The concept of immersion has been adapted by game developers and game critics to describe a deep and positive game experience. While the definition of this concept varies, the user interface of the game is often said to affect the degree to which players can
immerse themselves in a game experience. In cooperation with game developer EA DICE, this master thesis aims to investigate how the notion of immersion affects, and
is affected by, the user interface (UI) of first-person shooter games, with the ultimate
purpose of delivering user interface guidelines for increased immersion.
By conducting a study of contemporary first-person shooter (FPS) games, the current
state of user interfaces in FPS games is documented. With the addition of a subjective
study of FPS games as well as games of other genres, a design space for UI designers is
mapped out in order to provide a structure upon which the guidelines can be built. A
literature study of various resources within the fields of ludology, cognitive science and
media studies is conducted in order to gain increased understanding of what immersion is
and its relation to the game experience. The knowledge acquired is used to formulate
various hypotheses of how player immersion is connected to the user interfaces of FPS
games. These hypotheses are evaluated by user studies and user tests.
Looking at the results of the user tests and the literature study, a final definition of
immersion is proposed, upon which the guidelines are based. The first guideline,
Know Your Design Space, explains the user interface design space of FPS games and
encourages UI designers to look at it as a set of tools. Know Your Game discusses how
the competitive focus of the game and the game fiction affects the user interface from an
immersion point of view. The guideline Establish Player Agency focuses on how the
player can be transferred into the game world by acting within it as an agent rather than
simply a player of the game. Finally, Strengthen the Player-Avatar Perceptual Link
suggests how the user interface can link the player closer to his in-game character on a
perceptual level.
[1]
Bernard V. Brady,et al.
Metroid Prime
,
2002
.
[2]
H. Kontova,et al.
Mirror's Edge
,
2000
.
[3]
Jordan B. Peterson.
The Meaning of Meaning
,
2007
.
[4]
Jennifer Ann Rode,et al.
Using a large projection screen as an alternative to head-mounted displays for virtual environments
,
2000,
CHI.
[5]
G. Fine.
Shared Fantasy: Role-Playing Games as Social Worlds
,
1983
.
[6]
E. Goffman.
Frame analysis: An essay on the organization of experience
,
1974
.
[7]
J. R. R. Tolkien,et al.
The Tolkien Reader
,
1966
.
[8]
Jonas Linderoth,et al.
Datorspelandets Mening. Bortom idén om den interaktiva illusionen
,
2004
.
[9]
Rune Klevjer,et al.
What is the Avatar? Fiction and Embodiment in Avatar-Based Singleplayer Computer Games
,
2006
.
[10]
Matteo Bittanti.
THE WAY OF THE GUN The aesthetic of the single-player
,
2009
.
[11]
David Bordwell,et al.
Film Art: An Introduction
,
1979
.
[12]
Philip H. Mirvis.
Flow: The Psychology of Optimal Experience
,
1991
.
[13]
Helen Steward,et al.
Agency and Action
,
2004
.
[14]
B. Reis.
Even Better than the Real Thing*
,
2006,
Vehicle Dynamics International.
[15]
Barton C. Massey,et al.
DESIGN METHODS
,
2002
.
[16]
Nicola J. Bidwell,et al.
Exploring terra incognita: wayfinding devices for games
,
2007,
IE '07.
[17]
Chris Crawford,et al.
The Art of Computer Game Design
,
1984
.
[18]
Paul A. Cairns,et al.
A grounded investigation of game immersion
,
2004,
CHI EA '04.
[19]
Marie-Laure Ryan.
Possible Worlds, Artificial Intelligence, and Narrative Theory
,
1992
.
[20]
三嶋 博之.
The theory of affordances
,
2008
.
[21]
Katie Salen,et al.
Rules of play: game design fundamentals
,
2003
.
[22]
R. Caillois,et al.
Man, Play and Games
,
1958
.