F O R U M - IA de Investigación especializada en el MIT

F O R U M

The Disconnect between Real and Virtually
Real Worlds: The Challenges of Using VR
with Adolescents

Introducción

Industry projections suggest the commercial usage
of virtual reality (VR) headsets will increase steadily over
the next ﬁve years, with more immersive, stand-alone
headsets representing the bulk of purchases by
consumers (Bolkan, 2018; taylor, 2017; Lamkin, 2017;
Orland, 2017). Whether individuals are watching 3608
videos on smartphone-based headsets or using stand-
alone head-mounted displays (HMDs), virtual reality is
becoming more widespread in healthcare, education,
negocio, entretenimiento, and industry (CB Insights,
2017; Mujber, Szecsi, & Hashmi, 2004; Pantelidis,
2009; Psotka, 2013; Rizzo et al., 2013; Rizzo, Rizzo,
Schultheis, Kerns, & Mateer, 2004). Cada vez más, estafa-
cerns have been brought up about the ethical usage of
VR, both with vulnerable groups as well as the general
población (Madary & Metzinger, 2016; Southgate,
Herrero, & Scevak, 2017). It is clear that the adolescent
brain has unique features including heightened neuro-
plasticity, increased emotional intensity and reactivity,
and increased ability to learn (casey, jones, & Hare,
2008; Jensen & Nutt, 2015; Southgate et al., 2017;
Steinberg, 2014). Though age recommendations are
given by all manufacturers of VR hardware, they vary
from child-appropriate to those recommended for age
13 years or above due to concerns about effects on ocu-
lar development and maturity of content (Gent, 2016);
yet at the same time, VR headsets are being marketed as
educational tools for children. A menudo, users disregard the
warnings and allow younger children to engage with
content and hardware that may not be recommended for
their age group. We believe there is a gap in understand-
ing between the potential psychological, physiological,
and emotional impact of virtual reality hardware on chil-

Presence, volumen. 26, No. 4, Caer 2017, 453–464

doi:10.1162/PRES_a_00310

ª 2018 by the Massachusetts Institute of Technology

dren and adolescents, and what research actually makes
its way to developers, users, padres, and guardians.

Through four years of applied research on learning
and VR, VR focus groups with adolescents, and experi-
mental work with adults, we have observed thousands of
people using and interacting with commercial content in
VR, often in everyday settings such as schools or clubs.
In our work with virtual reality, particularly with adoles-
cents, we have observed some interesting disconnects
between the expected outcome of particular pieces of
content versus the actual experience of the adolescent
user in VR. VR presents a number of innovative elements
that provide rich opportunities for the medium to be an
effective learning tool including simulations, exposure to
novel situations, and engagement with learners in ways
not allowed for by traditional mediums (Castaneda,
Cechony, Bautista, & Pacampara, 2017). Al mismo
tiempo, our data also suggest that research done in applied
settings may usefully supplement laboratory ﬁndings by
revealing validation of experimental ﬁndings, or incon-
sistencies which can recommend further areas for investi-
gation in real-world environments.

Lisa M. Castaneda
100 NE Northlake Way
Suite 100
seattle, Washington 98105

lisa@foundry10.org

Samantha W. Bindman
foundry10

Anna Cechony
foundry10

Manrita Sidhu
Radia

Castaneda et al. 453

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454 PRESENCE: VOLUME 26, NUMBER 4

In this article, we draw from research and programs
that explore how youth (and sometimes adults) respond
to virtual reality experience, with a focus on ways that
VR can be used to enhance education. The main study,
from 2016–2017, involved more than 1,500 middle and
high school students from the United States and Canada
who used virtual reality technology in school settings
across a variety of subject areas. We have worked with an
adicional 2,500 students in successive years as part of a
related applied VR study. All students completed surveys
including both open-ended and forced-choice questions
before and after their VR use. Teachers were interviewed
antes, durante, and after the semester or year-long
curso. The study was reviewed by an Institutional
Review Board and all participating students (padres, para
those under age 18) and teachers provided informed
consentir. Our work in VR extends beyond classroom
estudios, and pertinent information about adolescents
using VR has come from these additional projects.
Por lo tanto, this article also shares ﬁndings from inter-
views with focus groups of students ages 7–11 enrolled
in an after-school technology program, a focus group of
high school students, ages 13–18, involved in a research
program at foundry10, and an experimental study of
adults viewing 3608 video on an HMD (see Bindman,
Castaneda, Scanlon, & Cechony, 2018). Aquí, we syn-
thesize data from these varied sources to point to
research questions and design problems that should be
tackled to make VR a viable learning tool for youth at
appropriate ages, particularly in educational contexts.
We focus in four areas: the inherent challenges of behav-
ioral realism and immersion, the complexity of empathy,
issues with proximity, and perspective-taking.

Inherent Challenges of Behavioral
Realism and Immersion

VR has the potential to transport students to dif-

ferent places, allowing them to have experiences they
might not otherwise encounter, such as being in an his-
torical event or being inside a live volcano. The majority
of students (78%) in our large-scale study of VR in
schools reported that they believed VR has the potential
to take people to a different time or place after having

exposure to the technology. Research has demonstrated
that it is of primary importance for viewers (and their
perceptual systems) while in VR that objects and charac-
ters behave as they should in the real world, versus sim-
ply having high levels of photorealism (Blascovich et al.,
2002). VR users can experience the illusion of presence,
or the feeling of actually being in the virtual world, incluso
if the graphical quality of the virtual images is not high
(Bailenson, Blascovich, Beall, & Loomis, 2001). Este
idea of accurately representing real world behaviors, incluso
in fantastical settings, in a simulated environment is
termed behavioral realism (Blascovich et al., 2002). El
inherent plausibility of the scenario also matters when
one is considering whether or not something feels
‘‘real.’’ For example, in a VR experience with dinosaurs
it is more important that the dinosaurs move like the ob-
server thinks they should move, rather than being
entirely photorealistic. If the content is just right, indi-
viduals will feel both that they are present in the virtual
environment and that the events they see are happening
to them—referred to as the plausibility illusion (Slater,
2009). Though our research provides evidence to sup-
port the importance of both behavioral realism and plau-
sibility in VR, we argue that we need a better under-
standing of how both are shaped by individuals’ lived
experiencias, particularly among adolescents. Lo haremos
illustrate why a more nuanced understanding of the pos-
sible role of individuals’ life experiences in conjunction
with behavioral realism and plausibility in VR would be
useful both for developers and researchers to consider.
In many cases, students in our programs experience
presence in VR through the plausibility illusion. Cómo-
alguna vez, in some cases plausibility and behavioral realism
can interact in ways that make presence more difﬁcult to
achieve. Many students in our study have encountered
the limits of behavioral realism in content like Remem-
bering Pearl Harbor (LIFE VR, 2016). In this experi-
ence, the user is encouraged to pick up objects of partic-
ular relevance to the time period such as newspapers,
photographs, or other relics as they learn about what
happened during the event. Sin embargo, students quickly
noticed that they could very easily pick up tables, chairs,
and all sorts of other objects with a simple click of the
trigger, and some students proceeded to lose focus on

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Castaneda et al. 455

the intended targets of their attention. Intended visual
elements were sometimes difﬁcult to view and, del
15 students in our focus group, six felt frustrated by on-
screen captions or text that diminished their experience
of being present (and several couldn’t ﬁgure out how
they even turned captioning on in the ﬁrst place). De este modo,
the extraneous objects like the tables and chairs became
the focus rather than the intended visual cues. Interest-
ingly, the narrator’s voice, which was audio laid over the
visual experience, did not serve to break immersion in
the VR setting, y, for a third of the students, it actually
added to their understanding of the scenes they were
exploring. It seemed as though the text served as a visual
distraction while the voice of a survivor of Pearl Harbor,
though not actually present as a visual character in the
experiencia, was plausible and provided a beneﬁt. Tal vez
a narrator is a more familiar device for storytelling, como
opposed to the ability to touch everything or have cap-
tioning in the room, and thus serves to enhance rather
than detract from the experience.

An interesting effect we have observed in VR experien-
ces with adolescents, including Remembering Pearl Har-
bor, is that some of the most profound moments for stu-
dents seem to arise from times when they had a break
from the action and were given opportunities to reﬂect
within the experience. One student noted, ‘‘It’s a chal-
lenge when you create an experience like that. Instead of
putting you right in the action, it gave you time to
reﬂect. You were in the home where it was quiet and
then were taken to the action in the middle of one of the
worst scenes in history.’’ Another said, ‘‘The house was
my favorite. I could compare my day-to-day when I was
in the house; I did not have to deal with losing my
friends or dying. Being in the house, to be at home with
those thoughts. . . very different than my thoughts at
home.’’ The scenario of being in a home in 1941 era
both plausible and relatable for students but the oppor-
tunities for interactivity and the text used to guide stu-
dents through the experience distracted them from the
intended purpose of the experience. Gaining a clearer
understanding of what is plausible in scenarios such as
este (p.ej., a narrator versus useless assets with which one
can interact) may help us design experiences that are
both immersive and educational.

The degree to which virtual reality is a truly immersive

and sometimes very realistic medium is still challenging
for adults and children to comprehend. There can be a
disconnect between an individual’s understanding of
what ‘‘immersive’’ means, compared to the actual virtual
experiencia. In one case, middle school students were
using an immersive VR roller coaster experience. All stu-
dents had an understanding of the concept of a roller
coaster and most found the real-life experience to be
enjoyable. Curiosamente, even though roller coasters
were considered extremely aversive stimuli for several
estudiantes, they still chose to put on the advanced headset
and immerse themselves in roller coaster VR. Some of
these students had negative reactions, such as fear and
nausea, in the VR simulation, similar to their reactions
on real-life roller coasters. It was apparent that they were
unable to anticipate in advance that something they did
not like in real life would likely be something they did
not like in VR, y, En realidad, a few expressed surprise by
their own negative reaction. As one middle schooler
observado, ‘‘My understanding of the VR has changed,
because before taking this class, I didn’t know what
being in a virtual reality world was like. I thought that it
would be very unrealistic and not look very good but
after experiencing it, I realized that it is extremely real-
istic. . .’’ It is important that we understand how adoles-
cents conceptualize the ‘‘realness’’ of VR and how this is
altered by repeated exposure. We know from direct ex-
perience with students in classrooms that trailers pre-
viewing VR content can help students better compre-
hend what the virtual experience will entail in terms of
the scope of content. Sin embargo, we also know that
trailers on a 2D screen do not adequately simulate the
immersive experiences and numerous students have felt
uncomfortable when they realized how intense the
‘‘real’’ VR experience could be. Perhaps we could look
to other ﬁelds like medicine, where kids receive gradual
exposure to new experiences, such as an MRI, to prepare
them for the real experience as potential guides for intro-
ducing VR (Raschle et al., 2012).

Some students have expressed that they consider VR
content to be useful for addressing their own fears. Ellos
would intentionally immerse themselves into experiences
involving insects or heights in order to confront their

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456 PRESENCE: VOLUME 26, NUMBER 4

fears. In these cases, they essentially utilized a cognitive
behavioral exposure paradigm as they attempted to
address their own fears. We highlight this for two rea-
hijos. Uno, researchers are still learning about how VR
can be effectively used as an actual treatment for phobias
(Gebara, de Barros-Neto, Gertsenchtein, & Lotufo-
Neto, 2016; Parsons & Rizzo, 2008), and it is
reasonable to assume that adolescents who self-select to
undergo VR experiences for these purposes may not
have the training and understanding necessary to make
this an effective solution for themselves. Segundo, nosotros
believe it is of immense importance that educators, incluso
using cartoonish experiences in VR with children, debería
engage in dialogue with students beforehand regarding
the role immersive experiences might have in triggering
aversive responses. As one high school student reﬂected
when asked to advise other new users about VR, ‘‘Take
it slow at ﬁrst! It can be quite shocking to go from a
classroom to the top of a mountain. . . if you feel uncom-
fortable with the simulation, don’t do it. My fear of fall-
ing for example has made me feel very uneasy in some
situations, and VR is supposed to be enjoyable.’’

The Complexity of Empathy

In designing virtual experiences, content creators

often try to tap into the elements of emotions and empa-
thy for the purposes of helping people learn and relate in
VR (Milk, 2015). Through repeated observations of
adolescents in content designed to evoke empathetic
respuestas, we note inconsistencies in their experiences
that give us pause as we consider how best to tap into
feelings of empathy in learning environments. In one
scenario, adolescents (and adults) interacted with an
imaginary creature that had real, relatable emotions and
thus the behavioral realism worked as one would antici-
pate. The idea that there are basic, universal ‘‘human’’
emotions (Ekman, 1992) seems particularly relevant
when considering this example. The piece of content uti-
lized was called Henry (Oculus Story Studio, 2015) y
involves a personable computer-generated hedgehog
who is alone on his birthday. Though we wondered in
advance if an animated hedgehog would be an effective
tool for eliciting empathy, we were pleasantly surprised

to ﬁnd that it was. The feeling of sadness is a universal
emotion that resonated with the majority of our partici-
pants. Children would reach out to try and hug him,
adolescents would sometimes cry, and adults would
reﬂect on times of loneliness in their lives. De hecho, más
than 80% of adult participants in our experimental study
reported feeling sad after watching the 3608 video. El
scenario seemed plausible and relatable even though it
involved a hedgehog and was a far cry from some of the
more human-centered pieces of VR content available
hoy.

Our observations with Henry were quite different
compared to other content that was speciﬁcally designed
to elicit strong emotions using human characters but
failed to do so in consistent ways, particularly with ado-
lescents. In scenarios where adolescents in a focus group
were placed in a VR Syrian refugee experience (Aora &
Milk, 2015), they responded more strongly to the dust
kicked up by a bomb explosion that obscured their vision
than they did to the people in the experience. In another
aula, a teacher placed students in a 9/11 simula-
tion where the user has to try to get out of one of the
Twin Towers (08:46; WEARVR, 2015). Much to our
surprise, the students did not have the strong emotional
response to the content typically reported by adults we
have placed in the experience. En cambio, they talked about
how they had never considered 9/11 from that perspec-
tive before and previously had only thought about the
planes crashing into the building. Those students were
not alive during 9/11, and thus their conceptualization
and emotional reaction to that event is likely different
than that of adults.

We know from research that sometimes empathetic
responses are mediated by an individual’s capacity to ﬁnd
a clear analog to his or her own life (Slater, Johnson,
cohen, Comello, & Ewoldsen, 2014). A teacher in our
study had success using the solitary conﬁnement VR ex-
experiencia 6 X 9 (Guardian News Media, 2016) with her
middle school Prisons and Protests class. Students clearly
articulated why the virtual experience was so helpful to
their conceptualization of the inhumanity of solitary
conﬁnement and they could clearly relate to the idea of
being in an unpleasant, enclosed environment. When we
izquierda, we were struck by the fact that this was a wealthy

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Castaneda et al. 457

school where students’ lives may be largely untouched
by the penal system; thus their experience of discomfort
may have been rooted in something very different than
students whose life experiences brought them in closer
contact to the prison system. How would that content
have resonated with students who have family members
in prison? In what ways would the lived experiences of
those adolescents possibly have exaggerated the effects
of the plausibility of that content?

In considering these questions, it is important to
investigate the potential value of students engaging in
these experiences and possible disconnects that may
occur. While there are merits to allowing students to
expand their understanding of the world through con-
tent that is meant to induce empathy, it is crucial to be
aware that some studies have shown counterproductive
effects of these experiences. Empathetic 3608 and VR
content can overwhelm students or lead them to feeling
hopeless (Bloom, 2017), which can reduce the chance of
them taking empathetically driven action. Además,
in content simulating disabilities like blindness, users ex-
perience becoming rather than being blind and often leave
with a negatively skewed perception of living as a blind
persona, which is incongruent with many lived experien-
ces (Silverman, 2015). Por último, appeals to empathy can
increase rather than reduce prejudice in some instances
(Silverman, 2015; Southgate et al., 2017). In this way, él
is crucial to validate empathy-inducing content prior to
release, and to host discussions with students about this
contenido, ﬁnding analogues to user experience, y
accepting that one virtual experience will not give users a
full picture of life in someone else’s shoes.

Physical Distance

VR has the potential to give students a close-up

view of objects and people—to understand size and
scale—in ways not possible in the real world. Though we
did not set out to speciﬁcally study physical proximity in
VR, issues surrounding violations of personal space in
VR arose in all of our research. This is largely because in
many pieces of VR content, users cannot easily regulate
their distance from approaching assets. Due to this lack
of control, there may be a disconnect between the way

space is conceptualized by designers versus how it is
experienced by adolescents in VR.

Research in proxemics, the study of personal space,
has demonstrated that when one’s personal zone is vio-
lated, such as by having another person come too close,
feelings of discomfort emerge which often then evoke
compensatory behaviors such as withdrawal or ﬂight
from the intruder (Brozzoli, Makin, Cardinali, holmes,
& Farne, 2011; Sala, 1963; lloyd, 2009; verano,
1959). The realm of peri-personal space, the assessment
of the comfortable area surrounding the body (Rizzo-
latti, Fadiga, Fogassi, & Gallese, 1997), may vary
between individuals and in different scenarios. A per-
son’s peri-personal space is likely different with their
partner than a stranger, but when an individual feels the
space is violated, negative emotions are elicited. Reciente
research suggests that some viewers of 3608 video feel
discomfort from being close to other people in virtual
experiencias, whereas other viewers may enjoy the feeling
of seeing someone else’s work up close (Passmore et al.,
2016).

In VR, the idea of personal space is often violated
intentionally. A character may come close to a user to
elicit surprise, o, because the user can look in all direc-
ciones, an object may approach while the user is not look-
ing and therefore may give the illusion of very quickly
entering the peri-personal zone. This violation of prox-
imity may prove to be a distraction from the expected
VR experience when it unintentionally triggers a nega-
tive response. We saw this with children playing a game
called Fantastic Contraption (Radial Games, 2015).
After the tutorial, a green cat with giant wide eyes
appears right behind the user to bring them tools. El
cat is supposed to be helpful, but the proximity of the
cat to the user led many of the children to jump across
the room or to ask, ‘‘Why is that cat so close to me?’’ or
‘‘Can you make the cat move away from me?’’ Compen-
satory behaviors, such as moving away, jumping, shifting
posición, or trying to use the controllers to move the cat
were observed. Research has suggested that being
looked at triggers different responses than not having
eye-contact and although these responses are largely pro-
social, the presence of eyes has been shown to make peo-
ple more conscious of their activities and likely to con-

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458 PRESENCE: VOLUME 26, NUMBER 4

form to societal norms (Bateson, Nettle, & Roberts,
2006; Francey & Bergmu¨ller, 2012; Powell, Roberts, &
Nettle, 2012). This can be particularly jarring in a virtual
space because up until this point, the user has been in a
constructed environment in which they were the only
persona (or thing with eyes). When something shows up
that is watching them, it can be alarming. Fantastic Con-
traption has since been updated so that the cat’s eyes
are no longer always open upon approach and we are
curious to explore this effect with future users of this
experiencia.

Similar responses happened when both children and
adults were approached by a friendly bunny who comes
right up and ‘‘sniffs’’ them in Invasion! (Baobab Studios,
2016). Both children and adults moved back, leaned
away, or at times commented afterwards that the bunny
was too close, even though it was just for a short time
period and the bunny was a friendly character. Though
not necessarily a reason to remove the headset, in both
casos, it pulled focus away from the task at hand and cre-
ated a sense of unease in users that may diminish their
sense of presence. This effect occurred repeatedly with
adolescents using The Blu Encounter (Wevr, 2016), un
ostensibly peaceful, underwater CGI simulation. Uno de
the highlights of the experience is that a gigantic blue
whale quietly swims past the user. Sin embargo, the whale
approaches the user (versus the user approaching it) y
one of its giant eyes appears to be looking directly at
a ellos. We had many adolescents tell us the experience of
the whale was frightening for them and a small subset of
those students refused to try VR again; these were ado-
lescents within the age-range speciﬁcations of the manu-
facturer. The whale does not interact with the user, es
not designed to be a scary experience, and many people
ﬁnd it wonderful and a great way to understand the scale
of the world’s largest mammal, so we were surprised by
the idiosyncratic negative reactions this content some-
times elicited. These observations may be related to ado-
lescent brain development characteristics such as
increased emotional response to events and incomplete
frontal lobe development, which together may lead to
what appear to adults to be ‘‘irrational’’ responses (casey
et al., 2008; Jensen & Nutt, 2015; Southgate et al.,
2017; Steinberg, 2014).

Curiosamente, in VR, it does not have to be a person or

even an animate object that approaches in order for a
user to feel that their space is invaded. Llobera and col-
ligas (Llobera, Spanlang, Rufﬁni, & Slater, 2010)
demonstrated that even large cylinders moving toward
users, when they moved into the peri-personal zone,
were off-putting, mainly because the users were
approached by objects and not approaching the objects
ellos mismos. This violation of personal proximity can
make users uncomfortable regardless of what violates
that space. Considering this fact, and that there can be a
variety of useful purposes for invading space in VR (p.ej,
escala, surprise, empathy, interacción), it is useful for
researchers and developers to consider ways in which the
user can exert more control over these types of interac-
ciones. One mechanic we have observed that seems to
help with this proximal approach, with both adults and
younger users, is seen in the commercial game SuperHot
VR (Superhot Team, 2017). In this game, the characters
and assets move only when the user moves. This allows
the user to move slowly and thus slow the characters
abajo, or for the user to freeze completely, thus essen-
tially pausing the action and controlling proximity with-
out removing the headset. Investigating whether or not
these types of mechanics inhibit physiological arousal
would be a worthwhile endeavor. Además, virtual
spaces such as Tilt Brush (Google, 2016b) and CoSpaces
(Delightex GmbH, 2017) allow the user to crawl inside
of things and get very close or not, as they see ﬁt, as they
work within the space. The element of choice in terms of
proximity and pacing seems to be a beneﬁcial addition
for adolescent, and likely adult, users. Better understand-
ing the scenarios in which proximity is most effective as
an educational tool is important for researchers and
developers to consider so that we can limit the distrac-
tion or deterrence that may occur when it is used
ineffectively.

Time Travel and Perspective

Through our applied work with teachers and ado-

lescents we consistently see interesting applications for
learning and skill acquisition that leave us feeling opti-
mistic about the use of immersive technology in educa-

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Castaneda et al. 459

tional settings. Students in our research repeatedly cite
history as one of the more enticing subjects to experi-
ence in VR because they strongly desire to see events
through various perspectives and to ‘‘travel back in time
to see what it was really like.’’ When asked what they
want to do in VR, 56% (n ¼ 851) of students in our
study wanted to try new things and 44% (n ¼ 669)
wanted to experience historical events or places. Stu-
dents have consistently expressed that they believe they
will understand events and places more thoroughly if
they could experience them in VR. What has been con-
fusing to us as researchers is how adolescents will use lan-
guage about traveling back in time and ‘‘reliving’’ those
experiencias. One student said, ‘‘They can go back to dif-
ferent time periods and be able to experience it them-
selves.’’ This answer was not unique and 73% (n ¼
1110) of the students in that study thought VR could be
used to take people to a different time or place.

We know from discussions that adolescents, cuando
directly asked outside of VR, do not really believe that
time travel is possible, yet they seem to believe that
someone could simply virtually recreate the events. Este
type of belief brings up major questions about the ado-
lescent skepticism about content creators’ biases. Estos
virtual experiences are created by developers and repre-
sent a very speciﬁc viewpoint or perspective on how an
event unfolded. History teachers in our study have been
very clear that they consider VR to be a secondary source
of information that students should be trained to ques-
tion and think critically about. Curiosamente, 73% of stu-
dents said they either agreed or strongly agreed with the
statement ‘‘Professional developers are knowledgeable
about the content that they are trying to create in VR.’’
Some developers most certainly are; yet because there is
no process for vetting VR content in this way, evaluación
of accuracy is really a function of an individual’s content
conocimiento.

Google Earth VR (Google, 2016a) in VR is a piece of

content that has been extremely positively received by
students and teachers alike. Although the content itself
is designed to showcase geographical locations, tenemos
seen adolescents make very personal connections with
lugares. An exchange student from Germany took his
classmates on a tour of his home neighborhood and

actually became quite emotional about how homesick he
era. Curiosamente, though VR is touted as an excellent
vehicle for developing empathy (Milk, 2015) tenemos
repeatedly heard from students that VR is a better tool
for understanding places versus people (Castaneda et al.,
2017). Our data suggest that they are less certain about
their ability to understand and relate to people through
VR, though we have seen numerous instances (como
the example of the German student) where students have
used places as a mechanism for connecting to very
human emotions. Strategically exploring how these types
of content work, whether or not they have the intended
effect on a wide array of users and what the user takes
away from the experience, is an imperative step.

Final Thoughts

As virtual reality becomes more ubiquitous in the

home, workplace, and classroom, it is imperative that we
look at commercially available content, and do more
work to understand the implications of VR use with a
wider age range of users. Understanding how everyday
adolescent users experience and interpret commercial
content can help us design more effective experiences
and perhaps better gauge user reactions. As researchers,
we feel there is great potential for VR use in education.
Students and teachers in our studies feel the same way.
The question is, how do we encourage educators,
padres, consumers, and developers to consider the im-
portant possible disconnect between expected experi-
ence and actual experience of VR content? How can edu-
cators and parents bridge the gap to effectively mediate
the experience for adolescents? We have introduced sev-
eral ideas from different areas of VR research and its
impact on adolescents. Mesa 1 provides a summary of
the key ideas we have presented.

As researchers, in focusing our studies on the exposure
of adults to VR content, we may be missing key elements
regarding the role of behavioral realism and its interpre-
tation by developing minds. For a variety of reasons,
including brain development and life experiences, ado-
lescent responses may be very different than those of
adults with whom content is play-tested. Además,
there is evidence from many arenas that adolescents may

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460 PRESENCE: VOLUME 26, NUMBER 4

Mesa 1. Considerations for Using Virtual Reality as an Educational Tool for Adolescents

Findings

Preliminary Recommendations

Behavioral realism (objects and characters behave as
they do in the real world) is often more effective in
creating a sense of presence in VR than photorealism
(images look as they do in the real world). Por lo tanto,
if objects, people or environments in VR behave or
respond to stimuli unrealistically, presence is difﬁcult
to achieve. Objects and their unexpected behavior or
atributos (p.ej., you are able to pick up a large table
and throw it) can be distracting, as can overlaid text.

The plausibility illusion refers to the feeling of
being present in the virtual environment and feeling
as if the events occurring are actually happening to
tú. Adolescents don’t always understand that many
VR experiences have high behavioral realism,
potentially making viewers feel present in the
experiences even though the events aren’t ‘‘real.’’

Takeaways
(cid:2) VR gives students experiences they wouldn’t

otherwise have

Developers
(cid:2) Test responses from a diverse group of
participants prior to release to exclude
distracting or counterintuitive elements

Educators
(cid:2) Provide an introduction to the HMD itself, semejante

as through a practice experience

(cid:2) Preview experience with students by viewing a
trailer and facilitating discussion to mentally
prepare them and mitigate aversive responses
(cid:2) Be aware of life experiences or fears that may

make experiences more intense

(cid:2) Allow students to opt out or leave a VR

experience without negative consequences

(cid:2) Debrief after experience

All Users
(cid:2) These experiences are not designed for self-

treatment of phobias outside of a clinical setting

(cid:2) Take time to reﬂect before, during and after a

(cid:2) Students may not understand or be prepared for

virtual experience

the level of realism

(cid:2) Inadequate behavioral realism and other design
elements may distract from the experience

Empathy, or understanding and feeling someone
else’s emotions, may be strongly elicited while
immersed in VR, which is why some feel it is such a
powerful tool. Although there are many similarities
between VR experiences and real life, there are crucial
disconnects to consider, including the user’s lived
experiencias, emotional state, attention and focus.

Developers
(cid:2) Test before deployment as attempts to increase

empathy can sometimes backﬁre

Educators
(cid:2) Be mindful of the content choice, making sure
to balance the beneﬁts and risks of emotional
connection

Takeaways
(cid:2) VR can be used as a tool to experience a moment

(cid:2) Introduce such VR only within a larger context/
curriculum to help students connect to larger ideas

of another’s lived experience

(cid:2) Discuss the strengths and limitations of VR

(cid:2) Sometimes experiences designed to elicit empathy
can backﬁre, overwhelming emotions, resulting
in decreased empathy or action, and providing
a skewed perception of what it’s like for
someone else

All Users
(cid:2) Understand that VR offers opportunities for

intersection with someone else’s experience but
doesn’t automatically provide understanding
y, at times, may even be counterproductive

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Castaneda et al. 461

Mesa 1. (Continuado)

Findings

Preliminary Recommendations

Physical distance/proxemics – Findings with
adolescents suggest that closer is not always better
with younger users in VR. When individuals of all
ages perceive objects or creatures to be infringing on
their personal space in VR, that violation of
proximity, though often by design, can pull them out
of and detract from the experience.

Takeaways
(cid:2) Viewers can appreciate size and scale to a degree

Developers
(cid:2) Allow subjects to approach objects in VR rather

than having objects approach them

(cid:2) If objects are going to approach the viewer,
develop mechanics to give the viewer some
control and choice

Educators
(cid:2) Inform students of objects and characters that

come close

not possible in everyday life

(cid:2) Provide explicit procedures and opportunities to

(cid:2) Viewers usually don’t have control over
approaching objects and characters

Time travel/perspective – Advances in CGI and ﬁlm
technology allow viewers to be transported to
different times and places in immersive experiences. A
fair number of students think of this as a form of time
travel.

Takeaways
(cid:2) VR has the potential to teach students about

historical places and events

(cid:2) Visiting places can also create unexpected

emotional connections

(cid:2) Adolescents can have trouble distinguishing

fantasy versus reality

stop if they are uncomfortable

All Users
(cid:2) Keep in mind that personal space varies
(cid:2) The ability to manipulate space in VR can

provide the beneﬁts of seeing something up
close but can also elicit the negative effects of
fear or social discomfort

Developers
(cid:2) Be aware that people utilize VR content in
learning environments and may accept it as
being an accurate representation

(cid:2) Acknowledge potential personal or source biases
in creating VR experiences and take steps to
mitigate that effect

Educators
(cid:2) Have discussions with students about VR as a

secondary source and ask them how content may
represent a developer’s point of view (just as
much as any written document, cuenta, media,
site or image)

All Users
(cid:2) Consider where content comes from; OMS
created it? Why did they pick this piece of
contenido? What kind of response do they want
you to have?

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462 PRESENCE: VOLUME 26, NUMBER 4

struggle more than expected in distinguishing reality
from created reality. In a study of students experiencing
augmented reality where computer generated multisen-
sory input was overlaid on a screen while viewing a real
ambiente, 11–16 year olds played a game called
Alien Contact (Dunleavy, Dede, & mitchell, 2009).
Researchers noted that the students became so immersed
in the AR environment that they asked researchers if ali-
ens really had crashed at the school and whether the
researchers were in fact afﬁliated with the FBI. Esta sugerencia-
gests some confusion on the part of the students and
their ability to distinguish between what is real and what
is pretend (Southgate et al., 2017).

Recientemente, we were speaking with an educator who used

a wonderful example to illustrate the challenges of
immersive technology with adolescents. He heard his
middle school students having a real debate about the
existence of zombies. He had assumed that by middle
escuela, students would no longer hold those fantastical
creencias. His question to us was, ‘‘What is the impact of
putting an adolescent who still believes zombies might
be real in a virtual experience where they actually interact
with behaviorally real zombies?’’ This is the type of ques-
tion that researchers, developers, padres, and educators
need to consider. As we continue this work with adoles-
cents and VR, we encourage others to consider questions
such as the ones below which we are also grappling with.

Research Questions for
Further Study

– What are steps that should be taken to help adoles-

cents prepare for immersive experiences?

– What role do pre-conversation and post-experience
debrieﬁng have in adolescent understanding/inter-
nalization of virtual immersive experiences?

– Are there speciﬁc strategies we can utilize to pro-
mote empathy before, durante, and after a VR
experiencia?

– How do participants understand empathy and how
does that relate to their emotional response while
using VR?

– What are the limits of VR and how do we under-

stand when students have hit their capacity for emo-
tional understanding in this medium?

– What are ways that we can minimize proximal dis-

turbances or distractions for users in VR?

– Are there particular mechanisms that provide users a
sense of control over distance and/or impending
interaction such that they feel more comfortable
within the VR experience?

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