecnologia da Comunicação ao apresentar um conjunto de melhores práticas para desenvolver as cinemáticas nos jogos.Mestrado em Comunicação Multimédi

Crowd simulation in an emergency situation

Los planes de evacuación de diferentes edificios, barcos y cualquier otro tipo de sitios públicos es difícil de definir, al menos, si quieres que sea lo más eficiente, seguro y rápido posible. El proyecto trata de simular un espacio virtual con avatares ficticios y un usuario que intentarán salir.The evacuation plan for different buildings, ships and all kind of public spaces is hard to define, at least, if you want it to be the most efficient plan, thus the safest and the fastest. Therefore, the project is about simulating an environment with virtual avatars trying to find the way out

The promotion of ethical egoism through morality mechanics in mass effect, fable III & fallout new vegas: a role-playing video game exploration

The aim of this study is to determine whether or not ethical egoism is promoted during gameplay of three role-playing video games namely Mass Effect, Fable III and Fallout New Vegas. The rapid expansion of the video gaming industry as well as game studies as an academic field have made it necessary to understand what effects video games may have on society. This study shows that gamers come into contact with various ethico-moral dilemmas during gameplay and act in an egoistic manner in order to complete video games. Firstly, an explanation of game and gameplay are provided as well as an outline of two game studies methodologies, namely narratology and ludology. These two methodologies are then combined into a hybrid approach which is used to analyse the video games from both a narrative and gameplay point of view which allows for a more comprehensive analysis of each respective game. Thereafter, a discussion of B.F. Skinner's behaviourism is given in order to better understand gamer behaviour. Skinner's concepts of positive reinforcement, schedules of reinforcement and operant conditioning are then linked to video games to show behaviourism's influences on game design. Ethical egoism, as theorised by Thomas Hobbes and Jesse Kalin, provides the ethico-moral theory necessary for the analysis of the morality mechanic in each game. Ethico-moral dilemmas identified within each game are discussed with regards to the hybrid approach which details both narrative and gameplay consequences of in-game ethico-moral decision making. The study concludes that gamers are ethical egoists when engaged in gameplay, due to their desire to complete the video game. However, during gameplay, gamers are exposed to altruism which is often promoted through the narrative and the nature of in-game objectives. Suggestions for further studies are also given for example a more detailed analysis of gamer behaviour, a qualitative study of in-game ethico-moral actions as well as a study of games that are non-violent in nature

Gender stereotypes in virtual agents

Visual, behavioural and verbal cues for gender are often used in designing virtual agents to take advantage of their cultural and stereotypical effects on the users. However, recent studies point towards a more gender-balanced view of stereotypical traits and roles in our society. This thesis is intended as an effort towards a progressive and inclusive approach for gender representations in virtual agents. The contributions are two-fold. First, in an iterative design process, representative male, female and androgynous embodied AI agents were created with few differences in their visual attributes. Second, these agents were then used to evaluate the stereotypical assumptions of gendered traits and roles in AI virtual agents. The results showed that, indeed, gender stereotypes are not as effective as previously assumed, and androgynous agents could represent a middle-ground between gendered stereotypes. The thesis findings are presented in the hope to foster discussions in virtual agent research and the frequent stereotypical use of gender representations

Expression of the given-new contrast in referential communication: A study of seven and nine year-old children.

International audienceMonolingual French-speaking children (7- and 9-year-old boys and girls) were asked to describe reversible events for peers. Addressees had some information about one of the two characters involved in each event, but this information was either restricted to the character's identity or extended to his/her semantic role (agent vs patient). The way speakers introduced each character and linked together given and new information for the addressee was studied. The linguistic devices used varied with the kind of information to be communicated. The way the speaker's discourse was formulated changed with age