ABOUT

BACKGROUND
Immersive history has a credibility problem. For a decade, audiences have been sold the same formula: a painter’s canvas projected onto a warehouse wall and called “immersive.” The format travelled. It made money. But it cost the medium its narrative spine. By 2025, the word “immersive” had come to mean decorative: a light show you walk through, not a world you enter.

Vikings was built to change that. Commissioned as an original, ticketed immersive format designed to scale internationally, the project set out to answer a harder question than the Van Gogh generation had been willing to ask: what does immersive look like when story, not surface, carries the weight?

IDEA & EXECUTION
Vikings: The Immersive Experience is a narrative-led immersive format built to tour internationally as a complete dramatic production. Not a painter. Not a catalogue. A saga.

For seventy minutes, visitors don’t learn about the Viking world. They cross into it, guided by the story of Queen Kraka: the unassuming farm girl who became Aslaug, warrior queen to Ragnar Lodbrok. Every spatial, audiovisual, and sensory decision was made in service of one principle: immersion as dramaturgy, not décor. We call it narrative immersion: work that treats story as the architecture of the room itself, not as content projected onto it.

The visitor journey unfolds across five stages, each designed as a distinct dramaturgical register:

Prologue (793 AD): A cinematic opening transports audiences to the raid on Lindisfarne, setting the historical stakes.

Forest of Time: An inhabitable immersive landscape of physical trees, scattered runestones, atmospheric fog, and projected light, where Norse daily life, ritual, and belief reveal themselves in layered shadow.

Tree of Light (Yggdrasil): A seated sanctuary built around the Norse world tree, anchoring a collective VR journey into Aslaug’s origin story. Intimate and monumental at once.

Cloud Room: A volumetric fog chamber dense enough to erase orientation. A designed disappearance. The threshold between worlds.

The Show: A full-scale longship rises at the centre of the room, structurally engineered to serve three roles simultaneously: physical object, projection stage, and character in its own right. 360° projections flood walls and floor. A sail descends from the ceiling mid-show, transforming from suspended object into projection canvas. The room changes shape mid-story. An original score built on horns, flutes, and drums (the instruments of the saga) carries the audience from calm waters into storm, from firelight into battle.

Every element was engineered for modularity. Truss systems, scenic elements, and projection geometries were designed with international touring as a structural premise, not a retrofit. The format had to arrive intact in venues as different as a Hamburg exhibition hall and a London dockside warehouse.
Designed by flora&faunavisions. Built by The Storytelling Company.

“We didn’t want to make another exhibition about Vikings. We wanted to make a world visitors could step into and feel in their bones. Narrative immersion is the only kind of immersion that stays with you after you leave the room. Everything else is decoration.”
Leigh Sachwitz, Chief Strategy Officer, The Storytelling Company

PERFORMANCE & IMPACT
Vikings is the largest immersive Viking experience ever built in the UK, and a narrative-immersion format designed to tour internationally as a touring IP across Hamburg, London and Vienna.

Tour
- World premiere: Hamburg, 5 November 2025 to 1 February 2026
- UK premiere: London (Dock X, Canada Water), 12 March to 31 May 2026
- Vienna (Marx Halle): from 23 September 2026

Press
- “By the hammer of Thor, this is one journey you’d be a fool to miss.” (All That Dazzles, 5
stars)
- “A wonderful experience every bit as exhilarating as it is educational.” (All That Dazzles, 5
stars)
- “Vikings doesn’t disappoint.” (Broadway World, 4 stars)
- “Could this exhibition point to a possible future for theatre?” (Broadway World, 4 stars)
- “A step above many of the other similar experiences on offer in London this Spring.”
(Immersive Rumours, 4½ stars)

Industry recognition
- In April 2026, as part of the World Experience Organization’s London Experience Week,
TSC hosted a behind-the-scenes session at Vikings, bringing industry leaders from Blooloop,
Dream Escape, Modern Times Group, MOTO and WXO itself through the show. Reflecting on
the experience, Jasmin Jodry, Founder & Executive Creative Director of MOTO, called it “the
moment of convergence where the story is physically felt”, placing Vikings squarely in the
direction she sees the field evolving: beyond pure projection mapping, into layered, tactile,
narrative-driven worlds.

Commercial proof of format
- Vienna opening September 2026 confirms the model: narrative immersion can be
produced, toured, and replicated without losing dramaturgical integrity.

More than a commercial success, Vikings proves a thesis the immersive industry has avoided for a decade: that narrative-driven, character-anchored immersive experiences can scale internationally without collapsing into decoration. A world worth entering. And, as we like to say, worlds worth entering tend to travel.

CREDITS
An Originals IP designed by flora&faunavisions, built by The Storytelling Company (TSC)
Creative Director Mitch Sebastian
Producers Alegria Exhibition (Hamburg) · FKP Scorpio Entertainment (London)