||Sudario Abderson, Kiyoshi TOMIMATSU, Sidestep and Sneak Peek: Spatial Actions in Augmented Reality Games
ARSurface - Dynamic Spatial Augmented Reality for Tangible Interface, International Journal of Asia Digital Art and Design Association, Vol. 20 (2017), No. 4, p. 77-P. 84, 2017.06, We propose a novel concept of game, which allows players to experience tangible interaction with the virtual world of digital games by mixing motorised scenery with dynamic projection mapping. A specific hardware - which includes a controllable platform, on where players can setup customised polygonal shaped scenery to play games projected onto its surfaces, and a single, or a pair, of focus free laser pico-projectors pointed toward the platform direction - is proposed as a game console able to run this experiment. The controllable platform orientation is synchronised with the game play in a way the moving physical scenery and the projected virtual contents are constantly aligned. By designing 3-dimensional (3D) animations, which are rendered and projected in accordance with the physical surface orientations, we were able to enhance the illusion of depth toward these planar projection during the game play, while giving the chance for our flattened 2-dimensional (2D) main character to make use of all directions which surrounds him. The use of projection mapping is justified since we intent to exploit the characteristics of projected 2D light onto 3D objects in order to extend digital games means of expressions. In this paper we discuss about spatial actions, which are actions players can perform at physical object creases. When synchronised with motor movements, these actions extend the sense of volume in relation to the game character providing a tangible connection between players and digital content. We also discuss about the technical aspects regarding the development of this project and its application as a tangible game design tool..
||Taichi Hisatsune, Kiyoshi TOMIMATSU, Unframes: Extendible Interface and Investigations of Its Usages, 18th International Conference, HCI International 2016, Toronto, Canada, July 17-22, 2016, Proceedings, Part I, 10.1007/978-3-319-40548-3_54, 323-328, 2016.07, In this paper, we propose the extendible Tangible User Interface and investigate usages and the possibilities of extendible user interface. Recently the shape changing user interface is focused on the field of Tangible User Interface. It can be changed its shape to express the digital data and physical interactions. Based on this idea, we are making Unframes: the extendible module-based user interface that can be assembled. Unframes consists of 4 cm cubic modules that can extend 4 cm in one direction. Users can make their own user interface like a visualizer, a data manager and a controller by assembling these modules. Each module have a date and synchronize each other, so it’s possible to recognize the existence of data physically.
This research is a work in progress. Now on, we investigated the interfaces with only 4 units and we suppose there are still design spaces to expand and study. In the poster sessions, we will present the Unframes and investigations of its usages..
||Michael Brandse, Kiyoshi TOMIMATSU, Immersion Levels in Digital Interactive Environments , KEER2014, LINKÖPING | JUNE 11-13 2014
INTERNATIONAL CONFERENCE ON KANSEI ENGINEERING AND EMOTION RESEARCH
, p103, 2014.06, When discussing narrative in games, game designers and academics alike often ignore a very potent narrative component in favor of more traditional literary devices. The narrative component in question is the game world itself. Doug Church argued that the narrative within games refers to any narrative thread that binds events together and drives the player to complete the game. With this in mind, the game world is a very important part of the game narrative, as the player will be exposed to the game world for the duration of the entire game. It is for this reason that this paper aims to look at the narrative components of the game world. In the past, two definitions were established to describe the game world as a narrative component, namely narrative spaces and narrative descriptors. However, these two definitions prove to be insufficient for the scope of game worlds found in current day game. With this in mind, this paper aims to expand on those two definitions, by analyzing game worlds and deriving new definitions from those worlds and forming models based on those. On top of that, this paper seeks to validate these newfound definitions
through the use of the Game Experience Questionnaire (QED).
||Kiyoshi TOMIMATSU, Michael Brandse, Using Color Guidance to Improve on Usability in Interactive Environments, HCI International 2014 - Posters’ Extended Abstracts, 10.1007/978-3-319-07857-1_1, Volume 434 of the series Communications in Computer and Information Science, 3-8, International Conference, HCI International 2014, Heraklion, Crete, Greece, June 22-27, 2014. Proceedings, Part I, 2014.06, In this paper, we examine the need for usability methods for game design and argue that within the level design discipline in game design there is a distinct lack of usability methods for users with low game literacy. Therefore, we propose that there is a need for guidance methods to properly accommodate players of all levels of game literacy in the game world. With the player having to spend the majority of its time in digital game environments and color being a basic component of any environment, we have decided to use color contrasts to determine whether color is suitable for player guidance. The goal of this paper is to determine whether player behavior, both in decision making and in viewing behavior, can be influenced through color contrasts..
||Tentacles: The Expression of Wiggling Tentacles like the Sea Anemone Using Shape Memory Alloy Actuators.
||Akira NAKAYASU、Kiyoshi TOMIMATSU, Himawari: Fabrication of a Robot with a Plant Motif, International Journal of Asia Digital Art and Design, pp17-22, Vol.12, vol.12, pp17-22, 2010.08.
||Development and Evaluation of a Video Game System that Uses Touching as Controller Input.
||An Interactive Optical Illusion Using the Characteristic of Visual Perception of 3D Structure Interpretation on 2D Animation.
||An Optical Illusion-like User Interface for Block-based 3D Modering Software..
||Jun Fujiki, Taketoshi Ushiama, Kiyoshi Tomimatsu, Incompatible BLOCK: Wonders Accompanied Interface, ACM SIGCHI2006, 2006.04.
||Behind Touch: Backside keys with Tactile Sense Interface for Mobile Phones.
||Behind Touch, A Text Input Method for Mobile Phone by The Back and Tactile Sense Interface, Information Processing Society of Japan, Interaction2003, pp131-138, 2003.
||Evaluation of Usability for the Eye-gaze Interface: Barrier- Free Interface Design for the Computer Users, Japanese Society for the Science of Design, No. 153, pp51-60, 2002.
||平岡茂夫、浜辺隆二、富松潔, Blur Effect in Image Interfaces, Knowledge-Based Intelligent Information & Engineering Systems, KES'2002, PP557〜67, 2002.09.
||Design for IT Age and Education for Design Fundamentals, Design Research Association Japan, No. 25, pp100-107, 2001.
||Text Input Method for Eye-gaze Interface: Effects of a Screen Layout on Eye-gaze Interface, Design Research Association Japan, No. 26, pp114-117, 2001.
||The Effect of Animating Character Displaying Method to User's Reading: A Study of Character Displaying Method on Electronic Media, Design Research Association Japan, No. 22, pp58-65, 2000.
||Animating Character Display Method and Reading Speed Test Tool: Design and User Testing of a Reading Speed test Tool, Design Research Association Japan, No. 22, pp66-73, 2000.
||Walk through in a virtual space of panorama movie: 3D Virtual World based on Spatial Photograph, Design Research Association Japan, No. 18, pp34-41, 1998.
||Analysis of living Information Needs Related Contents Design, - Through a Survey of Living Information Needs, Japanese Society for the Science of Design, No. 124, pp67-76, 1997.