This paper presents a search-based approach to generating game content that satisfies both gameplay requirements and user-expressed aesthetic criteria. Using evolutionary constraint satisfaction, we search for spaceships (for a space combat game) represented as compositional pattern-producing networks. While the gameplay requirements are satisfied by ad-hoc defined constraints, the aesthetic evaluation function can also be informed by human aesthetic judgement. This is achieved using indirect interactive evolution, where an evaluation function re-weights an array of aesthetic criteria based on the choices of a human player. Early results show that we can create aesthetically diverse and interesting spaceships while retaining in-game functionality.

Massive Multiplayer Online Strategy games present several unique challenges to players and designers. There is the need to constantly adapt to changes in the game itself and the need to achieve a certain level of simulation and realism, which typically implies battles involving combat with several distinct armies, combat phases and diferent terrains; resource management which involves buying and selling goods and combining lots of diferent kinds of resources to fund the player's nation and cutthroat diplomacy which dictates the pace of the game. However, these constant changes and simulation mechanisms make a game harder to play, increasing the amount of effort required to play it properly. As some of these games take months to be played, players who become inactive have a negative impact on the game. This work pretends to demonstrate how to create versatile agents for playing Massive Multiplayer Online Turn Based Strategy Games, while keeping close attention to their playing performance. In a test to measure this performance the results showed similar survival performance between humans and AIs.

The creation of effective autonomous agents (bots) for combat scenarios has long been a goal of the gaming industry. However, a secondary consideration is whether the autonomous bots behave like human players; this is especially important for simulation/training applications which aim to instruct participants in real-world tasks. Bots often compensate for a lack of combat acumen with advantages such as accurate targeting, predefined navigational networks, and perfect world knowledge, which makes them challenging but often predictable opponents. In this paper, we examine the problem of teaching a bot to play like a human in first-person shooter game combat scenarios. Our bot learns attack, exploration and targeting policies from data collected from expert human player demonstrations in Unreal Tournament. We hypothesize that one key difference between human players and autonomous bots lies in the relative valuation of game states. To capture the internal model used by expert human players to evaluate the benefits of different actions, we use inverse reinforcement learning to learn rewards for different game states. We report the results of a human subjects' study evaluating the performance of bot policies learned from human demonstration against a set of standard bot policies. Our study reveals that human players found our bots to be significantly more human-like than the standard bots during play. Our technique represents a promising stepping-stone toward addressing challenges such as the Bot Turing Test (the CIG Bot 2K Competition).

This paper describes the creation of a digital improvisational theatre game, called Party Quirks, that allows a human user to improvise a scene with synthetic actors according to the rules of the real-world Party Quirks improv game. The AI actor behaviors are based on our study of communication strategies between real-life actors on stage and the fuzzy concepts that they employ to define and portray characters. This paper describes the underlying fuzzy concepts used to enable reasoning in ambiguous environments, like improv theatre. It also details the development of content for the system, which involved the creation of a system for animation authoring, design for efficient data reuse, and a work flow centered on Google Docs enabling parallel data entry and rapid iteration.

Many forms of interactive digital entertainment involve interacting with virtual dramatic characters. Our long term goal is to procedurally generate character dialogue behavior that automatically mimics, or blends, the style of existing characters. In this paper, we show how linguistic elements in character dialogue can define the style of characters in our RPG SpyFeet. We utilize a corpus of 862 film scripts from the IMSDb website, representing 7,400 characters, 664,000 lines of dialogue and 9,599,000 word tokens. We utilize counts of linguistic reflexes that have been used previously for personality or author recognition to discriminate different character types. With classification experiments, we show that different types of characters can be distinguished at accuracies up to 83% over a baseline of 20%. We discuss the characteristics of the learned models and show how they can be used to mimic particular film characters.

Goal recognition is the task of inferring users’ goals from sequences of observed actions. By enabling player-adaptive digital games to dynamically adjust their behavior in concert with players’ changing goals, goal recognition can inform adaptive decision making for a broad range of entertainment, training, and education applications. This paper presents a goal recognition framework based on Markov logic networks (MLN). The model’s parameters are directly learned from a corpus of actions that was collected through player interactions with a non-linear educational game. An empirical evaluation demonstrates that the MLN goal recognition framework accurately predicts players’ goals in a game environment with multiple solution paths.

Game metrics are an approach to understanding games and gameplay by analyzing and visualizing information collected from players in playtests. This paper proposes that another source of metrics is the game itself, and that not all information needs to (or ought to) come from empirical playtests. I discuss seven strategies for extracting information from games, and discuss how the information retrieved in this manner relates to empirical playtest metrics---which it differs from but can often complement.

Due to the changing nature of videogames, the component-based architecture is the design of choice for managing game entities instead of the traditional static class hierarchies. A component-based architecture lets programmers edit entities as collections of components, which provide the entity with new functionalities. Such architecture promotes flexibility but makes the code more difficult to understand because entities are built at runtime by linking components. In this paper we present a semi-automatic process for moving from a class hierarchy to a component-based architecture. Through the application of Formal Concept Analysis we propose a novel technique for automatically identifying candidate distributions of responsibilities among components.

This paper presents the latest version of the Machinations framework. This framework uses diagrams to represent the flow of tangible and abstract resources through a game. This flow represents the mechanics that make up a game’s interbal economy and has a large impact on the emergent gameplay of most simulation games, strategy games and board games. This paper shows how Machinations diagrams can be used simulate and balance games before they are built.

Interactive Narrative often involves dialogue with virtual dramatic characters. In this paper we compare two kinds of models of character style: one based on models derived from the Big Five theory personality, and the other derived from a corpus-based method applied to characters and films from the IMSDb archive. We apply these models to character utterances for a pilot narrative-based outdoor augmented reality game called Murder in the Arboretum . We use an objective quantitative metric to estimate the quality of a character model, with the aim of predicting model quality without perceptual experiments. We show that corpus-based character models derived from individual characters are often more detailed and specific than personality based models, but that there is a strong correlation between personality judgments of original character dialogue and personality judgments of utterances generated for Murder in the Arboretum that use the derived character models.