INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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HistoryIQ is a good example of the meaningful gaming experience that can be achieved when interactivity is integrated into the game show from the very beginning. The experience is a highly participatory one, made more challenging by the synchronization between player at home and the same time constraints faced by the broadcast contestants. The networked platform allows users to compete against a real viewing community who are all interacting at the same time. It is difficult to force non-linear content onto a linear platform; conceiving of the experience as a convergent one from the beginning helped to make History IQ a compelling experience for the users playing along at home. As a noted exception to this principle, however, retrofitted iTV applications have worked well for educational programs and documentaries. Such programs have such depth of information that hundreds of hours of footage is often cut due to time constraints; however, the viewing demographic is often eager to learn more about the topic at hand. Here, iTV applications can and do take advantage of the encyclopedic property of the medium. Retrofitted applications such as the digital enhancements to the Ken Burns documentary Frank Lloyd Wright (PBS, 2000) or the interactive documentary prototype Woodrow Wilson (KCET/CPB, 2001) were designed especially well for this purpose. In fact, PBS won one of the interactive world’s most prestigious awards – the Milia d’Or – for the Frank Lloyd Wright application in 2000. Likewise, the Woodrow Wilson DVD, designed by Dale Herigstad, was awarded the prestigious Communication Arts Interactive Design award and a BDA Gold award for DVD Design. In most cases, however, retrofitting interactivity – particularly utilizing iTV as a platform to deliver trivia – does not maximize the affordances of the medium. In recent years, a few of the prototypes that have been developed at the AFI eTV Workshop have 125
een programs that were still in development, allowing us to see that integrating interactivity into a show at its conception can pave the way for much innovation. This approach works particularly well for experimental modes of iTV, such as the convergence of games and television. Dinosaur Highway from the 2004 workshop, as illustrated by Figure 5.4, provides an excellent example. Figure 5.4 Dinosaur Highway Prototype Dinosaur Highway proposes a new programming concept where an MMORPG (massively multiplayer online role-playing game) merges with television, where weekly activities in the game world would influence the world of the television show, and vice versa. In the prototype for Dinosaur Highway, developed to be a PC-based game experience that runs on Microsoft’s Windows XP Media Center Edition, players control a pack of dinosaurs in a virtual 3-D interactive environment and try to ensure the survival of the pack in the face of various environmental and evolutionary challenges. Players earn a ranking for their dinosaur pack based on the lifespan and composition of the pack. The game would require a base of players with Internet connectivity as well as a 126
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INTERACTION DESIGN PRINCIPLES FOR I
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ACKNOWLEDGMENTS This thesis would n
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2.3.3 Constraints 2.4 Electronic /
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4.2 Designing for Television 4.2.1
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Table 1.1 Table 1.2 Table 1.3 Table
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Figure 2.6 Figure 2.7 Figure 2.8 Fi
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Figure 5.4 Figure 5.5 Figure 5.6 Fi
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Figure 5.36 Figure 5.37 Figure 5.38
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SUMMARY Interactive television (iTV
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However, it is clear that televisio
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looking closely at existing designs
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For viewers with analog television
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Figure 1.3 Percent of Households wi
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interact with television shows by u
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New Media usage is dominated by 18
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Figure 1.6 Winky Dink and You The o
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1.4.1 BBC Interactive Figure 1.7 In
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1.4.2 Additional Examples Many othe
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Table 1.6 (continued). Greece Local
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Table 1.6 (continued). New Zealand
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using a combination of visual cultu
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CHAPTER 2 BROAD CATEGORIES OF ITV P
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Table 2.1 Categorization of iTV by
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capable of storing an enormous amou
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(c) Figure 2.2 Examples of Comcast
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(c) (d) Figure 2.3 Examples of Gems
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users to send email, chat, and surf
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2.6 WEB-BASED SYNCHRONOUS (TWO-SCRE
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interactive or enhanced content on
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they allow for greater versatility,
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Networks have also used wireless de
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The American Film Institute’s enh
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game consoles with televisions and
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Interactivity must be tied to origi
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CHAPTER 3 BROAD CATEGORIES OF ITV P
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information about the topic at hand
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said they would do so again in the
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3.2.1 Representative Example in Spo
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(a) (b) Figure 3.3 Test the Nation
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interactive TV betting service tota
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application was also available on t
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the ABC telecast throughout the eve
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platforms. The navigation is timeli
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3.7 SHOPPING Shopping, or purchasin
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- and as close to the regular exper
Page 91 and 92: CNN Crossfire, broadcast in front o
Page 93 and 94: Dramas may need to operate under a
Page 95 and 96: The participatory aspect of many pr
Page 97 and 98: 4.1.1 Grid-Based Design Grid-based
Page 99 and 100: The Law of Similarity. Elements tha
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Page 103 and 104: Figure 4.3 TV Aspect Ratios Althoug
Page 105 and 106: and graphics-safe areas for designi
Page 107 and 108: 4.2.4 Line Width The image on a tel
Page 109 and 110: shapes, to make similar letters dis
Page 111 and 112: specification. OCAP is intended to
Page 113 and 114: pages. Web applications that exceed
Page 115 and 116: Source: Human Factors International
Page 117 and 118: working on a computer is not a soli
Page 119 and 120: media, among others. Figure 4.9 pro
Page 121 and 122: MSN TV 2, which Microsoft rolled ou
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Page 125 and 126: Table 4.2 outlines some of the diff
Page 127 and 128: should be designed with the televis
Page 129 and 130: Pages that appear in series, one af
Page 131 and 132: CHAPTER 5 PRINCIPLES OF INTERACTION
Page 133 and 134: through… The computer’s spatial
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Page 139 and 140: y the wider context of the program
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Page 151 and 152: (a) (b) Figure 5.10 TiVo WishList (
Page 153 and 154: e voted off the island. In both cas
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Page 159 and 160: In the first of a series of on-air
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Page 163 and 164: (a) (b) Figure 5.22 TV411 Interface
Page 165 and 166: Figure 5.25 Life 360 Competing Elem
Page 167 and 168: (a) (b) (c) (d) Figure 5.28 Example
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Page 171 and 172: Lamont brings up compelling advanta
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Page 175 and 176: 5.4 NAVIGATION Navigation pertains
Page 177 and 178: Figure 5.35 New Americans Orientati
Page 179 and 180: Figure 5.37 Test the Nation User In
Page 181 and 182: applications based on the televisio
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Page 185 and 186: In Robert Miller’s classic user r
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Page 191 and 192: Figure 5.46 Examples of Mobile Inte
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CHAPTER 6 CONCLUSIONS AND FUTURE DI
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Figure 6.2 Convergence of Entertain
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(a) Figure 6.3 Examples of MTV Hija
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television producers to create show
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user-centered design, incorporates
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Sheri Lamont, who has practiced and
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ecognition of outstanding achieveme
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REFERENCES Adams, M., Anand, P. & F
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Halle, T. (2003). Standards for int
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Norman, D. (2004) Emotional design:
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Thurrott, P. (2004, October 12). Wi
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BROADBAND A network capable of deli
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MEDIA CENTER Media centers, or PC T
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which a television and a personal c
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