Emergent Story Generation: Lessons from Improvisational Theater

An emergent approach to story generation by computer is characterized by a lack of predetermined plot and a focus on character interaction forming the material for stories. A potential problem is that no interesting story emerges. However, improvisational theater shows that – at least for human actors – a predetermined plot is not necessary for creating a compelling story. There are some principles that make a successful piece of improvisational theater more than a random interaction, and these principles may inform the type of computational processes that an emergent narrative architecture draws from. We therefore discuss some of these principles, and show how these are explicitly or implicitly used in story generation and interactive storytelling research. Finally we draw lessons from these principles and ask attention for two techniques that have been little investigated: believably incorporating directives, and late commitment

Player agency in interactive narrative: audience, actor & author

The question motivating this review paper is, how can computer-based interactive narrative be used as a constructivist learn- ing activity? The paper proposes that player agency can be used to link interactive narrative to learner agency in constructivist theory, and to classify approaches to interactive narrative. The traditional question driving research in interactive narrative is, ‘how can an in- teractive narrative deal with a high degree of player agency, while maintaining a coherent and well-formed narrative?’ This question derives from an Aristotelian approach to interactive narrative that, as the question shows, is inherently antagonistic to player agency. Within this approach, player agency must be restricted and manip- ulated to maintain the narrative. Two alternative approaches based on Brecht’s Epic Theatre and Boal’s Theatre of the Oppressed are reviewed. If a Boalian approach to interactive narrative is taken the conflict between narrative and player agency dissolves. The question that emerges from this approach is quite different from the traditional question above, and presents a more useful approach to applying in- teractive narrative as a constructivist learning activity

Cultural dialects of real and synthetic emotional facial expressions

In this article we discuss the aspects of designing facial expressions for virtual humans (VHs) with a specific culture. First we explore the notion of cultures and its relevance for applications with a VH. Then we give a general scheme of designing emotional facial expressions, and identify the stages where a human is involved, either as a real person with some specific role, or as a VH displaying facial expressions. We discuss how the display and the emotional meaning of facial expressions may be measured in objective ways, and how the culture of displayers and the judges may influence the process of analyzing human facial expressions and evaluating synthesized ones. We review psychological experiments on cross-cultural perception of emotional facial expressions. By identifying the culturally critical issues of data collection and interpretation with both real and VHs, we aim at providing a methodological reference and inspiration for further research

A conceptual framework for interactive virtual storytelling

This paper presents a framework of an interactive storytelling system. It can integrate five components: management centre, evaluation centre, intelligent virtual agent, intelligent virtual environment, and users, making possible interactive solutions where the communication among these components is conducted in a rational and intelligent way. Environment plays an important role in providing heuristic information for agents through communicating with the management centre. The main idea is based on the principle of heuristic guiding of the behaviour of intelligent agents for guaranteeing the unexpectedness and consistent themes

Synthetic vision and emotion calculation in intelligent virtual human modeling

The virtual human technique already can provide vivid and believable human behaviour in more and more scenarios. Virtual humans are expected to replace real humans in hazardous situations to undertake tests and feed back valuable information. This paper will introduce a virtual human with a novel collision-based synthetic vision, short-term memory model and a capability to implement the emotion calculation and decision making. The virtual character based on this model can ‘see’ what is in his field of view (FOV) and remember those objects. After that, a group of affective computing equations have been introduced. These equations have been implemented into a proposed emotion calculation process to enlighten emotion for virtual intelligent huma

An Extendable Multiagent Model for Behavioural Animation

This paper presents a framework for visually simulating the behaviour of actors in virtual environments. In principle, the environmental interaction follows a cyclic processing of perception, decision, and action. As natural life-forms perceive their environment by active sensing, our approach also tends to let the artificial actor actively sense the virtual world. This allows us to place the characters in non-preprocessed virtual dynamic environments, what we call generic environments. A main aspect within our framework is the strict distinction between a behaviour pattern, that we term model, and its instances, named characters, which use the pattern. This allows them sharing one or more behaviour models. Low-level tasks like sensing or acting are took over by so called subagents, which are subordinated modules extendedly plugged in the character. In a demonstration we exemplarily show the application of our framework. We place the same character in different environments and let it climb and descend stairs, ramps and hills autonomously. Additionally the reactiveness for moving objects is tested. In future, this approach shall go into action for a simulation of an urban environment