1. CSE1GDT – Interfacing 2.0 Paul Taylor 2009

2. The Player and the Game Players Mind Game World

3. Breaking down the Interface Layer From a few weeks ago we have: Player Interface Game

4. Splitting the interface further We can take this interface concept and rip it apart. Physical Interface – Input – Output Virtual Interface – Input – Output

6. This leaves us with one missing piece Mapping! – How does everything relate to everything else? – We’ll need to convert those arrows into something more

7. Looking at the interface connections Physical Input -> World – World -> Physical Output – Physical Input -> Virtual Interface – World -> Virtual Interface – Virtual Interface -> Physical Output –

8. Looking at the interface connections Physical Input -> World – Moving the character World -> Physical Output – What part of the world is visible Physical Input -> Virtual Interface – Menus, pop-ups, selections World -> Virtual Interface – Stats, scores, mode changes Virtual Interface -> Physical Output – Data, format, layout, presentation

9. Projections of Consciousness If the interface is working perfectly the player can forget it exists and thus project their consciousness into the game. This is a part of the suspension of disbelief and immersion factor

10. Interaction Loops Information flows from the player to the game and back to the player This is a cycle that continues throughout the game

11. Feedback Basketball Net Electric Cars Unreal 3 Menus Typically players expect feedback within 1/10 of a second.

12. OnLive and failure Goodbye OnLive! http://www.eurogamer.net/articles/digitalfou ndry-lag-factor-article

13. Burnout Paradise 67ms BioShock (frame-locked) 133ms BioShock (unlocked) as low as 67ms Call of Duty 4: Modern Warfare 67ms-84ms Call of Duty: World at War 67ms-100ms Call of Juarez: Bound in Blood 100ms Forza Motorsport 2 67ms Geometry Wars 2 67ms Guitar Hero: Aerosmith 67ms

14. Grand Theft Auto IV 133ms-200ms Halo 3 100ms-150ms Left 4 Dead 100ms-133ms LEGO Batman 133ms Mirror's Edge 133ms Street Fighter IV 67ms Soul Calibur IV 67ms-84ms Unreal Tournament 3 100ms-133ms X-Men Origins: Wolverine 133ms

15. The Moral of that story: Feedback is essential As soon as you can you must give the player some feedback! -Animated Jumping-

16. Juicy Interfaces You have heard the term – Something is dry Juicy is the opposite – For everything you do you get a heap of results Avoiding a dry interface is good Making it juicy is awesome! – Pinball machines are juicy

17. Information Channels How many types of information below? 65

18. Information Channels How many types of information below? 65 Number, Size, Font, Colour, Position, Width, Height, Transparency, Rotation

19. Information Channels and Dimensionality This is your chance to slip in a little more feedback! For each feedback element think about: – What is the primary dimension? – What other information can my feedback carry? – Will it be obvious to players? Does it need to be?

20. Input Modes What is an input mode?

21. Input Modes What is an input mode? Whenever we change the mapping of one or more of the arrows in the interface diagram we are moving to a new mode

23. How best to design modes Use as few as possible (reasonably)

24. How best to design modes Avoid overlapping modes

25. How best to design modes Make sure the player knows what mode they are in – Visually Change the HUD Change the Avatar Change the screen data Change the perspective – Sound??

26. One good process for interface design List and Prioritise Information List channels Map information to channels Review Dimensional use

27. Closing Ideas Adding more isn’t always making things better Steal Ideas Customise Sound maps to touch – Why do we have a pinkie? Balance Options and Simplicity Use Metaphors as feedback when needed

28. Test Lots Get others to test! Break the rules! If you don’t like how it ‘is done’ in the genre fix the problem!