Sunday, 23 October 2011

User Experience Of The Future


Link:http://uxdesign.smashingmagazine.com/2007/11/26/monday-inspiration-user-experience-of-the-future/


Over decades we’ve used to adapt our habits, behavior and mindset to technology. We’ve improved our productivity by using tools and devices designed especially for the tasks we have to deal with regularly. But we’ve also constrained our abilities to the features of the very tools and devices we’ve become dependant on.
We’ve got used to a number of things. To traditional mouse-keyboard user interaction, to 2D windows-based user interface and to a rather unspectacular user’s workflow which enables one user interact with only one application at a time. For instance, while you’re browsing in your web browser you can’t scale your text and resize your window simultaneously — unless you are a keyboard-shortcut-master.
Good news: it can be different. Below we present some of the outstanding recent developments in the field of user experience design. Most techniques may seem very futuristic, but they are reality. And in fact, they are extremely impressive. Keep in mind: they can become ubiquitous over the next years.
(Smashing's side note: Have you already bought your copy of our brand new Smashing Book #3? The book introduces new practical techniques and a whole new mindset for progressive Web design. Written by Elliot Jay Stocks, Paul Boag, Rachel Andrew, Lea Verou, Stephen Hay, Aral Balkan, Andy Clarke and others. Thank you for your time and your support.)

Future For Gamers: Cheoptics360™

Absolutely incredible. Cheoptics360 1 is a Vizoo’s product which can change our understanding of 3D for always. This is a documentation of the 5×5 meter Cheoptics360 in the Vizoo’s showroom. No special effects or compositing has been used editing this movie. This is the real thing. Official web-site. 2
Cheoptics 3
Cheoptics 4

reactable

reactable 5 is a collaborative electronic music instrument with a tabletop tangible multi-touch interface. Several simultaneous performers share complete control over the instrument by moving and rotating physical objects on a luminous round table surface.
By moving and relating these objects, representing components of a classic modular synthesizer, users can create complex and dynamic sonic topologies, with generators, filters and modulators, in a kind of tangible modular synthesizer or graspable flow-controlled programming language. Demos 6.
reactable 7

Multi-Touch

Multi-Touch Technology 8
Multi-Touch-based devices accept input from multiple fingers and multiple users simultaneously, allowing for complex gestures, including grabbing, stretching, swiveling and sliding virtual objects across the table. While touch sensing is commonplace for single points of contact, multi-touch sensing enables a user to interact with a system with more than one finger at a time, as in chording and bi-manual operations. Demos 1 9, Demos 2 10.
Multi-Touch 11
Multi-Touch 12
Such sensing devices are inherently also able to accommodate multiple users simultaneously, which is especially useful for interactive walls and tabletops. Multi-Touch is already widely used. Apple’s iPhone has Multi-Touch scrolling and picture manipulation.
Multi-Touch 13
Multi-Touch 14

Microsoft Surface

Multi-Touch is also the core of Microsoft Surface 15, an interactive tabletop which allows a user, or multiple users, to manipulate digital content by the use of natural motions, hand gestures, or physical objects by putting them on the surface. Microsoft Surface Reviewed 16.
Multi-Touch 17
Multi-Touch 18

Photosynth

Photosynth 19
Using photos of oft-snapped subjects (like Notre Dame) scraped from around the Web, Photosynth creates breathtaking multidimensional spaces with zoom and navigation features that outstrip all expectation. Its architect, Blaise Aguera y Arcas, shows it off in this standing-ovation demo.
Photosynth 20
The technology was recently acquired by Microsoft and is now a part of Microsoft Live Labs. Microsoft Photosynth web-site 21. Photosynth Technology is a new way to view photos on a computer. The software takes a large collection of photos of a place or an object, analyzes them for similarities, and then displays the photos in a reconstructed three-dimensional space, showing you how each one relates to the next.
Photosynth 22

BumpTop

Bumptop 23 is a fresh user interface that takes the usual desktop metaphor to a glorious, 3D extreme. In this physics-driven universe, important files finally get the weight they deserve via an oddly satisfying resizing feature, and the drudgery of file organization becomes a freewheeling playground full of crumpled documents and clipping-covered “walls.” TED-presentation of Bumptop.
Bumptop 24

Further References

  • 3D Operating System 25
    Next Generation Operating System from Sun Micro Systems
  • XTR3D 26 is real-time software that analyzes 3D human motions using only one simple web cam, without any additional accessories. It will allow users to play games and interact in virtual worlds using natural human motions instead of keyboards, mouses and joysticks. Released Sep 27, 2007. 

Saturday, 22 October 2011

10 Futuristic User Interfaces



10 Futuristic User Interfaces 
Link:http://www.smashingmagazine.com/2008/08/17/10-futuristic-user-interfaces/



Good user interfaces are crucial for good user experience. It doesn’t matter how good a technology is — if we, designers, don’t manage to make user interface as intuitive and attractive as possible, the technology will hardly reach a breakthrough. To gain the interest in a new product or technology, users need to understand its advantages or find themselves impressed or involved.
And here is where creative ideas and unusual interface approaches become important. Innovative doesn’t mean usable and usable hardly means innovative. As usual, it’s necessary to find an optimal trade-off. And some user interfaces manage to achieve just that.
Below we present 10 recent developments in the field of user experience design. Most techniques may seem very futuristic, but some of them are already reality. And in fact, they are extremely impressive. Keep in mind: they can become ubiquitous in the next years.
You may also want to take a look at the related posts:
(Smashing's side note: Have you already bought your copy of our brand new Smashing Book #3? The book introduces new practical techniques and a whole new mindset for progressive Web design. Written by Elliot Jay Stocks, Paul Boag, Rachel Andrew, Lea Verou, Stephen Hay, Aral Balkan, Andy Clarke and others. Thank you for your time and your support.)

Fez: 2D/3D Gaming Experience

Over years we’ve managed to get used to traditional 2D gaming experience. Fez 3 provides gamers with a new perspective for a new level of gaming experience. Things start to get interesting on 00:30. [via 4]

Futuristic Glass

This futuristic concept aims to integrate the capabilities of online-services in our daily life. Since web users can now access the Web everywhere and all the time, one can use their mobility for a number of useful applications. For instance, to provide assistance in a city guide, translate texts, look up some data in encyclopedia etc. A futuristic concept which is likely to become reality in the near future.
Screenshot 5
Screenshot 6
Screenshot 7

Aurora User Interface

Recently Adaptive Path has presented a new browser concept which was developed in partnership with Mozilla Labs and is an ongoing initiative to encourage designers and developers to contribute their own visions of the future of the browser and the Web.

The main idea of the concept is to represent users, places and virtual objects within a three-dimensional user interface (spatial view). The interaction with objects is intuitive and follows physical rules from our daily life: users can grab, lift, pull, push and drop everything.
The interface is event-based as users and updates are displayed on the screen on demand; communication and collaboration is embedded in the browser. Related objects are grouped into clusters which can be navigated using a dock at the bottom of the screen. The concept is released under Creative Commons Attribution-Noncommercial-Share Alike 3.0 license and is available on the Mozilla Labs 8 site. Video Part 2 9, Video Part 3 10 [ via 11 ].

jDome: New Level Of Gaming Experience

John Nilsson’s jDome 12 lets gamers see about 50% more of the game they are playing. The main idea behind the interface to to alter the Field of View (FOV) in a game with a few simple commands and use a projector to provide gamers with a 180-degrees of game display.
Screenshot 13

“Just put a jDome in front of a projector, mirror the image in the projector, start your game and change the Field of View in it. You don’t need special computer hardware or software — just one projector and a jDome display.” [via 14]

Motorolla Sparrow

Motorola Sparrow 15 is supposed to provide retail stores with a mobile point of sale device to make it as easy for customers to pay for a product and leave the store. It combines a scanner, point of sale (POS) system, RFID, communication and credit card reading capabilities into one mobile device.
Screenshot 16
Screenshot 17
Both the front and back of the Sparrow are equipped with touch sensitive areas, supposedly making it easier to navigate and use. Beautiful design and really appealing user interface. Designed by Aruliden Studio. via 18]

Tilty Snake

Tilty Snake 19 uses the accelerometer in a Monome 64 to create a new interface for the old mobile phone game Snake. Works out to be very tactile, intuitive, responsive and quite fun. Simple and beautiful. We, at Smashing Magazine, would love to see the same design for our beloved Tetris. Probably we’ll see more tactile interfaces in the future. And why is iPhone actually not tactile?

Brainloop: Thought Control

BrainLoop 20 is an interactive performance platform that enables users to manipulate objects on the screen with pure brain — by imagining specific motor commands, without single touch or click. We are not sure how effective this approach is, but it is definitely an unusual user interface.

Eyeliner 3D

Eyeliner 3D 21 is a high-definition projection system by Musion basically uses innovative HD video projection to produce three dimensional, holographic images within a stage setting. Recently, it was used to promote Toyota’s Auris at the Bluewater Shopping Centre in Europe, as well as for a fashion show. We’ll definitely see more holographic user interfaces in the future.

faceAPI

faceAPI 22 is the technology whill will enable automated 3-dimensional tracking of heads and faces using a webcam along with a tracking software.

“This 3D head-tracking software from Seeing Machines can track head position in X,Y and Z – unlike the Sony headtracker. This means you miss out on the cool “zoom” effects when you get close to the screen, because the software has no understand of how far away you are from the screen. The faceAPI tracks head position in Z too, allowing much cooler effects – and more robust tracking.”

Ringo: Holographic User Interface

Ringo 23 is a concept which demonstrates simple possibilities of having the holographic shadow instead of a PDA or a cell phone. It’s not produced and not developed yet. But it looks very promising and like something we may really get used to in the future. Developed by Ivan Tihienko.

Composition of the table

Composition of the table was designed by Toshio Iwai to create the mixed reailty experience: the user interface blends images and sounds for rich user interaction. “Projectors suspended from the ceiling project computer generated images onto the tables and interfaces. This images change in real time as if they were physically attached to the interfaces when players operate them.
Screenshot 24
Also sounds are produced in relation to the movement of images. Since the interfaces have close relation to the reaction of images, players can operate images and sounds in the same way when they operates ordinary interfaces and gradually feels these illusions as equivalent as the actual objects. Push, Twist, Turn and Slide are the four features that each of the table specializes in.” [via]

uvLayer: Drag’n'Drop for videos online

uvLayer 25 is a web application that is built using the AIR engine and offerse its visitors drag and drop user interface for videos. Users can move videos around, drag them, select the best ones visually and group them as one would do it in a real life. Such RIAs are expected to become a standard in the future. [via 26, thanks, Lionshare]
Screenshot 27

Last Click

Housed in the Comcast Center, this 10-million pixel video wall is touted as the largest four-millimeter LED screen in the world, measuring 83.3ft x 25.4ft. It’s an automated control room, home to 27 000 gigabytes of information, six dx-700 led digitizers, seven encore video processors and three matrixpro routers.


Sunday, 16 October 2011

User Interface Analysis: Skyrim

User Interface Analysis: Skyrim
link: http://www.gamasutra.com/blogs/EricSchwarz/20111114/8890/User_Interface_Analysis_Skyrim.php



In my previous article, I took a pretty scathing and critical look at Skyrim's PC user interface, as well as some of the issues with the port in general, such as poor performance.  Bethesda released a day-one 1.1 patch just after I had written the article, which fixed a number of the interface problems (such as inconsistent keyboard and mouse controls), but it's clear that the shipping version of the game still had some major problems, and likely that the PC version fell by the wayside in order to hit that majestic "11/11/11" shipping date.
Though user interface is something that one can write books on, and has been the subject of a number of my previous articles, Skyrim's user interface is something which I feel deserves specific scrutiny beyond the PC compatibility and usability complaints I voiced.  Indeed, Skyrim has, for all its sleekness, has, to be completely frank, one of the worst user interfaces I have had the displeasure of using.  Skyrim, the game, is one of Bethesda's best works and a substantial improvement over previous ones, I do want to stress... but actually interacting with the game is an exercise in frustration, and the interface itself violates so many fundamental design tenets that it's downright upsetting.
Oblivion and Fallout 3, it's fair to say, did not have the best user interfaces.  Their layouts were a bit confusing and inconsistent, there were too many tabs, menus, nested menus, menus with multiple pages and sub-screens, etc.  Moreover, in Fallout 3, close to two-thirds of the screen space was taken up by the Pip-boy 3000, a fancy model with lots of shaders which had precisely no gameplay function whatsoever (but it sure did look neat, huh?).  One would think that after these two instances, Bethesda would go back to the drawing board and try to improve things for the better.
Initially, it looked that way.  Bethesda's bold new iPod-esque design, with plenty of clean, futuristic fonts and scrolling "cover flow" menus was clean and seemingly efficient, removing a lot of the excess baggage of previous menus and more effectively organizing information.  It's fair to say that this is one of the more radical redesigns of a user interface in a modern console game short of Fable III's interactive 3D Sanctuary.  However, like Fable III, Skyrim completely forgets that conventions exist for a reason... and demonstrates that Bethesda really have not learned very much about designing interfaces at all.
Poor Use of Space
The first, and most glaring fault, and a problem shared with their previous games no less, is an almost criminal misuse of space.  Though the heads-up-display is minimalistic and efficient actually getting into the menus demonstrates an almost complete ignorance of even the most basic design rules.  Upon opening up one of the game's menus (inventory or magic are the two most common), one is greeted with a single sidebar on the left or right side of the screen, containing a list of categories.  While there are ten distinct entries on the inventory list (depending on what types of items the player has), the default position for the list is not at the top of the screen, but at the center of the screen.
While this is immediately more readable, it quickly becomes apparent that not all entries can fit on-screen at once.  On a gamepad, this means that sometimes you'll need to do additional scrolling to be able to read some of the additional items in the menu.  On the PC, you'll need to actually scroll the list just to be able to click on the items that fall off-screen, even though there is more than enough real estate on screen to click each of them.
Despite all that extra space up top, the default list position makes no use of it whatsoever.
Actually selecting one of these categories will reveal a second menu which lists all items within that sub-category, i.e. potions or weapons.  However, whereas a single column works for the smaller, ten-items-at-most list for inventory and magic categories, for the items underneath, it's a complete disaster.  While only a few items won't put any stress on the format, when you have potentially dozens or even hundreds of items, as in the case of various potions, ingredients, food items, and so on, this misuse of screen space and fixation on adhering to a specific aesthetic means that sometimes it can take ten seconds or more to even reach the item you're looking for.  Adding another column  would have mitigated the problem almost entirely, and placing the default list position at the top of the screen rather than the center would have further reduced additional scrolling.
Finally, there's the item or spell display itself.  Though it likely seemed a good idea at the time, over 50% of the screen space is taken over by a 3D model or particle effect of a given item, with attributes and a short description taking up close to 20% of the entire usable screen space.  Why this is, I cannot fathom.  Most of your time in the inventory will be taken up scrolling through items, not staring at 3D models.  Furthermore, a separate option to examine the models in detail already exists - so why do they take up so much room by default?  I imagine the goal was to show off the pretty models their artists no doubt worked very hard on, but to devote so much screen space to such a non-essential function is a major interface slip-up.

Text vs. Pictures
One immediately apparent characteristic of Skyrim's menus is that they almost entirely eschew pictures, instead replacing everything with text, sorted alphabetically in most cases.  This is a trend I've seen in a lot of modern games lately, and is often sold as "getting rid of the Tetris inventory" or the more general "streamlining."  Unfortunately, such a mode of thinking completely misses out on some of the many advantages that pictures and icons have over text.
While smart sorting options and using text aren't outright bad decisions, I want to stress, text, especially on a TV screen where real estate is more limited, takes up significantly more room than icons can, and have the immediate downside of being less easily identifiable.  Those lengthy lists which define Skyrim's menu systems could take up half the space if more traditional and RPG-like inventory icons were used instead - and it would have further eliminated the need for a large 3D model to take up the majority of screen space.
One of the most defining features of RPGs, especially in the West, has been a paper doll feature, or a graphical representation of the in-game character.  Traditionally, this was done (even in previous Elder Scrolls games) due to technical limitations, as highly-detailed and unique sprites were often beyond the graphical capabilities of many game engines.  Over time, this practice has generally waned, mostly because modern games are able to display a high-detail 3D representation of the player character anyway, either during gameplay or in cutscenes.
Though clearly not optimized for a gamepad, Icewind Dale and other Infinity Engine games accomplish far more with pictures than with text.
Though the paper doll was initially included in games as a compromise, a way to have a customizable character without needing to create high-detail animated sprites for every possible combination of races, sexes, equipment, clothing, and so on, it also ended up serving a very important purpose as far as user interface goes.  The paper doll, more than just a vanity, helped to instantly and immediately express exactly what items a player character had equipped - what suit of armor, what weapon, what magic amulet, and so on.  When coupled with an "equipped" inventory sorter of some variety, it meant that players could quickly and easily figure out what items they had equipped at any given time, literally at a glance.
Skyrim removes the paper doll function entirely in favor of the aforementioned 3D models, and the result is that it's actually harder to figure out what one's character is using at a given time.  Playing as a warrior, unless I have my weapon at the ready, I genuinely have no idea what I have equipped, potentially until it's too late and I meet the game over screen.  Playing as a mage, unless I have my spells at the ready, I have no idea what I can cast at a given moment, leading to much mashing of hotkeys - and furthermore, as many spells share similar visual effects, often I find myself casting the wrong spell for a situation because I can't even tell them apart until I've fired them off.
Comparing the interface in Skyrim to the interface in Icewind Dale, it seems that the old Infinity Engine was capable of producing a more immediately usable, quicker, and more attractive interface than all the modern technology and theft from Apple in the world could.  The pictures look good, it's easy to see what each item is, there are reams of more detailed information to be had at a single mouse click, quick-slots are easy to set up, it's never a mystery what items I have equipped, and there's even something tactile about the weighty sound effects and item selection lacking from Skyrim's sterile menus.  Even Arena did some things better than Skyrim, and that was over fifteen years ago.
The Worst Screen in the History of UIs
That header is not hyperbole.  I think that Skyrim has genuinely managed to lay claim to the title of "worst interface element ever made."  It comes in the form of the skills menu, used primarily for leveling up.  It violates almost every single rule about designing user interfaces, and it does so for only one reason - to show off a pretty picture.
Among many other problems, the skills screen doesn't even give you an idea of how many skills there are to choose from.
The gimmick with the skill screen is that it resembles a number of constellations in a night sky, with each constellation representing a specific skill.  I was under the impression that in previous Elder Scrolls lore, it was birthsigns that were the constellations, but I guess that idea was thrown out the window as birthsigns have been removed in Skyrim.  But I digress.  There are honestly so many issues with this screen that I am just going to list them one-by-one.
  1. It's impossible to see all the skills at once.  Want to know what your skill level in something is?  Prepare to do some additional left and right scrolling.  Depending on what skills you use, this could mean several seconds and close to a dozen discrete inputs to move the list along to where you want it.
  2. It wastes a lot of extra screen space.  By linking each of the headers to an image, instead of, say, displaying multiple rows or a vertical list with independent images, the numer of items on screen at once is further limited.
  3. It needlessly violates conventions both in games and in the real world.  From an early age, we are taught to read information left to right, and to list items top to bottom.  This convention may not be the ultimate in organization, but it works and most players are going to be used to it.  Instead, Skyrim presents a left-to-right list of items which is completely counter-intuitive to our existing understanding of how lists work.
  4. The default point is the center, not the left side.  Though it may seem more intuitive to place the currently-selected skill in the middle of the screen, in actuality it creates more work for the player, as the eyes have to travel both left and right to view other skills.
  5. The list scrolls both left or right, meaning there is no "starting" point to go from.  Usually in a game I want to know my information is organized in some sort of coherent way, but in Skyrim, the left and right scrolling ruins any spatial organization of information players might have.  Furthermore, anything that's off-screen might as well not exist at all, so if it's not immediately visible, you probably won't have a clue of exactly where it is in relation to the other items.
  6. On the PC, the controls are baffling and awkward.  Mouse clicks only move the list one position left or right.  Think you can click on one of those far-off items to select it?  Too bad.  I mean, really, what do you think that mouse even is, a cursor or something?
  7. When it comes time to inspect the perks in the skill trees themselves, or level up, only one perk's details are visible at one time.  This makes it impossible to view information at a glance, and furthermore means that it's harder to compare different perks to one another and weigh trade-offs.
  8. You have to go back from the perk menu to change to a different skill.  The way the controls are set up both on PC or gamepads, using the usual "back" button actually closes the entire skills screen, rather than going back to the main list.  Why the needless break from convention?  I certainly couldn't tell you.
  9. Navigating through different perks is a tedious and difficult process.  Rather than using a list, perks are represented by stars in each constellation, and must be "traveled" to using the analogue stick or mouse pointer.  If you're imprecise with your movement, be prepared to waste time as you travel to the wrong perk selection.  Furthermore, it takes around two seconds to move from one perk to the next, which itself can grow irritating if you want to find something at the opposite end of the perk tree.
  10. UI elements and camera perspective can actually block out perks that should be visible.  Instead of being able to see all the perks at once, the angle of the camera means that only a handful of them are even visible in the first place.  In some cases, such as the "Perks to increase" counter visible in the screenshot, the titles of perks that should be visible are actually blocked out entirely, requiring additional scrolling.
  11. When leveling up, there is no way to go back on a selection you've already made.  Chosen a perk and then change your mind?  Maybe pressed the back button by mistake and kicked yourself out of the menu again?  Too bad, you're stuck with your choice.  Almost every single RPG I've ever played has had a "confirm changes" button somewhere, usually upon fully exiting a menu rather than immediately after selecting a given item.  Why it's not in Skyrim, I can't say.
I honestly do not know who designed this portion of the interface, but it has so many elementary problems that I have trouble understanding how it even made it into the game - surely, somewhere, someone must have said "you know, this doesn't really work well"?  And yet they didn't - it's in the game, and players have to suffer through it.
As if scrolling everywhere wasn't bad enough, doing it in different directions presents its own share of issues.
I have a theory about what likely happened.  Somewhere, a designer came up with the idea... "it'd be cool if there were constellations, with all these stars on it representing skills."  Then, some artist whipped up a neat concept that looked really pretty, and everyone was on board.  However, in not sitting back and asking exactly how it would work from a user interface perspective, what the trade-offs were, and so on, the result was something not at all enjoyable to use, or intuitive.  Developers sometimes get married to an idea they really like, to the point where it can sometimes interfere with the rest of the game... in this case, Bethesda's designers were probably dead-set on this idea.  As a result, one of the game's more important interface elements was utterly ruined... all for the sake of a pretty picture.
Conclusion
I again want to stress that I have been enjoying my time with Skyrim.  The game is great, it's a lot of fun, and aside from my complaints with the interface and the PC version of the game, it really is a great experience compared to previous Bethesda titles.... and for what it's worth, there is one thing about the UI I do like - the mouse/stick gestures for selecting menus does work very well.  I also don't want to point any fingers at anyone in particular; I don't work for Bethesda, I don't know their company culture, and I don't know who makes exactly what decisions, or how much freedom and back-and-forth there is.  Put simply: there is nothing personal about my complaints, and I genuinely hope they are ot taken that way.
Even so, I have trouble understanding how such a, frankly, badly-designed user interface ever made its way into a supposed triple-A game.  If Bethesda don't have a dedicated interface designer or engineer, then it's clear they need to get one as soon as possible.  If they're willing to sacrifice so much functionality and usability for the sake of aesthetic gimmickry, on the other hand... well, then I think maybe there are deeper problems at Bethesda that the company needs to work out, and in a way which doesn't leave their players saddled with the soiled fruits of their experimentation.  The interface is one of the most important parts of the game; it's time to see it given the respect and attention it deserves.

Tuesday, 4 October 2011

Game interfaces

Game interfaces 

link:https://www.cs.indiana.edu/~rawlins/website/interface/game.html

Although it is true that many user interface innovations first appeared in academic and research environments, the first commercialization of many innovations appeared in games. Scrolling windows, joysticks, trackballs, point-and-click interfaces, double-clicking, click-and-drag [...] appeared in games [...] long before the Macintosh interface was introduced.
Chris Crawford, "Lessons from Computer Game Design"
Game designers have a tougher job than most other software producers since all other software is either for work or education, so users are forced to use it. No one is forced to play a game. Consequently, games are where many cutting edge interface ideas arise. Making the interface more like a game makes it more fun to use---and more fun to build. It shouldn't use the tired
rectangular-windows-with-labels-icons-scrollbars-and-buttons
scheme, it should give joy and it should build an experience. To do so it must have goals and challenges, state-dependent animation, continuous feedback, interactiveness, responsiveness, continuous user control, and a feeling of being in a real place. Here are some characteristics of non-violent puzzle-adventure games like Myst, Riven, Obsidian, Journeyman Project 2, and Rama:
 
Purposiveness:
Goals: The game has a goal---everything is shaped toward accomplishing something. This gives the experience a purpose and helps place the incidents along a timeline or path, which also aids memory of those incidents.
 
Challenges: On the way to achieving the goal, the gamer faces a series of challenges. Each surmounted challenge tells the gamer that progress is being made toward the completion point (that is, accomplishing the goal).
Navigation:
Reversibility: Navigation is almost always reversible. Entering a room through a doorway means that you can exit the room using it as well. This lets the gamer know that exploration is (usually) harmless and is therefore encouraged, since any navigation act can be undone simply and naturally.
 
Immediacy: Navigation has immediacy and consistency. It breaks the suspension of disbelief to have to reach offscreen (that is, out of the world) to navigate.
 
Mystery: Not all of the space is revealed at once. Gamers have to travel around to see new things. Of course, once a thing or a place is seen a few times it might be reachable much more easily by other means.
 
Reality: Every movement takes a certain amount of time regardless of how fast the computation could actually occur. This increases the sense of objects being moved, or distance being covered. Timing is an important reality cue.
Reality cues:
Sounds: Incidental or background sounds (wind, water, surf, birds, insects, animals, machines) give cues about location and state and thereby increase the believability of the scene.
 
Consonance: Sounds are tied to animations and proceed in lockstep. Hearing a door slam a second after it visually slams breaks suspension of disbelief.
 
Music: Music soundtracks for cutscenes heighten the sense of motion between locations.
 
Animation: Smooth animation increases the believability of active entities in the space and helps place gamers in the space as they move through it.
 
Interdependence: Animations are state-dependent, not stateless, except possibly for aggregates like water and fire, and particle systems like fog, smoke, steam, clouds, and fireworks (which are perceived as a gestalt). Animation loops aren't just boring, they're downright annoying. Any movement catches our attention but if the movement is stereotyped it ceases to be interesting. Since it's moving, however, it continues to snag our attention, which is what makes it annoying. Blink tags, marquee tags, and animated gifs are all bad examples.
 
Permanence: Objects have permanence---they have a consistency of appearance from one angle or condition or state to the next (a chair seen in one scene will still be visible in another scene, although from a different angle). This helps the gamer move from location to location and not get lost and also increases the believability of the objects in the space.
 
Solidity: Objects are three-dimensional and texture-mapped. Animated objects move under acceleration; they don't simply have constant velocity.
 
Stability: Objects don't arbitrarily change size or position.
 
Shadows: Light has a source and objects cast shadows.
 
Realism: Instead of buttons and menus and text, controls are more interesting: levers, knobs, switches, valves, wheels, gauges. The extra cost of animating these controls is well worth the increased feeling that the gamer is controlling a real machine, rather than an abstract entity. Realistic controls also make it easier to see what state a control is in.
Landmarking:
Non-regularity: The space is colorful and interesting (that is, varied in appearance) and objects are non-regularly shaped (few or no straight lines and right angles).
 
Variety: The space has a lot of varied environments, varied object types, and (ideally) varied inhabitants. Not only is there motion on land, there is also motion on water, and sometimes air (and even space). The environments provide landmarks and the inhabitants provide local color.
 
Maps: The space often has maps and those maps are usually active (an active map is essentially another kind of control).
Interaction:
Constraints: Newton's Zeroth Law of Games: Games don't give error reports. Gamers can't make errors; their actions are artfully constrained so that everything they can do at any time is always legal.
 
Inertia: Newton's First Law of Games: Controls have consistent state. If a control is in a particular state it remains in that state until altered by the gamer or by other active entities in the space. Changing the state of a control then going away and coming back to find the control still in the same state adds to the feeling of being in a real place.
 
Physics: Newton's Second Law of Games: Timed entities (alarm clocks, time bombs, inflating baloons), and other entities acting under the laws of physics, can break Newton's First Law of Games, but the state of such entities is also predictable.
 
Consistency: Newton's Third Law of Games: Controls that look similar behave similarly. This promotes skill transfer---once you master one type of control all similar looking ones are obvious.
 
Feedback: Newton's Fourth Law of Games: Controls give immediate visual and aural feedback. This gives the gamer a feeling of being in direct control---things in the world exist and can be directly manipulated.
 
Unity: Controls are embedded in the space, not external to it. This increases the closure of the space and aids belief in its existence as a real place. For example, games don't have scroll controls; seeing more of the scene is as natural as turning in the real world.

General Principles

We learn by doing, so the world we interact with should let us directly manipulate objects in it. Those objects should give immediate feedback about their state, or state change, and most actions should be reversible. There should be no such thing as an error in the sense of trying to do something outside the constraints of the world and having the world crash as a consequence. That is absolutely unforgivable.
We like to feel that we're accomplishing something, so our every action should have consequences in the world and should be remembered by state change of objects in the world. This gives us direct evidence that our actions have meaning and consequence to the world we inhabit. The state changes we see also help us remember our actions and give us progressive guideposts on the way to achieve the eventual goal.
We like to be in control, so again, things should respond to direct manipulation and they should remain stable unless we, or other active entities in the world, alter them. Further, if we can see something we should be able to alter it simply and directly. Finally, immediate and multiple feedback (aural and visual at least) adds to the solidity and predictability of objects and therefore reduces the cognitive effort of remembering them.
We are better at recognition than recall, so things that look similar should behave similarly. Also, adding variety to our experiences gives things a timeline to appear in and thus make them easier to remember. Further, we like things near to hand so controls should be directly embedded in the world, not ancilliary to it; having to go elsewhere to change the state of something breaks our concentration on the task at hand..

Goals

The goal of the game might be for the user to teach the system about the user's preferences, behavior, and interests. There should be some visual indication of this, but a display of the graph of pages and their relationships is too complex to use as a visual indicator of progress. Whatever the display, it should emphasize progress and completion. The user must always be able to see that progress is being made toward the goal of the system having a good understanding of the user and should also always be able to see the distance to the next milestone.

Animation

Every activity, from opening a page to clustering pages to moving about in the space should be animated. Simply moving the mouse over the screen should cause something to happen, if only to flip between previews of the pages the mouse is passing over.
Pages should move around a bit in the space, especially in response to user action. For example, each page could have a "gravity" button and clicking it would cause all related pages to move themselves over to the clicked page. Clicking the button again restores the display to its previous state so that the user doesn't get lost in the space. Pages might also pulse or jitter if they happen to be related to a page currently being clicked on.

Interaction

There should be continuous interactivity. The user should always have something to do and the program should never, ever freeze. The user should never lose control of the interaction.
Power-user functions should be kept hidden until explicitly requested in some way. The user should have to be continually trying to reason out some hidden structure. There should be infinite undo so that users don't live in fear that their lack of understanding can cause fatal problems. The user should never feel afraid to try new things.

Feedback

The system might have a tally bar like in a pinball game that counts up how often it correctly predicts what the user is about to do before the user actually does it. There would then be positive feedback where the user would be getting good feelings when the numbers are really cranking along and the numbers would really crank when the user is feeling good. Numbers can also be translated into something more visual: perhaps an inflating balloon or something.
There might be a face to display how the system thinks it's doing (which may be different from the user's perception of how the system is doing). The more the face smiles (or frowns) the more the system thinks it's doing well (or poorly).
The system might also have a face that represents the difference between its various predictions of what the user is going to do versus what the user actually does. The goal of the game would then be to get a perfect smiley face (which is also shown as the target for the user to aim at). The trouble with this idea is that there is no obvious linkage between what the user does and how much the face changes. One potentially nice thing though is that it makes it much more visually obvious that the user is creating an electronic proxy within the system that will then be able to act responsibly on that user's behalf.
There should be continuous visual and aural confirmation about the state of the system; if the user clicks on something it should move, preview, or make a noise; if something is thrown away it should whimper or vanish in an animated way; if new mail arrives, or new pages are downloaded, there should be a ping and some visual change, and so on. Also, all these noises should be modulated by the content of the page and the context of the user---otherwise the feedback is not providing any other information except that the event happened (which would rapidly become annoying). The user should never be in doubt about the state of the system.