We present the Predictive Gameplay-based Layered Affect Model (PreGLAM), an affective game spectator model that flexibly integrates into a game design process. PreGLAM combines elements of real-time Player Experience Models, and Affective Non-Player-Character models to output real-time estimated values for a spectator's valence, arousal, and tension during gameplay. Because tension is related to prospective events, PreGLAM attempts to predict future gameplay events. We implement and evaluate PreGLAM in a custom gameGalactic Defense, which we also describe. PreGLAM significantly outperforms a random walk time series in how accurately it matches ground-truth annotations, and has comparable accuracy to state of the art affect models.

With the rise of artificial intelligence (AI), there has been increasing interest in human-AI co-creation in a variety of artistic domains including music as AI-driven systems are frequently able to generate human-competitive artifacts. Now, the implications of such systems for the musical practice are being investigated. This paper reports on a thorough evaluation of the user adoption of the Multi-Track Music Machine (MMM) as a minimal co-creative AI tool for music composers. To do this, we integrate MMM into Cubase, a popular Digital Audio Workstation (DAW), by producing a "1-parameter" plugin interface named MMM-Cubase, which enables human-AI co-composition. We conduct a 3-part mixed method study measuring usability, user experience and technology acceptance of the system across two groups of expert-level composers: hobbyists and professionals. Results show positive usability and acceptance scores. Users report experiences of novelty, surprise and ease of use from using the system, and limitations on controllability and predictability of the interface when generating music. Findings indicate no significant difference between the two user groups.

We present and evaluate an application of affective adaptive generative music in a single-player, action-RPG video game. We create a score that serves as an audience to the gameplay, based on the output of PreGLAM, which models the emotional perception of a game audience. We use the Multi-track Music Machine to expand and extend a composed adaptive musical score, and we use industry-standard production techniques to synthesize and perform all of our musical scores. We evaluate our application of generative music in comparison to two composed scores, one adaptive and one linear. Our generative score is rated as nearly equivalent to a composed linear score in perceptions of emotional congruency, immersion, and preference.

Music is an important affective aspect of video games. We present the findings of an empirical study on the affective effects of adaptive uses of music in games. We find that adaptive music can significantly increase a players reported experienced feeling of tension, that players recognize and value music, and that player recognize and value adaptive music over linear music.