Viking Ghost Hunt: creating engaging sound design for location-aware applications

Paterson, Natasa; Kearney, Gavin; Naliuka, Katsiaryna; Carrigy, Tara; Haahr, Mads; Conway, Fionnuala

doi:10.1504/ijart.2013.050692

Cited by 14 publications

(7 citation statements)

References 7 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…They were initially used for applications such as tour guides [5], but in recent years there has been a focus on interactive fiction [8], and the incorporation of new technologies (such as augmented reality [19]). Despite this interest there has been relatively little work on the poetics of locative stories -how they function to produce an effect in the reader.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Developing a Writer’s Toolkit for Interactive Locative Storytelling

Packer

Hargood

Howard

et al. 2017

Interactive Storytelling

View full text Add to dashboard Cite

Abstract. Despite the increasing popularity of locative interactive stories their poetics are poorly understood, meaning that there is little advice or support for locative authors, and few frameworks for critical analysis. The StoryPlaces project has spent two years working with over sixty authors creating locative stories. Through analyzing the stories themselves, and interviewing readers, we have developed a simple writer's toolkit that highlights the challenges and opportunities offered by locative fiction. In this paper we describe our approach, and outline twelve key pragmatic and aesthetic considerations that we have derived from our experience and analyses. Together these reveal that the main challenge in locative literature lies in aligning the narrative text, the structural logic, and the demands and affordances of the landscape.

show abstract

Section: Introductionmentioning

confidence: 99%

“…Location Aware Games: This category includes systems with game mechanics connected to player context as well as augmented reality experiences, such as Viking Ghost Hunt [19] or University of Death [7]. The work of [1] begins to describe two considerations when designing location aware games.…”

Section: Introductionmentioning

confidence: 99%

Developing a Writer’s Toolkit for Interactive Locative Storytelling

Packer

Hargood

Howard

et al. 2017

Interactive Storytelling

View full text Add to dashboard Cite

show abstract

“…The two modes work in tandem: The Map helps coarse-grained player orientation and the Radar encourages players to explore the site in order to get close to the encounters. As the player approaches an encounter, audio layers are built up to increase dramatic tension [25], [24]. Leaving out the specific locations of encounters from the Map was a deliberate design choice intended to make navigation more challenging and hence more interesting from a gameplay point of view.…”

Section: Search/explorationmentioning

confidence: 99%

“…veracity." To help support the player's suspension of disbelief, we designed our character visuals to be photorealistic and to blend beautifully with the backdrop provided by the settings (figure 2) and also adopted a sophisticated mix of real world and game world audio in order to blur the boundary between fact and fiction [25], [24].…”

Section: Spatial Transgressionmentioning

confidence: 99%

Reconciling immersion and presence: Locative game mechanics and narrative techniques for cultural heritage

Haahr

2018

Virtual Creativity

Self Cite

View full text Add to dashboard Cite

Locative gaming dates back to the early 2000s, and with the success of Ingress (2012) and Pokémon GO (2016), locative games have now entered the mainstream in a very serious way. However, while the genre holds considerable promise for cultural heritage, it has yet to make a real impact for this purpose. A particular challenge is to reconcile the two apparently conflicting concerns of ensuring immersion into the experience without compromising the audience's sense of presence in the physical space. For example, Ingress and Pokémon GO offer excellent immersion in the gameplay but at the cost of near-total loss of the player's sense of presence in the physical environment, even to the extent that accidents occur. For cultural heritage, presence is not only about safety, but also about the audience experiencing the site and not only the digital content. In this paper, we argue that for locative games to be successful for cultural heritage, they must bridge the design tension between offering immersion and presence. We use two of our own titles to shed light on the design concerns and show how careful use of locative game mechanics and narrative techniques can help reconcile these two design pressures and create a new type of engagement with cultural heritage.

show abstract

“…Increases in the power of mobile devices also resulted in experimentation around Augmented Reality (AR) and games [37]. The advent of smart devices brought more mobile experiences, such as Viking Ghost Hunt [48] where players hunt down ghosts on the streets of Dublin, or University of Death [11] where players complete puzzles and treasure hunts around the city of Pullman through through the eyes of three different characters.…”

Section: Introductionmentioning

confidence: 99%

The Balance of Attention

Millard

Packer

Howard

et al. 2020

J. Comput. Cult. Herit.

View full text Add to dashboard Cite

There is a long history of research exploring how augmented and mixed reality systems can be used to support visitors to cultural heritage locations, but the technological or application specific focus of much of this research means that our understanding of how these experiences work is more of a collection of insights, rather than a coherent theory about how the elements of the experience come together. There is a danger that without developing this knowledge further, our systems will be technologically complex, but experientially simplistic. In this article, we explore how one form of mixed reality experience, digital locative storytelling, can impact the experience of place, and in turn how place impacts the experience of story. We have analyzed 33 interviews, and 25 participant observations from 12 story deployments at 2 different sites. Our findings confirm that locative storytelling experiences not only impart information to readers, but also help them to rediscover familiar places and see hidden relationships—especially through time. But our findings also show how the success of the experience is reliant on the balance of attention between the virtual and real (the story and the place), and that issues with navigation, social interactions, and technology are problematic because they can disrupt this balance. Digital locative experiences therefore need to be designed carefully in order to create a balance of attention (e.g., by aligning the elements of the story with the topology and character of place). We call this a state of Loco-Narrative Harmony, in which place and story are working together and reader attention is balanced, creating an effect that is greater than the sum of its parts.

show abstract

Viking Ghost Hunt: creating engaging sound design for location-aware applications

Cited by 14 publications

References 7 publications

Developing a Writer’s Toolkit for Interactive Locative Storytelling

Developing a Writer’s Toolkit for Interactive Locative Storytelling

Reconciling immersion and presence: Locative game mechanics and narrative techniques for cultural heritage

The Balance of Attention

Contact Info

Product

Resources

About