Digital media is creating a paradigm shift, not only because it can distribute contents faster and allows us to communicate more effectively, even beyond the ontological transformations that are being generated; but because people are working, increasingly, by linking digital reality with reality itself. Here lies the success of digital networking. We think narrative, the immersive genre par excellence, is not far behind and is an emerging new trend that seeks to link the experience of what a character is doing to the user, making both realities equal. As J. G. Ballard said in the foreword to his novel Crash, "We live in a novel. It is increasingly necessary for man to invent a fictional content. Fiction is already there. The writer's task is to invent reality "(Ballard, 1996: 12). How do we create reality? Or rather, how do we generate elements that allow us to manipulate the user to replace his conscious experience for simulated experiences?
How would you create a narrative that allows the user to link reality with fiction and create a digital simulation of an experience? As Marie-Laure Ryan explains, "What does it mean in a logical and semantic terms to be transported to the virtual reality of a textual world? The answers to these questions are closely related to an ontological model that recognizes the plurality of possible worlds "(Ryan, 2004: 126). This is the basis of my study, the ability to generate alternative realities  from linking narrative and digital ownership.
The topic of this model is not about the matter of whether we inhabit a simulated reality (The Matrix, Wachowski Bros, 1999 or Are you living in a computer simulation, Nick Bostrom, 2002) but about the possibilities offered by digital stories to create simulated experiences that increase or change our reality.
Today, with social media and immersive digital applications, people are becoming related to two worlds, the real and the virtual, in an unequivocal reality. But we can still go further.
To exemplify this, this model will address the idea of the experience that emerges from the human mind and the elements that create the impression of reality; and from the study of the brain's reaction to experiences, both self generated (sleep, reading, imagination and projection) and the elements that hold simulations and virtual ficcionality (immersive, adaptive, interactive, multitextual, etc.) we could understand the elements that carry this substitution on, its implications and needs in an increasingly near future; and also the importance of developping simulations from new digital narratives, achieving an immersion that allows people to replace realities.
Unlike what Robert Nozick declares, the aim of such simulations is not raised to avoid the daily suffering or replace reality; but to increase the vital sense of experience. This would allow us to achieve the absolute freedom that reality subscribes us in a more immersive way than the reading experience or even imagination itself.
how to create a life experience through digital simulation narratives is the goal of Neotipo