This interactive narrative defines a whole new VR category.

The creative aim was to parachute the viewer into the centre of a scripted universe, originally created for linear broadcast, and provide a different perspective on scenes from the TV show, Curfew. This unique crossover is truly innovative.

The VR experience meshes with the timeline, aesthetic, and themes of Curfew, providing an immersive parallel story to the action seen in the show. Each TV episode follows a different racer's perspective - the VR experience does the same, serving as the hidden 9th episode.

The combination of strong narrative, action, interactivity, and immersion results in a visceral experience. Users are taken on a high-octane journey making choices to explore deeper into the narrative and hopefully survive the night.

It's an insane blast of chrome and diesel fumes, fast and furious, dark and deadly.

Implementation:

A custom version of Unreal Engine was utilised, along with a set of specifically designed narrative and interactive tools. The script, casting, sound, and world-building were carefully crafted to ensure consistency with the show.

Placement:

The experience launched with the premiere of Curfew on Sky One via the Oculus platform.

Scale:

Available to download for free to anyone in the UK with an Oculus Rift.

Brand relevance:

The VR experience gives fans (and fans to be) an alternative angle on the TV action and the opportunity to deeply explore the world of Curfew.

Touch points:

-Available via Oculus.com.

-A shortened 360° version of the experience is available via the Sky VR app.

Materials, style elements, design choice:

A number of carefully designed interactions provide the player with narrative choices and real agency throughout - from talking to ‘Helena’ over the CB radio to navigating race information via the black box on the dashboard.

The levels of realism were pushed by employing on-set photogrammetry of the vehicles and locations as well as animation, physics simulation, motion-capture, and immersive sound design.

Methods and processes:

All parties participated in initial discussions in order to stay true to the show, but also to maximise the many extra layers that VR could bring: interactivity, branching dialogue, and spatial sound.

The next stage involved a traditional draft of the main script with branching narrative ideas. User POV pre-visualisations were made for testing timings, blocking action and audio. Concept art for environments, vehicle, and character design helped develop a visual style and atmosphere for the world.

A low fidelity game-engine version of the experience helped to lay out the scenes and begin development of the narrative. This allowed for checks before moving into final development.

Timeline:

Production - six months.