9 ways The Last of Us Part II and Ghost of Tsushima increase player immersion through their User Interface (UI)

As the previous console generation came to an end, we saw the release of several games that pushed the envelope in terms of technical achievements and immersive gameplay. Two titles that really stood out for me were The Last of Us Part II (Naughty Dog) and Ghost of Tsushima (Sucker Punch Productions). Both games are incredibly immersive thanks to their powerful narratives, engaging gameplay, sound design and (most of all in my opinion) their UI. My previous post is a brief introduction to the types of immersive UI used in games, and this time around I’ll focus on 9 examples from TLOU2 and GOT.

Game overviews

TLOU2 is an action-adventure featuring survival horror elements that is set in a post-apocalyptic America. The game is played from a third-person perspective and although for the most part is a linear experience, it does have large levels and an open-world section allowing for a range of playstyles and approaches. 

The Last of Us Part II – released 19th June 2020 on PlayStation 4

TLOU2 is a phenomenal game, it’s approach to storytelling and evoking empathy from the player sets a very high bar for all emotionally driven narrative games that follow it. Naughty Dog’s dedication to realistic gameplay and world details, along with the underlying core themes of revenge and retribution, make it one of the most thought-provoking and immersive games I’ve ever played.  

Ghost of Tsushima – released 17th July 2020 on PlayStation 4

GOT, also from a Sony first-party studio, is an open-world action-adventure set during the Mongolian occupation of Tsushima island in the late 13th century. The Japanese island is fully explorable and the third-person perspective (similar to TLOU2) allows the player to truly appreciate the detailed environment. 

This game bowled me over with its well-paced story, minimalist UI and outstanding art design. It’s a game that rewards curiosity through exploration, and its unique take on open-world systems make it a truly rewarding experience.  

9 examples of immersive UI

1. Minimalist HUD – both titles

Both TLOU2 and GOT have a Heads-up display (HUD) that is discreet and shows only the most useful info (health, ammo, current weapons, sword stance etc.).

When not needed (such as outside of combat), the HUD disappears along with other onscreen icons making for a more cinematic experience.

2. Navigational Tools – Ghost of Tsushima

GOT stands out among open-world games for not having a mini-map or compass to direct players where to go. Instead, the innovative guiding wind mechanic (represented in the game’s 3D space by gusts of wind and blowing leaves) assists the player in reaching their chosen destination.

The guiding wind doesn’t feel out of place and fits the game’s setting and narrative. Interviews with the game’s developers reveal that the team took inspiration from famous Samurai films, which featured wind and movement, as well as the historical link between wind and the fate of the Mongol’s invasions of Japan.

In addition to the guiding wind, the developers wanted players to look into the game world for things to do. Throughout Tsushima you’ll find guiding animals (foxes and golden birds) that lead you to nearby points of interest.

Navigational Tools – The Last of Us Part II

During the early part of TLOU2, there is an open-world section where the player can choose in which order to complete the main objectives: find gas, start the generator and open the gate. Also without a mini-map or compass, the player uses an in-game map of the area to navigate this section.

This results in a more realistic and engaging approach to exploration as Ellie (your character) will update the map and add notes in real time as you visit each location.

3. In-game visual clues – both titles

Both titles include visual clues in their environment; in TLOU2, which is mainly set in post-apocalyptic Seattle, the use of signage and a contrast in colours help the player to find points of interest in the environment.

In GOT, rising columns of smoke direct players to nearby quests and locations. This also fits the game’s depiction of feudal Japan and the Mongols’ brutal occupation of the island.

4. Collectible items – both titles

In both titles, resources and collectibles are found throughout the world; these items flash repeatedly making them stand out in the detailed environments.

The act of collecting items differ in both games; TLOU2 goes down the realistic route using character animations for collection, while GOT goes for a seamless approach through instant collection.

5. Crafting in game – The Last of Us Part II

In GOT, the player can only upgrade weapons and purchase ammo at certain locations e.g., the town’s swordsmith. TLOU2 on the other hand, allows you to craft vital items such as explosives and ammo at anytime – the only catch is that the game doesn’t pause. Crafting during gameplay (a common feature in survival horror titles) adds plenty of tension, especially when you’re frantically trying to put together a Molotov in the midst of an encounter.

6. Signalling low health and damage – both titles

Whether you’re fighting the well-armed Washington Liberation Front in Seattle or Mongolian warriors on Tsushima, it would be distracting (and risky) to constantly check your health at the bottom of your screen.

Both games aid the player by using meta components (filters on the 2D screen) to convey damage: red flashes show damage taken and an onscreen filter warns you that the end is near. Characters will also be visibly injured, and low health is conveyed to the player through hurt limbs, knockdowns and heavy bleeding.

Other interesting uses of the UI in combat include your character being incapacitated by an enemy arrow (until it’s pulled out) and the screen being temporarily obscured when an explosive goes off.

7. Game realism – The Last of Us Part II

TLOU2 is consistent throughout the game in its approach to realism, whether that’s weapons being upgraded in real-time or an accurate in-game representation of playing the guitar.

8. Reflecting the game’s setting through art & language – Ghost of Tsushima

In GOT, there are many nods to the distinctive Japanese art-style of the period; these include the game’s main menu, loading screens and puzzle maps found across the island.

The Japanese-audio option can also be selected so that characters speak in their native language. Although this dub doesn’t quite match up to the characters’ speaking animations (which were all lip synced in English), it does add another layer of immersion.

9. Honourable mention – enemy audio in both games

While not technically part of the UI, I have to give a shout out to the excellent enemy audio design in both games. In GOT, the invading enemy Mongols speak in their native language that isn’t translated via dubbing or subtitles – your character can’t understand Mongolian, so you’re not supposed to either. However, certain words -“Samurai!” meaning you’ve been detected, or “dooshoo!” shouted when an archer opens fire- are distinctive and act as helpful audio prompts.

In TLOU2, the Seraphite enemies (better known as Scars) communicate to each other in combat using a complex whistling system. Unlike earlier enemies (the infected not included), whose plans of attacks you can overhear and then counter, Scars are a formidable and unnerving enemy that can easily catch you off guard with their surprise manoeuvres.

The above list shows how a minimalist and innovative approach to UI design (with a focus on in-game visual cues) can create an immersive experience for the player. Both titles also use the UI to reflect the game’s setting and core gameplay; GOT is a free-flowing experience that interweaves cultural and historical elements with its UI, and TLOU2 puts emphasis on mirroring the real-world as much as possible through authentic animations and in-game actions.

Tips for full immersion in The Last of Us Part II and Ghost of Tsushima

Both games have a Listen Mode/Focused Hearing mechanic that allows you to reveal enemy positions through obstacles. I thought this broke the immersion, so I’d recommend trying not to use this and instead rely on audio cues to locate enemies. TLOU2 even has a Grounded difficulty that disables this sixth sense and significantly reduces UI elements making it a much more immersive (and challenging) experience!

The UI itself can also be customised and, as well as its accessibility options, GOT has an Expert HUD style that is an excellent option for those wanting an even less descriptive display. TLOU2 takes this a step further and allows you to fully customise the game’s UI, reducing and removing multiple elements as you see fit. 

Did you find The Last of Us Part II and Ghost of Tsushima immersive? For what reason? Let me know below in the comments!

Image credits: Sony Interactive Entertainment

Increasing player immersion through the User Interface (UI)

Creating an immersive gameplay experience requires deciding which UI components will fit the core themes and style of the game. As functionality is key, designers have to balance creating an immersive experience for players while still presenting them with all the necessary feedback and instructions. In this blog post I’ll briefly outline the four types of UI used in video games and explore different ways of using them to achieve player immersion.

The four types of UI in video games

Terminology from “Beyond the HUD – User Interfaces for Increased Player Immersion in FPS Games”

The UI is a system of visual components that helps the player to interact with the game, find information and accomplish tasks. Through the UI the player can interact with the game’s narrative and feel like they are part of the action by breaking into the game space.  

With this in mind we can split up the UI in games into four classes: non-diegetic, diegetic, spatial and meta.

Non-Diegetic 

Non-diegetic components are the most common of the four and often appear on the Heads-up display (HUD) as stats and feedback for the player. As these exist outside of the game’s narrative and space neither the character nor anyone else in the game are aware of their existence.

This tree boss has no idea how many health flasks my character has up his sleeve (Image credit: Bandai Namco)

Diegetic  

Diegetic components exist within the game’s 3D space and are part of the game’s narrative – characters in the game are aware they exist. In Alien: Isolation, the in-game motion tracker (which has to be equipped to be used) acts as a radar showing when someone is nearby.

Hopefully that someone isn’t a Xenomorph (Image credit: Sega)

Spatial 

The difference with spatial components is that, although they are represented within the 3D space as visual clues, they aren’t part of the narrative and can’t be seen by characters in-game. A common feature in racing games is the “racing line” along the road showing the player the optimal path to take to reach their destination.

Time to live life in the left lane (Image credit: Microsoft)

Meta 

Meta components exist as overlays and filters on the 2D screen rather than in the game’s 3D space. These convey physical effects from the game’s narrative such as the blood splatter & red filter effect used by first-person shooters to show your character’s low health.

Hello darkness, my old friend (Image credit: Activision)

Examples of immersive UI

Firewatch’s in-game map and compass

In the adventure title Firewatch, the in-game map and compass are the only means to navigate the Wyoming wilderness. Your character will update the map with notes and observations as you explore the area which gives a real sense of discovery and progression.

Now which way is North? (Image credit: Campo Santo)

Ghost of Tsushima’s guiding animals

In GOT the developers wanted players to look into the game world for things to do. To help with this there are guiding animals (foxes and golden birds) in the open world that direct the player to nearby points of interest.

Also helpful for the not so obvious locations (Image credit: Sony)

Hellblade’s clear HUD

The subtleness of a game’s HUD and UI depends on the intended experience of the game. A narrative-focused game such as Hellblade: Senua’s Sacrifice features no HUD at all with most of the information conveyed to the player through audio means. Without a map and inventory, the HUD is icon-free allowing the player to focus on what’s happening in-game.

One of Helheim’s more picturesque spots (Image credit: Ninja Theory)

The Last of Us Part II’s guitar sessions

Playing guitar is an important part of the narrative and the player is bought into this experience by choosing which chords and strumming patterns Ellie will play in-game (via non-diegetic prompts). Everything from finger picking to chord positioning is perfectly represented onscreen and it’s a great way to wind down in-between levels.

Revenge can wait, it’s time for a jam (Image credit: Sony)

Frostpunk’s player feedback

Using meta components is a great way to inform the player of changes to the game’s state. Frostpunk, a city-building strategy game, demonstrates that this doesn’t have to be limited to just health and damage feedback. As one of the game’s main goals is to not let your citizens freeze to death, an overlay of ice will appear at the edges of the screen to warn the player of drops in temperature.

“Brace yourself, cold is coming!” (Image credit: 11 bit studios)

Dead Space’s UI embedded in the 3D-space

The Dead Space series is a good example of all the UI elements (health, inventory, map, menu etc.) being visually represented in-game. This fully diegetic approach is explained by the game’s futuristic space setting. With no HUD in sight, health is displayed on the back of the character’s suit and the game’s interface, map and player inventory are all projected via holograms in-game.

Health suits, coming to a store near you (Image credit: EA)

Resident Evil 3’s environmental visual clues

In Resident Evil 3 (2020), visual clues in the environment assist players with exploration throughout the open-space section of the game. The use of shop signs and clever lighting make points of interest stand out in the environment and embody a more subtle approach compared to in-game icons.

I’d bet good money that gun shop has something useful inside (Image credit: Capcom)

Control’s signs for navigation (that never made it to the final game)

If you want to create an immersive world it’s important to still provide the player with the right tools for exploration. Remedy initially wanted players to navigate Control’s world by only using the signs found throughout the game. However, user research sessions showed that players kept getting lost and confused so the developers decided to add in a map.

Navigating Control without a map would be tricky to say the least (Image credit: Remedy Entertainment)

Red Dead Redemption 2’s character journal

RDR2 has a journal where your character will record important game events, key locations and various discoveries. Unlike other titles where this can only be accessed via the menu, this journal is one of Arthur Morgan’s possessions and can be viewed at any point in-game.

Dear diary, today I made a new friend (Image credit: Rockstar games)

Mafia: Definitive Edition’s spatial road signs

When driving around the city of Lost Haven, visual clues that look like real road signs appear and disappear in the game space. These signs direct you and help you stay focused on driving rather than constantly looking at your mini-map.

Eyes on the road, buddy (Image credit: 2K games)

Assassin’s Creed Odyssey’s exploration mode

With this mode enabled destination markers are removed from the HUD. Instead, you have to listen out for clues in conversations with non-playable characters to find out where you need to go. Having to rely on your own navigational skills makes for a much more engaging experience rather than just going from one waypoint to another.

Where did she say those herbs were again? (Image credit: Ubisoft)

The above examples show a variety of ways of using the UI to increase immersion in games. What works well in one game might not fit another, i.e., not including a map may fit a narrative-driven game, but it would make an open-world title more difficult to navigate (unless there is an innovative alternative). Ultimately, it’s important to strike the right balance between functionality and immersion so that the player has the best possible experience.

What are your favourite UI examples from immersive games? Let me know below in the comments!