#General considerations

In the design process of narrative AAR experiences, a number of considerations can be taken into account, such as:  
 
  * What is the experience's relationship to the real environment and reality?
    * As an example, using Azuma’s three approaches to AR storytelling:
      * Reinforcing (selecting an environment that is compelling itself)
      * Reskinning (remaking reality to suit the story)
      * Remembering (retelling memories at their places)((Azuma, Ronald. //Location-Based Mixed and Augmented Reality Storytelling//, 2nd Edition of Fundamentals of Wearable Computers and Augmented Reality, edited by Barfield Woodword, 259–76, CRC Press, 2015))
    * Site-specific or universal/transferable?
      * If transferable, how to avoid contextual connections with the environment being just arbitrary and user-dependent?
    * Experience based on map vs. reacting to surrounding cues and objects((Rodkin, Richard, and Dafna Naphtali. //Audio Augmented Reality for Interactive Soundwalks, Sound Art and Music Delivery//, Foundations in Sound Design for Interactive Media, Routledge, 2019))
    * 'Absolute location-based' vs. 'relative location-based'(([[https://audioar.org/glossary/]]))
  * How to compromise between 1) narrative engagement and interaction and 2) suspension of disbelief through compelling acoustic virtual reality?((Cliffe, Laurence. //Audio Augmented Objects and the Audio Augmented Reality Experience//, Thesis (University of Nottingham), University of Nottingham, 2022 [[https://eprints.nottingham.ac.uk/69795/]]))
  * How much the user should be guided during the experience ('holding hand')?
  * How to maintain intelligibility in noisy environments((Schütze, Stephan, and Anna Irwin-Schütze. //New Realities in Audio: A Practical Guide for VR, AR, MR and 360 Video//, CRC Press, 2018 [[https://www.routledge.com/New-Realities-in-Audio-A-Practical-Guide-for-VR-AR-MR-and-360-Video/Schutze-Irwin-Schutze/p/book/9781138740815]])) or cope with unpredictable sounds?
  * Should the sounds be distinguishable from the real-world sounds((Dam, Abhraneil, Arsh Siddiqui, Charles Leclerq, and Myounghoon Jeon. //Extracting a Definition and Taxonomy for Audio Augmented Reality (AAR) Using Grounded Theory//, Proceedings of the Human Factors and Ergonomics Society Annual Meeting 66, no. 1 (2022): 1220–24 [[https://doi.org/10.1177/1071181322661434]])) or seamlessly blend with the reality?
  * How can sound be utilised as providing time for static surroundings?((Chion, Michel. //Audio-Vision: Sound on Screen, Second Edition//, Columbia University Press, 2019))
  * Real acoustics vs. unreal acoustics
  * Role of speech vs. sound effects
  * Use of first-person sounds
  * Use of attractor sounds ((Zimmermann, A. and Lorenz, A. //LISTEN: a user-adaptive audio-augmented museum guide//, User Model User-Adap Inter 18, 389–416 (2008). [[https://doi.org/10.1007/s11257-008-9049-x]]))