"Paint me a scene": How is VR storytelling different?

So far I have explored two core differences of VR storytelling – the user having a physical presence in the world, and the experience within this world requiring a label. This sense of belonging in the world can, as Kate Gray suggested, be overwhelming for certain individuals. Within this world there must be new styles, editing techniques, and story telling tactics. The camera cut no longer matters when a viewer can freely move their head.Read More »"Paint me a scene": How is VR storytelling different?

"Spin me a Tale": What makes VR storytelling different?

In the late 1920s, the film industry was revolutionised by the commercial introduction of sound with movies, or talkies. Now we see a repeat of this phenomenon with VR storytelling. Originally with The Jazz Singer (1927), continued by All Quiet on the Western Front (1930), and parodied in Singin’ in the Rain (1952) audio began to transform film. It was a time of rudimentary transition, restricted camera movements, live dialogue, and minimal editing. The earliest talkies were primitive, and often designed to capitalise on the novelty of sound. Talkies eventually dominated the filmmaking landscape – but only after exploration and experimentation. Read More »"Spin me a Tale": What makes VR storytelling different?

Why Virtual Reality won't go the same way as 3DTV

In 1995 Nintendo introduced the Virtual Boy, one of its greatest commercial failures. Poor third-party support, poor graphics, and misleading marketing led to the failure of the first gaming VR headset. But over twenty years later, we have finally reached a point where the technology has caught up with the imagination and creativity of its developers, and we are now on the crest of a massive, industry-changing wave of innovation.
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