In the previous article, we analyzed the content creation demands and trends of Taiwanese VR360 and interactive VR single-user experiences by observing special exhibitions and cinema operations in the global XR market. There is another major segment of the XR market: multi-user experiences such as free-roaming VR, immersive theater, and virtual reality arcade. Unlike single-user VR, multi-user experiences emphasize freedom and participation of the audience. Some even invite them to become part of the performance, breaking the "fourth wall" of traditional theater. 

This article will categorize three major business paths and their case studies: IP (intellectual property) adaptation works, original XR works via international film festivals, and large-scale entertainment experiences. Through this, we aim to outline the future of the immersive industry.

Reinterpreting IP Through Immersive Experiences to Create New Forms of Business Value

Currently, one of the business models for XR creation is to adapt well-known IPs into immersive experiences, maximizing the application of these IPs. By transforming IPs into different forms of immersive experiences, it not only solidifies the existing fan base but also generates new buzzes and attracts different audiences. This approach ultimately creates a business cycle of repeated consumption, repeated promotion, and mutual marketing synergy.
 

Taking "Eternal Notre-Dame" as an example, VIVE Arts, the French production company Emissive, and the French telecommunications operator Orange collaborated to recreate the damaged Notre-Dame Cathedral in Paris, which was ravaged by fire, using 3D animation and in a format of multi-user interactive VR experience. There are two long-term ticketed venues in Paris, including the underground parking lot in front of Notre-Dame Cathedral and the square under the Grande Arche of la Défense. The exhibition has also toured cities such as Kaohsiung, Shanghai, Xi'an, Hangzhou, and Beijing. 

After putting on a headset and backpacked with a computer, viewers feel as if they have entered a time travel, gradually viewing the cathedral's appearance from different periods as the story unfolds, and they can freely explore every corner of Notre-Dame. Throughout the process, viewers enjoy a 5K high-resolution perspective, and with the collaboration of 5G networks and positioning tracking function, the entire exhibition space can accommodate up to more than a hundred people simultaneously. (Source: FIND)
 

In addition to "Eternal Notre-Dame," Emissive has also launched other immersive expeditions with the same model under different themes, including "Horizon of Khufu" and "Life Chronicles." It is evident that transforming renown IPs into multi-user, walkable VR experiences has become a mature and stable business model.

Another European case is "No Reality Now," a project conceived by the French Ministry of Culture to break through classical frameworks. It aims to achieve more possibilities through the combination of dance and VR interactive design. This work revolves around the choreography "Souffles" by Vincent Dupont in 2010. During the experience, viewers can decide whenever they want to wear the VR headset. The experience will differ significantly for viewers with and without headset or not and thus provide more variations and interpretations. This case combines dance with VR, showcasing an alternative commercial application and interdisciplinary collaboration of an IP, which not only attracts dance and VR enthusiasts but also allows theater audiences to understand and step into the world of VR.

In Asia, there is TYFFONIUM, a virtual reality amusement park operated by the XR development company TYFFON, located in Odaiba, Tokyo. Currently, it features five immersive exhibitions including well-known IPs such as Tsuburaya Productions' kaiju (monster) and “It." One of the experiences, "Monster Paradise," focuses on the kaiju from the "Ultraman" series, allowing audiences to explore an open world and collect data on 12 different monsters using laser spotlights.

Another experience, "It: Chapter Two - Carnival," is set in a carnival featured in the film, where audiences team up with local residents to explore the area using flashlights, searching for the missing children. Since its opening in 2018, TYFFONIUM has expanded with a second location in Shibuya, Tokyo, and continuously provides a diverse range of VR interactive experiences that attract visitors from around the world, always with an ambition to introduce more immersive works in the future.

From Film Festivals to Global Market, The Commercial Positioning of Original XR Works

Another possible business model is to create more original or art-oriented XR content and submit it to major film festivals or competitions both in Taiwan and abroad, in order to achieve greater global market exposure. Especially if the work is selected for a competition section or wins an award, it unlocks potentials for international tours and expands commercial opportunities.

"Colored" is an AR work co-produced by Taiwan and France, telling the story of a 15-year-old Black girl in the 1950s who bravely stood up against racial discrimination to speak out for herself. The visuals benefit from the 4DViews volumetric capture technology of IP Lab, allowing viewers to experience the authenticity of the incidents as they unfold.

"Colored" had its premiere at the Centre Pompidou in Paris, attracting nearly 5,000 people to experience it. Ever since, It has been invited or selected for various events, including the Tribeca Film Festival, the TCCF, the 2024 Taiwan International Arts Festival, and won the Award for Best Immersive Work at the 77th Cannes Film Festival. Earlier this year, "Colored" was screened again in Taiwan, and the pre-sale tickets for all the 70 sessions were sold out. It will soon tour to South Korea, Malaysia, Singapore, and other locations.

The second example, "Free UR Head," places greater emphasis on interactivity. After putting on the VR headset, the audience sees a light sphere that is sometimes transparent and sometimes shimmering. As their head movements are guided by the light sphere, they gradually become part of the performance, transforming their role from spectator to performer, thus reversing the relationship between "seeing” and “being seen." 

This work had its world premiere at the Kaohsiung Film Festival in 2023, with the first performance involving 72 spectators with headset at a time, setting a global record for a single VR multi-user performance. Afterwards, the project did not stop to upgrade and was nominated for the immersive competition at the 81st Venice Film Festival, marking a first stop of its world tour this August.

The third case is the Taipei tour version of "Le Bal de Paris de Blanca Li," whose original version won the Best VR Experience at the Venice Film Festival, was launched at the end of 2023, supported by Taiwan Creative Content Agency (TAICCA), co-produced by VIVE Arts and Surprise Lab. This edition combines VR content with immersive theater for the first time, utilizing 5G private networks and live streaming technology to allow physical dancers to interact with the audience in real-time. It not only creates a multi-user dance experience but also establishes a new form of repertory immersive VR theater. 

The Taipei tour version of "Le Bal de Paris de Blanca Li" performed a total of 505 shows over a period of seven months at the National Taiwan Science Education Center, successfully attracting 7,600 audiences to experience it in person. We can say that the Taipei tour version of "Le Bal de Paris de Blanca Li" has set a precedent for repertory immersive XR theater and provided a successful model for XR creators in Taiwan.

Transcending Boundaries: Interactive Experiences Shaping Various Forms of Entertainment

The third business model is VR experiences in groups aimed at the general public. These activities attract participants through a blend  of immersive experiences, social interaction, and gaming elements that require teamwork to complete various tasks. Common formats include virtual amusement parks, escape rooms, and multi-user adventures. In Taiwan, Brogent Technologies Inc. has launched three VR experiences that the public can purchase tickets for, featuring machines equipped with 4D effects and six-axis motion platforms to enhance immersion, whether soaring through ancient monuments or embarking on underwater quests. 

Additionally, VIVELAND, a  virtual reality park offering over 35 types of XR amusement content, represents a commercial attempt for group VR experiences. The one located in Taipei's SYNTREND can accommodate 20 to 50 people simultaneously, while the SKM Park in Kaohsiung can host over 150 people and includes a dedicated area for esports, including online multi-user battles and regular competitions, propelling the growth of VR esports enthusiasm in Taiwan.

Outside of Taiwan, there is "Virtual Room" from France, which has launched a total of five themed VR experiences, including time travel, zombies, video games, potion-making, and welcomes special celebration events like birthdays and bachelor parties. "Virtual Room" operates in 30 cities worldwide, including Paris, Athens, Geneva, Las Vegas, and Sydney. To promote VR content, they currently welcome anyone interested to apply to open a new location in their own country or city, presenting a great opportunity for investors in the industry. 

Another example is "FlyView," also located in France. As the name implies, it offers flying experience where at most 24 participants with jetpacks enjoy a 360-degree view of stunning locations of France like the French Alps, Mont Saint-Michel. "FlyView" also offers various themed experiences that allow participants to delve into the interiors of the Egyptian pyramids, exploring hidden passages, galleries, and tombs, fulfilling the viewers’ dreams of adventure.

Deep Integration of XR Technology with Cultural Entertainment, Promoting Immersive Content Applications and Diversified Operations

From the three business models and various types of XR cases mentioned above, we can tell that there is a shift away from existing frameworks towards emerging forms such as interactive exhibitions and highly exploratory experiences both in Taiwan and internationally.

The content production team focuses on the expressiveness of the work's theme, combining different technological applications (such as AR, MR, VR, 4D view, etc.) to achieve innovation. They strive to provide a more immersive and multisensory experience, allowing consumers to fully engage and participate rather than just passively watching. From the early development stage of a work, the market distribution must be taken into account. This includes not only the choice of theme but also whether real-time interaction with actors is needed, the potential and feasibility of world touring, the cost of long-term showcases, and the capacity for audience attendance per session.

In summary, an innovative creative thinking mindset and performance forms that keep pace with the times will be an indispensable part of the industry in the future. Cultural and technological content creators also need to engage in interdisciplinary collaboration and diversify their operations in order to unlock more business opportunities.