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Video Game User Interface Design
Jack Campbell
Abstract
Today’s video games are much more complex than their early counterparts. With this complexity comes the increasingly difficult task of deciding what information needs to be displayed to the user and how that information should be displayed. In addition, new technologies, such as touch screens, three-dimensional displays, and multiple screens are providing new opportunities and challenges in conveying information to the player. The goal of this paper is to provide a history of user interfaces in video games, along with what elements need to be included and what obstacles a designer faces. This paper will explain different types of interfaces and provide examples of each type. Finally, this paper will discuss current trends in the industry as well as provide a look into the future of user interfaces in video games.
Introduction
What is a user interface and why is it needed?
User interfaces in video games share common elements with computer software user interfaces. Video game user interfaces differ, however, because most video games aim to entertain the user, making video game user interfaces inefficient by design. Consequently, video game user interfaces hide information in order to challenge the player [1]. As stated by author and game design consultant, Ernest Adams, “A user interface [in video games] mediates the core mechanics of the game and the player. It takes the challenges that are generated by the core mechanics and turns them into graphics on the screen and sound from the speakers. It also turns the player’s button presses and movement on the keyboard or controller into actions within the context of the game (Figure 1).” [1]
Figure 1: Relationship among core mechanics, user interface, and player [1]
In the video game industry, the part of the user interface that provides visual feedback is often known as the virtual interface. The virtual interface is a “layer,” so to speak, that exists between the game and the physical input and output from and to the player. This layer, the virtual interface, translates the core mechanics into visual, audio, and/or physical cues understandable by the user [11]. This is also known as a “HUD,” which stands for heads-up display. This name comes from the heads-up displays in aircrafts because it shows the player the information needed to successfully play the game, just as a HUD in an aircraft shows vital information for flying. A HUD shows the user information about the player’s state, such as lives, health, ammo, time, position. The HUD also consists of any menus used to access options by the player. A HUD is necessary to allow the player easy access to this information and to prevent frustration.
The HUD is displayed on the screen while the player plays the game and is updated in real time as the player makes actions. HUDs are usually two-dimensional overlays superimposed over the main screen.
Video Game User Interface History
Video game user interfaces have greatly evolved throughout the past 50 years. They have run the gamut from minimal to complex, and everywhere in between. User interfaces have begun to change from purely functional to intuitive, as well as aesthetically pleasing.
Early Interfaces
The first video games, such as Spacewar!, Computer Space, and Pong, required minimal to no HUDs. This was due partially to a lack of processing power, but mainly due to a lack of need. Early games had simple objectives such as shooting enemy ships or bouncing a “ball” back on forth between paddles. Therefore, early HUDs consisted of just numbers representing score, time, or number of lives.
Interfaces from the 1980’s to the early 2000’s
As games became more complex, more elements were needed for HUDs. “Shell menus” were added to allow users to access options such as difficulty, saving and loading, and sound options [1]. With this complexity comes the challenge of presenting information for the player in a way that is intuitive and easy for the player to understand. Early games had problems with providing the user information that the player needs to know. Many early role-playing games, such as Final Fantasy, Dragon Quest (known as Dragon Warrior in the US), and Wizardry: Proving Grounds of the Mad Overlord, had vague item descriptions (which may have been due to translation issues) and the player would have to access different screens to use items, see the stats of the items, and equip weapons and armor. It was often difficult to tell if a new piece of equipment is better than the one the player already has equipped.
Contemporary Interfaces
With modern processing power, developers began to focus on more cinematic experiences. Games have begun to minimize HUD elements and have let other aspects of the user interface convey information to the player, such as sound, vibration, and the character models. In addition, increasing advancements in fields such as touchscreens, virtual reality, motion-tracking, three-dimensional displays, and an increased adoption of cellphone gaming allows developers new fields in design.
Designing a User Interface
First Steps
Interface design should begin after the game concept has been defined. The designer must determine what gameplay modes will be used. Gameplay modes are the different functions that a player will be able to use during the game, such as walking, shooting, driving, and inventory management. The interface for each of these modes should be modeled and prototyped before implementation. Different genres of games have unique requirements [1]. An action game might not need as much information displayed to the user as opposed to a city-building simulation that requires a plethora of statistics, graphs, charts, and numbers to be displayed.
General Principles
When creating a new user interface, a useful place to start, as suggested by both Ernest Adams and Jesse Schell, is to implement standards set by other popular games in the genre. This can reduce frustration for the player in learning a new interface and allows the player to get to what they care about most, playing the game [1], [11]. The user interface should provide the player with information about what the player is currently doing, where the player is, what objectives the player has and the player’s current progress, the vital statistics of the player, such as ammo and health, and any successes or failures that are activated [1]. This interface should be simple enough not to overwhelm users, but still provide the information and options needed. The topic of depth versus breadth needs to be addressed to achieve this. A broad interface allows a player to quickly access multiple options at the same time, while a deep interface only offers a few options at a time by categorizing the options into sub-categories. The interface should provide a balance between the two in order to allow power users quick access to needed options, while not intimidating casual users that may be overwhelmed by a large amount of options [1]. A deep interface can be supplemented by the use of shortcut keys, sometimes known as “hotkeys,” that can activate an option through a key press combination to allow a player quick access to an option without entering a menu. A broad menu can use tooltips that explain an option on mouse-over or highlight to help train new players. Games should also offer players customization options such as control, sound, and visual options to allow a user to change the interface to better suit his or her play style. Finally, users should be able to save and load their games in order to keep settings and progress between play sessions [1].
Camera
In order to allow the player to play the game, an appropriate camera, or way that the player views the world, must be chosen. For three-dimensional games, the two main choices are third-person and first-person. Third-person allows the player to view the player’s controllable character, known as an avatar. First-person shows the game from the avatar’s perspective. Both types have their pros and cons. A third-person camera sets the camera behind the avatar and allows the player to see their avatar. This allows the player to establish a connection with the character, but is harder to program due to the need to keep the camera free from obstruction of in-game objects. A first-person camera is easier to program because the avatar won’t need to be animated as much and camera control is directly controlled by the player. It also allows for a more intuitive aiming interface because the avatar’s body is not in the way and the player does not have to correct for different perspectives. The disadvantages of a first-person camera are that the first-person camera does not allow the player to see their avatar, so the designers won’t be able to have the avatar convey facial or body language expressions to the player. It is also hard for some players to maneuver in precise situations, such as jumping. Another camera option is an aerial perspective such as top-down or isometric. This allows the player to see the world from a bird’s-eye view. This can be useful for games wherein the player controls multiple characters or need to see large areas at one time. Aerial cameras, as well as side-scrolling screens which allow forward and backward movement, but no z-axis movement, can also be utilized by two-dimensional games [1]. Examples of the different camera perspectives can be seen in Table 1.
Table 1: Camera PerspectivesFirst-Person [17] /
Third-Person [14] /
Isometric [12] /
Feedback
Feedback is, “the information that is returned to the player by the game.” [11] There are many different “feedback elements” that user interfaces can use to notify players. These indicators include: digits, needle gauges, power bars, lights, icons, and text, controller vibration, sound, and music [11]. Good feedback can increase enjoyment for the player and can even provide an incentive for a user to keep playing. In contrast, poor feedback can confuse and frustrate the player and might cause him or her to abandon the game. Video game designer and author Jesse Schell provides walk buttons at crosswalks as an analogy. American buttons provide no indication that a person has pressed the button, causing people to anxiously press the button in different ways and look at traffic signals wondering if the button has been pressed correctly. In the United Kingdom, however, a wait signal is illuminated when the button is pressed. This relieves the user and helps them to feel in control.
Immersion
While a designer should strive to provide the player with good feedback, care must be used not to overload the player with information. Jesse Schell states that good interfaces should use a “Lens of Transparency,” meaning that the ideal interface is essentially invisible to the player. This engrosses the player, and allows him or her to feel as if they are directly in the game [11]. Game design consultant, Ernest Adams, suggests that a game must be, “attractive and well-constructed, or its flaws break the player’s sense of immersion.” [1]. Thematic HUDs can help to increase immersion for a player. A HUD can be themed to fit the world of the video game to help increase the player’s suspension of disbelief [3].
An example of such a HUD can be seen in the game Metroid Prime by Nintendo. Metroid Prime is set in a sci-fi setting and in it the player plays from the first-person perspective of the bounty hunter, Samus. Samus possesses a combat suit that enhances her abilities. The HUD is designed to look like Samus’s visor. This, combined with the first-person view, allows the player to feel like they are Samus, increasing immersion. Designing a HUD such as the one in Metroid Prime is a great way to help the player’s suspension of disbelief, keeping them focus on gameplay.
However, not all games have the benefit of a HUD fitting the in-game universe. A way that other games, such as third-person games, can keep the player immersed is to have the HUD match the game’s style. This could mean setting appropriate fonts and colors, bright and cheerful for a cartoon-like game or ancient and brick-like for an Egyptian-themed game. Another option is to hide the HUD until it is needed by the player or hiding the HUD altogether. Hiding the HUD is seen in many games. For example, in Super Mario 64 by Nintendo, the player is only notified how much energy they have remaining when the player is hurt. This keeps the screen free from clutter.
An early example of removing the HUD can be seen in the game Jurassic Park: Trespasser by DreamWorks Interactive. Released in 1998, this game had many features that were ahead of its time. Unfortunately, the game suffered from the developers running out of time and money, along with the fact that computers of the time were not powerful enough to correctly render the graphics and physics. This resulted in a buggy game that was panned by critics. Trespasser is a first-person shooter. The player never sees an ammo or life meter, instead, the player’s avatar, Anne, will audibly tell the player an estimate of how many rounds are in the magazine when the player picks up a gun. To tell how much life the player has, the player must look down at the Anne’s chest and look at a heart tattoo. The fuller the tattoo is, the closer the player is to dying. Although, Jurassic Park: Trespasser sold poorly, many of its ideas would be seen in games to come, such as Peter Jackson's King Kong: The Official Game of the Movie and Metro 2033 which both feature no HUD [15].