No full-text available
To read the full-text of this research,
you can request a copy directly from the author.
Hamlet on the Holodeck : the Future of Narrative in Cyberspace / J.H. Murray.
Abstract
Obra que analiza las propiedades, ventajas, reacciones y significados que ofrece la narrativa interactiva frente a la narrativa lineal para entender cómo las historias median nuestra forma de pensar el mundo.
... Video games, on the other hand, challenge this conceptual framework by providing more engaging and interactive narrative experiences. Murray's (1998) in "Hamlet On the Holodeck" discusses the myriad possibilities of narrative design in games. He emphasises that every future video game narrative will evolve into a completely fresh storytelling format that is intricate enough to satisfy the player's narrative desires to the point of lifelike simulation (Murray, 1998). ...
... Murray's (1998) in "Hamlet On the Holodeck" discusses the myriad possibilities of narrative design in games. He emphasises that every future video game narrative will evolve into a completely fresh storytelling format that is intricate enough to satisfy the player's narrative desires to the point of lifelike simulation (Murray, 1998). ...
... Video games like Cyberpunk and Detroit: Become Human showcase this shift, from rigid, author-driven stories to dynamic, player-driven encounters that subvert traditional literary frameworks, paving the path for ludic interactive narratives. According to Murray's (1998), conventional storytelling necessitates a set narrative structure with a beginning, middle, and end that the viewer is unable to change. But the function of the writer as a storyteller or narrator becomes less evident with the emergence of interactive media, like video games. ...
This paper examines how video games, as a technologically advanced form of literary narrative, shape the future of storytelling. “Cyberpunk 2077” and “Detroit: Become Human” exemplify the shift from linear storytelling to dynamic, player-driven narratives. Unlike traditional literature, these games introduce a multiplicity of endings, mirroring the unpredictability of real-life decisions. Gilles Deleuze and Félix Guattari’s concept of “becoming”, from “A Thousand Plateaus: Capitalism and Schizophrenia” (1980), is key to understanding this narrative fluidity. ‘Becoming’ rejects fixed identities in favor of transformation, much like the characters in these games. V in “Cyberpunk 2077” is not a singular entity but an assemblage of possibilities shaped by the player’s choices. Similarly, the androids in “Detroit: Become Human” undergo ‘becomings,’ transforming based on player-driven interactions. The choices made by the player dictate the fates of android protagonists Connor, Kara, and Markus, reinforcing the idea that no single, definitive story exists. Deleuze and Guattari’s anti-essentialism also aligns with these narratives. In “A Thousand Plateaus”, they propose the “rhizome”, a non-hierarchical structure that resists singular meaning. These games construct meaning in the same way: no definitive story exists, only interconnected possibilities. Each player’s experience is unique, reinforcing the idea that meaning is contingent and dynamic. This non-linearity transforms storytelling. Traditional literature presents a fixed authorial vision, whereas video games turn players into co-creators. By analyzing these games through Deleuze and Guattari’s framework, this paper highlights how video games redefine narrative, making storytelling more fluid, participatory, and reflective of human agency. In this way, they embody a new literary form that embraces multiplicity and rejects essentialism.
... Studies show that high-quality graphics, interactivity, and surround sound significantly affect this effect [13]. Murray points out that decision-making mechanisms in the narrative further enhance immersion [14]. ...
... Interactivity in digital storytelling takes various forms. According to Murray, interactive narratives allow users to shape the course of the story, which distinguishes them from traditional, linear storytelling [14]. Ryan distinguishes different interaction models from stories with limited user influence to fully dynamic stories that change in real time in response to the viewer's actions [15]. ...
... As Ryan [9] notes, stories in VR do not have to unfold in a linear fashion. Instead, the user is free to explore the world and shape the course of the narrative on their own [14]. The key, then, is to design the space in such a way that the story engages the viewer not only with content but also with the very possibility of interaction. ...
The chapter explores how immersive technologies, such as virtual reality (VR), are transforming storytelling in the digital age. The focus concentrates on the significant contributions of immersive experiences to emotional and sensory engagement, enabling novel opportunities for interactive and spatial storytelling. The chapter also references studies conducted into story and user engagement, using eye-tracking that examines patterns in gaze as it is embedded within narrative spaces, and BCIs that allow for the real-time generation of customized story experiences. Within the chapter, we review key narrative techniques, VR implementations, consumer experiences in virtual 3D landscapes, and developer challenges (e.g., cyber sickness (simulator sickness), which can impair consumer convenience and session duration). There is also a gloss on ethical debates and the future potential of immersive narratives such as the inclusion of artificial intelligence or multi-channel transmedia experiences. The chapter provides a comprehensive understanding of immersive storytelling through the integration of theoretical and practical insights incorporating technological, cultural, and narrative perspectives.
... Defining Immersion is necessary in understanding not only how it can be achieved in a video game but also how it can be measured. The concrete definition of immersion has been the subject of debate among various research over the years [5,6,7,8,18,19,25,26 ]. Many attempts to try and describe what the feeling of Immersion actually encapsulates have been made. ...
... Nilsson et al discussed a variety of previous definitions of immersion not just in terms of video games but also in virtual environments and in fictional literature [6]. The first definition of immersion covered came from Murray who described immersion as a "metaphorical term" whose feeling was akin to that of being fully submerged in water, and that the term immersion sought to describe a feeling of being psychologically submerged in another reality, taking over all of our attention [7]. Another contrasting view of immersion came from Slater describing immersion as less of something that the user creates from their reaction to a system and more so something that the system itself delivers, making it a measurable property of the system [8]. ...
... Another contrasting view of immersion came from Slater describing immersion as less of something that the user creates from their reaction to a system and more so something that the system itself delivers, making it a measurable property of the system [8]. This is important for this project as specifically aims to measure the level of immersion a user experiences, as well as to begin to achieve the description of immersion provided by Murray [7]. ...
The purpose of this study is to measure the effect of immersion that may be experienced by a player when interacting with a game system. Particularly this study aims to measure the difference between the use of motion control devices when compared to their more traditional, sedentary counterparts. Immersion in this context generally means the level of involvement someone may have with a particular experience and is often used when describing video games and their ability to ‘suck you in’. Participants engage with 2 systems: one using sedentary controls and the other using motion controls (Nintendo Switch Joy-Cons) within identical game systems. First, participants complete a Tangram Puzzle, once completed they then begin interacting with the chosen system. After a set period of time they are then interrupted to complete the Immersion Questionnaire. Next, they continue interacting with the system. After another set period of the same length they are interrupted a second time, completing the Tangram task a second time. Following this, participants redo the previous steps with the other condition. The level of immersion will be measured through the improvement in the time taken to complete the Tangram puzzle in addition to the Immersion Questionnaire scores.
... Georgakopoulou [5] argued that traditional narrative structures must be reconstructed in digital environments and emphasized the need for plot design that reflects causal development and emotional curves, considering user participation. Furthermore, Murray [6] proposed that digital narratives possess four key characteristics: procedural, participatory, spatial, and encyclopedic design, highlighting the importance of structural planning that takes these into account. Researchers focusing on structural design have proposed key factors for effective narrative delivery and have empirically verified the narrative elements essential for digital storytelling in VR environments. ...
... Digital storytelling enhances immersion and engagement, particularly in virtual reality (VR) environments, where users can interact with the narrative in a multi-sensory manner [25]. According to Murray [6], digital narratives in immersive environments enable greater interactivity, allowing users to influence the storyline and experience a heightened sense of presence. Furthermore, Lambert [1] emphasized that emotional engagement is a key component of digital storytelling, fostering deeper connections between the audience and the content. ...
... VR (virtual reality) exhibitions have established themselves as a significant medium for providing highly immersive experiences for users. In particular, digital storytelling in VR environments plays a crucial role in eliciting users' psychological responses, transforming passive spectators into active participants through immersion, interactivity, and emotional connection [6,[25][26][27]. Existing studies have reported that digital storytelling serves as a vital mechanism for enhancing the quality of user experience beyond simple information delivery [28,29], a role that becomes even more pronounced in VR exhibitions. ...
Recent advancements in virtual reality (VR) technology have introduced a new paradigm in exhibition culture, with digital storytelling emerging as a crucial component supporting this transformation. Particularly in virtual exhibitions, digital storytelling serves as a key medium for enhancing user experience and maximizing immersion, thereby fostering continuous usage intention. However, systematic research on the structural influence of VR-based digital storytelling on user experience remains insufficient. To address this research gap, this study examines the impact of key components of digital storytelling in VR—namely, interest, emotion, and educational value—on presence, immersion, enjoyment, and continuous usage intention through path analysis. The results indicate that interest, emotion, and educational value all have a significant positive effect on presence. Furthermore, while interest and emotion positively influence immersion, educational value does not show a statistically significant effect. Presence, in turn, has a positive effect on immersion, enjoyment, and continuous usage intention, while immersion also positively influences enjoyment and continuous usage intention. Finally, enjoyment was found to have a significant positive effect on continuous usage intention. This study empirically validates the effectiveness of digital storytelling in virtual exhibition environments, offering valuable academic and practical insights. Theoretically, it contributes to the field by elucidating the complex and hierarchical relationships among three core factors—interest, emotion, and educational value—and their impact on user experience. Practically, the findings provide strategic guidelines for designing virtual exhibitions that maximize user immersion and satisfaction, reaffirming the importance of storytelling content that emphasizes interest and emotion.
... The realm of digital narratives has emerged as a significant area of study, capturing the attention of scholars across diverse academic disciplines and permeating various facets of contemporary society (Koenitz et al., 2015). Departing from traditional, linear structures of storytelling, digital narratives fundamentally transform how stories are conceived, disseminated, and experienced through the integration of digital technologies and multimedia elements (Murray, 1997). This evolution extends beyond mere digitization, giving rise to narrative forms that leverage the unique capabilities inherent in digital media, fostering new modes of engagement and communication (Koenitz, 2014). ...
... Similarly, immersion represents another critical theoretical foundation that is significantly enhanced in digital environments. Murray (1997) argues that through the integration of diverse media formats and interactive features, digital narratives create more engaging and participatory experiences that draw users deeper into the story world. The third cornerstone principle, multimodality, involves the deliberate combination of various media such as text, audio, and video. ...
... Koenitz et al. (2015) examine how designers must balance predetermined narrative structures with the freedom granted to players, noting that excessive player agency can sometimes undermine narrative coherence, while overly restrictive narratives can diminish the interactive experience. The affordances of digital media-characterized by Murray (1997) as procedural, participatory, spatial, and encyclopedic-position interactive narratives as particularly effective for representing complex subjects. These unique characteristics enable interactive narratives to present multiple perspectives, allow exploration of dynamic possibility spaces, and create user-driven narrative progression in ways that linear narratives cannot. ...
... Video games, on the other hand, challenge this conceptual framework by providing more engaging and interactive narrative experiences. Murray's (1998) in "Hamlet On the Holodeck" discusses the myriad possibilities of narrative design in games. He emphasises that every future video game narrative will evolve into a completely fresh storytelling format that is intricate enough to satisfy the player's narrative desires to the point of lifelike simulation (Murray, 1998). ...
... Murray's (1998) in "Hamlet On the Holodeck" discusses the myriad possibilities of narrative design in games. He emphasises that every future video game narrative will evolve into a completely fresh storytelling format that is intricate enough to satisfy the player's narrative desires to the point of lifelike simulation (Murray, 1998). ...
... Video games like Cyberpunk and Detroit: Become Human showcase this shift, from rigid, author-driven stories to dynamic, player-driven encounters that subvert traditional literary frameworks, paving the path for ludic interactive narratives. According to Murray's (1998), conventional storytelling necessitates a set narrative structure with a beginning, middle, and end that the viewer is unable to change. But the function of the writer as a storyteller or narrator becomes less evident with the emergence of interactive media, like video games. ...
This chapter delves into Digital poetry opening avenues for readers to be a part of creative process, posing them as writers too. The touch screen and hyperlinks help the reader in controlling the narrative.
... Video games, on the other hand, challenge this conceptual framework by providing more engaging and interactive narrative experiences. Murray's (1998) in "Hamlet On the Holodeck" discusses the myriad possibilities of narrative design in games. He emphasises that every future video game narrative will evolve into a completely fresh storytelling format that is intricate enough to satisfy the player's narrative desires to the point of lifelike simulation (Murray, 1998). ...
... Murray's (1998) in "Hamlet On the Holodeck" discusses the myriad possibilities of narrative design in games. He emphasises that every future video game narrative will evolve into a completely fresh storytelling format that is intricate enough to satisfy the player's narrative desires to the point of lifelike simulation (Murray, 1998). ...
... Video games like Cyberpunk and Detroit: Become Human showcase this shift, from rigid, author-driven stories to dynamic, player-driven encounters that subvert traditional literary frameworks, paving the path for ludic interactive narratives. According to Murray's (1998), conventional storytelling necessitates a set narrative structure with a beginning, middle, and end that the viewer is unable to change. But the function of the writer as a storyteller or narrator becomes less evident with the emergence of interactive media, like video games. ...
Narrative identity is a fundamental aspect of human experience, shaping how individuals construct and interpret their life stories. This study examines how terminally ill patients construct narrative identity through family audiobooks, preserving their voices and life stories for loved ones. Initiatives like the Family Audiobook Association provide a platform for patients to express values, emotions, and personal histories, offering comfort to bereaved children. Family audiobooks serve as a meaningful tool for grief processing, strengthening intergenerational connections, and preserving personal histories. The study highlights the benefits of reminiscence while addressing ethical and practical challenges, such as emotional distress, accessibility, and cultural perceptions of legacy.
... To better explore the interplay of these elements and their impact on DEB, a social constructionist perspective (Burr, 2015) is used, as a clinical perspective overlooks the specific conditions of a young athlete's life. The social constructionist perspective emphasizes the role of narratives as psychological instruments enabling individuals to make sense of the world, their relationships, and their identities (Murray, 2017) and facilitates a deeper understanding of the meanings that athletes ascribe to their eating practices and behaviors (Papathomas & Lavallee, 2014). ...
... Two complementary approaches will be used for analyzing qualitative data, namely narrative analysis (Murray, 2017) and reflective thematic analysis (Braun & Clarke, 2019, 2022a. Reflective thematic analysis is a recognized and widely used approach to understand people's behaviors and practices, the meanings they attribute to these practices and behaviors, the factors and processes that shape and influence a particular phenomenon, and the rules and norms that shape these behaviors and practices (Braun & Clarke, 2022b). ...
... The narrative analysis complements the thematic approach by delving into the structure, delivery, and socio-cultural context of participants' stories (Smith & Sparkes, 2012). Three dimensions will be considered: the personal, interpersonal and socio-cultural dimensions (Murray, 2017). The personal dimension concerns the internal structure of the narrative, that is, the way it is organized, the interpersonal dimension focuses on the everyday interpersonal context of the participant, and the sociocultural dimension considers the wider socio-cultural context (Murray, 2017). ...
Background: The current sports context appears to place adolescent athletes at risk for developing disordered eating behaviors, particularly in lean sports such as synchronized swimming. However, an athlete’s eating behavior changes over the course of a sports season and is influenced by various factors (e.g., pressures related to weight and appearance, body dissatisfaction, self-esteem), as well as by stress levels. To date, only a few studies have examined these variations or explored the effects of stress on eating behavior during a sports season, but understanding how athletes navigate the spectrum of eating behaviors over time is of paramount importance for preventive approaches. The purpose of this study is to examine the impact of individual daily stress on eating behavior within different seasonal periods.
Methods: A longitudinal mixed methods design is used to capture changes of disordered eating behaviors, levels of stress and other influencing factors. A total of 10 participants practicing synchronized swimming (aged 14–20 years) are followed during their sports season and asked to respond to online questionnaires, narrative and self-confrontation interviews, and to wear an electrocardiogram during several days at four time points (at the beginning of the sports season (baseline), during the first and the second competition, and at the end of the season).
Discussion: The trajectories of athletes’ eating behaviors and the impact of stress and other influencing factors during a sports season can contribute to a better understanding of potential risk conditions where young athletes might perceive themselves as more vulnerable. Identifying these high-risk moments and contexts could be useful in enhancing efforts to prevent disordered eating behaviors in adolescent athletes.
... This depth of insight offers a valuable lens for theorizing how AI may be integrated into professional media workflows. The questions were developed in response to key themes identified in the literature, such as authorship, emotional resonance, and ethical ambiguity (2,91,92). Feedback from academic reviewers and the university's ethics team helped refine these themes, ensuring both ethical soundness and theoretical relevance. The survey design followed best practices in AI research, emphasizing transparency, clarity, and data privacy [1]. ...
... If material is not included in the article's Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit h t introduces new perspectives on the ethical dimensions of AI in creative industries, addressing concerns like plagiarism, job displacement, and ownership of AI-generated content-issues often underexplored in current literature [90,91]. My study also emphasizes the importance of balancing AI's efficiency with the preservation of human creativity, offering insights into how AI's integration may disrupt traditional creative roles [4]. ...
This research examines the relationship between artificial intelligence (AI) and its transformative impact on the creative industries, with a focus on film, television, and game production. It investigates AI's dual role in enhancing efficiency and democratizing creativity while also highlighting ethical dilemmas and risks of creative homogenization. Through an analysis of case studies, the study explores how AI accelerates workflows, introduces novel techniques, and expands creative possibilities, yet also raises concerns regarding originality, authenticity, and the role of human creators. The findings reveal that while AI offers unprecedented opportunities to experiment and innovate, its adoption can make certain creative tasks redundant, reshaping the development process in entertainment. This research provides critical insights into the capabilities and limitations of current AI technologies, contributing to the broader discourse on their potential to redefine creativity in digital media production.
... Compared to traditional film, Metaverse story experiences can provide: 1.8.2 (i) Agency A key advantage of the Metaverse for storytelling is the heightened sense of agency it can supply audiences. Agency refers to the feeling of empowerment people experience when they can make meaningful choices that affect outcomes within a story world (Murray, 2017). In traditional mediums like books, film, and theatre, audiences are largely passive observers of pre-determined narratives. ...
... The metaverse also helps with greater interactivity between users and story elements like characters. Interactivity refers to stories dynamically responding to user actions with tailored outcomes, creating a feedback loop (Murray, 2017). Unlike passive, non-interactive media, metaverse stories can feature real-time exchanges between the user and intelligent virtual characters. ...
of the human mind." ~ Satyajit Ray The inclusion of the metaverse in cinematic representation involves the incorporation of virtual and augmented reality technologies, as well as concepts from the metaverse, into storytelling within movies and other visual media. The metaverse refers to a collective virtual shared space, merging physical and virtual reality, where users can interact with each other and digital environments in real-time. This concept gained popularity through science fiction cinema. The integration of the metaverse is revolutionising cinematic representation by immersing audiences in interactive and visually stunning worlds. As technology and storytelling merge, films now offer personalised experiences, collaborative elements, and novel ways to explore themes of identity, ethics, and societal impact. The metaverse influence extends beyond entertainment, reflecting shifts in how we consume media, perceive reality, and engage with digital culture, fundamentally reshaping the cinematic landscape. The inclusion of the metaverse in cinematic representation offers exciting opportunities for storytelling and technology to intersect. A successful integration requires filmmakers to strike a delicate balance between using the immersive potential of the metaverse and delivering compelling narratives that resonate with audiences on an emotional and intellectual level. When executed thoughtfully, this combination can lead to groundbreaking cinematic experiences that push the boundaries of both storytelling and technology. The chapter forms the ideology of balancing storytelling and technology in this context, which is crucial to creating compelling cinematic experiences that resonate with audiences while making the most of the innovative possibilities that the metaverse offers.
... Compared to traditional film, Metaverse story experiences can provide: 1.8.2 (i) Agency -A key advantage of the Metaverse for storytelling is the heightened sense of agency it can supply audiences. Agency refers to the feeling of empowerment people experience when they can make meaningful choices that affect outcomes within a story world (Murray, 2017). In traditional mediums like books, film, and theatre, audiences are largely passive observers of pre-determined narratives. ...
... The metaverse also helps with greater interactivity between users and story elements like characters. Interactivity refers to stories dynamically responding to user actions with tailored outcomes, creating a feedback loop (Murray, 2017). Unlike passive, non-interactive media, metaverse stories can feature real-time exchanges between the user and intelligent virtual characters. ...
The inclusion of the metaverse in cinematic representation involves the incorporation of virtual and augmented reality technologies, as well as concepts from the metaverse, into storytelling within movies and other visual media. The metaverse refers to a collective virtual shared space, merging physical and virtual reality, where users can interact with each other and digital environments in real-time. This concept gained popularity through science fiction cinema. The integration of the metaverse is revolutionising cinematic representation by immersing audiences in interactive and visually stunning worlds. As technology and storytelling merge, films now offer personalised experiences, collaborative elements, and novel ways to explore themes of identity, ethics, and societal impact. The metaverse influence extends beyond entertainment, reflecting shifts in how we consume media, perceive reality, and engage with digital culture, fundamentally reshaping the cinematic landscape.
... As seen in the exploratory results, our operationalization did significantly affect perceived agency, which is often used to define the meaningfulness of game interactions [55]. The significant effect of procedural rhetoric on susceptibility through agency as a mediator points to our manipulation having at least partly captured meaningful interaction that affected behavioral intention indirectly. ...
... In game studies, higher agency is often hypothesized to lead to more successful persuasive outcomes. The idea is that providing player with higher agency engages players [55], provides more meaningful interactions [20] and strengthens competence perceptions [56], which enables game experiences to affect antecedents necessary for persuasion. However, arguing from the procedural argument definition, a procedural argument is persuasive to the degree that it captures 'real world events and processes' [21] through rules and mechanics. ...
The current study evaluates the relative contributions and interaction of procedural arguments and narrative content in health interventions. Passive health interventions often fail to make health threats relevant for a young target population. While serious games have shown promise in eliciting health behaviors, the relative contribution of mechanics themselves is often hard to attribute. The current study addresses the question of whether the presence of meaningful game mechanics, in the form of procedural arguments, contributes uniquely to persuasion by heightening susceptibility and behavioral intention. Using an interactive fear-appeal the authors present the design and evaluation of a boardgame that aims to capture persuasive arguments surrounding alcohol addiction. The mechanics and narrative framing were manipulated to be able to isolate their contributions. The study supports the notion that mechanics and rules alone might not be sufficient for players to identify the content of a procedural argument, with implementation of narrative content being an important factor in making mechanics persuasive. The current study contributes to the field by being one of the few works that operationalizes the concept of procedural rhetoric, providing implications for the design of mechanics and their integration for serious games used in health behavior change.
... The therapeutic potential of games as a "third space" was validated in Ducheneaut et al.'s MMORPG study, where the parallel social systems they create effectively compensate for relational deficiencies in real life [5]. The immersive narrative in virtual environments enhances the authenticity of player experiences, offering an immersive carrier for psychological interventions [6]. Psychological research further emphasizes the core value of social connection: Holt-Lunstad et al. and Cacioppo et al. established a direct link between social isolation and health risks, confirming the need for relational reconstruction in digital environments [7,8]. ...
... Key findings indicate that the game's non-verbal narrative mechanisms and savior role-playing can effectively activate the player's mirror neuron system, promoting the reconstruction of secure attachment styles [9,15,16]. The data supports our hypothesis: both the orphanage stage (ages [6][7][8][9][10][11][12][13][14][15][16][17][18] and the adult stage (ages 18-80) in game design contribute to psychological repair and social function reconstruction [5]. Particularly, within the orphanage growth narrative, warm events and psychological dilemma assistance promote the development of personality traits [1]; whereas in SCP hunting missions, the bridge effect triggered by horror elements accelerates the establishment of intimate relationships [4]. ...
This study proposes a psychological intervention model based on video games for adult attachment disorders caused by parental absence or trauma in the original family during childhood. By creating a 2D open-world exploration game, a dual-stage mechanism combining orphanage growth narratives and SCP hunting missions was designed, integrating the MBTI personality development framework and Jungian cognitive function theory to achieve individual psychological repair and social function reconstruction. In the orphanage stage (ages 6-18), players gradually develop personality traits through warm events and psychological dilemma assistance. Their decision-making behaviors dynamically generate a personality resume that includes MBTI types. In adulthood (ages 18-80), a cooperative dungeon mode is used, with SCP horror elements triggering the suspension bridge effect to promote intimacy building. Based on findings in neurocognitive science, a 2D interface was chosen to reduce the vestibular load for individuals on the autism spectrum, alleviating anxiety in a controllable digital environment. Data shows that the non-verbal narrative mechanism and savior role-playing effectively activate the mirror neuron system, helping players reconstruct a secure attachment style. This result provides a cross-disciplinary solution with both theoretical depth and practical feasibility for digital psychological interventions.
... Meaningful prompts, or meaningful data, for informed future-making must therefore raise further curiosity and offer different ways of thinking through environmental challenges. Creators and researchers of virtual worlds and other immersive media have long been aware of the paradox in which exploration and curiosity is not prompted by large open-ended digital spaces and unbounded stimuli or data, but instead requires the inclusion of limited options, curious objects, and curated interruptions that draw attention (Murray 1998;Bogost 2016;Gómez-Maureira et al. 2022). Biodiversity simulations could better incorporate designs that can prompt further discussions, for example by including deliberate cues regarding the limitations of data, by enabling data curation as provocations for collective discussions, or by combining data with specific notes about ongoing political tensions, conflicted scenarios, or speculative questions that connect biodiversity data with wider societal challenges. ...
This study details how digital biodiversity data is used and gains meaning in local restoration projects, how these experiences contrast with large-scale innovation patterns, and what new design recommendations emerge from these insights. Digital innovations in biodiversity technologies are increasingly complex, fast-paced, and driven by technological capacities where data generation rather than biodiversity restoration risks becoming the primary goal. Focusing on a biodiversity restoration project with a living lab community in the Netherlands, this participatory research critically examines how plans for emerging technologies, such as biodiversity simulations and digital twins, contrast with local user relations to biodiversity data. Building on qualitative insights from six-months of fieldwork, a digital and physical data portal was designed to simulate ongoing technoscientific innovation and make their complex effects experientially available to users. Findings are brought directly in conversation with emerging technical features through four distinct themes with the aim to share user-insights and produce design recommendations for: environmental storytelling, prediction and future making, interactive dynamics, and simulation aesthetics. These themes articulate the community's preferences towards digital environments that support their nuanced, complex relationships with local biodiversity, suggesting a shift from top-down technocentric approaches to more community-driven and restoration-focused models. Based on this study, design recommendations are articulated for each of these four themes contributing detailed empirical and practice-oriented insights that propose how new biodiversity technologies can resonate more effectively with local biodiversity restoration efforts.
... Quintillian's Memory Palaces provide a productive model because it is already formulated as a set of mechanics, i.e. arranging memories and associating them with specific locations in order to recall the information. The association of memory with moving through a space also made it a particularly convenient model for videogames, because its implementation can take advantage of the spatial properties of digital environments, as described by Murray (2001), which allow the player to navigate a virtual space. The Memory Palaces could also benefit from the SCUMM model, which encourages players to explore the the game and try arranging memories in different ways without getting punished. ...
... When people study virtual worlds from the outside, they often don't concern themselves with this -usually for perfectly acceptable reasons. Early researchers, for example, were trying to establish ways of looking at computer play in general -as drama (Laurel, 1991), say, or literature (Murray, 1997); there was nothing to be gained from treating virtual worlds as special cases. Later researchers may be studying philosophical abstractions (Upton, 2015;Debus, 2019), or widespread psychological behaviours (Consalvo, 2007;Rigby & Ryan, 2011), or implications for society (McGonigal, 2011;Markey & Ferguson, 2017), or a host of other topics that don't rely on virtual worldliness as a central concept. ...
... 沉浸感(Immersion)： 沉浸感常与临场感关联，但有所区别。通常可以指系统本身的技术特性，例如 高保真画面、环绕音效带来的"系统沉浸" [12] ，也可以指玩家的主观心理状态，比如玩家全神贯注于游戏世 界而忽略现实环境 [13] [3] 。借鉴数字人文领域建 立研究中心和实验室以促进合作的模式 [2] ，游戏行业也可以探索更机制化的跨界合作模式。 数字空间的独特优势，在于其互动性和沉浸感，强调体验式理解与情感共鸣同样关键。实现人文价值 的核心，在于充分利用这些特性，创造能够引发玩家深度思考，和情感共鸣的"体验"。同时，对历史真实感 的营造也深刻影响着玩家的体验与价值判断 [5] 。目标应是从"观看"历史/文化转向"体验"和"反思"。利用接受 美学理论，关注玩家的"期待视野"与交互审美体验，可以更好地设计出引发共鸣的作品 [16] 。 3A 游戏作为商业产品，其开发不可避免地受到市场逻辑的影响，平衡商业诉求与人文关怀需要伦理自 觉。当游戏内容触及真实的人类经验、历史创伤或文化多样性时，开发者需要承担起相应的伦理责任。这 要求在追求商业成功的同时，保持对所再现内容的人文关怀和批判性反思，避免刻板印象、过度简化或不 当的商业化利用 [17] ...
随着数字技术的飞速发展，高预算、高知名度的AAA级电子游戏不仅在娱乐领域占据重要地位，其构建的虚拟空间也日益成为承载文化、历史与情感体验的重要媒介。这些数字空间不再仅仅是游戏叙事的背景板，而是通过对现实世界的精细重建或富有想象力的创造，展现出深刻的人文价值。本文借鉴人文科学领域关于“场所”（Place）与“空间”（Space）的理论探讨，聚焦于3A游戏中的“人文空间实践”，这一概念指在虚拟空间设计中有意识地融入人文关怀、伦理考量与意义深度的过程。通过对《黑神话：悟空》、《刺客信条》系列和《对马岛之魂》等3A游戏的系统分析，说明了如何运用虚拟空间内的空间美学、环境叙事和场所感营造手段来传递人文价值。3A游戏因其独特的互动性和沉浸感，展现出强大的文化传播、历史意识塑造和情感共鸣激发能力，尽管它们在商业逻辑及人文关怀，以及历史准确性与主观真实感之间面临紧张关系。本文主要探索实现数字空间人文价值的途径，强调跨学科合作、体验式理解、伦理反思与数字人文方法应用的重要性，作为未来的游戏设计和研究的指标参考。
... it needs to have meaningful consequences, in particular consequences that meaningfully change the direction of the narrative (Murray, 2017). ...
This essay attempts to shed a light on the intricate relationship between player agency – the player's capacity to act and make choices in a videogame –, and that of the developers – the limitations and possibilities creators must navigate in order to release their title. Firstly, we explore the complex concept of agency, drawing upon fields like philosophy and sociology. Then, we turn to the unique position videogames occupy among other mass media by having interactivity as their centre stage.
... The embodied experience of immersion becomes a metaphor (Murray 1997) that accounts for the logic of digitally mediated experiences of virtuality. Experiences of digital virtuality tend towards the progressive overcoming of resistances involved in the change of the medium. ...
In this chapter we question the common identification of the digital with the virtual as found in both everyday expressions and contemporary educational discourses. We claim that this identification is problematic as it neglects experiential differences regarding digital and virtual embodied realities. Indeed, a primordial form of the virtual already appears in the very embodied experience. Therefore, we suggest approaching virtuality primarily as a corporeal phenomenon in terms of protovirtuality. As a heuristic term, protovirtuality means that embodied experience is in a sense always mediated. However, such mediation is not necessarily to be understood as a digital mediation.
... Definitions of "interaction", for instance, have been heavily contested since the earliest days of the field. With a few notable exceptions, such as Zimmerman's four modes of interaction (Zimmerman, 2004), most approaches to interaction emphasize the actions of the player as the central unit of analysis (Aarseth, 1997;Crawford, 2003;Juul, 2005;Murray, 1997). As we progressed through the phases of Kittens, interactions with the game-as-software-system were spread further apart, while activities like interaction with the game's wikis, online communities, and other support infrastructures became essential. ...
In this book, we explore the pleasure of playing less through a collective experience of playing the Kittens Game -- a self-described "Dark Souls of incremental gaming". We draw on techniques of close reading and hermeneutics to ground our analysis and supplement our individual reflections on how these games incentivize players to play less and plan more.
... "La narrativa digital es una manera de contar historias que combina elementos tradicionales con tecnologías digitales, creando una experiencia inmersiva y participativa para la audiencia." (Murray, 1997). ...
La narrativa digital como herramienta didáctica mediada por la analítica del aprendizaje es un recurso innovador en el proceso de enseñanza- aprendizaje. El objetivo de esta investigación es, comparar metodología interactiva con el uso de herramientas didácticas versus metodología tradicional a través de la narrativa digital apoyada en la analítica del aprendizaje para medir el rendimiento escolar en la asignatura de ciencias naturales. La metodología utilizada fue la cuantitativa, la cual garantizó una demostración analítica a través de la comparación de pruebas estadísticas como la prueba U de Mann-Whitney. Los resultados fundamentales estuvieron, primero, en analizar la normalidad de las distribuciones de los datos en cada una de las clases, para identificar la estadística a aplicar, segundo, realizar un test no paramétrico de muestras independientes, comparando las diferencias significativas entre ambas distribuciones por clase. Se puede concluir que, al comparar la metodología tradicional versus la metodología sustentada en la narrativa digital y apoyada en la analítica del aprendizaje, que la segunda garantiza mejoras en el rendimiento escolar de los alumnos en la asignatura de ciencias naturales.
... Należy jednak pamiętać o tym, że każda gra -w tym te o charakterze edukacyjnym -powinna zawierać element zabawy, gdyż to on buduje zaangażowanie gracza i chęć kontynuowania rozgrywki. Immersja wynika bowiem z odpowiednio przygotowanej narracji w zabawie lub grze, która pobudzi gracza i pozwoli mu zanurzyć się w kontekst (Murray, 1998). ...
The article examines the potential of using video games in intercultural and language education, emphasizing the interactive nature of games and the possibilities of engaging students. Video games, as a multimodal communication tool, offer immersive environments that can support the development of linguistic and intercultural competences through simulations of real-life situations and contact with diverse cultural contexts. Using the strategy of a single case study, the article analyses a reallife example of a game and the possibilities of its application in education, pointing out the ability of this medium to motivate students, support learning through play, and develop empathy and understanding for different cultures.
... Similarly, we are interested in how the norms and assumptions inherent in LLM features both shape and are shaped by ideological beliefs about language use, context, and communication. While the ideological or didactic nature of technology has been previously discussed by scholars such as Lev Manovich [47] , Janet Murray [48], Wendy Chun [49], [50], and Friedrich Kittler [51] (to name just a few), Bogost's framing of the concept is especially apt in a society where numerous processes and procedures are now computationally coded and embedded in ways that have social, psychological, economic, and even political impact. ...
Since 2022, versions of generative AI chatbots such as ChatGPT and Claude have been trained using a specialized technique called Reinforcement Learning from Human Feedback (RLHF) to fine-tune language model output using feedback from human annotators. As a result, the integration of RLHF has greatly enhanced the outputs of these large language models (LLMs) and made the interactions and responses appear more "human-like" than those of previous versions using only supervised learning. The increasing convergence of human and machine-written text has potentially severe ethical, sociotechnical, and pedagogical implications relating to transparency, trust, bias, and interpersonal relations. To highlight these implications, this paper presents a rhetorical analysis of some of the central procedures and processes currently being reshaped by RLHF-enhanced generative AI chatbots: upholding language conventions, information seeking practices, and expectations for social relationships. Rhetorical investigations of generative AI and LLMs have, to this point, focused largely on the persuasiveness of the content generated. Using Ian Bogost's concept of procedural rhetoric, this paper shifts the site of rhetorical investigation from content analysis to the underlying mechanisms of persuasion built into RLHF-enhanced LLMs. In doing so, this theoretical investigation opens a new direction for further inquiry in AI ethics that considers how procedures rerouted through AI-driven technologies might reinforce hegemonic language use, perpetuate biases, decontextualize learning, and encroach upon human relationships. It will therefore be of interest to educators, researchers, scholars, and the growing number of users of generative AI chatbots.
... The marketing of products like Pokémon Go, Fortnite, Meta Quest or Apple Vision Pro highlights that this effort focuses primarily on two or three key media functions. The first is storytelling (Cruz & Miranda, 2022;Murray, 2017;Walter, 2023) (Figure 1). After cultural studies' concerted effort to rehabilitate the concept of narrative -with its tension between central, hegemonic narratives and peripheral, community-based and identity narratives-media studies now regard narrative as the very nature of mediated events in constructing social and historical continuity and immersion (Cannavò et al., 2024;Walter, 2023). ...
This paper uses a critical interdisciplinary method to explore the process of redefinition of presence within the discourses of the metaverse and VR, particularly by Big Tech or platform capitalism companies marketing of virtual travel media. For this end, critical discourse analysis is applied in the context of qualitative platform studies. The paper examines the use of digital means to subvert scale and transcend the dimensions at which human contact, social and political action and events typically occur. This raises the question: what exactly is being mediated and which aspects of place are being re-mediated? Alongside a widespread belief that a media culture of distance and passive reception has ended, the promises and perils of the virtual are linked to the hopes of redefining and continuing community, both local and global, and (dis)ordering the social. Lastly, the paper identifies, through a speculative critique method, two parallel trends in the process of virtualizing places and spaces designing a typology for virtualization or tele-immersiveness: an ontological/epistemological mode (representational or correlational) and a periled sociopolitical mode, and oposes them to the concept and pratices of operational materialism.
... The intersection of literature and digital media has gained increasing scholarly attention in recent years, particularly under the fields of digital humanities, media studies, and cultural preservation. Hayles's (2008) and Murray's (1997) books have examined how narrative structures evolve across digital formats, offering new affordances for storytelling that transcend the linear confines of print. In the African context, however, the digitization of literary heritage remains a relatively underexplored area, with most efforts focused on archiving rather than reimagining texts for interactive consumption. ...
Humans are programmed to use stories to make sense of their lives and the world around them, which makes storytelling an effective communication frame. A digital story is a media artifact that offers a narrative by fusing still images and narrated audio-text. This study explores the relationship between classic literature and contemporary cultural landscapes. It interrogates how reframing classics as digital stories strikes a balance between staying true to the original text and reinterpreting it for digital audiences, highlighting the conflict between maintaining the core of the original work and modifying it for different cultural contexts. Through an analysis of Chinua Achebe’s Things Fall Apart both as a literary text and digital story, this study assesses how these reimagining, balances fidelity to the original text while representing contemporary cultural norms, values, and technical developments. In evaluating the narrative, thematic, and stylistic changes that resonates with diverse audience, this study adopts cultural and intertextual frameworks to examine the chosen classic, demonstrating the dynamic ways in which literary adaptations function as cultural artifacts that connect historical literature with current discourse. This allows the works to be reshaped to suit the social, cultural, and technological contexts of their respective eras while also reaching new audiences.
... Rooted in diverse disciplines-including Game Theory, Sociocultural Theory, and Video Game Theory-the CREL framework demonstrates its versatility across contexts [27], [28], [29], [30], [31], [32], [33]. Effective role-playing scenarios often require educational researchers to adopt multiple roles as participants, leaders, and facilitators, which can be challenging without the training provided by meta-education. ...
This paper presented the Components of Role-playing in Experiential Learning (CREL) Framework. This framework aids educators and researchers in planning, implementing, and evaluating Experiential Learning scenarios to promote learner attainment of the needed competencies for 21st-century skills. Unlike traditional models, CREL leverages role-playing as a tool for simulation and simulacra, enabling participants to engage in "as if" scenarios through suspension of disbelief. This approach allows learners to navigate complex, dynamic, immersive challenges, bridging theoretical knowledge with practical application. The article began with an introduction to role-playing as a method for Experiential Learning. This helped situate role-playing within the broader context of meta-research and meta-education. Next, the article explored the limitations of current educational practices and the critical need for frameworks that bridge these gaps through innovative, experiential approaches. The paper examined the need to address the gap presented by the lack of a coherent understanding of role-playing and, more broadly, Experiential Learning. The article then presented the CREL framework in detail. Finally, it closed with a discussion of the meta-level outcomes, implications, and overall application of the CREL for education and research.
... While traditional newspaper articles allow readers to engage their imagination, news games simulate real events and create a virtual environment, providing users with a strong sense of reality. As noted by Murray J. H., the more realistic the immersive environment in an interactive work, the more actively users become immersed [7]. Furthermore, neuroscientist Michael Smith argues that when individuals view narrative imagery that evokes empathy, the brain automatically filters out external distractions, enhancing learning and cognitive processes. ...
The current media environment is characterized by an overwhelming amount of information and easy access to it,
making it increasingly challenging for individuals to retain information in their memory. And raises the likelihood that
important information requiring attention will be overlooked or fail to leave a lasting impression. To address these
challenges, this study proposes that combining narrative news games with virtual reality (VR) can enhance the
immersive experience that both mediums offer. For example, this approach could improve situational memory and
reduce the bystander effect. In previous studies, we explored four types of VR games: VR games narrated with text
(VRIT group), VR games with animated narration (VR group), non-VR games narrated with text (NVR group), and non-
VR games with animated narration (NVRIT group). This paper presents the findings of an additional experiment
designed to assess how well subjects retained the content of the news games over an extended period (3 years). The
study also analyzes the changes in the data of correct and incorrectness checking of the confidence reports of the four
groups after a long period of time. The results demonstrate that the combination of virtual reality technology and
narrative news games leaves a lasting impression on participants, even after a significant time has passed. The findings
further suggest that immersion is directly proportional to the level of empathy: the higher the level of empathy, the more
relevant information is retained, and the more likely participants are to take relevant actions.
... Interactive storytelling leverages computational systems that respond to user input to alter narrative paths. Murray (1997) characterised this as "cyberdrama," where digital narratives adapt to user decisions. NLP enhances such interactivity by processing reader input and generating narrative branches accordingly. ...
The emergence of Natural Language Processing (NLP) has revolutionised the narrative landscape by enabling the creation of dynamic and interactive storytelling experiences. By bridging computational linguistics and literary creativity, NLP is not only automating textual analysis but also generating context-aware narratives in real time. This paper explores the convergence of artificial intelligence and storytelling, analysing how NLP facilitates user-centred narratives, interactive literature, and machine-authored prose. The research discusses leading transformer-based models, such as GPT and BERT, and their role in reshaping narrative structures. It further investigates the implications for authorship, reader engagement, and the philosophical boundaries between human and machine creativity. Ultimately, the paper reveals that while NLP introduces vast opportunities for innovation in storytelling, it also presents challenges in terms of ethical authorship, bias, and the authenticity of narrative voice. Through an interdisciplinary lens, this study proposes that the future of storytelling lies in collaborative human-AI authorship, where computational tools augment, rather than replace, human imagination.
... The combination of norms, values, beliefs as well as all the symbols forming social interactions, these imaginations allow individuals to forge social relationships as well as a collective historical narrative (Garcia & Chen, 2023). Within social imaginations, media such as video games and films reproduce and disseminate values and beliefs (Murray, 2017) (Bogost, 2007) (Lee & Patel, Exploring media influence on social narratives. A computational analysis of video game content., 2022; Wang & Li, 2024), but they also forge anthropocentric images of the future by encouraging, as was the case during the industrial revolution, the imagination of a flourishing collective thanks to the emergence of technology and progress. ...
Media shape and reflect social imaginaries, influencing collective beliefs, norms, and
aspirations. Video games and films frequently depict themes like urbanization, dystopian futures, and resource-driven expansion, often envisioning humanity colonizing new planets after depleting Earth's resources. Such narratives risk reinforcing exploitative attitudes toward the environment, extending them to new frontiers.
Research has shown that media, especially video games, influence societal perceptions and shape future possibilities. While largely reflecting anthropocentric worldviews, these media also have the potential to promote ecocentric perspectives. In the context of biodiversity loss and planetary imbalance, media’s role in fostering non-anthropocentric values is crucial.
This study introduces the 5D25Q Non-Anthropocentric Media Score Questionnaire, a tool designed to help creators assess whether their work aligns with ecocentric principles. Applying this framework to 138 widely distributed video games and films reveals a strong dominance of anthropocentric narratives. While some works incorporate ecocentric themes, they remain inconsistent. The findings underscore the need for a more deliberate and coherent representation of biocentric values in media, advocating for a shift in cultural narratives toward perspectives that recognize and respect the intrinsic value of the non-human world.
... The RPG Planescape Torment, was contrasted with the action adventure horror game Silent Hill, and an account of the manner in which each organises spaces and game-play in order to fulfil its generic agenda was attempted [20]. Aarseth's typologies in Cybertext [21] allowed for structural aspects of the games to be identified and then measured against Janet Murray's [22] models of spatial traversal: the rhizome and the labyrinthine maze. Aspects of cinematic phenomenology and psychoanalysis were employed in order to speculate about the manner in which the avatars in either game might be complicit in the evoking of affective experiences. ...
In this article the participants report on a two year research project titled Textuality and Videogames; Interactivity, Narrative Space and Role Play that ran from September 2001, until late 2003 at the Institute of Education, University of London. After presenting an overview of the project, including the methodologies we have adopted, and the questions we have sought to address, we outline two sample case studies, one that relates to player agency, the other that considers role-play, social semiotics and sign making in an MMORPG.
... In this way, they can potentially help answer both of the questions posed. What this means is that since games provide play spaces where people not only transform the gameworld, but also themselves [24], they can be used to explore ethical reasoning. When used as a transformative tool, videogames can empower people to learn what it means to live ethically and how to go about doing so. ...
... Indeed, the very (in)famous debate opposing "ludologists" and the "narratologists" raged in the early 2000s as researchers tried to determine how to approach this growing media. While narratologists were using tools from other elds (e.g., lterature or cnema studes) to legtmate vdeo games as a research object (Murray, 1997;Ryan, 2004), ludologists were showing what makes games unique and that not all games are narratve n nature (Eskelnen, 2001;Juul, 2005;Aarseth, 2001). The debate s no longer gong on since researchers understood that both were right and wanted the same thng: show that vdeo games can oer meaningful experiences (Murray, 2005). ...
... Per "immersione" intendiamo qui l'esperienza di essere psicologicamente trasportati in un luogo simulato, realistico o fantastico che sia(Murray, 1997).3 Il termine "escape room" ha fatto la sua prima apparizione nel 2001 in seguito alla pubblicazione del videogioco The Mystery of Time and Space. ...
Gli autori degli articoli che ospitiamo in questo numero della rivista Idee in form@zione hanno provato a dare una risposta alla seguente domanda: Come può il mondo dell’istruzione e della formazione partecipare al progressivo sviluppo di consapevolezza e responsabilità nei confronti dell’uso dell’intelligenza artificiale? Ci hanno offerto riflessioni, esperienze e prospettive che possono essere d’aiuto nel nostro personale impegno a sottoscrivere le parole di Carme Artigas ‒ sottosegretaria di Stato spagnola per la digitalizzazione e l’intelligenza artificiale ed esperta in big data e innovazione tecnologica ‒ che sottolineano la necessità di «mantenere un equilibrio estremamente delicato: stimolare l’innovazione e l’adozione dell’intelligenza artificiale in tutta Europa nel pieno rispetto dei diritti fondamentali dei […] cittadini»
The authors of the articles hosted in this issue of Idee in form@zione have tried to give an answer to the following question: How can the world of education and training participate in the progressive development of awareness and responsibility towards the use of artificial intelligence? They offer reflections, experiences and perspectives that can help our personal commitment to endorse the words of Carme Artigas, Spanish Undersecretary of State for Digitization and Artificial Intelligence and expert in big data and technological innovation, which emphasize the need to «maintain an extremely delicate balance: to stimulate innovation and the adoption of artificial intelligence throughout Europe while fully respecting the fundamental rights of [...] citizens».
One of the limitations previously imposed on audiovisual translation studies was the physical nature of the material: videocassettes wear out easily, and require theorists to obtain multiple copies of the same film. This problem has been resolved with the advent of DVD technology, which is more durable than cassette and offers multiple language versions on the same copy. At the same time, the format introduces a range of new questions into audiovisual translation studies. This paper seeks to raise these questions, which range from the mundane (access to some versions is restricted by region codes) to the theoretical (how does DVD affect the translation process?).
This paper lays out the foundations for the understanding and analysis of digital comics, a medium which presents a great formal diversity, marked by multimodality and interactivity. Firstly, digital comics will be introduced as a techno-text, considering its own materiality. Secondly, characteristics of digital reading, an active reading which must be at all times under control by the interactor or reader-actor, will be observed. Next, four basic descriptive parameters concerning the medium (multimodality, interactivity, narrative structure and experience) which can eventually be used as criteria for classifying the works themselves will be proposed and developed. Finally, a reception rhetoric and a list of style figures which integrate interactivity to all semiotic modes present in the representation will be devised in order to establish meaning connections.
https://cvc.cervantes.es/literatura/esedll/esedll_05.htm
This article examines how Deleuzean philosophy can inform the design and analysis of Virtual Reality (VR) narratives, focusing on the concepts of becoming, assemblage, and immanence. The research addresses the question: How can VR narratives foster ethical reflection and participant engagement, particularly on issues of social justice and representation? Through a post-qualitative methodology and narrative analysis of four VR films – ‘Notes on Blindness’, ‘Clouds Over Sidra’, ‘The Key’, and ‘Giant’ – the study demonstrates how VR enables participants to engage in processes of becoming-other, provoking sensory and emotional transformations. These films illustrate how VR narratives allow for co-creation, ethical reflection, and empathy by immersing participants in complex ethical dilemmas related to disability, trauma, and displacement. Based on these findings, the article proposes an ethical framework for VR narrative design, emphasizing participant agency, immanent ethics, and the integration of social justice themes.
Resumo Os espaços e formas de viver, conviver, ensinar e aprender desenvolvem-se, cada vez mais, em ambientes digitais e híbridos. Nesse contexto, surge a Vivência Imersiva na Cibricidade (VIC), uma prática inventiva que hibridiza espaços físicos da cidade e espaços digitais numa narrativa gamificada, promovendo uma experiência educativa inventiva. O objetivo da VIC é propiciar aos participantes do V Congresso Internacional da RIEOnLIFE e IX Festival Internacional We, Learning with Cibricity experienciar uma vivência imersiva gamificada e híbrida, que coengendra espaços físicos, geograficamente localizados na cidade de Peso da Régua (Portugal), com Realidade Aumentada e espaços cocriados no Metaverso Spatial em parceria com Inteligências Artificiais Generativas, trazendo elementos também da cidade de Bento Gonçalves (Brasil). Apropriando-se do conceito de imersão e de hibridismo, a VIC cria desafios e missões articuladas numa narrativa gamificada que envolve aspectos culturais e históricos de ambas as cidades. Nesse processo, os participantes interagem com pistas geográficas (espaços da cidade), pistas vivas (pessoas da comunidade), pistas analógicas (cards) e pistas digitais (QRCodes, personagens históricos e fictícios) conhecendo um pouco mais da história e da cultura e podendo, inclusive, contribuir para a evolução da VIC. A partir do Método Cartográfico de Pesquisa-Intervenção rECOnectivo, o objetivo do artigo é apresentar e discutir o processo de co-criação da narrativa gamificada que dá origem a VIC. Como resultados, para além de apresentar a narrativa co-criada, o artigo aponta pistas que podem inspirar práticas pedagógicas que integrem a cibricidade como um novo habitar do ensinar e do aprender nesse terceiro milênio. ¹Universidade do Vale do Rio dos Sinos-UNISINOS,
In this article, the intersection between art, technology and privacy in the contemporary panorama is discussed. Essentially addressing active audience participation and co-authorship issues. Based on the performance Confidências (In)conscientes, it explores how technological mediation and real-time audio processing are used to create an immersive and interactive experience. A contextualization of artistic movements is made, such as the happenings in the evolution of performance. Ethical and privacy issues stand out when the public becomes an integral part of the work through the collection of data, particularly voice. The aim is to reflect on the awareness of the use of technology in art and everyday life, to promote a critical discussion on the limits of artistic interactivity in immersive performances.
The integration of Virtual Reality (VR) and Augmented Reality (AR) technologies into library presents a transformative opportunity to enhance user experiences, promote innovative learning, and improve access to information. The purpose of this research is to examine the state of research on the virtual and augmented reality in the library including understanding the hotspots and new research directions. The study was conducted using bibliometrics approach based on data collected from Scopus database. The retrieval yielded 4001 items and covered the period 1973 and 2023. The years 2020–2023 mark the most substantial period of activity. The keywords cluster in four categories namely - technological components and applications, and computational methods, human and social aspects of VR/AR use, and interface and user interaction. The research hotspots are (1) Core Technologies, (2) Applications, and (3) Research Methodologies and Trends while the three emerging areas are - Emerging Technologies and Methods, Class 2: User Interaction and Interface Design, Class 3: Niche Applications in Libraries. The integration of VR and AR into library systems demonstrates their evolution from experimental concepts to practical tools, enhancing user engagement and supporting academic, cultural, and educational functions. The study of VR and AR in libraries reveals a clear trajectory of growth and maturity, with research efforts expanding significantly, particularly after 2000. Advances in technology and evolving user needs—such as remote access demands during the COVID-19 pandemic—have driven innovation, shifting the focus from foundational studies to applied, mature research in library settings.
The chapter explores the use of a virtual reality (VR) pitch simulator (PS) developed by authors of this chapter at University of Inland Norway (INN) for the purpose of training our bachelor’s degree students in game development and simulation. The simulator is designed to improve pitching skills by creating a virtual environment that mimics the stress and emotional challenges found in actual presentations. This allows users to practice and improve their skills in a controlled setting. It incorporates elements of exposure therapy, using VR’s immersive capabilities to help users manage anxiety related to public speaking. Utilizing a mixed-method approach, including surveys and interviews, the effectiveness of the simulator is assessed. Results suggest the simulator’s success in providing a safe, realistic environment for pitch practice, improving skills, and alleviating stage fright. The findings underscore VR’s potential in workplace training and higher education, emphasizing the role of audiovisual feedback in enhancing the VR simulation experience but also the need for further research on VR’s audiovisual design, particularly in exposure therapy contexts.
(Aus Vertragsgründen können wir das Kapitel nicht selber teilen, aber es steht Hochschulen über den Verlag zur Verfügung) - Das einleitende Kapitel legt die theoretischen Grundlagen des Modells des kreativen Volumens und integriert zentrale Konzepte aus Game Studies, Designforschung und Hermeneutik. Dazu zählen u.a. die Leerstellentheorie (Iser), das MDA-Framework, Flow-Theorie (Csikszentmihalyi), Game Feel (Swink), Resonanztheorie (Rosa) sowie Gaming Capital (Consalvo, Randall & Nichols). Diese Theorien bilden das Fundament für eine interdisziplinäre Modellbildung, die Gestaltung und Rezeption von Spielen ganzheitlich betrachtet.
Ziel ist es, kreative Freiräume im Spiel gezielt zu gestalten und zu analysieren. Das kreative Volumen besteht aus den drei Dimensionen kreatives Fundament, kreatives Potenzial und kreative Resonanz. Es wird als dynamisches System verstanden, das durch die „Horizontverschmelzung“ zwischen Designer:innen und Spieler:innen entsteht – ein Prozess, der Gestaltung, Wahrnehmung und Rückwirkung integriert und so neue Perspektiven auf die Spielentwicklung eröffnet
Introduction:The rapid development of technologies such as artificial intelligence, the metaverse, and extended reality has reconfigured educational, social, and cultural environments, giving rise to new discourses and practices. However, this progress has also generated conceptual gaps and an imprecise use of key terms, which complicates their critical adoption in the pedagogical field.Methods:The study adopted a qualitative and interpretive approach, based on the hermeneutic-critical paradigm. Content analysis and purposive theoretical sampling were used to select the most frequently used terms in the most recent scientific literature. The data was organized through open coding, grouping them into four thematic areas.Results:A critical glossary was developed containing 40 terms organized into four main areas: artificial intelligence and education, metaverse and extended reality, sociotechnical and critical dimension, and educational innovation. Each term included a technical definition, a critical commentary, and an applied example, thus promoting a reading that connects the techno-pedagogical discourse in a relational and contextual way.Conclusions:The glossary proved to be a valuable epistemological tool, useful both for critical digital literacy and for teacher training and educational research. It contributed to highlighting ideological tensions, conceptual gaps, and the social effects of technologies, promoting a more reflective and conscious understanding of the digital ecosystem in education.
Το βιβλίο προσεγγίζει την έκθεση ως έναν τρόπο να αφηγηθούμε μια οποιαδήποτε ιστορία. Είτε αυτή σχετίζεται με το παρελθόν, είτε αφορά στην παρουσίαση μιας δράσης είτε αποτελεί τον καρπό της συστηματικής ενασχόλησης και τον προβληματισμό μιας ομάδας πάνω σε ένα θέμα. Στο πλαίσιο της εκθεσιακής παρουσίασης αυτής της αφήγησης μπορούν να χρησιμοποιηθούν πολλά μέσα (κείμενα, εικόνες, αντικείμενα, ήχοι, κ.λπ.). Το παρόν βιβλίο αντιμετωπίζει την έκθεση ως μια Τριδιάστατη -αφού αναπτύσσεται στον χώρο- Πολυμεσική -αφού αξιοποιεί ποικιλία μέσων- Αφήγηση -αφού ο πυρήνας της είναι η ιστορία που θέλουμε να πούμε. Ως ένα εργαλείο επικοινωνίας με το σύνολο της κοινωνίας ή με επιλεγμένα μέρη της, μέσα από την αξιοποίηση των μέσων που μπορεί να ενσωματώσει. Με το βιβλίο αυτό επιχειρείται μια συνοπτική συστηματική παρουσίαση όλων των θεμάτων που πρέπει κανείς να σκεφτεί και των βημάτων που πρέπει να ακολουθήσει προκειμένου να πραγματοποιήσει μια έκθεση. Δίνεται το θεωρητικό και μεθοδολογικό πλαίσιο μέσα στο οποίο καλείται κανείς να οργανώσει τον τρόπο εργασίας και να συγκροτήσει την κατάλληλη ομάδα ανθρώπων, που με τις κατάλληλες γνώσεις, δεξιότητες και διάθεση για συνεργασία θα οδηγήσουν σε μία ολοκληρωμένη Τριδιάστατη Πολυμεσική Εκθεσιακή Αφήγηση (Τ.Π.Ε.Α.). Το θεωρητικό και μεθοδολογικό πλαίσιο της Τ.Π.Ε.Α. αντικατοπτρίζεται στον σχεδιασμό και την υλοποίηση της έκθεσης «Μυτιλήνη τῇ 26 Σεπτεμβ. 1922. Έκθεση με αφορμή ένα ημερολόγιο», που υλοποιήθηκε από τη συγγραφική ομάδα τον Σεπτέμβριο του 2022. Σε κάθε κεφάλαιο, ο αναγνώστης παρακολουθεί τον τρόπο που προσεγγίσαμε κάθε εκθεσιακό μέσο στην εν λόγω έκθεση, ως παράδειγμα καλής πρακτικής στην εφαρμογή της προτεινόμενης μεθοδολογίας για μία ολοκληρωμένη Τ.Π.Ε.Α.
The book approaches the exhibition as a way to tell any kind of story -whether it relates to the past, presents an activity, or is the result of a group’s systematic engagement and reflection on a particular topic. In the context of exhibition design, a wide range of media can be used (texts, images, objects, sounds, etc.). This book treats the exhibition as a Three-dimensional -as it unfolds in space- Multimedia -as it incorporates various media- Narrative -as its core is the story we want to tell. It is understood as a communication tool addressed to society as a whole or to selected audiences, through the integration of the media it can encompass. The aim of the book is to provide a concise and systematic presentation of all the aspects one needs to consider, and the steps to follow, in order to create an exhibition. It offers the theoretical and methodological framework within which one is called to organize their workflow and assemble the right team of people, equipped with the necessary knowledge, skills, and willingness to collaborate, leading to a complete Three-dimensional Multimedia Exhibition Narrative (T.M.E.N.). The theoretical and methodological framework of T.M.E.N. is reflected in the design and implementation of the exhibition “Mytilene, September 26th, 1922. An exhibition triggered by a diary,” which was realized by the authors’ team in September 2022. In each chapter, the reader follows how each exhibition medium was approached in the aforementioned exhibition, as an example of best practice in applying the proposed methodology for a complete T.M.E.N.
ResearchGate has not been able to resolve any references for this publication.