archive.Joe Lamantia.com

Since I wrote about the user experience of augmented reality less than two weeks ago, the most important development is the arrival of augmented iPhone apps (unofficially for the moment, officially in September).

Why is this so important, when Wikitude and other AR Android apps have been available for almost a year?  Bringing augmented reality to the iPhone changes the cultural assumptions made about AR experiences as a class of offering. Endorsing AR experiences for iPhone users moves augmented reality from the geek realm of Android and Google, to the chic world of Apple.  Culturally, the assumptions we make about the new products and services from Apple and Google are driven largely by the differences in way we perceive the two brands.  Apple is chic, while Google is geek.

Looking Ahead

Connecting the Apple brand to augmented experiences will persuade many people to try out AR.  Yet as I’ve said, and many others as well, getting the user experience of augmented reality ‘right’ is absolutely the critical element to the long term viability of this new class of experiences.  This entails two efforts.

First, designers must refine the experiences offered by all those AR applications based on the four classic interaction patterns known so far – Head-Up Display, Tricorder, Holochess, and X-ray Vision.  Two factors make refinement essential: competition from other AR offerings that reduces the novelty value of your experience, and increased ‘load’ on the UX in the form of actual use for everyday purposes in the complex setting of real life.  Think about trying to choose where to get lunch for the afternoon by sorting through 1500 listings for coffee shops and restaurants while standing on a street corner in the rain in London holding your phone aloft.  The functional aspects of AR experiences just aren’t refined enough to handle the interaction design, visualization, and contextual sensitivity challenges implied. [Prediction: AR usage cases will naturally settle on a set of common scenarios that balance the strengths and weaknesses of each of the four classic patterns.  More speculation on that in a later post.]

Second, designers must address the gaps in the set of concepts now used as the basis for imagining new augmented experiences.  I flagged six ‘missing’ patterns in the range of experiences offered so far; Loner, Second Hand Smoke, Pay No Attention To the Man Behind the Curtain, The Invisible Man!, Tunnel Vision, and AR for AR’s Sake (see the article for details).  I’m sure the very savvy readers of this blog can identify even more.

I hope all the AR innovators, designers, and entrepreneurs working hard on the crest of this breaking wave of technology find ways to take on both of these tasks.  If they can’t refine the existing models and fill in those experience gaps, then neither Apple chic nor Google geek cred will suffice to make augmented reality viable in the long term.  And what could literally be a new way of seeing the world – one with legitimate potential for changing our behavior with regard to urban spaces, the environment, social structures, play, and economics, among just a few spheres of human activity – will remain little more than a camera obscura style curiosity.

Marshall Kirkpatrick of ReadWriteWeb links to Inside Out: Interaction Design for Augmented Reality (the latest Everyware column) in two recent stories tracking the fast-moving augmented reality space; Augmented Reality: Five Bariers to a Web That’s Everywhere and, and RobotVision: A Bing-powered iPhone Augmented Reality Browser. 

Thanks, Marshall!

And as a bonus, Tim O’Reilly tweeted about Marshall’s article.  I doubt that Tim reads this feed, but it’s always nice to be recognized, even indirectly.

I’m very happy to announce that Inside Out: Interaction Design for Augmented Reality – the latest installment of my column Everyware @UX Matters –  is live now.  (Timing is sometimes the writer’s friend, as I was at the Layar event Monday night here in Amsterdam just the day before, and had the chance to talk with some of their team.)

AR is more of a perspective and class of experiences than an instance of new technology, so I wanted to approach the subject from the specific perspective of user experience and interaction design.  Reactions from the augmented reality community are positive so far; Claire Boonstra of Layar, and no less than the inimitable Tish Shute of UgoTrade, have all been kind enough to recommend it.  Thanks to them and to everyone who’s tweeted and posted this one.

As we explore the role augmented reality will play in our gigantic experiment with everyware, we should keep in mind that the map is not the territory.  But there is no denying an effective map will surely help point the way as you try to find your way around a strange new country.

What happens when *everything* is designable? When the boundaries between humanity, technology, and the larger environment disappear? Designing Post-humanity: Everyware In the Far Future, the latest installment of my column on user experience and ubiquitous computing in UXmatters, takes a look at these questions. Post-humans, ubicomp, and science fiction may seem like strange territory for user experience professionals, but by considering these kinds of futures today, we make many important decisions about who we will [all!] be tomorrow.

**Update: Bruce Sterling just posted about it in his Beyond the Beyond blog at Wired. Thanks for noticing, Bruce!

Here’s my presentation from the Italian IA Summit on Killzone.com as a leading example of the next generation of Massively Social On-line Games.
As usual, I try to share some of the best thinking on these ideas; in this case I quote liberally from Nicole Lazarro. (I hope she takes this as a compliment.) Her insights into the emotional drivers for social and game experiences and the nature of cross media are – no surprise – right on, and coming true years after first publication.
Some of the more eye-opening material I discovered while looking into the design of this game / community hybrid concerns the direct connection between game mechanics (a design question), the space of possible choices for players, the emotions these choices inspire and encourage, and the resulting experience of the game environment.
From the functional to the psychological, it seems there really is an ‘architecture of fun’ for both games and social experiences. It is just another example of how architecture of any (and all) kinds is an enormous influencing factor on peoples’ experiences.
This is the first of two parts – stay tuned for the follow-up, once we clear the disclosure question.
A slidecast will follow shortly, now that my laptop is back in working order, and I can fire up ScreenFlow.

I’ll be speaking at the Italian IA Summit next week on some of the exciting work MediaCatalyst has been doing in the area of massively social on-line games. We’re the digital agency behind Killzone.com, the integrated on-line community for the Killzone game series, which is just about to release it’s second installment (selling well – KillZone 2 is #10 on Amazon, in pre-orders alone).
I think hybrid experiences that combine games dynamism and sophisticated social spaces are a very important part of the future for interactive experiences, and the organizers have been kind enough to offer us the opening keynote, so if you can get a ticket to Forli, we’d love to see you in the audience.

Here’s the full description of our talk:

Co-evolution of a Socially Rich Game Experience and Community Architecture

What form will the next generation of interactive experiences take? The exact nature of the future is always unknown. But now that everything is ‘social’, and games are a fully legitimate cultural phenomenon more profitable and more popular than Hollywood films, we can expect to see the emergence of experiences that combine aspects of games and social media in new ways.

One example of a hybrid experience that combines game elements and complex social interactions is the cross-media environment formed by the popular Killzone games and their companion site Killzone.com. By design, the Killzone games and the Killzone.com site have co-evolved over time to interconnect on many levels. In the most recent version (planned for public release in early 2009), the game console and web site experiences work in concert to enhance gameplay with sophisticated social dynamics, and provide an active community destination that is ‘synchronized’ with events in the game in real time. The hybrid Killzone environment allows active game players and community members to move back and forth between game and web experiences, with simultaneous awareness of and connection to people and events in both settings.

Leading games researcher and designer Nicole Lazzaro calls these hybrid experiences ‘Massively Social On-line Games’. In these types of interactive experiences, players build meaningful histories for individual characters and groups of all sizes through competitive and cooperative interactions that take place in the linked game and community contexts. Game mechanisms and social architecture elements are designed to encourage the accumulation of shared experiences, group identities, and collective histories. Over time, designers hope shared experiences will serve as the basis for a body of social memory.

This case study will follow the co-evolution of Killzone and Killzone.com, revisiting major business and design decisions in context, examining the changing nature of the community, and considering the lessons learned at each stage of the development of this early example of the next generation of massively social on-line game.