Game Design

The Case of the Missing Glow Pear

Game Design Document

Alana Grey

Game Overview

1.1 Introduction and Game Genre:

“The Case of the Missing Glow Pear” is a text-based adventure/puzzle game that utilizes a comic book feel to entice English Speakers to learn/learn about the German Language and Germany. This interactive game uses a guided and unguided directional mechanic along with an adventure narrative that will allow the player to choose their own Journey to the “Glow Pear” while learning a new language.

1.2 Target Audience

The demographic for this game that is being targeted is those individuals between the ages of 17 and 30 who wish to learn German and have English as their first (or main) language. The sub target for this game is to educate those who wish to travel to Germany and have a better understanding of the Language and Culture that is contained there. According to a Poll on Age conducted by a user within Duolingo (A Popular Language Learning App), the most common age brackets for language learning are 20-24 (34%) 15-19 (33%) and 25-29 (15%) (Straw Poll, 2016). In an article by Thea Bohn (2018) it was also discovered that German is the second most widely spoken language in Europe with “…approximately 95 million people in Europe…” (Bohn, 2018) speaking German as their first language. And with Germany being the 6th most popular European tourist destination (Schengen Visa Info, 2019) it would be beneficial to engage with and learn about the German Language and Culture.

With many ways to learn a language and many apps and resources claiming to be the best, it was important that this game implemented statistically proven ways of language learning (evidence) while also appealing to a wide range of users. “Text-based games all require the player to think creatively…” and as learning a language requires thought and a level of creative thinking, this game can appeal to those who wish to learn German outside of the overly structured classroom environment. Studying a Language through an institution can also be incredibly expensive while this text-based game is free for anyone who has access to a Computer.

1.3 Main Ideas and Themes

The main idea of this game is to teach the German Language at a level that is easy and accessible for a wide range of age groups, keeping in mind the assumption that there has been no prior engagement with the German Language. In an article by Ian Aikman (2016) it was also stated that the addition of a second language in the life of an adult can help to push back the “…onset of Alzheimer’s disease…”, with Nicholas Weiler (2015) claiming that “…a second language can play an important role in framing perception…”. What these two writers are trying to say, and what this game is trying to show, is that the addition of a second (or even third) language can not only be enjoyable and entertaining, but can be beneficial for one’s health, or one’s self and world awareness. This will effectively be achieved by using humour, word association, puzzles and short stories in order to teach and engage players with this language.

The subtheme of this game is to increase brain function and allow for a useful new skill to be gained. Through memorization and putting knowledge to the test the player will be able to see real time progress in their language development.

The theme of the game that allows for this progress to be made is the installation of simple comic style sketches that allow the player to visualize the journey and go along with the character(s) that they are playing with. The overarching adventure that the character goes on allows the players to feel as though they have a partner in the language journey and helps the individual to feel supported and encouraged along the way.

The hope for this game is that German can be taught as a second language for those with no prior knowledge through an engaging and entertaining medium.

1.4 Players Role and Task

The player plays as him or herself throughout the game guided by a non-threatening, lovable character called Peter. Peter has lost his Glühbirne and needs the players help to retrieve it. (Glühbirne = Lightbulb, but when directly translated to English the words mean “Glow Pear”, this will become a premise for the games humour). Peter will act as a guide throughout the game’s puzzles, stories and challenges. The main role of the player is to carefully read and understand the knowledge that is being put forward to them and to take this and apply it to the challenges that they may face along the way. The added implementation of jokes, puns and short stories will allow the player to feel a sense of achievement as they go through the game, showing them real progress in their language development.

The player will face choices that contain right and wrong answers, both the correct and incorrect answers will contain learning opportunities and will further the individually development of the language they are learning. As the player moves on through their journey the lovable guide (Peter) will not be as helpful, and the player must begin to think for themselves in order to solve language related tasks.

Through the narrative of the game (To find the “Glühbirne”), players will also learn through word association and repetition about the proper structure of the German language and how to make sentences and ideas for themselves. This will allow for a sense of independence and mean that the game has a real take away, as when the player reaches the end, the hope is that they have learnt the basics of the German Language and have the desire to continue learning.

Some of the tasks within the game include;

· Mazes (that can be solved by listening to the correct instructions)

· Word associations

· Choosing the correct sentence structures

· Finding the right object/word to fit the story

2.0 Game Mechanics

2.1 Key Mechanic/s

In this game the player, with the help of their lovable little guide are to complete a journey of both language learning, discovery and retrieval. The key mechanics in this game are based heavily on dialogue and selection. The player will have a limited amount of options to choose from with each being a learning tool but with only one or two options being the correct path to continue to move forward. Depending on the choices the player depends on the type of journey they will take. Ultimately the paths will line up, but this mechanic allows for new paths, new jokes, and new experiences to be discovered every time the game is played. The dialogue mechanic will allow the player to engage in the narrative at their own pace and learn from the mistakes they make along the way. The dialogue is accompanied by the simple sketches and character designs of the game that allow the player to better visualize their choices and to answer the questions and puzzles based on this helpful guide. The sketches also add elements of aesthetics and further the narrative of the game allowing the player to fully immerse themselves into the environment that has been created not only by them, but also by the choices they make. The comic/sketch aesthetic of the game allows the mechanic to feel more adaptable and interactive, almost as if an adventure book has come to life. This allows players of a large age range to view this game as a viable choice for their learning and entertainment purposes.

As the player has a level of choice in this game it is important that the main aim and direction of the game be maintained, as shown in the paper prototype, there are multiple options that the player can choose from when posed with a new task or question. The player may be taken off on a tangent in some circumstances but will find their way back to the main path after several extra dialogue options. These added elements in the game allow for a sense of freedom and individuality in the game while also maintaining structure and continuity. This also makes sure that the game contains no dead ends so they player is not forced to move backwards in their journey. This means that:

1. The player is correct = The path moves forward

2. The player is incorrect = a tangent occurs and eventually circles back to the original question or

3. The player is incorrect = a tangent occurs, and the player is taken on a slightly longer path to learn and eventually leads back to the main point

The paper prototype also allowed the mechanics to become clearer in terms of how they worked together and how they weren’t working so well. It was found that having the pathways match back up in every circumstance meant the game continued to move forward (aka, the player did not have to “click” backwards). It also showed that there had to be clarity in both the answers and the questions as overcomplicating them could lead to frustrating, confusion and lack of focus or desire in terms of continuing the game.

To further the reason why continuity is so important is because it allows the player to feel as though they are always making progress in their journey. Language learning can become tedious, frustrating and overwhelming at times so adding in free choice, humour and new pathways allows the player to always move forward, rather than moving them backwards when they encounter the wrong answer. In-fact, in an article by Beyond the Language Barrier, it was said that people listed difficulty, lack of interest/focus and not finding the time to practice as reasons why they found sticking to learning a language difficult (Beyond the Language Barrier, n.d.). That is why the encouragement and entertainment within the game will allow the player to view their language learning journey as their own and shows that mistakes can be beneficial to their learning and can even come with little secrets. This allows the player to remain encouraged and supported throughout their journey even when the game (and the language) become more difficult.

2.2 Additional Mechanics

There are a few additional mechanics that accompany the main game. These are, the exploration mechanic and a storytelling mechanic that acts as an overarching theme to the game. This game aims to teach German as a second (or third) language, and it does so by incorporating elements of the language into a continuously flowing adventure narrative (with the addition of puzzles, challenges, word association, etc…). The player can explore many options (with a set limit) within the game that will allow for some free movement even though the game relies heavily on its text-based mechanic. The added addition of this narrative allows the player to be guided through their journey without feeling as though they are being told the answers, the story simply acts as a way to guide the player softly through and to add an element of completion and achievement in the game. This is achieved by puzzles, tasks, matching and finding lost objects. The player will feel as though what they are doing is to further the narrative and to reach the end of the story. It is this curiosity that will allow the player to move forward in the game. The player is ultimately learning the German language through being exposed to certain terms, words and sentence structures along the way, contained within its storyline.

These mechanics work together to create an environment for the player that is both engaging and educational. However, the aim is to make sure that the game feels more like a game then a study tool. The player must feel as though they have control over their journey and that they are truly apart of the adventure, the player cannot be made to feel as though the journey could continue without them, which is why even though the storytelling mechanic is additional, it remains crucial to the feel and experience of the game.

(As a side note: The game at times will prompt the player to write down or take note of what is in front of them, this is entirely up to the player which adds another level of freedom to the game. However, if this advice is not taken the game can become more difficult. That is not to say the game becomes impossible, just that the experience of the game in some parts can be altered by the drive and motivation of the player)

3.0 Player Engagement and Fun

3.1 4 Keys 2 Fun

Easy Fun – This game starts very simply, allowing the player to build on their vocabulary in the guided environment of the narrative. The lovable sketched character will allow the player to feel guided through their journey and make sure that the player feels comfortable. There will be a strong sense of repetition so there will be multiple opportunities to learn and gain confidence in what the player is learning. The tasks and challenges set fourth in this period of easy fun will allow the player to get comfortable with the style of gameplay and the style of learning. Easy fun will also be put throughout the game as the player will have opportunities to find humour in the game itself. The game is set as a learning tool but due to its narrative structure it allows the player to take a break from these challenges and enjoy the German Language and culture comfortably. This portion of the game acts as a built-in tutorial, which according to Gameverse (2013) is the “…best option…” as it teaches the player the feel of the game without taking the player away from the main experience.

For Example: Peter, the lovable character will ask the player to locate an item for him (This item will be spoken in German). An image (or sketch) of this item will appear allowing the player to associate this new word with an image immediately.

Hard Fun – Some elements of the game will require the player to solve puzzles and challenges unguided, this will be a test of their knowledge and their learning throughout the game. This game is self-paced and what is gained from it ultimately comes down to the player (but can of course still be achievable if the player has difficulties along the way). This game offers the player many opportunities to learn and even prompts the player to write down, or practice certain things before they move on. This is noted as Hard Fun because it is not easy, but the knowledge that comes from this will lead to a more enjoyable time for the player if they are really driven to understand and learn from their experiences within the game.

For example: Peter may give the player certain directions to follow, the player must follow this directions (unguided) to whatever location Peter wishes. If they player chooses incorrectly, they will have to find new paths to the location based off new directions. (To note: Hints will be added in sections where players may have gotten lost or gone down the wrong path, with all paths eventually leading to the right location.)

Serious Fun – The overall aim of this game is to teach the player about the German language and Culture, in doing so there is also a need to put to rest certain stereotypes about Germany and its people. In saying this, the game carries a sense of respect and wishes the players to do the same, the game while leaning on humour in its story also offers moments of seriousness and understanding. Getting through this game will allow the player to have a sense of true pride and achievement as their experience was their own and getting through the challenges and tasks was possible because of their own motivation and skill. According to Nima Samaria (2015) Serious games (or moments in games) are important as they are able to “[i]mprove knowledge retention…[e]ncourage learners to be active in the learning process,…[and]…[b]e a powerful way of introducing new concepts…”

For example: Peter, as a German is not very organized (like the stereotype suggests) he runs late, he loses things and he isn’t incredibly tidy. Peter may also share serious stories with the player as they continue their adventure together.

(To note: The game in itself is filled with humour, there has often been a stereotype that Germans as a people do not carry a sense of humour, this game aims to respectfully put this to rest and allow the player to experience German culture in a lighter sense.)

Overall – Players will start off by being in a very simple, guided dialogue but as the game progresses questions will get more difficult. Language learning can be a very difficult and overwhelming task. Hopefully this game will allow the player to appreciate how difficult it is for those who live in their country who don’t speak the language but are trying to. However, even though this process is hard it can be incredibly rewarding, particularly for those who wish to learn this language for a loved one, or a friend or for themselves. This game is a major steppingstone for those who wish to learn German and don’t know how. This game will open opportunities for those wishes to gain a skill and take on German as their second Language.

4.0 Game Story and Narrative

4.1 Game Plot Summary and Discussion

In this game you as the player take on a comic adventure with your newfound lovable friend Peter. Throughout the game you will face tasks in the likes of challenges, mazes, treasure hunts and more in order to work your way through this adventure and to reach the ultimate goal…To find the missing Glow Pear…. In return for your services your lovable new German friend will offer the gift of the German language to you. With your new skill and talent for the language you will discover a whole new world filled with adventure, discovery, humour (hidden throughout) and of course, the all-important glowing pear.

The design of “The Case of the Missing Glow Pear” ultimately considers story and narrative as it is in this storytelling mechanic that the player can remain motivated in their journey to learning German as a second language. According to Sevtap Karaoglu (2008) “[m]otivation plays a significant role in the process of learning a language…”, showing that it is the drive and the passion that the students (or in this place the gamers) have in reaching their goal that truly allows them to learn and progress. Karaoglu also explains that it is the desire to learn that must be tapped into (from the side of the creator in this instance) for the tool to be effective. (Karaoglu, 2008). “The Case of the Missing Glow Pear” allows the story to be the main bridge between learning German and experiencing a fun new adventure. For those who are excited and passionate about learning German as a new language what they take from this game will be immense. For those who are looking for a more casual experience in the German language, they will be able to experience the German language freely while also being immersed in the adventure style of the game.

Furthermore, focusing on the story line of this game allows all other elements to be built off it. For example, the puzzles and mazes that are implemented in the game are aids in retrieving the missing Glow Pear. These elements also act as way to implement the German Language into the players lives. Therefore, it is the narrative of the Game that allows it to be successful in the implementation of the German Language while also catering towards an adventure type feeling regarding entertainment and enjoyment.

4.2 Accompanying Narrative Resources

“The Case of the Missing Glow Pear” is a game driven by its Plot, that is to say that its adventure style narrative drives the language learning process. Through this there are several major plot points that act as meet up points for the game. Aka, the game may take players off in slightly different directions depending on their choices but will also lead into these major plot points in order to secure the games overall narrative. These include;

Hook = The meeting and introductions of the lovable guide Peter after stumbling across a small hut in the woods. Peter explains that he has lost his “Glühbirne” and must retrieve it before it is too late. The player discovers this word to mean “Glow Pear” and is intrigued by the magical item. (Both with German and English dialogue)

Inciting Event = Peter offers to teach the player his Language (German) if the player can help him find and retrieve his lost object. Peter explains that he can not do this alone and the player (wanting to feel important) agrees to travel with Peter

Key Event = All Peter has is a very worn out map that the player must help to decipher in order to uncover the first set of directions through the secret tunnels that Peter discovered leading out of his home. (As the map is written in both German and English both player and character are required to solve this puzzle)

First Plot Point = After making their way through the tunnels the player and Peter discover a message hidden on the wall. The player must work out the object that the message is asking for in order to pass through what seems to be a door of some kind. In doing so the player can open the door that leads to a challenge…constructing a password

First Pinch Point = From the language knowledge that the player has learned through the dialogue up until this point it is entirely possible for the player to work out what the password is. The player understands that getting the password wrong could mean that they must find a different path as there is only one chance to get this right. The player is sure that even if this happens, they can still find their way through.

Midpoint = Depending on the players success with the door they will either find themselves on a shorter or longer path to the Glow Pear. (The shorter path is available as the player has shown that they understand what they have learnt, with the longer path helping those with more difficulty solidify what they should have learnt). The player eventually find themselves in a forest, the forest seems calm…but is it? Peter tells jokes and teaches the player about puns as they walk through the forest together, this helps to cut the tension.

Second Pinch Point = In the forest the player must make wise choices and listen to Peter as they attempt to find their way through. By working together and understanding Peter the player may move quickly through the forest. By ignoring peter or moving too fast without thinking, the player may become lost. The player meets several people within the forest and must learn who to trust. The bond between Peter and the player is built as Peter continues to tell stories on where he came from with stories from his past.

Third Plot Point = The player struggles through the harder elements of the journey while Peter continues to try and assist. The player learns here that a journey cannot be rushed, and that help is okay. Peter continues to help and tells stories of his own language journey, making the player feel calmer.

Climax = Peter and the player are getting closer to the end of their journey, they have travelled through tunnels and forests, they have met those who have been helpful and those who have sent them on wild goose chases, but everything has led to this moment. Using everything that has been learnt, discussed or discovered along the way the player must use their knowledge to get through the last challenges of the Journey (Mazes, puzzles, and treasure hunts to find objects of importance)

Resolution = The player is successful in their quest and leads Peter directly to his treasure! The Glow Pear!... Peter can now fix his light…All that journey for a lightbulb

(Important = Glühbirne when spoken and separated “Glüh birne” translates to “Glow Pear”. The player will not uncover until the end that what Peter is actually referring to is not a magical glowing pear, but rather a simple Lightbulb. Glühbirne= Lightbulb in German)

Plot subheadings taken from K.M. Weiland in “How to Choose your story’s Plot Points.”

5.0 Game Aesthetics

5.1 Introduction and main points guiding aesthetics

“The Case of the Missing Glow Pear” is a text-based game aimed at a more mature audience (Ages 17 – 30). This allows the game to include more mature themes and humour in the core and additional gameplay experiences. The language used in this game is crafted so that it is easy for those who already have English as their first language (or a firm grasp on English) to learn German as their second. The English language used in the game is not too simple in order to treat the players as adults, and make sure that they do not feel patronized or as if they are being talked down too. The German language starts at a simple level and develops gradually allowing for progress to be noted and easily viewed. Furthermore “The Case of the Missing Glow Pear” allows all its players to complete the game no matter how challenging they may find this language learning experience. Considering that every individual learns at a different rate, those who find more difficulty in this experience will note a longer gameplay time, allowing them to take more time to learn and grasp concepts they may be stuck on. This will not interrupt the storyline at all and in fact will simply be a differing way to the end result…To find the missing Glow Pear (and learn German)

5.2 Concept Art

User Interface Concept Art

Accompanying Description This piece of concept art depicts the overall look of the user interface. The main idea of this user interface is to appear hand drawn as it adds a certain charm to this game. As learning a language can be a difficult experience it was important to make the user face as simple and as calm as possible. This has been successfully implemented by the use of “hand drawn” words and through the simple nods to the German culture (in the form of the Flag) along with the simplistic visual elements (Aka, the Cave) The overarching mechanic of this game remains to be the dialogue mechanic, this along with the narrative of the game and the players free (and limited) journey selections allow this text-based game to feel more open and individual. In terms of the simplicity and feel of the game it can be noted that language learning often comes with a sense of embarrassment, whether that be through feeling as though no progress is being made, or feeling as though others will judge you if you try to use a new language. This game interface allows its users to “…engage in activities [in a new environment, and with new characters] that will not judge them like the real world…” (Sruthi, 2015). This interface is simple and gives subtle nods to the German culture, both through the implementation of the German language, and the appearance of German colours (in this case the flag). According to (h2g2, 2007) “[i]nteraction is the crux of every text-based adventure…” meaning that the way the player experiences the game is vital. This is ultimately achieved by how well put together the user interface, and the design that accompanies it is. Through research it could be found that the best user interfaces are ones that are; clear, consistent, simple and user controlled (Fadeyev, 2009). Due to these facts, it was crucial that this design lend itself to user controllability. In this game the user must be made to feel as if they have the ultimate control over their journey. The implementation of free choice in their pathway, and the extra dialogue options (For example, asking Peter his opinion) allows the player to have a sense that it is them who is controlling what happens rather than the game forcing them down any one path. The colours of the interface are soft and easy on the eyes, allowing the player to experience less strain as computer lights (the main access to the game) can be harsh. The soft appearance of these colours also allows the more important elements to stand out (E.g. the Story and the choices). The visual aspect in the top right will be kept consistent allowing the image to change but keeping the images simple and easy to read will allow for an effective engagement with the storyline.

Character Design - Peter

Accompanying Description This concept art piece is a character design of the main character within the game (Peter). This character is not playable as the player experiences the game as him or herself. Peter is a German bear who wears the traditional Bavarian lederhosen and hat. This allows him to be easily identified as “German”. Peter is the character who guides the narrative of the game and gives the player access to tips and hints along the way. When beginning to consider what the design of Peter may be, several questions had to be answered. Firstly, as this game is for a wide age range the character could not be too young or too old. In saying this, it was crucial that Peter was still a lovable character or one that could be “cute” but not necessarily “girly” or “masculine”. This was to ensure that the game remained open for many ages and for both males and females. For Peter to appear friendly and welcoming the design had to follow certain rules in terms of style. Peters general look is very soft and cuddly, this is done by using circles and rounded shapes in order to insinuate friendliness (James, 2014). The roughness of this design has also been implemented on purpose as it was crucial to that the game continued to have a natural rough feel to it, as if to look hand drawn. This was designed as part of the appeal of both Peter and his Environment as there is a certain charm to its simplicity. Pushing Peter forward and making him rougher allows him to stand out from the further refined environment. Peter still fits into the scene as some parts of him (his hat, and his ears) have been created to be more refined securing his part in this environment. Furthermore, as appeal has a very high importance, in terms of “…a quality of charm, pleasing design [or] simplicity…” (JohnK, 2008) it was vital to make Peter appear unique and inviting. From this and according to Dave Riju, “[b]rown reflects dependability, warmth and safety…” implementing Peter as a brown bear was an easy decision to make as both his colour and his soft nature allow him to be appropriate for a range of audiences and storylines. The main idea of this game is to create a comfortable environment for a range of ages to learn German as a second language. Allowing Peter to be a soft and gentle character means that the information being displayed to the user is welcomed and unthreatening. By focusing on Peter’s personality, it was easier to create a character that has the ability to be dependable and trustworthy. This is important in this circumstance as the player will be learning from Peter and must trust this character. Even though Peter is a male character his masculinity here is unimportant as the aim is to entice both males and females to learn German and focusing on Peter’s authenticity and design has been more important than the focus on gender. The hand drawn effect of the design also pushes the message that this game is for anyone, as the simple design stops the player from feeling overwhelmed by complicated graphics and designs and allows them to focus entirely on the narrative (and learning aspect) of the game.

5.0 Game Technology

5.1 Game Engine and Development Technology

Twine as a game Engine allows the creator to utilize a user-friendly interface in order to create text-based adventure style games (Game Designing, 2018). According to Samit Sarkar (2015) “Twine [the Game Engine] has gained a reputation for producing…’empathy games’…” which along with its effective interface is the main reason “The Case of the Missing Glow Pear” will be created using this game engine.

As this game aims to create a respectful communication between the German and English language, and acts as a learning tool, it is crucial that this game be simple and mainly focus on these aspects rather than over complicated graphics, motions and storylines. The limitations involved in a text-based game engine allow for this experience to focus on the importance of teaching and also pacing in this circumstance. As the game relies on player interaction to move forward there is no sense of time pressure, meaning that a larger range of readers can be involved with this game. For example, a player who is having difficulty reading or understanding certain content within the game can take their time, and even go away and come back at a later time allowing them to choose their own pace.

5.2 Player Access Technology

As “The Case of the Missing Glow Pear” will be created using Twine it will require the player to have access to a device that has the ability to connect to the internet (and a browser). This player access should not pose a problem as it can be found that in America between the ages of 18 and 29, around 96% of the population own a Smartphone as of June 12th, 2019 (Pew Research Center, 2019). Furthering this, “Australia is in the top 10 countries in the world in terms of tablet ownership and PC usage rates…” (Sadauskas, 2014) showing that access to the required devices are not an issue when it comes to game experience. As the target audience for this game starts at 17, it has been easier to secure a strong access to the game as the older the audience is the more likely it seems that one will have independent access to a smart device. Along with this point, the technology of a text-based game also caters to the adult’s main abilities when it comes to language learning. It can be said that adults find it easier to read and understand complex thought in a second language as they have already experience this in their native language (Breeden, n.d.). This means that Twine as a text-based engine is the right choice for this game as it allows adults (and young adults) to experience a new language in a way that caters directly to them.

As an important note made by Jesse Schell in () it was stated that technologies can be either foundational or decorational. In terms of this game a large majority of the technologies can be seen as foundational as both the mechanics and aesthetics of the game work together in order to educate and entertain the player. For example, the addition of the character Peter, being German allows the player to trust the lessons that he teaches, as a native German speaker will seem like a more reliable choice than others. Furthermore, the dialogue options of the game will allow the player to pace themselves and use what they have learnt in order to answer questions and be immersed in short conversations, showing the foundational importance of the dialogue mechanic. However, there is still a need for decorational technologies, such as the colours and visual aspects available as it is these elements of the game that allow the player to be immersed in the virtual world and feel engaged with its content.

6.0 Accessibility Provisions

Colour Blind Simulator Testing;

Green-Weak/Deuteranomaly

1. After running the character design through the Green-Weak/Deuteranomaly test it was found that not much has to change in order for those with this particular colour blindness to experience the game effectively. The one thing that can be noted is that the colours are slightly dulled making the character appear darker, the design of the character remains soft and friendly and is therefore not an issue for this game.

Similarly, the User Interface does not lose its functionality as the colours differ enough to not pose a problem here. However, the red is dulled and appears more orange in this instance. The addition of a clear explanation at the beginning of the game of the colours of the German flag could help here with the knowledge, but as this is a decorational technology it is not vital that this be clear. The contrast is good, and the words are clear.

Red-Blind/Protanopia

1. From running the character design through the Red-Blind protanopia view it was immediately clear that there are some issues present with the colour scheme. The brown and Green bleed together making it more difficult to discern the Bear from his environment. He is still clearly separate from the environment but appears duller and flatter. Due to this I believe that the contrast of the colours needs to be improved and perhaps an environment needs to be implemented that has a clearer difference in colour scheme. In terms of functionality of the game nothing changes, but as this game aims to be engaging it is important that the character stands out from his environment as the main protagonist. Changing the environment and therefore its colour scheme can help with this instance.

There is little to no change here in regard to the Red-Blind/Protanopia view. As like before the Red is dulled or removed but is not a great issue in terms of content. In this image the environment contains no red and is therefore largely unchanged, however the wording on the sign is more difficult to see as it is in red, this could be changed slightly in order for it to be clearer. Furthermore, colour will be considered when creating environments to ensure contrast and detail is available, and that the colours do not blend into one another for those experiencing a form of colour Blindness

To note: The most important elements to change in this particular game are; The colour contrast, making sure the character stands out from the environment (as not to allow the colours to blend together), and to make sure that the font is a clean, clear colour as to not interfere and mesh with other colours. A colour-blind gamer by the name of Cameron Gidari (2014) explain his experience with colour-blindness and gaming and stated that there are times in which gaming elements can be more difficult to distinguish for those with similar issues, therefore in this game the main aim is to eliminate as much of these difficulties as possible to make the game as fair and as accessible for everyone without drastically changing the feel of the game.

Furthermore: As this game aims to teach German as a second language, it is crucial that it be as accessible as possible for young adults (and adults) to use. Considering this the following has been implemented into the game in order for it to be as largely accessible as possible;

1. As seen in the concept art of the User Interface the Black text is more difficult to read, this will be fixed immediately as it is the most important aspect of the game. The font size is okay but the solidness of the line, and the darkness of the black need to be increased in order for the words to be read more effectively.

2. All the controls in the game are simple and easy to use, either by utilizing a track pad, a mobile device or a mouse. This simplicity allows each player to use the controls they have designated in their own personal device to carry over into the game. A small addition to this game will be the use of the keyboard on a computer, if there is difficult in motor control regarding the mouse, the up and down keys (and enter) may be utilized in order to make selections helping those with limited movability complete the game. This is important as those with a “…motor impairment have difficulty with the fine movements required for using a mouse…” (McCloskey, 2014)

3. The games background is a light grey instead of a solid white. For people with dyslexia, the easiest colour for them to read remains a solid black, but is important that the background colour is not white, lowering the contrast between the two allows for an easier reading experience in this circumstance (British Dyslexia, n.d.) As those without dyslexia do not have this as a problem, it is not vital that it be an additional option for the game, but rather it is easier to include it overall for all users making the game immediately accessible.

4. As the game relies heavily on text rather than audio inputs the game remains accessible for those who are deaf or hard of hearing. The game also leans on puzzles and challenges that can be completed with memory rather than pronunciation or audio cues making this game a comfortable experience for those who suffer from hearing loss. Furthermore, as the game includes visual images and cues it will allow those who cannot hear to memorize and associate words with images more effectively.

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