Features of the artist's work when creating an image in interactive media

Agin Andrei Mihailovich ORCID: 0009-0005-8675-5934 Teacher; Faculty of Animation and Multimedia; All-Russian State University of Cinematography named after S.A. Gerasimov Animation film artist; Metrafilms Studio 125430, Russia, Moscow, Mitinskaya str., 28 k 4 agin.psn@mail.ru Other publications by this author

... If art should use the technique of its time, and we believe that this is the case, then it should do so at least consciously ^{[1, p. 320]}.

"There are more global issues behind the development of computer games, including forecasting the state of the cultural environment, as well as the digitalization of animal nature, the transformation of instinct into code" ^{[2, p. 2]}.

Interactive art is a modern art form that actively engages the viewer in the process of creating and perceiving a work. It differs from traditional forms in that the viewer becomes not just an observer, but an active participant capable of influencing the content and form of art, for example, computer games "lure [the viewer], involving them in a cyclically repetitive interaction. They give the player the feeling that he is really an actor, an agent, and not just an onlooker."^[3] The viewer's interaction with an interactive work allows him to participate in the creation of an artistic image, which is manifested, for example, through interaction with installations, where the viewer influences the visual or sound elements of the work.

Artists working on modern audiovisual content are increasingly using virtual and augmented reality technologies to create new artistic forms. It is worth noting that "in the artistic and aesthetic sphere, the desire to keep up with the times has led to an intensive reassessment of classical values, the rejection of many traditional principles of creating works and the search for new ones adequate to the era of scientific and technological progress itself" ^[4]. New technologies make it possible to create "immersive" worlds where the viewer can interact with the elements of the work in three-dimensional space. For example, exhibitions using augmented reality technologies can transform classic paintings by introducing modern elements and contexts into them.

In modern art, there is a blurring of boundaries between different media genres, which becomes one of its characteristic features. Works of interactive screen art can change depending on the actions of the audience, forming unique visual images. Interactive installations can act as a platform for discussing significant topics, involving viewers in an active dialogue. Computer games are an explicit form of interactive art ^{[5, p. 204]}, which emphasizes their unique ability to involve players in the process of creating and perceiving audiovisual content. Computer games open up new opportunities for interaction with culture, making it more accessible to the general public. They become a link between the artist and the viewer, allowing each participant to create a unique experience. In recent decades, the introduction of new technologies has significantly changed the computer game industry, which has allowed it to reach new heights ^[6].

The best artists who depict various author's worlds in virtual space are working on the creation of computer games, "the game designer faces the multidimensional task of designing the gameplay, rules and structure of the game" ^{[2, p. 3]}. The main goal of game design is to create a rich gaming experience that the recipient receives during interaction with the digital environment ^[7]; "game design is designed to provide not only a competent and logical interface structure, but also a high-quality study of the visual components of the game, its content and the corresponding specific cyberspace" ^{[2, p. 4]}. In addition, "designers should focus on the target audience in order to create something that they can handle" ^{[8, pp. 458-459]}.

The methods of artistic design of game video content presented in the work are designed for animation and computer graphics artists, whose qualifications are expanding with the introduction of computer technologies into the creative production process, as well as for everyone interested in this topic.

This study analyzes the techniques that the artist uses to create an artistic image of game video content in order to attract and retain the user's attention. To begin with, let's focus on the aspects that explain the phenomenon of perception of this content: the "mental model" and "game mechanics". The mental model describes how a person perceives and interprets the world around them. It is a set of beliefs, ideas and perceptions that are formed through learning and interaction with the environment. The mental model helps a person analyze information, make decisions and predict the consequences of actions. An example of a mental model: a person throws a ball into the air and catches it over and over again. Every time a person throws a ball, he expects it to return to his hand. This happens because, throwing the ball, a person, based on familiar laws of physics, as well as previous experience, predicts the trajectory of its fall.

Now imagine that the thrown ball does not return to the hand, but simply disappears: there is a collision with a new experience. Every time we come into contact with something new, the human brain tries to compare a new experience with something it has already received. Sometimes new information causes frustration. Frustration, in this case, can be caused not by the new as such, but by an unexpected failure in the already built cycle of interaction with the environment. To quickly engage the player's attention, you need game mechanics, that is, a set of rules and methods that implement part of the interactive interaction between the player and the game. It should be easy to learn, meet the expectations of the player and give feedback. Then it will be possible to remember, repeat, improve and enjoy the game. That is, mechanics should be intuitive and natural, like basic human functions, such as breathing.

In the modern world, users are dealing with a variety of applications and websites, and the development of intuitive user interfaces is becoming increasingly important ^[9]. The intuitive interface provides users with ease and naturalness in interacting with the game. How intuitiveness works in computer games can be seen on the example of such popular games as "Three in a row", "Clickers", "Angrybirds". The player's reaction here is quite obvious and logical. The ball bursts when the key is pressed, and three identical symbols made up react. The erected buildings collapse in accordance with the laws of physics. The mental model of the target audience of these games corresponds to the simplest understanding of physics. Accordingly, such games have a very low entry threshold and, as a result, a huge audience is interested in them.

Let's replace physics with social interaction, and give an example of conditionality. Despite the exceptions, we are used to the fact that the cross means "close" and the arrow indicates the direction. An increase in the graphs of numbers or the scale of indicators gives a sense of progress or enrichment. These examples include a set of rules and ways to interact with the viewer, that is, mechanics. The user gets into a situation, looks for a solution, takes action and receives a response. Let's take this as an example of an average video game in which the user takes control of a warrior character. The warrior's options are strikes of varying degrees of strength, he can attack or defend. Each of his actions consists of many mechanics. A blow consumes stamina, interferes with the recovery of strength, costs the character time. If the opponent swings, then it is necessary either to block the blow, or to leave the line of defeat. This is just a sword strike, but it is necessary to keep in mind a certain number of conditions and react intuitively to them, such conditions that coincide with the understanding of the real world.

By abandoning the realistic visual style, it is easier for the author to set his own rules for the player within the framework of the created universe. For example, this can be seen in the game "Mario" by Japanese game designer Shigeru Miyamoto, whose work not only defined the look of modern video games, but also inspired a whole generation of developers around the world. In the fairy tale "Alice in Wonderland" by Lewis Carroll, a girl bites off a mushroom and begins to grow rapidly. Miyamoto took from the fairy tale the mechanics of eating a mushroom, which leads to the transformation of a character into a giant (a mental model from a fairy tale). Thanks to the abstract, stylized and animated style, the player will not look for inaccuracies, and he will not need logical explanations. This makes it easier for the player to learn something new. This process will take place in a more natural way if the student is placed in a child's state when he is forced to learn and learn everything new for the first time. Developers of smartphone and tablet interfaces also strive for the intuitiveness and simplicity of a children's toy. The camera icon switches to the shooting mode, the handset symbol will ring, the photo frame symbol will indicate the path to the image gallery. To help master an unfamiliar mental model, mechanics are intertwined with the design of the environment and the laws of its existence.

Attracting the user's attention is a key aspect that can significantly affect the success of the game. The phenomenon of the "Chekhov's gun" lies in the fact that a detail / object declared once will definitely play a role in the future. And the viewer will be satisfied, because he paid attention to this subject for a reason. In a computer game, the situation is very similar. Give a person a tool and create suitable conditions for its use, and he himself will begin to actively look for various situations and opportunities in order to receive feedback and effectively use this tool. However, a person usually strives to achieve a result in the least difficult way and wants to move further in the game. Therefore, it is important to encourage him for this.

There is an approach to design and user interaction known as "breadcrumbs" ^[10], which is based on an analogy with breadcrumbs from the Brothers Grimm fairy tale "Hansel and Grettel". This approach refers to a technique that helps users navigate complex interfaces and content by providing hints and navigation elements that guide them through the interaction process. The presence of "bread crumbs" is extremely important in any composition to focus the viewer's gaze in the right direction. If you put the viewer in a certain location without guides, he may get confused.

Table 1. The main functions of "bread crumbs"

There may be many objects on the location, but without a compositional "landmark" it will be difficult to understand which direction to move in. The main task of the artist is to correctly and unobtrusively arrange lighthouses, symbols and signs so that they look natural in this environment. For example, a fallen tree or fence, road markings that form a diagonal line indicating a certain path and direction of view.

To control the viewer's attention, the basic principles of composition also work perfectly, let's look at them with examples.

The center, the main and secondary in the composition. In any visual solution, it is necessary to clearly identify the main and secondary. This can be done in several ways, for example, the object that is the center of the composition can be made more contrasting and detailed in terms of detail. At the same time, the rest of the frame space can be generalized. The main thing can have a large form, secondary and many small forms only enhance the main form, which brings balance to the work. There should be a clear message in the frame, read by the viewer (player). Any visual work is read by the viewer, first of all, from the point of view of silhouette, second of all – from the point of view of tone. The silhouette helps the viewer to quickly understand what is depicted and creates an initial association with the object. Clear contours allow you to highlight the main characteristics of an object, which facilitates its perception. Tone adds volume and texture, helping to complement the idea of the shape and material of the object. Different shades can evoke certain emotions and moods, affecting the overall perception of the work.

The rule of three ^[11] is an important principle of composition that helps to create more dynamic and interesting images in various visual arts, including photography, and computer games. This rule is based on the conditional division of the image into nine equal parts using two horizontal and two vertical lines, which creates a grid. The basic idea is to place key elements along these lines or at their intersections. In the context of computer games, the third rule helps developers and players to correctly place focal points on the screen. It can be a character, an important object, or a part of the environment. The rule of three also contributes to the creation of asymmetric compositions. When the elements are placed asymmetrically, it adds dynamics and makes the image more "alive". For example, if the main action takes place in one third of the frame, and the rest remains less loaded, this creates a sense of space and movement.

The guide lines will help to set the direction of the viewer's gaze, to point out the primary detail in the picture (frame). Horizontal and vertical lines create a sense of solidity, structure, and diagonal lines increase tension and anxiety.

The use of guide lines in computer games: orientation and navigation (serve to simplify navigation in the game. For example, in "Shadow of the Colossus" architectural elements such as towers create visual lines that lead the player to key objectives.); visual cues (guide lines can be represented as natural shapes such as horizon lines or mountain ranges that form a path for the player's gaze); aesthetic perception (lines not only help in navigation, but also and improve the visual perception of the game. For example, they can create dynamics and asymmetry in the composition of the frame, which makes it more interesting for the player).

Shape and stain play a key role in the design of computer games. These elements help shape the composition and direct attention. In the context of game design, shape refers to the geometric and visual elements that make up objects and characters in the game. These can be either simple geometric shapes (squares, circles) or more complex shapes that create unique objects. The shape of objects can influence the player's perception. For example, sharp corners can evoke associations with threat, while rounded shapes create an atmosphere of safety and friendliness. In games such as Journey, for example, shapes are used to create a unique aesthetic and emotional impact on the player. The shape also affects the composition of the scene. The correct use of shapes can create balance and harmony in an image, which makes it more attractive to the eye. Designers often apply composition rules, such as the rule of thumb, to place key elements around shapes, creating dynamic frames.

A spot is an area of color or texture that attracts the player's attention. It can be a bright object on the background or a textural element that stands out from the general environment.
Color spots can be used to highlight important objects or indicate the direction of movement. For example, bright color accents can direct the player's gaze to key elements such as goals or objects of interaction.

Framing and framing in computer games are important elements of visual design that help create interesting compositions, direct the player's attention and enhance the emotional impact. Cropping is a way of placing scene elements within the visible space of the screen and helps to set the boundaries of what the player sees on the screen. Proper framing allows the player to focus on key elements such as characters, objects or events, which enhances the immersion in the game. Framing helps to establish clear boundaries between accessible and inaccessible areas, which allows players to navigate the game space. This can be realized through physical obstacles such as walls or mountains, as well as through visual elements such as horizons or textures. Well-designed boundaries should not ruin the immersion effect. For example, natural landscape barriers can serve as a frame that looks organic and does not raise questions from the player about why he cannot go further. Framing can be justified by plot elements. For example, dangerous zones or forbidden territories can be embedded in the basis of the game, which makes them part of the narrative and reduces the feeling of artificiality. Using visual cues such as bars or windows allows the player to see inaccessible areas of the map, creating interest and a desire to explore the world. (How to limit the open world and not break the immersion. URL: https://www.school-xyz.com/blog/kak-ogranichit-otkrytyy-mir-i-ne-slomat-pogruzhenie (accessed 3.10.2024).

Views and perspective. In the context of game design, Western developers use the modeling tool "Views and Vistas", translated as views and perspective ^[12]. With the help of it, players are inspired with certain information, directed to the goal, reveal the plot or increase emotional tension. "Views and Vistas" allows developers to showcase the artistic achievements of the game by creating impressive visual scenes that attract the attention of players and emphasize the atmosphere of the game world. (Level Design: Views and Vistas. URL: https://code.tutsplus.com/level-design-views-and-vistas--cms-25036a (accessed 2.10.2024).

Although game developers have more effective methods, such as interrupting gameplay, players usually perceive the "Views and Vistas" technique better. A game designer can develop a diegetic mechanics or leave it conditional. However, what distinguishes working with views and perspective from other straightforward techniques is their non—obvious way of performing the same functions, which contributes to a deep immersion in the virtual universe. To achieve the best effect, the game designer must carefully design the level so that the player finds himself in a place with a view of important game elements. Thoughtful views reveal to the player the structure of the game world and key goals. With the help of a thoughtful look, you can justify the features of the gameplay in one frame. For example, in the game "Super Mario Galaxy", the view of the first planet helps to demonstrate the unusual gravity that affects the character's interaction with the game world.

The artist can also demonstrate an area where a new mechanic or system is being used that is not yet available to the player. A striking example is the paraglider in "The Legend of Zelda": when the player is in the starting area on the great plateau, he sees a vast playing space stretching to the horizon. However, it seems that it is impossible to get there, because the starting area is at a much higher altitude than the rest of the visible landscapes, so any attempt to jump or descend into these areas without a paraglider will lead to the death of the character. In the future, the player has the idea that as he progresses through the plot of the game, he will receive additional tools that will help him get to inaccessible places.

In the game "Elder Scrolls: Oblivion", the focal point is located right at the entrance to the training dungeon. With the help of a view point on the landscape, game designers manage to attract the player's attention to this location and teach him to explore the environment.

The effects of color. Color is a very important aspect of perception, it helps to convey emotions, meanings and moods. The Swiss artist Johannes Itten made a great contribution to the development of color theory ^[13]. He developed a color wheel on which he divided the colors into primary, secondary and tertiary. The Itten color wheel consists of 19 color sectors, divided into primary, secondary and tertiary sectors. The primary colors are red, blue and yellow. Secondary colors are obtained by mixing primary colors. Tertiary – when secondary ones are mixed. There are many ways to use the color wheel. One of the most frequently used is a complementary scheme, its appearance implies a combination of colors located on opposite sides of the color circle.

Another classic way of combining colors is called a "triad", which uses three equidistant colors on a circle. In such a scheme, one of the colors can be made the main one, and the other colors will be accent colors. The analog triad consists of three adjacent colors. As an example of using the classic color triad, the film Transformers (2007) directed by Michael Bay can be cited: in many scenes, a combination of yellow, warm skin tone and cold blue surroundings is used.

In addition to creating a mood, color carries the function of distinguishing the opposing sides. The sides, for example, can be colored one in red, the other in blue. James Maddigan, a psychologist and author of the blog "psychology of video games" ^[14], pays special attention to the property of red, which is "associated with aggression and dominance" ^[3], which makes it a natural choice to denote hostile forces. Blue, on the contrary, is perceived as more calm and neutral. This creates a contrast effect between the two sides, where red symbolizes active confrontation, and blue symbolizes protection or neutrality.

The artist's work with the form ^[15]

A square as a geometric shape is often used to create stable objects in games. Its symmetrical shape provides visual stability, making the square an ideal choice for building levels and game elements. For example, in Minecraft, square blocks form the basis of the entire game world, allowing players to build structures and explore the environment. This simplicity and versatility of the square make it an indispensable element in level design.

Usually, at game levels, the user is given the opportunity to climb cubic stable shapes or objects with flat faces. The areas that can be clung to often have a horizontal and flat shape, and are also highlighted in color. In strategy games, square fields can be used to indicate equal opportunities for all players.

The shape of a triangle in the design of computer games is perceived as impregnable and dangerous. Angular and sharp shapes such as triangles create a sense of threat and may encourage participants to stay in the center of the space to avoid the potential danger that these shapes symbolize. Any angular, sharp shape is a repulsive element. In architecture and game design, triangular shapes are used to create dynamic spaces. For example, the gables of buildings in architecture often have a triangular shape, which emphasizes their grandeur and creates strict symmetry. The triangle is often used to create visual directions that lead the player's gaze to key elements on the screen. This can be especially effective in levels where it is necessary to indicate a path or goal to the player. For example, in open-world games such as The Legend of Zelda, triangular shapes can indicate important objects or areas that are worth paying attention to.

The circle also plays a key role in the design of computer games, influencing the perception and interaction of the player with the game world. Its use is associated with various aspects, such as symbolism, aesthetics and functionality.

Table 2. The main aspects of using a circle in game design

Thus, circles in the design of computer games are not only aesthetically attractive, but also functional, contribute to the creation of intuitive interfaces and improve the overall perception of the gameplay.

The mechanics of holding the viewer's attention through movement is an important aspect that affects the overall gaming experience. Movement not only provides dynamics, but also helps to create an emotional connection between the player and the gameplay. The basic mechanics of attention retention through movement:

- smoothness and realism. The smooth movement of objects creates the illusion of reality and engagement. Using effects such as motion blur allows players to experience speed and dynamics, which makes the gameplay more exciting. Blur effects help convey a sense of speed and make scenes more lively. (Motion blur in games: what it is and how it works. URL: https://sky.pro/wiki/gamedev/razmytie-v-dvizhenii-v-igrah-chto-eto-i-kak-eto-rabotaet / (accessed 2.10.2024).

- Combination of movements. The ability to combine different movements, such as jumping, sliding, or acrobatic elements, allows players to create chains of action. This makes the gameplay more exciting and dynamic. For example, in Super Mario Odyssey, players can use a long jump and dive to reach hard-to-reach places. (Semykin V. Principles of creating fascinating mechanics of movement in games. URL: https://dtf.ru/gamedev/659614-principy-sozdaniya-uvlekatelnoi-mehaniki-peredvizheniya-v-igrah (accessed 3.10.2024).

- Interaction with the environment. Using the elements of the environment to move also keeps the player's attention. In games like Sunset Overdrive, characters can jump off walls or ride on wires, which opens up new opportunities for movement and exploration of the world.

The question of the dominant and center of composition in interactive media levels is a key aspect of game design, as it determines how players perceive and interact with the game space. The center of the composition serves as a visual reference point that helps players navigate the game world and understand its structure. Unlike cinema or painting, in interactive media, the compositional center should be such at all angles. And it's easier if he's alone.

Table 3. Principles of dominant selection in game design

The composition center should be readable from any angle. This means that no matter where the player is or from what angle he looks at the level, the main element must remain visible and understandable. This is achieved by harmoniously combining all of the above techniques, which allows you to create a holistic and intuitive space. Thus, working with the dominant and the center of composition is an important part of the level design process in interactive media, contributing to creating an exciting and memorable gaming experience for users.

Zoning of locations. If you split the location according to the principle of interaction, then each section will force the user to move around it in a certain way. You can guide the player with the help of "secret" trails. When a person notices a secret path, a secret hatch, a secret passage, his research interest usually increases. A sense of a pioneer is created, it seems to the player that he has outsmarted and deceived the system, found a shorter workaround. However, in fact, it is along this trajectory that he will reach the place that the location designer intended. It is important to convince the viewer that the chosen path is his own decision, while at the same time imperceptibly directing him to predetermined points.

Holes that get in the way of the player play a certain role. If you put an arch on the path, it will attract attention. If a user notices an arch, tunnel or cave even with peripheral vision, this automatically becomes his point of interest. Thus, the artist gets a working "manipulative" tool. By placing a cave, the game developers are almost one hundred percent likely to interest the player.

However, this leads to a problematic situation: the level designer at Digital Extremes studio, Andrew Yoder ^[16], turned his attention to the "door problem". Instead of using special skills, abilities, and abilities, players, when they enter a room and see a threat in front of them, intuitively step back to the doorway. This is done in the hope that the emerging threat will not be able to surround them. Andrew Yoder offers several ways to get around the underlying fear of being surrounded. For example, just outside the door, he suggests placing, albeit not a large one, but a shelter, whatever it is. It is enough to place an object in the room that is so large in size that, if anything, it would act as a protection. In addition, you can encourage the player to move forward by offering a valuable resource that appears only when he moves deeper into the room. Thus, the player is rewarded for more active exploration of the artistic space of the game. You can build a room by creating a maze out of it. Objects can form ornate corridors, which are interesting to navigate and which are interesting to explore. At the same time, the user will have an increased sense of security. You can apply the "trap principle", in which, entering a room, the player loses the opportunity to go back (for example, the door slams behind him). An emerging obstacle is an effective way to focus the player's attention on moving forward. Other barriers such as walls are also used. However, simply installing a wall is not enough so that the player does not have the desire to overcome it: the walls should have the most aggressive and repulsive design.

It should be noted that the artist's work on creating interactive content is not limited to the above techniques, which include the understanding and application by the creators of not only design solutions, but also knowledge of the psychology of viewer perception. The artist's work requires a deep understanding of the many factors that affect the perception of the virtual gaming space by players. Here we are talking about a comprehensive approach to creating an artistic image of an interactive work.

Design decisions should take into account such aspects as:

1. aesthetics – the visual style of the game should be consistent with its theme and atmosphere;
2. functionality – the elements of the environment should not only look good, but also perform their functions in the gameplay;
3. Psychology of spectator perception – Knowledge of the psychology of perception plays a key role in creating an effective gaming experience.

Interactive content requires flexibility from designers, which is represented by the ability to adapt levels and game elements depending on the player's actions, as well as providing players with clear feedback on the consequences of their actions for shaping the gaming experience.

Thus, the article examines the ways in which a designer designs the visual space of computer games. In summary, it should be emphasized that a successful game designer must combine artistic skills with deep knowledge of psychology and human interaction with the game in his work, which will allow creating not just visually attractive levels, but entire author's worlds that they will leave an unforgettable impression. Ultimately, it is this integrated approach that makes interactive content truly unique and memorable.

The artist's work on building an image in interactive art is subordinated to the fundamental principles of interactive media, which determine their functionality and effectiveness in user engagement and consist in active interaction, dialogicality, personalization, social significance, a variety of formats and feedback. Computer games represent an important aspect of modern interactive art, which continues to evolve due to technological advances. They not only entertain, but also provoke reflections on the role of the viewer in art, offering new forms of self-expression and interaction.