Early seeds of virtual reality, sprung in the 70’s, have seen continuous development as technologies of ‘spatial computing’, in augmented, virtual and mixed realities (AR,MR,VR) or (XR as an umbrella term). The link between the camera and methods of audio-visual framing of space and time are in constant flux. As technology develops, the semiotic relations of space and time continue to recalibrate, necessitating variance in creative approaches to the framing of space and time in narrative instances. The creative domino effect of these production pipelines necessitates the redistribution of rhetorical space when seeking immersive qualities of narrative, as immersion can only be achieved through synthesis of its codes which are necessitated through forming a harmony between narrative and its physical accessibility.The dimensionality of XR as a story space requires a conceptual remodelling of semiotic codes. The resulting establishing of engineered signs is diegetic, auteurist.The nature of an engaging experience indicates that the storyspace need be both accessible and inviting to the user to excite plot. I will consider specific spaces of volumetric renderings such as those evident in the rhetoric’s of AR,MR,VR in utilising Birgit Pelzer’s philosophy of space and time semiotics to illustrate the relationship between volumetric narrative spaces (AR, MR, VR) and the dilation of space-time relations they rhetorically inform.