Phoenix VR
es una experiencia inmersiva en realidad virtual sobre la guerra en Ucrania, la resiliencia humana y el camino hacia la recuperación. El proyecto combina testimonios reales, escaneo 3D de artefactos de guerra y el lenguaje artístico de la realidad virtual.
Synopsis
Phoenix VR es una experiencia inmersiva e interactiva para una sola persona que sitúa al espectador en las primeras horas de la guerra, dentro de un estado de terror, desorientación y ruptura total de la vida cotidiana. A través de una presencia directa dentro del espacio y de la acción, la obra permite vivir desde dentro no solo el impacto del ataque, sino también la tensión de tener que mantener el control, tomar decisiones y encontrar una forma de seguir con vida.
Lejos de limitarse a representar el trauma, Phoenix VR explora cómo, incluso en medio del caos, las personas aprenden a sobrevivir, resistir y construir resiliencia frente a una agresión injusta. La experiencia se convierte en un recorrido donde la comunidad, la ayuda mutua y la empatía dejan de ser valores abstractos para convertirse en condiciones esenciales para respirar, orientarse y sobrevivir.
La obra propone una transformación interior: del miedo y la vulnerabilidad hacia la capacidad de actuar, ayudar y sostener a otros. Desde esta perspectiva, Phoenix VR no es solo una experiencia sobre la guerra, sino también sobre la fuerza humana que emerge en situaciones extremas. Concebida como un prólogo a futuras historias virtuales sobre la guerra, la obra se presenta como un testimonio del poder del espíritu humano frente a la violencia y la destrucción.
Lejos de limitarse a representar el trauma, Phoenix VR explora cómo, incluso en medio del caos, las personas aprenden a sobrevivir, resistir y construir resiliencia frente a una agresión injusta. La experiencia se convierte en un recorrido donde la comunidad, la ayuda mutua y la empatía dejan de ser valores abstractos para convertirse en condiciones esenciales para respirar, orientarse y sobrevivir.
La obra propone una transformación interior: del miedo y la vulnerabilidad hacia la capacidad de actuar, ayudar y sostener a otros. Desde esta perspectiva, Phoenix VR no es solo una experiencia sobre la guerra, sino también sobre la fuerza humana que emerge en situaciones extremas. Concebida como un prólogo a futuras historias virtuales sobre la guerra, la obra se presenta como un testimonio del poder del espíritu humano frente a la violencia y la destrucción.
> TRAILER
Mathangi "Maya" Arulpragasam (born 18 July 1975), better known by her stage name M.I.A., is an English recording artist of Sri Lankan Tamil heritage. She is also a songwriter, painter, and director. "M.I.A." is a play on her own name and a reference to the acronym of Missing in Action. Her compositions combine elements of electronic, dance, alternative, hip hop, and world music. Arulpragasam began her career in 2000 as a visual artist, filmmaker, and designer in west London before beginning her recording career in 2002. Since rising to prominence in early 2004 for her singles "Sunshowers" and "Galang", charting in the UK and Canada and reaching number 11 on the Billboard Hot Dance Singles Sales in the US, she has been nominated for an Academy Award, two Grammy Awards and the Mercury Prize.
BOYZ
She has been nominated for an Academy Award, two Grammy Awards, and the Mercury Prize
> De qué trata esta historia
Cómo se ha creado
Phoenix VR ha sido desarrollado a partir de una combinación de documentación real, investigación artística y tecnologías inmersivas.
- Testimonios reales de personas que vivieron la guerraEl proyecto se construye a partir de testimonios reales de personas que vivieron la guerra de manera directa. Estas voces aportan una dimensión humana y auténtica a la experiencia, permitiendo que la narrativa se base en recuerdos, emociones y vivencias concretas, y no solo en una reconstrucción abstracta de los hechos.
- Escaneo 3D de artefactos y localizaciones vinculadas a la invasiónPhoenix VR incorpora escaneo 3D de artefactos de guerra, objetos encontrados en lugares afectados y localizaciones marcadas por la invasión. Este proceso permite conservar digitalmente huellas materiales de los acontecimientos y trasladarlas al entorno inmersivo con un alto nivel de fidelidad visual y documental.
- Grabación de escenas con testigos en formato volumétricoAlgunas escenas del proyecto se desarrollan con testigos grabados en formato volumétrico, lo que permite integrar sus presencias en el espacio virtual de una manera más viva y cercana. Esta tecnología refuerza la sensación de encuentro directo con personas reales y amplía la capacidad del proyecto para generar empatía y conexión emocional.
- Creación de entornos virtuales con una estética artística propiaLos entornos virtuales no se limitan a reproducir lugares reales, sino que se reinterpretan mediante una estética artística propia que combina documentación y lenguaje visual contemporáneo. Esta aproximación permite construir una experiencia visual con identidad, capaz de transmitir tanto el peso de la realidad como su dimensión emocional y simbólica.
- Banda sonora original y diseño sonoro como parte esencial de la experienciaLa banda sonora original y el diseño sonoro forman una parte central de la experiencia inmersiva. No solo acompañan la narración, sino que ayudan a construir tensión, atmósfera y profundidad emocional, convirtiendo el sonido en una herramienta fundamental para percibir el espacio, el miedo, la memoria y la esperanza.
- Pruebas y feedback con personas desplazadas, veteranos y testigos de guerraEl proyecto incluye un proceso de pruebas y revisión con personas desplazadas, veteranos y testigos de guerra. Su feedback es esencial para ajustar la experiencia, reforzar su autenticidad y asegurar una representación sensible, responsable y conectada con la realidad de quienes atravesaron estos acontecimientos.
> POR QUÉ IMPORTA
En un contexto de saturación informativa y cansancio internacional frente a la guerra, Phoenix VR propone una nueva forma de comunicar la realidad ucraniana. La realidad virtual permite generar una conexión emocional más profunda que los formatos tradicionales y crea un espacio donde la memoria, la empatía y la reflexión pueden convertirse en una forma de resistencia cultural.
El proyecto también responde a la necesidad urgente de documentar testimonios, artefactos y lugares vinculados a la guerra antes de que desaparezcan, cambien o se pierdan en los procesos de reconstrucción. Al mismo tiempo, Phoenix VR contribuye a contrarrestar la desinformación rusa mediante una narrativa basada en materiales reales, experiencias vividas y una representación artística responsable.
El proyecto también responde a la necesidad urgente de documentar testimonios, artefactos y lugares vinculados a la guerra antes de que desaparezcan, cambien o se pierdan en los procesos de reconstrucción. Al mismo tiempo, Phoenix VR contribuye a contrarrestar la desinformación rusa mediante una narrativa basada en materiales reales, experiencias vividas y una representación artística responsable.
> AUDIENCIA
- Festivales, arte e institucionesPhoenix VR está concebido para festivales internacionales, espacios expositivos, museos, plataformas curatoriales e instituciones culturales interesadas en la realidad virtual, el arte inmersivo y las nuevas formas de narrar la memoria contemporánea.
- Audiencia internacionalEl proyecto busca llegar a públicos internacionales a través de festivales, circuitos culturales y plataformas digitales como Steam y Meta Store, ampliando el acceso a una experiencia ucraniana auténtica y emocionalmente poderosa.
- Audiencia ucranianaPhoenix VR también dialoga con comunidades ucranianas, artistas, investigadores, educadores, personas desplazadas, veteranos y testigos de la guerra, generando una reflexión compartida sobre memoria, trauma y recuperación.
> Visuals
We have sketch stylization with white lines on the edges of models, like white chalk on a blackboard, the texture of lines like chalk or pencil drawings. Half-transparent models with white lines, the scene looks like an art installation in a dark room.
Light mentions the elements and space, some walls are transparent and you go into the scene through the wall.
The screens on gadgets shine like in normal life, not BW, maybe a little color correction. It helps to mention the real-life usual elements.
Now all visual style are more black and white, with high contrast on high tones (lines, light sources, etc).
Not at all, maybe we have a color correction as a dark blue color overlay or dark brown like the dark sepia (super not much, gentle)
Light mentions the elements and space, some walls are transparent and you go into the scene through the wall.
The screens on gadgets shine like in normal life, not BW, maybe a little color correction. It helps to mention the real-life usual elements.
Now all visual style are more black and white, with high contrast on high tones (lines, light sources, etc).
Not at all, maybe we have a color correction as a dark blue color overlay or dark brown like the dark sepia (super not much, gentle)
When the player goes to the Badtrip scene and outside the flat, the world changes to more realistic. The colors go more real, there are brings some warm colors.
Also, models became more real and the white lines went far.
> BREAK THE GLASS (cracks)
I have an idea to improve the changes inside the character by trying to make a wall against the real world, a wall by the glass.
In the beginning, it is half transparent lake warm glass. At the next locations, this glass starts to have cracks.
It manifests itself on the walls of a flat, on the ground at the Badtrip scene.
Sometimes you see part of a scene through the huge transparent glass cracks.
At the time of experience, we hear the sound of knocking on a glass, maybe on a glass bin.
In the beginning, next time in the moments of stress, the player does not understand what it is.
Also, we hear a few times a glass break sound far away, in a supermarket,in flat, etc.
rd
VodVoiceover says that wants to not think about that and asks to cover the TV. You have a small part of a glass in your hand, you place it in front of the TV and it expands over the part of a flat.
In the end, in the second scene of Badtrip the Voiceover says to you to break the glass wall.
After the glass wall you have a real world.
In the beginning, it is half transparent lake warm glass. At the next locations, this glass starts to have cracks.
It manifests itself on the walls of a flat, on the ground at the Badtrip scene.
Sometimes you see part of a scene through the huge transparent glass cracks.
At the time of experience, we hear the sound of knocking on a glass, maybe on a glass bin.
In the beginning, next time in the moments of stress, the player does not understand what it is.
Also, we hear a few times a glass break sound far away, in a supermarket,in flat, etc.
rd
VodVoiceover says that wants to not think about that and asks to cover the TV. You have a small part of a glass in your hand, you place it in front of the TV and it expands over the part of a flat.
In the end, in the second scene of Badtrip the Voiceover says to you to break the glass wall.
After the glass wall you have a real world.
PLOT DESCRIPTION
START
The experience starts at abstract black room. You see the door and need to open it and came inside. you hear the footsteps and the sound of vibration by ringing the phone. When you goes to the door the sound increase. It is like after the door there is something.
(* the image of a door is not well :)
(* the image of a door is not well :)
You go through the door to the next location, door dissolves after you. You are in the next abstract room. The vertical light lines mark the space, maybe walls, it will be the silhouette of a flat for the next scene.
There is a voiceover that says that you remember the first SMS that came that day.
There is a light dot in the center of the front view, it becomes wider to the horizontal white line, and it stays bigger in also adding the light rays.
This line starts to rotate in 2 dimensions on the became of the big mobile phone, it stops rotating in front of the eyes of you
and you need to grab it by hand.
There is a voiceover that says that you remember the first SMS that came that day.
There is a light dot in the center of the front view, it becomes wider to the horizontal white line, and it stays bigger in also adding the light rays.
This line starts to rotate in 2 dimensions on the became of the big mobile phone, it stops rotating in front of the eyes of you
and you need to grab it by hand.
The phone will locked to your left hand. You see how the first SMS starts to type. The space around the phone lights a little bit more.
This SMS is from the Mother. You need to touch the phone to start answering.
Voice-over says that now looking back in time he/she knows that after this SMS he/she started to scared in the deep of the soul.
The screen is not black and white it is like a normal phone, maybe not super glow and super vibrant colors.
This SMS is from the Mother. You need to touch the phone to start answering.
Voice-over says that now looking back in time he/she knows that after this SMS he/she started to scared in the deep of the soul.
The screen is not black and white it is like a normal phone, maybe not super glow and super vibrant colors.
* example of sms
MOM:
How are you? I am scare about news
YOU:
It cant be because cant be
MOM:
But are you prepare?
YOU:
No and you also not need to do it
The phone disolves and after the lines is starts to became the flat. Flat look like not usual realistic flat. it mostly a sketch of a flat with a lines against walls and elements, not all, 50/50. It looks like a modern theater decoration o installation. All location looks mostly in this style. Only in the second part it starts to looks more netural.
TV
You see the TV. You hear the far sounds of a news, and you need to take the TV remote to turn on the TV. Content looks normal. Not BW. You have a new SMS and say that you will go to the supermarket.
Next location, you are near the shelves in a market, have the new sms from friends, and the needed products are light up. You hear the voices of people, rumors, etc. You need to pack the basket.
After this, you are directly on a selfcash desk. You start to hear the voice from the news, and you pick the food, but after this, it dissolves,
The overvoice says that honestly, I did not remember what I was buying that time, I was trying to buy something to feel safe, not for food.
For a payment use the phone. After the payment location dissolves, only light stays in the center. You settle on the next location and see the TV, and this light dissolves and new element (TV) start to have a light.
After TV you have a new SMS from friends
The overvoice says that honestly, I did not remember what I was buying that time, I was trying to buy something to feel safe, not for food.
For a payment use the phone. After the payment location dissolves, only light stays in the center. You settle on the next location and see the TV, and this light dissolves and new element (TV) start to have a light.
After TV you have a new SMS from friends
You see the TV with the news, new SMS, etc
Voice says:
I was just want to forget about that, It is too nervous to hear it everyday.
I want to close my eyes
Dark fade in like you are realy close the eyes. You hear the breath, breath stay calm
Voice says:
I was just want to forget about that, It is too nervous to hear it everyday.
I want to close my eyes
Dark fade in like you are realy close the eyes. You hear the breath, breath stay calm
You go to the window, there is a calm streets outa the window
Voice says:
There is a normal life on the streets, someone goes to work, kids are on a playground, and cars run the roads.
There is a normal life on the streets, someone goes to work, kids are on a playground, and cars run the roads.
Rocketshelling
The building looks real, but after shelling around the building is dark came.
The flat walls start to shake and the walls brake to many parts
The flat walls start to shake and the walls brake to many parts
You stay near the broken window. Wals shakind and brake ups.
Voice says:
close your eyes, It cant be real.
Dark fade in like you are realy close the eyes.
Voice says:
close your eyes, It cant be real.
Dark fade in like you are realy close the eyes.
You open your eyes in a in surreal world, debris on a floor, it is a flat, but after wall there is empty space. You hear destortion reverbed phone ring
You are looking at down and see the surreal ruined city, buildings are tall, no people, big burned wood planks as design element
The ruined elemets start to fly up and combine to a walls and floor from ruined elements like concreet plate parts, aluminium construct things etc. You see the next location. You need to go by locomotion, slowly to front. When you goes to this "bridge" voiceover tell yo about the inner feeling.
Voice says:
It can't happen, there is no sense, but it starts...
I see the apocalypse of the world by my own eyes, everything ruined
It can't happen, there is no sense, but it starts...
I see the apocalypse of the world by my own eyes, everything ruined
First location of a Badtrip
There is no good visual.) It means, that the location starts from the burned planks but transforms to forest. It is not BW, but not vibrant and color-saturated.
You walk slowly and have a few new SMS. It helps you get out the Bad trip and calm hysteria.
There is no long location like last lime. few min of walk. Half of a forest part. After this, you are back to a flat.
You walk slowly and have a few new SMS. It helps you get out the Bad trip and calm hysteria.
There is no long location like last lime. few min of walk. Half of a forest part. After this, you are back to a flat.
You are in a flat looking to a TV. sound came back.
Collect the items
Go outside
Find the dog
Help the dog
Shelter
The lake lies at the foot of the rock wall of the Croda del Becco (ted. Seekofel , lad. Sass dla Porta 2,810 m) and is located within the natural park Fanes - Senes and Braies.
Can you help me?
(c) - copy rights by Valeriy Korshunov and Svitlana Korshunova
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