UI/UX Design: A Reworking of Subnautica's Interface

Overview

Subnautica is an open-world survival game currently available through early-access on steam (as of the time of this publication). I love the immersive atmosphere of the game and the stunningly beautiful geography. This game is full of creative innovations and I have enjoyed it thus far with only one exception: the user interface. So I decided to do a critical analysis of the design and usability principles being used in the Subnautica UI to evaluate if changes could be made to improve the player's immersion.

Identifying Issues

To accomplish this, I used Universal Principles of Design, by William Lidwell, Kritina Holden, and Jill Butler. I started off by just playing the game and jotting down notes of thing I noticed. Then I consulted the design principles to identify and understand any issues in the user interface. This collection of principles helped me identify 5 key elements that were lacking: Uniform Connectedness, Comparison, Immersion, Mental Model, and Propositional Density. Here are how they are defined in Universal Principles of Design. 

Uniform Connectedness: Elements that are connected by uniform or visual properties, such as color, are perceived as being more related than elements that are not connected.

Comparison: A method of illustrating relationships between patterns in system behavoirs.
Immersion: A state of mental focus to intense that awareness of the real world is lost.
Mental Model: People understand and interact with systems and environments based on mental representations developed from experience.
Propositional Density: The relationship between the elements of a design and the meaning they convey.

These principles of design mostly focus on the relationship between the player and the user interface. They are all related to each other and will help make a seamless interface.

Here is the current user interface, in-game. 

As you can see, the game is full of these really immersive environments, but the UI pulls you out of that. Changing between tools means looking at icons just floating over the first-person perspective. The stat overlays (oxygen, health, nutrition, and dehydration) look odd as well. The color and theme are not coherent or constant between elements. So it will obviously be important to tie these elements together, bringing uniformity and immersiveness to the player. 

Prototyping Solutions

One system already used in the game is the PDA, an in-game interface that allows players to conduct various tasks. The important thing about the PDA is that it's digetic, allowing us to maintain immersion without losing functionality. Its something I kept in mind while examining solutions. I started by scrapping the entire UI. The tool selection, stats, and depth were all removed so I could start from scratch. I then started reworking the stat overlays.

First, I started workshopping different ideas for to to relay this information without using icons. To really help sell the immersion of this information, I decided it should all be incorporated into the gameplay itself. After doing some research on what real symptoms would arise from dehydration and starvation, I had a strong foundation. This foundation, of stats being relayed through physical changes, also served to tie all the elements together. 

Immersive Stat Overlays

Stat                                                                                                               Suggested Interaction

Health                                                     Blood on inside of visor, flooding more as damage is taken

Oxygen                                                                                                           Bubble Gauge Indicator

Dehydration                                                                                                  Blur/dizziness to emulate

Nutrition                                                                                                    Hands shake/hypoglycemic

Initially, I thought it would be interesting if the tools were being projected through Augmented Reality on the PC's hand.

This seems to be more intuitive to the VR version of the game, but I wasn't sure it would translate smoothly. While hotkeys 1-5 are still used, the icons are moved off the floating UI and instead projected on the character's hand.

Eventually, I decided to get rid of the icons and go with a holographic projection, since this is a sci-fi game, but I think either one works.

Changes took several iterations to find a system that congruently presented itself as immersive to the game world. Finally, I landed on these changes.

New Interface

Since dehydration and starvation are now conveyed through visual feedback systems, there is no need for them in the UI. Since starvation will be shown through shaking hands, there is no real way to show this through a screenshot. Here is another look at the UI however, with dizzyness and blurriness being shown to indicate dehydration.

And one last show showing what a high damage scenario looks like.

Alternatively, I was informed that blood appears green underwater, due to the nature of the water absorbing the color red. Here is an alternative blood color to help weave together more immersiveness. It also makes the game more "alien" in nature, which fits with its genre.

Conclusion

So in conclusion, I think I was able to identify a few areas of the user interface that really benefited from immersive changes. Through design principles, I was able to create a user interface that is (hopefully) more intutitive and easy for the player to use, without losing functionality or immersion in the game world. Here is a final side-by-side comparision of the UI, mine and the original.

My Game Design Philosophy

My approach to game design is based on the philosophical benefits that can be gleaned from video games. Everything I try to accomplish through design revolves around providing the player with a challenging experience that promotes creativity through new occurrences. It is a breakaway from the typical design patterns used in this medium, as it is built upon the neurological functionalities that occur when playing a game. This methodology avoids shallow methods seen in the industry at large and instead focuses on the experience being delivered to the player. It is entirely about their fulfillment, on a biological level. Through neuroplasticity, players can be exposed to stimuli in games that give them a fulfilling experience.

Thesis Project

There are three tenants to this game design philosophy that I have designated as “The Three A’s.” They are Adaptive Gameplay, Active Learning, and Achievement. Adaptive Gameplay refers to constantly changing the challenge presented to the player. One of the key components to promoting plasticity in games involves constantly matching the player’s skill level (Medeiros, 2017). Video game players are used to a typical system where the better the get, the easier the game is. This actually results in a “autopilot mode” on behalf of the player, as no new stimuli is introduced (Kurtzman, 2013). So instead, I implement an adaptive staircase method that challenges the player by making the game more difficult, or stimulating, as they get better. The goal is constantly push the player further, initializing plasticity in the brain (Medeiros, 2017). 

            The second “A” pertains to Active learning, a way of presenting stimuli to the player in a manner that promotes an obtained knowledge through a three-step process (Gee, 2007, pp. 1-27). Game progression should follow a sequence of learning, thinking, and action (Gee, 2007, p. 78). Not only should progression follow this pattern, but it should offer multiple solutions for advancement (Gee, 2007, p. 134). Understanding the different ways that people learn is essential to avoid bottlenecking player’s through a supposed “right” methodology of learning. The way to truly analyze this is to consider all types of problem solving methods and experiment with new ones as well. Innovation on the designer’s end promotes innovation from the players as well.

            The final thing we need to accomplish through game design is to deliver a sense of Achievement to the player. Being able to step back from a game and feel a sense of real accomplishment is vital (Schell, 2015, pp. 133-146). Without this sense of achievement, a player would not continue to play the game (Schell, 2015, pp. 133-146). A lot of games focus on extrinsic, or external, rewards. Instead, design should be focused on intrinsic rewards to help support creativity and self-actualization in the player (Gee, 2007, p. 223). Once the player knows what they want from the game, they can explore creative avenues to get there instead of aimlessly wandering.

These three aspects all work together in unison to help promote an environment that stimulates the player. Through this methodology the player is constantly being challenged in ways that promote active learning and achievement, thus providing them with a truly enriching interaction not seen commonly in the industry at large. Experimentation is paramount in progressing a medium forward and should be cultivated more. This design philosophy fosters freedom for designers to implement new types of gameplay and change how they are able to interface with the player.

References

Gee, J. (2007). What video games have to teach us about learning and literacy: Revised and updated edition (2nd ed., pp. 1-27, 78, 134, 223). New York, NY: Palgrave Macmillan.

Kurtzman, L. (2013). Training the Older Brain in 3-D: Video Game Enhances Cognitive Control. UC San Francisco. Retrieved 10 June 2017, from https://www.ucsf.edu/news/2013/09/108616/training-older-brain-3-d-video-game-enhances-cognitive-control

Medeiros, J. (2017). How to 'game your brain': the benefits of neuroplasticity. Wired UK. Retrieved from http://www.wired.co.uk/article/game-your-brain

Schell, J. (2015). The art of game design (2nd ed., pp. 133-146). Boca Raton, FL: CRC Press.

Mastery Journal Research Topic: Impact of Flow State on Monetization Design

            Several months of research, brainstorming, compiling, and editing have helped to present a finalized topic for my mastery thesis project. My thesis dwells in an established convergence of both Design and Monetization fields of video game development ("GDC 2017", 2016). With the rapid evolution seen over the past several years in the way games generate money, pugnacious realities can wreak havoc on a game for simply not utilizing the correct monetization structure (Rose, 2016). While monetization is one of the most vital aspects of game design, it is often the most overlooked in the industry today and not considered by many game designers (Rose, 2016). My thesis will aim to show the importance of monetization as a part of any game’s foundational design.

(via http://cdn.quotationof.com/images/mihaly-csikszentmihalyis-quotes-7.jpg)

          Flow, a mental state that elicits enjoyment accompanied by a precise and powerful focus, is the primary objective of all games and thus the most powerful apparatus in a designer’s toolbox (Chen, 2006). Since flow is an established element of the core purpose of a game’s design, it is logical to identify a relationship with monetization design. My thesis, in addition to providing data to support the importance of flow and monetization in design, will show how the two can work together in a mutually beneficial way. Being able to understand how these two aspects interact will give designers a way to reap the full potential of their creation. My proposal will show a how each monetization structure should be implemented with the flow aspects of game design. And since the video game industry generates over 16 billion dollars a year, there is limitless potential.

            While there are yet to be any major, established research in this specific area, there are several influential voices that handle these topics individually. Monetization, specifically in the mobile and social marketplaces, has been covered in-depth by Tim Fields of Kabam (Fields & Cotton, 2012). Other industry leaders such as Kate Flack, Ethan Levy, and Martin Koppel have also shared valuable information in regards to the impact of monetization on video games (Rose, 2016). Flow state in games has also been explored extensively by several industry voices. Mihaly Csikszentmihalyi, who first discovered Flow as a construct in the 1980’s and 1990’s, has spoken at length about the components of flow in games (Chen, 2006). Jenova Chen is also a notable voice who has explored flow in video game design, making large leaps forward in integrating the two together (Chen, 2006). I will use these voices and many more as I continue to build upon my thesis in the coming months.

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References

Chen, J. (2006). Welcome to Flow in Games. Jenovachen.com. Retrieved 30 October 2016, from http://jenovachen.com/flowingames/introduction.htm

Fields, T. & Cotton, B. (2012). Virtual Goods. Gamasutra.com. Retrieved 31 October 2016, from http://www.gamasutra.com/view/feature/135067/virtual_goods__an_excerpt_from_.php

GDC 2017. (2016). Gdconf.com. Retrieved 28 October 2016, from http://www.gdconf.com/conference/

Rose, M. (2016). Understanding the realities of video game monetization. Gamasutra.com. Retrieved 30 October 2016, from http://www.gamasutra.com/view/news/205412/Understanding_the_realities_of_video_game_monetization.php

Flow State in Video Games

Mastery Journal Article Analysis: Flow State

Identification of Topic

     For my Mastery Program research assignment, I have chosen to investigate the area of game design. There are many facets to game design that present themselves as possible areas of research, but this paper will investigate flow state. Specifically, it aims to build upon the major influences of flow state: Seung-A Annie Jin, Marin Klasen, Rene Weber, and Mihaly Csikszentmihalyi.

Immersion in Video Games

Immersion in Video Games (Topic #4) 

Being able to completely immerse a player into a game requires several different factors involved in the game design process. The narrative of the game can influence immersion. It can also be influenced by the physical hardware the player uses. Being able to immerse players seamlessly in a video game has been a constant goalpost in the video game industry.

a. Immersed in virtual worlds and minds: Effects of in-game storytelling on immersion, need satisfaction, and affective theory of mind

i. I learned that storytelling within the game can create a more immersive experience for the player. Need satisfaction, the intrinsic sense of accomplishment when aspirations are fulfilled, also becomes positively affected. This ultimately leads to players being able to take on the roles, beliefs, and convictions of others (theory of mind). This strongly indicates a causation between immersion, needs satisfaction, and theory of mind being accomplished.

ii. As a game designer, understanding the impact of your work is very important. By understanding the causal relationships listed above, a game designer can recognize the potential effect his creation might have on an audience. Additionally, a designer could share unique experiences with others who would be able to truly relate, thanks to an unbridled immersion level.

iii. Understanding immersion can help me with my project this month, coordinating a Game Expo. Understanding what types of environments and factors result in higher levels of immersion and entertainment will allow me to facilitate a conducive environment for the expo. I will further research how I can make the expo environment more appealing and immersive to players coming to attend.

b. Video Games, Immersion, and Cognitive Aggression: Does the Controller Matter?

i. This article gave a good amount of information on the impact the seemingly inconsequential factors can have. In this case, something as simple as the controller a player uses can have a positive impact on the player’s sense of immersion and their cognitive (or planned) aggression. In this scenario, players felt more immersed in a boxing game while using a controller that mimicked a boxing glove. Due to the realism, they were also more prone to “aggressive” behavior. In this case, boxing.

ii. Understanding how the hardware used can affect a player’s experience is vital in the gaming field. This industry is constantly evolving and changing, with new consoles and controllers being developed all the time. As a designer, it is important to take into consideration all of the potential factors that might be affected by external aspects of gameplay, such as a controller.

iii. This article does not directly relate to my project this month.

Topic #4 References

Bormann, D. & Greitemeyer, T. (2015). Immersed in Virtual Worlds and Minds: Effects of In-            Game Storytelling on Immersion, Need Satisfaction, and Affective Theory of Mind. Social            Psychological And Personality Science, 6(6), 646-652.                                                                            http://dx.doi.org/10.1177/1948550615578177

McGloin, R., Farrar, K., & Krcmar, M. (2013). Video Games, Immersion, and Cognitive                        Aggression: Does the Controller Matter?. Media Psychology, 16(1), 65-87.                                        http://dx.doi.org/10.1080/15213269.2012.752428