Reducing Cognitive Load in

Reducing
Cognitive Load in Stardew Valley

Stardew Valley

A conceptual interface mod for Stardew Valley, designed to support neurodivergent players by reducing cognitive friction without lowering difficulty.

Role

Solo — research and design (personal case study)

Solo — research and design

(personal case study)

Timeline

2 months

Client

N/A (personal project)

Build in

Figma

Introduction

Stardew Valley is often described as a cozy game. Its pixel farm, unhurried seasons, and gentle rhythm make it a place players return to when they want to relax. Yet beneath that calm atmosphere, the game constantly asks players to keep track of information: birthdays, quest deadlines, crop schedules, animal care, and dozens of small details spread across different menus and moments.


For many players, this is simply part of the experience. For players with cognitive accessibility needs, however, the way information is presented and retrieved can create unnecessary cognitive friction.


This case study explores how interface design can better support those cognitive processes. Through a conceptual mod for Stardew Valley, it proposes a set of interface modifications that reduce cognitive load without changing the game's mechanics or intended difficulty.

Project Goal

The goal is to remove barriers of cognitive friction, not to reduce difficulty. Difficulty is what the game asks you to master: managing the farm, prioritizing, accepting the consequences of a badly planned day. Friction is the mental cost of operating the interface while you do that: remembering, searching, rereading, reacting in time. This project works only on the second.

No proposal forces anything on the player; each one is optional and, where it makes sense, adjustable. Anyone who enjoys keeping track of their own deadlines in their head stays free to do so. The principle: give the player autonomy over pace and load, without changing the task.


This proposal is designed for PC and Mac only, because SMAPI, the mod loader Stardew Valley's community builds on, runs where the game's files are accessible. Consoles don't allow that.

Details: Initiative (push/pull)

Details: Initiative (push/pull)

Details: Load (keeping track / keeping up)

Details: Load (keeping track / keeping up)

Game Accessibility Guidelines (GAG)

Game Accessibility Guidelines (GAG)

The scientific base

On top of these three pillars sits the cognitive science each category calls on: prospective memory (Einstein & McDaniel, 1990; Fuermaier et al., 2013), visual search and selective attention, time pressure and autonomy. Play Without Barriers (Tencent, 2024) supports the field.

What this study rests on, and what it didn't do

This study ran no primary validation test. The barriers are grounded in three sources: the cognitive literature, an analysis of existing mods, and formative research with players, spontaneous accounts from neurodivergent players on Reddit about their relationship with the game. The validation I would run, once the mod is built, is described in "Next steps and validation."

Secondary concepts (where the proposals draw support)

Beyond the three lenses, some proposals lean on concepts from the design literature:

  • Glanceable design (Matthews, Forlizzi & Rohrbach, 2006), information understood at a glance, with minimal effort.

  • Visual variables (Bertin, 1967), the visual grammar (colour, shape, opacity) that encodes meaning.

  • Information architecture / findability (Morville, 2005), structuring a collection so an item can be found again.

  • Diegesis (Fagerholt & Lorentzon, 2009), whether the UI lives inside or outside the game's fiction.

Analysis of Existing Solutions

Analysis of
Existing Solutions

The community already feels these barriers. The two reference mods, UI Info Suite 2 and To-Dew, add up to more than 2.2 million unique downloads. But they make information visible, not manageable, and they stay in the pull model.

UI Info Suite 2

Reveals hidden information (crop growth, birthdays, animal state) via tooltips and the HUD. It proves the demand, but its philosophy is coverage: everything visible, all the time. It answers "what's the state?", not "what needs my attention now?". More visible information isn't less load.

The clearest evidence isn't in the mods — it's on paper. Players keep notebooks, bullet journals, and spreadsheets to hold what the game won't: bundle checklists, gift preferences, fishing conditions, birthday calendars. When people leave the game to manage the game, the workaround itself is the proof — what they rebuild by hand is exactly what the interface should surface, at the moment it matters.

Search "stardew valley checklist" and brace yourself for a world of spreadsheets, printable planners, and handmade notebooks decorated with pixel villagers.

Barriers and Proposals: the four categories

Barriers and Proposals:
the four categories

Category 1: Objective and Deadline Tracking

Category 1: Objective and Deadline Tracking

The game holds every deadline but never surfaces them: the player has to remember what's coming, where to check, and when to act. The proposal adds proactive letters (birthday, planting, quest reminders delivered through the in-game mail, in a villager's voice) and a quest pin on the HUD. The letters close the planning gap by pushing information at the right moment; the pin keeps the chosen objective in view without opening a menu.

The game holds every deadline but never surfaces them: the player has to remember what's coming, where to check, and when to act. The proposal adds proactive letters (birthday, planting, quest reminders delivered through the in-game mail, in a villager's voice) and a quest pin on the HUD. The letters close the planning gap by pushing information at the right moment; the pin keeps the chosen objective in view without opening a menu.

THE BARRIER

THE BARRIER

The game hands the player all the information but none of the planning.

The game hands the player all the information but none of the planning.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, finish the monster-slaying Special Order before it expires. The information is all there. You can open the journal to check a quest or walk into town to read the calendar. But it rarely comes to you.

Instead, it stays scattered across menus, places, and moments. Keeping track means remembering that something needs attention, remembering where the game stores that information, and remembering to check it again. The information exists, but managing it becomes part of the player's cognitive workload.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

Six systems, six different places, zero reminders. Welcome to the administrative side of cozy farming.

WHY IT OVERLOADS

WHY IT OVERLOADS

A menu holds the information. Nothing holds the intention.

A menu holds the information. Nothing holds the intention.

The hard part isn't storing the information, it's turning it into a plan. Cognitive science calls this prospective memory: remembering to carry out an intention at the right future moment, not recalling a fact from the past (Einstein & McDaniel, 1990).

It runs in stages: organizing what to do and when, holding that plan in mind, and acting on it at the right moment. An estimated 50 to 80 percent of everyday memory failures are prospective (Kliegel & Martin, 2003).

That's why a system that only stores information doesn't solve the barrier: it still asks the player to form the intention alone. A system that triggers takes on the very stage that fails.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

Plan


organize the tasks into a plan: what to do, and when

Remember

hold the plan in mind until is needed

Start

begin acting at the right moment or cue

Do

carry the plan out as intended

Prospective memory runs in four steps. In adults with ADHD, only the first, planning, breaks down.  Remembering, starting, and doing stay intact (Fuermaier et al., 2013).

THE PROPOSAL

THE PROPOSAL

The game warns, the player pins.

The game warns, the player pins.

If the planning stage is where memory breaks, the proposal has to act there: not store more information, but deliver it at the moment the player needs to act. The category does this in two moves. One is pull: the player pins a quest to the HUD, keeping it in sight instead of buried in a menu. The other is push: the game sends a letter before the deadline, taking on the trigger the player would have to fire alone.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

pull

The quest pin

The player pins an active quest to  the HUD. The objective and its days  remaining stay in view, so the  deadline no longer hides inside a  menu.

push

Proactive letters

The game sends a letter the day before a deadline, with  the context needed to act. The game does it on its own.

Birthday — a gift hint, from someone close to the villager

Last planting day — before the season closes the window

Dated quest — before a timed quest expires

Before the proposal: how the game's
mail works

Before the proposal: how the game's
mail works

Letters are the game's mail: messages that arrive in the farm's mailbox and that the player reads right there. Some come on fixed dates; others when a condition is met, and when something is waiting a speech bubble with a letter icon appears above the mailbox. It's a channel the player trusts and already knows how to use, but underused for looking ahead.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

Standard letters
quests, events, tips, lore, achievements

Standard letters
quests, events, tips, lore, achievements

Friendship letters

heart events & messages from villagers

Friendship letters

heart events & messages from villagers

Repeatable letters
random gifts, by friendship level

Repeatable letters
random gifts, by friendship level

FIRST PROPOSAL

FIRST PROPOSAL

✉️ The proactive letters (birthday · planting · quest)

LOAD:

keeping track

MECHANISM:

push (the game sends)

GAG:"Indicate / allow reminder of current objectives during gameplay" (Cognitive · Intermediate)

The strength of this proposal is that it invents nothing. The mail is already there: reliable, part of the player's morning, and a familiar channel. Only two things change: the timing and the voice. Each letter arrives in time for the player to act on it, and comes from a character who would plausibly send that specific message. Pierre can warn about a planting deadline because he sells the seeds; someone close can remind the player about a birthday.

The letter is therefore diegetic (Fagerholt & Lorentzon, 2009): it exists within the game's fiction rather than being layered on top of it, protecting immersion through consistency between sender, content, and world.

There is also a gain beyond the reminder itself. A to-do list like To-Dew supports the player from outside the fiction; the letter becomes part of it. Written in a villager's voice, each reminder can also become a small character moment. It feels less like a practical mod and more like content the game could have shipped with.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

Details: A game-UI vocabulary: diegesis

Details: A game-UI vocabulary: diegesis

✉️ 🌱 Crop Reminder: the letter on the eve of each planting deadline

✉️🌱 Crop Reminder:
the letter on the
eve of each planting
deadline

Most crops die on the first day of the next season, and each one has its own last possible planting day, counted backward from when it needs to harvest. The game shows the growth time in the seed's tooltip, but doing the math and remembering the deadline is left to the player. The letter arrives on the eve of that day, naming the crop and its deadline. The sender is Pierre, who owns the General Store and sells the seeds: he has reason to keep track.

Since some crops share the same last planting day, their letters can pile up. The frequency is configurable: one letter per crop by default (small notes are easier to act on than a dense list), with the option to switch to a weekly digest.

Crop Alert Per Crop

Branding

From strategy to execution, we create authentic brand experiences that connect with your audience and foster lasting relationships

Weekly in-game letter from Pierre over the farm with crop planting deadlines.

Crop Alert Per Crop

One letter per crop, one day before its planting deadline. Each note names the crop and the last day to plant it. Small notes are easier to act on than a long list: one crop, one decision.

Weekly Crop Alert

In-game letter from Pierre displayed over the town scene with a highlighted seed icon.

✉️ 🎁 Birthday reminder: the letter on the eve of the birthday

Stardew Valley has 34 villagers with birthdays, each on a fixed day. A gift on a birthday is worth eight times the usual friendship, and if you miss it, that bonus is gone for a year. Each villager has their own taste: a handful of loved gifts, a few liked ones, and plenty they dislike or hate, across hundreds of items. The date is on the calendar at Pierre's shop, but the player has to remember to check it and figure out what to bring. Two things to hold in your head, almost every other day, all year.

Wrong gift. One year to recover. Or five minutes on the wiki. We’ve all been there.

On the eve of the birthday, a letter arrives, one day early so the player has time to buy or craft the gift. It includes a hint at a gift the villager likes (never one they love, that's left as the player's discovery).

The hint changes by year: in the first year, the letter is narrative, from someone close to the birthday person; from the second year on, it's random, from one of four town figures matched to the gift.

Narrative (Year 1)

From someone close to the birthday person, drawn from the game's relationships. In this example, Pam writes about her daughter Penny's birthday. The two have a strained relationship the game itself explores, so the reminder doubles as a character moment.

Random (Year 2+)

In-game letter with Penny’s portrait and a gift icon beside it.

Narrative (Year 1)

From someone close to the birthday person, drawn from the game's relationships. In this example, Pam writes about her daughter Penny's birthday. The two have a strained relationship the game itself explores, so the reminder doubles as a character moment.

Random (Year 2+)

In-game letter with Penny’s portrait and a gift icon beside it.

✉️ ❗️ Quest reminder: the game warns before the quest is lost

Not every forgotten quest is lost for the same reason. Before the letters, it's worth seeing how quests work today:

A quest can arrive by mail or by a board in town. Some have no deadline (Story Quests); others run against the clock (Help Wanted, Special Orders). Either way, it lands in the journal. The journal button pulses when something new comes in, but after that first signal, it goes quiet. To check the objective, the deadline, or how far along you are, the player has to open the journal, find the quest, and read through it every time.


Quest journal listing active quests by title.
Quest journal listing active quests by title.
Quest journal listing active quests by title.

Every quest ends up in the same journal. Good luck remembering to open it.

The proposal is two new letters, one for each kind of forgetting:

1. The Special Orders letter (quest with a deadline). These are community requests posted on the town board: gather materials, slay monsters, catch fish, within a fixed number of days. Miss the day, lose the reward. The player knows the deadline exists, but the journal never speaks up again after the first pulse.

The letter arrives around the last quarter of the timeframe, early enough to act. It reminds what to do, when it's due, and carries a new hint to help get it done. Signed by whoever posted the order.

Every Special Order was mapped by hand: I wrote a letter template for each one, with variables for the sender, the deadline, the task, and a hint matched to the request. The full spreadsheet holds every combination.

2. The Story Quests letter (quest with no deadline). These are plot-driven quests that arrive by mail: a villager asks the player to find and deliver a specific item, tied to the story and the characters' lives. No deadline sounds forgiving until you forget. Nothing prompts the memory, the quest sinks into the routine, and most ask for a seasonal item. Miss the season, wait a full year.

The letter arrives three days after the quest is received, before the window closes. It puts the quest back in view, naming the item and who to deliver it to, written in the villager's voice so the hint reads as conversation, not instruction. I mapped every story quest in the game and wrote each letter individually.

SECOND PROPOSAL

SECOND PROPOSAL

📍 Pin the quest on screen

LOAD:

keeping track

MECHANISM:

pull (the player chooses to pin)

GAG:"Indicate / allow reminder of current objectives during gameplay" (Cognitive · Intermediate).

The letters bring the quest to the player. The pin makes the complementary move. The journal already holds everything: the objective, a description, and the remaining days. But none of it reaches the HUD. The only way to check is to open the menu, read, close it, and hold the details in your head while you play. Most games with quests already offer a tracker; Stardew doesn't. The pin adds one.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

Quest journal entry for 'Fishing: Octopus' showing details, deadline, and progress.

Sure, Willy. Let me file this right next to the other ten things in my head I'm definitely not going to remember.

📍 The Quest Pin:

A new icon, drawn in the game's pixel style to match the existing ones, marks whether a quest is pinned or not. It sits next to Cancel, inside the quest: one click sends the quest to a compact box on the HUD; another unpins it.

Each pinned quest shows the name, the objective, a live counter, and the days left: exactly what the player would open the journal to check. Up to three fit at once (configurable), and the count shows in the header. When a quest is completed, the pin vanishes on its own.

Explore the prototype

Explore the prototype

The pin is pull: the player chooses to use it. To compensate, the empty box stays on screen on purpose, with a shortcut to the journal, so the player doesn't have to remember the feature exists.

The flag that marks a pinned quest uses shape and contrast, not color alone, to tell its states apart (GAG: "Ensure no essential information is conveyed by a fixed colour alone," Vision · Basic).

Every option is configurable through GMCM: how many quests to pin, where the box sits, whether to show the counter and days remaining, and the background transparency. The default works out of the box.

Settings menu

Category 2: Information Archive

Category 2: Information Archive

Letters are already saved in Collections since version 1.4, but the archive was built as a record, not a retrieval tool. The proposal adds a dedicated Mail tab with an icon per letter type (quest, gift, event, friendship, info, planting) and filters by type and sender, so the letters from Category 1 stay findable after they leave the mailbox.

THE BARRIER

THE BARRIER

The game hands the player all the information but none of the planning.

The game hands the player all the information but none of the planning.

The game keeps your letters. Since version 1.4 (2019), received mail sits in the Collections menu and can be reopened, but they show up in the order they arrived, as identical thumbnails, with no type, no filter, and no way to tell a recipe from a quest without opening each one.


Most of the base game's correspondence rarely needs a second look. But the moment the mail starts carrying letters worth revisiting, a collection you can't search becomes a real retrieval gap.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

Collections letters tab showing identical envelope thumbnails.
Collections letters tab showing identical envelope thumbnails.

It's like Where's Waldo, but every Waldo is wearing the same shirt.

WHY IT OVERLOADS

WHY IT OVERLOADS

The cost moves from remembering to retrieving.

The cost moves from remembering to retrieving.

An external store only eases memory if you can get back to what's in it.

Cognitive offloading (Risko & Gilbert, 2016) is how people cope with limited working memory, but the relief only holds while retrieval is cheap. When it isn't, the cost moves from remembering the content to finding it. Information architecture calls this findability: "you can't use what you can't find" (Morville, 2005).

For the letters the player comes back to, the archive needs to get retrieval right: the letter you're after should turn up the moment you look for it.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

Details: The four systems behind retrieval

Details: The four systems behind retrieval

📬 Mail Tab: From record to tool.

THE PROPOSAL

THE PROPOSAL

📬 Mail Tab

📬 Mail Tab.

LOAD:

keeping track

keeping track

MECHANISM:

pull (the player retrieves in menu)

pull (the player retrieves

in menu)

GAG:"Allow all narrative and instructions to be replayed" (Cognitive · Advanced)

The proposal is a real mail archive: its own tab in the menu, next to Inventory, Skills, and Collections, always a click away. Inside, each letter gets a small icon set by its intent, so you can tell at a glance what each one is, and the list can be sorted or filtered by type or by sender. The reminder letters from Category 1 keep living here too: when a birthday, planting, or quest letter leaves the mailbox, it stays available to be pulled back.

Six icons, each tied to the context of the letter: a quest, a gift, an event, a relationship, a piece of lore, or a farming reminder. The base game's letters and the mod's share the same icons when the context matches.

The letter that gives the quest (base game) and the quest reminder (mod)

A villager's gift, a recipe, and the birthday

reminder (mod)

A festival or event announcement

Friendship letters and heart events, when the intent is the bond

Lore, a personal letter, a tip, a tutorial, a notice, a reward or stock

The planting reminder (mod)

Icon

What goes here

the letter that gives the quest (base game)

and the quest reminder (mod)

a villager's gift, a recipe, and the

birthday reminder (mod)

a festival or event announcement

friendship letters and heart events,

when the intent is the bond

lore, a personal letter, a tip,

a tutorial, a notice, a reward or stock

the planting reminder (mod)

Icon

What goes here

the letter that gives the quest (base game)

and the quest reminder (mod)

a villager's gift, a recipe, and the

birthday reminder (mod)

a festival or event announcement

friendship letters and heart events,

when the intent is the bond

lore, a personal letter, a tip,

a tutorial, a notice, a reward or stock

the planting reminder (mod)

Explore the prototype

Category 3: Farm State Feedback

Category 3: Farm State Feedback

Dry soil differs from watered by a faint shade; unfed and unpetted animals show nothing at all. The player has to scan every tile and enter every building to check. The proposal adds proximity markers (a half-drop for watering, a half-heart for petting) that pulse near the player and fade with distance, plus a count on the HUD for watering and feeding. Both are glanceable, read preattentively, and fully customizable.

Before getting into the category, it's worth pinning down a few game terms that come up throughout:

Tile

The smallest unit of the game's grid. Each crop bed takes one.


Watering

Using the watering can (manual) or sprinklers (automatic).

Without water, the crop doesn't advance that day.


Feeding

One hay per animal per day, or grass if they graze.

Without food, no produce that day.


Petting

Clicking on the animal. Raises mood and, over time, friendship.




Mood


The animal's daily state. Combined with friendship,

it determines whether produce comes out large and

at what quality (silver, gold, iridium).


Friendship

The long-term bond with the animal. It sets the consistency and level of the products.


Friendship

The animal's daily state. Combined with friendship,

it determines whether produce comes out large and

at what quality (silver, gold, iridium).


Barn / Coop

Barn houses larger livestock (cows, goats, sheep, pigs, ostriches);
coop houses poultry and the like (chickens, ducks, rabbits, dinosaurs)




Hay


The animals' food, cut from grass with the scythe and stored in the silo. One hay per animal per day, when they aren't grazing..


Tile

The smallest unit of the game's grid. Each crop bed takes one.


Watering

Using the watering can (manual) or sprinklers (automatic).

Without water, the crop doesn't advance that day.


Feeding

One hay per animal per day, or grass if they graze.

Without food, no produce that day.


Petting

Clicking on the animal. Raises mood and, over time, friendship.




Mood


The animal's daily state. Combined with friendship,

it determines whether produce comes out large and

at what quality (silver, gold, iridium).


Friendship

The long-term bond with the animal. It sets the consistency and level of the products.


Friendship

The animal's daily state. Combined with friendship,

it determines whether produce comes out large and

at what quality (silver, gold, iridium).


Barn / Coop

Barn houses larger livestock (cows, goats, sheep, pigs, ostriches);
coop houses poultry and the like (chickens, ducks, rabbits, dinosaurs)




Hay


The animals' food, cut from grass with the scythe and stored in the silo. One hay per animal per day, when they aren't grazing..


THE BARRIER

THE BARRIER

The state of the world should be noticed, not hunted.

The state of the world should be noticed, not hunted.

The game tracks the whole state of the farm, but shows almost none of it. Watered soil is only a shade darker than dry; an empty trough only shows inside the building; whether an animal has been petted is buried in a menu, not visible on the farm itself, even though a missed day quietly lowers its mood and, over time, its friendship.


A forgotten task usually surfaces the next morning, when the crop hasn't grown, too late to fix. The player is left sweeping each tile, checking each barn, holding the whole farm in their head.

This is the feedback gap: the state is there, but reading it is on you.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

WHY IT OVERLOADS

WHY IT OVERLOADS

The player's eyes replace the missing feedback.

The player's eyes replace the missing feedback.

Reading the farm's state is a visual-search problem. A dry tile differs from a watered one only by a slight shift in shade, so it doesn't pop out on its own (Treisman & Gelade, 1980). Two things stack up:

• High similarity, slow serial search. The eye hunts tile by tile, and the cost grows with every tile in the field (Duncan & Humphreys, 1989).

• An attention system already strained. Selective visual attention, the system this search depends on, is less efficient in ADHD, both stimulus-driven and goal-driven (Klein & Mavritsaki, 2025). A slow search on a strained system.

The result: low-salience targets, in large numbers, searched by an attention system already stretched thin.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

Pop-out search

watering tile almost identical to dry

Checked tile by tile. Cost growns with the field.
Ducan & Humphreys (1989)

Reading the farm - hard

watering tile almost identical to dry

Seein in a single glance
Treisman & Gelade (1980)

Selective visual attention, the system this leans on, is impaired in ADHD, both stimulus- and goal-driven (Klein & Mavritsaki, 2025).


Faint cues + many tiles + a strained attention system = the worst case for these players.

If the barrier is a slow, serial search, the fix is its inverse. Glanceable design is information built to be read "with low cognitive effort," in a single glance, without pulling focus from the main task (Matthews, Forlizzi & Rohrbach, 2006). It works through preattentive processing: the brain categorizes basic features (colour, shape, size, motion) in parallel, before conscious attention, in under ~250 ms (Healey & Enns, 2012; Ware, 2020). The feedback gap forces a tile-by-tile hunt; a glanceable signal is read preattentively, in parallel.

Match expectations

form platers already know

Abstract

stripped to the minimum

Distinct

stands out by contrast

Consistent

one visual language

Proximity markers

A water-drop over each dry plant, a half-heart over each unpetted animal. Faint at a distance, full on approach or hover.

Match

Distinct

Abstract

Consistent

HUD Count

A running count in the HUD: "[N] crops need watering", "[N] animals need feeding".

Match

Abstract

Consistent

FIRST PROPOSAL

FIRST PROPOSAL

🌱 🐄 Farm State Feedback: Markers

🌱 🐄 Farm State Feedback: Markers

LOAD:

keeping track

MECHANISM:

push (ambient/peripheral)

GAG:"Ensure no essential information is conveyed by a fixed colour alone" (Vision · Basic)
"Avoid placing essential temporary information outside the player's eye-line" (Vision · Intermediate) "Provide an option to turn off / hide all non-interactive elements" (Cognitive · Advanced).

The first two are Vision: the project's scope is cognitive, but since the load here is a costly visual search, solving it also benefits players with low vision. The third is the cognitive anchor, the control to reduce or turn off the markers.

Perception and cognition aren't separate systems. When the eye can't catch something automatically, the cost falls on attention and working memory, which is exactly the cognitive system this project deals with. That's why the guideline is "Vision" on paper, but cognitive in effect, for these players.

I thought of two markers, one for each task where reading the state fails:

  • Watering: an unwatered tile can be hard to see, especially in a large field.

  • Petting: here there's no marker at all. To know which animals still need petting that day, the player has to test them one by one or open the Animals tab in the menu, which shows it but requires stopping the game to go check.

To reduce this visual search effort, contextual markers provide immediate feedback for daily tasks like watering crops and petting farm animals.

The system operates dynamically based on player proximity and task state:

Four-step lifecycle diagram of the crop watering marker showing proximity feedback from morning to completion.
Four-step lifecycle diagram of the animal petting marker showing proximity feedback from morning to completion.

I drew the two markers following Gestalt principles: they're incomplete shapes (a half-drop, a half-heart) that the brain tends to complete, the principle of closure, and the half-heart echoes the heart the game shows when petting, so it's recognized instantly.

The markers work within a 5×5 tile area centred on the player. Inside it, the marker appears at full opacity; outside, it drops to 20%, using opacity as a visual variable (Bertin, 1967) to control the hierarchy: far sits in the background of attention, near rises.

As the game offers tools that automate watering (sprinklers), feeding (autofeed), and petting (Auto-Petter), the marker can be turned off. The interface only exists while it's needed.

I drew the two markers following Gestalt principles: they're incomplete shapes (a half-drop, a half-heart) that the brain tends to complete, the principle of closure, and the half-heart echoes the heart the game shows when petting, so it's recognized instantly.


The markers work within a 5×5 tile area centred on the player. Inside it, the marker appears at full opacity; outside, it drops to 20%, using opacity as a visual variable (Bertin, 1967) to control the hierarchy: far sits in the background of attention, near rises.

As the game offers tools that automate watering (sprinklers), feeding (autofeed), and petting (Auto-Petter), the marker can be turned off. The interface only exists while it's needed.


Putting an icon over every object gave me pause, because filling the screen with markers also costs attention. GAG doesn't forbid showing information, but it points toward giving the player control to hide or reduce elements through exposing as many variables as possible for fine-tuning ("Allow gameplay to be fine-tuned by exposing as many variables as possible", General · Intermediate).

That's how I settled it: the tool is fully customizable, to fit whatever works for each player. It's the trade-off accessibility often imposes: the solution that removes a barrier isn't always the cleanest on screen, and one guideline can run into another.

I drew the two markers following Gestalt principles: they're incomplete shapes (a half-drop, a half-heart) that the brain tends to complete, the principle of closure, and the half-heart echoes the heart the game shows when petting, so it's recognized instantly.


The markers work within a 5×5 tile area centred on the player. Inside it, the marker appears at full opacity; outside, it drops to 20%, using opacity as a visual variable (Bertin, 1967) to control the hierarchy: far sits in the background of attention, near rises.


As the game offers tools that automate watering (sprinklers), feeding (autofeed), and petting (Auto-Petter), the marker can be turned off. The interface only exists while it's needed.


Putting an icon over every object gave me pause, because filling the screen with markers also costs attention. GAG doesn't forbid showing information, but it points toward giving the player control to hide or reduce elements through exposing as many variables as possible for fine-tuning ("Allow gameplay to be fine-tuned by exposing as many variables as possible", General · Intermediate).


That's how I settled it: the tool is fully customizable, to fit whatever works for each player. It's the trade-off accessibility often imposes: the solution that removes a barrier isn't always the cleanest on screen, and one guideline can run into another.

Mockup of crop and livestock proximity markers with visual fade.

Explore the prototype

Explore the prototype

Explore the prototype. Use the arrow keys or click to navigate.

Putting an icon over every object gave me pause, because filling the screen with markers also costs attention. GAG doesn't forbid showing information, but it points toward giving the player control to hide or reduce elements through exposing as many variables as possible for fine-tuning ("Allow gameplay to be fine-tuned by exposing as many variables as possible", General · Intermediate).

That's how I settled it: the tool is fully customizable, to fit whatever works for each player. It's the trade-off accessibility often imposes: the solution that removes a barrier isn't always the cleanest on screen, and one guideline can run into another.

I drew the two markers following Gestalt principles: they're incomplete shapes (a half-drop, a half-heart) that the brain tends to complete, the principle of closure, and the half-heart echoes the heart the game shows when petting, so it's recognized instantly.


The markers work within a 5×5 tile area centred on the player. Inside it, the marker appears at full opacity; outside, it drops to 20%, using opacity as a visual variable (Bertin, 1967) to control the hierarchy: far sits in the background of attention, near rises.


As the game offers tools that automate watering (sprinklers), feeding (autofeed), and petting (Auto-Petter), the marker can be turned off. The interface only exists while it's needed.


Putting an icon over every object gave me pause, because filling the screen with markers also costs attention. GAG doesn't forbid showing information, but it points toward giving the player control to hide or reduce elements through exposing as many variables as possible for fine-tuning ("Allow gameplay to be fine-tuned by exposing as many variables as possible", General · Intermediate).

That's how I settled it: the tool is fully customizable, to fit whatever works for each player. It's the trade-off accessibility often imposes: the solution that removes a barrier isn't always the cleanest on screen, and one guideline can run into another.

I drew the two markers following Gestalt principles: they're incomplete shapes (a half-drop, a half-heart) that the brain tends to complete, the principle of closure, and the half-heart echoes the heart the game shows when petting, so it's recognized instantly.

The markers work within a 5×5 tile area centred on the player. Inside it, the marker appears at full opacity; outside, it drops to 20%, using opacity as a visual variable (Bertin, 1967) to control the hierarchy: far sits in the background of attention, near rises.


As the game offers tools that automate watering (sprinklers), feeding (autofeed), and petting (Auto-Petter), the marker can be turned off. The interface only exists while it's needed.


Putting an icon over every object gave me pause, because filling the screen with markers also costs attention. GAG doesn't forbid showing information, but it points toward giving the player control to hide or reduce elements through exposing as many variables as possible for fine-tuning ("Allow gameplay to be fine-tuned by exposing as many variables as possible", General · Intermediate).


That's how I settled it: the tool is fully customizable, to fit whatever works for each player. It's the trade-off accessibility often imposes: the solution that removes a barrier isn't always the cleanest on screen, and one guideline can run into another.

Settings menu

Farm State Feedback settings menu showing proximity, opacity, and size options for markers.
Farm State Feedback settings menu showing proximity, opacity, and size options for markers.

SECOND PROPOSAL

SECOND PROPOSAL

🌾 🐖 Farm State Feedback: Counters

🌾 🐖 Farm State Feedback: Counters

LOAD:

keeping track

MECHANISM:

push + pull

GAG:"Ensure no essential information (especially instructions) is conveyed by text alone, reinforce with visuals and/or speech" (Cognitive · Intermediate).

The goal is to make checking the farm’s state quick and effortless. Instead of moving around the farm to work out what still needs attention, the player gets an immediate overview: a count of crops that need watering or animals that need feeding.

To communicate this information without adding another layer of complexity, the counter follows Stardew’s existing visual language. The game already uses HUD notices that combine text and icons, a pattern that also aligns with the GAG guideline on using multiple modes of communication. The proposal applies the same approach here: a simple count paired with an icon, designed to be understood at a glance.

This turns a scattered check into a single, low-effort piece of feedback. The player does not need to remember where to look, interpret a new system, or inspect the farm to build an overview. The information is available when they need it, in a form that already feels familiar within the game.


Watering
A HUD notice shows how many crops still need water. It appears at a moment set by the player (push) and can also be bound to a key for a manual check (pull). The marker (first proposal) shows which plant; the count shows how many are left, the whole farm in one line.

HUD counter tooltip showing watering icon and calculation rule for crops needing water.
HUD counter tooltip showing watering icon and calculation rule for crops needing water.
In-game view of crops with a HUD counter reading '24 crops need watering'
In-game view of crops with a HUD counter reading '24 crops need watering'

Feeding
Animals eat by grazing outside or from hay in the trough. The count takes the building's population, subtracts each animal already fed, and shows the rest. Unlike watering, there's no need to find each animal: hay goes to one place, so the useful number is how many are left, not which ones.

HUD counter tooltip showing hay icon and calculation rule for animals needing food.
In-game barn view with a '2 animals need feeding' HUD badge.

Details: Why only watering and feeding have a count

Details: Why only watering and feeding have a count

Category 4: Emotional Regulation and Pace

Category 4: Emotional Regulation and Pace

The in-game clock runs at a fixed pace the player can't change, compressing decisions into a window that shrinks further for players who perceive time less accurately. The proposal is Day Cycle: the player slows time for a chosen stretch of the day (morning, afternoon, or night), gaining more real seconds per in-game minute without changing the day's structure. The task stays the same; only the pace adjusts.

THE BARRIER

THE BARRIER

Autonomy over pace keeps the challenge and returns control.

Autonomy over pace keeps the challenge and returns control.

Most of this case study is about keeping track. This category is about the other load, keeping up: matching the pace.

The day runs from 6 am to 2 am, twenty in-game hours in about fourteen real minutes, at a fixed pace the player can't change. They can end the day early by sleeping, but that controls only the day's length, never its speed.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

Morning

6 AM - 12 PM

6h in-game | 4m 12s real

6 AM - 12 PM

6h in-game | 4m 12s real

Shops open at 9 AM

Shops open at 9 AM

Afternoon

12 PM - 6 PM

6h in-game | 4m 12s real

12 PM - 6 PM

6h in-game | 4m 12s real

Shops close 4-5 PM - Saloon opens noon

Shops close 4-5 PM - Saloon opens noon

Night

6 PM - 2 AM

8h in-game | 5m 36s real

6 PM - 2 AM

8h in-game | 5m 36s real

Saloon closes midnight - Collapse at 2 AM

Saloon closes midnight - Collapse at 2 AM

A full day = 20 in-game hours, about 14 real minutes.

A full day = 20 in-game hours, about 14 real minutes.

And the day is a budget: almost every action spends in-game minutes. The clock presses hardest where thought needs to be precise: deciding the morning route, catching a shop before it closes, stretching near 2 am when staying up costs energy and resources. A player who needs a moment to decide spends that moment watching the clock run.

To relieve this tension without trivializing the experience, we have to separate what the player does from how fast they are required to do it. Standard "easy modes" tend to target the mechanics themselves: stopping time, removing fail conditions, or skipping interactions entirely. While this removes pressure, it also hollows out the challenge and breaks the game's economic balance.

A rate-based approach takes the opposite path. By simply giving players control over the flow of time, the core decisions, stakes, and progression remain completely untouched. The friction drops, but the intentionality stays intact.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

WHY IT OVERLOADS

WHY IT OVERLOADS

The clock doesn't wait.

The clock doesn't wait.

Time pressure shortens the decision window (Yildirim, 2016), and for a player already overloaded, that compression turns into freezing rather than speed. Players describe the clock as a source of decision paralysis, some restarting whole saves after losing track. And when a timed choice goes wrong, the cost is personal: "players may feel less effective, especially if they fail, which results in a decrease in competence" (Yildirim, 2016).

The clock isn't even neutral for this audience. People with ADHD tend to perceive time less accurately, a deficit consistent in the literature (Metcalfe, McFeaters & Voyer, 2023), so a fixed pace is calibrated by a clock they don't share well.

The claim stays modest: this is momentary pressure, not clinical anxiety, and it isn't the game being too hard. Pace is an axis separate from difficulty.

The concept: autonomy over pace. Self-Determination Theory treats autonomy as a basic need, and time pressure undermines it directly (Yildirim, 2016). Pressure also has an optimal level that varies by player; a fixed pace sets that level once, for everyone. Handing the adjustment to the player lets each one find their own.

This isn't exotic: Stardew itself already varies the speed of time by place. In the Skull Cavern the clock runs slower, about 0.9 seconds per in-game minute against 0.7 elsewhere. The game already does, in a fixed place, what the proposal hands over as the player's control.

What keeps this from becoming easy mode is one distinction: task versus pace. The diagram below breaks it down.

Play Stardew Valley for a few days and a silent list starts forming in your head: plant the pumpkins before fall ends, don't miss Mayor Lewis's birthday, wrap up the monster-slaying Special Order before it expires.

The game holds all of it and shows any piece when you ask: opening the journal for a quest, walking into town just to check the calendar. But the information never comes to you. It waits, scattered: one part hidden in a menu, another on a wall across town, and it never resurfaces on its own.

To keep up, the player has to remember that a deadline exists, remember where the game keeps it, and go look. Every day. This is the planning gap: all the information is available, but assembling it into a plan is left entirely to the player.

A pressured moment demands two things at once: what to do and how fast to do it

The TASK dial

what you actually do

Turn the task dial and you get:
• freeze the clock entirely
• remove the fail-state
• skip the task altogether

✗ Easy mode

the challenge is gone, the game unbalances.

The RATE dial

how fast you’re forced to act

Turn the rate dial and you get:

• slow the clock for a chosen stretch
• the day still runs 6 am – 2 am
• economy and seasons untouched

✓ Pace control

the challenge is intact, the player has autonomy.

The proposal turns the rate dial, never the task dial.

THE PROPOSAL

THE PROPOSAL

⏳ Day Cycle (speed of time by period of day).
⏳ Day Cycle (speed of time by period of day).

LOAD:

keeping up

MECHANISM:

pace control (adjuste pace, not information)

pace control

GAG:"Include an option to adjust the game speed" (Cognitive · Intermediate).


It's also listed under "Motor · Basic". The project's scope is cognitive, but the same speed control can benefit players with motor limitations.

🐌 Slow mode

🐌 Slow mode

The proposal lets the player slow that pace for a chosen stretch, morning, afternoon, or night: more real seconds per in-game minute, more real time to act, while the in-game day itself stays untouched. It still runs from 6 am to 2 am, the season still turns, the economy doesn't change. It's regulation, not a longer day.

A snail-shaped indicator below the clock shows when a slowed stretch is active; hovering it brings up the text. Icon and text together keep the information from living in a single channel (GAG: "Ensure no essential information is conveyed by text alone, reinforce with visuals," Cognitive · Intermediate).

In-game clock HUD with a slowdown icon and tooltip indicator.

Settings menu

Slow Mode settings menu with time period speed options.

Next steps

The next step is to build the proposals as a SMAPI mod, turning prototypes into a playable implementation and opening the path to real validation.


The build follows maturity and dependency. The quest pin ships first: it is the simplest to implement and has no dependencies on other modules. The target release is September 2026 on Nexus Mods. The proactive letters and the mail archive ship together as a second module, since the archive is where reminder letters remain accessible after delivery. The proximity markers and day-cycle speed control follow as a third module. No timeline is set for modules two and three yet. All proposals except the day-cycle speed control have interactive prototypes built in Figma, including in-game mockups and settings menus.


Building the mod is a collaboration with a developer. My role stays on the design side: writing the spec, defining behavior rules, creating the visual assets, and iterating based on player feedback after each release. Nexus Mods provides the distribution channel and, critically, a comment section where players report bugs, request configuration options, and describe how the mod fits (or fails to fit) their play.

The goal is not a finished product but a set of cognitive-accessibility proposals that neurodivergent players can use, adjust, and, ideally, stop noticing, because the friction is no longer there.

The next step is to build the proposals as a SMAPI mod, turning prototypes into a playable implementation and opening the path to real validation.


The build follows maturity and dependency. The quest pin ships first: it is the simplest to implement and has no dependencies on other modules. The target release is September 2026 on Nexus Mods. The proactive letters and the mail archive ship together as a second module, since the archive is where reminder letters remain accessible after delivery. The proximity markers and day-cycle speed control follow as a third module. No timeline is set for modules two and three yet. All proposals except the day-cycle speed control have interactive prototypes built in Figma, including in-game mockups and settings menus.


All interactive prototypes are available in Figma and can be explored directly. Category 1: Proactive Letters, Crop Mail Settings, Quest Pin, and Quest Pin Settings. Category 2: Mail Archive. Category 3: Proximity Markers and Proximity Markers Settings. Category 4: Day Cycle and Day Cycle Settings. Each prototype simulates the proposed interaction within a recreation of the game's original interface.


Building the mod is a collaboration with a developer. My role stays on the design side: writing the spec, defining behavior rules, creating the visual assets, and iterating based on player feedback after each release. Nexus Mods provides the distribution channel and, critically, a comment section where players report bugs, request configuration options, and describe how the mod fits (or fails to fit) their play.

The goal is not a finished product but a set of cognitive-accessibility proposals that neurodivergent players can use, adjust, and, ideally, stop noticing, because the friction is no longer there.

Explore all the prototypes in Figma

Validation

Once all three modules are released, the validation study becomes executable on two fronts: a controlled pilot and the observation of real use.

Controlled pilot. A within-subject study with neurodivergent players, each completing the same pre-built save twice: once without the mod (Condition A) and once with the mod (Condition B), in counterbalanced order. Before either condition, participants establish a baseline by playing with whatever workarounds they already rely on (notebooks, wikis, spreadsheets on a second screen). This baseline is the real point of comparison, because it captures the cost of the cognitive labor the mod aims to eliminate.

The test uses pre-built saves, not free play. Each save places the player at a moment where the core functions are about to trigger: a birthday tomorrow, a quest approaching its deadline, crops on their last planting day. This guarantees that every participant faces the same scenario and that the difference between conditions comes from the mod, not from where each player happened to be in their own farm.

Participants are experienced Stardew Valley players recruited from neurodivergent communities on Reddit, screened with validated instruments (ASRS for ADHD, GAD-7 for anxiety), excluding anyone already using UI Info Suite 2 or time-control mods. The protocol is concurrent think-aloud. The three comparison measures are described in the diagram below: errors and omissions as the objective anchor, NASA-TLX subscales read as a difference between conditions, and behavioral patterns surfaced through think-aloud observation.

Same save, two conditions, one comparison

BASELINE

Participants use their usual workarounds: notebooks, wikis, or spreadsheets.

Everyone completes the same pre-built save twice. Participants are divided in two groups.

GROUP 1

Condition A — no mod → Condition B — with mod

GROUP 2

Condition B — with mod → Condition A — no mod

03 · COMPARE group 1 VS group 2

Errors & omissions: count how many time-sensitive tasks were missed in each condition

NASA-TLX workload: compare the six subscales, with particular attention to Mental Demand ("how much planning and remembering did the session require?") and Frustration ("how stressed or discouraged did you feel?"). A drop in these two, without a corresponding drop in Performance, would indicate reduced friction without reduced challenge.

Think-aloud themes: track observable behaviors: did the player check the HUD counter before leaving the farm? Did they open a reminder card and act on it, or dismiss it? Did they mention feeling "safer" about forgetting something? These patterns reveal whether the mod changes planning behavior or just adds noise.

Observation of real use. With the mod published on Nexus Mods and GitHub, adoption metrics (downloads, endorsements, unique downloads over time) and community feedback complement the pilot with scale. The format favors this: a free mod with no install barrier lets any player download, test, and report back. Bug reports, configuration requests, and usage descriptions in the Nexus comments section become a lightweight, ongoing signal of what works and what needs revision.

Reflection

The whole project sits on one distinction: the task versus the friction around it. Accessibility removes friction; easy mode removes the task. In principle the line is clear. In practice, every proposal required checking which side it fell on.

The initial scope was wider. Reading neurodivergent players on Reddit surfaced more pain points than the project could responsibly cover. Fishing was one: the minigame demands rapid, repetitive clicking that many players find exhausting, but the barrier is motor, not cognitive, and the game already offers tools to make it easier. The foraging outline was another: wild items can blend into the scenery, but the game already highlights them at close range. Both were cut because they fell outside a cognitive-accessibility argument. Narrowing the scope was as much part of the work as building what stayed.

The opposite risk was just as present: adding too much. A mod that tries to reduce mental load can create new load with a few extra icons. The markers' detection area, the opacity, the letter frequency are values this design proposes but cannot prove. Where "enough signal" ends and clutter begins is something only testing answers. The fallback was configuration: when an element risked becoming noise, the design hands the choice to the player.

One thing I underestimated. I have over a thousand hours in Stardew Valley. Cues I stopped noticing years ago are real obstacles for someone picking up the game now. Recognizing friction in systems I had already memorized took deliberate effort. The Reddit threads helped ground the analysis in experiences beyond my own, but deep familiarity with a system is both an advantage and a blind spot. That is part of why the validation matters.

Stardew Valley Steam profile showing 1,491.8 hours played and no recommendation submitted.
Stardew Valley Steam profile showing 1,491.8 hours played and no recommendation submitted.
Stardew Valley Steam profile showing 1,491.8 hours played and no recommendation submitted.
Stardew Valley Steam profile showing 1,491.8 hours played and no recommendation submitted.

1,491.8 hours played. Yes, Steam, I think I recommend it. (And as final proof that prospective memory fails everyone: I still hadn't clicked the button.)

1,491.8 hours played. Yes, Steam, I think I recommend it. (And as final proof that prospective memory fails everyone: I still hadn't clicked the button.)

One thing I hope this project makes clear: cognitive accessibility deserves to be a routine question in game development, the way visual accessibility is slowly becoming. Accessibility goes beyond contrast ratios and colorblind modes. Disabilities are multiple, often invisible, and the barriers they meet are often invisible too, until someone looks for them. And looking means listening: in Stardew, players spell out their barriers on Reddit every day, and the download counts of accessibility mods are a public record of needs the interface doesn't meet. The research is already there, for anyone willing to read it. The players have already said what's in the way; closing that gap is design work waiting to be done.

Acknowledgment

Stardew Valley is created by Eric Barone (ConcernedApe), who built not only the game but the conditions this project depends on: a game open to modding and a developer who genuinely listens to his community. This is an unofficial concept study, made with respect and 1,491 hours of gratitude. All game screenshots and assets belong to ConcernedApe.

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Treisman, A. M., & Gelade, G. (1980). A feature-integration theory of attention. Cognitive Psychology, 12(1), 97–136.

Ward, C. (2009). A break in immersion. The Escapist. https://www.escapistmagazine.com/a-break-in-immersion/

Ware, C. (2020). Information visualization: Perception for design (4th ed.). Morgan Kaufmann.

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Yildirim, I. G. (2016). Time pressure as video game design element and basic need satisfaction. In Proceedings of the 2016 CHI Conference Extended Abstracts on Human Factors in Computing Systems (CHI EA '16). ACM.

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