Index
3D games 283
3D space, theoretical lessons in 36
6 Minutes to Midnight 122
20th Century Fox Studios 298
42 Entertainment 122
50 Cent Bulletproof: G Unit Edition 224
360-degree video 1–2, 22, 23, 24, 61–2, 212–13, 221, 309, 320
Abrash, Michael 317
abstract vs. realistic storytelling 63–4
acting in immersive theater 141–5; concepts to consider 144–5; Leighn, Keight on 141–4; putting ideas together 145
actions 34
active storytelling 67–8; embodiment in 68; in first-person experiences 67–8; passive storytelling vs. 67
Advanced Development Group 201
Aether Inc. 209
agency: beyond interactive decisions at act breaks 117; defined 309; illusion of impacting the story in 190; storytelling in VR through 295–307
Allen, Woody 215
Allumette 7
alternate reality: games 122–3, 183, 187, 188; stories 31–2; Wild West of 29
Alternate Reality Gaming Network 122
ambisonic audio 309
American Cinematographer 298
antagonist 30, 135, 150–1; conflict from 31; defined 135, 309–10; establishing, for first-person-viewer narratives 151; establishing, visually 151; in three-act structure 110, 112, 114
antagonistic force 112, 130, 132, 135, 155
Antz 215
AOL 1
(A)partment 8 141, 262, 263–4, 265, 266
Apollonian approach 179, 180, 310, 312
Apple 4
Apple Music 100
Arcade Fire 99
Aristotle 29, 76, 95, 98, 109, 110, 113, 158–9, 175, 176, 177, 180
Art as Experience 80
Artaud, Anton 4
artificial intelligence (AI) 35, 119, 139, 145
artists 256–81; Haddad, Angela interview 256–61; Holmes, Mark Cordell interview 271–9; insights from 280–1; Jaunt Studios and the Invisible VR Series case study 267–70; Lesser, Annie interview 262–6
Aspen Movie Map 4
Atari 4
audience, determining 94
Augmented Reality (AR) 3, 5, 24, 29, 31, 66, 68, 82, 310; avatars in 140; defined 310; definition for story told in 31–2; diegetic and mimetic in 176–7; environmental elements and 66; exercises in creating narrative for 127–32; in immersive theatrical experiences 82; incorporation of embodiment into 68; mythological approaches to 181–2
Avengers Initiative 224
balance 180
Barkley, Gnarls 99
beat-based structure 115–16; interactive 117–18
Beck 99
Best Family Game at E3 2009 224
Big Sleep, The 262
Billington, Pete 68–71, 72–7, 78
binaural audio 19, 85, 184, 311
binocular omni orientation systems (BOOM) 311
Birth of Tragedy, The 179, 180
Bolas, Mark 233
Bolter, Jay David 1, 5, 6, 83, 314, 315, 319
Boyd, Brian 45
brain, story and essence of 45–6
Brainstorm 4
branching narratives 105, 108, 311
Brave New World 120
breaking the fourth wall 64
Brillhart, Jessica 8–17, 24, 87, 165, 297
Brisson, Luc 174
Broderick, Damien 4
Call of Duty 304
Cannes “Next Marche de Film” 214–15
case studies: Baobab VR Studios 214–16; Jaunt Studios and the Invisible VR Series 267–70; Light Sail VR 241–4; Lucy VR series 292–4
Cash, Johnny 99
Casper, Jeremy 134
Castaway 201
CAVE (cave automatic virtual environment) 180, 311
CCCs (central compelling characters) 219–20, 222
Cervantes, Miguel de 120
Chandler, Raymond 262
character arc 113, 116, 135, 137–8, 142, 311, 319
characters in VR 30, 133–56; additional, narrative purpose of 152; antagonist 135, 150–1, 309–10; avatars 140, 310; character arc 137–8, 311; concepts and ideas 145; concepts to consider 144–5; conflict 135; defined 134–5; exercises 153–6; external goals 136, 148–9, 312; external story 136; Hill, Sarah on 219–20; inciting incident 137, 315; internal flaws 137; internal goals 136, 149–50, 315; internal story 136–7; mind–body problem 138–40; protagonist 135, 145–50, 319; resolution 136, 138, 319; reversal 137, 320; spotlight on acting 141–4
Charlie and the Chocolate Factory 224
Chemical Brothers 99
Choose Your Own Adventure book 187
cinematic directing, storytelling in VR through 8–17; Brillhart, Jessica on 8–16; concepts to consider 16; putting ideas together 16–17
cinematic storytelling: concepts to consider 173; diegetic and mimetic in 176–7; early objections to 7–8; Edwards, Chris on 162–74; five-act structure in 113–15; perspective in 17–18; putting ideas together 174; techniques, technological challenges with 59–60; three-act structure in 110–13; through cinematic directing 8–19; in video games 18–19; visualization in 162–74
Cline, Ernest 211
Cloudy with a Chance of Meatballs 201
Colbert, Stephen 263
contagonists 134
Crichton, Michael 119
CS Go 304
Cuarón, Alfonso 169
D&AD Black Pencil 99
Dam Keeper, The 215
data, storytelling through 47–59
DC Comics 122
Deboard, Guy 63
Delusion 263
dénouement 113
Descartes, René 72–3, 90, 138–40
Dewey, John 80
diegetic: in Aristotelian narratives 176; in cinematic storytelling 176–7
digesis 175
Dinello, Paul 263
Dionysian approach 179, 310, 312
Dirty Work 122
Disney 50, 84, 163–4, 171, 186, 224, 227, 267, 287, 307
Disney, Walt 307
Disney World 171
Don Quixote 120
drama in immersive experiences 141–5
E3 Convention 38
eBay 215
Edge of Nowhere 37, 38, 39–40, 41, 42
embodiment 68
Emerging Analytics Center 47–8
Empowered By Light 221
environmental storytelling 38, 42, 66, 235, 237, 253, 280
ethical concerns in VR 119–26; concepts to consider 125; immersive experiences 120–1; overview of 119–20; Peters, Steve on 122–6; privacy in virtual space 121; putting ideas together 125–6; risks in virtual space 121
experimental storytelling 62–3
external goals 30; defined 136, 312; of protagonist, establishing 148–9
external story 136
eye tracking 313
facilitator 82
falling action 113
FarmVille 215
fiction vs. nonfiction storytelling 182–91; concepts to consider 190; Peters, Steve on 182–91; putting ideas together 190–1
field of view (FOV) 88, 173, 248, 313
Filmatics 19
first-person peripheral 96
first-person point of view 96, 147
first-person-viewer narratives: antagonist for, establishing 151; for protagonist, establishing 147–8
first view 313
Fisher, Scott 233
fish tank VR 313
five-act structure: interactive 117; overview of 113–14; see also television series, structure used in
fixed-frame video 217, 219, 220–1
forest of digital trees metaphor 198–9
formats 51, 101, 115, 116, 313
Fourth Wall Studios 122
Freytag, Gustav 113
Frontiers in Neuroscience 46
Galaga 306
GameSpot Best Use of Zombies at E3 2005 224
game theory 34–5, 171, 187, 274
gaming: expansion of 18–19; role of, in VR 34–5; spotlight on 37–43; see also video games, storytelling in VR through
Gary the Gull 7
Gates, Bill 119
Gear VR 313
Genette, Gerard 176
genre 63
Glaucon 175
Goldstein, Andrew 233, 235–6, 237, 238, 239, 240, 254
Google Cardboard 1, 5, 217, 227, 295, 296, 297, 313
Google Creative Lab 8
Google Hangouts 217
Gottschall, Jonathan 46
Grand Clio 99
Grand Prix Cannes Lion 99
Gray, Robyn Tong 233, 234, 235, 236, 237–8, 239, 254
Grusin, Richard 1, 5, 6, 83, 314, 315, 319
Guardian, The 2
Guilty Party 224
gyroscopes 309
Hackman, Gene 215
Haddad, Angela 256–61, 280, 281
Hanna Barbera’s Cartoon Carnival 37
Hart, Kiri 207
Haunted Mansion, The 224
Haven, Kendall 32
Hawking, Stephen 119
head-mounted display (HMD) 3, 4, 5, 6, 25, 33, 49–50, 120, 121, 146, 177, 188, 191, 209, 211, 232, 237, 260, 284
Heilig, Morton 4
Heraclitus 98
Here Be Dragons 99
hero or heroine see protagonist
Hero With a Thousand Faces, The 182
Highway 53 263
Hollow Lens 233
Hollywood Reporter, The 298
Holmes, Mark Cordell 271–9, 280
Honor Flight Hub 217
Horace 113
Hotel Savoy 263
HTC Vive 1, 49, 224, 227, 296, 313
Huffington Post, The 1
Hume, David 98
Hurlements en faveur de Sade 63
IGN People’s Choice Award 2012 224
ILMxLAB 2, 201–2, 205, 207, 208
immersion: breaking the fourth wall and 64; cameras for creating 61; concerns and challenges 24; defined 315; embodiment and 68, 78; in gaming 18; in interactive structure 117; mediated experience and, evidence of 5–6; production practices and 60; storytelling through (interviews) 84–92, 262–6; 360-degree video for creating 61–2; see also immersion, storytelling through; immersive narrative; immersive theater
immersion, storytelling through 84–92, 262–6; concepts to consider 91; Lesser, Annie interview 262–6; Nelson, Noah on 84–92; putting ideas together 91–2
immersive narrative 93–132; audience, determining 94; backstory structure 118–19; concepts to consider 108–9; to entertain 95; exercises 127–32; five-act structure 113–16; to inform 95–6; interactive structure 116–18; Milk, Chris on 99–109; to persuade 95; POV, establishing 96–8; privacy in 121; purpose, determining 94–5; putting ideas together 109; risks in 121; sense of self in 98; Theseus’ Paradox 98–9; three-act structure 110–13; traditional narratives 109–10; see also ethical concerns in VR
immersive theater 80–92; Celia, Matt on 254; drama in, storytelling through 141–5; experimental art installations 82–3; Haddad, Angela on 258; Holmes, Mark Cordell on 275; Krusell, Jonathan on 225–6, 230; Nelson, Noah on 84–91; nonlinear storytelling 83–4; of oppressed 81–2; overview of 80–1; Peters, Steve on 185–6; theme park attractions 83; Todorovic, Nikola on 213; see also acting in immersive theater; immersion
immersive video 1, 217, 219–20
inciting incident: creating 160–1; defined 137, 315; enemy arises 162; magical opportunity 161; missing piece 162; test 161; types of 161–2
Independence Day 201
Independent Games Festival 233
IndieCade 233
Industrial Light & Magic 201
insights: artists 280–1; storytellers 221–3; technologists and producers 254–5; visionaries 307–8
Insomniac Games 37
interactive structure: beat-based 117–18; five-act 117; three-act 116–17
interactivity 18, 71, 76, 117, 138, 167, 168, 170, 172, 180, 295, 297, 315
internal flaws 137
internal goals 30–1; defined 136, 315; of protagonist, establishing 149–50
internal journey 136–7, 138, 156, 162
interpupillary distance (IPD) 316
interviews 200–308; artists 256–81; storytellers 202–23; technologists and producers 224–55; visionaries 282–308
Lanier, Jaron 4
la réalité virtuelle 4
LARPing 231
LA Times 298
Lawnmower Man, The 4
lens, storytelling in VR through 20–4; concepts to consider 23–4; Meyhoefer, Paul on 20–3; putting ideas together 24
Leonardo DiCaprio Foundation 221
Le Théâtre et son double (Artaud) 4
Le Voyage dans la Lune (A Trip to the Moon) 43
Life of Theseus 98
Liman, Doug 267, 269, 270, 280
Limitless Entertainment 7
local agency 317
logos 174
Louisiana Immersive Technologies Enterprise 48
Love, Courtney 99
Love Has No Labels 221
Macbeth 81
MacWorld 298
Madagascar 215
Master of the Cinematic Universe: The Secret Code to Writing in the New World of Media 134
master storyteller, Chris Milk as 99–109
Matrix, The 4
McConaughey, Matthew 209
mediated experiences 5–6, 81, 83, 121, 139, 179, 180–1
Mediated Reality 310
Méliès, Georges 43
Mellencamp, John 99
metaphor 159
metaverse 317
Microsoft Hollow Lens 233
Milk, Chris 19, 99–109, 210, 217, 308
mimesis 175
mimetic 176–7; in Aristotelian narratives 176; in cinematic storytelling 176–7
Mindshow 224
mise-en-scene 66
Mixed Reality (MR) 24, 29, 317; avatars in 140; defined 317; definition for story told in 31–2; diegetic and mimetic in 176–7; environmental elements and 66; exercises in creating narrative for 127–32; in immersive theatrical experiences 82; incorporation of embodiment into 68; mythological approaches to 181–2
Modest Mouse 99
MTV Moon Men 99
Mud 209
Musk, Elon 119
Mystery of Edwin Drood, The 80
Napier, Mick 263
narrative: branching 105, 108, 311; defined 318; elements 58, 59; fiction versus nonfiction storytelling 182–91; principles governing 29–31; see also characters in VR
narrative structures, creating 158–94; Aeschylus 177, 178; Apollonian approach 179, 180, 310, 312; balance in, finding 180; connecting classical storytelling and philosophy with immersive media 174; diegetic and mimetic approaches 176–7; Dionysian approach 179; Euripides 177, 178; exercises 192–4; fiction vs. nonfiction storytelling 182–91; inciting incident or catalyst, creating 160–2; irony 160; metaphor 159; mythological approaches 181–2; Plato 174–7; ritual in, role of 180–1; Socrates 174–5; Sophocles 177, 178; structure 158–9; symbolism 160
navigation 318
neurology, storytelling through 47–59
NFL 3
Niantic 295
Nike 100
Nintendo 4
Noise Beater 263
Nokia 2
Nolan, Jonathan 119
No Mimes Media 122
No Proscenium Podcast 84
O’Conner, Flannery 29
Oculus 1, 2, 5, 37, 69, 210, 221, 224, 294, 317
Oculus Rift 1, 5, 49, 99–100, 183–4, 313
Oculus Rift DK2 258
Open VR 313
Otherworld Interactive 233
passive storytelling 67–8; active storytelling vs. 67; embodiment in 68; in first-person experiences 67–8
pattern seeking 45
Pearl 296
Penguins of Madagascar, The 215
Penrose Studios 7
perspective: changes in 6; forced 17–18, 265; hyper-perspective 82–3; retrospective storytelling 64–5; technological 179; see also point of view (POV)
Petridis, Elia 19
Pitt, Brad 209
Pixar Animation 2, 7, 68, 69, 215, 216, 271, 273, 274, 276–7, 283, 287
“Places not Pages” 282
platforms 49–50, 59, 95, 109, 115, 170, 174, 313
Plato 77, 120, 174–7; allegory of the cave 77, 175; diegetic and mimetic discussions 176–7
Plato the Myth Maker 174
players 34
Plutarch 98
Poetics 158
point of view (POV) 96–8, 147, 245–9, 256; defined 318; first-person 96, 147; first-person peripheral 96; second-person 97; third-person 97–8; see also perspective
Popular Science 298
position trigger 318
post-VR sadness 47
power gesture 121
presence 10, 14, 16, 64, 73, 140, 167, 243; alpha 143; defined 319; in Light Sail 241–2; physical 104; sense of 18, 165, 304, 305; virtual 98, 288
Pretty Woman 15
production practices to tell better stories in VR 60–1
protagonist 135, 145–50, 319; defined 135, 319; establishing, for first-person-viewer narratives 147–8; establishing, visually 145–7; external goal of, establishing 148–9; internal goal of, establishing 149–50
protagonistic force 30, 31–2, 112, 135
Protagoras 174
QuickTime VR 4
Ratchet & Clank series 37, 41, 42
Ready Player One 75, 209, 211, 212, 299
realistic storytelling, abstract vs. 63–4
real-time storytelling 64–6; environment in, role of 66; vs. retrospective storytelling 64–5
refresh rate 319
retrospective storytelling 64–5; memory in 65; vs. real-time storytelling 64–5
Rosenthal, Larry 282–4, 307, 308
RYOT 1
Sanocki, Tom 7
science and technology behind storytelling 45–78; abstract vs. realistic storytelling 63–4; active storytelling 67–8; Billington, Pete on 68–71, 72–7, 78; breaking the fourth wall 64; cameras 61; concepts to consider 58–9, 78; Cruz-Neira on 47–59; experimental storytelling 62–3; passive storytelling 67–8; production practices to tell better stories in VR 60–1; putting ideas together 59, 78; real-time storytelling 64–6; retrospective storytelling 64–5; science, story, and the body 46–7; Shamash, Jessica on 68, 71–2, 76, 77, 78; story and essence of brain 45–6; storytelling through data and neurology 47–59; technological challenges with traditional storytelling techniques 59–60; 360-degree video 61–2
second-person point of view 97
Sedaris, Amy 263
Sega 4
self in immersive narratives, sense of 98
Sensorama 4
Shamash, Jessica 68–9, 71–2, 76, 77–8
Shephard, Mike 66
Sheridan, Tye 209–10, 211, 212–13, 222
Sisters 233
Smith, Alvy Ray 216
Smithsonian Institution 285, 290–1
social VR 62, 74, 211, 212, 222–3, 270, 308, 320
Society of the Spectacle, The 63
Sony Pictures Imageworks 201, 285
Sony PlayStation 1, 37, 170, 250
Sophist 174
“Sound & Vision” 99
Space Invaders 306
spatial navigation 320
Spiderman 3 224
Spielberg, Steven 70, 169, 209
Star Wars 69–70, 89, 150, 180, 201–8, 222, 250; Episode VII 202; Millennium Falcon 19, 202, 203, 204, 206, 208; A New Hope 118; Rogue One 118; Story Group 204, 205; Trials on Tatooine 201–2, 206–8
stereoscopic 3D 3, 23, 74, 248, 275
Stone, Sharon 215
story maps 45
Story Proof: The Science Behind the Startling Power of Story 32
storytellers 201–23; Baobab VR Studios case study 214–16; Bredow, Rob interview 201–8; Hill, Sarah interview 217–21; insights from 221–3; Sheridan, Tye interview 209–10, 211, 212–13; Todorovic, Nikola interview 209, 210–12, 213
Storytelling Animal, The 46
storytelling in VR 1–3; components of good story 29–31; environmental 38, 42, 66, 235, 237, 253, 280; fiction vs. nonfiction 182–91; forms vs. formulas in 32–3; future methods of 24–6; gaming and game theory in 34–5; ludology vs. narratology in game studies and 35–6; mediums for, advantages/disadvantages of 33–4; stories in alternate realities 31–2; in 3D space, theoretical lessons in 36; through cinematic directing 8–17; through data and neurology 47–59; through the lens 20–4; through video games 37–43; see also science and technology behind storytelling
StoryUP 217
structure: backstory 118–19; beat-based 115–18; five-act 113–15; interactive 116–18; narrative, creating 158–9; in television series 114–16; three-act 110–13; webisodic 115
Stuart Little 201
Stubbs the Zombie 224
Sundance Film Festival 6, 99–100, 210, 233
Super Mario 230
Surf’s Up 201
symbolism 160
Tarrant, Jeff 219
teaser 114
technologists and producers 224–55; Crosby, Tai interview 245–9; Goldstein, Andrew interview 233, 235–6, 237, 238, 239, 240; Gray, Robyn Tong interview 233, 234, 235, 236, 237–8, 239; insights from 254–5; Krusell, Jonathan interview 224–32; Light Sail VR case study 241–4; Orth, Adam interview 250–4
technology see science and technology behind storytelling
tele-existence 321
television series, structure used in 114–16; Act I 114; Act II 114; Act III 114; Act IV 115; Act V 115; best-based 115–16; teaser 114; webisodic 115
Theaetetus 174
Then She Fell 263
theory in practice 196–308; artists 256–81; forest of digital trees metaphor 198–9; interviews and case studies 200–308; overview of 196–7; storytellers 202–23; style over substance 197–8; technologists and producers 224–55; visionaries 282–308
third-person limited 97
third-person multiple 97
third-person point of view 97–8
Thompson, Matt 116, 292–4, 307
three-act structure 110–13; antagonist in 110, 112, 114; in cinematic storytelling 110–13; interactive 116–17
three Cs (central compelling characters) 219–20, 222
Three One Zero 250
Todorovic, Nikola 209, 210–12, 213
Toronto International Film Festival 215
trailers 197
Tribeca Film Festival 7, 100, 214
Tsutsumi, Dice 215
turn/turn of events 112
UK MVA Innovation Award 99
ultimate empathy machine, VR as 19, 205, 210, 283
Universal Adventure Parks 171
user interface (UI) 215
Variety 298
Vice News 100
video game arcades 4
video games, storytelling in VR through 37–43; Allgeier, Brian on 37–42; concepts to consider 42–3; putting ideas together 43; see also gaming
View-Master 3
Virtual Reality (VR): avatars in 140; concepts to consider 16; defined 321; definition for story told in 31–2; diegetic and mimetic in 176–7; early conceptual ideas about 3–4; edges of the frame in 18–19; environmental elements and 66; exercises in creating narrative for 127–32; future of 24–6; gaming in 18–19; in immersive theatrical experiences 82; incorporation of embodiment into 68; in modern era 4–5; mythological approaches to 181–2; navigating mediated experiences 5–6; perspective in 6, 17–18; philosophical storytelling approaches in 6–8; roots of 4; storytelling in, through cinematic directing 8–16; storytelling in, through the lens 20–4; as ultimate empathy machine 19
Virtual Reality Application Center 48
visionaries 282–308; Debevec, Paul interview 285–91; insights from 307–8; Lucy VR series case study 292–4; Rose, Brian interview 295–7; Rosenthal, Larry interview 282–4; Schilowitz, Ted interview 298–307
visual programming lab (VPL) 4
VR caves 48, 50–4, 175, 179, 321
VR domes 321
VR machines 4
VR science and storytelling 47–59
VR surfaces 321
VR tables 321