The Design of NITIKI Batik Participatory Game

* in Proceeding at The 2nd Indonesian International Conference of Innovation, Entrepreneurship, and Small Business, UMN BSD-Tangerang-Banten, 2010.

The Design of NITIKI Batik Participatory Game* Chandra Tresnadi1, Irfansyah2, Ary Setijadi Prihatmanto3 1, 2 Faculty of Visual Arts and Design (FSRD), Bandung Institute of Technology (ITB), Indonesia. 3 School of Electrical and Informatics Engineering (STEI), Bandung Institute of Technology (ITB), Indonesia.

Abstract The growth of the video game industry and its technologies is one of the aspects of interaction design which is still evolving in this era. One of the issues raised in the video game industry is a certain gamer behaviour due to a lack of communication and interaction with the outside world. This project is one of the efforts to overcome the problem by creating a real-time human-computer interaction using touch and gesture that is called participatory gaming. This project uses descriptive-qualitative method which combines a few areas such as interactive gesture (technology), visual-kinetic communication (message), and stamp batik (visual concept). The idea is to visualize batik-making (stamp batik and patterns) in a video game using touch and gesture as the main controller and multi-touch screen as the media. The purpose is to create an alternate media which bridges Indonesian values (batik) and technology that contains educational media using gaming application. Participatory gaming is suitable to be placed in public spaces such as museums, airports, and malls as an interactive media for users in the real world and time. Key words: digital gaming, Indonesian batik, interaction design, interactive gesture, multi-touch screen, participatory gaming, visual-kinetic communication.

1.

Introduction

Humans are social beings living in groups and interact among themselves and their surroundings. Human behaviour and interaction are part of the communication process in order to understand a certain state of affairs. Human communication consists of 35

per cent verbal communication (Tubbs, 96: vii), while the remainder is non-verbal communication consisting of eye contact, mimicry, tone, touch, and body language. Non-verbal communication in turn is largely used as a medium of human interaction in products and/or services such as mobile phones, computers, and gesture-operated robots. Humans need to communicate and interact with technology and their environments are studied in interaction design, such as in digital gaming. The ability of digital games to create a virtual world at some points stimulates optimum sensation and imagination for players, including the tendency to be addicted to it. This results in reduced intensity of a subject during physical interaction and communication with an individual or a group of human beings. There are many studies and methods used to repress players’ interaction and communication influenced by digital games. Among these include an attempt to design a game which will stimulate human interaction patterns toward fellow humans and towards a participatory technology and environment. In order to create such participatory needs, supporting on-target technologies which were already implemented in devices such as Nintendo Wii, EyeToy Kinetic™, Nintendo DS, iPod Touch, iPhone, Microsoft Surface, and city wall in Helsinki, Finland are required. The technologies mentioned implements interactive gesture based on motor sensors. Such sensors are the currency in the development of the media industry to provide room for interaction, entertainment, and educative information – all in a single package. Ideal Interaction design and cutting-edge interactive gesture technology neither are acceptable nor appreciated well by a community if the application is not packaged with a catching, integrative, and closeresembling to the local culture. The diverse Indonesian visual crafts, such as batik,

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wayang, sculpture, body painting, and calligraphy, can be applied to mix with digital gaming technologies to become an educating media, explicitly or not. Of the above Indonesian diversity, batik was chosen as the main theme for the plot, visual design, and interface. It was chosen on the grounds that it is already a part of life and custom of a person’s birth, marriage, and death in most parts of Java. On the other hand, the technical characteristics of making batik made batik the pinnacle of form and value of the nation and encompass an interdisciplinary study between traditional and modern crafts. Such technical characteristics involve emotion, feelings, and natural craftsmanship, pattern variety, decorative features, details, and way of life. From the description above, the problems identified in the study are: a. An alternative method is required to create participatory interaction through visual interaction, reciprocal interaction of players supported by technology, and batik as the content of the digital game. b. A set of batik designs is required in order to create participatory interaction in the medium of digital gaming. This study is bound by: 1) batik techniques (production techniques, motifs, and ornaments); 2) interaction designs (userexperience goals, such as cognition in relation to visual designs); 3) visual-kinetic communication (communication based on gestures); 4) interactive gesture (multi-touch screen); and, 5) project realization in the form of prototype participatory game software. The aim of this study is, first, to construct players’ participatory interaction through digital games, and, second, to design a digital game in which Indonesian batik is utilized for storytelling, character, interface, reward, and player control supported by multi-touch screen technology.

Benefits of this study include introducing batik where digital games are used as a medium with the intention that it can be known, withstand, and widespread as a measure to conserve traditional heritage. As a form of service for the community, the design of a participatory digital game is hoped that it can interest humans to interact with fellow humans, gameplay, technology, and surrounding so that natural communication is established.

2.

Elements games

forming

participatory

2.1 Interaction Design Interaction design (ID) (Saffer, 2007:4) is the art to facilitate human interaction by means of services or products of technology (computer) that has the ability to understand the problems of communication. ID is not a standalone art; it is linked with other arts so that it can be accepted by humans to increase their standards of living by finding new ways for humans to communicate with devices and surroundings. It is also able to bridge human emotion and feelings in the form of interaction. Thus, ID fulfils the two criteria humans find necessary in technology (Preece, et al., 2002:14): function-oriented (effective, efficient, safe, utility, ease, recognizable), and user’s ulterior senses (fulfilling, comfortable, entertaining, helpful, motivating, aesthetic, creative, rewarding, emotions). 2.2 Interactive Gestures Interactive gestures (IG) are events based on physiological activities felt, detected, interpreted, and responded by a computer system. In this case, IG does not involve the use of styli or mouse for interaction controls of the computer; it does so by using gesture controls which are, by human nature, natural and intuitive. Gestures include palm sweeps, palm/fingertips nudges, eye blinks, air blows, vibrations, shades, music frequencies, to brush sweeps.

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The principle of IG is to manipulate digital objects by means of touches, shades, voice, light, and movement of an object or part of the human body on the interface or IG device. An IG-derived technology chosen in this study is multi-touch screen (MTS), made popular by Jefferson Y. Han, a computer scientist specializing interface technology, from Media Research Laboratory at New York University. The technology was presented in 2006 at the TED Conference. 2.3 Visual-Kinetic Communication Visual-Kinetic Communication (VKC) is a part of non-verbal communication dealing with touches (haptic), movement (kinaesthetic), and visual cues (symbols, signs, facial expressions to calisthenics, clothing, artefacts, space, time, and sound) as communication packets (messages). Nonverbal communication makes important relational messages of a person on the emotion and sensory level during communication (Mulyana, 1996:31). VKC has been around since 1600 B.C (http://jdsde.oxfordjournals.org) as a working language of humans and is still used to emphasize meanings of information. It is also used by people with handicaps (mute and/or impaired-hearing), as well as in the realm of visual arts, sandhi, and means of delivering information in the modern age (television, videos, films, advertisement, internet, and digital games: Wii Mote, EyeToy). Distance factors of a communication decide which type of interaction starts human relationship processes. Such relationships can either be independent, collaborative, competitive, oppositional, or contrastive. Participatory interaction is created by the combination of collaborative and contrastive interactions at the same time.

2.4 Indonesian Batik Indonesia is a nation which has diverse decorative feature production techniques and is also the world’s biggest producer of such. Traditional batik production techniques on the island of Java has been developing since the coming of influences from Arabia, China, Japan, Netherlands, and modern sciences from formal education. This study chooses six regions which represent technical characteristics, motifs, keeping batik as a source of income, and as a form life saying of the surrounding communities. The regions are Garut and Cirebon in the west, Pekalongan, Solo, and Yogyakarta in the mainland, and Madura in the east. Garut batik features florae and faunae decorative features. The main decorative features of Garut batik are lereng aruey (aerial root/akar gantung), cupat manggu (mangosteen/buah manggis), kurung hayam (henhouse/kurungan ayam), batu, batik kumeli, tiwu (sugarcane/tebu), sidomukti payung, and peksi. Cirebonese batik is classified into two main regions, Trusmi and Kalitengah. Cirebonese batik features two characteristics in colouring: white, blue, and keratonan light brown, and bang biron batik, whose foundation colours are red and coastal blue (Hasanuddin, 2001:158). Cirebonese batik motifs usually are the symbolic representation of faith and life sayings. They are cirebonan, mega mendung, wadasan, singa barong, paksi

naga liman, buroq, kereta kencana, lok can, patran, lung-lungan, kangkungan. Pekalongan batik is oriented towards, by pattern and production, market demands influenced by tiga negeri laseman (Lasem), demakan (Demak), remukan wonogiren (Wonogiri), kapal kandas dermayon (Indrawamyu), bang biron cirebonan

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(Cirebon) (Hasanuddin, 2001:159). Pekalongan batik decorative features are jlamprang (sembagi), pagi-sore, buketan, terang bulan, gringsing, dan pucuk rebung. Solonese batik are classic batiks of the royalty. Solonese batik decorative features are ceplok, kawung, truntum, parang, udan liris, ukelan, manggaran, ada-ada, kembang kapas, kawungan, srimpet, kemada, blabakan or cinde, cemukiran, semen, sawat, alas-alasan, sido, lar, sawat, flora, or any non-geometrical decorative feature. Yogyakartan batik (Susanto, 1985:495) includes larangan batik, of which are parang: parang rusak barong, parang rusak gendreh, parang rusak klitik, and other parangs whose size are in accordance to the above strictures; semen; udan liris; and rujak sente. Maduranese batik is regarded as the centre of hand-drawn batik because the Maduranese refuse to use stamp batik technology since it is considered as not spontaneous, not dynamic, fake, and pursues quantity. Maduranese batik is rich in the use of the isen-isen decorative feature, such as mano langer engga kajuh (perching celestial bird), mo-ramo kausari (canary’s rooting), dik-dik bang wiles, bang ompay, ganggengan, keramah ukel, lung-lungan, mo-ramo, and sekarjagad.

3.

Participatory Games

Participatory is an adjective which functions to stress the gist of participate, which is a type of interaction pattern based on interaction design (ID) user experience gathered from stored memory converted in meaningful information. Shedroff (1994:5) stated that information elements are part of a knowledge base which becomes the main basis to create participatory interaction patterns in interaction design products or services. Participatory games are therefore anything that bears relation to products,

services, or systems that gives a person or a group of persons the opportunity to take part in an event in a form of a game that compiles the three requirements of digital games: autonomy (to choose), mastery (of senses), and social interaction, and focuses more on the form of interaction rather than the plot (HotGame, 2007:14). Participatory game models consists of three elements: cognition relating to senses (interaction design); technology as the media and sense provider (interactive gesture); and human interaction activities (visual-kinetic communication). Designing participatory games is designing a system whose basic function is to ease performance, activity, and human desires that complies system criteria; the criteria of which are technically, psychologically, and aesthetically well. Designs according to non-engineer designers are based on user-experience goals principles and knowledge on comfortableness, giving playing space, motivating to create, and fulfilling emotional needs of the users in the form of satisfaction. ID (user-experience goals and usability goals), IG, VKG, and batik principles are linked in the diagram below as an interrelated process, forming a new pattern which is called participatory games.

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participatory activities. Thus, participatory games is a combination of collaborative and competitive interaction, resolving to the fulfilment of inter-human interaction criteria in respect to space, time, and number of humans in question (multiplayer). One’s decision to be involved in is due to the presence of visual cues which give careful and persuasive impression. Persuasive messages involve emotional understanding of someone on the individual to the collective scale.

Diagram 1. ID, IG, VKC, and batik as elements forming a participatory game (source: author) VKC-batik collaboration forefronts the message found in the gameplay using visual cues supported by engine and console capabilities. VKC-IG collaboration forefronts the communication packet between human-gesture technology and computer as the control sensor. Batik-IG collaboration forefronts the behaviour of batik-making translated into a pattern of interaction using gesture technology capabilities. Participatory game patterns by formation concept are interpreted into participatory activity processes, i.e. interface initiates players and environment. It is initiated by one’s action to the console, followed by someone else’s action of the same manner, which in turn forms the interaction and communication between individuals and other groups of individuals to the game system in the same location at the same time. Groups that are interested, bound, and interact with the game system are categorized groups that perform participatory activity, whilst groups outside the aforementioned constraints are categorized as groups that do not perform

Diagram 2. Participatory game interaction pattern in a public space (source: author) 4.

Creative Process of Designing NITIKI Batik Participatory Game

4.1 Batik as Content Builder and Traditional Batik Motifs in Participatory Games Batik is chosen as the base content of participatory game elements due to three reasons: 1) memorability, i.e has become a special identity referring to visuals and motifs owing to colour obstructing techniques of batik-making; 2) appropriate, i.e. the fact that batik has been made into a unique cultural icon recognized locally and internationally (batik is recognized by UNESCO as a world intangible heritage); 3) entertaining, i.e. character objects are able to attract attention and entertain, and help to shape cultural image to players; 4) natural gesture proximity to batik making involving touch, sense, and emotion of batik-

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makers are recreated using multi-touch screens (IG) as products of ID.

The name NITIKI is derived from the memorability concept, that is, from the Javanese syllable nitik, meaning ‘making dots’ with an –i suffix, emphasizing the continuously repetitious activity, similar to the sense of the term batik. Nitik is also a geometrical decorative feature from Yogyakarta. In some regions, nitik is called differently, but is synonymous to sembagi (Solo) and jlamprang (Pekalongan).

Picture 1. Proximity of natural gestures (various sources) Character and environment theme election concepts are directed to the nuance of various batik themes, such as normal faunae to imaginary ones (hybrid); florae object, such as creepers (lichens, vines, roots), aquatic plants, and symbolic; abstract objects, such as natural stylization or imaginary objects (weaponry becomes broken parang (parang rusak)). Character enrichment concept used is childlike decorative features accompanied with the simplification of lines, shapes, textures, and colours of the batik. These elements are redesigned but still withstand the batik’s identity (isen details and outline are coloured white). Bright and contrasting colours are chosen to give hints of cheerfulness and to attract attention.

Picture 2. Samples of faunae, florae, and abstract batik motifs; batik’s identities are isen details and white outline; childlike visual style in the game LocoRoco. (various sources)

Picture 3. Example of nitik decorative feature from Yogyakarta (source: Jagad, 2005) 4.2 NITIKI Batik Participatory Game Transformation Batik-making as in the game’s content is not taken whole, but undergoes a transformation of form, decorative feature visual styles, and pattern into character objects in the digital game. Batik-making elements that are also used include stamp batik production process is to be storytelling and levelling, batik pattern (geometric and non-geometric) is to be the background and environment of the game, motifs (florae and faunae) and isen details is to be the objectives of the player’s characters, batik-making history is to be the reward. 4.2.1 Storytelling and Levelling The process of stamp batik production undergoes four phases, from preparation to finishing. In the creative process of designing the Batik NITIKI, they are simplified by combining two processes into one, as it is shown by Table 1.

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Phases

Table 1. The Simplification of NITIKI Batik Participatory Game. Production process of stamp batik

1.

Preparation (fabric, vessel, and starch)

2.

nyungging (motif stamp), tool: canting stamp

3.

Colouring (colet, dye)

4.

finishing (wax removal)

The plot of NITIKI Batik Participatory Game Choosing isen icon and hollow target character (plants, animals) Coloured isen icon drag & fill to void characters

The players are allowed to disturb the other one's play by throwing their own character objects against other player's so in order that it will ruin the arranged elements. The challenge which will build competition among players is to hit or throw an animate character object against another to create compound characters. The new character object must be hybrid. The player who successfully hits his object will make it a dominant basic figure.

Combining two characters into one hybrid character

Table 2. Task flow of NITIKI Batik Participatory Game (source: author)

Task 2

isen icon

object 1*

Task 1

(drag & fill) ↓ object 2*

object hollow

=

= Hybrid object*

The nyungging process of stamp batik is represented in the form of fixed puzzle arrangement (decorative figures pattern is continually repeated until it is finished, Figure 3). The process is adopted in the game assignment in which one or two players has to fill hollow character objects (florae or faunae) with coloured isen decorative feature icon at the same time (Table 2). This participatory game is designed to boost both competitive and collaborative attitude among the players. While the collaborative participatory attitude is firstly stimulated by exploring the environment in which the player has to find the faunae or florae characters with incomplete colours and isen textures, the competitive participatory attitude is started by colouring and adding isen icon into respective character objects.

Finished object*

Picture 3. The illustration of canting cap repetition pattern in the production process

(merged) +

* animation The storytelling element of NITIKI Batik Participatory Game is designed as, in respect with culture, a medium of information and education for people and to give reward in the form of text and/or documentary film about traditional batik from six batik-producing regions across the island of Java. Should the player fails to overcome the challenge, they

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will have a game over. This participatory game is also designed to keep the play rate high in the game without determining when to play and exit. 4.2.2 Pattern and Batik Visual Styles: Character Object and Environment Visual Style Inspiration The visual elements of the environment are constructed by adopting the geometrical and non-geometrical patterns in the batik’s decorative figure arrangement. The nongeometrical pattern is represented by the decorative figure semen, alas-alasan (which represents the nature of the universe), lunglungan class, ganggong or mo-ramo (creepers), mega mendung. Table 3. The process of designing the environment's image in Participatory Game Batik NITIKI adopted from batik's nongeometrical pattern Sekarjagad, lung-lungan, and patran decorative feature of the non-geometrical pattern as a source of inspiration for NITIKI’s environment of the same manner Sekarjagad Lung-lungan Patran

(source: Kudiya, (source: Kudiya, (source: Kudiya, 2005) 2005) 2005) Redesigned game environment interface, combining the three decorative features above

The non-geometrical pattern of the environment is represented by a combination of decorative features sekarjagad, lunglungan, and patran. The three decorative

features (Table 3) contain similar and proportional pictorial images and resemblance in the use of curves, creating organic and dynamic image. Sekarjagad is the symbol of fertility with various use of decorative isen, lung-lungan, and patran which use wild floare figures as the main image. The decorative features have been improved almost in all every batik-producing region with different styles and names. The geometrical-patterned environment is composed of nitik decorative feature, known as rh. nitik sekar kepel, nitik rengganis, and nitik sekar soka (Jagad, 2005), (Table 4). The decorative features consist of square basic template creating woven-like imaginary patterns. Table 4. NITIKI Batik Participatory Game environment image designing process sourcing from geometrical patterns of batik (source: author) Yogyakarta’s nitik decorative feature as NITIKI geometrical environment inspiration

Nitik sekar kepel Redesigned sketch (source: Jagad, 2005) Nitik decorative features in its region-specific colours

Garutan

Cirebonan

Pekalongan

Solo

Yogyakartan

Meduran

The image of nitik decorative figure is adopted from its original without any modification. The difference lies on the use of colour, which is adjusted with the iconic colour of each batik-producing district, namely

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Shrimp

blue in Garut, white in Cirebon, green-yellow in Pekalongan, blue-brown (sogan-biron) in Yogyakarta, sogan-blue of different colour quality in Solo, and red-green in Madura.

Flower

Phoenix

Dragon

Flowertailed shrimp

Phoenix-winglegged shrimp

Dragon-pincer shrimp

In addition to batik visual elements, character object design is also inspired by the hybrid character

main visual element of batik to sustain the theme perception through the game image, which contains visual association with the image of decorative figures in traditional batik across Java Island. Characters in Participatory Game Batik NITIKI (Table 5) are adopted from character objects commonly used in batik's dominant florae or faunae decorative features. The faunae features come from three natures—air, water, and land—such as elephant (liman), lion (barong, liong), horse (buroq), bird (peksi, hong), peacock (phoenix, lok can), shrimp (rebon), and dragon (nago, nogo). Moreover, hybrid character figure is also created by combining two characters during the creative process of the game's decorative figures creation. (Table 6).

Another batik element in the game is the additional fills (isen) either as space filler or background theme. Isen has become, whether intentional or not, the distinctive feature of Indonesian batik with semantic or philosophical value for the craftsmen or the batik itself. Isen decorative features are collected from various districts such as Cirebon, Pekalongan, Yogyakarta, Solo, and Madura. The style and the function of isen is categorized on the basis of its name in particular district, such as isen beras mawur which have other names like beras wutah, isen tapak doro with cakar ayam, and so on. (Table 7).

Table 6. Character designing process for NITIKI Batik Participatory Game based on florae and faunae characters on batik cloths (source: author) Sketch

Table 7. Isen decorative feature samples and its transformation into isen character icons in NITIKI Batik Participatory Game (source: author)

Game character

Singa-liong-barong (source: Kudiya, 2005)

Table 6. Hybrid characters samples (source: author)

Name

Icon isen

Sekar pisang (source: Kudiya, 2005)

Sketch

Inspiration and name

cecek limo

cacah gringsin banji/ gori g swastika

bang padi

carcena

4.1.2 NITIKI Batik Participatory Game Socialization and Demo Trial The production of Participatory Game Batik NITIKI up to the most recent stage has

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created a demo version as a subject to proper test in the next stage in order to collect commentary and feedback for game testers. The socialization organized as a presentation at Pecha Kucha Night vol#1 (PKN) at Labo D’Mori Bandung on 8th August 2008 attracted three hundred visitors, domestic and foreign, from various professional fields (artist, designer, architect, movie director, musician, student, and lecturer). ITBDMF 2008 at Aula Barat ITB (ITB West Hall) as a part of series of events (seminar, workshop, competition, contest, and digital and animation game exhibition) was followed and visited by attendants from academic, business, designer circles, and even from visual arts and design academic institutions in Indonesia.

Picture 5. NITIKI open house, FSRD ITB, Bandung. (source: author)

Picture 6. A snapshot of NITIKI Batik Participatory Game on a multi-touch device (source: author)

5. Picture 4. PechaKucha Night Bandung vol#1; ITBDMF 2008 Bandung. (source: author) The game was also introduced to the public during Open House NITIKI at FSRD ITB as a part of Program Studi Magister Desain FSRD ITB (ITB FSRD Design Graduate School) thesis assessment exam; Pameran seni serat FiberFace2 (FiberFace2 fiber art exhibition) at Museum Budaya Yogyakarta (Yogyakarta Culture Museum); and Pekan Batik Internasional in Pekalongan (Pekalongan International Batik Week).

Conclusion

The interaction in the participatory game is enabled by some elements, namely object/medium of interaction, agents, rules, and locations which sustain it. The approach on the interaction of the participatory game adds a new atmosphere to human interaction pattern in the interface and the gameplay of the Batik NITIKI participatory game through natural method with multi-touch screen technology and batik materials as the foundation on which the game is designed. Visual style, pattern, decorative figures, and the production process of stamp batik in particular can be adopted as a visual concept

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and educational information delivery content about batik industry. Placing NITIKI game machine at public places such as museums, transportation stations, academic centres, and shopping centres is highly recommended as the medium of public participation on this game of educational content. Batik industry contains emotional, feelings, behavioural and normative association with some society in Java Island as well as expresses natural gesture virtue in interactive gesture. Thus, the use of batik as a theme for the game is not merely an act of following a trending phenomenon in many groups of society in order to preserve the Indonesian cultural heritage.

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