Free-roaming virtual reality is becoming an increasingly important part of location-based entertainment (LBE), giving groups the chance to explore digital worlds together without cables restricting their movement.
From VR rides to shared arenas
Amusement VR has already produced popular attractions including Virtual Rabbids: The Big Ride from LAI Games, STORM from Trio-Tech and King Kong of Skull Island from Raw Thrills. A different format is now gaining momentum: standalone VR experiences where teams move around a physical arena, interact with one another and play cooperatively or competitively.
These attractions are commonly installed as single, ticketed experiences in retail-sized venues. Their ability to deliver a substantial entertainment offering within a relatively compact footprint has made them attractive to operators and landlords.
Sandbox VR expands its venue model
Sandbox VR is one of the most prominent companies pursuing this model. Alibaba supported the company during its initial investment round, while later funding came from major investment groups and well-known celebrities. Its total investment has been estimated at $119 million.
The operation had expanded to more than 20 venues and offered immersive sessions for groups of up to six players. Its catalogue included more than six competitive VR adventures, from the pirate-themed Curse of Davy Jones to the zombie action of Deadwood Mansion. Licensed content also formed part of the strategy, including Star Trek: Discovery.
With international growth in mind, Sandbox VR began recruiting franchisees for an intended 30-facility operation within the following few years. One of the earliest franchise venues opened in London, providing a useful look at how the company was developing the out-of-home VR experience.
A venue designed beyond traditional arcades
The London site used the tagline “In Here, it’s possible!” Its presentation was notably different from a conventional family entertainment centre or amusement venue, with clean contemporary design and a robotic bartender greeting visitors in the foyer.
Food and beverage were central to the offer, which was aimed primarily at young adults. Private celebrations and corporate bookings were also important parts of the expected revenue mix. In that respect, the venue reflected the broader rise of competitive socialising and experience-led destinations in London.
Backpacks, haptics and full-body tracking
The multi-level facility contained four VR arenas. Each player used an HP Z VR backpack PC, a Pico Neo 3 headset and a force-feedback controller. Haptic vests added physical feedback, while an advanced tracking system monitored players’ arms and legs.
This combination represented each participant’s full body inside the virtual environment. Staff handled the preparation, loading and unloading of each adventure, helping groups move efficiently through the experience.
Fast-paced gameplay for groups
The technology worked alongside polished game design. The action had the pace and finish associated with a large-budget video game, supported by a development team that included former EA and Ubisoft staff.
A session of the zombie-blasting game delivered a particularly strong example. As the undead attacks intensified, the group’s excitement grew, and the 20-minute play period passed quickly.
A growing international field
Sandbox VR was operating in an increasingly competitive market. London already had several free-roaming VR options, including MeetSpaceVR’s Zero Latency, along with DNA VR, Navrtar and Omegascape. Dreamscape Immersion followed a similar venue-based model.
The VOID had previously pursued a hyper-reality approach, opening around 17 venues, including a prominent site at Disney Springs in Orlando. The business later closed after facing several challenges that extended beyond the global health crisis. Under new management and with fresh investment, it was expected to return, with a new United States LBE venue planned.
For readers comparing immersive attractions with more traditional arcade machines, the key distinction is the emphasis on shared physical space rather than individual cabinets.
Divr Labs takes VR into family adventure
Czech developer Divr Labs also expanded its free-roaming VR operation with a new facility at the Westfield Mall of Scandinavia in Stockholm. The Divr Labs Arena featured the studio’s own attractions, with a greater focus on exploration and adventure than straightforward action or shooting.
One of its standout experiences, Meet the Dinosaurs, was designed to appeal to families across a broad age range.
The venue’s centralised VR space was organised to process up to 48 guests per hour. Divr Labs also introduced streaming technology that removed the need for a bulky backpack computer. Visitors instead used HTC VIVE Focus 3 headsets while still receiving a high-end VR experience.
A second Divr Labs venue was planned for Westfield Mall London, adding to the capital’s growing selection of immersive attractions.
What comes next for out-of-home VR?
More developers and operators were preparing to enter the market, while augmented reality and mixed reality were expected to broaden the possibilities for location-based venues.
A new VR system planned for launch in November was intended to integrate with existing laser-tag arenas. Its technology would map virtual content onto the physical walls of the venue. Further developments were expected at IAAPA Expo 2022 in Orlando, as the out-of-home entertainment sector continued its return to major industry events.
For operators, the direction is clear: immersive attractions are becoming more flexible, more social and increasingly capable of fitting into venues that would not accommodate a traditional large-scale ride. The same attention to space, maintenance and player flow also matters when planning a home setup; our arcade machine buying guide covers those practical considerations for cabinets.
About Kevin Williams
Kevin Williams is an entertainment and technology specialist who advises international clients on immersive and interactive attractions. He is co-founder and technology director of Spider Entertainment, a global out-of-home entertainment company serving retail destinations and other venues.
He also holds advisory roles with other market entrants, founded and publishes The Stinger Report, writes regular columns for industry trade publications, and appears as a keynote speaker, moderator and panellist at conferences worldwide. Williams is the author of The Out-of-Home Immersive Entertainment Frontier: Expanding Interactive Boundaries in Leisure Facilities; a second edition was scheduled for release in 2023. He could be contacted at [email protected].
For more coverage of amusement technology and interactive entertainment, visit the RETROCADE arcade blog. Operators and enthusiasts interested in maintaining physical machines can also explore arcade repair and servicing.
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