- Sat Jan 05, 2013 10:18 am
#45918
[by Andreas Kleinschmidt]
Martin Edmondson, 35, founder of Reflections Interactive, released his first computer game in 1984 when he was still in grade school. By the time his "Driver" game hit the market in 1999, he was already considered to be one of the world's experts in his field. Behind the huge success of his games 8 million of which have been sold is a commitment to simplicity that many industrial designers would be well advised to emulate. Edmondson lives in Newcastle, England
What have been the most important advances in computer games since you broke into the field in the 1980s?
Martin Edmondson: The way we communicate with computers is more or less the same now as it was back then. Most players today are still using a joystick or a mouse. But what appears on the monitor is radically different than in the '80s. Today it's 3D imagery seen from the perspective of the individual player. That means that we now interact with a game as if we were really an integral part of it, rather than just observing a representation.
What makes a computer game intuitive that is, easy to use?
Martin Edmondson: Realism. The more realistic a game is, the easier it is for players to anticipate the effects of their responses. In turn, it becomes possible to learn to play faster and with more skill. That way people can submerge themselves in the virtual world and lose themselves in the game. Take auto racing games, for example. Today, when you crash into a virtual lamppost, the structural damage is very realistically depicted.
Does this account for the addictive effect of games?
Martin Edmondson: A player's becoming "hooked" has a lot to do with challenge and gratification, but the usability, the sheer ease of playing a game, also plays a big role. In the case of auto racing, that's obvious. If the car's steering doesn't function perfectly and the vehicle reacts a little unpredictably, players will quickly be turned off. In my experience, the way a game handles is usually even more important than brilliant graphics.
How do you determine if a game is enjoyable to use?
Martin Edmondson: To be quite honest, it's almost like black magic. Unfortunately, target-group tests aren't very reliable. There's always one test participant who likes the game while someone else thinks it's horrible. In other words, we trust our instincts when testing games.
What about everyday technologies? Are there products that you would make more user-friendly?
Martin Edmondson: Cell phones. And especially when I want to use the phone in a hurry and need information fast. I find the user menus of many cell phones complicated, and the eye isn't immediately drawn to the most important functions. It's really a bunch of small annoyances that I, as a game designer, would never allow. My customers don't want to be aggravated; they want to have fun. Or take, for example, video and DVD recorders. They have so many small buttons and obscure functions. I'd prefer to speak to the device, to tell it: "Record this program at 12 o'clock." I'm sure that's how we're going to be using electronic devices maybe even in just a few years. There are already computer games that can be voice-controlled.
Screen shots from Martin Edmondson's hit computer game "Driver." Players have to steer their vehicles in virtual scenarios through narrow streets, on country roads and as stunt drivers in a sports stadium
So industrial designers can learn from the designers of computer games
Martin Edmondson: Yes, I'm sure they can, especially when it comes to device usability. Industrial designers would do well to thoroughly analyze every game known for its user-friendliness. They should try to figure out which game features or functions could be applied in practical devices for everyday use. I say that as a software designer, as someone who knows how easily these things can work. Let's consider navigation systems, for instance. Voice-recognition controls would be ideal. If these systems had touch screens or could be controlled with gestures, they could be used intuitively. It would be possible to just point to a region, or a city or street, and continuously zoom in. But unfortunately industrial designers are often technicians, and they think along the lines of their training instead of thinking about the human beings who are supposed to eventually use a device. Good design adheres to a philosophy that treats the customer as the central factor. I think it's best when my customers can start up a game without having to read the instructions.
Are there any examples of industrial designers learning from game designers?
Martin Edmondson: A few telephone companies have contracts with the game industry. But it's unfortunate that the companies are only loading little games into their cell phones instead of studying the games to learn how cell phone use could be made more attractive for customers.
How important are feelings in usability?
Martin Edmondson: For games they're essential. But they can also have a detrimental effect with everyday devices. There were a few notable technical hybrids that were conceived with the idea of using the emotional factor to make boring objects exciting. For instance, we had the refrigerator with an integrated television. Only no one could figure out what it was good for. You can't load your customers up with things that they just don't want. When I open my refrigerator, it should be keeping my food cold. And my washing machine should ensure that I've got a supply of clean clothes. I don't need these appliances to address my feelings. Or would you like your washing machine to make jokes about your dirty underwear?
Source
[by Andreas Kleinschmidt]
Martin Edmondson, 35, founder of Reflections Interactive, released his first computer game in 1984 when he was still in grade school. By the time his "Driver" game hit the market in 1999, he was already considered to be one of the world's experts in his field. Behind the huge success of his games 8 million of which have been sold is a commitment to simplicity that many industrial designers would be well advised to emulate. Edmondson lives in Newcastle, England
What have been the most important advances in computer games since you broke into the field in the 1980s?
Martin Edmondson: The way we communicate with computers is more or less the same now as it was back then. Most players today are still using a joystick or a mouse. But what appears on the monitor is radically different than in the '80s. Today it's 3D imagery seen from the perspective of the individual player. That means that we now interact with a game as if we were really an integral part of it, rather than just observing a representation.
What makes a computer game intuitive that is, easy to use?
Martin Edmondson: Realism. The more realistic a game is, the easier it is for players to anticipate the effects of their responses. In turn, it becomes possible to learn to play faster and with more skill. That way people can submerge themselves in the virtual world and lose themselves in the game. Take auto racing games, for example. Today, when you crash into a virtual lamppost, the structural damage is very realistically depicted.
Does this account for the addictive effect of games?
Martin Edmondson: A player's becoming "hooked" has a lot to do with challenge and gratification, but the usability, the sheer ease of playing a game, also plays a big role. In the case of auto racing, that's obvious. If the car's steering doesn't function perfectly and the vehicle reacts a little unpredictably, players will quickly be turned off. In my experience, the way a game handles is usually even more important than brilliant graphics.
How do you determine if a game is enjoyable to use?
Martin Edmondson: To be quite honest, it's almost like black magic. Unfortunately, target-group tests aren't very reliable. There's always one test participant who likes the game while someone else thinks it's horrible. In other words, we trust our instincts when testing games.
What about everyday technologies? Are there products that you would make more user-friendly?
Martin Edmondson: Cell phones. And especially when I want to use the phone in a hurry and need information fast. I find the user menus of many cell phones complicated, and the eye isn't immediately drawn to the most important functions. It's really a bunch of small annoyances that I, as a game designer, would never allow. My customers don't want to be aggravated; they want to have fun. Or take, for example, video and DVD recorders. They have so many small buttons and obscure functions. I'd prefer to speak to the device, to tell it: "Record this program at 12 o'clock." I'm sure that's how we're going to be using electronic devices maybe even in just a few years. There are already computer games that can be voice-controlled.
Screen shots from Martin Edmondson's hit computer game "Driver." Players have to steer their vehicles in virtual scenarios through narrow streets, on country roads and as stunt drivers in a sports stadium
So industrial designers can learn from the designers of computer games
Martin Edmondson: Yes, I'm sure they can, especially when it comes to device usability. Industrial designers would do well to thoroughly analyze every game known for its user-friendliness. They should try to figure out which game features or functions could be applied in practical devices for everyday use. I say that as a software designer, as someone who knows how easily these things can work. Let's consider navigation systems, for instance. Voice-recognition controls would be ideal. If these systems had touch screens or could be controlled with gestures, they could be used intuitively. It would be possible to just point to a region, or a city or street, and continuously zoom in. But unfortunately industrial designers are often technicians, and they think along the lines of their training instead of thinking about the human beings who are supposed to eventually use a device. Good design adheres to a philosophy that treats the customer as the central factor. I think it's best when my customers can start up a game without having to read the instructions.
Are there any examples of industrial designers learning from game designers?
Martin Edmondson: A few telephone companies have contracts with the game industry. But it's unfortunate that the companies are only loading little games into their cell phones instead of studying the games to learn how cell phone use could be made more attractive for customers.
How important are feelings in usability?
Martin Edmondson: For games they're essential. But they can also have a detrimental effect with everyday devices. There were a few notable technical hybrids that were conceived with the idea of using the emotional factor to make boring objects exciting. For instance, we had the refrigerator with an integrated television. Only no one could figure out what it was good for. You can't load your customers up with things that they just don't want. When I open my refrigerator, it should be keeping my food cold. And my washing machine should ensure that I've got a supply of clean clothes. I don't need these appliances to address my feelings. Or would you like your washing machine to make jokes about your dirty underwear?
Source
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