Morals are an important part of many stories, and central to why storytelling developed in the first place as a means of communication. They have the potential to provide a framework for developing story structure, which could be utilised by modern storytelling systems. To achieve this we need a general representation for morals. We propose patterns of character emotion as a suitable foundation. In this paper, we categorise Aesop’s fables based on the morals they convey, and use them as a source of emotion data corresponding to those morals. We use inductive logic programming to identify relationships between particular patterns of emotion and the morals of the stories in which they arise.

The field of game AI is largely industry driven, lacking an agreed upon formalism for AI representation. Ad-hoc scripting languages, simple finite state machines, behaviour trees, and planners are employed, but not in a fashion adhering to any standard. As a result, reuse is sparse between games and formal analysis techniques are undeveloped. As research for a Ph.D. thesis, we propose to show that a layered Statechart-based AI is a suitable formalism for Game AI, enabling the use of model-driven development techniques such as reuse and high-level analysis including model-checking. The fundamentally modular nature of this approach leads naturally to reuse as a fundamental component of the design process. Supported by a clearly defined formalism, useful behavioural analyses become possible, such as testing reactions to various inputs at design time. We also explore transformations at the modelling level to enable procedural generation, allowing rapid deployment of varying AIs. Additionally, such a model allows for the generation of efficient code that can be directly inserted into games. Tool support for reuse, generation, and analysis will be developed, then employed in creating an industrial scale AI, proving that this formalism is appropriate for industrial use.

Layered Statechart-based AI shows considerable promise by being a highly modular, reusable, and designer friendly approach to game AI. Here we demonstrate the viability of this approach by replicating the functionality of a full-featured and commercial-scale behaviour tree AI within a non-commercial game framework. As well as demonstrating that layered Statecharts are both usable and amply expressive, our experience highlights the value of several, previously unidentified design considerations, such as sensor patterns, the necessity of subsumption, and the utility of orthogonal regions. These observations point towards simplified, higher-level AI construction techniques that can reduce the complexity of AI design and further enhance reuse.

The Intentional Fast-Forward (IFF) planner is an attempt to apply fast forward-chaining state-space search methods to intentional planning---planning such that every action is directed toward some character's goal. The IFF heuristic is based on Hoffmann's original Fast Forward heuristic (2001), which solves a simplified version of the problem and uses that solution as a guide for the real problem. IFF incorporates constraints imposed by intentional planning to narrow down the set of steps which can be taken next, and it identifies fruitless branches of the search space early.

Authoring narrative content for interactive digital media can be both difficult and time consuming.The research proposed here aims at enhancing the capabilities of content creators through the development of a computational model that improves the quality of automatically generated stories, potentially decreasing the burden placed on the author. The quality and believability of a story can be significantly enhanced by the presence of compelling characters. To achieve this objective, I aim to develop a choice-based computational model that facilitates the automatic generation of narrative that includes characters that are made more compelling by the presence of distinct personality characteristics.

In recent years various games have been developed to generate useful data for scientific and commercial purposes. Current human computation games are tailored around a task they aim to solve, adding game mechanics to conceal monotonous workflows. These gamification approaches, although providing valuable gaming experience, do not cover the wide range of experiences seen in digital games today. This work presents a new use for design concepts for human computation games and an evaluation of player experiences.

A common approach to interactive narrative involves imbuing the computer with all of the potential story pre-authored story experiences (e.g. as beats, plot points, planning operators, etc.). This has resulted in an accepted paradigm where stories are not created by or with the user; rather, the user is given piecemeal access to the story from the gatekeeper of story knowledge: the computer (e.g. as an AI drama manager). This article describes a formal process that provides for the equal co-creation of story-rich experiences, where neither the user nor computer is in a privileged position in an interactive narrative. It describes a new formal approach that acts as a first step for the real-time co-creation of narrative in games that rely on the negotiated shared mental model between a human actor and an AI improv agent.

KGoldrunner is a puzzle-oriented platform game with dynamic elements. This paper describes Goldspinner, an automatic level generation system for KGoldrunner. Goldspinner has two parts: a genetic algorithm that generates candidate levels, and simulations that use an AI agent to attempt to solve the level from the player's perspective. Our genetic algorithm determines how "good" a candidate level is by examining many different properties of the level, all based on its static aspects. Once the genetic algorithm identifies a good candidate, simulations are performed to evaluate the dynamic aspects of the level. Levels that are statically good may not be dynamically good (or even solvable), making simulation an essential aspect of our level generation system. By carefully optimizing our genetic algorithm and simulation agent we have created an efficient system capable of generating interesting levels in real time.

We present POMCoP, a system for online planning in collaborative domains that reasons about how its actions will affect its understanding of human intentions, and demonstrate its use in building sidekicks for cooperative games. POMCoP plans in belief space. It explicitly represents its uncertainty about the intentions of its human ally, and plans actions which reveal those intentions or hedge against its uncertainty. This allows POMCoP to reason about the usefulness of incorporating information gathering actions into its plans, such as asking questions, or simply waiting to let humans reveal their intentions. We demonstrate POMCoP by constructing a sidekick for a cooperative pursuit game, and evaluate its effectiveness relative to MDP-based techniques that plan in state space, rather than belief space.

In this paper, we present the Procedural Game Adaptation (PGA) framework: a designer-controlled way to adapt the Changing the dynamics of a video game (i.e., how the dynamics of a given video game during end-user play. When player's actions affect the game world) is a fundamental tool implemented, this framework produces a deterministic, online of video game design. In Pac-Man, eating a power pill allows adaptation agent (called an experience manager (Riedl the player to temporarily defeat the ghosts that pursue et al. 2011)) that automatically performs two tasks: 1) it and threaten her for the vast majority of the game; in Call gathers information about a game's current player, 2) it of Duty 4, taking the perk called "Deep Impact" allows the uses that information to estimate which of several different player's bullets to pass through certain walls without being changes to the game's dynamics will maximize some playerspecific stopped. The parameters of such changes (e.g., how much value (e.g., fun, sense of influence, etc.). the ghosts slow down while vulnerable) are usually determined by the game's designers long before its release, with