External uncontrolled stimuli were removed as much as possible. Within the story, the narrative can be linear or nonlinear and when it comes to interactivity, there are different dimensions to consider, like making sure the user has the ability to make choices. This reward gives you access to every step of the way, with every new level, mechanic and feature available to you as they’re implemented. Feel like naturally moving through sound. In the Unity environment, after instantiating and opening the serial port, the data logger was started. The resulting significant values are shown in Table 3, showing that the emotions terror, anxiety, nervous, fear, and panic have statistically significant differences between MA and IVE. In the following, results from each questionnaire items are reported: Q1 ((2) = 6.64, ), Q2 ((2) = 7.92, ), Q3 ((2) = 3.72, ), Q4 ((2) = 2.41, ), Q5 ((2) = 1.48, ), Q6 ((2) = 0.86, ), Q7 ((2) = 0.84, ), and Q8 ((2) = 0.85, ). In this context, an important feature of fear is that the test participants were unlikely to be biased by this emotion when starting the experiment, given that they were not aware of the potentially fear-inducing experience they were about to participate. Furini [2] developed a system architecture able to turn listener into the story director. This specific story was chosen, based on the genre, duration, and first-person narration. Moreover, the story segments/events and theirs audio objects were created within virtual rooms with virtual walls, corridors, and open spaces to take advantage of spacial interaction in room acoustics, e.g., sound occlusions, as design parameter (see Section 4.2 for further details). In particular, HRTFs describe the acoustic characterization of the human body for point source around the listener, being highly individual especially for vertical sound localization [14, 15] Interestingly, sounds that are memorized through repetition are more easily identified by humans [16]. An influence to this can be caused by several factors:(i)An increased feeling of being present by doing something practical with your hands(ii)The freedom of head movement(iii)The spatial sound(iv)Combination of previous(v)Confounded, such as the state of mind of the participants before testing. Plus! The track system was the primary method for forcing the navigation into the story at specific movement speed, allowing the increase or decrease of speed with which the user would visit each segment/place, and thereby the speed of the story. Simultaneous sound events in the environment can be identified, and it is possible to focus on a specific sound. A comparison among three different listening experiences, namely, (i) monophonic (traditional audio story), (ii) static binaural rendering (state-of-the-art audio story), and (iii) our prototype, is conducted. Like the other sounds stopped moving past me. Plus! It is worthwhile to notice that music also plays an important role to elicit the proper emotional response during a story. One can eliminate, or try to restrict and contain, these confounding variables, by asking the participants to rate their current emotions before engaging in the test. Additionally, making the user an integrated part of the story gives potential for high immersiveness. From the raw data, the average heart rate and the deviation from that average were computed for each participant (see Figure 5 for a boxplot representation). These data points were removed from the data samples, so the overall amount of data is less than what was actually collected. In future development, the story selection could also be optimized and reviewed upon. Pitch Black is a narrative driven, 3D binaural audio game, featuring explorable, immersive sound worlds, and a complex, dramatic story. All of them were adjusting the volume to positive and negative levels at the beginning minutes of the test, where some remained at an approximately fixed volume afterward, and others continue to use the remote continuously. The volume value was then applied to the audio-mixer of spatial sounds in the soundscape. Possibilities of a novel experience which allows an active participation might affect the user-experience. Finally, it is worthwhile to notice that virtual room acoustics is important for a natural perception of reconstructed sound scenes, providing a recognizable acoustic fingerprint of specific location or event [23]. It can be divided in two separate terms; flow and spatial presence [36]. The sound samples are grouped into four categories: narrative (48 samples), ambience (25 samples), movement (6 samples), and other sounds (40 samples), some of which also were considered reaction sounds for special events in the story (see Supplementary Material where each category has their own colored tag for a quick overview of the complexity of the resulting short story). Specifically, two 9-axis gyroscope MPU-9250 sensors were connected to the Arduino board, which interacted with the Arduino through a I2C bus. The sounds were played by adding a trigger collider to the source and a box collider to the listener position in the story. The results from the remote’s logging data showed some different behaviors among the participants. Another confounding variable was the implementation of the narrative, as the chosen story was not originally designed as an interactive audio experience. An interesting aspect to The Owl Field’s storytelling is that the listener is the story’s central character. Spatial sound in the soundscape, such as cafeteria background sound and quiet conversations, and sound effects, such as wolf howls and crickets chirping, were actively placed around the users while they proceed in the time-line of the story. It is worthwhile to notice that costs and feasibility of new interactions will become more and more similar to those of computer games. There are many methods of improving immersion of an audio-only story. The heart rate is the number of heartbeats occurring in one minute. The statistically significant differences were detected mostly between conditions MA and IVE, which, along with the results from the IMX, indicates that condition IVE was a more effective experience. Furthermore, it resulted in schizophrenia and auditory hallucinations, i.e., Senua hearing voices. Although real-time audio-processing can be computationally expensive, GPU acceleration and the fact that modern computers have become very fast helps reduce this problem [33]. This question indicates that IVE condition provided a more realistic sound experience, and this could indicate that it was easier for the user to reach a state of spatial presence under such a condition. Firstly, there could be individual differences in the participants in each sample group in terms of personality, temperament, etc. Five users were asked to perform three actions in three different navigation trials:(1)Moving their head using the head-tracked headphones(2)Moving the remote controller horizontally(3)Using the button on the remote. To be distributed the moment the game is ready and a week before general release. To counter this issue, samples of similar age and ethnographic background should be used in the test and the participants were randomly assigned to an experimental condition. The proof-of-concept narrative was based on the short story by Stephen King called “Strawberry Springs” and was both shortened and edited in order to be considered in an scientific evaluation procedure. Thank you so much for your support. You are now set to become the proud owner of two copies of Pitch Black: A Dusklight Story, one copy for PC/Mac, and one for iOS/Android, at an even more reduced price as a thanks for coming on-board so early on. This is an indicator that the participants experienced a higher level of negative emotion under the interactive condition. B u r n t - Grab the falling toasts, but avoid the burnt ones. After each trial, users were asked to explain what they thought happened with the specific action. After various redesigns based on results from several usability tests, a movement tracker was mounted on noise-canceling headphones. Head and body movements are important for building cognitive maps of the real/virtual space around the listener, especially for visually impaired people [19].

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