ABSTRACT With reference to three recently produced Australian case studies, this article explores approaches to the conceptualization and writing of short narratives for the emerging medium of cinematic 360-degree virtual reality. Storytelling for this format involves a user-focused engagement with time and place. Whereas the viewer of classical narrative media, such as film or television, is for the most part passive, the VR viewer is ‘present’ as an active agent who engages with the unfolding narrative as either witness or participant. These factors present a number of challenges and opportunities for the creator of narrative VR, when considering viewer immersion and/or interaction in the 360-degree environment. The article presents a review of literature that interrogates the specifics of writing for VR, with a specific focus on 360-degree, immersive projects. By interrogating the form of three recently produced works, the author highlights emerging approaches to narrative structure, audience acclimation and the directing of viewer attention. While some commonalities can be observed across these case studies, the article concludes that to date, there is no one approach and no fully established screen grammar associated with a 360-degree VR narrative.

中文翻译：

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360度虚拟现实叙事：新的屏幕语法

摘要参考最近发表的三份澳大利亚案例研究，本文探讨了新兴的电影级360度虚拟现实媒体的短篇小说的概念化和写作方法。这种格式的讲故事涉及以用户为中心的时间和地点参与。诸如电影或电视等古典叙事媒体的观看者在很大程度上是被动的，而VR观看者则是作为一个主动代理人“出席”的，他作为证人或参与者参与正在展开的叙事。在考虑观看者在360度环境中的沉浸感和/或交互作用时，这些因素为叙事VR的创建者带来了许多挑战和机遇。本文介绍了一些文献，这些文献审视了VR的写作细节，特别关注360度，沉浸式项目。通过审视三部近期制作的作品的形式，作者重点介绍了叙事结构，受众适应和引导观众注意力的新兴方法。尽管在这些案例研究中可以观察到一些共性，但文章的结论是，迄今为止，还没有一种方法和与360度VR叙述相关的完全建立的屏幕语法。