What makes a story designed for (and experienced via) real or imaginary VR systems so different from other stories and storyworlds? Through an enactivist perspective on media archaeology, I will address the issue by discussing the notion of virtual reality storytelling (VRS) as the art of crafting ‘inhabited stories’ and a discursive frame where VR narrativity has been articulated. In fact, narratives of and for VR identify a recurring discourse, or ‘topos’, that circulated from medium to medium during Western media history. After discussing theoretical notions such as that of ‘virtual reality’, ‘storyworld’, and ‘presence’, I will address the historical and cognitive relationship between VR space design and narrative of environmental storytelling by exploring different examples from peep media tradition, gaming, and VR cinema. Second, I will propose a media archaeology of ‘human enhancement’, a recursive topos in real and imaginary VR and haptic technologies. In doing so, I will highlight some recurring narrative strategies at the basis of VRS: the illusion of non-narration, i.e. the ability to direct the story-making activity of the virtual user without his/her awareness; the craftsmanship of paths of ‘attentional matching’ made of haptic responses and spatialised stories; and the design of new senses which can disclose enhanced processes of world- and story-making.