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  • 17 startups to debut during upcoming VIVE X Demo Days

    17 startups to debut during upcoming VIVE X Demo Days

    Reading Time: 4 minutes

    VIVE X, HTC VIVE™’s global XR accelerator, is set to showcase the graduating class of startups from the program’s most recent portfolio. Held during four separate events in Beijing, Tokyo, London and San Francisco, eighteen companies from over six countries will present and exhibit their innovations to investors, press and potential business partners.

    This year’s Vive X Demo Days will take place in Beijing on May 8, Tokyo on May 16, London on May 23 and finally in San Francisco on June 4. The London event takes place as part of a broader Investor Summit which will include the first ever meeting of the VRVCA (Virtual Reality Venture Capital Alliance) in Europe. Over the next month, the companies will showcase their innovations in enterprise tools and solutions, workforce training, healthcare solutions, streaming technology, social applications, location-based entertainment, foundational technology, and more.

    Since the inaugural batch of companies in 2016, Vive X has become the most active investor in the VR/AR industry with about 100 companies now advancing from the accelerator program.  Vive X operates out of San Francisco, London, Beijing, Shenzhen, Taipei, and Tel Aviv. Vive X differentiates itself in being a strategic player with hands-on operational capabilities and channels to help its portfolio companies.  In addition to VR and AR, Vive X also invests in related technologies of 5G, AI, and Blockchain as part of Vive’s consolidated vision for converged technology. The accelerator program also opened the call for submissions for the next batch of candidates in all six locations today.

    The companies in Vive X Batch 4 include:

    San Francisco –

    • MyndVR is a national health and wellness company focused on the “longevity economy” – providing Virtual Reality recreation and therapy to the high-growth population of older adults.
    • Primitive is providing businesses with VR collaboration for distributed software teams. The Primitive Immersive Development Environment turns complex software analyses into interactive 3D structures that are displayed in collaborative VR.
    • ybVR’s multi-viewpoint optimized streaming technology powers immersive live broadcasting and on-demand video content in 8K resolution.
    • Visby builds foundational holographic imaging software that puts the ‘real’ in extended reality. Visby’s light field technology allows film and video professionals to capture and publish photorealistic video for immersive and holographic displays.
    • Modal was inspired by co-founder Nolan Bushnell’s success with Atari and Chuck E. Cheese’s, Modal brings social, fun and active free-roam location-based VR entertainment to a mass audience.

    London –

    • Immersive Factory has developed virtual reality HSE (Health Safety & Environment) training exercises based on real-life situations. All training courses, available on a dedicated platform, have been created in partnership with key account customers including Veolia, EDF, Colas, and Suez.
    • LIV empowers VR content creators and game developers to grow, and monetize their audiences in real-time. The company has generated over 1 billion views of VR on social media since April 2018 and boasts the largest VR content creator community in the world.
    • Kagenova is developing core technologies to engineer interactive realism at scale for next-generation immersive experiences. Their AI-based spatial360 product allows any 360 VR media to be viewed with six degrees of freedom (6 DOF), eliminating cyber motion sickness and greatly enhancing realism.

    Taipei –

    • 360Stories uses immersive 360º footage to transport you to the most amazing destinations on Earth. Hear locals tell their story as they show you around their urban and natural landscapes in virtual reality. No amount of research online will truly represent the feeling of actually traveling, but surrounding yourself in 360Stories gets pretty close!
    • Z-Emotion is building a fully connected 3D design platform for the apparel, knitwear and sportswear industry for the future of digital supply chain. Furthermore it provides predictive big data analytics to the entire manufacturing process and enables smarter, faster and more effective decisions.

    Shenzhen –

    • Inload Inload excels in VR Kiosk design, manufacturing and operation. The company has an in-house R&D lab, VR game studio, hardware production base and brand operation team. Its VR Kiosk business model has been expanding rapidly in many shopping malls in Shenzhen, generating positive cashflow, and is soon to be replicated across the country.
    • Yaoan – With 20 years of industrial experience in enterprise software, YaoAn has launched VR security experience hall, VR immersive training system, VR emergency drill system, security training cloud platform and other industry solutions, and has emerged to be a leader in domestic security education and training.

    Beijing – 

    • ifGames is one of the first VR game studios in China. It produced China’s 1st VR large area game title “Ark of the Stars” and won numerous awards including the Chin VR and Gyro VR game of the year. ifgames’ first full-body tracking VR title “CyberCraft” is highly acclaimed by critics and is already launched in major cities in China.
    • ShinyVR was incubated in the National Defense Lab of Yanshan University, developing a molecular-level physical simulation engine SYVR, simulating key components of C919 (the first large commercial aircraft of China). The SYVR engine provides real-time simulation of large-scale complex scenarios, experiments, training and conceptual design visualization.
    • Yuanji has developed a VR Judicial Visualization system enabling crime scene restoration for evidence to be presented directly and transparently. The system speeds up trial process and promotes social fairness and justice through science and technology empowerment.

    Tel Aviv – 

    • Sixdof.space created a new tracking system technology that represents a breakthrough in both speed and accuracy. They combine optics, electronics and algorithms to offer a device urgently needed for current product development in multiple industries, beginning with VR.
    • Ayayu Games develops, creates and manufactures patent pending VR-action controllers, which enables players to control and play with their action figures in their VR games and immersive experiences.

    Website: LINK

  • VR and Storytelling at Tribeca Film Festival 2019

    VR and Storytelling at Tribeca Film Festival 2019

    Reading Time: 3 minutes

    The 18th annual Tribeca Film Festival is now taking place in New York City, celebrating independent filmmaking and artists. This year, at Tribeca Immersive, the festival is showcasing an impressive lineup of 30 AR/VR titles. With leading VR creators in the industry premiering their latest titles at Tribeca, the festival highlights how some of the best experiences are created at the intersection of storytelling and technology.

    At Vive, we are dedicated to championing immersive cinematic VR experiences and delight in seeing the industry continue to grow and evolve. We are supporting five partners at Tribeca this year, all who are elevating the genre with their outstanding new content:

    Mr. Buddha – HTC VIVE

    A collaboration between HTC VIVE and Taipei Golden Horse Film Festival Executive Committee, 5×1 is a cinematic VR series comprised of five short films. Directors Hou Hsiao Hsien and Liao Ching-Sung served as executive producers of this project, providing guidance to five up-and-coming directors. Mr. Buddha, directed by Lee Chung, is one part of the five-part series.

    “The short crime story takes place in a car, following Dong-Tzu, Ching-Tsai, and Ni-Sang, who get their hands on a valuable antique only to have the fruits of their labor shared with the newcomer, A-Che.”

    Doctor Who: The Runaway – BBC/Passion Animation Studios

    [youtube https://www.youtube.com/watch?v=Y9BuKcNVKPY]

    From the team behind Doctor Who Series 11, Doctor Who: The Runaway is a beautiful, animated, interactive story that brings you inside the TARDIS. The new immersive experience features Jodie Whittaker and Richard Elfyn.

    “You’ve been in a collision. You wake inside the TARDIS. The Doctor introduces you to the person, or thing, you collided with. He’s a strange and magnificent ball of living energy called Volta. Part surly teenager, part bomb, Volta is very unstable. In fact, he’s primed to explode. Big time. Unless he can be returned to his home planet, sharpish. The problem is, a squad of galactic busybodies has other plans for Volta. Bad ones. Drawn into a frantic chase, you become the Doctor’s unlikely assistant as she races against time to get Volta home to his parents. Armed with a sonic screwdriver, it is down to you to help the Doctor as she faces the forces of evil, and teenage angst, in this animated 13-minute VR adventure from the team behind Doctor Who Series 11.”

    Future Dreaming – Directed by Sutu

    [youtube https://www.youtube.com/watch?v=Fq9xAk1CuZY]

    Future Dreaming was inspired by the ancient Australian Aboriginal practice of Dreamtime, the visualization technique where you can see your spirit move through the past, present and future. Over the course of a few months the young protagonists – Ali Lockyer, Maverick Eaton, Nelson and Maxie Coppin – collaborated with VR artist Sutu to design their Future Dreaming in the limitless creation space of Virtual Reality. Once their worlds were designed, they employed motion capture technology to animate their avatars to tell their story and guide visitors through their creation.

    “In this immersive VR experience, you will step into a time-warping dream bubble as four young Aboriginal Australians guide you through their futures. Be ready for an intergalactic adventure. Look out for the space emus!”

    Ayahuasca: Kosmik Journey directed by Jan Kounen – Atlas V, a_BAHN and Small Studio

    [youtube https://www.youtube.com/watch?v=DcpCo]

    Making its world premiere at Tribeca,  Ayahuasca: Kosmik Journey is an 18-minute immersive voyage through one of the most mysterious spiritual practices on the planet. Using the headset’s tracking capabilities, the interactive experience will keep track of a user’s movement and react accordingly.

    “Participants are immersed in visions triggered by a dose of ayahuasca. The spectator lives this through director Jan Kounen’s eyes as he travels on a spiritual voyage.”

    7 Lives directed by Jan Kounen – Red Corner Production, France Télévisions, a_BAHN and Frakas Productions

    [youtube https://www.youtube.com/watch?v=nY4YrJgnWlk]

    7 Lives is a 20-25 minute interactive experience that explores shared emotional connections and memories in VR.

    “An afternoon in June. Tokyo. 5 p.m. A girl jumps in front of the subway. Her soul rises from the rails. On the platform, the witnesses of the scene are in shock. It revived a trauma in them, painful memories they never overcame.”

    All of these experiences can be seen at the 2019 Tribeca Film Festival, taking place from April 24 – May 5 in lower Manhattan. Make sure to stay tuned as these immersive, cinematic experiences head to Viveport soon!

    Website: LINK

  • Blast off into Viveport Infinity with these top downloaded Oculus Rift compatible titles

    Blast off into Viveport Infinity with these top downloaded Oculus Rift compatible titles

    Reading Time: 3 minutes

    Attention Oculus Rift users: Viveport Infinity – your virtual passport to a galaxy of VR awesomeness – has arrived! Granting unlimited access to over 600 apps and games, as well as member exclusive discounts, offers and free to keep titles, Infinity provides a VIP virtual reality experience for Rift users. Start your free trial today and get ready to explore the Infinity with these top downloaded Viveport titles through your new membership!

    Seeking Dawn

    [youtube https://www.youtube.com/watch?v=O19J_pRFtOY?feature=oembed&wmode=opaque&w=730&h=411]

    In this jaw dropping AAA sci-fi shooter, you’ll step into the shoes of a soldier on a hostile alien planet, tasked with tracking down an allied recon squad that went missing. You’ll need to master the elements as well as your combat skills to survive against deadly adversaries in both the single player campaign as well as multiplayer co-op modes.

    Angry Birds VR: Isle of Pigs 

    [youtube https://www.youtube.com/watch?v=MuX7DSa-rZE?feature=oembed&wmode=opaque&w=730&h=411]

    The feathers will fly in this immersive and addictive new version of the hit mobile phenomenon! Grab your slingshot and get ready to make these greedy pigs pay, flinging a variety of avian ammo to take down your porcine foes and take back the eggs they’ve stolen. You’ll need to lean and twist to find just the right angle for maximum damage as you bust up these piggy formations to achieve the highest score through 50+ levels. Don’t worry, though, you’ll have awesome character power-ups at your disposal to get the job done explosively!

    Apex Construct

    [youtube https://www.youtube.com/watch?v=CN1RsJkUvwk?feature=oembed&wmode=opaque&w=730&h=411]

    In this critically acclaimed sci-fi experience, you’ll navigate the ruins of humanity as you take on the robot menace with awesome archery skills on your quest to take back the world from the mechanical scourge. Featuring fluid bow combat and free locomotion and teleportation, you’ll move around the world with swiftness and ease as you tackle a wide variety of challenging enemies.

    Tilt Brush

    [youtube https://www.youtube.com/watch?v=ODHec1lCwew?feature=oembed&wmode=opaque&w=730&h=411]

    Unleash your inner Van Gogh (and keep your ears in tact) with this powerful art experience from Google! Use your Oculus controllers to paint in a 3D space with ease, crafting your virtual masterpieces with a variety of tools in a huge living canvas. The possibilities are endless, and the only limit is your imagination.

    Knockout League

    [youtube https://www.youtube.com/watch?v=MfPpdH-WvNI?feature=oembed&wmode=opaque&w=730&h=411]

    Get ready to rumble and face off against boxing’s greatest champions, like… an octopus?? Take on hilarious and colorful enemies in an intuitive virtual fisticuffs experience. Dodge and weave and find the right opening to land that perfect jab or uppercut against hilarious cartoon champions.

    Witching Tower VR

    [youtube https://www.youtube.com/watch?v=r-5R7GSr7bk?feature=oembed&wmode=opaque&w=730&h=411]

    In this darkly beautiful fantasy adventure, you’ll ascend a bewitched tower filled with puzzles and dangers on your quest to defeat its evil Queen and save the land from spire’s poisonous influence. Take on enemies with blade or ranged weapons, solve devious environment puzzles, and climb to the top in order to save the world.  

    Tribe XR DJ School

    [youtube https://www.youtube.com/watch?v=liG0c__b5pQ?feature=oembed&wmode=opaque&w=730&h=411]

    Ever wish you could be the next daft punk or deadmau5 but lacked the hardware or the knowhow? With Tribe XR DJ school, you can pick up the tools of the digital trade and learn how to craft the next great club banger. Take interactive courses to learn the basics, mix your own custom playlists, and put on live performances of your next set online. You’ll be dropping the beat in no time!

    Skyworld: Kingdom Brawl

    [youtube https://www.youtube.com/watch?v=qzUl4u4mBlw?feature=oembed&wmode=opaque&w=730&h=411]

    It’s time to duel! With this addictive and intuitive card battler from the developers of Arizona Sunshine, you’ll take on local and online opponents in fast-paced tabletop games of skill and strategy. Draw cards from your customized decks and place them on the battlefield to annihilate your opponents, and summon spells to push back your enemy’s forces. Easy to learn but tough to master, you’ll be telling yourself ‘just one more match’ time and time again.

    Transpose

    [youtube https://www.youtube.com/watch?v=u_jkNOgKMkQ?feature=oembed&wmode=opaque&w=730&h=411]

    You know the saying: imitation is the sincerest form of flattery. Well, prepare to flatter yourself big time in this mind bending clone puzzler. You’ll explore trippy, dreamlike environments and solve challenging physics puzzles in a place where space and time no longer apply. Create copies of yourself and work together with those echoes to progress your way through 35 unique levels and learn more about the wild yet familiar world you find yourself in.

    These are just a few examples of the amazing experiences at your unlimited disposal with your Viveport Infinity membership. Start your free trial today and blast off into the Infinity!

    Website: LINK

  • Summoning card battler fun with Skyworld: Kingdom Brawl

    Summoning card battler fun with Skyworld: Kingdom Brawl

    Reading Time: 5 minutes

    Developer Vertigo Games is no stranger to bringing unique and addictive experiences to VR. With such hits as Arizona Sunshine and the original Skyworld VR under their belts, they’ve harnessed the immersiveness of virtual reality to create thrilling and polished genre-defining experiences previously underutilized in the VR space.

    Their latest release, Skyworld: Kingdom Brawl – out now on Viveport and Viveport Infinity, seeks to bring fast-paced one-on-one card battling mayhem to players in a colorful and addictive tabletop experience. We sat down with the team at Vertigo to find out what went into crafting this simple to learn yet deep card combat game we just can’t put down.

    By Nathan Allen Ortega, Viveport Staff

    [youtube https://www.youtube.com/watch?v=qzUl4u4mBlw?feature=oembed&wmode=opaque&w=730&h=411]

    Tell us a bit about yourself and the Skyworld: Kingdom Brawl team

    My name’s Nick and I’m a game designer over at Vertigo Games. We’re a studio that focuses exclusively on VR game development and we’re probably best known for Arizona Sunshine. Our team spans 20+ developers of various disciplines. That includes artists, designers, programmers and even an in-house publishing team who also help out other VR developers!

    Talk a bit about your previous experience developing titles for VR, especially Arizona Sunshine and the original Skyworld

    I joined Vertigo about a year ago. Before being put on Skyworld: Kingdom Brawl. I was responsible for designing the Dead Man DLC for Arizona Sunshine and also helped design the Dead Man story mission for the free-roam, multiplayer experience Arizona Sunshine – LB VR Edition that is available for VR arcades.

    What inspired you and your team to create a fast-paced competitive card battle experience within the universe of Skyworld?

    Skyworld: Kingdom Brawl takes the real-time combat element of the original Skyworld VR game as a basis and reimagines it into a standalone, competitive VR card-battler. During the development of the original game we found the real-time part to have a lot of potential, especially to welcome a wider group of players to the Skyworld universe. We spent close 9 months building and balancing this new competitive experience, which allows you to build a persistent card deck from and go head to head with other players in fast-paced matches.

    Skyworld and Skyworld: Kingdom Brawl are very authentic tabletop experiences that tap into the satisfying feel of strategic card and board gaming. Was bringing that authenticity to VR a big priority for you and the team?

    Absolutely. It really makes for a different experience to see the entire ‘map’ so to say. In a more traditional RTS your view would be more confined to an area on the battlefield. While seeing the entire board may seem easier at first, there’s a lot going on! Brawl is a very fast-paced game and you’ll be flinging cards all over the place in no time. In addition, being in VR, it’s freakin’ sweet seeing your units come to life on the battlefield, watching the battle unfold and trying to turn its tide with your own spells and attacks.

    What were some of the biggest challenges you encountered when crafting a rich multiplayer experience with a competitive scene in mind?

    A big goal for us with competitive multiplayer in mind was supporting crossplay between entirely different devices: the HTC Vive Focus and a PC using a Vive or other PC VR headset. All platforms have their own way of managing users, their own peripherals and most importantly, their own hardware specs. So this meant we had to build an entire system which could support all and bring them together. Our programing team deserves some special praise for a brilliant feat.

    How did the process of creating a fast-paced, 1v1 card battler differ from working on the turn-based strategy of the original Skyworld?

    With the visual elements and game universe foundation there, it was more a case of figuring out what needed to happen from a design and technical perspective what was needed to elevate the real-time element of the base game into its own, PvP-heavy fast-paced battler. For instance, in Kingdom Brawl we played around with things like the mana regeneration rate as it allowed for more tactical depth: you can easily deploy a small army of different units, each squad countering the weaknesses of others. It’s quite a spectacle to see it all unfold!

    What has the feedback been like from players who have had hands on time with Kingdom Brawl? Were there any particular reactions that surprised you?

    It was great to see how different types of players go about their battles. Those with more experience may choose to wait for their mana to build up and then send out what seems to be an impressive force of units. Example, some Swordsmen followed by a Flying Fortress. You’ll counter this with what you think will be an impressive finisher: Fire Crossbowmen and a Sniper. So your mini army is on its way and – bam! – Fireball. Everyone dead. You fell right in your opponent’s trap and just lost 7 mana worth of units – while your opponent’s army marches on – with the added support of a Knight, now that he knows what your deck is…

    How many people were on the team throughout the development process? How long did it take to make?

    The development process took about 9 months, and during this time many on our team have been involved to some degree. On average, it was about 4-5 people working on it throughout.

    Are there content updates planned that you can share with us to give an idea of where you see the game going competitively speaking?

    All I can say is that we’ve got plans, and that we’ll make them known soon 😉

    Great to hear! We can’t wait to see what’s to come with this awesome experience. Thanks for your time!

    Skyworld: Kingdom Brawl is now available on Viveport and as part of your Viveport Infinity subscription. Not a member? Start your free trial today and get ready for fierce 1v1 card battle goodness!

    Once you’ve quenched your thirst for tabletop gaming victory, head to our forums to talk strategy with the rest of the Viveport Community on our forums!

    Website: LINK

  • Computer-Aided Design, VR/XR Reality Solutions Shine at SOLIDWORKS World 2019

    Computer-Aided Design, VR/XR Reality Solutions Shine at SOLIDWORKS World 2019

    Reading Time: 5 minutes

    The future of design, collaboration, visualization—business itself—is immersive.

    SOLIDWORKS World 2019 has come and gone, but the business world has only just begun to use the tools it revealed to the world. For the next generation of makers, doers, and innovators that want to create things and create them well, there has been incredible advancements in computer-aided design (CAD) and virtual/extended reality (VR/XR) solutions to bring their ideas to life.

    At SOLIDWORKS World 2019’s XR Zone, designers, engineers, entrepreneurs, and visualization professionals got to experience those advancements firsthand in augmented (AR) and virtual reality. Working in conjunction with VIVE Virtual Reality’s enterprise-class hardware and software, participants;

    • trained users in the assembly, interaction, and operation of products;
    • improved collaborative internal and external design reviews;
    • sold designs more effectively with immersive experiences.

    Those who attended the XR Partners Panel Discussion were treated to an even deeper XR dive with David Randle, Sr. Manager Strategy & Business Development at Dassault Systèmes and David Weinstein, Director of VR, NVIDIA and learned how to address the ideal use cases with the current scope of available technology and capitalize in the new era of business.

    Didn’t have a chance to attend? Don’t fret: SOLIDWORKS World returns again next year as 3D EXPERIENCE World.

    Feeling a little left out of all the XR action, SOLIDWORKers? Not to worry: we’ve compiled a summary of VIVE’s collaborations and partnerships with NVIDIA, Tsunami XR, and Silverdraft so you can stay up-to-date on the latest tools of your trade.

    NVIDIA

    [youtube https://www.youtube.com/watch?v=WHqzH2KBLpc?feature=oembed&wmode=opaque&w=730&h=411]

    So, you have a detailed CAD model built in SOLIDWORKS, you created some beautiful renderings using SOLIDWORKS Visualize, and now, you need a fast way to review your model in VR with your colleagues. There’s no time to prep the CAD model in another application, and definitely no time to reduce down hundreds of surfaces so a VR app can display them without your boss getting motion sick. What do you do?

    At SOLIDWORKS World 2019, NVIDIA exhibited the CFH Telescope model—a 27-million-polygon model that went from SOLIDWORKS to SOLIDWORKS Visualize to NVIDIA’s Holodeck with the power of RTX6000. With “Export to Holodeck” in Visualize 2019, your model and materials export to Holodeck ready for VR viewing—no model editing or geometry reduction required. Even better, you can view your Visualize materials or reassign them with 1300 vMaterials in Holodeck. To share the efficient Holodeck workflow, users can collaborate, talk, record, and see their colleague’s avatars in the same experience whether in the same room or across the globe.

    For more information about Holodeck, please visit the official site.

    Tsunami XR

    [youtube https://www.youtube.com/watch?v=ZQ1xombHlYE]

    Tsunami XR is revolutionizing the way people communicate and collaborate in business. Launched in 2012, Tsunami XR Workspaces, a spatial computing platform offered by the company, enables customers to build immersive 3D environments such as virtual conference rooms, virtual workshops, and virtual classrooms. Multiple users can join the virtual environments from any location and interact through a variety of devices, including tablets, laptops, desktops, augmented reality devices, and virtual reality headsets. Tsunami XR Workspaces platform supports SOLIDWORKS as well as most of the other popular CAD formats.

    To further allow designers and engineers to share and engage around spatial content, Tsunami XR is also launching Meet.com, a new service that enables simple, drag-and-drop collaboration experiences to any device via a web browser. We’ll keep you posted on this exciting development that allows people to widely share their work and ideas, spanning all device types, whether desktop, mobile, virtual, or augmented reality.

    Here’s a taste of what was showcased at SOLIDWORKS World 2019:

    The SOLIDWORKS-provided model of the CFH Telescope through Tsunami XR on VIVE Pro.
    Visitors will be able to teleport around the full-scale model and play an animation. In addition, they’ll enjoy the full collaboration and annotation tools offered in Tsunami XR Workspaces.

    Simple Tsunami XR demo collaboration workspace on VIVE Pro and VIVE Focus Plus (all-in-one VR with six degrees of freedom.)
    A demo workspace that includes a 3D jet engine model, white board, .pdf board and two stream boards to demonstrate Tsunami XR Workspaces cross-device capabilities.

    Dell Gaming CES Virtual Experience on VIVE Pro.
    A complete digital twin of Dell Gaming and Alienware’s physical CES booth demonstrates the future of retail shopping in the virtual world. The experience showcases Tsunami XR Workspaces scripting and simulation capabilities.

    Ameren Training Experience on VIVE Pro.
    Virtual training has the ability to save lives and reduce costs. The Ameren Training Experience highlights the improved learning and retention of immersive education versus standard 2D methods. Visitors are transported deep inside a nuclear facility to troubleshoot potential threats and learn how to safely mitigate those risks.

    Silverdraft

    DemonVR, a first-of-its-kind supercomputer capable of hosting two VIVE Pro headsets simultaneously.

    Whether you’re in design, VFX, manufacturing, AEC, or simply looking for ways to leverage visualization to enhance your business, Silverdraft can help accelerate your adoption and speed up your ROI. They focus on the use of talented individuals and unique supercomputing architecture to address the significant computational and processing needs of high-end rendering, VR, and visual effects. The Silverdraft process always starts by identifying the bottlenecks in any given workflow to establish which solution is right for the job.

    Most relevant to those interested in extended reality solutions, and the one showcased at SOLIDWORKS World 2019 is the expert-assembled DemonVR, a first-of-its-kind multiuser VR workstation capable of hosting two VIVE Pro headsets simultaneously. Powered by two NVIDIA P6000s, one NVIDIA P2000 and backed up by a single 18-core Intel Extreme CPU and 64GB of high-speed RAM, DemonVR is designed to deliver smooth, collaborative user experiences.

    Website: LINK

  • Hyperdeck Chooses VIVE For The Arcade of the Future

    Hyperdeck Chooses VIVE For The Arcade of the Future

    Reading Time: 4 minutes

    With an attraction as grand as Hyperdeck, you need the right VR system to match.

    From left to right: Mike Bridgman, Sean Hennessey, Colin Schultz, and Jay Miller. Bridgman is the co-founder of MajorMega, the company behind a new VR attraction called the “Hyperdeck.” We met him at the 2018 IAAPA Expo in Orlando, FL where the Hyperdeck was first unveiled to great praise—one industry veteran dubbed it “the Void on steroids”

    What is the Hyperdeck?

    [youtube https://www.youtube.com/watch?v=E47uIlcitiE]

    The Hyperdeck is a four-player VR ride with intense environmental simulation. It combines a full-motion platform, hurricane winds, instant heat, and interactive controllers to create an unparalleled immersive experience.

    Our debut experience is full of great examples: you feel real 75 MPH wind as you soar through a city in the open air; you feel the ground shake as you drop 100 feet onto a moving truck; you feel the truck suspension recoiling from explosions as you fend off killer AI cars; I could say more but I want to keep some surprises!

    Sounds intense! What about motion sickness?

    Well, I can safely say we have eliminated motion sickness with our custom system that moves the floor in real time with the game to simulate the proper g-forces on your body. We’re also able to amplify certain motions and do some other neat things that trick the brain into feeling something you’re not actually experiencing. It’s our secret sauce we’ve been developing for almost three years now. When you combine that with wind, vibration, and some other tricks, the level of immersion is incredible. So far, after thousands of players, we’ve had zero reports of motion sickness.

    What made you choose the VIVE Pro?

    We started with the original VIVE and loved everything about it. The deluxe head strap enabled us to quickly get players comfortable with a simple twist, the integrated headphones sounded great and simplified our setup, and the lighthouse tracking was perfect, even with four players in a small area.

    The VIVE Pro improved everything. On top of making a lighter and more comfortable design, the increased pixel density allowed us to do more with text and bring out more detail than ever in our games. And with the 2.0 SteamVR™ Tracking, we’re able to use four lighthouses to make sure every square inch of our play area is covered.

    The controllers look interesting—how did you arrive at that design?

    Well, we knew early on that people would lose their balance if we didn’t provide some kind of railing for stabilization—the idea to make that a controller was obvious from the start. My partner Sean Hennessey “MacGyvered” the first “Hardware Store” version from threaded steel pipe. We attached VIVE Controllers and a VIVE Tracker to it and it ended up working really well; people could stabilize themselves, but also feel like they were holding onto this supermassive object.

    The Hyperdeck controller boasts a full-motion platform, hurricane winds, instant heat, and interactive controllers. VR doesn’t get more immersive than this

    Our latest controller is jam-packed with tech. Each will automatically adjust height to fit the player, powerful recoil and vibration provide intense feedback, dynamic tension allows us to simulate a change in weight—switching from a machine gun to rocket launcher, for instance—and finally, hand sensors allow us to stop the motion floor if a player were to let go.

    And the iPads mounted outside the Hyperdeck, are they for interacting somehow?

    Yes precisely, our “Spectator Play” feature allows people standing outside the Hyperdeck to interact with the players in the game. They have the ability to target a specific player and create helpful or hurtful situations. It’s great for people waiting in line, or the person that couldn’t play in VR but still wants to take part in the experience.

    Can you tell us more about your launch title?

    The game is called H.A.I.R., which stands for Hoopers Artificial Intelligence Research. It tells the story of Harold Hooper, a washed up 80s rock star. To combat writer’s block, he invents a super powerful A.I. to write the ultimate metal riff, but when he fuses it with his body and releases it out of his lab…well you’ll have to see what happens. I can tell you it’s totally metal!

    Sounds fun! What does the future look like for MajorMega and the Hyperdeck?

    We’re currently in negotiations with a theme park, some family entertainment centers, and the largest athletic center in North America! We’re also working with some major brands to create custom experiences on a level they’ve never done before.

    We truly believe the Hyperdeck is the “arcade of the future” and we want to see one in every major city (and town!) in the U.S. and beyond.

    For more information visit HyperdeckVR.com

    Website: LINK

  • Announcing VDA3 Nominees

    Announcing VDA3 Nominees

    Reading Time: < 1 minute

    It’s that time of year again! We’re excited to share the nominees for the third annual Viveport Developer Awards. In total, there are 8 nominees across 4 categories for PC titles and 3 winners for Mobile titles. This year, we wanted to recognize the developers who are delivering exceptional experiences to our Viveport Subscribers and Viveport Arcade Operators. These 11 titles highlight some of the best titles in VR today. If you haven’t tried these nominees and winners, we highly recommend giving them a play and exploring them yourself.

    If you need a refresher on the prizing, check out our announcement blog of the awards. Final winners will be announced at our private developer mixer on Monday, March 18, the first day of GDC 2019. Good luck to the nominees and congratulations!

    Here are the nominees and winners in no particular order:

    Entertainment – PC

    Education – PC

    Arts & Culture – PC

    Arcade – PC

    Entertainment – Mobile

    • Bait! | Resolution Games

    Education – Mobile

    • Star Chart | Escapist Games Ltd.

    Arts & Culture – Mobile

    • PAINT VR | COSKAMI LLC


    Website: LINK

  • Viveport gets wild in the hilarious arcade shooter Dick Wilde 2

    Viveport gets wild in the hilarious arcade shooter Dick Wilde 2

    Reading Time: 5 minutes

    Virtual reality can provide users with experiences impossible to have otherwise. Taking a walk on the moon, shrinking down to learn up close about the human body, crafting amazing animated works of art at the flick of the wrist, you name it! But it can also provide hilarious and addictive gameplay experiences that just wouldn’t be the same without that extra sense of immersion. We sat down to chat with Bolverk Games, makers of Kittypocalypse and the recently released Dick Wilde 2 to hear how they bring hardcore arcade gameplay and humor together for in an awesome cocktail of hilarity.

    By Nathan Allen Ortega, Viveport

    [youtube https://www.youtube.com/watch?v=JmXtUXVsDm0?feature=oembed&wmode=opaque&w=730&h=411]

    Tell us a bit about yourself and the Dick Wilde team

    I’m Bo Bennekov, CEO and co-founder of Bolverk Games. We’ve focused on VR games since before the first goggles hit the market. Our team is now 10 people strong, with our third title Dick Wilde 2 launching today!

    What inspired you to create the wacky and colorful wave shooter Dick Wilde?

    Dick Wilde was a VR title from the get-go. We’ve always been more than a little obsessed with Youtube videos of Americans fishing for Asian carp in the Southwest. They were using everything from bow and arrows to dynamite!  We couldn’t find a reliable dynamite salesman in Copenhagen and our bow skills were not quite up to snuff, so we decided to do it in VR instead.

    Talk a bit about your previous experience developing for VR – like the hilarious hit experience Kittypocalypse – and how it influenced the direction of the Dick Wilde series

    Kittypocalypse was a labor of love for me, since tower defense is one of my pet peeves. Strategy games lend themselves to VR really well, because you can have an unprecedented overview of the battlefield, and at the same time see every little detail. We learned a lot from developing Kittypocalypse, and used those lessons learned to make the first Dick Wilde VERY fun.

    What new features and additions can fans of the first Dick Wilde look forward to with Dick Wilde 2?

    Dick Wilde 2 is on rails, meaning that you are sailing down a river with a changing scenery AND you get to do it with a friend or stranger with the cross platform co-op. The whole progression system is built from the ground up, and features unlockable keys, stars, weapons and hats. (hats are used as multiplayer bragging rights. You have to ace a level to get the level hat)

    The setting and tone of Dick Wilde is a humorous take on rural swamp life, featuring the wacky denizens of an undisclosed countryside, evoking images of the American South for some. Was this an intentional influence on the game’s universe or is the motif something more universal?

    It was very intentional, and inspired by the carp fishing mentioned above. We really like working with this narrative, and the lines almost write themselves.

    What motivated your team to return for another crack at the Dick Wilde series?

    We have quite a following on Dick Wilde 1, and many requests from the community about things they would like to see in a sequel. We had a good chat with our publisher, PlayStack, and decided to give the community everything they were longing for in Dick Wilde 2.

    Dick Wilde 2 features cross-play functionality over many VR headsets including Oculus Rift. Can you speak to how difficult this was to implement, and how important it was for you that players be able to play together regardless of hardware?

    It certainly came with it’s set of challenges, but we feel that VR really needs multiplayer sessions to work at any given time. We felt that we had a significantly better chance of finding the audience of everyone could contribute to filling the games.

    Were there any weapons/levels/game modes etc that you wanted to work into the series but had to leave on the cutting room floor?

    Yes. A lot of them. My biggest regret is that the drone strike launching pistol had to be cut due to only being fun on paper.

    Dick Wilde is a hilarious take on the genre. How important is humor to the projects you develop and how challenging do you feel it is to incorporate humor in satisfying ways in VR?

    We like to laugh, and we like games that don’t take themselves too seriously. We like to mix in crazy ideas alongside a strong focus on the core gameplay. Games should be fun in multiple ways, and pose a challenge to the player at the same time.

    How has player feedback helped shape your projects? Have you been surprised by any particular responses from players?

    Currently our projects exist in this middleground between the casual and hardcore games audiences. We were surprised to come to this realization and how people react to it. Many people like Dick Wilde 1 because it is hard, and many people found it frustrating for the same reason. Player feedback has shaped Dick Wilde 2 immensely. We have features in the game literally designed by the community from places like Reddit.

    Is 1800 Critters a real number? Dare I call it and summon a trigger happy bumpkin?

    Hilariously enough, it once belonged to an exterminator in the United States, but is now disconnected. We are trying to buy it.

    How many people helped make Dick Wilde 2 and how long was the development process?

    Development time was about a year in total, and our full team of 10 were on board throughout.

    What are your thoughts on the future of VR and AR and where do you hope to see the technology develop going forward?

    Oculus Quest and the Vive focus are the way forward. Cutting the wires out and bringing down the cost of entry will signal the next era of VR. We need generation two of the standalone headsets to run at GTX970 speed, and the it is TO THE MOON!

    What’s next for Bolverk Games?

    We have a ton of plans, but we’re not ready to announce them just yet. Stay tuned!

    That’s exciting to hear! Thanks for taking time to speak with us

    Dick Wilde 2 is now available on Viveport and via Viveport Subscription

    Website: LINK

  • A Look at VR in Medical and Nursing Student Training

    A Look at VR in Medical and Nursing Student Training

    Reading Time: 3 minutes

    AUTHOR: Steven Anbro

    Virtual reality has enormous potential for both current and future research applications in science and medicine. The social sciences in particular stand to benefit from using virtual reality technology to conduct more accurate research, better measure specific phenomena, and collect valid, reportable data—all common challenges in various disciplines in the field. We in the Behavior Analysis Program at the University of Nevada, Reno (UNR) put the technology to the test in a recent study. Read on for a look at our challenges, our simulation, and our findings.

    Effectively Tackling Medical Errors and Miscommunication

    In recent years, medical errors—primarily errors attributed to miscommunication among medical teams—have received increased attention. The call for specific research into them is ever-present. One proposed solution to communication errors among medical teams is to begin training medical and nursing students together, rather than separately.

    Through our graduate program’s ongoing partnership with the UNR School of Medicine and the Orvis School of Nursing, we are fortunate to have the opportunity to help orchestrate interprofessional trainings for these future medical providers. As psychologists, we are always asking ourselves, “Is this training/intervention/procedure/etc. effective?” By taking advantage of virtual reality technology in pre- and post-training assessments, we can begin to answer that question.

    The Simulation

    Using an Insta360 Pro camera, we filmed a short 360° video simulation where a simulated pregnant mother (a fully-functional “SimMom” birthing mannequin) is having an unexpected complication: a pre-eclamptic seizure. Her doctor and nurse then work together to address the complication, while also directly addressing the viewer.

    Figure 1. The simulation used in the current study.

    The students viewing this simulation played the role of a “recorder” – someone tasked with confirming and repeating back critical information (medications used; dosage). This simulation was filmed with a number of opportunities for recorders to respond, out loud, to what they saw and heard.

    Figure 2. A research assistant orients a medical student to what they are seeing in the VIVE headset.

    We had over 100 medical and nursing students view this simulation through VIVE prior to any training as a “pre-test”. We measured how often they responded to the simulation and whether their responses were correct, contained any errors or missing pieces of information, or if they simply did not respond at all. A subset of these students (20%) used VIVE headsets with built-in Tobii eye tracking sensors to track what they were looking at in the simulation, how quickly, how often, and for how long.

    Figure 3. Medical and nursing students gather for their interprofessional communication training.

    We then brought all 100+ students together for an interprofessional team communication training (TeamSTEPPS®), followed by another round in VIVE (their “post-test”) approximately one week later

    What Did We Find, and Where is This Going?
    After their training, students across the board increased the number of times they responded out loud to the simulation, with relatively few errors or missing pieces of information. Our initial analysis of those students using the eye tracking headsets shows some slight variation between pre-test and post-test.

    At this point we can’t conclude whether this variation is beneficial or detrimental—more research needs to be done in this area. For instance, we can assess how experts perform in these simulations and compare their performance to student performance. Do the experts look at everything relatively equally, or are there certain elements within a particular setting that are more important to focus on? Taking advantage of the simulation and measurement capabilities of virtual reality technology will allow many questions in this line of work to be answered and will undoubtedly reveal many future opportunities for research.

    Interesting in learning more about research at The University of Nevada, Reno School of Medicine? Please visit: https://med.unr.edu/odi/research

    Website: LINK

  • Breaking With Tradition: How adidas Improved Their Workflow With VR

    Breaking With Tradition: How adidas Improved Their Workflow With VR

    Reading Time: 3 minutes

    It begins in a place like this, but not like this. Above, a virtual simulation of the auditorium, generated by The Wild in VIVE VR.

    It starts off in an auditorium, much like the above. Teams trickle into forward-facing seats, homed in on a soon-to-be-occupied podium and stage with a projection looming overhead. On the periphery: a barrage of posters showcasing new product concepts and campaigns—all stories set to be told at specific times in the selling season. Attendees are expected to be familiar with each and every one of them, even beforehand.

    Then, the selling season begins in earnest…with a thirty-minute deluge of information. With a speaker and slide accompaniment, the meeting resembles more of a traditional lecture than a collaborative meeting. The goal for the product merchandisers, trade marketers, and salespeople in attendance? Absorb and digest everything you can so it can be relayed to teams, queueing up a series of hand-offs.

    There are questions: Okay, what are we trying to sell? What messages are we attempting to convey about the product? How does this all fit into the year-long, non-stop stream of content and products adidas puts into the marketplace? But really, this isn’t the place for questions—there are notes to be taken.

    Apparent and Unapparent Problems

    Needless to say, the process outlined above—a common and traditional one employed by many, many teams—was inefficient. Bringing key stakeholders together almost always sounds like a good idea in theory, but the reality for adidas couldn’t have been more different.

    Despite a concerted effort to work more collaboratively, their advanced analytics team found that their process was leading to siloed decisions and complications regarding cost overrun, inefficient workflow, and process. Crucial information from these sessions was lost and consequentially, it resulted in a full-stop issue: inadequate products being delivered to wholesale partners.
    A Possible Solution

    With their old process, adidas found that the inspiration and reason behind why a product was created wasn’t always making its way into retail experiences. The old process was looking beyond repair; it was time to try something else entirely.

    Their vision: a single space for collaboration; a place where someone, say, in marketing communications could grab assets from a virtual library for a specific product for the year; simultaneously, someone else in merchandising could do the same for products curated by the design/product development teams for the story attempting to be built. Then, together, they could see the culmination of their efforts in a lifelike setting and catch flaws before it’s too late.

    Less second- and third-hand information. Fewer hand-offs. Fewer chances for errors. Everything all in one place, available in real time. Not a bad vision.
     

    The Test Run

    The simulated retail space/playground for adidas’s design, merchandising, and communication teams.
    Working with The Wild’s innovative virtual collaboration software on VIVE VR systems, adidas created an immersive workshop—a testing ground of sorts for stakeholders with complete information just a few room-scaled steps away.

    Essential to this experience was a simulated retail space. This allowed for design, merchandising, and communication teams to see how their story would translate to the real world and function across a range of scenarios—a crucial phase that often came much later in the original process.

    With the ability to conduct work in one collaborative space and the ability to assess, change, and then reassess in 3Dwith no cost incurred beyond time spent—storytelling and product offerings came together far more quickly; the problem of information being lost in spatial translation now significantly reduced.

    Lessons Learned

    Adidas wasn’t afraid to look at a broken process and say we can do better. You can’t be if you know what’s at stake: if you miss the mark on product storytelling, you’ll miss the mark on customer experience and satisfaction. It will be a waste of resources for you and a disappointing experience for your customers.

    With VIVE VR and The Wild’s assistance, adidas now has a chance to fortify their informational loop, get projects right with minimized back-and-forth, and most importantly, uncover potential flaws well before it reaches the customer.  
     

    Read the original article over at The Wild: https://thewild.com/blog/virtualization-decisions-vr-ar-revolutionize-work

    Website: LINK

  • HTC VIVE Teams Up With Mozilla and AWS to Bring Dedicated Virtual Reality Web Browser to Market

    HTC VIVE Teams Up With Mozilla and AWS to Bring Dedicated Virtual Reality Web Browser to Market

    Reading Time: 3 minutes

    HTC VIVE™, the leader in room-scale Virtual Reality (VR), today announced a first of its kind collaboration with Mozilla’s Firefox, AWS’s Amazon Sumerian, and Fidelity Investments that will enable consumers to bring VR into their everyday life by providing an immersive web browsing experience in VR. Firefox Reality will become Vive’s native VR browser, providing a safe and private experience for users.

    To easily bring web content into VR, HTC Vive is also working with Amazon Web Services (AWS), whose Amazon Sumerian provides developers and companies toolsets to easily create and launch VR experiences. At CES, the first company to demonstrate on the new platform will be Fidelity Investments, which will enable consumers to review their portfolio in VR through a custom environment built for the new browser.

    “We’ve set out this year to bring everyday computing tasks into VR for the first time,” said Michael Almeraris, Vice President of Partnerships and Content, HTC VIVE. “Through the collaboration with Mozilla and Amazon Web Services, we’re closing the gap in XR computing, empowering Vive users to get more content in their headset, while enabling developers and businesses to quickly create content for these consumers.”

    Mozilla Firefox

    Today, VR web browsing is cumbersome and difficult to navigate. HTC Vive turned to Mozilla’s Firefox to reimagine what a VR Web experience could be. This partnership enables a truly optimized browsing experience in VR for quick and easy searches, access to their favorite websites in VR for shopping, researching, surfing, watching videos and more. Firefox will be the default internet browser for Vive, Vive Pro and the upcoming VIVE Cosmos.

    “We’re excited to work with Amazon and HTC to ensure that the web is the best way to experience 3D content from the internet on the best VR devices in the market,” said Sean White, Chief R&D Officer, Mozilla. “We are bringing Firefox Reality to this platform to ensure that users have a safe, fast, and private experience on the next generation of hardware.” 

    Amazon Sumerian

    As part of this relationship, HTC Vive is teaming up with Amazon Sumerian to bring true web VR to the market. Through this collaboration, HTC Vive developers will be able to create highly immersive, VR-optimized websites, without requiring specialized programming experience. Using Sumerian, developers can quickly concept, test and publish VR-optimized websites that are immediately available to internal testers, authenticated users, or for public use. In addition to VR sites, AWS and HTC plan to seamlessly integrate Sumerian with Viveport for publishing any VR experience to the platform, making them available to end users faster than previously possible.

    “Many industries are adopting XR technologies for a wide range of uses, including training simulations, virtual concierge services, enhanced online shopping experiences, virtual tours, and more,” said Kyle Roche, General Manager, Amazon Sumerian, AWS. “Until now, creating realistic XR experiences required developers to have specialized programming skills and learn unique specifications and deployment procedures, adding complexity to the process. Together with HTC and Mozilla, we’re making it easier for developers to more quickly build and distribute VR applications using nothing more than a browser and a URL.”

     

    Fidelity Investments

    To showcase the full potential of these collaborations, HTC Vive will host Fidelity Investments at their CES VR Showcase at the Wynn Hotel. The Fidelity Investments VR website prototype allows financial customers to immerse themselves in their investments via new data visualization tools and will allow for collaboration between users, such as a family member or a trusted advisor.

    “At Fidelity, we’re committed to helping people live better financial lives, so we were excited to explore the capabilities of these new technologies,” said Adam Schouela, vice president of Product Management at Fidelity’s Center for Applied Technology.  “The ability for an investor to collaborate with a family member or trusted advisor in a virtual environment opens up new possibilities for how consumers may interact with their finances in the future.”

    For press images and assets for all Vive CES News, please use this LINK.

    Website: LINK

  • HTC VIVE Evolves Premium VR Portfolio With New Hardware, Unlimited Software Subscription and Content Partnerships

    HTC VIVE Evolves Premium VR Portfolio With New Hardware, Unlimited Software Subscription and Content Partnerships

    Reading Time: 5 minutes

    HTC VIVE™, the leader in room-scale Virtual Reality (VR), today announced new hardware, software, and content offerings that redefine how VR is experienced. With VIVE Pro Eye, a new headset with built-in eye tracking, the high-end VR experience from VIVE Pro just got even better. In addition, VIVEPORT, HTC’s global app store for VR content, announced unlimited subscription access with Viveport Infinity so all the best content is available at any time. HTC also unveiled a developer kit for a future headset, VIVE COSMOS, created with a new level of accessibility and ease of use. Revealed alongside Cosmos, the ‘Vive Reality System’ reimagines what VR should look like in the age of spatial computing, with fresh ways to display content and transport users between immersive environments. These latest advancements in premium VR not only offer best-in-class technology and content but strive to redefine how VR is accessed and experienced for both consumers and enterprise.

    Vive Pro Eye

    Vive Pro, built to meet the needs of the professional VR user, just got even better with integrated eye tracking on the new Vive Pro Eye—giving users new levels of accessibility, including gaze-oriented menu navigation and removing the need for controllers. With the inclusion of eye tracking, the new Vive Pro Eye will allow businesses and developers to gather more data about their training environments, help optimize computer and VR performance, and offer product design and research groups unprecedented levels of feedback.

    Major League Baseball (MLB) debuted eye tracking on Vive Pro Eye at CES 2019. Eye tracking is integrated into the “MLB Home Run Derby VR” video game experience, allowing users full menu control without a traditional controller. Fans can experience the new Vive Pro Eye starting in 2019.

    “We’ve invested in VR technology to bring fans a fun immersive experience and connection to our game and deliver a new level of engagement through VR game competitions, at-home play and in-ballpark attractions,” said Jamie Leece, Senior Vice President, Games & VR, Major League Baseball. “By integrating eye tracking technology into Home Run Derby VR, we are able to transport this transformative baseball experience to any location without additional controllers needed. Our fans can simply operate menus by using their eyes.” 

    Vive Pro Eye is targeted at the enterprise market where eye tracking has a number of immediate benefits—from performance, to accessibility, to improvements in training applications. It will also benefit developers by minimizing computing resources needed to render high-end VR environments.

    The new Vive Pro Eye will launch in the second quarter of 2019.

    Viveport Infinity  

    Also announced today is the biggest upgrade to the Viveport subscription service to date. The first unlimited subscription service for VR, Viveport Infinity allows members to discover and explore hundreds of virtual destinations anytime with unrestricted access.

    “Today, we’re announcing our next step in Viveport’s evolution with Viveport Infinity,” said Rikard Steiber, President, Viveport. “When we first launched our Subscription service, we gave consumers the ability to try 5 titles a month. Now with Viveport Infinity, we’re offering our members the best value in VR content with 100x more choice, all at one low price.”

    Starting Vive Day, April 5, 2019, members can download and play any of the 500+ titles in the Viveport Infinity library with no restrictions. This unlimited subscription model will give members the opportunity to save thousands of dollars on top-quality content while allowing them to discover new experiences. With Viveport Infinity, members will be able to try hits from indie developers or shorter experiences they were reluctant to pay for while keeping their favorites like Seeking Dawn and Torn downloaded and ready to play. Members will be able access  Viveport Infinity across all current and future Vive devices as well as the Oculus Rift and other devices in the Wave Eco-system.

     

    VIVE Cosmos

    Unveiled for the first time today, Vive Cosmos is the newest VR headset from Vive, offering absolute comfort, and ease of set-up and use—ensuring consumers can access their virtual world whenever their life may call for it. With no external base stations required, Vive Cosmos maximizes flexibility of usage space, whether at home or on the go, and has the capability to be powered by more than a traditional gaming PC.

    “We found that over 85% of VR intenders believe that ease of use and set up is the most important factor to consider while purchasing a headset,” said Daniel O’Brien, GM, Americas, HTC Vive. “We believe Cosmos will make VR more easily accessible to those who may not have invested in VR before and also be a superior experience for VR enthusiasts.”

    With the introduction of Cosmos, HTC aims to redefine how VR is accessed by offering a headset that is quick to setup and use and can be taken on the go to new play environments. Cosmos will be the first Vive headset to feature the “Vive Reality System,” an entirely new design experience for VR.  

    HTC will first offer developer kits of Vive Cosmos in early 2019, and more details on availability and price will be announced later in the year.

     

    Vive Reality System

    HTC’s Creative Labs team also revealed Vive Reality System, a completely reimagined way for people to experience the virtual world—encompassing the total user experience from the moment a headset is put on to how content is interacted with.

    “Our philosophy has always been focused on developing great products and experiences that create a natural and effortless bridge from the real world to the virtual world and with Vive Reality System we set out to reimagine Vive’s core software experience to meet these needs,” said Drew Bamford, VP, Creative Labs, HTC Vive. “The tools and environments that make up Vive Reality System aim to make spatial computing accessible to everyone, wherever their journey into immersive worlds takes them. We want VR to feel less like launching apps and instead like stepping between worlds.”

    The Vive Reality System includes both operational and experiential elements impacting the entire Vive product portfolio and experienced first on the Vive Cosmos. As part of the project, Vive announced a deal with Mozilla to launch the first Vive-dedicated VR browser.

    The Vive Reality System will power experiences across the entire Vive product portfolio and will be available first on the Vive Cosmos released later this year. 

    For press images and assets for all Vive CES News, please visit the Vive online press kit.

    Website: LINK

  • Writing the (Hyper)book on arcade action with Regenesis Arcade

    Writing the (Hyper)book on arcade action with Regenesis Arcade

    Reading Time: 7 minutes

    The VDA award winning action shooter Regenesis Arcade – currently on sale 50% off during the Viveport holiday sale – is an electric experience. Blending immersive, fast paced gun combat with skill customization options, Regenesis gives players plenty of ways to change up their tactics as they wage war against an army of malevolent machines bent on our destruction. We talked to the developers at Hyperbook Studio to find out how the digital sausage was made for this essential Viveport experience.

    Interview by Nathan Ortega, Viveport

    [youtube https://www.youtube.com/watch?v=YwNrhD8yVhM?feature=oembed&wmode=opaque&w=730&h=411]

    For those unfamiliar, tell us a bit about yourself and Hyperbook Studio

    Hi, it’s Adrian Szymański – Project Manager and Maciek Karbownik – Game Designer from Hyperbook Studio. Our development story had begun in 2016, when Hyperbook Studio has been created to bring innovative software to gamers and industry professionals around the world using VR technology. Our team members are passionate Unreal Engine developers with high ambitions to create stunning and interesting VR experiences.

    Where did the idea behind Regenesis Arcade come from?

    At the beginning, Regenesis was supposed to be a simple game that we used to promote VR technology at many Hyperbook events. Watching how people react, new ideas started flooding our heads like what we should to add or improve to deliver much more fun. We even had an extensive script with a long adventure story which would probably take some years and funds to make our dreams come true. Of course we chose the best elements and created the pure explosive VR shooter experience which you can play now.

    What would you say were your biggest inspirations when developing the game (world/art style/gameplay etc)?

    Each of us tried to add our personal favorites to the mix, but we certainly were all ultimately inspired by the most critically acclaimed first person games of the era – namely the Portal series, Half-Life 2 (hence the gravity gun in our game) and Doom 2016. When it came to art, we focused on working effectively and not over scoping with something that might break the convention of futuristic wave-based combat. The concept of evil AI-controlled drone came as an easy way to create a versatile archetype of an antagonist, which can have many visual and functional variations.

    Was Regenesis Arcade always intended to be a fast-paced and exciting arcade style experience, or did that direction evolve over the course of development?

    We went through the typical road of limiting the scope throughout the way, in our case from a story-driven puzzle shooter to the frantic trigger-happy madness we have right now. It wasn’t redundant to start with this different, narrative approach, since the background we created this way allowed us to capture a big picture of what can be possible in the future and put small details hidden beyond the obvious layer of a typical shooter experience. Why are levels arranged this way? What is the beam of red light on a Wasteland map? Why do we come back to the first location in the last episode? Where are all the other people? We know answers to those questions, and you may find out in the future.

    Were there any weapons/enemies/etc that you wanted to incorporate into Regenesis Arcade but for whatever reason just couldn’t find a place for?

    Our weapon we really wanted to work into Regenesis was a flame thrower. However, adding fire elements to the game creates a challenge in consistency – you should be able to set grass and trees on fire, which we’d prefer to avoid, since it will be a tough one to balance and optimize. The massive weapons pack came with one of the most recent updates, so we already had our maps and general environmental design in place. Also, we’d have to take some time to make sure it looks good and also doesn’t kill your PC. Another argument against it was the fact that we already have three general weapon categories and one for the gravity gun, each with a special set of perks. So if we add flamethrower, which doesn’t really fit into the current weapon types, we’d have to create a new one, with a bunch of new perks, which means lots of work for the whole team. It’s certainly possible, but wasn’t the best thing to do when you have lots of other critical development tasks at hand.

    What were some of the biggest challenges you encountered when developing Regenesis Arcade?

    Definitively the typical VR oriented development challenges. Not necessarily the technical obstacles and performance issues, but designing to optimize being on VR can be tough. Most of the similar games on the market are really safe – you don’t move around, don’t progress your character, there’s a very limited amount of enemies on the screen. But we went crazy with Regenesis: you can teleport or run around, there’s a shop where you can buy ammo, switch weapons and unlock perk upgrades, there’s 10-20 enemies on the screen all the time, behind you, above and under your feet. This game gets really tough because we made it looking for a level of challenge we would want to see in the genre. It’s absolutely merciless and I consider it one of the most hardcore VR titles on the market, which we are very proud of.

    Were there any surprises revealed through observing player behavior and getting fan feedback upon release? Any elements that people particularly responded to that you didn’t predict?

    We underestimated some of the elements in terms of their importance to players. For example, there are many VR games where you don’t move at all or just teleport. The movement wasn’t a focus in the early stage, so we thought this should be enough and players will focus on the shooting, treating this just as a way to dodge bullets, which we considered a must-have in this type of game. But most of people said it felt like a ‘cheat-y’ way to play a shooter – just to teleport around, they wanted the free movement. Our thought was there’s no way they could get too far with ‘cheat-y’ teleporting, ironically, because the game is even harder later on and you want to use every way you can to make it more managable for yourself, and jumping around is surely one of those ways. So then we added the free movement and tweaked it a bit, just for those few hardcore players who wanted to have the freedom that was already present in most popular VR games on the market at the moment: Fallout 4 VR and Doom VFR. Suddenly it opened a completely different way to play a game – right now we have two completely different experiences because of that. You might say that playing in one of those modes is ‘cheat-y’, but the thing is – which one? Each has it’s pros and cons and it’s up to you to pick your preference. Also, some people might have motion sickness issues, so for the teleportation will be the best option to play. We wanted our game to be hard, but also inclusive and accessible. So this movement mode selection was the most unexpected but also most exciting change we’ve made so far.

    [youtube https://www.youtube.com/watch?v=CLykBsnhdlw?feature=oembed&wmode=opaque&w=730&h=411]

    How many people were on the team during the development, and how long did it take to make?

    Our core team was 6 persons but in peak time there was involved around 15 people. Development time took about 12 months of hard work.

    What do you ultimately want players to take away from their time with Regenesis Arcade?

    We want them to escape from reality for some time and play one of the most engaging shooter experiences there is. Most of our team are avid FPS gamers, so we tweaked and balanced the game thinking about having a really good time killing drones and figuring out new strategies to do it more effectively. Just don’t get too serious about it, it’s all about having fun.

    What’s next on the horizon for Hyperbook Studio?

    We’re working on our next project called Hyper Arena VR is under development since 2017 and it’s in working alpha phase now. In HAVR we aim at creating the world’s first fully immersive active multiplayer PvP game with full body reproduction inside Virtual Reality playground. H.A.VR incorporates variety of different types of discs and power-ups available at player’s disposal. It could be also great workout for the body. You can watch promo trailers from HAVR on our website and YouTube channel.

    Awesome to hear! We’ll definitely be keeping an eye on it as you and the team continue development. Thank you for chatting with us!

    Regenesis Arcade is on sale now on Viveport 50% off during the Viveport holiday event, as well as available via Viveport Subscription

    Website: LINK

  • Closing the loop with the mind-bending experience A Fisherman’s Tale

    Closing the loop with the mind-bending experience A Fisherman’s Tale

    Reading Time: 5 minutes

    In the topsy-turvy VR adventure A Fisherman’s Tale – coming to Viveport January 22nd – you’ll go on a mind-bending adventure that will challenge your perceptions on your journey to discover the truth behind the surreal M.C. Escher-like scenario you find yourself in. We sat down to speak with the development team to hear what went into this clever and challenging experience.

    Interview by Nathan Ortega, Viveport Staff

    [youtube https://www.youtube.com/watch?v=11Ha3StVNDU?feature=oembed&wmode=opaque&w=730&h=411]

    Tell us a bit about yourself and the team at Innerspace VR

    Innerspace VR is an independent studio based in Paris, with one foot in the US. We have been working in VR for a long time now, some in the team since even before VR’s revival! Our DNA is both narrative and artistic, however we’ve always followed closely where gaming in VR was headed. After a few narrative experiences and awards which cemented the reputation of the studio among early VR adopters, we decided to step into VR gaming – while remaining true to our DNA.

    Talk a bit about your previous experience developing content for VR and how it informed the direction of A Fisherman’s Tale

    One of our mottos is that if VR cannot bring something significantly transformative to whatever it is that we are building, be it a gaming or narrative experience, then we need to rethink our approach. In the case of A Fisherman’s Tale, we believe the gameplay and the Russian dolls principle which are central to the game would simply not be as exciting outside of VR. We’re convinced that anyone who dons a headset and picks up the controllers will immediately recognize the world we are putting them in is not only unique, but particularly satisfying in VR.

    The gameplay is far from being the only key ingredient in A Fisherman’s Tale. Staying true to our DNA, we decided our game would be heavily narrative focused and we’re absolutely certain it makes A Fisherman’s Tale a very unique creation both in the VR space, and even in the gaming space in general.

    What were some of the biggest inspirations on the design of A Fisherman’s Tale?

    There are so many! We should mention mind-bending puzzle games such as the great Portal and sandbox games like Owlchemy Labs’ Job Simulator. In terms of narration, “The Little Prince” and “Alice in Wonderland” were great inspirations. The visual style, purposefully a bit “cartoonish”, is quite unique in our minds, as we use it to give players the feeling of being in colorful and warm painting. In terms of music, we were lucky enough to work with the extremely talented Norman Bambi, and the quirkiness you can hear in his work is still present in the game.

    Were there any concepts, sequences or ideas that you wanted to work into A Fisherman’s Tale but just couldn’t find a way to make it fit?

    Absolutely! All the sidekicks probably have some very interesting stories to tell, and maybe a whole world of their own. We would have loved to explore those. Maybe someday!

    What have been some of the biggest challenges in developing A Fisherman’s Tale?

    In terms of gameplay, getting players to immediately grasp the gist of the recursion was a challenge. We really want people who play the game for the first time to be amazed by the sheer scale and dimensionality of the world we’re putting them into. So we put a lot of care into taking the players by the hand from the very first minutes of the game until the big reveal.

    Also, since the game is so narrative-focused, while having a sort of sandbox aspect to it, we worked hard on balancing the moments when the player needs to pay attention to the storyline and the moments when they should focus on the puzzles. It’s very tricky, because everyone looks for something different in these games: some want to focus on the storyline, while others are in it for the puzzles and challenges. We do not want to force the players too much, so it’s all about nudging them into paying attention to what we think they should be paying attention to.

    Lastly, the game is optimized like crazy! All these recursions and visual effects require a lot of computing power, however we wanted the game to be widely available even on modest configurations.

    A Fisherman’s Tale has been demoed at events like Indiecade and Film Gate, having earned accolades at both. Was there any particular feedback that surprised you?

    Newcomers and VR veterans alike seem to recognize how different the game is, and how “fresh” it feels in the overall VR landscape. What is very exciting to us is that people who are not necessarily big fans of VR seem to enjoy the game a lot still. As big VR believers ourselves, we hope that with A Fisherman’s Tale we’re helping make the medium become a little more mainstream — so this is the kind of feedback we’re very proud of.

    How many people were on the team throughout the development process? How long did it take to make?

    The very first “recursion” prototype dates back to early 2016, so with the game launching on January 22nd, it has taken us 3 years from the first concept until the final game – but really we’re closer to 10 months of full production time. Over the whole production, about 30 people have been involved at various stages, some working on the POC, some on the last minute optimizations – all great and passionate people.

    What do you ultimately want players to take away from their time with A Fisherman’s Tale?

    We hope they enjoy the storyline, appreciate the universe we’ve built and the care we put into it. Besides the fun, we wanted to bring something meaningful and poetic to this experience. What does it mean to be inside a replica, in a VR illusive world? That’s why A Fisherman’s Tale is a story about breaking from illusions to find truth. But most importantly we hope players will come to recognize VR as a really powerful way to make experiences like nowhere else.

    What’s next for Innerspace?

    We have a few other exciting projects in development – but there isn’t much we can share about those at this point!

    With A Fisherman’s Tale just now releasing, it’s totally understandable. Thanks for speaking to us, we can’t wait to see what you have coming next!

    A Fisherman’s Tale arrives on Viveport January 22nd, 2019.

    Website: LINK

  • Huge yuletide savings during the Viveport Holiday Sale

    Huge yuletide savings during the Viveport Holiday Sale

    Reading Time: < 1 minute

    Huge savings on Viveport apps and games, as well as deep discounts on Viveport Subscription bundles!

    The holidays are upon us, which means it’s the perfect time to stock up on a plethora of immersive VR experiences on Viveport. To celebrate the season, starting today we’re rolling out a huge sale on a variety of apps and games, with discounts up to 95% on over 200 VIVE and Oculus Rift compatible titles!

    On top of that, get an extra 10% off your purchase upon checkout, with Viveport Subscription members saving up to an additional 40% off! (Details can be found here.)

    As if that’s not exciting enough, we’ll have new deals and discounts rolling out on the 19th, featuring some amazing discounts on Viveport Subscription bundles and even bonus game codes! Check back December 19th at 8PM Pacific for more details.

    Whether you’re a veteran Vive user or an Oculus Rifter new to Vive and Viveport, now is the perfect time to explore all the awesome experiences on tap via Vive and Vivport Subscription this holiday season!


    Website: LINK

  • Race Around the World with Nellie Bly: The Virtual Reality Experience

    Race Around the World with Nellie Bly: The Virtual Reality Experience

    Reading Time: 2 minutes

    Nellie Bly, the pen name of Elizabeth Cochran, had an impressive resume, to say the least. Known for her pioneering journalism, Bly became famous for her support of women’s rights, undercover exposés and her world travels. Defying the status quo and challenging conventions, Bly became one of the most famous woman journalists of her time and founded the practice of investigative journalism with her hands-on approach to stories. Now, you can learn about her journey with Nellie Bly: The Virtual Reality Experience on Viveport.

    Developed in partnership with Vive Studios, the Newseum, and Immersion, Nellie Bly: The Virtual Reality Experience is an interactive journey following the inspiring historical figure as she takes her record-breaking trip around the world. Bly’s career as a journalist skyrocketed when she reported on her travels and attempted to break the fictitious record set in Jules Verne’s adventure novel, Around the World in Eighty Days. In this new immersive experience, you’ll join Nellie Bly as she sets off on November 14, 1889, and travels the world in record speed by any vehicle (or donkey) necessary.

    Nellie Bly: The Virtual Reality Experience is the third installment from Vive Studios’ partnership with the Newseum. Located in Washington, D.C., the Newseum’s mission is to increase public understanding of the importance of a free press and First Amendment rights. Along with the Nellie Bly experience, Newseum has also showcased VR experiences that educate audiences about the Unabomber investigation and the historical Berlin Wall in partnership with Vive Studios.

    Download Nellie Bly: The Virtual Reality Experience on Viveport today during the Winter Sale for a discounted price of $4.49.


    Website: LINK

  • Finding your way in the enchanting Arca’s Path

    Finding your way in the enchanting Arca’s Path

    Reading Time: 4 minutes

    VR is a powerful step forward for technology to allow for immersive new experiences in bold new virtual worlds, reaching new audiences and breaking down barriers for interactivity. The team at Dream Reality Interactive believes that there are further opportunities to create engaging, artful experiences that can connect with players in increasingly intuitive and approachable ways. We sat down to speak with them on how this philosophy shaped the atmospheric hands-free VR title Arca’s Path – out now on Viveport.

    Interview by Nathan Ortega, Viveport

    [youtube https://www.youtube.com/watch?v=j1eb9crf7-4?feature=oembed&wmode=opaque&w=730&h=411]

    Tell us a bit about yourself and the team at Rebellion

    Delainey: My name is Delainey Ackerman and I worked as a Technical Artist at DRI on Arca’s Path VR. Essentially that means bridging the gap between artist’s creativity and programmer’s problem solving to bring a cohesive and visually stunning experience to players.

    Chris: I’m Chris Murray, the sound designer on Arca’s Path VR. I was responsible for creating all the sound effects and implementing Raffertie’s score into the game.

    Talk a bit about your previous experience developing content for VR and how it informed your vision for Arca’s Path

    Delainey: Previously I was the Technical Artist for Hold the World – a Factory 42 production for Sky – a VR experience with David Attenborough set in London’s Natural History Museum. As a photorealistic experience, Hold the World provided integral experience in lighting, graphics, and designing VR spaces that fully immerse a player within a generated experience.

    Chris: I also worked on Hold The World – a Factory 42 production for Sky – as Quality Assurance Lead and Technical Sound Designer, testing the entire experience as well as implementing many of the sfx.

    What were some of the biggest inspirations to the creative direction of Arca’s Path?

    Delainey: Arca’s Path was influenced by science fiction and classical fairy-tale narratives including Wizard of Oz and Hansel and Gretel. The art direction was heavily inspired by the vaporwave movement, incorporating bold colour palettes with glitching of VHS degradation. These inspirations helped us to create two worlds; a lowlife, high tech scrapheap where the protagonist finds a futuristic headset and the wondrous, lush simulation to which she is transported.

    What are the greater themes of Arca’s Path and how do these themes factor into the gameplay?

    Delainey: Arca’s Path revolves around the contrast of reality and simulation, becoming infatuated with utopia and trapped within its inviting clutches.

    Arca’s Path is a hands-free experience, allowing players to explore dreamlike environments and interact with things merely by looking.

    Was this mode of play – and accessibility in general – always the focus or did this approach evolve over the course of development?

    Delainey: The original brief was to design a game that could run on any VR headset. Platforms vary widely in technical capabilities and performance (controller buttons, motion tracking, CPU/GPU power etc.) yet the common thread across all VR headsets is the ability to look anywhere in 3 dimensional space. This inspired the core mechanic of moving through a world through a player’s gaze.

    This pillar wove in nicely with the narrative of Arca’s Path VR where the protagonist girl enters a simulation and the player feels as though they’re guiding her through the enchanting environments with nothing but the power of their mind.

    Were there any concepts, sequences or ideas that you wanted to work into Arca’s Path but just couldn’t find a way to make it fit?

    Delainey: With any creative project you start with myriad ideas and possibilities. As the realities of production become apparent this focuses the creative process into bringing the best of these ideas to fruition.

    What have been some of the biggest challenges in developing Arca’s Path?

    Delainey: To convey narrative without any written or spoken dialogue we relied heavily on the amazing soundtrack from Raffertie. Throughout the game the music guides the player through a journey of technical challenges and emotions.

    Chris: The sound effects were created with the aim of emphasising the language of the score at every turn while also referencing the girl’s real world outside the simulation, much like nearby sounds enter our dreams while we sleep.

    How many people were on the team throughout the development process? How long did it take to make?

    Delainey: The development team averaged 8-10 people working over 10 months. The dev team at DRI was also supported by Rebellion helping to achieve quality and maintain performance across multiple VR platforms.

    What do you ultimately want players to take away from their time with Arca’s Path?

    Delainey: Arca’s Path offers an escape from reality, both for the player and the protagonist. Hopefully the audio and visuals of the girl’s scrapheap and simulated world provide the player with the same emotional journey the protagonist experiences as she fights first to escape her bleak reality and then to regain her freedom.

    From the early reviews and video coverage from video content makers, I think it’s safe to say you nailed it! Thank you for taking the time to chat with us.

    Arcas’ Path VR is available now on Viveport with a 10% launch discount

    Website: LINK

  • Processing loss with the award-winning Vestige

    Processing loss with the award-winning Vestige

    Reading Time: 10 minutes

    Letting go of a loved one is one of the most challenging things a person will do. The development team at NSC Creative sought to create a raw, emotional VR experience that captured the torrent of feelings that goes along with the grieving process. We sat down with them to hear what went into this critically-acclaimed journey.

    Interview by Nathan Ortega, Viveport

    [youtube https://www.youtube.com/watch?v=dt0_-iBlkAA?feature=oembed&wmode=opaque&w=730&h=411]

    Tell us a bit about yourself and the team

    I’m Aaron Bradbury, director on Vestige. For the past 10 years I’ve been working at NSC Creative, which is based at the National Space Centre in the UK. Between what I do there and my personal projects I’ve worked on many different flavors of immersive media. My background is in the arts, and traditional image and film making and these sensibilities are the leading factors in how I approach ideas.

    For Vestige, I was able to bring one of my personal projects to the NSC Creative studio and work with the amazing team there to develop ideas and techniques as well as actually bring the project to life.

    We also got some external talent involved in the project; from the very start I worked with my brother on the programming and development side. He developed a set of tools called the ‘interactive narrative toolkit’ to help create VR specific interactions using gaze and proximity variables from the viewer to control the experience. Another key collaborator was Robbie Newman from Snug Recording. I’ve worked with Robbie on several projects before with demanding audio interactivity and spatial requirements. For Vestige he developed some new techniques regarding the flow of music within a temporally variable experience but also I think he’s really pushed the capabilities of audio as a tool to compose the viewer and curate movement within the experience.

    Vestige is an incredibly personal experience dealing with the loss of a loved one, drawing deep inspiration from a real person’s tragic loss of their partner. Tell us what it was like to collaborate with someone processing such a loss in order to bring that raw experience to VR.

    Initially Vestige was to be a fictional piece about the memory of lost love. It was during my presentation at DevLab in 2016 that I talked about the challenges of telling this story without having experienced death this closely. It was then Jill Basmajian from Kaleidoscope who put me in touch with her friend Lisa. She said “you need someone to talk to you, and Lisa needs someone to talk to.” So at first we spoke without any idea the recordings would end up being in the final piece. It wasn’t long before I felt the power of Lisa’s testimony and realized that Vestige should be her story.

    During the year of regular interviews with Lisa, I witnessed her transformation through grief. Our first interviews took place only a few months after her husband Erik passed away. She often spoke of the ‘black abyss’, where she was trapped in cyclic memories of Erik’s death. Memories that were triggered by anything that was even slightly connected to Erik; Christmas, birthdays, skiing, the sofa, the salad bar. In the most recent interviews, she talked about some of the positive changes in her life brought about from the grieving process. She takes opportunities to experience new things, she’s trying to live in the moment, trying to define new meaning in her life.

    For Lisa, the Vestige interviews have been a big part of the grieving process. On some occasions we spoke over 3 hours, giving time to cry, to laugh, and occasionally drink wine. Being able to talk openly about all aspects of her grief has helped her navigate her memories and rebuild them from a different perspective. In her words, “It will have lasting resonance”.

    From my perspective, I loved speaking with Lisa. It was a very powerful part of my life, a special and privileged time when I got to hear something people usually keep inside. I battled with my own social barriers too, constantly rethinking how I word questions to make sure I’m not being disrespectful in any way… Something Lisa was acutely aware of and commented on how British it was. Eventually, I was able to talk more frankly about grief with Lisa and now we’ve become good friends.

    Talk a bit about your previous experience developing VR projects and how they helped inform the direction of Vestige

    I learnt some crucial lessons from my previous VR film LoVR. I experimented with immersion as a narrative tool. Reducing down the environment in order to maintain focus on the important story points but also broadening the environment to induce sensations that reflect the story. There’s an ‘explosive’ moment in LoVR when the two characters first look into each other’s eyes. Just before that moment, the environment is reduced to a single thin line moving through the blackness of space, so the explosion of color when paired with the camera movement feels disorientating and overwhelming and reflects meaning in the narrative. In Vestige, a similar technique is used for the moment of Erik’s death. He metaphorically explodes into fragments surrounding the viewer, followed by a barrage of memories spatially positioned to engulf the viewer. The result is emotionally overwhelming and the experience becomes part of the narrative.

    Were there any concepts, sequences or ideas that you wanted to work into Vestige but just couldn’t find a way to make it fit?

    We had to drop a number of sequences and ideas due to time and budget constraints. The complexities involved in creating a multi-narrative experience mean that each additional branch comes with a large amount of work to figure out all the possible permutations, shoot multiple stories, implement the triggers and then test these within the experience, which means you have to test each incoming and outgoing branch for each story node.

    One story we dropped right at the end was about how everything in their apartment had a story, and everything triggered memories of their time together. I really loved this scene. It also offered the opportunity to include triggers for additional storylets when a viewer approached specific objects in the scene.

    There was a beautiful story about some ceramic gifts Erik bought for Lisa even though he didn’t like them initially. I actually shot Lisa telling this story in the apartment in Utah during Sundance and it would have been great to get Lisa in the experience. In the end, this was dropped simply for being too long and I just couldn’t quite get it down without losing the intent.

    A reactive idea we dropped was an idea to add hospital elements to the scene every time you turned away from a scene. So as you looked back at memories, each time they would become more cluttered with the memory of the hospital. This was something that came out of the early  interviews with Lisa when most of her memories gravitated towards the memory of the hospital.

    We dropped an idea to have the barrage of memories triggered from each shard as you looked around at the end of the experience. I still think this would be a very powerful experience and one which would leave you wanting to go back through to hear more.

    What have been some of the biggest challenges in developing an emotionally engaging VR experience like Vestige?

    One of the biggest challenges was actually raising enough budget to realize the vision of the project. Many funders said it was too sad and they didn’t understand the ambition we had for it to be a transformative experience that would bring new audiences to VR. The prototype we demoed at the Kaleidoscope Development Showcase during SXSW 2017 was a massive turning point. We met Atlas V who became our first co-producer and brought in funding from the amazing CNC in France. Then the awesome folks at RYOT joined the team and Other Set acquired the distribution rights just before Tribeca.

    Outside of funding, our technical director is a sensitive soul and was unable to watch through the experience without getting emotional which was a challenge when he had to test it for the 100th time.

    Speak a bit about your thoughts regarding the roll VR has in the interactive art scene and what developments you hope to see in the future

    Having worked on many flavors of interactive art over the years, a thing I find really enticing about VR is the ability to gather detailed information about the viewer that can influence the story without any conscious intervention. The way people move can be very revealing and this could be used to tell a story specific to that person. So at its most basic, if the viewer doesn’t move much, you could deliver a story that doesn’t require much movement, but what would it mean if you were to try and make them move? This feels bundled with ethical debates but I think this will be an interesting area of exploration.

    I hope to see some toolsets being developed to make it easier for artists to add basic functionality to a project to speed up experimentation and exploration. Things like nodal branching or multi user functionality.

    I think wireless headsets and alternative physical interactive devices will be key for location based art in the future. The controls give a very specific tactile experience, which I felt wasn’t appropriate for Vestige but I could see physical elements being used to influence and augment experiences within VR really effectively.

    How many people are on your team and how long has it taken to develop Vestige?

    Vestige as an idea appeared in a sketchbook from around 2012 but it really began its life at DevLab in November 2016. From that it took a year to secure the funding and complete the pre-production and prototype. It was then a swift 5 weeks of intense production including the volumetric live action shoot and development to get it ready for its world premiere at Tribeca Film Festival. After that we spent an additional 3 months on refining the experience and finalizing the public release for 360 video, fulldome and roomscale 6DOF VR.

    The main production team on Vestige consisted of myself and five talented humans: Duane Bradbury, Jo Dyer, Stephen Long, Robbie Newman and Neil Smith. The shoot had a very small crew of five and two actors. The producers Paul Mowbray, Antoine Cayrol and Jill Basmajian kept everything on track along with lots of support from other folks across the co-production companies and distributors Other Set. It’s also essential to give a shout out to the DepthKit crew, without their amazing tool set that democratizes volumetric capture we would have not have been able to create this project.

    Vestige was exhibited at Tribeca Film Festival this year. Tell us a bit about that experience and how that has differed from previous projects you’ve exhibited.

    Tribeca was different to any previous exhibitions or festivals I have exhibited work at. There’s a huge media presence, so most mornings consist of press interviews and trying to make sense after spending every hour leading up to the opening working on the project and not sleeping. There’s celebrities consistently floating through surrounded by the buzz of celebrity attraction. There are free drinks… and free Nutella crepes. Seriously, free Nutella crepes.

    Tribeca knows how to party!

    For the actual installation we created a “fragmented memory landscape” which involved a bespoke domed structure featuring a physical manifestation of the shards used in the story overlaid with projection mapped visuals. Another layer was added where people could leave their own message about a lost loved one in a phone booth. This acted as a decompression area for those that were particularly moved by the experience. This testimony was then played to other festival goers via telephones hanging from the structure to create a unique snapshot of people’s responses to the piece at a given time and location.

    Did you get any feedback from users that surprised you?

    Something I find fascinating is people’s inability to remember the branching narrative stories immediately after the experience. I find it really useful to talk to people when they come out of the experience. After realizing that someone couldn’t remember seeing a specific item until I prompted them, I started asking other people and getting similar responses. The reason this fascinates me is because of the first interview with Lisa. We’re talking about why she’s decided to talk to me and she says it’s because she feels like she’s losing Erik and wants someone to help lead her back to her memories of him. I thought about this statement a lot. Trying to understand how you can still feel like you’re losing someone, even after their death? As time went on and Lisa was able to remember more moments with Erik I felt the reason she was unable to remember Erik in the months following his death was because of the traumatic memory of his death. This was a polarizing thought with gravity so strong that she was unable to remember anything beyond it. So just like Lisa, when people leave Vestige, their memories are fixated on the singular moment of Eriks death.

    What do you ultimately want users to take away from their time with Vestige?

    Death is a hard subject to talk about. We shield ourselves from it and avoid the discussion. But when this happens, the shields become barriers, trapping our emotions and making it hard to escape the grief it causes. I hope that Lisa’s story in Vestige will create conversation. Death and grief touches everyone at some point and it’s important to understand the effect it can have. I hope the project will also offer some light to those trapped in the black abyss, that grief can be seen as not just a state of being but a transition that can have a positive transformational effect.

    What’s next for you and the team? Can we expect to see more emotionally engaging VR experiences from you on the horizon?

    Yes. We’re currently working on a new project which can only be described as an existential nightmare. The idea is in the early stages and still very fluid, but it’s borrowing a number of techniques we developed for Vestige and building on top of them in interesting ways. Even the early sketches we’ve been putting together are incredibly unsettling and provoking.

    Sounds intense! We can’t wait to see and hear more. Thank you for speaking to us!

    Vestige VR is out now on Viveport and via Viveport Subscription

    Website: LINK

  • How VR can help in the fight to prevent human trafficking

    How VR can help in the fight to prevent human trafficking

    Reading Time: 11 minutes

    Much has been said about the potential for virtual reality to be an ‘empathy machine’, to grant understanding of situations and emotions that might be hard to realize in other mediums. The non-profit Prevent Human Trafficking is using 360 videos and VR to help people understand the very real problem of human trafficking today.

    We spoke to Chris Kiritz, founder of Prevent Human Trafficking, about her organization’s mission and how VR will help to accomplish it.

    Let’s start by talking about your background, your professional path and the founding of Prevent Human Trafficking.

    My professional path really began with my upbringing in South and Southeast Asia, where I was born and raised in a cult in the region. I encountered exploited children daily and it instilled a strong desire in me to prevent human suffering.

    Chris Kiritz

    Chris Kiritz of Prevent Human Trafficking

    As well as being passionate about social justice, I am a futurist and tech enthusiast. In 2000, using a grant from the Rockefeller Foundation, I bought a Sony Handycam and took it to Thailand to capture and document the work of inspiring people involved in anti-trafficking and social entrepreneurship (for example Mechai Viravaidya, most well known as the ‘Condom King’ for his innovative work in family planning – more info on him here). I used that footage to spread awareness and raise funding for his lifesaving work, including revolutionizing the educational system in Thailand (check out his inspiring Foundation.) Here is one of the 360 videos we did of his work, that is now viewable in VR.

    I founded Prevent Human Trafficking in 1999 to address this heinous phenomenon. Since then, I have helped individuals, organizations and government agencies tackle the root causes of human trafficking such as lack of education and economic opportunities. My expertise has also contributed to policy and legislative change, including passage of the original Trafficking Victims Protection Act (TVPA) of 2000 (here’s a PDF of the law).

    I’ve also taken hundreds of students and young professionals on annual anti-trafficking study tours to Thailand. This is part of our mission to train the next generation of anti-trafficking leaders and enables them to learn about the issues first hand from some of the pioneers of the global movement, (many of whom are our partners) who risk their lives daily on the front lines to prevent human trafficking.

    Almost 20 years after you founded the non-profit, how does technology – and specifically VR – help your mission today?

    We’ve come a long way since that Sony Handycam! I’ve always been a tech enthusiast, and I’ve ensured Prevent Human Trafficking is at the forefront of using #techforgood since our founding. Technology helps us spread our message, reach new audiences and raise new funding to prevent human trafficking and human suffering. We’ve embraced VR as the most recent and effective vehicle to deliver these powerful stories and, we hope, ultimately change part of the world.

    What brought you to using 360 video as a starting point?

    I’ve always wanted to bring people into close contact with vulnerable populations because I believe that when people make personal connections, they tend to care about and help them, and that’s key! It’s part of why I run the anti-trafficking study tours. Even in the 1990s I wished there was technology available that could somehow make this happen.

    Fast forward to 2010, and I was lucky enough to be accepted into the incredible Interactive Telecommunications Program (ITP) Master’s program at NYU. This was where I found my ‘tribe’ of likeminded people determined to use the magic and power of technology to create positive social change in countless ways. I was inspired by the program’s founder (and lucky me, my Thesis advisor), the legendary Red Burns to do all the things I’d been dreaming of. I went full steam ahead and developed R3 there, which has been adapted and used in Thailand to prevent human trafficking! A good friend and classmate, Jackson Snellings, told me about Samsung’s first 360 camera when it first came out. It was only available in Korea at the time but that didn’t deter me – I bought one and learned how to use it with the help of a couple of dedicated interns. The rest, as they say, is history!

    Beyond 360 video, was there a point where you became convinced VR was your path forward?

    I’ve attended the SXSW festival for a long time, and have studied people’s reactions to various storytelling mediums, trying to look at how they can be used for awareness of non-profit causes. When I first saw VR content by Chris Milk and others, such as Nothing But Nets (raising awareness of malaria) I was struck by how empowering and impactful it was, on a visceral level. I found I couldn’t “unsee” the content. It also showed common sense solutions that people like me could immediately relate to, and made me feel I could jump in to help in my own small way. What was exciting was that I could anticipate other people reacting similarly, and I have been thrilled to watch this happen with our own original 360 videos and now VR content with the help of a brilliant developer who wishes to remain anonymous.

    I was inspired to pioneer the use of this sort of content in the anti-trafficking field, and to tell the empowering, inspiring stories of the children in the care of our partner organizations in Thailand as soon as possible.

    "Setting up my fave headset to date, the magical, super portable standalone, Vive Focus Dev Kit to demo our original content at a conference this year." - Chris Kiritz. Photo credit: Zohar Rom

    “Setting up my fave headset to date, the magical, super portable standalone, Vive Focus Dev Kit to demo our original content at a conference this year.” – Chris Kiritz. Photo credit: Zohar Rom

    I am now convinced from personal experience and from demoing to more than 500 people this year alone that it VR is the best delivery platform for advocates of any issue that they care deeply about. It reaches people on a level not before experienced. It truly leaves a lasting impression that motivates people to want to get involved in being part of the solution!

    What did you hope to achieve with 360 video, and now hope to achieve using VR?

    Human trafficking is a complex problem that many people find difficult to understand or identify with on a personal level. People may have a rudimentary understanding of the problem, but they wonder, what does it mean? Why does it happen? Who are trafficking victims? How can it be prevented?

    We aim to make this impersonal issue a personal one by telling stories to educate and advocate for our mission. We exist to make the invisible visible – and unforgettable – so much so that it spurs people to action! That is the true magic of VR!

    When we manage to make this faceless problem a reality for people via 360 video or VR, we are able to effectively demonstrate how everyone can be a part of the solution, whether that means raising funds for shelters and schools, or scholarships, micro credit loans, or creating VR experiences to raise awareness of Slavery at Sea, etc. These are real solutions to real problems that can act as a deterrent, and actually keep populations at highest risk of trafficking safe, and prevent human suffering.

    Child working as a 'waste picker' in Stung Meanchey, the largest garbage dump in Phnom Penh, Cambodia.

    Child working as a ‘waste picker’ in Stung Meanchey, the largest garbage dump in Phnom Penh, Cambodia.

    What sort of reactions have you seen to your videos?

    We try to immerse people in the worlds of the activists and survivors we serve, by creating a sense of direct connection with the people and environment of south and southeast Asia.

    Many longtime supporters and fundraiser attendees commented that using the VR headset, the Vive Focus specifically, was the first time they really ‘got’ the issue of human trafficking on a deep, heartfelt level, after ‘meeting’ some of our partner organizations and the children they work daily to care for.

    People are consistently deeply moved – so much so that we have to be sure we have enough lens wipes to clean the headsets of tears, as the videos evoke such an emotional reaction in people who see them. Without VR or these videos, people have told us it’s unlikely they would travel to these remote areas where our partner projects are based, so they’re grateful for the opportunity to view them in VR. They often thank us for the chance to see this issue up close, as a real issue that could affect anyone’s family.

    Are there any of the 360 videos you produced that can be seen online?

    Yes, there are. First, here is a true 360 video story of a hill tribe girl saved from trafficking in Thailand by one of our partner organizations, DEPDC.

    This girl was saved from becoming a victim of human trafficking, and is now a powerful woman who is helping her community as a college educated teacher, working to ensure other hill tribe children don’t fall prey to the ploys of human traffickers in the North region of Thailand, bordering Myanmar.

    [youtube https://www.youtube.com/watch?v=dcpo5RXU4RY]

    You’re now looking to create a VR experience based on Vannak Anan Prum’s book/graphic novel, The Dead Eye and the Deep Blue Sea. Can you tell us more about that?

    Yes! In tandem with getting people to care about the issues of labor trafficking in the fishing industry in Thailand and elsewhere in the world, we want to reach and teach the next generation of anti-trafficking leaders, college students of all ages, and Gen Z, too. One of our current interns, Grace Hitchens put it best when she told me after I offered the book to her to read, that Vannak Anan Prum’s story was an incredibly compelling, powerful account that he told through illustration because initially he wasn’t sure anyone would believe his story. He was held hostage and sold into slavery for a total of five years, first as a fisherman and then on a plantation. Not much is known about the men and boys who are trapped on these fishing boats in the Indian Ocean, and Prum’s account represents some of the first eyewitness testimony that exists.

    For her and other interns alike, The Dead Eye and The Deep Blue Sea exhibits the importance of art in incredibly powerful ways.

    First, the memoir records one’s truth that is shared with the world. This memoir shows an underground world that is unknown to many but affects the entire human race. The skillfully drawn illustrations illuminate some of the ugliest things a person could witness, making the story even more compelling to its readers. Second, the format of a graphic memoir serves as a way to make sense of one’s life story after living through traumatic events. Throughout Prum’s journey, art was a means to escape some of the pain he suffered and gave him individuality, something one lacks when being trafficked.

    While this story is one that can give a person a new awareness of the cruelty that is possible in the world, it also demonstrates the good humans can do as well. Prum was able to escape modern-day slavery with the help of others and share his story to bring light to the issue.

    Creating change requires listening to those who are often ignored, which Prum demonstrates through expressing the isolation and hopelessness he felt throughout his time as a slave.

    Nevertheless, Prum still implores the importance of letting go of hate. His experience could easily turn anyone towards bitterness, but instead we learn from Prum the importance of being an advocate for the most vulnerable people in our society. Being an advocate requires empathy and accurate knowledge, so viewing The Dead Eye and The Deep Blue Sea through virtual reality would accurately provide both of these necessities. This powerful story through VR could give viewers a new lens to understand a complex issue and become better advocates.

    How are you intending to adapt the book into VR?

    We are in the process of getting permission to use the original artwork from the book, as the powerful illustrations by Prum tell his story so clearly that it requires very little explanation. When/if we get permission, we will make it happen! We also have our own original interviews we have done too, that we can use to create our ‘Slavery at Sea’ VR experience in an appropriate engine. It is the right time, and the world needs to care about men and boys who are disproportionately negatively affected by the global demand for cheap seafood – including tuna, with slavery entangled in its supply chain sold by most supermarkets in the US today.

    We will share the donations from this project with Prum and his collaborators and one of our partner organizations that exists provide services for men and boys who they have rescued from labor trafficking in Southeast Asia (including much needed new shelters to accommodate more survivors).  

    On the technical side, we are deliberating about different ways we could create the Slavery at Sea VR experience. It could be a translation of the most important pages of the book into scenes.  We might use some “gamification” aspects to give the user the opportunity to choose their own experience (whether we use the book or our own interviews with real survivors from one of our partner organizations). We could also give the user alternative options not included in the book. We are exploring all kinds of ideas, and welcome them!

    How do you think you will secure funding for the project?

    Prevent Human Trafficking has a long history of utilizing in-kind donations to meet much of our funding and project needs. We also have deep connections, affiliations and ongoing relationships to many of the people and organizations in New York creative tech, including leadership and professors in ITP at NYU, Brooklyn Research, many others, including BabyCastles that use #techforgood to serve underrepresented populations in innovative ways and increase diversity in tech. We are lucky to be amongst a community of people from practitioners, to teachers, professors and developers that have a passion for harnessing the power of #techforgood and bringing this project to life – mostly in NY, but around the world as well. It was actually a class on “VR in VR” with the ever brilliant John Benton that made me certain that this Slavery at Sea VR experience was indeed a good idea and a worthwhile endeavor. His encouragement and supportiveness has meant the world to me, as he is a true VR creative genius and visionary! I also have a fantastic board of directors and advisors – including many professionals who are working with me on a pro­­­bono basis to secure corporate sponsorships for this, and other projects such as our exciting 20th anniversary celebration in 2019! It’s truly a team effort, and I couldn’t do my work without all the amazing people who truly care about our mission.

    Of course, we are always happy to receive donations directly from people who believe in the work we do. You can donate directly to Prevent Human Trafficking here.

    Thank you for talking with us, Chris, and we’re looking forward to see how VR can be further used to prevent human trafficking!


    Prevent Human Trafficking’s Mission Statement:

    Prevent Human Trafficking (PHT) is a Washington, D.C., based non-profit organization working to build a bridge between South East Asia and the United States using technology to advocate, educate and raise awareness of this issue – including using 360 video and VR.  PHT has helped build several shelters and vocational schools with partner organizations in Thailand and fund scholarships, micro-credit loans, and trained hundreds of young professionals to become the next leaders in the global anti-trafficking movement. PHT empowers individuals, organizations and governments to tackle the root causes of human trafficking through direct support and technical assistance. PHT uses its expertise and networks to promote best practice and inspire sustainable solutions in the movement to prevent human trafficking using #techforgood.

    Visit www.preventhumantrafficking.org for more information (check back soon/often for updates!) Contact us at preventhumantrafficking AT gmail DOT com

    Website: LINK

  • Become transfixed by the dreamlike world of Transpose

    Become transfixed by the dreamlike world of Transpose

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    The recently released Transpose takes you into a mesmerizing and surreal world where you’ll need to manipulate time and gravity to overcome various obstacles. We spoke to Josh Manricks at developer Secret Location to find out what inspired this stunning out-of-body experience.

    Interview by Nathan Ortega, Viveport

    [youtube https://www.youtube.com/watch?v=u_jkNOgKMkQ?feature=oembed&wmode=opaque&w=730&h=411]

    For those unfamiliar, tell us a bit about yourself and Secret Location.

    Josh: I am the Senior Technical Director of Content and project lead on our game Transpose. When I started at the company 6 years ago it was 15 people, today it is over 80, it’s crazy how much we have grown over the years.

    We run two production teams internally that consist of a small group of full time staff, maybe like five people on each team. It lets us stay lean and prototype things quickly when we have ideas. Once we go into production though those team can grow to around 15 people in the office plus any external partners we have helping us.

    Tell us about the previous projects Secret Location has developed and how it influenced the direction of Transpose.

    Secret Location used to be a work for hire studio doing web and mobile game extensions for movies and TV shows. In 2015 we did our first VR project for a show on FOX called Sleepy Hollow. It was a 5 minute VR experience to help promote the second season of the show and premiered at Comic Con that year. It went on to win the first Emmy for a VR project and from there we moved more into the VR space.

    After that we made an experimental hybrid TV / VR show called Halcyon and went on to form an internal innovation lab lead by our Creative Director at the time, Pietro Gagliano, a producer, an artist and myself. We were just a small team jamming on week long prototypes for a couple of months to see what felt good in VR. The first full production to come out of that lab was Blasters of the Universe.

    Blasters took us a year and half to finish and the landscape of VR drastically changed over that time. By the time we were done, the market was flooded with shooters. We knew that we had to be more innovative if we wanted to stand out in the market. The two projects we put into production after that were The Great C, a 35 minute short film in VR (available on Viveport) and Transpose.

    What were the key inspirations to Transpose, from the art direction, to the music, to the mind bending puzzles?

    The earliest idea for Transpose came when I was playing a mobile game call Does Not Commute. You drive cars across a screen, rewind time then drive another car across the same screen with the original one playing out at the same time. I thought it would be really interesting to see that mechanic in VR, but with a full body representation of yourself. I talked it over with our game designer Mike Sandercock the next day and a few weeks later we had a working prototype.

    In terms of the art, Transpose was highly inspired by ancient geometry and how organic matter forms “mechanical” looking systems and complex shapes. There is heavy use of geometric symbols repeating themselves. Geometric construction, like master building diagrams. Shape framing and how patterns are formed. Recurring art motifs in ancient civilizations. The art of impossible architecture, a sci-fi take on Escher’s grand illustrations and concepts.

    With the music we wanted something that was relaxing for the player, so they felt like they could take their time with the puzzles, be contemplative and plan out their moves. The music evolves in each level the closer you get to solving the puzzle, it’s pretty subtle but it really adds to the overall feeling of achievement. We worked a local composed Robby Duguay, who took inspiration from such video game composers as Masashi Hamauzu (Final Fantasy), Hirokazu Tanaka (Metroid) and Whitaker Trebella (Piloteer).

    Tell us a bit about the challenge of designing intuitive puzzles in an immersive VR space. Did developing Transpose provide unique development challenges not present in your previous works?

    Our previous works had very little locomotion in them, with the player standing in one spot with the environment changing around them for the most part. Immediately we had to start trying to understand how to direct people’s attention when they can freely move around the environment. To that point I’d say one of the biggest challenges was getting the tutorial right.

    We iterated over the first three levels so many times. Every two weeks we did user testing sessions with new players to see if they could understand the time rewinding mechanic. We also reworked the keep / discard interface numerous times.

    Transpose has a pretty unique gameplay hook with Echoes, where players can interact with ‘ghost’ versions of themselves from previously recorded actions in order to solve heady challenges. Was this the idea at the core of the game from the start, or did it naturally evolve during development?

    It was at the core of the game from day one. From our very first prototype through to production the ability to rewind time and interact with your past selves was central to the game. The world rotation and everything else came after that as we started to develop the idea further.

    What are the key things you want players to take away from their time with Transpose?

    We want people to take their time and not feel rushed with the puzzles. The music is chill and there are no time limits, just take it all in. I think it can be very meditative.

    Talk to us a bit about your thoughts regarding the future of VR, especially as it pertains to the types of projects your team is interested in developing.

    I think the industry still has a long way to go to mass adoption. The biggest struggle I see right now is getting people into a headset and having a good experience. Awareness is definitely spreading further outside of the immediate industry. I hear people talking about it on my morning commute, but a lot of them still haven’t tried it for themselves. The other side to this, as I see it, is being able to show a value in the technology outside of entertainment for the average user. If it can used to better their lives in a way that resonates with people then we will really be on to something!

    What’s next for Secret Location?

    I would love to do Transpose 2, we learned so much during development and left so much on the cutting room floor that I think it would be awesome to revisit that world. If we did, I think I would like to put more emphasis on exploring the story of the world and its inhabitants, but we will have to see. Currently the team is working on a free roam experience called Occam’s Razor, where you and your friends must race against the clock to solve a dark strange mystery.

    Sounds exciting! We can’t wait to see more of what you and the team have cooking. Thanks for speaking to us!


    Transpose is now available on Viveport and as part of Viveport Subscription.

    Website: LINK

  • Update on Vive Wireless Adapter and Ryzen chipsets

    Update on Vive Wireless Adapter and Ryzen chipsets

    Reading Time: 2 minutes

    We have seen and are actively looking into multiple reports of Ryzen incompatibility with Vive Wireless Adapter. Our current data shows this is occurring with a subset of Ryzen-based PCs. Our investigation will take time as we are working with multiple component manufacturers to identify the root cause.

    We will update the community as we learn more.

    In the near term, we are updating our specifications to show that certain Ryzen PCs have a compatibility issue.

    In addition, starting, 11/19, our customer service agents will honor Ryzen-related returns from our retail partners and vive.com outside of typical return windows. Please see instructions below.

    Thank you for your patience as we continue to investigate the issue.

    Customer Return Process

    For refund eligibility and processing please get in touch with our Customer Support team by emailing vive_care@vive.com. You will get a response with instructions and next steps within one business day.  To ensure proper processing we will request the following:

    • Proof of Purchase (your vive.com order number or your retailer invoice)
    • Validation of AMD equipment (our CSR reps will walk you through the steps for these requirements)

    Once the validation step is complete we will provide you with a shipping label with instructions to return your wireless adapter. Once the unit is confirmed received we will process the refund and notify customers of the completed process.


    Website: LINK

  • The Viveport Subscription epic Black Friday pre-sale

    The Viveport Subscription epic Black Friday pre-sale

    Reading Time: 2 minutes

    Black Friday is almost here, but Viveport Subscription members can get a truly epic deal right now. Whether you’re an existing subscriber or you start a free trial, from now until 11/19, you can pick up five of the best games in VR for just $1 each (or local equivalent).

    Choose between time-stopping genre-bending shooter SUPERHOT VR, high fantasy spell-slinger The Wizards, undead bulletfest Arizona Sunshine, cyberpunk slasher-and-shooter Sairento VR or the surreal comedic adventure Accounting+.

    You simply cannot get better value in VR – you can save up to $120 on the normal price of these games if you pick them all up.

    Check out the trailers for all five titles below. Then if you’re not a Viveport Subscription member, start your free trial right now. As well as picking up these games, you’ll get $10 in Viveport Wallet credit on 11/20 just for being a subscriber.

    Wait! There’s one catch – which is we have limited numbers of every game available at this price. Once they’re gone, they’re gone – so get in on this now before the offer ends on November 19th at 11:59PM Pacific time.

    Let’s recap one more time:

    – Viveport Subscription members (existing or new trial members) can pick up 5 epic games for $1 each right now until 11/19

    – This is a limited offer – once these $1 titles are gone, they’re gone

    – As a Viveport Subscription member you’ll be given $10 in Viveport Wallet credit on 11/20 (this will be sent via email)

    WHAT’S NEXT?

    Our Black Friday sale starts on 11/20, so you’ll be ready to go with $10 in Viveport Wallet credit, ready to spend on the huge selection of games and apps that will be discounted – plus some extra special deals we can’t reveal until then. Come back on November 20th to discover everything!

    [youtube https://www.youtube.com/watch?v=1LOYRXIt31Y]

     

    [youtube https://www.youtube.com/watch?v=TyupctBTNYs]

     

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    [youtube https://www.youtube.com/watch?v=silUn26nv-A?feature=oembed&wmode=opaque&w=730&h=411]

     

    [youtube https://www.youtube.com/watch?v=nzmmlwGJ50k]


    Website: LINK