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Creating Relationships with Computers and Robots 15write and tell stories and to create ‘emotions’ that the robot can act out. UsingStorykit children can create their own StoryRooms that provide story-tellingexperience. Tests of PETS and StoryKit were promising and let to a list of designguidelines that for building attractive and interactive story environmentsfor children.2.7 Socially Intelligent Agents in Games andEntertainmentThis section concerns important mainstream applications of the technologyof socially intelligent agents, in educational games, in interactive drama, andin interactive art. In educational games, agents must exhibit enough social sophisticationso as to be able to flexibly manage students’ emotional states andlearning engagement. In a drama of purely autonomous agents, each agentwould need to be equipped with sufficient intelligence to react reasonably tothe range of situations that can occur; those that can be generated by the totalsystem. This intelligence presumably is represented in the form of socialknowledge, abilities for perceiving and understanding other’s behaviors, theability to identify and characterize problems, and the ability to generate andexecute plans for solving these goals. In order to make this enormous problemtractable, we can limit the range of possibilities to certain classes of behaviors,social interactions and goals. Although the agents stay within a given class ofbehaviors, an observing human will perceive an extended range of intentions.When we then try to involve a human in an agent drama, we have to providefor agents perceiving the actions of the human. More importantly, the humanwill not be able to stay within a prespecified class of behaviors. Thus, agentswill need to respond to a wider range of actions and situations. This presentsa major challenge for agent designers. Further, we will usually want moreof the ensuing action than the human just spending time in the virtual socialworld. We want to arrange for the human to take part in a drama with certaindramatic goals which express the author’s intent. Thus, in interactive dramawe hit core issues of the development of characters which can dynamically respondto novel situations in ways which are not only socially appropriate butwhich further dramaturgic goals. In interactive art, we descend into the self ofthe human interactor.In chapter 26, Cristina Conati and Maria Klawe explain how the flexibilityand social appropriateness achievable with socially intelligent agents can effectivelysupport the learning process of students. They describe their systemfor multiplayer multiactivity educational games. The main issues concern howsocially intelligent agents can model the players’ cognitive and metacognitiveskills, i.e. including their management of their own cognitive activity, as wellas motivational states and engagement in a collaborative interaction.