Description: Is there a significant difference in attitude between immersion in a game and immersion in a movie or novel? What are the new possibilities for representation offered by the emerging technology of virtual reality? As Marie-Laure Ryan demonstrates in Narrative as Virtual Reality, the questions raised by new, interactive technologies have their precursors and echoes in pre-electronic literary and artistic traditions. Formerly a culture of immersive ideals -- getting lost in a good book, for example -- we are becoming, Ryan claims, a culture more concerned with interactivity. Approaching the idea of virtual reality as a metaphor for total art, Narrative as Virtual Reality applies the concepts of immersion and interactivity to develop a phenomenology of reading.

Ryan's analysis encompasses both traditional literary narratives and the new textual genres made possible by the electronic revolution of the past few years, such as hypertext, electronic poetry, interactive movies and drama, digital installation art, and computer role-playing games. Interspersed among the book's chapters, Ryan includes several "interludes" that focus exclusively either on key literary texts that foreshadow what we now call "virtual reality", including those of Baudelaire, Huysmans, Ignatius de Loyola, Calvino, and science-fiction author Neal Stephenson, or on recent efforts to produce interactive art forms, like the hypertext "novel" Twelve Blues, by Michael Joyce, and I'm Your Man, an interactive movie. As she considers the fate of traditional narrative patterns in digital culture, Ryan revisits one of the central issues in modern literary theory -- the opposition between a presumably passive reading that istaken over by the world a text represents and an active, deconstructive reading that imaginatively participates in the text's creation.

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