Today's VR is hailed as the future of Hollywood entertainment, making science fiction a reality. But then there is a problem: most of the VR experience is not interesting. Constrained by the development of hardware, irregular media and the expectations of the audience, most of the VR experiences are just flashy presentations, or others, and more are already formed content. These VR experiences are usually impromptu stories, usually short films or traditional games.

The VR narrative statement is only a part. The film has been developed for more than a century. It has its own language shots, editing and transitions. The VR narrative is still in its infancy. VR creators are also thinking about exactly what this medium can do, let alone how to take advantage of VR. However, VR is just the tip of the iceberg of greater continuous entertainment. The real-world entertainment experience has always been in its own way in transforming and developing its own unique narrative experience. In the process, they are more than just attracting audiences - they also point the way for VR.

"I think there are some intersections between these media," said Kamal Sinclair, a laboratory director at the new frontier of Sundance Film Festival A. "In games and interaction, immersive cinema and room escape - all of these. You are basically designed for those who have grown up on the Internet, which is very different from those from the linear and passive media audience. You are designing for this generation. This generation fully expects VR technology and expects VR to be a native and organic way of interacting with content and story."

This may sound like a vague term, but in the decades after the film and television, the way in which viewers interact with their favorite stories has fundamentally changed. Technology has begun to adopt new creative tools and mass distribution forms, fundamentally changing the pattern. Previous films and TVs were difficult to remember without memes, cosplay, video mixing, and other fan interactions. Interactivity and immersion are not only accessories, they have become essential elements of the entertainment experience.

The 2017 Sundance Film Festival brought together experts from different immersive fields to discuss how the story approach evolved. Their statement clearly stated that there was no evidence that the public’s enthusiasm for the interaction of the real world would be the same as the explosive growth of the escape of the chamber. Nate Martin, the co-founder of Puzzle Break, points out that only five of the secret rooms escaped in 2013, and four years later it has grown to an incredible 1,500. However, the escape of the secret room is nothing more than a random collection puzzle game. Lost escape also needs to be linked to organizational narratives. Lost escape is also the most intuitive example - how to distinguish it from our narrative experience in books, TV and movies.

In view of this, VR creators naturally look to other forms of experience to gain inspiration. This process has accelerated in the past year. Skybound Entertainment Studio has recently taken a step forward on the road to immersive experience by combining VR and Delusion. As part of the DevLab initiative, Oculus has begun to bring together experts across multiple disciplines. The DevLab initiative aims to hone and incubate projects from independent VR developers. Zach Morris, artistic director of Third Rail Projects, who was also one of the advisors to DevLab’s initiative last year, saw the basic connection between VR technology and the immersive theater he works for.

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