Elon

University


Virtual Reality: A Case Study in the
Entertainment, Advertisement, and
Journalism Industries

An examination of The Mr. Robot Virtual Reality
Experience, Ford Motors The Return to Le Mans,
and The Displaced

Michael Somerby

Great Ideas: Issues & Research

Professor Vanessa Bravo

4/27/17

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Abstract

Over the last half-decade, people have witnessed the (formerly) furthest reaches of science

fiction come to life. Entire genomes are now tested for under $200 dollarsthe process

takes about 2 months due to backlog, a minor price for this miracle of science; self driving

cars and public transportation vehicles are not just a part of Star Trek and similar space

adventure narrativesthey exist on the commercial market today; and, of the many

advances, there is a new and tangible dimension: virtual reality, and it has the means to

alter the channels of communication as we know them. In its current infantile

manifestation, virtual reality allows us to feel the presence of people and places we will

never touch nor visit, to understand the essences of events we will never physically

experience, and these sensations will intensify dramatically as additional sensory

hijacking technologies supplement the audiovisual VR feats already in distribution. For

now, the brave creatives entering the VR realm are pioneers, beckoning comparison to

those who created, tested, and then pushed the boundaries of the first ever cameras and

televisions. They operate in a wild-west industry, but several breakthrough films and

companies have set the tone and course indefinitely.

I Introduction

This paper, entitled Virtual Reality: A Case Study in the Entertainment,

Advertisement, and Journalism Industries, is a study examining the ways select VR film

ventures have begun to reshape the respective arenas of communication, and how they will

continue to do so for the following decade(s). For each distinct industry, this paper will

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describe a specific case as a means to demonstrate the impact on said industry and its

typical consumer. Finally, this paper aims to underscore the significance of using a VR

experience in these breakthrough storytelling capacities.

For the entertainment industry, this paper will examine, The Mr. Robot virtual

reality Experience, a sub-episode of the hit, Emmy Award winning USA Network series (it

was the first ever major series episode done in virtual reality). For an advertisement and

public relations venture, this paper will examine Ford Motors, Return to Le Mans, which

chronicled Fords racing team in a grueling 24-hour race. Finally, for an example of

journalistic application, this paper will examine The Displaced, The New York Times

award winning VR piece on the lives of three refugee children.

II Literature Review

Virtual reality is both a budding technology and concept. Just as the concept of a

camera was formed relative eons before the printing of the first ever first photograph, so

too was the concept of virtual reality conceived far before the first technologies were

manufactured to support the dream. This point is a point of emphasis because much of the

literature on virtual reality in a modern context takes a specific example of usage, and then

applies that usage to grander, increasingly speculative possibilities. Regardless, through a

blend of curated sources and source types, this paper will approach the focuses of its

primary themes with the necessary detail.

In 1685, a German inventor by the name of Johann Zahn constructed the precursor

to all modern camera devices (The History of the Camera Obscura, n.d.). The genius of his

invention, however, was not fully recognized until 1816, when French inventor Nicphore

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Nipce printed the worlds first photograph, on paper coated with silver chloride, using a

small camera of his own making (The Editors of Encyclopedia Britannica, 2009). In 1845,

English scientist and inventor Francis Ronalds fashioned a movie camera forerunner, a

device that drew film mechanically over the aperture to allow continuous recording

(Ludford, n.d.). Much like Zahns, the value of Rolands brain child came to light far later,

when Thomas Edison, a respected scientist from the United States, filed a patent for a

Kinetographic camera design in 1897 (History.com, n.d.). This improved model boasted

electric motors that tugged along sprocketed ribbons of film, a technical foundation for

filmmaking that spanned the next hundred years. Finally, the television had existed in

experimental stages for decades before breaking onto the commercial market following

World War II (Stephens, n.d.).

The still camera, video camera, and television (and their blended purposing) are

inarguable titans of visual media, the vanguards for rapid change in procedures and

creative boundaries over the last century. Much like the three aforementioned inventions,

essential tools for modern, distributable, visual storytelling, virtual reality is making its

way onto tech radars worldwide. It has the potential to change visual storytelling in

unforeseeable ways, and already has been applied to the three primary uses for visual

communications: entertainment, advertisement, and journalism (or some combination of

the three).

While it may seem far flung, and impossibly science fiction, the concept of a

constructed virtual reality goes back further than the technologies that support its current

incarnation. For example, artists for centuries have painted panoramic murals for a semi-

immersive art experience (How did virtual reality begin?, 2016). Another example is that

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championed by French playwright Antonin Artuad (How did virtual reality begin?, 2016),

who like many theater directors believe the audiences suspended disbelief is essential

for true theater, in hopes said audience temporarily adopt the reality on stage as the only

one. In the 1920s, aviation pioneer Edwin Link developed the worlds first ever flight

simulator (How did virtual reality begin?, 2016). In 1962, VR pioneer Morton Heilig

patented the Sensorama, a machine equipped with a viewing screen in an enclosed booth

(images were stereoscopic, just as the naked eye sees a scene from two slightly different

angles, providing depth), oscillating fans, speakers, and scent emitters (History of Virtual

Reality, 2016). In 1968, American computer scientist and Internet pioneer Ivan Sutherland

created a head mounted display (like modern goggles), yet his device was so heavy it

required mechanical suspension, rendering the device impractical for everyday civilian use

(History of Virtual Reality, 2016). In 1970, researchers at the Massachusetts Institute of

Technology developed an interactive map of Aspen, Colorado, complete with walkthrough

simulation (How did virtual reality begin?, 2016). In the 1980s, NASA adopted the young

tech and integrated it into human-computer interaction tests (How did virtual reality

begin?, 2016). In the 1990s, writer, philosopher and computer scientist Jaron Lanier raised

public awareness for VR, marketing a number of VR items during the decade (How did

virtual reality begin?, 2016). Unfortunately, his failure to deliver genuinely impressive VR

content caused a decline in public interest. It wasnt until the late 2000s that large

corporations such as Samsung, Sony, and Google took new stabs at the technology,

throttling the possibilities to where they are now. The applications outside of journalism,

advertisement, and entertainment remain endless; military, retail, education, courtroom

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application, healthcare, manufacturing, museums and VR tourism, and astrophysics are just

a few potential uses for virtual reality (Sheikh, 2016).

According to Biocca and Levy (2013), (VR is) a tantalizing communication medium

whose essence challenges our most deeply held notions of what communication is or can

be. To legitimize this claim, citing the examples of The Mr. Robot Virtual Reality

Experience, Return to Le Mans, and The Displaced, critics agree that virtual reality

works in these mediums for these types of stories. An article from CNBC titled, Episodic

virtual reality content could transform consumer entertainment, discusses the clear

financial incentives of episodic uses in VR (Chandran, 2017). CNBC also touched upon the

advertising benefits, in an article debating if VR is, the next big thing in advertising

(Crabtree, 2016). Anne Cassidy (2015) reaffirms this notion, citing General Electrics recent

partnership with The New York Times to share VR advertisements on the sources new

mobile app. GEs global CMO, Linda Boff, said, For the brand and user the intimacy of VR is

really dramatic, (Cassidy, 2015) The results, scholars and research agencies agree, are

equally dramatic in journalistic applications. The authors of The State of VR postulate,

News organizations have produced powerful journalistic storytelling that aims to use VR

to create a deeper connection between subject and viewer that can give people the sense

that they are being brought to places where they otherwise would not be able to go, an

achievement which gets at the crux of good journalism (Doyle, Gelman, Gill, 2016). The

Columbia Journalism Reviews Erin Polegreen (n.d.) calls VR, Journalisms next frontier,

Upload (an online video tech publication) insists VR will thrive in the film industry (Jones,

2016), Quartz (an online business publication that specifies in agents of change) argues

entertainment on the whole will become less passive (Melcher, 2016), Caleb Garling

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(2015) of Wired.com and VR Director Chris Milk (2016) agree on the profound influence

VR will have on generating empathy, and financial publication titan Forbes Magazine has

even stated VR is the next big (advertising) medium (Hof, 2015). It is clear VR has not only

arrived, it is here to stay.

This papers sources boast a balance of voicesfrom those at universities, to

journalistic publications, books, financial institutions, and advertisement outletsand each

will contribute to the papers final product.

III Methodology

This is a case study of three individual examples of the utilization of virtual reality in

three different fields. For entertainment, this paper examines USA Networks The Mr.

Robot Virtual Reality Experience as a field example; for advertising, the paper examines

Ford Motors Return to Le Mans as a field example; for journalism, this paper examines

The New York Times VR film, The Displaced. Each case will be described using the

analysis of industry critics and producers (e.g. VR Director Chris Milk, Upload.com author

Awane Jones, and the Columbia Journalism Reviews Erin Polegreen) as a means to qualify

the successes of VR as it pertains to achieving an entertaining, convincing, or informative

nature, respective to the end goal of each industrys discipline. Using the experience of

professionals, and their analyses, this paper will give feedback as to where each field sits

with VR usage, and where it is likely to go.

Using Google Scholar, Google, and YouTube, 35 sources were curated in order to

offer a specified, in-depth description and analysis for this case study. Each source offers a

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critical piece of information, whether it cements the base terminology and ideas of VR, or

discusses higher concepts of virtual reality film as a whole.

Since there is little reliable qualitative data at this early stage, and since this is a

study conducted through case-by-case examinations, the paper will rely heavily on

quotations from industry experts, critics, and a few expert consumers in order to properly

establish a paper that makes efforts to answer research questions and reinforce themes.

IV Body

VR in Entertainment

Mr. Robot, a USA Network drama series created by Sam Esmail, is a nouveau treatise

on the state of global corporate corruption and domination of the minute details of our day-

to-day lives. It is both dark and biting, and widely accepted as one of the most popular

shows on television today, earning numerous competitive awards such as the Golden

Globes 2016 Best Television Series, the Primetime Emmy Awards 2016 Outstanding

Lead Actor in a Drama Series, The American Film Institutes 2016 TV Program of the

Year, and the Critics Choice Television Awards 2016 Best Drama Series, among dozens

of other awards and nominations (Awards, n.d.).

A loose plot description is as follows: Elliot Alderson (Rami Malek), a talented

cybersecurity engineer in New York City, initially and privately uses his talents as a hacker

to expose individuals for their crimes committed online (e.g. circulating child

pornography). He suffers from social anxiety disorder, dissociative identity, and clinical

depression. Eventually, an anarchist hacking group known as fsociety, headed by the

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infamous, Mr. Robot, notices Elliots talents. The primary objective of fsociety is to

dismantle, piece by piece, E Corp (referred to as Evil Corp), a corporation with a hand in

even the smallest of lifes affairs (E Corp is composite creation of many of todays real

companies that control everything from what we see on the internet to genetically

modified organisms for food). The universe of Mr. Robot, to me, is remarkably familiar to

that of 2017, and therefore that much more engaging.

While typically consumed on flat screens, such as televisions or computers, the tech

heavy themes of the Mr. Robot beckon an equally techy outlet for viewing purposes. Writer

and director Sam Ismail then decided to use VR as a means to tell Elliots story, with

remarkable success, earning critical and fan acclaim, just another feather in the cap for the

series (Butler, 2016). In the context of using VR as a means for series and film-based

entertainment, it was a massive step, proving to creators and networks alike that series-

based storytelling done in VR is not only feasible; its quite enjoyable.

Several articles following the initial simulcast at 2016s San Diego Comic-Con,

incidentally the largest simulcast ever (Bishop, 2016), reflected on the event marketed by

USA Network with the following sentence: Step inside the world of Mr. Robot like never

before (Mr. Robot Virtual Reality Experience, 2016). According to The Shorty Awards, an

annual awards show, recognizing the people and organizations producing real time-short

form content across Twitter, Facebook, Tumblr, YouTube, Instagram, Vine, and the rest of

the social web, The critical and fan response to the Mr. Robot Virtual Reality Experience

has been incredibleThe press around the VR premiere at Comic-Con generated over

450MM media impressions and the coverage was overwhelmingly positive, calling out the

fact that it offered real storytelling in the virtual reality mediumAfter six months, the Mr.

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Robot Virtual Reality Experience has been viewed nearly 1.4M across all platforms, (The

Shorty Awards, 2016). That figure is impressive considering the technology needed for

proper viewing has barely permeated the market (Cassidy, 2015).

Bryan Bishop of The Verge, an online publication covering the intersection of

technology, science, art and culture, is one such member of the press to commend the

successes of the VR piece. In an article titled The Mr. Robot VR experience isnt a

gimmickits true storytelling, Bishop wrote, Its not just a matter of having a VR

experience that enriches and expands upon an existing serialized story; its about having a

distinct creative voice trying new things in a new medium (Bishop, 2016). He had

previously written, If it sounds like Im breaking this down more as a film than a

technology experience, thats because I am. Its Gear VR (the headset model) presentation

may be pixelatedbut theres real voice in Esmails VR piece, (Bishop, 2016). It is not

difficult to recognize the groundbreaking achievement of Esmail, considering that all

filmmakers try to achieve just thata voicein whatever they create.

To provide an idea of what the experience may have felt like to some participants,

turn to Kenneth Butler of Toms Guide, self-described as a technology-focused website

owned and operated by Purch. Purchs mission statement: To help you buy and use

devices and decide when you should (and shouldnt) trade up. Butler wrote, Im sitting on

a ragged, yellow couch in a small apartment in Chinatown, and next to me is the enigmatic

hacker Elliot Alderson. Hes smoking a joint as he talks about the power of memories to

drudge up forgotten pain. He turns, looks me in the eye, then exhales his smoke into my

face...None of that, not even the man sitting on the couch, is real, but it feels close. In short,

the virtual reality aspect was fully achieved, and considering the sentence, Viewing this

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experience in the Gear VR gave this vignette a realness that wouldnt necessarily have been

felt by watching it on a regular television, (Butler, 2016), Esmail and his team carved out

grounds to legitimize using VR for series-based entertainment purposes forever.

VR in Advertisement

The advertisement industry has morphed considerably over the last decade.

Advertisement is increasingly data driven, mobile intensive, geared towards younger, tech

savvy consumers, and social media intensive (Widhelm, 2015). Most relevant to this paper,

ads are becoming increasingly interactive as human-to-tech interface becomes easier and

more feasible. Because of this, advertisers and marketing teams are beginning to turn

toward VR as the next and newest powerful means to market and sell (Crabtree, 2016).

One of the first companies to do this, Ford Motors, created a VR film in the summer

of 2016, chronicling the success of their cars at the 24-hour Le Mans endurance car race.

Ford had not been a contestant for over 50 years, yet won in stunning fashion (Ford GT

Racing, n.d.).

Much like a paid post on native ad on a print medium, advertising methods used

consistently by Ford, the company again disguised advertisement as something entirely

differenta film. One watches this piece as if it were nothing but mere journalism, only to

be left thinking about the prowess of a Ford vehicle compared to those of competitors such

as Porsche and Ferrari (Ford makes emphasis of a duel between Ferraris car and their

own, one in which Ford ultimately comes out on top). This is far more covert form of

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advertising than a paid-post, but the ideas behind the use of VR are quite similar in that it

is as informative of a product or event as it is attractive and worthy of consumption.

Regardless, Ford should be praised for such an incredible leap in advertising

method. The company has even launched an app called Ford VR, which boasts several VR

films documenting their cars and drivers (Introducing Ford VR: The Closest Thing to the

Real Thing, n.d.). Our first Ford VR release took you behind the scenes, in the pits, and

behind the wheel of the Ford GT at the 24 Hours of Le MansThis is just the beginning. Let

the Ford VR app be your portal to a whole new world of stories and experiences, all

available in the palm of your hand. This word, portal, could be used as a blanket term for

all successful VR ventures, as that is what the technology should be used asa portal into

new worlds to communicate ideas in revolutionary new ways. And it is one thing to tell

someone about Fords car opening up to 200mph on straightaway, and its another to put

them in the passengers seat so it is experienced first hand (and due to the hijacking of

auditory and visual stimuli, the body reacts internally as if it is truly moving at these

speeds, an incredible fact of science, if nothing else (Metricbuzz, 2016). WXYZ of Detroit

(the local ABC of Detroit outlet) wrote, The new app aims to give people a unique

perspective of the auto company, (Bahou, 2016). In advertising, unique is often good, and

Ford, a company whose image has suffered during the years of decay of American

automobile manufacturing, certainly realizes this.

According to the Guardians Anne Cassidy (2015), by 2020 the VR industry will have

sold 30 millions headsets globally. By that indication, VR will have staked a claim as

commonplace, and this is just an estimate, and through massive holiday-timed ad

campaigns by Samsungs VR department and Playstation, it is impossible to fully measure

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the extent of VRs tendrils into modern society by that year mark. In a CNBC article by

Justina Crabtree titled, Virtual reality: the next big thing in advertising?, she quoted Hope

Frank, CMO of advertising automation platform, Kiosked: selling an experience has

become a critical part of [its] success...(allowing the consumer to) explore the experience in

an exciting new way prior to any purchase decision is highly valued by the luxury travel

segment, transportation, hospitality and many more, (Crabtree, 2016).

Forbes contributor Robert Hof (2015) answers the questions in Crabtrees article in

a report titled, Virtual Reality: The Next Big Advertising Medium Is Here. Hof does

nothing to deny the lack of solid VR technology at this point in time, saying, Virtual reality

is scarcely more than an expensive toy today, but advertisers are already salivating over

the possibilities of reaching people with commercial messages while theyre immersed in

their Oculus Rift headset, (Hof, 2015) but this is exactly the resource Ford has tapped into,

the immersive nature of communicating an idea once inside the virtualized reality. Hof

even mentions that tech innovator and speculator Mark Zuckerberg has called VR the next

great communications medium, a resounding endorsement from a legendary wunderkind

of Silicon Valley. Hof (2015) also delves into the fact that e-commerce is extremely flat,

and that executives view the new technology as a shopping experience unlike any other,

leaving room for creative invention and intervention alike. He quotes Mitch Gelman, VP of

product for Gannett Digital: Were creating native ad opportunities within the VRIts a

perception changer for usand a perception changer for any advertiser that wants to

associate with a new frontier in media, (Hof, 2015). Essentially, by using the term native,

Gelman is suggesting that the advertising experience is either so covert or enjoyable that

the pesky nuance of being sold a good dissipates, a remarkable and holy grail-esque step in

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the world of advertising. And despite Hofs claim that VR is just an expensive toy, Think

With Google, a research and insight outlet for the marketing industry, claims, Global search

interest (for VR) on Google grew by nearly 4X in the last year, (Luber, 2016). This spike

was recorded between June 2015 and June of 2016, which is somewhat incredible

considering VRs relatively novel stages of development in that time frame compared to

todays products (Eadicicco, 2017).

VR in Journalism

The use of virtual reality as a means for journalistic ventures is perhaps the most

complex and abstract example in this paper. This is chiefly due in part to the fact that rarely

do journalistic films (e.g. documentaries or news packages) allow time for thorough

setupinstead, they are what they are due to spontaneity. For a journalistic VR filmmaker,

there are many issues that arise because of this, namely issues of camera movement and

lighting (Movement in VR, n.d.). Nonetheless, several news organizations including The

New York Times and Vice have successfully used the technology in several breathtaking, and

equally moving ventures (Steel, 2015, Hanlon, 2016).

This paper will focus on The New York Times The Displaced as the primary

example of use of VR in journalism. The Displaced followed three refugee children from

around the globe; 11-year-old Oleg (boy) from eastern Ukraine, 12-year-old Hana (girl)

from Syria, and 9-year old Chuol (boy) from South Sudan (Silverstein, 2015). Two have lost

family members, and all three have lost their homes, either to a forced migration or

destruction as a result of war (or both). The film was a first for The New York Times.

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According to The New York Times, this new filmmaking technology enables an uncanny

feeling of connection with people whose lives are far from our own. By creating a 360-

degree environment that encircles the viewer, virtual reality creates the experience of

being present within distant worlds, making it uniquely suited to projects, like this one,

that speak to our senses of empathy and community. What better use of the technology

could there be than to place our readers within a crisis that calls to us daily with great

urgency and yet, because of the incessancy of the call, often fails to rouse us at all?

(Silverstein, 2015).

Director Chris Milk, known for his use of cutting edge technologies to produce films

and other pieces of visual art, calls virtual reality the ultimate empathy machine, a nod to

the Times writing, speak to our senses of empathy (Milk, 2015). In his 2015 TEDTalk,

Milk said, Is there a way that I can use modern and developing technologies to tell

stories in different ways and tell different kinds of stories that maybe I couldnt tell using

the traditional tools of filmmaking?So I started experimenting, and what I was trying to

do was build the ultimate empathy machineSo, when youre inside of the headsetyoure

looking around through this worldAnd when youre sitting there in her (an unrelated

Syrian refugee girl in one of Milks films) room, watching her, youre not watching it

through a television screen, youre not watching it through a window, youre sitting there

with her, (Milk, 2015). This sounds like the jackpot for a journalist, a person that by nature

agonizes over each word choice or frame choice to best describe what it is like to be inside

another world. And for a professional storyteller, what better way to cut to the chase than

to put a reader or viewer literally inside of that world altogether? The Columbia Journalism

15
Review has even gone as far as to report that VR should be implemented in any newsroom

trying to tell stories in new, innovative ways (Polegreen, n.d.).

V Conclusion

Virtual reality, used in all three of the primary branches of visual communications,

has made its mark; both critics and everyday consumers have experienced positive

emotional responses to works seen within a headset, The Mr. Robot Virtual Reality

Experience, Return to Le Mans, and The Displaced being of no exception. In fact, these

three pieces may be considered one day as the original seeds, the revelatory films of virtual

reality. Regarding, The Mr. Robot Virtual Reality Experience, Bishop (2016) called the

experience true storytelling, a feat considering the initial skepticism; The Return to Le

Mans, is one of the few native (Hof, 2015) VR advertising experiences, rendering it

cutting edge; finally, The Displaced, is a universally lauded piece, a shining example of

what the Columbia Journalism Review deems necessary for modern news rooms. These are

but a few of the positive nods received by each piece, and given the successes of these three

pieces, others will follow, whether produced by speculative creators trying to get a hand in

the action or by the existing wave of industry pioneers. I believe that these breakthrough

films, made by innovative filmmakers and companies, will set the tone for years to come,

undoubtedly shaping the ways in which we communicate entirely. We live in an amazing

time, at the intersection of where science fiction meets realityand in the case of the VR,

the two entities are anything but mutually exclusive.

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