Possibilities and limitations of media in the metaverse: strategic
positioning, narrative exploration and immersion
Posibilidades y limitaciones de los medios de comunicación en el metaverso:
posicionamiento estratégico, exploración narrativa e inmersión
doxa.comunicación |
nº 41, pp. 95-115
| 95
July-December of 2025
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Fieiras Ceide, C.; Crespo Pereira, V. and Túñez López, M. (2025). Possibilities and limitations of media in the metaverse: strategic positioning,
narrative exploration and immersion.
Doxa Comunicación
, 41, pp. 95-115.
https://doi.org/10.31921/doxacom.n41a2663
César Fieiras Ceide.
FPI contracted researcher at the University of Santiago de Compostela (USC) and a lecturer at the
same university. His research focuses on innovation proposals, articial intelligence, and new technologies in the eld
of international media and OTT audiovisual platforms. He has over 30 publications and participations in high-impact
international journals, books, and conferences. He has undertaken research stays at UFP in Porto (2022, 3 months) and
at LSE in Riga (1 month). He is part of the research team for the I+D+i project “Public Audiovisual Media in the Platform
Ecosystem: Management Models and Evaluation of Public Value for Spain” (PID2021-122386OB-100), and serves as the
technology coordinator for the RTVE-USC Chair.
University of Santiago de Compostela, Spain
cesar.
[email protected]
ORCID:
0000-0001-5606-3236
Verónica Crespo Pereira
. Degree in Advertising and Public Relations and a PhD in Communication from the University
of Vigo. She is currently a lecturer in the Marketing and Market Research Area at the University of A Coruña, where she
teaches in the undergraduate programs of Industrial Fashion Management, Business Administration and Management,
as well as the Master’s program in Video Game Design, Development, and Commercialization. She is a member of
the research team for the I+D+i project “Public Audiovisual Media in the Platform Ecosystem: Management Models
and Evaluation of Public Value for Spain” (PID2021-122386OB-100), funded by MCIN, AEI, and FEDER, EU. Her main
research areas include marketing and innovation in the media enterprise. She is the editor-in-chief of Redmarka:
Applied Marketing Academic Journal and a researcher in the iMARKA research group at the University of A Coruña.
University of A Coruña, Spain
[email protected]
ORCID:
0000-0001-7373-7204
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
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Possibilities and limitations of media in the metaverse: strategic positioning, narrative exploration and immersion
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Miguel Túñez López
. Professor of Journalism at the University of Santiago de Compostela. He currently directs the
RTVE-USC Institutional Chair and is the Deputy Director of the International Doctoral School of USC (EDIUS), where he
also coordinates the Social and Legal Sciences area. He is the Principal Investigator of the VALCOMM project, focused on
public audiovisual media in the platform ecosystem. He also leads the VALUEbot project, aimed at creating a platform
for generating chatbots using articial intelligence to communicate the public value of PSM (PDC2023-145885-I00),
funded by MCIN/AEI/10.13039/501100011033 and the European Union “NextGeneration EU”/PRTR. He is the author of
over a hundred reports, articles, and books on communication. He was Dean of the Faculty of Communication Sciences
at USC (2004-2009). He has been awarded the National Journalism Prize Reina.
University of Santiago de Compostela, Spain
[email protected]
ORCID:
0000-0002-5036-9143
Received: 03/05/2024 - Accepted: 23/07/2024 - Early access: 09/09/2024 - Published: 01/07/2025
Recibido: 03/05/2024 - Aceptado: 23/07/2024 - En edición: 09/09/2024 - Publicado:: 01/07/2025
Abstract:
is research explores the possibilities that the metaverse currently
provides for the media, as well as the limitations or obstacles that
condition or slow down its development and implementation in the
coming years. To this end, semi-structured in-depth interviews were
conducted with 15 global technology experts specialising in virtual
reality and the metaverse, who agreed that the rst wave of journalism
in the metaverse will be based mainly on immersive entertainment,
gamied and experimental content. ey also stress that the integration
of the metaverse into news routines will be limited and conditioned
by the optimisation of VR technology, the democratisation in the
acquisition of devices, the progressive migration of the audience to
virtual environments for the daily consumption of information, and
the establishment and maturation of virtual communities, regulatory
frameworks and social norms. It is concluded that this process will
be slow and gradual, composed of two phases: a rst phase of mass
adoption of solutions and familiarisation with the systems; and a
second phase that will be characterised by practices and developments
of solutions in specic elds, such as those linked to journalistic
narrative.
Keywords:
Metaverse; journalism; virtual reality; media; innovation; media en
-
terprise.
Resumen:
Esta investigación profundiza en las posibilidades que ofrece actual
-
mente el metaverso para los medios de comunicación, así como en las
limitaciones u obstáculos que condicionan o ralentizan su desarrollo e
implementación en los próximos años. Para ello, se realizan entrevis
-
tas semiestructuradas en profundidad a 15 expertos en tecnología del
ámbito global especializados en realidad virtual y metaverso, que coin
-
ciden en que la primera ola del periodismo en el metaverso se asentará
principalmente sobre contenidos inmersivos de entretenimiento, gami
-
cados y de experimentación. También inciden en que la integración del
metaverso en las rutinas informativas se verá limitada y condicionada
por la optimización de la tecnología VR, la democratización en la ad
-
quisición de los dispositivos, la migración progresiva de la audiencia a
entornos virtuales para el consumo diario de información, y al establec
-
imiento y maduración de las comunidades virtuales, marcos regulato
-
rios y normas sociales. Se concluye que este proceso será lento y gradual,
y estará compuesto por dos fases: una primera de adopción masiva de
soluciones y de familiarización con los sistemas; y una segunda que es
-
tará protagonizada por prácticas y desarrollos sobre soluciones en cam
-
pos especícos, como las vinculadas a la narrativa periodística.
Palabras clave:
Metaverso; periodismo; realidad virtual; medios de comunicación;
innovación; empresa mediática.
1. Introduction
e concept of the metaverse refers to an emerging digital ecosystem that provides a space for creative and commercial
freedom for users. is new digital dimension is geared towards constructing a collective virtual environment. One of the most
prominent aspects of the metaverse is its ability to oer an immersive experience and empower its participants, granting them
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the autonomy to securely commercialize their digital assets. is feature will signicantly impact the redenition of dynamics
between media and consumers within the context of the metaverse and articial intelligence. In summary, the metaverse
opens multiple debates regarding the role of traditional actors in contemporary digital society, such as the media in general
and television in particular.
From this perspective, it is crucial for media organizations to evaluate and capitalize on the opportunities the metaverse oers
to innovate in their business models. However, it is important to recognize that the exploration and implementation of virtual
solutions by the media are still in the early stages of development. e main initiatives implemented so far in the metaverse are
related to marketing campaigns, digital product design, events, and conferences (McKinsey, 2022). e direct connection of
these proposals with the communication sector does not translate into a prolic production of scientic literature on the use of
the metaverse in the media industry (Crespo-Pereira et al., 2023). is highlights the need for the present research, which aims
to analyze the strategic, narrative, and creative possibilities that the metaverse and virtual environments oer to the media.
is article, based on interviews with internationally renowned technological experts, explores in depth the opportunities and
challenges involved in adopting these innovative platforms.
2. eoretical Framework
2.1. Denition of Metaverse
e denition of the metaverse refers to the existence of virtual representatives of users in the form of avatars that operate in
3D virtual spaces, allowing digital immersion through virtual reality, augmented reality, or mixed reality (though compatible
with other traditional devices like the PC) (Hadi et al., 2023; Dwivedi et al., 2022; Lu & Mintz, 2023; Schöbel & Leimeister, 2023;
Ball, 2022).
Although the term metaverse gained popularity with Mark Zuckerberg’s announcement in 2021, in the absence of technological
tools, literature and art, such as movies and books, became the conceptual bearers of the metaverse. Works such as “e Lord
of the Rings,” “Dungeons and Dragons,” “True Names,” “Neuromancer,” and “Snow Crash” are behind the formation of virtual
worlds (Dionisio et al., 2013). e early 1990s science ction novel “Snow Crash,” highly cited by those addressing the origin of
the metaverse, coined the term (Wang et al., 2023; Sidorenko, 2023).
Virtual experiences have been studied in academia, with the rst publication related to the metaverse in 1995 in the Scopus
database, primarily tied to computer sciences (Crespo-Pereira et al., 2023). e rst publication in Web of Science appeared
in 1998 and analyzed the virtual human in the novel “Snow Crash,” including its appearance, clothing, accessories, bodily
actions, etc., thereby paving the way for the study of the metaverse (Wang et al., 2023).
In the early 21st century, rapid development in virtual reality technology and computer graphics laid the technical foundations
for the development of the metaverse (Wang et al., 2023). Dionisio et al. (2013) provide a detailed historical overview of the
evolution of the metaverse, noting a signicant expansion in the user base of virtual worlds thanks to commercial worlds. e
early developments, known as proto-metaverses, have their roots in virtual worlds such as Second Life, characteristic of the
Web 2.0 era, fostering interactivity among users and enabling user-generated content (JP Morgan, 2022; Richter & Richter,
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2023). Video games also became a new medium for initial exploration of the metaverse. e game Roblox, launched in 2006,
and the development of Minecraft in 2009, inspired a rst wave of discussions on this concept (Wang et al., 2023).
Interest in research declined after 2013, as development was still limited by the technology of the time, among other factors.
However, 2021 has been considered by some (Wang et al., 2023) as “e Year of the Metaverse,” as the concept has once again
captured attention and discussion in the technological and academic sectors. Platforms like Fortnite and Roblox are expanding
these social experiences through events and shopping spaces, attracting users and enhancing the protability of virtual events
(McKinsey, 2022). Organizations of various kinds have incorporated these platforms into their businesses through advertising,
events, meetings, prototyping, training, and simulations of real-world environments (Dwivedi et al., 2022).
Technological development, including extended reality (XR), articial intelligence (AI), and internet infrastructure (5G/6G,
IoT, cloud computing), is paving the way for an advanced version of the metaverse (Wang et al., 2023). IAB (2024, 7) proposes
its own denition, highlighting the key role of technologies for the existence of the metaverse: “e Metaverse is the new
spatial internet where it is possible to create new digital products and services capable of amplifying our senses through three-
dimensional interactive experiences. An internet that combines, to varying degrees of immersion, the real world and the
virtual world, and which can be enjoyed under a customizable identity from dierent devices and visual, haptic, auditory, or
other technologies.” However, the identity elements of the metaverse go beyond its technological nature.
2.2. Metaverse: Technologies for Socialization and Marketing
e term metaverse (or metaverses, as there is not just one) refers to a network of digital spaces that immerse an unlimited
number of users in real-time, interoperable shared experiences, and include commercial and socializing activities (Hadi et al.,
2023; Dwivedi et al., 2022; Lu & Mintz, 2023; Schöbel & Leimeister, 2023; Ball, 2022).
e metaverse is a space that adapts to gamication, understood as a strategy that uses game design elements and principles
in non-game contexts to increase user motivation, participation, and performance (Deterding et al., 2011), but also for
socialization. In this sense, it is worth reiterating that the social aspect is central to its conception. e metaverse is conceived
as a space where users adopt avatars that interact with each other (Ball, 2022). From a social perspective, the development
of immersive virtual experiences is contributing to the formation of communities based on shared values, where individuals
can express their most authentic selves. e capacity for self-expression and communication are the main motivations for
individuals to use the metaverse (Yu, 2024).
While the metaverse (Web 3.0 version) is a virtual space with multiple possibilities for socializing, the ability to interoperate
between worlds is a key aspect of the phenomenon, so that users must have the capability to freely access and experience with
their avatars or virtual assets across various platforms and virtual worlds (Dionisio et al., 2013; Ball, 2022). us, it can be stated
that the starting point of the metaverse is “to achieve total or partial interoperability of identity and personal assets” (IAB,
2024:7). e goal of interoperability is to provide users with greater accessibility and exibility, allowing them to experience
seamless virtual interactions across platforms.
Today, the lack of interoperability is a crucial aspect that needs to be addressed. Each platform operates in isolation, creating
fragmented virtual experiences that are not interconnected. is starkly contrasts with the concept of the metaverse (Web 3.0),
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which envisions a unied virtual environment where users can seamlessly move from one world to another, interacting uidly
with other users, objects, and information (Richter & Richter, 2023). is aspect ties in with another signicant concept of the
phenomenon, decentralization, referring to the independent operation of any central authority; an aspect that centers and
empowers the user/individual against the control exerted by large organizations and companies on the Web 2.0 platforms (JP
Morgan, 2022).
e state of social interaction, decentralization, and interoperability pose real obstacles to the development of the metaverse
from its most advanced conception. Although platforms already exist under both perspectives (Table 1), interoperability has
so far not been possible between platforms like Roblox or Sandbox. is prevents the realization of a true metaverse, according
to authors such as Richter & Richter (2023).
Beyond conceptual discussions, the intersection of technological, social, and economic drivers fosters a growing and
signicant interest in the business world (JP Morgan, 2022). Companies nd in the Web 2.0 metaverse a space where they
can concentrate their product oerings due to increasing demand (Hernández, 2023). e metaverse, whether centralized
or decentralized, cannot be understood without the existence of a parallel economy where the community can create and
commercialize their own products, as well as acquire physical or virtual goods and services (IAB, 2024). Centralized gaming
platforms such as Minecraft, World of Warcraft, and Fortnite already have extensive user communities and robust internal
economies. However, there are other decentralized platforms that embody the most comprehensive denition and the most
advanced state of development of the metaverses (JP Morgan, 2022), where users not only consume content but can also create
and sell their own products, opening up a wide range of possibilities for the digital economy.
Participants are not only part of a dynamic community but also of an evolving economy (Richter & Richter, 2023). In the wake
of these virtual communities, there is immense potential for companies and brands that, although traditionally not part of the
video game industry, now have the opportunity to reinvent their business models (JP Morgan, 2022). e entry of businesses
into the metaverse manifests in various forms, ranging from investment in virtual spaces to the commercialization of digital
products and services. Indeed, the ourishing economic activity in the metaverse is another primary reason for the presence
of companies and individuals (Yu, 2024).
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Table 1. Characteristics of Web 2.0 and Web 3.0
Web 2.0Web 3.0
Platform
Characteristics
Examples of Virtual
Worlds
Second Life
Decentraland
Roblox e Sandbox
Fortnite
Somnium Space
World of Warcraft
Cryptovoxels
Organizational
Structure
Centralización
Gobernado por la comunidad,
generalmente a través de
una organización autónoma
descentralizada (DAO, por sus
siglas en inglés).
Decisions are based on adding
value for shareholders
Tokens nativos.
Participation in governance.
Decisions are based on user
consensus.
Data Storage
CentralizedDecentralized
Platform Format
PC/consola
Hardware VR/AR
Móvil/app
PC/consola
Hardware VR/AR
Móvil/app (por llegar)
Payment Infrastructure
Traditional payments (credit/
debit card…)
Crypto wallet
Source: adapted from JP Morgan (2022)
2.3. Media Experiences and Innovation in Virtual Worlds
Several critical determinants inuence the use of the metaverse by media companies. Organizations that exhibit high digital
agility are more likely to adopt the metaverse due to their adaptability, exibility, and rapid response to technological changes.
e perception of the metaverse as an advanced and sophisticated environment may encourage viewing it as a platform
oering innovative and unique solutions, attracting users who demand cutting-edge technologies (Kumar et al., 2024).
Today, media companies face the challenge of competing for the attention of young audiences already immersed in platforms
like Fortnite and Roblox. Moreover, public media organizations have an additional commitment to ensure that their mission
to educate, inform, and entertain provides safe content for younger audiences (CSI Magazine, 2022). ey are exploring and
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implementing public service algorithms that mimic the characteristic values of these media (Fieiras, Vaz, Túñez, 2023), or
exploring new narratives and formats related to virtual environments such as esports (Fieiras, Túñez, Maroto, 2022).
However, technological innovation does not guarantee success. Previous experiences incorporating high technology in the
media eld (immersive journalism) in Spain have had a short trajectory and do not always respond to a narrative strategy
linked to the immersive nature of the technology (Pérez-Seijo, 2020).
Media companies must analyze whether the metaverse is a space with strategic value in their connection with audiences,
especially younger ones, and make decisions about the level of integration they wish to have in this domain. is can range
from inaction to creating a digital representation of the corporation in the metaverse (CSI Magazine, 2022), and even the
possibility of developing their own metaverse.
Whatever the case, the initiatives already underway in the virtual world environment could be the catalyst for new dynamics
in content production, distribution, and commercialization among media. e introduction of innovative formulas among
competitors increases the perception that the use of the metaverse is a practice that the industry should adopt. Additionally,
the possibility of conducting real-world tests on the platform provides valuable information about the technology’s viability
and suitability for the organization (Kumar et al., 2024).
Despite the possibilities oered by the metaverse in terms of native 3D approaches, media companies are reluctant to make the
necessary eorts for this transition (Newman, 2023). Furthermore, the lack of use cases hinders editors’ interest in developing
applications for the metaverse, with only 5% showing interest compared to 72% who prefer to focus on formats like podcasts
and digital audio.
Innovation is crucial for traditional media in a digital environment dominated by video-on-demand (VOD) platforms (D’Arma,
Raats, Steemers, 2021), multiplayer platforms, and social networks. Media must understand the needs of new generations
to oer tailored products to this segment while integrating the codes of the platforms where they operate. Broadcasting
professionals must pay attention to these disruptive trends to maintain their relevance in the entertainment world.
Although media investment in metaverse applications is currently limited, improvements in the user experience with AR and
VR devices could change this trend (Newman, 2024). It is expected that media and entertainment will dedicate a signicant
portion of their digital budget to the metaverse in the coming years (McKinsey, 2022). Media initiatives in the metaverse
encompass a wide range of areas. From marketing campaigns to digital product design, this new virtual territory is being
explored in multiple ways. Experimental interfaces are closer thanks to improved user experience with AR and VR glasses. is
could boost journalistic use of the metaverse, especially with the development of new tools and standards like Web XR, which
expand content distribution methods (Newman, 2024).
Extended reality (XR) technologies, such as VR, AR, and MR, are beginning to integrate into the strategies of both public
and private media to create immersive experiences and recreate events and situations of interest (Ortega Rodríguez, 2022;
Tejedor et al., 2020). e metaverse opens the door to new forms of storytelling, production, distribution, and consumption of
television content. is has led to the emergence of new phenomena under the term BroadcastMetaverse, referring to the use
of virtual worlds by media organizations. BroadcastMetaverse includes the immersive experience of live events, similar to a
television program, but within an interactive articial universe. Advanced 3D graphics and articial intelligence are employed
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to enhance the broadcast of events, such as sports competitions, thereby increasing realism and viewer engagement. In this
regard, use cases have been observed in golf championships in South Korea (Anitua, n.d.).
In Europe, the rst initiatives for digital twins are already underway (France Tv, 2022; France.tvlab, 2023), a practice that
involves reproducing digital versions of physical products, allowing their visualization and the integration of games in the
virtual environment (McKinsey, 2022). Movistar Plus+ oers immersive experiences with original content to enjoy in virtual
reality (with VR glasses) where users can exercise full control over their experience, ranging from interacting with friends to
visiting the set of “La Resistencia” or participating in an Escape Room (Chaou, n.d.).
e way content is produced is also changing with the metaverse. e episode “META” of the German series “Doppelhaushälfte,”
produced by ZDF, was lmed entirely in virtual reality within Somnium Space. Each actor used virtual reality glasses, and
traditional sets were replaced by locations and accessories created by Somnium users. is demonstrates unlimited innovation
and creativity, giving users a signicant role in content creation (MRTV, 2023).
Fox’s television program “Alter Ego” presents a talent show with a technological twist. Contestants perform behind a curtain
using motion capture suits to control their augmented reality avatars. e technology used includes advanced cameras and
video game design software to render the avatars in real-time, creating a unique competition experience where physical
appearance is not prioritized (Hissong, 2021).
e exploration of innovative business models and the creation of new revenue streams (Park; Kim, 2022) is of interest to
evaluate the viability of virtual worlds. Regarding monetization, while it may be necessary to oer new formulas and products
designed for this new environment to generate income, media organizations have been able to experiment with products with
a long tradition and acceptance in the traditional market. e nostalgia element of BBC products could factor into attracting
gamer audiences and stimulating the virtual economy (BBC Studios, 2023).
In-game strategies by networks could be successful in attracting new audiences and monetizing products. ITV launched an
exclusive experience of the program “I’m A Celebrity... Get Me Out Of Here!” in Fortnite Creative. Some of its most iconic sets
were recreated, and the experience was gamied with challenges and trials that run parallel to the television program. “e
Voice” is also part of ITV’s in-game strategy (ITV Media, n.d.).
Today, immersive 360-degree content and holographic videos in mixed reality are also being explored (CSI Magazine, 2022).
Traditional television, with 2D images and sound, contrasts with new possibilities. In the future, immersive technologies
could be used as screens. e sensation of being immersed in virtual environments (telepresence) oers new perspectives in
creating user experiences (Kim & Biocca, 2006). Holograms, through augmented reality, will become a reality for domestic use
and could eventually replace traditional screens, being particularly useful in virtual meetings, family video calls, and remote
learning sessions, providing a stronger sense of presence than traditional videoconferencing (Rauschnabel et al., 2022; Lu &
Mintz, 2023).
Virtual worlds themselves become an asset for communication and branding. e metaverse is becoming a space of great
interest for brand creation and advertising space management. is new space oers unprecedented opportunities for brand
promotion and visibility (Rauschnabel et al., 2022). Experiences in virtual worlds can be monitored, allowing the collection
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and analysis of business-relevant data, including biometric data that can be used to personalize user experiences (Dwivedi et
al., 2022) and enhance advertising actions.
To date, the projected and organized experiences in the metaverse have been limited, mainly linked to marketing actions
or event planning and execution. erefore, it will be of interest to monitor their progress and development over the next
decade. is is an initial study that outlines the possibilities and potential that journalism and media may explore and exploit,
according to international technology experts.
3. Methodology
is study delves into the strategic, creative, and narrative possibilities currently oered by the metaverse for global media,
as well as the anticipated advancements and limitations that may hinder or obstruct its implementation or utilization. To this
end, the following research questions are addressed:
–
Q1.
How can the current version of the metaverse be useful for international media? What conditions hinder or slow its
implementation?
–
Q2.
What types of content or services can or will media oer in the metaverse, and how can they optimize or enhance their
relationship with audiences in these digital environments?
–
Q3.
Is there a place for journalism in the metaverse?
–
Q4.
How will news evolution in the metaverse and the conversation and interaction around it develop over the next ve years?
–
Q5.
Is the metaverse a more suitable space for public media, private media, or new native media born within this virtual
space?
To address these questions, this project is designed as an exploratory descriptive study with a blind hypothesis. Qualitative
methods are employed, and semi-structured in-depth interviews are conducted with 15 global technology experts specializing
in virtual reality and the metaverse. e selection of these professionals was carried out in two rounds through the LinkedIn
employment portal, followed by the snowball method based on recommendations and responses from the initial interviewees.
is number of interviews achieved the desired point of saturation, dened as the moment when eldwork can be considered
complete, as interviewees repeated what previous ones had expressed (Callejo, 1998). Two of the experts expressed their
desire to participate anonymously, while the nal conguration of the sample of the remaining 13 interviewees is presented
in Table 2.
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Table 2. Intentional Convenience Sample
NameAliationCompany
Karthik Krishnan Vice President of Business
MEA
Alex van der BaanChief Executive OcerYOM (Your Open Metaverse)
Salman HalawiFounder and Chief Executive Ocer
Metadesignerz
Sergio G. Gómez
Co-founderFLOC
Professor of Metaverse, NFT, and Digital Asset ManagementIEBS Business School
Noel MyersCo-founder and Chief Operations OcerMetaverse Solar
Emilio Blanque MartínezHead of SalesUnion Avatars
Antovany Reza
CEO
Suzuverse Indonesia
Vikrant Argade
Metaverse Expert. New Media ConsultantIndependent Professional
Fatemeh Monfared
Founder and Chief Metaverse Architect
Spaces
Giuseppe Vásquez Senior ConsultantNTT DATA
Terry xR. Schussler Senior Director of ComputingDeutsche Telekom
Valéria Carrete Metaverse Director
Converge
Tommaso GuerzoniBrand Director
Formules
Source: own elaboration
e interviews were conducted between September 15, 2023, and January 15, 2024, via Microsoft Teams, with an average
duration of 20 minutes. A semi-structured questionnaire, never exceeding 8 questions, was used, containing specic questions
depending on the professional or company interviewed. Nevertheless, the common blocks in all interviews were: current
possibilities of journalism in the metaverse; limitations or obstacles to its integration into the media; and the future of news,
informational content, and entertainment in virtual environments.
e interviews were recorded and then transcribed to allow for an exhaustive analysis of their content in relation to the
research objectives. is analysis was carried out using
Atlas.ti
version 9.1.7 for Windows, in four consecutive stages: rst,
the information was recorded from the interview transcriptions; then, the data was coded; next, relevant information related
to each of the aspects linked to the stated objectives was identied; nally, a detailed interpretation of the obtained results
<p>[Enlace de URL / hc (has AS)]</p>
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was conducted. It is important to highlight that the coding and categorization of the data were performed in a replicated and
consensual manner to minimize possible subjective biases and ensure the reliability of the obtained results. Additionally, all
interviewees gave their explicit consent to use their responses and personal information.
4. Results
4.1. Possibilities and Limitations of Media in the Metaverse
e existence of innovative actions that implement high technology presents a competitive advantage for reaching fragmented
audiences. In this sense, the metaverse could follow the trend of so-called “VIGI” content: visual, interactive, gamied, and
immersive (López-García et al., 2020). ere are precedents of media experimenting with technologies that allow them to
narrate and distribute content in diverse ways. e use of immersive journalism in Spain, in the mid-2010s, already introduced
multiple possibilities concerning cultural and entertainment storytelling and consumption through virtual reality and 360º
video. However, this approach proved limited in both time and content oered, predicting a short future trajectory (Pérez-
Seijo, 2021).
e initial initiatives of media companies in the metaverse are mainly focusing on immersive, gamied, and experimental
entertainment content. All 15 experts consulted for this study agree that there will indeed be a space for informative journalism
in these virtual worlds. However, they believe its progressive integration and utility will be limited and slowed by the complex
optimization of VR technology and the democratization of device acquisition. Certainly, the migration of audiences to virtual
environments is crucial to motivating media companies to multiply their eorts and consolidate rm strategies in these spaces,
as well as the establishment and maturation of virtual communities, regulatory frameworks, and social norms.
Karthik Krishnan (MEA):
“As the metaverse evolves into a shared virtual space where people spend time and interact, the need
for accurate and reliable information will remain essential. Just like in the physical world, journalism in the metaverse can promote
transparency, facilitate informed decision-making, and contribute to an informed and engaged virtual society.”
Issues such as privacy, consent in the use of personal data, algorithmic bias, and digital rights will be key to developing
new ethical frameworks in an information landscape that is expected to have a higher degree of decentralization due to the
citizen’s value contribution to the conversation. Experts predict that the relationship between media and the metaverse will
be established essentially on four axes:
–
Verication of information, detection of manipulation, and assurance of credibility.
–
Immersive, innovative, engaging, and bidirectional storytelling.
–
Co-creation of content with user contributions through the involvement, selection, aggregation, and contextualization of
user-generated pieces.
–
News coverage of events developed in virtual spaces (virtual conferences, esports tournaments, art exhibitions, political or
social events), or on improper behaviors in these environments (cybercrimes, fraud, personal data breaches).
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Currently, companies have found in the metaverse a new way to conduct branding and provide hedonistic experiences related
to events and shopping (Bourlakis, Papagiannidis, Li, 2009; Dincelli, Yayla, 2022), making this direction more promising than
other alternatives linked to information and hard news.
In a later stage of development, the metaverse could establish itself as a new social sphere that acts as a meeting point
between digital and physical life. us, journalism, along with curated, accurate, and reliable information provided by media
companies, will remain necessary in a context of communication disorder where citizens interact, create content, participate
in various activities, and where citizen journalism may play a more prominent role.
However, doubts arise about the real journalistic application of the metaverse at present, being in an embryonic phase and
dependent on public involvement. is could be stimulated by factors such as decentralization and remote consumption of
news on the ground, and slowed by the emergence of fake news in unregulated spaces.
Antovany Reza:
“e development of the metaverse is ongoing, and the way journalism will integrate into it and the productive
dynamics that will settle will evolve over time. In the next ve years, we will notice changes. ere will be a place for media in the
metaverse, although with unique considerations and adaptations, dierent from those of other sectors with dierent characteristics.”
4.2. Construction of Immersive News in Virtual Environments
In the informational segment of news production and distribution, the next ve years are anticipated to be a period of
experimentation and exploration where media companies, technology rms, and users will navigate the opportunities and
challenges presented by virtual environments. is process of normalization and assimilation will be slow and gradual,
comprising two phases: the rst phase involves the mass adoption of solutions and familiarization with the systems; the
second phase will focus on practices and developments in specic elds, such as those related to journalistic narrative.
Salman Halawi:
“I feel that news will be more immersive and much more personalized. Metaverse and AR/VR experiences will allow
us to see events in a more practical and on-site manner, and NFT ownership distributed by journalists/companies will optimize the
user experience.”
Sergio G. Gómez:
“With the settlement of the latest mixed reality prototype from Apple, the Vision Pro, everything will move very
quickly. Devices will evolve and become easier to use. Traditional media will have to adapt, and native media to this technology will
emerge. e support of AI will also be fundamental.”
Experts are cautious when predicting how the evolution of news in the metaverse will unfold, understanding that instances
of immersive journalism in virtual environments have so far been sporadic and not very representative or conclusive. e
greatest changes and potential impacts expected are related to increased user-generated content, the possible establishment
of virtual news platforms, personalized news delivery, and engagement with social and collaborative news.
However, traditional modes of consuming information will remain a priority, at least for the next decade. ese virtual news
experiences will be primarily demanded for viewing specic events with high-quality recreation that requires leisurely
consumption beneting from immersion, rather than for immediate news consumption as in the current model.
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Emili Blanque Martínez:
“I believe that news and content will be more relevant to the consumer prole thanks to the use of data.
Today, most virtual platforms do not deliver data-driven products, but I think that with decentralization, digital identity, and the
freedom this will give users to share certain levels of data, the content they receive will be more rened and more relevant to them
than it has been so far.”
Despite the less visible action of articial intelligence to the public compared to metaverse actions, currently, over 75% of
media use AI in their value chain to gather content, produce it, and distribute it (Beckett & Yaseen, 2023). Media companies
will use AI to oer customized products for each user, so that the content can be tailored (Túñez-López, Fieiras Ceide, Vaz-
Álvarez, 2020). How AI will integrate into the metaverse is a topic of interest in this study.
e role of articial intelligence in the metaverse could also become signicant if informational formats consolidate in virtual
environments. In this way, AI could transfer its current newsroom capabilities to immersive formats and their distribution. By
integrating AI into virtual platforms, it could help analyze the volume of content and generate personalized news programs
that provide the themes and formats of information desired by users, leading to greater interaction with the news, requiring
less time to obtain feedback, and creating a conversation that generates value.
ese experiences, fueled by augmented reality and virtual reality, will enable the remote consumption of events in a more
practical way. e added value provided by NFTs distributed by journalists or media companies will allow their holders to gain
benets within this space, enhancing their user experience.
Adding value and dierentiating oneself is indispensable for the survival of any media outlet. Currently, AI implementation is
accessible to small media outlets; however, larger media organizations have a superior capacity to scale eectively and oer
more personalized content (Túñez-López, Fieiras Ceide, Vaz-Álvarez, 2020). e value proposition in the context of AI seems
more complex to achieve, considering that although AI-generated content is relevant, truly unique stories will still be created
by humans. Media face the challenge of dierentiating themselves through data-driven content, unless it is highly specialized
or niche (Túñez-López, Fieiras Ceide, Vaz-Álvarez, 2020).
Terry xR. Schussler:
“ere is already a trend towards AI-generated content on social media platforms. It is easy for automation
and algorithm-generated content to introduce biased news into the conversation, so there must be regulation in personalization to
avoid the lter bubble. Optimizing the user experience through personalization will also be strongly linked to the acquisition of NFTs,
allowing even more dierentiated virtual identities.”
4.3. Public, Private, and Native Media in the Metaverse
e experts consulted agree that the current version of the metaverse still does not provide optimized features for media
workows. However, they do not rule out that beyond the current isolated uses and attempts, applications and tools could
be established for public, private, or native media created in this space to coexist and evolve, oering benecial features to
improve their relationship with their audience.
is transition towards virtual structures will cause substantial changes for media over the next decade. e specic suitability
and impact of each type of media in the metaverse will depend on factors such as the governance structures of these virtual
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environments, user preferences, regulatory frameworks, and the balance between public interest, commercial viability, and
creative exploration.
Salman Halawi:
“I feel that the idea of native media depends on user acquisition and how many people use the platforms. ey t
within the vision of Web3, but thinking about them today is far-fetched. In my opinion, the metaverse is suitable for both public and
private media as long as they have sustainable strategies and a positive and transformative approach.”
e group of professionals interviewed highlights that there is already a real interest from various media outlets in activating
initiatives on virtual platforms. For example, Los 40 Principales and Cadena Ser are trying to nd new methods to create
communities and reach Generation Z and Alpha, who are moving away from conventional media consumption patterns.
El País and CNN are also using emerging immersive technologies to explore new transmedia formats such as 360º video or
augmented reality to produce documentaries, increase user interaction, or tell news stories in dierent ways, attempting to
teleport the user to hard-to-access places like war zones or nuclear areas.
Immersive journalism in Spain began in the mid-2010s using virtual reality and 360º video. However, this approach proved
limited by various factors, including the lack of a narrative strategy that exploited the immersive nature of the technology
(Pérez-Seijo, 2021).
Emili Blanque Martínez:
“Media should leverage the features of the metaverse to benet and optimize society’s informational
consumption. Although there is still a long way to go, I envision breaking down access barriers to complex, conict areas to view the
reality of those places with greater precision and detail.”
Tommaso Guerzoni:
“In my opinion, virtual worlds are more suitable for private media than public ones. I believe we are still
quite far from the establishment of new native and fully virtual media, which will take more than a decade and will go hand in hand
with the maturity of young people who have grown up farther from traditional consumption and are more accustomed to digital or
disruptive consumption.”
4.4. Media Projects and Initiatives in the Metaverse
Although so far initiatives related to informational content in the metaverse are few and practically non-existent, various
global media outlets have already projected dierent proposals in virtual environments and platforms, exploring this eld to
improve content distribution, organize events, and create immersive experiences for their audiences.
ese initiatives range from the creation of virtual oces to the organization of concerts and festivals in digital environments,
thus transforming the way users consume information and entertainment and providing new experiences. e adoption of
virtual reality (VR) and augmented reality (AR) technologies by these organizations not only enriches the user experience but
also opens new avenues for education and global collaboration.
Among the highlighted projects are the interactive experiences of El País and BBC, the virtual music events organized by Radio
Nacional de España and Los 40 Principales, and the virtual oces of Reuters in Decentraland. Additionally, platforms like
CNN VR and Al Jazeera in VR have revolutionized news presentation by allowing full immersion in reported events. Warner
Music Group has taken music to new dimensions through concerts on Roblox, while Forbes has used the metaverse to facilitate
global business conferences. ese examples illustrate how media outlets are integrating advanced technologies to redene
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their strategies and oer unique experiences to their audiences. Table 3 below describes a total of 10 media projects on virtual
platforms and scenarios.
Table 3. Media Projects in the Metaverse
Project or Media Name
Description
El País VR
Virtual environments and interactive reports that allow users to immerse
themselves in the news. El País has explored the use of the metaverse for
education, where students can interact with content in an immersive and
personalized way, thus fostering greater motivation and participation. is
initiative underscores the importance of security and privacy in the use of
emerging technologies.
Radio Nacional de España
Concerts and events on metaverse platforms like Second Life and Decentraland.
ese events not only allow listeners to virtually attend live performances but also
facilitate social interaction among attendees, creating a richer and more dynamic
concert experience.
Los 40 Principales
is broadcaster has taken music to the metaverse by organizing virtual festivals
and concerts on platforms like Roblox and Fortnite. ese events allow fans to
enjoy performances by their favorite artists while interacting with avatars and
exploring themed digital environments
BBC
e BBC has created documentaries and educational programs in virtual reality,
allowing viewers to deeply immerse themselves in stories and events. ey
have used VR to recreate historical and natural moments, oering a unique and
educational perspective that cannot be experienced through traditional media.
e New York Times
NYT has implemented augmented reality (AR) to complement its reports, allowing
readers to interact with 3D models of news scenes. is technology has been used
in articles about natural disasters, space explorations, and war reports, oering a
more visual and immersive reading experience.
Warner Music Group in Roblox
is company has collaborated with the Roblox platform to hold virtual concerts
where artists can connect with their fans in an interactive environment. ese
events are not only globally accessible but also oer unique experiences, such as
the ability to customize avatars and participate in concert-related activities.
Reuters in Decentraland
Reuters has established virtual oces on the Decentraland VR platform, oering
users access to news, reports, and press events in an interactive 3D environment.
is space allows users to explore content innovatively and participate in
discussions and events in real time.
CNN VR
CNN has developed a virtual reality platform that allows users to watch news and
special reports in an immersive format. Viewers can explore news events and
locations in 360 degrees, enhancing the understanding and impact of the stories.
ey have covered signicant events such as elections and natural disasters.
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Al Jazeera en VR
Al Jazeera uses virtual reality to create documentaries and interactive reports,
oering viewers a profound way to experience and understand the news. ey
have produced content on international conicts and humanitarian crises,
allowing for total immersion in the reported contexts.
Forbes and the Metaverse Conference
Forbes organizes conferences and business events in the metaverse, facilitating
global collaboration and knowledge exchange in a virtual environment.
ese conferences include discussion panels, presentations, and networking
opportunities, attracting industry leaders and experts from around the world.
Source:
own elaboration
5. Conclusions and Discussion
It is a reality that virtual worlds are beginning to establish themselves as occasional alternatives for socialization, shared
content consumption, and human interaction. ey are also becoming spaces for the free creation and development of
messages, products, and ideas. is is why content creators are entering a period of exploration regarding the possibilities and
features oered by these environments. Similarly, independent producers, media organizations, and the journalism sector are
monitoring the advances of this solution and remain intelligent followers of the possibilities that the metaverse can oer to
renew their services and stay competitive in the hyper-competitive attention market, where public interest is the most coveted
asset.
is article stems from the need to initiate a research line that tracks the relationship and incorporation of the metaverse and
virtual worlds into the workows of media organizations. To date, contributions are scarce and mainly linked to the business
or marketing eld. e same applies to the initial and most advanced brand or project experiences in the metaverse, closely
related to advertising campaigns or events in virtual scenarios.
Upon completing this study, the main objective is achieved: to delve into the strategic, creative, and narrative possibilities
and limitations that the metaverse can oer to media organizations considering its current evolutionary trend. To this end,
qualitative interviews were conducted with 15 international technology experts who agree that the initial media experiences in
the metaverse will mainly focus on producing immersive, gamied, and experimental entertainment content. However, their
progressive integration into informational functions or aspects will be closely linked to the improvement of virtual reality (VR)
technology, the democratization of device acquisition, the gradual migration of audiences to virtual environments in their
daily consumption routines, and the establishment and development of virtual communities, regulatory frameworks, and
social norms (Q1/Q2).
Crucial issues such as privacy, consent, algorithmic bias, and digital rights will be paramount in developing new ethical
standards for an information landscape that will likely become decentralized due to citizen participation in the conversation.
In the realm of news production and dissemination, the next ve years will involve experimentation in virtual environments,
where media, technology companies, and users will explore opportunities and challenges. According to the consulted experts,
the normalization process will be gradual, with two phases: rst, widespread adoption of solutions and familiarization with
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the systems; and then, a phase focused on specic practices and developments, such as innovation in journalistic storytelling
(Q3/Q4).
e forecast is that this behavior of the media will follow the same roadmap regardless of their public or private nature, as the
potential of the metaverse can be leveraged by any communicative agent by directly linking with the journalistic essence of
oering the public content and information through appropriate, eective, and attractive channels, and reinventing narrative
formulas and formats. As the metaverse becomes more relevant in people’s lives, its strategic importance in media priorities
will grow in parallel, with media organizations already beginning to include it in their operations (Q5).
e analysis conducted in this study underscores the importance of continuing to explore the possibilities that the metaverse
and virtual worlds oer to media organizations. As these technologies evolve, several promising research areas emerge that
deserve attention. Firstly, it is crucial to monitor how human-computer interaction adapts to immersive virtual environments
and the psychological and social impacts associated with prolonged immersion. is line of research can provide valuable
insights into optimizing these experiences to improve user well-being and satisfaction.
Another relevant aspect is the integration of articial intelligence (AI) in the metaverse to signicantly enhance content
personalization and create realistic avatars, as well as contribute to the safety and moderation of these environments.
Investigating how AI can be used to create more customized and secure experiences will be fundamental to developing
sustainable and attractive virtual environments.
Furthermore, it is necessary to deepen the understanding of regulatory frameworks and social norms that will emerge
with the expansion of the metaverse. Issues such as privacy, consent, algorithmic bias, and digital rights will be crucial for
establishing robust ethical standards in these new spaces, where experimenting with new forms of narrative and immersive
content production in media should be a continuous focus. is includes exploring how virtual environments can transform
journalistic storytelling and oer new ways to engage and educate audiences. By observing these lines of research, media
organizations can stay at the forefront in an increasingly competitive and dynamic market.
6. Acknowledgments
is article was translated into English by Martín Vaz Álvarez, to whom we extend our thanks for his work.
is article is part of the activities of the project PDC2023-145885-I00, funded by MCIN/AEI/10.13039/501100011033 and by
the European Union “NextGeneration EU”/PRTR, and within the activities of the RTVE-USC Chair on Public Service Media in
Europe. e author César Fieiras Ceide has an FPI contract from the Ministry of Science and Innovation of Spain with reference
(PRE2022-103954).
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7. Specic contributions of each author
Name and Surname
Conception and design of the work
César Fieiras Ceide, Verónica Crespo Pereira and
Miguel Túñez López
Methodology
César Fieiras Ceide and Verónica Crespo Pereira
Data collection and analysisCésar Fieiras Ceide
Discussion and conclusionsCésar Fieiras Ceide
Drafting, formatting, version review and approval
César Fieiras Ceide; Verónica Crespo Pereira and
Miguel Túñez López
8. Conict of Interest
e authors declare no conict of interest.
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July-December of 2025
Possibilities and limitations of media in the metaverse: strategic positioning, narrative exploration and immersion
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
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doxa.comunicación |
nº 41, pp. 95-115
July-December of 2025
César Fieiras Ceide, Verónica Crespo Pereira and Miguel Túñez López
ISSN: 1696-019X / e-ISSN: 2386-3978
| 115
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