Using Out-of-Character Reasoning to Combine Storytelling and Education in a Serious Game

To reconcile storytelling and educational meta-goals in the context of a serious game, we propose to make use of out-of-character reasoning in virtual agents. We will implement these agents in a serious game of our design, which will focus on social interaction in conflict scenarios with the meta-goal of improving social awareness of users. The agents will use out-of-character reasoning to manage conflicts by assuming different in-character personalities or by planning to take specific actions based on interaction with the users. In-character reasoning is responsible for the storytelling concerns of character believability and consistency. These are not endangered by out-of-character reasoning, as it takes in-character information into account when making decisions

Dramatic level analysis for interactive narrative

In interactive 3D narratives, a user’s narrative emerges through interactions with the system and embodied agencies (characters) mediated through the 3D environment. We present a methodology that identifies and measures four factors in interactive narrative where agency is present. We describe a technique for measuring drama, agency and engagement and compare the centrality of a designed interactive narrative with the emergent participatory narrative. This methodology has application as an analytic device for any interactive narrative where agency is fundamental. The adoption of the FrameNet semantic resource and the interpretation of interaction in narrative, situate this work in the domain of 3D interactive narratives, mixed and augmented realities and polymorphic narratives that cross forms of media

Agents for educational games and simulations

This book consists mainly of revised papers that were presented at the Agents for Educational Games and Simulation (AEGS) workshop held on May 2, 2011, as part of the Autonomous Agents and MultiAgent Systems (AAMAS) conference in Taipei, Taiwan. The 12 full papers presented were carefully reviewed and selected from various submissions. The papers are organized topical sections on middleware applications, dialogues and learning, adaption and convergence, and agent applications

‘Chronovist’ conceptualisation method: exploring new approaches to structuring narrative in interactive immersive audio/visual media.

This research investigates whether the application of the initially literary concepts of Bakhtin’s ‘chronotope’ and ‘utterance’ to the field of interactive narrative audio-visual media can lead to the development of new approaches to structuring narratives. By extending Bakhtin’s concepts to the analysis of interactive immersive audio-visual media I analyse interactive immersive cinema as a first-person experience of a chronotope. Further, I propose to approach chronotope as a real physical space or environment and I supplement the concept of chronotope with an architectural concept of Benedikt’s isovist, expanding its definition from ‘location-specific patterns of visibility’ to a general term for calculating the distribution of a certain spatial or temporal attribute from a vantage point throughout the space. The result is a new conceptualisation tool, which I call ‘the dynamic isovist of a chronotope’, or a ‘chronovist’. The research discusses the implications of this tool for interactive immersive cinema authorship and shows how it can lead to new narrative paradigms (models). It maps the practical uses of such approaches for interactive authors, as well as for authors migrating to interactive i mmersive cinema from conventional (non-interactive) filmmaking, and suggests how existing interactive works by other artists can be ‘remixed’ using the chronovist approach. Using one of my feature films, ‘Dog’s Paradise’, which was completed while undertaking this research, I analyse narrative devices used in the film that were developed using the chronovist approach and suggest how the film could be further developed as an interactive cinema piece. The research also suggests how this conceptualisation tool can be extended to other ‘genres’ of interactive art and what its implications might be for future researchers and interactive authors

A methodology for the analysis of interactive narrative environments : a four-factor framework

Stories have been engaging humans for thousands of years, but in interactive narrative environments, the narrative is perceived to diminish as the source of engagement. One reason for this apparent diminution, is that in interactive environments there has been difficulty in understanding the relationship between design of the unfolding story, and the ability of a user within the story to alter the course of events. As yet there are no standard or accepted evaluative methods to understand interaction at a granular level, and to understand how stories and narratives flow across the expanse of technologies and mixed realities that characterise the way people communicate, share knowledge and are entertained. This thesis presents a novel methodology called the Four-Factor Framework, that takes as its premise that there are four fundamental elements in interactive stories and narratives that can be observed.Doctor of Philosoph