交互设计新篇章：探索游戏与技术的交融

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"Designing Interactions" 是一本由Bill Moggridge所著，MIT出版社于2006年10月出版的书籍，探讨了如何设计人与数字技术的交互方式。书中通过介绍40位有影响力的设计师的故事，揭示了交互设计的发展历程，包括Will Wright（《模拟人生》创造者）、Google的创始人Larry Page和Sergey Brin，以及鼠标和桌面界面的先驱Doug Engelbart、Bill Atkinson等人。书中深入讨论了为何个人电脑采用桌面窗口、Palm手持设备为何成功、游戏如何成为爱好、为何Google成为首选搜索引擎等问题。全书包含超过700张图片，附带DVD，收录了所有采访片段和互动示例。在第五章“Play”中，作者访谈了Bing Gordon、Brendan Boyle、Brenda Laurel和Will Wright，探讨了游戏在交互设计中的领先地位，因为游戏的目标是娱乐。Brenda Laurel指出，游戏设计没有实际产出，因此可以更加专注于乐趣。游戏和玩具的设计必须始终保持吸引力，以提供持续的愉悦感，否则很快就会被用户抛弃。这一章分析了成功设计互动游戏的关键要素，并强调了从玩具和游戏中学习交互设计的重要性。设计直接从热情阶段跃入消费者阶段，如果无法满足用户需求，就会迅速消亡。从这些讨论中，我们可以提炼出以下几个关键知识点： 1. 游戏在交互设计中的重要性：游戏因其娱乐性和无压力的环境，为交互设计提供了独特的创新空间。 2. 设计的趣味性与持久性：好的交互设计应像玩具和游戏一样，能立即吸引用户并持续提供乐趣，否则会很快失去用户的兴趣。 3. 用户体验优先：设计师需关注用户的需求和欲望，以此激发创新设计，确保产品能立即吸引并满足用户。 4. 快速迭代与市场反馈：游戏设计的快速生死循环提醒设计师，设计必须直接面向市场，接受用户的即时反馈。 5. 从玩具和游戏中学习：理解如何设计互动游戏可以帮助设计师创造出更吸引人的交互体验。这本书和第五章的讨论对于理解用户体验（UX）设计的原则，以及如何通过设计提升数字产品的吸引力和实用性具有重要意义。

Teenagers

The job of teenagers is to explore identity, so they like playing story

games. They want to compare and contrast their own lives with

parallel alternatives, because they think they’ve got to pick a

direction by the time they’re eighteen or nineteen. There are many

fifty-year-old guys who get a beard, grow their hair long, exchange

wives, change cars, send the kids off to prep school and start wearing

tie-dye, but all teenagers think that they have to make a final choice

before they grow up.

Digital virtual reality gives them a chance to play out scenarios in

multiple lives. They can be Frodo, Brett Favre, or a mayor, and do it

all quickly. They can use the “What if?” powers of computers to start

over and try to be a different kind of Frodo or a different Brett Favre.

In sports games, they want to play to see what it’s like.

“Well, what if I was John Madden as a coach? What if I played

like Brett Favre instead of like Jeff Garcia?”

They can try out alternate futures for themselves.

Adults

In our business, we only used to reach grown-ups between eighteen

and twenty-five, but now it’s more like eighteen to fifty, as the

Nintendo generation ages and the baby boom generation is looking

for new things to do with their savings. Adults like to justify their

leisure with self-improvement. They play games for mental

stimulation; if they’re stuck in a rut, self-improvement shows them a

way to get out of it.

Kids play flight simulator and say, “Did you see that explosion I

caused? That was awesome.”

Adults play flight simulator and say, “I was going to have to pay

$2,500 for flight school, but ha! For only fifty dollars, I now have

improved my flight rating up to . . .” Or, “I’m a football fan. Now, if

I’m playing Madden Football, I’m a much better football fan.” They

can justify the play, and explain the value of time well spent.

Play

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The gender of the players

Gaming has been mostly male. Bing thinks that is partly because

males lined up as the early adopters of computer technology, but

also that in the early days of computers, the representations were

mostly abstracted like Space Wars or Pacman, and it is easier to

depict violence with abstracted representations than it is to show

cooperation and relationships between people. Relatively recent

games like the Sims

are played by about the same number of

females as males and span generations as well. Bing describes a

shift in attitudes:

In the last five years, we have had female protagonists in popular

games. Up to 1995, boys would not play with a female character;

they wouldn’t play with a Wonder Woman action figure or a doll, but

girls would play with male action figures; they’d play with GI Joe.

Starting in about the mid nineties, for the first time we saw boys

willing to play with girl action-characters in toys, and in the late

nineties the game Lara Croft: Tomb Raider; The Angel of Darkness

came out, and a lot of boy gamers wanted to play that. There’s a bit

of lowering of sex identity boundaries. It’s now okay for boys to

experiment a little more broadly. I think the younger generation of

gamers takes for granted technology-based communication, Internet

and email, but also new kinds of sexual identity.

Back in the nineties there were some lines of games that were

targeted primarily for girls of specific ages. There were also

educational games for girls. The problem with purely educational

content is that kids grow through it very quickly. The best

educational product ever made is the word processor; seven-year-olds

can use it, and seventy-seven-year-olds can use it. By contrast, kids

can blow through a “learn to spell three-letter words” game in a

month, so paying thirty dollars for that game is a little like buying a

Gucci product for your fast-growing child; parents figure that out.

There were some well-meaning people who tried to do technology-

based edutainment for girls back in the nineties and they were

miserable commercial failures. One that was wildly successful for a

short time was a Barbie line of games. They weren’t leading edge

design, but they were using what is perhaps the best girl-only

franchise license of all time. It sold well for a couple of years, and

then stopped selling.

330

Chapter 5

Series from trailer for James Bond 007

•

game, Everything or Nothing, from EA

Interactive formats

EA tries to put their games out on multiple platforms, so if, for

example, they create a James Bond game, it goes out on a PC

format, a Macintosh format, a console format, and on a handheld

format. Bing admires the sixth sense that people seem to have

about the interactive format that suits the game best. Even if they

launch all of the formats on the same day, players know which

they think is the best one. Some of that certainty comes from the

way they understand the technology, some of it is precedent, and

some of it is the social context. He describes the differences

between the formats:

Video game consoles are usually played by two people sitting on a

couch, ten feet away from the TV. If you’re playing a video game

solo, you’re practicing for when a friend is going to come over, or

maybe wasting a little time improving your manual dexterity. You get

a video game so you can have friends over on the couch. The social

experience of a console game is; “I just kicked your ass! Ha, ha, ha.

Want a beer?”

You get a handheld game so that you can waste time during

mobile moments. In the car, the kids who normally say, “Are we there

yet?” are now concentrating on something else. It might be in the

car, or on the bus to school. The social message of a handheld is,

“I’m by myself, I’m putting up a virtual telephone booth around me,

leave me alone.”

The PC is primarily a solo experience, played from about eighteen

inches in front of the screen. The interface on the PC is much less

about manually dexterity than the console. The social message of a PC

is, “I’m by myself in a nice place, I’m kind of surrounded by this

monitor, so if I talk to anybody it’ll be through the computer.” When

potential customers see that there’s a James Bond game coming out,

they say: “Is James Bond about, ‘I’m going to kick your ass,’ or is

James Bond about, ‘Leave me alone while I’m traveling,’ or is James

Bond about, ‘I’m going to immerse myself in a solo experience’?” And

it turns out that most people think; “James Bond, hmm. You’ve got

guns, you’ve got good guys and bad guys; I’m going to do that on my

console with a friend.”

Play

331

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交互设计新篇章：探索游戏与技术的交融

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