a new immersive experience arrives in Buenos Aires with an ambitious proposal that seeks to recreate a trip to the 14th century without leaving the city. Now available at the Frers Pavilion The Rural, The Last Fortress – An Epic Medieval Adventureinvites you to a virtual reality tour that mixes history and technology to make the visitor the protagonist of the experience.
After the success of Art Masters and of The Cheops horizonthe new proposal of DG Tech Lab It is presented as an expedition in 360° virtual reality that transports to the heart of Carcassonnethe largest fortified medieval city in Europe and the best preserved in the world.
Witches, dragons and knights are part of a universe where history comes to life, in a time marked by the power of kings and the constant presence of the Inquisition.
Before putting on the glasses, nine paintings printed on the wall place the visitor in the year 1304 and mark the beginning of the journey. Outside is Buenos Aires; inside, another reality begins.
As soon as the visors are adjusted, the people who were next to them become luminous avatars and red nets mark the limits of physical space so as not to collide with the walls of the “real world”, as a reminder that there is still an “outside”. But it quickly stops mattering.
accompany simona young nobleman, already Agnesa rebellious city dweller, becomes an adventure that only those who go through it can describe. The tour of 45 minuteschains epic scenes that give no respite and that build an immersive narrative, where every decision of the body seems to have consequences.
As the expedition progresses, a narrator accompanies the journey and tells what happens, while you also hear clearly everything the characters say, as if they were right there. Honestly, though, sometimes concentration gets scattered because there’s too much to see at once, too much stimulation.
The cliffs generate real vertigo and the landscapes invite you to stop and contemplate them, while the little bridges beg to be crossed. Without realizing it, one raises one’s foot to avoid what appears in the path and pushes aside the bushes that get in the way; the body reacts before the mind processes ityou crouch, you slow down, you calculate, and hiding becomes necessary, almost instinctive, even though part of your head remembers that there is no danger.
Curiosity is activated immediately and the hands themselves – which are also seen as white flashes – seek to touch everything, from scrolls and food in the markets to relics, weapons, swords and arrow bows, even approaching fireplaces to try to warm themselves. Part of you knows that you can’t feel anything, but everything is perceived so real that it is inevitable to want to try it.
Between one scene and another, brief seconds of black screen break the continuity. That emptiness, far from being a rest, generates an almost desperate uncertainty, a euphoria that keeps the senses on alert, as if something were about to happen at any moment. And it happens.
Therein lies the power of The last fortressa sensory experience that manages to suspend disbelief and erase the limits between the real and the virtual.
When it’s all over and the visors are raised, the return is abrupt. The light suddenly changes, the space returns to its usual, familiar state, but the body remains exalted, as if after getting off a roller coaster.
Age doesn’t matter. At the exit, strangers look at each other and talk to each other as if they shared a secret. Everyone wants to tell what they saw, what they felt, what they thought they touched. Everyone, in some way, becomes a little bit of a child.
And they understand that it is not easy to explain in words what happens inside. You have to live it.
