Setting
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REAL-WORLD
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VR WORLD
03
SHAPE
REAL WORLD SETTING
We started our brainstorming process wondering what would make our version of the real world and VR world distinct and special from the rest. Eventually, a thought hit us. What if the real-world setting is flat while the VR world is portrayed as more "real".
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The idea reminded us of Korean 2D cafes in which objects are painted black and white with simple lines drawn to make the place seem flat like in a comic book.
Our version of real-world is a 2D setting of a museum, everything is in black and white apart from the painting which the main character is going to enter.
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The painting in the real world is painted in strokes of unmixed colours (that resembles our sunset VR world setting) and also left unfinished to match with our plot that our main character did not manage to finish restoring the painting.
VR WORLD
All our ideas of the VR world originated from this painting which we found online. At first, we wanted to have our VR setting be vague splashes of colour so that the audience can imagine their own version of what our VR world looks like. However, we soon came to the realisation that abstract art will not work since the setting of our performance would look much like kindergarten art.
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After the setback, we decided to take inspiration from the painting and imagine settings out of it. Our storyline revolves around how every painting is a world on its own. In museums, we only get to see a certain part of that world, much like capturing scenery on camera. When the character sets foot in the painting, he/she moves on to explore the rest of the painting world unknown to the audience.
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We decided on 3 different settings the character would go through in the VR world:
1. Seaside sunset
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This is inspired by the redness on the left side of the painting. When the character first enters the VR world, things are beautiful and nothing seemed wrong. The use of bright colour sunset is supposed to bring out how the VR world is warm and inviting at first.
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2. Waterfall
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This is the scene where the nefarious creature first appears. It is painted with slightly darker colours, the cave setting shows a slightly mysterious vibe, one that makes the audience want to explore further, beyond that of the closed
entrance.
3. Moth liar
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This is the final scene in the VR world where the detective and the moth engage in a battle of words. The moth's lair is painted with cool colours to appear foreign and strange to others.
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SHAPE
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We did not want to have a normal flat set. Hence, we came to this design. Our backdrop is separated into 3 pieces of rather irregular shape. The boards can be placed from and back so that from the audience's perspective, it seems like the setting is intact. We can weave in and out of the set to interact more with it (such as hide behind different pieces and poking our heads out). This design also makes it easier to hide stage helpers and make it easier for them to hand props onto stage.