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José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
ABSTRACT – Immersive journalism has evolved as technological resources have
evolved. The same has happened with the media, journalists, and audiences and their
interest in the format. This research focuses on a review of the literature, terminology,
and state-of-the-art of immersive journalism between 2015 and 2022 in Spain, which
has made it clear that there is robust academic research by Spanish research groups that
contrasts with the reduced journalistic production, i.e., there is an asynchrony between
technological innovation, professional practice, and academic research. It is noticeable
the abandonment of the format as soon as the first moments of innovation passed,
without leaving time for the digital literacy of audiences, and meanwhile, researchers
in this field in Spain quantified and experimented with the phenomenon, without
achieving feedback from the professional field, and therefore, without real impact on
the development of the format for the sake of new virtual experiences now increasingly
directed towards the metaverse.
Key words: Immersive journalism. Virtual reality. Metaverse. Digital communication.
Emerging narratives.
DOSSIER FROM THE 360º PHOTO
TO THE METAVERSE:
conceptual and technical evolution of
virtual and immersive journalism from
Spain
JOSÉ MARÍA HERRANZ DE LA CASA
Universidad de Castilla-La Mancha – Cuenca – Spain
ORCID: 0000-0002-3667-2664
PAVEL SIDORENKO BAUTISTA
Universidad Internacional de La Rioja – Logroño – Spain
ORCID: 0000-0002-8094-3089
DOI: 10.25200/BJR.v19n2.2023.1562
Received in: October 2nd, 2022
Desk Reviewed in: January 20th, 2022
Desk Review Editor: Sara Pérez-Seijo
Revised on: May 15th, 2023
Approved on: May 30th, 2023
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1 Introduction
The impact of the internet and digital tools has been so
profound that it has brought about important changes in the way
messages are produced and distributed. As Casero (2010) points
out, this has allowed new communication models, narratives, and
audiences to continuously appear consequently.
The digital sphere has fostered a closer and more interactive
relationship between the sender, the message, and the public.
DA FOTO 360º AO METAVERSO:
evolução conceptual e técnica do jornalismo virtual
e imersivo da Espanha
RESUMO – O jornalismo imersivo evoluiu à medida que os recursos tecnológicos
evoluíram. O mesmo aconteceu com os media, os jornalistas e as audiências e o seu
interesse por este formato. Esta investigação centra-se em uma revisão da literatura,
terminologia e estado da arte do jornalismo imersivo entre 2015 e 2022 na Espanha,
que demonstrou que existe uma investigação acadêmica robusta por parte dos grupos
de investigação espanhóis que contrasta com a reduzida produção jornalística, ou
seja, existe uma assincronia entre a inovação tecnológica, a prática profissional e a
investigação acadêmica. É notório que o formato foi abandonado assim que passaram
os primeiros momentos de inovação, não deixando tempo para a literacia digital das
audiências, e, entretanto, os investigadores deste campo na Espanha quantificaram e
experimentaram o fenômeno, sem obter feedback da esfera profissional e, portanto,
sem impacto real no desenvolvimento do formato em prol de novas experiências
virtuais que agora se aproximam cada vez mais do metaverso.
Palavras-chave: Jornalismo imersivo. Realidade virtual. Metaverso. Comunicação
digital. Narrações emergentes.
DE LA FOTO 360º AL METAVERSO:
evolución conceptual y técnica del periodismo virtual
e inmersivo desde España
RESUMEN – El periodismo inmersivo ha evolucionado conforme lo han hecho los recursos
tecnológicos. Lo mismo ha ocurrido con los medios, periodistas y audiencias y su interés
por el formato. Esta investigación se centra en una revisión de la literatura, terminología
y estado de la cuestión del periodismo inmersivo entre 2015 y 2022 en España, lo que
ha dejado en evidencia que existe una robusta investigación académica de los grupos de
investigación españoles que contrasta con la reducida producción periodística, es decir,
hay una asincronía entre innovación tecnológica, la práctica profesional y la investigación
académica. Es apreciable el abandono del formato tan pronto como pasaron los primeros
momentos de innovación, sin dejar tiempo para la alfabetización digital de las audiencias,
y mientras, los investigadores de este campo en España cuantificaron y experimentaron
el fenómeno, sin lograr una retroalimentación desde el ámbito profesional, y por tanto,
sin impacto real en el desarrollo del formato en aras de nuevas experiencias virtuales
ahora cada vez más encaminadas hacia el metaverso.
Palabras clave: Periodismo inmersivo. Realidad virtual. Metaverso. Comunicación
digital. Narrativas emergentes
Licensed under the creative commons Attribution 4.0 International (CC BY 4.0)
José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
This has allowed the public to acquire the category of “user”
(Murray, 1999). Users today are active about messages through
multi-screen and multi-device consumption habits (Scolari, 2013),
which represents a transcendental revolution in all phases of story
construction, redefining these categories of sender, message, and
receiver (Fernandez, 2011).
This audience, far from being passive, assumes an interactive
role with the message, appropriating it and replicating it. If the focus
is on journalism, the success of a publication on digital platforms is
expressed through the commitment that the user community makes
manifest with the media/journalist’s publications. This has imposed
a “logic of likes”. Therefore, to a certain extent, the media has lost
control, monopoly, and vertical hierarchy of information, which
has led to a process of mutual adaptation between journalism and
audiences (Gómez, 2019; Manfredi et al., 2019).
Faced with this ongoing digitization of all areas, the content
is achieving greater projection and success in the vast scenario of
“infoxication”, provided that the values and professional practices
of communication are maintained and applied by the message
creators (Alexander et al., 2016). One of the main consequences of
this process is that we are witnessing the increasing segmentation of
audiences and the development of narrative options. This situation
has favored the appearance and development of virtual reality and
multimedia content in 360º and 180º, as well as other formats and
multimedia products. The present research attempts to visualize,
after a bibliographic and documentary review, the conceptual and
technical evolution of immersive journalism in Spain under the
current technological transition toward the so-called metaverse.
1.1 360º multimedia content with immersive capacity
and virtual reality
Since 2015, big technology companies have experienced
not only a resurgence but also a new evolution of virtual reality and
multimedia content with 360º and 180º immersive capacities. And
although these may become confusing, they are different concepts,
even though they can be run and enjoyed on the same devices.
Virtual reality involves an interactive and immersive viewing
experience where the audience can achieve the sensation of being
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transferred to another stage or “dimension” (Mütterlein, 2018)
through a device with a screen placed on the user’s head (Vásquez &
López, 2017). Some claim that this experience should be consumed
and enjoyed through devices that ensure an experience with six
degrees of freedom (6DoF) (De la Peña, 2010; Pavlik, 2019; Pryor,
2000); that is, where users interact with the content not only through
sight – as occurs with 360º content – but also by involving their
limbs. Another notable difference is that while virtual reality refers
to content designed with 3D design programs (artificial or synthetic
content, with only three degrees of freedom – 3DoF), in many cases
it can be created from captures and recordings made by specific
photographic equipment and therefore, from real experiences.
Virtual reality implies immersion and therefore requires a device
that, through the user’s vision, seeks the said experience by abstracting
from its real environment. In the case of 360º content, this is not
decisive, since it can be consumed semi-immersively through devices
such as mobile phones, tablets, or computers. The development and
evolution of specific headsets to enjoy these experiences allowed the
concept of virtual reality to move towards the above considerations.
At the beginning of the 21st century, there were referents of this type
of technology and content, such as the social platform Second Life, to
reference one. This platform was a 3D environment where the user
was digitally represented in the form of an avatar and established a
dialogue with other users in real-time while being able to buy real or
virtual products and enjoy recreational activities.
Given the evolution of the concept of virtuality, we should
reference Barroso (2019) who specifies that virtual reality and truth are
two closely linked concepts. As this author points out, although the virtual
sphere involves an illusion (because of the artificial nature of its design),
it is produced by a medium and its interpretation depends on the level
of the individual’s involvement, a factor that Debord (1995) describes as
the “accumulation of spectacles” of modern societies. In other words, the
experience involves a stimulating spectacle that can be interpreted as
true (if it is not) depending on the degree of user involvement.
In short, it entails the intermediation or representation of life
through images, beyond the authentic experience, although it is a
vision that attempts to approach it. In general, it can be a way of
reinterpreting reality. It is the illusion that something is happening
(Slater, 2009), implying a change in spatial presence, and modifying
the sense of being in a certain place (Kober et al., 2012); in addition to
Licensed under the creative commons Attribution 4.0 International (CC BY 4.0)
José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
allowing greater user involvement concerning the content consumed
(Serino & Repetto, 2018; Ventura et al., 2019).
Today, many professional fields use virtual reality and
multimedia content with the immersive capacity to generate greater
proximity between the user and the content, and higher levels of
empathy and involvement on the part of the audience with what they
are seeing (Shin & Biocca, 2018; Hendriks et al., 2019). Likewise, it
is a technology that allows professional fields to develop controlled
and interactive training and practice scenarios and try to provide
relief to patients undergoing tortuous treatments and treat mental
pathologies. Even in NGOs, studies such as Archer and Finger (2018),
Seinfeld et al. (2018), and Kandaurova and Lee (2019) show that this
type of content, and narratives seek higher levels of empathy on
the part of users concerning the content to which they are exposed,
thereby increasing the chance that members of the public will involve
themselves, donate and volunteer.
1.2 Virtuality and metaverse
The term “metaverse” is a compound word: “meta” means
transcendence while “universe” refers to a three-dimensional virtual
world where individuals can interact or develop various recreational,
productive, and commercial activities (Changhee, 2021). However,
Abbott (2007, p. 126) specifies that in the virtual world, “the characters
adopt cybernetic identities” to chat, conspire, have fun, etc.
However, as with 360º content, the metaverse may or may
not be immersive. It is not homogeneous and is comprised of various
platforms and spaces that are not yet interconnected, allowing
different levels of immersion (according to desire or strategy) while it
can be consumed through a range of screens and devices that give it
a multiscreen character (Sidorenko, 2022).
Castronova (2001) indicates that not every virtual reality
experience or platform meets the conditions necessary to be considered
part of the metaverse. These are (1) interactivity, that is, the possibility
that individuals can maintain communication/interaction in real-
time between themselves and the elements of the environment; (2)
corporeity, since individuals assume three-dimensional representations
(avatars) beyond a simple username or an identifying photograph, as
occurs on many digital platforms; and (3) persistence, since the virtual
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scenario maintains an evolution and development regardless of the
users that are connected at a given moment.
According to Barnes and Mattson (2011), the metaverse
materializes in interactions and experiences that digital platforms
seek in a 3D open-world mode, allowing users to use tools and
resources and act freely. In other words, it is about individuals being
able to determine in a virtual environment (as they do in real life) the
conditions and times for their progress.
Its recent consideration followed two announcements
between 2021 and 2022 by different technological players: the change
of Facebook Corporation’s corporate name to Meta to accelerate the
design and development of virtual worlds (Rodriguez, 2021) and the
investment of 2 billion dollars by major world companies for the
construction of a metaverse the responsibility of Fortnite developers
Epic Games (Webster, 2022).
However, the main benchmarks for these types of virtual
environments are, firstly, Second Life, The Sims, or more recently
Animal Crossing New Horizon, Fortnite, or Minecraft. In all cases, these
are semi-immersive and multi-screen experiences – except in the last
one –, where users, based on an a priori gamified aesthetic or logic,
establish various types of dialogues and encounters through avatars.
Nevertheless, technological progress, and therefore virtual
reality, has allowed platforms such as Spatial, AltSpace VR, VR Chat,
Population One, or Horizon World, among others, to provide similar
experiences but immersively through specific headsets. All this is
nothing more than a paradigm shift in the digital society and the
media because of the constant technological revolution that the
world is undergoing (Anguí et al., 2019).
Users and creators of a very diverse content flock to these
platforms to explore a new dimension of communication, establish
new relationships, adapt to new segments of the public, and develop
emerging narratives in this technologically changing environment.
In short, the metaverse is apparently presented as the natural
evolution of virtual reality, although this is not completely accurate.
As already explained, the metaverse is composed of immersive
or non-immersive virtual experiences, but the main variable that
defines it is the participation of users in real-time through artificial
and “representative corporealities”. In other words, everything that is
metaverse is virtual, but not everything virtual is susceptible to be
cataloged as the metaverse.
Licensed under the creative commons Attribution 4.0 International (CC BY 4.0)
José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
2 Methodology
The concept and practice of immersive journalism have
evolved, as have the technology and the level of involvement and
interest of the media, journalists, and audiences. The main goal of
this paper is to review the literature, terminology, and state-of-the-
art of immersive journalism and technologies. On the one hand, there
has been profuse academic research in this area by Spanish research
groups – despite the meager attention given thereto by the press – but,
in contrast, technology, media practice, and academic research have
evolved asynchronously. This contribution will not only highlight the
transformation of immersive journalism from a conceptual and technical
point of view but will also provide keys to a better understanding of
how to improve the format and have elements of a prospective nature.
In line with Rubio’s (2019) proposal, this study aims to show
how this transformation process has been developed from conceptual
and technical perspectives, determining the state of this manner of
articulating journalism and providing elements that might allow these
aspects to be explored. Authors like López et al. (2022) or Sidorenko
et al. (2020) have specifically noted a decline in this narrative form in
recent years, while Rodríguez and Paíno (2022) point to it as a specific
evolution in storytelling. For this reason, a bibliographic review
(Codina, 2020) has been carried out on the approach to the subject
in Spain, given that according to the Ipsos report (2022) for the World
Economic Forum, this is the European country most familiar with
Extended Reality (XR) and the metaverse. The 21st century is taken as
the point at which virtual reality first acquired the technological and
market conditions to become widespread.
The documentary sample includes those Spanish authors with
a scientific production of more than five works, published on the subject
between 2015 and 2022. The specificity of research is nothing more
than a record indicating a constancy and commitment to developing
a line of research on the subject. The works of the research groups of
the universities of Santiago de Compostela, Salamanca, Carlos III of
Madrid, and Castilla-La Mancha have been taken into consideration.
Additionally, the original studies of De La Peña et al. (2010) and
Domínguez (2010) have been taken as starting points, as they were
the first authors to rethink the concept of immersive journalism at an
international level, as well as research it in Spain.
A review has also been conducted of the main milestones
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of the global technology industry around this process of the
development of specific hardware and software, including social
networks, important catalysts of digital journalism and therefore, of
immersive journalism (García-Avilés et al., 2018; Rodríguez et al.,
2020). This review has been carried out through internet searches,
with special attention to the media coverage and advertisements of
the technology companies themselves until the first quarter of 2022.
For its part, the document verification process has been
carried out through the Google Scholar search engine and the online
scientific network ResearchGate. In total, 66 documents have been
obtained from the selected authors that make up the works on the
subject from 2010 to the first quarter of 2022, that is an enormous
amount of evidence of scientific work on this subject in a relatively
short period. From this sample, the first works to address each
concept or milestone have been taken into consideration for the
construction of the analysis tables. It is not the intention of this paper
to show an exhaustive or systematic bibliographic review but to show
how immersive journalism has evolved in conceptual, technical, and
professional terms, with emphasis on the Spanish scientific work,
which has made a great contribution to the subject in Spanish.
3 Results
3.1 The concept of virtuality without devices 2003-2011
At the beginning of the 20th century, the concept of virtuality
seemed to be more associated with 3D representations derived from
computer design programs without any pretense of immersion through
specific equipment. However, cases such as Morton Heilig’s ‘Sensorama’
prototype sought to interweave these images with other sensory elements
such as scent, vibrations, and air effects, for example (Rheingold, 2002).
De la Peña et al. (2010) or Domínguez (2010) began to relate the discipline
of journalism with this type of format from the academic field, thus giving
shape to a new concept of “Immersive Journalism”, although with few
similarities between both approaches (see table 1). On the one hand, the
thesis of the avatar interacting with a virtual environment that recreates
the news is defended, while, on the other hand, it is specified that true
immersion stems from the maximum visual detail achieved in a 360º image.
In terms of format, this is a period characterized only by semi-immersive
virtual experiences, and access to these is determined by computers.
Licensed under the creative commons Attribution 4.0 International (CC BY 4.0)
José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
Table 1
Literature, terminology, and state-of-the-art of immersive
journalism and technologies in 2003-2011
Year Conceptual
contribution and
academic debate
on immersive
journalism
Technological
milestone
Development of
media and/or
journalists – Content
2003 The ‘Second Life’
and Dubit open
virtual world is
created.
Peter Ludlow edits
the first ‘Second Life’
newspaper: Second
Life Herald.
2005 Robert Bloomfield (U.
of Cornell) develops
“Metanomics” in
‘Second Life’.
2006 The Roblox
virtual online
platform is
launched.
2010 De la Peña et
al. (2010) and
Domínguez
(2010) propose
the concept
of “Immersive
Journalism”.
Nonny De La Peña
uses ‘Second Life’
to present his
journalistic work
“Gone Gitmo”.
3.2 The technological rise of virtual reality 2012-2014
In 2012, the technology industry began to innovate in this
field, proposing not only viewing equipment but also tools able
to capture real content to be experienced by Internet users in first
person, just as they would in real life. Domínguez (2013) warns that
the term immersion should not be used when the devices’ screen
for the reproduction of the content does not allow users to interact
beyond passive observation.
There is a greater expansion in the possibilities of
consuming the content: viewers such as the Oculus Rift offer a
sensation of immersion with six degrees of freedom (connected
to a computer, visual immersion, and involvement of the hands),
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the semi-immersive 360º format has begun to be used for photos
and videos, and smartphones allow immersive products to be
played through the Google Cardboard viewer, with freedom of
vision only.
Table 2
Literature, terminology, and state-of-the-art of immersive
journalism and technologies in 2012-2014
Year
Conceptual
contribution and
academic debate
Technological milestone
Development
of media and/
or journalists –
Content
2012
Google introduces
augmented reality
glasses: “Google
Glasses”.
Nonny De La Peña
develops the
“Hunger in LA”
virtual experience.
Palmer Luckey created
the virtual reality
company “Oculus VR”.
2013
Domínguez (2013)
reviews and contrasts
the concept of
immersive journalism.
Oculus introduces
developers to the first
version of the Oculus
Rift PC-connected VR
headsets.
Google allows 360º
photos to be uploaded
on Google Maps with
Google Street View.
The RICOH Theta, the
first 360º photo and
video recording camera
for mainstream users, is
introduced.
2014
Google presents its
“Google Cardboard” VR
headsets.
Des Moines Register
(USA Today Group)
publishes “Harvest
of Change”.
Facebook buys the
Oculus VR company.
Samsung presents the
brand’s first generation
of “Gear VR” viewers for
mobile devices.
Licensed under the creative commons Attribution 4.0 International (CC BY 4.0)
José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
3.3 The rise and development of immersive journalism:
academia, media, and Journalists 2015-2016
Since 2015, there has been a greater development around virtuality,
multimedia formats, and technologies that seek a sensation of immersion.
There is an evident interest on the part of the media and journalists to
explore these alternatives, as well as carry out projects in this regard. This
has allowed the academy to obtain new analyses and studies, as well as
the involvement of new researchers. Concerning the field of immersive
journalism, Domínguez (2015) highlights the importance of the audience’s
free will when consuming content and exploiting the resource of ambient
sound to enhance the experience. Jiménez et al. (2016) and Pérez (2016)
agree that the 360º format involves a passive viewing experience and that
immersion is only achieved through content that allows the audience to
become involved and interact to a greater extent.
This is a period in which technological activity contrasts with
a proper understanding of formats and alternatives by the media
and journalists, forcing the academy to establish concepts and ideas.
However, in the United States, considerable progress can be seen
where media such as The Wall Street Journal, The New York Times, and
TIME magazine not only develop specific content but in the case of
the latter, there is a specific mobile app and a website: The Daily 360.
In Europe, Euronews and The Huffington Post are the
pioneers in engaging in this type of content. In the specific case
of Spain, between 2015 and 2016, conventional and digital media
such as El Español (generalist with national reach), El País (generalist
with national reach), Antena 3 (conventional TV) and RTVE (public
corporation) resort to this format to broadcast interviews, informative
or documentary content. Even at the regional and local level, progress
has taken place at La Vanguardia and El Faro de Vigo. Similarly, the
format’s development has been encouraged through the 1st Immersive
Journalism Workshop for media in Spain—The App Date (Madrid).
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Table 3
Literature, terminology, and state-of-the-art of immersive
journalism and technologies in 2015-2016
Year Conceptual contribution
and academic debate Technological milestone
Development of media
and/or journalists –
Content
2015
Domínguez (2015) refines
the concept of immersive
journalism and highlights
various essential narrative
elements.
HTC unveils its first
generation of PC-
connected VR headsets:
HTC ‘VIVE’.
The Knight Foundation
begins working with
FRONTLINE and
Emblematic Group to
develop immersive
journalistic narratives with
the media.
GoPro and Nokia
develop accessories and
recording equipment
in 360º.
Conventional media begins
to experiment with the
immersive format: The
New York Times and TIME
magazine in the USA and El
Español, El País, El Mundo,
Antena 3 and RTVE in Spain.
Google presents its
“Cardboard Camera”
mobile app to capture
360º images from
smartphones and
incorporates the 360º
format into YouTube.
The “PICO Immersive”
company begins
operations.
2016
For Jiménez et al. (2016)
and Pérez (2016),
immersive formats allow
the audience to achieve
a greater understanding
of the news, even if this
involves only passive
observation.
Oculus Rift headsets
officially go on sale
as Google introduces
its “Daydream” VR
ecosystem and
Daydream View
headsets.
The newspapers La
Vanguardia and El Faro
de Vigo become the first
regional and local Spanish
media, respectively, to
publish a 360º audiovisual
piece with an immersive
capacity.
LG, Samsung and VUZE
present their first
360º video and photo
recording cameras for
conventional users.
The first Immersive
Journalism Lab is promoted
in Spain, sponsored by
media and technology
companies such as
Telefónica. The App
Date project enabled a
specific app and several
audiovisual projects.
YouTube and Periscope
support 360º streaming
and Facebook adds the
function of viewing and
sharing 360º photos.
HTC ‘VIVE’ headsets and
Sony PS VR headsets
officially go on sale,
while LG and Samsung
introduce theirs for
mobile devices.
Licensed under the creative commons Attribution 4.0 International (CC BY 4.0)
José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
3.4 Global uneven development of immersive journalism
2017-2018
This is a period where once again the remarkable growth
of the virtual and immersive format is associated more with the
technology industry than with the academy or the media. In particular
cases, there is beginning to be a sense of exhaustion in the production
of multimedia content in this format and the differentiation of 360º
initiatives with immersive capacity from those that are purely virtual
seems to be becoming larger and more noticeable. Only 29.63% of
European public media have a specific section to organize and promote
immersive content, according to a study by Pérez et al. (2018).
While local and regional Ibero-American media increase their
360º immersive production, the mainstream media distance themselves
from the format (Cantero et al. 2018). In contrast, in Spain, there is a
notable growth in the production of this type of content (Benítez &
Herrera, 2018). Most proposals for recording and consuming content
are oriented toward the 360º semi-immersive format. Only Facebook
and HTC work on the idea of six degrees of freedom (6DoF). Likewise,
Facebook announces its advances in what they now call the metaverse.
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Table 4
Literature, terminology, and state-of-the-art of immersive
journalism and technologies in 2017-2018
Year
Conceptual contribution
and academic debate
Technological
milestone
Development of media
and/or journalists –
Content
2017
Sidorenko, & Herranz
(2017) focus on the
difference between
virtual reality and 360º
content and propose
the concepts of RVR and
RV2.
Google proposes the
VR180 concept: 180º
photos and videos.
The New York Times
ends publication of 360º
reporting through ‘The
Daily 360’.
Domínguez (2017)
highlights empathy
as the added value of
immersive journalism.
Insta360 presents its
first 360º camera
for smartphones –
‘Insta360 Nano’ – and
Samsung presents
its second 360º
video and photo
recording camera for
conventional use.
Antena 3 makes the
first 360º live show
in Spain through the
Periscope social network
and Movistar celebrates
the first edition of the
Barcelona 360 Virtual
Reality party.
Facebook unveils
‘Facebook360’ for
the Samsung Gear
VR and Oculus
headsets, announces
the Oculus Go VR
headsets: the brand’s
first all-in-ones and
the beta version
‘Facebook Spaces’.
Euronews announces the
technical collaboration
of Samsung for the
development of 360º
content with immersive
capacity through
Facebook, YouTube, and
VeeR.
HTC introduces
its first all-in-one
VR headsets, Vive
Focus, and Adobe
Premiere lets you
edit virtual and 360º
content.
2018
Pérez and López
(2018, p. 285)
propose a definition of
immersive journalism
as “recreations with
virtual reality and static
or moving images in
360º”.
Facebook announces
the “Quest” all-in-one
VR headset and HTC
releases the second
generation ‘VIVE’
VR headset, while
Google introduces
its “Tour Creator”
online virtual tour
creation platform.
Licensed under the creative commons Attribution 4.0 International (CC BY 4.0)
José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
3.5 Decline of immersive journalism in the media in the face
of the technological and investigative evolution of virtual
reality 2019-2020
In this period, the remarkable advance of viewing gadgets for
virtual reality is significant. Similarly, the strategies of the technology
industry show a determination to prioritize virtual gamified and
interactive experiences in contrast to the 360º multimedia format,
which experiences a notable decrease in its interest on the part of
audiences and production on the part of the media and journalists.
The first radical covid-19 lockdowns made it possible to
think that this last format would have a greater role to broadcast
certain news. However, the media prioritized other digital alternatives
more associated with the consumption habits of younger audiences.
Sidorenko et al. (2020) note a considerable abandonment of immersive
journalism by Spanish media from 2018 to 2020. At the same time,
Cantero et al. (2020) highlight that only 10% of the Spanish regional
media offer careful and well-crafted immersive content.
Table 5
Literature, terminology, and state-of-the-art of immersive
journalism and technologies in 2019-2020
Year Conceptual contribution and
academic debate Technological milestone
Development of media
and/or journalists –
Content
2019
The development of immersive
journalistic content has allowed new
journalistic genres to emerge (Paíno
& Rodríguez, 2019), and this makes
it necessary to redefine the role of
the journalist (Herranz et al., 2019).
Facebook promotes the
“VR for Good” initiative
as a Communication for
Development Strategy.
The immersive
documentary “Marshall
from Detroit” is released
as an app for the Oculus
ecosystem.
Google announces the
cessation of its Daydream
mobile VR platform, and
“Google Cardboard” becomes
open source.
Nintendo launches a virtual
reality kit for the Switch
video game console while
HTC introduces the second
generation of the “VIVE Focus”
VR viewers.
2020
Caerols et al. (2020) warn that
immersive journalism must be
reviewed narratively, thereby
adapting to the demands of
increasingly digital audiences.
Facebook unveils the second
generation of its “Quest” VR
headsets.
The “Home After War”
interactive experience
debuts as an app for the
Oculus virtual ecosystem.
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3.6. Redefinition of virtual reality and birth of the
metaverse 2021-2022
As of 2021, the technological field begins to point towards
interactive virtuality, often gamified, where journalism seeks
to redefine its role and actions. In the specific case of immersive
journalism through 360º content, the format does not seem to be of
much importance compared to a metaverse that is still in its infancy
and concerning which there are still doubts, especially regarding the
interoperability of the different platforms.
Experimentation becomes crucial in this regard, and we can
highlight the reporting of El Economista in the virtual and interactive
sphere (Lorenzo, 2021), a BBC undercover investigation into sexual
harassment and abuse in the metaverse through the VRChat
platform (Katwala & Williams, 2022), an interview conducted by two
journalists from China Daily in the metaverse with He Chao, Secretary
General of the Industry Committee of the metaverse of the Mobile
Communications Association of China (Cheng, 2022), and the fact
that VICE media installed its virtual headquarters in the Decentraland
metaverse (Kane, 2022).
However, the optimism of Rodríguez and Paíno (2022) points
to the current relevance of the immersive journalism format for
specific cases and events. In contrast, industry and the media focus
their efforts on 3D virtual territories that seek greater socialization in
real-time. Likewise, the reconfiguration of actors in this area is clear,
but not the continuous development of gadgets, computer programs,
and digital platforms for consumption.
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José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
Table 6
Literature, terminology, and state-of-the-art of immersive
journalism and technologies in 2021-2022
Year Conceptual contribution
and academic debate
Technological milestone Development of media
and/or journalists –
Content
2021
Benítez and Herrera (2021)
warn that creating 360º
audiovisual content with
immersive capacity is still
complex and expensive.
ByteDance (TikTok) buys
virtual reality company PICO
while Google cancels its
online virtual tour creation
platform ‘Tour Creator’ and
HTC announces the third
generation of the “VIVE Focus”
VR viewers.
The Spanish newspaper
El Economista announces
its first reporting in
the Metaverse with
the journalist Antonio
Lorenzo.
Facebook changes the name
of its virtual platform “Spaces”
to “Horizon World” and
announces the change of the
company name to “Meta”.
2022
Rodríguez and Paíno (2022)
review the digital platform
format and highlight
aspects that still support
the narrative validity of
immersive journalism.
Meta announces the opening
of “Horizon World” for Spain
and France.
RTVE is the only Spanish
media outlet that produces
360º immersive content
while experimenting with
the Metaverse for TV news
broadcasts.
García-Avilés (2022)
reflects on the relevance of
journalism to incur in the
metaverse.
Different international
media such as the BBC,
VICE and China Daily
venture into the metaverse
with virtual offices and
reports.
Authors such as Baía
and Ashmore (2022)
or Sidorenko and
Cabezuelo (2022)
address communication
in the metaverse from
the performing arts or
Public Diplomacy, giving
indications of formats,
narratives, and cases
that can be applied to
journalism.
The Metaverse Post is
created to cover the
global news on Web3
(metaverse, digital assets
and cryptoeconomics).
4 Discussion
While De la Peña et al. (2010) suggest that immersive
journalism consisted of the representation of the user through
an avatar that “entered” the news (and that there could be a
greater immersion through specific viewers), Domínguez (2010,
p. 12) established the idea of a 360º image that will allow each
detail to be enlarged to the maximum. In both cases, they value
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the emotions and feelings that this can elicit in audiences as
compared to other conventional formats. The concept of virtual
reality and even prior immersion (without viewers, more by the
degree of implication) can be found in “Second Life” (2003) with
its video game aesthetic.
Academic analysis laid the foundations for some narrative
considerations that sought to modify the paradigm of digital
journalism, while it focused on emerging social networks such as
Facebook and Twitter. However, despite the lack of technical elements
that accompany the development of concepts and ideas concerning
this evolution of online journalism at that time, Domínguez (2013)
gave a first warning when considering that the intended immersion
by the media, journalists, and users had as its main touchstone the
headset device screen. But beyond some experiments with virtual
reality and 360º multimedia content by privileged media with access
to the beta version of Oculus devices (i.e., the beginning of the
second decade of the 21st century), the true mainstream revolution
came in 2015 with the popular “Google Cardboard”: a small box with
two magnifying lenses that allowed the smartphone to be attached,
this being the device that reproduced the content.
This was a revolution that did come from the social networks,
in this case with YouTube as the flagship and a wide catalog of (mostly
entertainment) videos that allowed users – by spending just five
dollars (the cost of the headsets) – to understand the principles of
immersion and the possibility of consuming digital content through a
relative abstraction of reality and direct the 360º vision horizontally
and vertically. This was the turning point, and the mainstream media
and journalists soon committed themselves to a path of innovation
related to this new format and narrative style. An intense phase
of experimentation followed that led many to take the first steps,
although this effort was not sustained, either due to lack of interest,
ignorance, or financial reasons (Sidorenko et al., 2020).
In the strictly conceptual plane, an evolution of immersion
from the narrative to the technical sphere is evident. In other words,
from a perspective that invited the audience to become more involved
with the news, we began to speak strictly of immersion through the
mediation of virtual reality headsets. Apart from the technical and
communicational aspects, this period also encouraged the academic
field not only to return to the conceptual foundations but also to
propose new theoretical considerations. At this time, everything was
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José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
determined by the speed and influence of technological development,
which no longer only proposed headsets for mass consumption, but
also began to flood the market with recording equipment to satisfy
that incipient phenomenon of “content creators”. There were no
longer any excuses because, with a little investment, anyone could
be at the top of multimedia innovation at that time, provided they
had the interest and perseverance to seek the content of better visual
and sound quality.
However, notable technological progress seems to be
constant in the face of the analytical backwardness of the Academy
and the practical understanding of the media and journalists. Thus,
with the scarce updated conceptual base, Sidorenko et al. (2017, p.
102) propose two categories for immersive audiovisual content with
a journalistic character: “Real Virtual Reality” (RVR) about the content
obtained through recording equipment and real experiences, and
“Virtual Reality” (RV2) referring to content and virtual experiences
developed through 3D design software.
But the apparent innovative hubbub did not last long, since
as of 2018, a decrease in the production of journalistic content based
on virtual reality and 360º narratives with immersive capacity can
be observed. And this differentiation is necessary because, despite
initially being put in the same bag, the technological fundamentals
forced the academy and the professional sphere to respect such
a dichotomy. After all, the efforts, budget, and audiences also
depended on it.
Pérez et al. (2018) warn of a necessary, but scant
determination on the part of European public media to differentiate
immersive content in their digital windows, in a context in which
Cantero et al. (2018) highlight the determination by local and regional
media, especially in Central and South America, to incorporate
immersive resources as innovative elements. For their part, Benítez
and Herrera (2018) highlight that although in the case of Spain there
is a notable increase in the production of immersive content (mostly
concentrated on YouTube), the problem seems to arise in the way the
media and journalists use recording crews, often with no apparent
understanding of what they wish to convey.
The enormous amount of prior experimentation made it
equally necessary to note the maintenance of journalistic rigor and
attention to a specific ethic. Framing and imposed frameworks are
dispensed with, which means that the media and journalists have
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the final power to decide what and what not to record and how to
edit it in post-production. This has been a concern for researchers
such as Pérez and López (2018) and Benítez and Herrera (2021).
Likewise, Paíno and Rodríguez (2019) highlight the existence of new
journalistic genres derived from the specific development of the
format. As part of this practical innovation, we can point to genres
such as immersive-informative, testimonial, informative-testimonial,
descriptive, dramatized, and experimental, while indicating that
immersive journalism transcends mere technical references and can
be determined by how a story or news is told.
This contribution coincides with the position of Herranz et al.
(2019) who point out that it is necessary to redefine the role of the
journalist as the immersive narrative is consolidated, thus proposing
categories such as immersion journalist, actor journalist, narrator
journalist, and scriptwriter. However, pertinent, and necessary
reflections have been late on the scene or manifest an asynchrony
between the academy and the profession, mainly due to the latter.
The times of technology companies and newsrooms and agencies are
not the same as those of universities and research centers.
This withdrawal pointed out by López et al. (2022) and
Sidorenko et al. (2020) opened other niches. Since 2019, and thanks
to the sustained development of the Oculus virtual ecosystem
and initiatives such as “VR for Good”, it is possible to observe a
transition towards the development of informative-documentary
content in app format (independently and individually installable).
This content is developed on the Valve and Oculus platforms,
and among other examples, we can highlight the interview with
rapper Eminem while taking a tour of the streets of Detroit (an
interview conducted by Dr. Dre and not by a music journalist), or
After the War, which actively engages the audience through various
interactions. This reveals a notable contrast between the absence
of conventional media or journalists – being more of an artistic
experience or product not constrained by journalistic rigor – and in
this specific case, immersive journalism.
It is the opinion of Caerols et al. (2020) that the 360º content
with immersive capacity made to date was distributed in part through
platforms where most digital audiences such as Centennials are not
active, as well as through narrative models that do not connect
and where such users are not identified. What seemed like a frank
expansion of the narrative resource in 2018 was merely an increase
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José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
in the intention of experimentation. However, this did not include
specific plans for the immersive format as one more resource in the
range of options for the media and journalists to tell their stories and
serve the greater segmentation of digital audiences. This is not the
case with documentary and conceptual development, which requires
more work to be done.
Benítez et al. (2021) warn that after almost a decade of
development, 360º multimedia production is still expensive and
complex. Recording scenes with recording systems only appears to
be simple, since in practice there are a series of difficulties that do not
arise in a conventional audiovisual recording, such as, for example,
the fact that only one scene is recorded, preventing information from
being excluded.
However, technology is the main variable for all involved
and reality. The first quarter of 2022 is a time to rekindle interest
and debate around virtual platforms with the ability to socialize in
real-time through avatars, that is, the metaverse.There seems to
be renewed interest in the experiences of the beginning of the 21st
century in “Second Life” without the need for virtual reality headsets.
Virtualization is being talked about again from semi-immersive
consumption through computer equipment and especially mobiles.
The works of Baía and Ashmore (2022) and Sidorenko and
Cabezuelo (2022) highlight the possibilities of communication
and socialization offered by the metaverse from different fields
and where journalism would presumably find a new interactive
and direct way to connect with audiences, especially the youngest
and most digital ones. Thus, not only is there a notable global
discontinuation of journalistic productions in 360º or virtual reality
with immersive capacity, but the Academy has devoted itself
to reviewing and analyzing the reasons why what seemed to be
one of the innovative manifestations in the multimedia field did
not prosper while paying attention to this new virtual scenario.
However, Rodríguez and Paíno (2022) defend the relevance of the
360º immersive format. Its success depends on the shorter duration
of the reports, not exceeding two minutes, a preference for the 360º
format instead of 3D content, making audio the main element of
the narrative proposal, and for elements unrelated to the original
content not to be included in post-production, such as graphics or
inserted videos (Rodríguez & Paíno, 2022).
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5 Conclusions
Journalism requires a willingness to innovate to engage new
audiences. This context is inexorably determined by the technology
industry that has impacted the information consumption habits of
all segments of the public, especially those young people identified
as Centennials and Alphas. The data shown in the article shows that
the media’s interest in new immersive formats has not kept pace with
technological progress. Immersive hardware technology continues to
advance while the media has abandoned the use of the format. The
pandemic highlighted this issue.
As Sidorenko et al. (2020) point out, immersive journalism
was a valuable resource to provide a closer look at the harsh reality
of the beginning of the pandemic. A way for some less sensitized and
aware sectors of society to achieve a greater degree of empathy in
the first stage of the health emergency. However, the media opted for
formats more associated with the ephemeral communication model
and less conventional information formulas through satire, data
simplification (headline journalism), or infotainment to connect more
effectively with the public.
The media have always shown an interest in experimentation
and innovation of formats, as has been evident over the years with
immersive journalism, but without continuity. They have only achieved
a primacy effect and in many cases, they abandoned this form of
storytelling for the latest novelty, which is now in the Metaverse.
In addition to this, the concept of virtuality is still evolving
with the metaverse. From the contributions and initial debates of De
la Peña et al. (2010) and Domínguez (2010) on how to propose the
idea of immersion in digital content where synthetic and real aspects
are differentiated, the idea of metaverse today is more adapted to
approaches such as that of Benítez and Herrera (2021) about an
internet paradigm based on platformization and high levels of visual
stimulation, entertainment, and socialization.
Studies on immersive journalism in Spain show an academic
concern that has led to research from many perspectives: narration,
format, content, audiences, ethics, or journalistic routines. The reflexive
framework, promoted by groups from the universities of Santiago de
Compostela, Salamanca, Carlos III, and Castilla-La Mancha, has made it
possible to feed a very broad documentary and conceptual base.
The speed of immersive technology does not match its use by
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José María Herranz de la Casa and Pavel Sidorenko Bautista
DOI: 10.25200/BJR.v19n2.2023.1562
the media and journalists. The latter stopped experimenting with the
medium as soon as the first moments of innovation had passed, leaving
no time for their audiences to adapt. In the same way, researchers in
this field in Spain were able to quantify and experience the phenomenon,
without achieving feedback from the professional field, which would have
made immersive journalism grow and evolve at the same time towards
the new virtual experiences offered by the metaverse in these moments.
At a time of reconsideration of the concept of virtuality from
the metaverse, the technology industry, the media, and universities
are facing the challenge of collaborating to experiment and lay the
foundations for future virtual and immersive journalism. Likewise,
there is a need to correctly differentiate the concepts so as not to
define them as metaverse or any other type of virtual experience.
Despite the trends and “fashions” in the academy, there is a need to
duly specify these argumentative and conceptual considerations.
On the other hand, the media, and journalists, far from “mass”
communication pretensions, need to explore the virtual possibilities
of the metaverse due to its high socializing potential and the hyper-
segmented digital context. However, shyness or reservations still
prevail from the scientific field to approach the phenomenon rather
than from the professional field where experimentation prevails – for
the time being – as it already happened with immersive journalism.
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JOSÉ MARÍA HERRANZ DE LA CASA. Dean and
associate professor at the School of Communication
at the University of Castilla-La Mancha (Cuenca
Campus), where he lectures on Specialized
Reporting, Journalism Theory, and Institutional
and Corporate Communication. His research
interests are in the areas of communication and
transparency in social organizations and NGOs,
business and organizational communication,
social responsibility, Sustainable Development
Goals, Agenda 2030, environmental journalism,
and immersive journalism. Collaboration in the
article: methodological design, organization of
results, participation in the discussion of the
results, revision and approval of the final version
of the work. E-mail: Josemaria.herranz@uclm.es
PAVEL SIDORENKO BAUTISTA. Lecturer and
researcher at the International University of La
Rioja. Co-responsible for the ‘ChatGPT Impact
Project’, co-organizer of the International
Congress on New Narratives in the Digital Society
‘Digit-ALL’, and member of the Communication
Research Group ‘PROCOMM’. He researches
emerging digital narratives and new technologies
applied to communication. Collaboration in the
article: research and drafting of the theoretical
framework, organization of results, participation
in the discussion of the results, revision, and
approval of the final version of the work. E-mail:
pavel.sidorenkobautista@unir.net
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One review used in the evaluation of this article can be
accessed at https://osf.io/rxnt5 | Following BJR’s open science policy,
the reviewer authorized this publication and the disclosure of his/
her name.
