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Before the game reveals at Geoff Keighley’s Summer Game Fest last month, the host went on Twitter to announce several accessibility initiatives for his ceremony. Disabled viewers have access to Chris-directed ASL costs “DeafGamersTV“Robinson also had the opportunity to tune in to Brandon’s fully audio-described version.”Super blind”Coleren’s Twitch channel. And Summer Game Fest wasn’t the only E3 press conference that considered disabled viewers. Among the exciting games, the disabled not only recognized their presence in an important way but also found an industry event that was very welcome in the industry.
The rise of digital events is by no means a new concept in the gaming industry. In late 2011, Nintendo presented hardware and software information as part of intensive presentations called Nintendo Directs. Developers like Sony, Microsoft and Ubisoft have continued to do so, creating their own digital productions. However, with any new type of event (especially the virtual ones known in the Covid-19 era) developers, producers and hosts need to make sure they are accessible to anyone who wants to tune in to the show.
Summer Game Fest was not Keighley’s first session to create an accessible digital event. The Innovation Award for Accessibility is finally added Game Rewards, Keighley wanted to ensure that disabled players could enjoy his show.
“When we added the Accessibility Innovation Award to TGA last year, we felt it was important to make sure the actual event was as accessible as possible,” he says. “It’s important because gaming is the biggest and most powerful way to entertain the world, so as an industry, we have the opportunity to drive this and have the greatest possible invitation to the audience.”
In addition to fostering collaborations between Summer Game Fest and disabled content creators, Keighley’s social media posts captured her feelings about inclusivity. With 1.3 million followers on Twitter, Keighley not only announced the upcoming games, but also used its platform to ally itself with a group of excluded players. “Part of that accessibility is for viewers to learn about different ways of experiencing these live streams and to collaborate with experts in the field who want to share these events with their viewers as a cost stream,” he says.
While Keighley continues to design accessible digital events for viewers, he acknowledges that he is still learning and working to improve the shortcomings. With each successful event, he understands the different accessibility and needs of the disabled audience, thus providing new ideas and solutions.
“Personally, the next thing I would like to address is how to globalize accessibility even further (e.g., different sign languages, audio description mode in different languages, etc.,” he says). “We’re always open to finding new ways to share our events with as many people as possible, and all the gaming events are being learned from each other. But I feel a strong commitment to the industry, including real games, publisher events and other third-party events.”
Two days after the Keighley event, Ubisoft held an E3 digital conference as Ubisoft Forward. Along with promoting new and reversible franchises, the development studio prioritized accessibility to reach the majority of the audience. From the stream itself, from 12 different languages for subtitles, from selected appearances for ASL and audio descriptors, to the official YouTube channel, since all the audio described trailers appeared, people with disabilities could actively participate and react to the news — peer bodies.
“For Ubisoft Forward, it’s about making sure we deliver our messages, and by including captions in live stream, we make it easier to access our content,” says Leon Winkler, Ubisoft’s director of international events. “Some of our participants have multiple screens that can be viewed at the same time, and not all of our speakers or viewers are native English speakers. Of course, specific captions are also very important to the Deaf and Deaf Hearing Community.”
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