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Towards a narrative theory of Virtual Reality - page 17 / 26





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The control operated by the LRPG Game-Master or the IT actors on the unfolding of

a narrative seems - this is an early statement - to consider primarily the entertainment

values of events or actions rather than a pre-established plot line. Providing the

spectator/actor or player with a structure that takes into account their level of

satisfaction and enjoyment regarding the “in display” or emergent narrative takes

precedence over a chronological pre-defined story exactly as intended by the author.

In the case of LRPGs, which take place episodically over long elapsed periods of time

(more than a year for example in some cases), the Game-Master usually maintains a

high-level 'campaign-plan' which provides an abstract narrative structure. However

our research suggests that this is quite flexible in the face of more interesting

directions emerging from the role-players themselves.

By assessing the satisfaction of the spectator/actor as a key factor and by considering

it as an articulation around which the unfolding of the narrative takes place, such

models if correctly conducted cannot fail to provide the spectator with an entertaining

and unique narrative experience. Both media are in form superficially dissimilar to

VR with imagined locations and generally very few - if any - props. However this

suggests the possibility of connecting a user friendly and satisfying narrative to its

visually immersive representation, which would offer a unique narrative form, and

thus the exploitation of VR’s entertainment potential.

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