Game Development Reference
The job of the AI programmer is twofold. The first is to drive the capability to
make intelligent changes to the game in every nook and cranny that will become
richer for having it. The second is to infect the ''creative'' sides of the game with
the idea that everything might be subject to intelligent manipulation. All these
manipulations can be bent toward realizing all the creative goals for the game,
including evoking emotional responses from the player. This simply might not
apply to some games; for example, no one really expects any emotional content
attributable to the black and white stones used to play the game of Go . But if the
opponent is displayed as a virtual human, that virtual human needs virtual
emotions. Once any decision is made about the emotional content of a game, a
certain amount of care is called for.
Answers are in the appendix.
1. Many aspects of a game have an emotional payload. What additional attri-
bute is required to make these aspects part of the overall AI?
2. Describe the critical difference between games and simulations with regard
to what they are trying to do with emotions.
3. Some of the techniques in this chapter are subtle. How can the game make
sure the player catches on?
4. List some general categories of places where some AI control adds to the
ability of the game to deliver emotional content.
5. Expand the range of preferences for our people on the cruise and examine
the numbers. Consider trying to balance for some sense of ''realism'' to your
sense of ''fun.''
1. Create a list of wall colors and the emotions they evoke.
2. Not only do clothes convey information, but accessories do as well. Make a
list of the impact from different kinds of footwear, sunglasses, rings,