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The voice in the garden: an experiment in combining narrative and voice input for interaction design

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The voice in the garden: an experiment in combining narrative and voice input for interaction design

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THE VOICE IN THE GARDEN:

AN EXPERIMENT IN COMBINING NARRATIVE AND VOICE INPUT FOR
INTERACTION DESIGN

by

Lily Chou

A Thesis Presented to the

FACULTY OF THE USC SCHOOL OF CINEMATIC ARTS
UNIVERSITY OF SOUTHERN CALIFORNIA

In Partial Fulfillment of the Requirements for the Degree
MASTER OF FINE ARTS (INTERACTIVE MEDIA)

Aug 2013

Copyright 2013 Lily Chou

ii
Acknowledgments
Thank you to all the professors in the Interactive Media Division, who have combined
forces to provide the best interactive media education. Thanks to my thesis committee of
Mariko Yamazaki and Mark Bolas, and especially to my committee chair Marientina Gotsis, for
guiding me through the thesis process and giving me new perspectives. I have learned a lot.
Thanks to professors Jeremy Gibson, Laird Malamed, and Dennis Wixon, who while teaching the
thesis classes gave invaluable advice about both the academic and experiential sides of the
project.
Thanks to my classmates and the entire team: Tian Zhu, Danielle Dobies, Fang-Zhou Lu,
Shi-Zhi Liu, Puimek Guanatilaka, Gautier Galard, and Erick Schroder. Thanks to everyone who
has contributed to The Voice in the Garden's development.

iii
Table of Contents
Acknowledgments ii
List of Figures iv
Abstract v
Introduction 1
Motivation 2
Core Gameplay 3
Exploration of the Narrative Experience 5
Reading, Voice and Mind 5
Voice Input and Play 7
Spatial Narrative 10
Prior Arts 12

Design Experiments Summary 15
Visual Style 21
Challenge 21
Conclusion 22
Bibliography 24
Appendix 25

iv
List of Figures

Figure 1: The beginning and the end at the same location with brighter scenario.
Figure 2: Screenshot – Player make any sound to propel the footstep moving forward.
Figure 3: Narrative Structure and progression of voice interaction. Stage1.
Figure 4: Narrative Structure and progression of voice interaction. Stage2.
Figure 5: Narrative Structure and progression of voice interaction. Stage3.
Figure 6: Game scene of the prior art
Figure 7: Image of the prior art
Figure 8: Visual style of the prior art
Figure 9: Interface of the prior art
Figure 10: Current development of the narrative structure

v
Abstract
The Voice in the Garden is a narrative-based game for the iPad using the player’s voice as
the main input for interaction. Players use their voices to help unfold and explore the spatial
narrative. It is an experience for players to recognize and regain the power of their voice, in
both the literal and metaphorical sense.
Voice, by its nature, is potentially curative. By encouraging players to open up their
voice, we want to help players encounter their emotional malaise and reduce the sense of
isolation. In the game, players are required to participate with their voice and to play an active
role. The idea of using voice input in The Voice in the Garden is more than trying to replicate the
purpose of voice in real world. The game is experimenting in finding the distinctive purpose of
voice in digital media.

1
Introduction
As technology has become closely intertwined in our lives, we have begun to lose a
sense of connection to others and maybe even to ourselves. As a result, we have had to work
harder to hold on to our voices amidst the chaos. The Voice in the Garden is a narrative-based
game for the iPad using the player’s voice as the main input. Players use their voice to help
unfold and explore the spatial narrative of the game. The Voice in the Garden aims to provide an
experience for players to recognize and regain the power of their voice in an effort to reduce
their sense of isolation.
Voice, in its nature, is potentially curative. This concept refers to a therapeutic method
called Melodic Intonation Therapy, which is a process developed to help people with
communication difficulties. This type of therapy introduces musical components, such as
rhythm and melody, to help with the production of speech. In The Voice in the Garden, players
are encouraged to participate with their voice used as individual musical components.
The idea of using voice input in The Voice in the Garden aspires to do more than try to
replicate the purpose of voice in the real world. The game experiments with looking for a
distinctive purpose of voice in digital media. When players use their voice as a vehicle to
empower a narrative, it becomes a process of self-construction through which players are able
to bridge a deeper connection within themselves as well as with their greater surroundings.
The game encourages players to reflect on themselves. The garden is a metaphor for a
person’s inner world. The dynamic narrative is about a person exploring a garden and trying to
find the way to open the door. Using the first-person perspective, the players take an active
role as they use their influence to nourish the garden and heal their inner world.

2
Motivation
The modern incarnation of an eBook recreates the experience of storybooks and
incorporates interactive components via digital media. It introduces other technologies into
static content, such as QR codes, voice recognition, motion tracking, etc. These can certainly
increases the playability, result in broader thematic variety, seems to be a natural fit for
education and recreational purposes. However, eBooks demonstrate impoverished interactivity
by focusing solely on technical innovation and underestimating their psychological potential.
Storybooks often invoke the memory of childhood and the voices of whomever read them
aloud to us. Stories and voices from our childhood can help expand the imagination since they
are deeply imprinted in our memories. So how can we transform a storybook experience for
adults? When higher complexity of interactivity is included, what other value can be added to
the experience?
The Voice in the Garden represents an extension of and elaboration on my personal
longstanding interest in probing into the emotional underside of what people tend to neglect,
especially the emotional malaise caused by the gap between technology and humanity. I
believe in the existence of an untapped intrinsic power of voice in interactive media. Even
without language or a musical component, voices are used to express emotion all the time,
such as screaming in anger or wailing in despair. The Voice in the Garden aims to provide a
powerful adjunct to psychotherapy by encouraging an individual’s mastery of their voice over
the process. I hope to create an evocative way to raise self-awareness of voice and for people
to rethink and recognize their power and identity by using their voice within an interactive
eBook.

3
Core Gameplay
The Voice in the Garden has some characteristics in common with an eBook: it is a reading
experience, and it can be browsed as pages on a touch pad. The overall interaction with the
game promotes a very calm and peaceful state of mind.
The Voice in the Garden incorporates voice input into the gameplay. Players play with a
voice’s volume and pitch. The objective of the game is to solve the puzzle and transform the
garden into a lively garden. The player goes through all the paragraphs and eventually loops
back to the first page. Each paragraph build a loop. Both the content and the loop are dynamic
as players change negative words into positive ones within the text. As players change the
content, the garden becomes livelier. The change of content conveys the idea of a healing
progression.
To solve the puzzle, there is a “key” to open the “door”. Players can find the key in one
of the plays, and then use the key to open the door. The “open door” symbolizes a heart that is
open to the world outside, inviting life to come in.

Figure 1: Although the beginning and the end are the same location, the end is a brighter
scenario.

The pages form a network structure. The correlation between pages is not always linear.
The main inputs are touch screen and voice. Players touch active words to go to a
different paragraph and complete the page with voice input.
within the game because it can advance play, whereas touch is more exploratory and
navigational.

Figure 2: Screenshot – Players make any sound to propel the footsteps moving forward.

The voice activity starts simply—
volume, duration, and eventually pitch.
tension and provide a path to get near
narrative and visual background. The content gives cues to what type of voice should
that page. To assist more with the pl
background.
All the paragraphs are connected by words rather than by linear plot development. The
4
The pages form a network structure. The correlation between pages is not always linear.
The main inputs are touch screen and voice. Players touch active words to go to a
different paragraph and complete the page with voice input. Voice has more power than touch
within the game because it can advance play, whereas touch is more exploratory and
Players make any sound to propel the footsteps moving forward.
—make any sound—then further builds to include applying
volume, duration, and eventually pitch. This process can induce a gradual release
provide a path to get near speech. All the voice interactions align with the page’s
narrative and visual background. The content gives cues to what type of voice should
that page. To assist more with the play, there are tips that can be found integrated in the
All the paragraphs are connected by words rather than by linear plot development. The
The pages form a network structure. The correlation between pages is not always linear.
The main inputs are touch screen and voice. Players touch active words to go to a
Voice has more power than touch
within the game because it can advance play, whereas touch is more exploratory and
Players make any sound to propel the footsteps moving forward.

then further builds to include applying
release of voice
speech. All the voice interactions align with the page’s
narrative and visual background. The content gives cues to what type of voice should work in
ay, there are tips that can be found integrated in the
All the paragraphs are connected by words rather than by linear plot development. The

5
words allow players to go deeper to explore their meaning and the events hidden behind the
words. When clicking a noun, the following page describes the object’s action. When clicking an
adjective, the following page includes detailed information of what the adjective describes. The
relationship between pages varies. For example, a change that has been made on one page
may indirectly cause changes on the other pages, or some pages are only open until the other
play is finished on another page.

Exploration of the Narrative Experience
Reading, Voice and Mind
Narrative, including conversational personal experience, serves at least three vital
functions: cognitive function, social function, and emotional function. (Umaschi Bers and
Cassell, 1999) In pursuit of a higher-level goal, the game narrative draws upon the narrative’s
cognitive function with the intention of expanding the concept of interactivity in reading. David
Herman introduces cognitive theories (2013) relating to the way that narrative functions to
create the individual’s concept of the real world. Reading is to the mind what exercise is to the
body. Storytelling is deeply embedded in human learning (J. Mandler, 1984), and its
psychological value has multiple angles to be viewed. It provides a vehicle through which to
convey the unvoiced problem and a map to reflect on a certain issue internally.
With that in mind, The Voice in the Garden is a metaphor for an inner world, while
reading the content and solving the problem in the garden is a reflection of the player’s
selfhood. It includes certain important narrative components to explore, repair, and construct.
It aims to create an experience to construct a basis of self-awareness and to inspire

6
contemplation about questions such as “What is in me?”
To enable this metaphor and to help reflect on the player’s selfhood and position, the
garden is a dynamic and decentralized space. The narrative network branches out vertically for
players to explore. Pages show different locations and perspectives of the garden. It also
includes certain objects and beckons the player to respond for the purpose of infusing energy
into the lifeless garden. The tasks form a process of searching. A view of the whole structure is
therefore only possible after going through all pages and reaching the ending point of the loop.
To further demonstrate the value of voice, I draw some thoughts from Anthony Storr’s
book, Music and the Mind (1993), Storr argues that the patterns of music make sense of our
inner experience, giving both structure and coherence to our feelings and emotions. In order to
use the player’s voice as a personalized instrument and encourage players to use their primal
sound, The Voice in the Garden incorporates volume and pitch analysis. Voice gives players the
agency to participate and transform a deeper emotion to action. By using the natural
instrument to participate, the game lets players play more of an active role to propel the
progression. This is a way to strengthen player involvement and provides a more direct
interface than using a physical device to communicate. It decreases the interference from
converting the message with a physical device, such as keyboard.
The voice component adopted in The Voice in the Garden does not involve speech or
music in order to avoid the habitual constrain. Certainly, reading aloud enhances
comprehension and singing music holds an advantageous power of influence, but both are
under the limited freedom of a preset pronunciation and tune. Without speech and melody, in
a way, emotion tends to be expressed more freely and originally. The emotional function of the

7
narrative can be thus amplified.

Voice Input and Play
As previously stated, the game configuration draws upon the concept of Melodic
Intonation Therapy. It introduces the musical components rhythm and melody into therapy to
help with the production of speech. Fundamentally, it uses a method of practicing different
voice components separately and then gradually overlays the different components together.
The concept is based on the similarity of music and language. It is suspected that by stimulating
the right side of the brain, the left side will begin to make connections as well (Stacey L. 2005).
For this reason, patients are encouraged to sing words rather than speak them in
conversational tones. Even though the target audience for The Voice in the Garden is not
people with physical neuronal damage, the idea of using melodic intonation to approach
speech provides an alternative way of relieving some unvoiced problem in a player’s inner
world. The understanding of the relation between singing, speech, and the production of voice
serves as the basis to develop progressive steps of voice interaction naturally. Input with voice
and seeing direct visual feedback is helping to integrate different sensory information.
The use of voice in the game is not meant to replace the functions of a physical
controller but rather uses voice to strengthen the narrative experience to encourage players to
find their voice, in both the literal and metaphorical sense. With that in mind, the game uses a
series of progressive voice exercises to let players release their voice from singing. It
encourages players to participate with their voice through individual voice components:
volume, duration, and pitch. In the beginning, the game requires simple voice input, and then

8
as the game progresses, it requires more complex voice input to complete the play.
There are three progressive stages of voice game play. Illustrating the function of each
separately below aims to provide a clearer view of the underlying nexus and build-up.

Figure 3: Narrative Structure and progression of voice interaction. Stage1.

Input with any sound: Free the voice. Goal: To allow players make any sounds within their
comfortable voice range, to allow players get used to hearing and making sounds, and to allow
players to see the reaction of the game.

9
Figure 4: Narrative Structure and progression of voice interaction. Stage 2.

Input with voice duration and volume within certain range: Play with volume. Goal: To start
practicing the control of voice by expanding volume and length (duration).

10
Figure 5: Narrative Structure and progression of voice interaction. Stage 3.

Input with different pitch changes and with pitch and duration: Using voice in a sense of
exploring. Goal: From a psychological point of view, the variety of voice may provide an
indication of the overall psychological state of a person.
Spatial Narrative

The Voice in the Garden is an exploration of a symbolic garden. Instead of a static
description of a garden, the movement within coincides with changes of the surrounding
scenery. To let the interactivity convey the depth of the space, the differentiation between
space and place is defined as follows:
A place is an instantaneous configuration of positions. It implies an indication of
stability. A space exists when one takes into consideration vectors of direction,
velocities, and time variables. Thus space is composed of intersections of mobile
elements. (De Certeau 1984)

The sense of space comes from the game progression, which provides the ability to

11
move from one location to another. Visual representations assist with establishment of a
sense of depth. Each paragraph is distributed in a different location on different pages. Players
move around between locations, while changes on one page affect the entire space as a
whole. The player’s actions and the garden’s revivification correspond with each other.
To create an immersive narrative experience for engaging players, the game focuses
on creating a staging ground that naturally conveys a sense of space. The narrative itself is
flat. The construction and linkage between paragraphs converts the flat narrative into a
spatial narrative. To go forward or backward, the player takes a vehicle—a word— and uses it
to traverse places. In the mind, the player selects and links the words together. The
movement becomes a spatial trajectory.
In this manner, the mindset makes its own “conversion”. The content only give simple
options. The game only provides two options at most on each page, building the idea of
making choices for a split branch. The simpler the options are, the clearer the sense of
selection that is converted into movement.
In “Game Design as Narrative Architecture,” Henry Jenkins discusses how he believes
game designers are not as much storytellers as they are narrative architects. From this point
of view, The Voice in the Garden builds the narrative with its mechanism to let players
interpret their own version of the story. The difference lies in whether the creator’s idea is
directly imposed on players or not.

12
Prior Arts
Interactive Reading Experience
Storyteller
Figure 6: Game scene of the prior art

In Storyteller, the character placement in each panel is affects other panels. The Voice in
the Garden uses a similar concept, as player interaction can have an impact on many different
pages at a time, and time is a flexible concept instead of a fixed timeframe.
Kinected Stories
Figure 7: Image of the prior art

13
Kinected Stories is a series of storybooks that mixes traditional storytelling with the
developments in motion tracking and speech recognition technology. This combination lets
children become an active part of the story when they are required to provide their voice and
actions. The traditional idea of a printed book has been taken to another level in this design.
The users can participate in the story in multiple ways. It provides a strong incentive for users,
not just children, to be more excited about the story. This inspired The Voice in the Garden to
incorporate the fundamental playability to printed books. And it gives an opportunity to
observe the progression of the player’s physical input, giving ideas about how the balance of
reading and action would either build up or threaten the fluency of gameplay.
Visual Reference
Little Fox Music Box
Figure 8: Visual style of the prior art

Little Fox Music Box is a music app with a very delicate and beautifully
background. It is suitable for pre
interact by touching the screen to find hidden, animated objects.
objects for reading on a digital device is a common method to increase the interactivity of
eBooks. What makes the Little Fox Music Box
app. It has a fascinating art style. The users can trigger each individual
interaction of a touch screen helps to engage users by immersing them more in the
atmosphere. The strong art style and clever animation allow it to take advantage of the
animation to support the idea and create atmosphere.
Musical apps related to Melody Intonation Therapy
Guitar! and TappBeat
Figure 9: Interface of the prior art

The pictures above are musical instrument apps that have been incorporated into
speech therapy. The music and rhythm in the app support Melodic Intonation Therapy. Each
instrument has different musical characteristics and performances. For example, the str
instruments are closer to human sounds, and drums create a rhythmic pattern.
These apps offer simple ways to introduce rhythm and melody into therapy. Therapists
14
is a music app with a very delicate and beautifully-animated
background. It is suitable for pre-school kids, allowing them to sing along with the music and
interact by touching the screen to find hidden, animated objects. Placing simple, animated
for reading on a digital device is a common method to increase the interactivity of
Little Fox Music Box outstanding is the detail of the visual design in the
app. It has a fascinating art style. The users can trigger each individual element by tapping. The
interaction of a touch screen helps to engage users by immersing them more in the
atmosphere. The strong art style and clever animation allow it to take advantage of the
animation to support the idea and create atmosphere.
apps related to Melody Intonation Therapy
Figure 9: Interface of the prior art

The pictures above are musical instrument apps that have been incorporated into
speech therapy. The music and rhythm in the app support Melodic Intonation Therapy. Each
instrument has different musical characteristics and performances. For example, the str
instruments are closer to human sounds, and drums create a rhythmic pattern.
These apps offer simple ways to introduce rhythm and melody into therapy. Therapists
animated
school kids, allowing them to sing along with the music and
simple, animated
for reading on a digital device is a common method to increase the interactivity of
is the detail of the visual design in the
element by tapping. The
interaction of a touch screen helps to engage users by immersing them more in the
atmosphere. The strong art style and clever animation allow it to take advantage of the
The pictures above are musical instrument apps that have been incorporated into
speech therapy. The music and rhythm in the app support Melodic Intonation Therapy. Each
instrument has different musical characteristics and performances. For example, the string
instruments are closer to human sounds, and drums create a rhythmic pattern.
These apps offer simple ways to introduce rhythm and melody into therapy. Therapists

15
use these apps during the process of therapy to let patients follow or use fun as an incentive.
These apps are used as supplemental tools rather than as therapeutic instruments by
themselves.
Since The Voice in the Garden views the player’s voice as an instrument itself, human
voices are very elastic; we play the instrument with length, pitch, and volume. The mechanic
takes the role of a therapist.

Design Experiments Summary
The experiment is divided into two phases. The goal of the First phase is to reach
speech. The goal of the Second phase is to sing.
Phase 1:
In the first few prototypes, we experimented with people’s reactions to reading to a
machine. The prototypes were used to try to figure out how to convert a static reading
experience into an active, reading-aloud action. This showed us how reading aloud felt
compared to reading internally. User’s reading habits were tested here. Reading with only the
eyes was not necessarily line-by-line, unless we forced people to read the content outloud. This
process also interfered with the most comfortable way that people read when they were
required to follow every word.
Therefore, too much voice may cause the game play to be tiring and not necessarily
effective when it is past a comfortable point. On the other hand, reducing voice participation
means players are playing less actively. For that reason, the prototype development required
consistent research of finding the balance for voice input. It also made us became more

16
reserved about the amount of voice we wanted the player to exert.
From early prototypes, we experimented with voice and narrative structure separately.
For voice, we started by testing different voice attributes. It gave the first observation of a
player’s general performance. When voice input is the only requirement, the player’s reaction
to their voice is very easy to see. We controlled the environmental factor to reduce disturbance
from noises and to reduce an individual’s shyness at making noise. This was where the decision
was made for setting the playing environment: a quiet space with a certain degree of privacy is
necessary.
The narrative structure of the early prototype was not far from the latest version of the
prototype: two main paths were created. This phase experimented with the sense of
exploration. For this, space and movement were the main components to support this
experiment. We investigated as to whether the sense of space was going to be built based on
understanding the whole picture—for example, use a map or to have relative sense of direction
between pages—or not. When paths were not arranged by chronological order or plot
development, what would make players go from page to page? The movement between spaces
through word linkage was a way to give reason and motivation for continuing the exploration.
Phase 2:
The comparison of the garden environment with the player’s inner world aligns with the
development of The Voice in the Garden. How do we let players feel the weight of the text and
further realize the connections between their role in the play and themselves? The pursuit of
emotional feedback was the final goal, but that couldn’t necessarily serve as a guide for
development. From playtests, we found out how players have diverse perceptions of the play

17
and how they weigh each part. With the information, we could further analyze the
effectiveness of each intentional impact on players. Without aiming for any specific emotion,
my objective was to see how deep an emotional response we could create in the player.
Although the experience provides a space and certain degree of freedom to let players explore,
the experience puts players in the author’s shoes to resonate author’s voice.
Current Development:
The main success of this project will come from encouraging its players. From previous
experiments, we tested several voice interactions within an integrated narrative structure. The
next design step will focus on simplifying the play to reduce the burden of learning different
interactions. Additionally, we will emphasize the idea of “success” to strengthen the impact on
players.

18
Figure 10: Current development of the narrative structure

19
Figure 11: Enlarged image of current development of the narrative structure - 1

20
Figure 12: Enlarged image of current development of the narrative structure - 2

The new structure reorganizes the order of voice requirements with a linear progress in each
path. Before reaching the end goal, the rewards will be provided immediately in each step.

21
Visual Style
The overall aesthetic goal is to present a comfortable and healing visual ambiance. The setting
is created around the theme of the garden.
The Voice in the Garden inherits the characteristic of a conventional storybook; it uses
illustration to interpret and compose visible messages to communicate the narrative. The art
has more than just a decorative purpose, as the intention is to favor narration over decoration.
The visual component plays an important role to create the sense of space and time.
Each scene corresponds to specific objects. The visual component forms different layouts in
different scenes. By stacking layers in different combinations with smooth transitions, the
scenes are connected coherently. Using the objects repeatedly, but with different
arrangements, gives orients the players as they navigate through the space. Moreover, certain
objects change according to the player’s input. For example, the tree grows flowers when
receiving they player’s voice as nutrition.
The illustration style is empirical and intentional. To create a compelling healing
ambiance, light colors and hand-drawing style were chosen. Purposeful empty spaces leave
room for imagination.

Challenge
Over the course of development, many difficult decisions were made in order to
accommodate ideas to the technical constrain of voice input. To maximize the effect of voice
input, technical and conceptual developments were closely associated. The design for The Voice
in the Garden were especially challenging for their technical threshold in early experiments.

22
Therefore, the early prototypes rely heavily on paper and fake speech recognition. In the
beginning of the design, speech recognition was included as the final objective of the game, as
the ultimate goal was for players to find the voice of their heart. During the process, however,
we decided to exclude speech recognition. We found that the leap from volume and pitch to
speech expression was too great to fit into a ten-minute gameplay. By redesigning the scope to
focus on voice volume and pitch, we allowed the player to have a more consistent voice
expression along the line of singing.

Conclusion
The Voice in the Garden is a storytelling form. Compared to the experimentation in the
form, I now value more of what voice, narrative, and mechanic is perceived by the user during
exploration, as well as how each component can intertwine with each other to achieve
different effects.
The entire game is built on a dynamic narrative structure. It is a branch and loop system
that forms an enfolded space. It is a limited space with unlimited freedom of movement.
In entertainment, communication, and even other industries, the majority of
development on voice in digital media focuses on duplicating the voice’s function in real life or
tries to replace traditional controlling interfaces. Surely, avoiding gamepad buttons enables a
wider variety of gameplay and allows more freedom and convenience. But despite this practical
usage, voice input has a tremendous potential in reaching us on an emotional and psychological
level. Actions such as laughter, wailing, and humming are cross-cultural; these natural, human
expressions are connected directly with emotional states. Human voice is an instrument with

23
more penetrating power than any other instrument; its power influences outwardly and
inwardly. From playtests, we see that most people, unless they are professionals, are unfamiliar
with their vocal power. People rarely observe their vocal potential and characteristics. While
giving voice, the motivation to finish the request comes with a natural desire to perform one’s
own voice better.
I hope The Voice in the Garden can inspire a different, distinctive perspective of the role
of voice in digital media, broadening the idea of how voice can be evaluated as more than a
series of numbers or frequencies. For interactive reading, I hope to present a form of
storytelling that can serve as a springboard for other purposes.

24
Bibliography
Marina Umaschi Bers and Justine Cassell,"Interactive storytelling systems for children:
using technology to explore language and identity" Journal of Interactive Learning
Research,(1999):183-215
David Herman: "Narrative Ways of Worldmaking: Cognitive Dimensions". The living
handbook of narratology.
http://wikis.sub.uni-hamburg.de/lhn/index.php/Cognitive_Narratology
view date: Jan 2013
Stacey L. ChamberlinThe Gale Group Inc., Gale. Gale Encyclopedia of Neurological
Disorders, 2005
Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall, University of
California Press: Berkely, 1984, 117.
Anthony Storr,introduction to Music and the Mind, by Anthony Storr, 1993
Game, Mass Effect, BioWare 2012
Game, Storyteller, DanielBenmergui, 2012
Game, Kinected Story, Delicode, 2012
Game, Little Fox Music Box, Shape Minds and Moving Images GmbH, 2012
App, Guitar!,On Beat Limited, 2013
App, TappBeat,Kauso1 Games, 2013

25
Appendix
This appendix includes the screenshots of each landing page in The Voice in the Garden.

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Asset Metadata

Creator Chou, Ying Hsin "Lily" (author)

Core Title The voice in the garden: an experiment in combining narrative and voice input for interaction design

School School of Cinematic Arts

Degree Master of Fine Arts

Degree Program Interactive Media

Publication Date 07/08/2013

Defense Date 03/07/2013

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag game,interactive narrative,iPad,OAI-PMH Harvest,speech therapy,voice input,voice therapy

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Gotsis, Marientina (committee chair), Bolas, Mark T. (committee member), Yamazaki, Mariko (committee member)

Creator Email ying_hsin@hotmail.com,yinghsin@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c3-284086

Unique identifier UC11294836

Identifier etd-ChouYingHs-1743.pdf (filename),usctheses-c3-284086 (legacy record id)

Legacy Identifier etd-ChouYingHs-1743.pdf

Dmrecord 284086

Document Type Thesis

Format application/pdf (imt)

Rights Chou, Ying Hsin "Lily"

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA