Recombinant DNA technology (Immunological screening)
Interactive stories and serious games for social interaction
1. Interactive Stories
and Serious Games
for Social Interaction
Jeroen Linssen | PhD student
Human Media Interaction
University of Twente
2. Part 1: The VST
• The Virtual Storyteller:
• Story generation
• Interactive stories
• In-character and out-of-character
Outline
Part 2: Serious games
• Training through gaming
• Socially intelligent agents
• Meta-techniques
2/30
4. • Story generation through simulation [http://vimeo.com/11836534]
• Emergent narrative in a multi-agent system
• From simulation for story generation to interactive stories
The Virtual Storyteller
4/30
5. • Story emerges from characters’ actions
• Inspiration: improvisational theatre
• Offers & accepts
Emergent narrative
5/30
6. • Plot Agent: assigns roles
• World Agent: objective world knowledge
• Character Agents
• Virtual characters
• Plan towards their own goals
VST’s agents
6/30
8. • Actor vs. character distinction
• Out-of-character techniques
Character Actor
I am a typical
teenager
In-character &
out-of-character
Whatever,
just leave
me alone!
8/30
9. Pirate domain
Scurvy 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 domain
Once 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. [..]
Generated stories
9/30
10. • 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
Authoring for emergence
10/30
11. • Little Red Riding Hood [http://vimeo.com/68865491]
• Co-creation
• Discovering the story world
The Interactive Storyteller
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13. • 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)
Serious stories?
13/30
14. • “All games revolve around learning.” (Erik van der Spek)
• Super Mario Bros. World 1-1
Games and learning
14/30
15. • Domain: law enforcement (interviews, street intervention)
• Police officers need to resolve conflicts peacefully
• Improve social awareness
Serious games for
social awareness
15/30
16. • Interaction with virtual characters
• Accessible
• Focus not on performing,
but experiencing
• Clear goals, clear feedback
Training through gaming
16/30
17. • 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
Serious game design
17/30
18. • Board game
by T-Xchange
• Police vs.
juveniles
• Police trainees
act as juveniles
• Evokes
discussion
Example: ‘Samen Hangend’
(Sequacious)
18/30
19. • Interaction with virtual agents
• Let agents use theories on social interaction
• Again, an emergent narrative
LOITER: Interaction with
virtual characters
19/30
21. • Analysed behaviour (corpus)
• Semantic frame
• Which factors play an important
role?
• From practice to theory
Modelling social interaction
21/30
22. • 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
Social interaction
Dominance
Affection
Aggressive Leading
Introverted Following
22/30
23. • Learning goals based on theories from social psychology
• Examples: recognise stance and adopt a stance
• Feedback
• Explainable AI
• Supports the learning goals
Learning goals and feedback
23/30
24. Game Learning
• Play cycle, learning cycle (Koops & Hoevenaar, 2012)
• Experiencing, then reflecting
• At which moments?
Lemniscate model
24/30
25. • (Nordic) live action role play
• Meta-technique: communicating
out-of-character information
• Examples: inner monologue,
flashback/forwards
Meta-techniques
25/30
26. • 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
Meta-technique:
‘Act break’
26/30
27. • Provide insight into characters’ minds
• Inspiration: thought bubbles
from comics, games
• Less intrusive to story flow,
still play/reflect cycle
Meta-technique:
‘Inner monologue’
27/30
28. • 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
LOITER: Next steps
28/30
29. Take Home Message
Be meta
Get inspired by other fields
Don’t take everything too seriously
29/30
30. Thanks Thanks for
listening!
listening!
Let’s Let’s discuss...
mail j.m.linssen@utwente.nl
blog jmlin.eu/phd
Virtual Storyteller virtualstoryteller.info
commit-nl.nl
And they learned happily ever after...
30/30
31. • 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).
Publications
31/30
32. • 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.
References
32/30
33. • Human Media Interaction: http://hmi.ewi.utwente.nl
• T-Xchange: http://www.txchange.nl
• re-lion: http://www.re-lion.com
Links
33/30
34. • 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)
Virtual Storyteller credits
34/30
Notas do Editor
My background
- Video: +/- 5 minutes
No longer a branching narrative
Characters together make story
Improv: de Lama’s; build a story brick by brick, can offer and accept new bits
Causal chain for plan to get food in a different room
Top-right: goal motivates all actions
Top-left, clockwise: character walks, opens door, walks through the door, sees the food, and walks to the other location where he picks up the food and has a successful outcome
Interactivity and story as concepts are at odds: a pre-determined story can not be influenced
We can have either one or the other
Solution: IC/OOC distinction
Pirate domain: rat and cat
Goal
Assumption
Perception
Princess domain:
Using the fabula, NLG!
Status quo
Goal with reason
Planning
Failing
Re-planning
Authoring for emergent narrative is iterative
Island:
Pirate can use a cannon
Cannon can shoot objects to locations
Pirate shoots himself from the cannon to the island
Hell:
Hell is a place
Pirate knows that holding something will take it with him somewhere
Pirate knows that killing himself will send him to hell
So he holds onto someone, kills himself and they both end up in hell
Young target group (8-10 y/o)
Video +/- 2 min.
Not all discussed techniques implemented in this system
Co-creation: jointly making a story, adding external elements to the interaction
What we also saw during analysis of children’s interactions with the Interactive Storyteller is that they first have to discover what is actually possible in the story world before they can plan toward certain goals...
AGENCY!
When I was studying CAI, I did my master’s thesis on adaptive difficulty in a serious game
E. v.d. S.: PhD from UU, research on serious games
Super Mario Bros.: typical example
In the first level, all the basic ingredients for the complete gameplay are introduced
An enemy, a power up, ? blocks, brick blocks, multiple levels and a pipe
All of these things cry for interaction and give feedback on what happens if you interact with them
Thus, within the first minute of playing, you have already learned the basics
My research now: also serious games
Social/soft skills
More accessible: low(er) effort to play (also motivational!)
Experiencing different situations: players may do something wrong and learn from that!
Clearer: more abstract, simple
A few important points to take with you when you think about serious game design:
The serious
The game
Next, I’ll show you an example of a game that doesn’t look that serious, but still is a ‘serious’ game
Learning goal: get insight that juveniles want to hang together and that you have to disperse them
Various ways to do so
When a group gets large, it can become larger even faster
Scenario: loitering juveniles, player has to resolve conflict
No pre-scripted storyline to let players experience what could actually happen; providing lots of agency
Next slide: Now, to make characters behave believably...
Annotations to actions in terms of theories to rule-based approach
Semantic frame
Next slide: Theories from social psychology
Theory to practice: create actions based on variations of combinations of these theories
Explainable AI:
Characters can explain their actions
In terms of social theories
Again, the distinction between story world and meta-world
Meta-technique: as the name implies... used to enrich story!
Explanation in terms of social theories
Adaptation: if the player asks questions about one type of action or fails to answer questions from the character correctly, then add more of that behaviour to the next interaction
Examples from games? (TWD, The Sims)
Balance agency in game
Look beyond your own field, use art, sociology, etc.
Try things, don’t be too formal or theoretical, see what kind of crazy stuff your game or system can do
Having said that, I want to thank you all for listening.