noviembre | 2021 | peissoft

Designing Accessible VR Experiences (youtube.com)

Mari KYLE Senior Game Producer at META

En este vídeo, demostraremos la importancia de tener en cuenta muchos tipos diferentes de participantes para crear experiencias inmersivas accesibles. Para ello, te presentaremos escenarios en los que el diseño accesible amplía quién puede participar en las aplicaciones, así como algunas prácticas recomendadas para evitar la creación de experiencias discordantes o disonantes durante el juego.

————————————————————————————————-

Al final de este video, deberías ser capaz de:

————————————————————————————————-

◘ Identify the requirements to pass the Oculus Accessibility VRCs

◘ Clearly explain the impacts of accessible Virtual Reality Design.

◘ Understand the considerations to make when designing for persons with visual impairments. ◘ Explain the importance of Subtitles in a game.

◘ Alternatives to head-tracking that can be implemented for players with limited to no mobility ◘ Explain why it is important to implement distance grabbing.

◘ Describe various forms of Virtual Reality Locomotion and how allowing customization can enhance inclusivity.

◘ Describe controller customization and why it is key to inclusive design.

◘ Demonstrate examples of in-game feedback and direction that can be given to help Immersion.

◘ Explain accessible UI and UX decisions to be made in VR Design

————————————————————————————————-

0:00 Introducción 0:47 Sección 1 – Accesibilidad de Oculus VRC 1:53 Sección 2 – Los impactos de la accesibilidad 5:12 Sección 3 – Diseño para limitaciones visuales 12:30 Sección 4 – Maximizar el impacto de los subtítulos 18:20 Sección 5 – Alternativas al seguimiento de la cabeza en realidad virtual 21:41 Sección 6 – Agarre de distancia 23:19 Sección 7 – Proporcionar varias opciones para la locomoción 25:25 Sección 8 – Personalización del mando 26:44 Sección 9 – La importancia de la retroalimentación y la dirección en el juego 30:51 Sección 10 – Interfaz de usuario accesible 32:53 Conclusión

————————————————————————————————-

Recursos adicionales:

◘ Accessibility VRCs Blog Post: https://developer.oculus.com/blog/int…

◘ VRC Guidelines Documentation: https://developer.oculus.com/distribu…

◘ Designing Accessible VR Documentation: https://developer.oculus.com/learn/de…

◘ XRA Developer Guide on Accessibility: https://xra.org/research/xra-develope…

◘ Accessibility Development Forum: https://forums.oculusvr.com/developer…

Transcripción:

Introduction

0:03 Hola, y gracias por acompañarnos. Mi nombre es Mari Kyle y soy gerente de lanzamiento de contenido en Oculus.

0:09 Para mi función, reviso miles de aplicaciones de realidad virtual para asegurarme de que cumplan con las pautas de la tienda Oculus.

0:16 También ayudo a los desarrolladores con las mejores prácticas de diseño y publicación de juegos para que puedan tener éxito al crear aplicaciones de realidad virtual.

0:24In this video, we will demonstrate the importance of considering many different participant types in order to create accessible immersive experiences.

0:32We’ll do this by introducing learners to scenarios in which accessible design broadens who can participate in applications as well as some best

0:41practices to avoid creating jarring or dissonant experiences during gameplaySection 1 – Oculus Accessibility VRC’s

0:49Developing for virtual reality adds challenges that a designer won’t always encounter when developing a conventional 2D or 3D game.

0:58Oculus is aware of these challenges and has put together a set of VRCs or virtual reality checks, to help designers address these challenges.

1:06Those who have developed in VR for Oculus before will probably already be aware of the performance

1:12VRCs in place before a game can be published on the Oculus store. During this video, we will be learning the techniques and practices that can make apps more accessible, inclusive, and empowering for participants.

1:24This includes subtitle options, UI / UX design, in-game feedback and direction,

1:30customizable controller configurations, distance grabbing, display setting customization,

1:35color blindness support, multiple locomotion options, and head tracking alternatives.

1:40When you’ve finished this video you should be ready to step forward into a world of accessible design

1:47and prepare your virtual reality application to pass the Oculus accessibility VRCs.Section 2 – The Impacts of Accessibility

1:55Accessibility in VR app design can have a major impact on the application. For some participants, it will determine if experiences are positive or negative, memorable or not.

2:07Accessibility in game design is something you should consider from the very beginning, no matter what game engine you are developing in.

2:13Regardless of the technologies we might use to create new worlds, if we begin with an empathetic approach that considers the perspectives of all potential

2:22players we will create stronger more meaningful experiences for everyone.

2:27Rather than treating inclusion as a feature or an add-on, center your experience design around it from the beginning

2:34and on an ongoing basis afterwards. As you imagine mechanics and begin testing to find

2:39the fun for neurotypical and able-bodied people, consider in equal measure ways for those with

2:45different needs to engage in the experiences you design. For some, creating a persona can be helpful for maintaining an inclusive approach throughout the design process.

2:56A persona is a hypothetical participant in your experience with specific motivations, desires, and traits,

3:02typically based on research and interviews with real people. In other words, who are they? How will they experience your app? Why are they playing?

3:11Imagine an experience that requires a person using a wheelchair to move around the room while simultaneously using both hands to pick up

3:19objects, push buttons, and grab levers. Think of the challenges that this person now faces because the designer didn’t consider alternative locomotion methods.

3:29To move, this person would need to first set down their controllers, then move into a position, pick the controllers

3:36back up, and finally interact with the world. This kind of scenario could have been easily mitigated

3:42by allowing physical movement in the world as well as the ability to use teleportation.

3:47This would allow the participant to point the controller where they want to be, warp to that position, and continue enjoying the experience without interruption.

3:56Consider a person who is colorblind who is handed a puzzle where they are tasked with matching specific colored icons with each other.

4:04Depending on the type of color blindness this person might have, the colors could become a frustrating barrier to moving forward in that experience.

4:12On the other hand, if these differently colored pieces also had a shape, letter, or pattern that corresponded to them, this person

4:19could still interact effectively with the puzzle. A designer may want to build an immersive experience in which enemies surround the participants in all directions without accessibility considerations.

4:29Without accessibility considerations, this could become problematic for people who aren’t able to turn their heads due to injuries or paralysis.

4:36In this case, if the designer provided participants with ways to turn the character’s head using thumbsticks or a quick pivot button that would allow them to rapidly spin 90 or 180

4:47degrees, they would facilitate an uninterrupted experience for players with limited mobility.

4:52When these types of accessibility considerations are incorporated into early design phases,

4:58creators will not only produce the most inclusive experiences possible, they will also save time and

5:05resources and not having to go back into their projects later to modify or add these features.Section 3 – Designing for Visual Limitations

5:14There’s a wide spectrum of visual impairments that participants of your application might experience on a daily basis.

5:21It’s important to implement options into your application that allow these people to experience your application properly.

5:29One of the most common issues players face is colorblindness. Our eyes see using a combination of cones and rods. Cones contain color pigments that

5:38help our eyes detect the light frequencies as they are reflected off of objects with varying colors.

5:44If any of those pigments are missing, then our eyes won’t be able to detect those colors as easily

5:49or at all. The most common form of color blindness is red-green, which entails trouble differentiating

5:55or detecting green and red. We can already imagine how this might lead to a frustrating experience

6:01for people with red-green color blindness in a world where red means stop and green means go.

6:07But red-green is not the only type of color blindness. There’s also blue-yellow color blindness and

6:13complete color blindness. When building experiences there’s no one right way to address all forms of

6:19colorblindness, but the following examples help show how to think about addressing it within the

6:24specific application you are creating. In the case of puzzles that we mentioned earlier,

6:30you might offer color schemes that have been tested to work with different forms of colorblindness. Remember that the lack of color pigment in the cones means that the color cannot be detected and

6:41this will also impact blended colors like purple, which is a mixture of blue and red. So side by side,

6:47blue and purple might look identical to someone who cannot differentiate between red and green.

6:53Choosing a schema with one very dark color and one very light color might be another way to provide

6:59an intuitive experience for participants with color blindness. Another way you could remove this

7:04barrier for your players is to integrate patterns or shapes that provide an additional reference

7:10point beyond color. For example, if you absolutely need red for stop and green for go, you might

7:16consider putting a stop sign in place with the word stop and use a circle or arrow shape for go.

7:23″You know, it looks like we’re going to be in hyperspace for a while here so… feel free to go back and check our loot… you name it… sky’s the limit.”

7:30This is also something we should remember when offering cues in text. You may want to highlight a specific word as a hint

7:37towards solving a puzzle. If the color of the word is how this will be distinguished, it’s recommended

7:42to put it in a color that is not impacted by color blindness as well as using a shader, font, style,

7:49or texture that serves as an additional indicator. You might choose to make it red and bold, or red

7:56and all caps, or red and glowing. Whatever your decision, it’s important to always test on a

8:02diverse user group to make sure it is achieving the desired results without unintended friction for any users.

8:10Let’s take a moment to reinforce the importance of making sure that our applications

8:15can clear the Oculus accessibility VRCs. We’ve all had experiences where we’ve had to strain our

8:21eyes to see something. Maybe because something is small and blurry or really far away. When we have

8:28to strain like this we feel frustration because we feel like we can almost see it, but can’t quite see

8:33it in full clarity. When we as designers don’t take accessibility considerations into account

8:39that’s one of the feelings we risk causing our participants. They might be able to barely make out what’s going on with the red line you’ve asked them to follow, for example, but not have enough

8:48ease with it that they can use it intuitively and without distraction. They might infer that there is a different shade on the walls and know it must mean something, but may have confusion around why

8:59because they lack the full context. That level of frustration can definitely impact an experience

9:05and it’s something we should continue to think about while designing interactive experiences. Our application should incorporate the ability to customize all of the varying color and brightness

9:14settings to allow people to adjust to their preferences. If possible it’s also advisable to

9:20incorporate some pre-built settings to help those of varying color capability. Providing presets for

9:26protanopia, deuteranopia, and tritanopia tied to different shader sets can give your artists better

9:33control over how things will look to those players, whereas only having customization would put the

9:39responsibility entirely on the player. Settings that your user should be able to customize are

9:45contrast, brightness, and saturation. Another helpful test that designers can and should

9:52take advantage of is setting their experience to grayscale mode to see if the experience is still

9:57accurate and easy to navigate without color. This will allow them and other testers to approximate

10:03the experience of playing the game as someone with complete color blindness. Note that there are quite a few considerations to make when shifting your game to a grayscale. It is likely that

10:12your lighting implementation will change as well some of the color shifts that were implemented to

10:18declare mood. It’s then your job as a designer to develop new translations of these implementations

10:24within the grayscale environment. It’s important to remember that colorblindness impacts all

10:29visual aspects of your application, not just the environment. When building out subtitling or menus,

10:36for example, you may want to use specific colors to highlight important keyed items or subtext. Aside

10:42from changing their color, it might be helpful to make their font larger than the standard text size or perhaps in bold or all caps. That way, if a given participant cannot see the color change, they can

10:54still intuitively pick up on the context cues you as a designer are trying to offer. The final point

11:01to remember when designing for people with limited or no vision is to make sure your sound design

11:07accurately reflects the positioning of objects in the virtual space. In fact, this is actually

11:13a best practice for all experiences, making them richer and more immersive for everyone.

11:19Spatial audio in VR more closely mirrors how sound operates in the real world. By spatializing your

11:25sound, you can help everyone accurately discern the distance and placement of items based on the sound

11:31source generated in space and the varying points of audio that are occluded or reflected as they

11:36move through the environment you’ve created. Oculus provides a spatializer plug-in to make this easy for developers, but any tool that effectively spatializes audio in an immersive experience

11:46will go a long way towards improving the overall quality of your experience. Although this is not a

11:51VRC, while talking to gamers with varying levels of visual acuity, the ability to customize the audio

11:58in the game was key for them to enjoy the title. The auditory experience is understandably of the

12:05utmost importance for these participants. If, for example, the background music covers up important

12:11collisions or other environment interaction effects, they may have trouble navigating the world.

12:18By giving participants the ability to customize their audio experience, designers allow them to

12:23adjust their experience for real-world factors such as headphone quality or hearing ability.Section 4 – Maximizing the Impact of Subtitles

12:32Subtitles are not new to media experiences, and are now commonplace across film, TV, and games.

12:40They are also extremely important for people who are deaf or have hearing loss.

12:45Designing your app without subtitles will immediately alienate a portion of your audience, and it’s not just important that designers include subtitles,

12:54but that they are implemented in ways that are not hard to read or poorly paced.

13:01″No, no! This place will be swarming with troopers in seconds…” *Over PA* “This is Admiral Karius! All personnel alert! Prisoners have escaped. Lock down the hangar and secure all exits.”

13:13″Awwhhh, we’ll never get to our ship now!” Each app will bring with it its own unique considerations around

13:19facilitating positive experiences across varying hearing capabilities, but we will focus here on

13:25what the Oculus VRCs have documented to be the most critical. The benchmark indicator of strong

13:32subtitling is if testers have the ability to play through an entire experience without audio. If your

13:39subtitles accurately and effectively replace the sound design, you have created accessible subtitles.

13:46The first thing for designers to consider when implementing subtitles is the degree of

13:51customization allowed. Participants should have the ability to update the font size of the subtitles.

13:58Enabling this customization will empower participants to choose how they want to encounter written information within a given experience. Some people might prefer to play

14:08without subtitles at any point, so it’s the designer’s job to give them the ability to simply disable them easily. Participants should also be able to choose how large subtitles are,

14:19allowing those with low vision to simply enlarge and brighten the subtitles until they are easy to read. When designing inclusive subtitles, it is considered best practice

14:29to have two to three presets the player can select from. With those three, you can design a preset that

14:36matches your game’s aesthetic, a sans serif font for readability, and a dyslexia-friendly font as

14:42your third. When considering dyslexia-friendly fonts, there are a few things to keep in mind: you want a sans-serif font, the space between your letters known as tracking should be at around 35%

14:52of your character width, spacing between words should be 3.5 times that of your character width.

14:58Finally, avoid underlining or italics. Comic Sans is an example of a dyslexia-friendly font due to its

15:04lack of serifs, tracking, and word-to-word spacing. It is also generally recommended that you put a

15:10background behind your subtitle segment that is the contrasting color of the subtitle itself. There are several recommended guidelines for this type of implementation: fonts should be sans-serif and

15:20set to solid white; a black background behind the text with opacity at the participant’s discretion

15:26will also increase readability of the text; visual cues inside of the subtitles delineating who is

15:31speaking or the general sound source to help move the user visually through the environment.

15:37Taking a look at subtitles in Vacation Simulator, this video shows some great subtitle implementation.

15:43Notice the text above the object instructing the player and how the arrow from the box is pointing towards the photo window. You know exactly where the information is coming from and the text

15:54is easy to read. It’s also worth pointing out that the default text size is in a median range.

16:00It isn’t incredibly large or small, but a middle point that most can read. In addition to adding

16:06a visual indicator tying the subtitles to the source of the audio, whether that’s an explosion

16:11or a person talking to you through portions of the narrative, it’s also a good idea to leave that

16:16indicator on screen if your participant is looking away from the source of the sound. Generally speaking, people who aren’t audibly impaired will pick up on the cue that the person is off to the

16:25right or the left due to the spatialization of the audio, but without any kind of visual cue tied to

16:31your subtitles, people with hearing loss won’t know whom or what is driving your narrative or tutorial forward.

16:38This could lead to big problems for these participants possibly causing them to stare in the wrong direction without realizing there are objects or non-player characters to interact with.

16:48Just as games have implemented options to help their players navigate to objectives or waypoints,

16:54immersive designers should make sure their subtitles help players navigate to sources of the

16:59text or sound. This would also be extremely helpful, for example, if your experience asks participants

17:05to turn off a radio, answer a door, or any other situation where an audible cue is intended to

17:10trigger interaction. Perhaps a musical note pops up on screen and has an arrow pointing towards

17:16the radio or the door pops up a dialog box with readable text to draw the participants attention.

17:21If they are looking away from the door, an arrow pointing in the direction of the door could pulse while pointing towards their objective. Meanwhile, the dialog box might vibrate with the

17:31words “knock knock” displayed inside. The final primary consideration to make regarding subtitles

17:37is localization. Subtitles are also important for speakers of different languages than the ones native to the app’s designers. From a business perspective, it is highly effective to translate

17:47text into multiple languages, so that players who do not speak the language that the application

17:52was designed in can engage with it. It’s much more expensive and time consuming to re-record

17:58and implement all of your audio in multiple languages, though in some cases this will be the desired route. Making sure you have as many languages as possible available for your subtitles

18:08not only provides rich experiences for people with varying hearing ability, but opens the application

18:14up to many other possible participants who speak and understand different languages.Section 5 – Alternatives to Head-tracking in Virtual Reality

18:22Head-tracking in VR is something that can easily be taken for granted. Since applications will often have the game camera follow the player’s head position by default,

18:32it’s important to remember that for some, this isn’t possible. For people with limited or no head mobility, it is advisable that designers should implement other ways for participants to

18:42control the camera. When considering this option, it’s important to offer directional inputs as

18:47well as single button presses. By approaching these implementations from a position of empathy,

18:52designers invite users of all ability levels to take part. If your app, for example, is a fast-paced

18:58shooter with enemies coming at participants from all angles and it relies solely on head-tracking,

19:04the game becomes unplayable for a large group of potential players. Implementing instead the

19:09ability to rotate the camera view at rapidly snapping intervals such as 90 or 180 degrees

19:15by clicking in the left or right thumbsticks would be one great way to allow participants to move

19:20around environments rapidly and still experience the unique properties of the 360 degree immersion.

19:26When implementing snap turning, there are two methods that are most commonly used. First is quick turns: tapping on the thumbstick left or right rotates you quickly between 30 and 45 degrees.

19:38The second is snap turns: tapping on the thumbstick left or right immediately rotates you with no transition time between 30 and 45 degrees. On the other hand, perhaps your app is something

19:49with a slower pace or has slower paced sections that allow participants to move the camera

19:54as they aim with the thumbsticks. Once their aim goes beyond a defined threshold, designers could

19:59institute a feature that lets them now begin rotating the camera to allow them to see more

20:04of the world. In this case, it also might make sense to build in thumbstick sensitivity customization.

20:11Audio commands might become a solution here, too, which would also bear in mind people unable to use

20:16their thumbs or other fingers. The point is that there’s no one right answer, but there are lots of

20:22possibilities that designers can consider on the way to finding the right solution for their unique

20:27application. When implementing various forms of locomotion, designers can also consider controlling

20:33camera framing and position to focus on important scenes or moments in the experience.

20:39Perhaps implementing a rails mode for your game would be a better option to allow those with limited head

20:45mobility to enjoy the experience. When putting a game on rails, you effectively remove forward and

20:51backwards locomotion from the player. The app then performs as if the player is riding on a

20:56carnival car on rails. With this being added, the player could then be allowed to look around the

21:01scene with the thumbstick control or quick snap rotation buttons, limiting their need for mobility

21:07while experiencing your world. A common pitfall when working with alternatives to head-tracking

21:13is the temptation to have the game take control of the camera view. Remember that in a VR experience,

21:18the camera is the participant’s perspective. When that perspective is forcibly taken away from participants, designers greatly increase the risk of causing disorientation and nausea. If you are

21:29planning on implementing these types of solutions, they should always be tested thoroughly by a variety of possible participants to ensure that new problems aren’t being unintentionally created.Section 6 – Distance Grabbing

21:43Now that we’ve gone over a variety of accessibility ideas, let’s consider how we can make interacting with objects more accessible. Let’s turn back to the example of a person with limited

21:53mobility. Requiring them to walk through a world to interact with an object can add challenges for

21:58them that would detract from their experience. When thinking about how to make our apps inclusive of people with limited mobility, we need to consider more than just the basic locomotion in space. We

22:10also need to think about other aspects of mobility. Does the app ask players to bend down and pick up

22:15objects? Or reach up into a shelf? If a participant must stay at a fixed height in the real world,

22:22we as designers have to create the framework for them to proceed in our apps comfortably. Taking

22:27these considerations into account will also enable designers to make applications that are conducive

22:33for use in real-world cramped spaces. When implementing object interaction, the accessibility

22:39consideration is providing people the ability to interact with the object from a distance.

22:46Allowing people to hover over the object with their controllers and perform the required interaction is an easy way to implement an accessible design for those with varying

22:56degrees of mobility. When implementing this feature, it’s also important to make sure that the raycast

23:02from the head of the controller is visible for those with different levels of visual acuity. Allowing participants to modify the extent to which these affordances are granted

23:11will empower them to customize the experience to fit the varying accommodations they may need or want to complete it.Section 7 – Providing Various Options for Locomotion

23:22As you consider implementing locomotion options, it is recommended that you, whenever possible, offer varying options of locomotion for your players.

23:31One of the options we discussed when we talked about head-tracking was snap turning. Other modes to keep in mind are teleportation, free locomotion, or the ability to move freely throughout the world

23:41by walking around the play space, and potentially putting your experience on rails for those with no

23:47mobility. Teleportation allows people to aim their controller to a specific point in the environment

23:52and quickly teleport themselves to that location. This form of locomotion limits the amount of

23:58movement required of the players. Teleportation can be combined with other forms of head-tracking

24:03replacements that allow participants to move easily through the virtual environment These include quick turns, where participants tap left or right on the thumbstick to rotate

24:13quickly between 30 and 45 degrees; snap turns, in which tapping on the thumbstick left or

24:20right immediately rotates participants with no transition time between 30 and 45 degrees.

24:26By implementing these curb cuts, people with limited mobility would be able to find ways to quickly

24:32move through the experience if needed by pointing and clicking to various locations and still be

24:37able to look around, aim, and interact with the environment objects as needed. It’s also common

24:43practice to allow participants to move through the environment using thumbsticks on the controller.

24:48Implementing this type of free locomotion allows the player to stay seated or in place

24:54and still move through your world. When assessing your app for the types of locomotion you will be implementing, it is important to think of the range and scope of the players you’re trying to reach.

25:04If your goal is to appeal to as many different participants and demographics as possible, having customizable and inclusive locomotion options will serve this goal tremendously.

25:13Remember, including these discussions and considerations as part of your roadmap from the very beginning

25:19will make implementation easier than going back later to add in new options.Section 8 – Controller Customization

25:27Controller customization is something we take for granted in conventional gaming experiences,

25:33but when developing in VR, which takes advantage of full immersion, the stakes are much higher.

25:38Not only will enabling controller customization allow players of varying skill levels and ability

25:44to tune the experience to their needs, but it can also allow them to find more enjoyment while

25:49participating. Remember to think about everything the participants should be able to enable,

25:54disable, and customize when they want to modify the control schemas of the experience.

25:59Optimal button customization would allow players to adjust aspects such as thumbstick sensitivity,

26:05axis response, as well as choosing to invert thumbstick axes, the command implications of the various pushable buttons, the sensitivity of motion-based tracking

26:16including head tracking, hand tracking, and controller position updates, aggressiveness

26:21or the degree of movement assigned to snap turning, which hand holds the dominant functions

26:26for gameplay features, for example, if your features assume a right-handed player, the ability to switch

26:31handedness or vice versa. Of course, this basic list is just a starting point in your thinking.

26:38Each experience will bring its own unique set of needs and corresponding considerations.Section 9 – The Importance of In-game Feedback and Direction

26:46As a developer, one of the most important parts of your job is developing inclusive experiences that break down the barriers and make all participants feel welcome. In-game feedback

26:57may be very ingrained in what we do while playing, but imagine trying to interact with an experience without seeing, hearing, or feeling the result. In other words, try playing your app

27:07in full grayscale, with audio disabled, and seated in a fixed chair respectively. This will help you

27:13consider ways that you can provide feedback via multiple avenues to cover a variety of preferences

27:18and life experiences. Let’s review the opening scene of Vader Immortal. The game opens with you

27:25in a spaceship needing to jump to hyperspace. To activate hyperspace, first you have to reach out and flip five toggles,

27:34″All right, hyper drive controls are active. Make the jump to light speed.”

27:40and then grab a large lever and engage hyper speed. While doing this, there are two notable pieces of

27:46feedback. You visually see the toggles move up and you hear a confirmation tone when they are set in position.

27:53As you look to the right the word “Grab” appears over the switch and when it is engaged, there is a click sound, and you again have the visual confirmation of seeing the switch

28:02seated in the forward position. If you were a person with hearing loss, the only feedback you would have to know that the switch has been engaged is the visual cue

28:11of its position. However, when moving switches in virtual reality, it is totally possible to not

28:17push the switch all the way forward to the point that it triggers the desired response.

28:22Adding a controller vibration to confirm the switch has been put in place will be a great way to bypass any mixed signals or confusion for the player. It’s a good practice

28:31to walk through the environments and scenarios you’re designing considering a variety of cues.

28:37Then, once they’re implemented, walk through them with low visibility and then with no sound.

28:43Can you navigate the area comfortably? Are you able to find your way? If the answer is yes, you’ve implemented

28:49accessible mechanics. Giving players visual, audio, and haptic feedback cues for affirmation

28:55will help guide them through the experience and mitigate confusion or frustration. It’s also highly

29:00recommended that designers add customization features for participants that enable and disable varying pieces of the feedback. Not everyone is a fan of audio cues, haptic feedback,

29:11or other affordances, and some may want to intentionally experience the app at more

29:16difficult modes. Providing customization options for participants is a great way to hand them the

29:23reins to take part in your experience on their own terms. Another form of in-game feedback that

29:28you should consider implementing includes visual icons and cues for when buttons need to be pressed.

29:34For example, if you need a player to pull the controller’s trigger to open a lantern or press “A” to pick up an object, a visual of the controller popping up on screen with the button that needs

29:44to be pressed highlighted is a great way to give people tutorialized context cues. Having the voice

29:50of a narrator pop up and say something like, “Grab the lever!” or “Move the box!” or something along

29:55those lines would also mitigate issues for those with low vision, and of course when considering

30:00what colors to use to highlight the options, think about using colors that are still clear to those with color blindness as well as bright colors to help shine light in dark environments.

30:10Items with high contrast work well in these scenarios. It is also important to consider contextual navigational cues if the participant seems lost or if they are being instructed by an

30:20NPC to go somewhere. If the participant needs to head down the path and take a sharp right,

30:26visual indicators with arrows showing those directions could indicate that to make it clear for them. If you wanted to help guide them even further, having the arrow grow

30:35or pulse more aggressively as the participant gets closer to the objective will let them know

30:40they’re on the right track. Adding a controller vibration when they reach the destination would add a final cue to confirm for participants that they have correctly achieved the desired goal.Section 10 – Accessible UI

30:53In addition to the play component of any immersive experience, the user interface or UI must be

30:59designed with accessibility in mind as well. From the heads-up display or HUD providing crucial

31:06información sobre los personajes para hacer un balance del inventario y los objetivos de cualquier otro menú

31:11Los participantes navegan, la interfaz de usuario es una parte importante de cualquier experiencia inmersiva. En secciones anteriores, hemos

31:18discutió las posibles opciones para los participantes de todos los niveles de accesibilidad. Muchas de estas lecciones pueden

31:24se aplican también a nuestra interfaz de usuario, lo que garantiza que la navegación sea fácil para los participantes de todos los niveles de experiencia

31:30and backgrounds. Utilizing haptic feedback, high contrast color schemes for text and background

31:35for readability, consideration for those with color blindness or even modifying to feature colorblind

31:41friendly themes at a participant’s request are all affordances to consider in building inclusive UI.

31:47It’s also highly important to know what information your player will need to access at a moment’s notice and find ways to surface that for them through the heads-up display.

31:56While designing your HUD and other pieces of on-screen UI, make sure that the player has the ability to

32:02customize the position and scaling of the various elements. People with limited vision should have

32:07the ability to move the UI around the screen to make sure they can see the elements and have access to important information at their specified comfort level. This is also generally just a good practice.

32:18Giving people as much customization as possible with menus, options, on-screen display, and

32:24more will improve the comfort level and confidence in their experience. It is also important

32:30to consider accessibility when drawing your participants attention to specific UI elements. If you want to snap their attention to the life bar, for example, be sure to use both a visual cue

32:40and an auditory cue and possibly a haptic cue for good measure. By implementing an inclusive UI,

32:46immersive experience designers will widen their audience while maintaining the maximum comfort

32:51and enjoyment for their app. There is no single silver bullet for building an experience thatConclusion

32:57will be intuitive for players of all backgrounds. It is your job as a developer to test, design, and

33:03implement as many of these considerations as you deem necessary to make your experience inclusive.

33:08This video has given you an overview of the accessibility VRCs that you will need to pass

33:14in order to publish your app to the Oculus store. These VRCs are built with the intent of making the

33:19VR landscape accessible to all participants regardless of their ability or background.

33:25Using these to build your projects will help ensure the widest possible audience for your games,

33:30but using an empathetic mindset will lead you to solutions that might not arise from just looking

33:35at these specific VRCs. Be sure to test your experiences with as many different participants

33:41and to have ongoing conversations with them about how to make your experiences as inclusive and

33:46accessible as possible. Remember, as VR developers, it’s up to us to set and uphold the standards of

33:53our applications and thus for the VR content ecosystem. It’s our responsibility to explore

33:59this new frontier of virtual worlds and make sure we are as inclusive as possible while doing so.

34:05We at Oculus are so excited to see all the wonderful and accessible things you will create.

Virtual Reality Engineer Explains One Concept in 5 Levels of Difficulty | WIRED

peissoft

El sitio web de psanchez desde 2023

Archivo por meses: noviembre 2021

GPt-3 openAI

OpenAI and Microsoft Extend Partnership

Hecho con ♥

evaluación de impacto

#startupWeekEnd

Microsoft 3D Pinball:

autotélico

Diseñando Experiencias de Realidad Virtual Accesibles

Transcripción:

mas digital

Sé + Digital

MyAnalytics

MyAnalitics