We Met in Virtual Reality – first-look review | Little White Lies

Festivals

We Met in Vir­tu­al Real­i­ty – first-look review

22 Jan 2022

Words by Ed Gibbs

Animated characters in a desert setting, one with angel wings, engaging in a confrontation.
Animated characters in a desert setting, one with angel wings, engaging in a confrontation.
The first fea­ture doc to be shot entire­ly inside the world of social VR is a rich, uplift­ing experience.

Devised and shot entire­ly in lock­down, Joe Hunting’s film is a unique propo­si­tion that reflects a gen­er­a­tional anx­i­ety both in our pan­dem­ic present and our future.

Told via a live­ly col­lage of sto­ries, it simul­ta­ne­ous­ly fol­lows an Amer­i­can sign-lan­guage teacher and a pair of long-dis­tance cou­ples who meet in VR, all pre­sent­ed via their own avatars. But Hunting’s fea­ture-length debut man­ages to quick­ly shed the trap­pings of its tech-heavy for­mat as the real, human sto­ries punch through.

Themes of iden­ti­ty, gen­der expres­sion, men­tal health and deaf­ness are explored in an authen­tic and inclu­sive way as the char­ac­ters nav­i­gate their way through their VR expe­ri­ences. Not sur­pris­ing­ly, the for­mat allows them to be whomev­er they wish. They can (and do) flip ele­ments of them­selves at will. Life with­in the world of VRChat feels secure and lib­er­at­ing – and a lot of fun.

The film builds nice­ly, too, kick­ing off in a seem­ing­ly under­stat­ed way before head­ing for dance­floors and end-of-the-year par­ties. In a pan­dem­ic era, such things are pre­cious and worth savour­ing. The key char­ac­ters – Jen­ny, Dust­Bun­ny and Toast­er, and IsY­our­Boi and Drag­on­Heart – open­ly dis­cuss and share thoughts on what it means for each of them. It’s refresh­ing and fas­ci­nat­ing as a cul­tur­al exper­i­ment – a unique obser­va­tion­al doc­u­men­tary about human behav­iour that couldn’t be more timely.

Hunt­ing, a British film­mak­er whose work includes VR shorts and a VR series, clear­ly knows the world of social VR well. He shot the whole thing using a VRC lens cam­era so that the view­er will expe­ri­ence the sto­ries with­in the world of social VR, rather than out­side of it. The effect is intrigu­ing, even pro­found. For any­one not well-versed in the world of social VR – or still won­der­ing what pur­pose it might serve – Hunting’s film should swift­ly address such con­cerns. It has an infec­tious style and engag­ing substance.

Visu­al­ly, the world feeds off its height­ened colour palette, clear­ly tak­ing its cue from ani­mé. Son­i­cal­ly, there’s a vari­ety of music that height­ens the viewer’s expe­ri­ence as we are tak­en on the char­ac­ters’ jour­neys. The emo­tive respons­es the view­er expe­ri­ences are all too real.

Could it be dark­er, more com­plex? Cer­tain­ly. With an empha­sis on the pos­i­tive and a can-do atti­tude – rather use­ful in a pan­dem­ic, of course – a few shades of black and grey wouldn’t have gone amiss. With­in the plat­form itself, some of the more pre­dictable visu­al stereo­types of the avatars them­selves could also do with tweak­ing. But these are minor quibbles.

Many have pon­dered in the phys­i­cal world about the net results of Zuckerberg’s intent with his meta­verse, and it’s inevitable the view­er will come away from an expe­ri­ence like this won­der­ing the same. How exact­ly will we com­mu­ni­cate in the future? Are long-dis­tance exchanges par­tic­u­lar­ly enriched and made all-the-more pos­si­ble via social VR? Is it essen­tial­ly a safe place to escape for a more com­plete feel­ing of self-expres­sion? Does it run the risk of allow­ing our­selves to be too self-indul­gent for our own good? And will we come to rely on this more and more as our phys­i­cal world becomes increas­ing­ly chal­lenged, dam­aged and poten­tial­ly, even untenable?

The film doesn’t claim to have answers for the count­less ques­tions one can pose. It does, how­ev­er, man­age to present a seem­ing­ly fab­ri­cat­ed world in an intense­ly human way, through the sheer pow­er of char­ac­ter and sto­ry. And for that alone, it’s an enjoy­able ride that’s wor­thy of our time. An accom­plished, impres­sive debut.

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