Virtual Reality is one of the next big things in gaming, more and more games delivering an immersive VR-experience are popping up. Words such as immersion and presence has quickly become buzzwords that’s often used to describe a VR-game or experience. This interactive simulation of reality is literally turning people’s heads. The crowd pleaser, the ability to look around in 360-degrees, is however casting a shadow on the aural aspect. This study focused on this problem in relation to audio narrative. We examined which differences we could identify between a purely diegetic audio narrative and one utilizing a mix between diegetic and non-diegetic sound. How to grab the player’s attention and guide them to places in order for them to progress in the story. By spatializing audio using HRTF, we tested this dilemma through a game comparison with the help of soundscapes by R. Murray Schafer and auditory hierarchy by David Sonnenschein, as well as inspiration from Actor Network Theory. In our game comparison we found that while the synthesized sound, non-diegetic, ensured that the sound grabs the player’s attention, the risk of breaking the player’s immersion also increases.

I det här kandidatarbetet har vi genom enbart ljudberättande försökt ta reda på hur vi kan belysa det viktiga ämnet nätmobbning. Vi har genom ett antal källor om ljudberättande med och utan visuellt stöd, tagit med allt viktigt i berättande för att sedan skapa en egen historia som ska beröra. Viktigt att ljuden är igenkänningsbara, att lyssnaren vet vad som händer och att det inte får upplevas otydligt i sammanhanget. Vi vill genom den här undersökningen beröra människor till att våga prata om psykisk ohälsa. Vi valde därför att använda oss utav X for Change, ett designperspektiv som grundar sig inom spelvärlden, men dess tankar och riktlinjer går att anpassa inom ljud likaväl genom vår tolkning. För att genomföra kandidatarbetet har vi använt mindmapping och brainstorming för att ta fram ett manus och innehåll. Vi har genom intervjuer tagit del av människors egna upplevelser kring psykisk ohälsa och applicerat de känslor som återkom, nämligen ensamhet, rädsla och svartsjukan att ‘varför just jag, varför ingen annan’. Vikten för oss har varit att få med känslan, genom de ljudeffekter och ambienser vi spelat in genom med Foley. För att strukturera upp det här arbetet har vi använt agila projektmetoder. Designprocessen delas upp i fyra delar, design phase I-III samt färdig gestaltning, där vi går från idé till färdig gestaltning. Vi presenterar de val vi gjort, tekniker vi använt, specifika delar från forskningen som speglar det vi gjort samt varför vissa förändringar gav positivt resultat. Resultatet i sin tur presenterar åsikter om vi anser vi lyckats, vad vi mer fått fram från undersökningen samt relationen mellan gestaltningen och frågeställning samt syfte. Vi avslutar med diskussion där vi kritiskt granskar arbetet och diskuterar problematiken genom valda frågor. / In this Bachelor Thesis we have used sound narrative only, to investigate how to illuminate the important topic, cyber bullying. We have gone through several sources of Audio storytelling with and without anything visual to support. The sources included everything we find important in storytelling, to create our own history and hopefully affect people. It’s important that the listener will recognize the sounds, so they do know what is happening. The story will not be unclear in the context for the listeners. Through this study, we want to affect people, to dare to talk about mental illness, so we have chosen X for Change as our design perspective. X for Change is based in the gaming world, but its thoughts and guidelines can be adapted within sound, as well as in according to our interpretation.    We´ve accomplished this Bachelor Thesis, by creating a script and content through mind mapping and brainstorming. We collect information about mental illness by interviewing people about their experiences. The results of most of the interviews applied the feeling that kept coming back, which was loneliness, fear and jealousy like ‘why me, why not someone else’. For us it has been important to get the feelings right, through the sound effects and ambiences we have recorded, are the most important in this project, thanks to the techniques of Foley. We have used agile project methods to structure our work process in this Bachelor Thesis.    The design process we used is divided into four parts, design phase I-III and the finished design. We will go from idea to the finished design. We will also present the choices we faced and the techniques we decided to use, specific parts of research that reflect what we have done, and why some changes made a positive result in the end. The result will be presented and our opinions on whatever we succeed or do not succeed in the relationship between the design, our question and our purpose. At the end of this essay we will discuss our critical review on this work by asking selected questions that we have made ourselves.