Słowa kluczowe
accessibility options
deaf and hard-of-hearing players
video games accessibility
player immersion
Polish video games
Jak cytować
Abstrakt
This study examines the implementation and effectiveness of accessibility options in digital games, focusing on their role in shaping immersive experiences for deaf and hard-of-hearing players. Using a mixed-methods approach, this research combines game design analysis and qualitative interviews with deaf and hard-of-hearing users, focusing particularly on Polish video games. The findings reveal that text transcription, visual indicators, and haptic feedback significantly influence player engagement, yet their inconsistent implementation often disrupts immersion. By addressing the challenges faced by hard-of-hearing players, this study contributes to the broader discourse on inclusive game design and the artistic potential of accessibility solutions.
Finansowanie
This research was funded by “Miniatura 7” grant from the Polish National Science Centre (ID 583398; No. 2023/07/X/HS2/00412) entitled Accessibility Options for Users with Hearing Disabilities in Polish Video Games.
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Assassin’s Creed (Ubisoft Montreal, 2007).
A Blind Legend (Dowino, 2015).
Comix Zone (Peter Morawiec, Sega, 1995).
Cyberpunk 2077 (CD Projekt RED, 2020).
Dying Light 2: Stay Human (Techland, 2022).
Forza Horizon 5 (Playground Games, 2021).
Frostpunk (11 bit studios, 2018).
Green Hell (Creepy Jar, 2019).
The Last of Us: Part II (Naughty Dog, 2020).
Marvel’s Spider-Man 2 (Insomniac Games, 2023).
The Medium (Bloober Team, 2021).
The Nightjar (Somethin’ Else, 2011).
The Outer Worlds (Obsidian Entertainment, 2019).
Resident Evil 2 Remake (Capcom, 2019).
Rosemary’s Fate: Live Worth Living (Game the Same, 2021).
The Witcher 3: Wild Hunt (CD Projekt RED, 2015).
Licencja
Prawa autorskie (c) 2025 Joanna Pigulak
Utwór dostępny jest na licencji Creative Commons Uznanie autorstwa 4.0 Międzynarodowe.