Upload
university-of-twente
View
89
Download
1
Tags:
Embed Size (px)
Citation preview
Jeroen Linssen | PhD studentHuman Media Interaction
University of Twente
Interactive Storiesand Serious Games
for Social Interaction
Outline
Part 1: The VST
• The Virtual Storyteller:• Story generation• Interactive stories
• In-character and out-of-character
Part 2: Serious games
• Training through gaming
• Socially intelligent agents
• Meta-techniques
2/30
PART 1The Virtual Storyteller
3/30
The Virtual Storyteller
• Story generation through simulation [http://vimeo.com/11836534]
• Emergent narrative in a multi-agent system
• From simulation for story generation to interactive stories
4/30
Emergent narrative
• Story emerges from characters’ actions
• Inspiration: improvisational theatre
• Offers & accepts
5/30
VST’s agents
• Plot Agent: assigns roles
• World Agent: objective world knowledge
• Character Agents• Virtual characters• Plan towards their own goals
6/30
Fabula7/30
In-character &out-of-character
• Actor vs. character distinction• Out-of-character techniques
Character
Actor
I am a typical teenager
Whatever, just leave me alone!
8/30
Generated stories
Pirate domainScurvy wants to get the piece of cheese.
Scurvy assumes the cheese is in the galley.
Scurvy walks to the cargo hold via the door.
Scurvy walks to the gun deck via the ladder.
Scurvy opens the door to the galley.
Scurvy can see the cheese is not in the galley.
O’Malley sees Scurvy.
O’Malley wants to catch Scurvy.
O’Malley walks to the gun deck via the door.
Princess domainOnce upon a time, there was a beautiful princess called Amalia. A knight from a far way country was in love with her and she was in love with a young prince. The knight was jealous, so he wished to kidnap her. Because the princess lived in a large castle, he went to the castle. He tried to open the heavy gate. The knight climbed into a high tree. [..]
9/30
Authoring for emergence
• Authoring is an iterative process
• Examples of ‘mis-generated’ stories:• A pirate wants to go to an island...• A pirate wants to send someone to hell...
• Authoring: specifying the story world
10/30
The Interactive Storyteller
• Little Red Riding Hood [http://vimeo.com/68865491]
• Co-creation• Discovering the story world
11/30
PART 2Serious games
12/30
Serious stories?
• Stories with morals: they tell something• Obey the gods, or woe will befall you• Respect your elders
• Think about them, reflect on the events
• “Narrative is read approximately twice as fast as informational text but remembered twice as well.” (Graesser et al., 2002)
13/30
Games and learning
• “All games revolve around learning.” (Erik van der Spek)
• Super Mario Bros. World 1-1
14/30
Serious games forsocial awareness
• Domain: law enforcement (interviews, street intervention)
• Police officers need to resolve conflicts peacefully• Improve social awareness
15/30
Training through gaming
• Interaction with virtual characters
• Accessible
• Focus not on performing,but experiencing
• Clear goals, clear feedback
16/30
Serious game design
• Focus on learning goals• Insight in procedure• Improving awareness• Interaction in a system
• Don’t simulate, exaggerate• Playful interaction• Abstract from real world• Convey knowledge using metaphors
17/30
Example: ‘Samen Hangend’ (Sequacious)
• Board gameby T-Xchange
• Police vs.juveniles
• Police traineesact as juveniles
• Evokesdiscussion
18/30
LOITER: Interaction with virtual characters
• Interaction with virtual agents• Let agents use theories on social interaction• Again, an emergent narrative
19/30
Interfaces
Accessible, 2DImmersive, multi-
modal
20/30
Modelling social interaction
• Analysed behaviour (corpus)
• Semantic frame
• Which factors play an importantrole?
• From practice to theory
21/30
Social interaction
• Stance: the interpersonal circumplex(Leary, 1957)
• Face (Goffman, 1955)
• Need for autonomy• Need for approval
• Rapport: feeling ‘in sync’ with someone (Tickle-Degnen & Rosenthal, 1992)
• From theory to practice
DominanceAffection
LeadingAggressive
FollowingIntroverted
22/30
Learning goals and feedback
• Learning goals based on theories from social psychology• Examples: recognise stance and adopt a stance
• Feedback• Explainable AI• Supports the learning goals
23/30
Lemniscate model
• Play cycle, learning cycle (Koops & Hoevenaar, 2012)
• Experiencing, then reflecting
• At which moments?
Game Learning
24/30
Meta-techniques
• (Nordic) live action role play
• Meta-technique: communicatingout-of-character information
• Examples: inner monologue,flashback/forwards
25/30
Meta-technique:‘Act break’
• Complexity levels of interaction/learning goals• Between interactions, feedback through discussion
between character and player
• Lemniscate model: play and reflect• Use to automatically adapt next interaction
26/30
Meta-technique:‘Inner monologue’
• Provide insight into characters’ minds
• Inspiration: thought bubblesfrom comics, games
• Less intrusive to story flow,still play/reflect cycle
27/30
LOITER: Next steps
• How much do these meta-techniques contribute to learning?
• How do different interfaces influence learning?
• Story structure: toward emergent narrative
• OOC adaptation to player: adaptive difficulty
28/30
Take Home Message
Be meta
Get inspired by other fields
Don’t take everything too seriously29/30
And they learned happily ever after...
mail [email protected]
blog jmlin.eu/phd
Virtual Storyteller virtualstoryteller.info
commit-nl.nl
Thanks for listening!
Let’s discuss...
Thanks for listening!
Let’s discuss...
30/30
Publications
• Theune, M., Linssen, J.M., & Alofs, T. (2013). Acting, Playing or Talking about the Story: Children’s Communication during Interactive Digital Storytelling. In Proceedings of the International Conference on Interactive Digital Storytelling.
• Bruijnes, M., Linssen, J.M., op den Akker, H.J.A., Theune, M., Wapperom, S., Broekema, C., & Heylen, D.K.J. (2014). Social Behaviour in Police Interviews: Relating Data to Theories, in Poggi, I., Vincze, L., & Vinciarelli, A. (eds.) Conflict and Negotiation: Social Research and Machine Intelligence, Springer, Berlin.
• Linssen, J.M., Theune, M., & de Groot, T.F. (2013). What Is at Play? Meta-techniques in Serious Games and Their Effects on Social Believability and Learning. In Proceedings of the Social Believability in Games Workshop.
• Linssen, J.M., de Groot, T.F., & Theune, M. (In press). Beyond Simulations: Serious Games for Training Interpersonal Skills in Law Enforcement. In Proceedings of the International Conference of the European Social Simulation Association.
• van Oostendorp, H., van der Spek, E.D., & Linssen, J.M. (2014). Adapting the Complexity Level of a Serious Game to the Proficiency of Players. EAI Endorsed Transactions on Serious Games, 14(2).
31/30
References
• Belarbi, S., Bergström, K., Ebbehøj, S. L., Hansen, E. E., Fatland, E., Giæver, O. P., … Westlund, A. (2010). Nordic larp. (J. Stenros & M. Montola, Eds.).
• Swartjes, I. M. T. (2010). Whose story is it anyway? How improv informs agency and authorship of emergent narrative. Centre for Telematics and Information Technology University of Twente.
• XKCD.com, comic 1089• Graesser, A.C., Olde, B., and Klettke, B. (2002). How does the mind construct
and represent stories? In M.C. Green, J.J. Strange & T.C. Brock (Eds.), Narrative Impact: Social and Cognitive Foundations (231-263). Mahwah NJ: Lawrence Erlbaum Associates.
• Koops, M., & Hoevenaar, M. (2012). Conceptual Change During a Serious Game: Using a Lemniscate Model to Compare Strategies in a Physics Game. Simulation & Gaming, 44(4), 544–561.
32/30
Links
• Human Media Interaction: http://hmi.ewi.utwente.nl• T-Xchange: http://www.txchange.nl• re-lion: http://www.re-lion.com
33/30
Virtual Storyteller credits
• Mariët Theune, coordinator (2002 – now)• Hans ten Brinke, perceptions and assumptions (2014)• Thijs Alofs, Interactive Storyteller (2012)• Ivo Swartjes, lead designer (2006 – 2010)• Pjotter Tommassen, plot control (2009)• Nanda Slabbers, language generation (2006)
34/30