The ANGELINA Videogame Design System, Part I

Automatically generating content for videogames has long been a staple of game development and the focus of much successful research. Such forays into content generation usually concern themselves with producing a specific game component, such as a level design. This has proven a rich and challenging area of research, but in focusing on creating separate parts of a larger game, we miss out on the most challenging and interesting aspects of game development. By expanding our scope to the automated design of entire games, we can investigate the relationship between the different creative tasks undertaken in game development, tackle the higher-level creative challenges of game design, and ultimately build systems capable of much greater novelty, surprise and quality in their output. This paper, the first in a series of two, describes two case studies in automating game design, proposing cooperative coevolution as a useful technique to use within systems that automate this process. We show how this technique allows essentially separate content generators to produce content that complements each other. We also describe systems that have used this to design games with subtle emergent effects. After introducing the technique and its technical basis in this paper, in the second paper in the series we discuss higher level issues in automated game design, such as potential overlap with computational creativity and the issue of evaluation

Co-operative coevolution for computational creativity: a case study In videogame design

The term procedural content generation (PCG) refers to writing software which can synthesise content for a game (or other media such as film) without further intervention from a designer. PCG has become a rich area of research in recent years, finding new ways to apply artificial intelligence to generate high-quality game content such as levels, weapons or puzzles for games. Such research is generally constrained to a single type of content, however, with the assumption that the remainder of the game's design will be fixed by an external designer. Generating many aspects of a game's design simultaneously, perhaps ultimately generating the entirety of a game's design, using PCG is not a well-explored idea. The notion of automated game design is not well-established, and is not seen as a task distinct from simply performing lots of PCG tasks at the same time. In particular, the high-level design tasks guiding the creative direction of a game are all but completely absent in PCG literature, because it is rare that a designer wishes to hand over such responsibility to a PCG system. We present here ANGELINA, an automated game designer that has developed games using a multi-faceted approach to content generation underpinned by a co-operative co-evolutionary approach which breaks down a game design into several distinct tasks, each of which controlled by an evolutionary subsystem within ANGELINA. We will show that this approach works well to automate game design, can be ported across many game engines and game genres, and can be enhanced and extended using novel computational creativity techniques to give the system a heightened sense of autonomy and independence.Open Acces

The ANGELINA videogame design system, part II

Procedural content generation is generally viewed as a means to an end – a tool employed by designers to overcome technical problems or achieve a particular design goal. When we move from generating single parts of games to automating the entirety of their design, however, we find ourselves facing a far wider and more interesting set of problems than mere generation. When the designer of a game is a piece of software, we face questions about what it means to be a designer, about Computational Creativity, and about how to assess the growth of these automated game designers and the value of their output. Answering these questions can lead to new ideas in how to generate content procedurally, and produce systems that can further the cutting edge of game design. This paper describes work done to take an automated game designer and advance it towards being a member of a creative community. We outline extensions made to the system to give it more autonomy and creative independence, in order to strengthen claims that the software is acting creatively. We describe and reflect upon the software’s participation in the games community, including entering two game development contests, and show the opportunities and difficulties of such engagement. We consider methods for evaluating automated game designers as creative entities, and underline the need for automated game design to be a major frontier in future games research

Semi-automated level design via auto-playtesting for handheld casual game creation

We provide a proof of principle that novel and engaging mobile casual games with new aesthetics, game mechanics and player interactions can be designed and tested directly on the device for which they are intended. We describe the Gamika iOS application which includes generative art assets; a design interface enabling the making of physics-based casual games containing multiple levels with aspects ranging from Frogger-like to Asteroids-like and beyond; a configurable automated playtester which can give feedback on the playability of levels; and an automated fine-tuning engine which searches for level parameterisations that enable the game to pass a battery of tests, as evaluated by the auto-playtester. Each aspect of the implementation represents a baseline with much room for improvement, and we present some experimental results and describe how these will guide the future directions for Gamika

Playing Beowulf 1: Ludic Rhapsodies

I've chosen Chapter 7 as a sample because it gives something of an overview of projects run by myself and colleagues in young people's game designs based, in this case, on Beowulf. It draws heavily on my colleagues' published work, while also offering an in-depth analysis of one game made by a 10 year-old boy in the workshop we ran at the National Videogame Arcade in Nottingham. The chapter refers back to some of the arguments I've made in previous chapters about the playful disposition of literature in general, the cellular nature of game narrative in particular, the multimodal qualities of videogames, and the kinds of literacies that game play and game design involve. It anticipates further chapters which go on to explore videogame transformations of Beowulf by graduate students of Anglo-Saxon, and game designs of Macbeth by secondary students in Cambridge, Yorkshire and London. I hope readers may find this sample a sufficiently interesting taster to lead them to the whole book, which represents at least ten years of applied and theoretical research, as well as a hinterland of experience in classrooms, which honed my sense of the literature game and what young people make of it