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