Vishal Nayak, who is now working in the games industry, implemented a model I developed that allows for real-time emotional expression. While I won’t detail much right now, the model can also be used to enable computer characters to talk about their feelings!!

Virtual agents should be able to interact and communicate effectively with a human. If virtual agents can connect with the user on a personal and emotional level, they will be able to be maximally effective in their interaction with humans. This connection is especially important for applications that attempt to significantly affect the user, such as certain educational applications or games that aim to challenge the individual emotionally.

We believe that individuals will be able to better relate to virtual agents if these agents exhibit personality and emotions through affective behaviors. Their believability would increase, since the expression of personality and emotions causes the agents to seem more like living characters.

Using a procedural, 3-dimensional, character animation system, and using Playspace’s Emotivation Model, we have implemented body language for seven main mental state characteristics: confidence, anxiety, interest, thought, anger, defensiveness, and physical pain in various body parts. We have implemented this body language by procedurally animating the character’s body movements (body part adjustments as well as additional actions) and facial expressions.

Here’s a link to Vishal’s conference paper.

Dramatic tension requires substantive immersion. I define immersion as “identification through attention.” In the video game context, if a player identifies with that to which they are attending they are immersed. The depth of immersion is proportionate to the quality of the identification.

There are two forms of immersion, “adjective” and “substantive”. Most games created today rely on adjective immersion. Adjective immersion occurs when a player is glued to the screen as a result of the triggering of innate survival-centric impulses. Game elements including quick movement, bright colors, great variability in audio serve to immerse the Player. They are not however ‘essential’ elements. While they carry attributive value, that value is not essential to identify the respective game elements. Additionally, the reliance on adjective immersion comes at the expense of attributing semiotic value to the images on-screen. NOTE that the game ICO relies less on ADJECTIVE IMMERSION than on SUBSTANTIVE IMMERSION as an example of immersion type.

Substantive immersion results when one is attending to those attributes that are the essential attributes of the things with which the Player is interacting. What is an essential attribute of a thing? Depends upon the thing. The essential attributes are those invariant distinctions that enable the identification of the PARTICULAR thing. NOTE that one ought not confuse an individual for a group. You might think that black and white stripes are essential attributes of a zebra, but those are essential for all zebras (except the albino zebra) and are not in themselves enough to distinguish individuals. The specific patterning of the stripes, however, has been compared to the human fingerprint.

And so, if the Player’s attention is directed in relation to in game attributes that are considered the essential attributes for the things so signified, then the player is SUBSTANTIVELY IMMERSED. While their attention may still be indirectly directed, it is being accomplished with an artistry not practiced with the sledgehammer techniques leveraging adjective immersion.

Drama entails substantive immersion as one retains an awareness of their sense of self while so immersed. Therefore, the Player can empathize and the tension becomes the Player’s tension. Beyond this lies the Player’s ability in self-reflection and that is fundamental to establishing dramatic tension.

© 2005 Kenneth Stein One may reproduce this work, in part or in whole, only if one includes the notice of copyright, year, author and a trackback to the original post at www.PlaySpace.com.

The last ‘techno-conceptual’ achievement in videogames was the leap from 2D to 3D graphical environments. Mario64 was the first 3D game on a console and to this day it is still the biggest selling console game in history. Why?? It presented a technical advancement that opened up whole new “worlds” of game design and development.

People can sense the palpable nature of such a breakthrough.

We are now approacing a new era in game design and development. The primary emphasis won’t be on graphics, as many in the game industry would envision; nor will it be on image recognition, longer gaming experiences, or on-line tournaments where one can both gamble AND play a first-person-shooter at the same time.

The next techno-conceptual innovation is “Authenticity.” Games will include authentic characters in authentic settings playing out authentic stories where the Player is an integral and authentic contributor to the unfolding plot. In essence, the leap from 2D characters and stories to 3D characters and stories will provide the foundation for the Next-Generation Games.

Creative teams will be smaller and more evenly distributed across technology, audio & visual artistry and narrative. Writers, artists and programmers will leverage new technology and production processes to create gaming experiences the likes of which have barely been hinted at in the best games developed thus far.

Games populated with authentic characters and storylines will merge into an art form that will become the movies of this century. Already we see children opting to play games rather than go see many movies.

Where are video games headed?

The answer lies somewhere games have never been. A place where the Player and the computer participate in an authentic interactive experience, a PlaySpace.

© 2005 Kenneth Stein One may reproduce this work, in whole or in part, if one includes this notice of copyright, and a trackback to the original post at www.Playspace.com.