- Integrity and Isolation / Harmony and ContrastGood design mostly archives unity with its environment. Isolated enough to being a discrete entity but still integrated to its background. Otherwise, it might loose its functionality. Each design evokes and invokes the inescapable totality of a culture,
On the other hand, contrast is a pivotal context in the design. Since the aesthetic forms of the environment are not the only one , aesthetic form of the object can be justified by other integrant factors.
There has to be the focus in order to see efficiently. This can be either determined by titles or colours, sizes or placement.
- Navigation (Hierarchy)
The has to follow the directions. Every composition contains a latent or obvious navigation tools. This makes the frame easily captured. The factor hides the many persuasive techniques in it.
If one takes the definition of design with the words of George Nelson who defines design “is a manifestation of the capacity of the human spirit to transcend its limitations”, having any form is the result of a design process. But considering what he calls good design with its purpose to holding ornament existence, rather than to substitute for it, originality of the design comes to the front.
Nonetheless the word design (de-sign) points out the semantic question.
“Game world is a simplified subdomain of the real world.” Steve Swink
Game industry developed as the result of the military contract spin off some of their products around the 1980s. Flight simulators design their technology for the arcade games, including game council PC games muds was growing with a pace.
For example, Silicon Valley made the major products the Nintendo export for the play station and the extremely successful Super Mario series came out of that.
Spatiality of the Digital Environment
For the first time, space becomes media type. (Manovich, 2001)
Much like the other types of media such as text, audio, video and stills space has become media type.
While linear media such as books and films can depict space,only digital environments can present space that we can move through.
Being able to navigate into the digital space give a dramatic engagement for the users.
Imagination, Navigation and Narration
Narration as a music on the stage continuously intervenes the motion of imagination and navigation as a waiter waiting next to imagination, keeps recordings of its reactions, findings and requests. In a circular pattern, navigation leads the choices of imagination and its requests for / by determining the music’s rhyme. It is arguably true that by greater precision in both narrators’ and characters’ involvement in processes will result in a more flexible and more adequate typology.
Possibility for imagination, to jumps to the narration’s place and begin to play its own music, does exist.
“Short stories are tiny windows into other worlds and other minds and dreams. They are journeys you can make to the far side of the universe and still be back in time for dinner.”—Neil Gaiman, 1960
Navigation is the calculation of position and direction.
The fundamental aim and working principal of the computer are much about navigation than usually missing. Many mechanical aids to calculation and measurement were designed for astronomical and navigational use.
Perception which is constitute from all former experiences, skills, concepts, misconceptions, thoughts and generalisations. The perceptual field, which is the established model of objective reality, of the real world around the subject. It is where the subject finds the background for perception.