Controllers for Pong, Part 4: Post-Playtesting

“Same” Controllers

I see games as having two forms: the idea of the game and the practiced game. In the idea of the game, all rules and tools are the same and players are differentiated by their skills. By each side using the same tools, it is an attempt to equalize play. However, this is a falsehood as it this presumes that all bodies are the “same” and competition is determined by skill alone. In practice, we have different bodies with different capabilities. In the practiced game, players may use identical tools, or controllers, but the tools aren’t the equalizer their standardization suggestions. Controllers inherently cater to a type of body and type of capability.

Players and Controllers

The project is driven by an attempt to understand controllers:

  • How can the same goal of hitting a ball be achieved by different interactions?
  • How do different interactions change the relationship between the user and the game?
  • Do different interactions make different games?

While these questions are interesting to me, through play testing it was evident that the players are not motivated by these same curiosities. They asked “How do I play and how do I win?”1 My assertion is that the answer to “How do I win?” varies between players. By offering a multitude of controllers, will players seek out the one that allows them to play their “best”?

“Different” Controllers

Players may decide to use the same controllers or different controllers. If two players choose different controllers, is it still the same game as when players are using the same controllers? That is, do the controllers themselves define the game?

Fundamentally, the behaviour for playing pong is to move a paddle to intercept a ball. When different controllers control the same paddle parameters—speed, direction, and/or position—but through different interactions, it is a question of how they are controlling them. By providing players the choice in how they control the paddle’s behaviour, the game rejects that a singular form of interaction is required to constitute a game.

Providing Different Levels of Control

Many users had difficulty using controllers which modified only one aspect of the paddle (i.e. its speed or direction) through a binary condition (i.e. fast versus slow or up versus down). They had to anticipate both the location of the paddle as it was constantly moving as well as the location of the ball.

In the context of play testing, they had very little time to learn and master these new controls. They quickly had to work against their expectations for how the paddle would behave. I wonder if played over a long period of time, once they could anticipate the behaviour of the paddle would it become boring as toggling between two binary states is a somewhat passive physical interaction? Additionally, how would adding a button that toggled between “in motion” versus “stationary” affect the game play?

Controller Orientation

For the controllers that moved the paddle to an absolute position on the game area, users implemented different orientations of these controls.

When using the multiple-button based controller, one user oriented the buttons horizontally and used multiple fingers to jump between locations. Alternatively, another user oriented the controller vertically—directly corresponding to the movement of the paddle on the screen—and used only a single finger to control the paddle’s position.

Next Steps in Testing

When play testing, I manually simulated the action of the paddle as the users interacted with cardboard controllers. When they controllers offered various parameters to adjust—speed, direction, position—I had a hard time accurately mapping their interaction to my manual adjustment of the paddle. In my next round of user testing, I plan on using a coded version. The controllers themselves will not be the final fabricated versions (enclosures versus breadboard), but they will use the actual sensors to directly control how the paddle behaves on screen. I also plan on coding a “debug” view for myself that visually shows the sensor output in order to map the user behaviour to what’s going on “behind the scenes”. This visualization will be particularly helpful when testing the tilt-based controllers where speed and direction are controlled along two different axes.

Week 10 Summary

References

Woven Signals, Anne-Marie Lavigne

The form is the outer expression of the inner content. One should not make a deity of form. And one should fight for the form only insofar as it can serve as a means of expression of the inner resonance. Ultimately one should not seek salvation in one form.
– Wassily Kandinsky, “On The Problem of Form”, 1912

Inkspace, Zach Lieberman

The Films of Bêka & Lemoine


Guest Speakers

Sarah Rothberg, Narrative in Immersive VR

Narrative: a way of organizing occurrences into a coherent sequence

“Narrative” means any technique that produces the visceral desire in a reader to want to know what happened next.
– Bob Baker, Los Angeles Times

Virtual Reality: a “kind-of” reality immersion, presence, agency

Things to Consider in Immersive Digital Experiences:

  • Providing causality in narratives
  • The user will be in a 360 environment
  • VR breaks the teller-listener paradigm
  • The user still exists in physical reality
  • Where, how, and by whom will this be seen?

The Question Bridge

The Question Bridge is a multi-format documentary that explores the multifaceted identifies of Black men in America. Initiated in 2012 by artists Chris Johnson, Hank Willis Thomas, Bayete Ross Smith and Kamal Sinclair, it has since been exhibited as a video art installation, translated into an interactive website and app, and formed an education curriculum for high school students.2

Narrative

The piece is composed of video interviews with individual subjects which are collectively brought into relation through a question-answer sequence, a technique called the “Question Bridge”.3. Although the various subjects are not speaking directly to each other, the sequencing of the footage puts them in conversation with one another—asking and responding. This format of interweaving the various stories showcases the layered, complex and multidimensional identities and narratives of the subjects. By presenting narratives which both enforce and contradict each other, the artists attempt to dismantle and frustrate the media’s presentation of a presumptive singular identify that “Black Males are.” 4

Format

In the “Explore” mode on the interactive website, the content can be explored through two lenses: the conversations or the individual profiles. A second layer of organization provides navigation by index, geography, or tag.

Conversation View, Index - Question Bridge
Conversation View, Index – Question Bridge
Geograph - Question Bridge
Geograph – Question Bridge
Tags - Question Bridge
Tags – Question Bridge

For interfaces that provide a multitude of navigational and organizational structures, I often wonder whether the piece would be stronger with a single mechanism for organizing the content? Are users overwhelmed by the many ways in which they can explore and does this overshadow or distract from the content itself?

Homepage, Question Bridge
Homepage, Question Bridge

The homepage arguably provides the opposite level of agency to the user. Various videos composited from multiple clips automatically play when a user visits the page. The artists have created a narrative out of the individual clips, placing them visually side by side and playing them in a predetermined sequence.

These two formats provide the user with different levels of agency and in turn the two formats respond to the idea of “narrative” differently. The “constructed” narrative playing on the homepage presents a point of view established by the creators. They have chosen how long each clip plays, the sequencing of the clips and which clips respond to the question asked. In contrast, the “explored” narrative is continually being constructed as the user engages with different clips.

What underscores both narrative forms is the consistent directorial style. The subjects of the videos all speak directly into the camera, simultaneously engaging with their fellow video subjects but also with the viewer. Through this technique, viewers are intimately placed actively within the conversation rather than positioned passively outside of it as an observer.

Controllers for Pong, Part 3: Planning

A while ago, I tested three early ideas for different controllers. Since then, I’ve broken down the paddle parameters: speed, direction, position and motion. These will be combined or isolated in a variety of ways. Some will be able to be controlled by the user versus others are products of the system. I hope to create controllers based on three categories:

  • object: akin to a typical controller, with buttons, switches, etc
  • environment: the controller is affected by its context (light, temperature, orientation, sound)
  • body: the movement and position of the user’s body itself input

Mapping the System: Various Object-Based Controllers

Bill of Materials

The Secret Life of Plants, Part 1

There’s a great scene in the opening of episode 2 for Fleabag in which everyone on the subway sudden contorts their faces and bodies in pain along to the music of Sail’s Awolnation.

I’m inspired by this format: a steady state suddenly erupting into unexpected action and just as unexpectedly returning to the steady state. But I’m also interested in combining this with animated succulents and cacti. Cacti in particularly have features that seem inherently expressive: a sprinkling of neon freckles, sharp spikes orderly arrayed along a smooth skin, the juxtaposition of vibrant colours.

My animation will explore the emotional rollercoaster of a cacti seeing itself in the mirror for the first time. But while the “Fleabag” clip has a great punchline, I’m still searching for the ending of my plant narrative and how to reconcile seeing itself…

The Secret Life of Plants storyboard
The Secret Life of Plants storyboard