ELIZA—a computer program for the study of natural language communication between man and machine
Communications of the ACM
Computer Power and Human Reason: From Judgment to Calculation
Computer Power and Human Reason: From Judgment to Calculation
Hamlet on the Holodeck: The Future of Narrative in Cyberspace
Hamlet on the Holodeck: The Future of Narrative in Cyberspace
Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media
Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media
Towards virtual reality for the masses: 10 years of research at Disney's VR studio
EGVE '03 Proceedings of the workshop on Virtual environments 2003
A grounded investigation of game immersion
CHI '04 Extended Abstracts on Human Factors in Computing Systems
Parallel worlds: immersion in location-based experiences
CHI '05 Extended Abstracts on Human Factors in Computing Systems
Trying to Get Trapped in the Past --- Exploring the Illusion of Presence in Virtual Drama
ICIDS '08 Proceedings of the 1st Joint International Conference on Interactive Digital Storytelling: Interactive Storytelling
Passive interactivity, an answer to interactive emotion
ICEC'06 Proceedings of the 5th international conference on Entertainment Computing
Representing game characters' inner worlds through narrative perspectives
Proceedings of the 6th International Conference on Foundations of Digital Games
The expressive space of IDS-as-Art
ICIDS'12 Proceedings of the 5th international conference on Interactive Storytelling
Hi-index | 0.00 |
Making you cry is the folk wisdom test for strong narrative involvement, and has long been proposed as a reachable but distant goal for digital games. Immersion is a related phenomenon which has been difficult to achieve in Virtual Reality and Mixed Reality research projects, but reliably achieved in theme park rides by integrating interactivity with strong narrative elements. For Virtual and Mixed Reality environments to achieve narrative power and strong immersion we can adopt the strategies of theme park rides, with special attention to the creation of threshold objects that take the interactor into the virtual space. Spatial presentation of the world, interactions with characters, and differentiating real from virtual events are design challenges without clear genre conventions. Design choices that locate the interactor in a coherent point of view, limit natural language expectations, and conventionalize the boundaries of the virtual world will reinforce immersion and dramatic agency.