My following approach

To distance myself a bit more from my own experiences and take the role of a User Researcher, i plan to create an online survey about migraine with and without aura. The goal will be to ask participants for the individual experience of aura and gather more insight into what migraineur’s struggles are. Besides, I would like to find out if they use any tools to track their pain days and if yes, which ones. Lastly, it could be interesting to ask them about a way to simulate an attack to raise awareness about migraine and if they can imagine it to be implemented in VR or with an App or an art installation?

Goals

• collect info about individual experience of aura (migraine profile)
• personal impact of disease on life areas/ struggles
• tracking habits/ used tools to track migraine pain days & symptoms
• identifiying missing features/ improvements in Apps/websites
• awareness gaps (lack of understanding of people who are not affected)
• simulation mediums

Target group

First of all, the target group needs to be defined for the survey:

• migraineurs with aura
• migraineurs without aura
• chronic migraine or episodical migraine

1. Do you experience an “aura” before or during your headache?

• Yes, always
• Yes, sometimes
• No

2. How would you describe your aura symptoms? (Select all that apply)

• Zig-zag lines or flashing lights
• Temporary vision loss/blind spots
• Numbness or “pins and needles”
• Difficulty speaking or finding words
• Other:

4. What is the most difficult part of living with migraines for you? (Open text)

5. Which of these life areas is most impacted by your attacks?

• Career/Work productivity
• Social life and friendships
• Family life/Parenting
• Mental health (Anxiety/Depression)
• Other:

7. Do you currently track your pain days or symptoms?

• Yes
• No
• I used to

8. Which medium do you prefer, if you track your migraine?

• Physically (on paper)
• App
• Website
• standard calendar
• Other:

9. If you use an App or Website, which one do you use? (Open text)

11. Do you feel that people who are not affected by migraines truly understand what you go through?

• Scale 1–5: 1 = Not at all, 5 = Completely

12. Do you find it helpful to talk to people that also experience migraine?

• Scale 1-5: 1 = Not at all, 5 = Completely

13. Have you ever seen an “accurate” visualizing or simulation of migraine?

• yes
• no

14. Which medium do you think would be most powerful for a migraine aura simulation?

• Art Installation: An immersive room with lights, sounds, and physical barriers.
• Virtual Reality (VR): Putting on a headset to see/hear symptoms
• Mobile App: An AR (Augmented Reality) filter showing “aura” over the real world
• Other:

Tool

I chose Survey monkey to create my survey since I wanted to try a new tool and after investigating found that it is the best free solution.

VR is increasingly used to raise awareness and to bridge the gap between healthcare providers and patients. While traditional medical training focuses on the science of a disease, VR allows users to experience the symptoms and the daily struggle of living with them.

VR disease simulation is typically implemented during medical education and professional development.

Medical School/Nursing School: It is often a mandatory module to help students understand the perspective of the “stigmatized other” before they begin clinical rotations.

Hospital Staff Training: Current healthcare professionals use it to renew their sensitivity toward specific patient groups, such as the elderly or those with mental health disorders.

There is a massive and growing body of research. A 2023 scoping review found that while empathy training used to be limited to actors (Standardized Patients), VR has now become a standard research tool.

The combination of virtual reality and serious games has shown high potential to increase understanding for patients and how symptoms might impact their well-being.

Migraine simulation in VR

During my research about migraine and different aura types I stumbled across a study where VR is used to simulata an aura.

In a study a virtual environment (VE) was used to visualize a migraine using a VR head-mounted display (HMD). The keyfindings after testing it with 32 subjects were:

• Methods: Researchers split participants into two groups. One group simply tried to picture themselves having a migraine, while the other group used a visualization tool to “see” the symptoms.

• Empathy: People who actually saw the visual simulation felt a much stronger sense of empathy toward real migraine sufferers than those who just imagined the pain.

• Immersion: Those who watched the visualization also felt more “present”—meaning they felt more like they were actually experiencing the event—compared to the imagination group.

So in conclusion you could say that VR seems to offer a great possibility to spread awareness, reduce stigma, educate and increase empathy for the ones that are affected.

Sources:

• S. Misztal, G. Carbonell, L. Zander and J. Schild, “Simulating Illness: Experiencing Visual Migraine Impairments in Virtual Reality,” 2020 IEEE 8th International Conference on Serious Games and Applications for Health (SeGAH), Vancouver, BC, Canada, 2020, pp. 1-8, doi: 10.1109/SeGAH49190.2020.9201756. keywords: {Visualization;Games;Diseases;Visual effects;Resists;Training;virtual reality;empirical studies in HCI;migraine simulation;empathy;presence;perception of illness}
• Yamada, R., et al. (2025). “A scoping review on the use of virtual patients for enhancing empathy in medical students.” University of Toyama. (Analyzes how “virtual patients” are replacing traditional methods).

User Interfaces in Video Games – The quest for genre-appropriate and usable game UI

Now that we have a basic understanding of the different types of HUD and UI elements within video games, I’d like to share some interesting considerations about the the functions and different types of game UI.

Types of Visual Representation

Diegetic vs Non-Diegetic UI

During my research the most interesting thing I came across is the idea of diegetic user interfaces. Diegetic is defined as “existing or occurring within the world of a narrative rather than as something external to that world [1]“. This usually refers to cinema with the example of in-universe music, but in the video game context user interfaces can also take on this role. Some UIs feel like they’re slapped on the screen without consideration of the world they’re in, while others barely feel like utilities for the player with how immersive they are.

This four-part framework helps with differentiation and categorisation by asking two questions:

• Is the UI part of the game world?
• Is the UI part of the story?

Non-Diegetic – User interfaces that AREN’T part of the world and AREN’T part of the story [3]. The player character isn’t aware of the UI and it is only there to aid the player. An example would be Baldur’s Gate 3, with the spell inventory, mini-map and party information.

Spatial – User interfaces that ARE part of the world and AREN’T part of the story [3]. On the example of the Sims 4, the game characters aren’t aware of the diamond icon above their head. This type of UI typically aids the player when selecting different objects in the world, such as the door in the example below.

Meta – User interfaces that AREN’T part of the world and ARE part of the story [3]. The go-to example here are blood splatters in shooter games. They reflect the status of the player/player character and utilise the link between the game and player.

Diegetic – User interfaces that ARE part of the world and ARE part of the story [3]. The player character is aware of and can interact with these elements. The most famous example of this is Dead Space, where the health bar is integrated into the back of the suit of the player character. There are no other UI elements overlayed on top of the screen for maximum immersion.

References

• [1] Merriam-Webster, “diegetic,” Merriam-Webster Dictionary. Accessed: Jan. 11, 2026. [Online.] https://www.merriam-webster.com/dictionary/diegetic
• [2] M. Andrews, “Game UI Discoveries: What Players Want,” Gamasutra. Accessed: Jan. 11, 2026. [Online.] Available: https://web.archive.org/web/20100411115831/http://www.gamasutra.com/view/feature/4286/game_ui_discoveries_what_players_.php
• [3] D. Russell, “Video game user interface design: Diegesis theory,” Dev.Mag. Accessed: Jan. 11, 2026. [Online.] Available: http://devmag.org.za/2011/02/02/video-game-user-interface-design-diegesis-theory/
• [4] W. Greenwald and Z. Cuevas, “Baldur’s Gate 3 Review,” PC Mag. Accessed: Jan. 11, 2026. [Online.] Available: https://www.pcmag.com/reviews/baldurs-gate-3-for-pc
• [5] Game UI Database, “The Sims 4 (PC Edition),” Game UI Database. Accessed: Jan. 12, 2026. [Online.] Available: https://www.gameuidatabase.com/gameData.php?id=528
• [6] I. Mew, ““Get in the tank, Sev” – Killzone 2,” Super Chart Island. Accessed: Jan. 12, 2026. [Online.] Available: https://superchartisland.com/killzone-2/
• [7] V. Liubchuk, “What is a HUD in Games? A Complete Guide to Game Interfaces,” VSQUAD. Accessed: Jan. 11, 2026. [Online.] Available: https://vsquad.art/blog/what-hud-games-complete-guide-game-interfaces

In the last blog entry I looked into the calm alarm clock “Dreamie”. Another two award-winning examples are the Luma³ breathing companion and the Mudita Kompakt smartphone.

Luma³ breathing companion

While most meditation apps add screen time and complexity, Luma³ is designed to guide conscious breathing without screens or apps, making it a calm and accessible tool for any environment. The device offers multiple scientifically backed breathing programs to support relaxation, balance, and stress relief, all delivered through light rather than screens or audio instructions.

Luma³ informs users and creates calm by guiding breathing without cognitive overload. It communicates without speaking, using light pulses to convey rhythm while allowing users to focus entirely on their breath. Its SteadyGlow™ mode provides a subtle presence in peripheral vision when not actively in use, creating a gentle, calming effect in the room. By leveraging ambient light, peripheral awareness, and simple physical presence, Luma³ demonstrates how devices can support mindfulness without adding mental strain.

Mudita Kompakt

The Mudita Kompakt represents an attempt to create a calm smartphone, also recognized by the Calm Tech Institute. Unlike conventional smartphones designed to maximize engagement, the Kompakt focuses on focus, privacy, and freedom from digital distractions.

At its core is a paper-like E Ink display, which reduces blue light exposure, minimizes eye strain, and discourages prolonged screen time. Instead of offering endless apps and notifications, the phone runs on MuditaOS K, a minimalist operating system that includes only essential functions: calls, messages, calendar, notes, music, and offline maps—without ads, tracking, or attention-grabbing features.

A key feature is Offline+ Mode, allowing users to intentionally disconnect. Connectivity features such as cellular data, Wi-Fi, Bluetooth, microphones, and the camera are disabled, making disconnection a deliberate and trustworthy choice rather than a temporary workaround. This mode is controlled via a physical switch, so no unnecessary interaction with the screen is required, and it can even be engaged through passive, peripheral interaction, allowing users to disconnect without actively focusing on the device. By combining E Ink, minimal software, peripheral-friendly controls, and intentional offline modes, the Kompakt exemplifies how smartphones can support calm and attention-aware interaction.

Design Tools for Calm Technology

All three product examples use deliberate design tools to create calm interactions. Ambient light, E Ink displays, tactile physical controls, and peripheral cues help reduce cognitive load and minimize unnecessary engagement. Features such as light-guided breathing and an Offline Mode controlled by a physical switch allow users to interact naturally without being drawn into constant foreground attention, enabling interaction through the periphery rather than the screen.

In addition, the reduction of content and functionality, as seen in both the alarm clock and the smartphone, plays a key role. By keeping only the necessary features, these products remove extra choices users would otherwise have to make while trying to achieve a goal. This reduction in decision-making helps lower mental load and supports more focused, intentional use. Together, these design tools translate calm technology principles into concrete, user-centered experiences that genuinely support well-being.

Calm Tech Institute Awards as a Benchmark Tool

As the Calm Tech Institute Awards specifically focus on products designed with human attention in mind and curate them in a collection of awarded examples, they can serve as a valuable benchmark tool for technologies that serve the principles of calm technology. 

References:

• https://www.calmtech.institute/post/the-complete-calm-tech-certified-product-list-for-2025
• https://store.mudita.com/mudita-kompakt-north-america

AI Assistance Disclaimer:

AI tools were used to improve grammar and phrasing. The ideas, examples, and content remain entirely the author’s own

User Interfaces in Video Games – The quest for genre-appropriate and usable game UI

After getting a bit more familiar with how the need for UI in games emerged through a bit of history, I want to get more theory focused now with some definitions. I’ve already mentioned HUDs in my last post so let’s get it all on paper, as well as clear up any abbreviations that may keep popping up.

UI Elements

Definitions

UI (User Interface) – User interfaces are “part of a computer and its software that people can see, hear, touch, talk to, or otherwise understand or direct” [1]. In the video game context, this refers to all interface elements such as menus and setting screens, but also HUDs [2]. Importantly, this also includes the hardware, such as controllers or the keyboard and mouse.

HUD (Heads-Up Display) – HUDs are the persistent UI elements that appear on screen, usually indicating the status of the player [3]. This is the term that is most widely used within game spaces, but only really refers to the overlay during the actual gameplay, and not the other screens mentioned above.

GUI (Graphical User Interface) – GUIs are user “visual systems that let users interact with digital devices through elements like buttons, icons, and menus” [4]. I had some confusion with this term popping up, as I thought it was also the abbreviation for Game User Interface.

Game UI Elements

In this section I would like to make a distinction between HUD UI elements and other game screens, since all of this is part of the UI, the difference being that HUDs are active during gameplay. As games have evolved, these elements have became staples of the user interfaces within them.

The following are some visual examples of individual HUD elements as well as game screens (on the example of the 1999 game Metal Gear Solid), providing a short overview of the elements.

HUD Elements

• Health bar – shows the current life the player has remaining, often abbreviated as HP (Hit Points), which came from the tabletop role-playing game Dungeons & Dragons [6].
  • 
• Score – shows the current or final score accumulated.
  • 
• Ammunition gauge – shows the number of bullets/projectiles available, important for shooters.
  • 
• Inventory – shows items possessed/equipped, important for role-playing games.
  • 
• Map/Radar – assists player with navigation by providing an on-screen means of navigation with “you are here” indicators.
  • 
• Context-Sensitive Prompt – text or icon that appears when the player is near an object that can be interacted with [7].
  • 

Figure 2: Elements of a HUD
Source: Own Production, referenced from [7]

Game Screens

• Title Screen/Start Screen
• Pause Screen
• Options/Settings
• Save/Load Game
• Controls
• Game Over Screen
• Loading Screen
• Legal/Copyright
• Credits

References

• [1] W. O. Galitz, “The Importance of the User Interface”, in The Essential Guide to User Interface Design: An Introduction to GUI Design Principles and Techniques, Third Edition, 3rd ed. Indianapolis, IN, USA: Wiley, 2007, ch. 1, pp. 4.
• [2] V. Liubchuk, “What is a HUD in Games? A Complete Guide to Game Interfaces,” VSQUAD. Accessed: Jan. 08, 2026. [Online.] Available: https://vsquad.art/blog/what-hud-games-complete-guide-game-interfaces
• [3] G. Wilson, “Off With Their HUDs!: Rethinking the Heads-Up Display in Console Game Design,” Gamasutra. Accessed: Jan. 08, 2026. [Online.] Available: https://web.archive.org/web/20100119031340/http://www.gamasutra.com/features/20060203/wilson_01.shtml
• [4] Interaction Design Foundation, “Graphical User Interfaces (GUI),” Interaction Design Foundation. Accessed: Jan. 08, 2026. [Online.] Available: https://www.interaction-design.org/literature/topics/graphical-user-interfaces#
• [5] J. Pears, “Types of Computer Game Graphics,” Digital Graphics Unit 78. Accessed: Jan. 08, 2026. [Online.] Available: https://digitalgraphicsunit78.wordpress.com/types-of-computer-game-graphics/
• [6] M. Madunic, “Health Systems in Videogames,” Sapphire Nation. Accessed: Jan. 11, 2026. [Online.] Available: https://www.sapphirenation.net/health-systems-in-videogames
• [7] S. Rogers, “Sign Language—HUD and Icon Design”, in Level Up! The Guide to Great Video Game Design, Chichester, United Kingdom: Wiley, 2010, ch. 8, pp. 172-193.
• [8] Game UI Database, “Metal Gear Solid,” Game UI Database. Accessed: Jan. 08, 2026. [Online.] Available: https://www.gameuidatabase.com/gameData.php?id=2244

User Interfaces in Video Games – The quest for genre-appropriate and usable game UI

Last time I answered the question of what the first video games were, namely Tennis for Two and Spacewar!. Today, I’ll be taking a step further and covering the universally known earliest video game Pong, as well as taking a quick look at the progression of games and their interfaces further.

Early Game Interfaces (Arcade and Home Consoles)

Are we getting to the UI yet?

Yes! Games finally became commercially successful and available to the general public outside of science fair and university contexts thanks to the shift away from giant computers that weighted dozens of kilos and cost thousands.

1972 – Pong

Pong was developed by Atari which was a company formed by Nolan Bushnell and Ted Dabney, and programmed by Al Alcorn. It used dials for vertical movement of paddles where players competed to hit the ball back and forth [2]. This is where we notice the first truly UI element of a game, which is the score counter on the top of the screen.

1978 – Space Invaders

Released 20 years after Tennis For Two, Space Invaders was developed by Tomohiro Nishikado and it marks the rise in popularity of arcade games, with two buttons for moving left and right and one for firing projectiles [4]. In this new age of arcades, one of the very first innovations in game interface design, the high score and the high score screen, were born [5]. The high score was a different motivation compared to the other games mentioned so far which were based on competition between two players. Space Invaders and many popular arcade machines featured single player experiences, where the high score screen would incentivize not only beating your friends but also beating your own score. Arcades were the place where HUDs were born, with more and more permanent UI elements aiding players emerging.

As much as I would love to talk about the entire history and progression, and go all the way from Pac-Man to modern games, I’ll keep it to these two blog posts. They will serve as a sort of starting point for when I dive deeper into the history for my actual thesis.

References

• [1] J. O’Driscoll, “Pong at 50: the video game that ‘changed the world’,” The Week. Accessed: Dec. 15, 2025. [Online.] Available: https://theweek.com/news/technology/958675/pong-at-50-the-video-game-that-changed-the-world
• [2] R. Sheposh, “Pong (electronic game),” EBSCO. Accessed: Jan. 11, 2026. [Online.] Available: https://www.ebsco.com/research-starters/history/pong-electronic-game
• [3] Z. C. Cohen, “‘Space Invaders’ Video Game Takes Aim at Big-Screen Adaptation,” Time. Accessed: Dec. 15, 2025. [Online.] Available: https://newsfeed.time.com/2011/07/12/space-invaders-video-game-takes-aim-at-big-screen-adaptation/
• [4] D. Hansen, “Space Invaders 1978: A First Invasion”, in Game On!: Video Game History From Pong and Pac-Man to Mario, Minecraft, and More, Harrisonburg, Virginia, USA: Feiwel and Friends, 2016, pp. 172-193.
• [5] J. Novak and K. Saunders, “History of Game Interface Design: how did we get here?”, in Game Development Essentials: Game Interface Design, Clifton Park, NY, USA: Thomson Delmar Learning, 2007, ch. 1, pp. 6-8.

During a recent workshop in the university, I was introduced to consumer EEG devices and had the opportunity to experiment with them in a hands-on setting. The focus was not on clinical accuracy, but on understanding how basic brainwave signals can be captured using lightweight devices such as Muse. While the setup was clearly far from laboratory-grade neuroscience equipment, the experience raised an important question for me as an interaction designer: what happens when interfaces respond not only to explicit user input, but also to signals that reflect the user’s internal state?

I started doing more about these devices and this question led me to something called “closed-loop biocybernetic systems”. At a basic level, these systems continuously monitor physiological signals from the user, interpret them in real time and adapt system behavior accordingly. Unlike traditional interfaces, where interaction flows in one direction (from user action to system response) closed-loop systems operate through constant feedback. The system observes the user, adapts its behavior and then observes again, forming an ongoing loop rather than a sequence of separate interactions.

What makes this idea particularly relevant for interaction design (and also my research) is not it’s scientific precision, but it’s interaction logic. Closed-loop systems treat the user as a dynamic participant whose cognitive state changes over time, rather than as a stable user performing isolated actions. This aligns closely with earlier discussions in my research around interruption, cognitive load and recovery, where the timing and context of interaction matter as much as the interaction itself.

In existing UX and HCI practice, adaptation is usually based on explicit signals such as clicks, taps, scrolling behavior or settings chosen in advance. Closed-loop systems introduce a different layer of interaction, where adaptation can be driven by indirect signals like workload, engagement or stress. EEG becomes one possible alternative among others, not because it offers direct access to mental states but because it provides a continuous stream of data that reflects change over time. For interaction design, this continuity is more valuable than accuracy, especially when the goal is to sense transitions rather than define precise cognitive states.

Research I have found on adaptive automation has explored closed-loop systems in high-stakes contexts such as aviation and safety-critical environments. For example, work conducted by NASA examined how EEG-based indicators of engagement could be used to dynamically adjust task allocation between human operators and automated systems. While these studies are far removed from everyday digital products, I think they demonstrate that closed-loop interaction is not just theoretical. It has been operationalized in environments where managing attention and workload is critical and where poorly timed interaction can have serious consequences.

From an interaction design perspective, the most compelling aspect of closed-loop systems is not automation, but responsiveness. A system that becomes quieter when cognitive demand increases, delays non-urgent information during moments of strain or supports recovery after disruption behaves very differently from one that treats all moments as equal. This resonates strongly with earlier discussions in my research about interruptions and emotional side of it. Instead of optimizing for constant engagement, such systems acknowledge that users have unpredictable capacity.

This ideas also connects closely to something called “polite or neuroadaptive interfaces”. These interfaces aim to adapt subtly and respectfully, without drawing attention to the adaptation itself. Rather than aggressively pushing notifications or optimizing for responsiveness, polite interfaces adjust their behavior quietly, often by waiting rather than acting. Framed this way, politeness is not a metaphor but a design stance that prioritizes cognitive boundaries and timing.

At the same time, there are clear limitations. Consumer EEG devices (like the one we experienced, Muse) do not provide reliable or countable measurements of complex mental states such as attention or flow. Brain signals are noisy, highly context-dependent and difficult to understand even under controlled conditions. Treating EEG data as ground truth would be misleading. However, closed-loop interaction design does not require perfect measurement.

References

1. Freeman, F. G., & Mikulka, P. J. (1993). Effects of a psychophysiological system for adaptive automation on performance, workload, and situation awareness. Human Factors, 35(3), 413–434. https://doi.org/10.1177/001872089303500302
2. Gevins, A., & Smith, M. E. (2003). Neurophysiological measures of cognitive workload during human–computer interaction. Theoretical Issues in Ergonomics Science, 4(1–2), 113–131. https://doi.org/10.1080/14639220210159717
3. NASA. (n.d.). Biocybernetic adaptation and mental workload assessment. National Aeronautics and Space Administration.
4. Polite Interface Research. (n.d.). Neuroadaptive interfaces.
5. Pope, A. T., Bogart, E. H., & Bartolome, D. S. (1995). Biocybernetic system evaluates indices of operator engagement in automated task. Biological Psychology, 40(1–2), 187–195. https://doi.org/10.1016/0301-0511(95)05116-3
   
   AI Assistance Disclaimer:
   AI tools were used at certain stages of the research process, primarily for source exploration, grammar refinement and structural editing. All conceptual development, analysis and final writing were made by the author.