The metaverse isn't just a place you visit, it can change your definition of self
I've been thinking about applications of the metaverse and how those intersect with storytelling. One of the interesting characteristics of the metaverse is not just it as a place - with all the hardware and software trappings of avatar legs or not, realistic spaces or not, headset or not, basically what you can do and what you cannot do - but that it can impact your definition of self.
Premise: the metaverse is not just technology, the metaverse is how it makes you feel about yourself.
If you have Disney+, you may have seen Obi-Wan Kenobi: A Jedi's Return, a documentary on the making of the Obi-Wan series.
I want to emphasize that this 'original documentary special' was directed by Deborah Chow, who also directed the series.
This isn't just bits of archival footage patched together like how it was with the original Star Wars movies, although documentaries have now been re-made with a much greater story-telling focus. The same person who helped weave the story of Obi-Wan has also weaved the story of this documentary.
Storytelling: The Object Can Be Beyond A Place
This is a storytelling director telling a story.
Deborah Chow is in control and she knows what she wants you to see and feel. She plays up a visual theme that shows up over and over in this documentary:
An actor standing in and being impacted by a screen similar to the virtual production set: a space 21 feet tall, 75 foot diameter, run by 7 machines by ILM and Epic Games, with a 270-degree semicircular LED video wall called StageCraft, the LED Stage, or The Wall.
Image: Capture of The Wall from The Virtual Production of The Mandalorian.
Image: Depiction of how a virtual game engine camera can create a scene on demand.
To be very specific, there are many shots of Ewan McGregor, Hayden Christensen, and Deborah Chow standing in front of a very large screen and another camera is capturing their own faces & bodies while they are watching clips either from the Star Wars movie series or from the Obi-wan series. The implied idea is:
their emotions are your emotions.
They are feeling it like you are feeling it. Permission granted to forget that they acted in these visuals. They are sitting next to you now, eating popcorn, laughing, and getting teary eyed just the same as you. This theme is repeated over and over through the one hour.
Second Siblings
Deborah Chow is making the point, I believe, that the Obi-Wan series was born and crafted crafted from existing Star Wars film lore. She's not striking out new. She is claiming the heritage directly from the original Star Wars family. Also, she knows her series is #2 at bat; The Mandalorian came first. So the technical innovation of The Wall isn't hers to claim. But she can show that she's learning and growing from it as younger siblings often learn lessons from older siblings.
As the phrase goes, the early bird might get the word, but the second mouse gets the cheese.
Being walked through emotions
Her innovation? She lets a Wall-like experience impact her characters in this documentary. This video has scenes from the teaser.
It's the Wall as an actor emotionally experiences it. She takes the time to show you an actor's face, body, and location near the Wall and then shows what the actor was seeing in that same moment.
She plays up the idea that Ewan McGregor had to study and pattern after Alec Guinness as an actor. He had to visualize who the character would be 10 years before the original Star Wars movies began. He's impacted by the Wall. But when he does it, it gives you permission to do it.
She also plays up the re-meet of Hayden Christensen after more than decade separation; a person that's older, wiser, and re-meets a colleague. Ever been there yourself?
Image: Capture of Hayden Christensen views the very beginning of A New Hope.
Image of Deborah Chow viewing an intense Hoth battle.
She's using the Wall as not just something used to create surrounding scenes,
she's using it to say 'it impacts you.'
Image: A touching moment as Deborah Chow looks at the first introduction of Princess Leia.
Deborah Chow pointed up to The Wall and showed us that the metaverse is not just technology.
You could be forgiven if you thought that she was only going for nostalgia. 'Isn't this just wispy looks up to a screen?'
Image: Photo collage of Deborah Chow, Ewan McGregor, and Hayden Christensen looking up at screens. There is a faint glow of golden light on their faces.
No, I don't think she is letting you off easily.
I think she's saying 'Obi-Wan's story isn't over yet. There is more. Come on, let's find out.'
Image: Poster for Obi-Wan Kenobi: A Jedi's Return documentary. Obi-Wan with back to viewer looks over a desert scene production set. Note that: this is not a Star Wars poster. This is a production poster; the Obi-Wan character sees the production crew.
Deborah Chow used the Wall as not just a scene but as an impact device. Disney is late and slow on their metaverse path. But they've been on their way as I talked about here. This deliberate storytelling combined with innovative technology is not a misstep.
The metaverse is not just a place you visit, it can impact your definition of self.
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