With the constantly evolving technology of immersive experience, this study ana-lyzed cases of various immersive user experiences. Characteristics of immersive user experience were classified into interactivity, virtuality, information processa-bility, presence and body ownership. When immersive user experiences are ap-plied to fields such as cultural content, advertising marketing, social VR, and connected car platform, innovative services and content for users are developed and meaningful insights into future immersive experience technology and social influences are derived. Lastly, problems to be solved were pointed out, such as the problem of human factors that cause visual fatigue, content copyright, and government regulations.
be reproduced. ICT technology enables fast network processing speed to process highdefinition content, 360-degree video camera technology that can move 4K or higher image quality freely, and technologies such as stereo sound, connect with multi-experience environments such as mobile, automobile, and wearable devices, there-by enabling the environment surrounding us to become a computing environment. In the future, artificial intelligence (AI) technology is expected to combine AR and VR to provide a more advanced immersive user experience. For example, a virtual chef helps me cook, or a health tracking device analyzes my heart rate changes or sleep patterns to help me manage my health.
When it comes to immersive technologies, devices, and content development, the challenge is for all companies to create new experiences for their users. The key to problem solving is to provide a natural environment in which users can immerse themselves and interact with virtual objects. 2
The core characteristics that embody the immersive user experience are summarized as interactivity, virtuality, information processability, presence and body ownership.
When users are feeling “really involving” and “really using” going beyond simply “see”,
they can have ‘realistic’ experience. Interactivity depends on how speedily, and naturally
they can map and range content or services in the way as they want, within the virtual
environment [
Virtual reality is a space that embodies a specific world regardless of whether it exists
or not: A world made of computer graphics such as text, images, and video. Milgram
and Kishino described it as a 100% virtual world where users can immerse and interact
in a perfect state [
This is how information is delivered to users through various sensors, which the media
have described as media richness [
For example, a headset audio system that orients sound signals according to the
user’s viewing direction maximizes visual and audible sound effects to enhance user
satisfaction and immersion. The real-time emotional response vehicle control system
of the car, introduced at CES in 2019, optimizes the vehicle’s interior space according
to the driver’s emotion and situation in real time by integrating and controlling the five
senses elements in the vehicle in real time. In other words, based on AI, camera and
various sensors, it automatically adjusts music, temperature, lighting and scent according
to driver’s emotion and condition.
4 Source: Atlantic
This refers to the feeling they are existing as being out of reality, feeling they are existing
in the media. Some or all situations of an individual are created by technology, but
are defined as a psychological state or subjective feeling that causes the individual to
forget the role of this technology [
This refers to the state of ‘feeling like my body’ that the user feels. Body ownership is
a concept that has been dealt with for a long time in cognitive neuroscience [
In another example, there is research that shows that virtual characters, even though they are white, are seen as black drummers. There is a mismatch between the environment the brain perceives and its own senses. Therefore, even if it is not real, when the feeling of body ownership, ‘feeling like my body’, increases when the content is experienced, it can lead to greater immersion and positive attitudes of users. This provides a starting point for character implementation when creating virtual reality content such as games.
In the implementation of virtual reality based on cognitive neuroscience, content and
services are developed with a focus on the ‘perceived experiences of people who believe
that they are real even though not real.’ Brain-computer interface (BCI) research [
illusion-31592 game characters, or the development of content that changes the flow of movie stories depending on the will of the viewer, and specific music using fMRI, wherein efforts are being made to arouse feelings and emotions as if listening to the music. 3
With the development of AR/VR/MR technology, sensor technology of sensory stimulation such as tactile and motion recognition, CG, data analysis, artificial intelligence, and 5G network, con-tent and services of immersive user experience that stimulates the five senses, have been appearing continuously. These tangible content and services are driving innovation in a variety of areas, including games, movies and performances, as well as advertising marketing, education, healthcare and military. 3.1
Netflix’s ‘Stranger Things’ 360 VR video starts with a dark night, a view of a first-person that walks to answer a ringing call in the living room. You can experience the horror of the protagonists indirectly, and become nervous as if you were left alone at home late at night. It can be linked with Facebook’s stand alone. VR headset “Oculus Go” to provide a VR experience like a personal movie theater.
the laser sensor when throwing a ball toward the basket. It is designed for the user to
enjoy real basketball games, training and throwing in a virtual environment.
Companies are reinforcing their brand experience marketing by utilizing content and
services that provide various immersive user experiences based on the new media space.
This is sometimes referred to as a digital installation. We look at examples of successful
marketing campaigns based on five types of experiential marketing, such as sense, feel,
think, act, and relate classified by Bernd Schmitt [
The Lush Spa Experiment It visualizes the impact of the rush spa experience on the mind and body by measuring changes in the heart rate, brain activity, muscle movement and touch, and breathing. Being designed to capture human biometric data, the rush product massages the user’s body, and the user’s body sends out body data that was different from the previous data, expressed by visualization. It is designed to make users recognize Rush as a special brand that sets it apart from other spa brands.
Unbelievable Bus Shelter by Pepsi Max It is a tedious experience for public transporters to be waiting for the bus to arrive. With this in mind, Pepsi installed an AR project at the London bus stop that will surprise users. By using the AR, he replaced the walls of the bus stop with fake windows so that the flying saucers, robots, and tigers seemed to go down the street. The key is to make the virtual world feel as if it is real.
immersive media walls to experience fun and diverse content, while passing through the security check zone. The beautiful landscape of reality alternates with the subtle and lively virtual world. Eventually, Changi Airport’s digital signage transformed travelers’ moments from optical illusions to movie storytelling to joy and discovery. Adidas Broadcast AR Interactive It is a project that creates a situation that seems to be showing football tricks with a soccer star using augmented reality technology. As the
user stands in front of the huge augmented reality screen, Brazilian soccer star Marcelo on the screen talks and shows the movement of the football. The user then takes the action given and takes a commemorative photo with Marcelo when finished. The video of the entire experience is automatically captured by the augmented reality system and easily shared online with a single click.
Sony’s A Multisensory Food Fantasy It is a project for users to experience traditional Japanese cooking process. It is an action marketing case where the user experiences cooking through a digital installation and the cooking process forms tactile interaction at the same time. The content is created in small particles as soon as the user’s hand touches the digital installation. This visual movement causes the desire to act directly 11 Source: https://www.indestry.com/
Fig. 10: Adidas’s AR Interactive Campaign11. on the user to create small particles. When small particles are produced, the cooking process is visualized in a metaphorical process.
Etude House’s Color Factory A participation project allows users to create and select their own lipstick to match their skin tone. Utilizing the digital kiosk, a digital installation, users upload their photo and find out the recommended color for them. The users select a favorite color among the recommended colors, and then customize the case to create their own cosmetics. ‘Wanna One’s virtual space’ is immersive content using social VR platform, and users connect to the VR world that reproduces the space in Wanna One music video as realistically as possible, and find the cheering rods of Wanna One members within a 12 Source: Sony Music Communications 13 Source: https://www.etude.com/kr/ko/main
Fig. 12: Etude House’s Color Factory13. limited time wherein if you find all the 10 rods, you will get the prize. The challenge remains to activate the social VR platform and validate the feasibility of the platform business through the inflow of fandom. 3.4
Audi developed the technology to experience movies and video games from the rear seats of the car, using VR glasses to make the car space a mobile amusement park and theater. In essence, the vehicle’s movements and VR content are linked in real time, and Audi demonstrated a VR content, “Marvel Avengers: Rocket Rescue Run”, which was collaborated with Disney.
Since immersive virtual reality is a principle that the brain recognizes the virtual stereoscopic space through the display in front of the eyes, the human factor problem of visual fatigue caused by the depth of the image remains a problem. In particular, there is no solution for digital motion sickness caused by the parallax between display response and head movement. There are individual differences, but within a few minutes of actually running the roller coaster content, the experiences felt very sick. There is an urgent need for technical complements of displays, software, and efforts to find content methods that are suitable for ultra-contiguous eye display.
In addition, there are challenges to secure core competencies and copyrights for immersive con-tent production and solve national regulations and deliberation issues. In order to expand the immersive content market such as virtual reality, it is most important for research and technology development to grasp the user’s reaction from the user’s point of view beyond the views of manufacturers and providers.