I remember when we were doing the first Dragon's Lair, I got really involved with coming up with all the little rooms and what was the danger in the room and going into it with bats and spiders and snakes.
The fusion of art and technology that we call interface design.
When we considered what to do with the graphics capability of the Wii, we put more attention and focus on the ability to create new experiences rather than the quality of the graphics.
In the case of 'Fish,' I did the writing, design, and code all at the same time, so the form and the content were fused together. I'd change some words, get an idea, change some code, see if it worked, change more words, and so on.
At Adaptive Path, we've been doing our own work with Ajax over the last several months, and we're realizing we've only scratched the surface of the rich interaction and responsiveness that Ajax applications can provide.
The design should make the product speak to you.
We want to continue to explore new possibilities regarding interface and interaction. We experiment different solutions to make interface an important component for immersion rather than just a remote control.
I'm not against Flash, and I love the work that people such as Joshua Davis do.
People are moving into modes of participation and self-generation, which apply to everything from museums and television to architecture.
Gamification is as important as social and mobile.*
When people take off the headset, they immediately have a creative idea about what they can make in virtual reality, and a lot of them immediately want to get involved.
I just want to create situations where people forget time.
I think with my hands. I design things to be touched-not for a museum. A piece is ready when it has the shape of something to cherish.
Design truly is a contact sport. It demands that we bring all of our senses to the task, and that we apply the very best of our thinking, our feeling and our doing to the challenge that we have at hand.
I have my team focused on the front end, working on the user experience, and making sure we have all the wiki-like tools people need to work on the site. We're just cranking away.
Interactivity and a better experience aren't always the same thing.
I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.
When designing - whether it's a living room, event space, or tablescape - I always want guests to feel as though they are part of the experience.
Portable designs have the power to transform unused public spaces into dynamic environments that build and invite communal experiences.
I could put a sudoku at the end of every chapter and you'd have to solve it to progress through the story, but that doesn't address what would make people want to interact.
I don't think as a creator that I could create an experience that truly feels interactive if you don't have something to hold in your hand, if you don't have something like force feedback that you can feel from the controller.
Let me just say something that I forgot, I also hoped and this was very true in the beginning - that this would also be a place that people would be able to walk in to the fountain and use it in a nice way of reading and examining the quotations on the blocks.
One of the things I've learned with doing 'xkcd' is that you sort of give people, 'Here's the thing, and here's the button you can press to get another thing.' Sometimes that can be more easy to digest than, 'Here's a long page of things.'
The thing that excites me most technologically is the ability to use VR not just for games and displaying our content, but also for creating that content. We're putting a lot of thought into what the Unreal Engine editor looks like as a VR application.
The bottleneck wasn't, How do we make pixels prettier? It was, How do we engage with them more?
