The Line Between Stylistic Intent and Problematic User Interfaces in PSX-Style Action Games

This bachelor thesis analyzes user interfaces in video games employing the aesthetic inspired by the first-generation PlayStation era, commonly referred to as PSX-style. This visual trend, characterized by the intentional use of low resolution, limited color palettes, and technical artifacts such as vertex jitter or texture warping, has established a prominent position within independent game production over the last decade. The primary objective of the thesis is to identify and define the boundary between intentional stylistic limitations, which serve to enhance atmosphere and immersion, and genuine usability issues that negatively impact the player experience. The research is based on methodological triangulation, combining a comparative analysis of five selected titles (Resident Evil, Dusk, Crow Country, Iron Lung, and Ultrakill), qualitative observation of five players during gameplay sessions, and in-depth interviews with independent game developers. The analysis focuses on four key areas: visual clarity, spatial orientation, feedback systems, and the degree of interface diegesis. The findings demonstrate that the PSX aesthetic does not inherently necessitate a compromise in usability, provided that the information layer of the interface is visually separated from the degraded graphics of the game world. The thesis defines the concept of the "point of break", which is the moment when a stylistic decision ceases to deepen the experience and begins to generate unintended frustration that hinders basic gameplay actions. Furthermore, the results confirm that the perception of these elements is significantly moderated by the player's prior experience with retro titles. The concluding section of the thesis synthesizes the findings into a set of design recommendations for developers, emphasizing customization options, multi-channel feedback, and the strategic integration of diegetic elements.