What If…? An Immersive Story review: between watching and playing

Marvel’s first production for the Apple Vision Pro intends us to feel like a superhero, traveling to far-flung corners of the cosmos and defeating maniacal villains. But the developers aren’t fooling anybody: it’s obvious the action comes to us, and that we have no agency in this world. The combat scenes, in which we use hand gestures to blast or block enemies, are beyond stage managed—they’re almost laughably preordained. Even if we do nothing, ignoring very clear instructions, we’re congratulated for our “impressive” fighting skills before the next narrative segment begins.

What If…? – An Immersive Story reminded me of the short fairytale-esque experience Baba Yaga (which features vocal performances from Daisy Ridley and Glenn Close) in that it’s caught between the act of watching and playing; between a movie and a video game. Both productions fall well short on each front. Narratively, What If…? is yet another boilerplate MCU narrative with wafer thin characters and a crusty plotline involving the collection of magical rocks. Interactively it’s very basic, and as time rolls forward this experience will increasingly feel like the equivalent of drawings on cave walls. It also has no flair or zhush; no colour that isn’t literal. 

Proceedings begin with The Watcher (voice of Amuche Chukudebelu)—a fifth dimensional being with a shiny cranium, elaborate robes, and a holier-than-thou demanour—prattling on about the universe being “a prism of endless possibilities.” He appears before us, in our own space, making this in part a mixed reality experience, and summons old mate Wong (Daisuke Tsuji)—a sorcerer who enters via one of those fire-like golden circles we see in the MCU movies. The pair talk at and about us, The Watcher describing us (without much conviction, I thought) as “the hero of the multiverse.” I put “at” and “about” in italics because it’s painfully apparent that the conversation is entirely one way. 

In the subsequent scene, which is a training section that deploys full wraparound VR, Wong teaches us hand movements to attack and defend—though you don’t have to remember anything, with yellow outlines of hands appearing at key moments, reminding us what to do. The experience is by design piecemeal, whooshing us across the multiverse into various set pieces (“stories” and “worlds” feels generous) where we inevitably save the day. 

The first involves Thanos, best-known as the villain from Infinity War and Endgame who killed half the world, before his destruction was reversed by lazy screenwriting: the ol’ “travel back in time” chestnut. Thanos is now on trial for war crimes, strung up in a kind of open air courtroom, tied by chains that cannot hold him. When we “fight” (again, too generous a word) him, he stands on a platform and hurls things at us; we block them by holding up our fists. Thanos’ position could not be any more central, and the scene could not feel any more staged. Likewise for the remaining set pieces, which fill out an experience that runs for about an hour. 

Things slightly improve when we face off against baddies Hela and the Collector, in a futuristic warehouse-like space with box-like platforms and a giant, sad-looking wolf in a cage. By moving through portrayals we’re able to change our visual perspective, although there’s very strict limitations: we must go exactly where we’re told, with no freedom of movement whatsoever. It is, again, blatantly obvious that the action is coming to us; nothing in this world can be experienced on our own terms.