The Third Order: A Necessary Holism in Approaches to Situated Cinematic Virtual Reality Storytelling

Abstract

In this Cinematic Virtual Reality (CVR) project named ‘The Third Order’ with a script written to purpose, ‘three degrees of freedom’ (3DoF) virtual reality content, is presented in an iconic colonial mansion with elements of immersive theatre and participatory ludic qualities to highlight functions of the project for discussion. The content is recorded in the same environment as that for presentation. Epistemological methods prioritise the perspective of researcher as writer /designer /director and actor, towards creating an engaging experience of narrative continuity for audience. Audience participants are then chaperoned through the intermedial exhibition prototype and subsequently provide the researcher with semi-structured interviews to describe their experience.

Findings hinge around design elements and the use of theatre rehearsals and choreographic techniques that expand understanding of a range of subject areas including: proximal distancing; incorporation and re-configuring of filmic languages in CVR; the role of the director as surrogate audience and actor, due to the implications of proximities; the matter thereby as triangulation between Points of interest (POI) and camera/audience; and the qualities of inclusion of the audience in intimate action versus the wider story. The discussion is that CVR design, requires variable specificities dependent on genre and content, to refine the psychological experience of self as audience, as well as participant. Thus, is it argued that there are several ways in which traditional theatre and film design can merge in a holistic approach that upholds engaging story experiences without self-conscious distraction. The exegesis posits that the implications of situated CVR, for narrative continuity, and for linear intermedial immersive storytelling in real-world locations might be relevant in the neighbouring fields of XR and AR design. Findings of efficacy through observed experience is expressed as a matrix of ‘filmic languages’ juxtaposed against ‘obstructions to CVR engagement’ and the resultant film and theatre performance approaches.

(The 360º digital artefacts are designed to be viewed using a headset and can be found in viewable form hosted on the author's Youtube page)