Being someone who has both programming skills and creative urges, I suppose it is not very surprising that I am very interested in procedural content. Code is a crucial element of interactivity, so I've always thought that using code to generate or modify content is an easy and fascinating way to make interactive entertainment richer, deeper, or just cuter.
This explains why I bought Texturing and Modeling: A Procedural Approach, and then sold it again to buy the second edition, even though I hadn't really implemented anything from it. (I'm now tempted by the third edition.) It also explains why I'm a fan of Ken Perlin's work.
And it explains why I'm a fan of generators, translators, and other cute little gadgets, such as:
- The American Military Operation Name Generating Device and other Language Machines.
- The Advertising Slogan Generator, and the many, many other great things over at The Surrealist (such as the Infinite Teen Slang Directory or the Prior-Art-O-Matic).
- The propaganda poster generator (along with many other bizarre Inward Vessels of the Spleen, most of which do not involve procedural content but are worth looking at).
- The ACME Label Maker, License Maker and the excellent Heart Maker.
- The many excellent web filters (find lists here and here). Of course, online translators are also a form of procedural content, often significantly increasing a text's surrealism.
- The wonderful Safety Sign Builder.
- The many plot generators one can find on the Internet.
Anything inspired by cut-ups.
- The many generators for any bit of text that follows a vaguely predictable pattern, such as these ones over here.
- Open Source engines to do anything of the above, such as the Markov Chain Random Name Generator, rmutt or the Dada Engine.
- Automated level generators (here and here).
I think all of these various gadgets and tricks can be used to create emotional effects in games. Obviously, some of them are gimmicks that are hard to use in a generic manner, but cool for occasional spot effects. Many of them are particularly useful with non-standard input and connectivity mechanisms. A game like Animal Crossing could particularly benefit from these tricks, if it doesn't do so already. These gadgets can also be useful to confuse the player, which can be a worthy goal if your game involves surrealism, psychological states, horror, or the uncanny. However, if you use player input to generate content, some care must be taken with the player's suspension of disbelief.
To conclude, I'll describe a concrete example of the use of procedural content from a project I worked on that never got finished. The player takes on the role of a fallen god, a once-powerful being revered by all, who now wakes up in a dusty tomb, severely weakened. The idea was to let the player enter his character's name at the beginning of the game, as is standard in many games. Then, towards the end of the first act, the player would discover a huge, crumbled statue of himself, with his own name carved into the weathered pedestal. We had TrueType to 3D mesh and 3D Boolean operation code lying around, so my hope was it would have taken about a week or so to implement. It's just a gimmick, but one that, if done well, might have an emotional impact somewhat like the ending of the original Planet of the Apes.
(Links from various sources, including the excellent BoingBoing.)