Jérôme Dupire

Yvan Boude

Cnam / Cedric

Lessons from Helen Keller: How to Make the Comics Accessible?

Keywords: Comics, Deaf, Hard of Hearing, Sign Language

This paper addresses the lack of accessibility of the comics for deaf or hard-of-hearing readers. Comics are a major cultural object, used in many different contexts with, as much as different purposes (leisure, education, advertising, etc.). We report here the results of an experimentation during a communication operation, including a regular exhibition made of panels and a digital mirroring of the contents, with extra materials and information. This digital part, accessible through our institution website, was the support of our proposition.

Introduction

The context of this research was given by an exhibition on the fences of our university (Fig. 1). The subject was the release of a comic book about the life of Helen Keller [1]. Extended to the subjects of accessibility for the deaf and blind people, the exhibition presented, on one side, some of the drawings and, on the other side, made the general public aware of the handicap and the accessibility.

Definitely oriented towards a mobile, seeing and literate public, this exhibition could not exist without the setting up of alternative modalities. Two dematerialized (on line) versions of the exhibition were therefore considered: one accessible for the blind or visually impaired people and another for the deaf or hard of hearing ones, but who were managing the French Sign Language.

This article focuses only on the approach we have taken in designing the accessibility of a digitized comic book for the signing readers.

Most of the time, deaf people are more likely able to communicate through a signed language (e.g. American Sign Language, French Sign Language, etc.) and a signed transcription of the written contents is the most efficient way to make the comics accessible for deaf readers. If the W3C accessibility guidelines [START_REF]Web Content Accessibility Guidelines[END_REF] present textual alternatives as a first level of accessibility (A) for deaf or hard of hearing readers, the presence of a sign language alternative allows to reach the maximum level (AAA). The recommended way to achieve that is to add a video showing a signed translation beside the original content, like for the news on TV. The use of SMIL 1.0 or 2.0 [START_REF]Synchronized Multimedia Integration Language[END_REF] is also suggested by the W3C to mix and synchronize the streams. Usually, the video showing the sign language interpreter is positioned in a corner of the screen.

This kind of split screen and synchronized streams lead to many usability questions: is this positioning the best configuration to minimize cognitive load and to maximize efficiency? Is this configuration makes watchers able to catch all the information, both the comments and the video contents? In the comic books case, in which aesthetics are a critical part, how can we achieve accessibility needs while respecting the author work?

State of the Art

Too few content producers adopt a systematic approach to accessibility and those who do not necessarily seek the maximum level recommended by the standard (in our case, the alternative content transposed in a sign language). However, some interesting researches have been carried out, in the last years, in the context of the accessibility of digital or digitized documents for deaf users.

Kushalnagar et al. [START_REF] Kushalnagar | AVD-LV: an accessible player for captioned STEM videos[END_REF] studies the accessibility of a video player for deaf and visually impaired users. It shows that, for a certain category of visually impaired people, with a very limited field of vision, subtitling is ineffective. Indeed, their absence of peripheral vision and the simultaneity of the flows systematically lead to a loss of information during the changes of context. Its proposal is to pause the flow on which the user does not pay attention, which is detected via an eye tracking device.

The same author compares in [START_REF] Kushalnagar | Captions versus transcripts for online video content[END_REF] the relevance and effectiveness of subtitling and transcription, which involve more or less important context breaks. As Lang [START_REF] Lang | Higher education for deaf students: Research priorities in the new millennium[END_REF] shows, the addition of a visual representation of a audio content systematically involves a cognitive overload for the user. It is therefore essential to design accessible devices to minimize this cognitive overload and attention dispersion [START_REF] Kushalnagar | Multiple view perspectives: improving inclusiveness and video compression in mainstream classroom recordings[END_REF].

The work of Ponsard et al. [START_REF] Ponsard | Enhancing the accessibility for all of digital comic books[END_REF] And Ho et al. [START_REF] Ho | Panel and speech balloon extraction from comic books[END_REF] Focus on the automatic analysis of the structure of comic pages. Indeed, a large number of comic strips, available in a dematerialized way, are simple scans of the original paper. Their manipulation and their visualization are therefore very constrained on the digital platforms, since the information is organized on the model of the book (i.e. the double page). His work aims at lowering the granularity at the level of the panel, or even baloons, in order to be able to propose finer and more adaptable interactions (order of reading, vocalization, scrolling, etc.)

In addition to this, even if sign language video is the preferred modality, its implementation in digital tools forces us to address important issues of usability. Hibbard et al. [START_REF] Hibbard | The vlogging phenomena: a deaf perspective[END_REF] Describes the phenomenon of vlogging (the video equivalent of the blog) as well as the new uses or appropriations realized by the signing users community. Malla Osman et al. [START_REF] Malla Osman | X Sign Language (xSL) Forum: Considering Deafness as a Language Rather Than an Impairment[END_REF] Also addresses these issues in an online forum context, also based solely on video. Content navigation, scaling (theme, discussion, message), temporality, information retrieval are paradigms to rethink with video content, especially when they are part of a consistent association of digital objects.

It is also important to emphasize the particular context of the comic strip, in which aesthetics occupies a special place. Different proposals exist around this medium as, for example, the automated transposition of a film into a comic book [START_REF] Hong | iComics: automatic conversion of movie into comics[END_REF][START_REF] Hong | Movie2comics: a feast of multimedia artwork[END_REF]. As an artistic work, one can reasonably wonder about the most appropriate way to increase the level of accessibility while respecting the aesthetic intentions of the author (s).

Methods

Aims

Our proposal has been developed with the following constraints, which might seem to be antagonistic at first sight:

-Fully assume the place of the signing person in each of the panel of the comic strip and achieve satisfactory visual comfort, even high as to the signed transcription. -Allow the user to visualize the artistic proposal of the author, without any alteration.

Parallel vs sequential presentation

We decided to make the information available sequentially: the user decide of the moment and duration he access to the picture and to the signed sequence. This sequencing makes it possible to avoid the cognitive overloads and / or the losses of information encountered in the case of presentation of parallel streams. We have chosen to go much further than the current proposals for sign language translation by maximizing the integration of sign language content into the work.

To avoid the usual and artificial presence of the signing person in the bottom right corner of the screen, we made sure that he or she originates in the context of the panel and made the transition between the two states as smooth as possible.

In case of narrative text, the actor comes out, for example, from behind a tree present in the panel and positions himself in the scenery before beginning to sign. If they are dialogues, then the signing actors will appear in the positions and in the postures of the characters they translate, following a video fade. We have gone from sign language interpreters to sign language masters, and actor leadership has played a fundamental role in this process.

The production pipeline

A production pipeline has therefore been defined to result in this interactive content. For each panel, it is therefore necessary to:

-Define the actor's play: possible appearance and displacement -Define the sequence of signs used for the signed translation. As we shall see later, the sign language allows a kind of liberty, which is close to a creative approach. -Record on a green background the previous intentions (Fig. 2) -Clean and / or adapt the original panel in order to integrate the video in sign language (Fig. 3) -Post-produce the video to isolate the actor (s) (Fig. 2) -Integrate the video to the panel and set up the transitions (Fig. 4)

Figure 2 The signing actor on a green/blue background and the post production result

Design and Development

Interaction Design

Compared to a regular digital comic strip, our version can be switched between two states: the still image and the signed video. Thus, we first needed to tell the reader that an alternative (signed) content is available on the panel and second, to provide him/her visual cues about how accessing it.

To specify the availability of this alternative content, we implemented different interactions such as:

-Changing the appearance of the panel when the pointer flies over it -Changing the appearance of the character(s) when the pointer flies over it -Changing the appearance of the text balloon (s) when the pointer flies over it -Adding the regular video control widgets close to the panel

The prototype

A light web prototype of reading platform (a player) has been developed based on usual technologies and languages, such as an Apache webserver, HTML5 and Javascript.

This player provides 3 levels of access for the comic content, based on the original (non-digital) book: the whole page, a single panel (the original one, pictured and still) and the signed content (the video in sign language).

The page level

As we started from the digitization of the paper book, we kept its original internal structure, even if we are convinced that a digital book must have an specific structure and navigation, depending on the platform. But this approach was out of the scope of this current work, which was centered on the accessibility issue. The consequence is that the entry level for the reader is the page level, as shown in Figure 1 (right), like the book.

Starting from here, the reader can observe the entire board, composed with the different panels and perceive the author's intention sometimes linked to their arrangement. The reader can decide to select a panel to have a better visual representation of it.

The panel level

Resized according to the screen resolution, the chosen panel is perceptible and readable with a high level of comfort. This level allows the reader to manage the following two states:

-The initial state displays the panel as created by the author.

-The user can decide to switch to the video mode to benefit from the transcription in sign language.

Experiment and Results

We designed and evaluate our prototype with a population of deaf users (5 users, 3 males, 2 females, mean age 32 y.o.). All were used to use digital devices and they were provided for the test a tablet connected to our webserver. They were asked to navigate and read the panels and/or watch the signed contents. All of them were enthusiasts about the service provided by our prototype and 3 of them told that it was innovative and useful. They appreciated the effort to remain the signed part close to the original picture, with attention given to the actors' postures and clothing. But they also gave us bad feedback on the quality of the transitions effects we choose to add between still image and the beginning of the signed movie.

Discussion

Even if the first results are encouraging, there are some major issues to address thanks to this work.

Indeed, if the availability of all the patrimonial heritage of the great masters of the 9th art, and more broadly the immense production of comics already available, may appear as an objective to be achieved, it comes with various problems within the framework of our prototype:

-The inability for the signer to translate movements to take the exact position of the drawn character -The difficulty of having an actor sign a balloon whose character is invisible or out of the panel's field -The implausibility of having a human signing the words of an animal or object (Fig. 5) -The difficulty of managing, on the same panel, the appearance of several actors Our prototype does not pretend to answer these questions for now. It is mainly adapted to the publishing of original works that consider, from the early stages of the design process, the different technical constraints but also ensure a certain financial sustainability. Created with a focus on providing the same enjoyment and reading experience, these comic strips could be broadcast in several formats.

But beyond the purely interactive aspects or visualization of information, this work makes it possible to address the question of the place of accessibility approach, by positioning it, in an original way, in a context of artistic creation.

Perspectives

Our approach to adapt comic strips in sign language makes it possible to make a more natural access to this major cultural object, for the Deaf. It gives them a very direct access to the content by using their first language.

An obvious next step of this project is the use of our prototype to language learning. By proposing such a bilingual version (oral language + signed language), it is possible to have new learning materials for signing people but also for hearing people who are learning a signed language. Interesting developments are possible, including parallel vs. independent presentations of textual and signed versions, interactive versions for learners (with manual text completion, for instance).

Even beyond this purely linguistic context, interesting perspectives emerge in other areas of learning. Proposals for the use of cartoons as a pedagogical medium appear [START_REF] Cervesato | Discovering logic through comics[END_REF][START_REF] Azman | Exploring digital comics as an edutainment tool: An overview[END_REF] If these experiments prove fruitful, their accessibility will be indispensable in order not to exclude pupil populations from these educational innovations.

Our next work will be dedicated to increase the automation of this process, which is entirely manual for now. One of the main issue is the production of the signed content. Even if a fully automated process is not realistic yet (automated translation from oral languages to signed ones, and vice versa, are still work in progress in research laboratories), the crowdsourcing approach might be an interesting way to achieve a production level, as described in [START_REF] Samson | Holy Starches Batman!! We are Getting Walloped![END_REF][START_REF] Tufis | Adding semantics to comics using a crowdsourcing approach[END_REF]. This kind of collaborative work already exists in the subtitling production context (see [18] for instance). We could imagine a collaboration with translation school in sign languages all over the world to produce the localized signed contents, as a part of their curriculum.

Finally, we also plan to work directly with comic book authors to explore the possibility of thinking upstream about the integration of these video contents. This approach could lead to new ways of writing and to design this cultural object, or even lead to alternative/new propositions, between drawing and cinema, as turbomedia is for example [19].

Figure 1

 1 Figure 1 View of the exhibition on the fences and a page from the comic book

Figure 3 Figure 4

 34 Figure 3 Original (left) and prepared (right) pictures

Figure 5

 5 Figure 5 How to manage the appearance of a actor signing the Marsupilami (© Franquin -Dupuis) ?

dupire@cnam.fr


Thomas Westin
email: thomasw@dsv.su.se

Jérôme Dupire
email: jerome.dupire@cnam.fr

Design of a curriculum framework for raising awareness of game accessibility

Keywords: Games, Accessibility, Education, Framework, Awareness 1

While game accessibility is well researched, many game developers lack awareness of issues and solutions and there is no framework to support educators in teaching about game accessibility. This study is based on an international survey to accessibility researchers, as well as people in the game industry and related communities. The quantitative data shows the most weighted topics in a curriculum, and the qualitative data provides detailed quotes to explain how a curriculum framework could be designed. Results also show that there is a need to change attitudes to game accessibility, but also to focus on practice, basic concepts and needs of disabled in an introductory course, while an advanced course could focus more on theory and solutions which are harder to implement. Future research is to follow-up this study to further validate our conclusions.

Introduction

Game accessibility has been researched since the beginning of the game industry [START_REF] Hughes | Adapting Audio/Video Games for Handicapped Learners: Part 1[END_REF][START_REF] Burnham | Supercade[END_REF] and there is a significant amount of publications, see e.g. [START_REF] Yuan | Game accessibility: a survey[END_REF]. During 2015 the Entertainment Software Industry (ESA) in the US, was allowed an extended waiver from the Communications and Video Accessibility Act (CVAA) [START_REF]FCC Extends ACS Waiver for Video Game Software[END_REF]. The waiver excludes game software until January 2017, but requires game consoles and distribution platforms to be accessible. Thus, since 2015 game consoles now have accessibility op-tions for the first time. However, there is still a lack of awareness of game accessibility among game developers [START_REF] Heron | Inaccessible through oversight: the need for inclusive game design[END_REF][START_REF] Torrente | Development of a Game Engine for Accessible Web-Based Games[END_REF].

The problem is that while dedicated educators can create high-quality educational material for teaching about game accessibility, there is no framework explicating what knowledge is relevant for whom and in what order different topics should be introduced. It is not reasonable to expect all game educators to be experts in game accessibility (GA). Further, there are professional game developers who need to learn about GA without attending a school or have temporary employments [START_REF] Weststar | Understanding video game developers as an occupational community[END_REF] without access to workplace education. Also, updating the material for the rapidly evolving area of computer games requires collaboration to share work done by peers to be sustainable. This in turn requires a structure for creating and sharing accessible Open Educational Resources (OERs) [START_REF]Open Educational Resources[END_REF][START_REF] Mavrou | ENTELIS "European Network for Technology Enhanced learning in an inclusive society[END_REF].

The research questions are: How could a curriculum framework for game accessibility be designed? How could OERs for game accessibility be created and shared based on the framework? Answering these questions provides the prerequisites to support learning about game accessibility, and can be the basis for further discussions with e.g. IGDA Game Education SIG [START_REF]IGDA Curriculum Framework: The Study of Games and Game Development[END_REF] Game Education and Game Accessibility special interest groups.

Method

A design science approach [START_REF] Johannesson | An Introduction to Design Science[END_REF] was adapted for this study where requirements for a curriculum framework was defined based on literature and online resources [START_REF] Maki | Assessing for learning: buidling a sustainable commitment across the institution[END_REF][START_REF]Curriculum Design. Activity 1: The structure of a curriculum framework[END_REF], evaluated with people in academia, industry, associations and others with interest in game accessibility. Data collection was done with a mix of open and closed questions in an international online survey. The survey questions were defined based upon topics found in research papers about game accessibility [START_REF] Yuan | Game accessibility: a survey[END_REF][START_REF] Westin | Advances in Game Accessibility from 2005 to 2010[END_REF] and a UNESCO toolkit [START_REF]Curriculum Design. Activity 1: The structure of a curriculum framework[END_REF]. The survey1 was sent to more than one hundred researchers in game accessibility that published papers during 2011-2015 (to get current e-mail addresses), from several countries within EU, USA, as well as Brazil, Australia and Korea. Further, it was sent to an e-mail list of accessibility researchers, and to people in the game industry and various related communities. The closed questions about motivation were used to know more about e.g. the respondents' teaching experience and skills in game accessibility. The open question were analysed thematically and the closed questions were analysed with the median and the frequency of the responses.

Design of the curriculum framework

The curriculum framework for game accessibility is here defined as: A modular structure that support creating and sharing educational resources, as well as for teaching and learning about game accessibility. According to UNESCO [START_REF]Curriculum Design. Activity 1: The structure of a curriculum framework[END_REF] the following need to be considered for the curriculum: 1) Context: the audience is mainly game developers, attending a school or autodidacts; 2) Educational Policy: with the CVAA, game accessibility is no longer optional; 3) Broad Learning Objectives and Outcomes: high-level descriptions of knowledge and skills; 4) Structure of the Education System: with the broad context of school and autodidacts, the framework should be useful for all learners as far as possible; 5) Structure of the Curriculum content, learning areas and subjects: core, elective and optional subjects, as well as rationales for their inclusion and number of hours needed; 6) Standards of resources such as teacher qualifications and educational materials; 7) Teaching methodology i.e. approaches to implement the framework; and 8) Assessing student achievement related to learning goals. This paper focus on number 3) and 5) but also the educational material part of 6). Numbers 1, 2, 4) are given and 7, 8) can be followed up in a later study, when 3, 5, and 6) are set. The following sections reflect this selection.

Broad Learning Objectives and Outcomes

The main goal is awareness of game accessibility (GA) approaches, motivations, technical literacy, design methodology and communities. Related to UNESCO [START_REF]Curriculum Design. Activity 1: The structure of a curriculum framework[END_REF] the following are the overall objectives and outcomes to aim for: 1) knowledge: what the main issues of GA are, as well as awareness of resources and current research; 2) understanding: what the issues and resources mean, e.g. how guidelines must be used with care and understanding of the game and context; 3) skills: be able to apply e.g. methods, code libraries, and tools to achieve GA; 4) values: foster an understanding of why game accessibility is important for a sustainable industry beyond mere profit; 5) attitudes: change attitudes and perception of this field among the community.

Structure of the Curriculum content

According to UNESCO [START_REF]Curriculum Design. Activity 1: The structure of a curriculum framework[END_REF] the structure of curriculum content, learning areas and subjects should be described in the framework. There should also be a "brief description of each subject or learning area outlining the rationale for its inclusion in the curriculum and the contribution it makes to the achievement of the learning ". Subject descriptions are beyond limitations in this paper but inclusion of subjects can be motivated based upon the survey results. An example curriculum can be designed based on p.85 in [START_REF] Maki | Assessing for learning: buidling a sustainable commitment across the institution[END_REF] with learning outcomes defined as: 1) Introduced, 2) Transitional, 3) Emphasized. Potential learning outcomes are represented by the survey results in this paper.

Standards of Resources

To address Standards of resources [START_REF]Curriculum Design. Activity 1: The structure of a curriculum framework[END_REF] there is a need to explore: repositories for sharing; formats (editable, accessible); and also discuss how existing resources can be used and improved. Further, what skills and knowledge are needed, and for which learner profiles (designers, engineers, educators, and/or others)? Some knowledge may be common for all profiles and some may be specific. The educational material should be structured in a way that allows each individual to build his/her own course, according to his/her skills or context. Potential resources for educational material are e.g. accessible slides [START_REF]W3C Presentation guidelines[END_REF], research articles [START_REF] Westin | Advances in Game Accessibility from 2005 to 2010[END_REF], statistics [START_REF] Yuan | Game accessibility: a survey[END_REF], simulations [START_REF] Scott | Designing Accessible Games with the VERITAS Framework: Lessons Learned from Game Designers[END_REF], games as tools for learning [START_REF] Grammenos | Game over: learning by dying[END_REF]; design methods [START_REF] Grammenos | Access Invaders: Developing a Universally Accessible Action Game[END_REF][START_REF] Grammenos | Unified Design of Universally Accessible Games[END_REF][START_REF] Grammenos | Designing universally accessible games[END_REF]; and guidelines. To support Open Educational Resources [START_REF]Open Educational Resources[END_REF] and giving contributors proper recognition and provide some control of how the work is used, the proposed license is Creative Commons Contribution (BY), No Commercial (NC), and Share Alike (SA).

Survey Results and Analysis

49 persons (mean age of 39 y.o.), mainly from Europe (36,17%) and America (51,06%), completed the survey over a 2 weeks period. A recurring opinion among respondents was the importance of framing the problem by explaining how game accessibility is important for all, including age related issues for "silver gamers" but also unskilled players. As the education is mainly for game developers (students and professionals), a focus of practice was mentioned be several respondents, but also "[p]ractice underpinned by principles and motivations". In other words, a first course should focus on practice, but this practice should be grounded in both theory and relevance for disabled. Further, "to develop empathy for the people related to this problem" was expressed, where simulation of impairments can be useful: "The simulation and background material about types of impairments need to be included upfront." The importance of developing empathy can be illustrated by a quote from another respondent who argued: "Game developers should not be restricted (in any way). disabled [sic!] people should rather learn to help themselves if they want to consume a specific game." This is exactly the type of attitude problem towards GA that has to change through education, especially as this respondent was a young academic, with no (selfreported) skills in game accessibility. The social model of disability is important, as one respondent said: "whether people are disabled when playing the game is entirely up to the designers and developers involved". In addition to simulation of impairments, "[s]tudents should also play the available accessible games".

A curriculum should be balanced between teaching needs of disabled gamers and how to address those needs. It is important to avoid misconceptions of complexity, as games can easily be more accessible by following basic game accessibility guidelines. These are often good design for all without "diluting to a lowest common denominator" as one respondent put it. However, another respondent noted that there are technology gaps for universally accessible mainstream games: "The technology may never exist to make every video game compliant in the same way accessibility on the Web." In any case, stressing how simple design decisions early on in the development process is still important: "to know how easy it can be to include more groups of players with simple design choices and some smart thinking.". Yet another respondent noted that some game accessibility issues are complex and time consuming: "[Game developers] need to understand that many of those options are terribly time/tech intensive".

In addition to guidelines; design methods, basic concepts of impairments, disabilities and accessibility as well as hardware support were among the most important issues to address in a curriculum. Using good examples was one proposed approach: "Maybe show some examples of successful game accessibility modifications and how this impacts players with a disability". While bios and personas were rated as less important, one respondent explained his/her situation, which could be a good use case example: "I am handicapped myself, only able to play with one and a half hand (one hand is mostly paralyzed). So everything designed for controllers is inaccessible for me, as the usual two-stick-controller can't be used one handed or with not fully functional hands."

Pseudo code examples were preferred over language specific code libraries, except when solutions are readily available for implementation in a game engine: "It seems that articles containing code examples to support accessibility design methods would be more effective than creating libraries for specific languages". Related to how code solutions can lower the threshold for game developers, economic incentives were brought up: "As a developer, getting other developers to think about GA issues upfront is fundamental to getting features developed and time/resources allocated to working on this." Another respondent said: "It is also very important that there is incentive for them to make their games accessible through funding, knowledge about larger target audiences etc". Similarly, a third person said: "key areas are being aware of what issues are, how common they are (are we missing out on a significant audience segment?) and legal requirements". Further, one respondent noted the need of funding research for game accessibility.

One respondent noted that the importance of various topics might vary with the type of class: "[I]s this a design class? If so, then design methods and understanding people will be the most important. If it's a development class, then software and hardware options may be more important. If it's more of a general theory class, then history, discussions of things like social/medical models of disability, or theories of games may be more important." In general though, history was not deemed very important for a basic introduction "but if a history of games class is available then perhaps a history of game accessibility would fit well with the material of that course". From a lifelong learning perspective, providing further resources is also important: "A single biographical example, 'further reading materials' on specific issues, legislation and so forth will hopefully inspire some of them to look into the matter more deeply".

These qualitative data were clearly confirmed by the analysis of the closed questions: design methods (95,74%), guidelines (93,62%) and the basic concepts of impairments (91,49%) were the most weighted topics whereas history (14,89%), bios (27,66%) and persona (46,81%) were the lowest ones. However, some slight but significant differences in these scores may appear when considering the profiles (academic, industrial, association, etc.) of the respondents, their declared GA skills or teaching habits. In order to design the curriculum framework, we can build upon these observations some hypothesis about the gaps that are to be filled for one group or another and, even, detect some misconceptions/misunderstandings inside a particular group.

Discussion

Twenty out of the twenty-seven academics in the survey do not teach GA at all or have done it just once 2 ; seven teach it once a month. Possible reasons could be restrictions in time to design course material but also lack of integration in existing game education curricula. This may limit education about GA to an occasional lecture or assignment, which is probably not enough to change attitudes such as the one quoted in the survey results. A curriculum framework is a first step in remedying this situation.

Based upon the survey and literature, a curriculum framework can be designed by dividing the empirical findings in the survey into two broad categories: 1) A basic level introduction should focus on practice with a balance between raising awareness of needs and framing problems versus methods to address those problems, especially what can be done with relatively little effort through software and hardware. Further, changing attitudes by gaining empathy of how it is to be disabled is important in a basic course, e.g. by using simulations and accessible games; 2) For more advanced level learners, content should focus more on current research, personas, law, statistics, and history but also go in depth with the technology gaps for universally accessible mainstream games. Further, implementation of more advanced and time consuming solutions should also be included, to enhance the game experience for all and reach even more gamers, e.g. through binaural audio and signing.

Depending on the type of class (design, engineering or theory) and if the education is basic or advanced the importance of topics may vary. In Table 1 a tentative curriculum framework is presented, which could be used as a model to discuss how to best implement a game accessibility curriculum in a specific context. The different topics are marked as either: 1) Introduced: The outcome is not the focus of the course, but "course elements may provide either the knowledge, skills, or attitudes necessary for the ultimate achievement of the outcome." [START_REF] Maki | Assessing for learning: buidling a sustainable commitment across the institution[END_REF]; or 2) Transitional: More direct relationship between course and the outcome, i.e. "knowledge, skills, and/or attitudes (at least two of the three) required for the achievement of the outcome may be the focus of the course or course element, but the integration of all three is not." [START_REF] Maki | Assessing for learning: buidling a sustainable commitment across the institution[END_REF]; or 3) Emphasized: A direct relationship between the course and the outcome: "At least one element of the course focuses specifically on the complex integration of knowledge skills and attitudes necessary to perform the outcome." [START_REF] Maki | Assessing for learning: buidling a sustainable commitment across the institution[END_REF]. The most weighted topics (basic concepts and design methods) are here set as either Emphasized or Transitional for Designers and Engineers on the basic level. Designers have an emphasis on design methods, while engineers are more oriented toward implementing solutions in the game. Further, to know the needs of disabled was added with emphasis for both groups, which can be seen as an extension of understanding the basic concepts. Also, both groups should gain empathy through experiencing the situation for disabled gamers, e.g. through simulation and playing accessible games. At the advanced level focus is more on theory but also on more advanced design methods and solutions.

6

Conclusions and future research

Our tentative conclusions are that the design of the curriculum framework should 1) introduce GA by framing the problem, explaining user needs and stressing the change of attitudes; and 2) teach how games can be designed to be more accessible. The need of a modular and flexible resource is obvious and efforts have to be done in that direction as well. Accessible OERs may be created and shared based upon a Creative Commons (BY, NC, SA) license. The next step is to get more feedback from disability organisations, as well as students who are aspiring game developers and collaboration with game industry efforts for game education. Further, graduation performance requirements aligned with what all game developers should know or be able to do after completing a course about game accessibility must be developed. We also aim to invite all respondents who provided their e-mail addresses in this survey to participate in our next study.

Table 1 :

 1 Example curriculum with courses where learning outcomes are Not Applicable (N/A), (I)ntroductory, (T)ransitional, or (E)mphasized, and for what group (designers, engineers, all) and level (basic or advanced).

	Learning outcomes	Basic level	Basic level	Advanced level
		-for Designers	-for Engineers	-for all
	Understand basic concepts	E	E	N/A
	Know the needs of disabled	E	E	N/A
	Able to apply design methods	E	T	E
	Awareness of the history	I	I	T
	Know the scope of issues	I	I	E
	Awareness of legislation	I	I	T
	Awareness of funding	I	I	T
	Experience of disabilities	I	I	T
	Know-how of solutions	T	E	E

The survey is still available online, for structure presentation purpose. See: https://goo.gl/1Dre1g