To address challenges in remote sound art curation, such as insufficient spatial auditory perception and limited flexibility in display control, our team developed Resonix, a VR-based prototype tool integrating features like a modular simulation toolkit, sound field spatial display, sound-time manager, and role manager. I was responsible for the initial prototype development and writing the Discussion and Conclusion sections of the paper. This work was later accepted at CHI LBW (a CCF-A conference), laying the foundation for future system iteration and scalability.

To address weak gesture interaction and insufficient cultural understanding in VR traditional culture games, I conducted in-depth interviews with practitioners and intangible cultural heritage (ICH) inheritors, along with a literature review and analysis. Based on these findings, I independently designed and developed a prototype interaction system featuring five VR gesture modes (movement, continuous movement, teleportation, single-hand following, and double-hand following) that incorporate ICH elements. The design solution was presented at the 2nd Virtual Reality Innovation Development Forum, and the system was later applied to the VR first-person combat game Exorcist, showcased at the UAL “2023 Game Collaboration Show.” I was responsible for developing the prototype, writing the technical proposal, and delivering the conference presentation.

To compare the differences in narrative power dynamics among directors, actors, and audiences between traditional films and VR films, I conducted in-depth interviews with industry professionals to analyze VR creation mechanisms suitable for immersive storytelling and to explore the demand for storyboard-like tools. Based on the findings, I designed a creation workflow and developed Dreamfly, a collaborative storyboard software, which was iteratively refined through testing. The research revealed that audiences in VR narratives partially assume director and actor roles due to heightened interactivity. I proposed a design framework to enhance narrative interactivity in VR production and formulated a three-layer theory of narrative freedom in VR storytelling. Dreamfly was exhibited at UAL’s “Discover the Next Generation of Creatives.” I led the interview research, software development, testing, and wrote the thesis.

To quantify the impact of dirtiness and outdoor color on attention allocation in VR environments, I developed a controlled VR scene featuring variables for outdoor color and indoor dirtiness. Fifteen participants completed a proofreading task under cross-experimental conditions, with attention data monitored using EEG (electroencephalogram) and ECG (electrocardiogram). The results showed that attention shifts more toward other objects in cluttered environments, while outdoor color had minimal impact on attention. I was responsible for designing the experimental prototype, conducting its development, and performing data collection.

To investigate the impact of safety sign parameters (size, height, deviation) on anxiety levels in fire evacuation scenarios, I constructed a VR campus fire escape scene and invited 15 participants to perform emergency evacuation tasks. Anxiety levels were analyzed based on task duration and physiological signals (EEG/ECG). I was responsible for designing and developing the experimental prototype.