Subject Index

Page numbers followed by f indicate figures.

A

Actionable decision, 129

Action review, 139, 141

Actors

as commanding officer, 108

man-in-the-loop strategy use of, 108

in video segments, 181–182

Adaptation strategies

description of, 70, 75f

use of, 78

Advanced leadership training simulation. See ALTSIM

Alternate reality games, 225–226, 230

ALTSIM

authoring tool for, 44f

automating of, 117

Battle Captain, 18–19, 92, 99, 107

Bosnia scenario, 17–18, 101

communication system in, 157

creation of, 164

demonstration of, 23

description of, 18

encoded script for, 77–79

experience management used in, 70–76, 117

information in, 19

instructor in, 116–117

“man in the loop” strategy used in, 21

media elements in, 70–71, 163, 164f

news network in, 163

outcomes allowed, 23

sample screen for, 20f

self-sufficiency of, 118

tactical operations centers in, 19–23, 165

video content in, 180

America’s Army, 219

Amortizing of costs, 190

Archival material, 202

Argumentative characters, 92–93

Artificial intelligence

automated story generation using, 119, 122

description of, 8

Assessments, 141

Audio

bandwidth for, 131

creation of, 159

development of, 195

importance of, 195

music, 203–204

narration, 182, 202

in real-time 3D-rendered environments, 187–188

streaming, 170

summary of, 204

synthetic, 108–109

in tactical operations center, 162–163

Authoring

for ALTSIM, 44f

for Internet, 171–172

Automated story generation, 119–122

B

Back story, 213–217

Bandwidth

Internet, 168

media, 130–131

Battle Captain, 18–19, 92, 99, 107

Beast, The, 225

Behavior-based focus of simulation, 161

Beta testing, 190

Bosnia, 17–18, 101

Bowman, Chuck, 26

Branching storylines

dead ends, 58

Leaders, 30, 118

shared outcomes, 58–59

spider web-based, 65

C

Captain Moran, 100

Catechumen, 220

Cellular text messaging, 168

Character(s)

argumentative, 92–93

cultural differences portrayed by, 93–95

dossier of, 103

hero skill levels, 84

learning objectives achieved through, 89–90

multidimensional, 83–95

nonplayer. See Nonplayer characters

opposite points of view represented in, 90–92

personal deficiencies identified through, 83–84

synthetic, 109–110

villain. See Villain

Character bibles, 87–89, 207

CLAS

content for, 27

description of, 26

success of, 27

Close Combat, 219

Coherent pedagogy, 145

Collective learning, 54

Combat training, 8–9

Comedy writing, 38–39

Commanding officer

description of, 1

live actor acting as, 108

Command Sergeant Major Pullman, 97

Commercial games, 221–226

Compelling interactivity, 125

Computer-based pedagogical simulations, 140

Computer-generated animation, real-time 3D, 160

Concept documents, 149–151

Conversations, simulated, 61–63

Cosmo quiz, 127, 130

Cost amortization, 190

Crisis Decision Exercise, 9. See also Final Flurry Exercise

Cultural awareness, 49

Culture

characters who portray differences in, 93–95

stories that portray, 49

D

Dahmann, Judith, 7

Darwin: Survival of the Fittest, 220

Data logs, 140

Dead ends, 58

Decision making, 127, 138

Degraded video, 197

Department of Defense Paramount and, 7–8

Design documents, 150–151

Dialogue

definition of, 195

lip sync during, 196

nonplayer character

guide or mentor use, 199–200

naturalness of, 199

offscreen, 201–202

onscreen, 195–200

prerecorded vs. real-time synthetic, 198–199

out-of-sync, 196

prerecording of, 198–199

real-time synthetic, 198–199

user

offscreen, 201–202

onscreen, 200–201

Dial-up Internet, 167–168

Digital video recorders, 176, 178

Directors Guild of America, 189–190

Direct voice communication, 162–163

Distance learning, 229

Distributed learning situation, 162

Doom, 169, 224

Douglas, Jay, 26

Drama

interactive, 69, 120–122

in story creation, 38–39

Dramatica, 148

Driscoll, James E., 50

DSL, 168–170

Dungeon Master, 115, 118

E

E-mail, 163

Encoded script, 77–79

Environments

location-based, 231–232

real-time 3D-rendered. See Real-time 3D-rendered environment

scripted, 145

Evaluation

formative, 137–138

during simulation, 138–150

story, 136

summative, 140

Everquest, 169

Expectations, 139

Experience Management

description of, 70–76

story representation in, 77–79

Experience Manager

ALTSIM, 117

description of, 22–23

encoded script for, 77–79

formalisms, 79

F

Falstein, Noah, 130

Final Draft, 151–153

Final Flurry Exercise

administration of, 10

description of, 9–10

instructor in, 116

interactive video in, 175–176

Paramount/Department of Defense attendance at, 11

participant screen for, 13f

performance results, 13–15

StoryDrive, 10–13

video content in, 180

First-person shooter games, 158, 169, 188

First Sergeant Jones, 84–87, 90, 92–93

Flaws, in heroes, 98–100

Formative evaluation, 137–138

Franks, Tommy, 48–49

Free play, 213–217

Free will of participants, 61–62, 68–69

Full Spectrum Warrior, 26, 219

G

Game(s)

alternate reality, 225–226, 230

beta testing of, 190

commercial, 221–226

cost amortization of, 190

levels of, 189

massively multiplayer online, 225, 231

multiplayer, 192–193, 224–225

online collaborative, 230–231

serious, 219–220

single-player environment, 192–193

story and, complementary relationship between, 224

Game, The, 226

Game consoles, 185–186

Game engine, 188, 208

Gameplay

description of, 125

design rules, 130

for emotion and investment, 129–130

hide-and-seek, 128

mask donning, 128

object manipulation, 127

puzzle solving, 127–128

role-playing, 128

story added to, 125

summary of, 132

ticking clocks, 128

user input/elements of, 125–129

Game the system, 62–63

Goals

dramatic, 71, 114

pedagogical, 114, 133, 135, 146

Goldman, Steve, 18

Gordon, Andrew, 19, 27–28, 69, 79

Grand Theft Auto, 213–215

Graphics, 159

“Ground truth,” 18–19

Guitar Hero, 223–224

H

Half-Life, 222

Halo, 221–222

Heroes

flaws built into, 98–100

skill levels of, 84

Herrington, Janet, 18

Hide-and-seek, 128

Hill, Randy, 27

Hip-hop music, 203

I

Idelson, Bill, 35–39, 41, 83, 101

I Love Bees, 225

Immersive distance learning, 229

Incident Commander, 219

Industrial College of the Armed Forces, 9, 12

Insider, 220

Institute for Creative Technologies, 17, 98

Instructor-in-the-loop approach, 138

Intelligent tutoring, 63–64

Interactive drama

architecture for, 120–122

description of, 69

Interactive television

Internet delivery vs., 178–179

one-screen applications of, 177–178

overview of, 176–177

story-driven, 179

summary of, 183

two-screen applications of, 177

Interactive Trauma Trainer, 219

Interactive video, 175–176, 182

Interactivity

compelling, 125

description of, 69

learning through, 127

transformation, 128

Internal conflict of villain, 102, 104

International terrorism, 14

Internet

analytics, 172–173

authoring for, 171–172

description of, 167

dial-up, 167–168

DSL, 168–170

interactive television vs., 178–179

Leaders, 173

lip sync issues, 197

maintenance on, 173

security on, 171

T1/T3, 170

user support considerations, 169

Internet2, 170

Internet Protocol Television, 178–179

Iuppa, Nick, 7, 18

J

JavaScript webpage tagging, 173

Jhala, Arnav, 208

Johnson, Bill, 41

Johnston, Joan H., 50

K

Kirlik, Alex, 161

Knowledge, 49–50

Kuma Wars, 169

L

LAN, 165

Large-scale simulation, 115

Last Call Poker, 226

Last Draw Poker, 225

Leaders, 113

Leaders

audio used in, 30

authoring scenario for, 98

background for, 25, 58

branching storylines, 30, 118

characters in, 84–87

CLAS story used in, 26

control architecture of, 31f

description of, 25

evaluation and testing of, 137

First Sergeant Jones, 84–87, 90, 92–93

game engine used in, 188

intelligent tutoring, 63–64

Internet delivery of, 173

leadership decisions in, 28

media elements in, 26

music used in, 203

Narratoria use in, 31

natural language interface, 25

nonplayer characters, 25–26, 61

Ricardo Perez, 84–88, 90, 92–93, 97

schematic diagram of, 57f

simulated conversations in, 61–63

story structure, 25–26, 26f, 29, 68

summary of, 32

teaching points in, 27–30

verbal content of, 31

video production, 179–180

virtual world in, 157

Learning

by users, 126, 139

collective, 54

distance, 229

distributed, 162

expectations and, 139

stories used for, 47, 54

LeMasters, Kim, 26

Lesterlin, Roland, 31

Lindheim, Richard, 7–8, 17

Lip sync, 196–197

Liquid Narrative Group, 208

Location-based full-sensory simulations, 231–232

Longyear, Barry, 41, 83

M

Magerko, Brian, 28, 120–122

Maggio, Florence, 12

Man-in-the-loop strategy

description of, 11, 21

live actor participation, 108

Mask donning, 128

Massively multiplayer online games, 225, 231

McKee, Robert, 42–45, 98

Medal of Honor, 222

Media

in ALTSIM, 70–71, 163, 164f

audio. See Audio

description of, 130–132

graphics, 159

selection of, 155–160

text, 158

video, 131, 159–160

Memory aids, 47–48

Mental models, 54

Metal Gear Solid, 222–223

Military strategic planning, 7

Movie Magic Screenwriter, 153

Multimedia messaging, 168

Multiplayer games

description of, 224–225

real-time 3D-rendered environments, 192–193

Murray, Jane, 119, 122

Music, 203–204

Music libraries, 204

N

Narration, 182, 202

Narrative, 56–58

Narratoria, 31, 205–207

National Science Foundation, 7

National Security Advisor, 9, 107

Natural language interface, 25

Navigation, 127

Non photo-realistic 3D, 191

Nonplayer characters

degraded video used to present, 197

dialogue

guide or mentor use, 199–200

naturalness of, 199

offscreen, 201–202

onscreen, 195–200

prerecorded vs. real-time synthetic, 198–199

director’s influence over, 121

example of, 84–87

hero flaws revealed through, 99

in Leaders, 25–26, 61, 84–87

semi-autonomous nature of, 121

summary of, 95

O

Objection!, 220

Object manipulation, 127

Offscreen dialogue, 201–202

O’Neil, Pat, 18

Online collaborative games, 230–231

Onscreen nonplayer character dialogue, 195–200

Operations noncommissioned officer, 18

Opposite points of view, 90–92

Outcome(s)

desired, 114

predicting of, 78

shared, 58–59

Outcome-driven simulations, 53–54

Outlining, 146–149

Out-of-sync dialogue, 196

P

Paramount

creative team at, 27–28

Department of Defense and, 7–8

Participant free will, 61–62, 68–69

PDF, 172

Pedagogical content, 138–139

Pedagogical goals, 114, 133, 135, 146

Pedagogy

coherent, 133–134

content, 145

simulation design based on, 134–135, 140

story content and, 135–136

transfer of, 134

unfocused, 134

Perez, Ricardo, 84–88, 90, 92–93, 97

Personal computers, 185–186

Power Hungry, 26–27, 179

PowerPoint, 148

Powers, Erin, 8

Practical Intelligence in Everyday Life, 30

Project outlining, 146–149

Proof of concept, 137–138, 149, 190

Psychometrics studies, 137

Pulse, 219

Puzzle solving, 127–128

R

Reaction decision, 129

Real-time 3D computer-generated animation, 160

Real-time 3D-rendered environment

audio assets, 187–188

beta testing, 190

building of, 185

cost amortization, 190

description of, 185

directing the simulation in, 189–190

multiplayer, 192–193

non photo-realistic 3D, 191

platforms in, 185–186

proof of concept, 190

single-player, 192–193

summary of, 193

vehicular 3D space, 191

visual assets, 186–187

Real-time 3D virtual worlds, 185–186

Real War, 219

Return on investment, 133

Riley, Patricia, 137–139

Role-playing, 128

Rosenbloom, Paul, 8

S

Schank, Roger, 54

Script

authoring of, 151–154

definition of, 145

for game levels, 189

Scripted environments, 145

Secured virtual private network, 171

Sergeant Major Pullman, 90

Serious games, 219–220

Set-top boxes, 176–177

Shared outcomes, 58–59

Sheehan, Bob, 18

Significant activities board, 162

SimNet, 18

Sims, The, 216–217

Simulated conversations, 61–63

Simulated tactical operations centers, 18–23

Simulation

behavior-based focus of, 161

by US Navy, 155

evaluation during, 138–150

experience-managed, 78

integration of, 205–209

large-scale, 115

location-based full-sensory, 231–232

outcome-driven, 53–54

pedagogical, 140

platform for, 135

proof of concept, 137–138

in real-time 3D-rendered environment, 189–190

story-driven. See Story simulations

training uses of, 8

user interactivity in, 120, 136

Simulation design

pedagogy as basis for, 134–135, 140

spider-web, 65–68

summary of, 141

Simulation environments

description of, 2, 131

real-time 3D-rendered. See Real-time 3D-rendered environment

Simulation leaders, 113

Simulation stories

decision points, 56–57

narrative, 56–58

spider-web design of, 65–68

tacit knowledge used to design, 53–60

Singer, Alex, 7–8, 12

Single-player real-time 3D-rendered environments, 192–193

Situational awareness

definition of, 9

gameplay and, 129

“ground truth,” 18–19

Sound effects, 202–203

Soundtrack music, 203

Speech

text-to-speech engine, 108–109

translated, 202

Speech-to-text translation, 200

Spider-web design, of simulation stories, 65–68

Splinter Cell, 223

Stock footage, 180

Story

alternate paths for, 72–73

arc of, 43, 43f, 72f, 114–115

automated generation of, 119–122

back, 213–217

comedy and, 38–39

complexity of, 136

construction of, 37f

cultural awareness through, 49

description of, 35–38

drama and, 38–39

dramatic goals of, 71, 114

evaluation of, 136

flexibility in development of, 65

game and, complementary relationship between, 224

learning uses of, 47, 54

as memory aids, 47–48

sorting out, 55–56

spider-web design of, 65–68

stress-exposure training using, 49–50

tacit knowledge used to identify correct performance, 50

war, 48–49

Story adaptation strategies

description of, 70, 75f

use of, 78

Story content

pedagogical evaluation and testing, 135–136

simulation time affected by, 136

Story creation

perspectives on, 41

structuring of events, 42

training in, 36–38

StoryDrive Engine

background of, 8

development of, 12

Final Flurry Exercise, 10–13

Institute for Creative Technologists participation in, 17

simulations, 53–60

Story-driven interactive television, 179

Story execution system, 19–20

Story representation system, 70

Story simulations

combat training using, 8–9

description of, 115

machine-driven, 122

military strategic planning uses of, 7–8

Story space, 120–121

Story structure

artificial intelligence system creation of, 67–68

Leaders, 25–26, 26f, 29, 68

StoryView, 148

Streaming audio, 170

Streaming video, 168–169

Street Wars, 225

Stress-exposure training, 49–50

Summative evaluations, 140

SVPN, 171

Swartout, William, 27

Synchronizing voiced character dialogue, 196

Synthetic characters, 109–110

Synthetic speech, 108–109

T

Tacit knowledge

definition of, 50

identifying of, 53–55

Tactical operations centers

in Bosnian conflict, 17

configurations, 18

decision making at, 19

media elements in, 70–71

significant activities board, 162

simulated, 18–23

staff of, 18

T1 connection, 170

T3 connection, 170

Teaching points, 27–30

Television, interactive

Internet delivery vs., 178–179

one-screen applications of, 177–178

overview of, 176–177

story-driven, 179

summary of, 183

two-screen applications of, 177

Terrain, 205, 207

Terrorism, 14

Text, 158

Text messaging, 168

Text-to-speech engine, 108–109, 200

Third-person point of view, 188

Three-dimensional virtual models, 156

Ticking clocks, 128

Transformation, 128

Tuch, Larry, 8, 11, 18

TVML, 170

U

University of Southern California, 8, 17, 79

Unreal, 224

U.S. military, 8

User(s)

decision making by, 127, 138

emotions of, 129–130

expectations of, 139

interactivity, 120, 136, 141

learning by, 126, 139

User dialogue

offscreen, 201–202

onscreen, 200–201

V

ValaNejad, Kurosh, 30

van Velsen, Martin, 205–206

Vehicular 3D space, 191

Vice City, 215–216

Video

degraded, 197

description of, 131, 159–160

interactive, 175–176

production of, 179–183

streaming, 168–169

Villain

background of, 104–105

building of, 100–102

internal conflict of, 102, 104

summary of, 104–105

Virtual battlefield, 156

Virtual Harlem, 229, 230f

Virtual reality, 231–232

Voice communication, 162–163

Voiced narration, 202

Voice-over narration, 182

W

WAN, 165

Warlord, 98

War stories, 48–49

Web analytics, 172–173

Weltman, Gershon, 18

Wertheimer, David, 8

Whitaker, Alan, 9

World Hunger: Food Force, 219

Writers’ Blocks, 148

X

X3D, 169, 191

XML, 206–207

Y

Young, Michael, 208