Why Vegas City

by Vegas City, building immersive experiences since 2018

A build like this is decided on risk before it is decided on taste. Will the team still be there in week nine, will the thing hold on the day the campaign breaks, and will anyone be able to run it afterwards. This page is the case on those grounds. If you want the work itself, it is on Work.

We have done it at scale, repeatedly

The work has gone out under the names of organisations that do not lend them lightly: a governing body, a European league, a cricket franchise, a global consumer brand, a spirits brand, a heritage music estate, a media company and a business-services group. Two of those builds were firsts — the first Grand Slam and the first marathon played out in a virtual world.

Breadth is not vanity here. A studio that has only built for one kind of client has only solved one kind of problem, and the problem you are bringing is probably not that one.

Tennis Australia: the Australian Open 2022 build, credited to our team by name
ausopen.com | January 2022

LaLiga: LaLigaLand, a joint project with Vegas City Limited
laliga.com | September 2022

Islamabad United: the U-Meta Stadium, the first built-to-scale cricket stadium
isbunited.com | March 2023

Unilever Degree: the Metathon course and the accessible avatar library
AMV BBDO | April 2022

Bing Crosby estate: the Winter Wonderland mini-games
Primary Wave Music | December 2022

Two more came through agencies, and we describe them that way: production on Dolce & Gabbana’s Metaverse Fashion Week debut, through two tiers of agency, and production on a Spanish campaign for Domino’s, built for an agency. A global media company’s experience we built end to end; the client stays unnamed here.

We kept the browser when it got hard

In 2023 and 2024, a large part of this industry changed direction. Studios moved to downloadable clients and shipped their own SDKs, and the audience was asked to install something before it could see anything. There was a logic to it: a download gives you the machine, and the machine sets the ceiling.

We went the other way, twice. We kept the experience in the browser, where a link is the whole distribution model. And we moved the build into Unity, the engine the rest of the 3D industry works in, so a browser build could be a proper 3D build rather than a scene assembled in one platform’s own toolset.

That route is harder. It means owning the performance budget, the load time and the browser’s limits instead of setting them. It is also why the work still opens from a link, on whatever machine the reader already has, and why a client never has to ask an audience to buy something before it can take part.

You get a platform, not a one-off build

A campaign build is finished when it launches, and everything after that — the copy change, the reporting, the week the traffic arrives, the account nobody set up — becomes someone’s problem. If it was not planned for, it becomes yours.

We hand over the machinery as well as the room: content management, reporting and analytics, cloud scaling and monitoring, and user management. Your team can change the words and the prices without a release. The reporting tells you where people went and what they did. A busy week is a capacity decision rather than an incident. The right people can publish and the wrong ones cannot.

The Platform page sets out what each of those does. The point here is that they come with the build rather than as an upgrade to it.

We are still here

Vegas City has been building this kind of work since 2018. Studios in this field tend to have a short life: a platform bet that did not pay, a campaign team with a 3D renderer bolted on, a good year followed by a quiet one. Still being here, with the same platform and the same way of building, is the least glamorous claim on this page and the one a client is actually buying.

Clients have come back, too. The permanent venue we built for a global television format followed a pop-up we had built for the same format the year before, and the second commission is the better signal of the two.

What we are not

We are a build and platform studio. We do not plan or buy media, we do not write the campaign strategy or the buy, and we are not an agency of record: we are the team that builds this. We work to a fixed date, and scope is set against the date rather than the other way round.

That is a narrow offer, deliberately. How we work sets out what each limit means in practice, including what happens when a date comes under pressure.

Start with a date

If you want this page in a sentence, it is the date. Bring it, with the audience and a sentence about the idea, and we will tell you what is possible in the time and who would be building it.