Reave was an upcoming VR extraction dungeon crawler from Alta, the studio behind Township Tale. The company announced that the game has been cancelled despite the game being in a mature enough state for months of open playtesting.
Following the successful launch of Township Tale on Quest in 2021, studio Alta announced it had raised more than $12 million in investment to expand its studio and accelerate development of the game.
In April 2024 the studio revealed it was working on a new game, at the time codenamed ‘Project 2’. About a year later, the game got its official name, Reave, and was said to mix dungeon crawling with extraction-style PvPvE gameplay.
The studio underwent several rounds of closed alpha testing, following a series of open beta testing rounds which began in late 2025. Through development diaries consistently published by the studio during testing, it was easy to see the game’s steady evolution as the developers refined mechanics, enemies, art, lighting, and more.
While the game appeared to be on a steady trajectory toward launch, this week the studio unexpectedly announced that Reave is being cancelled before ever making it to market. Here is the full announcement as published on the game’s official Discord server:
This is not an easy announcement to make @everyone but we want to be direct with you: Reave is ceasing development.
Like many teams across the games industry, and especially within the VR space, we have faced increasingly difficult market conditions alongside the rising cost of development. Despite every effort, we have reached the difficult decision to end development of Reave at Alta. While this may appear as though Reave is being left behind, that could not be further from the truth. If circumstances had allowed, we would have continued building and expanding Reave alongside all of you for years to come.
This unfortunately means that the current playtest will be the final playtest for Reave.
On Monday, Reave’s gates will close for the final time: May 4, 2026
Between now and then is the final opportunity to step into Reave before the gates close forever.
This Discord server will remain open for a short while so the community has some time together, though it too will likely close soon after.
From everyone who worked on Reave: Thank You!
This team cared deeply about what we were building. Every update, every environment, every feature, every creature, every balance pass, every late night and long discussion came from people who genuinely wanted to create something special: a dark fantasy PvPvE extraction game built for VR.
We are incredibly proud of what Reave became, even at this stage of development, and endlessly grateful for the support, feedback, excitement, clips, bug reports, encouragement, and passion you gave us throughout the journey. We are deeply sorry that we cannot continue it with you all.
In the time remaining, we’d encourage you to share other games, communities, and places to adventure with the friends you made in Reave’s Encampment and Fallen Bastion, so those bonds can continue beyond these walls.
And one final thing, from me to all of you: You were fantastic. Absolutely fantastic. And you know what? So was Reave!
At this time it’s unclear what the news means for the Australia-based studio more broadly. Layoffs have not been confirmed, but it’s hard to imagine that things are running smoothly behind the scenes with the cancellation of a project that’s been in development for at least two years and was expected to launch this year. Also unclear is what the closure of Reave means for the studio’s previous title, Township Tale.
I’ve reached out to the studio for more info and will report back if any additional details become available.
When we started working on Beat the Beats, we had one clear mission: we wanted a super cohesive experience from the moment you start up the game. This implies treating UI and menu time as seriously as the gameplay itself.
Guest Article by Lucas González Hernanz
Lucas González Hernanz is a Spanish game developer with over 15 years of experience, having worked on titles such as Lego Star Wars Saga, Lego Marvel, Little Big Planet, and Limbo. In 2016, he co-founded Parallel Circles, a massively small indie studio focused on creating highly polished gameplay experiences with a strong emphasis on interactivity and feel. The studio’s latest title, Beat the Beats is available on Meta Quest and PSVR 2.
Spending time in menus may not be where the ‘core fun’ happens, but it is fundamental to creating a solid immersive experience and setting the tone. UI time is the prelude to the match and helps to get you in the mood for jumping into the boxing action.
Here is a breakdown of the most relevant points we followed to integrate our UI and make the most of VR’s special qualities, from creating elements you can punch to avoiding all kinds of black transition screens.
Depth
Virtual reality offers something that no other media has: a real sense of depth.
However, most of the VR interfaces don’t use it further than implementing curved 2D menus. That makes sense, as most of them come from 2D systems, but we wanted to integrate out UI into the medium as much as possible to create a very different experience. We utilise the depth in menus as part of our main design language. Here are a few examples of the main uses for it:
Highlight elements: Depth animations help catch the player’s attention without overlapping other elements or requiring additional shaders.
Hover elements: Bringing the selected element slightly forward is both intuitive and effective.
Menu layers: When multiple layers are present, the active one moves forward while background layers are pushed back. Making the context more readable.
Positioning: Elements enter and exit with depth-based animations. The direction reflects their layer, helping players build a coherent structure of where they are within the menu.
Movement without overlap: A common UI issue is moving elements within a list without overlapping others. This is often solved with hide/show transitions. In our case, elements simply move forward in depth, allowing smooth repositioning without conflicts.
For developers, the implications of using the Z (depth) position in UI depend heavily on the engine’s UI . Most UI systems were originally designed for flat screens and operate purely in 2D. To introduce depth, there are a few approaches: rewriting the UI system, combining traditional UI elements with 3D objects, or (as we did) building the entire UI using standard 3D objects.
This can represent a significant amount of work depending on the project. If you choose this path, it’s important to have a clear understanding of all the elements you’ll need from the start. I’d recommend beginning with prototyping on the engine UI system and only committing to this approach once the menu structure and flow are well defined and stable.
Our choice to use standard 3D objects as UI, helped us with the next point.
Physical Interaction
VR allows richer and more diverse interactions than flat screens ever could. This opens up a vast field to explore, especially in a playful medium like games. In this aspect, some titles have done a great job, such as Superhot VR, but there are still many games that could benefit from integrating more physical interaction.
In our case, since we were developing a boxing game, it felt natural to incorporate this kind of physical interaction into the interface. The perfect opportunity presented itself with the Album Unlocking moment. Instead of pressing a floating button, you actually punch to unlock it, you shatter it, you destroy it like an enemy. The UI becomes something you engage with physically, not through an abstraction.
Once the idea was clear, it took less than a week to implement it in the game and we have been receiving a lot of positive feedback, so I really think that the effort was worth it.
Fluidity
UI flow is extremely important for creating a pleasing experience from the moment the player starts any game. This requires offering a smooth, responsive, and juicy interface. It’s something we’ve done in the past, we love making every transition feel fluid and alive.
But beyond that, for fluidity, it is also important to take loading times into account. Loading times always tend to bother players, but this is even more critical in VR for two reasons:
They break the physical presence and thus the magic of VR
The player is effectively blindfolded, and thus has nothing to fill the downtime with (like a phone or a drink)
To make a fully undisturbed flow possible, we took this quite seriously in Beat the Beats. We decided to fully avoid loading screens altogether and instead transition seamlessly into each album’s world, taking inspiration from the shop transitions in Splatoon.
This required a bit of planning and extra technical development. Our minimal style turned out to be a perfect match, as we do not depend on complex meshes or tons of textures to create the atmosphere we are after. In a way, it is like the demo scene techniques. We rely heavily on specific algorithms (mainly shaders) and re-use of the same assets to create the mood while at the same time keeping a low resource budget. It took some extra effort, but the result is a super smooth and solid experience.
Closing Thoughts
Designing for VR means rethinking assumptions. It has been an interesting journey, and it definitely took extra work and planning to create a distinctive interface, but I think the result is totally worth it.
It’s not about translating flat interfaces into 3D space. By treating UI elements as physical, spatial, and dynamic components of the world, we ensure that immersion doesn’t start when the gameplay begins. It starts the second you put the headset on. I truly think that UI has a lot of potential to expand in VR media. The wide range of interaction possibilities creates a brilliant landscape to explore. Each game could bring its own style and personality to this field. From our perspective, the interface isn’t a layer on top of the game. It is part of the game itself.
Our series Inside XR Design highlights and unpacks examples of great XR design. Today we’re looking at Beat Saber (2019) and why its most essential design element can be used to make great VR games that have nothing to do with music or rhythm.
Editor’s Note: Today marks the eight year anniversary of Beat Saber’s Early Access release.
I still remember playing the game for the very first time in a secluded corner in the lobby of a San Francisco hotel. The game hadn’t even been released; but after playing just a single level I knew it was something special. Even so, nobody at the time—not me, nor the tiny indie team building it—could imagine it would go on to become one of VR’s most successful games ever.
Beat Saber has earned hundreds of millions of dollars and continues to top ‘Most Popular’ and ‘Best Selling’ charts among VR games even eight years after its release. In fact, the game just released another new music pack, this time from The Prodigy.
In celebration of the game’s lasting legacy, we’re re-publishing our episode of Inside XR Design which explores the secret to Beat Saber’s fun, and how it can be applied to VR games which have nothing to do with music.
You can find the complete video below, or continue reading for an adapted text version.
More Than Music
Welcome back to another episode of Inside XR Design. Now listen, I’m going to say something that doesn’t seem to make any sense at all. But by the end of this article, I guarantee you’ll understand exactly what I’m talking about.
Beat Saber… is not a rhythm game.
Now just wait a second before you call me insane.
Beat Saber has music, and it has rhythm, yes. But the defining characteristic of a rhythm game is not just music, but also a scoring system that’s based on timing. The better your timing, the higher your score.
Now here’s the part most people don’t actually realize. Beat Saber doesn’t have any timing component to its scoring system.
That’s right. You could reach forward and chop a block right as it comes into range. Or you could hit it at the last second before it goes completely behind you, and in both cases you could earn the same number of points.
So if Beat Saber scoring isn’t about timing, then how does it work? The scoring system is actually based on motion. In fact, it’s actually designed to make you move in specific ways if you want the highest score.
The key scoring factors are how broad your swing is and how even your cut is through the center of the block. So Beat Saber throws these cubes at you and challenges you to swing broadly and precisely.
And while Beat Saber has music that certain helps you know when to move, more than a rhythm game… it’s a motion game.
Specifically, Beat Saber is built around a VR design concept that I like to call ‘Instructed Motion’, which is when a game asks you to move your body in specific ways.
And I’m going to make the case that Instructed Motion is a design concept that can be completely separated from games with music. That is to say: the thing that makes Beat Saber so fun can be used to design great VR games that have nothing to do with music or rhythm.
Instructed Motion
Ok so to understand how you can use Instructed Motion in a game that’s not music-based let’s take a look at Until You Fall (2020) from developer Schell Games. This is not remotely a rhythm game—although it has an awesome soundtrack—but it uses the same Instruction Motion concept that makes Beat Saber so much fun.
While many VR combat games use physics-based systems that allow players to approach combat with arbitrary motions, Until You Fall is built from the ground up with a notion of how it wants players to move.
And before you say that physics-based VR combat is objectively the better choice in all cases, I want you to consider what Beat Saber would be like if players could cut blocks in any direction they wanted at all times.
Sure, you would still be cutting blocks to music, and yet, it would be significantly harder to find the fun and flow that makes the game feel so great. Beat Saber uses intentional patterns that cause players to move in ways that are fluid and enjoyable. Without the arrows, player movements would be chaotic and they’d be flailing randomly.
So just like Beat Saber benefits by guiding a player to make motions that are particularly satisfying, combat in VR can benefit too. In the case of Until You Fall, the game uses Instructed Motion not only to make players move a certain way, but also to make them feel a certain way.
When it comes to blocking, players feel vulnerable because they are forced into a defensive position. Unlike a physics-based combat game where you can always decide when to hit back, enemies in Until You Fall have specific attack phases, and the player must block while it happens, otherwise you risk taking a hit and losing one of just three hit points.
Thanks to this approach, the game can adjust the intensity the player feels by varying the number, position, and speed of blocks that must be made. Weak enemies might hit slowly and without much variation in their attacks. While strong enemies will send a flurry of attacks that make the player really feel like they’re under pressure.
This gives the developer very precise control over the intensity, challenge, and feeling of each encounter. And it’s that control that makes Instructed Motion such a useful tool.
Dodging is similar to blocking, but instead of raising your weapon to the indicated position, you need to move your whole body out of the way. And this feels completely different from just blocking.
While some VR combat games would let the player ‘dodge’ just by moving their thumbstick to slide out of the way, Until You Fall uses Instructed Motion to make the act of dodging much more physically engaging.
And when it comes to attacking, players can squeeze in hits wherever they can until an enemy’s shield is broken, which then opens an opportunity to deal a bunch of damage.
And while another VR game might have just left this opening for players to hit the enemy as many times as they can, Until You Fall uses Instruced Motion to ask players to swing in specific ways.
Swinging in wide arcs and along particular angles deals the most damage and makes you move in a way that feels really powerful and confident. It’s like the opposite feeling of when you’re under attack. It really feels great when you land all the combo hits.
While I don’t think anybody was really asking for a Teenage Mutant Ninja Turtles game in VR, much less a story-driven campaign with optional co-op: it’s here. And I’m so glad it is, because it’s totally radical.
Developer: Cortopia Studios Publisher: Beyond Frames Entertainment Available On:Quest, SteamVR , Pico Reviewed On: Quest 3 Release Date: April 30th, 2026 Price: $25
Gameplay
There tends to be a common mantra when branded VR games come out: “it’s alright, but it’s probably only going to appeal to fans.”
I don’t think that’s the case with Teenage Mutant Ninja Turtles: Empire City. Sure, it’s an unabashed love letter to classic late ’80s, early ’90s TMNT—which absolutely appeals to me as a massive Turtles fan growing up—but it’s also just happens to be one of the best casual beat’em ups I’ve played in VR to date. Stick with me, because I’ll explain.
I am (and forever will be) a fan of Leonardo. Maybe that says something about my personality. Whatever the case, you can guess who I chose for my playthrough; my man Leo with the dual katanas.
Although you can technically switch turtles at any time during the campaign, although you’ll also lose expensive character upgrades when do, incentivizing you to focus on mastering a single weapon, be it Raph’s sais, Don’s bo staff, or Mikey’s nunchakus. More on upgrades below.
Anyway, here’s the narrative: set in New York City in a post-Shredder world, you and the boys are trying to navigate the resultant power vacuum. Shredder’s former underlings are jockeying to be the most overtly evil bad dude, culminating in an unlikely alliance. It’s basic Turtle fare, including missions across New York’s various iconic boroughs to do things like retrieve high-tech batteries, retrieve parts for robots, retrieve … well, a lot of stuff.
Image courtesy Cortopia Studios
As it is, the game is built across several key areas which you can access via the large overland map of New York, or more quickly via the sewers conveniently connecting everything to your Turtle Lair. Some of the action happens out on those city streets, although a majority of the big narrative beats happen in warehouses—essentially the game’s dungeons.
Image captured by Road to VR
To be honest, I don’t really begrudge TMNT: Empire City for the heavy emphasis on fetch quests. A slate of VR-native puzzles, fun and memorable boss battles, and armies of Foot Clan soldiers provide enough variety to keep you guessing.
Image captured by Road to VR
As for combat, enemies include regular Foot soldiers, Foot with an unblockable lance, heavy Foot with unblockable smash moves, crossbow Foot, machine gun Foot, elite Foot with all of the above plus a better health and damage stats … the list goes on.
It’s a good variety, although the meat of the game is in boss battles, each of which has their own quirk. Bosses aren’t very tough to beat, and most only have two phases, although I still had fun blasting around and figuring out attack patterns—you know, beat’em up stuff.
Image captured by Road to VR
Granted, if you do find yourself in a tight spot and get killed, (or rather “knocked out”, you’ll simply respawn where you were last to continue the fight, making it a fairly low stakes gameplay experience. I can imagine the same isn’t true for multiplayer, although I still have to pop in when it officially launches to say for sure.
There’s also no real penalty for not following the game’s own logical combat flow, where you parry strikes (with a yellow weapon flash) and dodge unblockable strikes (colored red). I found myself naturally pinballing around and slashing wildly until everyone died, which works just as well in most cases.
While a lot of the game focuses on beat’em up encounters, there is a stealth element that makes things much easier—maybe even too easy at times. You can technically throw your weapon and instantly kill most unalerted Foot, making it fairly simple to weed out low level guys from afar so you can take on heavies on the ground, or ignore them entirely if you want and head on to your next objective. Your weapon will respawn in your shoulder-mounted holsters, so you basically have infinite ammo.
Image courtesy Cortopia Studios
If that were it, I’d say you’ve got yourself a pretty full Turtles game right there already. But there’s more. You can also upgrade your abilities as you go, which are done in three principal ways: finding blueprints so you can 3D print consumables like throwing stars and health vials, finding rare items to print ‘Ability’ cubes, which lets you do things like double jump or fast movement, and upgrading your characters level, which unlocks stuff like more health bars and ability cube slots. It’s a really good amount of stuff to help you balance your Turtle.
But it’s not for free. All of this takes scrap, which you will be constantly hoovering up as you wind through warehouses, sewers, and New York alleyways. In the latter half of the game, the sheer amount of scrap you find becomes more than a bit overwhelming—probably only appealing to die hard completionists who want to upgrade the whole Turtle team, and not just one character.
Image captured by Road to VR
But wait, there’s more. There are also gads of found audio tapes that you can listen to optionally for more story (not a must), as well as a ton of easter eggs, as well as optional time trials throughout the game, giving you plenty of reasons to explore and search everything.
While I really liked TMNT: Empire City, my only real complaint the game’s crime rating system, which requires you to keep crime under 100 percent throughout the overland city map. You do this by shutting down Foot Clan outposts—usually three soldiers protecting a simple puzzle—or by stopping active crimes, which periodically come over the radio and give you a visual waypoint.
Image captured by Road to VR
Honestly, throughout my six hours playing the single-player campaign, I never even tried to keep it under 100 percent; I would just randomly run across baddies and gank them when convenient and it never managed to creep up to 100. Still, these encounters got old real quick though, and you never seem to get anything actually good out of these encounters anyway, making for essentially useless padding that you can mostly ignore.
That said, one thing that I suspect will need to be patched post launch is the ability to cheese certain bosses by hiding on high structures and throwing your main weapon to knock down health. It’s unsportsmanlike, and I definitely did it once on one of the harder bosses to give me a fighting chance.
Immersion
Developer Cortopia Studios has absolutely nailed the Turtle vibe; everything from the cartoony story, voice acting, cell-shaded comic book style visuals, and the massive overland map that is surprisingly detailed (even on Quest). Really, I don’t want to understate any of these things, as I found production level to be surprisingly much higher than the $25 price tag suggests.
Image courtesy Cortopia Studios
That said, there are some things that make the game a little less immersive than it could be. Empire City is very UI heavy. Many of the options can be found in your wrist-mounted watch—a smart way to represent 2D UI. However much of the action is dominated by objective-based markers, which can make you feel like you’re being led by the nose a bit. True exploration is only really done between missions, and even then, you’ll be assaulted by crime objective markers that flash yellow and include how many meters you are away. In turn, I never once looked at the map in my watch, simply because it was fundamentally useless.
There are also a lot of doors you can’t open, objects you can’t pick up or operate in any way, and even some ledges you’re not supposed to climb, which makes it a little bit of a guessing game at first. Granted, inaccessible doors usually have a big ‘NO ENTRY’ sign, and fake ledges are usually quite high, although it’s still a disparity in what the user expects to interact with, and what they actually can interact with.
Even then, actually openable doors are a pain to operate, as they only react to your hand awkwardly trying to push it forward, and not your weapon or rest of your body so you might otherwise tap or shove your way through. That said, the shoulder-mounted weapon holsters and waist-mounted inventory all worked very well, and felt quick and natural to use.
Comfort
This is a game that focuses heavily on running fast, jumping high, and kicking hard. And considering the circumstances, the studio has done a lot to make sure all of this is fairly comfortable.
If you’re not used to frenetic artificial movement though, you may want to take it easy and not stack too many of those moves at once. Still, combat and map traversal requires all of those things to some extent, so it’s best to play in small bites if you’re worried about motion sickness.
Notably, bumping into level geometry can send you sliding or smashing in opposite directions at times, which can be uncomfortable if you’re committed to going full-bore and slashing at the fastest pace possible.
Steam Controller, Valve’s next-gen gamepad, is slated to launch on May 4th for $100, although you shouldn’t expect to see a big ‘buy’ button next to Steam Frame or Steam Machine.
Speaking to Polygon, Valve revealed that it’s only releasing Steam Controller next month for a pretty important (and slightly obvious) reason: Steam Controller “doesn’t have RAM in it,” Valve hardware engineer Steve Cardinali told Polygon.
“We wanted to build up quantity so that we could try to address everybody who wants one at launch,” Cardinali maintains.
Image courtesy Valve
Notably, Steam Machine is set to include at least two bundling options: one with a Steam Controller and one without, which could put a kink in Valve’s supply efforts to produce enough Steam Controllers, as Machine specifically features built-in support for the gamepad in an effort to make it more of a living room console.
Image courtesy Valve
In an IGN interview, Valve’s Pierre-Loup Griffais spoke circumspect about why the company isn’t pushing out all three products as previously planned.
“For us, the controller is something that stands out on its own and we want to make sure that we can get that to customers in parallel to anything that might be happening with Steam Machine.”
While Griffais doesn’t specifically talk about issues with component sourcing, which have spurred RAM and storage prices to exponentially increase over the past year, Valve confirmed as much in February, noting the company had to “revisit” the pricing and release dates of both Steam Frame and Machine.
That said, Giffais again echoed that Valve doesn’t have exact details about the timeline (or price) for Steam Frame or Steam Machine, although he says the company is “hard at work on trying to get them out the door. I think we are definitely expecting to roll out some news soon about that, but in general, I think things are going well.”
Images and specs for Samsung’s upcoming smart glasses have reportedly leaked, showing off what could be the South Korean tech giant’s answer to Ray-Ban Meta.
The images, which were obtained by Android Headlines, don’t appear to be leaked marketing images as such, but rather “based on real-life pictures of a testing unit of these smart glasses,” Android Headlines says—ostensibly done to obscure the leak’s source.
The report also included a brief spec sheet for the company’s first smart glasses, which, much like Ray-Ban Meta smart glasses, don’t include a display of any kind.
Samsung ‘Galaxy Glasses’ Specs (reported)
Processor
Qualcomm Snapdragon AR1
Battery
155mAh
Camera
12MP Sony IMX681
Connectivity
WiFi, Bluetooth 5.3
Weight
~50g
Audio
Directional speakers; bone-conduction tech in patents
Lenses
Photochromic transition lenses
Platform
Android XR with Gemini AI
Image courtesy Android Headlines
While we’re still waiting for the full reveal, which could come in July for Samsung’s next Unpacked product showcase, it seems Samsung isn’t breaking any molds here as it appears to offering up a very Ray-Ban Meta-inspired design and spec sheet.
Granted, the reported spec sheet above is far from comprehensive—it doesn’t include information on photo/video capture resolution, frame rate, expected battery life, charging case, or even the onboard mic array.
Still, provided the specs are authentic, it will be packing (the same or similar) 12MP camera sensor, Qualcomm Snapdragon AR1 chipset (very likely also Gen 1), and a battery close to Ray-Ban Meta’s.
Image courtesy Android Headlines
A notable inclusion are also photochromic transition lenses, which are optional paid add-ons for all of Ray-Ban Meta’s frame styles, which include Wayfarer, Skyler, Headliner, Blayzer and Scriber models.
Going by Android Headline’s images, one big difference appears to be the unit’s more prominent camera bumps—a possible stylistic choice so people nearby can more easily tell the user is essentially wearing camera glasses.
Notably, Meta is currently facing a class action lawsuit in the US over privacy concerns tied to its Ray-Ban smart glasses, as it’s been accused of sending private camera footage to an offshore subcontractor for manual review in effort to train its AI models.
Android Headlines also echoed rumors that Samsung’s smart glasses will be priced somewhere between $379 and $499, which happens to be Ray-Ban Meta’s exact price range for the models mentioned above (without optional add-ons).
Ray-Ban Meta (Gen 2) | Image courtesy Meta
While many are calling the device ‘Galaxy Glasses’, there is currently no indication this will be the final naming scheme, despite previous trademarks for the name filed in 2023.
That said, Samsung’s smart glasses won’t be only pair running Google’s Android XR operating system. Google announced last year it’s working with Gentle Monster and Warby Parker to create multiple models for release sometime this year, some of which may include displays.
Gucci parent company Kering also recently announced it’s working with Google to create Gucci-branded smart glasses, ostensibly also running Android XR.
Code named ‘Haean’, unconfirmed rumors suggest the display-clad Samsung glasses will arrive sometime in 2027, and be priced somewhere between $600 and $900.
XR glasses maker VITURE announced the launch of VITURE Beast, its third-gen flagship XR glasses that release today, priced at $549.
Targeting casual content consumption and productivity, the Beast offers up a 3DOF-tracked virtual screen estimated to be 174 inches when viewed at 4 meters, which connects via USB-C to PCs, phones and portable game consoles, like Steam Deck or ROG Ally.
Similar to Viture’s previously released Luma series, the Beast sports bird bath-style optics, however offers a 57-degree field-of-view (FOV) stereoscopic Sony displays rated at 1,250 nits brightness, making for the company’s brightest optics and widest FOV to date.
Viture Beast | Image courtesy Viture
Viture says Beast is the company’s first flagship model to feature built-in VisionPair screen customization, 3DOF audio, and dynamic 9-level electrochromic tint controls, all of which is housed in a full-metal aluminum-magnesium frame.
It also sports a single front-facing RGB camera for taking video and photos, which the company says will be updated via software to allow for 6DOF tracking, as well built-in Harman audio, and microphone.
Viture Beast | Image courtesy Viture
Notably, its VisionPair screen customization allows you to spatially anchor a virtual screen to a specific point in your view, smoothly follow your view, and an ultra-wide mode that creates a panoramic display for multi-window productivity.
Viture Beast is available starting today on Amazon, bestbuy.com, and viture.com, priced at $549. It’s being offered in two sizes to account for individual interpupillary distances (IPD), a regular model for 64.0±6.0 mm and large for 68.0±6.0 mm.
This marks the first time Viture Beast is fully available across multiple channels; the company started taking pre-orders in July 2025 and began shipping limited-run early batches in December.
Viture also provided a comparison sheet between leading competitors XREAL One Pro and RayNeo Air 4 Pro, seen below:
