Design, implementation and evaluation of audio for a location aware augmented reality game

Abstract

In this paper, the development and implementation of a rich sound design, reminiscent of console gaming for a location aware game, Viking Ghost Hunt (VGH) is presented. The role of audio was assessed with particular attention to the effect on immersion and emotional engagement. Because immersion also involves the interaction and the creation of presence (the feeling of being in a particular place) these aspects of the sound design were also investigated. Evaluation of the game was undertaken over a three-day period with the participation of 19 subjects. The results gained imply that audio plays an important role in immersing a player within the game space and in emotionally engaging with the virtual world. However, challenges in regards to GPS inaccuracy and unpredictability remain, as well as device processor constraints, in order to create an accurate audio sound field and for the real-time rendering of audio files.

Methodological approaches to the evaluation of game music systems

“…Paterson et al [31] take this approach in their evaluation of the sound design in a game. They designed a questionnaire that included both open-ended, free-response questions, and more specific Likert scales.…”

Supporting immersive location-based games on resource-constrained platforms

“…Its intensity varies through the mission. For detailed discussion of sound and game design please see [3,1].…”

“…We relied on the second approach, mitigating the negative impact of sensor inaccuracy by filtering. In addition we created a form of AR audio by using spatialization, reverberation and binaural recording techniques [3] to realistically match the game's sound effects to those naturally occurring in the environment as way of deliberately creating ambiguity between the game and the environment.…”

“That’s not a secure area”– physical-digital sound links in commercial locative games

“…Explorations of sound in mobile computing generally confirm these sentiments. Sound-based interfaces have been successfully employed in location-aware games (Paterson et al 2010;Ekman et al 2005;Herbst et al 2008), mobile sound art (see the extensive overview by Behrendt 2010), and many other types of playful location-based experiences (e.g. Kurczak et al 2011;Rowland et al 2009;Stahl 2007;McGookin et al 2009;Bichard et al 2006).…”

“…Rowland et al 2009;Paterson et al 2010;Behrendt 2012;Ekman 2013). Even as many locative sound designs seek added value specifically in situating content and bringing it into the players' physical everyday surroundings, it is not clear how to approach the design of such situated experiences.…”