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Abstract: "Games with a strong notion of story are increasingly popular. With the increased amount of story content associated with games where player decisions significantly change the course of the game (branching games), comes an increase in the effort required to author those games. Despite the increased popularity of these kinds of games, it is unclear if a typical player is able to appreciate the rich content of these games, since any given player typically only experiences a small amount of that content. We create a non-branching game that simulates branching choices by providing players with choices followed by immediate textual feedback. We hypothesize that this game, where player decisions do not significantly change the course of the game, will maintain the player's sense of agency. Experimentation showed that in a text-based story with forced-choice points there were in most cases no significant difference in players' reported feelings of agency when they experience a branching story vs. a linear story with explicit acknowledgement of their choices."

Abstract: "Amongst the highly interactive media of modern times, video-games are the highlight of digital interactive story- worlds. With a push towards ever increasing player free- dom, video-games have started oering large explorable worlds for the player to delve into. However exploring the digital space in itself often has no meaningful bear- ing on the story. What could be done to make exploring these vast digital worlds itself the catalyst for unfolding a story? Within my research paper, I will investigate what techniques allow for a story-immersive reason to explore, and how a story may be born from exploring."

Abstract: "There have been tremendous ways of developing creativity, yet instead of traditionally formal instruction, games are the best media to spur creativity, as creativity can easily and spontaneously be evoked through games. On the other hand, metacognition is a good way to promote creative thinking, as metacognition which contains the abilities such as self-planning, self-monitoring, and self-evaluation can foster creative-relevant cognitive processes. Games are exactly the ideal platform that provides a playful context for metacognitive awareness prompting creative processes. Based on the advantages of games and that design is a creativity-relevant cognitive and constructive process, this research adopts the means of digital game-based learning (DGBL) to propose a metacognitive approach to inspiring creativity through a creativity game of players as game story designers."

"Sam Anderson, critic at large for The Times Magazine, wrote this week's cover story on stupid digital games. He has most recently written for the magazine on Haruki Murakami and on the theme park called Dickens World. Some readers seemed irate that you described these games as "stupid.""

"construction of a social cues and training demonstrator (a serious game) that enables its users to improve their social behaviour. In this report, a distinction is made between strong story and strong autonomy approaches to narrative management. The former rely on central management of the narrative through drama managers, not giving their agents much freedom. Inversely, the latter focus on the autonomy of agents, without explicit top-down control over the narrative. The autonomy of such agents allows an unscripted narrative to emerge from the user's interaction with the system. The trade-off between a strict storyline and freedom of action in these approaches is called the narrative paradox. It is concluded that a strong autonomy approach can feature social behaviour of agents more easily than a strong story one, because it is inherent with this approach that its agents have more complex models. For the demonstrator, some control over the narrative is required to let its users reach given goals in the created scenarios. Therefore, our future work will focus on creating a hybrid approach that enables agents to direct the story autonomously."

Abstract: "Game Artificial Intelligence (Game AI) is a subdiscipline of Artificial Intelligence (AI) and Machine Learning (ML) that explores the ways in which AI and ML can augment player experiences in computer games. Storytelling is an integral part of many modern computer games; within games stories create context, motivate the player, and move the action forward. Interactive Narrative is the use of AI to create and manage stories within games, creating the perception that the player is a character in a dynamically unfolding and responsive story. This paper introduces Game AI and focuses on the open research problems of Interactive Narrative."

Twisted Metal designer David Jaffe argues against ambitious narratives in video game design

How do you look back on a year of gaming and try to find a common thread? I tried to look for something that connected the stories that are presented here as being some of the best-or most interesting-investigations into different aspects of gaming and the surrounding culture.

story of a game developing in the 1990s and the difficulty of getting a legal copy or the source code today

Abstract: "Procedural generation of games has become an active re- search eld. We present a system that automatically gen- erates an interactive ction (IF) by learning from crowd- sourced corpora of example stories. We ask crowd workers from Amazon Mechanical Turk to write short stories about a given situation with simple language, from which a plot graph is learned, containing plot events, temporal prece- dence and mutual exclusion relations between the events. The plot graph describes an IF where players and non-player characters choose from executable events as determined by the plot graph. We demonstrate an IF learned from the domain of bank robbery"

Excerpted in Google Books, Published November 2012."Join videogame industry veteran Michael Thornton Wyman on a series of detailed, behind-the-scenes tours with the teams that have made some of the most popular and critically acclaimed videogames of the modern era. Drawing on insider's perspectives from a wide variety of teams, learn about the creation of a tiny, independent game project (World of Goo), casual game classics (Diner Dash, Bejeweled Twist), the world's most popular social game (FarmVille) as well as the world's most popular MMORPG (World of Warcraft), PC titles (Half Life 2) to AAA console games (Madden NFL 10), and modern-day masterpieces (Little Big Planet, Rock Band, Uncharted 2: Among Thieves). Hear directly from the creators about how these games were made, and learn from their stories from the trenches of videogames production. This book is an excellent resource for those working directly on game design or production, for those aspiring to work in the field, or for anyone who has wondered how the world's greatest videogames get made."

Abstract: "As computational capability continues to increase, the tools available to designers of digital games have become more robust, allowing high fidelity graphics and sound to become common, and resulting in a market saturated with kinetic-based games. However, consumers and educators are eschewing such games for more complex and immersive stories, the creation of which has proven a difficult mountain for designers to climb. A central reason is that story-immersive games rely on dialogue between the player character (PC) and nonplayer characters (NPCs), the writing and coding of which is time consuming and inefficient. This paper documents the author's experiences with complex, branching dialogue systems, and examines the possibility of system automation through natural language processing (NLP)."

"This paper presents a design methodology that allows technical leads in the game industry to introduce story designers with low technical background to generative techniques for automatic plot creation, in particular to a specific method of AI-based planning. The approach provides support to convey necessary technical knowledge by paper prototyping. Further, it demonstrates that paper prototypes are not only useful to learn these concepts but also as tools of creation."

abstract: "We present the second iteration of the Family Hedge, a tangible digital artifact that was re-designed to elicit enjoyment using principles of game design. The initial aim was to create a device crafted for a family to explore the rich social and relational aspects of their lives by making connections between people, objects and stories. The second iteration facilitated more open interaction and playfulness in its role as an artifact for school children. We examine the key role a game design approach played in its iterative development and a key element in this was ensuring any user, or "gamer", could appropriate the device for personal expressive use."

"We present the second iteration of the Family Hedge, a tangible digital artifact that was re-designed to elicit enjoyment using principles of game design. The initial aim was to create a device crafted for a family to explore the rich social and relational aspects of their lives by making connections between people, objects and stories. The second iteration facilitated more open interaction and playfulness in its role as an artifact for school children. We examine the key role a game design approach played in its iterative development and a key element in this was ensuring any user, or "gamer", could appropriate the device for personal expressive use."

"Roll20 is an online tabletop gaming platform with a focus on storytelling as opposed to game mechanics. This is NOT a video game, but instead a virtual "table" to gather around with friends in order to play any number of role playing games."

"Tension is high at the 2012 Toronto Independent Game Jam (TOjam). The countdown begins on the first floor of a downtown George Brown College classroom. The count then snakes up the building's six stories with volunteers standing at a doorway on each floor."

Forthcoming game from Funcom: "Massively multiplayer online MMO veterans know how questing traditionally works. You stumble upon a hub of non-playable characters with golden exclamation points over their heads. You scoop up every task they offer, then you spend the next few hours grinding them out as efficiently as possible, sometimes while simultaneously watching TV. The Secret World changes all of that by restricting the number of active missions you can have at one time. While some players will find this too limiting, I think it's a good thing. The Secret World is a story-driven game, complete with cutscenes and voiced dialogue. Many of its missions require attention, thought, and the occasional Google search."

"Create the Gotham for your Batman, the African savannah for your Simba, or the bustling newsroom for your Clark Kent. Background, setting, environment...whatever you call it, it is the silent character in the visual story, and a dynamic and compelling setting can define and hone the action and drama of your story."

Abstract: "As the video game industry grows, both developers and cre- ative authors are seeking new ways to convert story content into scripting code, which is often a difficult process dur- ing game creation. ScriptEase II provides a solution to this common bottleneck in the games design process. Although the goals are similar to the goals of ScriptEase, ScriptEase II is able to generate code for any game engine with a provided translator. It utilizes high-level game design patterns such as cause-effect and quest patterns which can be abstracted between most games. In addition, ScriptEase II further en- hances the use of these patterns with a simple drag-and-drop interface. The generality of the code generation has been tested using two different game engines, and it can be used to further test the benefits of using high-level game design patterns in content creation."

Thesis from Edinburgh University