It is starting to get colder in Berlin, and I find myself reminiscing about our snug little nook in sunbathed Venice: for the second time, we were given the chance to meet VR and AR professionals from around the world at the Lazzaretto Vecchio. The green courtyard became a setting where creatives, enthusiasts, critics, investors, distributors, and sceptics came together in tranquil harmony to sip their morning cappuccino and chat cheerily about virtual worlds. The talk of the town: how theater and VR came together in Venice. Read in this article more about the two stunning experiences The Horrifically Real Virtuality and Umami.
Venice VR showcased a number of top-class VR films. These films prove narrative works’ ability to stand as an individual genre of virtual reality. Within the contest and alongside Lucid, The Great C – a filmic adaptation of one of Philip K. Dick’s short stories – demonstrated the vast potential of VR animated film in particular. I had the privilege of discussing this with its director, Steve Miller.
Why do I love festivals so much? One reason might be that I find myself being surprised anew every time. Only on festivals do you find gems you would have otherwise never encountered. This holds true for classic films; doubly so for virtual reality experiences. The VR animated film Lucid turned out to be just that kind of discovery at Venice VR, where it celebrated its premiere. The captivating adventure revolving around a mother-daughter duo asks the big questions of life – and demonstrates, almost in passing, the definition of virtuous storytelling in VR.