International Journal of Advanced Culture Technology

The International Promotion Agency of Culture Technology (국제문화기술진흥원)
권호 표지
DOI QR코드

DOI QR Code

Discussion on VR Storytelling Production

  • Kim, Jung Kyu (Dept. of Mass Communication, Pukyong National University) ;
  • Han, Hyekyoung (Dept. of Mass Communication, Pukyong National University) ;
  • Lee, SangKhee (Dept. of Mass Communication, Pukyong National University) ;
  • Kim, Mookyu (Dept. of Mass Communication, Pukyong National University)
  • Received : 2020.01.15
  • Accepted : 2020.02.17
  • Published : 2020.03.31
Download PDF
⟨ Previous Next ⟩

Abstract

In this paper, we present that Virtual Reality (VR) is a type of media that has attracted interest in storytelling and media utilization. VR was first discussed as a specific narrative medium with traditional story medium. Via this discussion, The innate difference of VR is that the role of the media users in which the narrative is communicated were active in the development of the narrative unlike that of most classical narrative media. We also discussed specific features related to VR based on the theories of traditional literary criticism, movie reviews, and plays. Through these discussions, we aruged two directions of VR storytelling production as an narrative medium, its specificity, and its expressiveness for VR producers. First, story processing and characters can be introduced as part of continuing a new narrative by altering the interaction history that appears in VR stories to user interest ratings. Second, VR interaction responds intuitively to the idea that it represents a trajectory across the story surface of all possible interactions. More specific theories and controvercials are discussed.

Keywords

References

  1. Louchart S and Aylett R., Narrative Theories and Emergent Interactive Narrative, University of Salford, pp. 1-8, 2002.
  2. Lewis, D., Rodgers, D., and Woolcock, M., The Fiction of Development: Literary Representation as a Source of Authoritative Knowledge, LSE Development Studies Institute (DESTIN), London: LSE 2005.
  3. Lambert, J., Digital Storytelling: Capturing Lives, Creating Community. Berkeley, CA: Digital Diner. 2002.
  4. Rice, R. E, Media Appropriateness: Using Social Presence Theory to Compare Traditional and New Organizational Media, Human Communication Research, Vol. 19, No. 2, pp. 451-484, 1993. https://doi.org/10.1111/j.1468-2958.1993.tb00309.x
  5. Riedl, M. O. and Bulitko, V., Interactive Narrative: an Intelligent Systems Approach, AI Magazine, 2013.
  6. Zimmerman, E. Narrative, Interactivity, Play, and Games. In Wardrip-Fruin, N. & Harrigan, P. (eds), First Person, MIT Press, 2004.
  7. Frasca, G. Simulation versus Narrative. In Wolf, M. J. P. & Perron, B. (eds), The Video Game Theory Reader, Routledge, 2003.
  8. M-L, Ryan, Transmedial Storytelling and Transfictionality, Poetics Today, Vol. 34, N.3, pp. 361-388, 2013. DOI 10.1215/03335372-2325250.
  9. Sang-Hyun Lee, Research and development of haptic simulator for Dental education using Virtual reality and User motion, International Journal of Advanced Culture Technology, Vol. 6 No. 4 52-57, 2018. DOI https://doi.org/10.17703//IJACT2018.6.4.52
  10. Konzack, L., Geek Culture: The 3rd Counter-Culture Fun 'n' Games 2006. In Digital Games Research Association (DiGRA), 2006.