The Challenge of Believability in Video Games: Definitions, Agents Models and Imitation Learning

In this paper, we address the problem of creating believable agents (virtual characters) in video games. We consider only one meaning of believability, ``giving the feeling of being controlled by a player'', and outline the problem of its evaluation. We present several models for agents in games which can produce believable behaviours, both from industry and research. For high level of believability, learning and especially imitation learning seems to be the way to go. We make a quick overview of different approaches to make video games' agents learn from players. To conclude we propose a two-step method to develop new models for believable agents. First we must find the criteria for believability for our application and define an evaluation method. Then the model and the learning algorithm can be designed

Bayesian Modeling of a Human MMORPG Player

This paper describes an application of Bayesian programming to the control of an autonomous avatar in a multiplayer role-playing game (the example is based on World of Warcraft). We model a particular task, which consists of choosing what to do and to select which target in a situation where allies and foes are present. We explain the model in Bayesian programming and show how we could learn the conditional probabilities from data gathered during human-played sessions.Comment: 30th international workshop on Bayesian Inference and Maximum Entropy, Chamonix : France (2010

A Quantisation of Cognitive Learning Process by Computer Graphics-Games: Towards More Efficient Learning Models

Research group of Computer Sciences at DMU, Psychology Research Group at University of Birmingham and Reseach Group of Computer Science at University of Northumbria.With the latest developments in computer technologies and artificial intelligence (AI) techniques, more opportunities of cognitive data acquisition and stimulation via game-based systems have become available for computer scientists and psychologists. This may lead to more efficient cognitive learning model developments to be used in different fields of cognitive psychology than in the past. The increasing popularity of computer games among a broad range of age groups leads scientists and experts to seek game domain solutions to cognitive based learning abnormalities, especially for younger age groups and children. One of the major advantages of computer graphics and using game-based techniques over the traditional face-to-face therapies is that individuals, especially children immerse in the game’s virtual environment and consequently feel more open to share their cognitive behavioural characteristics naturally. The aim of this work is to investigate the effects of graphical agents on cognitive behaviours to generate more efficient cognitive models

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

NPCs as People, Too: The Extreme AI Personality Engine

PK Dick once asked “Do Androids Dream of Electric Sheep?” In video games, a similar question could be asked of non-player characters: Do NPCs have dreams? Can they live and change as humans do? Can NPCs have personalities, and can these develop through interactions with players, other NPCs, and the world around them? Despite advances in personality AI for games, most NPCs are still undeveloped and undeveloping, reacting with flat affect and predictable routines that make them far less than human— in fact, they become little more than bits of the scenery that give out parcels of information. This need not be the case. Extreme AI, a psychology-based personality engine, creates adaptive NPC personalities. Originally developed as part of the thesis “NPCs as People: Using Databases and Behaviour Trees to Give Non-Player Characters Personality,” Extreme AI is now a fully functioning personality engine using all thirty facets of the Five Factor model of personality and an AI system that is live throughout gameplay. This paper discusses the research leading to Extreme AI; develops the ideas found in that thesis; discusses the development of other personality engines; and provides examples of Extreme AI’s use in two game demos

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences