Towards Expressive Input for Character Dialogue in Digital Games Nick Junius Michael Mateas Noah Wardrip-Fruin University of California, Santa Cruz University of California, Santa Cruz University of California, Santa Cruz Santa Cruz, California Santa Cruz, California Santa Cruz, California
[email protected] [email protected] [email protected] ABSTRACT 1 INTRODUCTION While there has been work in interactive narrative built using the- Real-time digital games commonly rely on non-player characters ory and practice from theater, it has mostly focused on the structure (NPCs) moving through space as a core part of gameplay, relying of narrative and how a player’s interaction with the plot alters that on these NPCs to interpret the player’s actions and respond ac- structure. How a player interacts has usually been tied to com- cordingly. When games featuring real-time, spatial gameplay want mon game interaction paradigms. There is an understanding that a to have narrative moments, they frequently take away those very videogame player exists somewhere between an audience member same spatial mechanics in favor of picking lines of dialogue in a and a stage actor—but rarely are players allowed to express them- dialogue tree and having the camera and characters (player and selves in a manner similar to an actor. This paper argues that the NPC alike) react according to the chosen line. While the graphical acting and directing knowledge of theater is a potentially bountiful fidelity of what is presented has increased dramatically from Fallout resource for designing player and NPC interactions. To illustrate [26] in 1997 to The Witcher 3 [28], Dragon Age: Inquisition [6], and this, the paper presents a literature review of theatrical method- Telltale Games’ works in the past decade, what the player is being ology, its existing relationship to games, and a survey of projects asked to do has changed little.