Immersive Storytelling for Real and Imagined Worlds guides writers through the entire creative process, starting with the blue sky/concept phase and ending with the production/installation of their experience. This thorough, well-illustrated book:Describes the artistic, inspirational, and practical skills writers bring to the project;Defines and discusses writing terms, tips, best practices, and processes;Reveals how writers approach storytelling and develop an immersive experience;Details the process from asking the big questions of storytelling to constructing a creative guide for the team;Shares case studies and examples of exemplary immersive storytelling from around the world;Breaks down the unique process of creating a memorable and emotionally-compelling immersive experience;Provides useful tools, checklists, tables, and worksheets to help writers in all stages of the process.

A uniquely interdisciplinary look at storytelling in digital, analogue, and hybridised contexts, this book traces different ways stories are experienced in our contemporary mediascape. It uses an engaging range of current examples to explore interactive and immersive narratives. Critical Encounters with Immersive Storytelling considers exciting new forms of storytelling that are emerging in contemporary popular culture. Here, immersion is being facilitated in a variety of ways and in a multitude of contexts, from 3D cinema to street games, from immersive theatre plays to built environments such as theme parks, as well as in a multitude of digital formats. The book explores diverse modes and practices of immersive storytelling, discussing what is gained and lost in each of these ‘genres’. Building on notions of experience and immersion, it suggests a framework within which we might begin to understand the quality of being immersed. It also explores the practical and ethical aspects of this exciting and evolving terrain. This accessible and lively study will be of great interest to students and researchers of media studies, digital culture, games studies, extended reality, experience design, and storytelling.

Storytelling for Virtual Reality serves as a bridge between students of new media and professionals working between the emerging world of VR technology and the art form of classical storytelling. Rather than examining purely the technical, the text focuses on the narrative and how stories can best be structured, created, and then told in virtual immersive spaces. Author John Bucher examines the timeless principles of storytelling and how they are being applied, transformed, and transcended in Virtual Reality. Interviews, conversations, and case studies with both pioneers and innovators in VR storytelling are featured, including industry leaders at LucasFilm, 20th Century Fox, Oculus, Insomniac Games, and Google. For more information about story, Virtual Reality, this book, and its author, please visit StorytellingforVR.com

This comprehensive text is the first survey to explore the theory, history and practice of immersive theatre. Charting the rise of the immersive theatre phenomenon, Josephine Machon shares her wealth of expertise in the field of contemporary performance, inviting the reader to immerse themselves within this abundantly illustrated text. The first section of the book introduces concepts of immersion, situating them within a historical context and establishing a clear critical vocabulary for discussion. The second section then presents contributions from a wealth of immersive artists. Assuming no prior knowledge with its critical commentary, this is a rich resource for lecturers and students at all levels and internationally, including undergraduates and post-graduates, as well as practitioners and researchers of contemporary performance. This would also be an ideal text for general enthusiasts and readers with an interest in immersive theatre.

This is a field guide to the visionaries - and the fans - who are reinventing the art of storytelling.

“If you want to understand the most immersive new communications medium to come along since cinema… I’d suggest starting with Mr. Bailenson’s [book].” —Wall Street Journal Virtual reality is able to effectively blur the line between reality and illusion, granting us access to any experience imaginable. These experiences, ones that the brain is convinced are real, will soon be available everywhere. In Experience on Demand, Jeremy Bailenson draws upon two decades spent researching the psychological effects of VR to help readers understand its upsides and possible downsides. He offers expert guidelines for interacting with VR, and describes the profound ways this technology can be put to use to hone our performance, help us recover from trauma, improve our learning, and even enhance our empathic and imaginative capacities so that we treat others and ourselves better.

Odyssey Works infiltrates the life of one person at a time to create a customtailored, life-altering performance. It may last for one day or a few months and consists of experiences that blur the boundaries of life and art—is that subway mariachi band, used book of poetry, or meal with a new friend real or a part of the performance? Central to this book is their 2013 performance for Rick Moody, author of The Ice Storm. His Odyssey lasted four months and included a fake children's book, introducing the themes of his performance, and a cello concert in a Saskatchewan prairie (which Moody almost missed after being stopped at customs with, suspiciously, no idea why he was traveling to Canada). The book includes Moody's interviews with Odyssey Works, an original short story by Amy Hempel, and six proposals for a new theory of making art.

A new text on immersive theater.

Part of a series of books which examines real-life stories that have made newspaper headlines around the world, this title looks at secrets.

Creators of immersive experiences in virtual reality, augmented reality, and mixed reality have relied heavily on familiar storytelling techniques used in books, theatre, and film -- often with confusing and unengaging results. Stephanie Riggs argues in The End of Storytelling that in order to develop powerful stories in these emerging mediums, we need nothing short of a paradigm shift in how we approach and conceptualize immersive narratives. Beautifully designed and explosively written, this book will help you better understand how to approach the exciting medium and get your next immersive project off the ground by explaining: Why storytelling doesn't work The fundamental narrative building blocks that do work How to think immersively A blueprint for developing your next immersive project The End of Storytelling is informed by over two decades of work in both immersive and classical mediums, and is rich with examples, inspiration, and challenges for anyone interested in, or currently developing, effective immersive experiences. Its symphonic exploration presents fascinating context of our relationship to storytelling, and a practical model for building the future of narrative.