Tactile emotions from the virtual elsewhere

Videogames have emerged as unique forms of multimedia entertainment, primarily due to their interactivity. Players actively engage with the experience, modifying it and, to some extent, making it their own. However, the design of interactions in a videogame goes beyond just the design; it also reaches into the merits of creation on the communication level. Massimo Guerini, a renowned Italian game designer, has spent years exploring the interplay of narrative and interaction. In videogames, this interweaving creates the proverbial whole that is greater than the sum of its parts.

Paolo Basso: How do you define the concept of interface in your work?

Massimo Guarini: In the world of videogames, I prefer not to use the term “interface” in its traditional sense. The interface serves two purposes: it’s not just a way for players to interact with the game world or the rules but also a vehicle for expression. I think this is the aspect that makes games innovative compared to other media. We often design interfaces to convey a message, spark an emotion, or present a challenge. It’s not just a matter of buttons to push; how we present information and the controls we choose all affect the overall experience. The interface is woven into the mechanics of the game and becomes an integral part of the story.

PB: So you see interfaces as closely related to the collaboration of several roles in game development. How does the role of the UI designer change depending on the studio?

MG: UI designers are essential not only in videogames, but in all kinds of products. Think of a washing machine: if its interface is simple, it becomes much more pleasant to use. Throughout the history of technological development, interfaces have often been the domain of engineers, who are designers in their own right, but their focus has been more on logic than on humanizing the user experience. The Apple iPod is a classic example of how Apple simplified complex technology and made it easy to use. In videogames, a UI designer needs to work closely with the game designer because the interface should reflect the game’s mechanics and provide clear information. Today, this role has become increasingly multidisciplinary, focusing not only on aesthetics but also actively contributing to the logic design.

Edoardo Maggio: Based on your reasoning, it seems that almost everything in the world of videogames could be considered an interface. But is there anything that isn’t?

MG: I think the boundaries between what is and isn’t an interface can be quite fuzzy. We talk about different levels of interface. For me, music is also an interface for emotions, even though it doesn’t fit the standard definition. Technically, an interface is a system where a user interacts with a system, and the system responds. So, if there isn’t a two-way exchange, we can’t call it an interface. For example, when you press a button on a controller, the game responds with visual or physical feedback like vibration. However, there are deeper levels, such as holding hands with a character or how mobility changes in a wheelchair, that convey emotions without using a traditional UI.

PB: Let’s move on to the practical side. Are there set steps in the UI design process? And how can user feedback impact an interface?

MG: Video game design is a highly iterative process. What we initially design often doesn’t work as planned and needs a lot of changes and testing. Making a videogame is never an exact science. You start with an idea, but you’re constantly tuning things throughout the development. There’s also a growing trend towards making interfaces less noticeable to create a more immersive experience. But that’s not always possible. Sometimes, you must pause the game and use a more prominent interface to convey information clearly. For example, in Last Day of June, we used a more explanatory visual interface, such as in the cards system, because in that context it was essential to explain complex mechanisms to the player.

EM: Talking about deeply narrative games like Her Story or Immortality, how do you adapt the interface to enhance the narrative element? And what is your take on the debate about how close these games are to cinema?

MG: I don’t think the interface always needs to change for narrative games. It depends a lot on what you are trying to convey. In a game like Call of Duty, moving all the character information wouldn’t make sense. But in a sci-fi game like Alien, it could be effective, and match the movie’s style. An interface that blends seamlessly into the game world is more elegant and engaging, especially in narrative games. This is especially true when the story and the player’s actions are intertwined, as in Last Day of June. The interface shouldn’t be a distraction, but rather enhance the emotions and the story.

EM: Speaking of the relationship between gameplay and story: Are there any projects where the narrative drives the game design?

MG: Absolutely, there are games where the story drives the design. Personally, I always start by asking myself: what do I want to communicate with this game? This question guides the creation of the gameplay mechanics. It’s not just about choosing jumps or shooting, but also creating an experience that is consistent with the story’s message. It’s a time-consuming process that often starts at the very end: you determine the final message and then build the story backward, trying to use the gameplay as a way to tell that story.

PB: I want to ask you about the concept of agency, the player’s ability to influence the story. How do you interpret that in relation to games?

MG: Many people think agency means complete freedom. It doesn’t. Too much freedom can often stifle creativity. Real agency isn’t about being able to do anything, but about making the player feel involved in what’s happening. Even opening a door can be a revealing moment in a well-crafted emotional context. In Last Day of June, when the protagonist smashes the paintings, the player is forced to do it one at a time, increasing the emotional impact of the action. That’s agency: allowing the player to perform simple actions that are loaded with meaning.

EM: Looking ahead, what are the new challenges for interaction designers with the rise of technologies like VR, AR, and AI?

MG: The work is becoming more complicated as we try to make technology more transparent. The goal is to make the interface less noticeable to the user, as is happening with voice assistants or modern cars where you can say, “I’m cold,” and the heater turns on. The way we design is already changing because of this trend towards more human and natural interaction. Less fiddling, more simplicity and immersion.

PB: Can you tell us a little bit about Juno, your new project after Ovosonico, and any other ideas you have for the future?

MG: Juno represents the next step in my journey. It’s not a development studio but a “concept house” that focuses on intellectual property. I aim to create ideas that can be developed in partnership with other studios or publishers, not just for videogames but also for other media such as film and television. It’s too early to share specifics, but we have big goals and are working hard to realize this vision.