Convergence of Theatre, Cinema, Amusement Park, and Video Game Design to Explore Parallel Interactive Narratives in Cinematic Virtual Reality

Abstract

Table for Two is a short parallel interactive narrative in cinematic virtual reality. This virtual reality experience is a creative artefact that has adopted screen production enquiry as a practice-based research. This research aims to explore alternative narrative possibilities in virtual reality. Virtual reality is one of the latest disruptions in cinema that has challenged filmmakers with new methods for 360-degree storytelling. This challenge has led to several studies recommending grammar to guide the users’ gaze toward intended areas in the virtual environment. However, it is argued that this aspect limits the full potential of virtual reality. This study on parallel interactive narratives in virtual reality addresses this limitation. Here, the user is addressed as a navigator of the experience. Table for Two offers navigation freedom to look anywhere they desire in the virtual reality environment. A number of studies on virtual reality narratives suggests that theatre, cinema, amusement park and video game design techniques are relevant for virtual reality productions. This research describes how the fusion of these research fields and art forms contributed to new methods for exploring cinematic virtual reality and interactive 360-degree video narratives. Several studies suggest that virtual reality experiences have similarities with theatre, and therefore knowledge relating to theatre experiences can benefit virtual reality production. For this reason, the casting talent of Table for Two was selected from the local theatre group. It was observed that their experience with improvisations and performance for long takes significantly contributed to the virtual reality production. This paper refers to Linda Aronson’s description of parallel narratives in the context of cinema. Parallel narratives have been present in limited quantity through artistic experiments in early cinema. However, the rapid growth of interactivity in narratives has increased in parallel narrative forms in mainstream cinema. It is observed that parallel narratives are gradually emerging in virtual reality experiences. However, there is a lack of knowledge of the design and development processes. While there is a difference between cinematic and VR narrative, Aronson’s parallel narrative forms in cinema, such as tandem, multiple protagonist, double journey, split screen and consecutive narratives, can be applied in cinematic virtual reality. Additionally, space design in amusement parks reveals the significance of infusing the narrative into the set. One key feature called embedded narratives has been incorporated into the set design of Table for Two. Furthermore, interactive narratives for video game design played an essential role in shaping the navigation experience in Table for Two. Along with the influence of these mediums, Table for Two encountered unique challenges with the performance from multiple 360-degree cameras, customized script writing methods, integrating all filming material into the set design, and navigation interactivity, which does not alter the outcome of the story world. This paper discusses the challenges and considerations for creating a parallel interactive narrative in cinematic virtual reality. The theoretical discourse presented in this paper suggests how the convergence of various mediums contributes to new narrative possibilities in virtual reality.