Narrative VR Art of the 2012–2023 in the Context of Metamodernism: Main Topics, Visual Features and Interactive Techniques

During the 2010s – early 2020s, virtual reality (VR) technology started gaining popularity on the art stage. Among various VR art projects of this period, it is possible to distinguish those with a defined plotline, which this study suggests calling "narrative." At the same time, in the 2010s, the discussion about metamodernism, a state of culture after postmodernism, started. The simultaneous development of both phenomena and several attempts to draw parallels between VR and post-postmodern culture became the reason to begin the research. Thus, this study aims to analyze the main visual features, interactive techniques, and topics of the VR art narrative of 2012-2023 in the context of metamodernism. To achieve the goal, the following tasks were set: firstly, on the example of research objects, the analysis and identification of main visual features, interactive techniques, and topics of narrative VR art in 2012–2023. Secondly, to study the main issues concerning metamodernism and their manifestations in digital art. Thirdly, to identify which metamodern ideas and concepts manifest in visual features, interactive techniques, and main topics of narrative VR art in 2012–2023 on examples of research objects and analogies. As a result of the research, several conclusions were drawn. The diverse visual language of narrative VR art 2012–2023 corresponds with T. Vermeulen’s and R. Van den Akker’s idea about metamodern pluralism and Erokhin’s concept of polystylistics. Changes in color, style, or scale highlight the inner state of the protagonist; the study proposed to see it as, firstly, a manifestation of metamodern naivety and focus on emotions and affects, highlighted by T. Vermeulen, R. Van den Akker, and L. Turner; secondly, as another manifestation of polystylistic. The usage of aesthetics of traditional media corresponds with L. Johnson's "digital handmade" and highlights the emotional state and naivety or refers to a specific period of history. Glitch is seen as an expression of L. Turner's "The New Aesthetics" and R. Eshelmann’s “performatism." Moreover, its critical aspect, highlighted by E. V. Zhagun-Linnik, is considered a manifestation of metamodern activism. Elements of grotesque, used to highlight affect or refer to culture, correspond with A. Stoll’s idea of “metamodern grotesk". Interactive techniques, independently from their mechanics, aim to make the user emphasize the characters. This can be described by term S. Radchenko’s term "empathy-focused gameplay," which he saw as a manifestation of the metamodern need for effect. The engagement of the usurer during interaction is seen as an expression of "performatism". Narrative VR projects of 2012-2023 focus on complex emotions and feelings, which also correlates with the focus of attention of metamodernism. Projects often explore the experience of Another, which echoes L. Turner's ideas in the “Metamodernist Manifesto ” about technology as a tool for expanding understanding and achieving greater empathy. Narrative VR projects can also portray technology as a way to connect emotionally. The last topic of interest is the body and physicality. According to N. Xruščeva and A. D. Nekrasova, metamodernism tends to focus on the physical senses and treats the body as a source of highly individual existential experience.