The Amazing World of VR Animation: What to Watch

Battlescar

It’s highly likely that the last piece of virtual reality (VR) content you dived into was a videogame, whether that’s thrashing around in some rhythm-action title or fighting through hordes of enemies saving the day. Look a little deeper and there’s plenty of alternative content to enjoy, and VRFocus recommends exploring some of the excellent animated titles that are available.

Baba Yaga

Animated VR not to miss

When it comes to animation in VR most will fall into one of two categories; short films or interactive pieces. Narrative is art the heart of either of these two but the former takes a more traditional viewing approach, wrapping you in a virtual world where the story plays out. The latter, on the other hand, actively encourages your involvement.

This interactivity can range massively from simple elements to move the story like turning a page to fully-blown control where decisions will offer alternative endings. These tend to blur the lines between what’s considered a animation and an actual videogame.

So what should you be spending your hard-earned money and valuable time on? Well, VRFocus has a few suggestions…

Battlescar

Released only a few short days ago for Oculus Quest and Rift – a Steam version is comingBattlescar is a 30-minute film based in New York City’s emerging punk subculture during the late 1970’s.

A glorious mix of visuals and audio, the VR short is split across three chapters following Lupe, a young Puerto Rican American teenager who leaves home and meets Debbie in a juvenile detention centre. Together they decide to form their own punk band whilst trying to navigate and survive the mean city streets.

Narrated by actress Rosario Dawson in English and rock singer/actress Jehnny Beth in French, it doesn’t pull any punches, switching between first and third-person viewpoints whilst throwing in tunes from the era by Screamin’ Jay Hawkins, Death and Lydia Lunch. Exploring a range of topics such as identity and mental health, Battlescar is pure punk animation, short, sharp and in your face.

Battlescar

Baba Yaga

From prolific animation house Baobab Studios, Baba Yaga is an interactive experience exclusive to Oculus Quest, inspired by the Eastern European legend.

Another 30-min experience, rather than simply viewing Baba Yaga you’re cast as Sacha, who alongside her younger sister Magda are the daughters of the village chief. When your mother becomes gravely ill you and your sister enter Baba Yaga’s enchanted forest to seek the cure.

Voiced by an all-star cast including Kate Winslet, Daisy Ridley, Glenn Close and Jennifer Hudson, Baba Yaga provides plenty of interactive elements along the way. Thus encouraging you back to take another peek at this wonderfully engaging experience.

Baba Yaga

Paper Birds

Another from Baobab Studios in collaboration with 3DAR and Oculus, part one of Paper Birds arrived late 2020 for Oculus Quest.

A beautiful synergy of music and visual design, Paper Birds tells the story of young musician Toto (played by Jojo Rabbit star Archie Yates) as he searches for his lost sister.

As an Oculus Quest title Paper Birds is one of a select few on the platform which utilises the headset’s hand tracking functionality, so you don’t need the controllers to interact with this magical world. Paper Birds might only have very light interactivity in comparison to others on this list yet it still provides an enchanting experience. Plus, the second (concluding) part will arrive later in 2021.

Paper Birds

The Line

There’s a reason ARVORE’s The Line has won numerous awards and that’s thanks to its heartwarming narrative, visual layout and interactive elements; almost like you’re playing with a train set.

Compatible with multiple headsets including Oculus Quest, Rift and HTC Vive, The Line is a love story of two miniature dolls, Pedro and Rosa, set within a scale model of 1940s São Paulo. The characters follow tracks which wind through the environment and at certain points you have to push a button or spin a lever to help the tale proceed. If you’re using an Oculus Quest you can swap to hand tracking.

Clocking in at under 20 minutes The Line is a very sweet VR title that pulls on the heart strings. It showcases how these two mediums can work so perfectly together, great for introducing newcomers to the technology.

The Line

Gloomy Eyes

Now back to some pure animation with Gloomy Eyes, written and directed by Fernando Maldonado and Jorge Tereso and co-written by Santiago Amigorena, published by ARTE.

Inspired by Tim Burton’s The Nightmare Before Christmas, Gloomy Eyes is a three-part poetic love story between a zombie boy and a human girl in a town devoid of sunlight. There doesn’t seem to be any shortage of prime voice actors willing to work on VR projects, with Gloomy Eyes’ English version narrated by Hollywood actor Colin Farrell.

The entire short just looks stunning, being a joy to watch from start to finish. Much like The Line, thanks to the miniature worlds and characters it’s all too easy to get drawn in, peering deep into this imaginative fantasy world.

Gloomy Eyes

Spice and Wolf VR (1 & 2)

Time for two titles from further afield, Japanese creator Spicy Tails’ Spice and Wolf VR series. Based-on Isuna Hasekura’s original novel and brought to life thanks to crowd-funding campaigns, both of these provide a nice intro into VR anime.

Spice and Wolf VR is the story of travelling merchant Kraft Lawrence who meets a 600-year old wolf-deity named Holo on his travels. The sequel then sees them both settling down, welcoming their daughter Myuri into the world.

The main draw here is the finely detailed animation which looks stunning in VR, just be aware that it is all in Japanese with English subtitles and they’re quite expensive in comparison to other on this list. If you do love Japanese anime they’re well worth a look, plus they both have light interactive elements which add further depth.

ALTDEUS: Beyond Chronos

The one title on the list which really skirts the line between animation and videogame, ALTDEUS: Beyond Chronos is Japanese anime with a massive amount of replayability.

ALTDEUS: Beyond Chronos is by far the grandest title on this list, a visual novel with hours and hours of content depending on how far you wish to delve. It’s kind of like watching a comic book rather than a film, so all the characters jump between frames and you can set the dialogue to autoplay or select through when you choose to. You also have the choice of English voice over if subtitles aren’t your thing.

Set 200 years from now, the Earth has been decimated by giant alien beings called Meteora with mankind now living underground. You’re part of an elite squad who pilot giant mechs called Makhia to defend what’s left of mankind. These encounters are where most of the interactivity takes place, where you can activate shields and fire railguns. These sequences tend to be where the storyline splits, revealing more of the narrative should you return. ALTDEUS: Beyond Chronos is big, bold, and the most definitive VR visual novel from Japan yet.

ALTDEUS: Beyond Chronos

Agence

Described by creators Transitional Forms and the National Film Board of Canada (NFB) as a ‘dynamic film’, Agence is possibly the most unusual of all these here as it marries a basic story with AI to provide a piece of content with endless possibilities.

Each time you step into Agence it’ll be different, viewing a digital realm where five ‘Agents’ run around a small world. But Agence employs two thought processes for the Agents which can be switched on and off. A gameplay AI which follows certain patterns or Reinforcement Learning AI which Transitional Forms has built over years, where the Agents will interact in unknown ways.

You can also affect the world by picking the Agents up or planting a flower for them to investigate. Each run-through will only last about 5 minutes but captivating enough to keep returning and experimenting with their existence.

Agence

There are plenty of other excellent VR animated titles out there, all of which VRFocus encourages you to see.

Battlescar Review: An Explosive Must-See

Is this in-your-face VR movie worth your time? Find out in our Battlescar review!

Let down by 2020’s muted Medal of Honor? Then allow me to recommend an altogether different VR war zone – Battlescar.

True, Martín Allais and Nico Casavecchia’s riotous debut has no bayonets and beach landings, but it’s an equally vicious assault on the senses, thrusting viewers into the cut-throat world of the 1970’s New York punk scene and then matching its care-free ferocity with a consistently surprising and dependably erratic series of misadventures.

Rosario Dawson narrates from the perspective of Lupe, a timid Latino girl that crosses paths with punk devotee, Debbie, during a stint in a police station jail cell. Both dysfunctional in their own ways, the pair form an unlikely bond when Debbie discovers Lupe’s amateur poetry that, to her ears, is well-suited to screechy amps and fuzzy riffs. A band, Debbie decides, must happen.

When I spoke to Allais about the project in 2019, he noted that much of the VR moviemaking scene at the time was slow and boring. If that’s true, then Battlescar is one big shot in the arm; its 30-ish minute runtime stuffs in a dizzying array of storytelling styles and tones, with pacing that rarely pauses to catch a breath. The film’s remedy to the risk of growing stale is to reinvent itself every few moments, moving from trainset dioramas and animated comic strips to first-person views and hand-scrawled animations in the blink of an eye.

Battlescar Review – The Facts

What is it?: A VR movie about two women diving into the gritty 1970s New York punk scene
Platforms: Oculus Quest, SteamVR
Release Date: January 14th, 2021
Price: TBC

That recklessness is one of Battlescar’s virtues, never giving your mind a second to wander. It’s explosive and unwieldy, much like the path Debbie and Lupe follow as they try to carve out their place in an increasingly confused and dangerous scene, and puts VR to astoundingly good use. One scene of pulsating lights puts you in the middle of a mosh pit, the sweaty crunch of bodies colliding at uncomfortably close proximity while, in another, our punk heroes bathe in the shadow of one of their icons, shrinking down to the size of coffee table ornaments. Debbie takes this moment to sit on a Coke can.

Battlescar review

What to make of all this style, though? Battlescar seems to be about capturing that spark of a bygone era and fanning the flames to keep it alive. It’s a living, breathing time capsule that not only captures the sentiments of American punk but employs them in its own headlining message: “Punk Was Invented By Girls”.

Dawson’s narration is up to the challenge, at times reaching a raspy screech and keeping up with Lupe’s suppressed anger that increasingly becomes possessed, in her own words, by “Debbie’s demon”. If you can, though, see it on PC. The Quest version is fantastically produced and a technical marvel given the fast-firing transition between scenes, but occasionally buckles under the weight of those demands even if for the slightest of seconds.

Battlescar Review Final Impressions

Battlescar is a deafening success, then. Unapologetically in your face and determined not to settle, I’d call it an echo of the scene and characters it so assuredly realizes, were it not for the film’s stubborn refusal to fade out. So grab a headset and crank it all the way up to 11; this is one VR movie you can’t afford to miss. I’m still not sure what ‘it’ is, but Battlescar most certainly has it.

5 STARS

Battlescar review points


For more on how we arrived at this score, see our review guidelines. What did you make of our Battlescar review? Let us know in the comments below!

UploadVR Review Scale

 

Watch: Brilliant VR Movie Battlescar Hits Quest, SteamVR This Week

The excellent VR movie, Battlescar, is finally arriving on Oculus Quest and SteamVR headsets this week, and we’ve got a new trailer.

The piece launches on January 14th and there’s a new trailer below.

Battlescar VR Trailer

Battlescar tells the story of Lupe, a young girl thrust into the 1970’s New York punk scene when she meets a new friend named Debbie. Split across three parts the film follows the pair’s misadventures as they form their own band and try to make a name for themselves.

Running around 30 minutes, Battlescar doesn’t have much in the way of interactivity but feels constantly fresh and invigorating to watch. Directors Martín Allais and Nico Casavecchia keep the viewers on their toes by constantly changing the dynamics of the story and the way it’s delivered, resulting in an erratic and electrifying watch.

The film is funded by Arte France and Oculus, and produced by a range of studios including Atlas V. It’s actually been three years since the piece debuted at Sundance Film Festival in early 2018, but this will be the first time anyone can download it to watch for themselves.

Battlescar kicks off another year in VR film with plenty more releases on the way. Baobab Studios’ Baba Yaga is also arriving as a Quest exclusive in the near future and more films are set to debut at Sundance 2021 in just a few weeks’ time.

The film’s already listed on both the Oculus Store and SteamVR. Will you be checking out Battlescar later this week? Let us know in the comments below!

Punk VR Film Battlescar Explodes onto Oculus Quest & Rift Next Week

Battlescar

Back in 2017 French studio AtlasV – the team behind Spheres and Gloomy Eyes – revealed that one of its upcoming projects was a virtual reality (VR) short called Battlescar. Today, the team has announced that Battlescar is ready for release, set to arrive next week.

Battlescar

A 30 minute VR movie narrated by Rosario Dawson (The Mandalorian, Trance, Sin City) the story is set in New York City during 1978, following Lupe, a young Puerto Rican American teenager who meets Debbie in a juvenile detention center.

“Debbie exposes Lupe to the underground scene of the 1970’s Lower East side,” explains the synopsis. “Despite their total lack of musical abilities, the two runaways decide to form their own punk music band, moved by the powerful lyrics written by Lupe.”

An homage to the underground scene, taking viewers through NYC’s gritty crime and drug filled streets, Battlescar featuring artists from the era including Screamin’ Jay Hawkins, Death and Lydia Lunch. The project was created by Martín Allais and Nico Casavecchia, written by Nico Casavecchia, and produced by Atlas V in co-production with Arte, Albyon and 1STAveMachine.

Battlescar

There’s been a lot of good animation recently for VR fans, with 3DAR and Baobab Studios’ Paper Birds recently released as well as Spice and Wolf VR 2 by Spicy Tails. Whilst there’s Baobab Studios’ Baba Yaga and Namoo to look forward to.

Battlescar is coming to the Oculus platform first, hitting Oculus Quest and Rift on 14th January 2021. A Steam version is then slated to arrive by the end of the month. A 360° version will be available via Youtube as well. Check out the new trailer below, and for further updates keep reading VRFocus.

Sensational VR Movie BattleScar Comes To SteamVR In 2020

Last year we wrote about BattleScar, a sensational VR movie that recaptured the magic of the platform. A year on, it looks like everyone will finally get to see it for themselves.

BattleScar has been listed on SteamVR for release later on in 2020. There’s no exact date, but the Steam page says to expect it towards the end of the year. It’s not clear if the app will arrive anywhere else, though creator Atlas V has recently put other experiences like Gloomy Eyes on Quest, so fingers crossed.

Directed by Martín Allais and Nico Casavecchia and created by Atlas V in collaboration with ARTE France, 1stAveMachine, RYOT, Fauns and Kaleidoscope, Battlescar follows Lupe. Voiced by Rosario Dawson, she finds herself suddenly immersed in the 70’s New York punk scene alongside Debbie, a friend she meets in juvenile detention. Together the two set out to make a name for themselves in the scene, leading to a lot of hectic adventures.

We were big fans of BattleScar. The film is erratic and unpredictable in its delivery, fast-firing new kinds of storytelling techniques at you over the course of its 30-ish minute runtime. If you have any interest in VR filmmaking its a must-see and, even if you just like great VR content, we’d still recommend it. Check out our coverage of the film in the first episode of The VR Culture Show from last year.

Will you be checking out BattleScar when it launches on Steam later this year? Let us know in the comments below!

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Battlescar Is A Furiously-Paced VR Film You Can’t Afford To Miss

Martin Allais isn’t a punk.

At least, he doesn’t appear as such when I find him battling jet lag atop an offensively pink pillow just a stroll along from central London’s Southbank Centre. His long hair is neatly tied back in a bun and he rests his crossed arms on his knees as if ready to dive into impromptu meditation at a moment’s notice. Between stifled yawns from an early morning flight from Barcelona, he seems generally amiss on his first day at the Raindance Film Festival.

At first sight, it’s not what I expected from the co-director of Battlescar (seen below in our VR Culture Show). It’s a searing, explosive VR feature that thrusts you into the disgruntled spirit of the late 1970’s New York punk scene. Blink and you’ll miss it, and you’ll get no apologies from its creators.

“Actually, the first episode [of Battlescar] the producers were like “this is too fast, people need more time to see the scenarios,”” he says. “And Nico and I were like “Actually all the VR is very boring because it’s very slow.””

Well, that’s a bit more like it.

In Allais’ defense, Battlescar, which he created alongside longtime friend Nico Casavecchia, does give a lot of other VR experiences the appearance of having training wheels. Despite its lengthy 30 minute run time, it’s relentlessly paced, barely letting a minute pass before radically switching up storytelling styles. The plot follows Lupe, a young Puerto Rican-American voiced by Rosario Dawson who happens upon the ferocious Debbie while flirting with a New York jail cell. Taken under her wing, Lupe bonds with Debbie over disillusionment and outrage as they plot to bring their plight to the stage with the repetitive thud of punk rock musiv. An assortment of misadventures befalls them along the way.

“We started seeing VR films out there and VR experiences and we’re like trying what we didn’t like of them and how we can do the film we want to see in VR,” Allais explains. “It was a very personal process because there’s nothing written really in VR language, so you can do everything at the same time.”

It’s that kitchen sink delivery that makes Battlescar sing louder than its screechy-voiced soundtrack. No two instances are the same, be it a fleeting ride on the back of a motorcycle in which you long for the wind to bite into your face, or the dizzying clashing of drums and ideas from all angles as Lupe’s frustrated words flow from mind to page. “I just wanted to come with ideas like what we think should be the experience of getting in a headset,” Allais explains. “So that’s Battlescar for us, a big playground of exploration and ideas. Narrative, framing, and I think pretty much everything that we came up with ended in the film.”

Despite Allais’ earlier dismissal, there are traces of VR’s past, like the hints of Dear Angelica in its readiness to tinker with scale. But it’s otherwise blisteringly fresh; a collection of revelatory discoveries just waiting to be made. One minute Debbie has an enormous gun held to her head with terrifying proximity, the next her and Lupe are leap-frogging their way home like a level in Super Mario Bros.. In fact, Allais tells me he and Casavecchia eventually stopped watching other VR experiences to maintain their own ideas. One guiding star was particularly crucial; no interactivity.

“When we started playing with VR, we wanted to create a piece that wasn’t interactive, but at the same time used the space in an interactive and playful way,” he says

Simply put, there isn’t time for interactivity in Battlescar. There are no moments to linger; to lean in and wonder if you can pick up the drum stick resting on the desk or strum the guitar sitting next to you. This isn’t a world, it’s a slideshow, kicked and bashed together to demand the viewer’s attention at all times. Without this urgency, Allais suspects it wouldn’t be half as engaging.

“Because you don’t have a director’s point of view that shows you how to go from one place to the other,” he says. “So what we wanted to do is just the opposite. If people want to see more they need to see it again.”

I won’t go on much longer, suffice to say I truly loved Battlescar. It was an experience that reenergized my love of narrative-driven VR and brought me back to the infantile excitement of seeing this technology with fresh eyes. I can’t wait to see what the pair does next.

“Now we’re more into coming back to some of those techniques and developing them more,” Allais teases. @[Battlescar] is like this mash-up of different techniques and ways of storytelling and they need to be developed. And that’s what we want to do hopefully in the following story.”

Sign me up.

Battlescar is planned for release on home headsets in the near future.

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New VR Entertainment Studio Atlas V Have Big Plans for 2018

We are always crying out for more unique and interesting ways to view and interact with entertainment in virtual reality (VR) and thankfully, the sector is expanding every day. Proof of that is Antoine Cayrol and his new studio Atlas V, who are working to make new, immersive entertainment in VR.

Atlas V is founded by a group of talented desingers and producers. Antoine Cayrol and Pierre Zandrowicz have worked on I, Philip and Alteration, Fred Volhuer is from Shuttershades, and Arnaud Colinart has worked on Notes on Blindness.

The studio will debut their first works, Martin Allais’ Battlescar and Eliza McNitt’s Spheres, at Sundance’s New Frontier. Sundance has had some impressive displays on VR experiences and movies, with Sam Macaroni, a VR filmmaker, telling VRFocus; “Going to Sundance this year was amazing because the VR buzz was overwhelming. Everywhere I went people we talking about it. The New Frontier program has grown to become a major presence at the festival in just a few short years. We really are at the beginning of a new media form.”

Battlescar follows a Puerto-Rican-American called Lupe living in New York City in 1978, where she finds trouble but eventually finds a new identity in the punk rock underworld. Starring Rosario Dawson and directed by Nico Casavecchia, in addition to Allais, they hope the new medium will help immerse people in their coming of age tale.

In our interview below with Atlas V’s Antoine Cayrol, he tells us about who the company are, what projects the company are working on, while alluding to some big projects planned for the next year, and even explains the Atlas V business model. The new company has developed quite the buzz around both Battlescar and Spheres. Both are debuting at the Sundance Film Festival, where Atlas V hope the studio will gain renown for their high quality experiences.

On the Chinese market, it’s an attractive prospect for Antoine Cayrol and Atlas V, but the market is so different from in the West that Chinese fans might be kept waiting for a while.

Watch the full interview below, and for more updates on Atlas V, keep reading VRFocus.

VR Animated Film Battlescar to Feature at Sundance

For the past couple of years, the Sundance Film Festival has shown its willingness to engage with new types of media, including virtual reality (VR), 360-degree video and other types of immersive media. This continues with the Sundance New Frontier Program, which will be featuring a new project from 1stAveMachine.

The latest VR project from 1stAveMachine is a CGI animated film called Battlescar, starring acclaimed actress Rosario Dawson and directed by filmmakers Nico Casavecchia and Martin Allais. The creators of the new experience have drawn on their own personal history as being part of Latin American immigrant families to weave a complex narrative about identity, coming of age and nostalgia.

The story of Battlescar follows a Puerto-Rican-American called Lupe, a runaway living in New York City in 1978. After falling foul of the authorities, Lupe meets another teen called Debbie in a Juvenile Detention Centre. Debbie introduces Lupe to the growing Punk Rock scene of the Bowery and the Lower East Side, where Lupe discovers an entirely new world where she can explore her identity and the visceral power of punk rock.

The Sundance Film Festival is due to take place on 18th-28th January, 2018 at Park City in Utah. The New Frontier Program that Battlescar is a part of will be front and centre during the festival, showcasing what the Sundance organisers describe as a crossroads of film, art and technology.

Battlescar will be shown during New Frontier at The Ray, which will only be available to specific ticket holders, and will also be shown at New Frontier at Kimball Arts Center, where it will be open to all credential holders, space permitting.

Further information can be found at the Sundance Film Festival website.

VRFocus will continue to report on new and innovative VR projects.