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This paper proposes a series of best practices for designing parallel interactive narratives in virtual reality through a creative artefact Table for Two. Cinematic virtual reality is one of the latest disruptions in cinema that offers a variety of 360° immersive and interactive experiences. Studies state that conventional cinema grammar such as montage, camera angles, lighting, transitions, editing, etc. might not be relevant for cinematic virtual reality. This new medium demands new grammar to narrate and experience the 360° space. Table for Two adopts screen production enquiry as a research method to investigate the production design. Table for Two is a one-shot parallel interactive narrative in virtual reality narrative captured simultaneously through three 360° cameras. The experience represents parallel narratives through diverse conversations in a café. A navigator of this experience can teleport from one conversation to another, while the other conversations continue to unfold irrespective of the navigator’s presence or absence. The experience is designed to encourage a navigator to re-navigate the experience to unfold the pieces of a narrative puzzle. The design of Table for Two shifts from conventional cinema approaches towards novel methods for cinematic virtual reality such as a rotating cylindrical script display, split-screen storyboard, performers with experience in theatre, a set that morphs, cinematographers as supporting cast members, ambisonic sound design, and interaction design. Table for Two was tested by 20 navigators to understand their reaction towards parallel interactive narratives in virtual reality. The navigators’ feedback validates the design process followed in Table for Two, thereby leading to a recommendation of best practices for designing a parallel interactive narrative in virtual reality. These practices can be considered as grammar to help cinematic virtual reality cast and crew members to further explore this field. This research contributes to the expansion of cinematic virtual reality as an emerging narrative medium.

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Best Practices for Designing Parallel Interactive Narratives in Virtual Reality

  • 会议论文

  • 发表日期：

    2025年

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  • Delwyn Jude Remedios,
  • Deepak John Mathew,
  • Max Schleser

摘要

This paper proposes a series of best practices for designing parallel interactive narratives in virtual reality through a creative artefact Table for Two. Cinematic virtual reality is one of the latest disruptions in cinema that offers a variety of 360° immersive and interactive experiences. Studies state that conventional cinema grammar such as montage, camera angles, lighting, transitions, editing, etc. might not be relevant for cinematic virtual reality. This new medium demands new grammar to narrate and experience the 360° space. Table for Two adopts screen production enquiry as a research method to investigate the production design. Table for Two is a one-shot parallel interactive narrative in virtual reality narrative captured simultaneously through three 360° cameras. The experience represents parallel narratives through diverse conversations in a café. A navigator of this experience can teleport from one conversation to another, while the other conversations continue to unfold irrespective of the navigator’s presence or absence. The experience is designed to encourage a navigator to re-navigate the experience to unfold the pieces of a narrative puzzle. The design of Table for Two shifts from conventional cinema approaches towards novel methods for cinematic virtual reality such as a rotating cylindrical script display, split-screen storyboard, performers with experience in theatre, a set that morphs, cinematographers as supporting cast members, ambisonic sound design, and interaction design. Table for Two was tested by 20 navigators to understand their reaction towards parallel interactive narratives in virtual reality. The navigators’ feedback validates the design process followed in Table for Two, thereby leading to a recommendation of best practices for designing a parallel interactive narrative in virtual reality. These practices can be considered as grammar to help cinematic virtual reality cast and crew members to further explore this field. This research contributes to the expansion of cinematic virtual reality as an emerging narrative medium.