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Exploring the Afterlife in Virtual Reality

The afterlife has always been an important area of interest amongst humans, with many religions such as Buddhism, Islam, Christianity and Hinduism believing in it. In recent times, even science has come to acknowledge the existence of the afterlife, with researchers discovering evidence of the existence of consciousness beyond death.


The article is a compilation of preliminary research and analysis on the phenomenon of an intermediate state between death and the afterlife. The objective of the exploration was to develop a concept of how one could reinterpret it as an immersive VR experience.



AN INTERMEDIATE STATE BETWEEN DEATH AND REBIRTH


In Tales of Lights and Shadows: Mythology of the Afterlife, author Robert Ellwood explains the concept of Bardo or 'the intermediate state' in Buddhism. Bardo refers to a state of existence between death and rebirth, where the actions and choices of a person during their life determine the nature of their reincarnation. Based on their actions and the wisdom they attained during their physical existence, they could attain salvation and become one with the almighty or be reborn as a human or even an animal. The fate of the departed depends on their karma, which once exhausted could result in rebirth as a human.


Christianity also interprets the intermediate state as a realm of existence where the departed face judgement before reincarnation. In Roman Catholic tradition, holy saints are directly transported to heaven, while lesser souls must experience the cleansing of purgatory before entering heaven. The Roman Catholic Church teaches that all who die in God's grace and friendship, though still imperfectly purified, undergo purification to achieve the holiness necessary to enter heaven, a final purification to which it gives the name 'purgatory'.


In researching this concept, one could interpret this state of existence as having spatial quality. While the afterlife could be abstract in its design, it could also be an empty reflection of the physical world.


EXPLORING LIMINALITY


Liminality refers to an intermediate state between what was and what will be. The term was coined by Dutch-German and French folklorist and ethnographer Arnold van Gennep. Derived from the Latin word limen, meaning 'threshold', van Gennep associated the term with the symbolic processes and ritual conventions that structure and define key moments of social transition or 'rites of passage' (Andrews & Roberts, 2015).


Through his research and analysis, van Gennep divides these 'rites of passage' into three stages:

  • Pre-liminal rites (rites of separation): The stage involves a metaphorical death, with the initiate forced to leave something behind by breaking previous practices and routines.

  • Liminal rites (transition rites): This stage refers to the passing through a threshold between two states. It is during this stage that the initiate undergoes changes in their identity.

  • Post-liminal rites (rites of incorporation): Following changes in their identity, the initiate is re-incorporated into society.



LIMINAL SPACES IN MODERN POPULAR CULTURE


Based on the definition given in an article from aesthetics.fandom.com, a liminal space refers to a location that is a transition between two other locations, or states of being. While these spaces appear normal, they feel unsettling and sinister due to being desolate, with no sign of life.


An empty stairwell or hospital corridor at night might look eerie and unsettling as these are usually spaces brimming with life. These spaces often feature neutral colour palettes and bland-looking furniture that create an empty and depressing atmosphere.



The above image is a visual from The Shining, directed by Stanley Kubrick. The director uses physical liminal spaces to create a sense of isolation and eeriness.



REINTERPRETING THE INTERMEDIATE STATE AS A LIMINAL SPACE


Having researched these concepts, one could perceive liminal spaces as a reinterpretation of the intermediate state in a modern context.


The empty corridors and waiting rooms could become a space where the departed wait before ascending into the next realm of existence. The aesthetics of the environment could be a hollow projection of a place that the departed hold dear to them. The afterlife is merely an empty facade projected around the departed based on their fondest memories.


Rather than a place to receive judgement, the intermediate state could be a place of reflection. The departed could be given a chance to look back on their lives and their choices, with the chance to see their loved ones before they move on.



ASSUMING THE ROLE OF A GHOST IN VR


Afterlife, a cinematic experience in VR, tells the story of a family coping with the death of their five-year-old son. The participant assumes the role of the dead son as they watch the lives of his family unravel in the wake of the tragedy.

A partial walkthrough of the experience can be viewed here.


While the audience, for the most part, is a spectator to the events in the story, they are, at times given the agency to connect with the physical plane by manipulating objects in the real world. The experience puts the user in the place of the departed, giving them an idea of what it's like to be so close to loved ones while unable to communicate with them effectively.



By eliminating the need to interact constantly with the virtual world, the audience can pay close attention to the story. The experience treats the participant as an audience in a movie theatre.


This method of storytelling reinterprets a movie experience, where the audience exists in the same world and space as the characters in the story. In Virtual Sidekick: Second-person POV in Narrative VR, author Mads Larsen proposes how making the audience the sidekick to the protagonist in a story would give screenwriters more agency to focus on the story and be less concerned about the audience losing themselves to the awe of virtual reality. Proximity to the characters and the events breaks the wall between the audience and the characters in the story, giving the audience a sense of presence in the virtual world.



Concerning the nature of the interaction, the experience gives inspiration for designing interaction mechanics that help drive the narrative of the experience. The player can interact with the physical world to a finite extent. Their interaction is limited to moving objects or triggering devices in the physical world. While these interactions are minimal, they play a crucial role in the story, alerting the family to the supernatural presence of their departed son. The barrier separating the astral plane and the physical world disappears, establishing a line of communication between the mother and the son.



CONCLUSION


Researching various concepts relating to this phenomenon gave inspiration for how it could translate into an immersive experience that is both interactive and effectively tells a story. To learn more about the project, click here.



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