Effects of Character Guide in Immersive Virtual Reality Stories

Bringing cinematic experiences from traditional film screens into Virtual Reality (VR) has become an increasingly popular form of entertainment in recent years. VR provides viewers unprecedented film experience that allows them to freely explore around the environment and even interact with virtual props and characters. For the audience, this kind of experience raises their sense of presence in a different world, and may even stimulate their full immersion in story scenarios. However, different from traditional film-making, where the audience is completely passive in following along director’s decisions of storytelling, more freedom in VR might cause viewers to get lost on halfway watching a series of events that build up a story. Therefore, striking a balance between user interaction and narrative progression is a big challenge for filmmakers. To assist in organizing the research space, we presented a media review and the resulting framework to characterize the primary differences among different variations of film, media, games, and VR storytelling. The evaluation in particular provided us with knowledge that were closely associated with story-progression strategies and gaze redirection methods for interactive content in the commercial domain. Following the existing VR storytelling framework, we then approached the problem of guiding the audience through the major events of a story by introducing a virtual character as a travel companion who provides assistance in directing the viewer’s focus to the target scenes. The presented research explored a new technique that allowed a separate virtual character to be overlaid on top of an existing 360-degree video such that the added character react based on the head-tracking data to help indicate to the viewer the core focal content of the story. The motivation behind this research is to assist directors in using a virtual guiding character to increase the effectiveness of VR storytelling, assuring that viewers fully understand the story through completing a sequence of events, and possibly realize a rich literary experience. To assess the effectiveness of this technique, we performed a controlled experiment by applying the method in three immersive narrative experiences, each with a control condition that was free ii from guidance. The experiment compared three variations of the character guide: 1) no guide; 2) a guide with an art style similar to the style of the video design; and 3) a character guide with a dissimilar style. All participants viewed the narrative experiences to test whether a similar art style led to better gaze behaviors that had higher likelihood of falling on the intended focus regions of the 360-degree range of the Virtual Environment (VE). By the end of the experiment, we concluded that adding a virtual character that was independent from the narrative had limited effects on users’ gaze performances when watching an interactive story in VR. Furthermore, the implemented character’s art style made very few difference to users’ gaze performance as well as their level of viewing satisfaction. The primary reason could be due to limitation of the implementation design. Besides this, the guiding body language designed for an animal character caused certain confusion for numerous participants viewing the stories. In the end, the character guide approaches still provided insights for future directors and designers into how to draw the viewers’ attention to a target point within a narrative VE, including what can work well and what should be avoide

De-Roling from Experiences and Identities in Virtual Worlds

Within dramatherapy and psychodrama, the term ‘de-roling’ indicates a set of activities that assist the subjects of therapy in ‘disrobing’ themselves from their fictional characters. Starting from the psychological needs and the therapeutic goals that ‘de-roling’ techniques address in dramatherapy and psychodrama, this text provides a broader understanding of procedures and exercises that define and ease transitional experiences across cultural practices such as religious rituals and spatial design. After this introductory section, we propose a tentative answer as to why game studies and virtual world research largely ignored processes of ‘roling’ and ‘de-roling’ that separate the lived experience of role-play from our everyday sense of the self. The concluding sections argue that de-roling techniques are likely to become more relevant, both academically and in terms of their practical applications, with the growing diffusion of virtual technologies in social practices. The relationships we can establish with ourselves and with our surroundings in digital virtual worlds are, we argue, only partially comparable with similar occurrences in pre-digital practices of subjectification. We propose a perspective according to which the accessibility and immersive phenomenological richness of virtual reality technologies are likely to exacerbate the potentially dissociative effects of virtual reality applications. This text constitutes an initial step towards framing specific socio-technical concerns and starting a timely conversation that binds together dramatherapy, psychodrama, game studies, and the design of digital virtual worlds

Cinematic virtual reality as a new narrative form

Over the past three decades, digital information technologies have rapidly transformed our means of communication and introduced new media forms. Some of the most recent developments in this respect are the emergence of 360-degree video cameras (both at the consumer level and for industrial production), the introduction of computer applications to process 360-degree video images, and wide-scale adoption of head-mounted displays (HMD). These technologies, all working together, seem to provide us with a new form of filmmaking, new potentials for cinematic storytelling, and in fact, a new form of cinematic experience. Although 360-degrees films that are produced to be watched on HMDs have immensely evolved in the past decade, the creative projects produced in this field remains relatively experimental. Cultivating the widespread adoption of VR headsets towards developing new narrative forms and exploiting the potentials of this new medium towards storytelling remains as challenging yet promising task. This paper will examine the narrative potentials of a new media form, which is called Cinematic Virtual Reality (CVR).Publisher's Versio

Neal Stephenson’s Readme: a critique of gamification

Neal Stephenson’s writing has in many ways shaped post-cyberpunk science fiction as well as having a massive influence on real-world technology, so his move to realism with 2011’s Reamde offers an opportunity to understand science fiction’s changing relationship to realism in the twenty-first century. Stephenson is considered a core cyberpunk writer thanks to 1992’s Snow Crash, a novel that depicts an online virtual world known as the ‘Metaverse’. This novel is based on the premise that the actions of an online world could have a material impact on participants outside of the game: namely, gamers can be brain damaged by a computer virus. Stephenson has continued to explore these themes throughout his career, but recently through contemporary settings, rather than the futures of his science fiction. Stephenson’s Reamde could therefore be considered an example of ‘science fiction realism’, a term coined by Veronica Hollinger to describe William Gibson’s Pattern Recognition (2003), a novel which also uses science fictional tropes and techniques, but in a contemporary setting

A Sense of place : VR Journalism and Emotional Engagement

Virtual reality (VR) and other immersive technologies introduce new opportunities for emotionally compelling narratives and user agency. Virtually mediated environments lie at the heart of immersive journalism (IJ) experiences, foregrounding a sense of presence and bridging the connection between the user and the character. Mediated environments in VR stories provide more than a setting since the user can interact with and respond to the surroundings. Drawing on the theory of spatial narrative, documentary and cinema literature and studies on media morality, this article examines the meaning of place in VR news stories and its ability to engage the user with the story. This study contributes to the discussion of creating and communicating places in journalism studies by examining spatial storytelling in immersive news stories, which are available in the NYT VR smartphone application. This paper argues that spatial storytelling eventually affects what is experienced and how it is experienced either by demonstrating the circumstances with aesthetical elements or via the selection of spaces.Peer reviewe

VR Storytelling

The question of cinematic VR production has been on the table for several years. This is due to the peculiarity of VR language which, even if it is de ned by an image that surrounds and immerses the viewer rather than placing them, as in the classic cinematic situation, in front of a screen, relies decisively on an audiovisual basis that cannot help but refer to cinematic practices of constructing visual and auditory experience. Despite this, it would be extremely reductive to consider VR as the mere transposition of elements of cinematic language. The VR medium is endowed with its own speci city, which inevitably impacts its forms of narration. We thus need to investigate the narrative forms it uses that are probably related to cinematic language, and draw their strength from the same basis, drink from the same well, but develop according to di erent trajectories, thus displaying di erent links and a nities

Communicating engineering heritage through immersive technology:A VR framework for enhancing users' interpretation process in virtual immersive environments

The recent advancement in immersive technologies opens up opportunities for the way individuals perceive and engage with information in public spaces to be innovated. This article discusses a study that investigates the application of Virtual Reality (VR) as an instrument for communicating engineering heritage in museum environments with the aim to enhance visitor experience. The study adopted Shannon’s communication theory as the main principle for contextualising heritage objects within virtual environments. This approach can benefit curators in informing the way the intended meaning, value, and context behind museum artefacts to be delivered through visual narratives and aesthetics. In this study, three VR scenarios have been developed using the Unreal engine to investigate the aspects of learning, interaction, and immersion during the virtual experience. One-way ANOVA approach was used to determine the significant differences between the proposed factors in the study. The study found that the absence of interaction in the immersive scenario reduced the mean score leading to a lack of constructive guidance during navigation. Whereas using Gamified and narrated approaches significantly increased the mean value of the participants compared to the control group. While many researchers argue that the utilisation of VR could improve the users’ level of presence, the study outcomes suggest that there are certain conditions that should be structured during the development process to facilitate better engagement with virtual content. To achieve these conditions, gamification and storytelling strategies have been found to be effective in delivering an interactive immersive experience for engaging with heritage artefacts and contents

The power of immersive technologies: a sociopsychological analysis of the relationship between immersive environments, storytelling, sentiment, and the impact on user experience

This dissertation initially focused on exploring the potential of immersive technologies for the distant future. However, the emergence of the COVID-19 virus in late 2019 disrupted the world, causing a pause in many areas. Nevertheless, the butterfly effect of the pandemic spurred the development of immersive technologies, resulting in the rise of the metaverse, web3, non-fungible tokens (NFT), and avatars, which are gaining increasing popularity. The excitement for the metaverse is growing in both academia and industry, leading to new avenues of research, digital marketing, video games, tourism, and social media. This dissertation explores this rapidly emerging technological revolution and its effects on user experience (UX)