INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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advantage of the participatory aspect of many programs and easily allow viewers feel like they are part of a larger viewing community. 2.9.3 Constraints Designing for mobile devices presents a challenge to interface designers. For example: “Processors get faster, carriers offer more services, bandwidth increases, and it results in more content being delivered to the user. But the display size doesn’t get any bigger. How do designers deal with increases in speed and information density, when they are stuck with the same little screen they had two or three years ago?” (Frauenfelder, 2005). There is a clear absence of standards and conventions in the realm of designing for mobile devices, despite there being multiple formats available on these devices (e.g., video, SMS, voice, recorded voice, sound, games, graphics, photographs). Also, because of the relatively simplistic interaction model behind the use of mobile devices, it is difficult to adapt them for more complex and sophisticated iTV applications. Finally, revenue is also an issue with premium SMS. 2.10 GAME CONSOLES Game consoles that come with a built-in Internet connection and / or TV tuner provide a good example of convergent technologies. For example, Microsoft’s Media Center Extender for Xbox is a new Xbox title that streams the Media Center PC entertainment experiences onto a TV or display through the Xbox console. Media Center Extender for Xbox is a packaged software product from Microsoft that runs as an Xbox game. It works with a wired or wireless connection to the Media Center PC, and also supports DVD movie playback. 45
The American Film Institute’s enhanced TV Workshop has generated some cutting-edge iTV prototypes that merge games with television. In 2003, the Sci Fi Channel and VU Games teamed up with the AFI workshop to create a prototype for Battlestar Galactica: The team has fleshed out the designs for Battlestar Galactica’s spatial navigation on the Xbox. The interface features directional mapping composed of four quadrants, each offering a different interactive opportunity for the viewer. Navigating to the left, viewers can get a closer glimpse at the artifacts of the scene they’re watching by viewing maps and diagrams relevant to the storyline, giving viewers a deeper sense of immersion in the story. When viewers navigate to the right, they find visual background on the Battlestar Galactica characters through access to character photos and “home movies.” Navigating up, viewers have access to additional B-roll footage, and moving down, viewers have an opportunity to participate in the story through interactive game play, flying aircrafts in battle along with the show’s characters (American Film Institute, 2003). 2.10.1 Representative Example: Battlestar Galactica Prototype Figure 2.9 provides examples from the Battlestar Galactica prototype. (a) (b) Figure 2.9 Examples of “Battlestar Galactica” Interface (a) and (b) Similarly, in the 2004 workshop, the Science Channel teamed with the AFI team to produce a prototype of Dinosaur Highway, a new programming concept where a MMORPG (massively multi-player online role-playing game) merges with television. 46
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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
Page 11 and 12: Figure 2.6 Figure 2.7 Figure 2.8 Fi
Page 13 and 14: Figure 5.4 Figure 5.5 Figure 5.6 Fi
Page 15 and 16: Figure 5.36 Figure 5.37 Figure 5.38
Page 17 and 18: SUMMARY Interactive television (iTV
Page 19 and 20: However, it is clear that televisio
Page 21 and 22: looking closely at existing designs
Page 23 and 24: For viewers with analog television
Page 25 and 26: Figure 1.3 Percent of Households wi
Page 27 and 28: interact with television shows by u
Page 29 and 30: New Media usage is dominated by 18
Page 31 and 32: Figure 1.6 Winky Dink and You The o
Page 33 and 34: 1.4.1 BBC Interactive Figure 1.7 In
Page 35 and 36: 1.4.2 Additional Examples Many othe
Page 37 and 38: Table 1.6 (continued). Greece Local
Page 39 and 40: Table 1.6 (continued). New Zealand
Page 41 and 42: using a combination of visual cultu
Page 43 and 44: CHAPTER 2 BROAD CATEGORIES OF ITV P
Page 45 and 46: Table 2.1 Categorization of iTV by
Page 47 and 48: capable of storing an enormous amou
Page 49 and 50: (c) Figure 2.2 Examples of Comcast
Page 51 and 52: (c) (d) Figure 2.3 Examples of Gems
Page 53 and 54: users to send email, chat, and surf
Page 55 and 56: 2.6 WEB-BASED SYNCHRONOUS (TWO-SCRE
Page 57 and 58: interactive or enhanced content on
Page 59 and 60: they allow for greater versatility,
Page 61: Networks have also used wireless de
Page 65 and 66: game consoles with televisions and
Page 67 and 68: Interactivity must be tied to origi
Page 69 and 70: CHAPTER 3 BROAD CATEGORIES OF ITV P
Page 71 and 72: information about the topic at hand
Page 73 and 74: said they would do so again in the
Page 75 and 76: 3.2.1 Representative Example in Spo
Page 77 and 78: (a) (b) Figure 3.3 Test the Nation
Page 79 and 80: interactive TV betting service tota
Page 81 and 82: application was also available on t
Page 83 and 84: the ABC telecast throughout the eve
Page 85 and 86: platforms. The navigation is timeli
Page 87 and 88: 3.7 SHOPPING Shopping, or purchasin
Page 89 and 90: - 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
Page 101 and 102: more visually pleasing, but can hel
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
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pages. Web applications that exceed
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Source: Human Factors International
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working on a computer is not a soli
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media, among others. Figure 4.9 pro
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MSN TV 2, which Microsoft rolled ou
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with a handheld remote control from
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Table 4.2 outlines some of the diff
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should be designed with the televis
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Pages that appear in series, one af
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CHAPTER 5 PRINCIPLES OF INTERACTION
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through… The computer’s spatial
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medium. The current state of this e
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through the different elements offe
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y the wider context of the program
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History IQ focused on keeping the i
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een programs that were still in dev
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features of a DVD immediately after
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context where the learner is consci
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viewing experiences so that each vi
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(a) (b) Figure 5.10 TiVo WishList (
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e voted off the island. In both cas
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them so conducive to iTV programmin
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own content in ways similar to this
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In the first of a series of on-air
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Jakob Nielsen notes that users are
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(a) (b) Figure 5.22 TV411 Interface
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Figure 5.25 Life 360 Competing Elem
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(a) (b) (c) (d) Figure 5.28 Example
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epresentative of the red button tha
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Lamont brings up compelling advanta
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lower right-hand areas are privileg
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5.4 NAVIGATION Navigation pertains
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Figure 5.35 New Americans Orientati
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Figure 5.37 Test the Nation User In
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applications based on the televisio
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esearchers, “In many ways, the pa
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In Robert Miller’s classic user r
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ecycling bin from Windows, that sta
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importance (see chapter three). In
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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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