AudioInSpace : exploring the creative fusion of generative audio, visuals and gameplay

Computer games are unique creativity domains in that they elegantly fuse several facets of creative work including visuals, narra- tive, music, architecture and design. While the exploration of possibil- ities across facets of creativity o ers a more realistic approach to the game design process, most existing autonomous (or semi-autonomous) game content generators focus on the mere generation of single domains (creativity facets) in games. Motivated by the sparse literature on mul- tifaceted game content generation, this paper introduces a multifaceted procedural content generation (PCG) approach that is based on the in- teractive evolution of multiple arti cial neural networks that orchestrate the generation of visuals, audio and gameplay. The approach is evaluated on a spaceship shooter game. The generated artifacts|a fusion of audio- visual and gameplay elements | showcase the capacity of multifaceted PCG and its evident potential for computational game creativity.This re-search is supported, in part, by the FP7 ICT project C2Learn (project no: 318480) and by the FP7 Marie Curie CIG project AutoGameDesign (project no: 630665).peer-reviewe

Procedural generation of music-guided weapons

Beyond the standard use of music as a passive and, sometimes, optional component of player experience the impact of music as a guide for the procedural generation of game content has not been explored yet. Being a core elicitor of player experience music can be used to drive the generation of personalized game content for a particular musical theme, song or sound effect being played during the game. In this paper we introduce a proof-of-concept game demonstrator exploring the relationship between music and visual game content across different playing behaviors and styles. For that purpose, we created a side-scroller shooter game where players can affect the relationship between projectiles’ trajectories and the background music through interactive evolution. By coupling neuroevolution of augmented topologies with interactive evolution we are able to create an initial arsenal of innovative weapons. Those weapons are both interesting to play with and also create novel fusions of visual and musical aesthetics.Thanks to Ryan Abela for his input on designing the sound extraction methods. The research was supported, in part, by the FP7 Marie Curie CIG project AutoGameDesign (project no: 630665).peer-reviewe

General general game AI

Arguably the grand goal of artificial intelligence research is to produce machines with general intelligence: the capacity to solve multiple problems, not just one. Artificial intelligence (AI) has investigated the general intelligence capacity of machines within the domain of games more than any other domain given the ideal properties of games for that purpose: controlled yet interesting and computationally hard problems. This line of research, however, has so far focused solely on one specific way of which intelligence can be applied to games: playing them. In this paper, we build on the general game-playing paradigm and expand it to cater for all core AI tasks within a game design process. That includes general player experience and behavior modeling, general non-player character behavior, general AI-assisted tools, general level generation and complete game generation. The new scope for general general game AI beyond game-playing broadens the applicability and capacity of AI algorithms and our understanding of intelligence as tested in a creative domain that interweaves problem solving, art, and engineering.peer-reviewe

Experience-driven procedural content generation (extended abstract)

Procedural content generation is an increasingly important area of technology within modern human-computer interaction with direct applications in digital games, the semantic web, and interface, media and software design. The personalization of experience via the modeling of the user, coupled with the appropriate adjustment of the content according to user needs and preferences are important steps towards effective and meaningful content generation. This paper introduces a framework for procedural content generation driven by computational models of user experience we name Experience-Driven Procedural Content Generation. While the framework is generic and applicable to various subareas of human computer interaction, we employ games as an indicative example of content-intensive software that enables rich forms of interaction.The research was supported, in part, by the FP7 ICT projects C2Learn (318480) and iLearnRW (318803).peer-reviewe

Exploring the visual styles of arcade game assets

This paper describes a method for evolving assets for video games based on their visuals properties. Focusing on assets for a space shooter game, a genotype consisting of turtle commands is transformed into a spaceship image composed of human-authored sprite components. Due to constraints on the final spaceships’ plausibility, the paper investigates two-population constrained optimization and constrained novelty search methods. A sample of visual styles is tested, each a combination of visual metrics which primarily evaluate balance and shape complexity. Experiments with constrained optimization of a visual style demonstrate that a visually consistent set of spaceships can be generated, while experiments with constrained novelty search demonstrate that several distinct visual styles can be discovered by exploring along select, or all, visual dimensions.peer-reviewe

Gaming and the Metaverse: Trailblazing the Future of Information Systems and Platforms

Video games and its industry are leading practice in a variety of digital domains including autonomous design (procedural generation with AI) and real-time user/community engagement mechanisms. The gaming industry has been experimenting with various business and revenue models, pioneering many areas of data-driven design and innovation management, and blurring the lines between work and leisure. With the rising interest in building Metaverses and immersive experience design, many firms look at open-world videogames as the default model. Despite their cultural and digital importance, game environments are rarely the subject of IS research. They still carry stigmas of not being serious business or generalized enough for scholarly consideration. The PDW aims to formulate the effect of games, their artifacts, environments, and business models on the larger IS scholarship and draw a way forward for greater engagement of IS scholarship within the video game industry

General Video Game Evaluation Using Relative Algorithm Performance Profiles

Abstract. In order to generate complete games through evolution we need generic and reliable evaluation functions for games. It has been sug-gested that game quality could be characterised through playing a game with different controllers and comparing their performance. This paper explores that idea through investigating the relative performance of dif-ferent general game-playing algorithms. Seven game-playing algorithms was used to play several hand-designed, mutated and randomly gener-ated VGDL game descriptions. Results discussed appear to support the conjecture that well-designed games have, on average, a higher perfor-mance difference between better and worse game-playing algorithms.

From Agasa Cristie to Group Image Play-Analysis of Horror Survival Game Panic Room : Escaping from the Den on Emotional Elements Development

A maniac computer game genre called "Survival Horror Games‟ is aimed for making gamers feel cathartic feeling when they escaped from the designed horror successfully. The degree of gaming quality, however, is not easy to measure. In this paper, we apply Caillois‟ game playing categories and other standards to measure how a game induces the feeling of fear and other emotional experience to players. Once dominated horror survival game series called Panic Room: Escaping from the Den was chosen to analyze and evaluate with those standards as well as its narratives and subsystems. Especially the 2nd version was most welcomed to users among 4 versions thus we focused on the difference between the version 1 and the version 2 in terms of game playing and fear elements in the game content and story structure. In result, version 2 showed much more Agon and Mimicry and all other fear elements than version 1. The group image playing structure and conference/collection subsystem that were newly provided to version 2 were attributed to its success