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'At the core of everything we've developed was giving our customers the freedom and convenience to make payments simply and easily,' said Rafael Soto, CEO of MODO. Spreedly's vaulting solution is also used to securely capture and store payment details in an independent vault. The goal is to create an industry that respects and acknowledges disabled gamers, and that includes respect from players.Spreedly's Payments Orchestration platform is used by the MODO team to rapidly develop the connections required to the over 35 bank partners offered by the MODO app. The sooner we separate the idea of accessibility and difficulty being the same thing, the more inclusive our communities can become. We need to recognise accessibility as more than just adding different difficulty modes, and that including more options does not change the core experience in any way, at all. We as players also have a responsibility.

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This means adding complete button remapping, auto-assist, clear text formatting, font size adjustment, manual saving, clear visual and audio cues-and that's just a small portion of the many ways games can be made more accessible.Дispelling myths around accessibility and development is important, but it's not just on game creators to make changes. It takes work, but the result is your game reaching a wider audience. And it's just good business sense, if developers and publishers care about the number of potential customers they have. In short, there is no downside to implementing more options for a greater variety of players. People don't play these games just for the difficulty, and only viewing FromSoft's work, and games in general, as things to conquer diminishes the work that went into them. The idea that adding more options threatens the developer's artistic vision is simply not true, and plenty of developers have said as much, including God of War director Cory Balrog, Double Fine, and Insomniac Games. Adding more settings to any of FromSoft's work would not take anything away from any of those features. FromSoft's games have incredible worlds stuffed with stories, mystery, and lore. Sekiro and the Soulsborne games in general are great examples to apply here. Very few player types only care about one of those motivations.'

'Most players engage with games in a multitude of ways and with diverse motivations.

'Most teams will identify a group of core player motivations that they are looking to cater to throughout the experience, and that's how discussions around challenge emerge in context,' Scheurle says. Most players engage with games in a multitude of ways and with diverse motivations Jennifer Scheurle, BBI In her 'Ditch the Difficulty Discussion' talk at the Ludicious X game festival in 2020, Jennifer Scheurle, lead game designer at Blackbird Interactive, addressed this change. It's unfortunate that difficulty is tied to the identities of some players, but as games have switched focus from leaderboards and high scores, so has the way players engage with them. Control's fast-paced and dynamic gameplay doesn't go away after a few tweaks in the assist menu, and Pathologic 2's fifteen different sliders have explanations on how and why they affect gameplay, letting you tailor the experience as you wish. An article on the role of game difficulty by Ruth Cassidy (who has also written some fantastic words for our Accessibility Week) discusses how developers have successfully done this using Celeste, Control, and Pathologic 2. How can we make games more friendly for those with motor, visual, and hearing disabilities? How can we use clever game design so every player gets the same experience, regardless of what they toggle in the settings? The players asking for more accessibility want challenging games too, and creative solutions are required to find that balance.ДЄ handful of games have adjusted their settings and still manage to offer the same experience for everyone. We need to ask broader questions about how games can be designed to reduce demands on the player-that's where the conversation about accessibility should start.