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设计

The Innovative Application of Chinese Traditional National Elements in Game Interface Design——Taking "The She Nationality" as an Example

贡献者: 视觉传达设计(中德合作办学双学位) 来源:北京师范大学珠海分校设计学院中德合作办学项目 时间:5个月前 热度:

Based on the visual interface design of the brand and mobile game, this paper explores the visual design of Shes culture to spread She’s culture.

ABSTRACT

In the age of the Internet, the mobile game industry has been growing by leaps and bounds. As people's requirements for mobile game product experience continue to rise, interface interaction design has become an important part of game art. Among the many mobile game styles, the Chinese style has always been a popular one. It contains a large number of traditional Chinese elements and adapts the art form to global trends. In recent years, the Chinese traditional culture has been on a rampage, with traditional Chinese elements blossoming in all aspects. China is a multi-ethnic country with a variety of ethnic elements. For one of them, the She’s have a unique ethnic style, which is an important part of China's traditional cultural diversity. From a visual design point of view, the unique ethnic elements and characteristics not only meet the needs of the game's visual interface, but also provide a basic understanding of the She’s culture while keeping it entertaining, which has a positive effect on the dissemination of She’s culture, user experience and industry development. The starting point of this research is how to use elements of She culture for innovative applications in branding and mobile games to spread the culture of ethnic minorities in China.

This paper investigates the use of She’s culture in the visual interface of branding and mobile games, and explores how She’s culture is used in the visual interface of branding and mobile games through six chapters. Chapter 1 introduces the background and reasons of the research, the current state of research at home and abroad, the purpose, meaning and methodology of the research, and the innovative points of the research. Chapter 2 outlines the concept of the brand, mobile game and its interface design, and explains the connotation of mobile game visual interface design through the importance of brand and interface to the game, and the misconceptions of players about mobile game interface design. Chapter 3 provides an overview of the visual interface of the She’s culture game, the definition of She’s culture brand, the definition of She’s culture game, and the characteristics of She's culture elements.

Based on the visual interface of brands and mobile games, this paper researches the visual design of the She's culture, a traditional Chinese national culture, in order to spread the She's culture through brands, games and entertainment. At the same time, it brings users a higher level of gaming experience, teaching and playing.

Key words: She’s culture, Traditional elements, Game interface design

Research methodology

Case Study Method: In this paper, we have analyzed mature cases in the market, and analyzed the advantages and disadvantages of the visual interface design of traditional Chinese national culture in mobile games through specific cases, providing sufficient reference for the selection of topics and the writing of the paper.

Literature method: In the process of researching and writing a paper on a selected topic, the relevant literature is reviewed, identified, organized and organized through the China Knowledge Network, professional books and writings, collections of ethnic settlements and the Internet. Research and innovation based on a thorough understanding of the knowledge and cutting-edge dynamics of traditional Chinese culture in the areas of branding, mobile gaming, and visual interfaces.

Observation Method: I, the She’s, have researched their own family history and culture, and conducted research on the history, culture and folklore of the She’s in the ethnic cluster, and analyzed the traditional culture of the She’s in the form of a field study report. 

Innovation points

Through the observation method, it is found that the She culture has gradually assimilated with the Han culture in the ethnic settlements, and the traditional Chinese culture needs to be passed on to the present generation. In the market, there is no precedent for mobile games that use the traditional Chinese culture of the She’s. At the same time, users are increasingly concerned about the visual experience of mobile games. Through the use of She ethnic elements and cultural connotations such as national history and storytelling, as well as mobile game interface design, this paper analyzes the existing cases of traditional Chinese culture mobile games in the market, and summarizes the basic elements and methods of traditional Chinese culture mobile game visual interface design, so that the visual style of traditional Chinese culture mobile game interface design and game story background worldview can be more unified and integrated, and thus spread the Chinese culture in She’s culture game art. It also gives the user a more comfortable experience.

Current state of the mobile gaming industry

In 2011, the mobile Internet saw explosive growth as the popularity of smartphones and 3G networks deepened. The industry generally believes that the mobile Internet is a trillion-dollar industry several times larger than the Internet, and that mobile phones will exist as the most important vehicle for the future of online human life and entertainment. From 2004 to 2011, the mobile game market size has grown to 4.2 billion yuan, second only to client games and web games. Shanda Games, Tencent, Alibaba and other industry giants have already high-profile into the mobile game industry, after each invested heavily and heavy military, the industry will also have a round of big leap-forward development.

With the rapid development of the Internet, the quality and scale of the mobile game industry can not be compared with each other. According to the 2019 China Mobile Game Industry Research Report, "Since March 2018, due to China's launch of institutional reform, the regulator suspended the approval of game license plates, and it was not until the annual meeting of the game industry in late December 2018 that the Ministry of Propaganda announced news about the reopening of game license plates. Compared to the same period in previous years, the gaming market is missing several thousand new games that have been approved to enter the market. This led to the first decline in China's share of the global gaming market size in nearly six years."


It goes without saying that mobile phones are the most important gaming devices available today. Both in China and globally, the share of mobile games in the gaming market is growing. While it's convenient to play games on a mobile device, the small screen has its own limitations in some scenarios. With the continuous development of 5G technology, major manufacturers, including Sony and Google, have invested a lot of resources in cloud gaming business, the"fourth wall"between gaming devices is expected to be completely broken. At that time, players can freely choose the most suitable gaming device according to the current scene, so as to achieve a"multi-screen fusion"gaming experience.


According to the Avery report,"Although a large number of mobile games were unable to enter the Chinese mobile game market due to the adjustment of the version number policy, the revenue of the Chinese mobile game market in 2018 still reached 10.5% year-on-year growth under the active strategic adjustment of major game manufacturers (expanding overseas markets, strengthening the operation of existing games, etc.). This is not only the result of game manufacturers paying more attention to the quality of old games and new games, but also means that the market still has a steady upward trend and there is still a lot of room for zero-sum gaming. The report analyzes that the development of stricter industry norms will play a better regulatory and promotional role in the continued development of the game market, after the completion of policy adjustments and manufacturers to adapt, the game market will remain in a long time to maintain considerable growth."


Case Study of Chinese Traditional Cultural Elements in Mobile Game Visual Interface Design

Tencent's Traditional Cultural Games: “The Good Season: Go for a walk in spring”, Exploring the Qingming

Set during the Qingming Festival, the game's story is based on scenes from the Qingming River Map by the Northern Song painter Zhang Zeduan, and combines light gameplay interaction with a rich cultural heritage.

With the rapid development of modern society, most of us living in the city have a faster pace. But deep down we actually still retain a longing for the natural mountains and idyllic farming homes, especially at every traditional festival. During the Ching Ming period, a series of dazzling folk entertainment activities, from simple"Spring Festival"to more"cuju","cold food","kite flying","ancestral sacrifice"and so on, are blended and resonate with the audience through storytelling and humanistic themes.

"The beauty of landscape painting requires the painstaking efforts of painters, but there is no shortage of creativity throughout. It needs to get a kind of interaction, both between the painter and the viewer. Therefore, Tencent combines traditional workmanship with modern illustration styles, and appropriately leaves "gaps" in the images to achieve the rhyme of "the elephant outside the elephant, the purpose outside the taste."

佳期·踏春.jpg

NetEase: “Amazing Dreams

The story background of the game is based on a passage from the Kunqu opera "Peony Pavilion" by the famous opera writer Tang Xianzu in the Ming Dynasty, in which the exquisite love scenes from the East, such as "Dreaming in the Garden", are absorbed, extracted and recreated, and the allusions from "Zhuang Sheng Dreaming Butterfly" are integrated to form an aesthetically pleasing and undulating game plot, thus attracting many users who love traditional culture and is one of the representatives of traditional Chinese culture applied to mobile games.

The game uses the Jiangnan garden as the basic aesthetic style, the game combines the traditional Chinese style and customs and other cultural and manual games, the frequent appearance of dragon boats, horse lanterns, arch bridges, emblem-style architecture and other Chinese symbols, and the scenery is very beautiful. The characters are elegant and graceful, the scenes and characters are harmonious, and the poems and visual pictures are used to hint to the user, in line with the game's worldview, will also give the user a profound aesthetic experience and immersive game experience. Because it is a light game, the interface hierarchy design is not complicated, the number is relatively small, the overall background of the interface is dominated by pink, superimposed with a light ink landscape painting, showing an aesthetic mood.

 网易 惊梦.jpg

Game produced jointly by the Forbidden City Museum and NetEase: “Painting reality - A Thousand Hills with a Wonderful Brush”

The game is jointly developed by NetEase and the Forbidden City Museum and is an interactive narrative game about the green landscape. The game is based on different classic scenes from"A Thousand Miles of River and Mountain” and adopts the combination of horizontal plane view and 3D free perspective to create an experience that is "like entering a painting". NetEase game and the Palace Museum "let the relics resurrect" a new attempt. Timeless paintings, mysterious stories, moving music, and a wonderful journey through the green landscape.

The inspiration for the game " Painting reality. a thousand hills with a Wonderful Brush" comes from the treasures of traditional Chinese painting. Through the study of a large number of works, especially the composition, details, colors and layers of the "Thousand Miles of River and Mountain", to restore its mood and effect, is a combination of culture and play. As a technique of Chinese painting, "Green Mountain and Water" is dominated by the mineral pigments stone green and stone green, so it can draw rare and gorgeous colors, which occupies a certain position in the art of ancient Chinese painting, and "Thousand Miles of River and Mountain" is a milestone in the development of green mountain and water.

绘真:妙笔千山.jpg

Problem points in the case studies

The above three cases all reflect the unreasonable use of elements in the visual interface of traditional Chinese cultural mobile games, based on the opinions collected from users of their games, mainly from the major mobile game sharing platforms Taptap, Zhihu, Flower Petal and its game Baidu. 

(1) The problem points of Tencent's"Good Time – Spring”

In terms of the interactivity of the game, it's not very strong. Users of both the Taptap game and the Taptap game believe that there are villains who do activities that can actually have some voice sound or action to correspond with the activity. The only other beauty is that the route is somewhat limited, the route must be the system provides a route connected to the line, other routes even if feasible can not be used, this can be suggested to optimize it, more or less affect the game experience. 

(2) The problematic points of NetEase's “Amazing Dreams”

In terms of color matching, the icons and interface are more saturated than the original paintings and scenes, and do not fully absorb the colors of traditional paints or dyes. This presentation does not match the overall style of the game and will make the user feel like they are in the middle of the game experience. Looking at the text elements, the interface suggests that the font of the text disagrees with the story context. The majority of users in the Zhihu platform believe that the game's text font is in Chinese script, which is at odds with the overall style of the game and will give users a bad feeling during their experience. 

(3) The problem points of the “Painting reality - A Thousand Hills with a Wonderful Brush” by NetEase in conjunction with the Forbidden City Museum

The game's users on both Taptap and Zhihu platforms think that the characters will automatically move to the left/right, but they don't know whether it's a hidden route-finding function or a map route setting problem. The long-press to keep moving setting feels a bit crotchety, either set to the MOBA game kind of setting or just supporting click to move, and the direction of long-press to move has no clear control, the characters basically just go with the flow. The game is not clear from the game hints and the main line advancement, many game users think that the game's weird mobile operation and single play style, resulting in no game hints will dissuade impatient gamers, presumably the pursuit of the unit's flamboyant abandon the main line... The game has a lot of users who think that the game's weird movement and single gameplay will dissuade impatient gamers from playing it, and probably because of the lack of hints, the quest unit has abandoned the main line... and everyone is speculating about what is going on with Myo-san and Brother. What does Tae-jin have to do with Myo-san?  Sound-wise, there are a number of very noticeable stinging jams midway through, which I suppose is a technical issue, but obviously it's fatal to your playing strengths.

Design Process of She’s Culture Brand and Mobile Game

Design Process of She’s Culture Brand

Brand story and connotation

The She’s, an ethnic minority in China, call themselves"Shanha", meaning guests who live in the mountains, people who come to open land. It is also my ethnicity, as the ethnicity of my hometown has gradually been assimilated by the Han people, so I have the idea to carry forward the national culture, which led to the birth of this brand. The brand name is"She", which is a traditional cultural brand that combines She's traditional clothing patterns and re-creates them. The core of the brand is the traditional culture of She’s, which is constantly adapting and developing under the current trend of modern design, bringing out the unique vitality of the intersection of tradition and modernity and sublimating the unique charm of each product. The brand's business includes She’s design, ethnic festival design, etc.

Emotional version

The research for this emotional edition is based on the She’s totem phoenix and the She’s traditional costume, the phoenix suit, as well as some other patterns.


LOGO PART

Color Part

Target groups

Brand character, Positioning, Steering Wheel


SWOT analysis

Key visual design

As I said, the brand’s designs, as extended by She’s unique pattern, are not monolithic and tonal, so her visual design style must be very varied, very rich, very instructive and experimental. It is a combination of traditional and modern design, based on the She’s traditional patterns, but not limited to traditional patterns, it is a concept of inheritance and dispersion of the She’s unique patterns. 

It is a series of patterns, each with its own semantics. For example, the first is a combination of mountains linked by a pattern and the prosperity of the nation, embodying the symbol of national unity and prosperity. The second is the combination of the father and the mother, reflecting the good wishes of family harmony, and the third is the combination of the pattern cloud, wind and movement, reflecting the symbol of integration into nature, a guest living in the mountains, yes, it matches the impression of the She family.


VI-08.jpg


Poster

For an uninformed person, posters have become an important form of publicity. Of course. Posters are used in a wide range of ways. Most modern brands put them on the big screens outside subway stations or in the most prominent places in malls, hoping that more potential users will pay attention to the brand and bring them more profits. It's the uniqueness of the poster, whether it attracts consumers to pay attention to the brand and be interested in experiencing or consuming it. The content of my poster is in line with what I want to express and the She’s cultural totem, the phoenix, which uses a dotted pattern to simplify the expression to convey its meaning to the person. The unique pattern of the She’s on the background is a perfect illustration of the good wishes of the She’s people. I chose the combination of mountain ranges and national prosperity to express the good wishes of the She people for national unity and prosperity, and for the country's long-term stability. The brand's two primary colors were chosen, warm for mothers and women, and blue for fathers and men, hoping for family harmony and peace between peoples.

Website/APP

Design Process of She’s Culture Game

Game background overview

The gameplay is so varied that there is no single game genre anymore, but rather a combination of two or three ways of playing. The virtual project “She” uses a fun puzzle type to set the gameplay. The main objective is to complete each level by controlling She people to find the clues left behind by She's ancestors in each scene.

According to the game background and game genre setting, the keywords are extracted: Hanjin, mysterious, elegant, etc. The overall art style of the game is mainly based on the handsome and fluid lines and slender physique of the Hanjin period as the basic visual language, expressing the transcendent fairyland atmosphere.

Because the development of mobile games requires the cooperation of various functions, the original characters and scenes in the interface are chosen from the art resources that are basically in line with the background story of the game.

Targeting of users

In the development of light game projects, not only do different functions need to cooperate, the game development cycle is also long, because the direction of this project is based on the visual interface design of traditional Chinese cultural mobile games, and the virtual project is mainly based on the visual interface design, so the author based on the mature types of mobile games on the market to position users.

(1) User orientation: mobile game users who love traditional national culture

(2) User targeting.

Experience goals: aesthetics, fun, mystery, exploration.

The ultimate goal: to keep the user exploring and completing level quests.

Life goal: To bring entertainment and relaxation to the users while giving them an intuitive understanding of the She’s culture in the game world, thus promoting the She’s culture.

Interface functional framework definition

Visual interface design is only part of user interface design and game development, and since the focus of this paper is on the visual design of the interface of traditional Chinese cultural mobile games, the interaction framework is briefly explained.

1513170030_雷诺_Arnaud2.001.jpeg


 Conclusion

This paper takes the she’s culture, an element of Chinese ethnicity, as an entry point into the topic, and focuses on how to apply the she’s culture style to the visual design of mobile games to promote the traditional culture in a light entertainment way. This article discusses the concept of mobile game and its interface design from the theoretical aspects and elaborates the connotation of mobile game visual interface design through the relationship with UI design and the public's misunderstanding of it. Secondly, the field research provides a complete overview of She culture and the visual elements of Chinese style, its connotations, characteristics and aesthetic imagery. We also analyzed the visual design of the interface of traditional Chinese cultural mobile games, which are hot and representative in the market. Then, the basic visual elements and principles of the interface of traditional Chinese cultural mobile games are summarized by looking up the information and the experience of the practice. In the end, the theoretical approach is applied to design a visual interface for a mobile game with national characteristics from the graduation design virtual branding and mobile game project"She", to demonstrate the above.

Mobile games in the case of good development momentum, encounter bottlenecks, only in mobile games in various links to improve product quality is the way to get better development. In the visual design of the interface, the reasonable use of visual elements related to the background of the game, targeted simplification, to maintain the consistency of the interface; at the same time, there are layers, is a way to improve the quality of mobile game interface design, will allow users to get a better experience in the game. The She’s are a traditional Chinese culture that can not only be used as a backdrop for the She’s story, but also for the game's entertainment, which will give the public a proper understanding of the She’s culture in the game. This will not only improve the user experience in terms of the visual aspect of the game interface, but also make the visual interface of mobile games more refined, creating a leading role for She’s culture and mobile games, thus guiding the healthy development of the game industry, as well as spreading Chinese culture to the world through the use of games. The game will be entertaining and will give the public a more intuitive understanding of She culture.



设计师:雷诺
学 校:北京师范大学珠海分校
专 业:视觉传达设计(中德合作办学双学位)

邮   箱:mikeleinuo@qq.com
Designer: Lei Nuo (Arnaud)
School: Beijing Normal University, Zhuhai
Program: Visual Communication Design (Brand Design)

 

视觉传达设计(中德合作办学双学位)

视觉传达设计专业(中德合作办学双学位)由北京师范大学珠海分校和德国品牌应用科学大学(Brand University of Applied Sciences),是广东省唯一经教育部批准的设计类中外合作办学项目。项目专业课程采用全英授课,学生达到两校的培养要求,可以同时获得北京师范大学珠海分校颁发的视觉传达设计专业毕业证书、艺术学学士学位证书和德国品牌应用科学大学颁发的主修品牌设计文学学士学位证书。

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