The Quest In A Generated World - Gatech.edu
The Quest in a Generated WorldCalvin AshmoreSchool of Literature, Communication, and CultureGeorgia Institute of TechnologyAtlanta, GA 30332-0165ashmore@gmail.comMichael NitscheSchool of Literature, Communication, and CultureGeorgia Institute of TechnologyAtlanta, GA play value - as seen e.g. in Elite. The difference in level ofdetail or other visual cues between designed levels andgenerated ones was not significant because the graphicallevel of detail was limited. For example, Rogue used basicASCii symbols but the game world still stands for aninnovative and engaging approach. As storage space hasbecome ample through better data media and fasterprocessing of the data, hand-crafted level design hasbecome the norm. But with ever more powerful systems,production costs have soared as game worlds demand evermore content to provide their players. That is one reasonwhy procedurally generated content has seen a revival. Itseems to offer an exit strategy out of the spiraling increaseof content production costs.As procedural content becomes a more appealing option forgame development, procedurally determined context isnecessary to structure and make sense of this content. Wefind that a useful means to structure content in 3D games isthe quest. The task of generating necessary context thenbecomes one of quest generation. This paper describes howwe implemented a basic quest generator based on key andlock puzzles into a procedural game world. It uses notion ofquest as spatial progression and discusses the design of thegame world and how our quest generator connects to it. Itsfindings are twofold: on the technical level we managed toimplement a highly flexible content and context generatorinto an existing game engine; one the content level we cantrace signs for higher player interest in quest-enhancedprocedural game worlds in comparison to unstructuredspaces.Creating procedural content is not necessarily difficult, butcreating meaningful content is substantially morechallenging. It is relatively easy to create random levels butfar more complicated to infuse these levels with somemeaningful structures. Yet, without context and goals, thegenerated behaviors, graphics, and game spaces run thedanger of becoming insubstantial and tedious. Even if it isrife with interactivity and content, without context, thespace is merely an empty shell instead of a game. As in thegame Myth, such an environment is a discursive machine[2], having the potential for gameplay but lacking purpose.Countering this lack, we argue that generated spaces havethe potential to intrigue and inspire the player and notmerely be an open expanse or infinite dungeon. We arguethat the necessary context can be provided by procedurallygenerated quests that assign significance to the gamelocations.Author KeywordsProcedural generation, spatial generation, quests, virtualspace, video gamePROCEDURAL SPACE AND THE QUESTThe field of procedural content has found a substantialamount of attention recently. This is largely due to WillWright's brainchild Spore. Spore's use of generated contentis augmented by the game's open playing style. Proceduralcontent not only makes development cheaper but also offersnew design issues and challenges. The player of aprocedural world can actively shape its development andcustomize the result. The game world itself can become areflection of the player and her intentions. But to do thatthere must be some method of contextualizing generatedcontent within a game environment. The problem is lessone of content generation than one of context building. Thispaper addresses the Charbitat project which uses spatialmetaphor to tackle the problem of quest generation within aprocedural space.This paper will suggest a way to generate quests bysituating them inside a player-driven procedurally generated3D world. We implemented a prototype of this system inthe experimental game Charbitat. In Charbitat, playersgenerate an infinite 3D world as they explore and interactwith it. On top of this content creation, our systemgenerates quests situated within the space to meaningfullydirect the player’s experience by creating goals andchallenges. We thereby introduce a second tier toprocedural generation: that of context on top of content.Procedurally generated space has been used in games sincethe earliest days of electronic games. The reason wastwofold: 1) Early games did not have the necessary memoryspace to hold the graphical details of designed levels; and 2)generated levels would ensure a different experience oneach play. In that way, even technologically limited gamescould offer seemingly endless game universes and a highSituated Play, Proceedings of DiGRA 2007 Conference 2007 Authors & Digital Games Research Association (DiGRA). Personal and educational classroom use of this paper is allowed,commercial use requires specific permission from the author.503
Procedural Game SpacesIn the history of games that use procedural space generation,there have been largely two approaches. The firstconcentrates on open spaces or terrain. The generationprocess works by creating maps or heightfields, usuallydetermined by some fractal algorithm [5]. An early exampleof terrain generation is in Lucasfilm's 1995 Rescue onFractalus!, and this sort of generative method has beenextended to form the basis for a lot of default terrain inmany games. Terrain generation eventually has been usedto form the basis for whole planets in Spore, and in nongame programs such as TerraGen and Mojoworld.A second approach aims at the generation of dungeons andinterior spaces. Unlike open terrain, these spaces haveexplicit constraints and use them to partition theenvironment. The assembly of these constraints is used togenerate new levels. This method originates in Rogue andNethack and has since been extended into more recent titleslike Diablo, and forms the basis for the generated dungeonsin the Nippon Ichi titles such as Disgaea and PhantomBrave.completed in a linear order others allow many concurrentoptional quests to take place at once. The simulationdescribed in this paper uses linear quests, but in the future,it could be extended to accommodate others. Whensearching for useful kinds of quests to adapt in aprocedurally generated environment, there are a variety ofpossible options to choose from.Quests dominate Role-Playing-Games and many MassiveMultiplayer-Online-Games, where they often have explicitstarting and completion conditions. In this type of quest, theplayer is given a specific task that they may fulfill in theenvironment. In this case, quests are gradually revealed andform a meta-structure in themselves, as seen in the levelingup quest structure of World of Warcraft that carefullyorchestrates spatial progression through questing thatreferences a character's level and ability. These quests couldbe read as quests of personal growth as well as spatialexpansion. In our case we restrict it to the virtual hero andher development that can be quantitatively measured andregulated.A quest-situation can also be read into mission-based games,such as Counter Strike, in which players’ goals are encodedin terms of explicitly defined objectives in the space such as“Bring this virtual item to that location and activate it – thendefend it against opponents”. These goals are known to allparties before the game starts and are often met withopposition from other teams attempting to accomplish theirown goals within the space. For instance, players mustsecure strategic areas, protect other players or non-playercharacters, or prevent the other team from reaching theirown objectives. Winning the game and delivering on aquest within a game session depends on defeating otherplayers as much as it does on spatial progression.Other spatial generation projects use different constraintsfor generation of space. One example is the CityEngineproject [11], which simulates cities by using water,elevation, road patterns, and population density. While theapplication of this project is not appropriate for a gameworld, it describes a method for generating spaces based onlogical parameters. Also relevant is the Instant Architectureproject, whose aim is to create a grammar for architecturalform [15].The space-generation method in Charbitat uses a synthesisof all the above. It uses a tile-based system in which everysingle tile is treated as a terrain and generated through aheightmap. Every tile is populated with virtual flora andfauna, which are positioned following certain spatialconditional rules and filters [10]. As a result, the generatedspace is not only highly versatile but also structured aroundcertain conditions. This allows for spatially situated queststo be implemented into a unique and infinite procedurallygenerated landscape. We see the value of such a generator,for example, in MMO worlds or a new breed of RPG andadventure games.Defining the QuestAs a device, the quest transcends game genres, and can bethought of as a means for structuring play within a virtualenvironment [7]. Quests consists of several recurrentproperties, such as the objective, the task, and success orfailure conditions, several of which are explored in Aarseth[1]. Notably, quests vary in their presentation and execution,so developing a comprehensive definition is difficult. Here,we shall examine quests as they are defined in severalgenres and identify the kind most applicable to theprocedurally generated setting.Quests have been widely applied in numerous games [14] inmany different ways. Some titles require quests to be504A third type is the type of quest that is motivated byexploration of a space. In this type of quest, players explorea space, but are restricted by some obstacles (locks) thathave to be overcome with the help of some items (keys).Both are presented in the game space itself. We find thesekinds of quests in the Zelda and Metroid game series.Obstacles may not be passed until the player obtains sometoken (such as an item or skill), yet the quest depends lesson the growth of the character and more on the itemscollected. There are several factors at work here: first theplayer must recognize the obstacle and understand that theyneed to find something to get around it, then the playermust actually obtain the token, and finally the player has topass the obstacle. This type of activity is the key and lockpuzzle, and shall be explored in detail momentarily.Across the various game outlined above, quests areunderstood as dramatized searches that can follow certainthemes and patterns. Such patterns have been outlined e.g.by Propp [12] and Campbell [3] – both have been applied togame studies [13]. Others have interpreted quests areligious or personal/ psychological journeys (e.g. pointingat the Jungian origins of Campbell's approach). Charbitat,
in fact, plays with the notion of a quest as a psychologicaljourney in the narrative setting of an internalizeddreamscape. The hero in Charbitat has been poisoned andremains trapped in her own dreamworld. The mission is tofind certain locations within this dreamworld to heal herself.But although the psychological dimension of quests isimportant for their understanding and context, we limit thediscussion here to the actual performance of the questing.For the purposes of this paper, the quest is realized in aform of spatial progression [6].We concur with Aarseth [1]: “If we examine a number ofadventure games, they all seem quite similar in terms ofform: the player-avatar must move through a landscape inorder to fulfill a goal while mastering a series of challenges.This phenomenon is called a quest.” Aarseth's definitionhas three elements: the space, the challenges, and the goal.In addition, we suggest a forth element to specify a quest:the setting. The quests in Charbitat are framed within alarger dramatic setting that is defined by the fictional gameworld that must be healed. The player’s engagement withthe game world changes depending on the way quests areframed. Game quests like these are part of a game’sfictional world [8]. Goals and challenges of a quest aresituated within the virtual space of a game world, which inturn is situated within this larger fictional dramatic setting.Together these coalesce into four core elements that are theframework for understanding and defining quests in avirtual world: The setting, the space, the challenge, and thegoal.together from infinite tiles that are calculated on demandand then placed in the world.Figure 1: DifferentElementsThe tiles in Charbitat can contain 3D objects that mightordinarily be placed by a level designer. These includestatic mesh objects, such as trees and rocks but alsodynamic elements such as lights, sounds, creatures, pick-upitems or powerups. While the tiles are generated as terrainstructures using height maps and malleable surfaces, objectsare spawned according to certain rules and conditions.Every single tile is a small world generated in acombination of the two aforementioned generationtechniques. Charbitat traces player behavior within theworld and uses this data as seed values for the tilegeneration. At the same time, the overall game world is alsoweighted. Tiles can have global features that span across asingle territory. These features include rivers, walls, cliffs,roads, or coastlines. The generated tiles persist behind theplayer as she explores, coalescing the empty space into alandscape. The player leaves the world in her trail, completewith rivers, forests, and mountains as she moves throughthe game. At any moment players can load and save worldsto return to them later.This definition poses certain demands to quest generation.Certain conditions have to be met in order to make a questrecognizable and accessible to the player. First, the playermust be made aware of the quest setting, understanding thegoal and objective. Next, the quest must be situated in anaccessible space, within which the player has the capacityto fulfill the specified goal. The goal must be attainable, andthere must be obstacles to challenge the player to overcome.In our tests, the open nature of the game world in Charbitatwas appealing to players, but it lacked context. It invitedplayers to explore and create more of the world but did notprovide much of an immediate direction or context betweendifferent tiles. The game has an overall narrative anddramatic setting with several goals within the space, but thespace was not confined or limited in any way. A queststructure was seen as necessary to direct the player'sactivity.For a key-lock structured quest in our case this means: thegoal is made evident when the player first encounters a lockin the form of an spatial barrier; when the player has foundthe specific token (key) that allows him or her to overcomethe barrier a second key level in the quest has been reached;using the key to unlock the barrier opens up the space andcompletes the quest. All of these steps have to be clearlyimplemented in a procedural quest generation.With the tile system, the space in Charbitat is an open,literally infinite, world. Once generated the world is acontiguous environment. Thus, our quests had to spanbeyond single tiles and operate on the level of the overallworld instead. The terrain generation offered alreadyaffordances for impeding and blocking player progress:rivers, walls, and cliffs. Games that use key and lockpuzzles, such as the Zelda, Metroid, and Castlevania series,use features like these to block the player's progress withinthe space. Instead of partitioning the game experience viaON CHARBITATThe Charbitat project is a full modification of the UnrealTournament game. It uses procedural techniques to generatea game world at runtime as the player explores the alreadyexisting environment. The system has been described ingreater detail in other papers [9, 10]. The goal in Charbitatis to generate space according to the player's actions in thegame world. The world is partitioned into square tiles,which may be thought of as the basic unit of space withinthe game. The player navigates the overall world stitched505
levels and stages, they use the environment itself to limitthe player. In addition, we included virtual walls andbridges as artificial barriers, that can be positionedanywhere in the generated landscape. With this collectionof procedurally generated elements, Charbitat provides auseful platform for quest generation because it fulfills thedemands for setting and blocking player progress in ahighly flexible way.The challenge is to find and apply the key item itself. Tokeep this search engaging, the generation method mustplace obstacles and challenges along the way to obtain thekey and finally use it to overcome the challenge. The searchis dramatized and not just a matter of mere retrieval. Withthat we achieve our initial goal: to contextualize theprocedurally generated game world and increase playerinvolvement with it. The key and lock puzzle is the bridgebetween the generated space and the quest.KEY AND LOCK PUZZLESKey and lock puzzles are a widespread convention in games,but tend to be most effective when the keys do not just opendoors but add an extra dimension to the gameplay. Keysenable the player to perform new actions within the gameworld.In The Legend of Zelda: A Link to the Past, the magichammer can dispose of posts that block the player'sprogress but it also is powerful against certain enemies. Thebombs that are found early in the game can be used to opensealed walls and they can also be picked up and thrown tofight enemies. In Super Metroid, the player can find agrappling beam that allows movement to not onlypreviously inaccessible areas, but allows shortcuts throughsome areas that have already been previously visited. Theengagement with the game space, quests, and objectssituated therein are closely intertwined on multiple, but notalways directly connected, levels. They carry characteristicsof puzzles.IMPLEMENTATIONWorld and quest generation in Charbitat happen during theexpansion of the game world. Whenever a player reachesthe end of the current world and steps up to an edge of a tilein Charbitat, a message is sent to the Java backend to createa new tile based on the current player status and thesurrounding world. The backend will go through all of thepossible allowable configurations for that spot, and choosethe best one. It does this by scoring each possibilityaccording to rules that characterize the qualities questsshould have in the space. These rules are programmaticallydefined and shall be explored momentarily.In order to provide a useful extension to the current world,the backend has to analyze the current condition and selectfrom the countless possible additions. For the key and lockgeneration it specifically has to be aware of what keys andlocks exist in the world and how they are arranged. Basedon that knowledge it creates tiles that manifest theappropriate quest structure in the new game space usingstructures such as rivers or walls that can block playerprogress and spawning keys as pick up objects in other tiles,Game designer and theorist Chris Crawford has arguedagainst puzzles as too static game elements [4]. But here thekey and lock puzzles are realized in a generative space,which provides for very flexible structure. The puzzle isfinding out what is an obstacle, what and where is a key toovercome it, and finally using the key to master thechallenge. In pre-designed environments this part is staticfor most games but due to the player-driven andprocedurally generated worlds in Charbitat the conditionsin our system are ever changing.Locks are a property of the tile configuration. The matter ofchoosing configurations and determining where to placekeys requires a thorough analysis of the game world. Thisanalysis is done using a graph. Using the graph network, theprocedural quest generator applies the necessaryconditioning to structure the player’s progress. It is herethat the generator makes sure that all locks remainunlockable and every key is spawned in the proper section.At the same time it takes care such that not all keys willappear too fast and too close.The key and lock puzzle may be considered solved whenthe location of the key is revealed, and the player is free tomove on to the next area. However, the appeal of the keyand lock puzzle is not only in determining the location ofthe key and navigating to the next obstacle, but it is in thethrill of meeting challenges along the way and theinteraction with the space and the key itself, which extendsthe player's ability to interact with the game world.Thinking only of the key and lock puzzles, the world maybe decomposed into a graph of nodes. Nodes are identifiersfor game spaces and describe to which region this spacebelongs as well as the condition of this game space.Because any tile might be separated by spatial barriers anysingle time can contain different nodes belonging todifferent regions that, in turn, depend on certain keys.Nodes within a tile are connected to each other, as well asto nodes in adjacent tiles. Each connection may have a lockthat defines what type of barrier exists between the areasrepresented by the nodes. A tile with a river runningthrough it will have two areas which are connected by a“swim lock”, indicating that the player must have an itemthat permits swimming in order to pass from one area to theother. The area nodes correspond to the two banks on eitherEach key that needs to be found is its own quest, and thepath to the key may be fraught with challenges andobstacles, reinforcing the power of freedom that thenewfound key gives to the player. The puzzles tie the questto the space of the game world. The lock itself is a propertyof the space, embedded in the game environment. When thenature of the lock in space is realized, the player's goalbecomes to apply the key so that they can overcome thelock in the space. This introduces the quest: find the key.506
side of the river. If the player is in one of the areas, there isno way for him or her to move to the other side of the graphwithout the appropriate key.Figure3:Javabackend in actionThe actual quest structure works by using rules that dictatewhat kinds of keys and locks should be placed in the world.These rules are defined using snippets of code calledevaluators. These evaluators take an area network, with allof its nodes and locks, and produce a score, which ranksthat particular world. There are usually several of theseevaluators at work, which rank networks based on severaldifferent guidelines for how the key and lock puzzles aresupposed to be implemented.Figure 2: A tile splitby a river.The locks in Charbitat are of a simple one to one mapping.Locks are often represented as gates in the game world, andthe key is an item that will destroy the barrier. We haveimplemented a number of unique keys: a swim capability tocross rivers, bombs as weapons as well as key to destroycrumbling walls; a water weapon to put out a gate of flames.This logic represents generic key and lock situations usingcolor coded walls and keys: a red key for a red door, agreen key for a green door, and so on.When the backend is going through the differentconfigurations, it will compare the full area networks thatwould be created given the configuration in question, andscore the configuration based on the evaluators assessmentof the network.Charbitat also spawns the inhabitants of any tile. Thus,although it is not implemented in the current version ofCharbitat, it would be possible to add enemies, specificallyboss enemies, to “guard” keys. This would provide agrowing level of dramatic tension in finding key items inthe game world and add to the existing challenge to solvethe quest.Evaluators work addressing the arrangement of locks, thegrouping of accessible areas, and the placement of keys.There are around a dozen evaluators in total that work inCharbitat. Each evaluator aims to fix some particular ruleabout key and lock placement in the world. Someevaluators encourage the placement of keys under certaincircumstances; others restrict the placement of keys in othercircumstances. These evaluators must aim to selectconfigurations that will lead to a working whole. The tilesare only parts of the game world, but the goal is to structurethe overall world, thus the evaluators must not chooseconfigurations that are the best at the moment, but thosewhich will lead to the best overall results for the gameworld.Each evaluator serves a specific purpose, representing someproperty of quests that we have determined for the world ofCharbitat. One of the rules used in Charbitat is that theremust be at least three locks of a given type that precede theappearance of a key. The evaluator that enforces this rankspoorly any network in which fewer than three locks appearbefore the corresponding key is placed. Another rule is thatthe player should see many types of locks in the beginningof the game, so that when these areas are revisited, theplayer will be able to access areas that were previously507
inaccessible. This rule’s evaluator ranks highly networks inwhich there is a great diversity of locks visible in thecurrently generated world. Charbitat uses a total of about13 simple rules to define its space, but the choice andtuning of these rules is a matter of game design rather thanthe formulation of the quest itself.world. This problem comes in two parts: the first is inactually creating the environment within the space, and thesecond is in overcoming the lack of scene optimization thatis available for static scenes.A second challenge occurs in defining the evaluators. Theseare of tremendous importance in channeling the gameplaybut are difficult to write. Ultimately, these evaluators mustbe able to evaluate a whole game world and make adecision for which new tile will best fit into the wholepicture. The quality of any quest depends on them. InCharbitat, this decision making is incremental as opposedto holistic, which allows the world to be built up freely. Butthis also means that occasionally the backend will have ahard time getting the world to fit together so that it flowscorrectly.The rules employed by the evaluators are flexible, and canbe modified to change the style of world and the resultingquests and experience. Different types of rules may bechosen to change the relation between the player'sinteraction with the space and the keys and locks. Rules canbe defined to adjust the curve of dramatic tension, byplacing enemies and bosses near the keys. The evaluatorscould be tuned to encourage backtracking throughpreviously explored space, so the player can find parts thatthey missed without the new keys they've found.Alternately, they could be tuned to eliminate backtrackingentirely so the space is entirely linear. The construction ofthe evaluators thus gives a tremendous amount of designcontrol over the possible resulting worlds.Charbitat has been demoed and played by visitors and otherresearchers on numerous occasions. Yet, using this as abasis to evaluate the quest generation in a traditionalusability way remains difficult. First, because the notion ofthe quest might be understood very differently by differentplayers; second, because every player of Charbitat creates aunique game world with different conditions and quest setups. No quest world is ever repeated and any directcomparison between player performance in the game worldbecomes dubious. Because our system delivers a playerdriven and completely unique game environment itbecomes difficult to compare two player performances nextto each other.Since each evaluator encodes a specific rule, by changingthe programming of the evaluators, the world that theycreate would be changed. However, in keeping with ourdefinition of quests, the tiles automatically encode the spaceinto the world, while the evaluators introduce the setting,challenges, and the goals by placing obstacles, opponents,and keys. The underlying system is flexible enough toaccommodate many variations while still maintaining thequests’ fundamental characteristics. Without theseconstraints, tiles would merely be random collections ofmeaningless areas. It is in this way that the problem ofbuilding a game world changes from raw construction to amore manageable problem of selection, and the context ofthe quest is infused into the procedural game world.What became clear in the testing was that the prototypesupported better orientation and higher engagement with thequest generator in place. Charbitat always featured enemyencounters and an appealing visual environment, but withthe quest system at work players felt most intrigued by thisstructuring of spatial progress. Any virtual barrierinevitably triggered the desire to circumvent or overcome it.Providing means for that through our system was aneffective answer to that call. We interpret this as a firstindication for a successful referencing of existing gameplay mechanics in a generative environment. Basic as thekey and lock puzzle set up might be it activated the playerto engage in a quest and this activation added to playerengagement. To optimize the evaluators and fine-tune thisquest-generation more detailed evaluation is still needed.Developing an evaluation framework for quests alonewould seem a valid future research endeavor.CONCLUSIONIn this paper we have analyzed quests in video games with afocus on their spatial situation and conditioning. Weconsider both as key elements of any player situation withina game universe. Based on the notion of quests asconsisting of setting, space, challenge, and goal, weintroduced a quest generator that was implemented andtested in a procedural game world prototype. This generatoruses tiles and configurations to partition and organize space.By embedding obstacles in the space of the generated gameworld itself the generator can create quests around ke
The Quest in a Generated World Calvin Ashmore School of Literature, Communication, and Culture . in MMO worlds or a new breed of RPG and adventure games. Defining the Quest As a device, the quest transcends game genres, and can be . up quest structure of World of Warcraft that carefully
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