Week 7 - User Experience Process | The four F's of active reviewing

Facts:

This week marks the start of the second half of the semester. After a thoughtful reflection during the break and conducting several tests, I made some adjustments based on the existing data and feedback. Last week, I decided to shift the focus of my project towards user experience and interaction, reducing the emphasis on traditional gaming elements. While there may be fewer game-like mechanics, my priority remains on fulfilling the psychological needs of the users. By utilising the Octalysis framework, which expands on multiple psychological aspects of game design such as social influence, surprise, and satisfaction, I was able to draft a complete Customer Journey Map. This map outlines three distinct stages in the program: Tutorial, Core Experience, and Conclusion, with detailed tasks for each phase.

[Figure 1: The Octalysis Framework for Gamification & Behavioral Design (2024), Yu-kai Chou]

[Figure 2: Costumer Journey Map, my miro]

Feelings:

Looking back on these decisions, I feel both confident and slightly anxious. The move away from traditional game elements feels right for the purpose of the project, but it also raises the challenge of maintaining engagement without them. At the same time, I’m excited about applying the Octalysis framework, as it has helped me visualise how users might experience the program at each stage. There’s a sense of accomplishment in seeing how the journey map connects everything, yet I’m mindful of the need to carefully balance each element to ensure a smooth and rewarding user experience.

Findings:

The visual exploration conducted has provided a wealth of ideas that are shaping the aesthetic of our neurofeedback game. The character designs reveal a strong emphasis on empathy and relatability, crucial for our target audience who may resonate with characters showing physical limitations. The subtle symbolism in the designs, such as a fragile glass toy, mirrors the vulnerabilities of the user, potentially enhancing emotional engagement. The varied NPC options and interactive objects suggest a game world rich in choices and interactions, reinforcing the user’s sense of agency.

The scene and background layouts suggest a dynamic interplay of light and depth, using contrasting palettes to depict transitions or emotional shifts within the game. The colour schemes range from subdued to vibrant, illustrating different emotional states or stages of the journey. These aesthetic choices not only set the tone but also guide the player’s emotional experience throughout the game.

[Figure 3: Visual aesthetic research, my miro]

Future:

In the upcoming two weeks, my immediate goal is to finalise a functional program structure. By establishing a solid technical foundation first, the subsequent integration of the visual art and device connectivity will be significantly streamlined. This approach ensures that the aesthetics align seamlessly with the underlying mechanics, enhancing the overall user interaction without compromising the therapeutic objectives of our project. Once the core framework is operational, we will focus on refining the artistic elements and ensuring that the neurofeedback devices interact flawlessly with the game, aiming for a smooth and engaging experience for the users. This structured development strategy is crucial for maintaining momentum and ensuring that each component effectively contributes to a cohesive end product.

Reference:

Yu-kai Chou: Gamification & Behavioral Design. (2008). Yu-Kai Chou: Gamification & Behavioral Design. https://yukaichou.com/

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Elisa - Des 301 capstone final. (2021). Miro.com; Miro. https://miro.com/app/board/uXjVKsJq4ao=/?moveToWidget=3458764598750541824&cot=14

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Elisa - Des 301 capstone final. (2021). Miro.com; Miro. https://miro.com/app/board/uXjVKsJq4ao=/?moveToWidget=3458764599435180996&cot=14

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