Scriptwriters usually rely on their mental visualization to create a vivid story by using their imagination to see, feel, and experience the scenes they are writing. Besides mental visualization, they often refer to existing images or scenes in movies and analyze the visual elements to create a certain mood or atmosphere. In this paper, we develop ScriptViz to provide external visualization based on a large movie database for the screenwriting process. It retrieves reference visuals on the fly based on scripts' text and dialogue from a large movie database. The tool provides two types of control on visual elements that enable writers to 1) see exactly what they want with fixed visual elements and 2) see variances in uncertain elements. User evaluation among 15 scriptwriters shows that ScriptViz is able to present scriptwriters with consistent yet diverse visual possibilities, aligning closely with their scripts and helping their creation.

Storytelling is the lifeline of the entertainment industry -- movies, TV shows, and stand-up comedies, all need stories. A good and gripping script is the lifeline of storytelling and demands creativity and resource investment. Good scriptwriters are rare to find and often work under severe time pressure. Consequently, entertainment media are actively looking for automation. In this paper, we present an AI-based script-writing workbench called KUROSAWA which addresses the tasks of plot generation and script generation. Plot generation aims to generate a coherent and creative plot (600-800 words) given a prompt (15-40 words). Script generation, on the other hand, generates a scene (200-500 words) in a screenplay format from a brief description (15-40 words). Kurosawa needs data to train. We use a 4-act structure of storytelling to annotate the plot dataset manually. We create a dataset of 1000 manually annotated plots and their corresponding prompts/storylines and a gold-standard dataset of 1000 scenes with four main elements -- scene headings, action lines, dialogues, and character names -- tagged individually. We fine-tune GPT-3 with the above datasets to generate plots and scenes. These plots and scenes are first evaluated and then used by the scriptwriters of a large and famous media platform ErosNow. We release the annotated datasets and the models trained on these datasets as a working benchmark for automatic movie plot and script generation.

Elves and Argonians clipping through walls and stepping through tables, blacksmiths who won't acknowledge your existence until you take single step to the left, Draugers that drop into rag-doll seizures the moment you put an arrow through their eye -- Bethesda's Elder Scrolls long-running RPG series is beloved for many reasons, the realism of their non-playable characters (NPCs) is not among them. But the days of hearing the same rote quotes and watching the same half-hearted search patterns perpetually repeated from NPCs are quickly coming to an end. It's all thanks to the emergence of generative chatbots that are helping game developers craft more lifelike, realistic characters and in-game action. "Game AI is seldom about any deep intelligence but rather about the illusion of intelligence," Steve Rabin, Principal Software Engineer at Electronic Arts, wrote in the 2017 essay, The Illusion of Intelligence. "Often we are trying to create believable human behavior, but the actual intelligence that we are able to program is fairly constrained and painfully brittle."

Ubisoft, the publishers behind Assassin's Creed, Far Cry and Ghost Recon, tonight announced that an "AI tool" is currently helping its developers write dialogue for some of its games. Introducing Ubisoft Ghostwriter, an AI tool developed in-house that aims to support our scriptwriters by generating the first draft of our NPC barks - the phrases or sounds made by NPCs when players interact with the game world. This tool was created hand-in-hand with scriptwriters to create more realistic NPC interactions by generating variations on a piece of dialogue See how our teams will use AI to handle repetitive tasks, and free up time to work on other core game elements. The trailer below, which goes out of its way (for obvious reasons) to say that it's there "to save scriptwriters time", provides a rundown of how it works: I have this problem all over the place at the moment, but I'm going to call it out specifically here: calling this tool "artificial intelligence" imbues it with an underserved sense of awe and respect stemming from our association of the term with examples from science fiction. It's wildly inaccurate--this stuff is machine learning, not AI, there's a difference--but calling it "AI" is exactly what its creators (and chief profiteers) would like us to think.

Strong writing can determine whether a Hollywood show turns out like Game of Thrones or Pee-Wee Herman's Big Adventure. That's why Ron Howard and Brian Grazer's Imagine Entertainment has opened an incubator for writers called Imagine Impact. The film and TV industries employ 2.6 million people in the U.S. alone, and those businesses generate $177 billion a year in wages. But surfacing new writers can be a haphazard process. Imagine Impact, the division of a film production company with dozens of Oscar-nominated films, wants to create a pipeline of strong writers.

In order to assist scriptwriters during the process of story-writing, we have developed a system that can extract information from natural language stories, and allow for story-centric as well as character-centric reasoning. These inferencing capabilities are exposed to the user through intuitive querying systems, allowing the scriptwriter to ask the system questions about story and character information. We introduce knowledge bytes as atoms of information and demonstrate that the system can parse text into a stream of knowledge bytes and use these mentioned reasoning capabilities through logical reasoning.

Imagination is the critical point in developing of realistic artificial intelligence (AI) systems. One way to approach imagination would be simulation of its properties a nd operations. We developed two models "Brain Network Hierarchy of Languages", "Semantical Holographic Calculus" and simulation system ScriptWriter that e mulate the process of imagination through an automatic ani mation of English texts.