Making the mainstream accessible: redefining the game

Transcription

1 Loughborough University Institutional Repository Making the mainstream accessible: redefining the game This item was submitted to Loughborough University's Institutional Repository by the/an author. Citation: ATKINSON, M.T.... et al, Making the mainstream accessible: redefining the game. IN: Proceedings, Sandbox Symposium 2006, ACM SIGGRAPH Symposium on Videogames, Boston, Massachusetts, July 30-31, pp Additional Information: c ACM This is the author's version of the work. It is posted here by permission of ACM for your personal use. Not for redistribution. The definitive version was published in Proceedings, Sandbox Symposium 2006 ACM SIGGRAPH Symposium on Videogames, Boston, Massachusetts, July at: Metadata Record: Version: Accepted for publication Publisher: c ACM Please cite the published version.

2 This item was submitted to Loughborough s Institutional Repository ( by the author and is made available under the following Creative Commons Licence conditions. For the full text of this licence, please go to:

3 Making the Mainstream Accessible Redefining the Game Matthew Tylee Atkinson Research School of Informatics Department of Computer Science Loughborough University 30th July Presentation given as part of a panel session; content and format differ from that delivered. Copyright 2006 Matthew Tylee Atkinson 1 of 29

4 Outline Context Then Now Future Rendering: Defining the User s Experience Signals, Symbols and Earcons Auditory Icons and Implicit Accessibility User-Centred Flexibility Benefits of Multimodality 3D Structure Representation and Modification Overview Not Just Games Final Thoughts User Survey Further Work Conclusions Acknowledgements References Outline 2 of 29

5 The Past of Accessible Gaming Context Then 3 of 29

6 The Past of Accessible Gaming This talk concentrates on sight loss but could be applied to other disabilities Context Then 3 of 29

7 The Past of Accessible Gaming This talk concentrates on sight loss but could be applied to other disabilities Many individuals and some small companies started developing accessible games for disabled people Context Then 3 of 29

8 The Past of Accessible Gaming This talk concentrates on sight loss but could be applied to other disabilities Many individuals and some small companies started developing accessible games for disabled people Suddenly blind people were no longer limited to one genre (Interactive Fiction) Context Then 3 of 29

9 The Past of Accessible Gaming This talk concentrates on sight loss but could be applied to other disabilities Many individuals and some small companies started developing accessible games for disabled people Suddenly blind people were no longer limited to one genre (Interactive Fiction) Most of the games were conversions of puzzles or classic arcade games Context Then 3 of 29

10 The Past of Accessible Gaming This talk concentrates on sight loss but could be applied to other disabilities Many individuals and some small companies started developing accessible games for disabled people Suddenly blind people were no longer limited to one genre (Interactive Fiction) Most of the games were conversions of puzzles or classic arcade games Some developers have been more original Context Then 3 of 29

11 The Past of Accessible Gaming This talk concentrates on sight loss but could be applied to other disabilities Many individuals and some small companies started developing accessible games for disabled people Suddenly blind people were no longer limited to one genre (Interactive Fiction) Most of the games were conversions of puzzles or classic arcade games Some developers have been more original Drawback: Segregation Context Then 3 of 29

12 The Present of Accessible Gaming Context Now 4 of 29

13 The Present of Accessible Gaming Ethos of the AGRIP Project Context Now 4 of 29

14 The Present of Accessible Gaming Ethos of the AGRIP Project Provide access to not only mainstream games, but their surrounding online community and development tools Context Now 4 of 29

15 The Present of Accessible Gaming Ethos of the AGRIP Project Provide access to not only mainstream games, but their surrounding online community and development tools Give people Freedom to use and modify the game, support infrastructure and tools Context Now 4 of 29

16 The Present of Accessible Gaming Ethos of the AGRIP Project Provide access to not only mainstream games, but their surrounding online community and development tools Give people Freedom to use and modify the game, support infrastructure and tools AudioQuake Context Now 4 of 29

17 The Present of Accessible Gaming Ethos of the AGRIP Project Provide access to not only mainstream games, but their surrounding online community and development tools Give people Freedom to use and modify the game, support infrastructure and tools AudioQuake An Accessibility Layer for Quake (id Software) Context Now 4 of 29

18 The Present of Accessible Gaming Ethos of the AGRIP Project Provide access to not only mainstream games, but their surrounding online community and development tools Give people Freedom to use and modify the game, support infrastructure and tools AudioQuake An Accessibility Layer for Quake (id Software) A system for playing Internet multiplayer games Context Now 4 of 29

19 The Present of Accessible Gaming Ethos of the AGRIP Project Provide access to not only mainstream games, but their surrounding online community and development tools Give people Freedom to use and modify the game, support infrastructure and tools AudioQuake An Accessibility Layer for Quake (id Software) A system for playing Internet multiplayer games A platform for programming modifications Context Now 4 of 29

20 The Present of Accessible Gaming Ethos of the AGRIP Project Provide access to not only mainstream games, but their surrounding online community and development tools Give people Freedom to use and modify the game, support infrastructure and tools AudioQuake An Accessibility Layer for Quake (id Software) A system for playing Internet multiplayer games A platform for programming modifications Only possible due to Open Source nature Context Now 4 of 29

21 The Present of Accessible Gaming Ethos of the AGRIP Project Provide access to not only mainstream games, but their surrounding online community and development tools Give people Freedom to use and modify the game, support infrastructure and tools AudioQuake An Accessibility Layer for Quake (id Software) A system for playing Internet multiplayer games A platform for programming modifications Only possible due to Open Source nature Provides and promotes inclusion Context Now 4 of 29

22 The Present of Accessible Gaming Ethos of the AGRIP Project Provide access to not only mainstream games, but their surrounding online community and development tools Give people Freedom to use and modify the game, support infrastructure and tools AudioQuake An Accessibility Layer for Quake (id Software) A system for playing Internet multiplayer games A platform for programming modifications Only possible due to Open Source nature Provides and promotes inclusion AGDev and other developments Context Now 4 of 29

23 The Future of Accessible Gaming Context Future 5 of 29

24 The Future of Accessible Gaming AGRIP Developments Context Future 5 of 29

25 The Future of Accessible Gaming AGRIP Developments Implicit Accessibility Context Future 5 of 29

26 The Future of Accessible Gaming AGRIP Developments Implicit Accessibility Level design Context Future 5 of 29

27 The Future of Accessible Gaming AGRIP Developments Implicit Accessibility Level design Audiogames and Accessible games gain weight in industry Context Future 5 of 29

28 The Future of Accessible Gaming AGRIP Developments Implicit Accessibility Level design Audiogames and Accessible games gain weight in industry Definition: accessible games vs. audiogames Context Future 5 of 29

29 The Future of Accessible Gaming AGRIP Developments Implicit Accessibility Level design Audiogames and Accessible games gain weight in industry Definition: accessible games vs. audiogames John Carmack s Keynote point Context Future 5 of 29

30 The Future of Accessible Gaming AGRIP Developments Implicit Accessibility Level design Audiogames and Accessible games gain weight in industry Definition: accessible games vs. audiogames John Carmack s Keynote point Potential mobile market Context Future 5 of 29

31 The Future of Accessible Gaming AGRIP Developments Implicit Accessibility Level design Audiogames and Accessible games gain weight in industry Definition: accessible games vs. audiogames John Carmack s Keynote point Potential mobile market Work of IGDA, AudioGames.net, AGDev and others Context Future 5 of 29

32 The Future of Accessible Gaming AGRIP Developments Implicit Accessibility Level design Audiogames and Accessible games gain weight in industry Definition: accessible games vs. audiogames John Carmack s Keynote point Potential mobile market Work of IGDA, AudioGames.net, AGDev and others Education and Games get together Context Future 5 of 29

33 The Future of Accessible Gaming AGRIP Developments Implicit Accessibility Level design Audiogames and Accessible games gain weight in industry Definition: accessible games vs. audiogames John Carmack s Keynote point Potential mobile market Work of IGDA, AudioGames.net, AGDev and others Education and Games get together EA and NESTA study on games in education [NESTA and EA, 2005] Context Future 5 of 29

34 The Future of Accessible Gaming AGRIP Developments Implicit Accessibility Level design Audiogames and Accessible games gain weight in industry Definition: accessible games vs. audiogames John Carmack s Keynote point Potential mobile market Work of IGDA, AudioGames.net, AGDev and others Education and Games get together EA and NESTA study on games in education [NESTA and EA, 2005] Potential to augment existing practises and assist in teaching Context Future 5 of 29

35 Rendering: Defining the User s Experience Rendering: Defining the User s Experience 6 of 29

36 Rendering: Defining the User s Experience Signals, Symbols and Earcons Rendering: Defining the User s Experience 6 of 29

37 Rendering: Defining the User s Experience Signals, Symbols and Earcons Auditory Icons and Implicit Accessibility Rendering: Defining the User s Experience 6 of 29

38 Rendering: Defining the User s Experience Signals, Symbols and Earcons Auditory Icons and Implicit Accessibility User-Centred Flexibility Rendering: Defining the User s Experience 6 of 29

39 Rendering: Defining the User s Experience Signals, Symbols and Earcons Auditory Icons and Implicit Accessibility User-Centred Flexibility Benefits of Multimodality Rendering: Defining the User s Experience 6 of 29

40 Signals, Symbols and Earcons I Rendering: Defining the User s Experience Signals, Symbols and Earcons 7 of 29

41 Signals, Symbols and Earcons I Earcons [Brewster, 1994] are used in AudioQuake Rendering: Defining the User s Experience Signals, Symbols and Earcons 7 of 29

42 Signals, Symbols and Earcons I Earcons [Brewster, 1994] are used in AudioQuake Definition: Structured sounds, often obeying musical conventions, that are designed to alert the user to an object or event. They do not sound like their referents. Rendering: Defining the User s Experience Signals, Symbols and Earcons 7 of 29

43 Signals, Symbols and Earcons I Earcons [Brewster, 1994] are used in AudioQuake Definition: Structured sounds, often obeying musical conventions, that are designed to alert the user to an object or event. They do not sound like their referents. Time-efficiency Rendering: Defining the User s Experience Signals, Symbols and Earcons 7 of 29

44 Signals, Symbols and Earcons I Earcons [Brewster, 1994] are used in AudioQuake Definition: Structured sounds, often obeying musical conventions, that are designed to alert the user to an object or event. They do not sound like their referents. Time-efficiency Well-defined structure aids recognition Rendering: Defining the User s Experience Signals, Symbols and Earcons 7 of 29

45 Signals, Symbols and Earcons I Earcons [Brewster, 1994] are used in AudioQuake Definition: Structured sounds, often obeying musical conventions, that are designed to alert the user to an object or event. They do not sound like their referents. Time-efficiency Well-defined structure aids recognition Goal: Fast-paced gameplay Rendering: Defining the User s Experience Signals, Symbols and Earcons 7 of 29

46 Signals, Symbols and Earcons I Earcons [Brewster, 1994] are used in AudioQuake Definition: Structured sounds, often obeying musical conventions, that are designed to alert the user to an object or event. They do not sound like their referents. Time-efficiency Well-defined structure aids recognition Goal: Fast-paced gameplay Sound design techniques used to achieve this Rendering: Defining the User s Experience Signals, Symbols and Earcons 7 of 29

47 Signals, Symbols and Earcons I Earcons [Brewster, 1994] are used in AudioQuake Definition: Structured sounds, often obeying musical conventions, that are designed to alert the user to an object or event. They do not sound like their referents. Time-efficiency Well-defined structure aids recognition Goal: Fast-paced gameplay Sound design techniques used to achieve this Consistency within referent types Rendering: Defining the User s Experience Signals, Symbols and Earcons 7 of 29

48 Signals, Symbols and Earcons I Earcons [Brewster, 1994] are used in AudioQuake Definition: Structured sounds, often obeying musical conventions, that are designed to alert the user to an object or event. They do not sound like their referents. Time-efficiency Well-defined structure aids recognition Goal: Fast-paced gameplay Sound design techniques used to achieve this Consistency within referent types Variations across referent types Rendering: Defining the User s Experience Signals, Symbols and Earcons 7 of 29

49 Signals, Symbols and Earcons I Earcons [Brewster, 1994] are used in AudioQuake Definition: Structured sounds, often obeying musical conventions, that are designed to alert the user to an object or event. They do not sound like their referents. Time-efficiency Well-defined structure aids recognition Goal: Fast-paced gameplay Sound design techniques used to achieve this Consistency within referent types Variations across referent types Natural reference points embedded in the sounds (as in [Holland et al., 2002]) Rendering: Defining the User s Experience Signals, Symbols and Earcons 7 of 29

50 Signals, Symbols and Earcons II Rendering: Defining the User s Experience Signals, Symbols and Earcons 8 of 29

51 Signals, Symbols and Earcons II Used by a number of players for fast, accurate gameplay (survey coming up) Rendering: Defining the User s Experience Signals, Symbols and Earcons 8 of 29

52 Signals, Symbols and Earcons II Used by a number of players for fast, accurate gameplay (survey coming up) But there are other possible rendering styles... Rendering: Defining the User s Experience Signals, Symbols and Earcons 8 of 29

53 Auditory Icons and Implicit Accessibility I Rendering: Defining the User s Experience Auditory Icons and Implicit Accessibility 9 of 29

54 Auditory Icons and Implicit Accessibility I An opposing rendering style Rendering: Defining the User s Experience Auditory Icons and Implicit Accessibility 9 of 29

55 Auditory Icons and Implicit Accessibility I An opposing rendering style Auditory Icons Rendering: Defining the User s Experience Auditory Icons and Implicit Accessibility 9 of 29

56 Auditory Icons and Implicit Accessibility I An opposing rendering style Auditory Icons Definition: Sounds that map intuitively to the real-world concepts/items they refer to [Mynatt, 1994] Rendering: Defining the User s Experience Auditory Icons and Implicit Accessibility 9 of 29

57 Auditory Icons and Implicit Accessibility I An opposing rendering style Auditory Icons Definition: Sounds that map intuitively to the real-world concepts/items they refer to [Mynatt, 1994] Use of special and spacial effects to separate such sounds from in-game events Rendering: Defining the User s Experience Auditory Icons and Implicit Accessibility 9 of 29

58 Auditory Icons and Implicit Accessibility I An opposing rendering style Auditory Icons Definition: Sounds that map intuitively to the real-world concepts/items they refer to [Mynatt, 1994] Use of special and spacial effects to separate such sounds from in-game events Increased fun through immersion Rendering: Defining the User s Experience Auditory Icons and Implicit Accessibility 9 of 29

59 Auditory Icons and Implicit Accessibility I An opposing rendering style Auditory Icons Definition: Sounds that map intuitively to the real-world concepts/items they refer to [Mynatt, 1994] Use of special and spacial effects to separate such sounds from in-game events Increased fun through immersion Play is more intuitive due to believable audio atmosphere [Röber and Masuch, 2004] Rendering: Defining the User s Experience Auditory Icons and Implicit Accessibility 9 of 29

60 Auditory Icons and Implicit Accessibility I An opposing rendering style Auditory Icons Definition: Sounds that map intuitively to the real-world concepts/items they refer to [Mynatt, 1994] Use of special and spacial effects to separate such sounds from in-game events Increased fun through immersion Play is more intuitive due to believable audio atmosphere [Röber and Masuch, 2004] Information supplied by subtle environmental effects e.g. wind direction in Shades of Doom [GMA Games, 2001] Rendering: Defining the User s Experience Auditory Icons and Implicit Accessibility 9 of 29

61 Auditory Icons and Implicit Accessibility II Rendering: Defining the User s Experience Auditory Icons and Implicit Accessibility 10 of 29

62 Auditory Icons and Implicit Accessibility II Implementation of this style would make AudioQuake feel like other accessible games, but comes at the cost of fast-paced gameplay Rendering: Defining the User s Experience Auditory Icons and Implicit Accessibility 10 of 29

63 Auditory Icons and Implicit Accessibility II Implementation of this style would make AudioQuake feel like other accessible games, but comes at the cost of fast-paced gameplay Ongoing research is being carried out into the effects of these opposing schemes Rendering: Defining the User s Experience Auditory Icons and Implicit Accessibility 10 of 29

64 User-Centred Flexibility I Rendering: Defining the User s Experience User-Centred Flexibility 11 of 29

65 User-Centred Flexibility I Ideas based on feedback given by users so far Rendering: Defining the User s Experience User-Centred Flexibility 11 of 29

66 User-Centred Flexibility I Ideas based on feedback given by users so far Hybrid rendering schemes, between the above two opposing ones, could be created Rendering: Defining the User s Experience User-Centred Flexibility 11 of 29

67 User-Centred Flexibility I Ideas based on feedback given by users so far Hybrid rendering schemes, between the above two opposing ones, could be created Tailoring to specific users requirements Rendering: Defining the User s Experience User-Centred Flexibility 11 of 29

68 User-Centred Flexibility I Ideas based on feedback given by users so far Hybrid rendering schemes, between the above two opposing ones, could be created Tailoring to specific users requirements Sound Skins Allow choice from predefined sets of earcons and auditory icons for in-game events/objects Rendering: Defining the User s Experience User-Centred Flexibility 11 of 29

69 User-Centred Flexibility I Ideas based on feedback given by users so far Hybrid rendering schemes, between the above two opposing ones, could be created Tailoring to specific users requirements Sound Skins Allow choice from predefined sets of earcons and auditory icons for in-game events/objects Style Selection Users may choose their preferred rendering style (i.e. explicit vs. implicit) for each major game element Rendering: Defining the User s Experience User-Centred Flexibility 11 of 29

70 User-Centred Flexibility I Ideas based on feedback given by users so far Hybrid rendering schemes, between the above two opposing ones, could be created Tailoring to specific users requirements Sound Skins Allow choice from predefined sets of earcons and auditory icons for in-game events/objects Style Selection Users may choose their preferred rendering style (i.e. explicit vs. implicit) for each major game element Intelligent Style Selection Keeping things manageable by allowing the game to determine the best rendering scheme consummate with the user s preferences, based on current game state Rendering: Defining the User s Experience User-Centred Flexibility 11 of 29

71 User-Centred Flexibility II Rendering: Defining the User s Experience User-Centred Flexibility 12 of 29

72 User-Centred Flexibility II Limited bandwidth between computer and user (specifically in audio modality) Rendering: Defining the User s Experience User-Centred Flexibility 12 of 29

73 User-Centred Flexibility II Limited bandwidth between computer and user (specifically in audio modality) Certain heuristics are required to ensure that the user receives important information, but is not overloaded Rendering: Defining the User s Experience User-Centred Flexibility 12 of 29

74 User-Centred Flexibility II Limited bandwidth between computer and user (specifically in audio modality) Certain heuristics are required to ensure that the user receives important information, but is not overloaded These principles could be applied in other modalities Rendering: Defining the User s Experience User-Centred Flexibility 12 of 29

75 User-Centred Flexibility II Limited bandwidth between computer and user (specifically in audio modality) Certain heuristics are required to ensure that the user receives important information, but is not overloaded These principles could be applied in other modalities The next step for AudioQuake is to apply them to better support vision-impaired users Rendering: Defining the User s Experience User-Centred Flexibility 12 of 29

76 User-Centred Flexibility III Rendering: Defining the User s Experience User-Centred Flexibility 13 of 29

77 User-Centred Flexibility III Generalisation for other users Rendering: Defining the User s Experience User-Centred Flexibility 13 of 29

78 User-Centred Flexibility III Generalisation for other users Similarities exist between designing interfaces for normal users in extreme situations and designing interfaces for disabled users in normal situations [Newell and Gregor, 1997] Rendering: Defining the User s Experience User-Centred Flexibility 13 of 29

79 User-Centred Flexibility III Generalisation for other users Similarities exist between designing interfaces for normal users in extreme situations and designing interfaces for disabled users in normal situations [Newell and Gregor, 1997] These techniques could improve the gaming experience for many users, especially those using novel input/output devices (PDAs, etc) Rendering: Defining the User s Experience User-Centred Flexibility 13 of 29

80 User-Centred Flexibility III Generalisation for other users Similarities exist between designing interfaces for normal users in extreme situations and designing interfaces for disabled users in normal situations [Newell and Gregor, 1997] These techniques could improve the gaming experience for many users, especially those using novel input/output devices (PDAs, etc) Guidelines could be created (similar to WCAG [Web Accessibility Initiative, 1999]) that enable game designers to create more immersive and entertaining experiences for other users, based on ideas such as these Rendering: Defining the User s Experience User-Centred Flexibility 13 of 29

81 Benefits of Multimodality Rendering: Defining the User s Experience Benefits of Multimodality 14 of 29

82 Benefits of Multimodality The provision of multiple rendering layers has further benefits Rendering: Defining the User s Experience Benefits of Multimodality 14 of 29

83 Benefits of Multimodality The provision of multiple rendering layers has further benefits Some implicit error-correction may be possible [Suhm et al., 2001] Rendering: Defining the User s Experience Benefits of Multimodality 14 of 29

84 Benefits of Multimodality The provision of multiple rendering layers has further benefits Some implicit error-correction may be possible [Suhm et al., 2001] Reinforcement in other modalities of the primary rendering medium (usually graphics) can Rendering: Defining the User s Experience Benefits of Multimodality 14 of 29

85 Benefits of Multimodality The provision of multiple rendering layers has further benefits Some implicit error-correction may be possible [Suhm et al., 2001] Reinforcement in other modalities of the primary rendering medium (usually graphics) can aid cognition [Röber and Masuch, 2004] Rendering: Defining the User s Experience Benefits of Multimodality 14 of 29

86 Benefits of Multimodality The provision of multiple rendering layers has further benefits Some implicit error-correction may be possible [Suhm et al., 2001] Reinforcement in other modalities of the primary rendering medium (usually graphics) can aid cognition [Röber and Masuch, 2004] increase immersion and, therefore, enjoyment [Velleman et al., 2004] Rendering: Defining the User s Experience Benefits of Multimodality 14 of 29

87 3D Structure Representation and Modification 3D Structure Representation and Modification 15 of 29

88 3D Structure Representation and Modification Overview 3D Structure Representation and Modification 15 of 29

89 3D Structure Representation and Modification Overview Not Just Games 3D Structure Representation and Modification 15 of 29

90 Overview 3D Structure Representation and Modification Overview 16 of 29

91 Overview 3D environments and Collaborative Virtual Environments (CVEs) are of increasing importance in society 3D Structure Representation and Modification Overview 16 of 29

92 Overview 3D environments and Collaborative Virtual Environments (CVEs) are of increasing importance in society Techniques described in this paper and other literature go a long way to making these accessible 3D Structure Representation and Modification Overview 16 of 29

93 Overview 3D environments and Collaborative Virtual Environments (CVEs) are of increasing importance in society Techniques described in this paper and other literature go a long way to making these accessible Little work has been done on allowing blind/vision-impaired people to create 3D environments 3D Structure Representation and Modification Overview 16 of 29

94 Overview 3D environments and Collaborative Virtual Environments (CVEs) are of increasing importance in society Techniques described in this paper and other literature go a long way to making these accessible Little work has been done on allowing blind/vision-impaired people to create 3D environments A preliminary architecture of an adaptable level description and editing system has been developed 3D Structure Representation and Modification Overview 16 of 29

95 Overview 3D environments and Collaborative Virtual Environments (CVEs) are of increasing importance in society Techniques described in this paper and other literature go a long way to making these accessible Little work has been done on allowing blind/vision-impaired people to create 3D environments A preliminary architecture of an adaptable level description and editing system has been developed (see paper for full details) 3D Structure Representation and Modification Overview 16 of 29

96 Features of the Proposed Approach I 3D Structure Representation and Modification Overview 17 of 29

97 Features of the Proposed Approach I Layering Separation of rendering and UI from the underlying data structures 3D Structure Representation and Modification Overview 17 of 29

98 Features of the Proposed Approach I Layering Separation of rendering and UI from the underlying data structures Improves accessibility 3D Structure Representation and Modification Overview 17 of 29

99 Features of the Proposed Approach I Layering Separation of rendering and UI from the underlying data structures Improves accessibility Can improve usability for authors (e.g. programs that can test the created structures for errors may be created independently of any particular authoring environment) 3D Structure Representation and Modification Overview 17 of 29

100 Features of the Proposed Approach I Layering Separation of rendering and UI from the underlying data structures Improves accessibility Can improve usability for authors (e.g. programs that can test the created structures for errors may be created independently of any particular authoring environment) May lead to novel methods of generating/editing maps (by gamecode, based on gamer s progress through the game/application so far, for example) 3D Structure Representation and Modification Overview 17 of 29

101 Features of the Proposed Approach I Layering Separation of rendering and UI from the underlying data structures Improves accessibility Can improve usability for authors (e.g. programs that can test the created structures for errors may be created independently of any particular authoring environment) May lead to novel methods of generating/editing maps (by gamecode, based on gamer s progress through the game/application so far, for example) Format Standardisation 3D Structure Representation and Modification Overview 17 of 29

102 Features of the Proposed Approach I Layering Separation of rendering and UI from the underlying data structures Improves accessibility Can improve usability for authors (e.g. programs that can test the created structures for errors may be created independently of any particular authoring environment) May lead to novel methods of generating/editing maps (by gamecode, based on gamer s progress through the game/application so far, for example) Format Standardisation Awareness & Equality Increase 3D Structure Representation and Modification Overview 17 of 29

103 Features of the Proposed Approach II 3D Structure Representation and Modification Overview 18 of 29

104 Features of the Proposed Approach II NB: We are not trying to make blind people do something they can t (e.g. texturing, lighting); rather give them the opportunity to do what they can (most likely within a team) 3D Structure Representation and Modification Overview 18 of 29

105 Not Just Games 3D Structure Representation and Modification Not Just Games 19 of 29

106 Not Just Games A major goal of the AGRIP project, as with other literature, is to develop generally applicable techniques 3D Structure Representation and Modification Not Just Games 19 of 29

107 Not Just Games A major goal of the AGRIP project, as with other literature, is to develop generally applicable techniques to improve the experience for all users 3D Structure Representation and Modification Not Just Games 19 of 29

108 Not Just Games A major goal of the AGRIP project, as with other literature, is to develop generally applicable techniques to improve the experience for all users to improve accessibility in other areas 3D Structure Representation and Modification Not Just Games 19 of 29

109 Not Just Games A major goal of the AGRIP project, as with other literature, is to develop generally applicable techniques to improve the experience for all users to improve accessibility in other areas Permeation of game-like technologies in society; education and the workplace 3D Structure Representation and Modification Not Just Games 19 of 29

110 Not Just Games A major goal of the AGRIP project, as with other literature, is to develop generally applicable techniques to improve the experience for all users to improve accessibility in other areas Permeation of game-like technologies in society; education and the workplace Importance of ensuring such technology is as accessible as possible to as many potential users as possible before it becomes mainstream 3D Structure Representation and Modification Not Just Games 19 of 29

111 Not Just Games A major goal of the AGRIP project, as with other literature, is to develop generally applicable techniques to improve the experience for all users to improve accessibility in other areas Permeation of game-like technologies in society; education and the workplace Importance of ensuring such technology is as accessible as possible to as many potential users as possible before it becomes mainstream problems of existing work environment [Brock et al., 2003] 3D Structure Representation and Modification Not Just Games 19 of 29

112 Not Just Games A major goal of the AGRIP project, as with other literature, is to develop generally applicable techniques to improve the experience for all users to improve accessibility in other areas Permeation of game-like technologies in society; education and the workplace Importance of ensuring such technology is as accessible as possible to as many potential users as possible before it becomes mainstream problems of existing work environment [Brock et al., 2003] collaborative navigation ([Yang and Olson, 2002]) is an area of ongoing research for AGRIP 3D Structure Representation and Modification Not Just Games 19 of 29

113 Final Thoughts Final Thoughts 20 of 29

114 Final Thoughts User Survey Final Thoughts 20 of 29

115 Final Thoughts User Survey Further Work Final Thoughts 20 of 29

116 Final Thoughts User Survey Further Work Conclusions Final Thoughts 20 of 29

117 User Survey Final Thoughts User Survey 21 of 29

118 User Survey This survey covered 20 users of AudioQuake. Final Thoughts User Survey 21 of 29

119 Further Work Final Thoughts Further Work 22 of 29

120 Further Work Improve existing techniques Final Thoughts Further Work 22 of 29

121 Further Work Improve existing techniques Generalisation & relation to other current research Final Thoughts Further Work 22 of 29

122 Further Work Improve existing techniques Generalisation & relation to other current research Application to other types of user Final Thoughts Further Work 22 of 29

123 Further Work Improve existing techniques Generalisation & relation to other current research Application to other types of user Application to academic and other non-game material Final Thoughts Further Work 22 of 29

124 Further Work Improve existing techniques Generalisation & relation to other current research Application to other types of user Application to academic and other non-game material Increasing inclusion in education Final Thoughts Further Work 22 of 29

125 Further Work Improve existing techniques Generalisation & relation to other current research Application to other types of user Application to academic and other non-game material Increasing inclusion in education Accessible map editing extensions Final Thoughts Further Work 22 of 29

126 Conclusions Final Thoughts Conclusions 23 of 29

127 Conclusions What accessible (and audio) games are Final Thoughts Conclusions 23 of 29

128 Conclusions What accessible (and audio) games are How mainstream (even time-critical) games may be rendered in an accessible way Final Thoughts Conclusions 23 of 29

129 Conclusions What accessible (and audio) games are How mainstream (even time-critical) games may be rendered in an accessible way Different rendering styles and how they may be of use to a wider range of users Final Thoughts Conclusions 23 of 29

130 Conclusions What accessible (and audio) games are How mainstream (even time-critical) games may be rendered in an accessible way Different rendering styles and how they may be of use to a wider range of users Experience gained from other literature, user feedback Final Thoughts Conclusions 23 of 29

131 Conclusions What accessible (and audio) games are How mainstream (even time-critical) games may be rendered in an accessible way Different rendering styles and how they may be of use to a wider range of users Experience gained from other literature, user feedback Our ideas for future work Final Thoughts Conclusions 23 of 29

132 Conclusions What accessible (and audio) games are How mainstream (even time-critical) games may be rendered in an accessible way Different rendering styles and how they may be of use to a wider range of users Experience gained from other literature, user feedback Our ideas for future work Potential benefits for other users and in other areas Final Thoughts Conclusions 23 of 29

133 Acknowledgements Final Thoughts Acknowledgements 24 of 29

134 Acknowledgements id Software Final Thoughts Acknowledgements 24 of 29

135 Acknowledgements id Software The Quake & QuakeWorld community Final Thoughts Acknowledgements 24 of 29

136 Acknowledgements id Software The Quake & QuakeWorld community The AGRIP community Final Thoughts Acknowledgements 24 of 29

137 Acknowledgements id Software The Quake & QuakeWorld community The AGRIP community The Grundy Educational Trust Final Thoughts Acknowledgements 24 of 29

138 Thanks for listening! Any Questions? The End? 25 of 29

139 References I Brewster, S. A. (1994). Providing a structured method for integrating non-speech audio into human-computer interfaces. PhD thesis, University of York, UK. Brock, D., Ballas, J. A., and McClimens, B. (2003). Perceptual issues for the use of 3d auditory displays in operational environments. In ISICT 03: Proceedings of the 1st international symposium on Information and communication technologies, pages Trinity College Dublin. GMA Games (2001). Shades of Doom. References 26 of 29

140 References II Holland, S., Morse, D. R., and Gedenryd, H. (2002). Audiogps: Spatial audio navigation with a minimal attention interface. Personal Ubiquitous Comput., 6(4): Mynatt, E. D. (1994). Designing with auditory icons: how well do we identify auditory cues? In CHI 94: Conference companion on Human factors in computing systems, pages , New York, NY, USA. ACM Press. NESTA and EA (2005). Futurelab. References 27 of 29

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