Inclusive game design

Östblad, Per Anders; Engström, Henrik; Brusk, Jenny; Backlund, Per; Wilhelmsson, Ulf

doi:10.1145/2636879.2636909

Cited by 9 publications

(3 citation statements)

References 19 publications

(14 reference statements)

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“…As previously mentioned, the game was developed as a continuation of a previous research project that resulted in development of an adventure game, FS (UoS, 2015). In FS , to include blind players, the interaction model is primarily audio-based (see Östblad et al, 2014). All information conveyed in the graphics is also conveyed using sound but not necessarily the other way around.…”

Section: Discussionmentioning

confidence: 99%

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Marvinter: A case study of an inclusive transmedia storytelling production

Brusk

Engström

2020

Convergence

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This article examines how the unique characteristics of Marvinter, an inclusive transmedia Advent calendar, affected its production and the individual media workers involved in this. In the native transmedia Marvinter project, a radio series and a mobile game were created and released simultaneously. Using ‘partly shared’ resources, the project was developed by two collaborating, non-profit organisations. Each chapter of the digital game had to match the corresponding radio episode. The whole had to be designed to provide a shared cultural experience that included people with hearing or visual impairments. The authors of the present article were part of the game development team and thus directly experienced the complexity of developing a digital game as part of a transmedia project. This article presents the results of a case study with an insider perspective. It is supplemented by semi-structured interviews with key people in the project. The transmedia nature of Marvinter was justified by the need to include people with complementary disabilities. Although sometimes associated with negative connotations of ‘naked commercialisation’ in transmedia contexts, the marketing strategy was here an important element in promoting inclusivity. However, owing to the concurrent work processes, game production became overly complex.

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Section: Discussionmentioning

confidence: 99%

“…Story, 1998), research project at the UoS in 2015. This project resulted in the Swedish game Frekvens saknad (hereinafter FS ), 1 a game that includes visually impaired players (Östblad et al, 2014). It aimed to provide the same gaming experience regardless of whether it was played with or without graphics.…”

Section: Introductionmentioning

confidence: 99%

Marvinter: A case study of an inclusive transmedia storytelling production

Brusk

Engström

2020

Convergence

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“…On one hand, AGs that address blind users have been criticised as being too simple [6]. On the other hand, by adding complexity to the audio representation of the game's facets, it becomes too difficult for sighted players who have not developed their listening skills sufficiently to accomplish the game's tasks without visual support [7]. Making the game not just accessible but truly inclusive, i.e., an experience as similar as possible for sighted and visually impaired players, requires a careful design of the sonification strategy from the start of the development process [8].…”

Section: Introductionmentioning

confidence: 99%

Speech Puzzles (Spuzzles): Engaging the Reduced, Causal, and Semantic Listening Modes for Puzzle Design in Audio Games

Rovithis,

Papadopoulou,

Komianos

et al. 2024

Applied Sciences

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This paper proposes a novel approach to audio game design by introducing the concept of speech puzzles (spuzzles) to describe the utilisation of recorded voice for the creation of audio puzzles in ways that challenge players’ different listening modes. In the fields of audio games and audio-interactive applications, speech serves instructive, descriptive, narrative, and in some cases—in the form of hints or quizzes—gameplay purposes by addressing users through language. The suggested approach of spuzzles extends this potential by including, besides encoded meaning, the acoustic properties of sound, thus engaging the user’s causal and reduced listening modes in parallel with the semantic listening mode. An audio game consisting of four inherently different spuzzles was designed as proof of concept and tested by seven third-year students of Audiovisual Arts, who elaborated on their experience through a focus group semi-structured discussion. Despite their difficulty, the spuzzles were well accepted by most of the participants (5/7), whereas all participants agreed on their acoustic richness, need for concentration, and independence from pre-existing musical knowledge. Therefore, the authors suggest that the proposed design approach could serve as a paradigm for future research in the design of complex audio-based game mechanics.

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Framework for Creating Audio Games for Intelligent Personal Assistants

Cicció

Quesada

2017

Advances in Human Factors in Wearable Technologies and Game Design

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Inclusive game design

Cited by 9 publications

References 19 publications

Marvinter: A case study of an inclusive transmedia storytelling production

Marvinter: A case study of an inclusive transmedia storytelling production

Speech Puzzles (Spuzzles): Engaging the Reduced, Causal, and Semantic Listening Modes for Puzzle Design in Audio Games

Framework for Creating Audio Games for Intelligent Personal Assistants

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