Thursday, 20 March 2008

203CR Freestyle Blog: Ubiquitous Computing Research

Ubiquitous Computing, Ubi Comp, or pervasive computing is set to be the “third wave” in computing (Weiser, 1996) and is best defined as “invisible, everywhere computing that does not live on a personal device of any sort but is in the woodwork everywhere” (Weiser 1996). Ubiquitous computing attempts to build technologies that blur the boundaries between users experience with computing and the world by becoming integrated into the environment. There are many branches of ubiquitous computing research, examples are mobile computing and intelligent environments.
Ubiquitous computing is revered because of its apparent ability to evolve and develop business, learning, entertainment and home environments by embedding intelligent technologies that interact with us disguised within the world we live in (Roussos et al, 2003). The vision of vast amounts of ubiquitous smart technology is not farfetched either. With the advent of a time where microprocessors are becoming incredibly small, less expensive, and more easily adaptable into everyday objects and environments, it is obvious that soon pervasive computing will omnipresent be it in our clothes, tools, home appliances, office peripherals, walls, fixtures and floors. Wireless technology has proved to be the biggest enabler for these devices to expand. This huge leap in communication technology has provided pervasive computing with the new ability to communicate with an unlimited amount of intelligent devices, or services over the internet.

With this new technology new user interfaces will be formed, using multi-modal input methods such as speech recognition or gesture recognition interactions, this will further blend the technology into the environment, making them seamlessly accessible to all in well developed countries.



There are many research papers regarding the application and development of pervasive computing in existing environments, for example the “Aware Home” (Kidd, 1999), the “Smart Home” (Park, 2003), the “Intelligent Room” (Coen, 1998), and the “Smart Classroom” (Jiang et al, 2001). Jiang describes a smart classroom that enables students to remotely participate in lectures as well as recording the lecturer’s verbal teachings. The “Smart Home” seeks to device intelligent home appliances that provide “the good life” (Park et al, 2003). Patterson proposed smart technologies in health care to attempt to aid Alzheimer’s patients by reminding them to perform daily tasks and activities and guiding them from location to location. “Intelligent paper” is another device pervasive device that works just like real paper. Cyberguide is a guide book that knows where you are (Abowd, 1997). Park discusses the Smart Pen that stores phrases and finds definitions as well as the “Smart Pillow” that calms you into sleep by reading to you, and can turn off the light!
Constraints for ubiquitous computing are complex, and apply to government, the individual and business when implementing techniques to produce pervasive computing. The perceived threats of information overload, and the political, legal and social ramifications of this increased concern with privacy, has been brought about by this development in technology. Smart processers within objects and environments have got to the stage whereby they are making decisions that affect our lives. (Langheinrich 2003, Boyd 2002). Users will inevitably end up interacting constantly with systems in their playing, working, and sleeping lives (Langheinrich, 2003). At work for example your software may inform you of your highest priority task on the agenda, however currently it is likely that it will not immediately contact your supervisor if you choose to begin another less important task. In a flash these boundaries in which computers have previously been set, will be smashed and the effect could well change our entire lives. Will your fridge be linked up to your local supermarket and automatically order you new milk and eggs should you get low? Would you appreciate this “life enhancement”? Or do you think one day it will render our own minds inept? Langheinrich (2003) discusses the issue that is brought about by the invisibility of the technology that blurs the border between interaction and surveillance. There are many implications of living in a world where every action can be stored away and later retrieved and viewed as evidence. Langheinrich proposes the following principles to guide the introduction of increased amounts of ubiquitous computing: providing notice about data and its use, providing choice and obtaining consent from users, allowing anonymity or pseudonymity and only saving data where the user gives explicit consent and is witness.
Keeping security paramount in ubiquitous computing is fundamentally flawed due to the nature of the communications technology and the heavy power consumption of wireless devices. Langheinrich says that data and information sent via “airwaves” is inherently at risk so robust and complex security measures would have to be introduced to protect sensitive data.
Bohn et al (2003) identify problems with predicting the implications on our lives of extensive embedded technologies in objects and environments, and brings up the issue of failed deliverables when proposed concepts of ubiquitous computing acts in the opposite way against us, and doesn’t simplify our lives, instead it makes them more complex, increasing time that has to be allocated towards what used to be a simple and intuitive process. The perceived loss of control and mediation over the environments in which we live in is an important factor in the user’s proliferation of embedded technologies (Bohn et al, 2003). There is also a risk of inventing a new divide in today’s society, between people who have the ability to access the new information highways and people who do not (Bohn et al, 2003).
With increased further development of pervasive computing technologies newly conceived affordances, devices and services will evolve out of the existing mobile devices we currently use and into a whole new level of ubiquitous design. Environments will be altered with the ability to become adaptable to incorporating new senses of stimulus measurement upon the environments inhabitants. Environments will transform harnessing the ability to sense, learn and adapt to the changing stimulus from the user (Park, 2003).





Smart devices that have advanced due to increases in processing power, network connectivity technology, and memory resources, will be able to adapt to the environment and provide new services as well as services they were already designed for. One example of this could be a fridge that adjusts its temperatures accordingly to different food storage, aswell as storing your food, or a fridge that can tell you when asked who took a certain item from the fridge last (Lundberg et al, 2002).
The proliferation of ubiquitous computing technologies in electronic commerce and business expects to expand as the strategic pro’s of implementation become more attainable and tangible to smaller business users. As the world becomes more educated about pervasive ubiquitous computing, the level of expertise required to design and implement it will reduce as it will become general knowledge. This will lower development costs of introducing ubiquitous computing into e-business, making it more accessible to a wider degree of business owners.


The main factor limiting the advancement of mobile and portable devices still appears to be the lack of research and need for further applied testing into adequate communication systems and software infrastructure to facilitate the ubiquitous computing wave we have all come to expect.



Wednesday, 19 March 2008

203CR: Usability Evaluation of a Digital Game

Report: Usability Evaluation of a Digital Game

Usability evaluations have been an integral part of software design for the last 20 years, which means there are already existing frameworks used to analyse and evaluate software. These frameworks have been critiqued heavily in recent times, especially for their hit and miss techniques and standards when applied to video games. However many of the standards set by these frameworks do still apply directly to usability evaluations of digital games. This means that when deciding upon a usability evaluation method, I had to look at the practicality of the chosen usability framework when applied to the specific game in question, Team Fortress 2. This game falls under the categorization as a class-based first person shooter (FPS). This genre of game for example generally has a slightly different set of principles on what is demanded from a game to have “playability”. For instance a usability evaluation of a massively multiplayer online role-playing game should examine different aspects as opposed to a flight simulator focused evaluation. It must be noted that usability based method is not the best way to evaluate a video game, yes all games require well designed shell menus and information output interfaces, but the importance of designing a game playability must be paramount. Playability can be described as a combination of both usability and fun and can be measured by the varying reasons a user enjoys playing a game. Nielson’s Heuristics are one example of a usability testing framework that does not really measure playability. It could be said that this is because they are too software specific, they do not measure the involvement, or excitement of a game, and the heuristics are just not all relevant to most games. One main concept of usability is ease of use. This concept is argued by many to be irrelevant, because if a game is in fact easy to use, it will allegedly become boring very quickly. I disagree with this because I believe that all games do need to maintain easy to use interfaces. Without a usable and well designed interface a game with good content would feel like trying to eat the finest soup with a fork. This I think is a very sound reason for either always including some form “strict” usability evaluation, be it in collaboration with a Heuristic Evaluation of Playability or not.
After further research on the use of usability evaluations to test games, I posed the question to myself of whether to produce a new evaluation method constructed solely for games, or to incorporate and modify a software centered usability evaluation. In order to choose which method would most suit my game and its evaluation, I had to see what constraints would be put on possible methods by restrictions I would experience without sufficient funding and advertising power. For instance, I wasn’t sure whether using a university computer lab was possible as my main laboratory for conducting my Usability testing. Without a lab at hand a usability test may be hard to conduct because of the lack of consistent hardware for each of the testers to use. I decided to balance the hardware and “lab” conditions, I would use my computer room at my apartment to act as the environment for my usability testing. Other hardware capability worries were also important in deciding this change to the plan of having a lab-based study. Team Fortress 2 (TF2) takes full advantage of High Dynamic Range lighting and DirectX10 technology. Even for a complex first person shooter game, TF2 demands a high performance graphics card (DirectX9.0,16 pipelines minimal), 1Gb of RAM or over , and even more importantly a capable processor (at least 3Ghz Pentium 4). To be honest I did not feel that I should conduct usability testing on systems which fall below the minimum requirements of the game, because a horde of technical issues would probably arise, clogging my evaluation with problems that generally shouldn’t happen. Also another issue I had to consider was installing software, each computer in the evaluation would have to have Steam (Digital Games Distribution Network) and Team Fortress 2 system and configuration files installed locally.
Given the constraints placed on the evaluation I decided that I would most certainly introduce an Expert Evaluation as a way of initially outlining testing problems, areas important to focus on during the full usability testing and to give myself a firmer idea of what usability issues I would be recording. I am under the impression that if I first Expertly Evaluate the game myself I will be much more prepared when designing the user experience necessary to outline focus areas and problematic issues.
I evaluated the game Team Fortress 2, a Half-Life Modification, using a Expert Evaluation initially, followed the week after by a series of separate Usability Evaluation sessions involving four recruited “games testers”. These testers should be from the demographic that is the target audience, and because the BBFC rated the game a 15 certificate, all testers must obviously be over 15. I will use two male testers and two female testers, because TF2 has notably been popular with many women as well as men. A comparative study could possibly be conducted between the results drawn from the female and the male testers, to show the theoretical differences between the perception of experiences. The testers will come to the laboratory and play one at a time for 1-2hours, whilst being observed by myself, the “Test Instructor”. Unfortunately a one way glass observing room is not available, so I will have to observe the findings myself as well as acting as the test instructor. My role as a test instructor means that I will have to ask the games testers to think aloud during the evaluation and give the testers tasks to fulfill in the game experience. Whilst doing this I will record observations made by the user, and by myself on the users actions. I will at some points ask questions or further the users own contributions to usability issues during the test, in an effort to try and get more in depth into evaluating the user’s experience. The focus of the testing is broad, including the main menu screens, and many other sub menu’s divided by class, and activity. The in-game chat shall be evaluated, along with all typical gameplay, and the in-game dialogue shall be examined. I shall use Norman’s Design Principles as a framework to base the user testing on:
Visibility, Mappings, Affordances ,Constraints (Forcing Functions),Feedback.
The visibility of interactive features of the game is important. A game where a user has to inspect every corner of the room (known as pixel hunting) before being able to guess which item is interactive would be very frustrating.
Mappings are the relationships between controls and their actions in the game world. Successful mappings are easy to memorise and poorly designed mappings can be very confusing. Common mistakes in mappings often apply when controls are “relative” and not consistent. For example a game where the WASDA keys take the user in different directions depending on the characters relative direction can be hard to get used to, as opposed to constant and consistent mappings which are intuitive and become third nature.
Affordances overlaps visibility in such that the use of items in the game must be immediately apparent to a user, for example a button is for pressing and a key is for opening a door.
Constraints specify parts of the game where the user requires direction and restrictions in place that prevent the user from doing anything detrimental to their experience when they are not being tested. For example if some non player characters are vital to the continuation of the game, then the player should not be allowed to kill them. As an example constraint, a player would be allowed to attempt to try and attack a member of his own “squad” but a dialogue would ensue where the player is reminded of their goals and the circumstances that would follow their execution. This method is more innocuous and is in an attempt to instead re-create or improve the design devices and their affordances instead of create an invisible wall around the “game’s arc”. Another more specific type of constraint is a forcing function. A forcing function restricts the user from doing one thing until another is completed. One example of this could be in an adventure game where a user is prevented from leaving a certain level without first attaining an object required in the next level. This can also apply to skill, some games where skill is measured in-game and accumulated, will allow a player to enter areas far too testing for a character of their skill and be hopelessly defenceless.
Feedback must be rapid so much so that users can directly relate to their actions. Feedback can be in varying forms, audible, visible or tactile. One example of feedback is when a user is attacked in Team Fortress 2, as well as hearing attack noises, seeing rockets/flames/bullets, red areas flash in the relative direction that the attack came from on the users visual display unit.
These principles are all subject to change however, because of the applied nature of this framework on a game. Whilst Normans principles will not evaluate how fun or interesting Team Fortress 2 is, they will at least examine whether TF2 is consistently designed, logical, and easy to get used to and play. The lacking in Normans principles will be made up by questions tailored to fill this gap based on Heuristic Evaluation of Playability. These 43 Heuristics cover areas including game play, game story, game mechanics and game usability.
In the expert evaluation process I first examined a tutorial guide for TF2, to ensure that I was up to date on all the controls and basic instructions on how to play the game. I played for two and a half hours and noted down usability issues I found in that time. The findings were based on Nielson’s Heuristics and my personal experience of human computer interaction. Whilst evaluating the game I kept in mind that these heuristics were non-game specific, and I tried to evaluate the game like I would any other piece of software.
I used both quantitative and qualitative methods to analyse the evaluation, based on my findings from preliminary expert investigation. Severity classifications were created, and possible solutions outlined wherever possible. I decided to have a three tier severity classification method, ranging from severe through mild to minor. This meant I could easily classify the problems instead of wasting time trying to decide whether a specific problem fits into specific categories. This meant that although I used Normans design principles to identify problems, I did not categorise them in a similar manner. The Usability problems were defined and ranked in severity in order to provide a template in which to structure the tasks that the games testers had to complete during the test. Along with a detailed description of the problem, a possible solution accompanied it in order to record initial ideas. Before the expert evaluation I decided in an attempt to gauge problems by severity, to rank the issues found by the amount of time they took to resolve/fix, however it was apparent immediately that the worst usability problems in a game, are the most annoying. They are the most annoying because a, they either cause the user to be angered the most, or b, they are the most repetitive, or both.
“The depth and scope of an expert evaluation are also easy to change. For example, if there is a desire for constant input from the usability experts to the development process, then conducting several smaller usability evaluations with less experts and faster reporting may be a good idea.” - www.gamasutra.com
In general, the earlier the expert evaluation takes place, the more efficient the evaluation will be.
Expert Evaluation:
Key: Severe = red Mild = Orange Minor = Green

1. Sappers reappearing on enemy engineer's buildings even if the spy who placed the sapper is dead.
2. Problems with spy backstab. (Hits registering issues such as backstabbing from front.)
3. Red are able to get behind this fence in the setup of dustbowl's second phase (a bug allowing users behind the enemy easily).
4. Sticky bombs becoming bouncy like the grenades of the grenade launcher (these bombs are supposed to be launched and stick immediately to whatever surface they land on).
5. You are able to play as spectator and while playing as spectator you don't belong to either team, and you can kill members of each team. *** edit fixed in time between expert evalu cp_well soldiers can rocket jump on top of the trains and go into the other teams area during setup
6. Pyro flamethrower shoots slower than Pyro footspeed, resulting in a shorter range than intended whilst running.
7. After each round is won, the winning team are still able to fire weapons, notably all firing Critical hits, meaning that the scores can be drastically altered after the final capture point/objective has been fulfilled. For example scouts rush into the opposing respawn points and can kill every enemy player still in spawn with a single hit (critical damage hits).
8. Intelligence falling through the wooden ramp in 2fort base if dropped (intelligence can become unreachable until it is returned to the enemy base after 1 minute).

9. Point scoring system is unclear to new users, kills are registered as 1 point, 1 point is given for picking up the case from the enemies intel room, another for capturing the intelligence to your intel room, 2 points for a headshot, and 2 points for a spy backstab. However there are defence points when stopping the enemy from disappearing with your intelligence/capturing a stronghold, and other class specific points awarded for gameplay.
10. Medic needles not shooting “straight” due to gravity. The needles drop down over distance, because they are heavier projectiles than the small bullets. This characteristic of the needle gun, is unexpected and at first many new users will steer away from using the gun because of its limited range and aiming specifics.
11. Scoreboard problems. (I.E. Score going to zero, stats not counting.)
12. Critical damage shots (blue/red glow/green indication of critical hit landing) is unclear for users as to what is occurring and why it occurs. Random.
13. Blue engineers can build inside spawn.
14. If screenshot is taken from killcam, the game saves the file as "[playername] is looking good!.tga" and if the player's name contains fordibben characters the screenshot will not be created.
15. Capturing (scoring) the Intelligence makes you stop burning.
16. Engineers can build on top of moving trains.
17. Black screen when changing resolution
18. Graphical problems with some materials. (I.E. Glass, water, doors...)

19. Some commentary subtitles differ heavily from the speech.
20. Dead bodies falling through ground. (And "swimming" on the ground.)
21. Spy disguise lost by “stab” and stab is still registered, whereas when cloaked, stab does not de-cloak, users have to uncloak then stab for a stab to be registered. This means that when cloaked a spy cannot immediately stab anyone, first a small delay occurs in which the spy has to decloak. I presume this is intentional to balance the game.
22. Sometimes engineer's buildings show as if they were damaged when they're not. Occurs after they have been repaired.
23. Ammunition or health can't be picked up if there's a engineer's building close enough.
24. When shooting teammates with rockets, sometimes the rocket goes through and sometimes not. (Tested that the teammate when the rocket didn't go through was not a spy.)
25. Dispensers give you ammunition through thin walls, but don't heal you.
26. Sniper taunt uses the same phrases as the German medic.
27. Sometimes when you fire the minigun as heavy and then die, the effects of the minigun will stay when spectating until you respawn.
28. Spy has 3 hands if you reload the revolver while you are cloaked
29. Name not changeable during game even through developer console.
Usability Test Results Questionnaire and raw data including consent forms and photos can be on attachment 1.

Usability Test Evaluation:
In the usability evaluation 35 problems were experienced. Of these 2 were severe, 18 were mild, and 15 were minor. These problems were experienced when fulfilling tasks and objectives assigned by myself the expert tester. The tasks were given to four different games testers at different times, and if a problem was experienced whilst fulfilling the task, a record of the problem and its severity would be recorded. All users ranked the game play over 4 out of 5. Half the users ranked the game score a 3, and half the users ranked the game score a 4. Three out of four users ranked the game mechanics a 4, and one user ranked the mechanics as a 5 out of 5. Overall the game design was ranked by two people as a 5, one as a 3 and one as a 4. On average the game design was ranked a 4.25.
I will outline some of the most common and severe problems experienced:
When one test subject was transporting the enemy intelligence back to his own base, he was killed on the stairs in the lobby of the opposing teams base. The intelligence fell through the stairs and was trapped between some world objects. This meant that the key could not be retrieved by the red team, and after 60 seconds the intelligence was returned to the enemy base.
Problem also outlined in expert evaluation, issue number 8.
Solution: this bug could be removed by increasing the size of the intelligence, meaning that players don’t have to get as close to the center of the intelligence to pick it up.

Two of the games testers experienced player models displaying as opposing teams. This seems to be a skin problem, and not related to the spies disguise abilities as I initially recorded in the expert evaluation. I did not therefore discover this problem in my earlier evaluation.
Solution: “Center-ID” a feature used in Team Fortress Classic and in Team Fortress the original Quake Modifcation should be enforced. This would mean that when a player points his or her crosshair at another player, coloured text(depending on the team) displaying the player name should appear somewhere on the HUD.




All of the testers at some point experienced a problem with the game loading correct textures. These issues were outlined in the expert evaluation in issue numbers 17, 18, 22, 27 and 28. This indicates that some form of graphical hardware conflict occurred throughout all of the usability tests. I tried reverting the graphics settings to dxlevel 81 to try and iron out these faults, but they were more prevalent than ever. This fault is not a severe game play fault, but admittedly it does have a negative effect on the overall look of the game.
Solution: To fully provide a solution here I would have to be able to use a Direct X level 10 graphics card, capable of displaying the graphics as they theoretically should be. This would hopefully iron out any graphics compatibility issues.

One problem which became apparent in the expert evaluation was the fact that it is impossible to change your name whilst in-game. I prompted all users who took part in the usability testing to try and change their name as the last task in the evaluation. This issue proved problematic for all users. The “name” command in console is still recognized, however no change is made on the score board. Also at the multiplayer options screen there is the facility to change your name, which also has no affect when a player is half way through a game. This seems slightly odd because there is no valid reason why a player cannot change names half way through playing, alike all other half life modifications.
Solution: If there is a valid and easy way to change your name in-game, then a tip should be shown at startup suggesting the method because many players query this when they first start playing, it was a very common question in the usability evaluation “How do I change my name?”
Below is the performance report and statistics page, on this page like many others, tips are shown in the bottom left hand corner to educate new novice players.
Other problems that weren’t identified in the expert evaluation were noted by users, such as team-mates blocking paths and causing problems, lighting conditions causing players to mistake identity of other player characters, button combinations that are regularly accidentally pressed, players not being able to use the flag direction information output interface. This gulf shows the different approaches and their different abilities to evaluate efficiently.
Usability expert evaluation and usability testing are dynamic, and systematic methodologies that provide supporting information for games development. Together they provide a broad interpretation, the experts view, and experimental data from the testing.
“"Expert evaluation is a fast and effective way to check the usability of a game. In our case, the results arrived in a couple of weeks, and they helped us solve some major design issues. We were also able to fix numerous smaller usability problems, and avoid a couple of potential pitfalls in designing and implementing new features." - Joel Kinnunen - Frozenbyte
"Usability testing provided us with a new perspective on the game. It is difficult to know how the game is played without testing it with the real users - gamers are not predictable, especially as it comes to navigating a given level. In hindsight, I wish more of the development team could have been present at the tests, so the endless amount of choices the player can make would be more clear to everyone on the team. Level designers would do well to study the various player behaviors." – Joel Kinnunen - Frozenbyte

213CR Assignment 1: Game Concept





Game Concept: The Playmaker



The mark’s eyes flutter as the ever increasing red pool behind his head drips down the stairs. “Another day, another dollar”. Bishop has been in charge of the Tactical Operations team front-lining the U.S. Governments war on narcotics with the D.E.A for 16 years. For 17 years Bishop has worked as a Spy for the biggest crime syndicate in the world, the Mexican Loz Zetas Cartel. It’s Time for these two worlds to collide.
You will take on the role of Kane Bishop, as he fights his way through the tangled web of the narcotics trade in South America. You will have to provide strategic planning before and during missions, control a squadron of 8 highly trained elite soldiers in order to execute D.E.A. objectives, interrogate, barter, steal, cheat, lie and backstab your way to survival in a world where you are always the enemy. Whilst keeping the D.E.A. happy and off your back, you must provide tangible information to the Loz Zetas Cartel, sabotaging the D.E.A.’s efforts to bring the organisation down.
Game Mechanics based on concept:
Mission/Level Details and User Interface:
The Playmaker will be a 1st person shooter, with tactical control elements built into the game allowing the user to define certain checkpoints and individual goals for his squadron to act out in an assault. This means that during the mission briefing the player will have to be thinking of which routes to take and which tactical methods and equipment to utilize. On one hand the player must create a convincing strategy to con the D.E.A. into thinking they have a fool-proof plan for success. On the other hand the player must create some flaw in the plan, in order to take advantage of this flaw and sabotage the mission in order to save his own skin in fear of the Loz Zetas Cartel. Any in-accuracy will be punishable and will either see the player fulfilling forfeit-like missions in order to stay in grace with both the Cartel and the D.E.A. At times Bishop will have to make decisions that may risk his immunity in order to save his family, walking the thin blue line between imprisonment by the D.E.A. and torture and death in the hands of the Loz Zetas.
Before missions there will be a briefing given to the player personally by Bishops assistant Debbie. She will explain the objectives of the mission and the necessary information to plan a method of attack. Intelligence will sometimes be erroneous and it is up to the player to make judgements on what really may await the squadron. The briefing will be given orally and visually via live camera link back to the D.E.A. HQ or mobile intelligence unit. Debbie may be requested to repeat any information missed, and the main points and objectives will be itemised in order of importance visible to the player both at the beginning of the briefing and during the level. This constraint should hopefully ensure that players do not forget the specific tasks required to progress onto the next assault.
After the briefing the user will be given the opportunity to create waypoints for each of his team to pass through. This tool is called the “Play Book” and is often vital to the personal success of Bishop. This enables the player to know where the rest of his squadron are going to be at a certain time, giving him a chance to plan events before entering the hot zone. If the user does not elect to choose waypoints, less detailed automated waypoints will be used. These waypoints and procedure routes can alter during a fire fight and the user must remember that if any of the team are injured their positioning and effectiveness will be drastically affected. Bishop must always remember that the “Play Book” should never indicate any foul play. The “Play Book” is D.E.A. property and is visible to his commander in chief, Johan Kofk. If Kofk suspects sabotage has occurred on too many missions under Bishop’s control, he will be investigated by Internal Affairs and hung out to dry.
In-game Interface:
The Heads Up Display (HUD) is integral to any first person shooter game and so therefore will definitely be a feature in this game. It will as usual display the user health points, team member health status, personal armour points, crosshair, compass and ammo remaining. There are many existing styles of HUD, yet many of them fail to reach the correct balance between conveying information accurately and easily and creating a sense of immersion in the game. With an over-loaded HUD the player will have a constant reminder that they are playing a video game. One option is to try and integrate the HUD into the gaming environment. For example the ammo counter instead of being on a HUD visible only on the players screen, could be located on an LCD screen on the actual weapon. My main problem with this type of economising is that during chaotic game play these environment displays could become obstructed or too hard to pay attention to. In light of this I have decided to create a minimalistic HUD that expresses the information using different colours, warning levels and methods. Audio announcements can be made via the radio and this should not be forgotten as a great method of conveying information whilst in the thick of the action. This is a good way to give the user information which cannot be easily displayed visually. Supplementary to the three main HUD items, other indicators such as squad members life expectancy or health will be shown only when the readings change. This cuts out static information and will minimize the amount of data I have to convey via my HUD.
When creating the barebones of the HUD one must remember that before designing such an important and ever present feature, one must look at the environment the HUD is going to be used within. The HUD will be more effective and more discreet if it resembles the in-game world. Opacity of the HUD can also be edited in the game options, this allows each user to set their viewing preferences.
The health indicator will be displayed by green symbols marking a percentage bar and a large green cross. If the health should fall under 75% these green items should turn Amber immediately to express a level of warning. If the health should sink under 50% both the large medic cross and the percentage bar should turn red, giving a higher indication of danger. This should help the player keep an eye on his health easily without being too distracted by the HUD to miss in-game objects and threats. In order for a HUD to be usable and effective it must display the information without obscuring the users vision to a detrimental degree. The health bar should also have a digital reading to allow accurate observation of increase/decrease. This information should be visible yet small enough to be part of an “integrated” HUD. Armour status will be displayed on the HUD by a small “power” bar. This will again change colour using the same colour scheme as for the health. On the side of the power bar should be a small digital reading in % for more accurate viewing. The health and armour information are located together in the bottom right hand corner of the HUD. For the ammunition another digital display should be accessible because for example in pistols, the amount of bullets remaining is a vital part of game play.
User/World/Objects/NPC/Player Character Interactions:
Instead of only providing the specific tools required for each mission, much equipment will be available in the beginning of the game, and further equipment and weapons more specifically will be added upon completion of certain achievements or tasks. Unlike many other games these new weapons can be achieved at different points of the game, which means that utilizing the correct weapons is more the users choice than something forced upon the user to give them the ability to complete a mission. For example there will be alternative methods to complete the same objective, allowing the user to use their own interpretation of what is required from the squadron during the assault. This means that if a player favours huge demolition as oppose to needle-like precision execution, the game can fulfil his destructive urges. Certain equipment will remain part of the player’s main repertoire. The pistol, the mirror, the throwing knife, the silenced colt M4A1 and Kevlar protective armour. These five articles are enough to complete any mission however other weapons and equipment will make much lighter work of a hard task. Amongst the mass of military equipment that can be unlocked during the game is the Milan anti personnel machine gun, the Arctic Warfare Police Magnum sniper rifle, the Claymore anti personnel mine, night-vision goggles and an adrenaline and morphine injection kit. These items are all fully loaded and stocked at the beginning of each mission due to the support and kindness of the D.E.A. However players can run out of ammo during missions and have to attempt to locate secondary ammo or another gun (from killed AI players).

Missions Objects and Concept Content:
Missions and objectives are widely varying, from heavily coordinated drugs raids involving a helicopter extractions, to covert assassinations of top drug barons. The settings of assaults and missions involve a cocaine factory in the jungle, a crack house in Miami, a nightclub in Medellin Columbia, a speedboat on the panama canal, a helicopter, a marijuana plantation near the Andes, a hospital, a court room and the D.E.A. Headquarters. I have chosen to use hugely altering settings to give the game a more immersive story, enabling to take on the role of Kane Bishop not only in the field, but in more everyday environments like the courtroom or a hospital whilst operating for Loz Zetas.
Training will be a regular part of game play in the single player mode, after each main chapter, training will be done along side your squadron and possible new recruits. Training will involve jumping which could encourage bunnyhopping, testing out new weapons on the firing range and in the “Killing House” resembling the SAS derived real life simulations of assaults. Equipment is viewable and information about weapons and equipment are be displayed at a central computer so that tips and background information is available to the user.
The first mission will bring Bishop to a point in his life where he is pulled from every direction, intelligence was leaked from the Cartel about a money train leaving Miami back to Mexico to the D.E.A. Unknown to Bishop but he coordinates an attack on the money train as it is in downtown Miami, catching two of the highest ranking Loz Zetas alive. The sting operation seizes a record $700 million. The D.E.A. couldn’t have caught a bigger fish and transfer the brothers to holding cells at headquarters. Bishop just made the biggest move of his career yet, but at the same time launched his life’s perfect equilibrium into chaos. Kane returns home to find his door kicked down, his children and wife missing, his house ransacked and his dog slaughtered. A note splattered in dark still wet blood reads “an eye for an eye”.
Throughout the next chapters Bishop will negotiate with the Loz Zetas Cartel whilst fulfilling his duties as a D.E.A. agent. Whilst in missions Bishop will have to lead an assault against a varying opponent. Each Cartel member and mercenary are differently skilled, in classes. The higher ranking the member, the higher calibre the Advanced Artificial Intelligence is. Important game characters will wield custom weapons and have distinguishable outfits to recognise them. Bishop will have to navigate a way into a hostile situation in which there may be hostages, meaning him and his squadron will have to infiltrate and eliminate all cartel members before objectives can be completed. Entry points vary throughout the levels and on some levels there are multiple methods of entry, for example blowing all the doors with plastic c4 explosive, or abseiling in through the roof windows. The aim of the game is not only to complete the objectives but also to show flair and skill. This is because in Play Maker not only are you rewarded for successfully completing missions but your accuracy and other meritable efforts are specially collected and statistics are generated. For reaching certain notable levels (i.e above 99% accuracy, Headshot count, Hostage Rescue count, objects and buildings destroyed) awards will be given that fit the accomplishment. The six golden bullet awards are some of the most prestigious and once completed these merits will show on each users profile across the online gaming network. Further online statistics that include some of the details mentioned above are also important for developing more competitive gaming within the network.
Failure in single player missions will result in the torture or death of one or more of his two children and wife. If an objective is impossible to complete then Bishop will receive a finger or a toe from one of his loved ones. If Bishop is killed his family will be executed in an attempt to cut any connections. If Bishop is discovered by the D.E.A. his family will be killed immediately, the Loz Zetas will not tolerate acts of aggression or disobedience. Bishop will have to eliminate certain members of his own squadron to ensure the successful escape of the Loz Zetas brothers. Bishop will have to assassinate an informant testifying against the Cartel. Bishop will have the option to assassinate one of the brothers in order to re-take control from the Mexican cartel. Bishops objectives and missions will focus on the exchange of the brothers for his family and keeping his dark secret quiet from the ever concerned D.E.A. chiefs.
Further Game Mechanics:
Progress will be saved automatically after the completion of each mission, however players can return to a previously completed mission if they choose to create more than one playing “Profile”. This profile data will be stored as saved game data including user specific controls, sensitivity, audio, video and graphics settings, meaning that one user could even establish two profiles for their own use, one with increased gamma for play during the day to combat sunlight, and one for less to reduce glare at night.
I feel that most modern games have online elements, and that this capacity is almost as important as the single player storyline, so it is important that Mechanics of online or LAN server/client relationships are defined at this early stage in development. The following framework should be used. The game can only support a relatively small scale of players, 1-32. Multiplayer will use the Client/server network communications model (in which the server has knowledge about the game) This means that code will have to be written for both the server and the client. This also could bring about the necessity to produce a game that is cross-platform because the server deployment architecture may be one that runs on a UNIX system. This means that the server must be GUI-less independent .EXEs distributed on an online gaming network.
The main advantage of client/server games is the ability to simplify some aspects of the game programming because a single computer has access to all the game state. More importantly, a server computer typically has a high bandwidth network connection, a reliable and consistent network connection, and is itself running on a reliable computer system (the same assumptions cannot be made for client machines). Together with the centrally located game content, these properties of a server make it more accessible to perform operations in custom game code. The online game is enterable at any time. Because of the nature of the internet it often a bad idea to limit gamers to session orientated games because it requires some form of forward planning by all the players. Also having to wait longer than a couple of minutes would infuriate many players searching around trying to find a good server. Each game will only last a maximum of 30 minutes until the level changes. During this time the objective will be to eliminate as many enemies as possible in free for all mode, or to capture the enemies intelligence/munitions in Capture The Flag mode. The game will be persistent and eternal in that even if no players are on a game server, the game state will constantly update regardless.
Concept Art:
This can be seen on the following pages, I first created the objects comprising the HUD so that I could get a grasp of what the first person viewpoint would look like. The background screen was just found through an online resource, and was just to act as a typical environment. The crosshair colour schemes were used to try and identify which colour was most obvious yet unobtrusive. The compass view can be altered from the small compass, as is default when the user is moving throughout the game, to a larger more detailed compass view at the press of a button combination. The same is not possible with the health bar because I felt this function wasn’t necessary because my design of the health bar was such that it must be fully visible and obvious to the user at all times.



Overview of 213CR Outcomes Achieved:


On completion of this module I have shown i am able to:

1. Understand what a games concept is, and be able to identify games concepts in existing games.
2. Understand the relationship of games concepts to design.
3. Understand how games concepts are related to games production processes, and be able to describe these processes as well as key issues for games development in the contemporary games industry.
4. Show ability to develop simple original games concepts, and evaluate them.

The ranges of process that showcase the abilities above are displayed in both assignments 1 and 2, and the rest of my blog work completed for 213CR submission. During each assignment and studio task I approached the question with these outcomes in mind and tried to answer the briefs as best I could with relation to the module outcomes.

Saturday, 15 March 2008

213 CR - Studio 11 - AGS Games Crit

213CR Concept Development for Games Design

Studio 11 AGS Games Crit Sheet








Introduction: This crit sheet was produced in order to evaluate games made using the AGS engine. When designing the crit sheet I focused heavily on Norman's model of activity:





This model is by no means the only model applicable for activity stage representation, however it does come into practice especially in adventure games. The gulf of execution and evaluation are the stages at which most commonly there are problems found within video games. This refers to how an individual understands, or evaluates the effects of actions and knows when his or her goals are satisfied.



1 Game Title

A Tale of Two Kingdoms

2 Description (your interpretation) of the games concept (100 words max):

Set in the ancient kingdom of Theylinn there are enemies surrounding the castle, a giant, mercenaries and an army. There is another kingdom within Theylinn, another realm where there are fairies and magic.
The game provides in-depth narrative, mystery, adventure, puzzles, motor-function tasks and memory based action.
The user character is a guest of the king and has to attempt to protect his daughter Rhiannon. The user must work with other Non Player Characters to complete missions. This is a classic Sierra style adventure game full of mystery and intrigue.


3 Game concept - How clear is the game concept – i.e. is there a clear goal? How quickly could you understand what this game is about and what you are supposed to do?

Very unclear (-2)
Pretty unclear (-1)
Neither clear nor unclear (0)
Pretty clear (1)
Very clear (2)




Any comments







The goals are quite easily detectable, however sometimes the actual execution falls short in the “gulf” of execution (Norman). One example of this would be the castle balcony sequence in the second Chapter, where the player is required to scale the wall to descent out of the castle. This interactive part of the task is unclear and indistinguishable.



4 Player interactions – i.e. with NPC players(AI) or with objects and interactive components? How easy(obvious)/difficult(unclear) were these?

Very difficult
(-2)
Pretty difficult
(-1)
Neither easy nor difficult (0)
Pretty easy
(1)
Very easy
(2)



Any comments (especially, what interactions in particular?)








Although often when having dialogue with NPCs, there were many lines of conversation, it was quite easy to know which questions were relevant to the on-going tasks.
The dialogue and response from NPC characters was directive and informative. Interactions with objects were pretty easy, objects that could be interacted with often stood out from the other background art.


5 Visual quality of the game – how good was the art? Encapsulating? Immersive?

Very poor
(-2)
Pretty poor
(-1)
Neither good nor poor
(0)
Pretty good
(1)

Very good
(2)




Any comments (especially, which art?)









Given the restraints the aesthetic quality of the game was good enough to keep me immersed in the Two Kingdoms World.
The attention to detail is what counts in this game, intricate art had been constructed for many small props, such as the game and the objects located in the Kings downstairs room, in the first chapter, as shown below:

From everything to the paintings on the wall, to the carefully constructed books with details (when looked at closely) and writings inside them.


6 ‘Playability’ i.e. how compelling was this game? How far were the players into it? Was there anything they said/did that indicated what they thought? How much did the storyline drive your persistence and concentration? Were the missions in the game relevant to the overall game scenario/goal?

Very dull
(-2)
Pretty dull
(-1)
Neither dull nor compelling (0)
Pretty compelling
(1)
Very compelling
(2)



Any comments

Moments in the game had good narrative, which provided good content to drive the games progression. One example of this is after escaping the castle, the player overhears a conversation going on in a large house as they walk by. This dialogue provides mystery and clues as to what’s going on in the background story. The missions were relevant and the tasks did not seem out of place.



7 Implementation – how smoothly did the game progress? Was it elegantly and professionally implemented (given the constraints), or did it feel clunky?

Very clunky
(-2)
Pretty clunky
(-1)
Neither clunky nor professional (0)
Pretty professional
(1)
Very professional
(2)




Any comments





Given the constraints placed upon the game by the AGS engine, the game felt professional and well executed. The implementation including changes of location, action sequences, dialogues and task completion was thorough and well constructed.



8 Contextual gameplay - how did you find the interfaces for interaction e.g., load menu, quit, etc.; were these easy and clear, allowing accurate and rapid control of the game?

Very difficult
(-2)
Pretty difficult
(-1)
Neither clear nor difficult (0)
Pretty clear
(1)
Very clear
(2)


Any comments (especially, what interfaces in particular?)










The menu system was satisfactory and accurately showed information. It showed some measure put in place to stop the user from making accidental mistakes, i.e. a double check whether you really want to quit during a game in the form of a dialogue asking you "If you're sure?"






9 Consistency – How well did you learn from experience as you got further into the levels? Did past goals and tasks give you an idea of what might be required in later stages?

Very badly
(-2)
Pretty badly
(-1)
Neither well nor badly
(0)
Pretty well
(1)

Very well
(2)



Any comments (especially, which relevant tasks?)





Learning that a nail could be used to pick lock a simple door latch meant that I now knew the nail was valuable to try and open other doors, progressing me further along in the game. This was one instance of educated guessing, which is often the practice when playing Adventure Games.


10 Now add up your score and write it here:

+8 – generally positive comments: game is pretty good, enjoyable and worth playing. Not something you would pre-order months in advance, but good content and well delivered implementation.



Key:



Red text indicates selected score




-14 plus negative comments: game is dreadful on all counts

-8 plus negative or indifferent comments: game has a lot of problems

0 plus indifferent or qualificatory comments: game is take-it-or-leave-it

+8 plus generally positive comments: game is pretty good, and enjoyable

+14 plus positive comments: game is outstanding










AGS Games Crit Sheet 2


1 Game Title

Once Upon A Crime



2 Description (your interpretation) of the games concept (100 words max):

You are Red, the slightly older Red Riding hood, that has given up her job delivery baskets around cottages in local forests, and taken a position as a Private investigator in Parodise. Someone killed the Big Bad Wolf, and Red must find out who did it, why, and how! Uses charismatic characters to tell a tale of good hearted humour and tongue in cheek jokes. Classic puzzle solving.



3 How clear is the game concept – i.e. is there a clear goal? How quickly could you understand what this game is about and what you are supposed to do?

Very unclear (-2)
Pretty unclear (-1)
Neither clear nor unclear (0)
Pretty clear (1)
Very clear (2)
Any comments

The goals are quite easily detectable, however sometimes the actual execution falls short in the “gulf” of evaluation (Norman).One example of this would be in the third scene, where Red must open the package using a sharp edge of some sort. This interactive part of the task is unclear and indistinguishable.



4 Player interactions – i.e. with NPC players(AI) or with objects and interactive components? How easy(obvious)/difficult(unclear) were these?

Very difficult
(-2)
Pretty difficult
(-1)
Neither easy nor difficult (0)
Pretty easy
(1)

Very easy
(2)
Any comments (especially, what interactions in particular?)
Although often when having dialogue with NPCs, there were many lines of conversation, it was quite easy to know which questions were relevant to the on-going tasks.
The dialogue and response from NPC characters was directive and informative. Interactions with objects were sometimes puzzling, because the objects were not clear enough to be perceived as interactive.




5 Visual quality of the game – how good was the art? Encapsulating? Immersive?

Very poor
(-2)
Pretty poor
(-1)
Neither good nor poor
(0)
Pretty good
(1)

Very good
(2)
Any comments (especially, which art?)
Given the restraints the aesthetic quality of the game was good enough to keep me immersed in the Once Opon a Crime world.
The colours in this game are basic, but the overall look of the game still feels adequate enough to be immersive.

The background setting is basic, but the scene is clear and the details stand out because the setting is so simple.


6 ‘Playability’ i.e. how compelling was this game? How far were the players into it? Was there anything they said/did that indicated what they thought? How much did the storyline drive your persistence and concentration? Were the missions in the game relevant to the overall game scenario/goal?

Very dull
(-2)
Pretty dull
(-1)
Neither dull nor compelling (0)
Pretty compelling
(1)

Very compelling
(2)
Any comments


Moments in the game had humorous narrative, which provided good content to drive the games progression. These dialogues provide mystery and clues as to what’s going on in the background story. The missions were relevant to the game concept and the tasks were related to Red’s role as a PI.



7 Implementation – how smoothly did the game progress? Was it elegantly and professionally implemented (given the constraints), or did it feel clunky?



Very clunky
(-2)
Pretty clunky
(-1)

Neither clunky nor professional (0)
Pretty professional
(1)
Very professional
(2)
Any comments
The game felt clunky for some reason, this could have been due to the slow speed at which the character moves, and because the movement/action interface is hard to control rapidly.





8 Contextual gameplay - how did you find the interfaces for interaction e.g., load menu, quit, etc.; were these easy and clear, allowing accurate and rapid control of the game?

Very difficult
(-2)
Pretty difficult
(-1)
Neither clear nor difficult (0)
Pretty clear
(1)

Very clear
(2)
Any comments (especially, what interfaces in particular?)






9 Consistency – How well did you learn from experience as you got further into the levels? Did past goals and tasks give you an idea of what might be required in later stages?

Very badly
(-2)
Pretty badly
(-1)
Neither well nor badly
(0)
Pretty well
(1)

Very well
(2)
Any comments (especially, which relevant tasks?)
Learning that most actionable items and interactive objects show information regarding affordances and uses when hovered over, enabled me to “text hunt” throughout the usability criticism.






10 Now add up your score and write it here:

+4 – Halfway between being indifferent to generally positive. Not something you would pre-order months in advance, but some good content with enjoyable aspects.



Key:

-14 plus negative comments: game is dreadful on all counts

-8 plus negative or indifferent comments: game has a lot of problems

0 plus indifferent or qualificatory comments: game is take-it-or-leave-it

+8 plus generally positive comments: game is pretty good, and enjoyable

+14 plus positive comments: game is outstanding

Friday, 14 March 2008

213 - Freestyle Blog: Audiosurf review

AudioSurf



While the oversaturated world of PC gaming may be at a stalemate for those producing First Person shooters, for those who prefer a more casual game, with a dash of “old school spirit” there is a saving grace; Audiosurf. Audiosurf was first shown in beta at the Independent Games Festival, and now is available to purchase through the Digital Distribution Network, Steam. This outlet has proved influential for those bedroom coders who require a distribution outlet without going through traditional publishing methods. It can be downloaded by anyone with $9.95 USD available and Dylan Fitterer the talented programmer responsible for the games creation, sets to make a huge leap into the commercial games production scene.


Anyone who has played Audiosurf will know it is a bit like Amplitude, a bit like Tetris, a bit like Rez, and slightly like Vib Ribbon. However instead of coming across like a bastardised mash-up of all these existing concepts, it ingeniously takes the best ideas from each game and creates something that’s both incredibly fresh with a familiar feel.

The user controls a vehicle speeding along an undulating race track. The track is divided into three lanes, each containing colour-coded blocks that reach your vehicle in time with the music. Shoulder lanes on either side have no blocks at all times, allowing the user to transfer into the hard shoulder to catch their breath. Superimposed on the race track is a grid three across and seven squares down. Any blocks your vehicle passes through appear in the grid relative to the lane you went through to hit them. This means that if you pick up a yellow block in the right hand lane, it is collected in the right hand column of the grid. The idea of the game is match blocks in groups of three, which like Tetris removes them from the grid and allows space for others. However like Tetris, if any of the columns become full and overflow, the blocks are destroyed and the user cannot pick up new blocks for five seconds.





The users score depends on how many blocks they manage to chain together, and the colour of the blocks they collect. The colour scheme is explained in terms of heat. Hot reds and yellows earn the highest points per block, colder blues and purples are worth less. There are also score modifiers, from x4 multiplers to percentage bonuses for completing the course with an empty grid, or for collecting the most of the red and yellow blocks along the way. The score system is what provides one aspect of the games addictive playability. There is always the urge to go back and try and improve on your best score.
The actual content and pace of the game is completely down to the player. This is because Audiosurf’s trick is to let the user choose MP3s from their collection to generate its tracks(levels). Faster more intense music with a higher BPM results in action packed downhill rushes, comparable to expert-level Guitar Hero or Dance Dance Revolution, with blocks galore. A less upbeat more chilled out musical choice will find you gently proceeding uphill, with plenty of time to see what’s coming up on the track.





However unlike other rhythm games such as Guitar Hero, there's no penalty for missing blocks or messing things up. However poorly you do, you will reach the end of every song you play, just with a low score. This is a good concept and it gives the user the responsibility of driving their own urge to play the game, without adding the feature of punishments and failure to try and provide an incentive to play again. This means that whether you’re obsessed with beating all your friends and being the best, you can play till you can’t take anymore, or if you’re happy to have a quick play and get back to the real world, the game is happy to provide an adequate level of amusement without failure.
If you really want to test yourself, there are also different ships across three difficulty levels, which change the gameplay in amusing ways. The Vegas has the ability to re-arrange the blocks on your grid into winning combinations, should you cruise along the shoulder lane for a short time. The Eraser can delete all the blocks of the next block colour you collect.
Control is via the arrow keys or a mouse. The arrow keys move you in a slightly different way to the mouse, shunting you from lane to lane while the mouse allows you to move smoothly across the whole track. Additional functionality and abilities are available on the mouse buttons, so this rules out keyboard use after a certain level.


There is even a two-player mode where there is an extra lane added to the track and you each control your side of the grid. The Mono craft element completely changes the game again, instead of colour-matching the blocks the user must now collect as many blocks as possible whilst avoiding harmful grey block that clog up your grid. This game mode offers a huge 30% score increase for avoiding all the grey blocks, and with no shoulder lanes and a hurtling pace, this is where the user will find himself chasing those seemingly unattainable scores.
This concept hangs heavily on the actual translation of music tracks to racetrack. Amazingly AudioSurf handles this well, and in great speed too. Most tracks only take five seconds or so to analyse and convert into a track, yet many details go into producing an individual and specific track that is relative to the music selected. The beats are translated into blocks and the feel and tempo of the music is recreated in the track layout. As tempo increases the levels point downwards, so that the user may not see far in front to make it harder to navigate across the lanes to collect blocks. Long curving tunnels are constructed at changing points in tempo enhancing the intense periods of a track, whilst loops, bumps and barrel rolls and mapped onto the tune with great accuracy.


No matter what mode you play, you are submerged within a 3D map of your top songs, and it is easy to waste hours and hours going through your music collection to see how each track translates. It may not be as visually pleasing and immersive as Rez, most likely because the gameplay requires more intense focus on the centre of the screen rather than allowing the user time to look around, however the minimalistic graphics are still impressive in their own right, especially because of the games amateur heritage. For those displeased by the aesthetics you can change background colours, screen effects and even modify the colours of the blocks to match your taste.


When you purchase the game you are encourage to create your own Audiosurf account, allowing you to collate your scores on the online database. This creates competition between online players, with leaderboards that show you what tracks other people are playing along to, and the option to check other peoples scores on the same songs. Its a good idea combining online competitive play and creative individuality. The score system will even email you if someone beats your top score, providing an incentive to have another go at beating your personal best. You can also check what songs are most popular throughout the Audiosurf community and within 24 hours of the game being released scores were already going over 150,000.




There are a few hitches, but these do not affect the game detrimentally enough to warrant focus. The instructions and tutorial are vague meaning that the best way to learn the aspects of the game is to actually play. The whole track selection front end requires tweaking too, as sifting through huge C drive folders stacked with music can become time consuming. The game already takes advantage of MP3 tags to pull artist and track info so it wouldn’t be too demanding to be able to sort by genre. Its also a shame that you can’t construct your own mix-tape esque tournaments by compiling the best tracks one after another. Basically the game requires a more functional media player and with this addition I cannot see any problems with usability. However Dylan’s roots as a bedroom programmer, these imperfections are to be expected because this production has not had a huge budget backing it from day one. The games roots allow the user to forgive minor issues like these, and in time will hopefully be eradicated by updates and patches. At $9.95 USD I can’t see many music games lovers not purchasing this. Even for those completely overt to the idea of a music game, Audiosurf should not be ignored, both as an ingenious multimedia toy and a very playable game. At the least Audiosurf will have you dusting off the untouched classics lying around in the corners of your MP3 collection, and in time could easily become a developed obsession owing to its quick and addictive game play and ever changing content.


Overall review: 8.5/10

Thursday, 13 March 2008

Temporary 221CR Blog











221CR: Hidden Coventry Logbook





19/11/07: Today we were allocated our groups for our assignment. After we met we set about identifying a plan for the project. In order to plan effectively we needed to establish a timescale, with milestones. This hopefully should allow us to allocate the correct amount of resources into producing content for the Poster Display Presentation, dividing the workload equally, and taking advantage of our best abilities.
My main task was to be in charge of researching hardware possibilities for use on the Hidden Coventry – i-Sight Tour. I had to establish whether there was existing hardware that could be manipulated using either existing or new software to suite our specific needs. Designing the hardware for the Tour would be relatively straight forward, because the specific requirements of the hardware required aren’t that demanding.
21/11/07: Today I began to fully investigate existing hardware that could suitable for our tour. I had to find hardware that had touch screen capabilities, text to speech facilities, an inbuilt camera, GPS navigation onboard, fire wire/USB outputs and long battery life. These handheld navigation systems will need to be lightweight so the users find them easy and convenient to transport. To minimize effort for i-Sight employees the units must be rechargeable with direct power inputs. I looked at Tom-tom GPS units and Navman GPS units. Navman had a diverse range of handheld GPS units, more importantly some with built in cameras. I found information on the Navman N40i which from the specification looked like the nearest match to our desired unit specification. The software supplied with Navman clearly would not have enough functionality for us to be able to implement the tour guide using the existing platform. This meant that we would need to update/upgrade the software on a different more common platform. It was also decided by David and I that i-Sight would initially need at least 10 handheld units to launch.







Resources/Research: http://www.navman.com/Navman/Templates/productinformation____47198.aspx
Here is the product overview for the N40i: I used this to identify whether the unit had the features we demanded.
“And further afield is exactly where the new Navman N40i helps you go as it comes complete with European maps and advanced GPS navigation.
Unmistakeable destinations
The N40i includes an integrated digital camera for taking NavPix to create an unmistakable reminder of your chosen destination. So you can find your way there - no matter how far away it is – whenever you want.
The NavPix itself combines exact geographical information with an image, so whether it’s the Arc de Triumphe, Trajan’s Arch or the Cinquantenaire Arch, you’ll easily find your way back.
You can also download NavPix or share your own in the NavPix Library.
Reliable and accurate
The slim N40i brings together advanced software with ease of use and a finger-friendly, 3.5” touch screen.
What’s more, that ease of use is carried over into the intuitive display and GPS navigation features.
So you can choose whether to use a NavPix or an address, including the postcode (even 8-digit UK postcodes), to find your way to a destination reliably and accurately every time.” – www.navman.com
“The Navman N40i brings together NavPix™ functionality with a digital camera and accurate, reliable navigation in a cost-effective package, offering:
NavPix compatibility so you can download and then use NavPix to navigate
Integrated 1.3 Mega Pixel NavPix camera
Nearest Fuel and Park buttons to alert you to the nearest petrol station or car park
Large 3.5” touch screen
Compatibility with the optional T1 Traffic Pack for real-time, subscription-free traffic updates in the UK, France, Germany, Belgium, Denmark and the Netherlands
Reliable, accurate GPS navigation
Advanced Motorway Navigation
Journey View function
Enhanced battery life, up to 5 hours depending on use
Enhanced software
The N40i also builds on the enhanced software capabilities of the iCN 700 series to offer:
Greatly improved, finger friendly interface
Pre-installed safety camera data
POI import capability, so you can add your own points of interest, such as safety cameras
Drive-Away™ so it’s ready to use out of the box
Automatic re-routing with Back-on-Track™
Pre-installed regional map”
Hardware
Weight
200g
Size
81mm (H) x 118mm (W) x 22.5mm (D)
Memory
64MB SDRAM plus Flash-based ROM:
UK and Ireland, Benelux, Spain and Portugal, Australia and New Zealand = 256MB
France and Andorra; Italy; Germany, Canada; Scandinavia = 512MB
USA = 2GB
Camera
Yes
Hard drive
No
Processor
Samsung 244-400MHz
Battery
Rechargeable integrated Li ION – up to 4-5hrs life (depending on use)
High-quality loudspeaker
Yes
GPS Receiver
SiRFstarIII™ Generation 2
GPS update rate
Typically every second once fix established
GPS accuracy
Fix to 5 metres 95% of the time
Screen
Anti-glare high resolution 3.5” (89mm) colour touch-screen
In-Car Suction Mount
Yes
Power
12V in-car power connector
PC connection
USB 1.1

Software features
NavPix™ navigation to pictures
Journey View
Drive-Away™
Back-on-Track™
POI (points of interest – transport-related POIs)
Nearest POI/POI import
Full postcode address search (including 8 digit postcodes in the UK) – not full postcode-based search in the Netherlands
Voice guided instructions
Favourite destinations stored
Multiple routing options, eg, shortest/fastest, nearest POI
Navigation views
Turn-by-Turn™
Next manoeuvre
3D Moving map (adjust 3D zoom mode downwards to achieve 2D moving map mode)
2D Mini map

Mapping
Tele Atlas 2006
SmartST™ 2006 SE navigation software
Local and European maps”









22/11/07: I decided today that in order to fully examine the Navman N40i I couldn’t merely just look at the technical specification and pictures shown online. I went to Halfords and asked to test one of their display models. The functionality seemed great, it had almost every feature that was desired of our GPS units, the only software editing that would have to be performed would be to add information pop-ups when the user reached each POI (Point of Interest)/Geocache. I purchased the Navman N40i for just under One hundred pounds and was told that if I was interested in purchasing bulk amounts I would be looking at a far more pleasing trade price of Fifty four pounds per unit(boxed retail). This meant that if we did choose to go with using Navman, at least the solution would not be too expensive and support would be available from Navman’s after-service team.
I decided to take some initial photos of the Navman and to bring the unit to the next group meeting we conducted.




As you can see the Navman has been ergonomically designed to fit in the palm of a person’s two hands so that they can both input data and view onscreen information displayed to the user. I decided to test fully if the Navman could be used with customers of all ages by observing my girlfriend and my little sister “testing” the kit. Here are some photos displaying the observations:


26/11/07: After further examination and group discussion I concluded that the Navman I had purchased would be suitable for our purpose, however it would have to be aesthetically re-designed and for ease of use the software would have to be manipulated (simple changes throughout such as button functions – simple “macro’ing”/binding and menu organization). This meant that instead of creating a GPS handset from scratch I would have existing documentation to follow, and I was able to spend more time fine-tuning the user-centered design aspects of the Navman. Today I prepared a more detailed work schedule detailing the processes the Navman would have to undergo, design wise, before it could be used as the end product, the i-Sight navigation handset.
Project Milestones for Hardware Completion
26th November – proposed project checked off and given go ahead.
2nd December – Button reconfiguration to be completed with new logos/icons and altered functionality.
9th December – Testing onboard Camera and data transfer methods to be completed.
16th December – Feedback from group on hardware capabilities and limitations.
7th January – Review progress in tutorial and prioritize any important issues with development.
21st January – Decide which aspects of the hardware design should be included in the poster
28th January – Edit any items for poster viewing, such as editing out slightly in-depth explanations and maximizing picture resolutions etc.
10th February – Group meeting scheduled to arrange and collaborate on a poster design, and to allocate areas of space on the poster to individual aspects.
20th February – Submit articles to be used for poster show for printing.
25th February – Revise notes for oral defence at PDP.
This project plan was not necessarily written in stone however it was useful to me as a guide for when I was falling behind. This was one idea of project planning and management that was utilized to ensure the hardware element of the concept was completed in a timely fashion.
02/12/07: After studying the Navman in detail I have constructed sketches of what I think the i-Sight unit should look like. I have tried to keep the same functionality and ergonomic design as the Navman, whilst utilizing its aesthetic properties to create a modern, simplistic attractive handheld navigation and information tool. Sketches and graphics of the final product are shown below in






N.B. Please excuse the quality of the sketches, the scanning method proved lossy.










06/12/07: Today I created button logos for the navigation unit, these had to be designed so that they could be understood by a varying demographic. I looked into de facto methods of construing particular actions, like delete, preferences, main menu, return to headquarters(home) and enter. It seems there are many techniques used across modern technology to show these functions, so I designed my own, relying on what I thought were intuitively obvious icons/logos.

Button Icons:




05/01/2008: Today I began detailing the technical specifications of the i-Sight navigational tool. These ideas are shown on the next page:
*The logo on the first page was produced by myself and I also created the name of the project, i-Sight. I wanted a logo that depicted a sight that could be seen in Coventry, including the advanced technology used on the tour . The name needed to be modern and catchy, i-Sight reared first as a cliché word play, but gradually became known as the tour name.
This was the raw photograph I used as a background image: