To watch with a Cardboard headset, launch the video with the YouTube app.

The Pantanal, a vast tropical wetland in Brazil, is home to one of the highest densities of wild jaguars in the world. Cattle ranchers have made their home here for generations. Jaguars prey on ranchers’ cattle, and ranchers kill jaguars to protect their herds. Today jaguars are considered near threatened, and are thought to occupy only about 50 percent of their historic range.

The conservation nonprofit Panthera—which is focused on protecting the world’s wild cat species—is working with locals in the Pantanal to help ranchers live alongside an apex predator, and to preserve the future of this iconic species, the largest wild cat in the Americas.

Watch ‘Living With Jaguars,’ Motherboard’s 360/VR film on a unique conservation project in Brazil that aims to save the Pantanal jaguar, and an ecosystem that’s been shaped by its presence. To watch it with a Cardboard headset, launch the video with the YouTube app.

‘Living With Jaguars’ was built for room-scale virtual reality headsets. Unlock extra features and interactive elements through Oculus, Steam, or Viveport.

The post Watch Our 360/VR Documentary ‘Living With Jaguars’ on Saving the Wild Cats of Brazil appeared first on VICE.

The song already had a strange, vaguely unsettling video, but this one isn’t only much stranger, it’s in 360 and VR. If you so please, you can fully immerse yourself in a world of intentionally shitty untextured polygons, with your guide being an equally crude CGI pug with Mac DeMarco grafted into its head. The result taps into the same hilarious but terrifying atmosphere of Cool 3D World’s work, so prepare as you see fit and watch the “This Old Dog” video above.

Phil is a Noisey staff writer. He’s on Twitter.

The post Mac DeMarco’s New VR Video Is a Nightmarish ‘Super Mario 64’ Odyssey appeared first on VICE.

Bill Billeqvist er en 24-årig kunstner fra Stockholm med rødder i graffitiscenen, som har skabt sig et navn på grund af sine ansigter, faces, som han maler og laver som skulpturer. På det seneste har han videreført ansigterne på tekstiltryk, og tidligere på sommeren lavede han en installation på techno-festivalen; Into the Valley of Estland. Vi kontaktede Bill og hang ud med ham i Kulturgården i Solna, der udlejer sine lokaler til fester og udstillinger.

Vi filmede Bill, da han malede sine ansigter på to vægge med Samsung Gear 360 i timelapse og fik en forsmag på helt ny musik af Patrik Edenhall – du kan se det hele ovenfor fra start til slut, fra hvilket perspektiv du ønsker. Vi talte også med Bill om, hvad hans ansigter betyder for ham.

Hvor længe har du været kunstner?
Bill Billeqvist: Hele mit liv. Ej, det er for sjov! Jeg startede med at male graffiti i min fars gymnastiksal, som han brugte til garage, da jeg var 14-15 år. Så mødte jeg en ven, som jeg begyndte at male med, da jeg var omkring 16-17 år. Derefter begyndte det vel at tage fart, da jeg var 19-20 år. Så jeg har gjort det rigtigt i fem eller seks år.

Fortæl mig om, hvordan ansigterne tog form.
Det begyndte, da jeg fik et kælenavn af mine venner. De kaldte mig Bill, og derefter begyndte jeg at tagge “Bill”. Det lignede en slags fjeder, som jeg tegnede et øje på, så det lignede et øjenbryn. I begyndelsen malede jeg et halvt ansigt med et øje, en næse og en halv mund. Derefter så jeg på det og tænkte, damn, jeg er nødt til at lave et helt ansigt – det ville være fedt. Så begyndte jeg at male hele ansigter, der så ret vanvittige ud. I begyndelsen var de smalle og lange. Så tog jeg dem videre derfra og fortsatte med ansigter, der havde flere næser og munde, og så har jeg ligesom udviklet det.

Hvor længe har dine faces set sådan her ud?
Tre eller fire år måske?

Bliver du aldrig træt af at se på dem?
Nej, overhovedet ikke. Jeg føler, at jeg udvikler mig og bruger nye materialer som spray, lim, træ, plexiglas, og så bygger jeg skulpturer. Jeg maler også med akryl. Jeg mener bare, at det er min måde at udtrykke mig selv på – med de former, materialer og farver. Det føles som en løbende proces, der ikke vil ende. Jeg bliver ved.

Har dine ansigter navne?
Nej, jeg ved ikke, hvad jeg kalder dem. Det værste, jeg ved, er, når folk kalder dem “gamle mænd”. Fuck det, altså.

Åbner dine ansigter døre for dig?
De har fået mig til at gøre syge ting, og jeg er endt op syge steder. Jeg går ikke rundt og tænker på dem, eller hvor jeg skal male dem. Men jeg elsker at finde syge spots.

Eftersom de konstant er under udvikling, har der så været perioder, hvor du var mere tilfreds med dem end andre?
Absolut. Nogle gange, når jeg har malet billeder, har jeg følt, at det var virkelig fedt. Men nogle dage, hvor jeg har malet lidt for meget, spekulerer jeg på, hvad fanden jeg laver. Jeg maler jo de her psykosemænd hele tiden. Men så fortsætter det bare.

Lavede du ansigterne på en anden måde, fordi vi filmede dig?
Det var sgu bare nice. Jeg synes, det var sjovt, og lilla er den farve, jeg ikke bruger så ofte, så det var nice.

360-video er filmet med Samsung Gear 360 med Bill Billeqvist på Kulturgården i Solna. Musik: “Breathe Together” af Basement Space.

Bill Billeqvist er på Instagram.

The post Bill Billeqvist maler i 360 appeared first on VICE.

The video, which premieres today on Creators, alternates between two first-person police brutality scenes, and one of Soul Science Lab and collaborators as a scene of spirits on the other side. This marked the first time Soul Science Lab’s Asante Amin and Chen Lo worked with 360° video, but wasn’t their first foray in combining art and activism.

Soul Science Lab on set.

“My initial inspiration for the song came in the midst of watching the Eric Garner videos and the string of killings of black lives that were flooding our timelines,” Amin tells Creators. “Eric Garner’s video in particular created such a mix of emotions from the initial ‘Fuck the cops’ to the shock, disgust, and anger of watching him murdered on film. But, his affirmation and assertion that ‘…IT STOPS TODAY!’ also really resonated and inspired me.”

“For us, using 360° video was an opportunity to allow viewers to see these tragic situations from the perspective of the victims,” says Lo. “It allowed us to put you there in their shoes. Of course, our ability to portray the real experience of the victim is impossible, but at the very least we wanted drive empathy, make viewers feel uncomfortable, and move people to reexamine this epidemic human rights crisis.”

The idea for a 360° video came about after the creative agency, Rapport Studios, who were working with the duo on their Plan for Paradise album, recommended it. Soul Science Lab had already been working with emerging technologies like augmented reality and immersive experiences for the album, so a 360° video was, as Lo says, the next logical step. The project really gained traction, however, when director Michael Cordero approached the duo about directing a 360° video for “I Can’t Breathe.”

On location for “I Can’t Breathe.”

For the exterior shots, Cordero mounted a 360° camera rig on the central actor, while other actors recreated two high-profile killings. The camera rig’s placement for the interior shots was planned to give the viewer the feeling of being in a space occupied by wise and elder spirits.

“These spirits are voicing their disdain and frustration with the conditions people of color face and their burning desire to affect change,” Lo says. “They are ancestors that welcome the viewer after their fatal encounters with police and implore us to join their cause.”

“We knew we wanted the transitions to be as if one is experiencing a near death or out-of-body experience, as we think those things may happen in traumatic situations like the ones being depicted in the video,” adds Amin. “Where people are murdered and they began to die and drift in and out of consciousness became obvious points of departure into what is really this spirit of Paradise for us.”

Ideally, Soul Science Lab hopes the 360° video drives empathy, forcing viewers into uncomfortable sensations. The film shoot itself even proved troubling for onlookers in Bushwick, who thought they were seeing real police brutality unfolding before their very eyes.

“We want people to be moved to share this video and song,” Amin adds. “We want it to start a dialogue amongst many different people. If it can get people talking, reflecting and learning, we’ve done our job.”

Soul Science Lab’s Plan for Paradise is out now on the duo’s own label.

Related:

50 Artists Interrogate 25 Years of Police Brutality

Cardboard Paintings Take an Unflinching Look At Police Brutality

Disappearing Middle Eastern Neighborhoods Find New Lives Online

The post [Premiere] ‘I Can’t Breathe’ Music Video Sees Police Brutality Through Victims’ Eyes appeared first on VICE.

SpaceX recently held a national competition for organizations building upon Elon Musk’s idea for a hyperloop—a superfast form of transportation involving pods shot through vacuum tubes. Now the company has released a video of one pod in action. 

This footage was taken from the SpaceX test vehicle, which brings the pod vehicles up to speed before letting ’em rip through the tube.  

It’s shot in 360 degree interactive video, so you can use your cursor to look around. Tube to the left? Yep. More tube wall to the right? Got it. Guess how the back looks? Pretty much like the front view, except more like a dune buggy with giant wheels.

The original white paper for the Hyperloop from founder and CEO Elon Musk estimated it’d carry people near the speed of sound, but the top speed for the competition, according to The Verge, was 58 miles per hour. Only three teams made it to the final round of evaluations and were given access to the test tube. 

Turn the sound up, and you’ll hear a screeching noise that can only be described as “bat out of multiple hells.” If this is what the future sounds like, I’ll stick to cars, thanks. 

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The post This Is What It Feels Like to Ride In a Hyperloop appeared first on VICE.

This partnership would lead to Huang being one of the Icelandic artist’s primary visual collaborators for her 2015 LP, Vulnicura, taking advantage of virtual reality technology to create an immersive world for fans. These included intimate videos for “Black Lake” (commissioned by New York’s Museum of Modern Art for a career-spanning retrospective of her work) and “Stonemilker,” the former of which sees the singer performing in a cave before exiting onto ravines and moss plains, and the latter on a windswept beach from multiple angles.

For the Björk Digital exhibition, currently on-display at Montreal’s DHC/ART Foundation for Contemporary Art as part of this year’s Red Bull Music Academy, the pair debuted the VR experience “Family,” (with co-creative direction by Björk and James Merry) which allows viewers to use Vive controllers to embark on a futuristic journey. We recently spoke to Huang—who has also directed videos for Thom Yorke’s Atoms For Peace, Sigur Rós, and others—about the challenges of filming in Iceland, the biggest lesson that he ever learned from the musician, and more.

On creating the visual world of Vulnicura:

“The main difference between this collaboration and the first one with her is that she had finished Biophilia, and I was adding to the repertoire of that world she had created. This time I was trying to make visuals while she was still writing, there was a lot more back-and-forth, and a lot more collaboration with her creative director James [Merry]. It was such an emotional journey for a lot of reasons: the material we were dealing with was way more personal, she was going through the separation with Matthew Barney as we were developing all this. The museum [MoMA] was an emotional journey, too, because we’re looking at 30 years of work, and at the same time, she’s a very forward-looking lady. How do we forge our way forwards while still looking backwards, and how do we make a piece that fulfills everyone’s expectations? We had a lot of budgetary issues and, because it’s a museum, there’s a lot of bureaucracy.

We were talking a lot about how a core practice of her career has been hiking through the Icelandic wilderness, and that would be her personal time when she would be singing and improvising. We read this book called The Songlines by Bruce Chatwin, which I think was written in the late 70s or 80s. He went to Australia and documented the Australian Aboriginal practice of singing your way through the wilderness through songlines or dreamings, and that became a huge foundational concept of ‘Black Lake.’

Back when I shot the [Vulnicura] album cover, we also ended up shooting this short film that told a story of this woman going from heartbreak to empowerment by like stitching herself together. She used the word ‘moving album cover’ and I thought she wanted a GIF at first. We set it to the song ‘Family’ because it had so many movements, and after receiving funding from Red Bull, we kicked into production of the full VR version just two months ago.”

On the challenges of shooting in Iceland:

“When we shot ‘Stonemilker’ it was honestly so guerilla. We decided to shoot it at 10 PM, and our call time was 6 AM the next morning. We had been planning to shoot a video for ‘Lionsong,’ so we changed the song, changed the location, called the Reykjavík municipal office to get permission to go out to this lighthouse. She records there a lot but there’s also a strand where the tide comes in and you’re stuck there, we only had two hours to shoot it.

I’ve done panoramic filming before and I knew that you have to hide because you’re in it, so we went out there, and shot this thing really low budget. I think Björk even dyed that extra piece of neon cloth the day before. I’m constantly thinking about three-act structure in any pop song or general short film experience; you have to have a beginning, middle, and end, so the whole time you’re thinking, Okay how do I make this rise and fall with what she’s doing? I made the commitment to let her do her thing and when we get footage, I’ll find precise moments to multiple her, and I just did it in After Effects where I chose the masking points at which she would appear.”

On what the future holds for VR technology:

“I think there’s going to more live VR applications, Björk’s already keen on that, filming entire concerts in VR. I think the big thing that I’m still waiting to become easier and more affordable is videogrammetry, where you’re actually spraying a room with points and you’re getting video data, video that you can volitionally move around. If you watch a football game nowadays, when they do replays, they’ll pause the field and navigate around in real-time as if it was a chessboard. We’ve already seen music videos done with this kind of stuff, you can use four [Microsoft] Kinects.

360 degree video as a documentary tool is becoming a lot easier now, especially with these handheld cameras, but I don’t think the technology is readily available or affordable enough yet to hold a concert and be able to walk around the performer in VR. I also think indie game designers are more primed for this space then filmmakers. I’ve met so many filmmakers who are like ‘This is a new space for storytelling,’ but game designers have been doing this forever.”

On the artists he sees pushing the boundaries of what’s possible with music videos:

“I’m a huge fan of what Sam Rolfes is doing because he’s working in a game engine to create his images. I wouldn’t say that they’re limited to VR exclusively, but Pussykrew have been doing really great things. Encyclopedia Pictura, they’re based in LA and have been working on the Kanye video game, I’ve seen a bit and it looks incredible.

Chris Milk is a perfect example of somebody who has been pioneering new technologies and that’s why he’s made a name for himself. I know Daniel Askill, who did all the Sia videos recently, he’s also pioneering new stuff in his own work. There’s someone who doesn’t really do music videos but his name’s Geoffrey Lillemon, he used to be also known as Champagne Valentine, he’s created visuals for Miley Cyrus and Nicki Minaj. I feel more young musicians like Grimes or [FKA] Twigs or Yoann Lemoine from Woodkid, they’re renaissance artists that have the ability to create expansive worlds beyond their music. Granted people like Björk have been doing that for ages, but I think the difference is that some of these artists can do it themselves.”

On the biggest lesson that he’s learned from Björk:

“She’s an artist fearlessly charging towards a new space and I’ve ended up learning all these new tools through her initiative. I think sometimes artists use these new mediums and it becomes a sort of sensationalist trick, it’s like a spectacle. The stuff that she creates is always emotionally driven, there’s such specificity and accountability for all the objects and visual choices, and I’ve learned that it’s really important to consider the emotion of a story. I couldn’t ask for a better collaborator.”

The Björk Digital exhibition in Montreal runs until Nov. 12, more info and tickets here.

Max Mertens is on Twitter.

The post Meet the Filmmaker Who Helped Realize the Immersive, Virtual Reality World of Björk’s ‘Vulnicura’ appeared first on VICE.

The group of dancers appear to have assembled in a closed, four-sided gallery space, fluorescent lighting and all. A funky breakbeat slowly emerges and they appear to surround you, the 360° camera, in the middle of the gallery. On each of the four walls lies an original painting by Brian Donnelly, the man behind the KAWS trademark. Not only has Richardson created a digital dance-off with your favorite art toys, he’s also constructed an indiscreet digital gallery experience. Experience the dance party for yourself below:

You can check out more work by PJ Richardson on his website.

Related:

[Exclusive] KAWS’ First UK Museum Show Is Massive

Watch KAWS Install Two Giant Sculptures

CGI Robots Dance on an Alien Planet in a 360° Video

The post Dance with Your Favorite KAWS Characters in a 360° Fan Vid appeared first on VICE.

But now you can simulate escaping to a real forest and basking in the tranquility of the trees, right from your desk. The Virtual Forest is a projected launched earlier this month by Koen Hufkens, an ecologist at Harvard University’s Richardson Lab, which broadcasts a live feed of continuously refreshing, 360-degree still images (one every 15 minutes) from a spot deep in the middle of the Harvard Forest, a plot of land in Western Massachusetts that is owned by the university and open to researchers and the public.

The feed is year-round, allowing you to check back in at anytime (well—anytime the sun is up, there is no night vision mode at present) to see what the trees are up to.

Using a desktop web browser, you can click and drag around the feed to see different angles of the woods from a height of about 5 feet (1.5 meters), the height of the consumer-grade Ricoh Theta S 360-degree camera that Hufkens installed on a post out there.

“I hope it can show people how the forest changes throughout the seasons…and the beauty of the forest.”

But the real magic comes if you view the Virtual Forest through a recent-model smartphone (iPhone or Android, just one that has a built-in gyroscope) and Google Cardboard, the company’s cheap, smartphone-powered VR headset design. Then you can actually feel like you’re standing right there in the forest, which is one of Hufkens’ goals with the project.

“I hope it can show people how the forest changes throughout the seasons…and the beauty of the forest,” Hufkens told Motherboard over the phone. “For people who are geographically isolated from the forest, I hope it provides a way for [them] to experience it up close and personal, compared to a standard photo.”

As a kind of demo reel, Hufkens created a timelapse of 360-degree imagery captured over just one day in Harvard Forest and uploaded it to YouTube.

In fact, for those who are looking for an even more immersive experience, the Virtual Forest is also supported by the more premium VR headsets including the Oculus Rift and HTC Vive (through the open source VR coding framework A-Frame).

Hufkens said he got the idea to create the Virtual Forest when consumer 360-degree cameras first started becoming available in the past couple years. He started conceiving the project in earnest this summer, and began assembly of his camera station in September.

The Virtual Forest 360-degree camera setup created by Koen Hufkens. Image: Koen Hufkens

Besides the Ricoh Theta S camera, which provides the imagery, the rest of the setup is also almost entirely built from commercially available components and supplies, including: a Raspberry Pi microcomputer that serves as the camera’s controller, a wooden post, PVC plumbing pipe, pieces of silicone cut to form a holster, a “lampshade”-like glass enclosure to protect the camera lens from the elements and insects, a standard USB cable, a power-over-ethernet cable for power and internet connectivity, and a grounding cable to protect against electrical fluctuations caused by potential nearby lightning strikes.

In total, Hufkens estimates the Virtual Forest setup cost around $500, and he said he plans to make the plans open source on the maker website Hackaday at some point in the near future, which would allow anyone to build one of these in their own backyards. He’s also planning an improved, higher-resolution camera setup using one of the new Nikon KeyMission 360 cameras, which shoot in 4K resolution.

Aside from being a “fun” side project for Hufkens, he said it also may help his research, which is concentrated on phenology, which, in Hufken’s words, amounts to “the feedback between the climate and the biosphere, and consequently, climate change.”

“Putting a camera in the understory, it summarizes the whole forest in a single image, which is kind of neat,” Hufkens said.

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The post Forget You’re Chained to Your Desk and Enter the Forest in Virtual Reality appeared first on VICE.

“Umzabalazo” is the fourth single off the South African recording artist’s sophomore album, Aluta. The video considers the notion of decolonization in modern day South Africa, and how the concept has changed in an increasingly digital age. The video explores the ideas of privilege and ‘slacktivism,’ a term coined to describe an action aimed at inciting political or social change that is regarded as requiring little time or effort, like signing a petition or posting something online. In regards to the video’s narrative, Umlilo says, “We wanted to create a unique South African story that reflects the existential crisis and bewilderment many people feel in this digital era.”  

For the video, Umlilo gets back together with previous collaborators Alv Corp and Odendaal Esterhuyse, the multimedia artist who wrote, directed, and produced the singer’s “Reciprocity” music video last year. The actual shoot was recorded and livestreamed on Periscope as Umlilo performed at different historical sites around Johannesburg. A 360-degree image was taken at each location of the shoot as part of an interactive story map feature designed by Seven Spyre to accompany the music video. Check out “Umzabalazo” below:

You can check out the interactive component of the video on Umlilo’s website, and stream and download the song on SoundCloud.

Related:

Performance Artist Umlilo on the Release of “Reciprocity”

Street Artists Are Fighting South African Housing Corruption With Pink Splashes of Paint

Nina Simone’s “Young, Gifted and Black” Inspires an Exhibition in South Africa

The post It’s a South African ‘Slacktivist’ Protest in Umlilo’s New Music Video appeared first on VICE.

From intimate concerts to music videos, more and more artists are using virtual reality technology to offer their fans unique one-of-a-kind experiences they can’t get anywhere else. Not surprisingly, brands have been quick to capitalize on the newly provided opportunities, resulting in collaborations like Absolut—aka the makers of the vodka you bought in university when you wanted to impress someone because it seemed more “sophisticated” than Smirnoff—teaming up with Deadmau5 to create a Google Cardboard VR video game in which you experience a day in the life of the Canadian EDM superstar.

The premise is simple enough; playing as the famously outspoken Toronto recording artist, you must get him from the studio to his club show, navigating a series of obstacles. Given Joel Zimmerman’s well-documented love of all things nerdy—he’s a regular on live video-streaming site Twitch, was a playable character in the short-lived Guitar Hero spin-off DJ Hero, and occasionally spends his weekends recreating classic SNES theme songs—on paper, he’s a natural candidate for his very own VR project.

After exchanging a few emails with the game’s Los Angeles-based creators Knoxlabs (their slogan and I swear I’m not making this up: “Give your cardboard character”) about attaining a review copy, a few days later, four Absolut logo-emblazoned limited-edition cardboard headsets showed up in the mail. I downloaded the app on my phone, and I was ready to embark on my virtual reality journey.

The game’s opening scene takes place in Zimmerman’s studio, where we’re treated to a 360-degree video view of his equipment set-up, which features walls of keyboards, modular synths, and multiple laptop screens. As we take in the scenery as an observer, the producer’s phone rings, and he’s told by an anonymous voice that he needs to be making his way to the big gig across town. I’m pretty sure this is how at least two of the Jason Bourne movies start.

Next you’re taken to Deadmau5’s Batcave-like garage, which includes a bevy of tricked-out motor vehicles, though sadly the producer’s infamous Nyan Cat “Purrai” Ferrari isn’t a playable option. After tracking down an animated version of the producer’s beloved feline companion, Meowingtons (who has a staggering 17.6K followers on Instagram), it’s time to hit the road.

The driving sequence is by far the coolest part of the game, allowing you to control the car as it barrels down the highway at sunset, tilting your head to increase velocity like a low-budget Grand Theft Auto. I’m fondly reminded of the producer’s popular “Coffee Run” YouTube series, in which he takes DJs, musicians, and one late mayor of Toronto on drives, and shoots the shit with them. I do have to subtract ten imaginary points for realisticness though, because as anyone who’s driven through the Canadian city’s construction-ridden streets during rush hour will attest, there’s no way this trip would take two minutes.

We’ve finally gotten to the club but there’s one major snafu—the muscular, tank-topped bouncer is refusing to let our mouse-headed hero enter (OK, this part might be accurate). Luckily you can distract him by “beatmatching” the music in your headphones to symbols on a pop-up bar, which causes your adversary to lose himself to dance (we wouldn’t recommend you try this tactic in real life).

Who knew Deadmau5 was so athletic? Here, you must leap over rolling crates Donkey Kong-style, the moves for which were captured using motion sensor technology.

It’s eerily quiet inside the club, but before you can take to the stage, you have to take a few photos with the fans to keep up appearances. Did you know there’s a 2005 Playstation 2 title called Paparazzi (Japanese title: The Camera Kozou) which allows you to stimulate the experience of a photographer? According to Wikipedia, the game revolves around “taking pictures of models and winning competitions by taking good photos,” which doesn’t sound creepy at all. Anyways, the moral of Absolut Deadmau5 is that selfies only slow you down and should be avoided at any cost.

Success! You’ve delivered Deadmau5 to the show and as a reward, you get to hear an exclusive track “Saved.” In a recent Billboard interview, Zimmerman said, “I whipped that track up out of the vault and said let’s try it out,” claiming it’s the first track to be debuted via VR experience. As far as Deadmau5 songs go, it’s pretty tranquil, but it’s cool to see the live crowd react to the music and it almost feels like you’re really there.

So is Absolut Deadmau5 worth the $9.95 US it costs for the headset? The answer probably depends on how big a Mau5head you consider yourself, but in the aforementioned interview, Zimmerman hints this is just the tip of the iceberg when it comes to the possibilities of the technology. Unlike many artist and brand partnerships, he was involved in the process from start-to-finish, rather than just signing off on it and collecting that sweet, sweet vodka money. He’s also quickly responded to the game’s detractors in typically droll Deadmau5 fashion.

As far as a platform for premiering new music, it’s definitely more effective than say, Jay Z’s Magna Carta Holy Grail Samsung app or U2’s iTunes “gift” album. Hopefully if there’s a sequel one day, it will delve further into the life of superstar DJs by introducing activities like responding to thirsty fan Twitter messages, taking helicopter rides to Ibiza, and fighting copyright infringement cases in courts. And let’s get a Meowingtons spinoff, because that cat deserves a turn in the spotlight.

Max Mertens is on Twitter.

The post We Played Deadmau5’s Virtual Reality Game to Experience Life Inside the Mau5 Head appeared first on VICE.