Director Stephanie Tripp tells us how she created her experimental immersive essay, Virtual Nekuomanteia.

What lead to the creation of this piece?

As a media scholar and theorist, I love investigating how popular emerging media forms can be used to develop ideas and to share knowledge. I’ve done this with older forms of “new media,” such as web-based interactive narratives, for many years.

Then several years ago I became intrigued by the possibilities of 360-degree immersive environments. As game engines and VR equipment became more available for use by individuals and small teams, I realized that I finally had the tools to do things I had been dreaming about for more than 20 years.

What was the production process like for you and your team? What did you learn?

I’m an independent developer, and I produced this–my first VR project–as a solo project. Aside from the score, which was created by my husband and creative partner, Thomas Cohen, I did just about everything: writing, media asset creation, some 3D modeling and texturing, and interactive coding.

It’s difficult to enumerate all the things I learned on this journey. I discovered a great deal about setting up and troubleshooting workflows between Meta headsets and Unreal Engine, and a lot about materials, lighting, sound design, and other important aspects of VR.

I’m grateful to so many generous people who have shared their expertise online. As an artist and storyteller, I had to learn how to focus my time and attention on a few signature interactions to make my scholarly points. Finally, I learned a great deal by observing friends and colleagues interact with the project during its development. It is both humbling and enlightening to see the gaps between my plans for the experience and how the experience actually played out for others.

How did you become an immersive content creator and why?

It seemed like a natural extension of my scholarly interests and my attraction to non-linear narratives.

What is the AR/VR industry like in your region?

As an academic, I probably don’t have the best insights into commercial activity in my region. I will say that I have some talented colleagues at The University of Tampa working on virtual production and animation.

What do you have planned for the future?

Right now, I’m completing a VR experience that reflects on the mythologies surrounding how Tampa, my hometown, got its name. After that, I’d like to try a game-based fictional narrative.

What would you like to share with fellow content creators and/or the industry?

As a big believer in demystifying and democratizing media technologies, I would encourage anyone curious about working with XR to go for it. The more voices, the more creative approaches, the better for a robust and thriving media ecosystem.

Do you think VR festivals like FIVARS are important?

Festivals willing to support this emerging art form are incredibly important. Working with VR requires an investment in time and technology that many more traditional venues aren’t willing to make. I’m grateful to FIVARS for giving me and other artists the chance to get our work in front of large audiences.

“Virtual Nekuomanteia” will be featured at the in-person event at OCAD University on June 25th and 26th.