The Storyteller’s Guide to the Virtual Reality Audience
VR/AR Media Experiments

1. Reality is constructed

This section, about overly fixating on irrelevant objects/props, brought to mind the kinds of games my young daughter likes to play, typical of the stuff Big Fish Games creates. These games often have reasonably well-developed plots, with visually complex scenes you interact with. Each scene is filled with enumerable animated and static objects, some relevant to the storyline and some not. In some cases you discover items needed in game play later, or puzzles to solve, or new doors/portals to deeper scenes… Or sometimes it has no more value than setting a bat off in flight or scaring a cat, or what have you. But to know what items/props are relevant, one must consider and explore them to some extent or risk missing important “clues” needed to complete the adventure. Of course, one’s field of vision isn’t limited, exactly, as your test scenario investigated in this case, but I can imagine that people used to these kinds of exploratory games would be inclined, if by habit, to spend extra time on seemingly irrelevant “props” in the event they actually are important, or are triggers to uncover something. A kind of FOMO, perhaps.

One clap, two clap, three clap, forty?

By clapping more or less, you can signal to us which stories really stand out.