The Story that Writes itself: Narrative VR

[From our article "Autopoiesis through agency in virtual reality nonfiction" (Tucker & Kiss, 2023), published in Studies in Documentary Film]

In recent years, virtual reality (VR) has transformed from a niche technology to a powerful tool for storytelling. Filmmakers are now exploring its potential to create immersive experiences that go beyond traditional documentaries. Virtual Reality Nonfiction (VRNF) is an emerging genre that combines the emotional depth of documentaries with the interactivity of video games, allowing audiences to step into the story in unprecedented ways.

The story-world only exists when the viewer-user interacts with the narrative.

Beyond Watching: Becoming a Viewer-User

Traditional documentaries rely on linear narratives, guiding viewers through a carefully crafted sequence of events. VRNF, on the other hand, hands over some of the storytelling control to the audience. In VRNF, you’re not just a passive observer—you’re what we call a "viewer-user." This term reflects your dual role as both a viewer and an active participant. Through spatial and interactive agency, you can explore the storyworld, make choices, and even influence how the narrative unfolds.

For example, in Clouds Over Sidra (2015), viewers follow a young girl in a Syrian refugee camp through a 360° video. While the experience is moving, it’s limited by a predetermined storyline. Newer VRNF works, however, are pushing boundaries by offering open-world designs and interactive elements that create deeply personal experiences. The shift from observing to participating marks a fundamental change in how we consume nonfiction stories.

Autopoiesis: The Story That Writes Itself

One of the most exciting aspects of VRNF is its capacity for "autopoiesis" — a term borrowed from biology that means self-creation. In VRNF, autopoiesis describes how the story adapts to your actions within the virtual world. Your decisions—where to look, who to engage with, or how to interact with the environment—actively shape the narrative. This makes each viewing experience unique and personal.

Take Home After War (2018), a VR experience set in a war-torn Iraqi home. Using photogrammetry, the creators allow viewer-users to move through the house, triggering interviews and exploring 360° scenes. Your choices determine how the story unfolds, creating a sense of presence and connection that traditional films can’t replicate.

Challenges and Opportunities

The rise of VRNF also raises questions. Is it still a documentary if the story changes with every viewing? Can a digitally recreated world hold the same truth value as a filmed event? These debates highlight the evolving nature of the genre.

Despite these challenges, the potential for VRNF is enormous. By blending interactivity with documentary storytelling, creators can tackle complex issues in new ways. For instance, Celine Tricart’s The Key (2019) uses symbolic tasks and dreamlike visuals to explore themes of migration and loss, making the viewer’s emotional journey an integral part of the narrative.

The Future of Nonfiction in VR

As technology advances, VRNF is likely to become even more interactive and lifelike. Imagine documentaries where multiple users interact in shared virtual spaces, or where AI-driven narratives adapt in real time to each viewer’s choices. These innovations could redefine not just documentaries but storytelling itself.

For now, VRNF offers an exciting glimpse into the future of nonfiction. It’s not just about watching—it’s about experiencing. And in a world where empathy and understanding are more important than ever, VR’s ability to immerse us in others’ realities might just be its most powerful feature.