First we'll start with a very basic definition:

Quote from: WikipediaImmersion is the state where you cease to be aware of your physical self. It is frequently accompanied by intense focus, distorted sense of time and effortless action.

No exactly right for what we're looking at, particularly the part about effortless action.

A much more lengthy definition appears in Janet Murray's book Hamlet on the Holodeck, where she devotes a chapter to the subject.

Quote from: Janet MurrayWe seed the same feeling from a psychologically immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of being surrounded by a completely other reality, as different as water is from air, that takes over all of our attention, our whole perceptual apparatus.

A lot of writing about Immersion is done from the perspective of videogame immersion, which is more closely related to "Flow":

QuoteNarratives and videogames inspire contrasting kinds of immersion; different brain-states. Caught up in a story, you are cooperative, yielding, in a state akin to hypnosis. In a videogame you are ceaselessly active, in a state of flow. Proposed in the 1990 book Flow: The Psychology of Optimal Experience by Hungarian-born psychologist Mihaly Csikszentmihalyi (pronounced, he says, "chicks send me high"), flow is the zone, the groove - an enjoyable feeling of oneness with the activity.

From the article There is Nothing Virtual About Immersion: Narrative Immersion for VR and Other Interfaces, and gives a good example of narrative immersion:

QuoteBy experiencing a good story well told, we create our own immersive environments, with details unrivaled by electronic media. We are able to see the anxiety in faces, we can hear the excitement in voices, we can smell the food in kitchens, we can feel the hairs on the back of our
neck react to scary situations. Technological additions should complement the immersion already present in the human system. While modern electronic media like film and television can be quite immersive and compelling (which is why examples from these media are referenced below) the traditional art form of oral storytelling offers particularly clear examples of narrative
immersion.

Immersion is something like hypnosis.  It's not so much suspension of disbelief as much as active creation of belief

Quote from: Janet MurrayBecause of our desire to experience immersion, we focus our attention on the enveloping world and we use our intelligence to reinforce rather than to question the reality of the experience.

From the article Two Myths About Immersion:

Quote2. What is immersion?

What is immersion? A look in the Oxford pocket dictionary reveals the definition "mental absorption". In the context of storytelling, I understand immersion to be the state of mind of an individual where he or she excludes the outside world and is totally focused on experiencing another world. This state can be more or less intense. For example, if you read a book that you find uninteresting you might still hear the noise of outside traffic. But it is also possible that you become so absorbed by a good book that you do not even notice that someone is talking to you.

I will now compare this notion of immersion in a storytelling context to some concepts that appear to be similar to it: telepresence, virtual reality immersion, and flow. But as we will see, the phenomenon of immersion cannot be captured by any of these.

2.1 Immersion and telepresence

Immersion has some similarities to the phenomenon of telepresence, as it is discussed within the areas of virtual reality research and computer-mediated work. Telepresence means to be present somewhere without actually being there bodily. An example of telepresence is a human operator who is remote-controlling a robot on the bottom of the sea. The operator "sees" through the robot's cameras and can affect the distant environment with the robot's tools. Immersion is similar to what Draper, Kaber, and Usher (1998) calls "experiental telepresence" in their survey of research on telepresence. However, immersion in the context of storytelling is different from telepresence in several ways. First, it is hard to see a local environment versus a distant environment which are fundamental concepts in respect to telepresence (for instance, it is hard to see what would be information from a distant environment when reading a book). Secondly, and most important, there is no task with related performance in the context of storytelling (telepresence is concerned with work-related contexts where task performance can be measured). So, although telepresence might appear similar to immersion, it lacks several characteristics of the latter. Telepresence is a concept applied in a different domain.

A feature which immersion shares with telepresence is what Draper, Kaber, and Usher (1998) named "the measurement problem". There are no good measures of telepresence apart from questionnaires, which they largely consider undesirable. The same is true of immersion. Measures of immersion or degree of immersion in storytelling contexts have not been made, nor are there any measurements available. We only know that both traditional media and new media can be immersive. But we do not know whether one produces more immersion than the other. We do not even know what it means to say so, since we lack a theoretical explanation of immersion.

2.2 Immersion and virtual reality

Within the area of virtual reality (VR), "immersion" usually has a well-defined meaning. A common definition is Steuer's (1992) which defines immersion in terms of technological dimensions such as the number of sensory dimensions simultaneously presented and the resolution of these channels. In addition, "interactivity" also contributes to immersion. Interactivity in this context means that the user can modify the form and content of the mediated environment in real time. Thus, immersion in the VR sense is a technology-based characteristic.

Now, if one accepts this definition of immersion, then the beliefs "more is better" and "participation is better" become trivially true. Since the definition contains only technological elements, the only thing one has to do to obtain immersion (according to this definition) is to ensure that these elements are present. But what we are interested in in a storytelling context is the feeling of immersion, defined as a mental state, not as a technological characteristic. The VR definition of immersion says nothing about how these technological factors affect the feeling of immersion. Immersion as a mental phenomenon cannot a priori be determined by technological factors. So, we cannot say, by referring to purely technological terms, such as pixel resolution of a display, what effect this will have on the feeling of immersion. These are empirical questions.

2.3 Immersion and flow

When we do something we like and can exercise control over, such as when an athlete does a perfect high jump or when an artist is painting, we can experience a sense of flow. According to Csíkszentmihályi (1992), a flow experience has eight characteristics:

   1. It is a challenge that one is capable of handling
   2. It requires concentration
   3. It has clearly defined goals
   4. It provides immediate feedback
   5. It is an escape from everyday reality
   6. It involves a feeling of control
   7. The self tends to disappear
   8. Time is experienced subjectively, going either faster or slower than real time

Is experiencing a story a flow experience? It depends on how broadly one wants to interpret the eight conditions above. Some of the conditions are clearly met. Experiencing a story requires concentration (condition 2), it is an escape from everyday reality (condition 5), the self tends to disappear (condition 7), and time is experienced subjectively (condition . But is it really a challenge that requires special skill (condition 1)? In one sense, all activities require skills, as, for instance, distinguishing a chair from a table. But this is not the kind of skill involved in a flow experience. Reading a story does require special skills and is not mastered until years of practice. But what about listening to a story? Understanding a story appears to require skills mostly at an unconscious level. Even if these skills are learned, they are not learned consciously. Does experiencing a story have a clearly defined goal (condition 3), provide feedback (condition 4), and involve a feeling of control (condition 6)? I think none of these conditions are satisfied when it comes to stories. This is because experiencing a story is not a task at which one can consciously train and improve one's performance, as in golf or chess. Experiencing a story is not a challenge that requires special skills that one can improve in order to achieve control1. It is surely a rewarding experience but it is not a flow experience.

2.4 What is immersion, then?

In conclusion, the concepts of telepresence, technologically defined immersion, and flow can not explain the phenomenon of immersion when experiencing a story. These concepts apply do different domains and cannot be transferred to a storytelling domain without modification.

A tentative characterisation of immersion in a story context would include the following elements:

    * Attention is directed at the storytelling source (text, voice, images, etc.) (This creates the flow conditions 5, 7, and 8 above as side effects)
    * Mental construction of a story world, a plot (temporal and causal connections between events) and possibly other story elements, such as genre
    * An emotional state, as a response to elements in the story

A possible way to measure immersion would be to measure people's ability to detect vague stimuli while experiencing a story. One could put people in various immersive situations and measure how faint a stimulus (visual or auditory) they react to. But without a better theoretical explanation of story immersion, such tests will only be preliminary. In the meantime, we have to rely on an intuitive understanding of the concept. This should be sufficient for the point of this paper, which is to examine the validity of two claims about immersion.

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I'll add more links and quotes to this entry as I find them.

Good stuff.

Whenever I say I play RPGs for the immersion, I get lumped into the 'amateur theatre' category of gamers. That's not it at all. My players and I like to immerse ourselves in a setting, not our characters. Our characters are simply our eyes, ears, and hands in that setting. They give us a physical and narrative point of view. But it isn't really about the characters and their histories, personalities, and ambitions; it's about the fictional world and the actions we take in that world.

And that fictional world does not have to simulate the real world or an established setting from books or movies. It just has to be a cool and evocative place to explore.

So it's not about pretending to be an elf. Or about simulating a realistic assault on a fortified tower. It's about being in a shared imaginative space.

I think that a definition as broad as the one you are proposing is going to be fairly useless for making practical suggestions because it's going to include several different approaches to play that have nothing in common with each other.  Worse, it might encourage people to think that they have more in common than they really do so that they'll start making assumptions that techniques that work for one style of "immersion" should work for others when, in fact, they don't.

This is the same problem suffered by the Forge "Simulation" category.  Once they used a definition of "Simulation" that included both story-based genre elements and verisimilitude-based concerns, they were putting two things in the same bucket that have very little to do with each other.  Sure, you can use a definition of the word "simulation" where both seem to fit together but that's the wrong way to do theory.  Don't start with a word and see what you can fit into that word.  Start with what people are doing, group the things they do into like categories that work well together, then label the categories.

Quote from: John MorrowI think that a definition as broad as the one you are proposing is going to be fairly useless for making practical suggestions because it's going to include several different approaches to play that have nothing in common with each other.

I think it's saying something quite specific.  It's also not a term I'm inventing for RPG Theory discussions on the Intarwebs.  It's something people are already discussing.

Quote from: StuartI think it's saying something quite specific.  It's also not a term I'm inventing for RPG Theory discussions on the Intarwebs.  It's something people are already discussing.

Correct.  But this is a discussion board about RPGs.  And to quote the description of this particular category, "Here we use Theories based on what we know to work, to make new games, new mechanics, new settings, new whatever. This isn't a place to just chitchat about theory, its where we USE it!"

OK.  You've got a description of "immersion".  Now what?  How do you actually use it?  And if two players identify what they enjoy as "immersion", are they likely to enjoy the same sort of game?  If I suggest a technique that helps me "immerse", is it likely to be useful to someone else who says that they "immerse"?  What's the purpose of putting things into a common category if you can't make practical generalizations about everything in that category when it comes to actual game-play?

Perhaps I'm jumping the gun on you here, but humor me.  You've got a definition of something that people claim that they want in a role-playing game.  How might you translate your definition into practical play advice if people say that they want "immersion"?

My eyes glaze over at immersion discussions precisely because they amount to arguing over use of a term that clearly means different things to different people...or, in some cases I suspect is actually meaningless or irrelevant to some of the parties, so they grasp at something they're familiar with to slot under the term.

If people think of immersion as anything other than "seeing/acting in the world from the perspective of the character", I'm not that interested in it personally. As an analytical tool I'd rather that the word "immersion" be an immediate flag for the researcher to ask the other person to elaborate on what they mean when they say they value "immersion" when they play an RPG.

Quote from: John MorrowOK. You've got a description of "immersion". Now what? How do you actually use it? And if two players identify what they enjoy as "immersion", are they likely to enjoy the same sort of game? If I suggest a technique that helps me "immerse", is it likely to be useful to someone else who says that they "immerse"? What's the purpose of putting things into a common category if you can't make practical generalizations about everything in that category when it comes to actual game-play?

Perhaps I'm jumping the gun on you here, but humor me. You've got a definition of something that people claim that they want in a role-playing game. How might you translate your definition into practical play advice if people say that they want "immersion"?

I think the relationship between interactivity and immersion is an interesting one.  In the last article I linked the author suggests that by increasing the amount of interactivity -- the amount of choices the player makes in the game -- the level of immersion is decreased.  I'm not yet sure how I feel about that, but it's worth considering.  It might also explain why some players seem to enjoy "railroaded" games, or say things like "I don't like rolling the dice because it breaks my sense of immersion".

The article also talks about increasing the amount of detail and how that too can decrease immersion.  So if while you're GMing you're giving your players too much detail about unimportant things, you might be making the game less immersive.  Also something to think further about.

I'm very interested in thinking more about this, hearing other peoples thoughts and seeing where it takes us.

I'm *not* interested in jargon, or arguing about terms.  I'm going to use "Narrative Immersion" to attempt to keep this seperate from Flow and Immersive VR concepts, but ultimately what we do with the ideas is a lot more important (and useful) than what we call the thing.

Quote from: StuartThe article also talks about increasing the amount of detail and how that too can decrease immersion.  So if while you're GMing you're giving your players too much detail about unimportant things, you might be making the game less immersive.  Also something to think further about.

And, see, this is where I think the whole thing starts to break down.  When I'm "immersed" in my character (thinking in character -- to the point where my characters have done things for subconscious reasons that I didn't understand), the GM can give me boatloads of in character detail and that can actually draw me into the game, because it's engaging the perspective through which I'm immersed.  But out of character details, like complex systems, cut scenes, and books of setting background that are irrelevant to my character can hurt immersion for me.  In other words, if the GM is engaging me through the point of immersion (my character), it's good for immersion.  If the GM is engaging me through some other frame of reference (e.g., the system, "Pass me the Cheetos", etc.), that's bad for immersion.  So without actually defining how or into what the player is immersed, I don't think you can make generalizations like you are trying to here.

Quote from: StuartI'm very interested in thinking more about this, hearing other peoples thoughts and seeing where it takes us.

What are you looking to get out of it?  And could you describe your own immersive experiences, if you've had them?

Quote from: StuartI'm *not* interested in jargon, or arguing about terms.  I'm going to use "Narrative Immersion" to attempt to keep this seperate from Flow and Immersive VR concepts, but ultimately what we do with the ideas is a lot more important (and useful) than what we call the thing.

Why are you calling it "Narrative Immersion"?  Why are you assuming the "narrative" is what people will get immersed in?

Quote from: Elliot WilenIf people think of immersion as anything other than "seeing/acting in the world from the perspective of the character", I'm not that interested in it personally.

And one of the things that drives me nuts about the new wave of discussion about "immersion", much of it driven by the Forge diaspora with their story-oriented focus, is that they never seem to take that particular form of immersion into account and it never seems to cross their mind that it happens or that other players do that.

Quote from: John MorrowAnd, see, this is where I think the whole thing starts to break down. When I'm "immersed" in my character (thinking in character -- to the point where my characters have done things for subconscious reasons that I didn't understand), the GM can give me boatloads of in character detail and that can actually draw me into the game, because it's engaging the perspective through which I'm immersed.

You're talking about something else.  You're talking about being immersed in your character (thinking in character -- to the point where your characters have done things for subconscious reasons that I didn't understand).  I'm not.

Quote from: John MorrowWhy are you calling it "Narrative Immersion"? Why are you assuming the "narrative" is what people will get immersed in?

I'm calling it that because that's what other people are calling it.  It also keeps it seperate from the concept you're describing, which is an other kind of immersion.  I don't know what other people are calling that, but I'd suggest something like "Immersive Acting".  

The concept I'm talking about has more to do with being immersed in reading a book, watching a movie, or being told a story.  I get this all the time from watching a good movie, reading a good book, or being in an RPG where it's not all rules bickering, tactical combat, or goofing about and telling jokes.  Those things are all fine, but they don't help with the "immersion".

The concept you're talking about is more linked to performance.  I've had that kind of immersion too, when doing improv acting, or being on stage and getting really into character.

If there's a better set of words I'll use them, but I do *not* want to make up gibberish words, or use words in ways the rest of the world isn't.  So for now "Narrative Immersion" is as close as I've got.

Quote from: John MorrowAnd one of the things that drives me nuts about the new wave of discussion about "immersion", much of it driven by the Forge diaspora with their story-oriented focus, is that they never seem to take that particular form of immersion into account and it never seems to cross their mind that it happens or that other players do that.

People absolutely do that.  Like I said, it's linked to performance, and a very important part of the LARP scene.  There's lots of writing about that over in Scandinavia, and it's very interesting.

Not what I'm talking about right now though.

Quote from: John MorrowAnd one of the things that drives me nuts about the new wave of discussion about "immersion", much of it driven by the Forge diaspora with their story-oriented focus, is that they never seem to take that particular form of immersion into account and it never seems to cross their mind that it happens or that other players do that.

That was the first thing that twigged me to the fact that Forge theory is a load of crap; the theorists all seem oblivious to the style of play I've always prefered - a style that I've never considered especially uncommon. That showed me that the Forge theorists are people who already have particular notions of what they want out of RPGs, and those notions are fundamentally contrary to what everyone I've played with wants.

I have a serious, if naif, question.

When people talk about "immersion" and "choices or die rolling break my immersion"...

I don't know, it sounds kind of like a light dream or something.  I've seen people use the term "I forget where I am or what I'm doing, I'm so into the game".

I mean, no matter HOW into the game I am, I never lose sight of the fact that I'm sitting around a table jawing about pretending to be a Jedi Knight.  I can speak in character, and decide things from the perspective of my character, but I never lose sight of the fact that I'm sitting on my fat middle-aged ass around a table, drinking Guinness and eating too much sharp Cheddar or Stilton.

Seriously, what am I missing?

Quote from: Old GeezerI have a serious, if naif, question.

When people talk about "immersion" and "choices or die rolling break my immersion"...

I don't know, it sounds kind of like a light dream or something.  I've seen people use the term "I forget where I am or what I'm doing, I'm so into the game".

I mean, no matter HOW into the game I am, I never lose sight of the fact that I'm sitting around a table jawing about pretending to be a Jedi Knight.  I can speak in character, and decide things from the perspective of my character, but I never lose sight of the fact that I'm sitting on my fat middle-aged ass around a table, drinking Guinness and eating too much sharp Cheddar or Stilton.

Seriously, what am I missing?

You never lose sight of the fact you're in a movie theatre watching a film, and not in fact in a world full of Jedi Knights.  It's the same idea.

I guess the things that break the immersion in the theatre would be the person next to you talking, a heckler, etc.

Now, I think immersion is important... but I think gameplay is also important so the "no choices" and "no dice rolls" stuff doesn't work for me.  Still thinking about that...

Quote from: StuartYou never lose sight of the fact you're in a movie theatre watching a film, and not in fact in a world full of Jedi Knights.  It's the same idea.

Yep. I actually have scenes in my memory of stuff that happened in RPG games - scenes as vivid as my memories of movies. I can see the giant crab, faintly illuminated by the glow from green fungus, scuttling across the flooded chamber beneath the shrine of Tamoachin, waving its claws. If I stop and think, I can remember that I was playing in Mike's parent's basement at the time, sitting on a lurid orange couch. The two memories were created in tandem.