Interview, Fireside Chat
a16z Podcast | Writing a New Language of Storytelling with Virtual Reality
- Chris Milk identifies VR as the "ultimate empathy machine," enabling audiences to feel transported and connected to subjects in ways traditional media cannot.
- Milk argues VR is currently "writing new words" rather than possessing a full grammar, as creators are still establishing foundational storytelling rules.
- Early data suggests violent, first-person shooters perform poorly in VR because the immersive perspective makes aggression feel overwhelming compared to traditional screen experiences.
- Calmer, third-person, or steadier experiences are currently more effective at engaging audiences without inducing discomfort.
- Milk's production company is collaborating with the United Nations to create non-fiction VR films targeting world leaders at forums like Davos to drive policy change.
- The first UN VR project was set in a Jordanian refugee camp, telling the story of Sidra, a 12-year-old girl who fled with her family.
- A subsequent project was filmed in Liberia, focusing on an Ebola survivor who is immune and now leads community education efforts.
- A primary technical challenge in VR production is motion sickness caused by a disconnect between the vestibular system and visual input.
- The "Oculus best practice" initially mandated a static camera; Milk's research indicates that linear, constant-velocity movement is acceptable if acceleration and deceleration are minimized.
- Creators are beginning to intentionally break these rules for creative effect, such as simulating elevator acceleration to trigger physiological sensations of rising.
- Valve's studies demonstrate that VR can induce "presence" so deep that the brain's "lizard response" causes physical paralysis (e.g., buckling knees) even when the user knows a virtual cliff is not real.
- VR is classified as the "last medium" because it is the first technology to transition from an observable object to an invisible human interface that mirrors biological senses.
- Social VR experiences are emerging via shared virtual spaces where users interact through avatars, with technologies like Oculus Touch enabling hand tracking and physical interaction.
- Milk anticipates a "social" adoption phase will follow the initial individual experience, potentially utilizing shared venues like arcades or "pods" rather than private living rooms.
- Existing entertainment venues like "The Void" are integrating physical senses (wind, water, mist, vibration) to deepen immersion beyond visual and audio input.
- Major Hollywood studios are currently producing VR content primarily as marketing tools (2–5 minute standalone experiences) for properties like Game of Thrones, Ready Player One, and Pacific Rim.
- Milk predicts it will take between one and ten years for VR to become a mass medium, comparing the potential adoption curve to the decade-long development of the smartphone industry.
- The current VR content library is underdeveloped, with major studios hesitant to invest in high-budget films due to the lack of a clear monetization marketplace.
- Video files for current 5–7 minute VR experiences generally remain under one gigabyte, utilizing spherical video players with stereo vision and binaural audio.
- Chris Dixon and Milk acknowledge that file sizes and hosting will expand as technology advances beyond "version one" cinematic VR, with streaming solutions expected to launch soon.
- The industry trajectory mirrors the evolution of mobile and the internet: initial slow academic or niche growth followed by sudden, widespread integration once hardware and content align.