Signifiers and Identifiers

Colour, alongside with other composition instruments such as line, shape, texture can be used in video game design to help the players understand the game world. One of the most common applications of the colour pallet is creating a distinctive image for branding or establish a mood for a level (Tulleken, 2015). However, colours can complement visual feedback, helping players learn to navigate game world.

One of the ways is designing signifiers and identifiers using different colours. Identifiers are used to group elements (Tulleken, 2015, Anhut, 2014). For instance, similar colours on the panels or wires in The Witness (Thekla Inc., 2016) help players to build a connection between puzzles, which leads to a better understanding of the solution. Although the set up might seem different on the first sight, colour codes indicate the similarities. Similarly, different colours help to identify allies and enemies within a game.

Signifiers communicate properties of an object to a player (Tulleken, 2015). For instance, they are a crucial part of Mirror’s Edge interface (EA DICE, 2008) where red helps to quickly find elements of the environment that will help the player to progress.

Creating an easily recognisable colour pattern prevents players from getting lost in the game. Additionally, the colour codes might be used to attract attention to new mechanics and give a clue on how to use it without explicitly telling people. People are likely to fail to perceive events if they are not specifically looking for them (Chabris, 2010). When a player was taught to pay attention to a particular colour, any object of that colour would be in his attentional set (Most, 2007).

Signifiers and identifiers can be used in many ways within level design but are particularly essential to help players navigate a complex and cluttered environment or during quick pace events.

References:

Anhut, A. (2014). “Color Theory for Game Design 2 of 4 – Glyphs And Neutrals”, How to not suck at game design, 20 November. Available at: http://howtonotsuckatgamedesign.com/2014/11/color-theory-game-design-2-4-glyphs/ (Accessed 11 February 2018).

Chabris, C. et al. (2010). The Invisible Gorilla And Other Ways Our Intuitions Deceive Us, New York: Crown. Available at: https://archive.org/stream/ChristopherChabrisDanielSimonsTheInvisibleGorillaAndOtherWaysOurIntuitionsDeceiveUs/Christopher+Chabris,+Daniel+Simons+The+Invisible+Gorilla-+And+Other+Ways+Our+Intuitions+Deceive+Us_djvu.txt (Accessed 12 February 2018).

EA DICE (2008). Mirror’s Edge [Video game]. Electronic Arts.

Most, S. et al. (2007). “Feature-based attentional set as a cause of traffic accidents”, Visual Cognition, 15(2), pp. 125-132. Available at: http://www.tandfonline.com/doi/abs/10.1080/13506280600959316 (Accessed 12 February 2018).

Thekla Inc. (2016). The Witness [Video Game].

Tulleken, H. (2015). “Color in games: An in-depth look at one of game design's most useful tools”, Gamasutra, 29 July. Available at: https://www.gamasutra.com/blogs/HermanTulleken/20150729/249761/Color_in_Games.php) (Accessed 11 February 2018).