In the last decade, a mix of media technologies have become available to mass markets in virtual reality (gaming, Computer Generated Imagery or CGI), mixed reality, augmented reality (with physical computing), data visualization (2D/3D data models), 360 spherical cinema (3D photographic, journalistic, live action), and interactive theater (technology-enhanced). As 360 experiences overwhelm our media sphere, we know that the rules for creating these media on flat screens are no longer valid. We ask a variety of questions. What does it mean for an experience or story to be immersive? How can we craft narratives that emerge from the dynamics of interaction? What are the effects of these dynamics when they are combined with visual and audial immersion? What design strategies exist for the multi-modal combination of audio-visual, physical, tactile/haptic technologies? How do these affordances affect character, environment, plot, sequence, gaze, drama, time, space, and data within interactive linear and non-linear interactive fictions? What are possible advantages and adverse outcomes of the use of immersive experiences? The debate will continue to heat up as our network speeds increase to 5G to make these experiences even more accessible.