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.

Conflict is an essential element of interesting stories, but little research in computer narrative has addressed it directly. We present a model of narrative conflict inspired by narratology research and based on Partial Order Causal Link (POCL) planning. This model informs an algorithm called CPOCL which extends previous research in story generation. Rather than eliminate all threatened causal links, CPOCL marks certain steps in a plan as non-executed in order to preserve the conflicting subplans of all characters without damaging the causal soundness of the overall story.

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.

The task of narrative visualization has been the subject of increasing interest in recent years. Much like data visualization, narrative visualization offers users an informative and aesthetically pleasing perspective on “storydata.” Automatically creating visual representations ofnarratives poses significant computational challenges due to the complex affective and causal elements, among other things, that must be realized in visualizations. In addition, narratives that are composed by novice writers pose additional challenges due to the disfluencies stemming from ungrammatical text. In this paper, we introduce the NARRATIVE THEATRE, a narrative visualization system under development in our laboratory that generates narrative visualizations from middle school writers’ text. The NARRATIVE THEATRE consists of a rich writing interface, a robust natural language processor, a narrative reasoner, and a storyboard generator. We discuss design issues bearing on narrative visualization, introduce the NARRATIVE THEATRE, and describe narrative corpora that have been collected to study narrative visualization. We conclude with a discussion of a narrative visualization research agenda.

This demo features a user interface for authoring stories and story fragments for use by the Minstrel Remixed story generation system. It also demonstrates Minstrel Remixed in use, allowing users to author story fragments and then have Minstrel Remixed expand these fragments and generate stories based on them. The focus is on the interface for story-fragment authoring, which exposes Minstrel's graph- of-frames knowledge representation format to the user in an interactive manner. It also exposes Minstrel Remixed's story generation capabilities as they exist currently, including the Author-Level Planning (ALP) and Transform Adapt Recall Methods (TRAM) systems.

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.

Hiding and seeking is a cognitive ability frequently demonstrated by humans in both real life and video games. We use machine learning to automatically construct the first computational model of hide/seek behavior in adult humans in a video game like setting. The model is then run generatively in a novel environment and its behavior is found indistinguishable from actual human behavior by a panel of human judges.  In doing so the artificial intelligence agent using the model appears to have passed a version of the Turing test for hiding and seeking.

Characters are a critical part of storytelling and emotion is a vital part of character. Readers generally credit characters with human emotions, and it is these emotions which bring meaning to stories. To computationally construct interesting and meaningful stories we need a model of emotion which allows us to predict characters’ reactions to events in the world. There are many different psychological theories of emotion; the most popular to date for computational applications is the OCC theory. This paper describes a Discrete Event Calculus implementation of the OCC Theory of Emotion. To evaluate our system, we apply it to a selection of Aesop’s fables, and compare the output to the emotions readers expect in the same situations based on a survey.

Much of the most expressive behavior in humans - expressions of shock or alarm, gaze aversion, or explosive rage - are the result of automatic processes that engage before deliberative processing can respond. In some cases, such as weeping, the deliberative system may have only limited ability to override the automatic system. These processes are implemented by a network of phylogenetically old, special purpose, somewhat redundant systems that give rise to the particular idiosyncratic behavior we associate with automatic reactions to emotional events. In this paper, I'll review some of the ethological and neuropsychological results on low-level systems related to threat response, and their relation to the simulation of virtual characters. I will also discuss work in progress on building a medium-fidelity simulation of these systems.

We present a system that uses evolutionary optimization to suggest new story-world events that, if added to an existing interactive story, would most improve the average interactive experience, according to author-supplied criteria. In doing so, we aim to apply some of the ideas from drama-managed storytelling, such as authorial aesthetic control, in an unguided setting more akin to emergent storytelling: rather than guiding or directing a player towards an experience in line with an author's aesthetic goals, the storyworld is augmented with new content in a way that will tend to align with an author's goals, even if the player is not guided. In this paper, we present an offline system, and demonstrate its robustness to a number of variations in authorial criteria and player-model assumptions. This is intended to lay the groundwork for a future system that would generate new content online, allowing for interactive stories larger than those explicitly written by the author.