A Survey on Story Generation Techniques for Authoring Computational Narratives <s> C. Automated Plot and Manual Space <s> An agent-based social simulation is one way to add a story to simulated game universes within the game mechanics while preserving the autonomy of nonplay characters (NPCs). In this paper, we add a social reasoning element behind NPC actions to make their plans more story like. An AI planner is developed to combine plan search and logic inference about others' minds. An NPC agent equipped with the planner uses actions to change others' minds, and uses such mental changes to achieve its goal. We review the question of whether stories do arise from agent-based simulations by examining actual narrative segments generated by our NPC agents, and by an experimental exploration of the frequencies and lengths of narrative segments. A story facilitator, named divine intervention operator service (DIOS), makes stories happen when they are impossible via on-the-fly adjustment of character personalities. <s> BIB001 </s> A Survey on Story Generation Techniques for Authoring Computational Narratives <s> C. Automated Plot and Manual Space <s> In most Interactive Storytelling systems, user interaction is based on natural language communication with virtual agents, either through isolated utterances or through dialogue. Natural language communication is also an essential element of interactive narratives in which the user is supposed to impersonate one of the story's characters. Whilst techniques for narrative generation and agent behaviour have made significant progress in recent years, natural language processing remains a bottleneck hampering the scalability of Interactive Storytelling systems. In this paper, we introduce a novel interaction technique based solely on emotional speech recognition. It allows the user to take part in dialogue with virtual actors without any constraints on style or expressivity, by mapping the recognised emotional categories to narrative situations and virtual characters feelings. Our Interactive Storytelling system uses an emotional planner to drive characters' behaviours. The main feature of this approach is that characters' feelings are part of the planning domain and are at the heart of narrative representations. The emotional speech recogniser analyses the speech signal to produce a variety of features which can be used to define ad-hoc categories on which to train the system. The content of our interactive narrative is an adaptation of one chapter of the XIXth century classic novel, Madame Bovary, which is well suited to a formalisation in terms of characters' feelings. At various stages of the narrative, the user can address the main character or respond to her, impersonating her lover. The emotional category extracted from the user utterance can be analysed in terms of the current narrative context, which includes characters' beliefs, feelings and expectations, to produce a specific influence on the target character, which will become visible through a change in its behaviour, achieving a high level of realism for the interaction. A limited number of emotional categories is sufficient to drive the narrative across multiple courses of actions, since it comprises over thirty narrative functions. We report results from a fully implemented prototype, both in terms of proof of concept and of usability through a preliminary user study. <s> BIB002 </s> A Survey on Story Generation Techniques for Authoring Computational Narratives <s> C. Automated Plot and Manual Space <s> Procedural modelling deals with semi-automatic content generation by means of a program or procedure. Among other advantages, its data compression and the potential to generate a large variety of detailed content with reduced human intervention, have made procedural modelling attractive for creating virtual environments increasingly used in movies, games and simulations. We survey procedural methods that are useful to generate features of virtual worlds, including terrains, vegetation, rivers, roads, buildings and entire cities. In this survey, we focus particularly on the degree of intuitive control and of interactivity offered by each procedural method, because these properties are instrumental for their typical users: designers and artists. We identify the most promising research results that have been recently achieved, but we also realize that there is far from widespread acceptance of procedural methods among non-technical, creative professionals. We conclude by discussing some of the most important challenges of procedural modelling. <s> BIB003
Chang and Soo BIB001 created a planning-based story generation system set inside a detailed recreation of the setting of Shakespeare's Othello. They further based their models of emotion upon the mental states prominent in Othello, such as deception, love, misjudgment, etc. Chang and Soo's system was clearly aimed at forcing an emergence of the original Othello story, or at least a similarly dramatic story, using a detailed space reconstruction rather than plot constraints. The results were a mixture of both similar and dissimilar stories, reinforcing the difficulty in ensuring a certain narrative when using emergent systems. Cavazza et al.'s EMOEMMA BIB002 also modeled the virtual space upon an established fictional world. The interactive story here was based directly off of the novel Madame Bovary, with characters personalities and relations being modeled as closely as possible to those in the novel. The interactor may verbally interact with these characters and have them respond appropriately. Here, even though the plot is generated, it relies on the quality of the space to give emotional depth to the plot. Unlike Chang and Soo, the EMOEMMA system was not intended simply to recreate the original plot, but was an interactive story that allowed the interactor to experience multiple possible plots within the fictional world established by the novel's original author. V. SPACE GENERATION Space, the world in which the stories occur, has throughout the previous sections been mostly authored. In manual authoring systems, this is a given. Plot generators, in turn, frequently use an authored model of space to allow the generation to assign roles and create full stories. In many plot generators, changes to the space based on events may be maintained, such as ensuring dead characters do not feature in later events in the plot; however, there is no intent to generate content or creatively modify the existing space. There exist few to no systems within the computational storytelling community which have focused solely on space generation. Admittedly, limiting ourselves to only examples with a storytelling intent, we avoid a discussion of many of the procedural content generation tools for common elements of space, such as terrain, vegetation, cities, etc. BIB003 . We did, however, identify several systems that focus on the representation of a story space in 2-D or 3-D worlds. These systems have a strong element of discourse generation, in that they focus on conversion of a textual to a visual representation. From the space perspective, however, we are interested in what Ryan describes as spatial dimensions  , in that in these systems a new space must be automatically created and organized to represent the same story but now in a higher dimensional space, independently of the discourse. We first discuss two story-focused examples of systems which build visual representations from a provided textual story. We then examine several systems, which take structured plots, and create a virtual space to visualize the story.