=Paper=
{{Paper
|id=Vol-2246/GHItaly18_paper_03
|storemode=property
|title=The Impact of User Interfaces for the Enhancement of Narrative Elements of a Video Game
|pdfUrl=https://ceur-ws.org/Vol-2246/GHItaly18_paper_03.pdf
|volume=Vol-2246
|authors=Mattia Bellini
|dblpUrl=https://dblp.org/rec/conf/avi/Bellini18
}}
==The Impact of User Interfaces for the Enhancement of Narrative Elements of a Video Game==
https://ceur-ws.org/Vol-2246/GHItaly18_paper_03.pdf
The impact of user interfaces for the enhancement
of narrative elements of a video game
Mattia Bellini
University of Milan
Milan, Italy
bellinitia@gmail.com
“multi-media”, and many are the attempts to establish a two-
ABSTRACT
User interfaces are substantial parts of the gamer’s way multimedia approach (like in many Nintendo DS
experience, but they are not only showing useful information games). Talking about the visual appearance of a game, we
to the player. Indeed, they can also be used to transmit can distinguish two layers: the “lower” layer is the one of the
narrative elements, even if sometimes only under the form of gaming world, characterized by the purpose to create a
the “mood” of the game. Since interfaces can be used to fictional environment in which the player can act through
enhance storytelling, their design should be aware of issues his/her in-game alter-ego, i.e. the Player Character (PC); on
of narrative theory. The suspension of disbelief is probably the other hand, the “upper” layer is constituted by the User
the main cognitive mechanism to be considered, that is the Interface (UI), with the purpose of showing important
process of both knowing and forgetting that what is information to the player, without which is practically
happening in a game is fictional. The equilibrium between impossible to play, but which sometimes are not part of the
those two sides is precarious. This is why all the narrative fictional world itself. It is a well-established custom to have
elements have to be created to keep the balance: user a UI to display all needed information to the player, so much
interfaces are not excluded. In this paper, the focus of the that, contrarily, it is strange to not find one at all. Of course,
analysis is the possible contribution of interfaces to the this distinction is arbitrary, as there might be borderline and
storytelling, and the contribution of narrative theory in game halfway cases, as we will see.
design, particularly regarding the suspension of disbelief. In this paper, the focus of the analysis is on how and to what
KEYWORDS extent the visualization of information in overlaying
Video games, Storytelling for video games, User interface, interfaces is concurring to the storytelling, and on the issues
Semiotics, Suspension of disbelief. and possibilities of UIs in the sensemaking process, to
enhance the narrative aspects of a game.
INTRODUCTION
Many aspects of the development of a video game must deal RELATED WORKS AND METHODOLOGICAL NOTES
with the assignment of peculiar meanings to shapes, colours, Many studies concerning the relation between different game
music and tactile feedbacks. Images, sounds and even elements and narrative have been done. Probably the most
vibrations constitute, in a broad sense, a multi-sensory felt one is the relationship between narrative and gameplay
interface whose function is to make the game understandable (see e.g. [19]). Other studies focused on the analysis of
and playable. certain more particular elements of games with narrative,
among which it is to be noted the study of the relation
What I intend here by “multi-sensory interface” is a between game mechanics and narrative [11]. The results of
connecting system that enables a person to exchange multi- that study blink at the distinction made in many theories on
media messages with a software application (the game, in game design (see e.g. 1, 5, 6, 9) between formal and dramatic
this case) constituted by simultaneous, intercurrent or elements, not denying it, but showing that the line between
convergent use of different media, tools and languages (text, the two is not completely clear and, then, showing that
graphics, animations, sound, static and moving images, dramatic elements i.e. narrative- are pervading all the aspects
vibrations). It is clear why the exchanged messages are of a video game. Furthermore, there has been some studies
for a classification of UIs in digital games, like the one made
by Anthony Stonehouse in the article “User interface design
in video games” for Gamasutra [29], in which we can find a
similar distinction to the one I am going to make. However,
the distinction made there, based on four different types of
UIs, is not considering the essence of two of them: spatial
and meta. Indeed, they are only different ways of placing
GHItaly18: 2nd Workshop on Games-Human Interaction, May 29th, 2018, Castiglione
della Pescaia, Grosseto (Italy)
what they call “diegetic” and “non-diegetic” UIs, as we will
Copyright © 2018 for the individual papers by the papers' authors. Copying permitted see below.
for private and academic purposes. This volume is published and copyrighted by its
editors.
Contrarily, there have been some writings claiming that game (e.g. as in the old games of the Final Fantasy series),
video games are not generally telling stories, and video game the UI contains many information extremely useful for the
development has not to deal with a storytelling process as player, without which, in many cases, the game is not
commonly intended [14]. playable. An important part of UIs is the so-called Heads-Up
Display (HUD), that is the in-game section of the interface,
I disagree with the idea of dividing storytelling and game
showing normally the health bar, a mini map or many other
design in the development of a game (not alone: it will be
information. Menus are another relevant part of the UIs and
enough to compare the positions of [17] and [18] or, more in
are composed normally by a panel with different options.
general, [10]), I do agree on the other hand with the felt need
The remaining part of interfaces are other layers, differently
to find a theory of (interactive) storytelling that fits into game
shaped and organized, used to better show a part of the game
development. Such a theory should include and fit together
world to the player. Even if they are detached from the game
all aspects capable of transmitting narrative elements to the
world, both menus and HUDs are part of the game, and they
player (in accordance with the claims of [28]), it should not
have a role in the sensemaking process that should not be
only consider cutscenes and dialogues, but also elements that
forgotten, as they concur in the creation of the atmosphere of
have a less evident influence, and it should relate them to
a game. Menus also give the first impression about a game,
their specific contribution to storytelling, if any. Since there
since generally the very first interactive part encountered by
has not been a research over the impact of UIs on
a player is UI, in the shape of the main menu.
storytelling, the scope of this paper is to show how,
generally, also the simple and almost-left-aside design of UIs The behaviour of these parts of the UI is sometimes very
can be very useful, or very spiky. It is clear that all the UIs different even in the same game, but they are nonetheless
system may vary a lot and may be very different from one capable of transmitting elements of the story, also only by
game to another, and from one game genre to another: for giving a general idea about the game narrative. It is sufficient
this reason, some categories of games will be excluded from to see what happens in The Elder Scrolls V: Skyrim (TESV:
my reflections, since they need a more detailed analysis and Skyrim; Bethesda Game Studios, 2011): the design of the
a different approach to narrative: puzzle games made of only main menu with the dragon emblem, the fog/smoke and the
UIs (e.g. Tetris (Various, 1984), Candy Crush (King, 2012) choral music brings the user into an epic fantasy world with
and the like) and in general games in which players are not dragons and an unknown language before the game is even
manoeuvring an alter-ego. I will focus instead on the games started. To have a clearer view on the impact of those
in which exists a PC, both expressed or implicit (e.g. in car elements on the narration, a distinction has to be made first.
racing games).
TYPES OF HEADS-UP DISPLAYS
My analysis will be conducted firstly by applying semiotic For a matter of simplicity of explanation, we will talk first
categories to video games (particularly interesting will be the about HUD and I will later try to extend the same distinction
Halo series by Microsoft) to define different types of UIs that to menus and UIs in general. A distinction that is useful to
is possible to distinguish in video games, to better see how make is that between external-HUD and internal-HUD or,
they are related to the game world. By analysing two with a more literature-oriented definition, I would say
different game series, namely the Assassin’s Creed series between heterodiegetic HUD and homodiegetic HUD. This
(Ubisoft) and the Grand Theft Auto series (Rockstar), I will distinction is based on the relation between the game world
point out an apparent trend of the design of UIs, tending to and the interface itself, i.e. how the latter is being created in
prefer in the last years less visually impactful interfaces. relation with the former and integrated in it. As we will see
Secondly, on Juul’s footsteps [15], theory of literature will in a moment, this distinction entails a totally different view
be our magnifier, through which we will study the different over HUDs and their integration in the narrative of the world.
behaviours and impact on storytelling derived from the On the one hand, what I call external-HUD is the most
diverse semiotic nature of UIs. The analysis of the main frequent custom, in which the interface is totally detached
menu of the most famous game by Bethesda, The Elder from the fictional world and its characters. In this first case,
Scrolls V: Skyrim, together with some other major games, what we have is a simple layer inserted in the screen between
will help us to see the possibilities of UIs. Lastly, thanks to the world being played and the real-world player, a layer that
this split point of view, I hope to give some key points to displays information that are as useful as valueless (from the
follow in the design and development process of UIs. The point of view of the in-game characters). An example for this
studies on the different games has been conducted by kind of interfaces might be the Grand Theft Auto (GTA) San
approaching critically the titles, to alienate from the mere Andreas (Rockstar North, 2004) interface, in which all the
state of player and have a detached third-person view. information like active weapon, ammunitions, health bar,
etc. are placed in a layer stuck to the player’s camera lens.
UI, HUDS AND MENUS
The more recent Grand Theft Auto V (Rockstar North, 2013),
UI is something generally detached from the game
represents a slight change of perspective, and underlines a
environment, normally visible only to the player (and not to
trend that is gaining consensus.
the characters) and only during the play sessions (disabled,
e.g., during cutscenes). Even if it is not always present in the
On the other hand, internal-HUDs are a less travelled road, GENERALIZING THE DISTINCTION
but, I believe, they have the huge benefit of improving As mentioned, the distinction between external and internal
immersion, by integrating the UI inside the game itself. HUDs is generalizable and can be applied to the entire
system of UIs, but probably the mimetic intent is not
applicable everywhere in the same way. As for menus, it
seems to be quite difficult to apply, and find example of
iconic intent in menus is not so easy. Many options listed in
menus does not deal with the game world but with the multi-
sensory interface, i.e. they are affecting not the game world
itself but how the player relates with the game as a software
application, and vice-versa. For this reason, a totally iconic
menu is probably not possible, but there has been for sure
some attempts in this way: in the game Crash Bandicoot 3:
Warped (Naughty Dog, 1998), the Hub Level is a playable
recreation of a menu in which the user can move freely
instead of simply choosing a level from a list, and in the main
Figure 1 – Scheme of the relative position of PC, player’s eyes “square” there is a screen with which it is possible to save
and, respectively, external or internal UIs: in external-UIs the and load the game. This can be intended as a meta-menu, in
interface is a layer seen only by the player; in internal ones, the which an in-game menu is applying effects on the game
interface is visible also to the PC, whether the player sees the
itself. Anyway, also in this game an external menu is used
PC or not.
for the general options like music and video settings, and to
What we have here, differently from external-HUD is that all show the achievements of the player.
the information showed are not placed in a layer stuck
There is still a large part of the UIs that has not been treated,
between game world and players, but rather in a layer
i.e. the variable number of interfaces where users come
between the character’s eyes and the world s/he sees. The
player, in turn, is seeing the world through the eyes of his/her across during the game and that are created for a well-defined
character, and all the information s/he sees are shared with in-game function. They respond, normally, to the need of a
his/her in-game alter-ego. In the Halo series, for example, we more precise interaction with an in-game element, in
have a HUD that is visible also to the player’s character, as comparison with the normal game mechanism, and they
constitute of an element that is presented in a “zoomed” way
it is a projection on the screen of the helmet he wore during
to the player, like the interface used for the lockpicking
the game, created by the computer installed in his high-tech
armour. When the helmet is offline, no UI is visible to both minigame in the already cited TESV: Skyrim. For this kind of
the player and the character (like in the very beginning of the UIs, the mimetic intent is the most frequent custom. This
game Halo 4 (343 Industries, 2012)). Of course, this is more makes no surprise since our kind of UIs is generally by its
own nature the direct reproduction of an in-game element
problematic to realize when the camera is not in a first-
that is recreated similarly to the “real” (fictional) element,
person view, and indeed, even in Halo, there is an exception
of the mimetic internal-HUD way of displaying the but in a way that facilitate its usage, whatever function it
information: when the point of view is switched to third- absolves (i.e. both an active function, like the Skyrim locks
person (e.g. when riding vehicles), the interface remains to lockpick, and a passive one, like the map on the wall in
visible, violating the general iconic intent. “Icons”, on Pokémon games).
Pierce’s footsteps, are the product of a primary modeling Lastly, when the UI is used to highlight a part of the game
system, and their main characteristic is their “topological world inside the world itself, again the behaviour can be of
similarity” with the object they are standing for. Of course, both types: in TESV: Skyrim, for example, the pointer is an
this switch from an internal-HUD to an external one is not external one, since the PC does not see it, while again in Halo
noticed by the player. S/he is deceived by the fact that the it is internal: showed on the screen of the helmet.
interface looks always exactly the same, even if there are
actually two HUDs that are completely different in the very I already mentioned to not agree with the distinction (made
substance. This might be considered a borderline case, but in [29]) based on four different types of UIs because it does
the hope is that it is enough clear to show what is intended not consider the essence of two of them. In the article, the
with internal-HUDs. Also, it suggests that there could be writer distinguishes between non-diegetic, spatial, meta and
cases of interaction of the two different types of HUDs (and diegetic UIs. Notwithstanding the interesting way of
UIs in general), in which, in a single view, we may have operating the distinction, it does not take in consideration
internal and external element (e.g. the Metal Gear Solid that what it is called there “spatial” and “meta” UIs consist
(Konami Computer Entertainment Japan, 1998) Codec, in basically of different ways of showing the interface to the
which iconic elements are mixed with non-iconic ones, like player, not different essence of the interfaces themselves.
text). Also, naming them “diegetic” and “non-diegetic” means do
not treat them, in the case of non-diegetic ones, as elements
constituting the game. In addition, they also name the 2D game must be coherent with the general setting in which it is
HUD as always external, but we have already seen that this inserted and with the other elements. If something is not
is not true. settle with the environment, it will disrupt the suspension of
disbelief.
Those two ways seem to present no complications in the
analysis of UIs and its impact on narrative, but the This general cognitive mechanism must deal indeed with the
sensemaking process used to represent them is slightly problem of having a playable world that is composed of a set
different, and this difference is in turn impacting on the of signs that should have a uniform appearance and a
storytelling: as mentioned, internal-UIs are formed by their meaning that is internally coherent. There are many
own nature with a more iconic intent, that is, they tend to influences to take into account, since many semiotic
represent in a realistic way the fictional world in all its resources are concurring in the production of the overall
aspects. Indeed, they represent directly the reality of the content. If we increase the complexity of the content to be
player’s character. On the other hand, this is not true for transmitted, more and more sign systems should carry a
external-UIs, where the interface is made of signs stuck on coherent set of information for the user to understand it in a
the “window” through which the player sees the game, and correct way. This set of information, i.e. the set of signs
thus not representing anything as a complex set in a realistic constituting a video game, has to be coherent both internally
way. However, this does not mean that no icons, intended as and externally. For internal coherence I mean the
signs with a mimetic intent, are involved in the creation of consistency within the sign set of each sign with the others,
external-UIs. The difference is particularly important to while external coherence means the agreement of the set
enhance the narrative aspects of a game because internal-UIs with the general structure and game world.
are making thinner the distance between characters and
As for UIs, when we are considering an iconic (internal) UI,
players, and they are a preferable road to follow, since they
the problem should not arise and if it does, then the issue is
help to establish the “suspension of disbelief”. In the case of
probably to a higher level, i.e. in the overall construction of
non-iconic interfaces, the suspension of disbelief has to be
the environment of the game (for a more precise analysis, see
considered even more: if for iconic interfaces is almost
e.g. [9]). Thus, if in a game set in prehistory there is a
automatic, as we will see in a moment, for non-iconic ones
futuristic internal-HUD without a motivation, the problem is
there should be a precise intent to preserve it with special
of the game as a whole. On the contrary, if we are talking
precautions.
about external-UIs and the elements of the interface do not
THE SUSPENSION OF DISBELIEF agree with the general atmosphere of the game, then the
At this point, it is necessary to introduce in the analysis the problem remains at the level of the UI itself and can cause
concept of suspension of disbelief. Jurij Lotman defined the disruption of the suspension of disbelief, if not properly
what Coleridge in 1817 called «suspension of disbelief» [4] managed. But this is not always perfectly true, as we are just
in his article The place of art among other modeling systems going to see.
[20]:
SUSPENSION OF DISBELIEF AND USER INTERFACES
The player must simultaneously remember that he is A contradiction between theory and practice seems to arise
participating in a conventional (not real) situation (a from the case of UIs. The contradiction comes from the fact
child knows that the tiger in front of him is a toy and is that UI is always remembering, during the game, the
not afraid of it), and not remember it (when playing, the fictionality of the world in which the player is immersed.
child considers the toy tiger to be a real one). This memento in theory should break the equilibrium on
which is based the suspension of disbelief, thus breaking the
When the suspension of disbelief is established, the user
magic circle, but actually it does not. This is probably due to
finds himself in the “Magic Circle”: «The Magic Circle» is
the fact that there is a sort of pact between creators and
«a closed circle, the space it circumscribes is enclosed and
players, for which if you play a game, you have the UI
separate from the real world [...] In a very basic sense, the
overlying the world, in the form of HUDs, menus, etc.
Magic Circle is where the game takes place» [23].
However, this does not mean that a better solution is not to
As previously mentioned, what I intend by multi-sensory be found, if possible. Indeed, in many video game series it
interface is the simultaneous, intercurrent or convergent use seems there is a general trend that is leading towards a
of different media, tools and languages. In a video game, this simplification of the HUD, to make its impact lighter on the
implies that the set of signs carried by each one of those screen and to better keep the player in the magic circle. If we
media must be coherent both internally and with the system, compare the HUD in Assassin’s Creed (Ubisoft Montreal,
because «the expectations regarding an object (in a video 2007; the first game of the series) with the one in Assassin’s
game) are in fact expectations regarding the regularity of the Creed: Origins (Ubisoft Montreal, 2017; the last one since
system» [27]. In this sense, this simultaneous exchange of now, 10 years later than the former), we notice that the UI is
meaning carried by audio, visual and even tactile media must clearly less impacting on the visual interface. The same
be shaped in a way that converges towards the same content considerations could be done comparing the already cited
or cooperates to carry the same content. Each element of the GTA San Andreas and the more recent GTA V (developed,
again, almost 10 years later): from a clear indication of the be generalized to many title screens of games, in particular
mini map, active weapon, health bar, etc. to a minimal mini for more recent games (again, a consequence of the trend
map with small bars for health, bulletproof vest and skill going towards a more mimetic intent of UIs, already treated).
meter. Thus, not all information is displayed in the always For HUDs, the possibilities have already been exemplified,
visible HUD, but some of them of minor importance, are but for other kind of UIs, the given chances may vary a lot
placed in a mimetic UI shaped as a screen of the phone of the from one case to another and from one genre to another. In a
characters. Also, weapons are showed in another interface, point-and-click game, for example, many part of the game
which appears only when needed. are UIs, in the sense that they are used for a well-defined in-
game function and direct reproduction of an in-game
Those two examples, together with many others, are showing
element, presented in a “zoomed” way. Apart from point-
us that the issue of the disruption of the suspension of
and-click games, examples could be in-game books or
disbelief caused by UIs is heard as a problem. However,
documents to read in a separated interface, events seen
there is a certain level of acceptable incoherence in a fictional
through a screen of a CCTV camera, etc.
product, but it must be remembered the effect of Woloda’s
behaviour, «that took away all the fun of the game» [20] in FINAL CONSIDERATIONS AND FUTURE STUDIES
always remembering its fictionality (a similar position is the Concluding the analysis, it is possible to point out some notes
one of Caillois [3]). The same effect will be produced if the for the creation of a UI for a game (that is a game with a PC,
fictional elements are too narratively far-fetched and not expressed or implicit): after having defined if the interface is
justified by the narrative of the game. an internal or an external one, it is necessary to specify what
has been called the “mood” of the game in which the UI is
USER INTERFACES AND STORYTELLING
inserted; thirdly, during the process of designation and
It has already been introduced the possibility given by UIs to
creation of the UI, the elements constituting it should be
transmit narrative elements of games, but it would be
shaped in a way that coherently fit with the atmosphere
interesting to have a closer look over the phenomenon. What
decided for the game.
should be noted is that by “narrative aspects” I do not mean
only the mere story of games, i.e. not only the fabula, but In general, internal-UIs are to be preferred since they can
rather all the elements concurring in the creation of an enhance immersion, they are used to better keep the player
atmosphere surrounding a text (of whatever form of text we in the magic circle, and they give more chances to the
are talking about). The atmosphere of a book may be given storyteller than external ones. However, when an internal
by the cover, by images and even by the font chosen, before interface is not filling in the set or atmosphere of the game,
even reading it. This is what is called here the “atmosphere”: or simply are not suitable for the function it should
a sort of mood in which is carried the public (user, reader, accomplish, external ones can be used, if designed in a way
player, etc.) through the text s/he is accessing. This mood has that does not break the suspension of disbelief. The
not to be considered a peripheral part of the storytelling, but advantages of enhancing the immersion are proven
rather it is sometimes a crucial aspect for the narrative itself, empirically by a general trend particularly visible in famous
as proven by probably the most famous English tale of video games series, in which the latest games have a lighter
modern times: in The Raven by Edgard Allan Poe, it is clear presence of UIs compared to the previous titles.
the importance of the mood in which the character finds
In this brief overview of the impact of UIs in game
himself during the events, but it is not less clear the
immersion and storytelling, I opted out an extensive portion
importance of the feelings of the reader in understanding the
of games, that are of particular interest regarding casual
story. Forgetting them would not lead to a proper
gamers: puzzle games and games in which players do not
interpretation of the tale. Refusing the importance of the
control a player character. In further analysis, it would be
mood of the public when talking about a fictional
interesting to see how UIs behaves in those games, regarding
environment, would mean claiming that a horror game would
immersion and the suspension of disbelief. Furthermore,
be exactly the same with no dark, with cute kittens or with
notwithstanding the capability of internal-UIs to actively
happy music in the background.
drive the story, it would be interesting to analyse also this
Since the UIs are part of the visual interfaces, and I believe possibility regarding external ones.
visual interfaces constitutes without any doubt a crucial part
What has been told since here tells us the impact of UIs on
in the creation of some feelings in the mind of the players,
the storytelling of many video games, in respect also to the
then it is clear that also UIs can be very useful in the creation
different kind of UIs is possible to find in those digital
of the mood.
products. Apart from this and on the contrary, the storytelling
Keeping this in mind, the possibilities given by UIs to can be very useful when developing the appearance of UIs to
enhance the narrative aspects of a video game are countless, give a strong motivation for them, and in particular when
and, as every other part of video game development, highly talking about internal ones. This has not to be seen as a
depend on the project they are inserted in. An emblematic claiming that storytelling can justify everything, but more
example of this has been already mentioned in regard of the that in the development process, the story in its broad sense
title screen of the game The Elder Scrolls V: Skyrim and can
must be carefully considered, or the player would end up of computer game research. Volume 1, issue 1.
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