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Chapter 2: Research
To investigate
a design process of a non-visual computer game we formulated the
following research questions:
- What exactly
is a game and what do we define as a game?
- Which game-genres
exist and which one is preferred by the blind users?
- What is the
essence of this genre?
- Which audio
elements are preferred by the blind users, such as music, voice
recordings, etc.?
2.1:
Game Fundamentals
To design a
game we first have to define a game. A game is a 'meaningful' function.
In a game something 'exists', that does not proceed from the preservation
of life, yet has a meaning in its existence. A game can be seen
as an intermezzo from everyday life. When frequently played, a game
can even become part of life. Every game is, above all, an act of
free will. A game has a beginning and, at some point, an end. While
lasting, there is movement, forth and back, variety, anti-climax,
climax and outcome.
The function of a game can be reduced to two essential aspects:
the game is a contest for something or a display of something. Very
often, it is a combination of these aspects.
There are several
points of view about the description of the word game. Our point
of view is the following: We define a game as a collection of game-elements.
Every element is essential for the game-system. Without anyone of
these elements the game-system would be incomplete and thus unplayable.
We specify the following game-elements:
- playground:
every game is restricted within its playground. This can be a
physical playground (like a board, soccer-field or a computer-generated
world) or an imaginary playground (a fantasy world). Every playground
has its own set of rules, laws and order (for instance gravity
or a time-limit). Every deviation from these rules will take the
gamer from his game.
- game-objects:
game-objects are the extensions of the player within the game
or, so to say, the things the player controls. This could be a
pawn, a card, a character, pencil and paper, etc. Some game-objects
can be used to control other game-objects, like a racket and a
ball.
- goal: every
game has its goal. Without this goal it is hard to motivate the
players. Often it is a clear goal like getting the highest score,
to finish the game first or to beat the other players while remaining
alive. In some games the player is a necessary link in a game-system.
Examples are simulation games (like 'SimCity') on the computer,
but also geo-fiction games and role-playing games. The goal of
these games is defined by the player. A game can also have, next
to its main goal, various sub-goals. Their function is to keep
the players motivated during the game for the main goal.
Regarding the
three elements mentioned above, we define a game for the blind as
a system containing all three elements in an accessible form, remaining
completely in the audio-domain. The result should be a challenging
and exciting environment.
Next to these
three elements, there are two more issues related to a game. These
elements are important to keep in mind when developing a game concept.
The first element is the influence of a game on the emotions of
a user.
We say a game
does not provoke real emotions but pseudo-emotions. These seem to
be quite real but last only while playing the game. Therefore we
need to use another definition for these pseudo-emotions: immersion.
The user experiences the game in a strong manner but this is only
part of the game play.
Another aspect
of game play is the playing of the meta-game. Meta-gaming is playing
the game while the game itself is not in motion. For instance, when
two players of the same game get together (whilst not playing the
game) and share their experiences, this already is a form of meta-gaming.
A meta-game can be constructed and directed. A good example is 'The
Sims'. A player can download and create various game-objects and
import these into the game. Players form their own communities by
build websites which contain their personally created game-objects.
Often these websites copy the atmosphere of the games playground,
thus making them, in a way, 'part' of the game. In the case of 'The
Sims', players are known to play as much of the original game as
of the meta-game.
2.2:
Essence of game-genres
When translating
a game to the audio-domain it is important to base the new concept
on the fundamental parts of this game. It is useful to know the
essence of a game which resembles the minimal conditions of a genre
to translate the right elements. To know the essence of each genre
is to know what a game actually does. That is why we think it is
necessary to specify and describe the possible genres.
There are several
game types which are divided in genres. We focus only on the computer
game which is divided into these genres:
- Action (hand-eye
coordination): this first sub genre can already be divided into
three more sub-genres:
1. Platform: the essence is that the player controls his own object
(through space and/or time). This object has a limited range of
abilities (like jumping, walking, flying, etc.). The goal is to
get the object through several obstructions, using these abilities.
Examples: Tombraider, Sonic, SuperMarioBros.
- 2. Shooter:
the essence is that the player controls his own object (through
space and/or time). Out of the object the player can shoot a (not
always visible) projectile. The player is able to aim this projectile
at one or more hostile objects. When there is a collision between
the projectile and the hostile object, the player receives a reward.
This could be a higher score or more time to play. Because the
hostile object is also capable of hitting the players object by
shooting projectiles (beating the player) tension is built up.
In some shooters, the player can also be destroyed by a collision
between the hostile object and the players object. Examples: Unreal
Tournament, Space Invaders, Xenon 3.
- Driver: the
essence is that the player controls his own object, either throughout
a set course, or through a path the player chooses. The player
receives several impulses from the surroundings of his object.
Some impulses are good and have to be hit, some are bad and have
to be avoided and some are indications. Tension is built up because
the player controls the speed in which he receives these impulses.
Examples: Need for Speed, Test Drive, GP.
- Adventure:
The essence is that the player controls a character. He must steer
this character throughout a storyline. Finding, using and combining
objects, and solving puzzles and riddles do this. Rewarding the
player with new storylines creates tension. Examples: Myst, Zork,
MonkeyIsland.
- Puzzle: The
essence is that the player solves a provided problem. Usually
this is some sort of 'arrangement'-problem (the arranging of objects
in a logical way). Sometimes puzzles have time limits. Examples:
Tetris, Lemmings, The Incredible Machine.
- Role-Playing:
The essence is that the player controls a character. Mostly he
must steer his character throughout a (non-linear) storyline,
but not all the time. The character has several abilities, all
of which are adjusted during the game. For example, a character
gets stronger ("strength") when he wins a lot of fights.
RPG's often contain huge virtual worlds with a large number of
players. Examples: Zelda, Baldur's Gate, Diablo.
- Simulation:
The essence is that the player supports at least one, but usually
several objects at once. Every object has its special needs and
there is often a weak balance between the several objects. A player
can only influence the objects by controlling the conditions.
This is the big difference with the Strategy-genre, where objects
are controlled directly. Usually there are several smaller sub
goals instead of a big goal. Examples: SimCity, Majesty.
- Sports: Basically
every sports-game can exist on the computer. Usually these are
sports when one can achieve points like soccer and tennis. Every
sports-game is restricted to the physical possibilities of the
human body. Examples: FIFA, Tony Hawk.
- Strategy:
The essence is that the player supports at least one, but usually
several objects at once. Every object has its special needs and
there is often a weak balance between the several objects. A player
can influence the objects directly. This is the big difference
with the Simulation-genre, where a player can only influence the
objects by controlling the conditions. Usually there are several
smaller sub goals instead of a big goal. Examples: Dune, Command
& Conquer.
By defining
these genres as such, we have a better overview on what each game
does. This list of genres makes it easier for the children to choose
their favorite. The list makes it easier for us to translate the
essence.
2.3:
User Research
We need to choose
the genre for the game we are going to make. We also need to define
which content suits our target audience. For the project, we questioned
several blind children. Our goal was to establish what their general
interests are and what kind of game they would like to play.
This is a short
summary of the various interviews we had with the blind children:
- The children
are well aware of the difference between the games available for
the blind and visual games. Sometimes they play visual games together
with a seeing friend. For instance in a driving game, the seeing
friend steers while they press the throttle. Most of the children
don't want a special "game for the blind". Instead,
they want a game in which they can compete with seeing children
and don't have a handicap.
- The children
would like to play a game that is fully accessible for them and
that is as much fun as the games for seeing gamers. Several children
do like to play text-based DOS games (mostly text-adventures),
but all of them would like to have a game with nice music, voices
and sounds.
- The children
have tried some of the "games for the blind". They don't
play these because they are either inaccessible or no fun to play.
They also think these games are not to be compared with games
with visual output.
- The children
think competition is very important in a game. If we would make
a game, there should be some sort of competitive aspects involved.
Also, the game should involve a lot of dynamics, like 'movement'
and 'variety'. This is something text-adventures lack. Different
levels are also very important. This is also part of the dynamics.
- The game
should be playable with a standard keyboard alone. This way they
don't have to buy any extra hardware.
- The children
prefer the Action-genre above all other genres. They would like
to have a Driver or a Shooter game. According to the children,
the content of the game (quote:) "can't be crude enough".
They prefer a game in which they can do things are not possible
in real life. The children like movies and books about espionage
(Tom Clancy).
- Concerning
sounds, the children would like to have several sorts of sounds
in the game. There should be functional sounds, which help at
playing the game. Beautiful environmental sounds and/or music
should be present. These should be on the background though, unless
they have a special function.
- The children
would appreciate a voice in the game. This would be a reflection
of real life, they are used to having a voice telling them extra
things. The children prefer a recording of a voice instead of
the voice-synthesizer they hear all day.
We decided to
pay attention to these results, they are very useful guidelines
for formulating a concept. They want a game in which they can compete
with seeing children and don't have a handicap, which fits their
perception and stimulates heavily. The sound design has to be well
taken care of because it is the only output of the game. We have
to pay attention to competition, enough dynamic action and voices.
2.4:
Research Results
Based on our
research mentioned above, we defined the first guidelines for our
game:
The final concept
should be a Driver or a Shooter game. The essence of these genres
should be translated to sound. Preferably, there should be one or
more (recorded) voices present in the game. The game should be cool,
competitive, daring and should have standard keyboard controls.
The game must contain a playground (preferably levels), a game-object
and a clear goal (preferably a score). Cool music and sound effects,
as well as clear functional sounds have to be part of this game.
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