The Interface Hall of Fame

(A Word version of this post with images can be found here. I apologize for not including the images here... I'd also originally planned for it to be longer, but ran out of time.)

The Nintendo DS introduced several features that earn it a place in the interface hall of fame. Namely, a second touch-sensitive screen—which will be the main focus of this article—in addition to a microphone and built-in networking, allow for innovative modes of play entirely new to mass-market games. While the utilization of the hardware varies in effectiveness between different games, those that use it well demonstrate the possibilities afforded by the DS’s extra levels of sensory involvement.

At first glance, it may seem redundant for a handheld console to have two screens; however, an assessment of the way screen real estate is used in a single-screen system is instructive. Consider, for example, a battle strategy game such as Final Fantasy Tactics for the Gameboy Advance. The design of the game requires the screen to be used in three distinct ways: The fight taking place in the current area; the “world map” indicating the player’s position in the game’s world; and supplementary information about units, terrain, and mission objectives. Requiring the player to essentially stop playing in order to call up a different screen is distracting and disrupts the flow of the game. The DS solves this problem by providing a second screen that can be used exclusively for maps and supplemental information. This helps the player to make informed decisions without the distraction of an obscured view of the main playing field. A second use for the dual screens arises from their vertical placement on the system. Some developers have opted to use both the top and bottom screen to essentially double the player’s view, which paves avenues for more variation in level design.

In addition to the functionality described above, the system’s lower screen is also touch-sensitive. The touch screen adds another dimension of physical involvement to the DS, and many diverse games have been designed around the new interface. Metroid Prime: Hunters, for example, uses the touch screen as an analog-style control for smooth character movement. Other games put the screen to even more novel uses: Nintendogs players use the stylus to train virtual dogs. The interface is almost entirely stylus-based; dogs can be pet or brushed by dragging the stylus across them, or punished by abruptly tapping them. The player can also play fetch, using the stylus to “throw” a tennis ball.

The Legend of Zelda: Phantom Hourglass combines the extra interaction potential of the touch screen with its extra real estate to excellent effect. The game is entirely stylus-driven, relying on touch controls and gestures for all its interaction. Touching or dragging to a spot on the screen moves the character to that point; moving the stylus farther from the character moves him faster than moving it near him. Gesturing quickly away from him causes him to lunge forward with sword, and making a slashing motion across the screen initiates the same action. This gesture-based control scheme is more intuitive than the standard button arrangements, and in practice works extremely well. By touching a button on the screen, the map on the top screen switches places with the bottom and allows the player to write notes on the map. Every aspect of interaction with the DS seems very well thought out and tested by the developers at Nintendo, resulting in a fluid, intuitive experience.

The brief examples above demonstrate the new types of interactions that the Nintendo DS facilitates with its additional interface elements. Developers continue to devise new control methods that expand the domain of handheld games. There are many more shining examples than those described, and many more are likely to come as the system matures. Such games provide the evidence required to nominate the Nintendo DS for the Interface Hall of Fame.