NickSchaden

Gaming consoles and poor UI design

04.17.12 | Technology | ∞

Video game consoles are still putting up great numbers seven years into their current generation. But why have their user interfaces remained so bad? I was reminded of this on a popular Giant Bombcast (gaming podcast) from two weeks ago; the hosts talked at length about the sad state of Microsoft’s latest XBox Live UI refresh. Microsoft largely sidelined avatar functionality, one of the rare bits of personalization and whimsy from an otherwise business-like UI. The Netflix interface was overhauled so poorly that the hosts had moved their film streaming needs to other platforms. Common actions now required more taps of the controller than in earlier XBox Live iterations.

Ironically, XBox Live is generally regarded as the premier console gaming network. It costs $50 a year and generates a lot of revenue for Microsoft, a cool billion two years ago. So why isn’t some of that money being plowed back into great UI design?

The XMB, Sony’s navigation interface for the PS3, doesn’t fare well in the UI department either. Among the Roku, Apple TV, Mac, iPhone, and Boxee, all of which I own or have played with heavily, PS3 has the worst user experience. There’s too many actions and layered menus to get more complex actions done. Software updates, large in size and not skippable, pop up frequently before gameplay. (Sony apparently never got the memo on auto background updates.)

Yet UI may be beside the point: clearly the healthy state of console gaming’s market derives from the games themselves. But that market is changing, growing up and moving more mainstream. XBox 360s are being used now more for streaming media than gaming. A “one box media center” for the living room could just as easily be an XBox as a Roku or an Apple TV. Media partners clearly see this; content providers from Amazon to ESPN and HBO are supporting consoles in full, often adding their services to the XBox and PS3 just as fast as other set top devices.

In addition, while a Xbox 360 or PS3 costs $150 more than an Apple TV, that a premium price tag delivers far more capable hardware. It’s hardware that powers more immersive games, along with more responsive and novel interfaces (e.g. the Kinect) than their cheaper counterparts. Beefier hardware also means getting cool tech features (e.g. Dolby Digital 5.1, 1080p) before the competition.

Yet as we’ve seen before, muscular tech, lots of money and media partners will only get you so far without a solid user experience; just ask RIM. Competition is heating up: Apple and the rest of the portable market is on one side, chipping away at consoles’ casual gaming segment. Smaller, cheaper and simpler boxes from the likes of Roku form the other wing, attacking consoles’ non-gaming features. Without a adjustment in UI and other consumer-friendly maneuvers, I fear gaming consoles could be effectively squeezed out in the middle.

Windows Phone UI and large fonts →

04.06.12 | ∞

There’s been of takes on the Lumia 900 this week, yet I’m fascinated most by Ars Technica’s Casey Johnston’s analysis on the shortcomings of the Metro UI:

[At times] the large fonts that characterize the OS take up too much valuable screen real estate.

The headers in the Outlook app, for instance, have a lot of breathing room. It makes the layout look nice, and choosing to display your contacts’ names in the largest font, twice the height of the rest, rather than the subject or snippets of content presumably makes you feel popular and keeps it people-centric. But I generally care just as much, if not more, about the subject and content preview than the sender, which are grayed out compared to the sender’s name.

In Mail on iOS, you can customize the font and the number of lines of the message preview, but Windows Phone provides no such options. Because of all the white space and large font, and the inability to fix that through settings, I can skim less of my e-mail at once, requiring more scrolling to go through it all. These information-sparse design cues extend to many of the third-party apps we tried, including Yelp and Twitter, where screen real estate often seems wasted by big fonts and white space. 

I’m generally critical of the opposite problem on the web: a lot of websites, especially those on the arts/fashion side of things tend to emphasize small, 10 or 11px font as a primary body font. Yet in the process of going big, you can go too far – it looks like Metro fell down that trap.