Digital games tend to follow one of two trends when presenting game information to the player. The game may present game information in a naturalistic way as part of the imaginary universe presented by the game, avoiding symbolic or abstract representations that seem alien to the fictional world. Alternatively, the game may use graphical augmentations such as superimposed information, menus, and icons that points directly to important information. In Gameworld Interfaces, Kristine Jørgensen investigates different approaches to designing the game interface. She argues that gameworlds are not go ... More

Digital games tend to follow one of two trends when presenting game information to the player. The game may present game information in a naturalistic way as part of the imaginary universe presented by the game, avoiding symbolic or abstract representations that seem alien to the fictional world. Alternatively, the game may use graphical augmentations such as superimposed information, menus, and icons that points directly to important information. In Gameworld Interfaces, Kristine Jørgensen investigates different approaches to designing the game interface. She argues that gameworlds are not governed by the pursuit of fictional coherence but by the logics of game mechanics, and that this is a characteristic that distinguishes gameworlds from traditional fictional worlds. For this reason, one approach to interface design is not superior to the other as long as relevant game information is effectively communicated in a way that makes sense to the particular game situation. Gameworld Interfaces is a study of audiovisual computer game interfaces and how they interact with the gameworld. The book presents a theory of game user interfaces and considers the implications of this theory for game design based on interviews with game interface design teams, extensive interviews and observations of players, and many hours of gameplay.