According to the "Report on the Development of Large Space VR Industry (2024-2025)", it is predicted that the global market size of large space VR solutions will exceed $12 billion by 2025, with a compound annual growth rate of up to 58%. Among them, the market size of VR solutions for large spaces in China is expected to account for over 40% of the global market. Large space VR has become the most valuable new consumption format in the cultural and tourism industry in recent years, following script entertainment, escape rooms, drone performances, and digital humans. ”Chen Hong, Deputy Director of the Key Laboratory of Interactive Technology and Experience System Culture and Tourism at Beijing University of Posts and Telecommunications, revealed that as of September 2025, there are over 200 large-scale VR projects in China, and the number of offline stores has rapidly risen to over 1000. About 30% of tourists have developed a desire to visit the Xixia Mausoleum scenic area in person after experiencing the immersive experience of 'The Mysterious Xixia Mausoleum', effectively stimulating new momentum in cultural and tourism consumption in Ningxia. ”Yao Jia, Deputy General Manager of Xinke Animation Industry Co., Ltd., which operates the project, stated that there are abundant cultural and tourism IP resources with development potential in China, coupled with the continuous maturity of virtual reality technology, which is attracting more and more forces to accelerate the layout of VR large space immersive experience as an emerging competition. In Shanghai, this trend has also received policy support. The "Three Year Action Plan for Comprehensive Promotion of High Quality Development of Shanghai's Tourism Industry (2025-2027)" clearly proposes to integrate and apply cutting-edge technologies such as big models and metaverse to build a smart cultural and tourism ecosystem of "One Machine Tour Shanghai". VR large space is an important carrier for the implementation of this vision. The symbiosis of technology and art, the winter chill gradually intensifies, and pedestrians on the streets of Shanghai hurriedly pass by wrapped in their jackets. However, on the second floor of Building W1 in Zhangyuan, Jing'an District, a warm current surged - a VR music movie called "Shake Shake Shake 1995" was being staged here, taking the audience back to that hot and steamy summer of the 1990s. Step into the experience space, put on your lightweight VR glasses, and the subway starts roaring, taking you into the time tunnel. The train arrived at the station, and in front of me was a slightly tipsy alleyway on a summer night. A familiar Shanghai dialect could be heard in my ears: "Anitou, can you help me find a 'cilantro' (mouth+slash)?" - That was the scene of a ten year old boy Anitou being asked by his neighbor's cute sister to search for a lost cat. And this seemingly ordinary journey of searching for cats quietly weaves together a vivid image of the times: the literary and artistic young man Juanmao silently watches his little sister who is about to go abroad; Lily, the owner of a clothing store, collided with young entrepreneur Xiao Ningbo at a phone booth, sparking the emergence of e-commerce; My cousin, who has long feet, is exploring his own way out in the tide of the times... The audience is not bystanders, but witnesses walking through the alleys of the 'spring breeze'. Under my feet are the green bricks of the old Shikumen house, and in my ears are the cheers of the entire street when Shenhua won the championship. In the distance, there are intermittent whispers coming from the public telephone booth. You can even participate in a "soldier versus man" game in a VR illusion. When Sister Daisy finally went to a foreign country, Brother Curly became a writer, Sister Lili jumped into the Internet wave, and Ani stood by the Suzhou River to look back -- those scattered and reunited figures spell the warmest and most vivid urban memory of Shanghai in the 1990s. In today's increasingly better home audio and video experience, VR large space projects provide ample reasons for users to step out of their homes and into scenic areas and commercial districts. ”Director and screenwriter Zhang Yichi of "Shake Shake Shake 1995" believes that VR large spaces are a "symbiotic combination of technology and art", and this immersive adventure has appeal for all ages, especially in stimulating a sense of shared participation among family users. According to on-site staff, this is the first VR music movie in China that integrates Shanghai style emotions and immersive technology, attracting nearly 10000 people to experience it in 10 days. Many tourists come here with the intention of experiencing the nostalgia of Shanghai 30 years ago, and then consume in Zhangyuan and surrounding shops, effectively feeding back the real economy. The business model of linking scenic spots to global replication of large-scale VR projects presents a dual attribute: on the one hand, it can deeply bind specific scenic spots or cultural landmarks like traditional cultural and tourism projects; On the other hand, it also has replicability similar to movie screening, which can be quickly deployed nationwide and even globally. The number of offline VR scenes has not only surged, but the formats have also become increasingly diverse - from initial exhibitions and displays, gradually evolving into a cinema like operation model, especially the "fully immersive theater" transformed from scenic spots, museums, libraries, cultural centers, and theaters, which performs the most outstandingly. These spaces are deeply integrated with cultural content through walking style exploration, and some venues have already exceeded the single venue box office of traditional cinemas in the same location by 2025, reaching 2 million to 10 million yuan. It can attract the younger generation who pursue fresh experiences, activate the potential of cultural and tourism consumption, and provide a modern, international, and emotional expression path for traditional culture. Taking "Fengshen prequel: A female general's prosperous era in the Yin and Shang dynasties" as an example, the audience experiences for the first time a new viewing form called the "walking immersion style": without guidance, freely walking between the Yin and Shang palaces and battlefields replicated in a 1:1 ratio, and personally entering the legendary life of the first female general in Chinese history with written records - Fu Hao. The creative team carefully laid out emotional nodes and historical details, allowing the audience to naturally immerse themselves in the climax plot during their independent roaming. This narrative style that breaks traditional camera language and emphasizes subjectivity is seen as an important evolution of future viewing modes. Therefore, "Fengshen prequel" is praised by the industry as a "key turning point from VR space to VR movie content upgrade". In another work, Fortress 1304: The Glory of Carcassonne, the experiencer returns to the fortress city of medieval southern France. The rough stone bricks, the tension of suspension bridge ropes, the crisp sound of apples in the market, and the aroma of freshly baked bread interweave into a sensory symphony; The stained windows of the Saint Nazaire Church shine brightly, and the organ roars like an oracle descending; When the enemy is approaching, you clench your heavy shield, throw scorching Greek fire, and the shock of the explosion hits your feet - this 45 minute immersive journey uses "millimeter level" historical research and full sensory interaction to allow visitors to truly feel the glory and tragedy of guarding the fortress. In addition, international cooperation projects continue to expand the cultural boundaries of VR spaces: "The Age of Life" collaborates with the French National Museum of Natural History to create a life epic spanning time and space based on the 3.5 billion year history of Earth evolution; Paris 1874: Impressionist Night "uses 1:1 digital scanning of masterpieces such as Monet and Renoir to recreate the historical moment of the birth of Impressionism; And 'The Eternal Notre Dame Cathedral' allows the audience to appreciate this Gothic architectural masterpiece from 360 degrees without any blind spots, even climbing up the 69 meter high bell tower and overlooking the dawn on the banks of the Seine River. The VR space connects not only screens and reality, but also memories and imagination, local roots and global perspectives. (New Society)