Automated run-time mission and dialog generation

Current mission driven systems, be they games or training simulations, are generally restricted to using a set of training missions that are hard coded into the system. This has the unfortunate effect of limiting the number of times a person or team can be sent through a simulator before it begins to lose its training value or the number of times a person can replay a game without it becoming predictable and somewhat boring. The fact that all of the mission parameters must be hard coded also increases the time required for scenario development. This study defines an architecture for automating the creation of missions at run time allowing much larger variety in the number and content of missions in a given system. Our architecture also allows for the creation of varied and more believable dialog with minimal scenario creation time required. We also explore an alternate method for determining agents attitudes towards the users avatar which is more robust than the more commonly used system and which can be used as an input to dialog generation further improving the realism of the dialog. A commercial game, Neverwinter Nights by Bioware, has been used to produce a proof of concept.http://archive.org/details/automatedruntime109453585US Navy (USN) author.Approved for public release; distribution is unlimited

‘IMPLICIT CREATION’ – NON-PROGRAMMER CONCEPTUAL MODELS FOR AUTHORING IN INTERACTIVE DIGITAL STORYTELLING

Interactive Digital Storytelling (IDS) constitutes a research field that emerged from several areas of art, creation and computer science. It inquires technologies and possible artefacts that allow ‘highly-interactive’ experiences of digital worlds with compelling stories. However, the situation for story creators approaching ‘highly-interactive’ storytelling is complex. There is a gap between the available technology, which requires programming and prior knowledge in Artificial Intelligence, and established models of storytelling, which are too linear to have the potential to be highly interactive. This thesis reports on research that lays the ground for bridging this gap, leading to novel creation philosophies in future work. A design research process has been pursued, which centred on the suggestion of conceptual models, explaining a) process structures of interdisciplinary development, b) interactive story structures including the user of the interactive story system, and c) the positioning of human authors within semi-automated creative processes. By means of ‘implicit creation’, storytelling and modelling of simulated worlds are reconciled. The conceptual models are informed by exhaustive literature review in established neighbouring disciplines. These are a) creative principles in different storytelling domains, such as screenwriting, video game writing, role playing and improvisational theatre, b) narratological studies of story grammars and structures, and c) principles of designing interactive systems, in the areas of basic HCI design and models, discourse analysis in conversational systems, as well as game- and simulation design. In a case study of artefact building, the initial models have been put into practice, evaluated and extended. These artefacts are a) a conceived authoring tool (‘Scenejo’) for the creation of digital conversational stories, and b) the development of a serious game (‘The Killer Phrase Game’) as an application development. The study demonstrates how starting out from linear storytelling, iterative steps of ‘implicit creation’ can lead to more variability and interactivity in the designed interactive story. In the concrete case, the steps included abstraction of dialogues into conditional actions, and creating a dynamic world model of the conversation. This process and artefact can be used as a model illustrating non-programmer approaches to ‘implicit creation’ in a learning process. Research demonstrates that the field of Interactive Digital Storytelling still has to be further advanced until general creative principles can be fully established, which is a long-term endeavour, dependent upon environmental factors. It also requires further technological developments. The gap is not yet closed, but it can be better explained. The research results build groundwork for education of prospective authors. Concluding the thesis, IDS-specific creative principles have been proposed for evaluation in future work

Security Policies That Make Sense for Complex Systems: Comprehensible Formalism for the System Consumer

Information Systems today rarely are contained within a single user workstation, server, or networked environment. Data can be transparently accessed from any location, and maintained across various network infrastructures. Cloud computing paradigms commoditize the hardware and software environments and allow an enterprise to lease computing resources by the hour, minute, or number of instances required to complete a processing task. An access control policy mediates access requests between authorized users of an information system and the system\u27s resources. Access control policies are defined at any given level of abstraction, such as the file, directory, system, or network, and can be instantiated in layers of increasing (or decreasing) abstraction. For the system end-user, the functional allocation of security policy to discrete system components, or subsystems, may be too complex for comprehension. In this dissertation, the concept of a metapolicy, or policy that governs execution of subordinate security policies, is introduced. From the user\u27s perspective, the metapolicy provides the rules for system governance that are functionally applied across the system\u27s components for policy enforcement. The metapolicy provides a method to communicate updated higher-level policy information to all components of a system; it minimizes the overhead associated with access control decisions by making access decisions at the highest level possible in the policy hierarchy. Formal definitions of policy often involve mathematical proof, formal logic, or set theoretic notation. Such policy definitions may be beyond the capability of a system user who simply wants to control information sharing. For thousands of years, mankind has used narrative and storytelling as a way to convey knowledge. This dissertation discusses how the concepts of storytelling can be embodied in computational narrative and used as a top-level requirements specification. The definition of metapolicy is further discussed, as is the relationship between the metapolicy and various access control mechanisms. The use of storytelling to derive the metapolicy and its applicability to formal requirements definition is discussed. The author\u27s hypothesis on the use of narrative to explain security policy to the system user is validated through the use of a series of survey instruments. The survey instrument applies either a traditional requirements specification language or a brief narrative to describe a security policy and asks the subject to interpret the statements. The results of this research are promising and reflect a synthesis of the disciplines of neuroscience, security, and formal methods to present a potentially more comprehensible knowledge representation of security policy

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

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