Left direction will turn down the volume, and the right direction will turn it up. M. Furini, “Beyond passive audiobook: how digital audiobooks get interactive,” in, R. Nordahl and N. C. Nilsson, “The sound of being there: presence and interactive audio in immersive virtual reality,”, S. Serafin, M. Geronazzo, C. Erkut, N. C. Nilsson, and R. Nordahl, “Sonic interactions in virtual reality: state of the art, current challenges and future directions,”, P. Coleman, A. Franck, J. Francombe et al., “An audio-visual system for object-based audio: from recording to listening,”, C. Kim, R. Mason, and T. Brookes, “Head movements made by listeners in experimental and real-life listening activities,”, E. Degli Innocenti, M. Geronazzo, D. Vescovi et al., “Mobile virtual reality for musical genre learning in primary education,”, I. M. Konstantakos, “The magical transformation contest in the ancient storytelling tradition,”, M. O. Riedl and R. M. 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Nabi, “A preliminary experiment to assess the fear value of preselected sound parameters in a survival horror game,” in, D. Spielberger Charles and C. Reheiser Eric, “Assessment of emotions: anxiety, anger, depression, and curiosity,”. The fact that DEQ and IMX results both indicated a small increase in immersive and emotional responses might be viewed as an indicator that the proposed interactions had an influence on the participants’ overall experience of the story and the prototype. The participants were asked to sit down right away, in order to get their heart rate lowered. The average healthy adult heart rate is 60 to 80 bpm (beats per minute), where the normal for older adults is considered to be 60 to 100 bpm, and is affected by several conditions, e.g., emotional state, exercise, and stress [45]. A truly wonderful thing to own and a massive thank you from us for being such a strong supporter of our audio game revolution! When combining storytelling and interactivity in order to achieve interactive storytelling, it is important to maintain balance between the amount of control the user has over the story and the coherency of the story [11].
4. When considering what is required to create an interactive experience, the design of the interaction and the feedback are tightly connected [12]. Eyes will not help you here.
An interesting aspect to The Owl Field’s storytelling is that the listener is the story’s central character.
This means that the prototype has two distinct features: binaural audio rendering and sonic interactions.
Finally, a custom range (−20 dB and +15 dB full scale) was set for the volume control of the soundscape in order to isolate the narrator’s voice, and the lower bound effectively silences the immersive soundscape. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The segments in the storyboard were given a “Static” or “Traversal” tag depending on whether the narrative prompted a virtual scene in a closed space/room or a scene with movements (see Figure 1(b) for an example of such distinction). A game about fear, tenacity, and the thing that lurks inside you. The use of a wrist-worn monitoring device, specifically the Empatica E4 at 64 Hz sample rate, is deemed sufficient for this study, since the participants are supposed to be sitting down with only moderate movement.
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