Thank you all for your highly regarded feedback!
First off, it was obviously a false assumption on my part, that ripping a piece of my work out of context and presenting it would be giving me the answer I, in a way, desperatly wanted: That it is perfect, and done, and I can go play with my daughter.
On the other hand, I want to grow from this, and I am doing so by the minute.
To give some context of my situation:
This work should not be considered as a scientific paper (it might be more suitable as a Gamasutra-article ... or Buzzfeed?). The professors at my university (Digital Media: Animation & Game) had the ingenious idea, that students should prove their ability in researching skills in an essay in 20 pages and 6 weeks of time. This work is to be done next to a prototype of a game (or animation) and 40 pages of documentation (12 weeks). In the years before it was common, that students just do 60 pages on the latter skipping the research part all together. I can see the rational behind it, but I would be glad to write 60 pages about the above thesis, given I had enough time.
Also, I was told to write on a level, so that other students (2nd to 3rd semester) "would bleed less by reading my work, than by rumaging through the same journey". I read the Book of Lenses (in parts) for a project at the time. It was great to work with, but it was hard to convey the ideas to my fellow shoot-from-the-hip students ("I liked playing this game, and that one; I'm gonna mash them together!!"). Game design patterns may be useless when creating a new game. I suppose, they are constraining the creative process. But they can give an anchor to a discussion, a nomenclature of what is being talked about. That's why I think they can be viable at times (and I should add that line in my paper I guess)
Next of, I am an outsider. But I want to change that. Some years back I dipped my toes in AI as an intern, working on a (kind of) AAA title (and I do dislike publishers ever since). My (rather) futile task was creating a GUI for the behavioral AI inside the map editor. To unfold the mysteries of the AI's working, I was given "Behavioral Mathematics for Game AI" (Mark). I couldn't let go of the concept and this is why I am learning about AI in progress of writing a bachelor thesis about it.
To get back to topic:
14 hours ago, IADaveMark said:
The AI architecture is often not the big differentiator in AI.
14 hours ago, IADaveMark said:
Your premise of matching AI approaches to gameplay mechanics may hold up a little, but not in terms of architecture selection.
Well, that was exactly the thing that I was trying to prove. Sadly, I do not have the time for a fresh start. Luckily though, it is viable to conclude the bachelor thesis with exactly that finding: it's not about the architecture selection. There is a german idiom:
"Konsequenz heißt, auch Holzwege zu Ende zu gehen."
It roughly translats to
"Being consequent means to also walk the wrong track to finish."
So I did two things: I brutalized 200 pages of chapter 5 (Decision Making) of "Artifical Intelligence for Games" (Millington, Funge) into 8 pages of explaining said architectures. Then, I found that swedish master thesis "Game Design Patterns for Stealth Computer Games". And now I am trying to find connections from one to the other. It seems rather pointless now.
To support my statements, i chose two articles from the Game AI Pro-series: How to catch a Ninja and Modeling Perception and Awareness in Tom Clancy’s Splinter Cell Blacklist. Neither of them treats the problem the way I want them to.
And that is, what I meant with the whole "secretive developers"-thing. I see now, that it is not about secrets. Writing about the AI architecture in comparasion to the game's mechanics just isn't that interesting.
But I still wonder, why? (It seems to be a prinicpal question for newbies ...)
EDIT:
Thinking about the all-mighty burrito, I came up with my own metaphor:
When people go on vacation, they pack certain things. On a camping trip you should pack a tent, provisions and some means of cooking device. Depending on the weather, you should pack sunglasses (camping at a lake?) or a winter coat (Himalaya?). This, of course, is different from having a vacation in a 5-starred hotel.
All good and well, but what I am interested in is: What car did you use to pack the tent and other things, and to go there? Was it a racecar? A truck? Or a train? (Et voila, your food is now a car) There must be some kind of relation there, or does it not?
To explain the metaphor: The vacationists reporting about their trip are, in my mind, the AI developers.
Camping is one kind of vacation, like a game can often be categorized as one kind of game type.
The tent and other things are comparable to what makes this one AI in this one game special (like the way enemies detect the player).
The means of transportation, thereby, is the underlying AI structure.
Do you see my point? Or is my assumption about the what-is-what askew (or plain wrong) again?
I will keep the daunting task of answering to your concerns for a little later. For now I should get back to work.
Again, I really appreciate your feedback. Even though my self-confidence is, in a way, shattered, I enjoy that I finally came out of my box and joined a community. I hope to lose the [Young]-tag soon.
Cheers
PS. @Dave Mark, I read your Culinary Guide before and I loved it. My favorite quote: It depends. I fear that I am trying to do the same thing as you already did, but worse (or at least less informed).