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Immersive Animation Practices in Malaysia: Integrating Cultural
Narratives and Emerging Technologies
Aimi Nabila Anizaim
Faculty of Film Theatre and Animation, Universiti Teknologi Mara (UiTM)
DOI: https://dx.doi.org/10.47772/IJRISS.2025.910000535
Received: 12 October 2025; Accepted: 20 October 2025; Published: 18 November 2025
ABSTRACT
This paper is conceptual in nature. It does not aim to present empirical findings, but rather to construct a
theoretical and contextual foundation for understanding immersive animation practices in Malaysia. Immersive
animation represents a convergence of technology, narrative, and sensory engagement that transforms the way
we tell stories. Drawing upon existing literature, global frameworks on immersion and presence, and selected
immersive events in Malaysia from 2020 to 2025, the paper seeks to articulate how immersive animation can
be understood as an emergent field at the intersection of animation aesthetics, technological mediation, and
cultural storytelling. Besides, this paper will contribute to the understanding of how immersive media serve as
a bridge between traditional Malaysian narratives and contemporary creative practices. This paper will provide
a foundation for future research, practice-based exploration, and policy development in the growing field of
immersive media for cultural experiences.
Keywords: Immersive Animation, Immersive Events, Malaysia, Cultural Mediation, Transmedia storytelling
INTRODUCTION
Immersive technologies have continued to shape various realms of the arts and have driven the latest paradigm
shift on the internet. Many researchers, art practitioners, and professionals across multiple disciplines and
industries have begun to navigate the hype surrounding immersive technologies, which have arguably huge
potential. Driving the potential and growth in immersive technology, it is no surprise that tech giants like
Google, Microsoft, and Meta are investing heavily in this technology. Immersive technologies, including
Virtual Reality (VR), Augmented Reality (AR), Mixed Reality (MR), Haptic gloves, 360-degree video, and
Spatial Audio, as well as project mapping, enable audiences to fully experience the high level of interaction
and immersive experience (Dwivedi et al., 2022). From a phenomenological standpoint, immersive animation
is not solely the extension of cinematic representation, but the act of viewing that is transformed into an act of
being. It allows the user to emerge through movements, spatial participation, and effects rather than the
traditional method, which detaches spectators (Uhm et al., 2024). With the expanded field, animation is no
longer a sequence of images, but rather paving the way towards becoming more spatialized, interactive
environments, with form and embodiment. This industry is shifting from an emphasis on spectatorship towards
an immersive, participatory, and embodied experience.
In the Malaysian creative and cultural landscape, animation has long been utilized as a vehicle for storytelling,
heritage interpretation, and the articulation of national identity. Between 2020 and 2025, the creative industry
in Malaysia has flourished and is adopting strategies to capitalize on the fluid, contemporary, and adaptable
nature of all platform-based platforms that are present. Additionally, the Malaysian government is working to
strengthen this creative industry by allocating RM 20 million, specifically for the Digital Creative Ecosystem,
as announced in the 2026 budget for the animation and gaming industries in Malaysia (Joseph, 2025). The
large number of incentives for local animation and gaming industries indicates that the government is now
poised to prioritize technological advancements. Furthermore, Malaysia Digital Economy Corporation
(MDEC), under the purview of the Ministry of Digital, is actively working to position Malaysia as the digital
hub for high-quality and innovative digital content production by 2030 in ASEAN. These align with
Malaysia’s National Agenda to strengthen the creative digital industries (Malaysia Digital Economy
Corporation, 2025).
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Additionally, there has been a proliferation of large-scale immersive events and installations in Malaysia since
2020, indicating an emerging ecosystem of growth in immersive practice driven by animation experiences, that
undergoing a paradigm shift from representation spectatorship towards embodied participation. Although
many of these projects and events are fuelled by advancements in immersive technologies. Yet it remains
relatively underdeveloped and under-theorized within Malaysian animation practice.
This paper aims to map and theorise immersive animation practices in Malaysia between 2020 and 2025.
Drawing on global immersion and presence, animation theory and cultural media studies, it will use a curated
list of Malaysian immersive events as contextual anchors to propose a conceptual framework. This will delve
deeper into how immersive animation operates at the intersection of technology, narrative, and cultural identity
within Malaysia. By doing so, this study aspires to contribute to situating the country within the global
conversation on immersive media.
Background Of Research
Immersive Technologies, Presence, and Phenomenology
The early 2020s have witnessed a dramatic shift in global creative media, with immersive technology such as
VR, MR, and AR becoming increasingly central to contemporary cultural production. The concept of
immersion refers to the sensation of “being there” within the mediated environment. Early forms of immersive
art emerged through panoramic painting and cinematic environments, but with the advent of these immersive
technologies, these possibilities have expanded into dynamic, multi-sensory storytelling (Champion, 2019).
Scholars describe this transition as a shift from fixed spectatorships to embodied participation (Cho, 2023). In
contemporary creative industries, immersive design has become integral to animation, game design, and digital
exhibition, reflecting a shift from representational to experiential storytelling (Rose, 2012).
Animation sits at the intersection of this transformation. Globally, immersive animation has expanded across
cultural and artistic institutions. Some notable projects that are widely recognized are Van Gogh: The
Immersive Experience, TeamLab Borderless, and Future World at Singapore’s Art Science Museum. These
projects have refined audience engagement and cultural storytelling, fostering demand for multisensory and
participatory experiences (Chang & Suh, 2025). Those projects have underscored how immersion extends
beyond technology and has represented the new narrative paradigm on built participant, effect, and
environmental storytelling.
Malaysia’s Emerging Immersive Ecosystem
Against the global backdrop, Malaysia's creative industries have also begun to adopt immersive media as both
a cultural and commercial practice. Between 2020 and 2025, numerous immersive events and installations
have been launched across the country, signalling a significant shift in creative direction toward experience-
driven storytelling.
Figure 1: Immersive events and Projects running in Malaysia between 2015 to 2025
YEAR
EVENT / PROJECT
LOCATION
MEDIUM
2025
Immersify Kuala
Lumpur
The Labs Bukit Bintang City Centre
(BBCC) Kuala Lumpur
(Permanent Gallery)
Projection mapping, motion sensors,
and interactive elements
Malaysia Animation Film
Festival (MAFF) 2025
GSC CINEMA
Local Animated Films
IMMERSE KL 2025
Kuala Lumpur
Conference of digital content creation
within immersive technologies
(AR/VR) and Web3
RiaReality by
Experiential Design
Team (EDT)
Johor Bahru
Mat, Headset
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TERANG 2.0: Warisan
Projection Mapping
Showcase
Museum Telegraph in Taiping
Projection Mapping Artworks
TERANG
George Town’s historic Town Hall
Pulau Pinang
Projection Mapping Artworks
Keluang Man (Film)
Nationwide
Film
2024
IMMERSIO 2024
Kuala Lumpur (GMBB, Level 5)
Projection Mapping Artworks
Malaysia Jazmine-In the
Zoen
You tube
Virtual Influencer
AugmentedReality
Festival
Kuala Lumpur 2024
1.Jalan Hang Lekir
2. Jalan Tun H S Lee
3. Jalan Sultan
4. Lorong Panggung
5. Kwai Chai Hong
6. Jalan Petaling
7. REXKL
8. GMBB
The AR Experience + Mural
National Art Gallery
Dataran Merdeka/ National Textile
Museum/ Victoria Fountain
https://www.8thwall.com/
The Starhill, Bukit Bintang
The AR Experience + 3D
2024
TERANG 2024: Explore
a World of Cultural
Futurism
Malaysia Tourism Centre (MaTiC)
KL
Projection Mapping Artworks
2024
IKAT 2.0: Tapestry of
Tradition
George Town, Penang, Malaysia
Immersive Knowledge and Textile,
2023
-
2025
REXPERIENCE
REX Kuala Lumpur
(Permanent Gallery)
Projection mapping, motion sensors,
and interactive elements
2023
WarisanXR
Kuala Lumpur
Volumetric Capture/ Augmented
Reality/ Virtual Reality, Interactive
visual mapping
Dream Forest Langkawi
Langkawi, Kedah
Interactive digital technology, vibrant
illuminations, and atmospheric
soundscapes.
George Town Festival
George Town’s historic Town Hall,
Penang
Projection Mapping Artworks
2022
DIVRSE | Makyung in
Metaverse
spatial.io
Immersive theatre performance:
MakYung
Cahaya XR
Penang
XR storytelling. From virtual (VR) and
augmented reality (AR), to mixed
reality experiences and mobile
storytelling
Sunway Malls x Abdul
Rashade x Peugeot Raya
Augmented Reality
Sunway Pyramid
& Sunway Putra Mall, Kuala
Lumpur
Augmented reality (AR)
Van Gogh Alive
Pavilion Bukit Jalil Kuala Lumpur
Immersive Art Exhibition Of Vincent
Van Gogh
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VANS : The Lizzie
Wonderland Interactive
Volcano
Kuala Lumpur, Malaysia
Mixed Reality, Physical Installation
2021
Sumpahan Ikan Tapah
AR App
Nationwide
Augmented Reality (AR) Book
2020
Baskin Robbins "Dance
Lion Dance" - AR Retail
Digital / Smartphone
SparkAR and deployed via Facebook
and Instagram.
Gua Cerita at Karnival
Upin Ipin - Interactive
Colouring Activation
Kuala Lumpur
Interactive Digital Installation
2015 to present
Le Petit Chef
Grand Hyatt Hotel Kuala Lumpur
Immersive Dining Experience
Based on Figure 1 and the data lists, it is evident that the pattern of immersive projects is gaining attention
from various disciplines. All the projects collectively represent an immersive ecosystem in Malaysia spanning
from commercial, artistic, and heritage applications. From tourism, cuisine, education, and cultural
preservation, these projects demonstrate the potential of immersive animation to transform cultural
engagement in Malaysia, transcending traditional forms of storytelling to create interactive and participatory
experiences.
Collectively, these events signal Malaysia’s growing engagement with immersive media as both cultural
spectacle and creative research site. While they reflect global trends toward multisensory and participatory
media, the conceptual underpinnings of how immersive animation operates as a cultural practice in Malaysia
remain underexplored. This gap justifies the need for a conceptual framework that situates Malaysian
immersive animation within the intersecting domains of technology, narrative, and heritage representation.
Despite these advancements, scholarly literature still identifies a conceptual gap: Malaysia lacks a
comprehensive framework linking immersive animation practices with local identity construction, audience
reception, and participatory cultural engagement (Mahzan et al., 2024). This gap highlights the need for a
systematic investigation into how immersive media can both preserve and contemporaries’ Malaysian heritage
through animation and digital storytelling.
LITERATURE REVIEW
Immersive Media and Animation Practices
Globally, immersion is viewed as a six-dimensional experience which has been described by Sarah Lynne
Bowman’s adaptation of Gordon Calleja’s layers as spatial, narrative, affective, kinaesthetic, shared, and ludic.
She notably divides immersion into environments, narrative, character, activity, community, and games.
Meanwhile, Michal Mochocki (2025) aligns them into verbs as “Sense,” “Think,” “Feel, " "Act,” and “Relate”.
According to Dixon in his book, immersive technologies have expanded the boundaries of traditional visual
narrative. It has emerged as a transformative paradigm in digital storytelling, characterized by its capacity to
create multisensory and spatial experiences (Dixon, 2007). Within the animation discipline, these technologies
have enabled creators to move beyond linear storytelling into a participatory environment that allows the
audience to engage together, interact, and feel a sense of presence.
Immersive Is the New Cultural Narratives
In our contemporary media culture, it seems difficult to disconnect from immersion. The concept features
prominently in much of the marketing for new audiovisual tech, from earbuds to video game controllers and
4K projectors. Exhibition spaces, design studios, and event production firms frontload it in their branding
strategies. Immersion sells, in theory. 2016 was widely presented as “The Year of Virtual Reality” in the trade
press, fuelled by the techno-optimism of major industrial players finally jumping headfirst into the VR
adventure, hoping to make their new headsets the most desirable option for moviegoers, video game players,
and office procrastinators (Therrien et all, 2025).
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The Film Directors' Association of Malaysia (FDAM) Datuk Afdlin Shauki emphasized that empowering
media and films is vital, as it pays tribute to a nation’s history and fosters patriotism, while also strengthening
Malaysia’s cultural identity on the silver screen (Bernama, 2025).
Within this ecosystem, animation is present both in artistic technique and cultural interface. The flexibility of
animated form enables the representation of intangible heritage. When combined with immersive technology,
the elements become spatially embodied, allowing users to experience the cultural narrative more naturally.
The evolution always demands new conceptual tools to articulate the relationship between presence, aesthetics,
and cultural meaning.
Cultural and Institutional Drivers in Malaysia
Several factors have catalysed the growth of immersive events and projects in the Malaysian landscape. First,
the Malaysia Digital Economy Corporation (MDEC) has prioritised immersive content under its Creative
Technology and Innovation Strategy 2024-2030, which frames XR development as an economic and cultural
priority (MDEC, 2024). Secondly, the role and presence of collaborative art community hubs, such as Filamen,
which specializes in expert visual mapping, and the interactive entertainment company Experiential Design
Team (EDT), which focuses on creating virtual characters and spaces, are actively involved in collaborations
for immersive projects.
Collaboration between agencies has also driven and sparked the development of immersive projects. For
example, IKAT 2.0: Tapestry of Tradition, in 2024, bridges the wisdom of traditional textile artisans with the
creativity of contemporary artists, designers, and technologists. It’s a project presented by Yayasan Hasanah,
in collaboration with the Experiential Design Team (EDT), which offers a new perspective on reinterpreting
Malaysian heritage textiles through new media and immersive experiences, making them relevant and
accessible globally (Ikat Malaysia, 2024).
Immerse KL was launched in October 2024 by MDEC to showcase various current trends of digital
technology, and the IP360 Metaverse Platform was a groundbreaking initiative to showcase digital innovation
globally. These projects, launched in January 2025, aimed to promote Malaysia’s rich heritage, for example,
the Virtual Theme Park, which focuses on the Ejen Ali and Didi and Friends Digital IP projects. Another
project was the Digital Museum, which focuses on Malaysian culture, the legacy of artifacts, and provides
holographic traditional dance performances. Alongside this mission, the Ministry of Culture (MOTAC) has
mapped ‘Malaysia a Culturally Rich and Sustainable Destination into their vision. These ministries and
agencies in Malaysia are actively taking progressive and groundbreaking initiatives to support cultural
preservation. Many funding and grants are provided to spark enthusiastic exploration among designers and
artists in the creative field, integrating with today’s technology trends.
Despite all this, agencies in the creative, academic, and cultural sectors are working hand in hand to align with
Malaysia’s Creative Industry Roadmap 2021–2025, which highlights immersive and digital innovation as
strategic growth areas for cultural content development (MDEC, 2021). Many universities, such as Universiti
Teknologi MARA (UiTM), Multimedia University (MMU), ASWARA, and Universiti Sains Malaysia (USM),
have initiated research projects focusing on digital heritage, animation-based storytelling, and immersive
visualization.
METHODOLOGY
Traditional Storytelling vs. Emerging Immersive Practices
Traditional Malaysian storytelling, such as hikayat, wayang kulit, and pantun, relies on linear narration, where
stories unfold sequentially under the control of a single narrator. The storyteller’s role is central, guiding the
audience through moral and emotional progression.
In contrast, immersive practices adopt a nonlinear and experiential structure. Audiences are given opportunities
to navigate the stories spatially and explore multiple perspectives or outcomes themselves. The locus of control
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shifts from storyteller to audience, making storytelling a co-created experience rather than a singular, directed
one. Figure 2 below visually conceptualizes how the traditional being is converted into a digitalized one.
Figure 2: Differences between Narrative Structure: Linear vs Experiential
Practice observation on Audience Role: Observers vs Participants
Furthermore, this research will also analyze how immersive animation practices are being transformed and
adapted into immersive technologies, driven by a few key factors.
Traditional
Immersive
Passive Reception of Story
Flow
Active Participation in Story
Space
Embodied Performance
Simulated Environment
Ritual Space
Digital Presence
Observer-Based
Participatory
Guided Interpretation
Exploratory Experience
Fixed Moral Structure
Dynamic Adaptation
Oral Repetition
Visual Reinvention
Mental And Emotional
Immersion (Imagination)
Sensory And Spatial Immersion
(Embodiment)
Communal Transmission
Within Culture
Mediated Transmission Across
Digital Networks
CONCEPTUAL FRAMEWORK
The conceptualisation of immersive animation roles as integrated practice merges aesthetic, technological, and
cultural processes to produce embodied meaning. It moves beyond the traditional definition of animation,
which represents imagery, towards a phenomenological and participatory mode of cultural communication.
The collective events and projects in Figure 1 have marked a transitional phase of the national digital creative
scape where animation principles are intersecting with immersive technologies to create embodied cultural
experiences. Analysing beyond the method above, it is demonstrated that these projects exemplify how
embodied presence, spatialized narrative, and cultural resonance manifest in diverse creative contexts.
1. Embodied Presence: Sensory and Participatory Immersion
2. Spatialised Narrative: From Story to Navigable Space
3. Cultural Resonance: Immersion as Heritage Mediation
DISCUSSION
Reframing immersion through Cultural Embodiment
Between 2020 and 2025, the Malaysian immersive ecosystem has exemplified a localized reframing of
technological fascination beyond cultural embodiment. While the global scholarship often conceptualizes
Traditional Embodied Performance Ritual Space
Immersive Simulated Environment Digital Presence
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immersion in terms of presence, interactivity or sensory, the Malaysian practitioners are mostly engaging the
heritage, narrative, and identity through embodied experience.
Projects such as Langkawi Dream Forest, Langkawi, and Makyung in Metaverse have demonstrated that
animation and immersion could converge to sustain cultural continuity. This resonates with Bhabha’s (1994)
concept of cultural hybridity, in which global technologies are recontextualized or articulated within local
identity. By animation heritage in spatial environments, Malaysian creators bridge the tradition into
innovation.
Beyond Representation to Participant
Furthermore, it is seen that animation and immersive practices signify a paradigm shift in spectatorship. For
example, in RXPs Kl and Immersify KL, the audience has become part of the experience. Through kinaesthetic
interactions, the audience navigates, triggers, and influences audiovisual sequences through bodily movement.
This is due to the fact that the body has been transformed into a sensor and storyteller, aligning with Noriega’s
(2024) concept of expanded animation, where motion and presence serve as compositional elements.
This transition has significant implications for animation theory as it extends the animation’s aesthetic
principles, which are timing, motion, and exaggeration, into spatial and experimental domains. This situation
suggested that animation is not only about temporal art, but also about spatial practice. For Malaysian
practitioners, this means that immersive animation is less about mimicking cinematic realism and more about
constructing experiential poetics rooted in local rhythms, sound, and cosmology.
Spatial Storytelling as Cultural Knowledge System
Projects like TERANG and IMMERSIO, running in Kuala Lumpur, are evidence that spatialized narrative is
being used, which reflects the non-linear and experiential mode of storytelling grounded in Southeast Asian
epistemologies. The same applies to the Dream Forest Langkawi, which constitutes a performative engagement
through the mythic memory of local folklore. Through this, immersive animation in Malaysia serves not only
as entertainment but also as a knowledge system, enabling the intergenerational transmission of cultural value
through embodied experience. This presents an epistemological intervention where animation is a lived
pedagogy, where learning, sensing, and remembering are intertwined within an immersive space.
For practitioners and cultural institutions in Malaysia, the paper figure
Despite the development, academic theorisation of immersive animation in Malaysia remains minimal.
Existing studies tend to focus on technical production or digitalisation of heritage without interrogating the
aesthetic and phenomenological implications of immersive animation. Based on observations of events and
project running, it's believable that immersive animation in Malaysia represents not merely technological
progression but a cultural reconfiguration
Policy and Pedagogical Implications
It is suggested that policymakers, such as MDEC, consider supporting practice-based fellowships and cross-
disciplinary labs that pair animators, cultural experts, and XR technologists to develop locally resonant
immersive animation projects rooted in local themes. Academia is also suggested to incorporate practice-based
modules in animation curriculum, focusing on cultural mediation, spatial narrative, and presence measurement.
CONCLUSION
By demonstrating the nation’s transition from traditional screen-based animation to experiential cultural media
through exhibitions, installations, and XR heritage initiatives, Malaysian artists and studios are redefining how
animation communicates culture, emotion, and identity. With the increasing interest from the public, a large-
scale venue, and sufficient resources for technological capabilities, the intersection of this technology and
cultural resonance presents an opportunity to explore.
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Ultimately, by integrating immersive technologies with animation, Malaysian folklore and cultural heritage
can be preserved, reinterpreted, and disseminated in engaging, educational, and interactive ways. This will
provide a roadmap for interdisciplinary exploration and innovation in this emerging field for researchers,
professionals, and policymakers alike. It is no longer merely about technology, but it is about the renewal of
cultural imagination.
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