INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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C.S.I. Interactive, developed by CBS and H Design, provides an excellent example of using enhancements to pull the viewers deeper into the world of the story. C.S.I., a popular drama which follows a team of forensic scientists, features many forensic science methodologies and specialized procedures foreign to the average viewer. The interactive component takes advantage of the dramatic structure of the program by reinforcing what the viewer is already curious about. Figure 5.11 demonstrates the ways that the enhancement area is used to provide relevant content which, unlike trivia, works to draw the viewer deeper into the world of crime scene investigators. In addition, the design and color scheme of the entire iTV application are seamlessly integrated into the mood of the program, making the enhanced area a natural extension of the screen. (a) (b) Figure 5.11 C.S.I. Interactive Enhanced Content (a) and (b) The next two examples, from PBS’ Life 360 and CBS’ Survivor, also serve as good examples of enhancements that are intimately tied to the content of the program. The enhancement in Figure 5.12 provides relevant information to orient the viewer geographically to the action happening on screen. Enhancements in Figure 5.13 provide relevant information about Jessie, a contestant on the reality show, who may or may not 135
e voted off the island. In both cases, the enhanced content of the iTV component – both in terms of information provided as well as design and color scheme – are seamlessly integrated into the program. Figure 5.12 Life 360 Enhanced Content Figure 5.13 Survivor Interactive Enhanced Content A common violation of this principle is the use of iTV as a delivery vehicle for trivia or factoids, which often have little or nothing to do with the actual content of the program. Figure 5.14, an example from TNT Interactive’s application for Sleepless in Seattle, is typical of the factoids that pop up in synchronization with the broadcast. The application is hosted on a two-screen platform, forcing the viewer to look away from the 136
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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
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CNN Crossfire, broadcast in front o
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Dramas may need to operate under a
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The participatory aspect of many pr
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4.1.1 Grid-Based Design Grid-based
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The Law of Similarity. Elements tha
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Page 103 and 104: Figure 4.3 TV Aspect Ratios Althoug
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Page 107 and 108: 4.2.4 Line Width The image on a tel
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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
Page 123 and 124: with a handheld remote control from
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
Page 135 and 136: medium. The current state of this e
Page 137 and 138: through the different elements offe
Page 139 and 140: y the wider context of the program
Page 141 and 142: History IQ focused on keeping the i
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Page 149 and 150: viewing experiences so that each vi
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Page 155 and 156: them so conducive to iTV programmin
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Page 159 and 160: In the first of a series of on-air
Page 161 and 162: Jakob Nielsen notes that users are
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
Page 169 and 170: epresentative of the red button tha
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
Page 193 and 194: CHAPTER 6 CONCLUSIONS AND FUTURE DI
Page 195 and 196: Figure 6.2 Convergence of Entertain
Page 197 and 198: (a) Figure 6.3 Examples of MTV Hija
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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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