【 XR INDUSTRY EVENT 】Immersion Reloaded: IP Meets XR

• Panelists

1. Director of PLAY LIFE｜Žilvinas NAUJOKAS
2. Assistant Producer of Bandai Namco Film Work｜Hidefumi KITSUKAWA
3. Director of Development and Strategy, Unframed Collection｜Alexandre ROUX

• Moderator

Vice President of Operations, Digital Domain Holdings Limited｜Jimmy CHENG

This panel features three XR works adapted from renowned IPs originating in various media. We invited the directors and producers of these projects to share how they worked within the constraints of existing IPs while embracing the technical challenges of XR production, ultimately creating a new kind of viewing experience.

Preserving the Original Spirit While Opening Up New Perspectives

When discussing how to properly adapt original works, ROUX emphasized that the goal of an adaptation is not to mimic the artist, but to interpret their perspective. In Dance Dance Dance – Matisse, the team worked closely with the museum and relied on extensive documentation and research to ensure the original intent of the artwork was preserved. For example, if a bird appears in the painting, they wouldn’t make it fly off in the XR version. Instead, they focused on building an immersive experience that helps viewers feel closer to the painter.

NAUJOKAS added that he sees the role of a VR director as creating immersive yet familiar scenes that still communicate the essence of the original work. Hence, trust between collaborators is essential in the adaptation process. His team worked closely with the original painter to select which artworks to include, maintaining open communication to ensure smooth creative cooperation.

KITSUKAWA acknowledged that the biggest challenge in adapting the 90-minute long Mobile Suit Gundam: Silver Phantom into VR was deciding whose narrative perspective to adopt, and how to transition between different viewpoints. This required extensive discussions with the original creators to find a balance in the logic of narrative and perspective transitions within the work.

New Forms of XR Exhibition: Attracting New and Old Audiences

NAUJOKAS noted that the painter behind PLAY LIFE is already well-known in Lithuania, which helped attract a large audience. With the team's background in film production, they were able to streamline the narrative to make it easier for the audience to engage with. Because Lithuania is relatively small, word of mouth played a major role in drawing people to local VR theaters—over 100,000 people have seen the work. He emphasized that the team used the power of a well-known IP to gradually familiarize the audience with the VR format over time.

KITSUKAWA shared that Gundam is an incredibly powerful brand. The company had previously experimented with immersive installations, such as giant cockpit simulators and 360-degree theater experiences. These multi-format presentations proved successful in attracting new fans while also resonating deeply with longtime enthusiasts.

Based on past experience producing VR adaptations of paintings, ROUX found that the audience often chooses to watch the VR piece first before viewing the physical artwork. He believes XR experiences allow the audience to go beyond observing art from a distance, offering a more intimate and engaging way to interpret the work.

Toward an XR Future: Creating Sustainable Exhibition Environments

When asked about generating returns in XR production, ROUX said their team has been receiving more and more collaboration proposals, but the market still faces many limitations in terms of exhibition. He believes that building a sustainable market balanced gains for all collaborators involved, enabling long-term collective achievements. A long-term business model depends on transparent discussions about how to monetize XR works—whether through screening fees or production costs—all of which must be fair and reasonable to sustain development.

NAUJOKAS noted that, due to the limited visibility of the original artist abroad, the team is still working hard to find additional resources that can help promote the work internationally while preserving the best immersive experience possible.

With a smile, KITSUKAWA added that if he says too much, the company might get upset. Still, he agreed with ROUX’s perspective, stressing that XR releases need to adapt to market conditions and gain support from more collaborators in order to expand effectively.