Master thesis project report
The battle of Orléans
The design process of an audio-tactile so- cial game with older late-blind players
Author: Lacey Dams
Supervisors: Zeenath Hasan, Åsa Ståhl Examiner: Mathilda Tham
Term: VT20
Subject: Design + Change Level: Master
Master Thesis | Lacey Dams | 2020
THE BATTLE OF ORLÉANS
The design process of an audio-tactile social game with
older late-blind players.
ABSTRACT
This work focuses on the creation of a social game for older late-blind players, using participatory design.
Even though the board game industry is booming, accessible versions are scarce and since a substantial part of games are primarily based on visual stimuli they are rather hard or impossible to translate into a tactile version.
Therefore, this thesis wants to criticise the norm of abled-bodieness in boardgames and uses co-design to create a new kind of social game, which renounces the use of exclusive visual game mechanics and introduces an audio-tactile approach.
Spenuzzis structure for participator y design and a norm-crititcal/creative a p p r o a c h w e r e , n e x t t o t h e M D A framework, used as tools. For the gathering of essential infor mation about the playing habits of older late-blind people
a workshop in co-operation with the organisation “Blannenvereenegung” was held with 3 older legally blind participants.
Using their tacit knowledge as well as a variety of different materials and game mechanics, possibilities and hurdles were able to be identified. The information that none of them was able to read Braille, or play any adapted games, was essential information in rethinking the creation of an accessible board game and revealed the importance of this work. The need for accessible leisure time activities,for this growing part of society is evident.
Furthermore,the game should be available to a great audience. Hence, an instruction was designed, which makes it easy to reproduce and to adapt to the needs of the individuals playing with it.
This work shows that an inclusive game does not need any sophisticated materials
Legally blind defines peo- ple, who have on their strongest eye less than 30%
vision.
CONTENTS
I. ABSTRACT
1. INTRODUCTION 04 - 05
1. 1Background 04-05
2. SOCIAL GAMES 06 - 07 2.1 The social aspect of games 06-07 2.2 The positive effects of play 07 3. GAME DESIGN 08 - 11
3.1The MDA framework 08-09 3.2 Designing with disabled people 10-11
4. NORM-CRITICAL/CREATIVE DESIGN 12 - 13 4.1 Norm-criticality and norm-creativity 12-13 4.2 The use in this work 13 5. PARTICIPATORY DESIGN 14-15
5.1The use in this work 15
6. INITIAL EXPLORATION PHASE 16-19
6.1Visualisation of inaccessibility 18 6.2 Interview with Mr. Hurst 19 7. DISCOVERY PROCESS AND PROTOTYPING 20-30
7.1 Prototype I 20-22
7.2 Workshop 22-24
7.3 Prototype II 25-27
7.4 Testing and the impact of Covid-19 28
7.5 Instructions 29-32
8. CONCLUSION 33
8.1 Limitations and opportunities 33
9. REFERENCES 34-35
METHODOLOGICAL F R A M E W O R K
PROCESS
INTRODUCTION
CON CLUSION
INTRODUCTION
1.1. Background
Even though the tabletop game industry is booming (O’Connel, 2019), exceedingly few of them are designed with visually impaired players in mind. Most of them rely on visual keys and therefore exclude the part of society which is not able to interpret visual information.
The majority of the 2.2 billion people worldwide who suffer from a vision impairment is over 50 years old (Blindness and vision impairment, 2019) Furthermore, the number of people suffering from late-blindness is, due to our steadily ageing society, on a rise (National Institution of Health, 2016). Accordingly more and more people are excluded from the many benefits social games provide. Some work is already done, tackling the topic of leisure time activities for the legally blind and visually impaired. However, the academic exploration of board games and their possible inclusiveness is scarce (Da Rocha et al., 2019).
Some classic games such as Ludo, Chess or Monopoly, are purchasable as accessible versions for blind players, but many of them use Braille which makes them inaccessible for, most older late-blind adults, who are Braille illiterate. In Luxembourg, the country in which most of the research of this work, was conducted, less than 1% of the visually impaired population using Braille (Bauler, 2020). The design process of an
audio-tactile social game for older late-blind players. This inability to read manifests as a handicap in the daily life of a blind person. In particular older adults, who are not experienced with modern assisting technology have trouble to find accessible media. This disability to perform everyday social activities, makes blind people vulnerable to social isolation (Hodge and Eccles, 2013). A game can help to create social interaction and has many positive affects on our body and mind. Therefore, this work focuses on the creation of an inclusive social game, which can be played autonomously by late-blind people.
The design method participatory design helps to fully understand the needs of the target group. In a mutually benefiting workshop with older participants, are the main mechanics, needs and preferences discovered as well as essential observations made.
Norm-criticality was used to identify the discriminating norms and norm-creativity to challenge them creatively. This work wants to criticise the norm of predominant visual keys in social games and tries to integrate other senses to make them inclusive. Especially, the auditory and the tactile sense are explored . Furthermore, the norm of capitalising on a niche product, such as this game is also abandoned, and a manual for the recreation is provided as an open source. The board can be reused for other games and adapted to
1 . I N T R O D U C T I O N
the players needs. The name of the final game is “The battle of Orléans” and is inspired by the story of Joanne of Arc, a woman who also breached norms. Hence, I decided to use this name also as the title of my thesis.
People, who are incapacitated by norms, are referred to as disabled in this work, not to mark their bodily abilities but as a conscious choice to show their exclusion of basic societal activities.
The main goal of this work is to create awareness by putting this marginalised group of people in the centre of attention. It is addressed to designers, game producers, but also to anybody, with or without a visual impairment, who is interested in social games.
Social Sustainability
This work is allocated in the social sustainability sphere. It is meant to frame the issue of discriminating norms and contributing to a sustainable society. With the creation of an inclusive social game, it is tackling the extended need for recreation of older people with late-blindness. It is aiming to improve the living conditions of this and future generations (O’Connor, 2007). Furthermore, this work wants to show that it is possible as an outsider to be able to create something social sustainable, when cooperating closely with the target group.
Personal Background
I am a social game enthusiast. I passionately roll dice, move pieces or draw cards with friends and family. Therefore, they are, for me, connected to great memories I shared with loved ones. Social games have the power to bring people together. They facilitate social interaction since, even if you don’t have a lot to talk about. Furthermore, they are a bonding activity, bring laughter, relief stress and deepen relationships. Providing so many social benefits, I believe games should be available/accessible for everybody and not just for those who fit the standards of the “normal” customer.
My Role
As a designer, my role is defined as the maker, but not as the only creator of this work.
My background helps me to identify important information and to materialize ideas of others. Even though a neutral position might be favourable, the personality of a designer always shines through in the created artefact. Personal preferences of game styles and mechanics, as well as my personal approach to creating an artefact, might have influenced this work. Furthermore, I am a Caucasian, female, able-bodied person, and so I comply with most cultural and social western norms. Accordingly, I am seldom confronted with norms, which are disabling me in my daily life. This is a privilege and
«others» (Smith, 2001) are facing inequalities, due to their ethnicity, sexuality, religion or bodily abilities (Inckle, 2015). Moreover, becoming blind is not just the loss of vision, but also a massive emotional incident in the lives of the affected people. Accordingly, I might never understand to the full extent how the participants feel but, I try to the best of my abilities to do so. Believing that people can explain themselves best in their mother tongue, I decided to work with participants in Luxembourg.
Card, board, dice and strategy games, are just some of the several variations of social games. Furthermore, the multitude of mechanics and stiles makes it difficult to put most of them in just one of the many categories. To facilitate the terminology, this work will refer to all of them as social games. Excluded from this definition are sports or video games.
The research done about social games is rather scarce whilst the benefits and effects of play, especially in children, are well studied by science and philosophy. Considering that social games are based on the framework of play, I decided to include this in my work. This part explains the social and physical benefits of playing social games to reveal the importance of this work.
2.1. The social aspect of games
“The unbroken success of old-fashioned board games relates to the social situation associated with them” (Magerkurth et al. 2004).
Playing a tabletop game is a social event. People are meeting to enjoy each others company while experiencing the sensation of fun. Social games rely heavily on communication, social interaction and even cooperation between all the players and are, therefore a great tool to create social bonding.
Furthermore, the physical co-presence enables the creation of collective emotions and awareness of body language and facial expressions. (Collins 2004).
Even the chores of a game like setting up the board, explaining the rules or dealing cards, create social interaction. This might originate in the need to bridge the delay of action, which the participants want to fill through communication. Furthermore, is the learning of new rules a collaborative experience,
which helps to create a relationship between the players. Making people aware when they are making a mistake, helping each other to resolve confusion or joking about someone’s bad play, are just some of the interactions that can happen in the learning phase (Xu et al., n.d.). Moreover, social agreements are created during the negotiations
of rules.
Especially turn-based games contribute, due to their structure, to social interaction. Switching constantly between performing and obser v ing , makes ever y player the centre of attention in their turn. This decentralisation
of attention is limiting dominating behaviour and enables the participation of all the players in a conversation (Gibson, 2003)(Xu et al., n.d.).
Consequently, an understanding of each other establishes and grows with every game played together. Since people are, during play, more open for “empathy and intimacy ”(Schaefer, 2003), playing can even create trust (Ayers et al., 2005).
The enhanced physical co-presence of the group, the increased awareness of each other’s actions and the intense connections created from entertaining gameplay, contribute to the feeling of communion and solidarity (Xu et al., n.d.). Accordingly, a group establishes which has the same intentions, winning conditions and an equal desire for fairness.
To conclude, social games have several triggers for communication and can even lead to trust.
Especially turn-based games can easily initiate intercommunication and encourage socia l and emotional interaction. Additionally, on an interpersonal level, the sensation of belonging to a group (Ayers et al., 2005) can be experienced,
2 . S O C I A L G A M E S
Even cheating can be a way of capaci- tating social ex- change. The boun- daries of the game are expanded to facilitate equal en- joyment (DeKoven 2013 p.25-27).
and the maintenance of positive relationships is encouraged (Hromek and Roffey, 2009). A mutual understanding of fairness, physical co-presence, equal chances to win and the possibility to bend rules for the sake of the play are quintessential parts of a well-played social game( see fig.1).
The societal groups of older people, as well as blind people, are vulnerable to social isolation and loneliness. The target group of this work is allocated in between of these two milieus, and therefore distinctively exposed. Hence, a game can contribute to their social well-being, create new relationships are helps to maintain the existing ones.
2.2.The positive effects of play
Next to social benefits, does playing games also have positive effects on our body. It can help to heal psychological or physical wounds or to cope with stressful situations, by evoking positive emotions (Fredrickson & Tugade, 2004). During pleasant diversions, like play, do humans tend to take deeper breaths and accordingly have a “better oxygen exchange”. The body calms down, stiffnesses are loosing up, cardiac tensions are lowered, the self-esteem is boosted and the digestive system is relaxing (Schaefer, 2003). Additionally, having fun provides a distraction for those in anguish and laughter can even reduce chronicle pain (Tse et al., 2010). Moreover, in therapy, play is a well-known method to overcome traumas. It helps patients to get back control over their lives and overcome the fear of helplessness (Crenshaw, 2008).
Playing games is a stimulating cognitive activity, for which we use both sides of our brain. The left side is coming up with strategies and decides how to communicate those. At the same time does the right side release beta-endorphins, which give us the sensation of enjoyment. Due to this cognitive exertion, playing games can help reduce the risk of dementia (Akbaraly et al., 2009), which is especially important for older players . Moreover, symptoms
of subsyndromal depression, which are commonly observed in older people and hard to treat with medication, can be decreased through playing games regularly. Some games even improve the player’s cognitive skills (Savage, 2014) and enhance their abilities of creative problem solving (Hromek and Roffey, 2009).
Games have many positive effects (see fig.1). They nurture the mind, foster creativity and reduce stress.
And next to providing fun, they can help to distract or even relieve people from anxieties. Providing so many benefits, the question is: Why is this leisure time activity not researched more profoundly and made available for everybody? Especially for the target group, who might be traumatised by their loss of an important sense, or suffer from pain or depression, (Mozaffar Jalali, et al., 2014) playing games could increase their quality of life. It also could help them to maintain their cognitive abilities and decrease risk of dementia.
INCLUSIVE SOCIAL
GAME
SOCIAL INTERACTION
ENJOYMENT
COGNITIVE STIMULATION STRESS RELIEF
SHARED EXPERIENCE FAIRNESS
EQUAL CHANCES
TO WIN DISTRACTION
BENEFITS ESSENTIAL
PARTS
Fig.1. The benefits and essential parts of
social games, used in this work.
To implement all these benefits in an inclusive game, the basic design processes have to be understood first. Hence, this part of the work will introduce the MDA framework and specify the opportunities and hurdles when designing with disabled people.
3.1. The MDA framework
Even there are endless possibilities to create games, in term of the genre, type or design (Xu et al., n.d.), all of them are created from three main components (Hunicke, Le Blanc and Zubek, 2004).
1) Mechanics
Mechanics or rules of a game are describing the different actions a player can do.
They are supporting the game-play dynamics and can be divided into different types. Some of the mechanics are not accessible for people with a visual impairment such as, excessive dice rolling, or too many cards, which might be complicated to remember. Therefore, the designer needs to find the right balance between the complexity of the game mechanics and their accessibility (Da Rocha, et al. 2019) 2) Dynamics
The dynamics of a game are the interactions created, by the mechanics and the aesthetics, between the players or with the physical objects. They are the systems or patterns, which underline the game, and represent the outcomes of the mechanics.
Furthermore, are the dynamics manifesting the game flow and the different motivations and needs a player brings to the game. For example, are some players stimulated by competition while others prefer collaboration. Also, the run-time of the game is measured in the dynamics (Kritz, Mangeli and Xexéo, 2017).
3) Aesthetics
The aesthetics of the games are defining in which way the game is motivating and fun. Hunicke, et al. (2004) are identifying different ways in which a game can be appealing and are grouping those in the following 8 categories:
“Sensation Game as sense-pleasure
Fantasy Game as make-believe Narrative Game as drama
Challenge Game as an obstacle course Fellowship Game as a social framework Discovery Game as uncharted territory Expression Game as self-discovery Submission Game as amusement “
3 . G A M E D E S I G N
A game can have multiple of these aesthetics, which interact with each other or are co-present. Furthermore, they state that clear winning conditions are needed to give the player a motivation and a goal to work for.
To conclude, games are based on different mechanics, aesthetics and dynamics (see fig. 2). The two latter are mainly depending on personal preferences, while the mechanics are framing the main game parts. Even though all games are created on the same foundations, the abilities of the players are important to contemplate about, before designing. Especially as a designer, which comfy with other norms than the target group, it is important to recognise the differences and avoid discrimination.
Use in this work
I used the MDA framework as a guide in this work to make an accessible game.
The dynamics and aesthetics, so the motivations and needs of the players are discovered with the target group in a workshop. The mechanics on, the other hand, influence the preceding ones and are therefore the main influence point.
(For more information about game mechanics see appendix 1.)Hence, they are used as a tool for experimentation and testing. I searched for mechanics which are creating social interaction and tried to create aesthetics and dynamics which are pleasant for the target group.
Fig.2. The MDA framework
MECHANICS
DYNAMICS AESTHETICS
GAMES
Describes a players actions
Describes what makes the game fun
Describes the outcomes of the interaction with the game
3.2 Designing with disabled people
When designing a game with or for people with a severe visual impairment, several elements have to be considered to make the experience of play enjoyable for the participants. One of the main risks is that the game overwhelms or bores the players.
Therefore, it is important, to find the right balance (Da Rocha, et al. 2019). Furthermore, an inclusive game should never emphasise the disability of the participants and certainly not stigmatise them.
Since, a disabled person needs often assistance with daily tasks, a great concern for many, is to have autonomy. Therefore, the game should be playable independently, without any human assistance (Da Rocha, et al. 2019). An impairment can have an impact on the players mental stability. This could have an influence on their experience of play and should therefore be considered. Equally important is to recognize that, a congenitally disabled person and one that has acquired it later on in their life, through a traumatic experience (Mozaffar Jalali, et al. 2014), might have a different relationship to games (Renner 2008). Therefore, it has to be distinguished between people with late and early blindness. Furthermore, the well-known fact that blind people have superior tactile (D’Angiulli and Waraich, 2002), auditory (Wan et al., 2010), arithmetic and working memory abilities (Dormal et al., 2016), is only true for the congenital blind ones. Since this work is targeted to people with late-blindness, it has to be expected that they do not profit from these enhanced capacities.
Related works
The exploration of adjusting or creating social games for blind or late-blind players is rather scarce. Da Rocha et al. (2019) designed adapted versions of two common card games, in which they used different materials to make them tactilely differentiable.
Likewise, used Corday (1980) clothes to adapt Bingo for older late-blind players. Another approach was used by Mc Elligot and Van Leeuwen (2003). They designed audio-tactile toy prototypes with blind children. This multi-sensory approach, is also interesting for older players, who would benefit from using several senses at once to identify and play the game. Two other games, which were created with blind people in mind are Camino (Stark, n.d.) and The Mole Game (Kalola, 2016). Both are made out of wood and have a board with indentations and game pieces, which can be moved on the board by sticking them in the different holes. The pieces are differentiated by their form or with indentations on the top of the pieces. It is unclear if older players can enjoy this game because they might struggle with the identification of the pieces.
Assistive technology and autonomy
Assisting technology, was suggested by Da Rocha et al.’s (2019) game testers to simplify the game play and give them the opportunity to play autonomously. Also other sources mentioned that voice controlled assistive technology like Alexa can assist also older blind people in their daily life.
Fig.3. Assistive device
To conclude, when designing with late-blind people, their physical but also psychological state has to be considered. Also the age of the target group as well as the fact that they acquired their blindness in late adulthood, has an impact on their abilities. An audio- tactile approach seems reasonable and assistive technology, can be seen as a possibility to create autonomy for the players. There is already some work done concerning board games for blind players but there is still a considerable lack of knowledge. It is also unclear why newly designed board games for players with a visual impairment are mainly done in wood and are not using, like the adaptations, different textured materials.
The use in this work and my role
My contribution as a designer is to find mechanics, which are keeping the balance between accessibility and complexity, to define winning conditions, which can be attained by any player and to make it enjoyable. Furthermore, the created inclusive game should be playable independently and understand the particular needs of late- blind players.
Even though I initially struggled with the idea of using assistive technology, because the target group is not digital native, it got clear during the process, that employing it is the best option to give the players independence. Furthermore, might also future generations, which are more used to this kind of technology, profit from it.
Since it was my first time working with this group of people, some crucial facts were not initially apparent for me. I was unaware of the omnipresent Braille illiteracy and I have not considered enough the age of the participants, which influences their tactile abilities. This made me rethink my initial approach and use the audio-tactile approach of Mc Elligot and Van Leeuwen and differentiable texture proposal of Da Rocha et al’s, in the final game (see Prototype II) ,
“Although we cannot change reality, we can change people’s perception of it” (Dunne and Raby, 2001).
Even though norms are creating principals for classifications and a guideline for social interaction, they are also conflicting for those who are not fitting them (Öhrling et al., 2018). This means for outsiders to be excluded from fundamental societal activities, obstructed from equal interaction, deprived of human rights or restrained in their
quality of life (Nilsson and Jahnke, 2018).
This is especially true for people with an impairment. They are often disabled, in their daily life, through, inoperative products, because their bodily differences were not considered during the design
process (Nilsson and Jahnke, 2018). In most cases, these discriminating norms are not contextualised or critically reflected on by the designers. Hence, they are encoding them in their design language and reinforcing stereotypes and forming segregations between social groups. This discriminating ignorance might be rooted in the capitalistic power forcing designers to focus their empathy, not on a specific user but, centralising the “normal” user, which excludes a great deal of society (Nilsson and Jahnke, 2018).
4.1 Norm-criticality and norm-creativity
Norm-creativity and criticality are two interwoven steps essential for socially sustainable outcomes.
In the first step, norm-criticality, the objective is to identif y the relevant social norms and
their encompassed mental models,and beliefs. It also involves occupying a critical perspective on the perception of values and their contribution to exclusion (Nilsson and Jahnke, 2018). Norm- creativity happens in the second step. Design solutions are created responding to unconscious human interaction and to display hidden injustice or counteract the established solutions, that preclude inclusion (Öhrling et al., 2018).
Norm-critical/creative design examines the perspective of the out- and insider and the power relations which transpire in-between them (Jonsson and Lundmark, 2014). This is a crucial part in becoming knowledgeable about the influence of normativity and stigmatisation.
As a designer, even though it might be favourable, neutralit y is impossible. T he personalit y of any individual is embedded in a net of social, local, situational, and bodily circumstances. To overcome this interference of interest, reflecting on presumptions and understanding prejudices is compulsory when creating items for new norms.
Furthermore, the users should not be seen as a homogenised entity, but as individuals with different needs.
Designers have the power to affect and shape our collective existence (Öhrling et al., 2018). Therefore, it is important that they recognise their social significance and their propagation. Additionally, creators have to understand “social conventions, existing contextual practices and entrenched policies, “while designing and not purely draw from their knowledge (Nilsson and Jahnke, 2018).
4 . N O R M C R I T I C A L / C R E A T I V E D E S I G N
METHODOLIGICAL FRAMEWORK
The“normal”
user, is mostly white, male and without a disability (Nilsson and Jahnke, 2018).
To conclude, norm-critical/creative desig n challenges discriminating norms and creates new social sustainable solutions, by not using the
“normal” user as a reference, but identifying the actual needs of the target group.
4.2 The use in this work
The human-centred inclusive design approach “the precision screwdriver”, described in the Nova tool-kit, as a way to solve problematic norms for a marginalised societal group, was used as a norm-critical/creative framework for this thesis (Nilsson and Jahnke, 2018).
To shape a norm-creative innovation this work scrutinises the perspective on moral/ethical problems of older late-blind people, during play.
Criticising the norm of abled-bodies and creating an inclusive game, by suggesting new materials and move mechanics. Especially the norm that social games are mainly understandable through visual keys is creatively challenged.
This work is also not following the norm of having a capitalistic interest and can, therefore, explore freely the available possibilities to create a social- sustainable solution. Additionally, the focus can be put on the demands of the players and not on the reproduction value. Visualising the inaccessibility of available social games is accomplished by questioning how board games currently are produced (material, colours, or shapes).
This work does not use a one fits all approach but, will go into detail about one specific niche aspect of a normative problem, concerning a predefined group of people. Exploring their ways of play, the role of social games in their life and the limitations they encounter, to create a fitting solution.
The focus will be to centralise the marginalised
social group of older late-blind people to discover their emotional, social and bodily needs and to find fitting solutions. These needs should not be assumed, to avoid stereotyping, therefore is the game co-created with the target group.
This thesis is striving for change and wants to create awareness by initiate an incentive for intentional inclusive innovation. Furthermore, it wants to make this game available for a great mass and therefore the game should be easily reproducible (see Instructions).
My role
In this work, I took the proactive role of a designer (Donahue, 2003) to create a new inclusive game, which does not follow the norm of abled-bodieness and is playable by older late-blind players. As a not visually impaired designer, I’m ethically obligated to not assume the desideratum of the target group, but to implement them in the design process.
Moreover, throughout this project, I had to critically reflect on my own practices and the norms I use and reproduce. Especially, as a graphic designer are visuals and aesthetics a central topic, which were in this work not essential or accessible. Therefore, I had to reinterpret my canvas and had to focus more on other senses. Furthermore, I’m used to thinking in sinus groups and not to centralize my work around a specific marginalized unity. Usually drawing from my knowledge or using secondary data, this was not enough for this project. Sine, the knowledge I gained through co-creation, made me aware of the norms I was not seeing before and the presumptions I made. It also enabled me to tightly construct a game around the needs of the players.
Hence, I believe norm-criticality is best used in combination with participatory design.
The Nova toolkit provides strategies for responsible design, to challenge inequalities
and creates awareness about (discriminating) norms in different situations (Öhrling et al., 2018).
Participatory design was initially used in Scandinavia as a political-ethical tool to introduce democracy, by empowering the voice of the workforce. It is inspired by Marxist theories, focussing on co-creation/ co-research and is mainly based on a variety of workshops and the creation of artefacts or prototypes (Bødker and Kyng, 2018). The empirical understanding is not as fundamentally important as the constructing and framing of a result, which is appealing to the participants and improves their situation.
In contrast, to the common approach, where designers are creating on behalf of the users, are the participants involved in all the steps of the process, from researching to the final product (Spinuzzi, 2005).
The knowledge gained from the participants in co-creation is an implicit form of knowledge, known as tacit knowledge. The participants are often not able to articulate their tacit knowledge, but researcher can observe it during workshops and concomitant analyses. Tacit knowledge is too profound, sophisticated and indirect to grasp in an exact formulation. Therefore, it is only apprehensible through action and the interaction with the knowledgeable (Spinuzzi, 2005). The objective of participatory design is to bridge the analytical knowledge of the researcher, to the tacit knowledge of the participants by involving them both in the research process(Ehn, 1989).
5.1 The different stages of participatory design
Even though participatory design is still developing and research methods are not fixed, a pattern can be drawn. Spinuzzi (2005) is describing this by splitting participatory design into three consecutive stages: The initial exploration, the discovery process and prototyping (see fig. 4).
Initial exploration
The initial exploration phase enables the researchers/designers to familiarise themselves with the situation of workers, students or end-users. This phase happens in a locational relevant place to analyse the coexistence, cooperation, technologies and routines of the participants and interviews are held. Observations, walkthroughs and examinations of artefacts are some of the intrusive ethnographic methods and ethnomethodological techniques that can be used in this stage.
Discovery process
The second stage is the discovery process, in which creative (group) interaction and envisioning outcomes are the main objectives. This stage is as well done on-site and usually involves several participants. The definitive formulation of demands, essentials,
5 . P A R T C I P A T O R Y D E S I G N
ideals and standards, is the initial step before the cooperative generation of an enticing result is started.
The aspiration is an intense intercommunication and co-exploration. Next to workshops are also role- playing/organisational games, storyboarding or workflow models methods which can be utilised to create cooperative meaning.
Prototyping
The final stage is prototyping. In this stage, the knowledge of the previous stages is used to create an artefact at the location of use or in a lab/workshop. This artefact can have different forms e.g mockups, low-fidelity prototypes and FICTIVEs. Testing and adjusting the prototypes is often necessary before the final product can be presented. The results and the process of the practical work and data collection should be shared with all stakeholders, in an accessible way to contribute to future participation.
These three stages are interconnected and can or should be repeated several times, to emphasise co-research and co-design (Spinuzzi, 2005).
To conclude, participatory design is a user-centred design process, which involves the participation of the target group in the three different stages. Their tacit knowledge is used to produce suitable solutions.
5.2 Use in this work
This work will use the previously described framework as a base. In the initial exploration phase, interviews and examination of games and adaptations are made. In the discovery process a workshop with the target group , was held. Through playing and exploring different mechanics, play behaviour, preferences in games and the participants’ abilities, were identified. The participants bodily and emotional involvement was observed and used to create the game. Additionally, they helped to identify the game mechanics and stiles as well as the complexity and the overall theme. My role as a designer was to show the co-creators, what tactile and auditory possibilities are available and to recognize relevant interactions and input. The prototyping stage was done twice. The first one was more to discover the materials and movements and can rather be seen as a testing object. The second prototype is tightly constructed around the participants’ needs.
DISCOVERY PROCESS INITIAL
EXPLORATION PROTOTYPING
Fig.4. The different stages of participatory design
The process of this work was influenced by the three preceding topics: Participatory design, Norm-critical/creative design and Game design (see fig.5).
The outline of the process is oriented on the participatory design framework and divided into different phases, which are interconnected and repeating themselves (see fig. 6).
Norm critical thinking helped to reflect on the norms used in social games and my own process. Norm-creativity and the MDA framework were used to design an accessible social game.
The initial exploration phase was based on the gathering of materials and reviewing of works that have been already done in this field. Additionally, design practices were critically analysed and the norm of inaccessible social games
visualised. Throughout the project, other aspects of this complex topic were discovered and therefore the exploration phase repeated itself several times. In this stage, an interview was conducted with Mister Hurst, who is the president of an organisation against discrimination in Luxembourg, an English teacher and congenitally blind. He was consulted to gain insides about distinctive aspects of this work and to identify leverage points, as well as outlining game mechanics and specific materialities. This part also consisted of exploring the social, normative and artistic/creative aspects of this work. The second phase, the discovery process, is based on co-creation with the target group and focusing on their experiences. To immerse in the users world and identify the meaning of social games for a person with late-blindness, a workshop was enacted in the nursing home “Blannenheem” with three participants. The collaboration enabled the discovery of desires and needs and should be seen as a mutual learning process
In the prototyping phases the information, gathered in the preceding stages, were synthesised to design testing artefacts. The first materialisation of the previously learned was completed after the interviews and tested during the workshop. It was mostly meant to observe the players interaction with it, as well as identifying what not can be learned from secondary data. It helped to define the dynamics an aesthetics of the second prototype. The second prototype uses parts from the first one, but was adapted to the needs and preferences of the participants. The pandemic Covid-19 had a great impact on the process, especially on the discovery/collaboration process. Due to restrictions and social distancing, the second prototype was not tested with blind participants, so other means had to be capitalised.
PROCESS
INTERVIEWS
DISCOVERY
WORKSHOP TESTING
EXPLORATION VISUALISATIONAND
INITIAL
PROTOTYPE I PROTOTYPE II
DESIGNGAME
NORM- CRITICAL/
CREATIVE DESIGN
PARTICIPATORY DESIGN
PROCESS
Using the MDA framework
Criticaly reflecting on norms used in social games and my own process
Used to identify the needs and preferences of the target groupe
Fig.5. The different influences
Fig.6.The different steps of the process
6 . I N I T I A L E X P L O R A T I O N P H A S E
The initial phase of the process was mainly focussing on exploring the topic. It was about discovering what already exists and an inquiry to answer emerging questions.
The initial research and analysis of secondary data revealed that academia covers the topic of adaptation or creation of social games for blind or late-blind just scarcely, apart from a few exceptions (Da Rocha Tomé Filho, et al. 2019). However, was an abundance of work done concerning the adaptation of video games, mainly through audible signals.
Yet, are some other sources available to get information on this topic. Nursing homes and caretaking facilities are providing information on inclusive gameplay on their websites.
Additionally, some podcast, videos and websites are also covering the topic of blind players (Rae, 2018)(Jenkins, 2016)(Master of Games n.d.).
Secondary data review
The information gathered from these pages stated a clear picture of how inclusive games should look like. The purchasable versions are mostly out of wood or use Braille as a substitute for letters or text. They use indentations to differentiate the pieces and to stick them to the board. The adaptations websites recommend to use a Braille labelling machine for the texts, to put a variation of clothes on the different field of the board, and Velcro on the pieces so they can stick to the surface. Da Rocha, et al. (2019) used in their adaptations of two card games differentiable textures, made everything bigger and replaced the gem- chips with plastic gems. Furthermore, they used distinguishable colours for the severely visually impaired and replaced the dice with a tangible one.
I could not find any tips for the adaptation of games for older late-blind players, but there is literature concerning their needs. Wahl and Schulze (2001) state in their book that especially the social field is important for the older visually impaired and that a feeling of autonomy is equally valuable for their psychological well-being, as for their self-esteem.
They further state that a service designed for this target group should improve their quality of life and give them (back) a satisfying role in their community and family.
To conclude, the game should consider different things, such as the attachment of the pieces or the tangibility of the board. Furthermore, the game should be enjoyable for the social surrounding too, to reinforce the connections.
6.1 Visualisation of inaccessibility
To visualise the inaccessibility of the common social games I tried to discover the games blindfolded. I felt the colourless pieces, the glossy board and the uniform cards, but nothing made sense,neither on its own nor in combination. It didn’t seem to be enjoyable to play. This effect was gone after taking the blindfold off. The games were the same and the visual keys give them the right to exist. To uncover the plain indiscernible parts further and use them as an artefact visualising the discriminating standard, a more
“visual” method had to be adopted. To use this main game parts as an representation of normative standards I decided to cancel out all visual information, by spray painting them in plain white (see fig. 7,8,9).
The lines or squares on the board vanished, the pieces could not be distinguished by colour anymore and the cards were just plain pieces of paper with no indication of what is the front or the back. I was amazed by the uniformity. Even though this step didn’t give me any tactile information about the games, it helped me to see the underlying discriminating norm of social games. I took the possibility away from playing these games, just by removing any optical orientations.
Certainly, does this endeavour didn’t integrate every possible game pieces, but should rather be seen as a tool, which can be applied on every social game to show how heavily they are based on visual information. It should not represent how a blind person feels or sees a game, but to make me and other creators more aware of the norm of abled-bodies, which is reproduced in social games.
Fig. 7: Ludo without collors Fig. 8: Checkers spraypainted in white
Mr Hurst (see fig. 10) is the president of CET an organisation against discrimination and an English teacher at Lycée Ermesinde in Luxembourg. He is also congenitally blind. In between his two jobs, he doesn’t have a lot of time to play games, so he usually plays when he is on vacation with friends and family. His favourite game is the adapted version of Ludo. He doesn’t mind that the game has simple mechanics and is not as complex. He believes that the most important thing is the enjoyment and the togetherness. Also, the aesthetics of the game are for him more or less irrelevant. Nonetheless, I was interested, if different materials might make the games more interesting, or accessible. I gave the example of having rubber, metal or wooden figures, which could be then differentiated by weight and texture. About the weight, he was unsure if older players could distinguish between them, but he thought making a game out of rubber might be nice, so it could be portable. Most social games he plays, except for card games, are rather clunky and not as comfortable to transport.
When we talked about autonomous, it got clear that when playing not adapted versions, he is dependent on other players. Even though, he doesn’t mind it, he knows that for others this might be an issue. Also about adapting games with Braille such as RPG’s, he was uncertain. Despite him using it every day, he thinks that it can not be seen as an equivalent replacement for the written alphabet. The different dotted letters are bigger and too bulky to rewrite whole texts. It is mostly used to translate just keywords.
Furthermore, we discussed different game mechanics. Mechanics relying on the ability to identify the liar, like in Werewolf, are without the possibility to read the other player’s body language, certainly more complicated, when not even impossible. Which excludes this game mechanics for the use in an inclusive game. Furthermore, the game mechanic, of guessing shapes, was discussed further and seen as a great mechanic to use. He as an innately blind person assured me that it is not an issue for him to recognise the shapes of things he never saw. In the end, he told me that there is a need for collaborative games. Since most inclusive gmes are competitive, and an accessible cooperative game would open up new possibilities for blind players.
To conclude, the interview with Mr Hurst provided me with a lot of useful information and gave me an insight into the play experience of a congenitally blind person. Furthermore, he helped me to identify different mechanics, which might not work and gave me creative input about the game design. Especially the idea of making a collaborative game and a transportable version influenced my approach.
6.2 Interview with Mr Hurst
Fig. 10: Mr Hurst
source: https://www.100komma7.lu/article/aktualiteit/wann-ech-premier-wier-patrick-hurst
7.1. Protype I
After the gathering of information, I did the same thing for materials. Even though my usual approach of designing prototypes is by using pen and paper, it seemed an ill fit for this project. Since visual information can not be received from the players, the other senses have to be addressed. Hearing and feeling are the most obvious choices, but also smelling and tasting were considered at first, but dismissed later on, due to possible allergic reactions. Hence, I started with the hunt for tactual experiences and alternative game materials. Collecting everything I thought was interesting in shape, sound, texture or material.
It was a sensorial discovering process (see fig. 11).
The co-presence of the materials generated space for creative discovery and bisociation (see fig.12).
The board
Even though Velcro was a commonly used suggestion to make adaptations to games (Rae, 2018), I wanted to find a new way for game pieces to move on the board.
The first attempt was to use magnets on a metal board, or on washers which were glued on a wooden surface. This mechanic worked nicely when the metal pieces were bare, but the magnets were not strong enough to stay on them, covered in different material.
The second attempt was using tiles, which were glued to a mat, holding them together. This mat also provides grip on different surfaces, which is perfect as a base for a game. The individual tiles are equally spaced from each other, which leaves orderly gaps in between them.
By sticking a chip or plectrum in these cavities, they can be used to move from one to another (see fig. 15).
Cut in the form of a parkour, the board started to get its shape (see fig. 14). The small size of the tiles made the game easy to transport but also complicated to add different textures. Therefore, clear rubber dots in three different sizes were used instead. They were distributed on the board, leaving some tiles blank (see fig. 13)
tiles
scissors magnets
more materials which are not on the pricture
magnetic board
adhesive rubber dots plectrum
stones cloth Fig. 11 : Tactile material hunt
Fig. 12 : Material collection
7 . D I S C O V E R Y P R O C E S S A N D P R O T O T Y P I N G
Game mechanics
Since this prototype was meant as a testing artefact I tried to integrate as many mechanics as I could, but also considered the inputs of Mr Hurst, as well as the information, gathered from secondary data. So I tried to make a portable collaborative game, which reinforces social interaction, autonomy and has equal winning conditions.
The level of complexity was, due to contradicting information, an ambiguous factor.
Hence, I decided to rather start elementary and less complicated and add to it after the testing if necessary. To keep the game simple the first version focuses on the board and the moving pieces, leaving out cards, coins or other game elements.
I decided to create a turn-based game since, it supports best communication and social interaction (see The social aspects of games). Furthermore, I selected the team mechanic, to keep the feeling of competition but, also evoke the sensation of togetherness and collaboration in the teams. To create a dynamic between the player and the board, the aesthetics Discovery, Fellowship, and Challenge seemed to me the most fitting (see fig. 16). Mechanics, that are benefiting those aesthetics and social interaction were then selected. Expression, singing, betting and trading, were chosen because they are benefiting communication. Storytelling and role-playing, were picked because they are based on cooperation and encourage creativity (for more information on this mechanics see Appendix 1). I thought also about implementing the take that mechanics, but, I decided to add later on when needed. The elimination mechanic was not considered, because it is always reducing the enjoyment for at least one party.
Due to the shape of the board, the winning conditions of a racing game, appeared to be the most fitting. The teams are starting vis a vis, and try to reach the end first, by rolling a dice. But on their way to the finishing line challenges are awaiting them on each tile.
might be complicated to find the way mat provides grip
2,5cm 0,5cm
1 cm rubber dots are scattered around
big medium small
moving between the gaps
The take-that mechanic allows one team to hinder the opposing one to move on, by letting them fulfi l a challenge.
Fig. 14 : Prototype 1
Fig. 13 : different sized clear rubber dots
Fig. 15 : Moving chip
I decided to create a different activity for each size of the dots, to try out as many mechanics as possible.
When the players are landing on a field with a small dot they have to complete different cognitive activities, like guessing a song, answering questions or spelling difficult words. On the medium sized dots, they have to do tactile activities, like using plasticine for shape guessing. On the biggest sized dots they encounter a special event inspired by RPG’s and on the plain tiles, they have to gamble or guesse. At this stage I thought that it is possible for the target-group to read Braille and intended to use it for the explenation of the different activities.
In the end, the game is a combination of Cranium, Trivial Pursuit and an RPG.
7.2. Workshop
The workshop should be a mutual learning process in which through observations, collaboration and communication, tacit knowledge can be discovered and solutions created. It was meant to test different games and explore the abilities, needs and preferences of the target group. The workshop took place at
“Blannenheem”, a caretaking facility for older blind and severely visually impaired people, and was organised in cooperation with the manager of the leisure time activities from the residents. She organised a meeting with one male and two female participants and a caretaker (see fig 18,19). In contrary to Mr Hurst, did all of the participants in this workshop obtained their (legal) blidness later on their life and were between 75- 90 years old. Since they are not congenitally blind, they are not able to read Braille. Only one person in the whole facility was able to understand the doted characters. The manager also organised some games they were using. Among other ludo, bingo and domino. None of them was a collaborative or from high complexity.
To start the workshop and get into the topic I wanted to know from the participants what their favourite game is and play some of the adapted versions they know. “My favourite game is to sit in a chair and do nothing” was Mrs M. answer to my question. The caretaker was denying this response and told me that they often play quizzes or bingo. But bingo is not an option for Mrs M., because even though she had some sight, she was not able to read the enlarged numbers anymore. Also for Mr F., who is completely blind, is this game, not accessible. The only one who might join a Bingo game is Mrs P. because her eyesight was the best of all three of them. Mr F. added to the comment of the caretaker that he hates when the quizzes are about rivers. Subsequently, he started to tell riddles, which he told me, he enjoys more. Then, we tried the domino tiles, which had different shapes out of various materials instead of dots and the Ludo game, which had different elevation and indentations on top of the pieces. Both games were way bigger than the normal
DYNAMICS AESTHETICS
MECHANICS
- Movement in between the tiles - RPG elements
- Quizz questions - Expressing by modeling - Dice rolling
- winning condition: reach the end - Team building and turn-based
A short game play - Challenge Game
- Fellowship Game
Fig. 16 : Mechanic, Dynamics and Aesthetics of the first prototype
versions and were painted in bright colours. But it transpired that this games were also not playable by the participants, because textures were too similar and the elevation too suddle.
Therefore, we started to test game mechanics I prepared. The first one was inspired by the game chameleon.
Objects are secretly distributed. The person who got the toy is the chameleon the others, who got the same miscellaneous object, are in one team. Then an overall topic is told to all the players for example kitchen, garden, camping and so on. The players then say one word each, which is related to the object but is not giving the chameleon too many information. In the end, the discussion starts who the chameleon is and the players are voting for one person. If the chameleon is discovered it still has the chance to guess the object. Unfortunately, this game was too complex to understand for the participants and also not fitting for such a small group. It was also confusing since some participants could still see a little but others not, so we moved on to the prototype I made.
Testing out the prototype
Next to the board I made little tile parts with the three sizes of dots on them as an orientation. I distributed them to the players and put the board in the middle of the table. I gave them a token and they all tried out to move in between the tiles and even if Mr F. was sceptic, because he tends to have tremors, during our test run this game mechanic worked well. The dice rolling was not acted out since Mr F. said that dices are making him nervous, next to too complex rules. Furthermore, the differentiation of the elevated stickers on the playing board was only possible for Mrs P. .
Therefore, instead of playing the game, we tested the other mechanics. The first one was plasticine moulding (see fig 17). I gave everybody a piece of the pink play-doh and all of them start to engage with it and their mood changed. They were playing and joking around. For instance, Mrs M. was moulding the plasticine into a figure and asked Mrs P. to guess what it is. After guessing several times Mrs P. gave up and asked what it was. Mrs M. started to laugh and just said: “I don’t know either.” Then everybody laughed and the mood livened up. The activity was creating social interaction between the players.
During the workshop, Mrs P. recommended several times audiobooks to the others. She enjoyed that she learned about all the Luxembourgish authors and authoresses and grew a great knowledge about historical events. When she started to talk about the last one she listened to, which was about “Jeanne d’
Arc”, all of them joined in the conversation. She also said that travelogues are great, because her mind can travel to mentioned destinations. Meanwhile, the caretaker was showing me the CD-player they use and told me thatthey have a great variety of audiobooks. Yet, they don’t use any voice-controlled assistive technology.
snail pretzel
lollipop
Fig. 17 : Different shapes made in plasticine
In the end, we played a short round of answering quiz questions. Mr F. and I teamed up against Mrs M.
and Mrs P. All three of them were really good at this. Before I even could read out the answer options, they already said the right answer. So it was not suprising that they love to watch the German TV quiz show “ Wer wird Millionär?”. When the participants were leaving, Mrs P. said that “This is a complex topic” and that she was thinking every day about how she can entertain herself. She further mentioned some tricks she likes to use to keep her mind agile, like solving math problems in her head.
To conclude, boardgames have not played a big role in the life of the participants, but they seemed eager to be entertained. Quizzes and plasticine were well received and the movement mechanic seemed to work for all of them. Memory games, storytelling elements and math problems might be a considerable extension since they were enjoyed by all of them. The board has to be adapted, making the differences in the fields more apparent. Since dice rolling and Braille are not applicable, other mechanics have to be investigated. Audible game elements could be explored and integrated into the next version of the game.
Fig .18, 19 : The participants Mr F., Mrs
M. and Mrs P. playing with plasticine
7.3 Prototype II
The workshop in the nursing home gave me crucial information about gameplay mechanics, personal preferences and challenges of the target group. The importance of this work got even clearer since not even the adapted versions in the nursing home were playable by the participants. The first prototype was helpful to identify a possible moving mechanic and the tactile restrains of the participants. However,several changes have to be made to make it work for the target group. The tiles were too small the dots not distinguishable and the dice rolling and Braille not accessible.
Changes
Also the mechanics and dynamics and Aesthetics were changed to fit the needs of the participants ( see fig.20).
The winning conditions are changed from a racing game to a collecting game. To win the game the players have to gather money, material, or other goods, by fulfilling different challenges. Since the participants were passionate about, audiobooks I wanted to keep the RPG elements and add a layer of story around the whole game. I also added riddles and math problems since they were mentioned as preferences. These vary in difficulty to test what arithmetic level is enjoyable. As the plasticine was such a great success I definitely wanted to keep it in as a mechanic. Since some of the new game mechanics were not as easily understood by the participants I decided to stick to the ones they know and prefer.
Furthermore, I added a second moving mechanic to ensure that also players with tremor can play it. I decided to leave out the dices and replace them with an auditory guide. I kept the chip movement but added washers to the tiles to make so a magnet can stick on them (see Game instructions). For the magnet movement, I used bigger washers than the first time, to make them usable under different textures. As the manager suggested I wanted to keep the playing time around 1 hour to keep the players engaged.
DYNAMICS AESTHETICS
MECHANICS
- Two move mechanics - RPG and storytelling elements - Riddles and brainteaser - Expressing by modeling - Gambling
- Collecting and trading - Team building or cooperative - Turn-based
A play time of maximum 1 hour - Sensation Game - Fantasy Game - Narrative Game - Challenge Game - Fellowship Game
Fig. 20 : Mechanic, Dynamics and Aesthetics of the second prototype
The board
Since the tactile senses of the participants are restrained an audio-tactile board with differentiable structures and sounds was used for the second prototype. I also wanted to use accentuated colours for the players with low vision. Aluminium was one of the first choices (for more pictures see Appendix 3). It makes a nice sound, reflects and can be formed to have a palpable structure. The problem was that it tended to rip and sharp edges occurred, which could be a problem for players who have to take blood diluter . Accordingly, I precluded the aluminium. Other materials, like wool, wood or tiles, also did not work. They are too thick and even with the bigger washers, the magnet was still not able to stick on them. The materials sandpaper, ribbon, rough string, dots, felt and foam (see fig. 21) on the other hand worked fine, when used in a thin layer. However, the feeling of foam and felt are too similar, so I decided to go only with foam, because it has the more distinguishable sound of the two (see fig. 22).
Since the game style changed also the board form changed. It made more sense for the game now to move in circles. Therefore, the 14 surfaces, made out of three stacked memory cards, were glued, evenly spaced, on a wooden board in a rectangular shape (see fig.23). In between of them is a 0,5 cm gap left out, to use chip moving mechanic. The chip is painted on one side with green paint which makes it for players with low vision easier to spot. The different surfaces have more or less the same heights to ensure an effortless moving.
Furthermore, they are much bigger, so it easier for the participants to feel them.
Nonetheless, is the game kept compact to ensure an easy transportation. The washers, needed for the magnet movement, are placed under the materials,
so they are not touchable during the game, to avoid confusion. The exception is the field with the rubber dots. The placement of the different fields on the board was decided by their auditory and tactile differences, to not put too similar fields next to each other. Four rubber dots are put under the board, so it is not moving on the table. I decided to make the board easily reproducible so it is accessible for people who want to play with an older let-blind family
felt
too similar
foam
sandpaper
rubberdots
string ribbon
Fig. 22 : Feeling tests
Fig. 21 : Different textures
member or friend. This also has the benefit that the creators can experiment with their own materials and use those that are fitting best the needs of the players.
Assistive technology
Since the players are not able to read Braille, the whole game is led by a voice-controlled assistive technology (VCAT), such as Alexa or Siri (see fig 24). This is not just accessible but also allows the players to play autonomously. The VCAT guides the players through the game, explains the rules, tells them how many fields they can move and can help the players when there is a misunderstanding. Moreover, it makes the game even more accessible, for example by having the possibility to change the complexity, or make it available in easy language. To develop an engaging voice user interface I used the tips from the developer page of amazon (Developer.amazon.com. n.d.).
The appreciation of the participants for audiobooks gave me the idea to construct a story around the game. Since Joanne of Arc (Jeanne d’Arc) was mentioned by them and as an interesting figure and norm-breaching personality, I thought it was fitting to use her story. Hence, I named the game “The battle of Orléans”, which was her most important fight and constructed a medieval setting for the different activities. However, “The battle of Orléans” is just one possible story that can be told. Their is a myriad of topics which can be used to create engaging games. Instead of just listening to an audiobook, the players can now engage in it and share the moment it with others.
The battle of Orléans
The players can decide on which side they want to fight. On the side of Jeanne or the side of the English king. They can split up in teams and play against each other or decide to collaboratively play the game against the time. The challenge is to get all the materials (food, armour, firewood and gold) needed to prepare for the battle. The players have to collect 3 of each to win the game. To get those materials they have to accomplish the challenges they encounter during the game, which are for example guessing medieval instruments, have to remember what a merchant is selling, answer questions about Joanne or help the blacksmith or backer to create their goods. In special events, the players also can exchange their materials or even steal them from the other team (see Appendix 2 for the script).
To conclude, the second prototype uses and three-dimensional auditory-tactile board, on which two moving mechanics are working. The game is guided by voice-controlled assisting technology and uses the story of Joanne of Arc as a setting. The players encounter different challenges, which are mainly cognitive activities, and have to collect different materials to win the game. With the option to change the setting the story and even the board, the possibilities are endless to create more games, which makes it appealing and available to a greater audience.
