Dave & Buster’s locations (described by Universal as the largest location-based VR game launch to date) — up to four players on HTC Vive in a motion-simulator setup.

Credits

Experience — Jurassic World VR Expedition (Universal Products & Experiences). Written and directed by James Lima; executive produced by VRC co-founders Robert Stromberg and Guy Primus.
Scanner — collaboration with director James Lima and production designer Kevin Ishioka.
Vehicle — custom hard-surface chassis built around the physical attraction seating for Universal / VRC.

Evidence — the physical constraint

The ride is a physical installation. Virtual seating and hold-points had to match real-world constraints so what players sat in lined up with what they saw. Dimensions and technical specs were shared so the VR world could lock to that install — not float free as disposable concept art.

The same sensory contract applied to the hands: the scanner had to respect Valve controller proportions, trigger, and button layout so touch matched vision. Mismatch would pull players out of the story; accuracy let them stay in the content.

Scope

Scanner / tagger for dinosaur scan and species identification
Vehicle designed around physical ride seating, rebars, and seat aesthetic
Hard-surface language that feels functional and modern while staying familiar for a mass-audience franchise attraction

Approach — Scanner

Form language locked to the Valve controller first — proportion, trigger, and buttons. Once that 1:1 grip map was set, remaining surfaces had freedom: a sophisticated, functional tagger without breaking the tactile contract. In-experience role: scan dinosaurs and identify species.

Scanner

Scanner HUD display visualizations by Territory Studio

Approach — Vehicle

Designed from scratch around the physical seating configuration, then fused with a futuristic off-road chassis built to host it. Rebars and seat aesthetic carried over from the real attraction to keep the cabin continuous between install and VR. Director brief beyond the seating lock: manipulating suspension arms and double-tired wheels on the hubs.

VR field of view shaped the layout — chassis, suspension, and wheels needed to read in the player’s corner periphery so the machine felt occupied, not like a floating camera. Starting from a blank sheet made those constraints solvable together. Outside the locks, surface detail had freedom: functional, modern, still familiar. Pipeline: Moi3D, KeyShot, Photoshop.

Vehicle