Interactive Fiction in Cinematic Virtual Reality: Epistemology, Creation and Evaluation

This dissertation presents the Interactive Fiction in Cinematic Virtual Reality (IFcVR), an interactive digital narrative (IDN) that brings together the cinematic virtual reality (cVR) and the creation of virtual environments through 360\ub0 video within an interactive fiction (IF) structure. This work is structured in three components: an epistemological approach to this kind of narrative and media hybrid; the creation process of IFcVR, from development to postproduction; and user evaluation of IFcVR. In order to set the foundations for the creation of interactive VR fiction films, I dissect the IFcVR by investigating the aesthetics, narratological and interactive notions that converge and diverge in it, proposing a medium-conscious narratology for this kind of artefact. This analysis led to the production of an IFcVR functional prototype: \u201cZENA\u201d, the first interactive VR film shot in Genoa. ZENA\u2019s creation process is reported proposing some guidelines for interactive and immersive film-makers. In order to evaluate the effectiveness of the IFcVR as an entertaining narrative form and a vehicle for diverse types of messages, this study also proposes a methodology to measure User Experience (UX) on IFcVR. The full evaluation protocol gathers both qualitative and quantitative data through ad hoc instruments. The proposed protocol is illustrated through its pilot application on ZENA. Findings show interactors' positive acceptance of IFcVR as an entertaining experience

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

Retelling narrative in 360º videos : Implications for audio description

The aim of this article is to question whether the approach for producing audio description (AD) in 2D films needs to be revisited for 360  narrative videos, a new media format characterized by its immersive capacity. To provide answers, a two-step research methodology was designed. First, an extensive literature review was performed. The data obtained during the first step was then used to design and carry out focus groups. The first part of the article discusses the findings from the literature review, comparing standard narratives with 360  narrative videos. It draws some conclusions for audio describers in relation to AD content selection, a key task in the translation of visuals into words. In the second part of the article, data obtained from the focus groups held with describers and AD users is presented. The results suggest possible approaches to AD for 360  content, such as the use of spatial sound and elements of interaction

Beyond virtual cultural tourism: history-living experiences with cinematic virtual reality

Virtual reality offers unprecedented opportunities for creating cultural tourism experiences that tell visitors emotionally engaging stories about the past.  This paper focuses onthe latest frontier of immersive storytelling rivalling feature films, cinematic virtual reality, which can immerse users into 360-degree films making them feel like living the story. Through a qualitative analysis of five projects, this paper explores how this new media form has been applied for cultural heritage storytelling and analyses the reactions of users to the historyliving experiences with an emphasis on their emotional responses. Based on the findings of the analysis, implications are discussed for the design of VR experiences in cultural tourism

What is the Avatar? Fiction and Embodiment in Avatar-Based Singleplayer Computer Games: Revised and Commented Edition

What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? The author examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, the author argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch

Telling interactive stories: A practice-based investigation into new media interactive storytelling

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.Telling Interactive Stories is a practice-based thesis, which theoretically and practically probes the field of digital fictional interactive storytelling. The submission takes the form of the interactive cinema installation Crossed Lines together with a written element of the thesis which interrogates historical, contextual, theoretical, technical and critical aspects of the field of interactive narrative using new media. Crossed Lines is an original fictional interactive AV piece, amalgamating multiform plots, a multi-screen viewing environment, an interactive interface and an interactive story navigation form. The installation tells the stories of nine characters in a way that the viewer can constantly explore and switch between all nine forms, using a telephone keypad and handset as an interface, and can simultaneously observe all characters’ presence between the nine remote locations. Several research methodologies are utilised to analyse and evaluate the installation. Quantitative methodologies include the use of user tracking systems where the computational output of the installation provides measurements and timings of user choices and behaviours. Qualitative methodologies include theoretical and visual analysis, and in depth analysis of user responses using interviews, questionnaires, video recordings and cuttingedge eye-tracking technologies

Quais as potencialidades da criação de um videoclip em Realidade Virtual?

The focus of this dissertation is in the potentiality of the creation of a music video in Virtual Reality (VR). As such, it was analyzed in the theoretical framework what are music videos, what is VR and, more specifically, what are music videos in VR, which is a unresearched topic in the academic field, to which this dissertation provides some basis for feature research in this area. A music video for VR was made for this dissertation as to better understand the potentialities of the medium. The music video was made under the conventional phases of audiovisual production. Then user tests were made for this music video in order to evaluate its characteristics. The tests were made with 3 independent samples because the music video was shown in desktop 360-2D, mobile-360-2D, and VR on a Head Mounted Display (HMD). This was done as to better understand the potentialities of VR by comparing it to other mediums. Each participant had to answer to a pre-test questionnaire, and to a post-test questionnaire. The analysis of the results showed that although VR offers the added benefit of immersion it also poses its own challenges and a completely new approach to music video making.O foco desta dissertação é na potencialidade de criação de videoclips em Realidade Virtual. Como tal, foi analisado no enquadramento teórico o que são videoclips, o que é a Realidade Virtual e, mais especificamente, o que são videoclips em Realidade Virtual, tópico sobre o qual não existe muita investigação no meio académico, de maneira a que esta dissertação serve como base para investigações futuras. Um videoclip foi feito para Realidade Virtual para a investigação da qual esta dissertação faz parte, a fim de perceber as potencialidades do meio. O videoclip foi criado com base nas fases convencionais de produção audiovisual. Feito isto foram feitos testes de utilizador para avaliar as características do videoclip. Estes testes foram feitos em 3 amostras independentes cada uma para um formato diferente de visualização de videoclips em Realidade Virtual, desktop-360-2D, mobile-360-2D e em Realidade Virtual com um Head Mounted Display. Isto foi feito de modo a perceber melhor as potencialidades da Realidade Virtual comparativamente com os outros meios. Cada participante teve de responder a um questionário pré-teste e a um questionário pós-teste. A análise dos resultados mostrou que apesar da Realidade Virtual oferecer o benefício da imersão, ela tem os seus desafios, e requere uma abordagem completamente nova para a realização de videoclips.Mestrado em Comunicação Multimédi

What is the Avatar?

What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? Rune Klevjer examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, Klevjer argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch