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perceived as the dynamic process resulting from the interaction between characters

and its impact on the user (the ‘Storification’ process).

Those two distinctive approaches should be thoroughly considered in the elaboration

of specific narrative forms and theories proper to VR.

2. VR AS A VALID NARRATIVE FORM

Narrative media such as literature, theatre, cinema or oral storytelling have attracted

the attention and effort of an important number of authors. VR researchers have

primarily focused on its technological capabilities, while in comparison to the

previously mentioned narrative media, little account has been given of theoretical

concerns. If evidence of differences between VR and other media justifies

differentiation in narrative theory, an obvious approach is a comparative analysis.

Analysing these differences should then provide us with valid arguments in favour of

the recognition of VR as a narrative medium. Such a comparative approach requires

careful attention to relevant theories, authors and discussions.

2.1 Comparative considerations

To make a comparison between Cinema, Theatre, Literature and VR supposes a set of

comparative dimensions. We propose those of Contingency, Presence, Interactivity

and Narrative Representation. By contingency, we mean how far the time and space

of the narrative is contingent on real time and space; by presence how far the

spectator/user physically shares the time and space of the narrative; by interactivity

how far they interact with the story process and by narrative representation the

characteristic form of narrative in the medium. This analysis will firstly demonstrate

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