The joke goes something like this: if interaction designers had made Super Mario Brothers, the game would just have one large button labeled “Rescue Princess.” There is some truth to that. Interaction designers strive for products that let people get tasks done quickly and easily. Yet, the fun of gameplay is overcoming challenges and rules deliberately set to impede a player’s progress. So as interaction designers, how do we separate challenges that add to the gameplay from those points of frustration which detract? For game developers without access to interaction designers or researchers, the challenge can be even greater. When developing a new game, what general principles should be followed to make sure it remains safely on the fun side of frustrating? Jakob Nielsen gave us the ten canonized Usability Heuristics for web and system design; our humble goal is to do the same for computer games. This presentation will provide ten interface heuristics applicable to games as well a few useful “discount” evaluation techniques for when you don’t have the time, or the money, for a full lab study.
6. Game vs. Interface Design
Game Design Interface Design
• "Game design is the process of
designing the content and rules
of a game.”
• "The goal of user interface
design is to make the user’s
interaction as simple and efficient
as possible, in terms of
accomplishing user goals...”
- Wikipedia
• Both seek to achieve a net positive user experience, and to avoid
unanticipated negative experiences.
10. Increase Interaction Speed Over Time
As users become more experienced with a game,
enable them to speed up their interactions.
Frequent tasks should be the most streamlined.
15. Avoid Conceptually Conflicting Inputs
Challenge: # actions > # inputs
When assigning multiple actions to one input, try to
make them as conceptually consistent as possible
throughout the game.
20. Provide Immersive Cues
Users should be aware of their status and impact on
the world and when these change.
Mismatches & ambiguity make the connection
between player and virtual world weaker, less
immersive.
24. Distinguish Active from Inactive
Digital spaces and games piggy-back on
learned expectations.
Games need to either stay true these
expectations or provide cues to help players
learn new ones.
25. Bad Example:
In games, it can be hard to tell foreground from background
Fallout 3: New Vegas
26. Bad Example:
Make it clear what can be interacted with, and what is just decoration
Peggle
31. Prevent Surprise Errors
Frustration comes from unintended
challenges, often during mundane tasks.
When the user does fail, make sure they
understand why.
69. (1) Increase Interaction Speed Over Time
(2) Avoid Conceptually Conflicting Inputs
(3) Provide Immersive Cues
(4) Distinguish Active from Inactive
(5) Prevent Surprise Errors
(6) Be Game State Aware
(7) Reading is Easier than Remembering
(8) Remember Real Life
(9) Maintain Flow
(10) Ask “What Could I Take Away?”
Editor's Notes
Welcome everyone.\n\nThanks for joining us this afternoon. And thanks the SXSW organizers for giving us the opportunity to talk.\n\nBefore we begin, just out of curiosity, how many people here work in the Game Industry? Of those, how many identify as UI designers?\n
So why is UI even important? I probably don’t even need to explain this to this crowd.\n\nOf course, we experience everything digital through its interaction with us. These interactions can be the difference between success and failure at any task. \nAnd not inconsequentially they also influence how a product makes us feel. Look at the major successes in the technology world and you can see how much impact good UI can have. (Apple, Mint, Tivo,) \nAnd this is exactly the same for games.\n\nThe best story, graphics, gameplay, or sound can be tarnished by a bad UI. \n
These days, UI designers are talking a lot about what we can learn from games. Game mechanics are everywhere now-a-days (badges, rankings, mayors, points, progress bars). “Gameify” is the hot trend in business and design. (God, I hate that word.) - \nBut we have a feeling the learnings can go both ways.\n\nUI Designers have developed a unique perspective on the world. A toolset. We see an ATM and immediately evaluate the UI; we visit a shopping site and we instantly become critical of the flow or the presentation or the interaction. It can be quite debilitating. And this It even happens when we play games. Which is why we thought it might be useful to share our perspective with game designers and get their reaction.\n\nRescue princess? OK.\n
Not experts in Game UI, for sure. \n\nI am John Mark Josling, I lead Interaction Designer at Yola Inc. (a san francisco-based company which provides tools to help small business create an online presence) \nI have been an interaction designer for a while, and a front-end engineer before that. I have played games all my life. And I have become increasingly obsessed with the intersection between experience design and games.\n\nSitting next to me is Corey Chandler...\n
\n
\n
\n
\n
\n
Provide a path to mastery?\n
\n
\n
\n
Dragon age pie menu\n
Issue: Actions to perform > number of available inputs\n
\n
\n
\n
\n
Connection between player and virtual representation of self & the world. Mismatch / ambiguity makes this connection weaker, not as immersive. Games seek to connect the player with a virtual representation of a world & themselves\n\n
Street Fighter Video\n
\n
As we grew-up, the real world taught us what can be moved, pushed, lifted, clicked or turned on. We are great at learn these rules and patterns and using them to apply to new objects we find.\nIn UI design, we tend to lump these patterns into a category called “affordances”, but it can be strange to talk about shrubs as having affordance, so I have more generalize this by talking about Active and Inactive.\n\nSince games are by choice or by constraints limited in the world that they represent, almost every game must teach the player these new rules as they play. Games must piggy-back on existing rules or quickly teach us new ones. \n\n\n
---Ask audience which plant is interactive.----\n\nAs it turns out I was searching for a small root on the ground, the only way to detecting interactivity was by moving my cursor over the ground in a grid, watching to see when the action/object value changed. \nIn this case, I was forced to relearn-rules as to what plants in this world could be harvested and which ones were for atmosphere only.\n\nAs texture maps become richer and more detailed, I can foresee this problem becoming worse. \n
Peggle often uses detailed background patterns to create variety. But what this means is that a player can be asked to identify key properties of an object at a glance. Clues need to be built in to the system to make this easy. \n\nIn this case, a strong drop shadow effect is used for object on which the ball will bounce, but is it enough? Will it bounce off the smoke? Will the ball bounce off of the dragon? In this case we are fighting against gestalt grouping effects. \n
The web had to struggle with the same challenges, we had to teach our users new affordances that didn’t exist in the real world. We established patterns and conventions, such as blue links and underline effects to help distinguish interactive parts of a page from those static parts.\n\nYou can look at this page instantly and understand what is click-able, and what is not. Each website does not need to re-teach you a notion of links. \n
World of Warcraft provides a rich backdrop of fauna and flora, but some parts are actually valuable resources to players. Blizzard identifies these with a sparkling animation, quickly distinguishing interactive objects from non. Works for plants, also works for barrels. \n\nSuddenly Blizzard was able to make any of its previous set-pieces-only interactive by applying this affordance to them. Players had already learned this rule from previous game experiences. \n
Everquest 2 used text labels to establish this convention. If a player, and npc or a monster has a name over it, it can be interacted with. The same applies to certain rocks and plants. A player can quickly identify which objects in this scene are ‘active’.\n
I don’t want to spend too much time talking about how some of these heuristics can be broken for deliberate effect, but I thought I would point out this one. \nSome games actually can use this ambiguity to create the game mechanics. In the adventure game series, Monkey Island, part of the game play actually becomes figuring out which items within the rich and detailed landscape are useable. But it is this should be done with caution, as games of ‘hunt the pixel’ can quickly cross over that line between fun and frustration. \n
Challenges come with implied risks, part of what builds up the feeling of ‘fiero’ or the ‘epic win’ moment -- is the very real risk of failure. \n Exploring through trial and error is a key gameplay mechanic. Where this becomes problematic from a UI standpoint is when this failure comes at unexpected times. \n These tend to happen during routine tasks or mundane activities: inventory management, character customization, meta game activities such as saving and loading, mapping, tracking, etc. These tasks are generally not assumed to carry any risk.\n \n
Getting dressed is a good example. My character puts on a certain set of clothes before beginning her dungeon delve. This is a mundane activity which I don’t expect to carry any risk.\n\nIn this example the error is subtle.\nI have made a grave mistake...\n
I forgot to put on pants.\n\nI had made an error. The game system knew this. There is really little reason for me to be fighting monsters without pants, yet I am provided with no warning or error message.\n
A key component of this heuristic is to identify and also PREVENT errors. Especially that type of errors known as “non-recoverable”. \n\nIn World of Warcraft, for example, deleting items is done by dragging an item into empty space and then releasing the mouse button. In a game where objects are often transferred around through drag-and-drop, you can imagine how this action be ripe for mistakes. Since the accidental deletion of an object is not easily recovered from, a traditional method of prevention is a confirmation dialog box. This helps...\n
However, a better solution is to make errors recoverable. We are all familiar with “Undo”. \n\nFor example, in the case where a player accidentally sells an item to the vendor she would rather keep, she can use the “Buyback” tab to undo the mistake.\n\nThis helps because it prevents flow interruption, and honestly, most people click “yes” dialog boxes without reading them. \n+ MS Word delete\n
Your game should be self-aware. Maybe not like Skynet. But in such a way that it can provide the right information to the player at the right time.\n\nThis doesn’t all have to be exposed at once, but look for ways of using progressive disclosure to let players themselves control the flow of additional information. This can be both game status information as well as additional help documentation.\n
Traditional printed manuals provide a great resource for the user, but they suffer from two major shortcomings.\n1) They take the player out of the game flow. If a player needs help at a particular part of the game, they need to put down the controller and pick up a book.\n2) The manual is “dumb”, it has no notion of the current state of the game or the context of the player. It can’t use that state information to filter or curate the data that it gives to the user.\n
In this example, Civilization 4 can provide a context appropriate technology tree. \nNot only can it slide the tree over to the area which best reflects the players current level of technology, but it can highlight missing conditions (with red Xs) and objectives that still need to be completed to achieve that technology. \n\nCompare this to a raw data drop free of context.\n
Look for ways to provide progressive information disclosure that is player controlled. \nWe use mouse-over tool tips a lot in web sites and applications. \nIn this second Civilization example, a player is able to indicate her desire to learn more about the Water Mill improvement by mouse-ing over the icon. In this way the game is able to provide specific pieces of extremely relevant information.\n
I think game industry has made some remarkable UI strides on over the last 10 years. But I wanted to highlight the heuristic none the less because it is so important.\nIt really gets down to the idea of reducing the cognitive load on players. Games like almost all digital systems have reached new level of complexity. With this complexity comes a cost. A player now has more things to track and remember than ever before. This heuristic is focused around reducing that burden.\n
Obviously, we don’t see a whole lot of manuals like this any more, but it is worth remembering the old days when the button combinations needed to execute a move were ONLY found in a small printed booklet. If you didn’t remember what buttons to press when, you needed to return to the manual.\n
Now a days there are some well established conventions to help ease that burden. Actions can be laid out to map to physical controls to help aid in this memory. \nMinecraft attempts to do with with its action bar. However, this is not always enough. Without clear labels, this mapping can get challenging and can be difficult to at a glance remember if drop stone block is 4 or 5.\n
In contrast, Zelda: Wind Walker does provides a visual mnemonic that maps keys to buttons on the controller. The visual representations of the buttons on the screen map to the physical layout of the controller as well as in color.\n
More obvious, but modern games often ask players to complete a large number of dis-sperte tasks. Look for ways to help users track these objectives and tasks in clean and precise ways.\n
And of course, objective tracking doesn’t have to be as literal as a ToDo list, you can use subtle environmental cues such as color, animation and sound to help guide users from task to task.\n
Consider the context that your game is played in. It is easy to think at all games are played in optimal settings with ideal hardware, lighting, and with 100% of focus given to the game. This sadly, is not always the case.\n
iPhone apps are designed to be played in a context-swapping heavy environment. There is no quit or camp button to find, no escape key. \n
\n
Cinematic, can you pause when someone needs to talk to you.\nColor blind - ? \n
More than just maintaining Jenova Chen’s notion of game flow.\n
\n
\n
\n
\n
If you assume no one likes loading screens, this ends up actually creating a slightly negative feedback loop. \nThis can discourage players from exploring, which might go against one of the behaviors you are actually trying to encourage.\n
When you have to have a loading screen try to keep it contextual to the game.\n\n
This includes ‘death’ or failure in Fl0w provides no break in the experience, ( Super Meat Boy has a similar way of minimizing the flow penalty of death.)\n