Virtual Reality Narratives Research Articles

Imaginative storytelling – novel immersive production practices and processes for mobile cinematic, interactive 360-degree and real-time VR

ABSTRACT This article adopts creative practice research to explore novel Virtual Reality (VR) production practices and processes for mobile cinematic VR (MCVR), parallel interactive narratives in VR (PIN VR) and real-time VR (RT VR). As a result of Creative Practice research, Imaginative Storytelling analyses and describes these original production approaches and processes for immersive storytelling and illustrates emerging aesthetic formations, which shape new imaginative experiences in VR. These diverse representations of VR are examined through three case studies, A New Dawn [A New Dawn. 2021. Dir. Schleser (VR). Australia. Swinburne University of Technology.], Table for Two [Table for Two. 2022. Dir. Remedios (VR). India. Indian Institute of Technology Hyderabad].) and Phases of Motion [Phases of Motion. 2021/2023. Dir. Berrett (VR). Australia. Swinburne University of Technology]. Each experience focuses on exploring innovative production processes for moile cinematic, interactive 360-degree and real-time VR. By means of outlining three distinctive approaches to VR production, contemporary developments and new directions in immersive storytelling are demonstrated. This research contributes to the expansion of storytelling and storyliving approaches in which navigators become co-creators of VR experiences.

Methodologies and Procedures for the Audiovisual Creation and Direction of Virtual Reality Short Films with Volumetric Capture. An Innovation Project for Higher Education

Virtual reality (VR) has become a cutting-edge medium for interactive experiences and immersive storytelling. In this setting, virtual reality short films have become more popular. They provide audiences with the chance to fully submerge themselves in three-dimensional environments and experience the staging of fictional events firsthand. This article presents a method for producing virtual reality short films using volumetric capture, which enables the implementation of real-time acting captured in three-dimensional video in virtual space-time.The production process is explained, starting with the idea of creating hybrid virtual reality cinematic experiences that blend various methods and assets, such as volumetric capture, computer graphics, and 360-degree film. For this experience, the production of the second episode of the virtual reality series The Stigma Machine (Martínez-Cano, 2022-currently) was carried out within the framework of the educational innovation project PIEU_B/2023_69: Production of prosocial-immersive audiovisual narratives in virtual reality, which involves 20 students from Miguel Hernández University’s Degree in Audiovisual Communication and the Double Degree in Audiovisual Communication and Journalism.In order to experiment with the students on the various processes and techniques for the audiovisual creation of VR, a review of exceptional examples of VR short films with volumetric capture was conducted during the development of this project. Case studies were analyzed to illustrate the various solutions implemented to create immersive experiences from an emotional approach.The findings highlight future directions for the creation of VR short films with volumetric capture and stress the value of multidisciplinary cooperation between filmmakers, visual artists, and VR specialists in advancing the development of this type of immersive storytelling.

Exploring the Viewer’s Role in Narrative-Based Animated Virtual Reality Experiences: Strategies for Role Activation and Immersive Storytelling

Virtual reality (VR) storytelling offers immersive experiences that engage viewers in unique and interactive ways. This study investigates the viewer’s role within animated narrative-based VR and explores strategies and techniques employed to facilitate this engagement. Using thematic analysis, the authors examined 22 animated VR experiences and identified six key themes: viewer interaction, virtual body, viewer’s spatial perspective, voice of the narrator, directed viewing and providing options. These themes encompass various strategies used to activate the viewer’s role and enhance their immersion in the narrative. The findings reveal that interactive elements, such as viewer interactions and decision-making opportunities, contribute to a heightened sense of agency and immersion. Additionally, the incorporation of a visible and functional virtual body, strategic placement of the viewer and guidance from a narrator potentially shape the viewer’s experience and understanding of the narrative. However, it is essential to strike a balance between directed viewing and viewer agency to ensure a satisfying and engaging storytelling encounter. The implications of these findings provide valuable insights for VR creators, highlighting the importance of considering these strategies when designing narrative-based VR experiences. By utilizing these techniques effectively, creators can craft immersive and engaging VR narratives that captivate and involve viewers in dynamic and meaningful ways.

Assessing and recovering Alzheimer's disease: a comparative analysis of standard neuropsychological approaches and virtual reality interventions with the use of digital storytelling.

Alzheimer's disease (AD), the most common form of dementia, is a progressive neurodegenerative disorder that predominantly affects the elderly population. Traditional assessment methods, including neuropsychological tests like the MMSE, have been the cornerstone of AD diagnosis for decades. These methods are grounded in a wealth of research and clinical experience, providing a robust framework for understanding the cognitive deficits of AD. The evolution of AD assessment and rehabilitation has recently been tackled with the introduction of Virtual Reality (VR) technologies. To evaluate the use of storytelling and reminiscence therapy in virtual reality programs as a complementary and enhancing modality alongside standard assessment and rehabilitation for Alzheimer's patients. To explore how regular interaction with VR narratives can slow cognitive decline or improve relevant features of cognitive functioning over the time. To propose a new assessment and rehabilitative tool based on the use of VR and digital storytelling. A comparative analysis of Standard Neuropsychological Approaches and Virtual Reality Interventions in patients with Alzheimer disorder was carried out. A literature overview on the empirical studies between 2019 and 2024 was conducted. We propose a new VR-based setup mediated by the use of storytelling for the assessment and recovery of AD. The employment of storytelling within VR programs for the assessment and rehabilitation of Alzheimer's disease can positively impact both the cognitive and emotional realms of patients, with beneficial outcomes on caregivers' and families' burden. The successful implementation of this approach requires careful consideration of accessibility, data interpretation, and standard validation protocols.

Evaluating User Engagement and Preference in Virtual Reality and Augmented Virtuality for Interactive Storytelling

Abstract Technologies like virtual reality (VR) and augmented virtuality (AV) based on head-mounted display (HMD) have made immersive interactive narrative experience possible. To investigate the differences between HMD VR and HMD AV for interactive storytelling, an app entitled the Extended Journey has been designed, developed and deployed on both VR headsets and optical see-through (OST) mixed reality (MR) headsets. Subsequently, a within-subjects design experiment with sixty participants was conducted to measure different factors of user experience in HMD VR and HMD AV conditions. Additionally, a between-subjects design experiment with 62 participants was conducted to evaluate narrative immersion and presence. Quantitative results from the experiments reveal that HMD VR narrative had statistically significantly better narrative immersion, presence, enjoyment and perceived affinity of computer-generated (CG) characters compared with HMD AV narrative in the context of galleries and museums. Based on Sundar's Modality-Agency-Interactivity-Navigability (MAIN) model, we proposed and validated that sense of being-there and interaction mediated the relationship between immersive media modality and narrative immersion as well as empathy. Qualitative data and behavioral tests showed that young people have a higher preference for HMD VR over HMD AV, but for specific use scenarios, there is still a certain possibility of choosing HMD AV due to security and space limitations. These findings have theoretical implications for the psychology of VR and AV, and practical applications for HMD-based immersive narrative in general.

Eliciting guilt in virtual reality games: interplay of self-attribution, presence, and morality.

This study investigates the psychological mechanisms in virtual reality (VR) games, focusing on the interplay between character morality, self-attribution, presence, guilt, and their collective impact on player enjoyment. Based on Affective Disposition Theory, it hypothesizes that players' moral judgments of characters significantly affect their engagement and enjoyment of VR narratives. A post-test between-subjects experiment was conducted with 97 participants to examine the influence of character morality on guilt through the mediation of self-attribution, and how these factors affect players' sense of presence and overall enjoyment in VR games. The findings indicate that self-attribution significantly mediates the relationship between character morality and guilt. Additionally, the sense of presence enhances enjoyment, with a stronger sense of 'being there' amplifying the emotional impact of players' moral decisions. This study highlights the full mediating effect of self-attribution in the context of VR gaming, intensifying players' emotional responses to moral dilemmas. The results suggest that VR game designers should consider the moral implications of game narratives and character actions to create more emotionally engaging and ethically reflective gaming experiences. These insights have significant implications for VR game design and ethics, promoting greater ethical sensitivity among players.

Cultivating empathy through narratives in virtual reality: a review

In recent years, there has been a growing interest in the potential of virtual reality (VR) as a powerful tool for storytelling and as a means of promoting empathy. This systematic review examines 20 research papers that were deemed relevant based on inclusion and exclusion criteria from a database of a total of 661 papers to investigate the use of VR for empathy-building through immersive storytelling. Thematic analysis of the interventions revealed that most of the narratives focused on the experiences of victims of abuse, social minorities, and individuals affected by medical conditions or political ramifications. These fall under three types of digital narratives identified as (a) personal, (b) historical, and (c) educational. Changes in empathy are identified either through comparisons with non-VR narratives or pre- and post-interventions. Interaction techniques, VR affordances, and methods to measure empathy are further identified. The review concludes that while VR shows promise as a tool for promoting empathy, more research is needed to fully understand its potential and limitations.

Navigating parallel interactive narratives in virtual reality

ABSTRACT The application of Campbell’s hero’s journey in cinema commonly adopts a director-centric approach in which the director decides how the viewer will see the narrative. A parallel interactive narrative in virtual reality titled Table for Two adopts screen production enquiry to investigate the divergence from the hero’s journey from a director-centric approach towards a navigator-centric approach. Here, the conventional cinema viewer is proposed as a navigator due to the immersive, interactive, and intellectual role they perform in terms of 360-degree viewing, teleportation, and meaning creation. While hero’s journey has been examined across various narrative platforms such as literature, theatre, cinema, gaming, theme parks, education, and more; there are limited discussions on the hero’s journey and its relevance to virtual reality experiences. Table for Two is a one-shot 360-degree audio-visual experience captured simultaneously by three 360-degree cameras. The navigator is encouraged to teleport from one narrative to another as the remaining narratives unfold irrespective of their choices. Each navigator is empowered to untie the knotted pieces and construct a narrative puzzle. Table for Two diverges from the hero’s journey through its multi-linear structure, simultaneous parallel narrative approach, and 360-degree spatial storytelling that offers freedom to navigate.

Realidade virtual, literatura e educação: narrativas imersivas para crianças e jovens

ABSTRACT In this article, we discuss the potential of Virtual Reality (VR) technologies for the creation and adaptation of stories aimed at children and young adult, focusing on the specificities of their usage protocols. We begin by introducing narratives in VR and their connection to the field of children and young adult literature. Subsequently, 360º videos targeted at children and young people are presented, along with the reading and engagement protocols that arise from their peculiarities. Starting from the field of Cinematic Virtual Reality (CVR), we discuss about the main challenges posed by this medium for the enjoyment of immersive works, based on the analysis of the work Invasion!, produced by the Baobab studio. Thus, we conclude that both the production and reception of narratives in Virtual Reality presuppose the management of the viewer’s vision and attentional focus, considering the reading protocols already learned and naturalized through other media.

EntangleVR++: evaluating the potential of using entanglement in an interactive VR scene creation system

Interactive digital stories provide a sense of flexibility and freedom to players by allowing them to make choices at key junctions. These choices advance the narrative and determine, to some degree, how the story evolves for that player. As shown in prior work, the ability to control or participate in the construction of the narrative can give the player a high level of agency that results in a stronger sense of immersion in the narrative experience. To support the design of this type of interactive storytelling, our system, EntangleVR++, borrows the idea of entanglement from quantum computing. Our use of entanglement allows creators and storytellers control over which sequences of story events take place in correlation with each other, initiated by the choices a player makes. In this work, we evaluated how well our idea of entanglement enables creators to easily and quickly design interactive Virtual reality narratives. We asked 16 participants to use our system and based on user interviews, analyses of screen recordings, and questionnaire feedback, we extracted four themes. From these themes and the study overall, we derived four authoring strategies for tool designers interested in the design of future visual interface for interactively creating virtual scenes that include relational objects and multiple outcomes driven by player interactions.

Investigating a cinematic virtual reality narrative framework for screenwriting

Over the last decade cinematic virtual reality (CVR) has been progressively developing as a meaningful vehicle for impactful and immersive narratives. Recent studies of CVR concepts and components have laid the ground for a CVR narrative theoretical framework that might assist researchers and practitioners to understand this type of virtual reality (VR) experience. While existing studies have isolated key features of CVR, a range of projects from different fields of work or in different stages of production have utilized a range of different screenwriting processes and strategies to address the affordances of this medium. In this article we seek to systematize the key findings of earlier studies into a narrative framework for CVR and to analyse how this framework is reflected in existent models and templates for writing a screenplay for CVR experiences. Furthermore, and based on this narrative framework, we also aim to contribute an exploratory approach to CVR screenwriting by proposing a variative and original screenwriting template. This template addresses the main limitations of the existent screenwriting templates and formats that we analyse in this study while also summoning the main advantages.

VR as a metaleptic possible world of global citizenship embodiment: a cognitive stylistic approach

Abstract Bringing together narrative elements, virtual affordances, and participants’ embodied interactions, virtual reality (VR) movies instantiate new narrative techniques by offering an immersive experience. This study examines virtual narrative beyond mere interactional engagement and extends the phenomenon to include worlding, metaleptic embodiment, and instantiated possible selves. It aims at exploring VR narrative as idiosyncratic cognitive processes, with a special focus on the notions of empathy and emotional involvement as significant elements contributing to this peculiar interactional and cognitive experience. A cognitive stylistic approach is adopted to explain the functional ability of VR technology in transporting participants to alternate worlds and in making them experience a kind of self-transformation. The immersively metaleptic discourse of Baba Yaga is examined as engaging participants in a quest of how to act as morally and socially empathetic and responsible citizens—global citizens. Baba Yaga narrative deploys the narrative discourses of flashbacks, facework, doubly deictic ‘you’, performatives, and imperatives along with material processes to situate participants in a virtual space of actions and doings and hence encourage them to configure their desired self(ves) across different immersive interactions. The global citizen is embodied in the interactive narrative of Baba Yaga, through invoking various storyworld possible selves (SPSs): the feeling self, the responsible self, and the moral self, which encompasses climate activist self and interculturally aware self who manages to get rid of its own cultural biases as the narrative proceeds. Embodied in these selves, participants transform the virtual world into possible worlds of their own passion, agency, choices, hopes, and desires.

RealityMedia: immersive technology and narrative space

In this paper, we treat VR as a new writing space in the long tradition of inscription. Constructing Virtual Reality (VR) narratives can then be understood as a process of inscribing text in space, and consuming them as a process of “reading” the space. Our research objective is to explore the meaning-making process afforded by spatial narratives—to test whether VR facilitates traditional ways of weaving complex, multiple narrative strands and provides new opportunities for leveraging space. We argue that, as opposed to the linear space of a printed book, a VR narrative space is similar to the physical space of a museum and can be analyzed on three distinct levels: (1) the architecture of the space itself, (2) the collection, and (3) the individual artifacts. To provide a deeper context for designing VR narratives, we designed and implemented a testbed called RealityMedia to explore digital remediations of traditional narrative devices and the spatial, immersive, and interactive affordances of VR. We conducted task-based user study using a VR headset and follow-up qualitative interviews with 20 participants. Our results highlight how the three semantic levels (space, collection, and artifacts) can work together to constitute meaningful narrative experiences in VR.

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

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.

Virtual narratives, physical bodies: Designing diegetic sensory experiences for virtual reality

This article presents a reflection on four virtual reality (VR) research projects to foreground questions about how physical and sensory interactions are incorporated into VR narratives. The four projects explore a range of experiences, from interactions with digitally mediated and found objects, to sensory interactions and outdoor play. Bringing these projects together here offers an opportunity to contribute insight into conceptualizations of diegetic design and the ‘design space’ of VR, providing questions and considerations towards designing sensory experiences for narratives in VR.

The Efficacy of Virtual Reality in Climate Change Education Increases with Amount of Body Movement and Message Specificity

Climate change impacts are felt globally, and the impacts are increasing in severity and intensity. Developing new interventions to encourage behaviors that address climate change is crucial. This pre-registered field study investigated how the design of a virtual reality (VR) experience about ocean acidification could impact participants’ learning, behavior, and perceptions about climate change through the manipulation of the experience message framing, the sex of voice-over and the pace of the experience, and the amount of participants’ body movement. The study was run in 17 locations such as museums, aquariums, and arcades in the U.S., Canada, the U.K., and Denmark. The amount of body movement was a causal mechanism, eliciting higher feelings of self-efficacy while hindering learning. Moreover, linking the VR narrative about ocean acidification linguistically to climate change impaired learning compared to a message framing that did not make the connection. As participants learned more about the experience, they perceived the risks associated with ocean acidification as higher, and they were more likely to engage in pro-climate behavior. The results shed light on the mechanisms behind how VR can teach about ocean acidification and influence climate change behavior.

Virtual reality as a technology of memory: Immersive presence in Polish politics of memory

Abstract Experiences that take place in virtual reality (VR) become part of users’ autobiographical memory. As memories can impact users’ self-perception, personal beliefs, and social interactions, storyliving in VR narratives can be used to manipulate memory and mould users’ self according to the preferences of the VR narrative creators. Poland's Ministry of Culture and National Heritage has, in recent years, generously invested in the production of VR films that depict events from the Polish historical canon. VR is a spatial technology that positions users ‘inside’ a virtual storyworld and leverages users’ sense of body position and movement to enhance memory and a sense of presence. Three dimensions of presence – self, social, and spatial – are relevant to understanding the role of VR in the politics of memory. The article interrogates a recent Polish VR production, Wiktoria 1920 (2020, dir. Tomasz Dobosz), and argues that VR representations exploit a sense of presence to shape users’ memory, perspective, and emotions in relation to the past.

Immersing learners in stories: A systematic literature review of educational narratives in virtual reality

The aim of this study, via a systematic review, was to investigate the addition of narratives in immersive virtual reality (IVR) and the associated impacts on learning. Narratives in IVR put the learner in the story, which, until recent developments in IVR head-mounted display technology, was out of reach in most classrooms. The review found that added immersion afforded by VR is particularly important in relation to learning where situational context is desirable. Importantly, IVR experiences with a narrative may have the potential to increase affective outcomes for learners, without reducing cognitive gains. Additionally, data concerning learning theories and design methodologies was extracted from the studies. The systematic review yielded 12 relevant and applied papers with this demonstrating there are still significant gaps in the research concerning the impact on learning in narrative IVR. This review highlights that the inclusion of narratives in educational IVR offers many potential benefits, however is yet to be fully explored. There are endless opportunities to tell stories in IVR. How they can be used and their impact on education is a rich ground for further research and development. Implications for practice or policy Educators and VR developers should consider including a narrative in an educational IVR experience because of the potential to increase affective outcomes such as motivation and engagement, without reducing cognitive gains. Learners can benefit from educational IVR experiences with narratives because they can provide situational context, elicit an emotional response and scaffold complex learning.

Student Engagement and Language Learning: What, Why, and How?

Student Engagement and Language Learning: What, Why, and How?

Embodying ressentimentful victimhood: virtual reality re-enactment of the Warsaw uprising in the Second World War Museum in Gdańsk

ABSTRACT This article examines how the Museum of the Second World War in Gdańsk, Poland, employs an immersive virtual reality (VR) experience ‘Postcard from the Uprising’ (Kartka z Powstania) in order to build an affective memory regime that prescribes an emotional repertoire for museum audiences. By engaging in a narrative inquiry of the VR experience, I demonstrate how it evokes the emotional dynamic of ressentiment, which has been identified as the affective driver of right-wing populism and which informs the historical policy of Poland’s ruling Law and Justice (PiS) party. The ressentimentful emotional regime is predicated on (1) the repeated re-experiencing of perceived injustice and victimhood, which requires (2) an outlet of negative emotions directed at the enemy and (3) a reclaiming of self-worth and dignity along with an ennobled and morally superior victimhood position. The VR experience functions as an emotion training device through which ‘appropriate’ emotions towards the past are instilled in the audience. The VR narrative transforms collective historical victimhood from a powerless to a morally superior position and may help the PiS in harnessing feelings of injustice and victimhood present among the museum visitors, who yearn to overcome these feelings and reclaim their self-worth and dignity.