A narrative world typically consists of several interrelated locations that, all together, fully support enacting a given story. For this, each location in a narrative world features all the objects as required there by the narrative, as well as a variety of other objects that plausibly describe or decorate the location. Procedural generation of narrative worlds poses many challenges, including that, First, it cannot lean only on domain knowledge (e.g., patterns of objects commonly found in typical locations), and, second, it involves a temporal dimension, which introduces dynamic fluctuations of objects between locations. In this article, we present a novel approach for the procedural generation of narrative worlds, following two stages: first, a narrative world mold is generated (only once) for a given story; second, the narrative world mold is used to create one (or more) possible narrative worlds for that story. For each story, its narrative world mold integrates spatio-temporal descriptions of its locations with the object semantics and the domain knowledge previously acquired on typical locations. We describe how a narrative world mold can be generated, as well as how it can be fed to existing procedural generation methods, to create a variety of narrative worlds that fit that narrative. We evaluate our own implementation of this approach, performing a number of experiments that illustrate both the expressive power of narrative world molds and their ability to steer the generation of narrative worlds.

Procedural generation of rooms aims to create virtual environments that mimic common patterns found in real-world indoor locations, like offices or bedrooms. Graph-based models (e.g. factor graphs or Bayesian networks) have often been used to represent typical location's objects and their occurrence likelihood (nodes), as well as their inter-relationships (edges). Previous methods have struggled to represent object semantics in their graph nodes; specifically, they fail to fully and effectively support notions as abstractions (e.g. generic seat instead of chair) and replication (e.g. cups instead of cup). We propose a generalized representation and use for object semantics that overcomes the above limitations of graph-based models in the procedural generation of rooms. This node representation handles semantics as attributes, and clearly distinguishes the contribution of the attributes on the node from the potential effects of the node on the whole graph. We illustrate the additional expressive power of the resulting graph-based model for room generation, and show that it subsumes previous models as particular cases.

Commuters who travel by train often feel annoyed due to misunderstanding the causes of delays in train traffic. They oftentimes are unaware of the necessity of performing maintenance to stations, tracks, and trains. MainTrain is a serious game developed to teach commuters about rail-maintenance while simulating the difficulty of keeping passengers happy. It is a fast-paced strategy game with a top-down view in which a player can perform maintenance actions on stations, tracks, and trains. By using commuter happiness as a base metric, MainTrain attempts to elicit empathy from players dissatisfied with scheduled maintenance so that they gain a better appreciation of the need for scheduled maintenance. This is coupled with the need to schedule maintenance for several components of a rail network, encumbering a player while teaching them about different aspects of rail maintenance. To examine the effectiveness of the game, the results of a user study are presented.

Burning fossil fuels is a big part of our heat production. Since this process is both non-renewable and polluting, finding other options is important. A clean and underutilized alternative is geothermal energy. However, it is often not considered due to sheer ignorance or misconceptions. HotPipe is a serious game designed to alleviate these problems, particularly among youth populations. Players control a drill to create geothermal wells solving a variety of puzzles, which introduce relevant cases for geothermal heating and show what geothermal wells are made of. The game focuses primarily on conveying the concepts of water circulation, relation between temperature and depth, androck type proprieties. From our game evaluation, players revealed a solid improvement on their geothermal energy knowledge.

In order to support the creation of sustainable and healthy ecosystems, citizens should have knowledge of the necessary maintenance needed. For example, they should be aware of the challenges of maintaining proper urban surface waters, so that they can take on a responsible and proactive role. Ideally, citizens should acquire this knowledge from an early age. We describe the design, implementation, and evaluation of the serious game Hydro Hero, aimed at forming and reinforcing this awareness and reasoning. Hydro Hero is an infinite runner game with extended minigames, which show both what should not be on the canals as well as why they should be removed. We assessed the ability of Hydro Hero to teach young children about canal maintenance by combining a questionnaire with open-ended play-testing sessions at a science museum. On average, players were able to improve their ability to justify why certain items should be removed or left in a canal. It has not been fully confirmed that Hydro Hero conveyed this specific knowledge, due to the absence of quizzing beforehand. However, given the high participants’ engagement, we consider the game to have contributed to their awareness about the importance of canal cleaning for a sustainable urban environment.

Musicality is the concept that refers to a person’s ability to perceive and reproduce music. Due to its complexity, it can be best defined by different aspects of music like pitch, harmony, etc. Scientists believe that musicality is not an inherent trait possessed only by musicians but something anyone can nurture and train in themselves. In this paper we present a new game, named Musicality, that aims at measuring and improving the musicality of any person with some interest in music. Our application offers users a fun, quick, interactive way to accomplish this goal at their own pace. Specifically, our game focuses on three of the most basic aspects of musicality: instrument recognition, tempo and tone. For each aspect we created different mini-games in order to make training a varied and attractive activity.

While visual impairment is relatively common, most sighted people have no idea of what it is like to live without one of the most heavily utilised senses. We developed the game Loud and Clear in order to have them experience the difficulties of being visually impaired, as well as to put in evidence the abilities blind people have developed, which sighted people mostly lack. In this game without visuals, the player has to rely solely on audio to complete objectives within the game. The game consists of a number of puzzle rooms the player has to solve. These puzzles illustrate the challenges of being blind in a playful setting, and challenge the player to use different auditory skills that are key to achieving objectives without vision, such as sound localisation, sound recognition and spatial orientation. The game uses audio spatialisation techniques to give the player a realistic and immersive auditive experience. Preliminary tests of this game show that players acknowledge the initial high difficulty of ‘living’ as a blind person, to which eventually they were able to somehow adapt. In addition, players reported feeling both immersed and educated by the experience.

The goals of Superhuman Sports games include to involve physical activity and enhance the skills and abilities of a human through technology. They are played for fun, competition or to improve the players’ health condition. To meet these goals, we designed and developed STAR: Superhuman Training in Augmented Reality, an augmented reality adventure shooter, and implemented it on the Microsoft Hololens. Our game promotes physical activity by making you avoid dangerous enemies and gather energy to deal with this threat while navigating a narrow path above lava. Social interaction is stimulated by its multiplayer mode, in which players have to work together to destroy an energy core. Player testing showed that we achieve our goal of physical exercise by making the player move at a pace slightly less than brisk walking and that the game is fun and immersive. These results show that STAR is a promising step in the right direction for the development of superhuman sports using augmented reality.