The Virtual Storyteller: story generation by simulation

The Virtual Storyteller is a multi-agent framework that generates stories based on a concept called emergent narrative. In this paper, we describe the motivation and approach of the Virtual Storyteller, and give an overview of the computational processes involved in the story generation process. We also discuss some of the challenges posed by our chosen approach

The automatic generation of narratives

We present the Narrator, a Natural Language Generation component used in a digital storytelling system. The system takes as input a formal representation of a story plot, in the form of a causal network relating the actions of the characters to their motives and their consequences. Based on this input, the Narrator generates a narrative in Dutch, by carrying out tasks such as constructing a Document Plan, performing aggregation and ellipsis and the generation of appropriate referring expressions. We describe how these tasks are performed and illustrate the process with examples, showing how this results in the generation of coherent and well-formed narrative texts

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

Simulated authenticity: storytelling and mythic space on the hyper-frontier in Buffalo Bill’s Wild West and Westworld.

This article explores how the mythic, nineteenth-century American frontier is authenticated by postmodern forms of storytelling. The study examines accounts of William Cody’s extensive 1902–1903 Buffalo Bill’s Wild West tours in the United Kingdom and the futuristic television series, HBO’s Westworld (2016–), which is set in an android-hosted theme park. Comparing the semiotics of the two examples indicates how over a century apart, the authentication of the myth involves repeating motifs of setting, action and character central to tourist fantasies. The research illustrates how some elements of the myth seem to remain fixed but are negotiable. It is suggested that both examples are versions of a ‘hyper-frontier’, a nostalgic yet progressive, intertextual retelling of the American West and its archetypal characters, characterised by advanced technology. The implications for tourism are that simulating the authenticity of the frontier myth creates doubts in its veracity paradoxically due to its lifelikeness

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

The Character as subjective interface

This paper re-frames virtual interactive characters as " subjective interfaces " with the purpose of highlighting original affordances for interactive story-telling through conversation. This notion is theoretically unpacked in the perspectives of narratology, interaction design and game design. Existing and imagined scenarios are presented in which subjective interfaces are elevated as core interaction mechanics. Finally, technical challenges posed by this approach are reviewed alongside relevant existing research leads.Fonds de Recherche du Québec - Société et Cultur

History, Heritage, and Memory in Video Games: Approaching the Past in Svoboda 1945: Liberation and Train to Sachsenhausen

Accepted manuscript version, licensed CC BY-NC 4.0. This article explores authenticity, immersion, and heritage in two historical video games, Svoboda 1945: Liberation and Train to Sachsenhausen. The two games use different strategies when inviting understanding, emotional attachment, and immersive experiences of past events. We draw upon a critical, self-reflective analysis of the design process and a comparison of both games. Our aim is to expand further the toolset for historical game analysis and critique by developing the terms inter-medial authenticity and procedural heritage to enable investigations of games as both representations and simulations of historical events. We show that both these aspects can contribute to the roles games can play as conveyors of historical memory and heritage

Synthetic worlds, synthetic strategies: attaining creativity in the metaverse

This text will attempt to delineate the underlying theoretical premises and the definition of the output of an immersive learning approach pertaining to the visual arts to be implemented in online, three dimensional synthetic worlds. Deviating from the prevalent practice of the replication of physical art studio teaching strategies within a virtual environment, the author proposes instead to apply the fundamental tenets of Roy Ascott’s “Groundcourse”, in combination with recent educational approaches such as “Transformative Learning” and “Constructionism”. In an amalgamation of these educational approaches with findings drawn from the fields of Metanomics, Ludology, Cyberpsychology and Presence Studies, as well as an examination of creative practices manifest in the metaverse today, the formulation of a learning strategy for creative enablement unique to online, three dimensional synthetic worlds; one which will focus upon “Play” as well as Role Play, virtual Assemblage and the visual identity of the avatar within the pursuits, is being proposed in this chapter

Synthetic worlds, synthetic strategies: attaining creativity in the metaverse

This text will attempt to delineate the underlying theoretical premises and the definition of the output of an immersive learning approach pertaining to the visual arts to be implemented in online, three dimensional synthetic worlds. Deviating from the prevalent practice of the replication of physical art studio teaching strategies within a virtual environment, the author proposes instead to apply the fundamental tenets of Roy Ascott’s “Groundcourse”, in combination with recent educational approaches such as “Transformative Learning” and “Constructionism”. In an amalgamation of these educational approaches with findings drawn from the fields of Metanomics, Ludology, Cyberpsychology and Presence Studies, as well as an examination of creative practices manifest in the metaverse today, the formulation of a learning strategy for creative enablement unique to online, three dimensional synthetic worlds; one which will focus upon “Play” as well as Role Play, virtual Assemblage and the visual identity of the avatar within the pursuits, is being proposed in this chapter