Immersive environments are known for fostering empathy via their technological properties that offer users the opportunity to get immersed in a virtual environment and take other perspectives. As empathy and perspective-taking are considered to be the basis of moral development, the present study examines the potential of historical immersive media applications for the individual's moral development according to Kohlberg's stage model ( 1958 ). An integrative approach was used to examine the role of technological immersion as well as the recipients’ immersion (presence, transportation) in eliciting empathy and promoting moral development and behavior. Therefore, an online experiment with one factorial between-subject design was conducted in which participants ( N = 289) were exposed to historical media that differed only in their extent of technological immersion; participants either read a text, or watched a video, or a 360° video. In line with previous research, results showed that technological immersion positively affects presence, while transportation was not influenced by technological aspects. Furthermore, results revealed positive effects of transportation and presence on empathy which, in turn, was positively related to moral orientation and behavior. The study indicates that immersive historical environments can promote empathy and morality due to their immersive characteristics.

As 3D movie screenings have recently seen an increase in popularity, it would appear that 3D is finally ready to stand the test of time. To examine the effect of 3D on the experience of enjoyment, we refer to the model of entertainment by Vorderer, Klimmt, and Ritterfeld (2004), according to which both technological and personal prerequisites can induce enjoyment. The model was further adapted for the cinema context by including the appeal of special effects, fanship, age, and gender. To ascertain the impact of the suggested prerequisites, we conducted a field study comparing the enjoyment experiences of 2D and 3D audiences watching the same fantasy movies in a between-subjects design ( N = 289). Results showed that the technological features of stereoscopic 3D cannot predict enjoyment. However, the feeling of presence, the appeal of the special effects, and fanship are predictors of enjoyment.