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relevant exceptions are [15], [11], and [14]. Pinhanez [15] deals with a temporal
model of events, providing mechanisms to handle their interlacing temporal relations.
Building on the same principle, the Joseph system [11] claims to provide a formal
framework to relate story components to one another. In it, a story is modelled as
having two sub-components, a setting and an episode list, both of which have
temporal intervals associated with them and information about event relationships is
specified in its rules. The Joseph system is (to our knowledge) the first system
constructed from an explicit, formal model for stories. ISRST argues that relations
determined by the rhetorical context of events is key [14] and introduce an ontology
model based on the organization of events. In ISRST, a relation is a binding between
two entities, which refers to a specific rhetorical function. They further claim that “its
use is impractical for the purpose of content creation, since most human beings make
use of a more limited set of relations to construct and remember stories” [14]. To
match this limitation, a reduced set of nine relations is considered. However, their
ideas are not implemented in a concrete system.
Lastly, content creation tools in place to make the underlying complexity of the
knowledge base transparent to authors is paramount, especially if the representation
uses complex models or specialized programming languages. For example, although
Façade has been a successful experiment, its architecture requires a great effort from
authors. It uses four different content languages and took two years to author a game
with only one scene, two characters, and that takes about 20 minutes to complete [13].
3
The LOGTELL Plot Composition Model
In summary, LOGTELL is a logic-based tool for the interactive generation and
dramatization of stories via the use of a plan-generation system. The main difference
between its conceptual model and similar planning systems is that it does not assume
the existence of one goal for the story as a whole. Instead, at the beginning of the plot
(and after each planning phase), goal-inference rules are used to consider new goals
induced for the various characters. Its design borrows notions from narratology, in
particular, the distinction of three levels in literary composition: fabula, story, and text
[1]. At the fabula level, the characters in the narrative are introduced, as well as the
narrative plot - corresponding to a chronological sequence of events. The story level
concerns a different representation specific to these events and how they are narrated
to an audience, be it through a temporal re-ordering of the events or other narrative
techniques. The last level relates to the medium used to tell the story, such as natural
language, movie, or any other communication medium.
When breaking down the IS problem into its smaller sub-parts, a similar separation
is observed between the story generation and narration phases [10]. In SGSs, this
breakdown means that different modules handle the two parts. In discussing the
conceptual model behind the story space in LOGTELL, we are interested only in the
fabula level, within its Plot Manager, where the narrative plot being manipulated
consists of a partially-ordered set of events. Here we should recall that plot managers,
in general, are interactive story generators that receive as input an already created
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