Accessible gaming presentation
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Presentation about Accessible Gaming given at TechShare Pro 2019, London
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Accessible gaming presentation
- 1. The Future of Accessibility and Inclusive Design
- 2. The Future of Accessibility and Inclusive Design Stream 1: Accessible Gaming Dafydd Henke-Reed • Accessibility and Usability Consultant • AbilityNet 21 Nov | 10.45 AM | Stream 1 Ian Hamilton • Game Accessibility Specialist 21 Nov | 10.45 AM | Stream 1 Lauren Moore • Design Researcher – BBC Children’s • BBC 21 Nov | 10.45 AM | Stream 1 Mark Friend 21 Nov | 10.45 AM | Stream 1 • Principal User Researcher • Sony Interactive Entertainment Europe
- 3. The New Normal: the past year’s accessibility advances @ianhamilton_ // i_h@hotmail.com
- 4. 1 Hardware, platforms & middleware 2 Information 3 Events 4 Games 5 Legislation
- 5. 1 Hardware, platforms & middleware 2 Information 3 Events 4 Games 5 Legislation
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- 12. The Future of Accessibility and Inclusive Design unrealengine.com/marketplace/yellow-
- 13. The Future of Accessibility and Inclusive Design https://t.co/33Jpi7SK5v
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- 16. 1 Hardware, platforms & middleware 2 Information 3 Events 4 Games 5 Legislation
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- 30. The Future of Accessibility and Inclusive Design Road Trip: Accessibility At Events https://www.youtube.com/watch?v=iIPru9k9Kbc
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- 35. 1 Hardware, platforms & middleware 2 Information 3 Events 4 Games 5 Legislation
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- 40. 1 Hardware, platforms & middleware 2 Information 3 Events 4 Games 5 Legislation
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- 42. The Future of Accessibility and Inclusive Design tinyurl.com/ih-dmcvaa
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- 47. The Future of Accessibility and Inclusive Design November 7, 201947
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- 49. The Future of Accessibility and Inclusive Design November 7, 2019Footer (name, presentation title, website link, etc49
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- 58. The Future of Accessibility and Inclusive Design November 7, 2019Footer (name, presentation title, website link, etc58 https://www.bbc.co.uk/gel/guidelines/games-framework
- 59. The Future of Accessibility and Inclusive Design November 7, 2019Footer (name, presentation title, website link, etc59
- 60. The Future of Accessibility and Inclusive Design November 7, 2019Footer (name, presentation title, website link, etc60 https://www.bbc.co.uk/gel/guidelines/how-to-design-accessible-games
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- 70. The Future of Accessibility and Inclusive Design
- 71. The Future of Accessibility and Inclusive Design Mark Friend Principal User Researcher & Accessibility Specialist mark.friend@sony.com | @markusfriend How to do an Accessibility Review
- 72. The Future of Accessibility and Inclusive Design November 21, 2019Mark Friend | @markusfriend72
- 73. The Future of Accessibility and Inclusive Design November 21, 2019Mark Friend | @markusfriend73
- 74. The Future of Accessibility and Inclusive Design November 21, 2019Mark Friend | @markusfriend Guidelines Reviews Workshops Testing
- 75. The Future of Accessibility and Inclusive Design November 21, 2019Mark Friend | @markusfriend75 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 0
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- 78. The Future of Accessibility and Inclusive Design November 21, 2019Mark Friend | @markusfriend78 Communicate information in multiple ways Offer flexibility
- 79. The Future of Accessibility and Inclusive Design November 21, 2019Mark Friend | @markusfriend79
- 80. The Future of Accessibility and Inclusive Design November 21, 2019Mark Friend | @markusfriend80 Reviews
- 81. The Future of Accessibility and Inclusive Design Colour Contrast Audio Text / UI Subtitles Controls Difficulty Assists
- 82. The Future of Accessibility and Inclusive Design Tutorials Menus Save Systems Online Communication
- 83. The Future of Accessibility and Inclusive Design November 21, 2019Mark Friend | @markusfriend83
- 84. The Future of Accessibility and Inclusive Design November 21, 2019Mark Friend | @markusfriend84
- 85. The Future of Accessibility and Inclusive Design November 21, 2019Mark Friend | @markusfriend85
- 86. The Future of Accessibility and Inclusive Design November 21, 2019Mark Friend | @markusfriend86 Example: Strange Brigade
- 87. The Future of Accessibility and Inclusive Design Let’s start with the Settings menu…
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- 93. The Future of Accessibility and Inclusive Design On to character set-up…
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- 97. The Future of Accessibility and Inclusive Design
- 98. The Future of Accessibility and Inclusive Design Next, the cinematics…
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- 100. The Future of Accessibility and Inclusive Design
- 101. The Future of Accessibility and Inclusive Design Director: Yes. The infamous ‘Witch Queen of Ancient Egypt’. Her final resting place has been lost for millennia. Miss Brownridge’s task was to ensure it remained so… …but her last communication indicated that Harbin had found the tomb and was about to open it. We haven’t heard from her since and we expect the worst.
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- 103. The Future of Accessibility and Inclusive Design Now for the HUD and gameplay…
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- 113. The Future of Accessibility and Inclusive Design Colour Contrast Audio Text / UI Subtitles Controls Difficulty Assists
- 114. The Future of Accessibility and Inclusive Design Summary • Not everything will fit neatly into a checklist, it’s more effective to apply your knowledge and report on the broader themes and issues • The Settings menu is always a great place to start • Consider the game’s core pillars and ‘intentional barriers’ • Think about the communication of information and flexibility of options • Reviews are useful for identifying barriers, but always follow-up with a user test
- 115. The Future of Accessibility and Inclusive Design Thanks to all our sponsors
Notas do Editor
- Eswap modular controller from thrustmaster
- holiday ad, superbowl, dream come true. Alexa skill, avatars with prosthetics
- Unity feedback call
- Unity feedback call
- Unity feedback call
- APX design patterns, accessiblegamedesign.com, designing for disability, mainstream accessibility conferences accessibilitytoronto and techshare London including gaming tracks and exhibits, Slovak game days theme https://www.gdays.sk/en/this-years-game-days-focus-is-on-games-for-people-with-disabilities/
- Joe Abraham and Mark Friend have kicked off some epic ones, biggest though are…
- Glitch hyperdot streaming user research
- Xbox, EA, Sony, Ubisoft, Coalition, Playground and Splash Damage talking openly ubi, WB, blizzard following EA and Microsoft’s lead on dedicated feedback route and tracking system
- Previously EA & shadow of the tomb raider. Followed by Ubisoft, Warner Brothers, Turn 10, coalition
- Screenshot of gears or ghost recon, if either of them published info before launch
- Screenshot of gears or ghost recon, if either of them published info before launch
- Google play games blind filter
- wheelchair seating, ASL interpreters, and captions for streams and Blizzcon inclusion nexus, https://www.polygon.com/2018/10/3/17929446/blizzcon-2018-inclusion-nexus-diversity-speakers Xbox Fanfest France, GDC, E3, Gamescom. Couple of examples from E3 -
- Presentations – EA live captioning, Crystal Dynamics ASL interpreting, Ubisoft captioning & ASL, Xbox captioning & ASL & also audio description on streams for blind viewers
- Booths - Xbox and Ubisoft had XAC setups, Ubi had stations with lowered desk height, EA had PC setups available for people who needed keyboard/mouse, and Oculus chairs for people who can’t stand for VR.
- Ewok playing with Ninja at E3, Epic staff learning ASL
- Dedicated disability events too, big para-esports tournaments in Korea and Japan, and this – deaf gamer convention in USA
- Companies doing the best staff are those with dedicated in-house staff, industry is now recruiting for accessibility roles, skills shortage
- Sequence storm https://twitter.com/SEQUENCE_STORM/status/1100110162814107654
- Eagle Island
- Battlefield V Madden 20 FIFA 20 Metro Exodus Red Dead Redemption 2 Division 2 Devil may cry 5 Mortal Kombat 11 Apex Legends Gears of war 5 Borderlands 3 Ghost Recon Breakpoint Jedi Fallen Order
- Sekiro!
- Hello, I’m Lauren and I am the Design Researcher for BBC Games. I am also an Accessibility Champion at the BBC. I work mostly within the Children’s and Education department.
- Today I’m going to talk to you about how the BBC’s guidelines for creating accessible games has changed over the years. As part of this journey, I’ll explain how we identified opportunities, improvements, gaps in our products, and how we want to progress in the future.
- So, what games do you make at the BBC - I hear you ask….
- We make HTML5 browser games for Cbeebies, CBBC. Also we have our new stand alone game Nightfall for youth audiences. These games are hosted on our Cbeebies and CBBC websites, Nightfall has a stand alone site which has just progressed into an open beta. Cbeebies products and media is aimed at ages 0 to 6, CBBC is aimed at 7 – 11. Nightfall is a BBC branded game which is aimed at ages 8 and upwards to pre and young teens.
- A while ago, our accessibility team approached us with the task to start considering a11y more in our games. For most of the people in this room, I guess the answer to the question ‘why’ is pretty obvious. But its was still asked and this is the answer - This is from the back of our staff ID’s, its the BBC Values. The part I’d like to look at is “audiences are at the heart of everything we do.” Thats not some audiences, not most audiences, thats all audiences - everyone. And as approximately 13.9 million people in the UK are disabled or have a disability - this is a massive audience which we were excluding.
- Therefore the need to create guidelines was identified. We work with external studios to create our games and so we needed guidelines which would be easy to follow, which could be handed to our studios to deliver, which we could have control over to update at will.
- This lead to the creation of our first guidelines.
- The Medal Standards. All games had to adhere to the standards of either the gold, silver or bronze requirements. Similar to the connotations of different medals - each varied in effort or complexity to achieve. For the bronze medal - all UI had to be accessible by keyboard, mouse or touch. Also, all instructions had to be conveyed visually and audibly, with the option to switch audio and subtitles on and off in the settings. Pretty straightforward, easy to implement, most would consider this to be the bare minimum. For the silver medal - More of the gameplay had to be accessible by keyboard, mouse and touch. This also included at least 4 difficulty settings, or the ability to skip parts of the games. For the gold standard is what we considered an ‘accessibility first’ game. All of the gameplay had to be fully accessible for kids who had cognitive, motor, vision or hearing impairments.
- We were off to a running start. We applied the medal standards to a number of our games. The first ‘gold’ was Something Special’s ‘the looking game’ with mr tumble.
- After a while, and a few retros, we started to notice some effects of the ‘medal standards’ On the positive side, Having guidelines meant that we were required to deliver. It set standards and gave us a new way of thinking, which seeped into other areas of the team so that soon, our developers and testers were fully trained on different AT hardware and software. However the structure of the guidelines caused some issues with our users and studios. Agencies struggled to deliver the ‘silver’ games, due to the amount of time and budget planned for each game. Bronze standard – allowed children to use the UI with a switch or screen reader but not to access the gameplay – which is like giving a child the invitation to a party and then not letting them in. Most games only managed to achieve bronze and failed to meet their silver requirements.
- It became apparent that the medal standards we not up to scratch. And so, we investigated upgrading our guidelines. Through working with industry specialists and with user testing of prototype games, we developed ‘the pillars’ and updated ‘Games GEL’.
- Bronze became a part of our games framework in BBC GEL. BBC GEL is a public facing set of design principles which we use in User Experience across all of our products. In this set of principles, We have a design guideline for Games – the Games GEL framework. Each game must adhere to this framework, so by moving the ‘bronze’ requirements into this format, it ensured that the minimum accessibility expectations for UI would be included as standard, allowing us to focus instead on the gameplay. We called these design principles the ‘inclusive design principles’.
- Alongside this, we developed a set of requirements for each ‘pillar’ of accessibility type: motor, vision, hearing and cognitive. Each one of our games had to achieve at least 1 pillar. For example, in the motor pillar, all aspects of the gameplay has to be playable when using an accessibility switch.
- These guidelines were also published on our public facing GEL website. This made us responsible and answerable to the public and made sure we delivered what we promised to do.
- As these new guidelines were put into place, generally the standards of our games a11y got better. Minimum expectation were delivered as a standard, we began to have a better understanding of a11y with our studios, and including new features became less of a dream and more of a reality… but we could still see opportunities to improve.
- The pillars might have made our requirements easier for us and our studios to use, but the audience had still been left behind.
- For example. We developed a new game called ‘The Next Step – Take it to the streets’. The idea of this game was that it was a rhythm game, which could be played through by a gamer who used a screen reader. During the development of this game, we organized user research with a charity who help children who have complete or partial loss of sight. After all the children struggled to use the screen readers, we asked the charity co-ordinator why she thought this was. Her answer was simple and left us feeling very stupid: she said “In my experience, often children don’t learn to use screen readers until they are teenagers. And usually children who are partially sighted, not blind, don’t use screen readers at all.” We realized that we were making a game that used a technology which wasn’t often used by children this age, because all our guidelines were based on the behaviors of adults. Also the vision pillar had completely ignored the needs of people who are not blind, but who have sight loss.
- Another example is ‘operation ouch – invasion of the snotulons’. This game is designed to be played through with a switch. I took the game to a gaming session at the charity ‘Everyone Can’ in Sale, who have been massively helpful in the development of our a11y features. A number of children who have cerebral palsy played the game, and struggled to engage due to the timing aspect of the gameplay. Also when the a11y game mode was used, it removed the ability to fail levels, often children became bored because there was no sense of competition in the game.
- We also found that studios will usually pick to achieve the hearing pillar, as the requirements to meet this pillar are easier to develop than for other pillars. The vision pillar is barely ever chosen – I believe we have 1 game for this pillar. Cognitive and motor are sometimes chosen however we often have to request this.
- Baring all this in mind – we decided that it was time for a review. Although we had taken some massive strides forward, we had still fallen slightly short of our goal. This brings us to the present day – and the work which we are currently undertaking – a review of the Games Accessibility Guidelines. This review takes the form of a research piece.
- I decided that a 3 tiered approach to the problem was best, by including the insights from industry specialists, our business needs and most importantly our audience, we are reviewing and re-building our guidelines so that we can provide a better and more accessible experience to the CBBC and cbeebies audience. I am currently doing 20 home visits across the UK, with a number of children who all have different and complex needs – but who all love games. These user insights will fuel the updates to our guidelines. We have found that often accessibility standards are designed for the web and adapting these to games can be difficult in browser games. We have also found that most of our knowledge about accessible technology is based off adults, not children, the users of our products. This research is scheduled to finish before January, with the new guidelines being produced in the new year.
- I think its important to acknowledge that including accessibility in your products should be a journey, not a destination. Technology is constantly changing and improving. How we use that technology is constantly shifting and adapting. Keeping your users at heart and including them in your design process is the best way to take this journey. Doing research with children who have varied and complex needs has been emotional, eye opening and inspiring. Hopefully this time next year, I can be back here showing you our new improved guidelines, and how we intend to improve them again. In the mean time, you can track our progress by visiting the BBC GEL website.
- Thank you for listening, and now for the Q&A
- Who I am and what I’ve worked on
- Talk about my job our services
- 4 aspects to our accessibility service
- When is the best time to be doing accessibility?
- Think about the core pillars of your game and unintentional barriers
- Identifying inaccessibility
- The golden rules
- The holy trinity
- Now let’s focus on reviews
- Think about these areas
- And these areas too
- Guidelines and checklists are fine, but they are not perfect
- Better to treat it like a usability evaluation
- Accessible if the feature makes the game more accessible and works as intended Partially accessible if the feature is incomplete or is implemented in a way that will cause players to struggle Inaccessible if a key feature is missing or is implemented in a way that will cause players to struggle And opportunities list any features that are not included, but could be to improve the overall accessible
- Auto-run too
- No subtitles
- Green CVD
- Check in black and white
- Letterboxing, speaker colours (kind of), not a terrible size but could be bigger
- Poorly formatted
- No subs for enemy sounds
- Red CVD
- Green CVD
- Holding Square, and holding R2 for interactions, and small button size
- Precision and dexterity (and sometimes timing) needed for puzzles
- We thought about these areas