“No plot ever survives contact with the players.” – A truism in the LARPing community that highlights the unpredictable and co-creative nature of immersive gaming experiences. In this panel discussion, Willoh Osmond, Karolina Soltys, Becky Campbell-Ladley, and Jon Gracey explore the worlds of LARP (Live Action Role Playing) and MegaGames. They provide a deep dive into the emotional, narrative, and…
“Emotion can be the feeling of being lost in something. You know, being entirely in a bubble, in elsewhere, in another time, another space and everything co-operates to create this idea in your participant. So it’s about believing, it’s about not bursting the bubble, while interaction is the mutual action
“That’s one of the great freedoms of integrating your access is that it’s there from the start. You don’t have to feel like it’s this clinical thing which is going to take away from all the art you’ve put into the work. It can be a part of the art,
“The immersive experiences that we attend, they need to resonate with our sense of meaning. I got into theatre, arts, culture, whatever you want to call it, because I wanted to make people feel something. I wanted to help enable the rare but, sometimes amazing, moments where you get the
“No plot ever survives contact with the players.” – A truism in the LARPing community that highlights the unpredictable and co-creative nature of immersive gaming experiences. In this panel discussion, Willoh Osmond, Karolina Soltys, Becky Campbell-Ladley, and Jon Gracey explore the worlds of LARP (Live Action Role Playing) and MegaGames.
“Immersive theatre is a playground for audiences and characters to connect” – this is the philosophy behind Rebecca Brower and Tom Maller, the creative minds of “Peaky Blinders: The Rise.” They take us from the conception to the execution of staging, design, and interactive storytelling, which immerses the audience in
“I think our superpower in this sector, regardless of the kind of immersive or interactive work that we make, is effect. And I think our ability to put people in other people’s shoes or perspectives and to generate empathy and to generate transformation, which is at the heart of what
“We create work with the people of a place to make sure those experiences are unique. We rarely come with an idea. We come to a place, meet its people, and then we co-create the work together. Co-creation is really at the heart of everything we do.” In this talk
“When people who come from a theatre background come into it, the one thing they find really difficult is that there’s no script and certainly from the lighting and sound point of view, they keep kind of going ‘how are you meant to design if you haven’t got a script?’”
“You don’t need to wait for the perfect situation to take on that new project. While your design journey may be unconventional, if you remain adaptable, attentive, and willing to adjust along the way, you might discover something far more extraordinary than you ever envisioned.” Soph Shaw from Wake The
Diverse, discerning, and culturally engaged When the Immersive Experience Network (IEN) was founded in early 2022, we recognized a significant gap: the lack of research and accessible data to support commercial decisions, develop marketing strategies, and aid funding applications. Whilst the cultural participation monitor collected data for the broader Creative
THE DEFINITION Five years ago, everything was curated: playlists, menus, holiday packages. Today, everything is immersive: shops, gyms, cafes. The adjective has well and truly entered the kingdom of buzzwords and is brandished at every corner as an oft-disappointing promise that any interaction with culture will stimulate all your senses
“This is like stepping into a movie where you are at the centre of the plot. We recreated London in 1605. You learn spy tricks, you learn code, you run through corridors…and you affect the outcome of that story. So it really is you at the centre of the Gunpowder
