No full-text available
To read the full-text of this research,
you can request a copy directly from the authors.
Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media
... Pioneers in the domain have commonly used the metaphor of being surrounded by a completely different reality that takes over user perception [1]- [5]. However, the term immersion continues to be applied inconsistently in many fields of research, including virtual environments [6], video games [2], film studies [7], and interactive media [3]. Nilsson et al. [8] summarized them into two opposing views: (1) immersion as system technology and (2) immersion as user experience. ...
... Thanks to advances in Web technology during the last decade, an increasing number of visual data stories on the Web engage readers with rich and dynamic visuals and interactivity [10], [11], and many of them effectively evoke spatial immersion, a heightened sense of space or even presence. It is worth mentioning that they rarely require the reader to wear specific systems or devices (e.g., HMD), but employ a wide Seon Gyeom Kim, Juhyeong Park, Yutaek Song, Donggun Lee, Yubin Lee and Tak Yeon Lee are with the KAIST, Korea Ryan Rossi, Jane Hoffswell, Eunyee Koh are with Adobe Research, USA range of design techniques, such as virtual diegetic space, depth cue, animated transitions, and camera movements [3], [12]. Therefore, the goals of our study, which is to identify common design patterns and to investigate their impact on reading experiences, are much closer to the second view. ...
... Likewise, the researchers also distinguished which elements contribute to such individual experiences of focus and engagement. For example, the immersive experience of reading books and watching films mainly comes with enjoyment of the unfolding narrative and emotional attachment to characters [3], [28]. Immersion evoked during game play is more related to active exploration of diegetic world and encountering challenges [1]- [3]. ...
An increasing number of web articles engage the reader with the feeling of being immersed in the data space. However, the exact characteristics of spatial immersion in the context of visual storytelling remain vague. For example, what are the common design patterns of data stories with spatial immersion? How do they affect the reader's experience? To gain a deeper understanding of the subject, we collected 23 distinct data stories with spatial immersion, and identified six design patterns, such as cinematic camera shots and transitions, intuitive data representations, realism, naturally moving elements, direct manipulation of camera or visualization, and dynamic dimension. Subsequently, we designed four data stories and conducted a crowdsourced user study comparing three design variations (static, animated, and immersive). Our results suggest that data stories with the design patterns for spatial immersion are more interesting and persuasive than static or animated ones, but no single condition was deemed more understandable or trustworthy.
... Este laboratorio de medios se dedica a explorar y experimentar con nuevas formas de contar historias, aprovechando las capacidades de tecnologías emergentes como la fotogrametría y los hologramas (Ryan, 2015). Los proyectos desarrollados, tales como La Nota UTPL, Medicina en Casa y Loja Ayer y Hoy, brindan a los estudiantes la oportunidad de aplicar sus conocimientos en contextos reales, fomentando un aprendizaje práctico y significativo. ...
... Este enfoque promueve la interacción entre estudiantes, docentes y profesionales de didtintas áreas, creando un ambiente propicio para la creatividad y la innovación. Ryan (2015) argumenta que la interdisciplinariedad en proyectos de comunicación audiovisual no solo enriquece el proceso creativo, sino que también fortalece las habilidades de los participantes, preparándolos mejor para los desafíos del mundo profesional. ...
Introducción: El MediaLab de la Universidad Técnica Particular de Loja promueve la innovación en comunicación al enfocarse en estrategias narrativas transmedia para la producción audiovisual. Nació como respuesta a los cambios tecnológicos y culturales en el ámbito comunicativo. Su objetivo es explorar nuevas formas de generar contenidos que involucren a la audiencia. Metodología: Para investigar el impacto del MediaLab se emplean métodos cualitativos y cuantitativos a través de entrevistas en profundidad, observación participante, encuestas y análisis de contenido. Resultados: Proyectos innovadores como La Nota UTPL, Medicina en Casa, Loja Ayer y Hoy, recorridos 360º, fotogrametría y hologramas permiten a los estudiantes aplicar sus competencias en producción audiovisual y técnicas narrativas. Estos proyectos ofrecen aprendizajes prácticos y significativos, fortaleciendo las habilidades interdisciplinarias. Discusión: Mantenerse a la vanguardia de estas tendencias implica estar al tanto de las nuevas tecnologías que surgen en la industria. La creatividad e innovación se erigen como las claves fundamentales. Este enfoque se apoya en el trabajo interdisciplinario, que involucra a investigadores, docentes y estudiantes en la creación de propuestas vanguardistas. Conclusiones: MediaLab UTPL se consolida como un referente en producción audiovisual en Ecuador, impulsando la innovación y colaboración interdisciplinaria.
... Imersão é comumente entendida como o envolvimento profundo em uma atividade ou narrativa, que pode ser sensorial, cognitiva, emocional ou social [Murray 1998, Ryan 2010, Brown and Cairns 2004. As diferentes formas de imersão proporcionam experiências diversas, desde o engajamento emocional e mental em histórias e atividades até a sensação física de presença [Murray 1998, Ryan 2010, Slater and Wilbur 1997, Calleja 2011. ...
... Imersão é comumente entendida como o envolvimento profundo em uma atividade ou narrativa, que pode ser sensorial, cognitiva, emocional ou social [Murray 1998, Ryan 2010, Brown and Cairns 2004. As diferentes formas de imersão proporcionam experiências diversas, desde o engajamento emocional e mental em histórias e atividades até a sensação física de presença [Murray 1998, Ryan 2010, Slater and Wilbur 1997, Calleja 2011. Em RV e RA, Imersão e Presença são conceitos interligados e fundamentais para a qualidade da experiência. ...
O Livro “Minicursos IHC 2024 - Fundamentos e Práticas para Experiências Digitais Acessíveis, Inclusivas e Eticamente Responsáveis” faz parte da série Perspectivas e Práticas Contemporâneas em IHC e aborda conteúdos relacionados às práticas de IHC. As propostas submetidas para o IHC 2024 foram avaliadas por pelo menos duas pessoas revisoras da comunidade de IHC no Brasil e no exterior. A escolha das propostas considerou as notas atribuídas pelas pessoas revisoras, os temas abordados, a fim de proporcionar à comunidade a oportunidade de aproveitar temas diversos nos minicursos oferecidos no evento, e a disponibilidade na programação do evento. Quatro propostas foram aceitas e tiveram os minicursos oferecidos, sendo que três delas se tornaram capítulos deste livro.
No primeiro capítulo, intitulado “Acessibilidade nas Mídias Sociais para Pessoas com Deficiência Visual” , as autoras abordam aspectos de acessibilidade para pessoas com deficiência, apresentando exemplos práticos. O texto apresenta uma fundamentação sólida e descreve processos desde o planejamento até formas de descrição de imagens para publicação de forma acessível para pessoas com deficiência nas redes sociais.
No segundo capítulo, “Design Especulativo: Construindo Pontes entre Tecnologia, Ética e Inclusão Social”, as pessoas autoras nos apresentam um conteúdo dinâmico, com sólida fundamentação e prática para uso de Design Especulativo como ferramenta para reimaginar o mundo sobre uma perspectiva ética e inclusiva.
O terceiro e último capítulo, com o título “Avaliação da Usabilidade e da Experiência do Usuário em Realidade Virtual e Aumentada”, apresenta conceitos fundamentais e práticas para promover experiências de usuário imersivas considerando desafios e cuidados na condução de estudo com pessoas utilizando ferramentas de realidade virtual.
Os três capítulos deste livro possuem metodologias e ferramentas para a área de Interação Humano Computador, porém, não se limitando a este contexto. Trata-se de uma obra útil para pessoas de diferentes perfis na academia (pesquisadores, estudantes ou professores, etc) ou indústria (profissionais de UX, marketing, designer, etc), iniciantes ou já com alguma experiência.
... LEGO's transmedia strategy is exemplified by its successful ventures into movies, TV shows, and video games. "The LEGO Movie" (2014) and its sequels, such as "The LEGO Batman Movie" and "The LEGO Ninjago Movie," have not only been commercial successes but have also expanded the LEGO narrative universe, creating a cohesive and immersive experience for audiences (Jenkins, 2006;Ryan, 2015). ...
... Image 4: LEGO Movies BI-12 Master Thesis_4 th Semester 2024_The Impact of Narrative Transportation on Consumer Loyalty in the Case of LEGO These films, along with TV shows like "LEGO Ninjago: Masters of Spinjitzu," provide multiple entry points into the LEGO narrative, catering to different preferences and enhancing audience engagement (Jenkins, 2006). Video games such as "LEGO Star Wars" and "LEGO Marvel Super Heroes" further this strategy by allowing players to interact with beloved characters and iconic settings, thereby becoming active participants in the story (Jenkins, 2006;Ryan, 2015). ...
This research explores the impact of narrative transportation on consumer loyalty, using LEGO as a case study. Narrative transportation, the psychological process of becoming deeply immersed in a story, is examined for its potential to enhance consumer engagement and brand loyalty. The study focuses on how LEGO's strategic use of storytelling in marketing campaigns creates emotional connections with consumers, leading to increased loyalty and advocacy.
The research employs a quantitative approach, using surveys to assess the effects of narrative transportation on consumer attitudes and behaviors. Key elements of narrative transportation, including empathy, immersion, and belief revision, are analyzed to understand their role in shaping consumer loyalty.
Findings indicate that narrative transportation significantly influences consumer loyalty by fostering emotional connections and altering consumer beliefs and attitudes toward the brand. The study concludes that narrative transportation is a powerful tool for brands like LEGO to create compelling consumer experiences and enhance loyalty.
This research contributes to the understanding of narrative transportation's role in consumer behavior and offers practical insights for marketers aiming to leverage storytelling in their brand strategies. By integrating storytelling into marketing approaches, brands can effectively engage consumers, build emotional connections, and foster long-term loyalty.
... LEGO's transmedia strategy is exemplified by its successful ventures into movies, TV shows, and video games. "The LEGO Movie" (2014) and its sequels, such as "The LEGO Batman Movie" and "The LEGO Ninjago Movie," have not only been commercial successes but have also expanded the LEGO narrative universe, creating a cohesive and immersive experience for audiences (Jenkins, 2006;Ryan, 2015). ...
... Image 4: LEGO Movies BI-12 Master Thesis_4 th Semester 2024_The Impact of Narrative Transportation on Consumer Loyalty in the Case of LEGO These films, along with TV shows like "LEGO Ninjago: Masters of Spinjitzu," provide multiple entry points into the LEGO narrative, catering to different preferences and enhancing audience engagement (Jenkins, 2006). Video games such as "LEGO Star Wars" and "LEGO Marvel Super Heroes" further this strategy by allowing players to interact with beloved characters and iconic settings, thereby becoming active participants in the story (Jenkins, 2006;Ryan, 2015). ...
This research explores the impact of narrative transportation on consumer loyalty, using LEGO as a case study. Narrative transportation, the psychological process of becoming deeply immersed in a story, is examined for its potential to enhance consumer engagement and brand loyalty. The study focuses on how LEGO's strategic use of storytelling in marketing campaigns creates emotional connections with consumers, leading to increased loyalty and advocacy.
The research employs a quantitative approach, using surveys to assess the effects of narrative transportation on consumer attitudes and behaviors. Key elements of narrative transportation, including empathy, immersion, and belief revision, are analyzed to understand their role in shaping consumer loyalty.
Findings indicate that narrative transportation significantly influences consumer loyalty by fostering emotional connections and altering consumer beliefs and attitudes toward the brand. The study concludes that narrative transportation is a powerful tool for brands like LEGO to create compelling consumer experiences and enhance loyalty.
This research contributes to the understanding of narrative transportation's role in consumer behavior and offers practical insights for marketers aiming to leverage storytelling in their brand strategies. By integrating storytelling into marketing approaches, brands can effectively engage consumers, build emotional connections, and foster long-term loyalty.
... Jahrhundert hat nicht nur eine bemerkenswerte Blütezeit für neue Medien eingeleitet, sondern auch eine faszinierende Entwicklung in der deutschen Literatur hervorgebracht. Diese Entwicklung ist gekennzeichnet durch das Eindringen digitaler Technologien und virtueller Realitäten in die Welt der Buchstaben und Worte, und sie eröffnet einen faszinierenden kreativen Raum, der die Art und Weise, wie Autoren Geschichten erzählen, und wie Leser sie erleben, grundlegend verändert (Ducasse & Čopič Pucihar, 2024;Pilgrim & Pilgrim, 2021;Vassiliadi & Sylaiou, 2018;Park, & Baek, 2011;Mangen, 2008;Ryan, 2001;Campos, Xu, Ryan, 1994). ...
... VR-Literatur nutzt diese Technologie, um den Lesern ein tiefgreifendes und lebensnahes Erlebnis zu bieten. Anstatt nur passiv zu lesen, wird der Leser zu einem aktiven Teilnehmer, der in die Welt der Geschichte eintauchen kann (Ryan, 2001;Sundar, Xu & Bellur, 2010). Deswegen kann man behaupten, dass die Leser in der VR-Literatur die Umgebung der Geschichte aktiv erkunden und mit ihr interagieren können. ...
LANGUAGE TEACHING IN DIGITAL ERA
... The rapid increase in the cultural significance and influence of video games has ignited a debate on whether they could surpass literature (DeMaria, 2009;Jenkins, 2006). The convergence of technology, global connectivity, and interactive media has transformed how individuals engage with stories and narratives (Ryan, 2003). A contentious debate has emerged regarding whether video games will ultimately surpass literature as the preeminent form of storytelling and entertainment. ...
... The emotional resonance of video game narratives has also been significantly enhanced through the incorporation of literary techniques, such as compelling character development, evocative prose, and carefully crafted dialogue (Ryan, 2003). Games like The Last of Us and Life is Strange have garnered critical acclaim for their emotionally charged storytelling and the depth of their characters, demonstrating that video games are capable of evoking the same level of emotional engagement and empathy as literature (Eskelinen, 2001). ...
This article investigates the factors contributing to the rise of video games and their potential to surpass literature in narrative expression. By examining extensive research on the intersection of video games and literature, the study dissects their complex interrelationships, mutual impacts, and shared evolution. Video game narratives, often inspired by literary predecessors, have become increasingly complex and engaging, drawing on literary techniques and non-linear storytelling methods from postmodernism and metafiction. These narratives challenge players to actively construct meaning, enhancing emotional resonance through character development, evocative prose, and carefully crafted dialogue. Technological advancements have played a crucial role in the evolution and rising popularity of video games, offering immersive, interactive experiences that empower players to shape the narrative and storyline, contrasting with literature, which relies on the reader's imagination and interpretation. The future of storytelling is likely to be shaped by the ongoing interplay between video games and literature. The integration of literary techniques and interactive elements across these mediums will continue to evolve, resulting in innovative hybrid entertainment forms that leverage the strengths of both literature and video games. This dynamic interaction ensures a diverse and vibrant future for storytelling, reflecting the multidimensionality of human creativity and imagination. As video games continue to incorporate more sophisticated literary techniques and storytelling methods, they become more capable of delivering rich, nuanced narratives that rival those found in traditional literature. This evolution opens up new possibilities for hybrid forms of storytelling that combine the best elements of both video games and literature. By embracing these hybrid forms, creators can push the boundaries of narrative expression and create new, immersive experiences that engage audiences in ways previously unimaginable. The article concludes that the future of storytelling lies in the continued convergence of video games and literature, promising a diverse and dynamic landscape that celebrates human creativity and imagination in all its forms.
... Therapeutic forms are found in psychodrama and drama therapy, where the client proto-acts as either some familiar person or a fictional character (Kipper and Ritchie, 2003;Orkibi and Feniger-Schaal, 2019;Sajnani, 2021). A rapidly growing form of proto-acting in everyday life is people's engagement in role-playing video games and board games (Ryan, 2015;Tu et al., 2023). Other forms of proto-acting involve stage performances, such as impressionism, ventriloquism, puppetry, and sketch acting, where the performers engage in short-term portrayals of characters, whether these be of real or fictional people. ...
Role playing is a central, but underappreciated, process in human evolution. It is a feature not only of the theatrical arts, but of everyday social interactions. While some role playing is limited to enacting various personas of the self (e.g., wife, accountant, mother), others involve an impersonation of people. The most basic form of impersonation is proto-acting, which refers to a transient engagement in character portrayal, such as when we quote a friend during a conversation. During proto-acting, we “act as” some other person. However, there are other means of acting in a similar manner to another person in which we do not impersonate them, but merely emulate their behavior. This might happen when we learn a motor skill from a teacher or conform to the consumer choices of the masses. This follower-based process of “acting like” is a critically important mechanism in cultural evolution since it leads to social conformity and the homogenization of group behavior. I argue that the evolutionary transition from “acting like” (emulation) to “acting as” (impersonation) occurred via the emergence of pantomime and its narrative depiction of the actions of other people. This was probably the first step toward impersonating someone, leading initially to proto-acting and later to theatrical performance in human cultures. Overall, the study of human evolution needs to give greater consideration to role playing and its diverse manifestations in life and art.
... Despite looking modern, the concept of virtual reality has historical roots. Morton Heilig unveiled the Sensorama in the early 1960s, a gadget that could mimic multi-sensory experiences like riding a bike through a metropolis (Ryan, 2015). Even though it lacked the interaction of today's VR, this early version of VR was a revolutionary approach to immersive experience. ...
The use of technology in architecture education has become essential in the current digital age. VR is a technology that has the potential to completely transform not only how we communicate and have fun, but also how we learn about space, design, and architecture. The immersive, participatory nature of virtual reality offers architectural students a special chance to transform the imaginational thinking into visual images. This study tries to find the problem in applying the VR in the classes of Architecture and its slow interaction to be a main element of the Architectural classes. For the purpose of examining this problem Research have been taken in Cyprus's use of virtual reality (VR) in architectural education. The study investigates the impact of VR on student performance and comprehension before its practical application using a quantitative research method, along with a targeted survey among architectural students at Cyprus International University. According to preliminary findings, of the 28 respondents, 74% were familiar with virtual reality, and 50% thought it had applications in architectural design. Only 23% of respondents had actual experience with VR outside of architectural contexts, though. This study examines the pedagogical intricacies of VR, going beyond simple technology integration to highlight the educators' duties in maximizing its potential and the students' expectations regarding its influence on their educational journey. This article explicitly considers the future of VR in architecture education, identifying crucial stages in the design process where VR can have the biggest influence. VR has numerous uses in many other sectors. The study gives insights into the potential roles and benefits of VR in shaping the future trajectory of architectural education in Cyprus after a thorough data analysis and contextual assessment.
... Desde la tesis de Haraway y hasta llegar a los testimonios más recientes. Investigadores como Ryan (2001), en referencia a la realidad extendida; y como Keogh (2018, p. 10), quien por caso dirige su atención a la interfaz del videojuego para ejemplificar cómo la experiencia de la tecnología aumenta nuestros sentidos. Nos interesa detenernos por un momento en esta reflexión. ...
La literatura académica sobre la práctica de dibujo en la contemporaneidad es escasa. En particular, una revisión bibliográfica revelaría ciertas deficiencias en el análisis teórico del proceso de disegno en el marco de las nuevas concepciones textuales. El presente texto pretendería, así, ofrecer una aproximación analítica y hermenéutica a la creación gráfica en la era tecnológica, a fin de examinar la pertinencia de indagar en la práctica artística como método de investigación empírica en torno a la conexión de procesos abstractos con la corporalidad. Se arguye que una metodología analítico-comparativa transdisciplinaria, que abarque ámbitos como el pensamiento gráfico y los estudios sobre medios de comunicación, facilitaría el inicio de una reconfiguración en el enfoque hacia los medios, la técnica y la creación artística actuales. A través de teóricos como Merleau-Ponty y Haraway, nos propondremos analizar parte de la dimensión emergente de los procesos creativos. En última instancia, el objetivo que se plantea como horizonte buscaría empezar a definir y reivindicar el estado ontológico previo a la formalización del dibujo estático y fijo. A saber, la materialidad fluida que encarnaría la noción de ‘dibujo-en-proceso’.
... Upsurging use cases of VR as a medium for movie-watching [45], photo-curating and reading [47] besides its traditional game application or medical training denote its potentials to infiltrate our daily lives. More and more mass media applications such as Netflix (Figure 2), Hulu, and Twitch are continuously being introduced to VR headsets [16]. ...
In this paper, we propose a new interface for virtual reality headset: a touchpad in front of the headset. To demonstrate the feasibility of the front touch interface, we built a prototype device, explored VR UI design space expansion, and performed various user studies. We started with preliminary tests to see how intuitively and accurately people can interact with the front touchpad. Then, we further experimented various user interfaces such as a binary selection, a typical menu layout, and a keyboard. Two-Finger and Drag-n-Tap were also explored to find the appropriate selection technique. As a low-cost, light-weight, and in low power budget technology, a touch sensor can make an ideal interface for mobile headset. Also, front touch area can be large enough to allow wide range of interaction types such as multi-finger interactions. With this novel front touch interface, we paved a way to new virtual reality interaction methods.
... McMahan [96] criticized immersion as becoming "an excessively vague, all-inclusive concept" [135]. In practical usage, there is an inconsistency between presence and immersion, and the terms are sometimes even used interchangeably with concepts such as narrative engagement, user engagement, and involvement [90,104,126]. ...
Cinematic Virtual Reality (CVR) is a narrative-driven VR experience that uses head-mounted displays with a 360-degree field of view. Previous research has explored different viewing modalities to enhance viewers' CVR experience. This study conducted a systematic review and meta-analysis focusing on how different viewing modalities, including intervened rotation, avatar assistance, guidance cues, and perspective shifting, influence the CVR experience. The study has screened 3444 papers (between 01/01/2013 and 17/06/2023) and selected 45 for systematic review, 13 of which also for meta-analysis. We conducted separate random-effects meta-analysis and applied Robust Variance Estimation to examine CVR viewing modalities and user experience outcomes. Evidence from experiments was synthesized as differences between standardized mean differences (SMDs) of user experience of control group ("Swivel-Chair" CVR) and experiment groups. To our surprise, we found inconsistencies in the effect sizes across different studies, even with the same viewing modalities. Moreover, in these studies, terms such as "presence," "immersion," and "narrative engagement" were often used interchangeably. Their irregular use of questionnaires, overreliance on self-developed questionnaires, and incomplete data reporting may have led to unrigorous evaluations of CVR experiences. This study contributes to Human-Computer Interaction (HCI) research by identifying gaps in CVR research, emphasizing the need for standardization of terminologies and methodologies to enhance the reliability and comparability of future CVR research.
... The structure of branching narratives and multiple endings create a "labyrinth of possibilities," where each choice opens up new paths for the story, encouraging repeated playthroughs and creating a unique experience for each user. This feature, as interactive narrative researcher Marie-Laure Ryan notes, allows users to explore various narrative trajectories, a unique characteristic of game-films compared to traditional cinema [5]. ...
... In fact, as Nikolajeva (2019) noted, identifying fictional characters' basic emotionsrealised in students' drawings-is an early step in developing empathy, associated with understanding and respecting others. In addition, it encourages emotional immersion in the story, as Ryan (2015) noted, linked to projection onto the characters. The results of our study are in line with the study by Aliagas and Margallo (2017), who examined children's responses to a piece of literature in the form of an app, and found that the interactive nature occasionally produced strong emotional engagement and immersion in the fictional world, as happened in our study. ...
Drawing is an ideal technique to understand children's responses to fictional narratives, including digital ones. In this case, a gamified narrative with augmented reality (AR), based on a picturebook, was designed and used in an intervention in 8 Early Childhood Education classrooms (N = 113), aimed at enhancing their literary competence. This paper analyses the visual responses of the participating students after the intervention, reflected in their drawings and complemented with individual interviews. The methodology is mixed: (a) qualitative, analysing the content of the drawings, and taking into account the narrative-interpretive and gamification dimensions, through an instrument designed ad hoc; (b) quantitative, through the statistical treatment of the collected data. The results show the predominance of informative and emotional responses, which reveal the understanding of the narrative. Most of the children draw the characters that sparked their interest and recreate key scenes from the story. Drawings emphasise the narrative aspects, and to a lesser extent refer to the game mechanics (challenges and rewards). Finally, it is confirmed that the gamified narrative with AR has the capacity to generate emotional responses and promote the immersion of students in the story and the game.
... Training tools using virtual reality technology are based on a digital environment that should represent real life. The level of this mapping is assessed through the prism of three attributes [4][5][6][7]: ...
(1) Background: This article presents research results from a project to develop a simulator and training program for tram drivers based on virtual reality tools. This article aims to present the research results on the risk assessment of adverse events to develop training scenarios for tram drivers. (2) Methods: The research methodology involved four steps, including the identification of adverse events based on interviews with experts, estimation of risk parameters, risk assessment using fuzzy logic, and risk evaluation to identify events recommended for the training program. (3) Results: Thirteen adverse events related to tram driving were identified and ranked according to the proposed classification. A risk assessment was then performed for the selected group of events using fuzzy logic models. The results made it possible to recommend situations that should be mapped in the virtual world as part of a tram driver training program. (4) Conclusions: The results made it possible to distinguish a group of events that should constitute the training area dedicated to tram drivers. Including the developed emergency scenarios in the training program allows employees to examine their reactions to stressful or dangerous situations and better prepare themselves for future duties.
... Este fenómeno es de particular interés para esta investigación, ya que una alta coherencia narrativa sugiere una explicación teleológica de la realidad (Currie & Jureidini, 2004). Dicha coherencia se puede observar en la existencia de un marco temático unificado donde se integran los diferentes eventos y acciones (Chatman, 1978;Phelan, 1989;Ryan, 2001). ...
El estudio investiga el papel de las narrativas en la persistencia de las redes de desinformación de grupos antivacunas. Se realizó un análisis de redes y textual de un corpus de 1,271,115 mensajes de Telegram entre 2020 y 2024. El análisis revela la relevancia de la coherencia narrativa en la difusión de desinformación, que trasciende los actores principales de la red. Los resultados apuntan hacia la necesidad de considerar a la desinformación como un producto de las tensiones del ecosistema informativo ante la crisis en las instituciones y sus efectos en las sociedades contemporáneas. Por ello, se propone un abordaje que va más allá de considerarla simplemente como un producto de "actores maliciosos" o un problema de facticidad. De ahí la importancia de considerarla como un fenómeno sistémico desde un enfoque que contemple tanto las relaciones de poder como los contextos culturales situados para su combate.
... Out of these three reasons, anthropomorphism can be best defined by Absorption in the Narrative or the Depiction of the Narrative (commonly known as narrative immersion). Narrative immersion is categorized into temporal, emotional, and spatial immersion [53]. Although the basis for narrative immersion is story narration, we can understand that emotional immersion relates to anthropomorphism. ...
In today's technology-driven era, where stress levels are on the rise, consumers are increasingly turning to online browsing and shopping as a means of escaping and coping with reality. This behavioral shift has opened an opportunity for brands to retain consumers in the long run. The present study conceptualizes that the brand can utilize this opportunity to have continued engagement by building interpersonal consumer-brand relationships and an immersive environment. To empirically validate this framework, the study collects data from young consumers (N = 480). The results exhibited that there is a positive and significant relationship between brand anthropomorphism and continued engagement, which is sequentially mediated by immersion and escapism. The study also integrates and extends social exchange, flow, and coping theories, providing practical insights for marketers on the significance of emotional connections and immersive environments in driving continued engagement.
... The amalgamation works because participation creates the emotional 'involvement' that appears to be decisive for immersive experiences, while immersion and involvement promote genuine participation. The concepts of 'participation' and 'immersion' bring together different aesthetics or 'strands of discourse' (Ryan 2001, Bouko 2016, which appear relevant to investigating the gamification of theatre. ...
... Yet, while a replica orbits the mothership, the imaginary book it's based on may be an integral part of the core narrative. Adapting Marie-Laure Ryan's (2015) 'vector structure' for interactive texts, which describes such texts as combinations of predetermined sequences of events with optional storylines that users can follow based on their choices, we can see any imaginary book as a node on a forwardmoving narrative, and its replica as a roadside attraction reached via an optional side branch growing out of this node. In other words, while the portrayal of an imaginary book in a screen narrative may be essential in understanding that story, reading the replica of that imaginary book could be considered enriching but optional. ...
Imaginary books are books that do not exist except as components of other fictional narratives. This paper surveys the complex interplay between imaginary books featured in screen narratives and physical books written to replicate them. The paper first discusses the functions and portrayals of imaginary books on screen. It explores different approaches to transforming imaginary books, especially imaginary books of fiction into official diegetic extensions as part of transmedia storytelling practices. It then examines how fans replicate imaginary books physically and textually based on these portrayals. It concludes with a discussion of how these transformations provide alternative readings of screen narratives.
... Leveraging the semantics of possible worlds (Kripke, 1963) and theory of mind (Zunshine, 2006), cognitive narratologists argue that stories accomplish more than building worlds to ensure narrative fidelity with the interpreter's mental models; they also enhance the self-consistency and robustness of such mental models through the simulation of counterfactual scenarios (Lewis, 1979) and alternative "storyworlds" (Ryan, 1991;Herman, 2013;Gerrig, 2018). This exercise of make-believe not only facilitates narrative understanding but also enriches the interpreter's cognitive landscape by providing a dynamic platform for testing and refining mental models through imaginative engagement and adaptation (Doležel, 1998;Ryan, 2001), a process that has been linked to evolutionary mechanisms (Easterlin, 2012), especially a predisposition towards play in evolutionary psychology (Boyd, 2009). ...
... frontiersin.org 2. Narrative Immersion and Emotional Responsiveness: When users feel emotionally invested in the characters, story, or situations within the VR world, they are more likely to believe in it and suspend their disbelief. Creating relatable characters, meaningful interactions, and engaging narratives results in users losing track of time and their physical surroundings (Ryan, 2001). It yields emotional responsiveness tapping into fundamental psychological processes that evoke authentic feelings (Rollings and Adams, 2003). ...
The rapid advancement of virtual reality (VR) technology has brought many immersive experiences, each designed to transport users into captivating virtual worlds. While these experiences aim to provide a sense of presence and engagement, the factors contributing to a truly immersive experience are often complex and multifaceted. Existing scholarship has predominantly focused on specific aspects of user experience, such as psychological factors (e.g., sense of presence), emotional factors (e.g., enjoyment), or design-related factors (e.g., interface usability). This fragmented approach has impeded a comprehensive understanding of the overall quality of VR experiences. To address this, we propose a multidimensional taxonomy encompassing five essential qualities: immersivity, interactivity, explorability, plausibility, and believability. The framework aims to disentangle the complex, interrelated facets shaping VR experiences for a more systematic evaluation. Immersivity refers to the subjective sense of presence and “being there” in a virtual environment. Interactivity denotes the ability to interact with virtual objects, promoting engagement dynamically. Explorability refers to users’ freedom to navigate and discover new elements. Plausibility examines the logical congruence of the virtual environment’s rules and behaviors. Finally, believability relates to the world-building and internal coherence of the VR world. This taxonomy provides a structured approach to look at VR experiences holistically, assessing the interplay of these facets to facilitate a more objective, comprehensive evaluation, capturing the multidimensional nature of VR experiences. In summary, our proposed taxonomy marks an essential step toward systematic VR evaluation, providing guidance for researchers and highlighting factors integral to VR quality.
... La idea de inmersión, por tanto, no es un rasgo exclusivo de una tecnología o área de conocimiento concreta, sino que este concepto está presente en las interacciones mediáticas contemporáneas, caracterizadas en su mayoría por la conectividad global y la era digital. Por ello, debemos tener en cuenta que puede alcanzarse ese estado mental de inmersión a través de otros medios tecnológicos aparte de la realidad virtual, como los smartphones y, no tecnológicos, como la lectura, la contemplación de una obra de teatro o el visionado de un filme (Ryan, 2015). A este respecto Kukshinov (2021) aclara que los smartphones, aunque pueden inducir la sensación de inmersión, son más parecidos a una simulación de la realidad sintética que a una verdera realidad virtual y, que los medios tradicionales, como el cine, son más representacionales. ...
Introducción: En los entornos digitales contemporáneos, los videojuegos inmersivos e interactivos con base narrativa introducen una nueva forma de narración participativa, denominada ludonarrativa. Esto crea una nueva relación entre el jugador, la trama y la imagen-entorno. La transición a una imagen esférica y la interactividad plantea retos para los investigadores en términos de encontrar elementos que se puedan operativizar para un análisis efectivo de estos nuevos formatos. Metodología: El objetivo de nuestra investigación estuvo centrado en la creación de una herramienta de análisis que permitiera una comprensión y evaluación profunda de estos contenidos. Tras plantear un marco conceptual, una revisión bibliográfica exhaustiva y las particularidades de nuestro objeto de estudio, identificamos que en los entornos virtuales inmersivos se hace necesario su evaluación y comprensión a través del análisis de la inmersión y la interactividad. Resultados: Con este punto de vista conformamos unas variables y categorías que permitieron diseñar la propuesta metodológica aquí planteada, la cual está dividida en dos grupos relativos a la sensación de presencia y a la ludonarrativa. Conclusiones: Esta propuesta metodológica proporciona una base sólida con la que mejorar tanto la calidad como la efectividad de este tipo de formatos.
... "Foi por isto que quase me perdi?" (Bessa-Luís, 1999, p. 76), reflete, atendendo ao ambiente de então e à desilusão da aparência 3 . Ryan (2016), enquanto ambiente socio-histórico e geográfico, condensa um espaço sombrio caraterizado pela solidão comprometida e um longo historial de marginalidade e trânsito exótico de moçárabes e outros nómadas. É no vale que um ascendente dos Paiva se oculta do desenlace afetivo e de trato social difícil com uma Dona de Moimenta, cujo aborto se desfecha de maneira desastrosa. ...
Este ensaio analisa a topografia de Ema de Vale Abraão, a rapariga do incisivo quebrado de “Um inverno frio” e Alfreda de A alma dos ricos, lendo tais personagens como excrescências similares ao tecido vegetal que as enquadra. A sua excentricidade e excesso fazem-na marginais aos cenários interiores em que se movem, alcançando no exterior o cerne da sua realização. Reflete-se ainda sobre a construção narrativa dos espaços referentes a essa amostra de personagens em função daquilo que entendemos tratar-se de um princípio de mutabilidade das coordenadas espaciais, uma forma de deslocamento do espaço fixo. Esta impressão de movimento pode ser textualmente produzida pela prefiguração de horizontalidade e verticalidade dos espaços, tal como pela instauração de uma cadência mediada pela expansão e pausa na relação da personagem com o espaço, com fins mutáveis evolutivos. Para o demonstrar, recorre-se ao uso de instrumentos de leitura comparatista e topoanalítica, tomando-se de empréstimo e em cruzamento os conceitos de espaço e lugar de Yi-Fu Tuan (1983) e Marc Augé (2020), a noção de ambiente de Ozíris Borges Filho (2020) e setting de Marie-Laure Ryan (2016), bem como la phénoménologie du rond de Gaston Bachelard (1994). .
... 4-5, ênfase nossa). Outras mídias que precedem a RV seriam também imersivas e, desse modo, ilusórias, tais como videogames (McMahan, 2003;Thon, 2008), jogos interpretativos (RPGs) (Balzer, 2011;Lukka, 2014), estudos narrativos (Ryan, 2001(Ryan, , 2015 e estudos artísticos (O. Grau, 2003). ...
Virtual reality has become increasingly present, which gives rise to new philosophical questions: what is the nature of virtual reality experiences? Would they be exactly like usual perceptions, or do they have some feature that differentiates them? Are they illusory? We argue that virtual reality experiences should not be treated as illusory, as claimed by most contemporary theorists on the topic, but rather as allusive, conditioned to the incorporation of hardware and practical knowledge involved in the use of technology. To this end, we address their relation with illusions, explore how they relate to our everyday experiences and present our proposal that they can be understood as allusions. We then show that their allusive character does not make them indistinguishable from non-virtual experiences, since the biological and sensorimotor limits of cognition provide the threshold of differentiation, even in cases of augmented reality. In addition, we explore the emergence of augmented reality technology and discuss the possibility of systematically replacing perception with illusory projections. However, to date, there is no empirical evidence to support this possibility. We highlight the importance of the relationship between perception and action in the physical environment and argue that specific errors in virtual experiences do not characterize their state as illusory.
Keywords:
illusion; allusion; embodiment; cognition.
... De acordo com o conceito proposto por De La Peña et al (2010), uma das premissas básicas do jornalismo imersivo é a imersão. O termo é comum na cultura contemporânea para se referir a uma experiência artística prazerosa e que de forma mais ou menos intensa, seja envolvente para quem a vivencia (Ryan, 2015). Esta ideia de imersão tem origem não no jornalismo imersivo enquanto narrativa não-ficcional, mas em campos artísticos como o cinema e a literatura. ...
A utilização de recursos tecnológicos imersivos como a Realidade Virtual (RV) e vídeos em 360º, com a proposta de aproximar o usuário da história e tornar os conteúdos mais atrativos, tem provocado uma reconfiguração da narrativa jornalística e gerado questionamentos éticos que confrontam paradigmas da profissão. A partir da análise do vídeo 12 Seconds of Gunfire (2019), animação em 360º publicada pelo jornal The Washington Post, buscou-se perceber como o real e o ficcional, que se cruzam de forma mais evidente no jornalismo narrativo, se fazem presentes nestes relatos. Espera-se contribuir para as pertinentes discussões sobre o jornalismo digital e as inovações nos formatos narrativos em um cenário de transformações tecnológicas que desafiam a prática jornalística e que tornam mais complexa a distinção entre informação e ficção.
... Spatial immersion is when you feel like you are physically present in a virtual or imaginary space (Zhang et al., 2017). This form of immersion includes having a sense of place and the joy experienced (Ryan 2008) during the person's response to the depicted location (Ryan 2003). It can be described as feeling like you are 'there' in the environment as if you can see, hear, and interact with the world around you. ...
Prince I. M. Dolgorukov (1764–1823) was an interesting writer and figure of the Russian culture of the late 18th and early 19th centuries. His life path was like that of many young noblemen of the period. Full of hopes for a bright future, he had to face a non-idyllic reality. I. M. Dolgorukov turned his juvenile (and not only) illusions into a central theme of his autobiography, entitled “Povest’ o rozhdenii moyem, proiskhozhdenii i vsey zhizni”. This article aims to demonstrate that autobiographical prose became for the prince a means of overcoming the disappointments of his “lost illusions”, by revealing the deceptions behind illusory realities such as the world of service and the court. Moreover, the analysis of I. M. Dolgorukov’s ego-text illustrates the apologetic intentions of the writer in transforming his illusions into a leitmotiv. By thematizing the latter, Ivan Mikhaylovich justifies the lack of the expected successes in his life and career. In fact, the prince systematically shows how, both in the army and in the imperial bureaucratic system, his hopes of serving the emperor with devotion are always destroyed due to the corruption that surrounds him. The present study highlights that ,in the author’s autobiographical narration, the theme of illusions is used with educational aims as well. From his personal experience of unfulfilled expectations and of believing in illusory ideals, I. M. Dolgorukov draws life lessons for his descendants. Finally, the article emphasizes that self-writing itself can be considered a form of illusion with which the autobiographer tries to fight the passage of time and to make sense of his past.
Problemáticas metodológicas como la falta de consenso en la definición de ‘dibujo’ se habrían complejizado en la contemporaneidad; un contexto caracterizado por la disolución de categorías, la expansión artística y la evolución tecnológica perpetua. El objetivo de este artículo es argumentar una óptica alternativa desde la que indagar en esta noción aumentada y emergente del dibujo, aplicándose una metodología analítico-comparativa interdisciplinar a fin de generar nuevas vías desde las que abordar un campo artístico en constante desarrollo. La investigación nos lleva a reivindicar una manera amplia de entender la gráfica, a través de casos de estudio del s. XX y el s. XXI. Se sugiere que, más que en ninguna característica material concreta, resulta pertinente aprehender el dibujo como parte de una dinámica creativa transformativa, transmedia e interdisciplinar.
In this practice-led research study, I have investigated how a strong and distinctive literary sense of place can be evoked within prose fiction and comics. I have done so through analytical and creative methods. The analytical portion of the study comprises an analysis of several novels and graphic novels using a purpose-built framework. These analyses reveal that fully appreciating how a text evokes a literary sense of place means understanding how it works spatially. Prose texts have three levels of spatiality. The first is found in the spaces and places within the world of the story. The second is found in the relationship between the text and other texts released before and after it. The third is found in the dynamic interplay between the text, its creator/s, and its potential readers. A comics text encompasses these three spatialities, as well as two more, which can be seen at the levels of panel and page. I have used these findings, along with my own place-making activities, to plan and write an original graphic novel script for an adaptation of Fergus Hume’s literary blockbuster The Mystery of a Hansom Cab. In this script, I have used the affordances of the comics medium to foreground sense of place. Subsequent analysis of this graphic novel script, using my purpose-built framework, reveals that my prose-to-comics adaptation does not merely replicate Hume’s evocation of Melbourne circa 1885. It offers readers a new, yet no less evocative, version of Marvellous Melbourne. My findings are valuable for researchers who seek to understand how a literary sense of place can be evoked through the interplay of spatialities in both prose fiction and comics. They are also of value to writers who seek to adapt a work of prose fiction as a graphic novel, particularly if they – like me – wish to evoke a strong and distinctive literary sense of place.
Methodological issues, such as the lack of consensus in defining ‘drawing,’ have become more complex in contemporary times; a context characterized by the dissolution of categories, artistic expansion, and perpetual technological evolution. The objective of this article is to propose an alternative perspective for investigating this augmented and emerging notion of drawing, employing an analytical-comparative methodology with a distinctly interdisciplinary approach in order to generate new lines of research for addressing an ever-evolving artistic field. The research advocates for a broad understanding of graphic art through case studies from the 20th and 21st centuries. It is ultimately suggested that drawing should be apprehended as part of a creative, transformative, interdisciplinary transmedia dynamic rather than in any specific material characteristic.
Dijitalleşme ve tekniğin olanaklarıyla birlikte hikâye anlatımının sınırları genişlemiş; salt olarak görsel-işitsel olanın konumu, deneyime farklı duyuların dâhil edilmesiyle derinleştirilmiştir. Sürükleyici deneyimler, çeşitli tür ya da biçimlerde kendini var eden ve pekiştiren bir alan olarak yayılım göstermekte olup izleyici/alımlayıcı/kodaçan/katılımcı/deneyimleyici/eyleme çağırılanın fiziksel ve ruhsal yolculuğunun aşkınlık seviyesine erişmesine aracılık etmek üzere sürekli evrilmiştir. Çalışma kapsamında sürükleyici deneyimlerin hikâye anlatımını nasıl ve ne şekilde değişip dönüştürdüğünün, izleyicinin gelenekselden nasıl ayrıştığının ortaya koyulması amaçlanmıştır. Bu amaç doğrultusunda veriler nitel araştırma yöntemlerinden biri olan doküman taraması ile elde edilmiş ve Türkçe dilinde yazılan kısıtlı kaynak varlığı zenginleştirilmeye çalışılmıştır. Elde edilen bulgular, hikâye anlatıcılığının teknolojinin sunduğu olanaklarla evrimleşerek yeni bir boyut kazandığını ortaya koymaktadır. Buna ek olarak dijital çağ ile birlikte hikâye anlatıcılığının dönüşümü, yaratıcı sektörlerin yanı sıra bireylerin öğrenme, empati geliştirme ve anlam yaratma süreçlerinin de önemli bir potansiyel taşımakta olduğu söylenebilir.
In “New Possibilities for User Involvement in VR Documentaries,” Florian Mundhenke explains that with the shift and development of digital formats (360° films, nonfictional VR experiences, AR apps), the question of what is possible in interactive media should be addressed once again. Since VR projects are fully immersive (mostly using head-mounted displays), the reception is quite different, as the interactor experiences less distraction from the outside. At the same time, there has been a shift from the computer game aesthetic of early i-docs (with their pure spatial arrangement of events) to a more inclusive digital storytelling style with the user experiencing his own world-building. The chapter concludes with the discussion of two nonfictional VR projects, focusing on their user involvement and the possible developments of the genre.
The subject of the study is the transformation of the director's concept in the conditions of spherical cinematography. The study analyzes the peculiarities of the director's work in the omnidirectional space. New expressive means are considered, including spatial sound and multiplanar mise-en-scene, as well as changing approaches to editing and dramaturgy. Special attention is paid to the peculiarities of the viewer's perception of spherical content and the prospects for the development of this format in the film industry. The aim of this study is to examine the influence of omnidirectional space on the director's conception. The study aims to identify key changes in approaches to editing, composition and dramaturgy. The following objectives are set: to analyze the peculiarities of directorial work in 360° format; to identify new expressive means emerging in the spherical format; to determine the impact of omnidirectional narrative on the viewer's perception; to assess the prospects for the development of spherical cinema and its integration with other media. Based on the methods of comparative analysis, the paper examines the influence of omnidirectional space on directorial intent. The main conclusions of this study are that the director's usual tools are not always adapted for use in spherical space. The novelty of the study lies in the fact that the work identifies promising directions for the development of spherical cinematography. The study shows that the use of omnidirectional space requires directors to develop new expressive means and strategies of interaction with the audience. The paper offers an overview of the key problems (challenges) and opportunities of spherical cinematography, which makes it relevant for theorists and practitioners in the field of audiovisual arts and will be useful for the development of new program and methodological material for student directors of various specializations.
In his digital poem Nine Billion Branches, Jason Nelson explores various modes of belonging, which could be realized multifacetedly on corporeal, social, political, aesthetic and ecological levels. These locations range from the domestic (i.e. the bedroom, garage or living room) to the more abstract, such as the human body and language. The intricate network of relations between digital objects (rendered in the poem via a map of hypertextual links and limited interactivity) is expressed by means of kaleidoscopic, co-ordinate and not causal-effect connections. The article studies the notion of digital objects in Nelson’s poem, showing how the online milieu affects the reading and interpretation processes. In this context, digital hermeneutics comes into focus, especially as regards visualizations. When discussing the selected poetic titles (their total number is 40), the article explores Harman’s Object-Oriented Ontology, linking it to digitality. The article aims to analyze how following the digital paths in Nine Billion Branches, belonging to the world, to language, one’s body and locations can be perceived as a shifting web of interactions between the digital objects and readers/players, in the everchanging text that has no beginning or end.
This paper explores the evolution of storytelling by comparing traditional narrative forms with immersive storytelling in the Metaverse. Traditional storytelling, rooted in oral traditions, literature and theatre, relies on a linear, author-driven structure that presents a fixed story to the audience, fostering social cohesion and conveying cultural values. Metaverse, a digital universe with virtual reality (VR), augmented reality (AR) and interactive technologies enables users to actively engage and shape the narrative. This shift allows users to move beyond passive observation, introducing new levels of interaction and engagement that reshape storytelling. The study examines four key dimensions where traditional storytelling diverges from metaverse-based narratives: agency, interactivity, immersion and community. In traditional formats, the audience’s role is passive, while the storyteller retains control of the plot. However, the Metaverse allows users to influence story progression, creating a more personalized experience. While traditional stories rely on imagination, the Metaverse employs VR and AR to immerse users fully, fostering a sense of presence and heightening emotional impact. This engagement is achieved through visual, auditory and sometimes tactile elements that make users feel like they inhabit the story world, enhancing empathy and emotional depth. Community experiences diverge traditional storytelling often unite audiences through shared cultural narratives, while the Metaverse allows for communal, multiplayer storytelling experiences that redefine cultural bonds within digital spaces. This study suggests a hybrid storytelling approach that combines the immersive power of the Metaverse with traditional narrative integrity, offering a framework for future narratives that balance interactivity and structured storytelling.
This study thoroughly explores the digitalized translation and overseas dissemination of Chinese online literature from the perspectives of industry practice and academic research. It points out that Chinese online literature has grown from a sub-cultural phenomenon in China to an essential component of contemporary Chinese literature, with digitalized translation being the primary mode for its overseas dissemination. The study defines the concepts of online literature and digitalization, discusses the diversified digitalized translation platforms of Chinese online literature,and analyzes their respective advantages and challenges. Thereafter, it scrutinizes the research on the translation of Chinese online literature, highlighting the richness of research perspectives and the diversity of research content, noting that current researches on the overseas dissemination of Chinese online literature is relatively scarce but holds significant academic and practical value. Finally, it looks forward to the future directions of research on the translation of Chinese online literature, including further exploration on translation content, translation subjects, translation modes, and translation criticism, and emphasizes the importance of theoretical integration and innovation.
While the question of how music transports players into the virtual game world and thus facilitates immersion is a crucial one that has been dealth with thoroughly in ludomusicological research, this thesis goes a step beyond. It argues – using the example of role-playing games – that video games prudently utilize certain musical parameters not only to immerse the player into the game world but also to construct this very world in the first place by musically ascribing (spatio-)narrative meaning to the traversable spaces within the game—thus creating meaningful immersible places. By showing that music holds the semiotic power to shape and construct the diegetic spaces of a game world as well as convey their role in a narrative context, this thesis also aims to connect certain concepts that have often been regarded as somewhat oppositional in game studies.
This study analyses Carving in Possibilities (2001); Chemical Landscapes Tales (2006); Separation (2002); and Star Wars, one letter at a time (2005), four digital literary texts which are purposively selected from Volumes 1 and 2 of Electronic Literature Organization's Electronic Literature Collection. The four texts are analysed relying on hypertextual aesthetics rhetoric and postmodernist literary theory. The analysis reveals that temporality, performativity, nonlinearity and interactivity are semiotic-rhetorical digital affordances that are experimentally negotiated in the selected texts to accomplish postmodernist experimental stances. These novel compositional strategies, accomplished through the availability and exploitation of digital affordances, direct attention to how the boundaries of philology and technology merge in digital culture and subsequently call for the reconfiguration of theoretical, methodological and rhetorical approaches to research and pedagogy in writing/composition, reading and textual studies in the digital age.
This research investigates the evolution of the epistolary form in the digital age, using Alena Graedon's The Word Exchange (2014) and Dave Eggers' The Circle (2015) as primary texts. These novels exemplify how contemporary narratives integrate digital communication methods-such as emails, text messages, and social media-to reflect and critique modern societal changes. In The Word Exchange, Graedon presents a dystopian future where the overreliance on digital devices, like the Meme, leads to cognitive decline and societal fragmentation. Characters struggle with memory and language, illustrating the dangers of losing intellectual autonomy in a digitally dependent world. This aligns with theoretical perspectives on narrative immersion and cognitive effects, emphasizing the balance between connectivity and cognitive health. Conversely, The Circle critiques the pervasive surveillance and erosion of privacy in a hyper-connected society. The comparative analysis of these texts demonstrates the continuity and innovation within the epistolary tradition. Traditional epistolary narratives created intimacy and realism through letters, while modern digital epistolary forms maintain immediacy but reflect the fragmented nature of contemporary communication. The digital format's impact on cognitive functions, social interactions, and personal identity is critically examined through thematic analysis. This study contributes to understanding the evolving nature of epistolary narratives, offering insights into how contemporary authors use digital communication to explore and critique the complexities of modern human interaction. The findings underscore the significance of technological advances in reshaping literary forms and their reflection of broader cultural and cognitive shifts. The study ultimately contributes to the broader discourse on the future of storytelling and the dynamic ways in which literature adapts to the digital landscape.
This chapter seeks to explore the narrative impacts of presence and embodiment in contemporary narrative-based virtual reality (VR) projects. The author questions how interactive devices and stylistic elements, including representations of virtual bodies, give rise to feelings of presence and embodiment. A formal analysis and phenomenological reading of three projects that offer various bodily representations and degrees of interaction for the participant is presented. The chapter concludes that these varying approaches have consequences for the user’s sense of identification with a predetermined character, as well as their overall narrative understanding, although the author notes the contribution of other factors in this regard.
Dijital oyunlar, küresel bir fenomen haline gelerek milyonlarca oyuncuyu cezbetmektedir. Bu oyunlar, kurgusal mekan ve olaylardan olduğu kadar tarih ve farklı coğrafyalardan da beslenmektedir. Doğu, coğrafyası ve kültürü ile geniş kitlelere hitap eden oyunlar için zengin bir kaynak teşkil etmektedir. Fantastik öğelerle uyumlu olması nedeniyle oyun yapımcıları tarafından sıklıkla tercih edilen Doğu’ya ait mekanlar, karakterler ve hikayeler, oyunculara farklı kültürleri deneyimleme ve keşfetme imkanı sunmaktadır. Doğu'nun coğrafi ve kültürel zenginliği, fantastik öğelerle birleşerek oyunlar için özgün ve ilgi çekici bir dünya oluşturmaktadır. Oyundaki karakterin içerisinde bulunduğu mekânın oyuncuyu etkileyecek pek çok görsellik barındırması oyunun kalitesi bakımından önemlidir. Detaylara gösterilen özen, dünya inşası ve etkileşimli oyun mekanikleri, oyun tasarımcılarının oyuncuların ilgisini tam olarak çekmek için odaklandıkları temel unsurlardır. Görsel olarak çarpıcı manzaralardan karmaşık bir şekilde tasarlanmış binalara kadar, bir oyunun tasarımının mekâna dayalı her yönü oyuncuların genel olarak oyuna odaklanmasına ve keyif almasına katkıda bulunmaktadır. Geçmişte ressamların tablolarına konu olan Doğulu mekânlar, dijital oyun sektörü ile yeniden tasarlanarak içerisinde birçok anlamı barındırır hale gelmiştir. Araştırma kapsamında ressamların tablolarında ya da eskiz çalışmalarında yer verdikleri Doğulu mekânların, dijital oyunlarda nasıl yer aldığı göstergebilimsel analiz yöntemi ile ortaya konulmaktadır. Bu sayede oyunun mekânlarında kullanılan semboller, göstergeler ve simgeler aracılığıyla Doğu kültürünün nasıl temsil edildiği tespit edilmektedir. Oyunun mekân tasarımının ötesine geçerek, görsel unsurların ve sembolizmin oyun içindeki rolünü anlamak ve oyunun genel anlatısına nasıl katkıda bulunduğu ortaya koymak araştırmanın temel amacını oluşturmaktadır. Araştırmanın örneklemini 5 Ekim 2023 tarihinde piyasaya sürülen ve milyonlarca oyuncuya hitap eden Assasian’s Creed: Mirage isimli oyun oluşturmaktadır. Oyunun ana hikâyesi onuncu yüzyıl Bağdat’ında geçmektedir. Araştırmanın sonucunda oyun tasarımcılarının Doğu’yu tasvir ederken kullanılan oryantalist öğelerden ne derecede etkilendikleri araştırma kapsamında ortaya konmaktadır
Қазіргіуақытта интермедиялық теориясына заманауи ғылым кӛбірек қызығушылық танытуда, ӛйткені ол медианы және олардың ӛзара әрекеттесу формаларын біріктірудің жаңа тәсілдерін ұсынатын цифрлық дәуірдің міндеттеріне жауап береді. Қазіргі интермедиялық ғылымның негізгі мақсаттарының бірі үйлесімді және тиімді коммуникацияларды құру үшін әртүрлі жасанды формалардың ӛзара әрекеттесу мүмкіндіктерін ашу болып табылады. Интермедиялық авторларға ӛз идеялары мен концепцияларын кӛрсетудің жаңа тәсілдерін ашуға, сондай-ақ әдеби шығармаларды оқу мен түсіндіруді байытуға мүмкіндік береді. Бұл бағыттағы зерттеулер технологиялық және мәдени кеңістіктегі ӛзгерістердің әдеби ӛріске және оның мүмкіндіктеріне қалай әсер ететінін түсінуге кӛмектеседі. Бұл мақалада интермедиялық теорияға шолу және оны әртүрлі мәнмәтіндерде қолдану мысалдары берілген, бұл оның заманауи мәдениетте қолданылуын тереңірек зерттеуге мүмкіндік береді.
Bu araştırmanın temel amacı, interaktif filmlerdeki dramatik anlatının toplumsal cinsiyet algısı üzerindeki etkisini psikofizyolojik veri hasadı tekniği kullanarak incelemektir. İnteraktif filmler, izleyici katılımını ve etkileşimini sağlayarak geleneksel sinema deneyimlerinden farklılaşmaktadır. Çalışma, 'Late Shift' ve 'The Complex' interaktif filmleri üzerinde gerçekleştirilmiştir. Bulgular, dramatik anlatının ve karakter özdeşleşmesinin toplumsal cinsiyet algısı üzerindeki etkilerini detaylı bir şekilde ortaya koymuştur. GSR ve göz izleme verileri, katılımcıların duygusal ve bilişsel tepkilerini ortaya çıkararak, toplumsal cinsiyet rollerine göre nasıl davrandıklarını analiz etmiştir. Özellikle, katılımcıların göz hareketleri ve deri tepkileri, dramatik anlatının yoğunluğuna ve karakterlerin cinsiyet rollerine bağlı olarak değişiklik göstermiştir. Yarı yapılandırılmış görüşmeler ise katılımcıların interaktif filmlerdeki karakterlerle olan etkileşimlerini ve bu etkileşimlerin toplumsal cinsiyet baskılarıyla nasıl şekillendiğini derinlemesine anlamamızı sağlamıştır. Sonuç olarak, bu çalışma, interaktif filmlerin izleyici davranışları üzerindeki etkilerini, toplumsal cinsiyet rollerinin ve bilinçdışı karar alma süreçlerinin ışığında inceleyerek, interaktif sinema alanına önemli katkılar sunmaktadır. İzleyicilerin bilinçdışı düzeyde yapmak istedikleri seçimler ile toplumsal baskılar sonucu yaptıkları seçimler arasındaki farklar, dijitalleşen dünyada toplumsal cinsiyet algısının yeniden değerlendirilmesini sağlamaktadır.
-
-
-
The main purpose of this study is to examine the effect of dramatic narrative in interactive films on gender perception using psychophysiological data harvesting technique. Interactive films differentiate from traditional cinema experiences by enabling audience participation and interaction. The study was conducted on the interactive films 'Late Shift' and 'The Complex'. The findings revealed in detail the effects of dramatic narrative and character identification on gender perception. GSR and eye-tracking data revealed participants' emotional and cognitive responses and analyzed how they behaved according to gender roles. In particular, participants' eye movements and skin reactions varied depending on the intensity of the dramatic narrative and the gender roles of the characters. Semi-structured interviews provided an in-depth understanding of the participants' interactions with the characters in the interactive films and how these interactions were shaped by gender oppression. In conclusion, this study contributes to the field of interactive cinema by examining the effects of interactive films on audience behavior in the light of gender roles and unconscious decision-making processes. The differences between the choices that viewers want to make on an unconscious level and the choices they make as a result of social pressures provide a re-evaluation of gender perception in a digitalized world.
KEYWORDS: Interactive Film, Gender, Psychophysiological Data Harvesting, Jungian Archetypes, Character Identification
This article examines the strategies of heritage making in Riddell’s City novels, popular in the 19th century, but little known today. Drawing on late Victorian debates about the preservation of the past and its material remains, the article focuses on the relationship between fictional and non-fictional elements, in Riddell’s urban realism, which frequently pivots on heritage concerns. The main argument is twofold: 1) heritage discourse provides an apt frame for the self-validation of the author’s daring narrative choices; 2) Riddell’s understanding of heritage changes as her vision of capitalism darkens, culminating in a vocal denunciation of the destructive forces at work in the very idea of progress. Her novels generate heritage value in the very gesture of recording the many disappearing acts mournfully witnessed by the narrator.
ResearchGate has not been able to resolve any references for this publication.