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Date: 2005.04.07 11:01:18
+08'00'
Game Interface
Design
Brent Fox
© 2005 by Thomson Course Technology PTR. All rights reserved. No part of this book may be reproduced SVP, Thomson Course
or transmitted in any form or by any means, electronic or mechanical, including photocopying, record- Technology PTR:
ing, or by any information storage or retrieval system without written permission from Thomson Course Andy Shafran
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Important: Thomson Course Technology PTR cannot provide software support. Please contact the appro- Manager of Editorial Services:
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25 Thomson Place ■ Boston, MA 02210 ■ http://www.courseptr.com Gene Redding
 For my wife Amy, a beautiful and intelligent woman.

Without her support and patience, I would not be the person I am today.
Acknowledgments

M
I also want to give a special thanks to
any people worked hard
my family for their patience while I
to make this book possi-
spent many hours away from them
ble. Steve Taylor helped
working on this book.
immensely with the content; he pro-
vided technical information and even
some early editing. I thank my editor,
Estelle Manticas, for the many hours
she spent helping me through the
writing process. Thanks to Les
Pardew, my technical editor and an
all around good guy. Also, thanks
go to Emi Smith and the entire team
at Premier Press, who not only pro-
vided the opportunity to write this
book, but also shared their expertise
with me.
About the Author

B
Brent has not only created art for the
rent Fox worked his way
games he has worked on, but he has
through college as an art
also served as project manager and art
director for a package design
director on many other games as well.
company. While in college, he took a
He has managed development teams
class in 3D animation and was
with up to 28 team members. He has
hooked. Brent received his degree
created artwork for games published
in Graphic Design from Brigham
by Blizzard, EA, Midway, 3DO, and
Young University, and shortly after
Konami, just to name a few. His pub-
graduation he began creating video
lished title list includes games such as
games. He has worked in the video
Brood War (a Starcraft expansion set),
game industry for more than eight
Army Men: Sarge’s Heroes, and many
years, and he has worked on games
more.
for a wide variety of platforms.
His title list includes games on the
PC, Game Boy Color, PlayStation,
Nintendo 64, Dreamcast, PlayStation
2, and GameCube.
Contents at a Glance

Introduction ..............................................................................................................xv

Chapter 1
Introduction to Video Games....................................................................................1

Chapter 2
Planning Menu Flow..................................................................................................7

Chapter 3
The Look and Feel of Your Interface......................................................................27

Chapter 4
Basic Design Principles .............................................................................................43

Chapter 5
Console or PC? .........................................................................................................61

Chapter 6
Button States............................................................................................................73

Chapter 7
Creating a Focal Point .............................................................................................81
 Contents at a Glance vii

Chapter 8
Using Text in Your Interface....................................................................................87

Chapter 9
Technical Requirements and Tricks .........................................................................99

Chapter 10
Tools of the Trade ..................................................................................................113

Chapter 11
Using Animation ....................................................................................................125

Chapter 12
Icons, Icons, Icons ...................................................................................................139

Chapter 13
Designing the HUD ................................................................................................145

Chapter 14
Designing an Interface ..........................................................................................155

Chapter 15
Creating an Interactive Mock-Up..........................................................................179

Index .......................................................................................................................199
Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . .xv Game Design Goals . . . . . . . . . . . . . . . . . . . . ... . . . . .10

Possible Game Goals . . . . . . . . . . . . . . . ... . . . . .11
Chapter 1 Breaking Down Your Goal into Specifics .. . . . . .12
Introduction to Video Games . . . . . . . . . . . . . . .1 How Priorities Affect Decision-Making . ... . . . . .12
The Importance of the Interface . . . . . . . . . . . . . . . . . . .1 Charting Methods . . . . . . . . . . . . . . . . . . . . . ... . . . . .13
Real-Life Game Development . . . . . . . . . . . . . . . . . . . . .2 Button Types . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . .17
Working with a Team . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Sliders . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . .19
Listen to Others . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Toggle Switches . . . . . . . . . . . . . . . . . . . ... . . . . .19
Ask Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . .20
A Career in Video Games . . . . . . . . . . . . . . . . . . . . . . . . .4 Input Text . . . . . . . . . . . . . . . . . . . . . . . ... . . . . .20
The Publisher / Developer Relationship . . . . . . . . . . . . . .5 Drop-Down Menus . . . . . . . . . . . . . . . . ... . . . . .22
Other Variations . . . . . . . . . . . . . . . . . . ... . . . . .22
Chapter 2 Common Menu Screens . . . . . . . . . . . . . . . . . ... . . . . .23
Planning Menu Flow . . . . . . . . . . . . . . . . . . . . . .7 Simplicity versus Depth . . . . . . . . . . . . . . . . . ... . . . . .23
Why Is Planning So Valuable? . . . . . . . . . . . . . . . . . . . . .7 Planning for HUD . . . . . . . . . . . . . . . . . . . . . ... . . . . .24
Creativity in Planning . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Creativity versus Conventional Methods . . . . ... . . . . .25
Getting Approval . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Interface Planning Helps Game Design . . . . . . . . . . . . .10
 Contents ix

Chapter 3 Finding Complementary Colors . . . . . . . . . . . . . . .45

The Look and Feel of Your Interface . . . . . . . . .27 Using More Than Two Colors . . . . . . . . . . . . . . . .47
Define a Look . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . .27 Subjective Color . . . . . . . . . . . . . . . . . . . . . . . . . .48
Create a Mock-Up . . . . . . . . . . . .. . . . . . . . . . . . .27 Balancing Color Strength . . . . . . . . . . . . . . . . . . .49
Working with Logos . . . . . . . . . .. . . . . . . . . . . . .29 Warm and Cold Colors . . . . . . . . . . . . . . . . . . . . .49
Define a Color Scheme . . . . . . . .. . . . . . . . . . . . .29 Color on a Monitor or TV . . . . . . . . . . . . . . . . . . .50
Express Yourself in the Design . . . . . . .. . . . . . . . . . . . .31 Creating Digital Colors . . . . . . . . . . . . . . . . . . . . .51
Research and Inspiration . . . . . . . . . . .. . . . . . . . . . . . .32 Visual Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Make Lists . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . .32 Unity and Variation . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
Search for Images . . . . . . . . . . . .. . . . . . . . . . . . .32 Negative Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Thumbnails . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . .33 Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Work Quickly . . . . . . . . . . . . . . . .. . . . . . . . . . . . .34 Eye Movement . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Push for Variation . . . . . . . . . . . .. . . . . . . . . . . . .34 Balance and Weight . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Creativity versus Standards . . . . . . . . .. . . . . . . . . . . . .35 Unbalancing Your Design to Create Tension . . . .58
Using Photographs . . . . . . . . . . . . . . .. . . . . . . . . . . . .35 Odd Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
Illustrations . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . .37 Dividing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
3D Solutions . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . .38 Intersections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Pre-Rendered 2D Art . . . . . . . . . .. . . . . . . . . . . . .38 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Involve the Programmers . . . . . .. . . . . . . . . . . . .39
Combining 3D and 2D . . . . . . . . .. . . . . . . . . . . . .39 Chapter 5
3D Challenges . . . . . . . . . . . . . . .. . . . . . . . . . . . .39 Console or PC? . . . . . . . . . . . . . . . . . . . . . . . . . .61
Don’t Get Too Attached to Your Ideas . . . . . . . . . . . . .40 Bad Conversions . . . . . . . . . . . . . . . . . . ... . . . . . . . . . .61
Summary . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . .41 Console Development . . . . . . . . . . . . . ... . . . . . . . . . .62
Console Hardware Manufacturers .. . . . . . . . . . .62
Chapter 4 Developer Approval . . . . . . . . . . ... . . . . . . . . . .62
Basic Design Principles . . . . . . . . . . . . . . . . . . . .43 Concept Approval . . . . . . . . . . . . ... . . . . . . . . . .63
Getting Back to Basics . . . . . . . . . . . . . . . . . . . . . . . . . .43 Technical Approval . . . . . . . . . . . ... . . . . . . . . . .63
Really See Your Design . . . . . . . . . . . . . . . . . . . . .44 Console Game Cost . . . . . . . . . . . ... . . . . . . . . . .64
Using Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 Effect on the Interface . . . . . . . . ... . . . . . . . . . .64
Creating Color Harmony . . . . . . . . . . . . . . . . . . . .45 Handheld Development . . . . . . . . . . . . ... . . . . . . . . . .65
x Contents

PC Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65 PC Button States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

Minimum Requirements for PC Games . . . . . . . . .65 Other States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
The Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 Animated States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Getting the Timing Right . . . . . . . . . . . . . . . . . . .67 Workload . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
Limiting Buttons . . . . . . . . . . . . . . . . . . . . . . . . . .68 Saving Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
Displaying Navigation Information . . . . . . . . . . . .68 Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
The Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Keep the Design Simple . . . . . . . . . . . . . . . . . . . .69
Image-Based Interfaces . . . . . . . . . . . . . . . . . . . . .69 Chapter 7
Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70 Creating a Focal Point . . . . . . . . . . . . . . . . . . . .81
PC Game Resolution . . . . . . . . . . . . . . . . . . . . . . .70 The Most Important Element . . . . . . . . . . . . . . . . . . . .81
Front-End Menu Resolution . . . . . . . . . . . . . . . . .70 Size Variation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
Standard TV Resolution . . . . . . . . . . . . . . . . . . . .70 Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
PAL versus NTSC Television . . . . . . . . . . . . . . . . . .71 Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
TV Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Interlace Flicker . . . . . . . . . . . . . . . . . . . . . . . . . . .72 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Color Variation . . . . . . . . . . . . . . . . . . . . . . . . . . .72
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72 Chapter 8
Using Text in Your Interface . . . . . . . . . . . . . . .87
Chapter 6 Using Text Wisely . . . . . . . . . . . .... . . . . . . . . . . . . . . .87
Button States . . . . . . . . . . . . . . . . . . . . . . . . . . .73 Type Anatomy . . . . . . . . . . . . . .... . . . . . . . . . . . . . . .88
Controller Button States . . . . . . . . . . . . . . . . . . . . . . . .74 Serif versus Sans-Serif . . . .... . . . . . . . . . . . . . . .88
The Standard Button State . . . . . . . . . . . . . . . . . .74 Ascenders and Descenders ... . . . . . . . . . . . . . . .89
The Selected Button State . . . . . . . . . . . . . . . . . .74 Uppercase and Lowercase .... . . . . . . . . . . . . . . .90
The Pressed Button State . . . . . . . . . . . . . . . . . . .75 Points and Picas . . . . . . . . .... . . . . . . . . . . . . . . .90
The Active Button State . . . . . . . . . . . . . . . . . . . .75 File Size and DPI . . . . . . . .... . . . . . . . . . . . . . . .91
The Active-Selected Button State . . . . . . . . . . . . .76 Kerning . . . . . . . . . . . . . . .... . . . . . . . . . . . . . . .92
The Disabled Button State . . . . . . . . . . . . . . . . . .77 Thicks and Thins . . . . . . . .... . . . . . . . . . . . . . . .92
Scaling Fonts . . . . . . . . . . .... . . . . . . . . . . . . . . .93
 Contents xi

Font Choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 Chapter 10

Theme Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 Tools of the Trade . . . . . . . . . . . . . . . . . . . . . .113
Multiple Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . .95 Tools for Creating Mock-Ups . . . . . . . . . . . . . . . . . . . .113
Know Your Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95 Asset Management . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Creating a Game Font . . . . . . . . . . . . . . . . . . . . . . . . . .95 Adjusting Game Properties . . . . . . . . . . . . . . . . . . . . .115
Icons in Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97 Using Custom Tools . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Font Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97 Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98 Stand-Alone Software . . . . . . . . . . . . . . . . . . . . .116
In-Game Tools . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Chapter 9 Advantages of Using Custom Tools . . . . . . . . . . . . . . .117
Technical Requirements and Tricks . . . . . . . . . .99 Disadvantages of Using Custom Tools . . . . . . . . . . . . .117
File Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99 Commercial Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Limited RAM . . . . . . . . . . . . . . . . . . . . . . . . . . . .100 Advantages of Using Commercial Tools . . . . . . .118
Disk Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101 Disadvantages of Using Commercial Tools . . . . .118
Load Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102 Middleware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119
Online Content . . . . . . . . . . . . . . . . . . . . . . . . . .102 Commonly Used Commercial Software . . . . . . . . . . . .119
File Compression . . . . . . . . . . . . . . . . . . . . . . . . .102 Features of Good Tools . . . . . . . . . . . . . . . . . . . . . . . .121
Using Palettes . . . . . . . . . . . . . . . . . . . . . . . . . . .103 The Ideal Situation versus Reality . . . . . . . . . . . .122
Using Programmer Art . . . . . . . . . . . . . . . . . . . .105 Software or the Artist? . . . . . . . . . . . . . . . . . . . . . . . .122
Texture Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106 3D Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
Scalable Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Tiling Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Alpha Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 Chapter 11
Localization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110 Using Animation . . . . . . . . . . . . . . . . . . . . . . .125
Source Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110 Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111 How Animation Works . . . . . . . . . . . . . . . . . . . . . . . .125
Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
Interface Frame Rates . . . . . . . . . . . . . . . . . . . . .126
Key Frames and Tweening . . . . . . . . . . . . . . . . . . . . . .127
Interpolation . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
xii Contents

Animation Principles . . . . . . . . . . . . . . . . . . . . . . . . . .129 Chapter 13

Squash and Stretch . . . . . . . . . . . . . . . . . . . . . . .129 Designing the HUD . . . . . . . . . . . . . . . . . . . . .145
Anticipation . . . . . . . . . . . . . . . . . . . . . . . . . . . .130 Screen Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
Ease In and Ease Out . . . . . . . . . . . . . . . . . . . . . .130 In-Game Information . . . . . . . . . . . . . . . . . . . . .147
Follow Through . . . . . . . . . . . . . . . . . . . . . . . . . .131 Pop-Up Menus . . . . . . . . . . . . . . . . . . . . . . . . . . .148
Arcs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132 Dynamic Content . . . . . . . . . . . . . . . . . . . . . . . .148
Exaggeration . . . . . . . . . . . . . . . . . . . . . . . . . . . .132 Combining Information . . . . . . . . . . . . . . . . . . .149
Designing Transitions . . . . . . . . . . . . . . . . . . . . . . . . . .132 Legibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150
Consider Experienced Users . . . . . . . . . . . . . . . .134 Eye Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150
Properties That Can Be Animated . . . . . . . . . . . . . . . .134 Ease of Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151
Translation, Rotation, and Scale . . . . . . . . . . . . .134 Making HUD Look Cool . . . . . . . . . . . . . . . . . . . . . . . .151
Transparency and Color . . . . . . . . . . . . . . . . . . . .135 Game-Play Adjustments . . . . . . . . . . . . . . . . . . . . . . . .151
Using Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136 Graphic Information Display . . . . . . . . . . . . . . . . . . . .152
Overlaid Animations . . . . . . . . . . . . . . . . . . . . . .136 Standard Elements versus Non-Standard Elements . . .153
Particle Systems . . . . . . . . . . . . . . . . . . . . . . . . . .137 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154
Other In-Game Effects . . . . . . . . . . . . . . . . . . . . .137
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138 Chapter 14
Designing an Interface . . . . . . . . . . . . . . . . . . .155
Chapter 12 Nomad Design Goals . . . . . . . . . . . . . . . . . . . . . . . . . .155
Icons, Icons, Icons . . . . . . . . . . . . . . . . . . . . . . .139 The Rough Sketches . . . . . . . . . . . . . . . . . . . . . . . . . . .156
Use Text Sparingly . . . . . . . . . . .. . . . . . . . . . . . . . . . .139 Temporary Art . . . . . . . . . . . . . . . . . . . . . . . . . . .159
Budget Constraints . . . . . .. . . . . . . . . . . . . . . . .140 Re-Do’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
Using Icons Instead of Text . . . .. . . . . . . . . . . . . . . . .140 Nomad Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
Image Choice . . . . . . . . . . .. . . . . . . . . . . . . . . . .140 Using Color as a Tool . . . . . . . . . . . . . . . . . . . . . .161
Standard Icons . . . . . . . . . .. . . . . . . . . . . . . . . . .141 Creating the Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Non-Game Standard Icons . . . . . . . . . . . . . . . . .141 Breaking Up the Art . . . . . . . . . . . . . . . . . . . . . .163
Every Pixel Counts . . . . . . . . . . .. . . . . . . . . . . . . . . . .143 Selected Rows . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Photo Reference . . . . . . . . . . . .. . . . . . . . . . . . . . . . .144 Photoshop Techniques . . . . . . . . . . . . . . . . . . . . . . . . .167
Summary . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . .144
 Contents xiii

Step-by-Step Art Creation . . . . . .. . . . . . . . . . . . . . . .169

The Ship Information Panel . . . . . . . . . . . . . . . .169
The Trade Dialog Box . . . . .. . . . . . . . . . . . . . . .173
The Big Change . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .177
Summary . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .178

Chapter 15
Creating an Interactive Mock-Up . . . . . . . . . . .179
The Ideal Situation . . . . . . . . . . . . . . . . . . . . . . . . . . . .180
Realizing Your Vision . . . . . . . . . . . . . . . . . . . . . . . . . .180
Experimentation . . . . . . . . . . . . . . . . . . . . . . . . .180
Commercial Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
Why Flash? . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
Introduction to Flash . . . . . . . . . . . . . . . . . . . . . . . . . .182
Using Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . .182
Animation in Flash . . . . . . . . . . . . . . . . . . . . . . .186
Playback Speed . . . . . . . . . . . . . . . . . . . . . . . . . .188
Using Scripting . . . . . . . . . . . . . . . . . . . . . . . . . .188
Creating Buttons in Flash . . . . . . . . . . . . . . . . . .190
Putting Scripts on Buttons . . . . . . . . . . . . . . . . .192
Seeing Your Button Work . . . . . . . . . . . . . . . . . .193
Publishing Files . . . . . . . . . . . . . . . . . . . . . . . . . .194
Flash Summary . . . . . . . . . . . . . . . . . . . . . . . . . .195
The Sample Flash File . . . . . . . . . . . . . . . . . . . . . . . . . .195
Actions on Frames . . . . . . . . . . . . . . . . . . . . . . . .196
Actions on Buttons . . . . . . . . . . . . . . . . . . . . . . .196
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
This page intentionally left blank
Introduction

A
and I couldn’t hope to cover it all. Who Should Read This
n interface, as you no doubt
This book will, however, cover all of
already know, is the part of
the basics you need to know in order
Book?
the game that allows the user If you are just getting started in the
to design your own game interface.
to interact with the game. Interaction game industry, this book will serve as
is what makes a video game different An interface has many pieces. This a great introduction to interface
from a movie. When playing a video book will cover the interface from the design. It will also provide a little
game, the user can make choices and first image that appears on the screen insight into the video game industry
respond to events. An interface is the to the information displayed on itself.
connection between the user and the screen during game-play. The player
game, and a well-designed interface of your game interacts with buttons, Game development is a unique and
makes the video game experience sliders, menus, and many other com- interesting field. It is fun, rewarding,
more fun. ponents of an interface, and this book and a lot of hard work. In this book
will show you how and when to use you will get a glimpse at the developer
Interface design is a creative, exciting, and publisher relationship, as well as
each of these input methods.
and challenging subject. The purpose at the schedules, budget constraints,
of this book is to introduce you to the I hope that this book inspires you to and politics that are found in the
game interface design principles and create better and more effective game video game development industry.
concepts used in the game industry. interfaces. You are capable of making
There is a huge amount of informa- a great, unique interface. Don’t limit
tion to learn about interface design, your vision by what has been done in
the past.
xvi Introduction

Even if you are an experienced inter- I will also walk you through the early I will also show you how to avoid
face designer, this book will provide planning stages for a game interface using too much text in your interface
hints and tricks that can help you in and present methods for crafting a and how to replace as much text as
your daily tasks. After reading this unique look and feel for your inter- possible with images and icons. This
book, you will be able to better evalu- face. Creating icons, animation, and is not always an easy task, but a good
ate the effectiveness of an interface, buttons will be covered. use of icons can separate an extraor-
and you will be aware of the areas in dinary interface from a mediocre one.
Basic design and art principles are
which you can improve. A screen full of text will turn users
essential for any interface designer to
away; learn about methods you can
The application of the principles I will understand. As you read through
use to communicate with the user
show you in this book will help these pages, you will learn about these
without text.
improve your design skills. It will also basic concepts and how they can
provide inspiration to go beyond the guide you through the design process. Make it move! Animations can be a
norm and create interfaces that capti- You can use these design principles to game interface designer’s greatest
vate and entertain the user. effectively evaluate your own design asset. I’m not just talking about a
and identify areas for improvement. spinning logo, but about serious ani-
You will begin to understand how mation. Understanding and applying
What’s in This Book? much skill and talent is needed to solid animation techniques can bring
Great interfaces never happen by acci- produce a great interface. It’s hard a static interface to life. Learn these
dent. They require a lot of planning. work, but it’s worth it. animation principles and how you
This book will outline the steps to can use them in an interface.
good planning. You will be encour- In this book, you will also explore
aged to define goals that will guide the world of interface buttons. This Chapter 14 will walk you through the
you through the design process and simple-sounding topic is actually step-by-step process of creating an
be shown how to plan and chart your very complex. I will explain the con- interface. You will see how an inter-
menus before you begin to create art. cept of button states and teach you face is created using Photoshop.
You will learn how to be innovative how to make a functioning button for This process will help you understand
and creative in the planning stages of a game interface. You’ll learn how to how complex serious interface design
the design process. create buttons that are easy to use and can be.
that look cool.
 Introduction xvii

In Chapter 15, you’ll learn how to use

Flash to create an interface with real
interactivity. This software provides
an effective method to mock-up and
test a game interface design. Don’t
wait for a programmer to write code
to see your design in action. You can
do it yourself. Learn how to use Flash
to make buttons function and objects
move.

What’s on the CD?

This book also comes with a CD con-
taining images and examples. You will
have access to many of the images in
this book. You will also be able to
open the Flash file created in the last
chapter of the book and see it move.
The CD also includes a free game
demo and trial version of Macro-
media Flash.
This page intentionally left blank
 Chapter 1

Introduction to
Video Games

W elcome to the world of The Importance of the visual quality of a game is very impor-
tant; it is hard to sell a game if it looks
interface design for video Interface bad, even if the game-play is fun.
games. Of course, the Too often, video game interfaces are
best instruction you can receive is an afterthought. Sufficient time is not Great art can do amazing things to
real-life experience. No matter how scheduled for interface design because boost game sales. Many game pub-
good a game artist is before he begins too many project managers assume lishers claim that their number-one
developing video games, he learns a anyone can whip up an interface. priority is game-play, but I’ve seen
lot during the development process. They feel that interface design does these same publishers look at a game
Gaining this experience will take time. not require any particular talent or and respond with “that looks great,”
In the meantime, I hope to share a lit- very much time, so they assign the even though they never picked up a
tle of my experience with you and give new guy to work on the interface. This controller or mouse. If a game doesn’t
you a head start. is a big mistake, and when it happens, look good, no one may ever play it
it’s apparent to anyone who plays the and find out if the game-play is good.
game. It isn’t hard for the user to Consumers are used to seeing great
immediately see poor quality. The art, and they demand high quality in

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