“Entertainment isn’t about being superficial. It’s about creating an environment people genuinely want to return to, emotionally and imaginatively”- Rene Hyewon Lee (GiiÖii)

At this year’s NewImages Festival, XRMust had the opportunity to meet one of the festival’s most significant delegations: the Korean one.

Our conversation with the studio GiiÖii offered a closer look at the country’s distinctive approach to immersive experiences and a preview of their latest project, PALACE IMMERSIVE GOONG, showcased at the NewImages market in its development stage.

Rene Hyewon Lee, CEO and Co-founder of the company, shared more about her work, the Korean ecosystem and this new beautiful immersive piece, that we are eager to experience in its entirety. PALACE IMMERSIVE GOONG is showcasing at AWE USA 2025 next.

Cover: PALACE IMMERSIVE GOONG, by Dabin Lee

Evolution of the Korean XR market and ecosystem over the past decade

Rene Hyewon Lee – Over the past decade, including its early stages and the COVID era, the Korean XR ecosystem has experienced many ups and downs. But now, it feels as though a new chapter is beginning.

R. H. L. – Korea has long been strong in network infrastructure, being an early adopter of 5G and even developing 6G, and it’s also home to leading companies in device manufacturing and hardware platforms. The XR industry here has largely focused on healthcare and education, especially from a commercial and industrial perspective.

R. H. L. – However, in the arts and culture sectors, Korea has seen consistent efforts to blend XR with creativity. The Bucheon International Fantastic Film Festival (BIFAN) has been one of the key drivers of this movement, having introduced XR works for nearly a decade now.

R. H. L. – We at GiiÖii have also been consistently involved in this evolution — collaborating with BIFAN over the past five years, and having several of our projects showcased through the festival.

R. H. L. – This long-term relationship has allowed us not only to present our works to a local and international audience but also to contribute to shaping Korea’s immersive content scene from within.

R. H. L. – Thanks to institutional support — from organizations like Art Korea Lab (under Korea Arts Management Service)  and KOCCA (Korea Creative Content Agency) — young creators have been encouraged to experiment with XR and explore cross-genre storytelling.

R. H. L. – Independent artists like Jina Kim and Hayoun Kwon have gained recognition at international XR festivals, and studios like ours, GiiÖii, have also been actively co-producing and presenting original immersive works abroad.

R. H. L. – Although public funding for XR has slightly declined in recent years due to the rise of AI-related priorities, grants from cultural foundations, Art Council Korea, and other public bodies still provide key support. XR education has also become more active in universities, helping to grow the next generation of creators.

R. H. L. – With the growth of AR/MR devices and increasing excitement around AI integration, we expect a wave of new immersive projects to emerge.

R. H. L. – Recent large-scale LBE projects like TUTANKHAMUN’S TOMB opening in Korea have also helped increase public awareness and appreciation for immersive works — a positive sign for the future of the market.

R. H. L. – That said, the Korean audience is known for having refined tastes and high expectations — not simply due to the popularity of Korean films, dramas, or music, but because these industries have long been highly competitive and held to international production standards. Korean audiences have become accustomed to sophisticated storytelling, visual polish, and innovative formats. XR content will need to meet similar standards to resonate with this market.

R. H. L. – To make that possible, the industry must grow not only in content creation but also in its distribution infrastructure — including more festivals, showcases, and dedicated exhibition spaces.

R. H. L. – Increased accessibility to XR devices, alongside more support for original, diverse storytelling, will be essential in bringing immersive media closer to mainstream cultural consumption in Korea.

GiiOii: Identity, Vision, and Connection with the Audience

R. H. L. – The name “GiiÖii” is rooted in Korean and holds dual meanings. On one hand, it’s an abbreviation of “stories where technology fits” (gi-sul-i eoullineun i-ya-gi), and on the other, it reflects a strong will to eventually make things happen (gi-eo-i, in Korean, means “by all means” or “eventually” in a determined way).

R. H. L. – From the beginning, I believed that emerging technologies like XR shouldn’t be used merely for their novelty. Without a narrative-driven approach, it’s difficult to answer the essential question: “Why should the audience care?”

R. H. L. – We wanted to create storytelling-driven experiences rather than tech showcases. In our name, we chose the Scandinavian/Germanic-styled “Ö” to reflect our ambition to engage internationally from the start. Interestingly, that “Ö” also resembles a face expressing awe — which aligns with our goal: to give audiences a sense of wonder through our work.

R. H. L. – The four lowercase “i”s in “GiiÖii” each hold meaning, grounded in our belief that the audience is the protagonist. Since our earliest works, we’ve designed experiences that invite the audience to become central to the story — not just as viewers, but as participants.

R. H. L. – The “i”s represent:

• Immersive – enabling spatial storytelling that pulls people into the world,
• Interactive – designing works that respond to the audience’s actions or presence,
• Innovative – embracing emerging technologies with curiosity and boldness,
• Impressive – aiming to leave an emotional and memorable mark by blending genres, analog and digital, and often using unconventional formats.

R. H. L. – This philosophy shaped our evolution from standalone VR to XR immersive theater, and later into participatory exhibitions and workshops. We consistently move toward co-creating with our audiences — not just by giving them roles or interactions, but also by offering reflective, narrative spaces that connect deeply with their personal memories and emotions.

R. H. L. – Ultimately, at GiiÖii, we’re not just making immersive stories — we’re crafting shared experiences that grow out of curiosity, connection, and awe.

The key elements behind an effective and meaningful immersive experience

R. H. L. – To me, the most meaningful immersive experiences are born when a story evokes a deeply personal emotional response — when a narrative resonates within the audience and creates a new emotional language inside them.

R. H. L. – A truly immersive experience, then, needs more than just technology. It must:

• evoke emotion, like a personal and vulnerable story whispered directly to the audience,
• create a strong sense of being there, so much so that the audience loses track of time and space,
• and integrate narrative elements beyond text: through visual composition, spatial design, and soundscapes that build an emotional arc.

R. H. L. – In the XR field, creators often speak about the importance of combining cinematic storytelling, theatrical direction, and the liveness of performance — where something feels immediate and alive.

R. H. L. – Just as importantly, XR draws from game design principles: audience agency, interactivity, and responsive environments. When the audience is given the ability to make choices, take action, and influence the narrative, the experience becomes not just immersive, but personal.

R. H. L. – In PALACE IMMERSIVE GOONG, we took all of these elements to heart. Rather than placing the audience as passive viewers, we gave them a role as royal envoys invited to a grand banquet in 1902 Joseon. This wasn’t just about spectacle or accuracy. It was about designing an experience where people feel seen, needed, and emotionally involved — where presence, action, and meaning converge. It’s more like an XR immersive theater piece than a walk-through installation, with elements of storytelling, roleplay, and shared discovery.

R. H. L. – I also believe the next chapter for immersive media lies not just in innovation, but in embracing the full potential of entertainment. While many XR works lean toward serious themes, entertainment – when done with intention – creates space for delight, empathy, and memory. In Goong, we designed the tone to be engaging and enjoyable rather than solemn. And in our AR project Slit, we used a visually charming character to encourage curiosity and interaction.

R. H. L. – Entertainment isn’t about being superficial. It’s about creating an environment people genuinely want to return to, emotionally and imaginatively. That’s what we aim for at GiiÖii: experiences that stay with you not because they overwhelmed you, but because they made you feel connected, inspired, and part of something shared.

An in depth exploration of PALACE IMMERSIVE GOONG, the new immersive experience by GiiÖii

R. H. L. – PALACE IMMERSIVE GOONG is a project that I began developing three years ago, with a simple but powerful question: what if VR could take us not just to a different place, but to a moment in time we could never otherwise reach — and let us share that moment with others?

R. H. L. – The word “Goong” means “palace” in Korean, and this piece is set in Gyeongbokgung, the most iconic royal palace in Korea. Our studio is located just across from it — like having your office in front of Versailles. Every day, tourists from around the world gather here, inspired by K-dramas and Korean historical films. Yet, despite the popularity, few are allowed into the king’s actual quarters, and few stories are told about what truly happened inside those walls. That absence sparked this project.

R. H. L. – We wanted to create something that was not just historically informative but emotionally engaging, a shared journey into a forgotten moment in Korean history.

R. H. L. – In 1902, King Gojong planned a grand international banquet to mark his 40th year of rule. It never took place, due to the turbulent political situation under increasing Japanese pressure. That unrealized banquet became our focus, a moment where tradition and modernity, East and West, met for a brief, glittering moment in time. Electric trams passed the palace walls, and foreign envoys dined in the royal court.

R. H. L. – In PALACE IMMERSIVE GOONG, the audience becomes part of that moment. As invited foreign envoys, they begin their journey at Korea’s first Western-style hotel, the Sontag Hotel, wearing traditional Korean masks used for centuries in rituals and performances. Guided by real historical figures like Sontag and Dr. Homer Hulbert, they take an immersive journey to the palace, ride the historical tram through the capital, and finally arrive at the royal banquet , where they dance, play instruments, and celebrate with the king himself.

R. H. L. – This project is more than a visual restoration of space or a historical simulation. We wanted to bring back the emotional core of a banquet ,a cultural event where human connection and celebration happen.

R. H. L. – It’s also a culmination of years of work through GiiÖii: from building Joseon palaces in Minecraft for children during the pandemic, to metaverse performances of THE LAST EMPRESS, to CARVING WITH MEMORIES and other location-based pieces grounded in Korea’s cultural heritage.

R. H. L. – Unlike traditional walk-through LBE experiences, GOONG is closer to an XR immersive theater piece, with elements of roleplay, missions, and collective storytelling. It has a social, playful dimension, like MIDNIGHT IN PARIS, but set in Seoul. And while a live version with actors (like Sontag) is being considered for Korea, we’re also developing a non-live version for international distribution.

R. H. L. – We’re aiming for a global premiere later this year, with a domestic launch near the actual palace — offering guests not only the VR experience but also a real banquet and dining experience afterward.

R. H. L. – Future phases will expand the story into AR and MR formats for mobile platforms. We’ve already been selected for the NewImages Development Market and are preparing submissions to other major immersive festivals, including Venice and other leading platforms.

R. H. L. – At heart, GOONG is about creating a new model of Korean location-based entertainment, one that combines cultural depth, immersive storytelling, and true emotional participation.

About GiiOii’s role in the international market

R. H. L. – At GiiÖii, our primary focus right now is on the global premiere of PALACE IMMERSIVE GOONG, followed by its Korean launch and international expansion. Goong is more than just a single project; it’s the beginning of a broader narrative universe we hope to grow across multiple formats and cultural settings. We’re exploring new location-based experiences inspired by Korea’s rich cultural heritage, and also planning to extend the GOONG world through future MR and AR adaptations.

R. H. L. – In parallel, we’re preparing the next phase of SLITAR, our web-based AR series introduced last year. With its own original characters and storytelling style, SLIT will expand into new episodes and interactive moments designed to be both playful and welcoming to a wider audience.

R. H. L. – International collaboration is also an important part of our creative process. While details are still being finalized, we’re currently in conversation with studios in France and other regions about potential joint productions. These partnerships are a way for us to keep learning and growing while sharing Korean perspectives on a global stage.

R. H. L. – At the same time, we take distribution just as seriously as creation. In Korea’s relatively compact market, it’s often necessary for studios to handle both roles, and we’ve embraced that from the start.

R. H. L. – We’re also committed to supporting emerging Korean XR creators in reaching international audiences. Through curatorial efforts, international festival participation, and ongoing exhibitions, we hope to play a part in bringing more high-quality Korean immersive works to the world. Locally, we’ll continue hosting small but meaningful exhibitions and are planning to revive our in-house digital magazine to better connect with audiences here.

R. H. L. – Whether through our own projects or by helping to elevate others, we hope to serve as a meaningful bridge — connecting Korean immersive storytelling with global communities.