Diegetic Guidance: Yellow Paint
as an accessibility tool for players with reduced visibility
Jefferson Jhoan Luna López
Universidad Laica Eloy Alfaro de
Manabí
Manta, Ecuador
Jorge Iván Pincay Ponce
Universidad Laica Eloy Alfaro de
Manabí
Manta, Ecuador
Caroline Mayerly Chum Burgos
Universidad Laica Eloy Alfaro de
Manabí
Manta, Ecuador
DOI: https://doi.org/10.56124/encriptar.v8i16.014
ABSTRACT
The global video game sector, despite its
advances toward photorealism, faces the challenge of including players with
reduced visibility. These users often struggle to distinguish interactive
elements in complex environments, resulting in limited experience and
subsequent frustration. We address this issue by developing and evaluating a
functional prototype in Unreal Engine 5 that utilizes yellow paint as a
diegetic visual aid to optimize accessibility. Furthermore, we empirically
validate this technique as a balance between low cost and strong immersive
integration, thereby filling a gap in the literature that traditionally focuses
on HUD-based or hardware solutions. For the research, the prototype recreates a
soft-horror 3D environment where key elements were highlighted using the yellow
paint. The methodology focused on rigorous usability tests with participants
who presented a combination of myopia, astigmatism, and color blindness. This
approach allowed for a precise measurement of the visual guide's effectiveness
through predefined test cases, achieving an overall success rate of 65.91% in
task completion. Consequently, yellow paint is established as a viable and
relevant resource for strengthening accessibility without sacrificing player
immersion, and, on a theoretical level, it offers a significant contribution to
the design of more inclusive video games.
Keywords: Inclusive Game Design, Visual
Signage, Assisted User Experience (UX), Visual Impairment in Video Games,
Interactive 3D Environments.
Guía Diegética: La Pintura
Amarilla como herramienta de accesibilidad para jugadores con visibilidad
reducida
Resumen
El sector global de los videojuegos, a pesar de
sus avances hacia el fotorrealismo, enfrenta como reto a la inclusión de
jugadores con visibilidad reducida, a quienes se les dificulta distinguir
elementos interactivos en entornos complejos y experimentan una limitada
experiencia y consecuente frustración. Abordamos esta problemática
desarrollando y evaluando un prototipo funcional en Unreal Engine 5 que utiliza
la pintura amarilla como un soporte visual diegético para optimizar la
accesibilidad, además, validamos empíricamente esta técnica como un equilibrio
entre el bajo costo y la fuerte integración inmersiva, llenando así un vacío en
la literatura que tradicionalmente se enfocó en soluciones basadas en HUD o
hardware. Para la investigación, el prototipo recrea un ambiente 3D de terror
suave, dónde los elementos clave fueron resaltados con la pintura amarilla. La
metodología se centró en pruebas de usabilidad rigurosas con participantes que
presentaban una combinación de miopía, astigmatismo y daltonismo. Este enfoque
permitió medir con precisión la eficacia de la guía visual mediante casos de
prueba preestablecidos, alcanzando una tasa de éxito general del 65.91% en la
culminación de tareas, con lo que, la pintura amarilla se establece como un
recurso viable y pertinente para fortalecer la accesibilidad sin sacrificar la
inmersión del jugador, y, a nivel teórico se brinda un aporte significativo
para el diseño de videojuegos más inclusivos.
Palabras clave: Diseño Inclusivo de Juegos, Señalética Visual, Experiencia de Usuario
(UX) Asistida, Discapacidad Visual en Videojuegos, Entornos 3D Interactivos.
1. Introduction
Video games have solidified their position as
the primary form of entertainment globally, surpassing the combined revenues of
the film and music industries. This growth has been notable because it
generated approximately $196 billion dollars globally in 2023 and is projected
to reach up to $257 billion by 2028 (Hong & Christofferson, 2024). The mobile gaming
segment is the fastest-growing and highest-earning, representing nearly half of
global revenue ($92.6 billion in 2024), followed by console and PC gaming (Buijsman, 2024).
Regarding Latin America, a notable dynamism has
also arisen there; for 2024, a value close to 19.53 billion dollars was
estimated, with growth projections of 14.20% (IMARC, 2024). Countries like
Ecuador contributed significant figures, reaching approximately 107 million
dollars in 2023 (Prom Perú, 2024).
However, such advancements are not proportional
in terms of accessibility. The lack of inclusive designs generates a
high-impact social exclusion, by limiting the participation of people with
diverse disabilities in a medium that has consolidated both as a predominant
form of socialization and in its role as a community builder (Gisela, 2023). This problem
becomes more relevant when considering that 72% of players recognize that video
games foster a sense of belonging (ESA, 2024). Consequently, a
structural gap is evident, which the industry has a responsibility to address
to ensure effective and sustainable inclusion processes.
Based on the foregoing, the central problem that
this research addresses is the visual perception
barrier faced by people with reduced visibility, for example, myopia,
astigmatism, color blindness, in modern video games. Among other aspects, this
is due to the constant evolution of the video game industry towards
photorealism of textures and the adoption of subtle chromatic palettes, which
increase usability problems, especially making it difficult to distinguish key
interactive elements from the environmental decoration and increase the
exclusion of players with visual disabilities and their consequent frustration (Kaiutina & Tahir, 2025; Saez de Tejada, 2022).
Frequently, many accessibility initiatives
concentrate their resources on adaptive hardware, such as the Xbox Adaptive
Controller, or on the implementation of non-diegetic software solutions, such
as mission markers and modifications to the Heads-Up Display (HUD) (Molina López & Medina Medina, 2021). Although these
contributions (or inputs) yield great practical value, they often disrupt immersion,
which is critical because immersion is an intrinsic component of the playful
experience (or gaming experience).
Even though, on a legal and regulatory level,
standards such as Section 508 in the U.S. and EN 301 549 in Europe provide the
foundation for accessibility in Information and Communication Technology (ICT)
products, there is no direct and harmonized application of these frameworks to
the dynamic design of video games. Therefore, it can be stated that the sector
remains in a preliminary phase of development. This panorama obliges research
to seek accessibility solutions that meet the criteria of effectiveness,
economy, and diegesis; that is, solutions that achieve a coherent integration
within the game's universe (Andersson, 2024; Kuhne, 2024).
In this context, it is recognized that acclaimed
titles (such as Resident Evil 4 Remake, God of War, or Final Fantasy VII
Remake) employed yellow paint as a diegetic visual guide. However, this
implementation was primarily a design decision to optimize pacing. The lack of
a formal study that validates its effectiveness as a specific tool for players
with reduced visibility (Kaiutina & Tahir, 2025).
Consequently, the lack of empirical evidence
demonstrating how the technique specifically impacts the playful experience of
this user group is identified. This drives the current use of yellow paint as a
diegetic visual mark from the initial phases of the project, on interactive
elements and navigation paths in complex 3D environments, without sacrificing
the sense of immersion and without being applied at the end as an external
patch (Kaiutina & Tahir, 2025).
Based on the two objectives are pursued:
§ The creation of an
interactive prototype in Unreal Engine 5 whose main function is to integrate
yellow signaling as a diegetic resource to improve the clarity and efficiency
of interaction within intricate 3D scenarios.
§ A preliminary
measurement of the system's utility through controlled user testing. The sample
of participants will include individuals with common visual impairments
(myopia, astigmatism, and the various forms of color blindness). This testing
methodology is designed to obtain concrete metrics that demonstrate the real
contribution of this visual guidance strategy.
In a practical sense, the project seeks to
provide video game developers with a low-cost, easy-to-implement option for
designing more inclusive experiences. This would directly address the
challenges of functional accessibility that have arisen with the trend toward
photorealism.
On a theoretical level, the aim is to generate
empirical evidence that demonstrates the utility of diegetic visual guides as
accessibility solutions that are both effective and non-intrusive. In this way,
the study will enrich the academic dialogue and could set a precedent for the
development of future accessibility standards in the industry.
2. Materials and methods
To validate our hypothesis, an applied research
methodological design was adopted, focused on the development of a prototype
and its subsequent evaluation through usability tests. The process was
structured following an adaptation of the Waterfall model and the video game
design guidelines of the NAMCO company, ensuring rigorous conceptualization and
structuring (Pincay-Ponce et al., 2016).
2.1.
Design and construction of the prototype
A functional prototype was built using the
Unreal Engine 5 video game engine. This consisted of a unique interactive 3D
environment: a photorealistic two-story house with a basement, set at night in
a forest. The theme is mild horror and suspense, selected to increase the
visibility challenges given the naturally required dark lighting of the
setting. Overall, this scenario features detailed textures that replicate the
problematic conditions of many commercial mild suspense titles.
The structured narrative was minimalist and
oriented towards exploration and the resolution of the escape of the player,
nicknamed Javier, a family man who has recently acquired a house in a wooded
area. Upon returning to the location to continue the move, he progressively
faces unexpected situations that gradually form the interactive experience.
The proposal is organized into two
differentiated acts. The first focuses on exploration and the progressive
recognition of the 3D environment (See Figure 1). This involves
identifying and securing essential objects, including a flashlight and a key,
which allow the player to unlock new areas of the house and its surroundings,
consequently increasing the range of interaction.
The second act introduces a sudden and palpable
threat: a "Strange Being" that transforms the game's dynamic,
constantly pressuring Javier to adopt stealth and escape strategies. This
progression allows for the evaluation of the effectiveness of the yellow paint
in both calm exploration contexts and high-tension situations.
|
|
|
Figure 1: Partial image
of the enabled basement door, which was previously covered in yellow paint
marking the wall. (Left) and location of the flashlight with contrasting yellow
paint on the handle (Right)
The core accessibility mechanic was implemented
using the Decals technique. Yellow paint materials were created and projected
onto the textures of key objects and navigation paths, such as door handles,
switches, keys, and hiding spots. This technique allows for coherent visual
integration without modifying the base geometry of the objects. The game's
logic, interactions, and enemy artificial intelligence were programmed using
Unreal Engine's Blueprint visual scripting system.
2.2.
Sample and test procedure
A moderate in-person usability test was
conducted with a purposive sample of four university students. Participants
were selected to present conditions of reduced visibility pertinent to the
study, including myopia, astigmatism, and color blindness. The procedure was
carried out in a controlled environment to ensure consistency.
Each participant was asked to play the prototype
from the beginning with the objective of completing it. The progress was
structured into 11 implicit missions, for example, finding the flashlight,
activating the exit, which corresponded to 11 specific test cases. A moderator
observed the session, recording whether each test case was successfully
completed or not, along with qualitative observations on the player's behavior.
Transparency of the process was guaranteed, and participant consent was
obtained, ensuring research ethics.
2.3.
Data analysis
The analysis was primarily quantitative. The
prototype's effectiveness was measured by calculating the overall success rate,
defined as the total number of passed test cases divided by the total number of
executions, which was 11 cases × 4 participants = 44 executions. The results
were broken down by participant to identify individual patterns and were
supplemented with the analysis of the qualitative observations to contextualize
the failures and successes.
3.
Results
3.1.
Quantitative Analysis and Key Observations
The prototype evaluation was carried out by
executing a total of 44 test cases, yielding a balance of 29 passes versus 15
failures. This figure translates to an overall success rate of 65.91% (N=44).
This initial result validates the prototype's functionality, indicating that
the yellow paint mechanic was, for the most part, effective in guiding players
toward achieving the progression objectives.
3.2.
Variability in Participant Performance
A detailed presentation of the data by
participants (see Table 1) reveals, however, significant variability in
performance that deserves analysis:
§ Participant
EST_U_001 (Myopia/Astigmatism): Approved 8 out of 11 cases. Their difficulties
were concentrated on the initial detection of non-explicitly marked elements
and the navigation required in sections with greater pressure.
§ Participant
EST_U_002 (Myopia, Astigmatism, and Color Blindness): This user achieved
maximum effectiveness, completing 11 out of 11 approved cases. This result is
of capital importance as it establishes that the intensity and contrast of the
yellow marker were fully functional for this multiple visual condition,
allowing them to execute all tasks without registering difficulties
attributable to the diegetic signaling.
§ Participant
EST_U_003 (Myopia and Astigmatism): Despite registering zero out of eleven
completed tasks, the participant's low performance is not attributed to visual
limitations. Review of the session demonstrated that the main obstacle was the
user's inexperience with video games, which impacted their difficulty in
coordinating the movement controls and the camera (which acts as the
first-person player role), preventing effective interaction and vitiating the
normal development of the test.
§ Participant
EST_U_004 (Myopia and Astigmatism): This user demonstrated outstanding
performance, with 10 out of 11 cases successfully completed. Their tests
evidenced agile navigation and instant identification of the previously
demarcated elements.
Table 1. Summary of key
results by test case
|
Test Case |
Key Objective |
Pass |
Fail |
Notable Observations |
|
PT_A1_002 |
Locate marked flashlight |
3 |
1 |
Key objects with yellow mark was successfully located by the majority. |
|
PT_A1_005 |
Locate marked key |
3 |
1 |
Ditto. Signaling was clear for progression. |
|
PT_A1_007 |
Activate marked switch |
3 |
1 |
Ditto. High contrast in the dark cellar proved
effective. |
|
PT_A2_002 |
Activate marked crank |
3 |
1 |
Ditto. The visual guide worked even in the
highest tension act. |
|
PT_A1_001 |
Find first note |
2 |
2 |
Less positive outcome: Initial detection of objects not directly
marked with paint (only yellowish color) was less effective. |
3.3.
Interpretation and contribution
Successes were unequivocally concentrated on the
interaction with those objects crucial for progression that had been explicitly
demarcated with yellow paint. The high contrast of the color against the dark background
of the horror environment was a determining facilitating factor for the
localization of these elements. In contraposition to the reviewed literature,
which frequently proposes the implementation of extradiegetic solutions (HUD or
menus), our preliminary results strongly suggest that an integrated, diegetic
visual guide is a viable and effective alternative, maintaining immersion.
4. Discussion
The results of this study support the hypothesis that
yellow paint can function as an effective diegetic visual aid to improve
accessibility in video games. The overall success rate of 65.91% and the nearly
perfect performance of two out of the four participants with reduced visibility
demonstrate the viability of the technique. The main strength of this approach,
evidenced in the tests, is its capacity to guide the player's attention toward
crucial elements in an intuitive manner without breaking immersion, which is a
common problem in other accessibility solutions in various research (Martinez
et al., 2024; Oliva-Zamora & Mangiron, 2025).
The results are nuanced. For example, the positive
performance of the participant with color blindness (EST_U_002) was
significant, indicating that the high contrast inherent in the yellow color can
be a valuable alternative for addressing diverse simultaneous visual
limitations, beyond the specific correction of myopia. However, the recorded
errors also offer valuable lessons, as was the case with participant EST_U_003
which shows a limitation of the proposed approach: isolated visual
accessibility may not be enough to overcome usability barriers when there is a
lack of basic game control knowledge.
This highlights that accessibility must be understood
as a multifactorial phenomenon that requires comprehensive solutions regarding
the effectiveness of diegetic visual guidance, and not exclusively unifocal
ones.
Furthermore, the difficulties reported by participant
EST_U_001 in the initial identification phase and during navigation under
conditions of stress indicate that the efficacy of the yellow paint is highly
dependent on the ludic context, the level of tension perceived by the player,
and the subtlety with which it is integrated into level design.
Therefore, the incorporation of yellow paint decals
represents a low-cost technique that is simple to implement in advanced
graphics engines like Unreal Engine; moreover, it provides developers with a
direct way to “attend” to more players without compromising artistic coherence
in video game production. From a theoretical perspective, this study
constitutes an empirical validation of a specific diegetic technique, and
contributes to the academic debate around inclusive design capable of balancing
the guidance function with player immersion (Oliva-Zamora
& Mangiron, 2025; Palmquist et al., 2024).
For future research, the objective would be to
increase the robustness and scope of these solutions. For instance, the
incorporation of auditory signals (spatialized sound or haptic feedback) could
reinforce directional guidance, especially in situations that demand discretion
or present a high level of environmental stress.
Additionally, it would be of great value to explore
the variation in the morphology and pattern of the yellow markers. This would
allow for the differentiation of various types of interaction. For example, a
striped pattern could signal a climbable object, while a circular shape could
indicate an activatable switch, thereby enriching the diegetic visual
communication.
5. Conclusions
Although AAA titles like God of War and Resident Evil
4 Remake have already adopted yellow paint as a design convention, our research
is distinguished by subjecting this practice to a systematic and rigorous
evaluation. We worked with a user panel that combines myopia, astigmatism, and
color blindness, which allows us to offer unique and concrete data. The
empirical contribution of this study is, therefore, twofold: it validates the
technique in a controlled environment and, simultaneously, addresses a crucial
gap in current academic knowledge.
Studying has fundamental empirical value because it
addresses a significant gap in existing knowledge. Despite yellow paint being a
design convention in games like God of War and Resident Evil 4 Remake, no
formal reports were found confirming that this practice had been systematically
evaluated. What differentiates this work is the systematic validation of the
technique in a controlled environment, using a group of users with specific
visual conditions such as myopia, astigmatism, and color blindness. This not
only validates its practical use but also provides concrete, previously
unavailable data.
This approach expands the usual focus on adaptive
hardware or non-diegetic software adjustments and aligns with the premise that
accessibility must be integrated from the conceptual phases of design,
demonstrating that inclusion can and should constitute an organic element of
the video game industry's world. The practical application of this perspective
is low-cost and highly integrated, without compromising immersion, which is an
aspect that distinguishes it from alternatives based on HUDs, which are often
distant from the diegetic experience.
By moving past the need for options menus,
high-contrast visual guides—such as yellow paint—advocate for integrating
accessibility into gameplay by default. However, not everything is visual, as
the case of inexperienced players like EST_U_003 raises an essential nuance,
such as control or motor interaction issues, despite attempts to provide clear
visual signaling. This teaches that an accessibility design must be
multidimensional, addressing aspects like player dexterity. An additional point
is that the success of the technique is tied to the presence of the markers;
this eventually complicates navigation in areas of the scenario that are not
directly signposted.
Despite the above, it is advisable to delve deeper
into the study of combining yellow paint with additional sensory modalities,
such as auditory or haptic stimuli, which addresses high-tension video game
scenarios and expands the robustness of the proposed approach.
It is also necessary to investigate the use of
variable patterns and shapes (arrows, footprints) to transmit different types
of interaction, thereby increasing the richness of the diegetic visual
"language." Furthermore, the need to conduct studies with a more
extensive and heterogeneous user sample to validate these results on a larger
scale is unavoidable.
In conclusion, this study affirmatively answers the
main objective by establishing, through the construction and subsequent
evaluation of a prototype, that yellow paint stands as a viable and relevant
diegetic visual support that enhances accessibility without imposing a cost on
player immersion. Despite the limitations identified, the study provides a
practical and theoretical contribution to video game design, demonstrating that
it is feasible to create more inclusive and equitable experiences through low-cost
and highly integrated solutions.
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