Immersive Journalism: Trust Issues in the Post-truth Era and War

Медийна и публична комуникация

Media and Public Communication

DOI 10.55026/UPFV3991

Tetiana Zinovieva

Odesa Polytechnic National University

E-mail: zinovieva@op.edu.ua

 

Abstract: The study aims to explore the factors influencing trust in immersive media within the context of the post-truth era and the ongoing war in Ukraine. This research has several objectives: to assess the current research landscape on immersive journalism; seeks to analyze the thesaurus system used in immersive journalism. It also aims to survey Ukrainian journalism students to seek their perceptions of immersive military journalism. To accomplish these goals, a va­ri­ety of research methods are employed, including a systematic review of sci­entific literature, conceptual analysis, analysis of Ukrainian immersive jour­nalism content, and a survey administered among journalism students. Through these methods, the study uncovers insights into the evolving landscape of media consumption and trust dynamics concerning immersive journalism. Findings from the study suggest that immersive journalism, within the context of the Ukrainian war, has the potential to challenge stereotypes, foster empathy, and deepen understanding among audiences. The study underscores the prizing responsible and ethical use of immersive media, offering guidelines for jour­nalism students to enhance critical thinking and engagement with immersive content. By adhering to these recommendations, student journalists can leverage immersive technology to produce impactful and credible journalism that con­tributes to deeper societal understanding and engagement with complex issues, such as war and conflict.

 

Keywords: immersive journalism, trust in media, post-truth, war in Ukraine, critical thinking, empathy, cultural heritage, learning based on immersive jour­nalism.

Introduction

Trust, a fundamental feeling instilled from childhood, permeates human existence, enhancing social and psychological well-being, instilling security and optimism, and facilitating interaction with the world. Trust, as a fundamental psychological and socio-communicative category, is crucial for overcoming life’s difficulties, and extends to all aspects of human activity. However, the concept of trust is being eroded by today’s media problems, especially evident in the post-truth era.

According to the Oxford Dictionary, “post-truth” refers to a situation where objective facts have less influence on public opinion than appeals to emotions and personal beliefs (Word of the Year, 2016). [1] In the post-truth era, emotional influence blurs objectivity and undermines trust in media, leading to increased social tensions and global crises. To navigate this landscape, reliable methods for verifying data and balancing emotions in media must be established. Immersive media combine analytical and emotional approaches to understanding the world, making it a valuable tool in maintaining trust.

Immersive media based on full and augmented virtual reality (VR, AR), spherical videos and video game mechanics have the potential to deeply engage users and blur the boundaries between reality and fiction. Immersive media can create highly compelling experiences that can be used to spread both true and false information or manipulate opinions. On the other hand, immersive media also offer unique opportunities for trust-building initiatives. By creating immer­sive experiences that promote transparency and authenticity, media producers can build trust with their audiences in an era where trust is increasingly fragile.

Investigating trust in immersive media is important for understanding the dynamics of information consumption and manipulation in the digital age. By shedding light on how trust functions in these environments, researchers can contribute to the development of strategies to counter misinformation and promote responsible trust in immersive media experiences. Trust is crucial in immersive media for ethical reasons. Researchers must ensure transparency, verification, and accuracy of information to combat misinformation and preserve freedom of expression. As journalism evolves in the digital age, it is important to develop some research on new technologies and change journalistic ethics on new platforms.

The purpose of the study is to identify the factors of trust in immersive media in the context of post-truth and the state of war in Ukraine.

Research objectives and study design:

  • determine the state of research on immersive media;
  • analyze the thesaurus system of immersive journalism to clarify its essence;
  • to survey journalism students at a Ukrainian higher education institution to determine their perception of immersive military journalism;
  • formulate recommendations for journalism students on consuming and creating immersive media.

Research methods:

  • a systematic review of scientific literature – to find out the state of study of the topic of immersive journalism;
  • conceptual analysis – to examine the fundamental concepts and theo­retical frameworks underlying immersive journalism by synthesizing key terms such as immersion, presence, and immersive narrative;
  • analysis of site content of Ukrainian immersive journalism – to study the experience of implementation, influence, and audience perception of immersive journalism techniques in Ukraine;
  • survey (questionnaire) – to reveal trust in immersive media based on materials about the consequences of the war in Ukraine;
  • development of methodological recommendations – for the develop­ment of recommendations for students of the Faculty of Journalism regarding the consumption and ethical use of immersive journalism;
  • generalization – for the formation of research conclusions.

Theoretical review and analysis of research and publications on the scientific problem.

The analysis of scientific literature revealed a significant interest in immersive journalism worldwide. As of April 2024, the scientific platform Google Scholar counted 42,500 scientific works. However, there are only 159 Ukrainian-language scientific works. All this shows that the direction of immersive journalism in Ukrainian journalism is in a state of formation and is determined by a low level of awareness of the opportunities and features of immersive journalism (Figure 1).

Figure 1. Histogram of the scientific works on immersive journalism

 

There is a current scientific interest in studying different aspects of trust in the media, especially in immersive media (as shown in Figures 2 and 3). This interest is justifiable due to the level of information technology development in various countries.

Figure 2. Histogram of the scientific works on trust in the media

 

Figure 3. Histogram of the scientific works on trust in immersive media

The concept of immersiveness first appeared within the framework of research on the effects of computer technologies, in particular, virtual reality (Biocca & Delaney, 1995) [2], (Bowman & McMahan, 2007). [3] In journalism, immersiveness has been considered within the concept of web media (Canavilhas, 2006) [4], new media and game design (Jenkins, 2004) [5],  (Shin & Biocca, 2018), [6] VR journalism with emotional involvement (Kukkakorpi & Pantti, 2020) [7], news with augmented reality (Roberts, 2018) [8], (Ikonen & Uskali, 2020) [9], 360˚news (Vettehen & al., 2019) [10], (Aitamurto, 2019) [11], (Aitamurto, Shou, Sakshuwong, Saldivar, Sadeghi, & Tran, 2018). [12]

The effects of immersion or immersive media have also been studied from the perspective of psychology (Hofer & al., 2012) [13], (Hartmann & al., 2015) [14], (Furman, 2023) [15], and cyberpsychology (Sundar, Kang, & Oprean, 2017). [16] The issue of ethics and emotional impact is influenced by T. Uskali and P. Ikonen, who summarize knowledge about the emotional consequences of virtual reality experiences (Uskali & Ikonen, 2020). [17]

The applied and scientific implementation of immersive journalism belongs to the American journalist Nonna de la Peña (de la Peña, et al., 2010) [18], (de la Peña, 2015) [19], who, together with her team, began to implement virtual reality and game graphics to convey news with an effect presence.

Journalistic studies of immersiveness focus on the challenges of new techno­logies (Sirkkunen, Väätäjä, Uskali, & Rezaei, 2016) [20], user-centered immersive narrative and its impact on perception and cognition (Jones S. , 2017), [21], (Bosworth & Sarah, 2019) [22], (Aitamurto, Shou, Sakshuwong, Saldivar, Sadeghi, & Tran, 2018) [23], (Sundar, Kang, & Oprean, 2017) [23], (Kukkakorpi, 2018), (Aitamurto, 2019) [24], (Hassan, 2019) [25], (Mabrook & Singer, 2019) [26], (Pavlik, 2019) [27], (Sánchez Laws, 2017) [28], (Sánchez Laws, 2019). [29]

A special place in research is occupied by works on trust in news via post-truth era new media (Usher, 2019) [30], (Kang et al., 2019) [31], (Deyanov, 2022) [32], the trust in virtual reality (Salanitri et al., 2016, September) [33], (George et al., 2018, March). [34]

The issue of the development of new media in the context of information wars is acute (Velchev, 2024). [35]

The analysis and classification of numerous cases of immersive journalism are significant (Bosworth & Sarah, 2019). [36] News streams based on immersive technologies have been systematically monitored for several years in the projects VIRJOX (Väätäjä, et al., 2018) [37], EMORES (Heinonen & al., 2018-2019) [38], and ViSmedia (Vismedia.org, 2018). [39] The VIRJOX and EMORES initiatives in Finland, and ViSmedia in Norway, are examples of concerted efforts to explore the ethical, technical, and cultural aspects of immersive journalism. These initiatives highlight the importance of engaging pages, fostering public discourse, and sup­porting relevant research practices to shape the trajectory of immersive storytelling.

Researchers conceptualize immersive filmmaking practices in journalism using original works as examples, including The Town that Blew Away (Jones S. , 2017) [40] and Digital News Initiative projects in virtual reality supported by Google Journalism (Journalist Studio), including Coventry BlitzVR (2017). [41]

  1. Vázquez-Herrero, H. Vätätäj, and T. Uskali investigate the use of 360 videos in journalism through content analysis based on the practices of The New York Times and Euronews (Sirkkunen, Vázquez-Herrero, Uskali, & Väätäj, 2020). [42] J. Vindenes and A. Gynnild analyze work processes at Euronews in applying a budget approach to engaging journalism (Vindenes & Gynnild, 2020). [43]

Scholars conducted a case study of the Syria VR Project, which was created by N. de la Peña in 2014, to make the audience feel like real witnesses to the violent events in Syria (Flatlandsmo & Gynnild, 2020). [44] This study is significant because it covers sensitive new military realities in Ukraine in 2022-2023.

Much of the scholarly thinking about immersive media has come from game studies. Thus, researchers analyzed pioneering examples of immersive games to create “impact journalism” (Arjoranta, Koskimaa, & Siitonen, 2020). [45]

In Ukrainian science, the topic of immersive journalism is developed by O. Kyrylova (Kyrylova О. , 2017), (Kyrylova О. , 2019), (Kyrylova O. , 2020), [46] (Halych А. О., 2020), (Halych A. O., 2023) [47], (Kuprii & Koval, 2019) et al. [48] We looked at immersion journalism in the context of the game approach and deep media (Zinovieva, 2024), (Zinovieva, 2023), (Zinovieva, 2023), [49], (Luhova & Kolot, 2023). [50]

Thesaurus system of immersive journalism

Immersive journalism is a type of journalism in which, with the help of high simulation technologies (3D technologies, virtual reality, video game me­chanics, interactive and Kinect technologies, artificial intelligence, etc.), the effect of presence or immersion in a specific place described in News, reports from the place is created events and documentaries. Just like video games, immersive journalism creates a personal experience of experiencing simulated events, which is defined as a “news experience” or “media experience” (Pavlik, 2019). [51]

Immersive journalism is also often called an “empathy machine” because its audiovisual narratives effectively evoke strong emotions among its users (Hassan, 2019) [52], (Gynnild, Uskali, Jones, & Sirkkunen, 2020). [53] This gives reason to consider such concepts as “immersive journalism”, “emotional journalism” and “impact journalism” as synonymous. This leads to the erroneous conclusion that immersive journalism is a tool of propaganda and low-quality, so-called, “yellow” press. However, S. Jones explains why immersive journalism does not necessarily increase empathy, but instead prompts the need to think in a new way so that technology and journalism reach a new level of audience (Jones S. , 2020). [54] Therefore, the task of using immersive journalism as a tool for critical thinking needs to be explored and substantiated.

We presented the basic concepts of immersive journalism (Fig. 4), which were conditionally divided into groups.

Figure 4. Thesaurus system of immersive journalism

The thesaurus of immersive journalism includes technological, narrative, psychological, and game bases. It also encompasses media literacy, audience engagement, and regulatory regulation.

Technological base:

  • Virtual reality (VR): creation or replication of simulated environments (spaces) for user interaction.
  • Augmented Reality (AR): adding virtual information (elements or objects) to the real world, expanding the possibilities for storytelling.
  • Immersive Virtual Reality (iVR): introduced in 2011, emphasizing the importance of presence.
  • Cross-Reality (XR): a new term for combining different technologies in content creation.
  • 360-degree photo and video technologies.

The continual advancement of immersive technologies has created new opportunities for storytelling and audience engagement. It is expected that immersive journalism will become more accessible to journalists in the future, thanks to the rapid development of informatization, artificial intelligence, and new human-oriented and intuitive technologies. This will provide new mo­mentum to the progress of “automated journalism”, which translates Big data sets into virtual visual immersive narratives for the audience.

The following terms form the narrative basis of immersive journalism: “immersive narrative”, “immersion in history”, “spatial narrative”, “visual narrative”, “user-centered narrative”, “first-person narrative”, “enhanced narra­tive”, etc. Immersive storytelling focuses on creating stories that evoke emotion and promote empathy. The integration of virtual reality into storytelling extends beyond mere background; it emphasizes symbolism, emotional connection, and interaction with characters. Major locations and everyday situations in the stories enhance audience identification and immersion.

Psychological base: “immersion”, “presence”, “empathy machine”, “en­gage­ment”, anxiety as a psychological state related to feeling comfort during immersion, “media experience”, “news experience”.

Game design technologies for immersive journalism: mechanics (rules), dynamics (time and load) and game aesthetics (game fun, music and graphics), game levels, game settings, and game worlds.

The basis of media literacy: critical thinking, fact-checking, transparency, raising awareness.

Audience engagement and influence: “impact journalism”, “public opinion as a collective point of view that reflects the moods and perceptions of society”, “society versus citizen as a concept of distinguishing public and individual points of view”, “immersive news”. Immersive journalism aims to engage audiences by providing an intimate and interactive storytelling experience. VR offers a level of intimacy and interaction that traditional media lacks, increasing audience engagement. Understanding concepts such as public opinion and media influence is critical for engaging journalism to resonate effectively and responsibly with diverse audiences.

Normative framework of immersive journalism: standards of journalism, sensitive texts, online ethics, laws regulating media and activities in virtual space.

Immersive journalism results from the convergence of journalism, the entertainment industry, and high technology. The thesaurus system of immersive journalism is dynamic because it can change according to informational and technical innovations (Figure 5).

Figure 5. The semantic field of immersive journalism

Review of the Ukrainian Immersive Military Journalism

Ukraine has powerful 360-degree photo projects to inform society about the events of the war with the Russian aggressor. Thus, the online exhibition “There is no home” (https://360war.in.ua/uk) [55] has been opened in Lviv, immersing the viewer in the horrors of war. The project is based on an online map where you can interactively choose a location for viewing. The author of the project is Taras Volyanyuk. The exhibition team uses virtual reality (VR) and 360-degree panoramic photography to clarify the consequences of the Russian invasion of Ukraine. This marks the first presentation in Ukraine, where pano­ramic photography is combined with virtual reality and traditional photographic techniques. Currently, those interested can get online access to the widest collection of such photos in the country, which includes more than 1,620 pictures taken in almost 250 places in 39 settlements, including Kyiv, Kharkiv, Mykolaiv, Kherson, and others. Among them are characteristic panoramic images of both external and internal aspects of the AN-225 “Mriya” aircraft, recognized as the largest aircraft in the world. The visual landscape of the exhibition may occa­sionally appear whimsical or surreal; however, it contains authentic images from real places where the life and story of Ukrainians took place. The exhibition entitled “Here was my home” was held at the Lviv Center of Architecture, Design and Urbanism “Porokhova VEZHA” from March 19 to April 17. “Photographer Dmytro Malyshev explains the idea of the exhibition: “When a classic reportage photographer takes a picture, he can choose the perspective, lighting, focus, decides what will be in the frame and what will remain unseen, he can emotionally build the frame. Panoramic photos have no boundaries, they cover everything around, as it is. That is why the photo of the destroyed AN-225 “Mriya” aircraft turned out to be truly unique — precisely because of the opportunity to show the scale of what happened”’ (Nestelieiev, 2024). [56] An example is shown in Figure 6.

Figure 6. Screenshot of the “No Home” project

(https://360war.in.ua/uk/mykolaiv-8) [57]

Another vivid example of immersive journalism is the project “War up Close” (https://war.city/uk/). [58] The objective of the project is to provide truthful, evidentiary information about the war, to memorialize the destruction. The site offers viewing options in Ukrainian and English, thus targeting a global audience with its publications. Professionals from Discover.ua and FreegenGroup are the initiators of the project. A photojournalist with many years of experience, Mykola Omelchenko, the first certified Google photographer in Ukraine, is working on the filming for “War up Close”. The project team also includes Dmytro Matyash, Oleksiy Sivak, Yuriy Zozulya, Serhiy Orlyk, Serhiy Revenko, Yulia Matyash.

Full virtual reality tours “War up Close” immerse participants in the sites of the Ukrainian war, offering a 360° view of the destruction, paid for in the smallest details. Using virtual reality glasses, this experience faithfully shows the conditions of real war, depicting charred furniture in others, destroyed infra­struc­ture, remnants of historical monuments damaged by bombings, and devastated streets. These scenes can be observed from different vantage points, which makes it easier to understand the scale of the destruction and complicates sympathy for the plight of the affected citizens. Participants are encouraged to share their own experiences, contributing to a collective understanding of the impact of war (Figure 7).

Figure 7. Screenshot of the War in Shelter project. Kharkiv. “Stolen Childhood” (https://war.city/uk/tours/harkiv/)[59]

This project aims to preserve Ukrainian cultural heritage by showcasing destroyed monuments of culture and art, as well as artifacts of modern warfare (Figure 8).

Figure 8. War in 3D. Screenshot of the “War up Close” project page (https://war.city/uk/objects/) [60]

Among the cultural monuments shown are 3D models of the House of Culture in Irpin, the Irpin Bridge, the Church of the Voznesensk in the village of Lukashivka in Chernihiv Oblast, the monument to Taras Shevchenko in Boro­dianka, Street-art by Benksi in Borodianka, Vasyl Tarnovskyi Museum of Ukra­i­nian Antiquities [Starozhytnostei] (Chernihiv Regional Library for Youth), House of Culture in Makarov, Kyiv Region, etc.

The project “War up Close” showcases the devastating impact of russian military aggression on the cultural heritage of Ukraine. On the other hand, the game “Rebuild Ukraine” (Izotov, 2022) [61] is an educational strategy game designed to encourage players to restore Ukrainian cities and monuments.

Thus, immersive journalism, by documenting the aftermath of war, creates a platform not only for informing and in-depth understanding, but also for preserving the country’s cultural heritage in digital format for future generations. Therefore, immersive journalism can be considered part of the LAM environment (library – archive – museum).

The project team of “War up Close” used innovative methodologies like laser scanning and photogrammetry to create the 3D models for digitization. These methodologies not only contribute to the preservation of cultural heritage sites but also provide a visual representation of their destruction because of russian shelling. Through creating three-dimensional (3D) models, the approach enables a thorough investigation of damaged buildings, helping architects assess damage and plan recovery strategies. In addition, these digitized copies serve as supporting documentation for the Ministry of Culture and Information Policy, providing the global community with a rationale for large-scale destruction.

Facebook has pages dedicated to immersive journalism, such as The Game Changers Ukraine: War in VR from Kyiv Film and TV Studio. The authors of the project note that VR and 360 videos are crucial for people from anywhere in the world to immerse themselves in Ukrainian reality and experience the tragedy of the biggest war of the 21st century. “Ukraine: War in VR” is a collection of content products created for various audiences and purposes, all of which use the 360-video format for virtual reality. The main objective is to promote empathy and understanding across the globe. By immersing oneself in a VR experience, the creators hope that people will have a better understanding of the struggles that Ukrainians face (The game changers, 2022). [62]

Augmented reality technology also serves to fill and inform about the Ukrainian tragedy. So, for example, the Ukrainian project “Under Sirens” is designed to raise awareness in Europe about the war that is being waged by Russia. The project includes augmented reality (AR) technology in the labeling of Ukrainian clothing brands. These tags are embedded with audio tracks that dynamically change to air raid signals when activated. This strategic integration allows people in places like Monaco, Barcelona, or Milan to empathize with the daily experiences of Ukrainians. It is noteworthy that this initiative received support from more than 20 well-known fashion brands (Chigyrinsky, 2023). [63] A. Chyhyrynskyi, a journalist for the “Detector Media” publication, notes: “Simu­lators for the military, virtual tours of destroyed cities, rehabilitation of the wounded – these are only some areas where new technologies help people during the war. Technologies of augmented and virtual reality are gradually becoming tools for drawing attention to the war in Ukraine, as well as helping people who have suffered from it” (Chyhyrynskyi, 2023). [64]

A virtual mural called “Mural of Memory” was launched in December 2022 on a building destroyed by russian rocket attacks on Kyiv’s Zhilyanska Street. The mural showcases Ukrainian composer Mykola Leontovych’s artistic image and symbolic motifs like cranes and a broken heart. It aims to celebrate Leontovych’s 145th birth anniversary and promote Ukrainian cultural heritage. The mural includes a composition “Broken Heart” by the Ukrainian modern music band “Tvorchi”. It’s an augmented reality (AR) installation available for free download (Chyhyrynskyi, 2023). [65]

The “Year of the Furious Calendar” is a digital platform that demonstrates significant events of the 2022 invasion of Ukraine by russia. It honors Ukrainian resilience and fortitude during the war. It is available for free download and offered as a “military calendar” in augmented reality (Сalendar “Savage year”, 2023) (Chyhyrynskyi, 2023). 66]

In Ukraine, there is an augmented reality portal (https://www.adv.ua/vr-now/) [67], where, among many offers, there are also AR technologies for the rehabilita­tion of veterans of the russian-Ukrainian war – patients with movement limita­tions and pain syndromes.

We previously considered game immersion to inform the world and Ukrai­nian community about the events of the russian-Ukrainian war (Zinovieva, 2024), (Zinovieva, 2023), (Zinovieva, 2023) [68], proved the media role of games about the war in Ukraine, showing their informative, a communicative, deconstructive role with hostile narratives.

Independent Ukrainian online media “Texty.org.ua” has developed games and gamified infographics to improve media literacy and education of the population of Ukraine. Battle for Ukraine is a game built on data journalism that requires players to drive the russian invaders out of Ukraine (MaxDmax, 2022). [69] This game visually resembles the Airborne Alerts Map application (Ajax Systems Inc, 2022). [70] “Manipulator” teaches media literacy and helps create an information front and a consolidated society (Manipulator, 2018). [71] In response to the russian-Ukrainian war, the journalists of “Texty.org.ua” made the game “Whose tank is this?”, which teaches players to recognize military equip­ment (Drozdova, Kelm, & Bondarenko, 2022). [72] Games are those media that shed light on topics important to society. E.g., serious games that use open data for learning and development. Even frivolous games can stimulate self-develop­ment, education, and information and awareness. Games also provide cultural recreation by shaping public opinion on social issues.

It is imperative to elucidate that during the study of immersive military journalism in Ukraine, no content was discovered that contravened established journalistic standards and ethical guidelines. Notably absent were any materials that emphasized topics of violence.

Analyses of the results of the study

The survey study aims to investigate how immersive journalism affects students’ perception of military topics. We conducted research in a focus group of students of the 1–4 courses of the Institute of Humanities of the Odesa Polytechnic (Ukraine), who are studying in the specialties 061 “Journalism” and 029 “Information, library, and archival affairs”.

The survey involved 80 full-time bachelor’s education students from the 1st to 4th year. Among them, the educational program “Journalism” has 50 enrolled students and the “Information Activity” has 30 enrolled students.

For this, we developed a questionnaire that included questions about:

  • having experience in consuming immersive journalism materials;
  • level of trust in immersive journalism.

As per the survey results, the respondents were aware of immersive journalism, but they didn’t associate it with the term “immersiveness”.

76% of the respondents claimed to have had an experience consuming immersive journalism, with the majority of them mentioning photos and videos in 360˚ format. However, 64% of the respondents stated that they rarely use immersive journalism products. For immersive journalism, respondents showed a keen interest because of new technologies (54%) and emotionality (17%) as motivating factors for using. Journalism students, on the other hand, consume immersive journalism mainly to experience different viewpoints (19%) and gain a deeper understanding of the news topic (10%). An infographic of the results of the survey on the experience of students’ consumption of immersive media is presented in Figures 9 and 10.

Figure 9. Survey results immersive media consumption experience

Figure 10. Survey results regarding motives and intensity
of consumption of immersive media

In the second part of the survey, participants were asked to rate their level of trust in immersive journalism on a scale of one to five, with one being “Not at all trustworthy” and five being “Completely trustworthy”. The survey results re­vealed a variety of attitudes towards immersive journalism, as shown in Figure 11.

Figure 11. Results of the survey on trust in immersive media

 

The results of the survey show the relationship between the level of re­spondents’ awareness of immersive journalism and the level of trust in it. A person who has a superficial idea of immersive journalism stereotypically asso­ciates it with entertainment content, games, deep fakes, fiction and fantasy, and “yellow press”. However, they did not make a single mention of misleading and disinformation precedents through immersive journalistic content.

Those respondents who had previous experience of consuming immersive journalism have a higher level of trust in it. Respondents believe that immersive journalism can be trusted if the content is of high quality and the journalists are responsible. This is because it enables a greater comprehension of the news, an emotional journey, and a chance to gain multiple viewpoints. Understanding the complexity of the software and the technological process of carefully presenting and verifying data in immersive journalism increases trust in it. This contributes to the development of critical thinking of the audience.

Trust, awareness, no-stereotyping, understanding of technological pro­cesses, critical thinking, and media literacy play a significant role in how people perceive immersive media and its use in journalism. For instance, some respon­dents felt that the immersive materials violated journalistic standards, and they also expected scenes of violence. However, after experiencing projects like “War up Close” and “There is No Home,” students noted that the immersive informa­tion presentation increased emotionality and raised awareness of the topic.

76% of students indicated that the immersive experience encourages active actions regarding the reconstruction of Ukraine, finding ways to stop the aggressor, and encourages reflection and discussion. Therefore, the essence of immersive journalism is close to the principles of game-based learning, active learning, problem-based learning, and project-oriented learning We have tackled these problems in different articles (Luhova T. A., 2021), (Luhova T. , 2021), [73] in particular, in the development of game environments (Luhova et al., 2019, July). [74]

The experience of playing video games, which provide an opportunity to look at war events in Ukraine from different points of view, was interesting for the students. Such games have become “Power & Revolution 2022 Edition” (2022) та “Zero Losses” (Marevo Collective, 2023). [75] “Power & Revolution 2022 Edition” game addresses the Ukraine conflict, allowing players to play as Ukraine, NATO countries, or even russia. Players make decisions on military action, sanctions, and diplomacy. The post-apocalyptic game “Zero Losses” puts the player in the role of a driver of an aggressor’s army. The game centers around tasks like transporting and cremating fallen soldiers, delivering supplies, and searching for a missing battalion. It focuses on the desolate atmosphere and horror elements, depicting the consequence of violence without showing it directly (Priamyi, 2022) [76], (Marevo Collective, 2023). [77]

These games provide an opportunity to look “from the outside”, which, according to students, did not create empathy for the enemy. Instead, the games encouraged us to think about complex geopolitical, psychological, philosophical and managerial issues regarding the war in Ukraine.

Recommendations for journalism students regarding the consumption and use of immersive war-related journalism

The conducted research (survey of humanities students of Odesa Poly­technic) made it possible to formulate recommendations for competent consump­tion and creation of immersive journalism during the martial law in Ukraine:

It is worth raising the audience’s awareness of the essence of immersive journalism and its role in the development of critical thinking. To break stereo­types about immersive journalism and highlight its profound impact beyond entertainment and technology, it is imperative to highlight its key role in fostering critical thinking skills.

It is important to emphasize that immersive journalism serves as a gateway to multiple perspectives, allowing the audience to step into the shoes of different stakeholders in the story. Experiencing events through immersive formats fosters empathy and nuanced discussions.

To combat misconceptions, emphasizing the educational and informative aspects of immersive journalism is advisable. Emphasize the ability of such media formats to provide an authentic (documented, fact-based), immersive experience that goes beyond traditional storytelling mediums. Immersive jour­nalism differs from entertainment content, games, and science fiction because it offers authentic, experiential narratives based on real-world events and issues.

Transparency about sources and methodology is crucial for immersive journalism. Providing clarity on information gathering and verification builds audience trust.

The attitude towards any media content should always be critical because the technologies of manipulation and propaganda are growing and may have a latent nature.

Immersive journalistic content about war, like any journalistic material, must be considered in terms of quality, restraint, verification, and ethics. Quality content builds trust with audience.

When creating an immersive context, it is important to include multiple perspectives. Offer audience the opportunity to experience different perspectives and narratives about the conflict. This fosters a deeper understanding of the complexities involved and encourages critical thinking.

War journalism can evoke compassion by showing firsthand the realities of war. Use this emotional resonance to drive engagement and improve under­standing. Encourage audience dialogue and reflection by exchanging viewpoints. Engaging with an audience builds trust and strengthens journalistic efforts.

Discussion

There’s a pressing need for in-depth exploration into latent propaganda methodologies to establish detection criteria, especially within immersive media landscapes. Such endeavors are vital for safeguarding journalistic integrity and audience trust in an increasingly immersive media environment.

Future studies should prioritize protecting the trust of the audience in the legal field, journalistic ethics and standards (e.g., in immersive journalism for sensitive news), media information databases protection, deep fake and propa­ganda detection technologies, and increasing media literacy of the population.

Conclusions and implications

Immersive journalism is born from the convergence of traditional jour­nalism, entertainment, and advanced technology. The evolution of immersive jour­nalism’s vocabulary is fueled by the progress made in these fields. New media, especially immersive forms, present multifaceted challenges because of the rapid evolution of data generation and manipulation in sophisticated tech­nological frameworks, alongside broader global shifts towards a post-truth paradigm that undermines trust as a crucial psychological and sociocultural construct. A conscientious handling of immersive media content presents a potential avenue for addressing these overarching global challenges.

A study of immersive journalism in the war’s context in Ukraine since 2022, in particular Ukrainian initiatives such as the “No Home” and “War up Close”, has revealed significant transformations in perception journalistic materials. Immersive technology provides a visceral experience of the effects of war, fostering empathy, understanding, and preservation of the country’s cultural heritage, including it in the global digital cultural archive. These projects challenged the stereotypes surrounding immersive journalism, emphasizing its role beyond entertainment and technology. By immersing viewers in the realities of war, they foster critical thinking and empathy, encouraging deeper engagement with the active decision of complexities of conflict. Therefore, the essence of immersive journalism is close to the principles of game-based learning, active learning, problem-based learning, and project-oriented learning.

Our study of the impact of immersive journalism on student perceptions of military issues revealed valuable information about the changing landscape of media consumption and the dynamics of trust. The student survey research highlighted a correlation between prior exposure to immersive journalism and higher levels of trust in its credibility. Students who experienced first-hand the fascinating journalism expressed confidence in its credibility, especially emphasizing prizing the quality of content and the responsibility of journalists in building their credibility. Our study reveals that students perceive immersive journalism as more than just a technological novelty. They view it as a powerful tool for enhancing their understanding of news topics, and as a source of inspiration for taking further action and developing projects to address the issues presented by immersive media.

Emotionality and exploring different points of view have become key motivational factors for engaging in engaging journalistic content.

The research conducted allowed us to develop guidelines for journalism students on how to consume, create and use immersive journalism. The following are recommendations for immersive journalism: raise awareness and emphasize quality, responsibility, transparency of sources and methodology, consider dif­ferent points of view, prioritize emotional connection and educational value, involve the community, and continuously improve. It is important to increase the role of immersive journalism in developing critical thinking, overcoming stereo­types about it, and understanding that emotionality should not negate the objectivity of journalistic material. By following these guidelines, student jour­nalists can effectively and responsibly use immersive technology to produce immersive war journalism that deepens understanding, fosters empathy, and fosters critical thinking among audiences. Our research highlights the trans­formative potential of engaging journalism in fostering critical thinking and broadening perspectives among students. By providing immersive experiences that go beyond traditional storytelling methods, immersive journalism has the power to enrich media consumption practices and contribute to a more informed and responsive society.

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Сalendar “Savage year” [Kalendar «Liutyi rik»]. (2023, February 21). Retrieved 03 14, 2024, from https://drive.google.com/drive/folders/1dfi4x4JWUj8oC2vbFsVpzL FMBHQjXqW1?usp=sharing

Zinovieva Tetiana Ph.D. in Art History, Assos. Professor of Information Activity and Media Communications Department of Odesa National Polytechnic University (Ukraine), Deputy Dean of the Humanities Faculty. Guarantor of the educational and professional program “Journalism” (2022-2024). Basic higher education – teaching, and psychologist in educational institutions. Experience teaching activities in higher education – 18 years. Research interests: game-based learning, gamification of educa­tion, serious games, game design, immersive journalism, deep media, storytelling algo­rithms, visual narrative, knowledge management, spirituality in digital culture, tradi­tional and modern culture, folk creativity, convergent journalism, journalistic ethics.

Manuscript was submitted: 12.05.2024.

Double Blind Peer Reviews: from 12.05.2024 till 12.06.2024.

Accepted: 14.06.2024.

Брой 60 на сп. „Реторика и комуникации“ (юли 2024 г.) се издава с финансовата помощ на Фонд научни изследвания, договор № КП-06-НП5/65 от 08 декември 2023 г.

Issue 60 of the Rhetoric and Communications Journal (July 2024) is published with the financial support of the Scientific Research Fund, Contract No. KP-06-NP5/65 of December 08, 2023.