Young people are among the fastest adopters of generative AI, yet research emphasises adult-designed tools and experiments rather than playful, self-directed youth use. We analysed discourse from 4,172 users in Character.AI’s official Discord, finding that the most engaged users were predominantly adolescents (50% aged 13–17), female or non-binary (61.9%), with most (59%) creating their own characters. We contribute (1) a descriptive account of how highly-engaged youth on Character.AI’s Discord use AI for playful, emotional, and creative practices that push the platform limits; (2) a framework of three engagement intents — Restoration (emotional regulation), Exploration (creative experimentation), and Transformation (identity development); and (3) a taxonomy of seven youth-created character archetypes. Together, these findings reveal how youth invent novel roles for AI, expose critical misalignments between youth use and current AI experiences, and provide frameworks for researchers and practitioners to design youth-centred AI futures.

In creating digital technologies for animals, designers often seek to deploy and adapt human-centred techniques of interaction design. A significant challenge lies in enabling animals to play an active and generative role in the design process. This is of particular concern when the primary design objective is to address the behavioural and psychological needs of animal users. In collaboration with orangutans and human stakeholders at a zoo, we conducted co-design to create an interactive installation to enhance the orangutans' wellbeing. This paper presents the design journey undertaken and reflects on the challenges of designing with animals in a complex real-world setting. From this, we propose ways in which interaction design methods can be better adapted to working with animals by integrating qualitative and quantitative techniques drawn from the animal sciences. These reflections and proposals are relevant to researchers and practitioners investigating the design of animal-centred digital technologies.

Voice control is an increasingly common feature of digital games, but the experience of playing with voice control is often hampered by feelings of embarrassment and dissonance. Past research has recognised these tensions, but has not offered a general model of how they arise and how players respond to them. In this study, we use Erving Goffman's frame analysis, as adapted to the study of games by Conway and Trevillian, to understand the social experience of playing games by voice. Based on 24 interviews with participants who played voice-controlled games in a social setting, we put forward a frame analytic model of gameplay as a social event, along with seven themes that describe how voice interaction enhances or disrupts the player experience. Our results demonstrate the utility of frame analysis for understanding social dissonance in voice interaction gameplay, and point to practical considerations for designers to improve engagement with voice-controlled games.

Idea networks are inherently illustrative of the domain knowledge they seek to capture. They provide pathways to retrace known paths, and to explore the unknown. In this study, we conceptualised an idea network of 639 roguelike games, using data collected from RogueBasin and other sources, and conducted a user study for designer insight. Study participants interacted with three idea network visualisations that support exploration of design influence, accompanied by a brief historical context of roguelike games, and our design process of visualisations. The study uncovered 6 classes of insights from game developers: thinking in networks, insights on data consistency, accessibility and usability, visualisation preferences, exploring related games, and data contributions from the community. The study is limited by the data sources available about design influences, acknowledging that idea networks are only a partial representation of the full picture, which cannot be known. However, this paper shows that even a partial idea network can be useful for exploring the ancestry of roguelikes and their design influences. It also showed how idea networks can facilitate knowledge sharing through online conversations and new lines of inquiry.

Animal conservation organisations occasionally harness depictions of animals using digital technology to inspire interest in, and concern for animals. To better understand the forms of empathy experienced by people observing animal-computer interaction, we designed and studied an interactive installation for orangutans at a zoo. Through collaborative design we established an understanding of zoos' objectives and strategies related to empathy in the zoo context. We deployed a prototype installation, and observed and interviewed visitors who watched orangutans use the installation. Analysis of observations and interviews revealed that visitors responded with cognitive, affective and motor empathy for the animals. We propose that these empathetic responses are prompted by the visibility of orangutans' bodily movements, by the "anthropic frame" provided by digital technology, and by prompting reflection on animals' cognitive processes and affective states. This paper contributes new evidence and understanding of people's empathetic responses to observing animal-computer interaction and confirms the value of designing for empathy in its various forms

Selection is a canonical task in user interfaces, commonly supported by presenting objects for acquisition by pointing. In this article, we consider motion correlation as an alternative for selection. The principle is to represent available objects by motion in the interface, have users identify a target by mimicking its specific motion, and use the correlation between the system’s output with the user’s input to determine the selection. The resulting interaction has compelling properties, as users are guided by motion feedback, and only need to copy a presented motion. Motion correlation has been explored in earlier work but only recently begun to feature in holistic interface designs. We provide a first comprehensive review of the principle, and present an analysis of five previously published works, in which motion correlation underpinned the design of novel gaze and gesture interfaces for diverse application contexts. We derive guidelines for motion correlation algorithms, motion feedback, choice of modalities, overall design of motion correlation interfaces, and identify opportunities and challenges identified for future research and design.

In this paper, we present PathSync, a novel, distal and multi-user mid-air gestural technique based on the principle of rhythmic path mimicry; by replicating the movement of a screen-represented pattern with their hand, users can intuitively interact with digital objects quickly, and with a high level of accuracy. We present three studies that each contribute (1) improvements to how correlation is calculated in path-mimicry techniques necessary for touchless interaction, (2) a validation of its efficiency in comparison to existing techniques, and (3) a demonstration of its intuitiveness and multi-user capacity 'in the wild'. Our studies consequently demonstrate PathSync's potential as an immediately legitimate alternative to existing techniques, with key advantages for public display and multi-user applications.

Eye tracking is a promising input modality for interactive tabletops. However, issues such as eyelid occlusion and the viewing angle at distant positions present significant challenges for remote gaze tracking in this setting. We present the results of two studies that explore the way gaze interaction can be enabled. Our first study contributes the results from an empirical investigation of gaze accuracy on a large horizontal surface, finding gaze to be unusable close to the user (due to eyelid occlusion), accurate at arm's length, and only precise horizontally at large distances. In consideration of these results, we propose two solutions for the design of interactive systems that utilise remote gaze-tracking on the tabletop; multimodal segmentation and the use of X-Gaze-our novel technique-to interact with out-of-reach objects. Our second study evaluates and validates both these solutions in a Video-on-Demand application, presenting immediate opportunities for remote-gaze interaction on horizontal surfaces.

Zoos are increasingly introducing digital technologies to enhance visitors' experience of viewing animals, and promote the welfare and wellbeing of captive animals. Consequently, zoos are an immediate and important context for work in the discipline of animal-computer interaction (ACI). However, zoo enclosure design has a long history of transformation in line with existing theories, influenced by notions of naturalism and visitor immersion. In this paper, we discuss this literature in the context of the growing field of ACI, further drawing on interviews with zoo staff conducted as part of a larger project exploring digital enrichment to highlight the relevant implications for design.

An ongoing aim of human-computer interaction (HCI) is to understand what is meant by user experience, and how to measure it. This is more complex in the case of animal-computer interaction (ACI), in which the user is a non-human. In this paper we discuss the concepts and tools that animal welfare science offers ACI research for evaluating and assessing the effects of interactive devices on animals. We provide an overview of the current knowledge derived from animal welfare science, with a focus on the evaluation and assessment of technology on animal welfare. We also elaborate on perspectives for future collaboration between ACI and animal welfare science: social environment, human-animal interactions, and environmental enrichment. A greater understanding of the evolution of animal welfare science will inform the development of ACI as a fruitful, rigorous and sustainable scientific endeavour.

Communication is a critical aspect of any collaborative system. In online multiplayer games and virtual worlds it is especially complex. Users are present over long periods, require both synchronous and asynchronous communication, and may prefer to be pseudonymous or engage in identity-play while managing virtual and physical use contexts. Initially the only medium for player-to-player communication in virtual worlds was text, a medium well suited to identity-play and asynchronous communication, less so to fast-paced coordination and sociability among friends. During the past decade vendors have introduced facilities for gamers to communicate by voice. Yet little research has been conducted to help us understand the influence of voice on the experience of using virtual space: Where, when, and for whom voice is beneficial, and how it might be configured. To address this gap we examined a range of online gaming environments. We analyzed our observations in the light of theory from Human–Computer Interaction, Computer-Supported Cooperative Work, and Computer-Mediated Communication. We conclude that voice radically transforms the experience of online gaming, making virtual spaces more intensely social but removing some of the opportunity for identity play, multitasking, and multigaming while introducing ambiguity over what is being transmitted to whom.

The term 'metagaming' is widely used to describe a variety of conceptually difficult activities associated with game play. This wide use has lead to a conceptual overload of the term, mitigating its potential use for game studies. This paper will suggest two new terms to use, 'orthogame and 'paragame', in conjunction with a more clearly defined notion of 'metagame'. We argue that these new terms have the potential to be highly useful for defining and understanding peripheral play activities common in modern digital games. We apply this new vocabulary to a variety of play practices in EVE Online to illustrate its strength for analysing and defining play practices.