Author: Hsiao-Wen Chen

The VR experience is set during Taiwan’s White Terror era. To ensure people unfamiliar with this history are informed, a 360-degree video providing historical background is shown before the experience begins.

I made the 360˚ video by Final Cut Pro.

The car scene dialogues are in Mandarin. For non-Mandarin speakers, I made the English subtitles for them, and those videos will be placed in the Unreal scene.

The audio design for Car Scene is the final mix for import into Unreal Engine (UE).

The attached screenshot shows the arrangement within my DAW (Logic Pro), where I’ve laid out the core components of the audio mix

After discussing with my supervisor, I decided to choose the third topic — The Hyperreal and the Traumatic: Baudrillard in White Terror VR — as my research theme and question.

This project aims to break traditional storytelling frameworks by blending the physical and virtual realms to create an immersive artistic experience. The core mission is to fuse physical computing with extended reality (XR), turning passive viewers into active participants. The story will flow with the audience’s movements and choices, creating a vivid, interactive feast.

I got two distinct narrative themes are being explored and one of it will be th final one. The first, “Religion and Culture,” has players experience a judgment in the underworld where they perform the “Bwa Bwei” divination ritual to influence their fate. The second theme, “Politics and History,” places the user in an interrogation during Taiwan’s White Terror era. A polygraph machine monitors the player’s heart rate, triggering different reactions from the investigator.

This project will utilize Unreal Engine, Arduino, 3D printing, and MetaHuman to create these deeply interactive worlds.