In today's rapidly developing technology, VR space is rising at an astonishing speed in the cultural and tourism industry, becoming a hot topic this year. Whether it's movie, anime, or gaming IP, they all radiate new vitality in this new form of entertainment. The TAB Forum, hosted by DAC Digital Art China and Beijing International Illustration and Animation Art Festival, was recently held in Beijing. Creators, practitioners, and researchers in the domestic animation and digital content industry had valuable discussions on the current situation and future development of VR space. Last May, the "Lost Pharaoh - Hu Fu Pyramid Immersive Exploration Experience Exhibition" made its debut in Shanghai and received over 100000 users in 10 months. Currently, the exhibition in Beijing has also received a warm response; The Eternal Beauty: Notre Dame Cathedral "was introduced for its first exhibition in Xi'an this year and exhibited simultaneously in Xi'an and Shanghai. HTC China Vice President Hua Xiaofeng introduced that in terms of large space solutions, HTC can provide venues of over 500 square meters and bring unique experiences to users through high-tech flow management. Projects such as "The Vanished Pharaoh" and "Notre Dame Cathedral" have been successfully implemented in many places, highlighting the high acceptance of art and culture by the public. Lost Pharaoh - Immersive Exploration Experience Exhibition of the Pyramid of Khufu "Information Photo. As a firm promoter of digital art, Wang Boqiao, the founder of DAC Digital Art China, has cooperated with digital animation artist Bu Hua for nearly 16 years. He has also held many exhibitions in various spaces such as art galleries, museums and shopping malls. He has served as the curator of exhibitions such as the National Treasure Digital Experience Museum, the Brilliant Central Axis Exhibition of the Capital Museum, and the "the Belt and Road" China Contemporary International Digital Art Tour. In his view, through digital art, we are not challenging tradition, but seeking connection and dialogue, paying tribute to tradition with contemporary technology. Why is VR space so popular? Movies, anime, and gaming IPs clearly play a crucial role in it. These IP works not only perfectly offset users' unfamiliarity with VR, but also provide a complete worldview and a higher quality interactive experience. Although people's awareness of VR still needs to be improved, IP content is undoubtedly a powerful tool to attract users. As an industry player, Bai Mingzhu, the head of digital art at Epson Light and Shadow Research Institute, stated that consumers' demands for cultural products are increasing, and their demands for innovative forms are growing. At the IP level, Big IP has a solid cognition and image, such as Sanxingdui, Mawangdui, Terra Cotta Warriors, etc., with its focus on breakthroughs. For new IPs, due to lower requirements for space and investment, commercial replication needs to be better considered. Yang Le, the producer of the National Treasure Digital Experience Hall, believes that future scene entertainment may need to have several characteristics: firstly, to achieve two-way entertainment, which includes both silent physical space experience and imaginative virtual space environment, and the ability to switch freely in both directions on site; The second is to achieve real-time game interaction based on spatial computing technology; The third is to create based on digital assets to reduce iteration costs and solve the problem of cultural products being difficult to profit from due to high replication costs. Based on the transformation of offline consumption space, especially shopping malls, digital culture or cultural digitization will provide new directions for it. Professor Zhou Wen, Director of the Digital Media System and Executive Director of the Digital Creative Media Research Center at Beijing Normal University, pointed out that although technological development brings more content processing options, the combination of the latest technology and content may not necessarily produce explosive products, and the core of development should be content rather than technology. Meanwhile, meeting user needs is crucial. At present, large spaces can achieve action interaction but are difficult to provide emotions. The development of various technologies will continue to meet users' needs for emotional and deep interactive experiences, which may be the development trend of future large space products. The guests unanimously agreed that from a technical perspective, there is no absolute superiority or inferiority, and the quality of creative content is the key. If there is no high-quality experiential content, VR projects can easily become short-term entertainment for users after trying them out, and the repurchase rate will naturally be low. The organic combination of hardware technology, content production, and operational planning is necessary to create a successful VR large space experience project. (New Society)