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Using smartphones and shared displays to connect and coordinate people in playful contexts Authors: Keisha Bakosi, Jaffar Salih [email protected] [email protected] Bachelor’s thesis 2013 Interaction Design K3 Malmö University Abstract This paper explores the social aspects of a new kind of mobile games where players interact with each other in a shared physical space as well as in-game. As technology spreads throughout layers of culture and everyday life, and gaming becomes increasingly widespread, we see a future in social digital games through the use of smartphones, because of their prevalence and their technical versatility. This poses new challenges for designers. By using the context of music selection in semi-public to public situations and with the help of prototypes, we explore the problems of making selections and connections in large groups as well as delivering feedback. As a result of this project we arrive at elements such as participation, competition, scalability and the importance of social interactions between participants which can be used when designing systems in similar contexts. Keywords: Design, interaction, connection, scalable, coordination, selection, public, event, social game, smartphone, transmedial access, mobile, mimetic interface, collaborative music listening, public spaces, convergence culture, third wave HCI. Table of Contents 1. Introduction ……………………………………………………………………………………………………. 1 2. Background ……………………………………………………………………………………………………. 2 2.1 Research area …………………………………………………………………………………….. 2 2.2 Purpose …………………………………………………………………………………………….. 2 2.3 Research question ………………………………………………………………………..……. 3 2.4 Limitations ………………………………………………………………………………….……. 3 2.5 Intended target group ………………………………………………………………………… 4 3. Theoretical research and related work …………………………………………………………..….. 5 3.1 Cultural convergence ………………………………………………………………………..… 5 3.1.1 Society goes tech ………………………………………………………………..…. 5 3.1.2 Boundaries are fading ………………………………………………............... 6 3.1.3 The Participatory Museum ……………………………………………………. 7 3.1.4 Social barriers ……………………………………………………………………… 8 3.1.5 The Casual Revolution ……………………………………………………….…. 9 3.2 Second screens and Shared Displays ……………………………………………..…… 10 3.2.1 In the beginning, there were shared displays ………………………….. 11 3.2.2 Interactive shared displays, single user ……………………………….… 11 3.2.3 Interactive shared displays, multi-user …………………………..…….. 12 3.2.4 Shared displays and interactive second screens at home …….….. 13 3.2.5 Shared displays, Second Screens & Games …………………….……… 14 3.3 Public Space and Games ………………………………………………………..………….. 15 3.3.1 Gaming on the Go ……………………………………………………………….. 15 3.3.2 Location Based Mobile Games ……………………………………..….…… 17 3.3.3 The Magic Circle ………………………………………………………….……… 17 3.3.4 The Spirit of Competition ……………………………………………..…….. 18 3.4 Connections and Collaboration ………………………………………………………….. 18 3.4.1 Social networks …………………………………………………………………… 18 3.4.2 Making connections ………………………………………………………….… 19 3.4.3 Collaborative music listening ………………………………………….…… 21 4. Method ………………………………………………………………………………………………………… 24 4.1 Literature studies ……………………………………………………………………………… 24 4.2 Design principles ……………………………………………………………………………… 24 4.2.1 User Centered Design ………………………………………….……………… 24 4.2.2 Lead user design Strategy …………………………………………………… 24 4.2.3 Experience design ……………………………………………………….……… 25 4.2.4 Third wave HCI Design goals …………………………….………………… 25 4.3 Field studies …………………………………………………………………………………… 26 4.3.1 Observations ……………………………………………………………………… 26 4.3.2 Interviews ………………………………………………………………….……… 26 4.3.3 Questionnaires ………………………………………………………...………… 27 4.3.4 Focus groups ……………………………………………………………………… 27 4.3.5 Data recording …………………………………………………………………… 27 4.4 Prototyping ………………………..…………………………………………………………… 28 4.5 Evaluation method …………………………………………………………………………… 29 5. Design process ……………………………………………………………………………………………… 30 5.1 Field studies ………………………………………………………………………..…………… 31 5.1.1 Observations ……………………………………………………….……………… 31 5.1.2 Interviews …………………………………………………………………..……… 32 5.1.3 Questionnaire …………………………………………………………..………… 33 5.2 Initial concept ………………………………………………………………………..………… 34 5.3 Focus group ……………………………………………………………………………..……… 34 5.3.1 Implementation ………………………………………………….……………… 35 5.3.2 Analysis ……………………………………………………………………..……… 35 5.4 Concepts ……………………………………………………………………………………….… 37 5.5 Prototyping ……………………………………………………………………………………… 40 5.6 Testing the Prototype ………………………………………………………..……………… 44 5.6.1 First test of Your DJ ………………………………………………….………… 44 5.6.2 Results of the first test ………………………………………………………… 46 5.6.3 Second test of Your DJ ………………………………..……………………… 47 5.6.4 Results of the second test …………………………………………….……… 48 5.7 Connection ……………………………………………………………….……………………… 49 6. Discussion and conclusion …………………………………………………………………………..… 52 6.1 Discussion and analysis ……………………………………………………………..……… 52 6.2 Self critique ………………………………………………………………..…………………… 54 6.3 Conclusions ……………………………………………………………………..……………… 55 6.4 Future directions ……………………………………………………………………………… 56 7. References …………………………………………………………………………………….……………… 57 8. Appendix ……………………………………………………………………………………………………… 63 8.1 Ideas from the focus group ……………………………………………………..………… 63 8.2 Questionnaire results ………………………………………………….……………….…… 63 8.3 First test instructions ……………………………………………………………..………… 64 Acknowledgements We would particularly like to thank Björn Törnqvist, Oliver Merlöv, Christian Sebra, Anders Corlin and the rest of the team at Massive Entertainment for providing us with inspiration, support and a great work environment. We would also like to thank our supervisor Simon Niedenthal for great inspiration, help and guidance and the course coordinators Per Linde and Michael Svedemar for their guidance. We also would like to thank all our participants of the observation studies, and the focus group participants Robert Alm, Patrik Rinkeberg, Stefan Todorov, Theo Franzén, Samantha Miszkiel, Markus Schachtschabel, and other people who helped along the process; Tomas Diez, Maria Isaksson, Fredrik Fredriksson and Anders Larm. 1 Introduction Massive Entertainment - a Ubisoft studio - is developing a new game that utilizes smartphones when interacting with the game. This use of smartphones suggests that any number of people can join the same game provided that they have one. Creating situations where five or five hundred people can share the same experience is exciting new ground, and as such it poses new problems and questions for designers. In this project we will explore how a scalable number of people can share the same game experience in games that take place in public spaces in a playful setting. The interest for this project for us lies within the field of social games in general and the experimental nature of this project in particular. Apart from an interest in IxD (Interaction design) and service design, Keisha also has a particular fondness for music and music-listening. For her, the main aim has been to explore the ways in which traditional socio-cultural activities in public spaces could be expanded and augmented by technology - and conversely; how technology and games are transcending across contexts of the everyday life of people. Jaffar has always been interested in the idea of “organic” multiplayer in games. Organic multiplayer systems that create opportunities for interaction between players in a more natural way than forcing players to go through menus to connect to each other or form groups. Some games are already exploring such features like Journey, Dark Souls and Guild Wars 2. Location based mobile games provide great opportunities to create these multiplayer moments. Our approach builds upon the target group and context of the game that Massive Entertainment is developing in order to provide them with relevant work, while exploring one aspect of this game in an experimental way. We aim to make an academic contribution to the field of interaction design without the restrictions of confidentiality issues. We started by identifying trends in gaming, second screens and shared displays through the concept of cultural convergence, third wave HCI (Human-Computer Interaction) and transmedial access. This research served as a basis for establishing the context of our practical work and the methodologies used for that work; the context of public gatherings in social and playful settings. Through this work we explored expos, events, parties, clubs and the likes as examples of the aforementioned context. We examined previous work on collaborative music listening, participation and other motivational factors as well as interesting connection methods. This lead to the design phase, where prototypes enabled us to explore the problems and different possible solutions. 1 2 Background 2.1 Research area A significant part of the gaming world is heading more and more towards transmedial accessibility. For console games, this means enabling players to continue their game play outside of the default indoor gaming environment. While console games typically offer considerable depth and persuasiveness, they limit their players to the physical confines of the living room. Breaking this physical bond (mainly accomplished through companion apps on mobiles these days) enables a game to continue in other areas of everyday life (Bardzell, et al. 2007). Conversely, mobile games are a casual activity which appeals to a wide audience, but they don’t really lend themselves to prolonged, extensive game play. 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