Netease Game Designer: Five Dimensions Analysis of Game Interaction Design

With the continuous enrichment of game categories in the market, card games, RPG games, MOBA games, escape games and other game types also have more performances in game interaction, which is followed by the homogenization of gameplay and interface. Leather game products have caused aesthetic fatigue to players. How to break through the conventional interface design is a test that designers need to face.

In the game products in the existing market, due to the gradual increase in the system and gameplay of mobile games, many subsystems have been expanded to provide more gameplay and fun for the game, such as integration, skills, tasks and other functions. However, after meeting the functional requirements, the market environment also puts forward higher requirements for the quality of the game: giving interesting interactive forms, providing immersion from the player's point of view, interactive experience in line with the game situation and so on. The interactive mode and visual interface in the game have become the carriers to convey experience and emotion, which requires designers to convey new experiences to players through quality polishing.

Next, I want to try to share the design methods around the existing game interface, and simply summarize the five design dimensions, which is a way to attract jade. (The following case is only for mobile game analysis)

Go deep into the world view situation

Summary: Learn more about the world view to touch the players' emotions.

The upgrade of equipment can make players experience more exquisite game quality, and more and more players will pay attention to the performance of character modeling, skin and interface. Vivid interface and interesting interaction can make players get a better game experience.

For example, the universal task receiving interface can intuitively show the functions that players need and also satisfy the user experience. However, there is a lack of design integration and emotional communication combined with world outlook, and the whole is more inclined to functional display. So how to make the interface also produce emotional communication?

Every game has its own worldview and background, and designers are more likely to explore expressions in the established worldview. It is also a functional interface for receiving tasks. In this respect, Chu Liuxiang is integrated with his world outlook. In the task receiving interface, the designer incorporates scenes that echo his world outlook and emotions.

Imagine, what kind of scene is the martial arts in our hearts? In martial arts novels or TV dramas, there have been such scenes: the master is as light as a swallow, leaping to the heights and overlooking the prosperity of the world. And Chu Liuxiang is trying to convey this situation to the players. For example, slogan in Chu Liuxiang said, "I still dream of a real Jianghu every month." . From this, we can see that the core of the game is a martial arts situation that conveys pleasure to players, and this situation can achieve a kind of * * * sound in emotional communication, which has the function of receiving tasks: pride and sense of accomplishment. Based on this situation, the demand of "getting the task" is matched with the scene of "looking down from a height", and the emotion is implemented in the design, creating emotional contact between rivers and lakes. Therefore, in-depth understanding of the world view of the game, you can stand on the player's point of view, tap the emotional contact that matches the needs, and try to break through the new interface form with functions.

Key points:

Space passage

Conclusion: Space transformation can be used instead of guiding and strengthening process experience.

The transformation of space can not only give players a sense of visual impact, but also guide players to explore further. The simple understanding is that the system in the game is regarded as a box with a front, middle and back interval, and players switch between different interfaces, just like shuttling in the near and far space. This kind of expression can follow the mapping of reality into/out of reality, and can also play a role in guiding players and reducing the cognitive cost of players to the system.

"War of Peace" uses the design method of space transition in interface switching. First of all, the whole interface scene is built into the indoor atmosphere of the courtyard. Players enter the system, just like entering a space in the courtyard. In the process of entry, there will be dynamic cooperation of entry/exit, which can immerse players in the scene and lower a cognitive threshold for the interface system.

Key points:

△ Ping An Jing main interface

△ Ping An Beijing Secondary Interface

The perspective of storytelling

Summary: Grasp the main flow design of the story and impress the players.

Storytelling perspective is to draw a complete story with illustrations of story shots. This method was originally used in film production. In the design of user experience, the storyboard design method has several advantages:

"Non-human College" is like a story event in the game. On the game login page, there is a train bound for the college. When the player enters the game, there will be a minibus as the carrier of the transition, which means that the player has arrived at the college, and then needs to take a test (choose the fighting mode), then enter the platform (match the player), the train starts (match the teammates), then arrive at the venue to choose the role to be performed (choose the fighting role), and finally start performing (start fighting). After the performance, there will be interesting interviews. The whole story flow is closely combined with the gameplay, which enriches the fun of the game, strengthens the tonality of the product (nonsense), and brings players diverse experiences and different surprises.

Key points:

△ Main interface of non-human college

△ Non-anthropological college transition interface

△ Non-human Academy Settlement Interface

Scene display

Summary: Break the inherent design by combining the scene expression, and bring unexpected surprises to the players.

At present, the functional interfaces of most games are flat display, but when players have different perspectives, they can bring different memories and freshness to players, and the switching of perspectives can provide more possibilities for interface design. In the game, we usually divide the system interface into general interface and active interface, in which the general interface needs to be strongly related to the game background and functional gameplay. For example, The Journey to the West's "Scenery and Scenery" system tries to express it in the form of scenes, and all related system functions are gathered in a scene interface, so that the player's vision can produce a feeling that echoes the real world and has a sense of substitution.

△ Fantasy Westward Journey Mobile Tour Landscape Interface

The activity interface can be combined with holiday background, such as Qixi Festival and Long Summer Festival in Chu Liuxiang. The scene expression will render the atmosphere of the whole ceremony very colorful, and the overall layout and color can be temporarily separated from the original interface style system, creating unexpected surprises for players.

Key points:

△ Chu Liuxiang Tanabata Activity Interface

△ Chu Liuxiang Long Summer Activity Interface

Details and micro-interaction

Summary: Micro-interaction can be added to the reminder/guidance/feedback to create instant pleasure for players.

With the mature development of various apps, micro-interaction is increasingly used in various products. Micro-interaction can not only remind and feedback key operations, but also bring unexpected surprises to users. Due to the limited resources and functions of apps, most apps focus on accurate communication, while games are less limited (resources, engines, etc. ), so there are more interesting micro-interactions to interact with players.

For example, in Chu Liuxiang's welfare interface, designers use the combination of lanterns to build a guidance process, which brings pleasure to players in the form of micro-special effects at the moment of opening. High-quality micro-interaction can improve players' psychological feelings about non-game functions, thus affecting players' operation and mood.

△ Chu Liuxiang Welfare Activity Interface

In the activities of Fantasy Journey to the West Carnival, the designers combined the theme of Yue Xian Festival with the needs of small games, and the usage of ancient musical instruments (such as drumming, ringing bells and playing the piano). ) feedback to the player through the fretting effect, so that the player can quickly enter the setting and experience of ancient musical instruments.

Key points:

△ Fantasy Westward Journey Carnival Activity Interface

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Facing more and more game products, the interface is not only a simple function presentation, but also the interactive mode and vision displayed by the interface has become the most direct carrier of interaction with players. As Yoshiki Hayashi Masaki, the main UX designer of Nintendo, mentioned in the orientation training, one of the three key points conveyed by Nintendo is to make the experience interesting, which is also the goal of every game interaction designer.