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It is easy to see that video games are becoming increasingly more inventive, innovative and immersive. We see, every year, a staggeringly diverse array of titles. These are produced by organisations as varied as transnational corporations, midsized indies, and bedroom coders. Twenty Sixteen alone has seen the release of games as varied as No Man’s Sky; Deus Ex: Mankind Divided; the Telltale Games Batman Series; Overwatch; Duskers; and the Duelyst. In the modern gaming cornucopia, players are truly spoiled for choice. There is something there for everyone, and everyone can find something. Most of the time. The reality of the matter is that the provision of popular gaming entertainment exists in a two-tier system. There are those that can enjoy the products of a video game industry at the height of its creativity, and those that are excluded from full participation. This is not as a result of malice or intentionally exclusionary design, but as a consequence of often inadvertent inaccessibility. Many games remain, even now, obstinately inaccessible in a societal context that stresses the importance of inclusion. This is an issue that plagues video games specifically, but also has its direct parallel with the accessibility of other, more tactile products such as table-top titles, and the overlap between apps and designer board-games. In times of increased financial pressures, intense competition, and often highly expensive development cycles it is surprising that this should be the case. There is a substantial, largely untapped marketplace, consisting of gamers with physical, cognitive, auditory or visual impairments. Accessibility makes sound business sense. I have had this conversation with many people, and some—even those most affected by issues of accessibility—consider it to be a matter of limited priority.

Cultural Integration and the Accessibility of Gaming